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The The
Handbook Handbook
of of
Bunka Bunka
Section 1 Getting Started Section 1 Getting Started

Section 11 Glossary of Section 11 Glossary of


Stitches and Stitches and
Techniques Techniques

Section 111 Appendices Section 111 Appendices

The The
Handbook Handbook
of of
Bunka Bunka
Section 1 Getting Started Section 1 Getting Started

Section 11 Glossary of Section 11 Glossary of


Stitches and Stitches and
Techniques Techniques

Section 111 Appendices Section 111 Appendices


Note From The Authors Note From The Authors
This is the second edition of The Handbook of This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for who have been active instructors and stitchers for
many years. Bonnie and Jan learned the many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original 1986, Karen wrote and published the original
Handbook of Bunka that has received wide Handbook of Bunka that has received wide
circulation over the past 6 years as the first circulation over the past 6 years as the first
official Bunka Shishu reference book ever official Bunka Shishu reference book ever
published in North America. published in North America.
This version is a compilation of the most up-to- This version is a compilation of the most up-to-
date and most popular stitching techniques being date and most popular stitching techniques being
used today. We hope teachers and students alike used today. We hope teachers and students alike
will continue to use the Handbook as a valuable will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching this manual replace the knowledge and stitching
expertise that can be learned from an experienced expertise that can be learned from an experienced
Bunka With Flair Instructor. Bunka With Flair Instructor.
The authors request the reader to keep in mind The authors request the reader to keep in mind
that the purpose of the Handbook is as a that the purpose of the Handbook is as a
reference tool which, while documenting the basic reference tool which, while documenting the basic
method will, hopefully, expand the stitchers method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu knowledge and understanding of Bunka Shishu
embroidery and encourage development of embroidery and encourage development of
personal style and methodology. personal style and methodology.
It is our hope that we have made Bunka Shisha an It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to art for all, near and far, to experience, to
accomplish and mostly to enjoy. accomplish and mostly to enjoy.

Note From The Authors Note From The Authors


This is the second edition of The Handbook of This is the second edition of The Handbook of
Bunka revised by Bonnie Ralph and Jan Baba Bunka revised by Bonnie Ralph and Jan Baba
who have been active instructors and stitchers for who have been active instructors and stitchers for
many years. Bonnie and Jan learned the many years. Bonnie and Jan learned the
beautiful art of Bunka Shishu embroidery from beautiful art of Bunka Shishu embroidery from
the courses and samplers developed by Karen the courses and samplers developed by Karen
Schilthuis, Canada's First Lady of Bunka. In Schilthuis, Canada's First Lady of Bunka. In
1986, Karen wrote and published the original 1986, Karen wrote and published the original
Handbook of Bunka that has received wide Handbook of Bunka that has received wide
circulation over the past 6 years as the first circulation over the past 6 years as the first
official Bunka Shishu reference book ever official Bunka Shishu reference book ever
published in North America. published in North America.
This version is a compilation of the most up-to- This version is a compilation of the most up-to-
date and most popular stitching techniques being date and most popular stitching techniques being
used today. We hope teachers and students alike used today. We hope teachers and students alike
will continue to use the Handbook as a valuable will continue to use the Handbook as a valuable
reference tool and teaching aid. In no way should reference tool and teaching aid. In no way should
this manual replace the knowledge and stitching this manual replace the knowledge and stitching
expertise that can be learned from an experienced expertise that can be learned from an experienced
Bunka With Flair Instructor. Bunka With Flair Instructor.
The authors request the reader to keep in mind The authors request the reader to keep in mind
that the purpose of the Handbook is as a that the purpose of the Handbook is as a
reference tool which, while documenting the basic reference tool which, while documenting the basic
method will, hopefully, expand the stitchers method will, hopefully, expand the stitchers
knowledge and understanding of Bunka Shishu knowledge and understanding of Bunka Shishu
embroidery and encourage development of embroidery and encourage development of
personal style and methodology. personal style and methodology.
It is our hope that we have made Bunka Shisha an It is our hope that we have made Bunka Shisha an
art for all, near and far, to experience, to art for all, near and far, to experience, to
accomplish and mostly to enjoy. accomplish and mostly to enjoy.
To The Beginner Stitcher To The Beginner Stitcher
The Handbook of Bunka contains general, basic The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu information that is used for every Bunka Shishu
picture. It also contains Advanced Level picture. It also contains Advanced Level
techniques that should not be attempted until you techniques that should not be attempted until you
are comfortable with the basics. are comfortable with the basics.

It is strongly recommended that this manual be It is strongly recommended that this manual be
used as a learning tool in combination with used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified 1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some B.W.F. Instructor but would like to try some
stitching on your own, we suggest: stitching on your own, we suggest:

1. Carefully reading the first section 1. Carefully reading the first section
"Getting Started". "Getting Started".

2. The second section, "Glossary of Stitches 2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced & Techniques" describes basic to advanced
techniques in alphabetical order. From this techniques in alphabetical order. From this
section, refer to: section, refer to:

Flat stitch, page 84 Flat stitch, page 84


Line padding, page 123 Line padding, page 123
Wedge Stitch, page 180 Wedge Stitch, page 180
Blending, page 51 Blending, page 51

Learning these techniques will establish the Learning these techniques will establish the
basic knowledge necessary to start your first basic knowledge necessary to start your first
picture. It will be very difficult for you to picture. It will be very difficult for you to
absorb the contents of the entire book by absorb the contents of the entire book by
simply reading, so concentrate and practice simply reading, so concentrate and practice
the basics first. the basics first.

To The Beginner Stitcher To The Beginner Stitcher


The Handbook of Bunka contains general, basic The Handbook of Bunka contains general, basic
information that is used for every Bunka Shishu information that is used for every Bunka Shishu
picture. It also contains Advanced Level picture. It also contains Advanced Level
techniques that should not be attempted until you techniques that should not be attempted until you
are comfortable with the basics. are comfortable with the basics.

It is strongly recommended that this manual be It is strongly recommended that this manual be
used as a learning tool in combination with used as a learning tool in combination with
Bunka With Flair's Instructional Program, Levels Bunka With Flair's Instructional Program, Levels
1 to 3. If you do not have access to a qualified 1 to 3. If you do not have access to a qualified
B.W.F. Instructor but would like to try some B.W.F. Instructor but would like to try some
stitching on your own, we suggest: stitching on your own, we suggest:

1. Carefully reading the first section 1. Carefully reading the first section
"Getting Started". "Getting Started".

2. The second section, "Glossary of Stitches 2. The second section, "Glossary of Stitches
& Techniques" describes basic to advanced & Techniques" describes basic to advanced
techniques in alphabetical order. From this techniques in alphabetical order. From this
section, refer to: section, refer to:

Flat stitch, page 84 Flat stitch, page 84


Line padding, page 123 Line padding, page 123
Wedge Stitch, page 180 Wedge Stitch, page 180
Blending, page 51 Blending, page 51

Learning these techniques will establish the Learning these techniques will establish the
basic knowledge necessary to start your first basic knowledge necessary to start your first
picture. It will be very difficult for you to picture. It will be very difficult for you to
absorb the contents of the entire book by absorb the contents of the entire book by
simply reading, so concentrate and practice simply reading, so concentrate and practice
the basics first. the basics first.
"BUNKA SHISHU" "BUNKA SHISHU"
Also known as: Also known as:
Bunka Embroidery Bunka Embroidery
Japanese Punch Needle Embroidery Japanese Punch Needle Embroidery
Thread art Thread art
Thread painting Thread painting

Originating in Japan, Bunka Shishu is unique Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires from other types of needlework since it requires

a) Punch Needle designed to operate exclusively a) Punch Needle designed to operate exclusively
with ... with ...

b) Special 4-ply rayon thread manufactured in b) Special 4-ply rayon thread manufactured in
Japan ... Japan ...

to embroider the design onto a taut, tight weave to embroider the design onto a taut, tight weave
canvas. canvas.

This Handbook of Bunks Shishu Embroidery is an This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all easy to use reference guide for stitchers at all
levels. The techniques described range from the levels. The techniques described range from the
preliminary preparatory steps to advanced skills. preliminary preparatory steps to advanced skills.

We hope this book will assist you in the hours of We hope this book will assist you in the hours of
enjoyment you will experience in creating enjoyment you will experience in creating
beautiful Bunka pictures. beautiful Bunka pictures.

5 5

"BUNKA SHISHU" "BUNKA SHISHU"


Also known as: Also known as:
Bunka Embroidery Bunka Embroidery
Japanese Punch Needle Embroidery Japanese Punch Needle Embroidery
Thread art Thread art
Thread painting Thread painting

Originating in Japan, Bunka Shishu is unique Originating in Japan, Bunka Shishu is unique
from other types of needlework since it requires from other types of needlework since it requires

a) Punch Needle designed to operate exclusively a) Punch Needle designed to operate exclusively
with ... with ...

b) Special 4-ply rayon thread manufactured in b) Special 4-ply rayon thread manufactured in
Japan ... Japan ...

to embroider the design onto a taut, tight weave to embroider the design onto a taut, tight weave
canvas. canvas.

This Handbook of Bunks Shishu Embroidery is an This Handbook of Bunks Shishu Embroidery is an
easy to use reference guide for stitchers at all easy to use reference guide for stitchers at all
levels. The techniques described range from the levels. The techniques described range from the
preliminary preparatory steps to advanced skills. preliminary preparatory steps to advanced skills.

We hope this book will assist you in the hours of We hope this book will assist you in the hours of
enjoyment you will experience in creating enjoyment you will experience in creating
beautiful Bunka pictures. beautiful Bunka pictures.

5 5
Kits are available from 3 sources -each has its own Kits are available from 3 sources -each has its own
full colour catalogue. 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 2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the number corresponds to the numbers printed on the
canvas. canvas.
3. Matsuhato - numbered and unnumbered kits 3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'. picture insert and making up a 'thread chart'.
A Bunks Shishu kit consists of: A Bunks Shishu kit consists of:
a) Embroidery threads a) Embroidery threads
b) screen-printed canvas b) screen-printed canvas
c) coloured picture guide or insert -one side is a c) coloured picture guide or insert -one side is a
photograph of what the completed picture should photograph of what the completed picture should
look like; the other is a copy of the numbered, look like; the other is a copy of the numbered,
screen-printed canvas 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 Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for kit can be used on other pictures; however, watch for
differences in colour shade that may vary between differences in colour shade that may vary between
dye lots. dye lots.

Bunka thread is not cut into pieces as with standard Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the embroidery. It is used in a continuous strand from the
skein. skein.

Kits are available from 3 sources -each has its own Kits are available from 3 sources -each has its own
full colour catalogue. 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 2. Tokyo - numbered kits designed in Japan. The
threads in Canadian and Tokyo pictures are threads in Canadian and Tokyo pictures are
numbered like a paint-by-number where the thread numbered like a paint-by-number where the thread
number corresponds to the numbers printed on the number corresponds to the numbers printed on the
canvas. canvas.
3. Matsuhato - numbered and unnumbered kits 3. Matsuhato - numbered and unnumbered kits
designed in Japan. Usually there are no numbers designed in Japan. Usually there are no numbers
on the canvas or threads. The stitcher decides on the canvas or threads. The stitcher decides
which colour to use by analyzing the coIoured which colour to use by analyzing the coIoured
picture insert and making up a 'thread chart'. picture insert and making up a 'thread chart'.
A Bunks Shishu kit consists of: A Bunks Shishu kit consists of:
a) Embroidery threads a) Embroidery threads
b) screen-printed canvas b) screen-printed canvas
c) coloured picture guide or insert -one side is a c) coloured picture guide or insert -one side is a
photograph of what the completed picture should photograph of what the completed picture should
look like; the other is a copy of the numbered, look like; the other is a copy of the numbered,
screen-printed canvas 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 Tokyo threads that are also used in Canadian kits are
numbered with a paper tag. These numbers will never numbered with a paper tag. These numbers will never
change, i.e. #167 will always be brown. As a backup change, i.e. #167 will always be brown. As a backup
in case of thread shortage, leftover threads from one in case of thread shortage, leftover threads from one
kit can be used on other pictures; however, watch for kit can be used on other pictures; however, watch for
differences in colour shade that may vary between differences in colour shade that may vary between
dye lots. dye lots.

Bunka thread is not cut into pieces as with standard Bunka thread is not cut into pieces as with standard
embroidery. It is used in a continuous strand from the embroidery. It is used in a continuous strand from the
skein. 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 ............................................ 14 About The Thread ............................................ 14
2/4 Pull Thread ............................................ 15 2/4 Pull Thread ............................................ 15
3/4 Pull Thread ............................................ 16 3/4 Pull Thread ............................................ 16
1/4 Pull Thread ............................................ 17 1/4 Pull Thread ............................................ 17
The Needle ....................................................... 18 The Needle ....................................................... 18
How To Thread The Needle .......................... 19 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 .......................................... 25 Flat Stitch Pictures .......................................... 25


Dimension ................................................... 25 Dimension ................................................... 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 ............................................ 14 About The Thread ............................................ 14
2/4 Pull Thread ............................................ 15 2/4 Pull Thread ............................................ 15
3/4 Pull Thread ............................................ 16 3/4 Pull Thread ............................................ 16
1/4 Pull Thread ............................................ 17 1/4 Pull Thread ............................................ 17
The Needle ....................................................... 18 The Needle ....................................................... 18
How To Thread The Needle .......................... 19 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 .......................................... 25 Flat Stitch Pictures .......................................... 25


Dimension ................................................... 25 Dimension ................................................... 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 GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34 OF STITCHES AND TECHNIQUES ............ 34

SECTION 111 SECTION 111


APPENDICES APPENDICES

APPENDIX 1 - FRAMING .......................... 186 APPENDIX 1 - FRAMING .......................... 186


APPENDIX 11 - COLOUR CHART .............. 187 APPENDIX 11 - COLOUR CHART .............. 187

SECTION 11 SECTION 11
TABLE OF CONTENTS TABLE OF CONTENTS
GLOSSARY GLOSSARY
OF STITCHES AND TECHNIQUES ............ 34 OF STITCHES AND TECHNIQUES ............ 34

SECTION 111 SECTION 111


APPENDICES APPENDICES

APPENDIX 1 - FRAMING .......................... 186 APPENDIX 1 - FRAMING .......................... 186


APPENDIX 11 - COLOUR CHART .............. 187 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 Step 1 - All the threads must be wound onto
individual 'winding' cards. individual 'winding' cards.

Step 2 - The canvas must be stretched and Step 2 - The canvas must be stretched and
tacked onto a work frame. tacked onto a work frame.

STEP 1 STEP 1

HOW TO WIND THE THREAD HOW TO WIND THE THREAD


Supplies Supplies

1. Winding Cards 1. Winding Cards


2. Bunks clippers or scissors 2. Bunks clippers or scissors
3. Container to hold wound threads (commercial 3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box, floss organizers, reuse a chocolate box,
plastic food container). plastic food container).

Each skein of thread is wound onto separate Each skein of thread is wound onto separate
cards - one skein per card. The winding cards cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard out your own from medium-weight cardboard
(gift box, bristol board). (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 Step 1 - All the threads must be wound onto
individual 'winding' cards. individual 'winding' cards.

Step 2 - The canvas must be stretched and Step 2 - The canvas must be stretched and
tacked onto a work frame. tacked onto a work frame.

STEP 1 STEP 1

HOW TO WIND THE THREAD HOW TO WIND THE THREAD


Supplies Supplies

1. Winding Cards 1. Winding Cards


2. Bunks clippers or scissors 2. Bunks clippers or scissors
3. Container to hold wound threads (commercial 3. Container to hold wound threads (commercial
floss organizers, reuse a chocolate box, floss organizers, reuse a chocolate box,
plastic food container). plastic food container).

Each skein of thread is wound onto separate Each skein of thread is wound onto separate
cards - one skein per card. The winding cards cards - one skein per card. The winding cards
can be purchased (50 to a bundle) or you can cut can be purchased (50 to a bundle) or you can cut
out your own from medium-weight cardboard out your own from medium-weight cardboard
(gift box, bristol board). (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 Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are tie and the paper number tag. The ties are
bundled together with a single tie. bundled together with a single tie.

1) Hold up the bundle of 1) Hold up the bundle of


threads by the twist threads by the twist
ties. ties.

2) Pull down on one of 2) Pull down on one of


the paper tag the paper tag
numbers. A single numbers. A single
skein will detach itself skein will detach itself
from the main bundle. from the main bundle.

3) Write the thread Fig. 2 3) Write the thread Fig. 2


number onto one end number onto one end
of the winding card. of the winding card.

12 12

Fig. 1 -actual size Fig. 1 -actual size

Each skein of thread is fastened with a white twist Each skein of thread is fastened with a white twist
tie and the paper number tag. The ties are tie and the paper number tag. The ties are
bundled together with a single tie. bundled together with a single tie.

1) Hold up the bundle of 1) Hold up the bundle of


threads by the twist threads by the twist
ties. ties.

2) Pull down on one of 2) Pull down on one of


the paper tag the paper tag
numbers. A single numbers. A single
skein will detach itself skein will detach itself
from the main bundle. from the main bundle.

3) Write the thread Fig. 2 3) Write the thread Fig. 2


number onto one end number onto one end
of the winding card. of the winding card.

12 12
4) Put your left hand through unwind
4) Put your left hand through unwind
the loop of thread, tear off white the loop of thread, tear off white
the number tag and twist twist tie the number tag and twist twist tie
off the white tie. off the white tie.

5) The circle of thread on your Fig. 3 5) The circle of thread on your Fig. 3
left hand is double-looped left hand is double-looped
knot knot
and must be shifted to a and must be shifted to a
single loop. The ends of single loop. The ends of
each skein have been tied each skein have been tied
together in a knot to secure together in a knot to secure
the loop. the loop.

Fig. 4 Fig. 4
6) Grab the knot with the 6) Grab the knot with the
fingers of your right hand; fingers of your right hand;
Drop the circle of thread off knot Drop the circle of thread off knot
the left hand. There should the left hand. There should
now be one large loop in now be one large loop in
the right hand. the right hand.

7) Put this loop over your left Fig. 5 7) Put this loop over your left Fig. 5
hand and untie the knot at hand and untie the knot at
the top. Let the two loose the top. Let the two loose
ends drop free on either ends drop free on either
side of the circle of thread. side of the circle of thread.

8) Pick up one of the ends 8) Pick up one of the ends


and proceed to unwind the and proceed to unwind the
UNWIND UNWIND
thread. thread.
Fig. 6 Fig. 6
13 13

4) Put your left hand through unwind


4) Put your left hand through unwind
the loop of thread, tear off white the loop of thread, tear off white
the number tag and twist twist tie the number tag and twist twist tie
off the white tie. off the white tie.

5) The circle of thread on your Fig. 3 5) The circle of thread on your Fig. 3
left hand is double-looped left hand is double-looped
knot knot
and must be shifted to a and must be shifted to a
single loop. The ends of single loop. The ends of
each skein have been tied each skein have been tied
together in a knot to secure together in a knot to secure
the loop. the loop.

Fig. 4 Fig. 4
6) Grab the knot with the 6) Grab the knot with the
fingers of your right hand; fingers of your right hand;
Drop the circle of thread off knot Drop the circle of thread off knot
the left hand. There should the left hand. There should
now be one large loop in now be one large loop in
the right hand. the right hand.

7) Put this loop over your left Fig. 5 7) Put this loop over your left Fig. 5
hand and untie the knot at hand and untie the knot at
the top. Let the two loose the top. Let the two loose
ends drop free on either ends drop free on either
side of the circle of thread. side of the circle of thread.

8) Pick up one of the ends 8) Pick up one of the ends


and proceed to unwind the and proceed to unwind the
UNWIND UNWIND
thread. thread.
Fig. 6 Fig. 6
13 13
9) Slip one end of the thread 9) Slip one end of the thread
through one of the slits through one of the slits
on the winding card. on the winding card.
Loosely wind the thread Loosely wind the thread
onto the card and tuck in onto the card and tuck in
the end. Do not wind too the end. Do not wind too
tight since it may cause tight since it may cause
problems with the thread. problems with the thread.
See Figure 1. See Figure 1.
10) Number and wind all the threads and place 10) Number and wind all the threads and place
in a container so that the thread numbers are in a container so that the thread numbers are
clearly visible. clearly visible.

ABOUT THE THREAD ABOUT THE THREAD


! Also referred to as 'Rayon lily yarn', bunka ! Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan. thread is manufactured in Japan.
! Each skein of this polyester/rayon thread is ! Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length. shorter -about 5 meters in length.
! Since it is not coIour fast it cannot be used on ! Since it is not coIour fast it cannot be used on
articles of clothing or household items such as articles of clothing or household items such as
cushions, tea towels, etc. but is used cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures, exclusively for the creation of art; pictures,
clocks, etc. The finished work is always clocks, etc. The finished work is always
framed behind glass to protect the stitching framed behind glass to protect the stitching
from the elements (moisture, dust, pets). from the elements (moisture, dust, pets).
! The rayon fibers used in bunka thread are ! The rayon fibers used in bunka thread are
woven Into a strand which can then be woven Into a strand which can then be
unraveled into: unraveled into:
- a 1-ply thickness - 1/4 pull - a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull - a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull - a 3-ply thickness - 3/4 pull

14 14

9) Slip one end of the thread 9) Slip one end of the thread
through one of the slits through one of the slits
on the winding card. on the winding card.
Loosely wind the thread Loosely wind the thread
onto the card and tuck in onto the card and tuck in
the end. Do not wind too the end. Do not wind too
tight since it may cause tight since it may cause
problems with the thread. problems with the thread.
See Figure 1. See Figure 1.
10) Number and wind all the threads and place 10) Number and wind all the threads and place
in a container so that the thread numbers are in a container so that the thread numbers are
clearly visible. clearly visible.

ABOUT THE THREAD ABOUT THE THREAD


! Also referred to as 'Rayon lily yarn', bunka ! Also referred to as 'Rayon lily yarn', bunka
thread is manufactured in Japan. thread is manufactured in Japan.
! Each skein of this polyester/rayon thread is ! Each skein of this polyester/rayon thread is
about 6 meters long. Matsuhato skeins are about 6 meters long. Matsuhato skeins are
shorter -about 5 meters in length. shorter -about 5 meters in length.
! Since it is not coIour fast it cannot be used on ! Since it is not coIour fast it cannot be used on
articles of clothing or household items such as articles of clothing or household items such as
cushions, tea towels, etc. but is used cushions, tea towels, etc. but is used
exclusively for the creation of art; pictures, exclusively for the creation of art; pictures,
clocks, etc. The finished work is always clocks, etc. The finished work is always
framed behind glass to protect the stitching framed behind glass to protect the stitching
from the elements (moisture, dust, pets). from the elements (moisture, dust, pets).
! The rayon fibers used in bunka thread are ! The rayon fibers used in bunka thread are
woven Into a strand which can then be woven Into a strand which can then be
unraveled into: unraveled into:
- a 1-ply thickness - 1/4 pull - a 1-ply thickness - 1/4 pull
- a 2-ply thickness - 2/4 pull - a 2-ply thickness - 2/4 pull
- a 3-ply thickness - 3/4 pull - a 3-ply thickness - 3/4 pull

14 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 The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more 1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture; gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a incorrectly or ripping and using the thread over a
few times, the thread will become straight and few times, the thread will become straight and
shiny (much like embroidery floss) and will not be shiny (much like embroidery floss) and will not be
as attractive. 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 a) Loosen the fibers at the end
of the thread by picking at it with of the thread by picking at it with
your fingernails. Pinch the loose your fingernails. Pinch the loose
thread and pull it with a slight thread and pull it with a slight
jerking motion. This should jerking motion. This should
result in a 2/4 pull. As the result in a 2/4 pull. As the
thread is pulled back it will thread is pulled back it will
make a zipper-like sound. make a zipper-like sound.

b) Holding the start of the pulled thread in one hand. b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4 tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time. pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4 Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly. pull is needed to ensure the thread stays nice & curly.

RIGHT HAND SHOULD BE RIGHT HAND SHOULD BE


PLACED ON THE THICK PLACED ON THE THICK
WHOLE THREAD WHILE WHOLE THREAD WHILE
PULLING 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 The 2/4 pull is used 99% of the time whereas the
1/4 and 3/4 pull are generally used in more 1/4 and 3/4 pull are generally used in more
advanced stitching. 2/4 Pull thread is curly which advanced stitching. 2/4 Pull thread is curly which
gives Bunks embroidery the beautiful texture; gives Bunks embroidery the beautiful texture;
however, if the curl is lost either by pulling however, if the curl is lost either by pulling
incorrectly or ripping and using the thread over a incorrectly or ripping and using the thread over a
few times, the thread will become straight and few times, the thread will become straight and
shiny (much like embroidery floss) and will not be shiny (much like embroidery floss) and will not be
as attractive. 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 a) Loosen the fibers at the end
of the thread by picking at it with of the thread by picking at it with
your fingernails. Pinch the loose your fingernails. Pinch the loose
thread and pull it with a slight thread and pull it with a slight
jerking motion. This should jerking motion. This should
result in a 2/4 pull. As the result in a 2/4 pull. As the
thread is pulled back it will thread is pulled back it will
make a zipper-like sound. make a zipper-like sound.

b) Holding the start of the pulled thread in one hand. b) Holding the start of the pulled thread in one hand.
tug on the pulled end until there is about 18- of 2/4 tug on the pulled end until there is about 18- of 2/4
pull. Do not pull excessive amounts at one time. pull. Do not pull excessive amounts at one time.
Always pull back on the whole thread when more 2/4 Always pull back on the whole thread when more 2/4
pull is needed to ensure the thread stays nice & curly. pull is needed to ensure the thread stays nice & curly.

RIGHT HAND SHOULD BE RIGHT HAND SHOULD BE


PLACED ON THE THICK PLACED ON THE THICK
WHOLE THREAD WHILE WHOLE THREAD WHILE
PULLING PULLING

15 15
3/4 Pull Thread 3/4 Pull Thread
3/4 Pull is of course thicker than 214 but can differ 3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out. since it will not brush out.

3/4 Pull is primarily used in advanced work such as 3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually beaks. With these applications, it is usually
'polished' which removes all the curt to make the 'polished' which removes all the curt to make the
thread look very smooth and shiny like regular thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4 needle is recommended. (see Threads, 3/4
Polished). 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 Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull. extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4 back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no sounds similar to a zipper whereas 3/4 makes no
discernible sound). discernible sound).

16 16

3/4 Pull Thread 3/4 Pull Thread


3/4 Pull is of course thicker than 214 but can differ 3/4 Pull is of course thicker than 214 but can differ
greatly in appearance and usability; sometimes it greatly in appearance and usability; sometimes it
will look like 2/4, sometimes it will look similar to will look like 2/4, sometimes it will look similar to
chain stitch which spirals and twists. Because of the chain stitch which spirals and twists. Because of the
thickness, 3/4 pull cannot be used on fluffy pictures thickness, 3/4 pull cannot be used on fluffy pictures
since it will not brush out. since it will not brush out.

3/4 Pull is primarily used in advanced work such as 3/4 Pull is primarily used in advanced work such as
on animal claws, teeth, pine needles, and bird on animal claws, teeth, pine needles, and bird
beaks. With these applications, it is usually beaks. With these applications, it is usually
'polished' which removes all the curt to make the 'polished' which removes all the curt to make the
thread look very smooth and shiny like regular thread look very smooth and shiny like regular
embroidery floss. Because it is very straight it is embroidery floss. Because it is very straight it is
difficult to keep inside the needle, therefore, the use difficult to keep inside the needle, therefore, the use
of a piece of a rubber band over the shank of the of a piece of a rubber band over the shank of the
needle is recommended. (see Threads, 3/4 needle is recommended. (see Threads, 3/4
Polished). 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 Start off by pulling about 1" of 2/4 thread. Grab an
extra loop in the whole part of your thread and pull. extra loop in the whole part of your thread and pull.
It may take a few tries to get but you will know by It may take a few tries to get but you will know by
the appearance and the sound of the thread pulling the appearance and the sound of the thread pulling
back that you have a 3/4 pull (when pulling, 2/4 back that you have a 3/4 pull (when pulling, 2/4
sounds similar to a zipper whereas 3/4 makes no sounds similar to a zipper whereas 3/4 makes no
discernible sound). discernible sound).

16 16
1/4 Pull Thread 1/4 Pull Thread
This thread has a much more relaxed curl to it as This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull) out fiber. (see Threads, 1/4 Pull)

To Get a 1/4 Pull To Get a 1/4 Pull

1. Moisten the end of 1. Moisten the end of


whole thread. whole thread.
2. By stroking the end of 2. By stroking the end of
the thread with the the thread with the
point of the bunka point of the bunka
needle, the tip will needle, the tip will
spread out into 4 spread out into 4
loops. loops.
3. Insert the tip of a bunka needle down 3. Insert the tip of a bunka needle down
into the center of the whole thread and into the center of the whole thread and
gently pull up. A single gently pull up. A single
strand of thread will strand of thread will
appear. appear.
4. Grasp this end and give 4. Grasp this end and give
a gentle pull. The result a gentle pull. The result
will be 1/4 pull. will be 1/4 pull.

1/4 pull can very easily catch and slip into a 2/4 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 or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4 gentle jerk and the thread will snap back into 1/4
thread. thread.
17 17

1/4 Pull Thread 1/4 Pull Thread


This thread has a much more relaxed curl to it as This thread has a much more relaxed curl to it as
com- pared to 2/4 pull but because it is very com- pared to 2/4 pull but because it is very
fragile, it must be handled with extreme care to fragile, it must be handled with extreme care to
avoid tired or fluffy thread. Fluffy pictures stitched avoid tired or fluffy thread. Fluffy pictures stitched
with 1/4 pull will result in longer, easily brushed with 1/4 pull will result in longer, easily brushed
out fiber. (see Threads, 1/4 Pull) out fiber. (see Threads, 1/4 Pull)

To Get a 1/4 Pull To Get a 1/4 Pull

1. Moisten the end of 1. Moisten the end of


whole thread. whole thread.
2. By stroking the end of 2. By stroking the end of
the thread with the the thread with the
point of the bunka point of the bunka
needle, the tip will needle, the tip will
spread out into 4 spread out into 4
loops. loops.
3. Insert the tip of a bunka needle down 3. Insert the tip of a bunka needle down
into the center of the whole thread and into the center of the whole thread and
gently pull up. A single gently pull up. A single
strand of thread will strand of thread will
appear. appear.
4. Grasp this end and give 4. Grasp this end and give
a gentle pull. The result a gentle pull. The result
will be 1/4 pull. will be 1/4 pull.

1/4 pull can very easily catch and slip into a 2/4 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 or 3/4 pull. If it reverts to a 2/4 pull, place your
fingernail directly in front of the catch spot. Give a fingernail directly in front of the catch spot. Give a
gentle jerk and the thread will snap back into 1/4 gentle jerk and the thread will snap back into 1/4
thread. 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 1. Fluffy
2. Flat 2. Flat
The only difference between the two needles is The only difference between the two needles is
the length of the shank of the needle. The shank the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank the flat needle. Other than the difference in shank
length, both needles are identical and are length, both needles are identical and are
threaded in the same manner. threaded in the same manner.

Shank Shank

Fluffy Flat Fluffy Flat


(Long shank) (Short shank) (Long shank) (Short shank)

18 18

THE NEEDLE THE NEEDLE


There are two types of needles in Bunka: There are two types of needles in Bunka:
1. Fluffy 1. Fluffy
2. Flat 2. Flat
The only difference between the two needles is The only difference between the two needles is
the length of the shank of the needle. The shank the length of the shank of the needle. The shank
of the fluffy needle is 1" long compared to ¾" on of the fluffy needle is 1" long compared to ¾" on
the flat needle. Other than the difference in shank the flat needle. Other than the difference in shank
length, both needles are identical and are length, both needles are identical and are
threaded in the same manner. threaded in the same manner.

Shank Shank

Fluffy Flat Fluffy Flat


(Long shank) (Short shank) (Long shank) (Short shank)

18 18
How To Thread The Needle How To Thread The Needle
The illustration below shows the direction of the The illustration below shows the direction of the
thread through the needle. The thread goes down thread through the needle. The thread goes down
the hole at the top of the needle, out through the the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the side hole that is called the 'headlight', down the
grooved side of the needle and out through the grooved side of the needle and out through the
eye. A needle threader can be used to pull the eye. A needle threader can be used to pull the
end of the thread through the eye. end of the thread through the eye.

Once the needle is threaded as in the diagram, Once the needle is threaded as in the diagram,
hold the end of the thread coming through the hold the end of the thread coming through the
eye of the needle and pull back on the other end. eye of the needle and pull back on the other end.
The thread should now slip inside the groove and The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside. forth between the two ends until it slips inside.
The thread must be inside the needle to start The thread must be inside the needle to start
stitching. When properly threaded, the thread stitching. When properly threaded, the thread
should only be visible where it is entering the top should only be visible where it is entering the top
and exiting through the eye. and exiting through the eye.

There are other methods you can use to draw the There are other methods you can use to draw the
thread through the eye of the needle: thread through the eye of the needle:
- Dental floss loop - Straight pin - Dental floss loop - Straight pin

19 19

How To Thread The Needle How To Thread The Needle


The illustration below shows the direction of the The illustration below shows the direction of the
thread through the needle. The thread goes down thread through the needle. The thread goes down
the hole at the top of the needle, out through the the hole at the top of the needle, out through the
side hole that is called the 'headlight', down the side hole that is called the 'headlight', down the
grooved side of the needle and out through the grooved side of the needle and out through the
eye. A needle threader can be used to pull the eye. A needle threader can be used to pull the
end of the thread through the eye. end of the thread through the eye.

Once the needle is threaded as in the diagram, Once the needle is threaded as in the diagram,
hold the end of the thread coming through the hold the end of the thread coming through the
eye of the needle and pull back on the other end. eye of the needle and pull back on the other end.
The thread should now slip inside the groove and The thread should now slip inside the groove and
disappear. If not, see-saw the thread back and disappear. If not, see-saw the thread back and
forth between the two ends until it slips inside. forth between the two ends until it slips inside.
The thread must be inside the needle to start The thread must be inside the needle to start
stitching. When properly threaded, the thread stitching. When properly threaded, the thread
should only be visible where it is entering the top should only be visible where it is entering the top
and exiting through the eye. and exiting through the eye.

There are other methods you can use to draw the There are other methods you can use to draw the
thread through the eye of the needle: thread through the eye of the needle:
- Dental floss loop - Straight pin - Dental floss loop - Straight pin

19 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) 1. Thumb tacks (box of 100)
2. Soft wood work frame 2. Soft wood work frame
Workframes Workframes
The canvas must be stretched and tacked onto a The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas work frame as tight as possible. A loose canvas
will create stitching difficulties: will create stitching difficulties:
! the canvas will move up and down with ! the canvas will move up and down with
the needle. the needle.
! the thread will not lay flat ! the thread will not lay flat
! difficulty keeping the stitches anchored. ! difficulty keeping the stitches anchored.
Soft wood such as pine ( 11/4" x ½" ) will make Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much the task of pushing in the thumb tacks much
easier. The inside measurement of the frame easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished should be 1.5" larger than the size of the finished
picture (plumb line). picture (plumb line).
Example : Example :
Picture Size = 12 x 16 Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5 Work frame Inside Measurement = 13.5 x 17.5
There are 2 ways to mount the canvas -the first There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a one without using a plumb line, the second using a
plumb line. For most pictures it is strongly plumb line. For most pictures it is strongly
recommended that the second plumb line method recommended that the second plumb line method
be utilized since it ensures that the picture is be utilized since it ensures that the picture is
squarely mounted onto the frame and has been squarely mounted onto the frame and has been
stretched evenly in all directions. For simple stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and necessary as long as care is taken to center and
stretch the canvas equally in all four directions. 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) 1. Thumb tacks (box of 100)
2. Soft wood work frame 2. Soft wood work frame
Workframes Workframes
The canvas must be stretched and tacked onto a The canvas must be stretched and tacked onto a
work frame as tight as possible. A loose canvas work frame as tight as possible. A loose canvas
will create stitching difficulties: will create stitching difficulties:
! the canvas will move up and down with ! the canvas will move up and down with
the needle. the needle.
! the thread will not lay flat ! the thread will not lay flat
! difficulty keeping the stitches anchored. ! difficulty keeping the stitches anchored.
Soft wood such as pine ( 11/4" x ½" ) will make Soft wood such as pine ( 11/4" x ½" ) will make
the task of pushing in the thumb tacks much the task of pushing in the thumb tacks much
easier. The inside measurement of the frame easier. The inside measurement of the frame
should be 1.5" larger than the size of the finished should be 1.5" larger than the size of the finished
picture (plumb line). picture (plumb line).
Example : Example :
Picture Size = 12 x 16 Picture Size = 12 x 16
Work frame Inside Measurement = 13.5 x 17.5 Work frame Inside Measurement = 13.5 x 17.5
There are 2 ways to mount the canvas -the first There are 2 ways to mount the canvas -the first
one without using a plumb line, the second using a one without using a plumb line, the second using a
plumb line. For most pictures it is strongly plumb line. For most pictures it is strongly
recommended that the second plumb line method recommended that the second plumb line method
be utilized since it ensures that the picture is be utilized since it ensures that the picture is
squarely mounted onto the frame and has been squarely mounted onto the frame and has been
stretched evenly in all directions. For simple stretched evenly in all directions. For simple
designs such as fluffies, a plumb line is not designs such as fluffies, a plumb line is not
necessary as long as care is taken to center and necessary as long as care is taken to center and
stretch the canvas equally in all four directions. stretch the canvas equally in all four directions.
20 20
Method 1 - Without Plumbline Method 1 - Without Plumbline
1. WIth printed side up, center 1. WIth printed side up, center
the material over the the material over the
working frame and tack the working frame and tack the
four comers. four comers.
2. Keeping the material taut 2. Keeping the material taut
and straight, place tacks and straight, place tacks
about 1/4" apart. about 1/4" apart.
Method 2 With Plumbline Method 2 With Plumbline
The purpose of using a plumb The purpose of using a plumb
line is to ensure that the canvas line is to ensure that the canvas
has been stretched and tacked has been stretched and tacked
evenly in all directions to evenly in all directions to
prevent distorting the design. prevent distorting the design.
a) Placement of First 8 Tacks a) Placement of First 8 Tacks
The first 8 tacks, 2 per corner, The first 8 tacks, 2 per corner,
are very important. Properly are very important. Properly
placed they will ensure that the placed they will ensure that the
canvas has been stretched tight canvas has been stretched tight
as a drum and as evenly as as a drum and as evenly as
possible. Please note that the possible. Please note that the
two tacks are not placed directly two tacks are not placed directly
in the comer of the work frame in the comer of the work frame
but are placed so that they are but are placed so that they are
adjacent to the comer point. adjacent to the comer point.
! Center the canvas over the ! Center the canvas over the
work frame. Place one tack at work frame. Place one tack at
Point A. Pull the material Point A. Pull the material
towards Point B (opposite towards Point B (opposite
comer) and tack. Repeat for comer) and tack. Repeat for
the lower two comers. Tack at the lower two comers. Tack at
C stretch and tack at D. C stretch and tack at D.

21 21

Method 1 - Without Plumbline Method 1 - Without Plumbline


1. WIth printed side up, center 1. WIth printed side up, center
the material over the the material over the
working frame and tack the working frame and tack the
four comers. four comers.
2. Keeping the material taut 2. Keeping the material taut
and straight, place tacks and straight, place tacks
about 1/4" apart. about 1/4" apart.
Method 2 With Plumbline Method 2 With Plumbline
The purpose of using a plumb The purpose of using a plumb
line is to ensure that the canvas line is to ensure that the canvas
has been stretched and tacked has been stretched and tacked
evenly in all directions to evenly in all directions to
prevent distorting the design. prevent distorting the design.
a) Placement of First 8 Tacks a) Placement of First 8 Tacks
The first 8 tacks, 2 per corner, The first 8 tacks, 2 per corner,
are very important. Properly are very important. Properly
placed they will ensure that the placed they will ensure that the
canvas has been stretched tight canvas has been stretched tight
as a drum and as evenly as as a drum and as evenly as
possible. Please note that the possible. Please note that the
two tacks are not placed directly two tacks are not placed directly
in the comer of the work frame in the comer of the work frame
but are placed so that they are but are placed so that they are
adjacent to the comer point. adjacent to the comer point.
! Center the canvas over the ! Center the canvas over the
work frame. Place one tack at work frame. Place one tack at
Point A. Pull the material Point A. Pull the material
towards Point B (opposite towards Point B (opposite
comer) and tack. Repeat for comer) and tack. Repeat for
the lower two comers. Tack at the lower two comers. Tack at
C stretch and tack at D. C stretch and tack at D.

21 21
! Repeat to stretch the ! Repeat to stretch the
canvas vertically. canvas vertically.
i.e. Tack at E, stretch i.e. Tack at E, stretch
towards F, and tack. towards F, and tack.
Tack at G, stretch Tack at G, stretch
towards H, and tack. towards H, and tack.

b) Inserting the Plumbline b) Inserting the Plumbline


! Thread up a bunka needle ! Thread up a bunka needle
with 2/4 pull leftover thread. with 2/4 pull leftover thread.
! Turn the frame over and ! Turn the frame over and
push a tack on the inside push a tack on the inside
of each comer. Do not of each comer. Do not
push them all the way in. push them all the way in.
These tacks will be used to These tacks will be used to
anchor the thread. anchor the thread.
! Turn the canvas over ! Turn the canvas over
(printed side facing you) (printed side facing you)
! Holding the threaded bunka needle punch like a ! Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth pencil, push the needle through to its full depth
at one of the screen printed corner markings. at one of the screen printed corner markings.
! To get a hold on the thread 'pinch' the tip of ! To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left the needle between the fingers of your left
hand, gently lift out the needle and set it down. hand, gently lift out the needle and set it down.
! A slight tug on the thread will pull the end to ! A slight tug on the thread will pull the end to
the back of the canvas. the back of the canvas.
! Wind the end around the tack. Do not push ! Wind the end around the tack. Do not push
this tack in yet. this tack in yet.
! Take the needle to the next corner and punch ! Take the needle to the next corner and punch
in at the corner marking. in at the corner marking.
! Grab the loop at the back and slip it over the ! Grab the loop at the back and slip it over the
second tack. second tack.
! Give the thread a slight tug to tighten the line. ! Give the thread a slight tug to tighten the line.
! Push this second tack in to secure. ! Push this second tack in to secure.
! Repeat this step for the next two corners. ! Repeat this step for the next two corners.
22 22

! Repeat to stretch the ! Repeat to stretch the


canvas vertically. canvas vertically.
i.e. Tack at E, stretch i.e. Tack at E, stretch
towards F, and tack. towards F, and tack.
Tack at G, stretch Tack at G, stretch
towards H, and tack. towards H, and tack.

b) Inserting the Plumbline b) Inserting the Plumbline


! Thread up a bunka needle ! Thread up a bunka needle
with 2/4 pull leftover thread. with 2/4 pull leftover thread.
! Turn the frame over and ! Turn the frame over and
push a tack on the inside push a tack on the inside
of each comer. Do not of each comer. Do not
push them all the way in. push them all the way in.
These tacks will be used to These tacks will be used to
anchor the thread. anchor the thread.
! Turn the canvas over ! Turn the canvas over
(printed side facing you) (printed side facing you)
! Holding the threaded bunka needle punch like a ! Holding the threaded bunka needle punch like a
pencil, push the needle through to its full depth pencil, push the needle through to its full depth
at one of the screen printed corner markings. at one of the screen printed corner markings.
! To get a hold on the thread 'pinch' the tip of ! To get a hold on the thread 'pinch' the tip of
the needle between the fingers of your left the needle between the fingers of your left
hand, gently lift out the needle and set it down. hand, gently lift out the needle and set it down.
! A slight tug on the thread will pull the end to ! A slight tug on the thread will pull the end to
the back of the canvas. the back of the canvas.
! Wind the end around the tack. Do not push ! Wind the end around the tack. Do not push
this tack in yet. this tack in yet.
! Take the needle to the next corner and punch ! Take the needle to the next corner and punch
in at the corner marking. in at the corner marking.
! Grab the loop at the back and slip it over the ! Grab the loop at the back and slip it over the
second tack. second tack.
! Give the thread a slight tug to tighten the line. ! Give the thread a slight tug to tighten the line.
! Push this second tack in to secure. ! Push this second tack in to secure.
! Repeat this step for the next two corners. ! Repeat this step for the next two corners.
22 22
! You are now back to the first comer. Punch into ! You are now back to the first comer. Punch into
the first comer again, hold the loop at the back the first comer again, hold the loop at the back
with your left hand, cut the thread from the front with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around and pull the tail to the back. Wind this end around
the first tack and push in to secure. the first tack and push in to secure.

c) There are now two lines c) There are now two lines
on the canvas -one is on the canvas -one is
the thread plumb line, the thread plumb line,
the other is the screen- the other is the screen-
printed line. The thread printed line. The thread
plumb line will be plumb line will be
perfectly square whereas perfectly square whereas
the printed line should the printed line should
be cupped towards the be cupped towards the
center (since only the center (since only the
comers have been comers have been
stretched tight). stretched tight).
If the printed line is not curved in, it means that If the printed line is not curved in, it means that
the comers were not stretched enough when the comers were not stretched enough when
placing the first 8 tacks that will result in a placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack. the 8 tacks, pull and re-tack.
d) Pull the canvas until the printed line matches d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1" and tacking all four sides with tacks about 1"
apart. apart.

By following this procedure the canvas may get By following this procedure the canvas may get
so tight that the last side may become very so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away in gripping the material -pull the canvas away
from you, and tack. from you, and tack.

23 23

! You are now back to the first comer. Punch into ! You are now back to the first comer. Punch into
the first comer again, hold the loop at the back the first comer again, hold the loop at the back
with your left hand, cut the thread from the front with your left hand, cut the thread from the front
and pull the tail to the back. Wind this end around and pull the tail to the back. Wind this end around
the first tack and push in to secure. the first tack and push in to secure.

c) There are now two lines c) There are now two lines
on the canvas -one is on the canvas -one is
the thread plumb line, the thread plumb line,
the other is the screen- the other is the screen-
printed line. The thread printed line. The thread
plumb line will be plumb line will be
perfectly square whereas perfectly square whereas
the printed line should the printed line should
be cupped towards the be cupped towards the
center (since only the center (since only the
comers have been comers have been
stretched tight). stretched tight).
If the printed line is not curved in, it means that If the printed line is not curved in, it means that
the comers were not stretched enough when the comers were not stretched enough when
placing the first 8 tacks that will result in a placing the first 8 tacks that will result in a
loose canvas. To correct this remove one of loose canvas. To correct this remove one of
the 8 tacks, pull and re-tack. the 8 tacks, pull and re-tack.
d) Pull the canvas until the printed line matches d) Pull the canvas until the printed line matches
up with the plumb line. Tack. Continue pulling up with the plumb line. Tack. Continue pulling
and tacking all four sides with tacks about 1" and tacking all four sides with tacks about 1"
apart. apart.

By following this procedure the canvas may get By following this procedure the canvas may get
so tight that the last side may become very so tight that the last side may become very
difficult to pull. If so, use a pair of pliers to assist difficult to pull. If so, use a pair of pliers to assist
in gripping the material -pull the canvas away in gripping the material -pull the canvas away
from you, and tack. from you, and tack.

23 23
PICTURE STYLES PICTURE STYLES

There are two styles of pictures in Bunks Shishu: There are two styles of pictures in Bunks Shishu:
1. Fluffy Picture 1. Fluffy Picture
2. Flat Stitch Picture 2. Flat Stitch Picture

The only difference between a flat and fluffy kit is The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be flat stitching in it, the fluffy areas must be
completed first. 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 ! The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame. be stretched and tacked onto a work frame.
! The threads from both types must be wound ! The threads from both types must be wound
onto numbered, individual winding cards. onto numbered, individual winding cards.

Differences Differences

Flat Picture Fluffy Picture Flat Picture Fluffy Picture


Stitch on the screen- Stitch on the screen-printed Stitch on the screen- Stitch on the screen-printed
printed side. This is the side. This is the wrong printed side. This is the side. This is the wrong
finished side. side. The back of the finished side. side. The back of the
canvas with all the loops canvas with all the loops
will be the finished side. will be the finished side.

Stitches should vary in Stitches are approx. 1/16" Stitches should vary in Stitches are approx. 1/16"
length from 1/4" to 3/4". in length. length from 1/4" to 3/4". in length.

Use flat needle. Use fluffy needle. Use flat needle. Use fluffy needle.

24 24

PICTURE STYLES PICTURE STYLES

There are two styles of pictures in Bunks Shishu: There are two styles of pictures in Bunks Shishu:
1. Fluffy Picture 1. Fluffy Picture
2. Flat Stitch Picture 2. Flat Stitch Picture

The only difference between a flat and fluffy kit is The only difference between a flat and fluffy kit is
the method of stitchery. If a kit has both fluffy and the method of stitchery. If a kit has both fluffy and
flat stitching in it, the fluffy areas must be flat stitching in it, the fluffy areas must be
completed first. 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 ! The canvas of both fluffy & flat pictures must
be stretched and tacked onto a work frame. be stretched and tacked onto a work frame.
! The threads from both types must be wound ! The threads from both types must be wound
onto numbered, individual winding cards. onto numbered, individual winding cards.

Differences Differences

Flat Picture Fluffy Picture Flat Picture Fluffy Picture


Stitch on the screen- Stitch on the screen-printed Stitch on the screen- Stitch on the screen-printed
printed side. This is the side. This is the wrong printed side. This is the side. This is the wrong
finished side. side. The back of the finished side. side. The back of the
canvas with all the loops canvas with all the loops
will be the finished side. will be the finished side.

Stitches should vary in Stitches are approx. 1/16" Stitches should vary in Stitches are approx. 1/16"
length from 1/4" to 3/4". in length. length from 1/4" to 3/4". 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 The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay the side of the finished design. The stitches lay
smooth and flat to the material using various smooth and flat to the material using various
techniques. techniques.
To begin a Flat Stitch picture: To begin a Flat Stitch picture:
1. Stretch the canvas onto the work frame using 1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2. the Plumb line Technique, Method 2.
2. Wind and number all the threads onto 2. Wind and number all the threads onto
individual cards. individual cards.
Dimension Dimension

Stitch order is extremely important in any flat Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first; basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in then stitch progressively forward to the areas in
front, to the foreground. front, to the foreground.
1. Scenes: 1. Scenes:
a) First stitch the sky. a) First stitch the sky.

25 25

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 The working surface of Flat stitch pictures is the
screen-printed side of the canvas that will also be screen-printed side of the canvas that will also be
the side of the finished design. The stitches lay the side of the finished design. The stitches lay
smooth and flat to the material using various smooth and flat to the material using various
techniques. techniques.
To begin a Flat Stitch picture: To begin a Flat Stitch picture:
1. Stretch the canvas onto the work frame using 1. Stretch the canvas onto the work frame using
the Plumb line Technique, Method 2. the Plumb line Technique, Method 2.
2. Wind and number all the threads onto 2. Wind and number all the threads onto
individual cards. individual cards.
Dimension Dimension

Stitch order is extremely important in any flat Stitch order is extremely important in any flat
stitch picture to create the 2-dimensional effect. To stitch picture to create the 2-dimensional effect. To
achieve this depth perception in your pictures, the achieve this depth perception in your pictures, the
basic theory is to stitch the area farthest away first; basic theory is to stitch the area farthest away first;
then stitch progressively forward to the areas in then stitch progressively forward to the areas in
front, to the foreground. front, to the foreground.
1. Scenes: 1. Scenes:
a) First stitch the sky. a) First stitch the sky.

25 25
b) Second, stitch the mountain (which is in front b) Second, stitch the mountain (which is in front
of the sky) of the sky)
c) Third, stitch the trees - which are in front of c) Third, stitch the trees - which are in front of
the mountain. the mountain.
If the areas are worked in the proper sequence, If the areas are worked in the proper sequence,
you will notice that the stitching progresses from you will notice that the stitching progresses from
the top of the canvas down to the bottom. the top of the canvas down to the bottom.
2. Flowers 2. Flowers
a) Start with the petal that is furthest back. a) Start with the petal that is furthest back.
b) Stitch each subsequent petal progressing to the b) Stitch each subsequent petal progressing to the
petal that is closest to you. petal that is closest to you.
With most flowers, if the petals are stitched in the With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is proper sequence, you will notice that the flower is
being worked from the outside petals to the center of being worked from the outside petals to the center of
the flower. the flower.
Stitch direction Stitch direction
Stitch direction is also very important in Flat Stitch direction is also very important in Flat
Stitching. There are various ways you can Stitching. There are various ways you can
distinguish which way the stitching should flow: distinguish which way the stitching should flow:

1. The screen-printed blending lines in an area 1. The screen-printed blending lines in an area
always point in the accurate stitch direction. always point in the accurate stitch direction.
2. Sometimes arrows are printed either on the 2. Sometimes arrows are printed either on the
canvas or the insert indicating direction. canvas or the insert indicating direction.
3. You can usually discern stitch direction by 3. You can usually discern stitch direction by
examining the coIoured insert of the finished examining the coIoured insert of the finished
picture. picture.

How To Start And End The Thread How To Start And End The Thread
Knots are not required to anchor Bunks Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of simply by pulling the thread to the wrong side of
the canvas. the canvas.
26 26

b) Second, stitch the mountain (which is in front b) Second, stitch the mountain (which is in front
of the sky) of the sky)
c) Third, stitch the trees - which are in front of c) Third, stitch the trees - which are in front of
the mountain. the mountain.
If the areas are worked in the proper sequence, If the areas are worked in the proper sequence,
you will notice that the stitching progresses from you will notice that the stitching progresses from
the top of the canvas down to the bottom. the top of the canvas down to the bottom.
2. Flowers 2. Flowers
a) Start with the petal that is furthest back. a) Start with the petal that is furthest back.
b) Stitch each subsequent petal progressing to the b) Stitch each subsequent petal progressing to the
petal that is closest to you. petal that is closest to you.
With most flowers, if the petals are stitched in the With most flowers, if the petals are stitched in the
proper sequence, you will notice that the flower is proper sequence, you will notice that the flower is
being worked from the outside petals to the center of being worked from the outside petals to the center of
the flower. the flower.
Stitch direction Stitch direction
Stitch direction is also very important in Flat Stitch direction is also very important in Flat
Stitching. There are various ways you can Stitching. There are various ways you can
distinguish which way the stitching should flow: distinguish which way the stitching should flow:

1. The screen-printed blending lines in an area 1. The screen-printed blending lines in an area
always point in the accurate stitch direction. always point in the accurate stitch direction.
2. Sometimes arrows are printed either on the 2. Sometimes arrows are printed either on the
canvas or the insert indicating direction. canvas or the insert indicating direction.
3. You can usually discern stitch direction by 3. You can usually discern stitch direction by
examining the coIoured insert of the finished examining the coIoured insert of the finished
picture. picture.

How To Start And End The Thread How To Start And End The Thread
Knots are not required to anchor Bunks Knots are not required to anchor Bunks
embroidery. The starts and ends will be secured embroidery. The starts and ends will be secured
simply by pulling the thread to the wrong side of simply by pulling the thread to the wrong side of
the canvas. the canvas.
26 26
To Start To Start
a. Have about 1/8 -1/4" excess thread extending a. Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the out through the eye of the needle. Rest the
work frame between the edge of a table and work frame between the edge of a table and
your lap with your left hand under the your lap with your left hand under the
canvas. canvas.
b. Holding the needle like a b. Holding the needle like a
pencil, perpendicular to the pencil, perpendicular to the
canvas push the shank of the canvas push the shank of the
needle into the canvas as far needle into the canvas as far
as it will go. 'Pinch' the tip of as it will go. 'Pinch' the tip of
the needle between the the needle between the
fingers of your left hand. fingers of your left hand.
c. Slide the needle out from c. Slide the needle out from
between your fingers and lift between your fingers and lift
out of the canvas. out of the canvas.
d. A slight tug will pull the end d. A slight tug will pull the end
of the thread to the back of of the thread to the back of
the canvas. Pulling too hard the canvas. Pulling too hard
will waste thread. will waste thread.

To End The Thread To End The Thread


The thread must be cut off when an area is The thread must be cut off when an area is
completed or if there is a change in colour. It is completed or if there is a change in colour. It is
cut on the stitching side of the material and the cut on the stitching side of the material and the
end pulled to the back. end pulled to the back.
a) On the last stitch, with the needle still in the a) On the last stitch, with the needle still in the
canvas and your left hand under the canvas, canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand 'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the the material. By pinching and withdrawing the
needle the loop of thread will be held firmly needle the loop of thread will be held firmly
between your fingers. Lay down the needle. between your fingers. Lay down the needle.

27 27

To Start To Start
a. Have about 1/8 -1/4" excess thread extending a. Have about 1/8 -1/4" excess thread extending
out through the eye of the needle. Rest the out through the eye of the needle. Rest the
work frame between the edge of a table and work frame between the edge of a table and
your lap with your left hand under the your lap with your left hand under the
canvas. canvas.
b. Holding the needle like a b. Holding the needle like a
pencil, perpendicular to the pencil, perpendicular to the
canvas push the shank of the canvas push the shank of the
needle into the canvas as far needle into the canvas as far
as it will go. 'Pinch' the tip of as it will go. 'Pinch' the tip of
the needle between the the needle between the
fingers of your left hand. fingers of your left hand.
c. Slide the needle out from c. Slide the needle out from
between your fingers and lift between your fingers and lift
out of the canvas. out of the canvas.
d. A slight tug will pull the end d. A slight tug will pull the end
of the thread to the back of of the thread to the back of
the canvas. Pulling too hard the canvas. Pulling too hard
will waste thread. will waste thread.

To End The Thread To End The Thread


The thread must be cut off when an area is The thread must be cut off when an area is
completed or if there is a change in colour. It is completed or if there is a change in colour. It is
cut on the stitching side of the material and the cut on the stitching side of the material and the
end pulled to the back. end pulled to the back.
a) On the last stitch, with the needle still in the a) On the last stitch, with the needle still in the
canvas and your left hand under the canvas, canvas and your left hand under the canvas,
'pinch' the needle shank with the left hand 'pinch' the needle shank with the left hand
fingers, gently lift the needle up and out of fingers, gently lift the needle up and out of
the material. By pinching and withdrawing the the material. By pinching and withdrawing the
needle the loop of thread will be held firmly needle the loop of thread will be held firmly
between your fingers. Lay down the needle. between your fingers. Lay down the needle.

27 27
b) Holding the last loop of thread at the back of b) Holding the last loop of thread at the back of
the canvas with your left hand, cut the the canvas with your left hand, cut the
thread from the top of the canvas, very close thread from the top of the canvas, very close
to the cloth. 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.

pull end down to pull end down to


cut at this point back of material cut at this point back of material

Basic Needle Movement Basic Needle Movement


1. Hold the needle like a pencil, and punch 1. Hold the needle like a pencil, and punch
through the canvas -pull the start to the back through the canvas -pull the start to the back
of the canvas. of the canvas.
2. Turn the needle so that the 'Head light' is 2. Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly ensure that the thread is flowingcorrectly
through the needle. through the needle.
3. Gently pull the needle up until the tip of the 3. Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the needle just clears the canvas. To keep the
thread as flat as possible to the material, it is thread as flat as possible to the material, it is
important not to lift the needle off the surface important not to lift the needle off the surface
of the material. of the material.
4. In a smooth gliding motion drag the needle 4. In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching' should be able to hear the needle 'scratching'
the canvas, the canvas,
5. Place your non-stitching hand underneath the 5. Place your non-stitching hand underneath the
canvas. Press your finger gently on the point canvas. Press your finger gently on the point

28 28

b) Holding the last loop of thread at the back of b) Holding the last loop of thread at the back of
the canvas with your left hand, cut the the canvas with your left hand, cut the
thread from the top of the canvas, very close thread from the top of the canvas, very close
to the cloth. 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.

pull end down to pull end down to


cut at this point back of material cut at this point back of material

Basic Needle Movement Basic Needle Movement


1. Hold the needle like a pencil, and punch 1. Hold the needle like a pencil, and punch
through the canvas -pull the start to the back through the canvas -pull the start to the back
of the canvas. of the canvas.
2. Turn the needle so that the 'Head light' is 2. Turn the needle so that the 'Head light' is
pointing in the stitch direction. This will pointing in the stitch direction. This will
ensure that the thread is flowingcorrectly ensure that the thread is flowingcorrectly
through the needle. through the needle.
3. Gently pull the needle up until the tip of the 3. Gently pull the needle up until the tip of the
needle just clears the canvas. To keep the needle just clears the canvas. To keep the
thread as flat as possible to the material, it is thread as flat as possible to the material, it is
important not to lift the needle off the surface important not to lift the needle off the surface
of the material. of the material.
4. In a smooth gliding motion drag the needle 4. In a smooth gliding motion drag the needle
tip along the fabric for about 1/2" - 3/4", You tip along the fabric for about 1/2" - 3/4", You
should be able to hear the needle 'scratching' should be able to hear the needle 'scratching'
the canvas, the canvas,
5. Place your non-stitching hand underneath the 5. Place your non-stitching hand underneath the
canvas. Press your finger gently on the point canvas. Press your finger gently on the point

28 28
of the needle as the needle is being lifted out. of the needle as the needle is being lifted out.
Keep your finger on this spot even when the Keep your finger on this spot even when the
needle has been completely withdrawn. The needle has been completely withdrawn. The
thread loop left by the needle is now pressed thread loop left by the needle is now pressed
under your finger. under your finger.
Repeat this action using both hands, taking Repeat this action using both hands, taking
1/2" stitches across the area. With 1/2" stitches across the area. With
experience, this motion will become experience, this motion will become
automatic and ensures that your stitching will automatic and ensures that your stitching will
remain secure. remain secure.
6. Insert or punch the needle through as far as 6. Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch). Stitch' (see Stitch Glossary, Running Stitch).
7. To fill in a large area such as sky or water, 7. To fill in a large area such as sky or water,
rows of Running Stitches are worked side by rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation to Sky or Flat Stitch for detailed explanation
of Flat Stitching. of Flat Stitching.

To start and To start and


end the end the
running stitch running stitch

Front Front
Back Back

a) Hold needle like pencil a) Hold needle like pencil


b) Insert needle full depth. Hold needle and thread underneath b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down 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 e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a) f) g) h) Same as a)

29 29

of the needle as the needle is being lifted out. of the needle as the needle is being lifted out.
Keep your finger on this spot even when the Keep your finger on this spot even when the
needle has been completely withdrawn. The needle has been completely withdrawn. The
thread loop left by the needle is now pressed thread loop left by the needle is now pressed
under your finger. under your finger.
Repeat this action using both hands, taking Repeat this action using both hands, taking
1/2" stitches across the area. With 1/2" stitches across the area. With
experience, this motion will become experience, this motion will become
automatic and ensures that your stitching will automatic and ensures that your stitching will
remain secure. remain secure.
6. Insert or punch the needle through as far as 6. Insert or punch the needle through as far as
it will go. Repeat from Step 3. This will create it will go. Repeat from Step 3. This will create
a line of thread referred to as 'Running a line of thread referred to as 'Running
Stitch' (see Stitch Glossary, Running Stitch). Stitch' (see Stitch Glossary, Running Stitch).
7. To fill in a large area such as sky or water, 7. To fill in a large area such as sky or water,
rows of Running Stitches are worked side by rows of Running Stitches are worked side by
side and is called Sky or Flat Stitching. Refer side and is called Sky or Flat Stitching. Refer
to Sky or Flat Stitch for detailed explanation to Sky or Flat Stitch for detailed explanation
of Flat Stitching. of Flat Stitching.

To start and To start and


end the end the
running stitch running stitch

Front Front
Back Back

a) Hold needle like pencil a) Hold needle like pencil


b) Insert needle full depth. Hold needle and thread underneath b) Insert needle full depth. Hold needle and thread underneath
c) Pull needle gently up to cloth c) Pull needle gently up to cloth
d) Pull thread down and leave only 1/2” hanging down 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 e) Slide needle 1/2” and insert to full depth, then pull up to top of cloth
f) g) h) Same as a) f) g) h) Same as a)

29 29
Trouble Shooting Trouble Shooting
1. It is very important that the needle is punched 1. It is very important that the needle is punched
into the full depth of the shank. Every time into the full depth of the shank. Every time
the needle is pushed in and withdrawn a the needle is pushed in and withdrawn a
small loop of thread is created which is small loop of thread is created which is
anchoring the stitch. If the needle has not anchoring the stitch. If the needle has not
been fully inserted the loop will not be large been fully inserted the loop will not be large
enough to secure the thread. enough to secure the thread.
2. Bunka thread must flow freely through the 2. Bunka thread must flow freely through the
needle. If the thread is not staying in the needle. If the thread is not staying in the
canvas, check the following: canvas, check the following:

! needle was not inserted to the proper ! needle was not inserted to the proper
depth depth
! thread may be caught on something. ! thread may be caught on something.
! whole thread has been allowed to go ! whole thread has been allowed to go
down the needle. -2/4 thread needs to be down the needle. -2/4 thread needs to be
pulled. pulled.
! thread has lost It's kink either through ! thread has lost It's kink either through
overuse or exposure to moisture. Pull overuse or exposure to moisture. Pull
through the eye of the needle and cut-off through the eye of the needle and cut-off
the damaged part. the damaged part.
! thread has slipped out of the needle at ! thread has slipped out of the needle at
some point. Pull back until it goes inside. some point. Pull back until it goes inside.
! canvas is not tight enough. Tighten by ! canvas is not tight enough. Tighten by
removing one tack, stretching the canvas removing one tack, stretching the canvas
and re-tacking. Work one tack at a time. and re-tacking. Work one tack at a time.
! Non-stitching hand is not being used ! Non-stitching hand is not being used
underneath the canvas. underneath the canvas.
. .

30 30

Trouble Shooting Trouble Shooting


1. It is very important that the needle is punched 1. It is very important that the needle is punched
into the full depth of the shank. Every time into the full depth of the shank. Every time
the needle is pushed in and withdrawn a the needle is pushed in and withdrawn a
small loop of thread is created which is small loop of thread is created which is
anchoring the stitch. If the needle has not anchoring the stitch. If the needle has not
been fully inserted the loop will not be large been fully inserted the loop will not be large
enough to secure the thread. enough to secure the thread.
2. Bunka thread must flow freely through the 2. Bunka thread must flow freely through the
needle. If the thread is not staying in the needle. If the thread is not staying in the
canvas, check the following: canvas, check the following:

! needle was not inserted to the proper ! needle was not inserted to the proper
depth depth
! thread may be caught on something. ! thread may be caught on something.
! whole thread has been allowed to go ! whole thread has been allowed to go
down the needle. -2/4 thread needs to be down the needle. -2/4 thread needs to be
pulled. pulled.
! thread has lost It's kink either through ! thread has lost It's kink either through
overuse or exposure to moisture. Pull overuse or exposure to moisture. Pull
through the eye of the needle and cut-off through the eye of the needle and cut-off
the damaged part. the damaged part.
! thread has slipped out of the needle at ! thread has slipped out of the needle at
some point. Pull back until it goes inside. some point. Pull back until it goes inside.
! canvas is not tight enough. Tighten by ! canvas is not tight enough. Tighten by
removing one tack, stretching the canvas removing one tack, stretching the canvas
and re-tacking. Work one tack at a time. and re-tacking. Work one tack at a time.
! Non-stitching hand is not being used ! Non-stitching hand is not being used
underneath the canvas. underneath the canvas.
. .

30 30
Fluffy Pictures Fluffy Pictures

Contents of a Fluffy Kit Required Stitching Contents of a Fluffy Kit Required Stitching
Supplies Supplies

Threads Fluffy needle Threads Fluffy needle


Screen-printed canvas Winding cards Screen-printed canvas Winding cards
Coloured & numbered insert Thumb tacks Coloured & numbered insert Thumb tacks
May contain accessories Bunka wire brush May contain accessories Bunka wire brush
Workframe Workframe
Bunka clippers or Bunka clippers or
scissors scissors

Fluffy or Pile stitch is worked on the screen- Fluffy or Pile stitch is worked on the screen-
printed side of the canvas -this is the back or printed side of the canvas -this is the back or
wrong side. The non-screen printed side is the wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side left by the needle on the non-screen printed side
will be brushed out with a special bunka brush will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers. that separates it into soft mohair-like fibers.

Some kits have fluffy and flat stitching combined Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy on the same canvas in which case the fluffy
stitching and brushing must be completed first stitching and brushing must be completed first
since the brushing action will easily pull out the since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this trace the fluffy areas with a pencil. Stitch on this
side. side.

31 31

Fluffy Pictures Fluffy Pictures

Contents of a Fluffy Kit Required Stitching Contents of a Fluffy Kit Required Stitching
Supplies Supplies

Threads Fluffy needle Threads Fluffy needle


Screen-printed canvas Winding cards Screen-printed canvas Winding cards
Coloured & numbered insert Thumb tacks Coloured & numbered insert Thumb tacks
May contain accessories Bunka wire brush May contain accessories Bunka wire brush
Workframe Workframe
Bunka clippers or Bunka clippers or
scissors scissors

Fluffy or Pile stitch is worked on the screen- Fluffy or Pile stitch is worked on the screen-
printed side of the canvas -this is the back or printed side of the canvas -this is the back or
wrong side. The non-screen printed side is the wrong side. The non-screen printed side is the
good or finished side of fluffy stitching. The loops good or finished side of fluffy stitching. The loops
left by the needle on the non-screen printed side left by the needle on the non-screen printed side
will be brushed out with a special bunka brush will be brushed out with a special bunka brush
that separates it into soft mohair-like fibers. that separates it into soft mohair-like fibers.

Some kits have fluffy and flat stitching combined Some kits have fluffy and flat stitching combined
on the same canvas in which case the fluffy on the same canvas in which case the fluffy
stitching and brushing must be completed first stitching and brushing must be completed first
since the brushing action will easily pull out the since the brushing action will easily pull out the
flat stitching. If the fluffy areas have not been flat stitching. If the fluffy areas have not been
screen-printed on the back of the canvas then it screen-printed on the back of the canvas then it
will be necessary to trace these areas -stretch the will be necessary to trace these areas -stretch the
canvas onto the work frame; with the wrong side canvas onto the work frame; with the wrong side
facing you hold the canvas up to the light and facing you hold the canvas up to the light and
trace the fluffy areas with a pencil. Stitch on this trace the fluffy areas with a pencil. Stitch on this
side. side.

31 31
Fluffy pictures can be stitched using either the Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer those created by a flat needle due to the longer
shank which results in longer loops. For new shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops needle is recommended since the longer loops
are easier to brush out. are easier to brush out.

2/4 pull thread is used on most fluffy pictures but 2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very 1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at brush out and must be avoided on fluffy work at
all times. all times.

Please refer to Fluffy or Pile Stitch for detailed Please refer to Fluffy or Pile Stitch for detailed
instruction. instruction.

Fluffy pictures can be stitched using either the Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer those created by a flat needle due to the longer
shank which results in longer loops. For new shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops needle is recommended since the longer loops
are easier to brush out. are easier to brush out.

2/4 pull thread is used on most fluffy pictures but 2/4 pull thread is used on most fluffy pictures but
1/4 pull thread can also be used. 1/4 pull is very 1/4 pull thread can also be used. 1/4 pull is very
easy to brush out and results in longer, lighter easy to brush out and results in longer, lighter
pile. Due to the thickness of 3/4 pull, it will not pile. Due to the thickness of 3/4 pull, it will not
brush out and must be avoided on fluffy work at brush out and must be avoided on fluffy work at
all times. all times.

Please refer to Fluffy or Pile Stitch for detailed Please refer to Fluffy or Pile Stitch for detailed
instruction. instruction.
Section 11 Section 11
Glossary Glossary
of Stitches of Stitches
and Techniques and Techniques

Section 11 Section 11
Glossary Glossary
of Stitches of Stitches
and Techniques and Techniques
SECTION 11 SECTION 11
TABLE OF CONTENTS TABLE OF CONTENTS
GLOSSARY GLOSSARY
OF STITCHES AND TECHNIQUES OF STITCHES AND TECHNIQUES

Angora Stitch ...................................................... 40 Angora Stitch ...................................................... 40


Back Tracking ..................................................... 41 Back Tracking ..................................................... 41
Base Stitching .................................................... 41 Base Stitching .................................................... 41
Birds, Beak & Claws .......................................... 41 Birds, Beak & Claws .......................................... 41
Birds, Breast ....................................................... 44 Birds, Breast ....................................................... 44
Birds, Eyes ........................................................ 44 Birds, Eyes ........................................................ 44
Birds, Feathers .................................................. 45 Birds, Feathers .................................................. 45
Birds, Legs .......................................................... 46 Birds, Legs .......................................................... 46
Birds, Stitch Order ............................................. 48 Birds, Stitch Order ............................................. 48
Blanket Edge Stitch ........................................... 48 Blanket Edge Stitch ........................................... 48
Blending ............................................................ 51 Blending ............................................................ 51
Stitch Blending .............................................. 52 Stitch Blending .............................................. 52
Row Blending ............................................... 53 Row Blending ............................................... 53
Blizzard Stitch .................................................... 54 Blizzard Stitch .................................................... 54
Chain Stitch ....................................................... 55 Chain Stitch ....................................................... 55
Claw Stitch .......................................................... 57 Claw Stitch .......................................................... 57
Clip Stitch ........................................................... 58 Clip Stitch ........................................................... 58
Cord Stitch ......................................................... 59 Cord Stitch ......................................................... 59
Cord Stitch Variations .................................. 60 Cord Stitch Variations .................................. 60
Couching Stitch .................................................. 61 Couching Stitch .................................................. 61
To Tack Down Inlay Stitch ............................ 62 To Tack Down Inlay Stitch ............................ 62
To Tack Down Ring Stitch ............................ 63 To Tack Down Ring Stitch ............................ 63
Curves ............................................................... 63 Curves ............................................................... 63
Double Canvas .................................................. 64 Double Canvas .................................................. 64
Double Stitching ................................................. 67 Double Stitching ................................................. 67

34 34

SECTION 11 SECTION 11
TABLE OF CONTENTS TABLE OF CONTENTS
GLOSSARY GLOSSARY
OF STITCHES AND TECHNIQUES OF STITCHES AND TECHNIQUES

Angora Stitch ...................................................... 40 Angora Stitch ...................................................... 40


Back Tracking ..................................................... 41 Back Tracking ..................................................... 41
Base Stitching .................................................... 41 Base Stitching .................................................... 41
Birds, Beak & Claws .......................................... 41 Birds, Beak & Claws .......................................... 41
Birds, Breast ....................................................... 44 Birds, Breast ....................................................... 44
Birds, Eyes ........................................................ 44 Birds, Eyes ........................................................ 44
Birds, Feathers .................................................. 45 Birds, Feathers .................................................. 45
Birds, Legs .......................................................... 46 Birds, Legs .......................................................... 46
Birds, Stitch Order ............................................. 48 Birds, Stitch Order ............................................. 48
Blanket Edge Stitch ........................................... 48 Blanket Edge Stitch ........................................... 48
Blending ............................................................ 51 Blending ............................................................ 51
Stitch Blending .............................................. 52 Stitch Blending .............................................. 52
Row Blending ............................................... 53 Row Blending ............................................... 53
Blizzard Stitch .................................................... 54 Blizzard Stitch .................................................... 54
Chain Stitch ....................................................... 55 Chain Stitch ....................................................... 55
Claw Stitch .......................................................... 57 Claw Stitch .......................................................... 57
Clip Stitch ........................................................... 58 Clip Stitch ........................................................... 58
Cord Stitch ......................................................... 59 Cord Stitch ......................................................... 59
Cord Stitch Variations .................................. 60 Cord Stitch Variations .................................. 60
Couching Stitch .................................................. 61 Couching Stitch .................................................. 61
To Tack Down Inlay Stitch ............................ 62 To Tack Down Inlay Stitch ............................ 62
To Tack Down Ring Stitch ............................ 63 To Tack Down Ring Stitch ............................ 63
Curves ............................................................... 63 Curves ............................................................... 63
Double Canvas .................................................. 64 Double Canvas .................................................. 64
Double Stitching ................................................. 67 Double Stitching ................................................. 67

34 34
Eyes, Gold Ribbon ............................................. 67 Eyes, Gold Ribbon ............................................. 67
Padding ........................................................ 70 Padding ........................................................ 70
Gluing the Gold Ribbon ............................... 71 Gluing the Gold Ribbon ............................... 71
Attaching the Pupil ........................................ 71 Attaching the Pupil ........................................ 71
Eyeliners ........................................................ 71 Eyeliners ........................................................ 71
Highlight ........................................................ 72 Highlight ........................................................ 72
Eyes, Stitched .................................................... 74 Eyes, Stitched .................................................... 74
Faces .................................................................. 75 Faces .................................................................. 75
Feathering Stitch ................................................. 77 Feathering Stitch ................................................. 77
Fish, Eyes ........................................................... 79 Fish, Eyes ........................................................... 79
Fish, Feelers & Mouth ........................................ 82 Fish, Feelers & Mouth ........................................ 82
Fish, Scales ........................................................ 83 Fish, Scales ........................................................ 83
Fish, Order of Stitchery ...................................... 84 Fish, Order of Stitchery ...................................... 84
Flat Stitch ............................................................ 84 Flat Stitch ............................................................ 84
Flowers, Centres ................................................ 87 Flowers, Centres ................................................ 87
Flowers, Petal Separation .................................. 88 Flowers, Petal Separation .................................. 88
Flowers, Rollovers/Rollunders ........................... 89 Flowers, Rollovers/Rollunders ........................... 89
Flowers, Stems .................................................. 90 Flowers, Stems .................................................. 90
Flowers, Order of Stitchery ................................. 91 Flowers, Order of Stitchery ................................. 91
Fluffy Stitch ......................................................... 92 Fluffy Stitch ......................................................... 92
To Start ......................................................... 94 To Start ......................................................... 94
To Stop ......................................................... 96 To Stop ......................................................... 96
Brush ............................................................ 96 Brush ............................................................ 96
Sculpturing ................................................... 98 Sculpturing ................................................... 98
Fluffy Animals .............................................. 98 Fluffy Animals .............................................. 98
Foam Stitch ......................................................... 99 Foam Stitch ......................................................... 99
French Knot ....................................................... 100 French Knot ....................................................... 100
Grass Stitch ....................................................... 101 Grass Stitch ....................................................... 101
Hair, Hairplanting ................................................ 101 Hair, Hairplanting ................................................ 101
Hair, Layers ....................................................... 102 Hair, Layers ....................................................... 102

35 35

Eyes, Gold Ribbon ............................................. 67 Eyes, Gold Ribbon ............................................. 67


Padding ........................................................ 70 Padding ........................................................ 70
Gluing the Gold Ribbon ............................... 71 Gluing the Gold Ribbon ............................... 71
Attaching the Pupil ........................................ 71 Attaching the Pupil ........................................ 71
Eyeliners ........................................................ 71 Eyeliners ........................................................ 71
Highlight ........................................................ 72 Highlight ........................................................ 72
Eyes, Stitched .................................................... 74 Eyes, Stitched .................................................... 74
Faces .................................................................. 75 Faces .................................................................. 75
Feathering Stitch ................................................. 77 Feathering Stitch ................................................. 77
Fish, Eyes ........................................................... 79 Fish, Eyes ........................................................... 79
Fish, Feelers & Mouth ........................................ 82 Fish, Feelers & Mouth ........................................ 82
Fish, Scales ........................................................ 83 Fish, Scales ........................................................ 83
Fish, Order of Stitchery ...................................... 84 Fish, Order of Stitchery ...................................... 84
Flat Stitch ............................................................ 84 Flat Stitch ............................................................ 84
Flowers, Centres ................................................ 87 Flowers, Centres ................................................ 87
Flowers, Petal Separation .................................. 88 Flowers, Petal Separation .................................. 88
Flowers, Rollovers/Rollunders ........................... 89 Flowers, Rollovers/Rollunders ........................... 89
Flowers, Stems .................................................. 90 Flowers, Stems .................................................. 90
Flowers, Order of Stitchery ................................. 91 Flowers, Order of Stitchery ................................. 91
Fluffy Stitch ......................................................... 92 Fluffy Stitch ......................................................... 92
To Start ......................................................... 94 To Start ......................................................... 94
To Stop ......................................................... 96 To Stop ......................................................... 96
Brush ............................................................ 96 Brush ............................................................ 96
Sculpturing ................................................... 98 Sculpturing ................................................... 98
Fluffy Animals .............................................. 98 Fluffy Animals .............................................. 98
Foam Stitch ......................................................... 99 Foam Stitch ......................................................... 99
French Knot ....................................................... 100 French Knot ....................................................... 100
Grass Stitch ....................................................... 101 Grass Stitch ....................................................... 101
Hair, Hairplanting ................................................ 101 Hair, Hairplanting ................................................ 101
Hair, Layers ....................................................... 102 Hair, Layers ....................................................... 102

35 35
Hair, Styling ....................................................... 102 Hair, Styling ....................................................... 102
Highlights ............................................................ 104 Highlights ............................................................ 104
Inlay Stitch .......................................................... 105 Inlay Stitch .......................................................... 105
Ladder Stitch ...................................................... 106 Ladder Stitch ...................................................... 106
Layered Stitching ................................................ 106 Layered Stitching ................................................ 106
Lazy Daizy Stitch ................................................ 107 Lazy Daizy Stitch ................................................ 107
Leaves - Bamboo ............................................... 107 Leaves - Bamboo ............................................... 107
Leaves - Claw Clusters ...................................... 108 Leaves - Claw Clusters ...................................... 108
Leaves - Feather Stitch , Smooth ...................... 110 Leaves - Feather Stitch , Smooth ...................... 110
Leaves - Feather Stitch, Pointed ...................... 112 Leaves - Feather Stitch, Pointed ...................... 112
Leaves - Maple ................................................... 112 Leaves - Maple ................................................... 112
Center Vein Method .................................... 113 Center Vein Method .................................... 113
Wedge Stitch Method .................................... 114 Wedge Stitch Method .................................... 114
Leaves - Palette ................................................. 115 Leaves - Palette ................................................. 115
Leaves - Small Satin .......................................... 116 Leaves - Small Satin .......................................... 116
Left-Handed Stitchers ......................................... 117 Left-Handed Stitchers ......................................... 117
Outlining ............................................................. 117 Outlining ............................................................. 117
Overlay Stitch ..................................................... 118 Overlay Stitch ..................................................... 118
Padding .............................................................. 119 Padding .............................................................. 119
Padding, Deep Dimensional .............................. 120 Padding, Deep Dimensional .............................. 120
Padding, Double Stitching ................................. 121 Padding, Double Stitching ................................. 121
Padding, Fluffy .................................................... 122 Padding, Fluffy .................................................... 122
Padding, Line ..................................................... 123 Padding, Line ..................................................... 123
Padding, Multi-Colour ........................................ 125 Padding, Multi-Colour ........................................ 125
Padding, Raised ................................................. 127 Padding, Raised ................................................. 127
Padding, Solid .................................................... 128 Padding, Solid .................................................... 128
Padding, Tapered ............................................... 129 Padding, Tapered ............................................... 129
Picot Stitch ......................................................... 130 Picot Stitch ......................................................... 130
Pile Stitch (see Fluffy Stitch) ............................... 132 Pile Stitch (see Fluffy Stitch) ............................... 132
Pine Needle Stitch .............................................. 132 Pine Needle Stitch .............................................. 132

Hair, Styling ....................................................... 102 Hair, Styling ....................................................... 102


Highlights ............................................................ 104 Highlights ............................................................ 104
Inlay Stitch .......................................................... 105 Inlay Stitch .......................................................... 105
Ladder Stitch ...................................................... 106 Ladder Stitch ...................................................... 106
Layered Stitching ................................................ 106 Layered Stitching ................................................ 106
Lazy Daizy Stitch ................................................ 107 Lazy Daizy Stitch ................................................ 107
Leaves - Bamboo ............................................... 107 Leaves - Bamboo ............................................... 107
Leaves - Claw Clusters ...................................... 108 Leaves - Claw Clusters ...................................... 108
Leaves - Feather Stitch , Smooth ...................... 110 Leaves - Feather Stitch , Smooth ...................... 110
Leaves - Feather Stitch, Pointed ...................... 112 Leaves - Feather Stitch, Pointed ...................... 112
Leaves - Maple ................................................... 112 Leaves - Maple ................................................... 112
Center Vein Method .................................... 113 Center Vein Method .................................... 113
Wedge Stitch Method .................................... 114 Wedge Stitch Method .................................... 114
Leaves - Palette ................................................. 115 Leaves - Palette ................................................. 115
Leaves - Small Satin .......................................... 116 Leaves - Small Satin .......................................... 116
Left-Handed Stitchers ......................................... 117 Left-Handed Stitchers ......................................... 117
Outlining ............................................................. 117 Outlining ............................................................. 117
Overlay Stitch ..................................................... 118 Overlay Stitch ..................................................... 118
Padding .............................................................. 119 Padding .............................................................. 119
Padding, Deep Dimensional .............................. 120 Padding, Deep Dimensional .............................. 120
Padding, Double Stitching ................................. 121 Padding, Double Stitching ................................. 121
Padding, Fluffy .................................................... 122 Padding, Fluffy .................................................... 122
Padding, Line ..................................................... 123 Padding, Line ..................................................... 123
Padding, Multi-Colour ........................................ 125 Padding, Multi-Colour ........................................ 125
Padding, Raised ................................................. 127 Padding, Raised ................................................. 127
Padding, Solid .................................................... 128 Padding, Solid .................................................... 128
Padding, Tapered ............................................... 129 Padding, Tapered ............................................... 129
Picot Stitch ......................................................... 130 Picot Stitch ......................................................... 130
Pile Stitch (see Fluffy Stitch) ............................... 132 Pile Stitch (see Fluffy Stitch) ............................... 132
Pine Needle Stitch .............................................. 132 Pine Needle Stitch .............................................. 132
Pine Needle Clusters .................................... 132 Pine Needle Clusters .................................... 132
Method 1 - formal ................................ 132 Method 1 - formal ................................ 132
Method 2 - Informal ................................ 133 Method 2 - Informal ................................ 133
Single Pine Needles .................................... 134 Single Pine Needles .................................... 134
Popcorn Stitch .................................................... 134 Popcorn Stitch .................................................... 134
Reverse Stitch .................................................... 135 Reverse Stitch .................................................... 135
Reverse Stitch - Wet .......................................... 137 Reverse Stitch - Wet .......................................... 137
Rice Glue ........................................................... 137 Rice Glue ........................................................... 137
Ring Stitch .......................................................... 138 Ring Stitch .......................................................... 138
Running Stitch ................................................... 139 Running Stitch ................................................... 139
Satin Stitch ......................................................... 140 Satin Stitch ......................................................... 140
Seaming ............................................................. 141 Seaming ............................................................. 141
Sky Stitch .......................................................... 142 Sky Stitch .......................................................... 142
Spiral Stitch ....................................................... 142 Spiral Stitch ....................................................... 142
Split Stitch .......................................................... 143 Split Stitch .......................................................... 143
Stitch and Cuts ................................................. 144 Stitch and Cuts ................................................. 144
Stretch Stitch ...................................................... 145 Stretch Stitch ...................................................... 145
Symbols ............................................................. 146 Symbols ............................................................. 146
Solid Padding Symbol .................................. 146 Solid Padding Symbol .................................. 146
Area of Change Symbol ............................... 147 Area of Change Symbol ............................... 147
Jagged Lines ............................................... 147 Jagged Lines ............................................... 147
Arrows ......................................................... 147 Arrows ......................................................... 147
Dotted Area ................................................. 148 Dotted Area ................................................. 148
Fraction ........................................................ 148 Fraction ........................................................ 148
Thread - Special Notes ...................................... 148 Thread - Special Notes ...................................... 148
To Polish 3/4 Pull ......................................... 148 To Polish 3/4 Pull ......................................... 148
1/4 Pull ......................................................... 149 1/4 Pull ......................................................... 149
Thread Blending .................................... 149 Thread Blending .................................... 149
Tips for Stitching with 1/4 Pull ................ 149 Tips for Stitching with 1/4 Pull ................ 149
Metallic Threads ........................................... 150 Metallic Threads ........................................... 150

Pine Needle Clusters .................................... 132 Pine Needle Clusters .................................... 132
Method 1 - formal ................................ 132 Method 1 - formal ................................ 132
Method 2 - Informal ................................ 133 Method 2 - Informal ................................ 133
Single Pine Needles .................................... 134 Single Pine Needles .................................... 134
Popcorn Stitch .................................................... 134 Popcorn Stitch .................................................... 134
Reverse Stitch .................................................... 135 Reverse Stitch .................................................... 135
Reverse Stitch - Wet .......................................... 137 Reverse Stitch - Wet .......................................... 137
Rice Glue ........................................................... 137 Rice Glue ........................................................... 137
Ring Stitch .......................................................... 138 Ring Stitch .......................................................... 138
Running Stitch ................................................... 139 Running Stitch ................................................... 139
Satin Stitch ......................................................... 140 Satin Stitch ......................................................... 140
Seaming ............................................................. 141 Seaming ............................................................. 141
Sky Stitch .......................................................... 142 Sky Stitch .......................................................... 142
Spiral Stitch ....................................................... 142 Spiral Stitch ....................................................... 142
Split Stitch .......................................................... 143 Split Stitch .......................................................... 143
Stitch and Cuts ................................................. 144 Stitch and Cuts ................................................. 144
Stretch Stitch ...................................................... 145 Stretch Stitch ...................................................... 145
Symbols ............................................................. 146 Symbols ............................................................. 146
Solid Padding Symbol .................................. 146 Solid Padding Symbol .................................. 146
Area of Change Symbol ............................... 147 Area of Change Symbol ............................... 147
Jagged Lines ............................................... 147 Jagged Lines ............................................... 147
Arrows ......................................................... 147 Arrows ......................................................... 147
Dotted Area ................................................. 148 Dotted Area ................................................. 148
Fraction ........................................................ 148 Fraction ........................................................ 148
Thread - Special Notes ...................................... 148 Thread - Special Notes ...................................... 148
To Polish 3/4 Pull ......................................... 148 To Polish 3/4 Pull ......................................... 148
1/4 Pull ......................................................... 149 1/4 Pull ......................................................... 149
Thread Blending .................................... 149 Thread Blending .................................... 149
Tips for Stitching with 1/4 Pull ................ 149 Tips for Stitching with 1/4 Pull ................ 149
Metallic Threads ........................................... 150 Metallic Threads ........................................... 150
Threading The Needle With Whole Thread .. 151 Threading The Needle With Whole Thread .. 151
Tiger, Body ......................................................... 152 Tiger, Body ......................................................... 152
Tiger, Claws and Teeth ....................................... 153 Tiger, Claws and Teeth ....................................... 153
Tiger, Eyes ......................................................... 154 Tiger, Eyes ......................................................... 154
Tiger, Stitch Order .............................................. 154 Tiger, Stitch Order .............................................. 154
Tiger, Whiskers .................................................. 155 Tiger, Whiskers .................................................. 155
Trees, Bamboo .................................................. 160 Trees, Bamboo .................................................. 160
Trees, Birch ........................................................ 162 Trees, Birch ........................................................ 162
Trees, Evergreen, Distant .................................. 163 Trees, Evergreen, Distant .................................. 163
Trees, Evergreen, Large .................................... 165 Trees, Evergreen, Large .................................... 165
Trees, Evergreen, Layered ................................. 166 Trees, Evergreen, Layered ................................. 166
Trees, Evergreen, Small .................................... 167 Trees, Evergreen, Small .................................... 167
Trees, Old Pine .................................................. 169 Trees, Old Pine .................................................. 169
Trees, Vertical Trunks ......................................... 170 Trees, Vertical Trunks ......................................... 170
Triangle Stitch ..................................................... 171 Triangle Stitch ..................................................... 171
Twisted Dot ........................................................ 172 Twisted Dot ........................................................ 172
Twisted Picot ..................................................... 173 Twisted Picot ..................................................... 173
Waterfalls .......................................................... 174 Waterfalls .......................................................... 174
Weaving ............................................................. 177 Weaving ............................................................. 177
Wedge Stitching ................................................ 180 Wedge Stitching ................................................ 180
For irregular Shaped Areas ........................ 181 For irregular Shaped Areas ........................ 181
Wedging for Change in Stitch Direction ....... 182 Wedging for Change in Stitch Direction ....... 182
Zig Zag Stitch ..................................................... 183 Zig Zag Stitch ..................................................... 183

Threading The Needle With Whole Thread .. 151 Threading The Needle With Whole Thread .. 151
Tiger, Body ......................................................... 152 Tiger, Body ......................................................... 152
Tiger, Claws and Teeth ....................................... 153 Tiger, Claws and Teeth ....................................... 153
Tiger, Eyes ......................................................... 154 Tiger, Eyes ......................................................... 154
Tiger, Stitch Order .............................................. 154 Tiger, Stitch Order .............................................. 154
Tiger, Whiskers .................................................. 155 Tiger, Whiskers .................................................. 155
Trees, Bamboo .................................................. 160 Trees, Bamboo .................................................. 160
Trees, Birch ........................................................ 162 Trees, Birch ........................................................ 162
Trees, Evergreen, Distant .................................. 163 Trees, Evergreen, Distant .................................. 163
Trees, Evergreen, Large .................................... 165 Trees, Evergreen, Large .................................... 165
Trees, Evergreen, Layered ................................. 166 Trees, Evergreen, Layered ................................. 166
Trees, Evergreen, Small .................................... 167 Trees, Evergreen, Small .................................... 167
Trees, Old Pine .................................................. 169 Trees, Old Pine .................................................. 169
Trees, Vertical Trunks ......................................... 170 Trees, Vertical Trunks ......................................... 170
Triangle Stitch ..................................................... 171 Triangle Stitch ..................................................... 171
Twisted Dot ........................................................ 172 Twisted Dot ........................................................ 172
Twisted Picot ..................................................... 173 Twisted Picot ..................................................... 173
Waterfalls .......................................................... 174 Waterfalls .......................................................... 174
Weaving ............................................................. 177 Weaving ............................................................. 177
Wedge Stitching ................................................ 180 Wedge Stitching ................................................ 180
For irregular Shaped Areas ........................ 181 For irregular Shaped Areas ........................ 181
Wedging for Change in Stitch Direction ....... 182 Wedging for Change in Stitch Direction ....... 182
Zig Zag Stitch ..................................................... 183 Zig Zag Stitch ..................................................... 183
ANGORA STITCH ANGORA STITCH

Decorative Stitch - thread must be prepared Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance, before stitching, to a soft frayed appearance,
resembling short hair or fur. resembling short hair or fur.

APPLICATION APPLICATION

Winter fur muff, a Gentleman's beard, a Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat. Persian Lamb Fur effect, Coat or Hat.

TECHNIQUE TECHNIQUE

- pull your thread to a 1/4 Thread Pull. - pull your thread to a 1/4 Thread Pull.
- using a Serrated steak knife or scissors, - using a Serrated steak knife or scissors,
slide your pulled thread gently between slide your pulled thread gently between
the blade of the knife and your thumb. the blade of the knife and your thumb.
- stitch with this frayed soft thread in short - stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124) Loop stitches. (See Stretch Stitch, page 124)
- Angora stitch length should be 1/8" or even - Angora stitch length should be 1/8" or even
less. less.

40 40

ANGORA STITCH ANGORA STITCH

Decorative Stitch - thread must be prepared Decorative Stitch - thread must be prepared
before stitching, to a soft frayed appearance, before stitching, to a soft frayed appearance,
resembling short hair or fur. resembling short hair or fur.

APPLICATION APPLICATION

Winter fur muff, a Gentleman's beard, a Winter fur muff, a Gentleman's beard, a
Persian Lamb Fur effect, Coat or Hat. Persian Lamb Fur effect, Coat or Hat.

TECHNIQUE TECHNIQUE

- pull your thread to a 1/4 Thread Pull. - pull your thread to a 1/4 Thread Pull.
- using a Serrated steak knife or scissors, - using a Serrated steak knife or scissors,
slide your pulled thread gently between slide your pulled thread gently between
the blade of the knife and your thumb. the blade of the knife and your thumb.
- stitch with this frayed soft thread in short - stitch with this frayed soft thread in short
Loop stitches. (See Stretch Stitch, page 124) Loop stitches. (See Stretch Stitch, page 124)
- Angora stitch length should be 1/8" or even - Angora stitch length should be 1/8" or even
less. less.

40 40
BACK TRACKING BACK TRACKING

Technique used to secure the beginning and Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction, ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and please refer to Fluffy Stitch, How to Start and
Stop. Stop.

BASE STITCHING BASE STITCHING

Is a layer of flat stitching that is over-stitched with Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multi- require this base layer are Overlay Stitch, Multi-
colour Padding, Hair stitching. colour Padding, Hair stitching.

BIRDS, BEAK & CLAWS BIRDS, BEAK & CLAWS

SMALL BIRDS these parts SMALL BIRDS these parts


can be completed with 2/4 pull can be completed with 2/4 pull
thread. Line Pad the edges; thread. Line Pad the edges;
Solid Padding can also be Solid Padding can also be
applied to build up the top half. applied to build up the top half.
Fill in the area with angle Fill in the area with angle
stitching. A line of Running stitching. A line of Running
Stitch up the center will Stitch up the center will
distinguish the upper and distinguish the upper and
lower half of the beak. lower half of the beak.

41 41

BACK TRACKING BACK TRACKING

Technique used to secure the beginning and Technique used to secure the beginning and
ending of Fluffy Stitch. For detailed instruction, ending of Fluffy Stitch. For detailed instruction,
please refer to Fluffy Stitch, How to Start and please refer to Fluffy Stitch, How to Start and
Stop. Stop.

BASE STITCHING BASE STITCHING

Is a layer of flat stitching that is over-stitched with Is a layer of flat stitching that is over-stitched with
another technique or colour. Some stitches which another technique or colour. Some stitches which
require this base layer are Overlay Stitch, Multi- require this base layer are Overlay Stitch, Multi-
colour Padding, Hair stitching. colour Padding, Hair stitching.

BIRDS, BEAK & CLAWS BIRDS, BEAK & CLAWS

SMALL BIRDS these parts SMALL BIRDS these parts


can be completed with 2/4 pull can be completed with 2/4 pull
thread. Line Pad the edges; thread. Line Pad the edges;
Solid Padding can also be Solid Padding can also be
applied to build up the top half. applied to build up the top half.
Fill in the area with angle Fill in the area with angle
stitching. A line of Running stitching. A line of Running
Stitch up the center will Stitch up the center will
distinguish the upper and distinguish the upper and
lower half of the beak. lower half of the beak.

41 41
MEDIUM -LARGE BIRDS MEDIUM -LARGE BIRDS
The beak & claws on medium to large-sized The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished) of a padding layer. (See Thread, 3/4 Polished)

NOSTRIL NOSTRIL
If there is a nostril, in order to make it look like an If there is a nostril, in order to make it look like an
opening, it must be stitched first with small opening, it must be stitched first with small
stitches tight to the surface of the canvas. 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 ! Pad the entire claw area with
2/4 thread horizontally from 2/4 thread horizontally from
the tip to the base. the tip to the base.

! Satin Stitch over the padding ! Satin Stitch over the padding
with 3/4 polished thread with 3/4 polished thread
ending (or starting) the tip ending (or starting) the tip
with one thread width to make with one thread width to make
a sharp point. a sharp point.

TWO COLOURED BEAKS, TWO PART BEAKS TWO COLOURED BEAKS, TWO PART BEAKS

Some beaks require 2 shades of 3/4 polished Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are thread, blended together. These beaks are
usually quite large and require some additional usually quite large and require some additional
padding. padding.

42 42

MEDIUM -LARGE BIRDS MEDIUM -LARGE BIRDS


The beak & claws on medium to large-sized The beak & claws on medium to large-sized
birds, requires 3/4 polished thread stitched on top birds, requires 3/4 polished thread stitched on top
of a padding layer. (See Thread, 3/4 Polished) of a padding layer. (See Thread, 3/4 Polished)

NOSTRIL NOSTRIL
If there is a nostril, in order to make it look like an If there is a nostril, in order to make it look like an
opening, it must be stitched first with small opening, it must be stitched first with small
stitches tight to the surface of the canvas. 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 ! Pad the entire claw area with
2/4 thread horizontally from 2/4 thread horizontally from
the tip to the base. the tip to the base.

! Satin Stitch over the padding ! Satin Stitch over the padding
with 3/4 polished thread with 3/4 polished thread
ending (or starting) the tip ending (or starting) the tip
with one thread width to make with one thread width to make
a sharp point. a sharp point.

TWO COLOURED BEAKS, TWO PART BEAKS TWO COLOURED BEAKS, TWO PART BEAKS

Some beaks require 2 shades of 3/4 polished Some beaks require 2 shades of 3/4 polished
thread, blended together. These beaks are thread, blended together. These beaks are
usually quite large and require some additional usually quite large and require some additional
padding. 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 3/4 Polished thread, fill in
with Satin Stitch on an angle. with Satin Stitch on an angle.

Upper Half of Beak Upper Half of Beak

! First pad the small area along ! First pad the small area along
the arch of the beak. the arch of the beak.

! Line Pad and fill in the entire ! Line Pad and fill in the entire
beak with horizontal stitches beak with horizontal stitches
from the tip to the base. from the tip to the base.

! Stitch the bottom half with 3/4 ! Stitch the bottom half with 3/4
Polished Thread using long and Polished Thread using long and
short stitches. short stitches.

! Because 3/4 Polished Thread is ! Because 3/4 Polished Thread is


difficult to blend, use Stitch & difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches Cuts and/or Pine Needle Stitches
to blend the second colour into to blend the second colour into
the first. 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 3/4 Polished thread, fill in
with Satin Stitch on an angle. with Satin Stitch on an angle.

Upper Half of Beak Upper Half of Beak

! First pad the small area along ! First pad the small area along
the arch of the beak. the arch of the beak.

! Line Pad and fill in the entire ! Line Pad and fill in the entire
beak with horizontal stitches beak with horizontal stitches
from the tip to the base. from the tip to the base.

! Stitch the bottom half with 3/4 ! Stitch the bottom half with 3/4
Polished Thread using long and Polished Thread using long and
short stitches. short stitches.

! Because 3/4 Polished Thread is ! Because 3/4 Polished Thread is


difficult to blend, use Stitch & difficult to blend, use Stitch &
Cuts and/or Pine Needle Stitches Cuts and/or Pine Needle Stitches
to blend the second colour into to blend the second colour into
the first. the first.

43 43
BIRDS, BREAST BIRDS, BREAST

The stitch direction for a bird's breast is very The stitch direction for a bird's breast is very
important. It should curve naturally with the flow important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the to use to achieve this direction and to create the
natural fullness. natural fullness.

! Begin at the bottom of the breast, leaving long ! Begin at the bottom of the breast, leaving long
& short stitches on the blending side. & short stitches on the blending side.

! Continue to work Solid Cord in the second ! Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or few of the stitches should extend very deep or
'tossed' into the previous colour. '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 The stitch direction for a bird's breast is very
important. It should curve naturally with the flow important. It should curve naturally with the flow
of the body. Solid Cord Stitch is an excellent stitch of the body. Solid Cord Stitch is an excellent stitch
to use to achieve this direction and to create the to use to achieve this direction and to create the
natural fullness. natural fullness.

! Begin at the bottom of the breast, leaving long ! Begin at the bottom of the breast, leaving long
& short stitches on the blending side. & short stitches on the blending side.

! Continue to work Solid Cord in the second ! Continue to work Solid Cord in the second
area. Extra care in blending will help to avoid area. Extra care in blending will help to avoid
bands of colour. When blending Solid Cord, a bands of colour. When blending Solid Cord, a
few of the stitches should extend very deep or few of the stitches should extend very deep or
'tossed' into the previous colour. '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 ! Work a row of Running Stitch around the
perimeter of the eye first to mark the exact perimeter of the eye first to mark the exact
shape. shape.

! Complete all the stitching around the eye ! Complete all the stitching around the eye
up to the outline. up to the outline.

! Follow the coloured insert for exact colour ! Follow the coloured insert for exact colour
placement and technique. placement and technique.

! If there is a Highlight, use either a Clip ! If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch. Stitch or a Reverse Stitch.

b) Gold Ribbon Eye b) Gold Ribbon Eye


! Use the same technique as described in ! Use the same technique as described in
the Tiger Eye section. You will not require the Tiger Eye section. You will not require
all three layers of padding under the gold all three layers of padding under the gold
ribbon since a bird's eye is much smaller ribbon since a bird's eye is much smaller
than a tiger's eye. than a tiger's eye.

BIRDS, FEATHERS BIRDS, FEATHERS


Feathers must be stitched in the order that they Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first. naturally overlap, i.e. outside feathers first.

It is important that each feather is clearly It is important that each feather is clearly
distinguishable by using line padding, solid distinguishable by using line padding, solid
padding or double stitching techniques. padding or double stitching techniques.

There are a number of important factors to keep There are a number of important factors to keep
in mind when stitching feathers: in mind when stitching feathers:

45 45

! Work a row of Running Stitch around the ! Work a row of Running Stitch around the
perimeter of the eye first to mark the exact perimeter of the eye first to mark the exact
shape. shape.

! Complete all the stitching around the eye ! Complete all the stitching around the eye
up to the outline. up to the outline.

! Follow the coloured insert for exact colour ! Follow the coloured insert for exact colour
placement and technique. placement and technique.

! If there is a Highlight, use either a Clip ! If there is a Highlight, use either a Clip
Stitch or a Reverse Stitch. Stitch or a Reverse Stitch.

b) Gold Ribbon Eye b) Gold Ribbon Eye


! Use the same technique as described in ! Use the same technique as described in
the Tiger Eye section. You will not require the Tiger Eye section. You will not require
all three layers of padding under the gold all three layers of padding under the gold
ribbon since a bird's eye is much smaller ribbon since a bird's eye is much smaller
than a tiger's eye. than a tiger's eye.

BIRDS, FEATHERS BIRDS, FEATHERS


Feathers must be stitched in the order that they Feathers must be stitched in the order that they
naturally overlap, i.e. outside feathers first. naturally overlap, i.e. outside feathers first.

It is important that each feather is clearly It is important that each feather is clearly
distinguishable by using line padding, solid distinguishable by using line padding, solid
padding or double stitching techniques. padding or double stitching techniques.

There are a number of important factors to keep There are a number of important factors to keep
in mind when stitching feathers: in mind when stitching feathers:

45 45
1 Stitch order 1 Stitch order

2 Always place at least 1 row of line padding 2 Always place at least 1 row of line padding
around each feather. Apply additional padding around each feather. Apply additional padding
techniques as required. techniques as required.

3 Never use the kit thread for padding 3 Never use the kit thread for padding
(especially with Matsuhato pictures). (especially with Matsuhato pictures).

WINDOW FEATHERS WINDOW FEATHERS

Some large feathers have Some large feathers have


boxes or 'windows' along the boxes or 'windows' along the
center vein. center vein.

! The stitch direction for the ! The stitch direction for the
boxes and the body of the boxes and the body of the
feather is on an angle to feather is on an angle to
the center vein. the center vein.
! The windows are stitched ! The windows are stitched
first -important to keep the first -important to keep the
shape clearly defined. shape clearly defined.

! Line pad around the perimeter of the whole ! Line pad around the perimeter of the whole
feather. feather.

! Complete the body of the feather - do not ! Complete the body of the feather - do not
blend into the windows. blend into the windows.

BIRDS LEGS BIRDS LEGS


The legs of small birds can be completed with The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more larger birds (eagles, cranes) require more
attention to detail. attention to detail.

46 46

1 Stitch order 1 Stitch order

2 Always place at least 1 row of line padding 2 Always place at least 1 row of line padding
around each feather. Apply additional padding around each feather. Apply additional padding
techniques as required. techniques as required.

3 Never use the kit thread for padding 3 Never use the kit thread for padding
(especially with Matsuhato pictures). (especially with Matsuhato pictures).

WINDOW FEATHERS WINDOW FEATHERS

Some large feathers have Some large feathers have


boxes or 'windows' along the boxes or 'windows' along the
center vein. center vein.

! The stitch direction for the ! The stitch direction for the
boxes and the body of the boxes and the body of the
feather is on an angle to feather is on an angle to
the center vein. the center vein.
! The windows are stitched ! The windows are stitched
first -important to keep the first -important to keep the
shape clearly defined. shape clearly defined.

! Line pad around the perimeter of the whole ! Line pad around the perimeter of the whole
feather. feather.

! Complete the body of the feather - do not ! Complete the body of the feather - do not
blend into the windows. blend into the windows.

BIRDS LEGS BIRDS LEGS


The legs of small birds can be completed with The legs of small birds can be completed with
rows of Running Stitch or Satin Stitch. Legs of rows of Running Stitch or Satin Stitch. Legs of
larger birds (eagles, cranes) require more larger birds (eagles, cranes) require more
attention to detail. attention to detail.

46 46
LARGE LEGS LARGE LEGS
! The floppy skin area should ! The floppy skin area should
be completed first. Line pad be completed first. Line pad
along the bottom edge and fill along the bottom edge and fill
in on an angle with Satin in on an angle with Satin
Stitch. Stitch.

! Pad the entire leg and each Leg ! Pad the entire leg and each Leg
toe. If the upper leg had a toe. If the upper leg had a
dividing line running down the dividing line running down the
center, stitch this line with a Toe center, stitch this line with a Toe
different colour of thread. This different colour of thread. This
is to ensure that the exact is to ensure that the exact
location of the line is not lost location of the line is not lost
when working the top layer. when working the top layer.

! Using 3/4 Polished Thread in the appropriate ! Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single colour, stitch over the padding with single
length stitches in a horizontal direction. Use length stitches in a horizontal direction. Use
Seaming technique into the line running up the Seaming technique into the line running up the
middle of the leg. middle of the leg.

! Use 3/4 Polished Thread for ! Use 3/4 Polished Thread for
the detail lines running the detail lines running
across the toes and leg. across the toes and leg.
Some crane's legs have Some crane's legs have
French Knots added using French Knots added using
whole and 3/4 pull thread. whole and 3/4 pull thread.
Refer to insert. Refer to insert.

! To complete the toenails, please refer to the ! To complete the toenails, please refer to the
section Birds, Beaks and Claws. section Birds, Beaks and Claws.

47 47

LARGE LEGS LARGE LEGS


! The floppy skin area should ! The floppy skin area should
be completed first. Line pad be completed first. Line pad
along the bottom edge and fill along the bottom edge and fill
in on an angle with Satin in on an angle with Satin
Stitch. Stitch.

! Pad the entire leg and each Leg ! Pad the entire leg and each Leg
toe. If the upper leg had a toe. If the upper leg had a
dividing line running down the dividing line running down the
center, stitch this line with a Toe center, stitch this line with a Toe
different colour of thread. This different colour of thread. This
is to ensure that the exact is to ensure that the exact
location of the line is not lost location of the line is not lost
when working the top layer. when working the top layer.

! Using 3/4 Polished Thread in the appropriate ! Using 3/4 Polished Thread in the appropriate
colour, stitch over the padding with single colour, stitch over the padding with single
length stitches in a horizontal direction. Use length stitches in a horizontal direction. Use
Seaming technique into the line running up the Seaming technique into the line running up the
middle of the leg. middle of the leg.

! Use 3/4 Polished Thread for ! Use 3/4 Polished Thread for
the detail lines running the detail lines running
across the toes and leg. across the toes and leg.
Some crane's legs have Some crane's legs have
French Knots added using French Knots added using
whole and 3/4 pull thread. whole and 3/4 pull thread.
Refer to insert. Refer to insert.

! To complete the toenails, please refer to the ! To complete the toenails, please refer to the
section Birds, Beaks and Claws. section Birds, Beaks and Claws.

47 47
BIRDS, STITCH ORDER BIRDS, STITCH ORDER

It is very important that the proper stitch order is It is very important that the proper stitch order is
followed so that each area is clearly followed so that each area is clearly
distinguishable. distinguishable.

The legs are usually completed first because they The legs are usually completed first because they
are under the feathers. are under the feathers.

General rule of thumb for all birds, is to work from General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers stitching a wing, start with the outermost feathers
and work in towards the body and work in towards the body

BLANKET EDGE STITCH BLANKET EDGE STITCH


It is used to decorate the edge of the opening on It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and needle. This stitch requires some practice and
patience to achieve the desired results and is a patience to achieve the desired results and is a
technique that should be learned from a qualified technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also preparing the secondary canvas. See also
Double Canvas. Double Canvas.

TECHNIQUE TECHNIQUE
! Thread 3/4 polished thread in flat needle. ! Thread 3/4 polished thread in flat needle.

48 48

BIRDS, STITCH ORDER BIRDS, STITCH ORDER

It is very important that the proper stitch order is It is very important that the proper stitch order is
followed so that each area is clearly followed so that each area is clearly
distinguishable. distinguishable.

The legs are usually completed first because they The legs are usually completed first because they
are under the feathers. are under the feathers.

General rule of thumb for all birds, is to work from General rule of thumb for all birds, is to work from
the tail feathers up to the head. In this way, each the tail feathers up to the head. In this way, each
feather will overlap the previous ones. When feather will overlap the previous ones. When
stitching a wing, start with the outermost feathers stitching a wing, start with the outermost feathers
and work in towards the body and work in towards the body

BLANKET EDGE STITCH BLANKET EDGE STITCH


It is used to decorate the edge of the opening on It is used to decorate the edge of the opening on
the Secondary Canvas of a Double Canvas the Secondary Canvas of a Double Canvas
picture using 3/4 pull thread and a regular bunka picture using 3/4 pull thread and a regular bunka
needle. This stitch requires some practice and needle. This stitch requires some practice and
patience to achieve the desired results and is a patience to achieve the desired results and is a
technique that should be learned from a qualified technique that should be learned from a qualified
instructor. Refer to Double Canvas for details on instructor. Refer to Double Canvas for details on
preparing the secondary canvas. See also preparing the secondary canvas. See also
Double Canvas. Double Canvas.

TECHNIQUE TECHNIQUE
! Thread 3/4 polished thread in flat needle. ! Thread 3/4 polished thread in flat needle.

48 48
! Punch in 1/2" out from the ! Punch in 1/2" out from the
glued and basted edge of glued and basted edge of
the opening. the opening.

! Pull tail of excess thread to ! Pull tail of excess thread to


the back of canvas. the back of canvas.

! Take one small stitch ! Take one small stitch


(approx. 1mm) to the side (approx. 1mm) to the side
(anchor stitch). (anchor stitch).

! With your 'non-stitching' hand under the ! With your 'non-stitching' hand under the
canvas, grab the loop and pull through some canvas, grab the loop and pull through some
excess thread - approx. 1-1.5". excess thread - approx. 1-1.5".

! ** Pull this loop up through ! ** Pull this loop up through


the opening and over the the opening and over the
edge. edge.

! Adjust the length of the loop ! Adjust the length of the loop
by pulling the needle until it by pulling the needle until it
is the desired length. is the desired length.

! Hold the loop flat to the canvas by pressing on ! Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand. it with the fingers of the left hand.

49 49

! Punch in 1/2" out from the ! Punch in 1/2" out from the
glued and basted edge of glued and basted edge of
the opening. the opening.

! Pull tail of excess thread to ! Pull tail of excess thread to


the back of canvas. the back of canvas.

! Take one small stitch ! Take one small stitch


(approx. 1mm) to the side (approx. 1mm) to the side
(anchor stitch). (anchor stitch).

! With your 'non-stitching' hand under the ! With your 'non-stitching' hand under the
canvas, grab the loop and pull through some canvas, grab the loop and pull through some
excess thread - approx. 1-1.5". excess thread - approx. 1-1.5".

! ** Pull this loop up through ! ** Pull this loop up through


the opening and over the the opening and over the
edge. edge.

! Adjust the length of the loop ! Adjust the length of the loop
by pulling the needle until it by pulling the needle until it
is the desired length. is the desired length.

! Hold the loop flat to the canvas by pressing on ! Hold the loop flat to the canvas by pressing on
it with the fingers of the left hand. it with the fingers of the left hand.

49 49
! Bring the needle over the ! Bring the needle over the
loop and punch directly loop and punch directly
under the loop (Couching under the loop (Couching
Stitch). Stitch).
DO NOT WITHDRAW THE DO NOT WITHDRAW THE
NEEDLE.** NEEDLE.**

! Reach through the canvas; grab and pull the ! Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**. next loop off the needle. Repeat from ** to**.

! Continue all around the oval ! Continue all around the oval
opening. opening.

! To end - on the last Couching Stitch, hold the ! To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull loop, lift out the needle, cut the thread and pull
to the back of the canvas. to the back of the canvas.

CREATING A PATTERN CREATING A PATTERN

By experimenting with the By experimenting with the


length of the loop and length of the loop and
repeating the pattern of the repeating the pattern of the
stitches, you can create some stitches, you can create some
lovely designs. lovely designs.

50 50

! Bring the needle over the ! Bring the needle over the
loop and punch directly loop and punch directly
under the loop (Couching under the loop (Couching
Stitch). Stitch).
DO NOT WITHDRAW THE DO NOT WITHDRAW THE
NEEDLE.** NEEDLE.**

! Reach through the canvas; grab and pull the ! Reach through the canvas; grab and pull the
next loop off the needle. Repeat from ** to**. next loop off the needle. Repeat from ** to**.

! Continue all around the oval ! Continue all around the oval
opening. opening.

! To end - on the last Couching Stitch, hold the ! To end - on the last Couching Stitch, hold the
loop, lift out the needle, cut the thread and pull loop, lift out the needle, cut the thread and pull
to the back of the canvas. to the back of the canvas.

CREATING A PATTERN CREATING A PATTERN

By experimenting with the By experimenting with the


length of the loop and length of the loop and
repeating the pattern of the repeating the pattern of the
stitches, you can create some stitches, you can create some
lovely designs. lovely designs.

50 50
BLENDING BLENDING

Blending is an extremely important aspect of Blending is an extremely important aspect of


Japanese embroidery. Simply in methodology, Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to it is a technique that requires much practice to
achieve a smooth, natural-looking change from achieve a smooth, natural-looking change from
one shade to the next. one shade to the next.

Various symbols or markings on the canvas are Various symbols or markings on the canvas are
used to indicate which technique to use (see used to indicate which technique to use (see
Symbols). Two symbols which are used to Symbols). Two symbols which are used to
indicate blending are: indicate blending are:

Row Blending Stitch Blending Row Blending Stitch Blending

The blending lines on the canvas tells the stitcher The blending lines on the canvas tells the stitcher
2 things: 2 things:
1. Blend the colours together, and 1. Blend the colours together, and
2. Stitch direction - stitches are worked in the 2. Stitch direction - stitches are worked in the
direction of the points or lines. direction of the points or lines.

APPLICATION APPLICATION

All areas of Bunka Shishu embroidery. All areas of Bunka Shishu embroidery.

51 51

BLENDING BLENDING

Blending is an extremely important aspect of Blending is an extremely important aspect of


Japanese embroidery. Simply in methodology, Japanese embroidery. Simply in methodology,
it is a technique that requires much practice to it is a technique that requires much practice to
achieve a smooth, natural-looking change from achieve a smooth, natural-looking change from
one shade to the next. one shade to the next.

Various symbols or markings on the canvas are Various symbols or markings on the canvas are
used to indicate which technique to use (see used to indicate which technique to use (see
Symbols). Two symbols which are used to Symbols). Two symbols which are used to
indicate blending are: indicate blending are:

Row Blending Stitch Blending Row Blending Stitch Blending

The blending lines on the canvas tells the stitcher The blending lines on the canvas tells the stitcher
2 things: 2 things:
1. Blend the colours together, and 1. Blend the colours together, and
2. Stitch direction - stitches are worked in the 2. Stitch direction - stitches are worked in the
direction of the points or lines. 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 Blending is a combination of


long and short stitches or long and short stitches or
rows combining two areas of rows combining two areas of
colour. colour.
The line of demarcation The line of demarcation
between the two areas of between the two areas of
colour should be very colour should be very
irregular to create a smooth irregular to create a smooth
gradual change in shading. gradual change in shading.

If this area is not irregular, an unnatural striped If this area is not irregular, an unnatural striped
effect is created which should be avoided. effect is created which should be avoided.

STITCH BLENDING STITCH BLENDING

Stitch Blending areas are Stitch Blending areas are


marked with extremely marked with extremely
pointed, zig zag lines. pointed, zig zag lines.

The direction of the stitches The direction of the stitches


should be worked in the should be worked in the
direction of the points. direction of the points.
However, this marking is only However, this marking is only
a guide to the area for a guide to the area for
blending and does not have to blending and does not have to
be followed exactly. be followed exactly.

52 52

TECHNIQUE TECHNIQUE

Blending is a combination of Blending is a combination of


long and short stitches or long and short stitches or
rows combining two areas of rows combining two areas of
colour. colour.
The line of demarcation The line of demarcation
between the two areas of between the two areas of
colour should be very colour should be very
irregular to create a smooth irregular to create a smooth
gradual change in shading. gradual change in shading.

If this area is not irregular, an unnatural striped If this area is not irregular, an unnatural striped
effect is created which should be avoided. effect is created which should be avoided.

STITCH BLENDING STITCH BLENDING

Stitch Blending areas are Stitch Blending areas are


marked with extremely marked with extremely
pointed, zig zag lines. pointed, zig zag lines.

The direction of the stitches The direction of the stitches


should be worked in the should be worked in the
direction of the points. direction of the points.
However, this marking is only However, this marking is only
a guide to the area for a guide to the area for
blending and does not have to blending and does not have to
be followed exactly. be followed exactly.

52 52
The stitches should still be The stitches should still be
staggered in 1/2" intervals. In staggered in 1/2" intervals. In
areas smaller than 1/2", single areas smaller than 1/2", single
length stitches are used. length stitches are used.

Every so often the thread Every so often the thread


should be extended quite far should be extended quite far
into the stitching above and/or into the stitching above and/or
below and then cut. This below and then cut. This
single thickness of thread single thickness of thread
running into another colour will running into another colour will
create a very fine merging of create a very fine merging of
the two colours. the two colours.

ROW BLENDING ROW BLENDING

Colour changes in Flat Stitch Colour changes in Flat Stitch


areas (such as sky or water) areas (such as sky or water)
are indicated by groups of are indicated by groups of
horizontal dash lines. These horizontal dash lines. These
lines are called the 'Area of lines are called the 'Area of
Change'. A soft transition from Change'. A soft transition from
one colour to another is one colour to another is
developed within this area. developed within this area.

! Complete the top area (A) ! Complete the top area (A)
with flat stitching down to with flat stitching down to
the first set of lines in the the first set of lines in the
Area of Change. Area of Change.

53 53

The stitches should still be The stitches should still be


staggered in 1/2" intervals. In staggered in 1/2" intervals. In
areas smaller than 1/2", single areas smaller than 1/2", single
length stitches are used. length stitches are used.

Every so often the thread Every so often the thread


should be extended quite far should be extended quite far
into the stitching above and/or into the stitching above and/or
below and then cut. This below and then cut. This
single thickness of thread single thickness of thread
running into another colour will running into another colour will
create a very fine merging of create a very fine merging of
the two colours. the two colours.

ROW BLENDING ROW BLENDING

Colour changes in Flat Stitch Colour changes in Flat Stitch


areas (such as sky or water) areas (such as sky or water)
are indicated by groups of are indicated by groups of
horizontal dash lines. These horizontal dash lines. These
lines are called the 'Area of lines are called the 'Area of
Change'. A soft transition from Change'. A soft transition from
one colour to another is one colour to another is
developed within this area. developed within this area.

! Complete the top area (A) ! Complete the top area (A)
with flat stitching down to with flat stitching down to
the first set of lines in the the first set of lines in the
Area of Change. Area of Change.

53 53
! Begin shortening the length of the rows, ! Begin shortening the length of the rows,
working down to the last set of lines in the working down to the last set of lines in the
Area of Change. Vary the length of each row. Area of Change. Vary the length of each row.

! To complete the Area of ! To complete the Area of


Change, rows of the Change, rows of the
second colour (B) should second colour (B) should
be worked between the be worked between the
rows of A. To do this, rows of A. To do this,
keep the tip of the needle keep the tip of the needle
on the canvas and on the canvas and
scratch it along through scratch it along through
the threads of colour A, the threads of colour A,
turn the needle and stitch turn the needle and stitch
back out. back out.

! To soften the blending ! To soften the blending


even further about every even further about every
third or fourth row, run third or fourth row, run
colour B very deep colour B very deep
through colour A and end through colour A and end
the thread. the thread.

! Stitch & Cuts consisting ! Stitch & Cuts consisting


of one or two stitches will of one or two stitches will
also help create a natural also help create a natural
Area of Change; colour A Area of Change; colour A
into colour B; colour B into colour B; colour B
into colour A. into colour A.

54 54

! Begin shortening the length of the rows, ! Begin shortening the length of the rows,
working down to the last set of lines in the working down to the last set of lines in the
Area of Change. Vary the length of each row. Area of Change. Vary the length of each row.

! To complete the Area of ! To complete the Area of


Change, rows of the Change, rows of the
second colour (B) should second colour (B) should
be worked between the be worked between the
rows of A. To do this, rows of A. To do this,
keep the tip of the needle keep the tip of the needle
on the canvas and on the canvas and
scratch it along through scratch it along through
the threads of colour A, the threads of colour A,
turn the needle and stitch turn the needle and stitch
back out. back out.

! To soften the blending ! To soften the blending


even further about every even further about every
third or fourth row, run third or fourth row, run
colour B very deep colour B very deep
through colour A and end through colour A and end
the thread. the thread.

! Stitch & Cuts consisting ! Stitch & Cuts consisting


of one or two stitches will of one or two stitches will
also help create a natural also help create a natural
Area of Change; colour A Area of Change; colour A
into colour B; colour B into colour B; colour B
into colour A. into colour A.

54 54
BLIZZARD STITCH BLIZZARD STITCH
Blizzard stitch is an obscure mass of short Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a effect is desired, such as along the crest of a
wave or the misty area across the base of a wave or the misty area across the base of a
mountain. The coloured insert will indicate where mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually that relies on individual creativity. It is usually
stitched over a layer of base stitching. 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 ! using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the pattern of twisted triangles/squares as in the
drawing below. drawing below.

CHAIN STITCH CHAIN STITCH


Chain Stitch utilizes whole bunka thread in a Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the created by punching up from the back side of the
canvas. Please refer to 'How To Thread The canvas. Please refer to 'How To Thread The
Needle With Whole Thread'. Needle With Whole Thread'.

55 55

BLIZZARD STITCH BLIZZARD STITCH


Blizzard stitch is an obscure mass of short Blizzard stitch is an obscure mass of short
stitches that is used wherever a misty or turbulent stitches that is used wherever a misty or turbulent
effect is desired, such as along the crest of a effect is desired, such as along the crest of a
wave or the misty area across the base of a wave or the misty area across the base of a
mountain. The coloured insert will indicate where mountain. The coloured insert will indicate where
Blizzard Stitch is to be applied but is a technique Blizzard Stitch is to be applied but is a technique
that relies on individual creativity. It is usually that relies on individual creativity. It is usually
stitched over a layer of base stitching. 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 ! using a maximum stitch length of 1/4" work a
pattern of twisted triangles/squares as in the pattern of twisted triangles/squares as in the
drawing below. drawing below.

CHAIN STITCH CHAIN STITCH


Chain Stitch utilizes whole bunka thread in a Chain Stitch utilizes whole bunka thread in a
bunka needle. Loops of un-pulled thread are bunka needle. Loops of un-pulled thread are
created by punching up from the back side of the created by punching up from the back side of the
canvas. Please refer to 'How To Thread The canvas. Please refer to 'How To Thread The
Needle With Whole Thread'. Needle With Whole Thread'.

55 55
APPLICATION APPLICATION
Decorative stitch used for fancy trim to create a Decorative stitch used for fancy trim to create a
rope or macrame effect. rope or macrame effect.

TECHNIQUE TECHNIQUE
! Have about 1.5" of un-pulled thread extending ! Have about 1.5" of un-pulled thread extending
from the eye of the needle. from the eye of the needle.
! Punch needle with whole thread up from the ! Punch needle with whole thread up from the
back of the canvas through to the front. back of the canvas through to the front.
! Still holding the needle, pinch the loop of ! Still holding the needle, pinch the loop of
thread from the side of the needle with the thread from the side of the needle with the
other hand. other hand.
! Slowly withdraw the needle, still holding the ! Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the loop in your left hand. Adjust the length of the
loop by pulling either up or down on the loop by pulling either up or down on the
thread. thread.
! Flatten the loop onto the canvas with your left ! Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the hand. Move the needle along the back of the
canvas to position the point under the tip of canvas to position the point under the tip of
the flattened loop. Pull the needle down to get the flattened loop. Pull the needle down to get
some extra thread to work with if more length some extra thread to work with if more length
is required. 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 Grab the thread from the
side of the needle side of the needle

! Repeat above steps until chain is desired length ! Repeat above steps until chain is desired length
- loops should be the same length. - loops should be the same length.

56 56

APPLICATION APPLICATION
Decorative stitch used for fancy trim to create a Decorative stitch used for fancy trim to create a
rope or macrame effect. rope or macrame effect.

TECHNIQUE TECHNIQUE
! Have about 1.5" of un-pulled thread extending ! Have about 1.5" of un-pulled thread extending
from the eye of the needle. from the eye of the needle.
! Punch needle with whole thread up from the ! Punch needle with whole thread up from the
back of the canvas through to the front. back of the canvas through to the front.
! Still holding the needle, pinch the loop of ! Still holding the needle, pinch the loop of
thread from the side of the needle with the thread from the side of the needle with the
other hand. other hand.
! Slowly withdraw the needle, still holding the ! Slowly withdraw the needle, still holding the
loop in your left hand. Adjust the length of the loop in your left hand. Adjust the length of the
loop by pulling either up or down on the loop by pulling either up or down on the
thread. thread.
! Flatten the loop onto the canvas with your left ! Flatten the loop onto the canvas with your left
hand. Move the needle along the back of the hand. Move the needle along the back of the
canvas to position the point under the tip of canvas to position the point under the tip of
the flattened loop. Pull the needle down to get the flattened loop. Pull the needle down to get
some extra thread to work with if more length some extra thread to work with if more length
is required. 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 Grab the thread from the
side of the needle side of the needle

! Repeat above steps until chain is desired length ! Repeat above steps until chain is desired length
- loops should be the same length. - loops should be the same length.

56 56
! To end the chain, punch up to make one last ! To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in loop; withdraw the needle, holding the loop in
the other hand. the other hand.
! Cut the loop in half (one half is the end of the ! Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the thread in the needle, one half is the end of the
chain thread). chain thread).
! Withdraw the needle to pull out one end of the ! Withdraw the needle to pull out one end of the
loop. loop.

! Insert a needle threader from the back of the ! Insert a needle threader from the back of the
canvas close to end of the chain stitch. canvas close to end of the chain stitch.
! Feed the end through the needle threader and ! Feed the end through the needle threader and
pull to the back. pull to the back.

CLAW STITCH CLAW STITCH


This stitch creates a 3-pronged effect resembling This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves, the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch. Cluster to create groupings of Claw Stitch.

APPLICATION APPLICATION
Used for triple-pointed leaves (birch trees); as a Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern. decorative stitch creates a lacy pattern.

57 57

! To end the chain, punch up to make one last ! To end the chain, punch up to make one last
loop; withdraw the needle, holding the loop in loop; withdraw the needle, holding the loop in
the other hand. the other hand.
! Cut the loop in half (one half is the end of the ! Cut the loop in half (one half is the end of the
thread in the needle, one half is the end of the thread in the needle, one half is the end of the
chain thread). chain thread).
! Withdraw the needle to pull out one end of the ! Withdraw the needle to pull out one end of the
loop. loop.

! Insert a needle threader from the back of the ! Insert a needle threader from the back of the
canvas close to end of the chain stitch. canvas close to end of the chain stitch.
! Feed the end through the needle threader and ! Feed the end through the needle threader and
pull to the back. pull to the back.

CLAW STITCH CLAW STITCH


This stitch creates a 3-pronged effect resembling This stitch creates a 3-pronged effect resembling
the claw print of a bird. Please refer to Leaves, the claw print of a bird. Please refer to Leaves,
Cluster to create groupings of Claw Stitch. Cluster to create groupings of Claw Stitch.

APPLICATION APPLICATION
Used for triple-pointed leaves (birch trees); as a Used for triple-pointed leaves (birch trees); as a
decorative stitch creates a lacy pattern. decorative stitch creates a lacy pattern.

57 57
TECHNIQUE TECHNIQUE
! With 2/4 pull thread in a flat needle, punch in ! With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This and pull thread to the back of the canvas. This
punch mark will serve as the base point of the punch mark will serve as the base point of the
Claw Stitch. Claw Stitch.
! Take a 1/4" stitch on an ! Take a 1/4" stitch on an
angle to the left of the angle to the left of the
base point. base point.

! Stitch back to the base ! Stitch back to the base


point but not in the same point but not in the same
punch mark. punch mark.
Actual Size Actual Size

! Take a 1/4" stitch ! Take a 1/4" stitch


perpendicular to the base point. perpendicular to the base point.

! Stitch back to the base point but not in the ! Stitch back to the base point but not in the
same Punch mark. same Punch mark.

! Take a 1/4" stitch on an angle to the right of ! Take a 1/4" stitch on an angle to the right of
the base point. 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 Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance. Stitch but fluffier in appearance.

APPLICATION APPLICATION

Many areas - examples: water areas to simulate Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc. water droplets; centers of flowers, etc.

58 58

TECHNIQUE TECHNIQUE
! With 2/4 pull thread in a flat needle, punch in ! With 2/4 pull thread in a flat needle, punch in
and pull thread to the back of the canvas. This and pull thread to the back of the canvas. This
punch mark will serve as the base point of the punch mark will serve as the base point of the
Claw Stitch. Claw Stitch.
! Take a 1/4" stitch on an ! Take a 1/4" stitch on an
angle to the left of the angle to the left of the
base point. base point.

! Stitch back to the base ! Stitch back to the base


point but not in the same point but not in the same
punch mark. punch mark.
Actual Size Actual Size

! Take a 1/4" stitch ! Take a 1/4" stitch


perpendicular to the base point. perpendicular to the base point.

! Stitch back to the base point but not in the ! Stitch back to the base point but not in the
same Punch mark. same Punch mark.

! Take a 1/4" stitch on an angle to the right of ! Take a 1/4" stitch on an angle to the right of
the base point. 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 Creates small dots of thread similar to Reverse
Stitch but fluffier in appearance. Stitch but fluffier in appearance.

APPLICATION APPLICATION

Many areas - examples: water areas to simulate Many areas - examples: water areas to simulate
water droplets; centers of flowers, etc. water droplets; centers of flowers, etc.

58 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 ! Punch in - pull the end to


the back of the canvas. the back of the canvas.

! Lift the needle up about 1/4" ! Lift the needle up about 1/4"
off the canvas. 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 The different variations of Cord Stitch can be
used for stitching single lines where a slightly used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat twice the amount of thread than normal Flat
Stitching. 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 ! Go 1/2 way back along this stitch and
punch into the line. punch into the line.

59 59

TECHNIQUE TECHNIQUE
! 2/4 pull thread in a flat needle. ! 2/4 pull thread in a flat needle.

! Punch in - pull the end to ! Punch in - pull the end to


the back of the canvas. the back of the canvas.

! Lift the needle up about 1/4" ! Lift the needle up about 1/4"
off the canvas. 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 The different variations of Cord Stitch can be
used for stitching single lines where a slightly used for stitching single lines where a slightly
thicker effect than Running Stitch is desired and thicker effect than Running Stitch is desired and
also for completing solid areas. Cord Stitch uses also for completing solid areas. Cord Stitch uses
twice the amount of thread than normal Flat twice the amount of thread than normal Flat
Stitching. 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 ! Go 1/2 way back along this stitch and
punch into the line. punch into the line.

59 59
! Take another 1/2" stitch. ! Take another 1/2" stitch.

! Take a step 1/2 way back, ! Take a step 1/2 way back,
on the same side that you on the same side that you
punched back on the first punched back on the first
stitch and punch. Repeat. stitch and punch. Repeat.

For Cord Stitch to look attractive For Cord Stitch to look attractive
it is important that the 'step back it is important that the 'step back
stitch' is always punched on the stitch' is always punched on the
same side of the main stitch. same side of the main stitch.

Shorten the stitch length when Shorten the stitch length when
working on a curve. working on a curve.

CORD STITCH VARIATIONS CORD STITCH VARIATIONS

Varying the length of the back-up stitch will Varying the length of the back-up stitch will
produce different designs. 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 Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch. stitch.

Long Cord : Long Cord :

Length of back-up stitch = 1/2 to 2/3 the length of the main Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch. stitch.

60 60

! Take another 1/2" stitch. ! Take another 1/2" stitch.

! Take a step 1/2 way back, ! Take a step 1/2 way back,
on the same side that you on the same side that you
punched back on the first punched back on the first
stitch and punch. Repeat. stitch and punch. Repeat.

For Cord Stitch to look attractive For Cord Stitch to look attractive
it is important that the 'step back it is important that the 'step back
stitch' is always punched on the stitch' is always punched on the
same side of the main stitch. same side of the main stitch.

Shorten the stitch length when Shorten the stitch length when
working on a curve. working on a curve.

CORD STITCH VARIATIONS CORD STITCH VARIATIONS

Varying the length of the back-up stitch will Varying the length of the back-up stitch will
produce different designs. 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 Length of back-up stitch = 1/4 to 1/3 the length of the main
stitch. stitch.

Long Cord : Long Cord :

Length of back-up stitch = 1/2 to 2/3 the length of the main Length of back-up stitch = 1/2 to 2/3 the length of the main
stitch. stitch.

60 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) Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the Rows of Cord Stitch are worked back and forth within the
area. area.

COUCHING STITCH COUCHING STITCH


This is a fastening stitch used to secure other This is a fastening stitch used to secure other
threads to the canvas. threads to the canvas.

APPLICATION APPLICATION
- Used with Ring Stitch to tack down each loop - Used with Ring Stitch to tack down each loop
to create a daisy effect. to create a daisy effect.

61 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) Solid Cord: (also referred to as Toss Stitch)
Rows of Cord Stitch are worked back and forth within the Rows of Cord Stitch are worked back and forth within the
area. area.

COUCHING STITCH COUCHING STITCH


This is a fastening stitch used to secure other This is a fastening stitch used to secure other
threads to the canvas. threads to the canvas.

APPLICATION APPLICATION
- Used with Ring Stitch to tack down each loop - Used with Ring Stitch to tack down each loop
to create a daisy effect. to create a daisy effect.

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- Also used with Inlay Stitch to hold down the line - Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later of whole thread. This line is then later
overstitched with Satin Stitch. 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 There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from the front of the canvas; Method 2 is worked from
underneath the canvas. underneath the canvas.

Method 1 Method 1

- Using 2/4 pull thread in a flat stitch needle, - Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread. punch directly under the whole thread.

- Pull the end to the back. - Pull the end to the back.

- Lift the needle over the - Lift the needle over the
thread and punch directly thread and punch directly
under the whole thread. under the whole thread.

- Pull the end to the back. - Pull the end to the back.
One Couching Stitch One Couching Stitch
completed. completed.

- Place small Couching Stitches about every 1/2" - Place small Couching Stitches about every 1/2"
along the length of the whole thread. along the length of the whole thread.

Method 2 Method 2

- With a bunka needle threaded with 2/4 pull - With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the under the canvas, punch up through to the
front, on the line where the whole thread will lay. front, on the line where the whole thread will lay.

62 62

- Also used with Inlay Stitch to hold down the line - Also used with Inlay Stitch to hold down the line
of whole thread. This line is then later of whole thread. This line is then later
overstitched with Satin Stitch. 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 There are two methods - Method 1 is worked on
the front of the canvas; Method 2 is worked from the front of the canvas; Method 2 is worked from
underneath the canvas. underneath the canvas.

Method 1 Method 1

- Using 2/4 pull thread in a flat stitch needle, - Using 2/4 pull thread in a flat stitch needle,
punch directly under the whole thread. punch directly under the whole thread.

- Pull the end to the back. - Pull the end to the back.

- Lift the needle over the - Lift the needle over the
thread and punch directly thread and punch directly
under the whole thread. under the whole thread.

- Pull the end to the back. - Pull the end to the back.
One Couching Stitch One Couching Stitch
completed. completed.

- Place small Couching Stitches about every 1/2" - Place small Couching Stitches about every 1/2"
along the length of the whole thread. along the length of the whole thread.

Method 2 Method 2

- With a bunka needle threaded with 2/4 pull - With a bunka needle threaded with 2/4 pull
under the canvas, punch up through to the under the canvas, punch up through to the
front, on the line where the whole thread will lay. front, on the line where the whole thread will lay.

62 62
- Lift off the loop of thread. - Lift off the loop of thread.

- Slide the end of a length of whole thread - Slide the end of a length of whole thread
through the loop. through the loop.
- Tighten the loop over the - Tighten the loop over the
whole thread by pulling whole thread by pulling
down on the needle. down on the needle.

- Continue along the line, - Continue along the line,


approx. every 1/2". approx. every 1/2".

TO TACK DOWN RING STITCH TO TACK DOWN RING STITCH

- Press the loop flat to the - Press the loop flat to the
canvas. canvas.

- Punch directly under the - Punch directly under the


center point of the tip of center point of the tip of
the loop. the loop.

- Lift over the loop and punch - Lift over the loop and punch
directly under the loop. 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 Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the extremely important to the overall beauty of the
picture. With curved stitching, the stitch length, picture. With curved stitching, the stitch length,
regardless of which technique is being used, must regardless of which technique is being used, must
be shortened to ensure proper stitch alignment be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2" and direction but returning to the normal 1/2"
stitch length wherever possible. 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 - Slide the end of a length of whole thread
through the loop. through the loop.
- Tighten the loop over the - Tighten the loop over the
whole thread by pulling whole thread by pulling
down on the needle. down on the needle.

- Continue along the line, - Continue along the line,


approx. every 1/2". approx. every 1/2".

TO TACK DOWN RING STITCH TO TACK DOWN RING STITCH

- Press the loop flat to the - Press the loop flat to the
canvas. canvas.

- Punch directly under the - Punch directly under the


center point of the tip of center point of the tip of
the loop. the loop.

- Lift over the loop and punch - Lift over the loop and punch
directly under the loop. 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 Stitch direction in Bunka Shishu embroidery is
extremely important to the overall beauty of the extremely important to the overall beauty of the
picture. With curved stitching, the stitch length, picture. With curved stitching, the stitch length,
regardless of which technique is being used, must regardless of which technique is being used, must
be shortened to ensure proper stitch alignment be shortened to ensure proper stitch alignment
and direction but returning to the normal 1/2" and direction but returning to the normal 1/2"
stitch length wherever possible. 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 To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a drastic curve is required (round objects such as a
wheel or a ball) it can become a little more wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these is important that the stitch alignment of these
large curved areas be consistent with the level of large curved areas be consistent with the level of
the surrounding work. the surrounding work.

DOUBLE CANVAS DOUBLE CANVAS


It is recommended that this advanced technique It is recommended that this advanced technique
be learned from a qualified teacher. be learned from a qualified teacher.

The completed picture consists of 2 canvases; The completed picture consists of 2 canvases;
the primary canvas which is the main picture and the primary canvas which is the main picture and
the secondary canvas which is placed over the the secondary canvas which is placed over the
primary canvas with an opening cut out which primary canvas with an opening cut out which
acts as a 'window' for the primary design. acts as a 'window' for the primary design.

The secondary canvas can have decorative The secondary canvas can have decorative
stitching placed around the opening, in each stitching placed around the opening, in each
corner, etc. The design on the secondary canvas corner, etc. The design on the secondary canvas
should be kept very simple but should compliment should be kept very simple but should compliment
the primary canvas. For example, if the primary the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the design in the same colours could enhance the
perimeter of the opening on the secondary perimeter of the opening on the secondary
canvas. 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 To fill in a section with solid flat stitching where a
drastic curve is required (round objects such as a drastic curve is required (round objects such as a
wheel or a ball) it can become a little more wheel or a ball) it can become a little more
difficult to master. Because shorter stitches can difficult to master. Because shorter stitches can
sometimes create a knobby or 'terry cloth effect, it sometimes create a knobby or 'terry cloth effect, it
is important that the stitch alignment of these is important that the stitch alignment of these
large curved areas be consistent with the level of large curved areas be consistent with the level of
the surrounding work. the surrounding work.

DOUBLE CANVAS DOUBLE CANVAS


It is recommended that this advanced technique It is recommended that this advanced technique
be learned from a qualified teacher. be learned from a qualified teacher.

The completed picture consists of 2 canvases; The completed picture consists of 2 canvases;
the primary canvas which is the main picture and the primary canvas which is the main picture and
the secondary canvas which is placed over the the secondary canvas which is placed over the
primary canvas with an opening cut out which primary canvas with an opening cut out which
acts as a 'window' for the primary design. acts as a 'window' for the primary design.

The secondary canvas can have decorative The secondary canvas can have decorative
stitching placed around the opening, in each stitching placed around the opening, in each
corner, etc. The design on the secondary canvas corner, etc. The design on the secondary canvas
should be kept very simple but should compliment should be kept very simple but should compliment
the primary canvas. For example, if the primary the primary canvas. For example, if the primary
canvas is a bouquet of flowers, small flowers or a canvas is a bouquet of flowers, small flowers or a
design in the same colours could enhance the design in the same colours could enhance the
perimeter of the opening on the secondary perimeter of the opening on the secondary
canvas. canvas.

64 64
Canvas 1 Canvas 2 Canvas 1+2 Canvas 1 Canvas 2 Canvas 1+2
Primary Secondary Combined Primary Secondary 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 ! Upon completion of the picture, remove the
canvas from the work frame and stretch the canvas from the work frame and stretch the
secondary canvas. secondary canvas.

Secondary Canvas Secondary Canvas


! Draw and oval design, ! Draw and oval design,
centered on a stretched centered on a stretched
canvas (best to use a canvas (best to use a
template). template).

! To reinforce the circular ! To reinforce the circular


shape, sew a basting line on shape, sew a basting line on
the drawn using small the drawn using small
stitches with a regular sewing needle and stitches with a regular sewing needle and
thread. STEP 1 thread. STEP 1

! To lock in this basting line, sew a second ! To lock in this basting line, sew a second
basting line on top of the first, reversing the basting line on top of the first, reversing the
stitches; STEP 2 stitches; STEP 2
65 65

Canvas 1 Canvas 2 Canvas 1+2 Canvas 1 Canvas 2 Canvas 1+2


Primary Secondary Combined Primary Secondary 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 ! Upon completion of the picture, remove the
canvas from the work frame and stretch the canvas from the work frame and stretch the
secondary canvas. secondary canvas.

Secondary Canvas Secondary Canvas


! Draw and oval design, ! Draw and oval design,
centered on a stretched centered on a stretched
canvas (best to use a canvas (best to use a
template). template).

! To reinforce the circular ! To reinforce the circular


shape, sew a basting line on shape, sew a basting line on
the drawn using small the drawn using small
stitches with a regular sewing needle and stitches with a regular sewing needle and
thread. STEP 1 thread. STEP 1

! To lock in this basting line, sew a second ! To lock in this basting line, sew a second
basting line on top of the first, reversing the basting line on top of the first, reversing the
stitches; STEP 2 stitches; STEP 2
65 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 1. A 1/2" hem will be turned and glued to the
back. back.

! Trace any design work onto the canvas and ! Trace any design work onto the canvas and
complete the stitching before proceeding with complete the stitching before proceeding with
the following steps. the following steps.
! On the back of your canvas, place a line of ! On the back of your canvas, place a line of
rice glue on top of the basting stitches. rice glue on top of the basting stitches.
! When cutting out the oval, the cutting line will ! When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the turned to the back, over the glue line. the
cutting line can be marked lightly with a cutting line can be marked lightly with a
pencil. pencil.
! Begin by using very ! Begin by using very
sharp scissors and snip sharp scissors and snip
the canvas 1/2" inside the canvas 1/2" inside
the line basting (towards the line basting (towards
the center of the oval). the center of the oval).
! Continue to carefully cut ! Continue to carefully cut
1/2" in all the way 1/2" in all the way
around the oval. around the oval.

66 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 1. A 1/2" hem will be turned and glued to the
back. back.

! Trace any design work onto the canvas and ! Trace any design work onto the canvas and
complete the stitching before proceeding with complete the stitching before proceeding with
the following steps. the following steps.
! On the back of your canvas, place a line of ! On the back of your canvas, place a line of
rice glue on top of the basting stitches. rice glue on top of the basting stitches.
! When cutting out the oval, the cutting line will ! When cutting out the oval, the cutting line will
allow for a 1/2" seam allowance which will be allow for a 1/2" seam allowance which will be
turned to the back, over the glue line. the turned to the back, over the glue line. the
cutting line can be marked lightly with a cutting line can be marked lightly with a
pencil. pencil.
! Begin by using very ! Begin by using very
sharp scissors and snip sharp scissors and snip
the canvas 1/2" inside the canvas 1/2" inside
the line basting (towards the line basting (towards
the center of the oval). the center of the oval).
! Continue to carefully cut ! Continue to carefully cut
1/2" in all the way 1/2" in all the way
around the oval. around the oval.

66 66
! To ease the curve, cut into ! To ease the curve, cut into
the seam allowance to the the seam allowance to the
basting line, about every basting line, about every
3/4". 3/4".

! Turn these 'flaps' to the ! Turn these 'flaps' to the


back and over the glue back and over the glue
line. line.
! Sew in another basting line ! Sew in another basting line
to secure the rough edges to secure the rough edges
about 1/4" out from the about 1/4" out from the
finished edge. finished edge.
! Blanket Edge Stitching is ! Blanket Edge Stitching is
used to create a decorative used to create a decorative
border on the edge of the border on the edge of the
oval. (see Blanket Stitch) 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 Since the eyes are the focal point of the picture it
is very important that they are constructed as is very important that they are constructed as
neatly as possible. The eyes along with the neatly as possible. The eyes along with the
mouth and body position set the mood of the mouth and body position set the mood of the
picture, creating the aspect of either gentleness picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps, specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the applications. Refer to the insert to see if the
accents such as the eyeliner are required for your accents such as the eyeliner are required for your
picture. picture.
67 67

! To ease the curve, cut into ! To ease the curve, cut into
the seam allowance to the the seam allowance to the
basting line, about every basting line, about every
3/4". 3/4".

! Turn these 'flaps' to the ! Turn these 'flaps' to the


back and over the glue back and over the glue
line. line.
! Sew in another basting line ! Sew in another basting line
to secure the rough edges to secure the rough edges
about 1/4" out from the about 1/4" out from the
finished edge. finished edge.
! Blanket Edge Stitching is ! Blanket Edge Stitching is
used to create a decorative used to create a decorative
border on the edge of the border on the edge of the
oval. (see Blanket Stitch) 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 Since the eyes are the focal point of the picture it
is very important that they are constructed as is very important that they are constructed as
neatly as possible. The eyes along with the neatly as possible. The eyes along with the
mouth and body position set the mood of the mouth and body position set the mood of the
picture, creating the aspect of either gentleness picture, creating the aspect of either gentleness
or fierceness. The step-by-step instructions are or fierceness. The step-by-step instructions are
specific to a tiger's eye, however, the basic steps, specific to a tiger's eye, however, the basic steps,
such as creating the pupil, padding, gluing the such as creating the pupil, padding, gluing the
gold ribbon will apply to all gold ribbon eye gold ribbon will apply to all gold ribbon eye
applications. Refer to the insert to see if the applications. Refer to the insert to see if the
accents such as the eyeliner are required for your accents such as the eyeliner are required for your
picture. picture.
67 67
Because of the adhesive material used with this Because of the adhesive material used with this
method, there should not be any stitching around method, there should not be any stitching around
the eye area. the eye area.

A Gold Ribbon eye consists of : A Gold Ribbon eye consists of :

1. Layer of padding 2. Gold Ribbon 1. Layer of padding 2. Gold Ribbon


3. Pupil 4. Outline 3. Pupil 4. Outline

Considerable preparatory work is needed prior to Considerable preparatory work is needed prior to
working directly on the canvas. working directly on the canvas.

Supplies you will need: Supplies you will need:


Rice Glue Masking Tape Rice Glue Masking Tape
Toothpick Straight Pin Toothpick Straight Pin
Scissors Scissors

STEP 1 - Tracing the Patterns STEP 1 - Tracing the Patterns

! Stick a small piece of ! Stick a small piece of


masking tape behind masking tape behind
the eye to the back of the eye to the back of
the canvas. For light- the canvas. For light-
coloured canvas, hold coloured canvas, hold
Masking tape Masking tape
the work frame up to the work frame up to
the light and trace the the light and trace the
outline of the whole outline of the whole
eye onto the masking tape. For black canvas, eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the use the straight pin to punch holes through the
masking tape from the front of the canvas masking tape from the front of the canvas
following the outline of the eye. following the outline of the eye.

68 68

Because of the adhesive material used with this Because of the adhesive material used with this
method, there should not be any stitching around method, there should not be any stitching around
the eye area. the eye area.

A Gold Ribbon eye consists of : A Gold Ribbon eye consists of :

1. Layer of padding 2. Gold Ribbon 1. Layer of padding 2. Gold Ribbon


3. Pupil 4. Outline 3. Pupil 4. Outline

Considerable preparatory work is needed prior to Considerable preparatory work is needed prior to
working directly on the canvas. working directly on the canvas.

Supplies you will need: Supplies you will need:


Rice Glue Masking Tape Rice Glue Masking Tape
Toothpick Straight Pin Toothpick Straight Pin
Scissors Scissors

STEP 1 - Tracing the Patterns STEP 1 - Tracing the Patterns

! Stick a small piece of ! Stick a small piece of


masking tape behind masking tape behind
the eye to the back of the eye to the back of
the canvas. For light- the canvas. For light-
coloured canvas, hold coloured canvas, hold
Masking tape Masking tape
the work frame up to the work frame up to
the light and trace the the light and trace the
outline of the whole outline of the whole
eye onto the masking tape. For black canvas, eye onto the masking tape. For black canvas,
use the straight pin to punch holes through the use the straight pin to punch holes through the
masking tape from the front of the canvas masking tape from the front of the canvas
following the outline of the eye. following the outline of the eye.

68 68
! Remove the tape and stick Gold ribbon ! Remove the tape and stick Gold ribbon
to the gold ribbon so that to the gold ribbon so that
the grain in the ribbon the grain in the ribbon
matches the matches the
direction used in the direction used in the
coloured insert. Cut out coloured insert. Cut out

! Cut out the eye from the gold ribbon. With ! Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon your finger and thumb, curve the gold ribbon
to create a bulge in the middle. to create a bulge in the middle.

! Kits may include a piece of adhesive white ! Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as use the white ribbon in the same manner as
the masking tape. the masking tape.

! Trace the pattern of the ! Trace the pattern of the


pupil onto another piece of pupil onto another piece of
masking tape in the same masking tape in the same
manner as above. manner as above.

STEP 2 - Making the Pupil STEP 2 - Making the Pupil


! Taper the end of whole Glued unpulled thread ! Taper the end of whole Glued unpulled thread
black bunka thread by black bunka thread by
cutting it on an angle. cutting it on an angle.
Masking tape Masking tape
! Stick this cut end to the ! Stick this cut end to the
center of the pupil design center of the pupil design
on the sticky side of the masking tape. on the sticky side of the masking tape.

! Coil the whole thread around the center point ! Coil the whole thread around the center point
until it covers the entire circle. If you are until it covers the entire circle. If you are
having difficulty starting the coil, use a having difficulty starting the coil, use a
toothpick or straight pin to hold down the toothpick or straight pin to hold down the
thread in the center. thread in the center.
69 69

! Remove the tape and stick Gold ribbon ! Remove the tape and stick Gold ribbon
to the gold ribbon so that to the gold ribbon so that
the grain in the ribbon the grain in the ribbon
matches the matches the
direction used in the direction used in the
coloured insert. Cut out coloured insert. Cut out

! Cut out the eye from the gold ribbon. With ! Cut out the eye from the gold ribbon. With
your finger and thumb, curve the gold ribbon your finger and thumb, curve the gold ribbon
to create a bulge in the middle. to create a bulge in the middle.

! Kits may include a piece of adhesive white ! Kits may include a piece of adhesive white
satin ribbon. Peel off the paper backing and satin ribbon. Peel off the paper backing and
use the white ribbon in the same manner as use the white ribbon in the same manner as
the masking tape. the masking tape.

! Trace the pattern of the ! Trace the pattern of the


pupil onto another piece of pupil onto another piece of
masking tape in the same masking tape in the same
manner as above. manner as above.

STEP 2 - Making the Pupil STEP 2 - Making the Pupil


! Taper the end of whole Glued unpulled thread ! Taper the end of whole Glued unpulled thread
black bunka thread by black bunka thread by
cutting it on an angle. cutting it on an angle.
Masking tape Masking tape
! Stick this cut end to the ! Stick this cut end to the
center of the pupil design center of the pupil design
on the sticky side of the masking tape. on the sticky side of the masking tape.

! Coil the whole thread around the center point ! Coil the whole thread around the center point
until it covers the entire circle. If you are until it covers the entire circle. If you are
having difficulty starting the coil, use a having difficulty starting the coil, use a
toothpick or straight pin to hold down the toothpick or straight pin to hold down the
thread in the center. thread in the center.
69 69
! Cut the end on an angle and tuck it tight ! Cut the end on an angle and tuck it tight
against the coil. against the coil.
! Spread a thin layer of rice glue over the coil ! Spread a thin layer of rice glue over the coil
and set aside to dry. and set aside to dry.

STEP 3 - Padding STEP 3 - Padding


The entire eye should be padded with The entire eye should be padded with
progressively larger sections of 3 levels of flat progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top stitching to create a mound or bulge in the top
center area. Each padding level should be center area. Each padding level should be
stitched in a different direction. stitched in a different direction.

! First layer: Stitch the pupil ! First layer: Stitch the pupil
area. area.

! Change direction and stitch ! Change direction and stitch


a second, larger layer over a second, larger layer over
the first layer, covering the first layer, covering
approx. 2/3 of the entire eye approx. 2/3 of the entire eye
area. area.

! Change direction, stitch the ! Change direction, stitch the


third layer over the first two third layer over the first two
layers, covering the whole layers, covering the whole
eye area but staying inside eye area but staying inside
the printed design line. the printed design line.

70 70

! Cut the end on an angle and tuck it tight ! Cut the end on an angle and tuck it tight
against the coil. against the coil.
! Spread a thin layer of rice glue over the coil ! Spread a thin layer of rice glue over the coil
and set aside to dry. and set aside to dry.

STEP 3 - Padding STEP 3 - Padding


The entire eye should be padded with The entire eye should be padded with
progressively larger sections of 3 levels of flat progressively larger sections of 3 levels of flat
stitching to create a mound or bulge in the top stitching to create a mound or bulge in the top
center area. Each padding level should be center area. Each padding level should be
stitched in a different direction. stitched in a different direction.

! First layer: Stitch the pupil ! First layer: Stitch the pupil
area. area.

! Change direction and stitch ! Change direction and stitch


a second, larger layer over a second, larger layer over
the first layer, covering the first layer, covering
approx. 2/3 of the entire eye approx. 2/3 of the entire eye
area. area.

! Change direction, stitch the ! Change direction, stitch the


third layer over the first two third layer over the first two
layers, covering the whole layers, covering the whole
eye area but staying inside eye area but staying inside
the printed design line. 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 ! Spread a layer of rice glue evenly over the
surface and edges of the padding. surface and edges of the padding.

! Place the gold ribbon masking tape side down ! Place the gold ribbon masking tape side down
over the glue. over the glue.
! Press and hold with your fingers until the ! Press and hold with your fingers until the
ribbon is secure. ribbon is secure.

STEP 5 STEP 5
! Complete the surrounding flat stitching up to ! Complete the surrounding flat stitching up to
the eye area. the eye area.

STEP 6 - Attaching the Pupil 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 ! Spread another thin layer


of glue to the same side of glue to the same side
that was glued originally. that was glued originally.
Gold Ribbon Gold Ribbon
! Place glue side down, to ! Place glue side down, to
the top center of the gold the top center of the gold
ribbon. ribbon.

STEP 7 - Eyeliners STEP 7 - Eyeliners


Around the pupil: Around the pupil:

! Carefully spread a thin, ! Carefully spread a thin,


circular line of glue around circular line of glue around
the pupil as shown in the the pupil as shown in the
diagram. diagram.

71 71

STEP 4 - Gluing the Gold Ribbon STEP 4 - Gluing the Gold Ribbon
! Spread a layer of rice glue evenly over the ! Spread a layer of rice glue evenly over the
surface and edges of the padding. surface and edges of the padding.

! Place the gold ribbon masking tape side down ! Place the gold ribbon masking tape side down
over the glue. over the glue.
! Press and hold with your fingers until the ! Press and hold with your fingers until the
ribbon is secure. ribbon is secure.

STEP 5 STEP 5
! Complete the surrounding flat stitching up to ! Complete the surrounding flat stitching up to
the eye area. the eye area.

STEP 6 - Attaching the Pupil 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 ! Spread another thin layer


of glue to the same side of glue to the same side
that was glued originally. that was glued originally.
Gold Ribbon Gold Ribbon
! Place glue side down, to ! Place glue side down, to
the top center of the gold the top center of the gold
ribbon. ribbon.

STEP 7 - Eyeliners STEP 7 - Eyeliners


Around the pupil: Around the pupil:

! Carefully spread a thin, ! Carefully spread a thin,


circular line of glue around circular line of glue around
the pupil as shown in the the pupil as shown in the
diagram. diagram.

71 71
! Lay 2/4 pull along the glue ! Lay 2/4 pull along the glue
line. line.

STEP 8 STEP 8
Around the Entire Eye: Around the Entire Eye:

! Angle cut the end of whole ! Angle cut the end of whole
black thread. black thread.

! Spread a line of glue along ! Spread a line of glue along


the top and bottom edge of the top and bottom edge of
the gold ribbon. the gold ribbon.
Threads touching Threads touching
! Lay the whole thread along ! Lay the whole thread along
the top edge, from corner to the top edge, from corner to
corner. Cut the end on an corner. Cut the end on an
angle. angle.

! Repeat for the bottom edge, ! Repeat for the bottom edge,
tucking in the cut ends to tucking in the cut ends to
keep it nice and neat. keep it nice and neat.

! Along the upper edge, glue ! Along the upper edge, glue
a second line of whole a second line of whole
thread above the first line. thread above the first line.

STEP 9 - Highlight STEP 9 - Highlight


The highlight is usually located at either 2:00 The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two exact placement, some pictures have two
highlights in the same eye. highlights in the same eye.

72 72

! Lay 2/4 pull along the glue ! Lay 2/4 pull along the glue
line. line.

STEP 8 STEP 8
Around the Entire Eye: Around the Entire Eye:

! Angle cut the end of whole ! Angle cut the end of whole
black thread. black thread.

! Spread a line of glue along ! Spread a line of glue along


the top and bottom edge of the top and bottom edge of
the gold ribbon. the gold ribbon.
Threads touching Threads touching
! Lay the whole thread along ! Lay the whole thread along
the top edge, from corner to the top edge, from corner to
corner. Cut the end on an corner. Cut the end on an
angle. angle.

! Repeat for the bottom edge, ! Repeat for the bottom edge,
tucking in the cut ends to tucking in the cut ends to
keep it nice and neat. keep it nice and neat.

! Along the upper edge, glue ! Along the upper edge, glue
a second line of whole a second line of whole
thread above the first line. thread above the first line.

STEP 9 - Highlight STEP 9 - Highlight


The highlight is usually located at either 2:00 The highlight is usually located at either 2:00
o'clock or 10:00. Refer to the coloured insert for o'clock or 10:00. Refer to the coloured insert for
exact placement, some pictures have two exact placement, some pictures have two
highlights in the same eye. highlights in the same eye.

72 72
Method 1 Method 1
! Tie a knot in a short piece of white 3/4 pull ! Tie a knot in a short piece of white 3/4 pull
thread. thread.
! Clip off the thread at both sides of the knot - ! Clip off the thread at both sides of the knot -
this leaves a small ball of thread. 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 ! Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the piece (approx. 2 mm long) and glue onto the
gold ribbon. gold ribbon.

SUMMARY PROCEDURE FOR GOLD RIBBON SUMMARY PROCEDURE FOR GOLD RIBBON
TIGER'S EYE TIGER'S EYE

Step 1 Trace the pattern for the whole eye and Step 1 Trace the pattern for the whole eye and
the pupil onto masking tape. the pupil onto masking tape.
Step 2 Make the pupil using whole thread. Step 2 Make the pupil using whole thread.
Glue & set aside to dry. 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 Step 5 Complete any flat stitching right up to
the gold ribbon. the gold ribbon.
Step 6 Glue the pupil to the top center of the Step 6 Glue the pupil to the top center of the
gold ribbon. gold ribbon.
Step 7 Glue circular line of 2/4 pull black thread to Step 7 Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil. the gold ribbon, around the pupil.
Step 8 Glue 2 rows of whole thread above the eye Step 8 Glue 2 rows of whole thread above the eye
and 1 row below the eye. and 1 row below the eye.
Step 9 Glue highlight. Step 9 Glue highlight.

73 73

Method 1 Method 1
! Tie a knot in a short piece of white 3/4 pull ! Tie a knot in a short piece of white 3/4 pull
thread. thread.
! Clip off the thread at both sides of the knot - ! Clip off the thread at both sides of the knot -
this leaves a small ball of thread. 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 ! Using whole (un-pulled) thread, cut off a tiny
piece (approx. 2 mm long) and glue onto the piece (approx. 2 mm long) and glue onto the
gold ribbon. gold ribbon.

SUMMARY PROCEDURE FOR GOLD RIBBON SUMMARY PROCEDURE FOR GOLD RIBBON
TIGER'S EYE TIGER'S EYE

Step 1 Trace the pattern for the whole eye and Step 1 Trace the pattern for the whole eye and
the pupil onto masking tape. the pupil onto masking tape.
Step 2 Make the pupil using whole thread. Step 2 Make the pupil using whole thread.
Glue & set aside to dry. 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 Step 5 Complete any flat stitching right up to
the gold ribbon. the gold ribbon.
Step 6 Glue the pupil to the top center of the Step 6 Glue the pupil to the top center of the
gold ribbon. gold ribbon.
Step 7 Glue circular line of 2/4 pull black thread to Step 7 Glue circular line of 2/4 pull black thread to
the gold ribbon, around the pupil. the gold ribbon, around the pupil.
Step 8 Glue 2 rows of whole thread above the eye Step 8 Glue 2 rows of whole thread above the eye
and 1 row below 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 The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used. 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 ! Outline the whole eye area first. This will help
you retain the exact shape of the eye. 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 ! Stitch the iris with the
appropriate colour, appropriate colour,
working over the top and working over the top and
bottom outlines. bottom outlines.
! Stitch and cuts with a complimentary colour ! Stitch and cuts with a complimentary colour
may be added for accent. may be added for accent.

! Pad the pupil area, reversing stitch direction ! Pad the pupil area, reversing stitch direction
with each layer. The number of layers may with each layer. The number of layers may
vary depending on the size and image. vary depending on the size and image.
Overstitch padding with smooth Satin Stitch. Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse. (Satin Stitch) lisse.

74 74

EYES STITCHED EYES STITCHED


The stitched eye is much softer in appearance as The stitched eye is much softer in appearance as
compared to gold ribbon eye that lends a more compared to gold ribbon eye that lends a more
fierce appearance. Either 1/4 Pull or 2/4 Pull fierce appearance. Either 1/4 Pull or 2/4 Pull
Thread can be used. 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 ! Outline the whole eye area first. This will help
you retain the exact shape of the eye. 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 ! Stitch the iris with the
appropriate colour, appropriate colour,
working over the top and working over the top and
bottom outlines. bottom outlines.
! Stitch and cuts with a complimentary colour ! Stitch and cuts with a complimentary colour
may be added for accent. may be added for accent.

! Pad the pupil area, reversing stitch direction ! Pad the pupil area, reversing stitch direction
with each layer. The number of layers may with each layer. The number of layers may
vary depending on the size and image. vary depending on the size and image.
Overstitch padding with smooth Satin Stitch. Overstitch padding with smooth Satin Stitch.
Recouvrir le rembourrage en point de plumetis Recouvrir le rembourrage en point de plumetis
(Satin Stitch) lisse. (Satin Stitch) lisse.

74 74
! Lashes - place a mixture of ! Lashes - place a mixture of
short and long Pine Needle short and long Pine Needle
Stitches and Stitch & Cuts Stitches and Stitch & Cuts
along the top edge of the along the top edge of the
pupil. pupil.

! Use either a Clip Stitch, Reverse Stitch or Picot ! Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both to place a highlight on the same spot for both
eyes. eyes.

FACES FACES
To create the proper contours To create the proper contours
for facial features, stitch for facial features, stitch
direction and shading are direction and shading are
extremely important. Faint extremely important. Faint
guidelines should be drawn on guidelines should be drawn on
the canvas with pencil to ensure the canvas with pencil to ensure
the correct flow of stitches. the correct flow of stitches.

! Stitch the outline of the eye ! Stitch the outline of the eye
with bunka thread so that with bunka thread so that
the exact size and shape of the exact size and shape of
the eye is not lost when the eye is not lost when
working on the surrounding working on the surrounding
areas. areas.

75 75

! Lashes - place a mixture of ! Lashes - place a mixture of


short and long Pine Needle short and long Pine Needle
Stitches and Stitch & Cuts Stitches and Stitch & Cuts
along the top edge of the along the top edge of the
pupil. pupil.

! Use either a Clip Stitch, Reverse Stitch or Picot ! Use either a Clip Stitch, Reverse Stitch or Picot
to place a highlight on the same spot for both to place a highlight on the same spot for both
eyes. eyes.

FACES FACES
To create the proper contours To create the proper contours
for facial features, stitch for facial features, stitch
direction and shading are direction and shading are
extremely important. Faint extremely important. Faint
guidelines should be drawn on guidelines should be drawn on
the canvas with pencil to ensure the canvas with pencil to ensure
the correct flow of stitches. the correct flow of stitches.

! Stitch the outline of the eye ! Stitch the outline of the eye
with bunka thread so that with bunka thread so that
the exact size and shape of the exact size and shape of
the eye is not lost when the eye is not lost when
working on the surrounding working on the surrounding
areas. areas.

75 75
! First, stitch the white area of ! First, stitch the white area of
the eye in a horizontal the eye in a horizontal
direction. direction.

! Second, complete the iris or ! Second, complete the iris or


coloured part in a circular coloured part in a circular
direction with smooth short direction with smooth short
stitches. stitches.
! Third, complete the pupil or ! Third, complete the pupil or
black center area of the eye black center area of the eye
in circulation direction. Place in circulation direction. Place
small Stitch & cuts around small Stitch & cuts around
the iris. the iris.
Highlight Highlight
! Fourth, place a small stitch ! Fourth, place a small stitch
on the pupil to create a on the pupil to create a
highlight and to give the eye highlight and to give the eye
a focal point. a focal point.
! The large skin areas (cheeks, forehead) are ! The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as the penciled guidelines. Work as smooth as
possible with special attention given to good possible with special attention given to good
blending. blending.
! Nose: ! Nose:
! The nostrils should be stitched first with small ! The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure stitches. Pull down each stitch to make sure
they are as close to the canvas as possible. they are as close to the canvas as possible.

! The tip and bridge of the ! The tip and bridge of the
nose should be lightly nose should be lightly
padded to give a raised padded to give a raised
effect. effect.

76 76

! First, stitch the white area of ! First, stitch the white area of
the eye in a horizontal the eye in a horizontal
direction. direction.

! Second, complete the iris or ! Second, complete the iris or


coloured part in a circular coloured part in a circular
direction with smooth short direction with smooth short
stitches. stitches.
! Third, complete the pupil or ! Third, complete the pupil or
black center area of the eye black center area of the eye
in circulation direction. Place in circulation direction. Place
small Stitch & cuts around small Stitch & cuts around
the iris. the iris.
Highlight Highlight
! Fourth, place a small stitch ! Fourth, place a small stitch
on the pupil to create a on the pupil to create a
highlight and to give the eye highlight and to give the eye
a focal point. a focal point.
! The large skin areas (cheeks, forehead) are ! The large skin areas (cheeks, forehead) are
stitched next with Flat Stitch, carefully following stitched next with Flat Stitch, carefully following
the penciled guidelines. Work as smooth as the penciled guidelines. Work as smooth as
possible with special attention given to good possible with special attention given to good
blending. blending.
! Nose: ! Nose:
! The nostrils should be stitched first with small ! The nostrils should be stitched first with small
stitches. Pull down each stitch to make sure stitches. Pull down each stitch to make sure
they are as close to the canvas as possible. they are as close to the canvas as possible.

! The tip and bridge of the ! The tip and bridge of the
nose should be lightly nose should be lightly
padded to give a raised padded to give a raised
effect. effect.

76 76
! Eyebrows : ! Eyebrows :
! Horizontal direction gives a ! Horizontal direction gives a
defined effect, preferable defined effect, preferable
for ladies faces. for ladies faces.

! Stitches worked vertically ! Stitches worked vertically


on a slight angle creates a more shaggy on a slight angle creates a more shaggy
effect. effect.

! Outlines: ! Outlines:
An outline around the face and hands is An outline around the face and hands is
evident on some kits. Rather than a stitched evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more thread is glued on which creates a more
natural, subtle effect. natural, subtle effect.
! Place a small amount of rice glue on your ! Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and appropriate colour between your fingers and
through the glue. This will stretch out the through the glue. This will stretch out the
thread to a single straight thread removing all thread to a single straight thread removing all
the curl. Carefully place glued thread along the curl. Carefully place glued thread along
desired areas. Refer to the insert. desired areas. Refer to the insert.

FEATHERING STITCH FEATHERING STITCH


Creates a soft downy, or misty appearance Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should to a specified location. Feathering stitch should
look very different from the fluffy stitch. look very different from the fluffy stitch.
Feathering stitch should be very transparent Feathering stitch should be very transparent
and lays flat on your base layer of stitching. and lays flat on your base layer of stitching.

77 77

! Eyebrows : ! Eyebrows :
! Horizontal direction gives a ! Horizontal direction gives a
defined effect, preferable defined effect, preferable
for ladies faces. for ladies faces.

! Stitches worked vertically ! Stitches worked vertically


on a slight angle creates a more shaggy on a slight angle creates a more shaggy
effect. effect.

! Outlines: ! Outlines:
An outline around the face and hands is An outline around the face and hands is
evident on some kits. Rather than a stitched evident on some kits. Rather than a stitched
row of Running Stitch, a strand of 2/4 pull row of Running Stitch, a strand of 2/4 pull
thread is glued on which creates a more thread is glued on which creates a more
natural, subtle effect. natural, subtle effect.
! Place a small amount of rice glue on your ! Place a small amount of rice glue on your
Fingers. Run 12" of 2/4 pull thread in the Fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and appropriate colour between your fingers and
through the glue. This will stretch out the through the glue. This will stretch out the
thread to a single straight thread removing all thread to a single straight thread removing all
the curl. Carefully place glued thread along the curl. Carefully place glued thread along
desired areas. Refer to the insert. desired areas. Refer to the insert.

FEATHERING STITCH FEATHERING STITCH


Creates a soft downy, or misty appearance Creates a soft downy, or misty appearance
to a specified location. Feathering stitch should to a specified location. Feathering stitch should
look very different from the fluffy stitch. look very different from the fluffy stitch.
Feathering stitch should be very transparent Feathering stitch should be very transparent
and lays flat on your base layer of stitching. and lays flat on your base layer of stitching.

77 77
APPLICATION APPLICATION
Used in soft fur on an animal, mist at the Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals. bottom of a mountain, center of petals.

TECHNIQUE TECHNIQUE

! stitch a base layer of regular stitching, 2/4 ! stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover thread pull and 3/8" length stitches to cover
your area your area
! overlay every third row of flat stitches with 1/4 ! overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same thread pull, stitches 3/8" in length, in the same
direction as the under base stitching 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 ! use your fingers on your empty hand to apply
pressure underneath the canvas. This will help pressure underneath the canvas. This will help
in raising the stitched area in raising the stitched area
! for areas requiring a longer silkier look - use a ! for areas requiring a longer silkier look - use a
percolator brush. percolator brush.

TOOTHBRUSH PERCOLATOR BRUSH TOOTHBRUSH PERCOLATOR BRUSH

COMPLETED FEATHERING COMPLETED FEATHERING

78 78

APPLICATION APPLICATION
Used in soft fur on an animal, mist at the Used in soft fur on an animal, mist at the
bottom of a mountain, center of petals. bottom of a mountain, center of petals.

TECHNIQUE TECHNIQUE

! stitch a base layer of regular stitching, 2/4 ! stitch a base layer of regular stitching, 2/4
thread pull and 3/8" length stitches to cover thread pull and 3/8" length stitches to cover
your area your area
! overlay every third row of flat stitches with 1/4 ! overlay every third row of flat stitches with 1/4
thread pull, stitches 3/8" in length, in the same thread pull, stitches 3/8" in length, in the same
direction as the under base stitching 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 ! use your fingers on your empty hand to apply
pressure underneath the canvas. This will help pressure underneath the canvas. This will help
in raising the stitched area in raising the stitched area
! for areas requiring a longer silkier look - use a ! for areas requiring a longer silkier look - use a
percolator brush. percolator brush.

TOOTHBRUSH PERCOLATOR BRUSH TOOTHBRUSH PERCOLATOR BRUSH

COMPLETED FEATHERING COMPLETED FEATHERING

78 78
TRIMMING AND SHAPING TRIMMING AND SHAPING
! the slant ended clippers are the easiest ! the slant ended clippers are the easiest
instrument to use for trimming. instrument to use for trimming.
Picture "A" Picture "A"

TRIM TRIM

! brush the feathering FLAT to the surface of ! brush the feathering FLAT to the surface of
the canvas in the proper direction the canvas in the proper direction
! edges may be smooth or ragged. ! edges may be smooth or ragged.
! check insert of individual pictures for ! check insert of individual pictures for
requirements. requirements.

Picture "B" Picture "B"

FISH EYES FISH EYES


The circular area of a fish eye is stitched first with The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible, size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out before doing any stitching. The pupil is made out
of whole thread and later glued on top of the of whole thread and later glued on top of the
stitched area. stitched area.

79 79

TRIMMING AND SHAPING TRIMMING AND SHAPING


! the slant ended clippers are the easiest ! the slant ended clippers are the easiest
instrument to use for trimming. instrument to use for trimming.
Picture "A" Picture "A"

TRIM TRIM

! brush the feathering FLAT to the surface of ! brush the feathering FLAT to the surface of
the canvas in the proper direction the canvas in the proper direction
! edges may be smooth or ragged. ! edges may be smooth or ragged.
! check insert of individual pictures for ! check insert of individual pictures for
requirements. requirements.

Picture "B" Picture "B"

FISH EYES FISH EYES


The circular area of a fish eye is stitched first with The circular area of a fish eye is stitched first with
regular 2/4 thread. To ensure that the shape and regular 2/4 thread. To ensure that the shape and
size of the pupil are kept as precise as possible, size of the pupil are kept as precise as possible,
take a pattern of the pupil area with masking tape take a pattern of the pupil area with masking tape
before doing any stitching. The pupil is made out before doing any stitching. The pupil is made out
of whole thread and later glued on top of the of whole thread and later glued on top of the
stitched area. stitched area.

79 79
Supplies you will need: Supplies you will need:
Rice Glue Straight Pin Rice Glue Straight Pin
Scissors Toothpick Scissors Toothpick
Masking tape Masking tape

STEP 1 - PATTERN OF PUPIL STEP 1 - PATTERN OF PUPIL


! Stick a small piece of ! Stick a small piece of
masking tape behind the eye masking tape behind the eye
on the back of the canvas. on the back of the canvas.
For light-coloured canvas, For light-coloured canvas,
hold the work frame up hold the work frame up
to the light and trace the to the light and trace the
outline of the whole eye onto the outline of the whole eye onto the
masking tape. For black canvas, use the masking tape. For black canvas, use the
straight pin to punch holes through the masking straight pin to punch holes through the masking
tape from the front of the canvas following the tape from the front of the canvas following the
outline of the eye. outline of the eye.

STEP 2 - MAKING THE PUPIL STEP 2 - MAKING THE PUPIL

! Taper the end of whole black ! Taper the end of whole black
bunka thread by cutting it on bunka thread by cutting it on
an angle. an angle.
! Stick this cut end to the center of the masking ! Stick this cut end to the center of the masking
tape tracing. tape tracing.
! Coil the whole thread around ! Coil the whole thread around
the center point until it covers the center point until it covers
the entire circle. If you are the entire circle. If you are
having difficulty starting the having difficulty starting the
coil, use a toothpick or coil, use a toothpick or
straight pin to hold down the straight pin to hold down the
thread in the center. thread in the center.

80 80

Supplies you will need: Supplies you will need:


Rice Glue Straight Pin Rice Glue Straight Pin
Scissors Toothpick Scissors Toothpick
Masking tape Masking tape

STEP 1 - PATTERN OF PUPIL STEP 1 - PATTERN OF PUPIL


! Stick a small piece of ! Stick a small piece of
masking tape behind the eye masking tape behind the eye
on the back of the canvas. on the back of the canvas.
For light-coloured canvas, For light-coloured canvas,
hold the work frame up hold the work frame up
to the light and trace the to the light and trace the
outline of the whole eye onto the outline of the whole eye onto the
masking tape. For black canvas, use the masking tape. For black canvas, use the
straight pin to punch holes through the masking straight pin to punch holes through the masking
tape from the front of the canvas following the tape from the front of the canvas following the
outline of the eye. outline of the eye.

STEP 2 - MAKING THE PUPIL STEP 2 - MAKING THE PUPIL

! Taper the end of whole black ! Taper the end of whole black
bunka thread by cutting it on bunka thread by cutting it on
an angle. an angle.
! Stick this cut end to the center of the masking ! Stick this cut end to the center of the masking
tape tracing. tape tracing.
! Coil the whole thread around ! Coil the whole thread around
the center point until it covers the center point until it covers
the entire circle. If you are the entire circle. If you are
having difficulty starting the having difficulty starting the
coil, use a toothpick or coil, use a toothpick or
straight pin to hold down the straight pin to hold down the
thread in the center. thread in the center.

80 80
! Cut the end on an angle and tuck it tight ! Cut the end on an angle and tuck it tight
against the coil. against the coil.
! Spread a thin layer of rice glue over the coil. ! Spread a thin layer of rice glue over the coil.
Set aside to dry. Set aside to dry.

STEP 3 - STITCHING STEP 3 - STITCHING

! Stitch each section of the ! Stitch each section of the


eye with Satin Stitch in the eye with Satin Stitch in the
appropriate colour. appropriate colour.
! When stitching the round ! When stitching the round
part, use Seaming technique part, use Seaming technique
to mark the outline of the to mark the outline of the
pupil. pupil.

STEP 4 - PLACEMENT OF 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 ! Apply another thin layer of rice glue over the
same side as was previously glued. 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 ! Some of the edges can be outlined with a row
of Running Stitch - refer to the insert. of Running Stitch - refer to the insert.

81 81

! Cut the end on an angle and tuck it tight ! Cut the end on an angle and tuck it tight
against the coil. against the coil.
! Spread a thin layer of rice glue over the coil. ! Spread a thin layer of rice glue over the coil.
Set aside to dry. Set aside to dry.

STEP 3 - STITCHING STEP 3 - STITCHING

! Stitch each section of the ! Stitch each section of the


eye with Satin Stitch in the eye with Satin Stitch in the
appropriate colour. appropriate colour.
! When stitching the round ! When stitching the round
part, use Seaming technique part, use Seaming technique
to mark the outline of the to mark the outline of the
pupil. pupil.

STEP 4 - PLACEMENT OF 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 ! Apply another thin layer of rice glue over the
same side as was previously glued. 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 ! Some of the edges can be outlined with a row
of Running Stitch - refer to the insert. of Running Stitch - refer to the insert.

81 81
FISH, FEELERS & MOUTH FISH, FEELERS & MOUTH
These areas are stitched after the head area is These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a completed. 3/4 Polished Thread is placed over a
padding layer. padding layer.

TECHNIQUE TECHNIQUE

! Line pad around each feeler ! Line pad around each feeler
and around the mouth or lip and around the mouth or lip
area. area.

! Fill in with Solid Padding in ! Fill in with Solid Padding in


the direction indicated by the direction indicated by
the Padding Symbol. the Padding Symbol.

! With 3/4 Polished Thread in ! With 3/4 Polished Thread in


the appropriate colour, work the appropriate colour, work
over the padding with Satin over the padding with Satin
Stitch on an angle. All the Stitch on an angle. All the
edges should be smooth edges should be smooth
and neat. and neat.
The tip of each feeler should end with a single The tip of each feeler should end with a single
thread to make it look sharp & pointed. thread to make it look sharp & pointed.

! Finish off by running an ! Finish off by running an


outline along the bottom outline along the bottom
edge of each feeler and edge of each feeler and
the mouth. Refer to the the mouth. Refer to the
insert. insert.

82 82

FISH, FEELERS & MOUTH FISH, FEELERS & MOUTH


These areas are stitched after the head area is These areas are stitched after the head area is
completed. 3/4 Polished Thread is placed over a completed. 3/4 Polished Thread is placed over a
padding layer. padding layer.

TECHNIQUE TECHNIQUE

! Line pad around each feeler ! Line pad around each feeler
and around the mouth or lip and around the mouth or lip
area. area.

! Fill in with Solid Padding in ! Fill in with Solid Padding in


the direction indicated by the direction indicated by
the Padding Symbol. the Padding Symbol.

! With 3/4 Polished Thread in ! With 3/4 Polished Thread in


the appropriate colour, work the appropriate colour, work
over the padding with Satin over the padding with Satin
Stitch on an angle. All the Stitch on an angle. All the
edges should be smooth edges should be smooth
and neat. and neat.
The tip of each feeler should end with a single The tip of each feeler should end with a single
thread to make it look sharp & pointed. thread to make it look sharp & pointed.

! Finish off by running an ! Finish off by running an


outline along the bottom outline along the bottom
edge of each feeler and edge of each feeler and
the mouth. Refer to the the mouth. Refer to the
insert. insert.

82 82
FISH, SCALES FISH, SCALES
Scales are stitched two times using Padding, Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be Double Stitching technique. The top layer can be
a different colour from the padding layer. a different colour from the padding layer.

Each scale should be Each scale should be


clearly defined with a clearly defined with a
smooth indentation around smooth indentation around
the outer edge. Some the outer edge. Some
scales are screen-printed scales are screen-printed
with dark lines. The dark, with dark lines. The dark,
thick screen-printing thick screen-printing
should be left showing should be left showing
between the scales between the scales
thereby creating a definite thereby creating a definite
space. The scales with space. The scales with
light screen-printing will light screen-printing will
appear closer together and appear closer together and
will be outlined. will be outlined.
TECHNIQUE TECHNIQUE

! Stitch direction for each scale follows the flow ! Stitch direction for each scale follows the flow
of the body from the tail up to the head. of the body from the tail up to the head.
! To follow the natural overlapping effect of fish ! To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting scales, complete one scale at a time, starting
with the scales closest to the tail and working with the scales closest to the tail and working
up to the head. up to the head.
! Fill in with Satin Stitch, working inside the ! Fill in with Satin Stitch, working inside the
Screen-printed line. Screen-printed line.
! To work the second layer, you do not have to ! To work the second layer, you do not have to
cut the thread - On the last punch, leave the cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and needle in the canvas, turn the work frame and
stitch the top layer. stitch the top layer.
83 83

FISH, SCALES FISH, SCALES


Scales are stitched two times using Padding, Scales are stitched two times using Padding,
Double Stitching technique. The top layer can be Double Stitching technique. The top layer can be
a different colour from the padding layer. a different colour from the padding layer.

Each scale should be Each scale should be


clearly defined with a clearly defined with a
smooth indentation around smooth indentation around
the outer edge. Some the outer edge. Some
scales are screen-printed scales are screen-printed
with dark lines. The dark, with dark lines. The dark,
thick screen-printing thick screen-printing
should be left showing should be left showing
between the scales between the scales
thereby creating a definite thereby creating a definite
space. The scales with space. The scales with
light screen-printing will light screen-printing will
appear closer together and appear closer together and
will be outlined. will be outlined.
TECHNIQUE TECHNIQUE

! Stitch direction for each scale follows the flow ! Stitch direction for each scale follows the flow
of the body from the tail up to the head. of the body from the tail up to the head.
! To follow the natural overlapping effect of fish ! To follow the natural overlapping effect of fish
scales, complete one scale at a time, starting scales, complete one scale at a time, starting
with the scales closest to the tail and working with the scales closest to the tail and working
up to the head. up to the head.
! Fill in with Satin Stitch, working inside the ! Fill in with Satin Stitch, working inside the
Screen-printed line. Screen-printed line.
! To work the second layer, you do not have to ! To work the second layer, you do not have to
cut the thread - On the last punch, leave the cut the thread - On the last punch, leave the
needle in the canvas, turn the work frame and needle in the canvas, turn the work frame and
stitch the top layer. stitch the top layer.
83 83
! Outline the scales which were screen-printed ! Outline the scales which were screen-printed
with the light lines one at a time with the with the light lines one at a time with the
appropriate colour. appropriate colour.

FISH, STITCH ORDER FISH, STITCH ORDER


! Complete any fins that are behind the body of ! Complete any fins that are behind the body of
the fish. the fish.
! Stitch the scales starting from the tail and ! Stitch the scales starting from the tail and
working towards the head. 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 ! Complete the dorsal fin and any fins that are in
front of the body. 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 side- Consists of rows of Running Stitch stitched side-
by-side creating an area of very smooth, even by-side creating an area of very smooth, even
stitching which lies very flat to the canvas. stitching which lies very flat to the canvas.

APPLICATION APPLICATION

All areas that require 2 or more stitches to cover; All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal. areas should always be perfectly horizontal.

84 84

! Outline the scales which were screen-printed ! Outline the scales which were screen-printed
with the light lines one at a time with the with the light lines one at a time with the
appropriate colour. appropriate colour.

FISH, STITCH ORDER FISH, STITCH ORDER


! Complete any fins that are behind the body of ! Complete any fins that are behind the body of
the fish. the fish.
! Stitch the scales starting from the tail and ! Stitch the scales starting from the tail and
working towards the head. 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 ! Complete the dorsal fin and any fins that are in
front of the body. 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 side- Consists of rows of Running Stitch stitched side-
by-side creating an area of very smooth, even by-side creating an area of very smooth, even
stitching which lies very flat to the canvas. stitching which lies very flat to the canvas.

APPLICATION APPLICATION

All areas that require 2 or more stitches to cover; All areas that require 2 or more stitches to cover;
example: sky, water, etc. Rows of sky or water example: sky, water, etc. Rows of sky or water
areas should always be perfectly horizontal. areas should always be perfectly horizontal.

84 84
TECHNIQUE TECHNIQUE
! Important - use one of ! Important - use one of
the fingers of your left the fingers of your left
hand under the canvas. hand under the canvas.
As the needle is As the needle is
withdrawn, press your withdrawn, press your
fingertip gently on the fingertip gently on the
point of the needle. point of the needle.
When the needle is When the needle is
pulled completely back, pulled completely back,
the loop of the thread is the loop of the thread is
pressed securely under your finger. Proceed to pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this will move along the back of the canvas in this
manner. With experience, this action will manner. With experience, this action will
become automatic. Be careful not to punch become automatic. Be careful not to punch
your finger! your finger!
! Turn the work frame so that the rows are ! Turn the work frame so that the rows are
worked up and down the area, moving left to worked up and down the area, moving left to
right across the canvas. For proper stitch right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by alignment, never try to do Flat Stitching by
working horizontally across the canvas. working horizontally across the canvas.

! Turn the work frame so ! Turn the work frame so


that the top of the area that the top of the area
is positioned on the left is positioned on the left
hand side. When you hand side. When you
start stitching the rows start stitching the rows
the needle should be the needle should be
moving towards and moving towards and
away from your body. away from your body.

85 85

TECHNIQUE TECHNIQUE
! Important - use one of ! Important - use one of
the fingers of your left the fingers of your left
hand under the canvas. hand under the canvas.
As the needle is As the needle is
withdrawn, press your withdrawn, press your
fingertip gently on the fingertip gently on the
point of the needle. point of the needle.
When the needle is When the needle is
pulled completely back, pulled completely back,
the loop of the thread is the loop of the thread is
pressed securely under your finger. Proceed to pressed securely under your finger. Proceed to
the next stitch and repeat. Your left hand finger the next stitch and repeat. Your left hand finger
will move along the back of the canvas in this will move along the back of the canvas in this
manner. With experience, this action will manner. With experience, this action will
become automatic. Be careful not to punch become automatic. Be careful not to punch
your finger! your finger!
! Turn the work frame so that the rows are ! Turn the work frame so that the rows are
worked up and down the area, moving left to worked up and down the area, moving left to
right across the canvas. For proper stitch right across the canvas. For proper stitch
alignment, never try to do Flat Stitching by alignment, never try to do Flat Stitching by
working horizontally across the canvas. working horizontally across the canvas.

! Turn the work frame so ! Turn the work frame so


that the top of the area that the top of the area
is positioned on the left is positioned on the left
hand side. When you hand side. When you
start stitching the rows start stitching the rows
the needle should be the needle should be
moving towards and moving towards and
away from your body. away from your body.

85 85
! Since a 'punch mark' is ! Since a 'punch mark' is
created at the point where created at the point where
the needle has gone the needle has gone
through the canvas, it is through the canvas, it is
necessary to stagger the necessary to stagger the
stitch length on subsequent stitch length on subsequent
rows to avoid creating a rows to avoid creating a
line of punch marks. To do line of punch marks. To do
this vary the stitch length this vary the stitch length
from 1/4" to 3/4" (never from 1/4" to 3/4" (never
any longer than this). any longer than this).
! When stitching the ! When stitching the
background area (sky, background area (sky,
water, etc.) the stitches water, etc.) the stitches
run in horizontal rows, run in horizontal rows,
back and forth. If a back and forth. If a
cloud or mountain is in cloud or mountain is in
the stitching path, you the stitching path, you
must work your rows back and forth from this must work your rows back and forth from this
item. After you have finished working along item. After you have finished working along
one side of the cloud, cut your thread and one side of the cloud, cut your thread and
return back to the other side and continue. return back to the other side and continue.
Use Seaming technique to mark thin line Use Seaming technique to mark thin line
markings (eg. tip of tree branch). markings (eg. tip of tree branch).

FIRST ROW FIRST ROW


1. With a flat stitch needle (short shank) 1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas. pull the end to the back of the canvas.
2. Work one row of Running Stitch with the 2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction. Headlight pointing in the stitch direction.
3. On the last stitch of the row, turn the Headlight 3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row. so that it is pointing back along the first row.

86 86

! Since a 'punch mark' is ! Since a 'punch mark' is


created at the point where created at the point where
the needle has gone the needle has gone
through the canvas, it is through the canvas, it is
necessary to stagger the necessary to stagger the
stitch length on subsequent stitch length on subsequent
rows to avoid creating a rows to avoid creating a
line of punch marks. To do line of punch marks. To do
this vary the stitch length this vary the stitch length
from 1/4" to 3/4" (never from 1/4" to 3/4" (never
any longer than this). any longer than this).
! When stitching the ! When stitching the
background area (sky, background area (sky,
water, etc.) the stitches water, etc.) the stitches
run in horizontal rows, run in horizontal rows,
back and forth. If a back and forth. If a
cloud or mountain is in cloud or mountain is in
the stitching path, you the stitching path, you
must work your rows back and forth from this must work your rows back and forth from this
item. After you have finished working along item. After you have finished working along
one side of the cloud, cut your thread and one side of the cloud, cut your thread and
return back to the other side and continue. return back to the other side and continue.
Use Seaming technique to mark thin line Use Seaming technique to mark thin line
markings (eg. tip of tree branch). markings (eg. tip of tree branch).

FIRST ROW FIRST ROW


1. With a flat stitch needle (short shank) 1. With a flat stitch needle (short shank)
threaded with 2/4 pull thread, punch in and threaded with 2/4 pull thread, punch in and
pull the end to the back of the canvas. pull the end to the back of the canvas.
2. Work one row of Running Stitch with the 2. Work one row of Running Stitch with the
Headlight pointing in the stitch direction. Headlight pointing in the stitch direction.
3. On the last stitch of the row, turn the Headlight 3. On the last stitch of the row, turn the Headlight
so that it is pointing back along the first row. so that it is pointing back along the first row.

86 86
SECOND ROW SECOND ROW
4. Vary the stitch length on this 4. Vary the stitch length on this
row so that the punch marks row so that the punch marks
are staggered. The thread are staggered. The thread
should be laying right beside should be laying right beside
the first row; not on top, no the first row; not on top, no
spaces in between. spaces in between.

Continue working the rows in this Continue working the rows in this
manner, trying to keep the stitching flat to the manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not canvas; no spaces between the rows; but not
bunched together. bunched together.

To blend rows of Flat Stitch use the technique To blend rows of Flat Stitch use the technique
described in 'Row Blending'. described in 'Row Blending'.

FLOWERS, CENTRES FLOWERS, CENTRES


Techniques used for completing the center area Techniques used for completing the center area
of a flower are unique to each picture. Some kits of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not will give instructions for stitching this area, if not
refer to the coloured side of the insert. refer to the coloured side of the insert.

TECHNIQUE TECHNIQUE
Some commonly used stitches are Reverse, Some commonly used stitches are Reverse,
Satin, Blizzard, Outline. Satin, Blizzard, Outline.

Reverse Satin Blizzard Reverse Satin Blizzard

87 87

SECOND ROW SECOND ROW


4. Vary the stitch length on this 4. Vary the stitch length on this
row so that the punch marks row so that the punch marks
are staggered. The thread are staggered. The thread
should be laying right beside should be laying right beside
the first row; not on top, no the first row; not on top, no
spaces in between. spaces in between.

Continue working the rows in this Continue working the rows in this
manner, trying to keep the stitching flat to the manner, trying to keep the stitching flat to the
canvas; no spaces between the rows; but not canvas; no spaces between the rows; but not
bunched together. bunched together.

To blend rows of Flat Stitch use the technique To blend rows of Flat Stitch use the technique
described in 'Row Blending'. described in 'Row Blending'.

FLOWERS, CENTRES FLOWERS, CENTRES


Techniques used for completing the center area Techniques used for completing the center area
of a flower are unique to each picture. Some kits of a flower are unique to each picture. Some kits
will give instructions for stitching this area, if not will give instructions for stitching this area, if not
refer to the coloured side of the insert. refer to the coloured side of the insert.

TECHNIQUE TECHNIQUE
Some commonly used stitches are Reverse, Some commonly used stitches are Reverse,
Satin, Blizzard, Outline. Satin, Blizzard, Outline.

Reverse Satin Blizzard Reverse Satin Blizzard

87 87
FLOWERS, PETAL SEPARATION FLOWERS, PETAL SEPARATION
This technique, also This technique, also
referred to as Voiding referred to as Voiding
creates a distinct space creates a distinct space
between each petal by VOID between each petal by VOID
leaving approx. 1 - 2mm of leaving approx. 1 - 2mm of
blank canvas around each blank canvas around each
petal. petal.

APPLICATION - FLOWERS APPLICATION - FLOWERS

TECHNIQUE TECHNIQUE
! Line pad the outer edge of the petal. ! Line pad the outer edge of the petal.

! Stitch the topmost section of each petal first, ! Stitch the topmost section of each petal first,
then the second blending, etc. working down to then the second blending, etc. working down to
the bottom edge of each petal. This stitch the bottom edge of each petal. This stitch
order will help to judge the distance of space order will help to judge the distance of space
before going on to the next petal. before going on to the next petal.

88 88

FLOWERS, PETAL SEPARATION FLOWERS, PETAL SEPARATION


This technique, also This technique, also
referred to as Voiding referred to as Voiding
creates a distinct space creates a distinct space
between each petal by VOID between each petal by VOID
leaving approx. 1 - 2mm of leaving approx. 1 - 2mm of
blank canvas around each blank canvas around each
petal. petal.

APPLICATION - FLOWERS APPLICATION - FLOWERS

TECHNIQUE TECHNIQUE
! Line pad the outer edge of the petal. ! Line pad the outer edge of the petal.

! Stitch the topmost section of each petal first, ! Stitch the topmost section of each petal first,
then the second blending, etc. working down to then the second blending, etc. working down to
the bottom edge of each petal. This stitch the bottom edge of each petal. This stitch
order will help to judge the distance of space order will help to judge the distance of space
before going on to the next petal. before going on to the next petal.

88 88
FLOWERS, ROLLOVERS/ ROLLUNDERS FLOWERS, ROLLOVERS/ ROLLUNDERS
Petals of many flowers have turned edges which Petals of many flowers have turned edges which
are called rollovers or rollunders. are called rollovers or rollunders.

1. ROLLOVER 1. ROLLOVER
The rollover is turned forward to the The rollover is turned forward to the
foreground and must therefore be completed foreground and must therefore be completed
after the body of the petal. Each rollover is after the body of the petal. Each rollover is
usually marked with the Solid Padding usually marked with the Solid Padding
Symbol ( ). Symbol ( ).

TECHNIQUE TECHNIQUE

! Line pad entire rollover ! Line pad entire rollover

! Fill in with solid ! Fill in with solid


padding - the single padding - the single
line of the symbol line of the symbol
indicates direction for indicates direction for
the padding. the padding.

! Overstitch in the ! Overstitch in the


direction of the double direction of the double
line of the Padding line of the Padding
symbol with single symbol with single
length Satin Stitch. length Satin Stitch.

89 89

FLOWERS, ROLLOVERS/ ROLLUNDERS FLOWERS, ROLLOVERS/ ROLLUNDERS


Petals of many flowers have turned edges which Petals of many flowers have turned edges which
are called rollovers or rollunders. are called rollovers or rollunders.

1. ROLLOVER 1. ROLLOVER
The rollover is turned forward to the The rollover is turned forward to the
foreground and must therefore be completed foreground and must therefore be completed
after the body of the petal. Each rollover is after the body of the petal. Each rollover is
usually marked with the Solid Padding usually marked with the Solid Padding
Symbol ( ). Symbol ( ).

TECHNIQUE TECHNIQUE

! Line pad entire rollover ! Line pad entire rollover

! Fill in with solid ! Fill in with solid


padding - the single padding - the single
line of the symbol line of the symbol
indicates direction for indicates direction for
the padding. the padding.

! Overstitch in the ! Overstitch in the


direction of the double direction of the double
line of the Padding line of the Padding
symbol with single symbol with single
length Satin Stitch. length Satin Stitch.

89 89
2. ROLLUNDER 2. ROLLUNDER

The roll under is turned back to the The roll under is turned back to the
background and should therefore be background and should therefore be
completed before the body of the petal. completed before the body of the petal.

TECHNIQUE TECHNIQUE

! Line pad around the ! Line pad around the


outside edge. outside edge.

! Stitch in the proper ! Stitch in the proper


direction (no other direction (no other
padding required). padding required).

Complete the body of Complete the body of


the petal. the petal.

FLOWERS, STEMS FLOWERS, STEMS


TYPE OF STEM POSSIBLE TECHNIQUES TYPE OF STEM POSSIBLE TECHNIQUES

Thin Stems Running Stitch, Split Stitch, Thin Stems Running Stitch, Split Stitch,
Cord Stitch. Cord Stitch.
Medium Stem Flat Stitch (2-3 rows of Running Medium Stem Flat Stitch (2-3 rows of Running
Stitch placed side by side). Stitch placed side by side).
Satin Stitch. Satin Stitch.

Thick Stems Solid Padding, Satin Stitch, Thick Stems Solid Padding, Satin Stitch,
Flat Stitch, Inlay. Flat Stitch, Inlay.

90 90

2. ROLLUNDER 2. ROLLUNDER

The roll under is turned back to the The roll under is turned back to the
background and should therefore be background and should therefore be
completed before the body of the petal. completed before the body of the petal.

TECHNIQUE TECHNIQUE

! Line pad around the ! Line pad around the


outside edge. outside edge.

! Stitch in the proper ! Stitch in the proper


direction (no other direction (no other
padding required). padding required).

Complete the body of Complete the body of


the petal. the petal.

FLOWERS, STEMS FLOWERS, STEMS


TYPE OF STEM POSSIBLE TECHNIQUES TYPE OF STEM POSSIBLE TECHNIQUES

Thin Stems Running Stitch, Split Stitch, Thin Stems Running Stitch, Split Stitch,
Cord Stitch. Cord Stitch.
Medium Stem Flat Stitch (2-3 rows of Running Medium Stem Flat Stitch (2-3 rows of Running
Stitch placed side by side). Stitch placed side by side).
Satin Stitch. Satin Stitch.

Thick Stems Solid Padding, Satin Stitch, Thick Stems Solid Padding, Satin Stitch,
Flat Stitch, Inlay. Flat Stitch, Inlay.

90 90
FLOWERS, ORDER OF STITCHERY FLOWERS, ORDER OF STITCHERY
The sequence that the petals are stitched is The sequence that the petals are stitched is
extremely important. The basic concept of extremely important. The basic concept of
stitching the background first applies even more stitching the background first applies even more
so for floral stitchery. so for floral stitchery.

Floral pictures utilize a wide variety of stitch Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding, techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc. Satin Stitch, Reverse Stitch, etc.
TECHNIQUE TECHNIQUE

! Start with the petal that is farthest away. Each ! Start with the petal that is farthest away. Each
petal must be completely finished before petal must be completely finished before
moving on to the petal in front of it. moving on to the petal in front of it.
! Line pad around the outer edge. Complete the ! Line pad around the outer edge. Complete the
petal. petal.

! Move to the next furthest petal; line pad and ! Move to the next furthest petal; line pad and
stitch. stitch.

91 91

FLOWERS, ORDER OF STITCHERY FLOWERS, ORDER OF STITCHERY


The sequence that the petals are stitched is The sequence that the petals are stitched is
extremely important. The basic concept of extremely important. The basic concept of
stitching the background first applies even more stitching the background first applies even more
so for floral stitchery. so for floral stitchery.

Floral pictures utilize a wide variety of stitch Floral pictures utilize a wide variety of stitch
techniques, such as Line Padding, Solid Padding, techniques, such as Line Padding, Solid Padding,
Satin Stitch, Reverse Stitch, etc. Satin Stitch, Reverse Stitch, etc.
TECHNIQUE TECHNIQUE

! Start with the petal that is farthest away. Each ! Start with the petal that is farthest away. Each
petal must be completely finished before petal must be completely finished before
moving on to the petal in front of it. moving on to the petal in front of it.
! Line pad around the outer edge. Complete the ! Line pad around the outer edge. Complete the
petal. petal.

! Move to the next furthest petal; line pad and ! Move to the next furthest petal; line pad and
stitch. stitch.

91 91
Rollovers are the last area to be stitched on a Rollovers are the last area to be stitched on a
flower. flower.

Roll under should be stitched before the body of Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder). the petal. (see Flower, Rollover/Rollunder).

Buds: Buds:

! The overlapping petals of the ! The overlapping petals of the


bud must be stitched from bud must be stitched from
the background to the the background to the
foreground. foreground.
! The body of the bud should ! The body of the bud should
be stitched before the calyx. be stitched before the calyx.
The calyx should be line The calyx should be line
padded along the upper edge padded along the upper edge
where it meets the bud. 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 screen- Fluffy or Pile stitch is worked on the screen-
printed side, of the canvas. This will be the back printed side, of the canvas. This will be the back
or wrong side of the finished picture. By turning or wrong side of the finished picture. By turning
over the work frame to the right side, you can see over the work frame to the right side, you can see
the loops left by the needle. These loops will be the loops left by the needle. These loops will be
brushed out with a special bunka brush which brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers. separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the fluffy areas must be completed first since the
brushing action will easily pull out the flat brushing action will easily pull out the flat
stitching. stitching.

92 92

Rollovers are the last area to be stitched on a Rollovers are the last area to be stitched on a
flower. flower.

Roll under should be stitched before the body of Roll under should be stitched before the body of
the petal. (see Flower, Rollover/Rollunder). the petal. (see Flower, Rollover/Rollunder).

Buds: Buds:

! The overlapping petals of the ! The overlapping petals of the


bud must be stitched from bud must be stitched from
the background to the the background to the
foreground. foreground.
! The body of the bud should ! The body of the bud should
be stitched before the calyx. be stitched before the calyx.
The calyx should be line The calyx should be line
padded along the upper edge padded along the upper edge
where it meets the bud. 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 screen- Fluffy or Pile stitch is worked on the screen-
printed side, of the canvas. This will be the back printed side, of the canvas. This will be the back
or wrong side of the finished picture. By turning or wrong side of the finished picture. By turning
over the work frame to the right side, you can see over the work frame to the right side, you can see
the loops left by the needle. These loops will be the loops left by the needle. These loops will be
brushed out with a special bunka brush which brushed out with a special bunka brush which
separates the thread into soft mohair-like fibers. separates the thread into soft mohair-like fibers.
If there is any flat stitching on the picture, all the If there is any flat stitching on the picture, all the
fluffy areas must be completed first since the fluffy areas must be completed first since the
brushing action will easily pull out the flat brushing action will easily pull out the flat
stitching. stitching.

92 92
Fluffy pictures can be stitched using either the Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer those created by a flat needle due to the longer
shank which results in longer loops. For new shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops needle is recommended since the longer loops
are easier to brush out. are easier to brush out.

2/4 pull and 1/4 pull thread can be used. Due to 2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all and must be avoided on fluffy work at all
times. times.

APPLICATION APPLICATION
As well as being used for full pictures, fluffy stitch As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc.. layer (eg. Ballerina Kit), etc..

TECHNIQUE TECHNIQUE

! It is important that the needle be inserted to the ! It is important that the needle be inserted to the
full depth of the shank with each stitch to full depth of the shank with each stitch to
produce the desired loop height. produce the desired loop height.

! The motion of the needle when working Fluffy ! The motion of the needle when working Fluffy
stitch can be compared to the up and down stitch can be compared to the up and down
movement of a sewing machine needle. movement of a sewing machine needle.

93 93

Fluffy pictures can be stitched using either the Fluffy pictures can be stitched using either the
fluffy needle (long shank) or the flat needle (short fluffy needle (long shank) or the flat needle (short
shank). The loops created on the back of the shank). The loops created on the back of the
canvas by a fluffy needle will be much longer than canvas by a fluffy needle will be much longer than
those created by a flat needle due to the longer those created by a flat needle due to the longer
shank which results in longer loops. For new shank which results in longer loops. For new
stitchers working on their first fluffy, the fluffy stitchers working on their first fluffy, the fluffy
needle is recommended since the longer loops needle is recommended since the longer loops
are easier to brush out. are easier to brush out.

2/4 pull and 1/4 pull thread can be used. Due to 2/4 pull and 1/4 pull thread can be used. Due to
the thickness of 3/4 pull, it will not brush out the thickness of 3/4 pull, it will not brush out
and must be avoided on fluffy work at all and must be avoided on fluffy work at all
times. times.

APPLICATION APPLICATION
As well as being used for full pictures, fluffy stitch As well as being used for full pictures, fluffy stitch
can also be used for small accent areas on a flat can also be used for small accent areas on a flat
stitch picture such as flower centers; as a padding stitch picture such as flower centers; as a padding
layer (eg. Ballerina Kit), etc.. layer (eg. Ballerina Kit), etc..

TECHNIQUE TECHNIQUE

! It is important that the needle be inserted to the ! It is important that the needle be inserted to the
full depth of the shank with each stitch to full depth of the shank with each stitch to
produce the desired loop height. produce the desired loop height.

! The motion of the needle when working Fluffy ! The motion of the needle when working Fluffy
stitch can be compared to the up and down stitch can be compared to the up and down
movement of a sewing machine needle. movement of a sewing machine needle.

93 93
! Position the needle so that the Headlight is ! Position the needle so that the Headlight is
pointing in the direction of stitching. pointing in the direction of stitching.

! To ensure that the small areas remain well- ! To ensure that the small areas remain well-
defined it is important that the larger areas are defined it is important that the larger areas are
stitched first, then the smaller sections. stitched first, then the smaller sections.

! Light coloured areas should be stitched slightly ! Light coloured areas should be stitched slightly
thicker than the dark shades. thicker than the dark shades.

! The areas shaded with lines are not to be ! The areas shaded with lines are not to be
stitched. These are spaces usually allotted for stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after insertion of a plastic nose or eyes after
stitching is completed. stitching is completed.

! Rows of fluffy stitches can be done in any ! Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16" direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible the stitching side some canvas will be visible
between the rows; on the brushing side, the between the rows; on the brushing side, the
area should be completely covered with evenly area should be completely covered with evenly
spaced loose - not crammed together. spaced loose - not crammed together.

START START
1. Thread up the fluffy (long shank) needle with 1. Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger 2/4 pull in a colour form one of the larger
areas of the picture. areas of the picture.

2. With the printed side facing you, push your 2. With the printed side facing you, push your
chair back until the top edge of the work chair back until the top edge of the work
frame is resting comfortably between a table frame is resting comfortably between a table
edge and your lap. To avoid damaging the edge and your lap. To avoid damaging the
needle it is important that there is nothing needle it is important that there is nothing
under the canvas that the needle could hit. under the canvas that the needle could hit.

94 94

! Position the needle so that the Headlight is ! Position the needle so that the Headlight is
pointing in the direction of stitching. pointing in the direction of stitching.

! To ensure that the small areas remain well- ! To ensure that the small areas remain well-
defined it is important that the larger areas are defined it is important that the larger areas are
stitched first, then the smaller sections. stitched first, then the smaller sections.

! Light coloured areas should be stitched slightly ! Light coloured areas should be stitched slightly
thicker than the dark shades. thicker than the dark shades.

! The areas shaded with lines are not to be ! The areas shaded with lines are not to be
stitched. These are spaces usually allotted for stitched. These are spaces usually allotted for
insertion of a plastic nose or eyes after insertion of a plastic nose or eyes after
stitching is completed. stitching is completed.

! Rows of fluffy stitches can be done in any ! Rows of fluffy stitches can be done in any
direction. The stiitches should be about 1/16" direction. The stiitches should be about 1/16"
apart and the rows about 1/8" apart so that on apart and the rows about 1/8" apart so that on
the stitching side some canvas will be visible the stitching side some canvas will be visible
between the rows; on the brushing side, the between the rows; on the brushing side, the
area should be completely covered with evenly area should be completely covered with evenly
spaced loose - not crammed together. spaced loose - not crammed together.

START START
1. Thread up the fluffy (long shank) needle with 1. Thread up the fluffy (long shank) needle with
2/4 pull in a colour form one of the larger 2/4 pull in a colour form one of the larger
areas of the picture. areas of the picture.

2. With the printed side facing you, push your 2. With the printed side facing you, push your
chair back until the top edge of the work chair back until the top edge of the work
frame is resting comfortably between a table frame is resting comfortably between a table
edge and your lap. To avoid damaging the edge and your lap. To avoid damaging the
needle it is important that there is nothing needle it is important that there is nothing
under the canvas that the needle could hit. under the canvas that the needle could hit.

94 94
3. Hold the needle like a pencil, 3. Hold the needle like a pencil,
resting the edge of your hand resting the edge of your hand
on the canvas. on the canvas.

4. Punch the needle through to 4. Punch the needle through to


its full depth. its full depth.

5. Slowly raise the 5. Slowly raise the


1/8” stitches 1/8” stitches
needle up out of needle up out of
the canvas, Stitching side the canvas, Stitching side
keeping the keeping the
point as close Finished side point as close Finished side

as possible to as possible to
the canvas - Do the canvas - Do
not lift the needle away from the surface not lift the needle away from the surface
of the canvas - and punch right down again. of the canvas - and punch right down again.
The stitch will be about 1/16" long. The stitch will be about 1/16" long.

The thread must be anchored at the The thread must be anchored at the
beginning and end of an area to prevent it beginning and end of an area to prevent it
from pulling out during the brushing stage. from pulling out during the brushing stage.

6. To anchor the thread - 6. To anchor the thread -


punch three stitches; turn the punch three stitches; turn the
headlight and punch back headlight and punch back
directly on top of the first directly on top of the first
three stitches. three stitches.

7. Continue on with the first row in the direction 7. Continue on with the first row in the direction
of your choice. of your choice.

95 95

3. Hold the needle like a pencil, 3. Hold the needle like a pencil,
resting the edge of your hand resting the edge of your hand
on the canvas. on the canvas.

4. Punch the needle through to 4. Punch the needle through to


its full depth. its full depth.

5. Slowly raise the 5. Slowly raise the


1/8” stitches 1/8” stitches
needle up out of needle up out of
the canvas, Stitching side the canvas, Stitching side
keeping the keeping the
point as close Finished side point as close Finished side

as possible to as possible to
the canvas - Do the canvas - Do
not lift the needle away from the surface not lift the needle away from the surface
of the canvas - and punch right down again. of the canvas - and punch right down again.
The stitch will be about 1/16" long. The stitch will be about 1/16" long.

The thread must be anchored at the The thread must be anchored at the
beginning and end of an area to prevent it beginning and end of an area to prevent it
from pulling out during the brushing stage. from pulling out during the brushing stage.

6. To anchor the thread - 6. To anchor the thread -


punch three stitches; turn the punch three stitches; turn the
headlight and punch back headlight and punch back
directly on top of the first directly on top of the first
three stitches. three stitches.

7. Continue on with the first row in the direction 7. Continue on with the first row in the direction
of your choice. of your choice.

95 95
8. On each subsequent row, 8. On each subsequent row,
turn the headlight until it turn the headlight until it
is pointing back along the is pointing back along the
direction of the first or direction of the first or
previous row. previous row.
9. Rows should be spaced 9. Rows should be spaced
approx. 1/8" apart. approx. 1/8" apart.
Continue working the rows Continue working the rows
in this manner until the in this manner until the
area is filled. area is filled.

TO STOP TO STOP
10. When an area is completed, the thread must 10. When an area is completed, the thread must
be anchored by back-tracking directly on top be anchored by back-tracking directly on top
of the previous three stitches. of the previous three stitches.
11. Lift the needle out of the 11. Lift the needle out of the
canvas until there is about canvas until there is about
1/4" of thread. Cut the 1/4" of thread. Cut the
thread close to the needle. thread close to the needle.

BRUSHING BRUSHING
The brushing is performed on the loop side of the The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture. loops of thread into a fluffy mohair-like texture.

The metal brush is specially designed to grip and The metal brush is specially designed to grip and
separate the thread. For easier handling the separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it the rubber strap on the brush and re-stapling it
onto the dowel. onto the dowel.

96 96

8. On each subsequent row, 8. On each subsequent row,


turn the headlight until it turn the headlight until it
is pointing back along the is pointing back along the
direction of the first or direction of the first or
previous row. previous row.
9. Rows should be spaced 9. Rows should be spaced
approx. 1/8" apart. approx. 1/8" apart.
Continue working the rows Continue working the rows
in this manner until the in this manner until the
area is filled. area is filled.

TO STOP TO STOP
10. When an area is completed, the thread must 10. When an area is completed, the thread must
be anchored by back-tracking directly on top be anchored by back-tracking directly on top
of the previous three stitches. of the previous three stitches.
11. Lift the needle out of the 11. Lift the needle out of the
canvas until there is about canvas until there is about
1/4" of thread. Cut the 1/4" of thread. Cut the
thread close to the needle. thread close to the needle.

BRUSHING BRUSHING
The brushing is performed on the loop side of the The brushing is performed on the loop side of the
canvas, i.e. turn the stitching side of the canvas canvas, i.e. turn the stitching side of the canvas
over so that the loops are facing you. The over so that the loops are facing you. The
purpose of brushing is to turn all the knobs or purpose of brushing is to turn all the knobs or
loops of thread into a fluffy mohair-like texture. loops of thread into a fluffy mohair-like texture.

The metal brush is specially designed to grip and The metal brush is specially designed to grip and
separate the thread. For easier handling the separate the thread. For easier handling the
brush can be attached to a 6" wooden dowel by brush can be attached to a 6" wooden dowel by
removing the staple which joins the two ends of removing the staple which joins the two ends of
the rubber strap on the brush and re-stapling it the rubber strap on the brush and re-stapling it
onto the dowel. onto the dowel.

96 96
1. To protect the canvas from the effects of the 1. To protect the canvas from the effects of the
brush, place a row of masking tape around brush, place a row of masking tape around
the picture by tearing off small pieces and the picture by tearing off small pieces and
placing them as close to the stitching as placing them as close to the stitching as
possible without catching any loops. 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 3. Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into towards you. Push the brush firmly down into
the loops. Bring the brush up through the the loops. Bring the brush up through the
loops with a lifting motion. By using this loops with a lifting motion. By using this
lifting technique, the thread will start to lifting technique, the thread will start to
separate. separate.

4. The odd time an end (either a 'start' or a 4. The odd time an end (either a 'start' or a
'stop') that has not been anchored properly 'stop') that has not been anchored properly
will pull free. It is very important to cut this will pull free. It is very important to cut this
thread to prevent the other stitches from thread to prevent the other stitches from
unraveling - clip the end to the same height unraveling - clip the end to the same height
as the surrounding loops. as the surrounding loops.
5. To produce full, soft fluff it is important that 5. To produce full, soft fluff it is important that
most of the loops are brushed out. By most of the loops are brushed out. By
massaging your finger down through the massaging your finger down through the
threads, you will be able to feel the knobs of threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and un-brushed thread. Separate the threads and
try to get at as many of these knobs as try to get at as many of these knobs as
possible. possible.
97 97

1. To protect the canvas from the effects of the 1. To protect the canvas from the effects of the
brush, place a row of masking tape around brush, place a row of masking tape around
the picture by tearing off small pieces and the picture by tearing off small pieces and
placing them as close to the stitching as placing them as close to the stitching as
possible without catching any loops. 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 3. Hold the brush so that the teeth are bent
towards you. Push the brush firmly down into towards you. Push the brush firmly down into
the loops. Bring the brush up through the the loops. Bring the brush up through the
loops with a lifting motion. By using this loops with a lifting motion. By using this
lifting technique, the thread will start to lifting technique, the thread will start to
separate. separate.

4. The odd time an end (either a 'start' or a 4. The odd time an end (either a 'start' or a
'stop') that has not been anchored properly 'stop') that has not been anchored properly
will pull free. It is very important to cut this will pull free. It is very important to cut this
thread to prevent the other stitches from thread to prevent the other stitches from
unraveling - clip the end to the same height unraveling - clip the end to the same height
as the surrounding loops. as the surrounding loops.
5. To produce full, soft fluff it is important that 5. To produce full, soft fluff it is important that
most of the loops are brushed out. By most of the loops are brushed out. By
massaging your finger down through the massaging your finger down through the
threads, you will be able to feel the knobs of threads, you will be able to feel the knobs of
un-brushed thread. Separate the threads and un-brushed thread. Separate the threads and
try to get at as many of these knobs as try to get at as many of these knobs as
possible. possible.
97 97
6. The knobs at the edges of fluffy areas are 6. The knobs at the edges of fluffy areas are
some times difficult to get completely some times difficult to get completely
brushed out. Use the point of a bunka needle brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to to carefully pick at these loops to get them to
fluff. fluff.

SCULPTURING SCULPTURING
By trimming down the fluff the design areas By trimming down the fluff the design areas
become more distinct and instead of being fluffy, become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture. the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the standing straight up, then start cutting off the
desired amount. The edges of a sculptured desired amount. The edges of a sculptured
design look nicer when they have design look nicer when they have
been angled on a smooth down to the canvas. 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 PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post the center of the area and push through the post
of the eye/nose. of the eye/nose.

FLOWERS - Can be sewn on with needle and FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of in the canvas. Secure on the back with a piece of
tape. tape.

98 98

6. The knobs at the edges of fluffy areas are 6. The knobs at the edges of fluffy areas are
some times difficult to get completely some times difficult to get completely
brushed out. Use the point of a bunka needle brushed out. Use the point of a bunka needle
to carefully pick at these loops to get them to to carefully pick at these loops to get them to
fluff. fluff.

SCULPTURING SCULPTURING
By trimming down the fluff the design areas By trimming down the fluff the design areas
become more distinct and instead of being fluffy, become more distinct and instead of being fluffy,
the stitching will take on a more velvety texture. the stitching will take on a more velvety texture.
With your bunka brush raise the fluff so that it is With your bunka brush raise the fluff so that it is
standing straight up, then start cutting off the standing straight up, then start cutting off the
desired amount. The edges of a sculptured desired amount. The edges of a sculptured
design look nicer when they have design look nicer when they have
been angled on a smooth down to the canvas. 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 PLASTIC EYES AND NOSE - Cut a small hole in
the center of the area and push through the post the center of the area and push through the post
of the eye/nose. of the eye/nose.

FLOWERS - Can be sewn on with needle and FLOWERS - Can be sewn on with needle and
thread or insert the end through a small hole cut thread or insert the end through a small hole cut
in the canvas. Secure on the back with a piece of in the canvas. Secure on the back with a piece of
tape. tape.

98 98
FOAM STITCH FOAM STITCH
This stitch is a variation of the Twisted Picot. This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch Stitch'. See Twisted Picot Stitch
APPLICATION APPLICATION
Can be used in water areas where a turbulent Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or effect is desired, such as the crest of a wave or
the base of a waterfall. 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 ! Punch on the edge of the wave, using one of
the lighter shades of thread. the lighter shades of thread.
! Make a Twisted Picot. ! Make a Twisted Picot.
! Take a short 1/8" Lead Stitch to where you ! Take a short 1/8" Lead Stitch to where you
want the next Picot. want the next Picot.
! Repeat. For a natural effect, do not line up the ! Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be Twisted Picots neatly in a line. They should be
staggered along different areas of the wave. staggered along different areas of the wave.

99 99

FOAM STITCH FOAM STITCH


This stitch is a variation of the Twisted Picot. This stitch is a variation of the Twisted Picot.
Where each Twisted Picot is joined with a 'Lead Where each Twisted Picot is joined with a 'Lead
Stitch'. See Twisted Picot Stitch Stitch'. See Twisted Picot Stitch
APPLICATION APPLICATION
Can be used in water areas where a turbulent Can be used in water areas where a turbulent
effect is desired, such as the crest of a wave or effect is desired, such as the crest of a wave or
the base of a waterfall. 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 ! Punch on the edge of the wave, using one of
the lighter shades of thread. the lighter shades of thread.
! Make a Twisted Picot. ! Make a Twisted Picot.
! Take a short 1/8" Lead Stitch to where you ! Take a short 1/8" Lead Stitch to where you
want the next Picot. want the next Picot.
! Repeat. For a natural effect, do not line up the ! Repeat. For a natural effect, do not line up the
Twisted Picots neatly in a line. They should be Twisted Picots neatly in a line. They should be
staggered along different areas of the wave. staggered along different areas of the wave.

99 99
FRENCH KNOT FRENCH KNOT
Utilizes a regular tapestry needle and either Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4. use any pull less than 3/4.

APPLICATION APPLICATION
Centers of Flowers; Accents on Bird's Legs; Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch. Decorative Stitch.

TECHNIQUE TECHNIQUE
The technique is very similar to the method used The technique is very similar to the method used
in traditional embroidery however in Bunka in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the Shishu work the thread is wrapped around the
needle only once. needle only once.

! Thread about 12" of whole bunka thread into ! Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end. the tapestry needle and tie a knot in the end.
! Bring the tapestry needle up from the back of ! Bring the tapestry needle up from the back of
the canvas to the front. the canvas to the front.
! Hold the thread taut with ! Hold the thread taut with
your left hand and wrap the your left hand and wrap the
needle once around the needle once around the
thread. thread.
! Important - Keep a tight ! Important - Keep a tight
hold on the thread with hold on the thread with
the left hand. the left hand.
! Take the needle to the back of the canvas ! Take the needle to the back of the canvas
1mm away from the thread and slowly draw 1mm away from the thread and slowly draw
the entire length of thread to the back. the entire length of thread to the back.

100 100

FRENCH KNOT FRENCH KNOT


Utilizes a regular tapestry needle and either Utilizes a regular tapestry needle and either
whole or 3/4 pull bunka thread. Not advisable to whole or 3/4 pull bunka thread. Not advisable to
use any pull less than 3/4. use any pull less than 3/4.

APPLICATION APPLICATION
Centers of Flowers; Accents on Bird's Legs; Centers of Flowers; Accents on Bird's Legs;
Decorative Stitch. Decorative Stitch.

TECHNIQUE TECHNIQUE
The technique is very similar to the method used The technique is very similar to the method used
in traditional embroidery however in Bunka in traditional embroidery however in Bunka
Shishu work the thread is wrapped around the Shishu work the thread is wrapped around the
needle only once. needle only once.

! Thread about 12" of whole bunka thread into ! Thread about 12" of whole bunka thread into
the tapestry needle and tie a knot in the end. the tapestry needle and tie a knot in the end.
! Bring the tapestry needle up from the back of ! Bring the tapestry needle up from the back of
the canvas to the front. the canvas to the front.
! Hold the thread taut with ! Hold the thread taut with
your left hand and wrap the your left hand and wrap the
needle once around the needle once around the
thread. thread.
! Important - Keep a tight ! Important - Keep a tight
hold on the thread with hold on the thread with
the left hand. the left hand.
! Take the needle to the back of the canvas ! Take the needle to the back of the canvas
1mm away from the thread and slowly draw 1mm away from the thread and slowly draw
the entire length of thread to the back. the entire length of thread to the back.

100 100
! It is not necessary to cut the thread if ! It is not necessary to cut the thread if
additional knots are required in close proximity additional knots are required in close proximity
to each other. However, if a space of more to each other. However, if a space of more
than 1" is necessary between French Knots it than 1" is necessary between French Knots it
is advisable to cut the thread after completing is advisable to cut the thread after completing
each one. each one.

GRASS STITCH GRASS STITCH


(See Claw Stitch) (See Claw Stitch)

HAIR, HAIRPLANTING HAIR, HAIRPLANTING


Hair planting is an advanced technique used to Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle. 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 ! Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey, required colours - at least 3, light-grey,
medium-grey and black. medium-grey and black.

! Place a small amount of glue between your ! Place a small amount of glue between your
fingers and run each thread through your fingers and run each thread through your
fingers and glue until all the curl has been fingers and glue until all the curl has been
straightened out. Set aside to dry. straightened out. Set aside to dry.

! Using a regular sewing needle, bring the ! Using a regular sewing needle, bring the
thread up from the back of the canvas to front thread up from the back of the canvas to front
just below the edge of the hair. just below the edge of the hair.

101 101

! It is not necessary to cut the thread if ! It is not necessary to cut the thread if
additional knots are required in close proximity additional knots are required in close proximity
to each other. However, if a space of more to each other. However, if a space of more
than 1" is necessary between French Knots it than 1" is necessary between French Knots it
is advisable to cut the thread after completing is advisable to cut the thread after completing
each one. each one.

GRASS STITCH GRASS STITCH


(See Claw Stitch) (See Claw Stitch)

HAIR, HAIRPLANTING HAIR, HAIRPLANTING


Hair planting is an advanced technique used to Hair planting is an advanced technique used to
create a natural-looking hairline. Requires the use create a natural-looking hairline. Requires the use
of rice glue and a regular sewing needle. 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 ! Cut 12" lengths of 2/4 pull thread in the
required colours - at least 3, light-grey, required colours - at least 3, light-grey,
medium-grey and black. medium-grey and black.

! Place a small amount of glue between your ! Place a small amount of glue between your
fingers and run each thread through your fingers and run each thread through your
fingers and glue until all the curl has been fingers and glue until all the curl has been
straightened out. Set aside to dry. straightened out. Set aside to dry.

! Using a regular sewing needle, bring the ! Using a regular sewing needle, bring the
thread up from the back of the canvas to front thread up from the back of the canvas to front
just below the edge of the hair. just below the edge of the hair.

101 101
! Take a 1/2" to 1" ! Take a 1/2" to 1"
stitch over into the stitch over into the
hair. Repeat, placing hair. Repeat, placing
varying lengths and varying lengths and
colours of the glued colours of the glued
thread throughout the thread throughout the
hairline. hairline.

HAIR, LAYERS HAIR, LAYERS


(see Layered Stitching) (see Layered Stitching)

HAIR, STYLING HAIR, STYLING


Styling involves rolling strands of brushed Fluffy Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4 the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is Fluffy thread. With both methods, it is
recommended that you work with small sections of recommended that you work with small sections of
the fluff at a time. the fluff at a time.

1/4 pull Fluffy stitch, as on the 1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with Ballerina Rose, are done with
two shades of brown in 1/4 pull two shades of brown in 1/4 pull
thread. The outline of each curl thread. The outline of each curl
is stitched 2x with Fluffy Stitch is stitched 2x with Fluffy Stitch
using a fluffy needle. The using a fluffy needle. The
inside area of each curl is then inside area of each curl is then
filled in with the second colour. filled in with the second colour.

102 102

! Take a 1/2" to 1" ! Take a 1/2" to 1"


stitch over into the stitch over into the
hair. Repeat, placing hair. Repeat, placing
varying lengths and varying lengths and
colours of the glued colours of the glued
thread throughout the thread throughout the
hairline. hairline.

HAIR, LAYERS HAIR, LAYERS


(see Layered Stitching) (see Layered Stitching)

HAIR, STYLING HAIR, STYLING


Styling involves rolling strands of brushed Fluffy Styling involves rolling strands of brushed Fluffy
Stitch using either a curling iron or two bunka Stitch using either a curling iron or two bunka
needles to roll the fluff into curls. The curling iron needles to roll the fluff into curls. The curling iron
makes large, loose curls and is usually used on makes large, loose curls and is usually used on
larger pictures. The bunka needle method creates larger pictures. The bunka needle method creates
tighter, smaller curls and works beautifully when tighter, smaller curls and works beautifully when
the hair has been stitched with 2 shades of 1/4 the hair has been stitched with 2 shades of 1/4
pull although it can also be done with 2/4 pull pull although it can also be done with 2/4 pull
Fluffy thread. With both methods, it is Fluffy thread. With both methods, it is
recommended that you work with small sections of recommended that you work with small sections of
the fluff at a time. the fluff at a time.

1/4 pull Fluffy stitch, as on the 1/4 pull Fluffy stitch, as on the
Ballerina Rose, are done with Ballerina Rose, are done with
two shades of brown in 1/4 pull two shades of brown in 1/4 pull
thread. The outline of each curl thread. The outline of each curl
is stitched 2x with Fluffy Stitch is stitched 2x with Fluffy Stitch
using a fluffy needle. The using a fluffy needle. The
inside area of each curl is then inside area of each curl is then
filled in with the second colour. 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. ! Stitch and brush the area.
! Brush up the fluffy so that it is perpendicular to ! Brush up the fluffy so that it is perpendicular to
the canvas. the canvas.
! Section off a few strands (approx. 1/4" in ! Section off a few strands (approx. 1/4" in
width). width).
! Thread up one of the needles and hold it in ! Thread up one of the needles and hold it in
your stitching hand - leave the other your stitching hand - leave the other
unthreaded. unthreaded.
! Hold the needles ! Hold the needles
horizontal to the horizontal to the
canvas placing the Roll canvas placing the Roll

threaded one in front of threaded one in front of


the fluff and the un- the fluff and the un-
threaded needle threaded needle
behind. behind.
! Roll the strands of fluffy between the two ! Roll the strands of fluffy between the two
needles; the needles should roll in a circular needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'. motion. Take the curl right down to the 'roots'.
! Hold the threaded ! Hold the threaded
needle inside the curl, Curl needle inside the curl, Curl
withdraw the Draw out withdraw the Draw out
unthreaded needle. needle unthreaded needle. needle
through through
! To anchor the curl, hair ! To anchor the curl, hair
punch the needle at punch the needle at
one end of the curl through the canvas, pulling one end of the curl through the canvas, pulling
the end to the back. the end to the back.
! Draw the needle to opposite end of the curl and ! Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut. punch; pull the end to the back and cut.
! Carefully withdraw the needle. ! 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. ! Stitch and brush the area.
! Brush up the fluffy so that it is perpendicular to ! Brush up the fluffy so that it is perpendicular to
the canvas. the canvas.
! Section off a few strands (approx. 1/4" in ! Section off a few strands (approx. 1/4" in
width). width).
! Thread up one of the needles and hold it in ! Thread up one of the needles and hold it in
your stitching hand - leave the other your stitching hand - leave the other
unthreaded. unthreaded.
! Hold the needles ! Hold the needles
horizontal to the horizontal to the
canvas placing the Roll canvas placing the Roll

threaded one in front of threaded one in front of


the fluff and the un- the fluff and the un-
threaded needle threaded needle
behind. behind.
! Roll the strands of fluffy between the two ! Roll the strands of fluffy between the two
needles; the needles should roll in a circular needles; the needles should roll in a circular
motion. Take the curl right down to the 'roots'. motion. Take the curl right down to the 'roots'.
! Hold the threaded ! Hold the threaded
needle inside the curl, Curl needle inside the curl, Curl
withdraw the Draw out withdraw the Draw out
unthreaded needle. needle unthreaded needle. needle
through through
! To anchor the curl, hair ! To anchor the curl, hair
punch the needle at punch the needle at
one end of the curl through the canvas, pulling one end of the curl through the canvas, pulling
the end to the back. the end to the back.
! Draw the needle to opposite end of the curl and ! Draw the needle to opposite end of the curl and
punch; pull the end to the back and cut. punch; pull the end to the back and cut.
! Carefully withdraw the needle. ! Carefully withdraw the needle.
103 103
HIGHLIGHTS HIGHLIGHTS
Highlights give focus to eyes, sparkle to water and Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to accents to trees. Pay careful attention to
placement and size especially for eye highlights. If placement and size especially for eye highlights. If
these are not placed properly, the figure could be these are not placed properly, the figure could be
looking off in the wrong direction or could look looking off in the wrong direction or could look
cross-eyed. cross-eyed.

AREA TECHNIQUE AREA TECHNIQUE

Stitched Eye 1. Small Stitch & Cut Stitched Eye 1. Small Stitch & Cut
2. Single Clip Stitch 2. Single Clip Stitch
3. One Reverse Stitch 3. One Reverse Stitch

Gold Ribbon Eye Tie a knot in a piece of 3/4 pull Gold Ribbon Eye Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the thread. Cut off both ends. Roll the
dot between your fingers. Glue to dot between your fingers. Glue to
the gold ribbon. the gold ribbon.

Water Place single Stitch & Cuts over the Water Place single Stitch & Cuts over the
base stitching in the area where two base stitching in the area where two
colours meet, usually along the colours meet, usually along the
edges (area of change) - light edges (area of change) - light
thread into dark, and vice versa. thread into dark, and vice versa.
Stitch & Cuts with metallic thread Stitch & Cuts with metallic thread
adds a nice sparkle. adds a nice sparkle.

Small Evergreens To indicate where the sunlight Small Evergreens To indicate where the sunlight
strikes some of the branches. Use strikes some of the branches. Use
either Pine Needle Stitch or Claw either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion Stitch, kept very small, in proportion
to the size of the tree. to the size of the tree.

Hair With the lighter shades of thread Hair With the lighter shades of thread
used for the base stitching, work in used for the base stitching, work in
rows of Running Stitch for a realistic rows of Running Stitch for a realistic
effect. effect.

104 104

HIGHLIGHTS HIGHLIGHTS
Highlights give focus to eyes, sparkle to water and Highlights give focus to eyes, sparkle to water and
accents to trees. Pay careful attention to accents to trees. Pay careful attention to
placement and size especially for eye highlights. If placement and size especially for eye highlights. If
these are not placed properly, the figure could be these are not placed properly, the figure could be
looking off in the wrong direction or could look looking off in the wrong direction or could look
cross-eyed. cross-eyed.

AREA TECHNIQUE AREA TECHNIQUE

Stitched Eye 1. Small Stitch & Cut Stitched Eye 1. Small Stitch & Cut
2. Single Clip Stitch 2. Single Clip Stitch
3. One Reverse Stitch 3. One Reverse Stitch

Gold Ribbon Eye Tie a knot in a piece of 3/4 pull Gold Ribbon Eye Tie a knot in a piece of 3/4 pull
thread. Cut off both ends. Roll the thread. Cut off both ends. Roll the
dot between your fingers. Glue to dot between your fingers. Glue to
the gold ribbon. the gold ribbon.

Water Place single Stitch & Cuts over the Water Place single Stitch & Cuts over the
base stitching in the area where two base stitching in the area where two
colours meet, usually along the colours meet, usually along the
edges (area of change) - light edges (area of change) - light
thread into dark, and vice versa. thread into dark, and vice versa.
Stitch & Cuts with metallic thread Stitch & Cuts with metallic thread
adds a nice sparkle. adds a nice sparkle.

Small Evergreens To indicate where the sunlight Small Evergreens To indicate where the sunlight
strikes some of the branches. Use strikes some of the branches. Use
either Pine Needle Stitch or Claw either Pine Needle Stitch or Claw
Stitch, kept very small, in proportion Stitch, kept very small, in proportion
to the size of the tree. to the size of the tree.

Hair With the lighter shades of thread Hair With the lighter shades of thread
used for the base stitching, work in used for the base stitching, work in
rows of Running Stitch for a realistic rows of Running Stitch for a realistic
effect. effect.

104 104
INLAY STITCH INLAY STITCH
Inlay is used for single stitching that has a very Inlay is used for single stitching that has a very
bold appearance using whole thread for padding bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull. which is then overstitched with regular 2/4 pull.

APPLICATION APPLICATION

Decorative stitch used at stitcher's discretion, Decorative stitch used at stitcher's discretion,
flower stems or veins, borders. flower stems or veins, borders.

TECHNIQUE TECHNIQUE

! Draw up a 12" piece of whole thread in a ! Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the regular sewing needle from the back of the
canvas. canvas.
! Secure the whole thread to ! Secure the whole thread to
the desired spot using either the desired spot using either
Method 1 or 2 as explained Method 1 or 2 as explained
under 'Couching Stitches': under 'Couching Stitches':

- small, single stitches - small, single stitches


placed every 1/2" over the placed every 1/2" over the
thread. thread.
- push up a loop from the back of the canvas - push up a loop from the back of the canvas
and thread the whole thread through the and thread the whole thread through the
loop. loop.
! Thread a bunka needle with ! Thread a bunka needle with
2/4 pull thread. Overstitch 2/4 pull thread. Overstitch
the whole thread with a the whole thread with a
tight, neat Satin Stitch. tight, neat Satin Stitch.

Whole thread Whole thread

105 105

INLAY STITCH INLAY STITCH


Inlay is used for single stitching that has a very Inlay is used for single stitching that has a very
bold appearance using whole thread for padding bold appearance using whole thread for padding
which is then overstitched with regular 2/4 pull. which is then overstitched with regular 2/4 pull.

APPLICATION APPLICATION

Decorative stitch used at stitcher's discretion, Decorative stitch used at stitcher's discretion,
flower stems or veins, borders. flower stems or veins, borders.

TECHNIQUE TECHNIQUE

! Draw up a 12" piece of whole thread in a ! Draw up a 12" piece of whole thread in a
regular sewing needle from the back of the regular sewing needle from the back of the
canvas. canvas.
! Secure the whole thread to ! Secure the whole thread to
the desired spot using either the desired spot using either
Method 1 or 2 as explained Method 1 or 2 as explained
under 'Couching Stitches': under 'Couching Stitches':

- small, single stitches - small, single stitches


placed every 1/2" over the placed every 1/2" over the
thread. thread.
- push up a loop from the back of the canvas - push up a loop from the back of the canvas
and thread the whole thread through the and thread the whole thread through the
loop. loop.
! Thread a bunka needle with ! Thread a bunka needle with
2/4 pull thread. Overstitch 2/4 pull thread. Overstitch
the whole thread with a the whole thread with a
tight, neat Satin Stitch. tight, neat Satin Stitch.

Whole thread Whole thread

105 105
LADDER STITCH LADDER STITCH
Decorative Stitch, creates criss-cross design. Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area. Attractive when placed over a stitched area.

APPLICATION APPLICATION
Stitcher's discretion. Stitcher's discretion.

TECHNIQUE TECHNIQUE
! Follow the numbers on the ! Follow the numbers on the
diagram to work a diagram to work a
continuous criss-cross line continuous criss-cross line
across the area. across the area.

LAYERED STITCHING LAYERED STITCHING


A base layer, blending 3-4 colours, is completed A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer stitches are then placed on top of the base layer
using 2-3 of the lighter colours. 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. ! Stitch the base area with colours indicated.

106 106

LADDER STITCH LADDER STITCH


Decorative Stitch, creates criss-cross design. Decorative Stitch, creates criss-cross design.
Attractive when placed over a stitched area. Attractive when placed over a stitched area.

APPLICATION APPLICATION
Stitcher's discretion. Stitcher's discretion.

TECHNIQUE TECHNIQUE
! Follow the numbers on the ! Follow the numbers on the
diagram to work a diagram to work a
continuous criss-cross line continuous criss-cross line
across the area. across the area.

LAYERED STITCHING LAYERED STITCHING


A base layer, blending 3-4 colours, is completed A base layer, blending 3-4 colours, is completed
first. Numerous Stitch & Cuts rows and/or first. Numerous Stitch & Cuts rows and/or
stitches are then placed on top of the base layer stitches are then placed on top of the base layer
using 2-3 of the lighter colours. 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. ! Stitch the base area with colours indicated.

106 106
! Work in rows and/or single stitches of ! Work in rows and/or single stitches of
adjoining colours on top of the base colour, adjoining colours on top of the base colour,
neighbour into neighbour, until the definite neighbour into neighbour, until the definite
areas of colour are toned down. areas of colour are toned down.

! Waterfalls - the lightest colours should be ! Waterfalls - the lightest colours should be
concentrated wherever the flow of water is concentrated wherever the flow of water is
hitting an object such as rocks, at the base hitting an object such as rocks, at the base
and at the top. and at the top.

! Hair - the lightest colours should be ! Hair - the lightest colours should be
concentrated at the spot where the light is concentrated at the spot where the light is
striking. 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 The technique of stitching bamboo leaves can be
applied to any object that widens out from a single applied to any object that widens out from a single
thread width at the tip and where the stitch thread width at the tip and where the stitch
direction runs vertically. These leaves should be direction runs vertically. These leaves should be
stitched very smooth and even like regular flat stitched very smooth and even like regular flat
stitching but because of the irregular shape it stitching but because of the irregular shape it
requires a little more work to gain this effect. 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 ! Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the printing to ensure that the tread will cover the
blue line. blue line.

107 107

! Work in rows and/or single stitches of ! Work in rows and/or single stitches of
adjoining colours on top of the base colour, adjoining colours on top of the base colour,
neighbour into neighbour, until the definite neighbour into neighbour, until the definite
areas of colour are toned down. areas of colour are toned down.

! Waterfalls - the lightest colours should be ! Waterfalls - the lightest colours should be
concentrated wherever the flow of water is concentrated wherever the flow of water is
hitting an object such as rocks, at the base hitting an object such as rocks, at the base
and at the top. and at the top.

! Hair - the lightest colours should be ! Hair - the lightest colours should be
concentrated at the spot where the light is concentrated at the spot where the light is
striking. 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 The technique of stitching bamboo leaves can be
applied to any object that widens out from a single applied to any object that widens out from a single
thread width at the tip and where the stitch thread width at the tip and where the stitch
direction runs vertically. These leaves should be direction runs vertically. These leaves should be
stitched very smooth and even like regular flat stitched very smooth and even like regular flat
stitching but because of the irregular shape it stitching but because of the irregular shape it
requires a little more work to gain this effect. 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 ! Start at the tip, punch in 1mm past the screen
printing to ensure that the tread will cover the printing to ensure that the tread will cover the
blue line. blue line.

107 107
! **Stitch one row down the ! **Stitch one row down the
center of the leaf. Turn the center of the leaf. Turn the
headlight and stitch the headlight and stitch the
second row back up the second row back up the
length of the leaf to where length of the leaf to where
the blue line is showing. the blue line is showing.

! Punch over the blue line and ! Punch over the blue line and
cut the thread. cut the thread.

! Re-insert the needle at the ! Re-insert the needle at the


point where the blue line is point where the blue line is
just starting to show through. just starting to show through.

! Repeat from **to** until one ! Repeat from **to** until one
half of the leaf is completed. half of the leaf is completed.

! Turn the work frame so that you are able to ! Turn the work frame so that you are able to
work left to right on the remaining half of the work left to right on the remaining half of the
leaf and repeat the above steps. leaf and repeat the above steps.

LEAVES - CLAW STITCH CLUSTERS LEAVES - CLAW STITCH CLUSTERS

This technique is used to create clusters or This technique is used to create clusters or
groups of leaves around the trunk and branches groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy. and the overall effect should be light and airy.
This is another technique that requires the This is another technique that requires the
stitcher to refer to the coloured insert for proper stitcher to refer to the coloured insert for proper
placement since the background sky area which placement since the background sky area which
has already been stitched has hidden any screen has already been stitched has hidden any screen
printed guidelines. printed guidelines.

108 108

! **Stitch one row down the ! **Stitch one row down the
center of the leaf. Turn the center of the leaf. Turn the
headlight and stitch the headlight and stitch the
second row back up the second row back up the
length of the leaf to where length of the leaf to where
the blue line is showing. the blue line is showing.

! Punch over the blue line and ! Punch over the blue line and
cut the thread. cut the thread.

! Re-insert the needle at the ! Re-insert the needle at the


point where the blue line is point where the blue line is
just starting to show through. just starting to show through.

! Repeat from **to** until one ! Repeat from **to** until one
half of the leaf is completed. half of the leaf is completed.

! Turn the work frame so that you are able to ! Turn the work frame so that you are able to
work left to right on the remaining half of the work left to right on the remaining half of the
leaf and repeat the above steps. leaf and repeat the above steps.

LEAVES - CLAW STITCH CLUSTERS LEAVES - CLAW STITCH CLUSTERS

This technique is used to create clusters or This technique is used to create clusters or
groups of leaves around the trunk and branches groups of leaves around the trunk and branches
of a large tree. It utilizes a minimum of 3 shades of a large tree. It utilizes a minimum of 3 shades
and the overall effect should be light and airy. and the overall effect should be light and airy.
This is another technique that requires the This is another technique that requires the
stitcher to refer to the coloured insert for proper stitcher to refer to the coloured insert for proper
placement since the background sky area which placement since the background sky area which
has already been stitched has hidden any screen has already been stitched has hidden any screen
printed guidelines. printed guidelines.

108 108
APPLICATION APPLICATION
Used in many scenes. Used in many scenes.

TECHNIQUE TECHNIQUE
Please refer to Claw Stitch for the basic Please refer to Claw Stitch for the basic
technique. technique.

! When creating Leaf ! When creating Leaf


Clusters using Claw Clusters using Claw
Stitch, you are not limited Stitch, you are not limited
to a 3-pointed design. to a 3-pointed design.
The 3-pointed Claw Stitch The 3-pointed Claw Stitch
can be increased up to can be increased up to
as many as 8 points. as many as 8 points.

! After completing one star- ! After completing one star-


shape, take a 1/2" -3/4" shape, take a 1/2" -3/4"
stitch to where the next stitch to where the next
Lead Lead
star shape will be worked. star shape will be worked.
This 1/2" stitch is referred This 1/2" stitch is referred
to as a 'Lead' stitch. to as a 'Lead' stitch.

! Since these Lead Stitches can become ! Since these Lead Stitches can become
unsightly, they can be concealed by working unsightly, they can be concealed by working
other groups on top of them. other groups on top of them.

! Leaf clusters are stitched from the darkest ! Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered shade to the lightest and should be scattered
around the branch. around the branch.

! At certain points, crossover the branch for a ! At certain points, crossover the branch for a
more realistic effect. 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 Please refer to Claw Stitch for the basic
technique. technique.

! When creating Leaf ! When creating Leaf


Clusters using Claw Clusters using Claw
Stitch, you are not limited Stitch, you are not limited
to a 3-pointed design. to a 3-pointed design.
The 3-pointed Claw Stitch The 3-pointed Claw Stitch
can be increased up to can be increased up to
as many as 8 points. as many as 8 points.

! After completing one star- ! After completing one star-


shape, take a 1/2" -3/4" shape, take a 1/2" -3/4"
stitch to where the next stitch to where the next
Lead Lead
star shape will be worked. star shape will be worked.
This 1/2" stitch is referred This 1/2" stitch is referred
to as a 'Lead' stitch. to as a 'Lead' stitch.

! Since these Lead Stitches can become ! Since these Lead Stitches can become
unsightly, they can be concealed by working unsightly, they can be concealed by working
other groups on top of them. other groups on top of them.

! Leaf clusters are stitched from the darkest ! Leaf clusters are stitched from the darkest
shade to the lightest and should be scattered shade to the lightest and should be scattered
around the branch. around the branch.

! At certain points, crossover the branch for a ! At certain points, crossover the branch for a
more realistic effect. more realistic effect.

109 109
! The clusters should never be neatly lined up ! The clusters should never be neatly lined up
but should point off in all different directions. but should point off in all different directions.

! The medium shade should overlap and extend ! The medium shade should overlap and extend
farther out from the dark shade. farther out from the dark shade.

! Repeat with the lightest shade. ! Repeat with the lightest shade.

dark = first leaves dark = first leaves


med. = second leaves med. = second leaves
dotted = third leaves dotted = third leaves

LEAVES - FEATHER STITCH, SMOOTH LEAVES - FEATHER STITCH, SMOOTH


This technique is used on leaves and bird's This technique is used on leaves and bird's
feathers that have smooth edges and a center feathers that have smooth edges and a center
vein. The stitching is worked down one half of the vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line direction on an angle to the center vein. Line
Padding should be applied to the outside edge to Padding should be applied to the outside edge to
ensure a smooth even edge. 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 ! Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on over the Line Padding, stitch up one side on
an angle to the center vein. an angle to the center vein.

110 110

! The clusters should never be neatly lined up ! The clusters should never be neatly lined up
but should point off in all different directions. but should point off in all different directions.

! The medium shade should overlap and extend ! The medium shade should overlap and extend
farther out from the dark shade. farther out from the dark shade.

! Repeat with the lightest shade. ! Repeat with the lightest shade.

dark = first leaves dark = first leaves


med. = second leaves med. = second leaves
dotted = third leaves dotted = third leaves

LEAVES - FEATHER STITCH, SMOOTH LEAVES - FEATHER STITCH, SMOOTH


This technique is used on leaves and bird's This technique is used on leaves and bird's
feathers that have smooth edges and a center feathers that have smooth edges and a center
vein. The stitching is worked down one half of the vein. The stitching is worked down one half of the
leaf and then back up the other half with the stitch leaf and then back up the other half with the stitch
direction on an angle to the center vein. Line direction on an angle to the center vein. Line
Padding should be applied to the outside edge to Padding should be applied to the outside edge to
ensure a smooth even edge. 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 ! Start at the base of the leaf working neatly
over the Line Padding, stitch up one side on over the Line Padding, stitch up one side on
an angle to the center vein. an angle to the center vein.

110 110
! Swing the stitches around ! Swing the stitches around
the tip and work down the the tip and work down the
other side on the same other side on the same
angle. angle.

! Stagger the stitch length if ! Stagger the stitch length if


the distance is too wide the distance is too wide
for a single stitch length. for a single stitch length.

! If the leaf has more than ! If the leaf has more than
one colour, (eg. lighter one colour, (eg. lighter
area in the center) stitch area in the center) stitch
the inside area first with the inside area first with
long and short long and short
stitches/rows then stitch blend outer colour into it stitches/rows then stitch blend outer colour into it
an outside area, blending an outside area, blending
into the center colour. into the center colour.

! For small two-coloured ! For small two-coloured


leaves where the blending leaves where the blending
areas are very small, areas are very small,
stitch the outside colour stitch the outside colour
first and then complete the first and then complete the
inside area with long and inside area with long and
short Pine Needle short Pine Needle
Stitches, blending into the Stitches, blending into the
first colour. first colour.

111 111

! Swing the stitches around ! Swing the stitches around


the tip and work down the the tip and work down the
other side on the same other side on the same
angle. angle.

! Stagger the stitch length if ! Stagger the stitch length if


the distance is too wide the distance is too wide
for a single stitch length. for a single stitch length.

! If the leaf has more than ! If the leaf has more than
one colour, (eg. lighter one colour, (eg. lighter
area in the center) stitch area in the center) stitch
the inside area first with the inside area first with
long and short long and short
stitches/rows then stitch blend outer colour into it stitches/rows then stitch blend outer colour into it
an outside area, blending an outside area, blending
into the center colour. into the center colour.

! For small two-coloured ! For small two-coloured


leaves where the blending leaves where the blending
areas are very small, areas are very small,
stitch the outside colour stitch the outside colour
first and then complete the first and then complete the
inside area with long and inside area with long and
short Pine Needle short Pine Needle
Stitches, blending into the Stitches, blending into the
first colour. first colour.

111 111
LEAVES - FEATHER STITCH, POINTED LEAVES - FEATHER STITCH, POINTED
The outside edge of this type of leaf is jagged The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the with the stitching worked on an angle to the
center vein. center vein.
TECHNIQUE TECHNIQUE
! Starting at the base of the leaf, stitch up one ! Starting at the base of the leaf, stitch up one
side on an angle to the center vein. side on an angle to the center vein.
! To make the points on ! To make the points on
Restart here Restart here
the outside edge, vary Cut here the outside edge, vary Cut here
the stitch length with long the stitch length with long
and short stitches. Where and short stitches. Where
a long point is desired a long point is desired
extend the stitch out extend the stitch out
farther than the screen- farther than the screen-
printed design and end printed design and end
the thread. Punch in the thread. Punch in
again just below the tip. again just below the tip.
! Shorten the stitch length as you work across ! Shorten the stitch length as you work across
the tip, then back down the other side on the the tip, then back down the other side on the
same angle. same angle.

LEAVES - MAPLE LEAVES - MAPLE


Maple leaves are stitched clockwise if you are a Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right). 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 The outside edge of this type of leaf is jagged
with the stitching worked on an angle to the with the stitching worked on an angle to the
center vein. center vein.
TECHNIQUE TECHNIQUE
! Starting at the base of the leaf, stitch up one ! Starting at the base of the leaf, stitch up one
side on an angle to the center vein. side on an angle to the center vein.
! To make the points on ! To make the points on
Restart here Restart here
the outside edge, vary Cut here the outside edge, vary Cut here
the stitch length with long the stitch length with long
and short stitches. Where and short stitches. Where
a long point is desired a long point is desired
extend the stitch out extend the stitch out
farther than the screen- farther than the screen-
printed design and end printed design and end
the thread. Punch in the thread. Punch in
again just below the tip. again just below the tip.
! Shorten the stitch length as you work across ! Shorten the stitch length as you work across
the tip, then back down the other side on the the tip, then back down the other side on the
same angle. same angle.

LEAVES - MAPLE LEAVES - MAPLE


Maple leaves are stitched clockwise if you are a Maple leaves are stitched clockwise if you are a
right-handed stitcher and counter-clockwise if you right-handed stitcher and counter-clockwise if you
are left-handed. The Headlight should be pointed are left-handed. The Headlight should be pointed
in the neutral position (pointing to the right). 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 Examine the coloured insert closely to determine
which method is used. which method is used.

TECHNIQUE TECHNIQUE
CENTER VEIN METHOD CENTER VEIN METHOD
- for Large Maple Leaves - for Large Maple Leaves

! Each lobe of the maple leaf is stitched to the ! Each lobe of the maple leaf is stitched to the
centerline of the lobe. centerline of the lobe.

! Starting at the center point ! Starting at the center point


of the leaf, work up one of the leaf, work up one
side of the lobe out to the side of the lobe out to the
tip, on an angle to the tip, on an angle to the
center vein. center vein.

! Make a sharp point at the ! Make a sharp point at the


tip by extending the thread tip by extending the thread
out and cutting. out and cutting.

! Work down the opposite side of the lobe, ! Work down the opposite side of the lobe,
maintaining the same angle.** If done maintaining the same angle.** If done
correctly, the stitches should look like 'V's correctly, the stitches should look like 'V's
radiating out from the center vein. radiating out from the center vein.

! At the end of this lobe continue working up the ! At the end of this lobe continue working up the
side of the next lobe and repeat from **to **. 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 Examine the coloured insert closely to determine
which method is used. which method is used.

TECHNIQUE TECHNIQUE
CENTER VEIN METHOD CENTER VEIN METHOD
- for Large Maple Leaves - for Large Maple Leaves

! Each lobe of the maple leaf is stitched to the ! Each lobe of the maple leaf is stitched to the
centerline of the lobe. centerline of the lobe.

! Starting at the center point ! Starting at the center point


of the leaf, work up one of the leaf, work up one
side of the lobe out to the side of the lobe out to the
tip, on an angle to the tip, on an angle to the
center vein. center vein.

! Make a sharp point at the ! Make a sharp point at the


tip by extending the thread tip by extending the thread
out and cutting. out and cutting.

! Work down the opposite side of the lobe, ! Work down the opposite side of the lobe,
maintaining the same angle.** If done maintaining the same angle.** If done
correctly, the stitches should look like 'V's correctly, the stitches should look like 'V's
radiating out from the center vein. radiating out from the center vein.

! At the end of this lobe continue working up the ! At the end of this lobe continue working up the
side of the next lobe and repeat from **to **. side of the next lobe and repeat from **to **.

113 113
WEGE STITCH METHOD WEGE STITCH METHOD
- for Small Maple Leaves - for Small Maple Leaves
This method creates a thicker looking leaf that is This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right which extends from the tip of each lobe right
down to the base point. down to the base point.

! Starting at the base point ! Starting at the base point


of the maple leaf, take one of the maple leaf, take one
stitch along the side of the stitch along the side of the
first lobe. first lobe.

! The second stitch should ! The second stitch should


go back half the length of go back half the length of
the first stitch. This is a the first stitch. This is a
Wedge Stitch. Wedge Stitch.

! Take another stitch up ! Take another stitch up


over the blue line. over the blue line.

! Make another Wedge ! Make another Wedge


stitch back to the center stitch back to the center
either longer or shorter either longer or shorter
than the first Wedge Stitch. than the first Wedge Stitch.

114 114

WEGE STITCH METHOD WEGE STITCH METHOD


- for Small Maple Leaves - for Small Maple Leaves
This method creates a thicker looking leaf that is This method creates a thicker looking leaf that is
more informal in appearance than the Center Vein more informal in appearance than the Center Vein
Maple Leaf. Each lobe is stitched mainly with Maple Leaf. Each lobe is stitched mainly with
Wedge Stitches but should have one long stitch Wedge Stitches but should have one long stitch
which extends from the tip of each lobe right which extends from the tip of each lobe right
down to the base point. down to the base point.

! Starting at the base point ! Starting at the base point


of the maple leaf, take one of the maple leaf, take one
stitch along the side of the stitch along the side of the
first lobe. first lobe.

! The second stitch should ! The second stitch should


go back half the length of go back half the length of
the first stitch. This is a the first stitch. This is a
Wedge Stitch. Wedge Stitch.

! Take another stitch up ! Take another stitch up


over the blue line. over the blue line.

! Make another Wedge ! Make another Wedge


stitch back to the center stitch back to the center
either longer or shorter either longer or shorter
than the first Wedge Stitch. than the first Wedge Stitch.

114 114
! Continue in this manner until ! Continue in this manner until
you reach the tip of the lobe. you reach the tip of the lobe.
This stitch should extend This stitch should extend
from the tip all the way to the from the tip all the way to the
base point. base point.
! Repeat this technique for ! Repeat this technique for
each lobe. each lobe.

LEAVES - PALETTE LEAVES - PALETTE

This technique, used for creating a leaf pattern for This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil small deciduous trees, is named for the oil
painting method of using a palette knife to apply painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and of colour starting with the darkest shade and
ending with the lightest. ending with the lightest.

TECHNIQUE TECHNIQUE

! Starting with the darkest ! Starting with the darkest


green, place a series of green, place a series of
small, patches of 2-3 small, patches of 2-3
horizontal stitches around the horizontal stitches around the
branches of the tree. The branches of the tree. The
stitch length should be in stitch length should be in
proportion to the size of the proportion to the size of the
tree. tree.

115 115

! Continue in this manner until ! Continue in this manner until


you reach the tip of the lobe. you reach the tip of the lobe.
This stitch should extend This stitch should extend
from the tip all the way to the from the tip all the way to the
base point. base point.
! Repeat this technique for ! Repeat this technique for
each lobe. each lobe.

LEAVES - PALETTE LEAVES - PALETTE

This technique, used for creating a leaf pattern for This technique, used for creating a leaf pattern for
small deciduous trees, is named for the oil small deciduous trees, is named for the oil
painting method of using a palette knife to apply painting method of using a palette knife to apply
dabs of colour. Consists of many small, patches dabs of colour. Consists of many small, patches
of colour starting with the darkest shade and of colour starting with the darkest shade and
ending with the lightest. ending with the lightest.

TECHNIQUE TECHNIQUE

! Starting with the darkest ! Starting with the darkest


green, place a series of green, place a series of
small, patches of 2-3 small, patches of 2-3
horizontal stitches around the horizontal stitches around the
branches of the tree. The branches of the tree. The
stitch length should be in stitch length should be in
proportion to the size of the proportion to the size of the
tree. tree.

115 115
! Work in the second, medium ! Work in the second, medium
shade with the same size shade with the same size
stitches. Some of these stitches. Some of these
should overlap the dark should overlap the dark
shade. shade.

! Repeat with the lightest ! Repeat with the lightest


shade that can overlap the shade that can overlap the
other colours in some areas. other colours in some areas.
Some of the background Some of the background
stitching (eg. blue sky) stitching (eg. blue sky)
should show through. should show through.

LEAVES - SMALL SATIN LEAVES - SMALL SATIN


Standard type of leaf used in many floral designs. Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch. Usually stitched on an angle with Satin Stitch.

TECHNIQUE TECHNIQUE

! With the Headlight pointing in ! With the Headlight pointing in


the neutral position, punch in the neutral position, punch in
at the base of the leaf and at the base of the leaf and
take one stitch on an angle take one stitch on an angle
to the top edge. to the top edge.

This first stitch establishes This first stitch establishes


the angle of all the remaining the angle of all the remaining
stitches. stitches.

116 116

! Work in the second, medium ! Work in the second, medium


shade with the same size shade with the same size
stitches. Some of these stitches. Some of these
should overlap the dark should overlap the dark
shade. shade.

! Repeat with the lightest ! Repeat with the lightest


shade that can overlap the shade that can overlap the
other colours in some areas. other colours in some areas.
Some of the background Some of the background
stitching (eg. blue sky) stitching (eg. blue sky)
should show through. should show through.

LEAVES - SMALL SATIN LEAVES - SMALL SATIN


Standard type of leaf used in many floral designs. Standard type of leaf used in many floral designs.
Usually stitched on an angle with Satin Stitch. Usually stitched on an angle with Satin Stitch.

TECHNIQUE TECHNIQUE

! With the Headlight pointing in ! With the Headlight pointing in


the neutral position, punch in the neutral position, punch in
at the base of the leaf and at the base of the leaf and
take one stitch on an angle take one stitch on an angle
to the top edge. to the top edge.

This first stitch establishes This first stitch establishes


the angle of all the remaining the angle of all the remaining
stitches. stitches.

116 116
! Continue working on this angle ! Continue working on this angle
until you reach the tip area. until you reach the tip area.
! To create a nice, tapered end, ! To create a nice, tapered end,
shorten the stitch length and shorten the stitch length and
end with a single thread at the end with a single thread at the
tip. tip.

LEFT-HANDAD STITCHERS LEFT-HANDAD STITCHERS


Bunka Shishu embroidery is very simple to adapt Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so Stitch, right-handers would work left to right so
that their stitching hand is moving away from the that their stitching hand is moving away from the
stitching. Left-handers will work their rows from stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing right to left. If a right-handed person is showing
you a technique, by sitting directly across from you a technique, by sitting directly across from
them you will see the stitching from the them you will see the stitching from the
perspective of a left handed stitcher. perspective of a left handed stitcher.

OUTLINING OUTLINING
Outlining helps to define or accent an object and Outlining helps to define or accent an object and
should be perfectly aligned around the edge. should be perfectly aligned around the edge.

The most common technique used for outlining is The most common technique used for outlining is
a row of Running Stitch that is worked around a a row of Running Stitch that is worked around a
completely stitched object, for example, a rock. completely stitched object, for example, a rock.
(see Running Stitch) (see Running Stitch)

117 117

! Continue working on this angle ! Continue working on this angle


until you reach the tip area. until you reach the tip area.
! To create a nice, tapered end, ! To create a nice, tapered end,
shorten the stitch length and shorten the stitch length and
end with a single thread at the end with a single thread at the
tip. tip.

LEFT-HANDAD STITCHERS LEFT-HANDAD STITCHERS


Bunka Shishu embroidery is very simple to adapt Bunka Shishu embroidery is very simple to adapt
to for left-handed stitchers. The only thing you to for left-handed stitchers. The only thing you
must keep in mind is to reverse some of the stitch must keep in mind is to reverse some of the stitch
directions. For example, when doing rows of Flat directions. For example, when doing rows of Flat
Stitch, right-handers would work left to right so Stitch, right-handers would work left to right so
that their stitching hand is moving away from the that their stitching hand is moving away from the
stitching. Left-handers will work their rows from stitching. Left-handers will work their rows from
right to left. If a right-handed person is showing right to left. If a right-handed person is showing
you a technique, by sitting directly across from you a technique, by sitting directly across from
them you will see the stitching from the them you will see the stitching from the
perspective of a left handed stitcher. perspective of a left handed stitcher.

OUTLINING OUTLINING
Outlining helps to define or accent an object and Outlining helps to define or accent an object and
should be perfectly aligned around the edge. should be perfectly aligned around the edge.

The most common technique used for outlining is The most common technique used for outlining is
a row of Running Stitch that is worked around a a row of Running Stitch that is worked around a
completely stitched object, for example, a rock. completely stitched object, for example, a rock.
(see Running Stitch) (see Running Stitch)

117 117
On some Matsuhato Kits of Japanese ladies, an On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident. outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect. a more natural, subtle effect.

! Place a small amount of rice glue on your ! Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and appropriate colour between your fingers and
through the glue. This will stretch out the through the glue. This will stretch out the
thread to a single straight thread removing all thread to a single straight thread removing all
the curl. Carefully place glued thread along the curl. Carefully place glued thread along
desired areas. Refer to the insert. desired areas. Refer to the insert.

OVERLAY STITCH OVERLAY STITCH


Overlay stitch is an 'open' layer of stitching placed Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour over a layer of base stitching to soften the colour
of the base which can result in some interesting of the base which can result in some interesting
new colour effects. Overlay stitching is always new colour effects. Overlay stitching is always
worked in the same direction as the base layer. worked in the same direction as the base layer.

TECHNIQUE TECHNIQUE

! Stitch the base colour. ! Stitch the base colour.

! With the designated colour ! With the designated colour


for overlaying, stitch on top for overlaying, stitch on top
of the base so that approx. of the base so that approx.
half of the base colour half of the base colour
shows through. shows through.

118 118

On some Matsuhato Kits of Japanese ladies, an On some Matsuhato Kits of Japanese ladies, an
outline around the face and hands is evident. outline around the face and hands is evident.
Rather than a stitched row of Running Stitch, a Rather than a stitched row of Running Stitch, a
strand of 2/4 pull thread is glued on which creates strand of 2/4 pull thread is glued on which creates
a more natural, subtle effect. a more natural, subtle effect.

! Place a small amount of rice glue on your ! Place a small amount of rice glue on your
fingers. Run 12" of 2/4 pull thread in the fingers. Run 12" of 2/4 pull thread in the
appropriate colour between your fingers and appropriate colour between your fingers and
through the glue. This will stretch out the through the glue. This will stretch out the
thread to a single straight thread removing all thread to a single straight thread removing all
the curl. Carefully place glued thread along the curl. Carefully place glued thread along
desired areas. Refer to the insert. desired areas. Refer to the insert.

OVERLAY STITCH OVERLAY STITCH


Overlay stitch is an 'open' layer of stitching placed Overlay stitch is an 'open' layer of stitching placed
over a layer of base stitching to soften the colour over a layer of base stitching to soften the colour
of the base which can result in some interesting of the base which can result in some interesting
new colour effects. Overlay stitching is always new colour effects. Overlay stitching is always
worked in the same direction as the base layer. worked in the same direction as the base layer.

TECHNIQUE TECHNIQUE

! Stitch the base colour. ! Stitch the base colour.

! With the designated colour ! With the designated colour


for overlaying, stitch on top for overlaying, stitch on top
of the base so that approx. of the base so that approx.
half of the base colour half of the base colour
shows through. shows through.

118 118
PADDING PADDING
This is a general term used for various This is a general term used for various
techniques, to build-up or lift a section higher than techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the the stitching behind it. It consists of working the
padding stitches first and then working the 'final' padding stitches first and then working the 'final'
stitching over the padding. stitching over the padding.

APPLICATION APPLICATION

The application of certain padding techniques are The application of certain padding techniques are
sometimes marked directly on the canvas; sometimes marked directly on the canvas;
however, most often it depends on the skill level however, most often it depends on the skill level
of the stitcher as to how and when to use different of the stitcher as to how and when to use different
padding methods. padding methods.

To avoid running short of the thread supplied with To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the thread for padding that is similar in colour to the
kit thread being used. kit thread being used.

TECHNIQUE TECHNIQUE
Listed are the various Padding techniques that Listed are the various Padding techniques that
are fully explained in the subsequent pages. are fully explained in the subsequent pages.

Deep Dimensional Deep Dimensional


Double Stitching Double Stitching
Fluffy Stitch used as padding Fluffy Stitch used as padding
Line Padding Line Padding
Raised Padding Raised Padding
Solid Padding Solid Padding
Tapered Padding Tapered Padding
Three Colour Padding Three Colour Padding

119 119

PADDING PADDING
This is a general term used for various This is a general term used for various
techniques, to build-up or lift a section higher than techniques, to build-up or lift a section higher than
the stitching behind it. It consists of working the the stitching behind it. It consists of working the
padding stitches first and then working the 'final' padding stitches first and then working the 'final'
stitching over the padding. stitching over the padding.

APPLICATION APPLICATION

The application of certain padding techniques are The application of certain padding techniques are
sometimes marked directly on the canvas; sometimes marked directly on the canvas;
however, most often it depends on the skill level however, most often it depends on the skill level
of the stitcher as to how and when to use different of the stitcher as to how and when to use different
padding methods. padding methods.

To avoid running short of the thread supplied with To avoid running short of the thread supplied with
the kit, it is recommended that you use leftover the kit, it is recommended that you use leftover
thread for padding that is similar in colour to the thread for padding that is similar in colour to the
kit thread being used. kit thread being used.

TECHNIQUE TECHNIQUE
Listed are the various Padding techniques that Listed are the various Padding techniques that
are fully explained in the subsequent pages. are fully explained in the subsequent pages.

Deep Dimensional Deep Dimensional


Double Stitching Double Stitching
Fluffy Stitch used as padding Fluffy Stitch used as padding
Line Padding Line Padding
Raised Padding Raised Padding
Solid Padding Solid Padding
Tapered Padding Tapered Padding
Three Colour Padding Three Colour Padding

119 119
PADDING, DEEP DIMENSIONAL PADDING, DEEP DIMENSIONAL
This technique utilizes cotton batten for the This technique utilizes cotton batten for the
padding layer which 1s then overstitched with padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken dramatic and eye- catching, care should be taken
that it does not overpower the whole picture. that it does not overpower the whole picture.

APPLICATION APPLICATION
Has been used on flower pods, rollovers and Has been used on flower pods, rollovers and
petals. Stitcher's discretion. petals. Stitcher's discretion.

TECHNIQUE TECHNIQUE

! Depending on the size of the area to be ! Depending on the size of the area to be
covered, cut off the appropriate piece of a covered, cut off the appropriate piece of a
cotton ball. cotton ball.
! Roll this piece between your fingers and the ! Roll this piece between your fingers and the
palms of your hands. Trim to fit the area. palms of your hands. Trim to fit the area.
! Spread a small dab of rice glue on the canvas ! Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten and place the trimmed piece of cotton batten
on top. on top.
! Tuck in any loose edges of the cotton batten ! Tuck in any loose edges of the cotton batten

! To anchor the cotton, ! To anchor the cotton,


work a Zig Zag pattern work a Zig Zag pattern
across the cotton thread across the cotton thread
using a fluffy needle and using a fluffy needle and
1/4 pull thread. 1/4 pull thread.

120 120

PADDING, DEEP DIMENSIONAL PADDING, DEEP DIMENSIONAL


This technique utilizes cotton batten for the This technique utilizes cotton batten for the
padding layer which 1s then overstitched with padding layer which 1s then overstitched with
bunks thread. Since the overall effect is very bunks thread. Since the overall effect is very
dramatic and eye- catching, care should be taken dramatic and eye- catching, care should be taken
that it does not overpower the whole picture. that it does not overpower the whole picture.

APPLICATION APPLICATION
Has been used on flower pods, rollovers and Has been used on flower pods, rollovers and
petals. Stitcher's discretion. petals. Stitcher's discretion.

TECHNIQUE TECHNIQUE

! Depending on the size of the area to be ! Depending on the size of the area to be
covered, cut off the appropriate piece of a covered, cut off the appropriate piece of a
cotton ball. cotton ball.
! Roll this piece between your fingers and the ! Roll this piece between your fingers and the
palms of your hands. Trim to fit the area. palms of your hands. Trim to fit the area.
! Spread a small dab of rice glue on the canvas ! Spread a small dab of rice glue on the canvas
and place the trimmed piece of cotton batten and place the trimmed piece of cotton batten
on top. on top.
! Tuck in any loose edges of the cotton batten ! Tuck in any loose edges of the cotton batten

! To anchor the cotton, ! To anchor the cotton,


work a Zig Zag pattern work a Zig Zag pattern
across the cotton thread across the cotton thread
using a fluffy needle and using a fluffy needle and
1/4 pull thread. 1/4 pull thread.

120 120
! Work another opposite Zig ! Work another opposite Zig
Zag pattern (zig where you Zag pattern (zig where you
zagged and zag where you zagged and zag where you
zigged!). zigged!).

! Overstitch the entire area with 1/4 pull thread, ! Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for one length stitches. Refer to your insert for
proper stitch direction. To ensure that this top- proper stitch direction. To ensure that this top-
stitching is smooth and even: stitching is smooth and even:
! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. every stitch to get some extra thread.
! Take the needle up and over the padding, ! Take the needle up and over the padding,
then punch. then punch.
! Grab the loop with your left hand under the ! Grab the loop with your left hand under the
canvas. 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 Two layers of stitching, one on top of the other
both running in the same direction, the first both running in the same direction, the first
stitching acts as the padding layer. stitching acts as the padding layer.

APPLICATION APPLICATION
Fish scales, Stitcher's discretion. Fish scales, Stitcher's discretion.

121 121

! Work another opposite Zig ! Work another opposite Zig


Zag pattern (zig where you Zag pattern (zig where you
zagged and zag where you zagged and zag where you
zigged!). zigged!).

! Overstitch the entire area with 1/4 pull thread, ! Overstitch the entire area with 1/4 pull thread,
one length stitches. Refer to your insert for one length stitches. Refer to your insert for
proper stitch direction. To ensure that this top- proper stitch direction. To ensure that this top-
stitching is smooth and even: stitching is smooth and even:
! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. every stitch to get some extra thread.
! Take the needle up and over the padding, ! Take the needle up and over the padding,
then punch. then punch.
! Grab the loop with your left hand under the ! Grab the loop with your left hand under the
canvas. 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 Two layers of stitching, one on top of the other
both running in the same direction, the first both running in the same direction, the first
stitching acts as the padding layer. 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 ! Fill in a scale in the proper
direction. direction.
! On the last stitch leave the ! On the last stitch leave the
needle in the canvas and needle in the canvas and
turn the work frame so that turn the work frame so that
you can now work the you can now work the
second layer right over the second layer right over the
top of the first layer. top of the first layer.

PADDING, FLUFFY PADDING, FLUFFY


Fluffy stitching can be used to pad or build-up a Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat and completely brushed out before any flat
stitching is attempted. The finished effect is not stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding. quite as dramatic as Deep Dimensional Padding.

APPLICATION APPLICATION
Limited use on kits, at stitcher's discretion. Very Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread. effective when over-stitched with 1/4 pull thread.

TECHNIQUE TECHNIQUE

! Trace the area to be padded onto the back of ! Trace the area to be padded onto the back of
the canvas. the canvas.
! !
Stitch the area with Fluffy Stitch, 2/4 pull Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3 thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch) and last 3 stitches. (See Fluffy Stitch)

122 122

TECHNIQUE TECHNIQUE
! Fill in a scale in the proper ! Fill in a scale in the proper
direction. direction.
! On the last stitch leave the ! On the last stitch leave the
needle in the canvas and needle in the canvas and
turn the work frame so that turn the work frame so that
you can now work the you can now work the
second layer right over the second layer right over the
top of the first layer. top of the first layer.

PADDING, FLUFFY PADDING, FLUFFY


Fluffy stitching can be used to pad or build-up a Fluffy stitching can be used to pad or build-up a
flat stitch area. The fluffy stitching is done first flat stitch area. The fluffy stitching is done first
and completely brushed out before any flat and completely brushed out before any flat
stitching is attempted. The finished effect is not stitching is attempted. The finished effect is not
quite as dramatic as Deep Dimensional Padding. quite as dramatic as Deep Dimensional Padding.

APPLICATION APPLICATION
Limited use on kits, at stitcher's discretion. Very Limited use on kits, at stitcher's discretion. Very
effective when over-stitched with 1/4 pull thread. effective when over-stitched with 1/4 pull thread.

TECHNIQUE TECHNIQUE

! Trace the area to be padded onto the back of ! Trace the area to be padded onto the back of
the canvas. the canvas.
! !
Stitch the area with Fluffy Stitch, 2/4 pull Stitch the area with Fluffy Stitch, 2/4 pull
thread, remembering to backtrack the first 3 thread, remembering to backtrack the first 3
and last 3 stitches. (See Fluffy Stitch) and last 3 stitches. (See Fluffy Stitch)

122 122
! Protect the front side of the canvas with 2 rows ! Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush of masking tape around the stitching. Brush
! Trim or 'sculpture' the fluffy so that the edges ! Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing. are smooth and in line with the screen-printing.
! Overstitch the padding with the appropriate ! Overstitch the padding with the appropriate
thread using one length stitches. To ensure that thread using one length stitches. To ensure that
this top-stitching is smooth and even: this top-stitching is smooth and even:
! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. 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 Line Padding is worked similar to a line of
Running Stitch except that this line of thread Running Stitch except that this line of thread
around the edges of an area will not be visible around the edges of an area will not be visible
when the stitching is completed -the final layer is when the stitching is completed -the final layer is
stitched over the Line Padding. stitched over the Line Padding.
! This single row of stitching is used to define ! This single row of stitching is used to define
the edges and helps keep the stitching smooth the edges and helps keep the stitching smooth
and even. and even.
! This method of padding can be used whenever ! This method of padding can be used whenever
the stitch direction of the area can cross over the stitch direction of the area can cross over
the padding thread. the padding thread.

It is a very important technique because: It is a very important technique because:


1. It elevates the perimeter of an area 1. It elevates the perimeter of an area
2. Helps to hide the screen-printing. 2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge. 3. Helps to maintain a smooth, even edge.

123 123

! Protect the front side of the canvas with 2 rows ! Protect the front side of the canvas with 2 rows
of masking tape around the stitching. Brush of masking tape around the stitching. Brush
! Trim or 'sculpture' the fluffy so that the edges ! Trim or 'sculpture' the fluffy so that the edges
are smooth and in line with the screen-printing. are smooth and in line with the screen-printing.
! Overstitch the padding with the appropriate ! Overstitch the padding with the appropriate
thread using one length stitches. To ensure that thread using one length stitches. To ensure that
this top-stitching is smooth and even: this top-stitching is smooth and even:
! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. 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 Line Padding is worked similar to a line of
Running Stitch except that this line of thread Running Stitch except that this line of thread
around the edges of an area will not be visible around the edges of an area will not be visible
when the stitching is completed -the final layer is when the stitching is completed -the final layer is
stitched over the Line Padding. stitched over the Line Padding.
! This single row of stitching is used to define ! This single row of stitching is used to define
the edges and helps keep the stitching smooth the edges and helps keep the stitching smooth
and even. and even.
! This method of padding can be used whenever ! This method of padding can be used whenever
the stitch direction of the area can cross over the stitch direction of the area can cross over
the padding thread. the padding thread.

It is a very important technique because: It is a very important technique because:


1. It elevates the perimeter of an area 1. It elevates the perimeter of an area
2. Helps to hide the screen-printing. 2. Helps to hide the screen-printing.
3. Helps to maintain a smooth, even edge. 3. Helps to maintain a smooth, even edge.

123 123
! Individual areas are first line padded and then ! Individual areas are first line padded and then
completed before moving to the next item. completed before moving to the next item.
For example; a rock pile For example; a rock pile

Rock A is line padded then completely stitched. Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched. Next, Rock B will be line padded and stitched.
Next, Rock C, etc. Next, Rock C, etc.

Never line pad the whole article at once, Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must i.e. the whole rock pile. Each individual rock must
be completed in order from background to be completed in order from background to
foreground. foreground.
! Line padding stitches should be quite short ! Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting (about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching. when doing the over-stitching.

! When there is no background stitching, line ! When there is no background stitching, line
padding is used to conceal the screen-printing padding is used to conceal the screen-printing
and to help achieve a smooth edge. and to help achieve a smooth edge.

! Punch in a line of short ! Punch in a line of short


stitches just outside the stitches just outside the
screen-printed line. This screen-printed line. This
will help hide the screen- will help hide the screen-
printing. printing.
Stitch the area, working Stitch the area, working
over the line padding. over the line padding.
Try to avoid serrated edges by punching Try to avoid serrated edges by punching
the same distance over the line padding the same distance over the line padding
each time. each time.

124 124

! Individual areas are first line padded and then ! Individual areas are first line padded and then
completed before moving to the next item. completed before moving to the next item.
For example; a rock pile For example; a rock pile

Rock A is line padded then completely stitched. Rock A is line padded then completely stitched.
Next, Rock B will be line padded and stitched. Next, Rock B will be line padded and stitched.
Next, Rock C, etc. Next, Rock C, etc.

Never line pad the whole article at once, Never line pad the whole article at once,
i.e. the whole rock pile. Each individual rock must i.e. the whole rock pile. Each individual rock must
be completed in order from background to be completed in order from background to
foreground. foreground.
! Line padding stitches should be quite short ! Line padding stitches should be quite short
(about 1/8" -1/4") to prevent it from shifting (about 1/8" -1/4") to prevent it from shifting
when doing the over-stitching. when doing the over-stitching.

! When there is no background stitching, line ! When there is no background stitching, line
padding is used to conceal the screen-printing padding is used to conceal the screen-printing
and to help achieve a smooth edge. and to help achieve a smooth edge.

! Punch in a line of short ! Punch in a line of short


stitches just outside the stitches just outside the
screen-printed line. This screen-printed line. This
will help hide the screen- will help hide the screen-
printing. printing.
Stitch the area, working Stitch the area, working
over the line padding. over the line padding.
Try to avoid serrated edges by punching Try to avoid serrated edges by punching
the same distance over the line padding the same distance over the line padding
each time. each time.

124 124
! When there is background stitching, line ! When there is background stitching, line
padding 'lifts' the area to be done above the padding 'lifts' the area to be done above the
background and also helps to keep an even background and also helps to keep an even
border. border.

! Punch in a line of short ! Punch in a line of short


stitches catching the stitches catching the
edge of the background edge of the background
stitching. stitching.

! Stitch the area, working over the line ! Stitch the area, working over the line
padding keeping this edge nice and even padding keeping this edge nice and even
by punching the same distance over the by punching the same distance over the
line padding each time. line padding each time.

PADDING, MULTI-COLOUR PADDING, MULTI-COLOUR


2 or 3 colour 2 or 3 colour

Most padding techniques involve establishing a Most padding techniques involve establishing a
base layer in a different direction and then base layer in a different direction and then
covering over it with the final stitching. Two or covering over it with the final stitching. Two or
Three Colour Padding technique differs from the Three Colour Padding technique differs from the
others in that it does not require a base layer others in that it does not require a base layer
because the 'good' stitching also acts as the because the 'good' stitching also acts as the
padding. The explanation below is for working padding. The explanation below is for working
with 3 colours; two colour padding uses the same with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers concept except you are only working with 2 layers
of thread. of thread.

APPLICATION APPLICATION
Very popular technique for flowers. Very popular technique for flowers.

125 125

! When there is background stitching, line ! When there is background stitching, line
padding 'lifts' the area to be done above the padding 'lifts' the area to be done above the
background and also helps to keep an even background and also helps to keep an even
border. border.

! Punch in a line of short ! Punch in a line of short


stitches catching the stitches catching the
edge of the background edge of the background
stitching. stitching.

! Stitch the area, working over the line ! Stitch the area, working over the line
padding keeping this edge nice and even padding keeping this edge nice and even
by punching the same distance over the by punching the same distance over the
line padding each time. line padding each time.

PADDING, MULTI-COLOUR PADDING, MULTI-COLOUR


2 or 3 colour 2 or 3 colour

Most padding techniques involve establishing a Most padding techniques involve establishing a
base layer in a different direction and then base layer in a different direction and then
covering over it with the final stitching. Two or covering over it with the final stitching. Two or
Three Colour Padding technique differs from the Three Colour Padding technique differs from the
others in that it does not require a base layer others in that it does not require a base layer
because the 'good' stitching also acts as the because the 'good' stitching also acts as the
padding. The explanation below is for working padding. The explanation below is for working
with 3 colours; two colour padding uses the same with 3 colours; two colour padding uses the same
concept except you are only working with 2 layers concept except you are only working with 2 layers
of thread. of thread.

APPLICATION APPLICATION
Very popular technique for flowers. Very popular technique for flowers.

125 125
TECHNIQUE TECHNIQUE
! With the first colour, stitch ! With the first colour, stitch
the entire petal from the the entire petal from the
center to within 1/8" of the center to within 1/8" of the
outside edge. outside edge.

! The second shade is then ! The second shade is then


worked on top of the first worked on top of the first
colour except for the small colour except for the small
center area where the first center area where the first
colour will be left showing. colour will be left showing.
The stitches at the center The stitches at the center
edge should be alternating edge should be alternating
long and short in length so long and short in length so
that it appears that the two that it appears that the two
colours are blending together colours are blending together
and 1/8" short of the outer and 1/8" short of the outer
edge. edge.

! The third colour is worked in ! The third colour is worked in


the same manner, leaving the same manner, leaving
some of the first two shades some of the first two shades
exposed and stitched evenly exposed and stitched evenly
over the outer edge over the outer edge
. .

126 126

TECHNIQUE TECHNIQUE
! With the first colour, stitch ! With the first colour, stitch
the entire petal from the the entire petal from the
center to within 1/8" of the center to within 1/8" of the
outside edge. outside edge.

! The second shade is then ! The second shade is then


worked on top of the first worked on top of the first
colour except for the small colour except for the small
center area where the first center area where the first
colour will be left showing. colour will be left showing.
The stitches at the center The stitches at the center
edge should be alternating edge should be alternating
long and short in length so long and short in length so
that it appears that the two that it appears that the two
colours are blending together colours are blending together
and 1/8" short of the outer and 1/8" short of the outer
edge. edge.

! The third colour is worked in ! The third colour is worked in


the same manner, leaving the same manner, leaving
some of the first two shades some of the first two shades
exposed and stitched evenly exposed and stitched evenly
over the outer edge over the outer edge
. .

126 126
PADDING, RAISED PADDING, RAISED
The area to be raised is first padded with The area to be raised is first padded with
progressively larger sections of 2 or more levels progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different padding level should be stitched in a different
direction. direction.

APPLICATION APPLICATION
Tiger's Eye (3 levels), Owl's Eye (2 levels), Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion. 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 ! Stitch the second layer larger
and over the first layer. and over the first layer.

! Stitch the third layer larger and ! Stitch the third layer larger and
over the second area. over the second area.

127 127

PADDING, RAISED PADDING, RAISED


The area to be raised is first padded with The area to be raised is first padded with
progressively larger sections of 2 or more levels progressively larger sections of 2 or more levels
of flat stitching to create a mound or bulge. Each of flat stitching to create a mound or bulge. Each
padding level should be stitched in a different padding level should be stitched in a different
direction. direction.

APPLICATION APPLICATION
Tiger's Eye (3 levels), Owl's Eye (2 levels), Tiger's Eye (3 levels), Owl's Eye (2 levels),
Stitcher's Discretion. 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 ! Stitch the second layer larger
and over the first layer. and over the first layer.

! Stitch the third layer larger and ! Stitch the third layer larger and
over the second area. over the second area.

127 127
PADDING, SOLID PADDING, SOLID
Used when an entire area is to be raised by filling Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it not important with this padding layer as long as it
is on a different angle to the final layer. The top is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e. stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being 1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then has an area of solid padding which is then
overstitched with 3/4 polished thread. overstitched with 3/4 polished thread.

APPLICATION APPLICATION

Extensively used in many aspects of Bunka Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion. Discretion.

TECHNIQUE TECHNIQUE

! Fill in the area with regular ! Fill in the area with regular
flat stitching - padding flat stitching - padding
layer. layer.
! Overstitch the padding with ! Overstitch the padding with
the appropriate thread in the appropriate thread in
the proper direction. To the proper direction. To
ensure that this top- ensure that this top-
stitching is smooth stitching is smooth
and even: and even:

! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. 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 Used when an entire area is to be raised by filling
it in with a base layer of Flat Stitching. Direction is it in with a base layer of Flat Stitching. Direction is
not important with this padding layer as long as it not important with this padding layer as long as it
is on a different angle to the final layer. The top is on a different angle to the final layer. The top
stitching can utilize all three different pulls (i.e. stitching can utilize all three different pulls (i.e.
1/4, 2/4 or 3/4) dependent on the area being 1/4, 2/4 or 3/4) dependent on the area being
stitched; for example, the bridge of a bird's beak stitched; for example, the bridge of a bird's beak
has an area of solid padding which is then has an area of solid padding which is then
overstitched with 3/4 polished thread. overstitched with 3/4 polished thread.

APPLICATION APPLICATION

Extensively used in many aspects of Bunka Extensively used in many aspects of Bunka
Shishu embroidery, eg. Petal Rollovers. Stitcher's Shishu embroidery, eg. Petal Rollovers. Stitcher's
Discretion. Discretion.

TECHNIQUE TECHNIQUE

! Fill in the area with regular ! Fill in the area with regular
flat stitching - padding flat stitching - padding
layer. layer.
! Overstitch the padding with ! Overstitch the padding with
the appropriate thread in the appropriate thread in
the proper direction. To the proper direction. To
ensure that this top- ensure that this top-
stitching is smooth stitching is smooth
and even: and even:

! Lift the needle up from the canvas after ! Lift the needle up from the canvas after
every stitch to get some extra thread. 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 With this padding technique the stitches are
worked close together in the area where the worked close together in the area where the
greatest concentration is required and then greatest concentration is required and then
tapered off to a single thread width. This tapering tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top method prevents a sudden drop-off of the top
stitching from the high to the low area. stitching from the high to the low area.

APPLICATION APPLICATION
Tapered Padding is frequently used for areas Tapered Padding is frequently used for areas
where only a portion of the item is to be raised. where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo Example, the overlapping sections of bamboo
leaves. leaves.

TECHNIQUE TECHNIQUE

! These padding stitches ! These padding stitches


should be in a different should be in a different
direction from the final direction from the final
stitching. Example, stitch stitching. Example, stitch
direction for a bamboo leaf direction for a bamboo leaf
runs back and forth from the runs back and forth from the
tip to the base. The padding tip to the base. The padding
should be worked across the should be worked across the
leaf. leaf.
! Concentrate the padding in the area where the ! Concentrate the padding in the area where the
most 'lift' is required, for example, the section most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf. of the leaf where it overlaps another leaf.
! As you move past this section, taper off the ! As you move past this section, taper off the
padding to one thread by opening up the padding to one thread by opening up the
rows/stitches. rows/stitches.

129 129

PADING, TAPERED PADING, TAPERED


With this padding technique the stitches are With this padding technique the stitches are
worked close together in the area where the worked close together in the area where the
greatest concentration is required and then greatest concentration is required and then
tapered off to a single thread width. This tapering tapered off to a single thread width. This tapering
method prevents a sudden drop-off of the top method prevents a sudden drop-off of the top
stitching from the high to the low area. stitching from the high to the low area.

APPLICATION APPLICATION
Tapered Padding is frequently used for areas Tapered Padding is frequently used for areas
where only a portion of the item is to be raised. where only a portion of the item is to be raised.
Example, the overlapping sections of bamboo Example, the overlapping sections of bamboo
leaves. leaves.

TECHNIQUE TECHNIQUE

! These padding stitches ! These padding stitches


should be in a different should be in a different
direction from the final direction from the final
stitching. Example, stitch stitching. Example, stitch
direction for a bamboo leaf direction for a bamboo leaf
runs back and forth from the runs back and forth from the
tip to the base. The padding tip to the base. The padding
should be worked across the should be worked across the
leaf. leaf.
! Concentrate the padding in the area where the ! Concentrate the padding in the area where the
most 'lift' is required, for example, the section most 'lift' is required, for example, the section
of the leaf where it overlaps another leaf. of the leaf where it overlaps another leaf.
! As you move past this section, taper off the ! As you move past this section, taper off the
padding to one thread by opening up the padding to one thread by opening up the
rows/stitches. rows/stitches.

129 129
PICOT STITCH PICOT STITCH
Creates small knobs of thread, which can be left Creates small knobs of thread, which can be left
as individual dots or joined together with a as individual dots or joined together with a
running stitch to create a continuous row. running stitch to create a continuous row.

APPLICATION APPLICATION
Decorative stitching; flowers; scenes; water Decorative stitching; flowers; scenes; water
effects (splashes, waves) effects (splashes, waves)

TECHNIQUE TECHNIQUE

Single Picot Single Picot


! Punch needle into canvas, pull the end of the ! Punch needle into canvas, pull the end of the
thread to the back. 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 into the canvas right beside the last
Punch mark. Punch mark.
! Cut and pull the thread to the back of the ! Cut and pull the thread to the back of the
canvas. canvas.

130 130

PICOT STITCH PICOT STITCH


Creates small knobs of thread, which can be left Creates small knobs of thread, which can be left
as individual dots or joined together with a as individual dots or joined together with a
running stitch to create a continuous row. running stitch to create a continuous row.

APPLICATION APPLICATION
Decorative stitching; flowers; scenes; water Decorative stitching; flowers; scenes; water
effects (splashes, waves) effects (splashes, waves)

TECHNIQUE TECHNIQUE

Single Picot Single Picot


! Punch needle into canvas, pull the end of the ! Punch needle into canvas, pull the end of the
thread to the back. 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 into the canvas right beside the last
Punch mark. Punch mark.
! Cut and pull the thread to the back of the ! Cut and pull the thread to the back of the
canvas. canvas.

130 130
Picot Row Picot Row
! Punch needle into canvas, pull the end of the ! Punch needle into canvas, pull the end of the
thread to the back. 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 into the canvas right beside the last
Punch mark. 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 Note: The distance that the needle is lifted
determines the size of the dot. determines the size of the dot.

Variations Variations
! Shorten or lengthen the Lead Stitch between ! Shorten or lengthen the Lead Stitch between
each Picot. each Picot.

! Do Picot Rows, side by side, using different ! Do Picot Rows, side by side, using different
colours of thread. colours of thread.
! Shorten or lengthen the height that the needle ! Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots. is raised to make smaller or larger Picots.

131 131

Picot Row Picot Row


! Punch needle into canvas, pull the end of the ! Punch needle into canvas, pull the end of the
thread to the back. 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 into the canvas right beside the last
Punch mark. 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 Note: The distance that the needle is lifted
determines the size of the dot. determines the size of the dot.

Variations Variations
! Shorten or lengthen the Lead Stitch between ! Shorten or lengthen the Lead Stitch between
each Picot. each Picot.

! Do Picot Rows, side by side, using different ! Do Picot Rows, side by side, using different
colours of thread. colours of thread.
! Shorten or lengthen the height that the needle ! Shorten or lengthen the height that the needle
is raised to make smaller or larger Picots. 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 This is a very simple stitch that resembles the
letter "V". letter "V".

APPLICATION APPLICATION

Extensively used in many aspects of Bunka Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific Shishu embroidery but is named for its specific
application to stitching pine needles. 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 1 Punch into the canvas and
pull the end to the back. pull the end to the back.

2 Make one stitch the desired 2 Make one stitch the desired
length on a slight angle. length on a slight angle.

3 To complete the "V", punch 3 To complete the "V", punch


an equal length stitch up on an equal length stitch up on
the same angle as the first the same angle as the first
stitch. stitch.

PINE NEEDLE CLUSTERS PINE NEEDLE CLUSTERS


METHOD 1 -FORMAL METHOD 1 -FORMAL
A combination of Pine Needle stitches worked in A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized, 2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect. 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 This is a very simple stitch that resembles the
letter "V". letter "V".

APPLICATION APPLICATION

Extensively used in many aspects of Bunka Extensively used in many aspects of Bunka
Shishu embroidery but is named for its specific Shishu embroidery but is named for its specific
application to stitching pine needles. 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 1 Punch into the canvas and
pull the end to the back. pull the end to the back.

2 Make one stitch the desired 2 Make one stitch the desired
length on a slight angle. length on a slight angle.

3 To complete the "V", punch 3 To complete the "V", punch


an equal length stitch up on an equal length stitch up on
the same angle as the first the same angle as the first
stitch. stitch.

PINE NEEDLE CLUSTERS PINE NEEDLE CLUSTERS


METHOD 1 -FORMAL METHOD 1 -FORMAL
A combination of Pine Needle stitches worked in A combination of Pine Needle stitches worked in
2/4 and 3/4 pull thread creates a very stylized, 2/4 and 3/4 pull thread creates a very stylized,
formal sunburst effect. formal sunburst effect.

132 132
! 3/4 pull thread is used for the ! 3/4 pull thread is used for the
first step, stitching out and first step, stitching out and
back from the center point. back from the center point.
Follow the diagram working Follow the diagram working
in a continuous flow of stitches. in a continuous flow of stitches.
When 3/4 pull is used in a When 3/4 pull is used in a
stand-alone effect like this, the thread should stand-alone effect like this, the thread should
lay flat on the canvas and look like chain lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled. stitch. It should not be twisted or coiled.
! Apply individual Pine Needle ! Apply individual Pine Needle
Stitches with 2/4 pull thread in Stitches with 2/4 pull thread in
between the 3/4 pull threads. between the 3/4 pull threads.

METHOD 2 -INFORMAL METHOD 2 -INFORMAL

These clusters are not defined on the canvas with These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert. stitcher to follow the coloured insert.

! A base layer of regular flat ! A base layer of regular flat


stitching is first established stitching is first established
with the darkest shade of with the darkest shade of
green. The stitch direction green. The stitch direction
of this base stitching should of this base stitching should
follow the natural flow of the follow the natural flow of the
tree branch. tree branch.

! A second flat stitched layer ! A second flat stitched layer


of medium green is then of medium green is then
blended into the dark, blended into the dark,
following the same following the same
direction. direction.

133 133

! 3/4 pull thread is used for the ! 3/4 pull thread is used for the
first step, stitching out and first step, stitching out and
back from the center point. back from the center point.
Follow the diagram working Follow the diagram working
in a continuous flow of stitches. in a continuous flow of stitches.
When 3/4 pull is used in a When 3/4 pull is used in a
stand-alone effect like this, the thread should stand-alone effect like this, the thread should
lay flat on the canvas and look like chain lay flat on the canvas and look like chain
stitch. It should not be twisted or coiled. stitch. It should not be twisted or coiled.
! Apply individual Pine Needle ! Apply individual Pine Needle
Stitches with 2/4 pull thread in Stitches with 2/4 pull thread in
between the 3/4 pull threads. between the 3/4 pull threads.

METHOD 2 -INFORMAL METHOD 2 -INFORMAL

These clusters are not defined on the canvas with These clusters are not defined on the canvas with
Screen-printed lines. Placement is left up to the Screen-printed lines. Placement is left up to the
stitcher to follow the coloured insert. stitcher to follow the coloured insert.

! A base layer of regular flat ! A base layer of regular flat


stitching is first established stitching is first established
with the darkest shade of with the darkest shade of
green. The stitch direction green. The stitch direction
of this base stitching should of this base stitching should
follow the natural flow of the follow the natural flow of the
tree branch. tree branch.

! A second flat stitched layer ! A second flat stitched layer


of medium green is then of medium green is then
blended into the dark, blended into the dark,
following the same following the same
direction. direction.

133 133
! Pine Needle Stitches are ! Pine Needle Stitches are
then placed throughout this then placed throughout this
base stitching, using the base stitching, using the
lightest green. These lightest green. These
stitches create the focal stitches create the focal
point for the cluster and point for the cluster and
should be placed carefully to should be placed carefully to
appear natural looking. appear natural looking.

SINGLE PINE NEEDLES SINGLE PINE NEEDLES


Single pine needles (as in Single pine needles (as in
Matsuhato Kit #1028) are stitched Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5 with 3/4 polished thread in a 1-5
punch pattern + a small cross punch pattern + a small cross
bar. bar.

POPCORN STITCH POPCORN STITCH


When this technique is used on flower buds, it When this technique is used on flower buds, it
creates a significant bulge or mound along the creates a significant bulge or mound along the
center area. center area.

APPLICATION APPLICATION
Flower buds, Round Decorative Circles. Flower buds, Round Decorative Circles.

TECHNIQUE TECHNIQUE

! Using 2/4 pull thread, starting ! Using 2/4 pull thread, starting
at one side of the circle stitch at one side of the circle stitch
across to the halfway point across to the halfway point
with a very close Satin Stitch. with a very close Satin Stitch.
Cut and pull the end to the Cut and pull the end to the
back. back.

134 134

! Pine Needle Stitches are ! Pine Needle Stitches are


then placed throughout this then placed throughout this
base stitching, using the base stitching, using the
lightest green. These lightest green. These
stitches create the focal stitches create the focal
point for the cluster and point for the cluster and
should be placed carefully to should be placed carefully to
appear natural looking. appear natural looking.

SINGLE PINE NEEDLES SINGLE PINE NEEDLES


Single pine needles (as in Single pine needles (as in
Matsuhato Kit #1028) are stitched Matsuhato Kit #1028) are stitched
with 3/4 polished thread in a 1-5 with 3/4 polished thread in a 1-5
punch pattern + a small cross punch pattern + a small cross
bar. bar.

POPCORN STITCH POPCORN STITCH


When this technique is used on flower buds, it When this technique is used on flower buds, it
creates a significant bulge or mound along the creates a significant bulge or mound along the
center area. center area.

APPLICATION APPLICATION
Flower buds, Round Decorative Circles. Flower buds, Round Decorative Circles.

TECHNIQUE TECHNIQUE

! Using 2/4 pull thread, starting ! Using 2/4 pull thread, starting
at one side of the circle stitch at one side of the circle stitch
across to the halfway point across to the halfway point
with a very close Satin Stitch. with a very close Satin Stitch.
Cut and pull the end to the Cut and pull the end to the
back. back.

134 134
! Push a straight pin under the ! Push a straight pin under the
layer of thread through the layer of thread through the
canvas. With the pin, push canvas. With the pin, push
the threads to the side. the threads to the side.

! Rotate the canvas and stitch ! Rotate the canvas and stitch
the second half starting from the second half starting from
the side and working towards the side and working towards
the center. Crowd the the center. Crowd the
stitches together in the stitches together in the
middle. Cut and pull the end middle. Cut and pull the end
to the back. 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 This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is knob of thread on the front of the canvas. It is
worked with the needle under the work frame and worked with the needle under the work frame and
punched to the front. punched to the front.

APPLICATION APPLICATION
Reverse stitch, is extensively used by stitchers, at Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects. all levels to create many different effects.

Scenes: Small ground flowers, moss on trees Scenes: Small ground flowers, moss on trees
Flowers: Often used in the centers Flowers: Often used in the centers
Birds: Pupil of a bird's eye; Birds: Pupil of a bird's eye;
accents on a crane's leg accents on a crane's leg

135 135

! Push a straight pin under the ! Push a straight pin under the
layer of thread through the layer of thread through the
canvas. With the pin, push canvas. With the pin, push
the threads to the side. the threads to the side.

! Rotate the canvas and stitch ! Rotate the canvas and stitch
the second half starting from the second half starting from
the side and working towards the side and working towards
the center. Crowd the the center. Crowd the
stitches together in the stitches together in the
middle. Cut and pull the end middle. Cut and pull the end
to the back. 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 This is a very easy stitch, which creates a small
knob of thread on the front of the canvas. It is knob of thread on the front of the canvas. It is
worked with the needle under the work frame and worked with the needle under the work frame and
punched to the front. punched to the front.

APPLICATION APPLICATION
Reverse stitch, is extensively used by stitchers, at Reverse stitch, is extensively used by stitchers, at
all levels to create many different effects. all levels to create many different effects.

Scenes: Small ground flowers, moss on trees Scenes: Small ground flowers, moss on trees
Flowers: Often used in the centers Flowers: Often used in the centers
Birds: Pupil of a bird's eye; Birds: Pupil of a bird's eye;
accents on a crane's leg accents on a crane's leg

135 135
TECHNIQUE TECHNIQUE
! Use 2/4 pull in either a flat or fluffy needle ! Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will (Reverse Stitch done with a fluffy needle will
be much longer). be much longer).

! With the right side of the canvas facing you, ! With the right side of the canvas facing you,
take the needle to the back of the canvas. take the needle to the back of the canvas.

! Spread two fingers of the ! Spread two fingers of the


left hand on the canvas at Right side left hand on the canvas at Right side

the point where the needle the point where the needle
will punch through. This will punch through. This
helps to steady the helps to steady the
canvas. Wrong side canvas. Wrong side

! Punch the needle up as far ! Punch the needle up as far


as it will go; withdraw the needle. as it will go; withdraw the needle.

! If an area is to be filled in with Reverse Stitch, ! If an area is to be filled in with Reverse Stitch,
continue punching up from the back. continue punching up from the back.

! When working with Reverse stitching it is very ! When working with Reverse stitching it is very
important that no tension is placed on the important that no tension is placed on the
thread or the knobs will not stay. thread or the knobs will not stay.

! Cut the thread from the back leaving about a ! Cut the thread from the back leaving about a
1/2" of thread. 1/2" of thread.

136 136

TECHNIQUE TECHNIQUE
! Use 2/4 pull in either a flat or fluffy needle ! Use 2/4 pull in either a flat or fluffy needle
depending on the desired height of the knob depending on the desired height of the knob
(Reverse Stitch done with a fluffy needle will (Reverse Stitch done with a fluffy needle will
be much longer). be much longer).

! With the right side of the canvas facing you, ! With the right side of the canvas facing you,
take the needle to the back of the canvas. take the needle to the back of the canvas.

! Spread two fingers of the ! Spread two fingers of the


left hand on the canvas at Right side left hand on the canvas at Right side

the point where the needle the point where the needle
will punch through. This will punch through. This
helps to steady the helps to steady the
canvas. Wrong side canvas. Wrong side

! Punch the needle up as far ! Punch the needle up as far


as it will go; withdraw the needle. as it will go; withdraw the needle.

! If an area is to be filled in with Reverse Stitch, ! If an area is to be filled in with Reverse Stitch,
continue punching up from the back. continue punching up from the back.

! When working with Reverse stitching it is very ! When working with Reverse stitching it is very
important that no tension is placed on the important that no tension is placed on the
thread or the knobs will not stay. thread or the knobs will not stay.

! Cut the thread from the back leaving about a ! Cut the thread from the back leaving about a
1/2" of thread. 1/2" of thread.

136 136
REVERSE STITCH - WET REVERSE STITCH - WET
Please refer to the description of the Please refer to the description of the
original Reverse Stitch on page 135 original Reverse Stitch on page 135

The wet reverse stitch is used when you want The wet reverse stitch is used when you want
a softer, looser curl in your thread. a softer, looser curl in your thread.

APPLICATION APPLICATION
May be used in a Wisteria or Lilac type flower May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging giving the appearance of the flower hanging
downward. downward.

TECHNIQUE TECHNIQUE

! follow the directions for the original Reverse ! follow the directions for the original Reverse
! dip your finger into some clear water and wet ! dip your finger into some clear water and wet
the knobs on the right side of your canvas the knobs on the right side of your canvas
! while still wet take your bunka needle and pick ! while still wet take your bunka needle and pick
at the knobs as well and you will notice they at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak. will begin to relax and hang. Do NOT soak.
This step can be done several times until you This step can be done several times until you
are satisfied with your work. Let each are satisfied with your work. Let each
application of water dry before repeating the application of water dry before repeating the
steps. If you overdo you will have a straight steps. If you overdo you will have a straight
thread which loses the pretty effect. thread which loses the pretty effect.

RICE GLUE RICE GLUE


Rice glue is strongly recommended for any areas Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue. opposed to common white craft glue.

137 137

REVERSE STITCH - WET REVERSE STITCH - WET


Please refer to the description of the Please refer to the description of the
original Reverse Stitch on page 135 original Reverse Stitch on page 135

The wet reverse stitch is used when you want The wet reverse stitch is used when you want
a softer, looser curl in your thread. a softer, looser curl in your thread.

APPLICATION APPLICATION
May be used in a Wisteria or Lilac type flower May be used in a Wisteria or Lilac type flower
giving the appearance of the flower hanging giving the appearance of the flower hanging
downward. downward.

TECHNIQUE TECHNIQUE

! follow the directions for the original Reverse ! follow the directions for the original Reverse
! dip your finger into some clear water and wet ! dip your finger into some clear water and wet
the knobs on the right side of your canvas the knobs on the right side of your canvas
! while still wet take your bunka needle and pick ! while still wet take your bunka needle and pick
at the knobs as well and you will notice they at the knobs as well and you will notice they
will begin to relax and hang. Do NOT soak. will begin to relax and hang. Do NOT soak.
This step can be done several times until you This step can be done several times until you
are satisfied with your work. Let each are satisfied with your work. Let each
application of water dry before repeating the application of water dry before repeating the
steps. If you overdo you will have a straight steps. If you overdo you will have a straight
thread which loses the pretty effect. thread which loses the pretty effect.

RICE GLUE RICE GLUE


Rice glue is strongly recommended for any areas Rice glue is strongly recommended for any areas
requiring adhesive (gold ribbon eye, highlights) as requiring adhesive (gold ribbon eye, highlights) as
opposed to common white craft glue. opposed to common white craft glue.

137 137
This rice-based glue comes in a plastic tube and This rice-based glue comes in a plastic tube and
is manufactured in Japan. is manufactured in Japan.

It is opaque when wet but becomes transparent It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a when dry. Apply rice glue with a toothpick or a
fine syringe. 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 Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas. punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With Please refer to 'How To Thread The Needle With
Whole Thread'. Whole Thread'.

APPLICATION APPLICATION
Decorative stitch frequently used in the centers of Decorative stitch frequently used in the centers of
flowers. flowers.

TECHNIQUE TECHNIQUE
! Have about 1.5" of un-pulled thread extending ! Have about 1.5" of un-pulled thread extending
from the eye of the needle. from the eye of the needle.

! With left hand, punch needle with whole thread ! With left hand, punch needle with whole thread
up from the back of the canvas through to the up from the back of the canvas through to the
front. front.

! Still holding the needle with the left hand, grab ! Still holding the needle with the left hand, grab
the loop of thread from the side of the needle. the loop of thread from the side of the needle.

! Slowly withdraw the needle, still holding the ! Slowly withdraw the needle, still holding the
loop in your right hand. loop in your right hand.

138 138

This rice-based glue comes in a plastic tube and This rice-based glue comes in a plastic tube and
is manufactured in Japan. is manufactured in Japan.

It is opaque when wet but becomes transparent It is opaque when wet but becomes transparent
when dry. Apply rice glue with a toothpick or a when dry. Apply rice glue with a toothpick or a
fine syringe. 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 Ring stitch utilizes whole bunka thread in a bunka
needle. Loops of un-pulled thread are created by needle. Loops of un-pulled thread are created by
punching up from the back side of the canvas. punching up from the back side of the canvas.
Please refer to 'How To Thread The Needle With Please refer to 'How To Thread The Needle With
Whole Thread'. Whole Thread'.

APPLICATION APPLICATION
Decorative stitch frequently used in the centers of Decorative stitch frequently used in the centers of
flowers. flowers.

TECHNIQUE TECHNIQUE
! Have about 1.5" of un-pulled thread extending ! Have about 1.5" of un-pulled thread extending
from the eye of the needle. from the eye of the needle.

! With left hand, punch needle with whole thread ! With left hand, punch needle with whole thread
up from the back of the canvas through to the up from the back of the canvas through to the
front. front.

! Still holding the needle with the left hand, grab ! Still holding the needle with the left hand, grab
the loop of thread from the side of the needle. the loop of thread from the side of the needle.

! Slowly withdraw the needle, still holding the ! Slowly withdraw the needle, still holding the
loop in your right hand. loop in your right hand.

138 138
If a longer ring stitch is If a longer ring stitch is
desired, carefully pull up desired, carefully pull up
this loop. If a shorter ring this loop. If a shorter ring
is required pull down on is required pull down on
the needle. Grab thread here the needle. Grab thread here

! To move to the next stitch, ! To move to the next stitch,


create some slack in the thread by pulling the create some slack in the thread by pulling the
needle down (1/2" -1"). needle down (1/2" -1").

! Repeat above steps -loops should be the ! Repeat above steps -loops should be the
same length. same length.

! Loops may be tacked ! Loops may be tacked


down with a small down with a small
'Couching Stitch' to 'Couching Stitch' to
simulate small daisy simulate small daisy
flowers. flowers.

RUNNING STITCH RUNNING STITCH


Is a single line of stitches. Keep the headlight Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture. detracts from the overall beauty of the picture.

APPLICATION APPLICATION
Flower stems, small tree branches, etc. Flower stems, small tree branches, etc.

139 139

If a longer ring stitch is If a longer ring stitch is


desired, carefully pull up desired, carefully pull up
this loop. If a shorter ring this loop. If a shorter ring
is required pull down on is required pull down on
the needle. Grab thread here the needle. Grab thread here

! To move to the next stitch, ! To move to the next stitch,


create some slack in the thread by pulling the create some slack in the thread by pulling the
needle down (1/2" -1"). needle down (1/2" -1").

! Repeat above steps -loops should be the ! Repeat above steps -loops should be the
same length. same length.

! Loops may be tacked ! Loops may be tacked


down with a small down with a small
'Couching Stitch' to 'Couching Stitch' to
simulate small daisy simulate small daisy
flowers. flowers.

RUNNING STITCH RUNNING STITCH


Is a single line of stitches. Keep the headlight Is a single line of stitches. Keep the headlight
pointing in the stitch direction so that the thread pointing in the stitch direction so that the thread
is perfectly aligned exactly with the screen is perfectly aligned exactly with the screen
printing. If the screen-printing shows through, it printing. If the screen-printing shows through, it
detracts from the overall beauty of the picture. 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 ! Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever Stitches, shortening the stitch length wherever
the line is curving or changing direction. the line is curving or changing direction.

SATIN STITCH SATIN STITCH


Uses single length stitches worked back and Uses single length stitches worked back and
forth over an area to create a very smooth, even forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an surface. Most often the stitch direction is on an
angle but the terminology is applied to any angle but the terminology is applied to any
stitching that involves covering an area with stitching that involves covering an area with
single length stitches in any direction. single length stitches in any direction.

APPLICATION APPLICATION
Required basic knowledge stitch with many Required basic knowledge stitch with many
applications especially in small areas and in applications especially in small areas and in
flowers and leaves. flowers and leaves.

140 140

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 ! Stitch along the line with regular 1/2" length
Stitches, shortening the stitch length wherever Stitches, shortening the stitch length wherever
the line is curving or changing direction. the line is curving or changing direction.

SATIN STITCH SATIN STITCH


Uses single length stitches worked back and Uses single length stitches worked back and
forth over an area to create a very smooth, even forth over an area to create a very smooth, even
surface. Most often the stitch direction is on an surface. Most often the stitch direction is on an
angle but the terminology is applied to any angle but the terminology is applied to any
stitching that involves covering an area with stitching that involves covering an area with
single length stitches in any direction. single length stitches in any direction.

APPLICATION APPLICATION
Required basic knowledge stitch with many Required basic knowledge stitch with many
applications especially in small areas and in applications especially in small areas and in
flowers and leaves. flowers and leaves.

140 140
TECHNIQUE TECHNIQUE
! Insert needle into canvas ! Insert needle into canvas
and pull the end to the back. and pull the end to the back.
! Keep the Headlight pointing ! Keep the Headlight pointing
in the neutral position (to the in the neutral position (to the
right). right).
! **Take one stitch across the entire area ! **Take one stitch across the entire area
ensuring that the screen printing is covered. ensuring that the screen printing is covered.
! Take another stitch back beside the starting ! Take another stitch back beside the starting
punch. ** punch. **
! Repeat from **to**. ! Repeat from **to**.

Note: To change direction when working on an Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but edge of the design will be crowded together but
normally spaced on the opposite edge. 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 Is a technique used on thin, single lines which
would normally be covered over with stitching, would normally be covered over with stitching,
such as the outermost branches of a tree which such as the outermost branches of a tree which
extend out over sky stitching. extend out over sky stitching.

By punching into this line as you work across the By punching into this line as you work across the
Sky, the punch marks will create a row of dots, Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch which will prove helpful in putting the branch
stitching later on. stitching later on.
141 141

TECHNIQUE TECHNIQUE
! Insert needle into canvas ! Insert needle into canvas
and pull the end to the back. and pull the end to the back.
! Keep the Headlight pointing ! Keep the Headlight pointing
in the neutral position (to the in the neutral position (to the
right). right).
! **Take one stitch across the entire area ! **Take one stitch across the entire area
ensuring that the screen printing is covered. ensuring that the screen printing is covered.
! Take another stitch back beside the starting ! Take another stitch back beside the starting
punch. ** punch. **
! Repeat from **to**. ! Repeat from **to**.

Note: To change direction when working on an Note: To change direction when working on an
angle, as on a petal rollover, the stitches on one angle, as on a petal rollover, the stitches on one
edge of the design will be crowded together but edge of the design will be crowded together but
normally spaced on the opposite edge. 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 Is a technique used on thin, single lines which
would normally be covered over with stitching, would normally be covered over with stitching,
such as the outermost branches of a tree which such as the outermost branches of a tree which
extend out over sky stitching. extend out over sky stitching.

By punching into this line as you work across the By punching into this line as you work across the
Sky, the punch marks will create a row of dots, Sky, the punch marks will create a row of dots,
which will prove helpful in putting the branch which will prove helpful in putting the branch
stitching later on. 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 Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before background stitching must be completed before
working Spiral Stitch. working Spiral Stitch.

APPLICATION APPLICATION
Very effective when used in flowers which have Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets, large stamens, for example, the lily; hair ringlets,
decorative stitching. 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 1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the where the spiral will be placed. Pull tail to the
back of the canvas. back of the canvas.

2. Raise the needle about 3" from the surface of 2. Raise the needle about 3" from the surface of
the canvas. the canvas.
Hold the needle so that the front, slotted side Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas. 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 Decorative stitch - creates a tube-like coil of 2/4
pull Thread, approx. 1/8 -1/4" in length. Any pull Thread, approx. 1/8 -1/4" in length. Any
background stitching must be completed before background stitching must be completed before
working Spiral Stitch. working Spiral Stitch.

APPLICATION APPLICATION
Very effective when used in flowers which have Very effective when used in flowers which have
large stamens, for example, the lily; hair ringlets, large stamens, for example, the lily; hair ringlets,
decorative stitching. 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 1. Punch into the canvas at one end of the area
where the spiral will be placed. Pull tail to the where the spiral will be placed. Pull tail to the
back of the canvas. back of the canvas.

2. Raise the needle about 3" from the surface of 2. Raise the needle about 3" from the surface of
the canvas. the canvas.
Hold the needle so that the front, slotted side Hold the needle so that the front, slotted side
is facing up, horizontal to the canvas. is facing up, horizontal to the canvas.

142 142
3. Roll the 3" length of thread around the shank 3. Roll the 3" length of thread around the shank
of the needle. of the needle.

4. Punch needle back into canvas 1 mm beside 4. Punch needle back into canvas 1 mm beside
the first punch mark. 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 6. Slide the roll off the needle by pushing with the
finger at the top of the roll. 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 8. Punch the needle into the end of the design
area and cut the thread pulling the end to the area and cut the thread pulling the end to the
back. back.

SPLIT STITCH SPLIT STITCH


Used for single line stitching, this stitch is Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a on top of the other, creating a thicker effect than a
single row of Running Stitch. single row of Running Stitch.

143 143

3. Roll the 3" length of thread around the shank 3. Roll the 3" length of thread around the shank
of the needle. of the needle.

4. Punch needle back into canvas 1 mm beside 4. Punch needle back into canvas 1 mm beside
the first punch mark. 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 6. Slide the roll off the needle by pushing with the
finger at the top of the roll. 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 8. Punch the needle into the end of the design
area and cut the thread pulling the end to the area and cut the thread pulling the end to the
back. back.

SPLIT STITCH SPLIT STITCH


Used for single line stitching, this stitch is Used for single line stitching, this stitch is
basically two rows of Running Stitch. One placed basically two rows of Running Stitch. One placed
on top of the other, creating a thicker effect than a on top of the other, creating a thicker effect than a
single row of Running Stitch. 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 ! Work a row of Running Stitch along the
screen-printed line. screen-printed line.

! At the end of the line, turn the Headlight so it ! At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch. is facing back down the row of Running Stitch.

! Split the thread of each stitch in the first row by ! Split the thread of each stitch in the first row by
punching through the fibers of each original punching through the fibers of each original
stitch. 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 Terminology used for a single stitch. Stitch and
Cuts are a required basic technique. 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. ! Fill in bald spots in flat stitching.

144 144

APPLICATION APPLICATION
Flower stems, stitcher's discretion. Flower stems, stitcher's discretion.

TECHNIQUE TECHNIQUE
! Work a row of Running Stitch along the ! Work a row of Running Stitch along the
screen-printed line. screen-printed line.

! At the end of the line, turn the Headlight so it ! At the end of the line, turn the Headlight so it
is facing back down the row of Running Stitch. is facing back down the row of Running Stitch.

! Split the thread of each stitch in the first row by ! Split the thread of each stitch in the first row by
punching through the fibers of each original punching through the fibers of each original
stitch. 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 Terminology used for a single stitch. Stitch and
Cuts are a required basic technique. 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. ! Fill in bald spots in flat stitching.

144 144
! Soften a change of colour between 2 areas ! Soften a change of colour between 2 areas
(Area of change) (Area of change)
! Accentuate blending. ! Accentuate blending.

TECHNIQUE TECHNIQUE
! Punch in and pull end to the back of the ! Punch in and pull end to the back of the
canvas. canvas.
! Take one stitch ! Take one stitch
! Cut and pull end to the back. ! Cut and pull end to the back.
- For Areas of Change it is important that the - For Areas of Change it is important that the
Stitch & Cuts are the same height as the Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat along the canvas between the threads of Flat
Stitch. Stitch.
- In other areas, such as - In other areas, such as
waterfalls or hair blending, waterfalls or hair blending,
the Stitch & Cuts are more the Stitch & Cuts are more
effective if they look like they effective if they look like they
are sitting on top of the base are sitting on top of the base
stitching. To do this, punch into stitching. To do this, punch into
the canvas; then lift the needle the canvas; then lift the needle
slightly above the canvas and slightly above the canvas and
place it over the stitched area. place it over the stitched area.

STRETCH STITCH STRETCH STITCH


Creates a raised frill with a loopy effect. The Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt stretching action creates a slackness in the curt
of the thread. 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 ! Soften a change of colour between 2 areas
(Area of change) (Area of change)
! Accentuate blending. ! Accentuate blending.

TECHNIQUE TECHNIQUE
! Punch in and pull end to the back of the ! Punch in and pull end to the back of the
canvas. canvas.
! Take one stitch ! Take one stitch
! Cut and pull end to the back. ! Cut and pull end to the back.
- For Areas of Change it is important that the - For Areas of Change it is important that the
Stitch & Cuts are the same height as the Stitch & Cuts are the same height as the
surrounding flat stitching thread -they should surrounding flat stitching thread -they should
not sit up too high. To do this, draw the needle not sit up too high. To do this, draw the needle
along the canvas between the threads of Flat along the canvas between the threads of Flat
Stitch. Stitch.
- In other areas, such as - In other areas, such as
waterfalls or hair blending, waterfalls or hair blending,
the Stitch & Cuts are more the Stitch & Cuts are more
effective if they look like they effective if they look like they
are sitting on top of the base are sitting on top of the base
stitching. To do this, punch into stitching. To do this, punch into
the canvas; then lift the needle the canvas; then lift the needle
slightly above the canvas and slightly above the canvas and
place it over the stitched area. place it over the stitched area.

STRETCH STITCH STRETCH STITCH


Creates a raised frill with a loopy effect. The Creates a raised frill with a loopy effect. The
stretching action creates a slackness in the curt stretching action creates a slackness in the curt
of the thread. 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 ! Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back, regular needle and pull the end to the back,
holding it with the left hand. holding it with the left hand.
! To stretch the thread, move the needle 1/2" ! To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do away, in the direction you wish to cover but do
not punch in. 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 ! Press on the knob at the back of the canvas
with the left hand and take another 1/2" with the left hand and take another 1/2"
stretch. 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 ! single lines indicate direction for
padding. padding.
! double line is direction for top ! double line is direction for top
stitching. 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 ! Punch into the canvas with 2/4 pull thread in a
regular needle and pull the end to the back, regular needle and pull the end to the back,
holding it with the left hand. holding it with the left hand.
! To stretch the thread, move the needle 1/2" ! To stretch the thread, move the needle 1/2"
away, in the direction you wish to cover but do away, in the direction you wish to cover but do
not punch in. 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 ! Press on the knob at the back of the canvas
with the left hand and take another 1/2" with the left hand and take another 1/2"
stretch. 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 ! single lines indicate direction for
padding. padding.
! double line is direction for top ! double line is direction for top
stitching. stitching.

146 146
Area of Change Symbol Area of Change Symbol

Series of horizontal dash lines Series of horizontal dash lines


where a colour change is to where a colour change is to
occur. For full explanation see occur. For full explanation see
'Blending'. 'Blending'.

Jagged lines Jagged lines

Gives the stitcher 2 Gives the stitcher 2


instructions: instructions:

a) Blend the two colours a) Blend the two colours


together together
b) Direction of stitching b) Direction of stitching

Arrows Arrows
a) Arrows are used to indicate a) Arrows are used to indicate
stitch direction stitch direction

b) When an arrow shown with a b) When an arrow shown with a


thread number is pointing thread number is pointing
directly to a line: directly to a line:

1) An outline in that colour is to 1) An outline in that colour is to


be done around the area. be done around the area.

2) Use the specified thread colour to stitch 2) Use the specified thread colour to stitch
just the line (such as a leaf vein) just the line (such as a leaf vein)

147 147

Area of Change Symbol Area of Change Symbol

Series of horizontal dash lines Series of horizontal dash lines


where a colour change is to where a colour change is to
occur. For full explanation see occur. For full explanation see
'Blending'. 'Blending'.

Jagged lines Jagged lines

Gives the stitcher 2 Gives the stitcher 2


instructions: instructions:

a) Blend the two colours a) Blend the two colours


together together
b) Direction of stitching b) Direction of stitching

Arrows Arrows
a) Arrows are used to indicate a) Arrows are used to indicate
stitch direction stitch direction

b) When an arrow shown with a b) When an arrow shown with a


thread number is pointing thread number is pointing
directly to a line: directly to a line:

1) An outline in that colour is to 1) An outline in that colour is to


be done around the area. be done around the area.

2) Use the specified thread colour to stitch 2) Use the specified thread colour to stitch
just the line (such as a leaf vein) just the line (such as a leaf vein)

147 147
Dotted Area Dotted Area
Used to indicate area to be Used to indicate area to be
filled in with black thread. The filled in with black thread. The
jagged lines of the adjoining jagged lines of the adjoining
blended areas indicate the blended areas indicate the
stitch direction. stitch direction.

Fraction Fraction
ex. 21 Colour #21 stitched on top of ex. 21 Colour #21 stitched on top of
89 Colour #89 (base stitching) 89 Colour #89 (base stitching)

THREAD - SPECIAL NOTES THREAD - SPECIAL NOTES


(For basic Thread information refer to Introductory (For basic Thread information refer to Introductory
section -'About The Thread') section -'About The Thread')

1. To Polish 3/4 Pull 1. To Polish 3/4 Pull


Refer to Introductory section for instructions on Refer to Introductory section for instructions on
how to get a 3/4 pull. how to get a 3/4 pull.

Place the 3/4 thread in the palm of your hand and Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and pinch the thread between the thumb and
forefinger precisely at the pull back point of whole forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in thread through your fingers. The natural oils in
your skin will straighten and shine the thread. your skin will straighten and shine the thread.

Another method is to rub the thread over a Another method is to rub the thread over a
smooth surface such as the edge of a table. If the smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will edge being used is not smooth the thread will
start to fray. start to fray.

148 148

Dotted Area Dotted Area


Used to indicate area to be Used to indicate area to be
filled in with black thread. The filled in with black thread. The
jagged lines of the adjoining jagged lines of the adjoining
blended areas indicate the blended areas indicate the
stitch direction. stitch direction.

Fraction Fraction
ex. 21 Colour #21 stitched on top of ex. 21 Colour #21 stitched on top of
89 Colour #89 (base stitching) 89 Colour #89 (base stitching)

THREAD - SPECIAL NOTES THREAD - SPECIAL NOTES


(For basic Thread information refer to Introductory (For basic Thread information refer to Introductory
section -'About The Thread') section -'About The Thread')

1. To Polish 3/4 Pull 1. To Polish 3/4 Pull


Refer to Introductory section for instructions on Refer to Introductory section for instructions on
how to get a 3/4 pull. how to get a 3/4 pull.

Place the 3/4 thread in the palm of your hand and Place the 3/4 thread in the palm of your hand and
pinch the thread between the thumb and pinch the thread between the thumb and
forefinger precisely at the pull back point of whole forefinger precisely at the pull back point of whole
thread to 3/4 thread. Close the remaining fingers thread to 3/4 thread. Close the remaining fingers
over the thread and squeeze. Slowly pull the over the thread and squeeze. Slowly pull the
thread through your fingers. The natural oils in thread through your fingers. The natural oils in
your skin will straighten and shine the thread. your skin will straighten and shine the thread.

Another method is to rub the thread over a Another method is to rub the thread over a
smooth surface such as the edge of a table. If the smooth surface such as the edge of a table. If the
edge being used is not smooth the thread will edge being used is not smooth the thread will
start to fray. start to fray.

148 148
2. 1/4 Pull 2. 1/4 Pull
THREAD BLENDING THREAD BLENDING

Refer to Introductory section for instructions on Refer to Introductory section for instructions on
how to get a 1/4 pull. how to get a 1/4 pull.

Thread 2 colours of 1/4 pull thread in one fluffy Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different needle. Try experimenting with different
combinations; dark + light will create a striped combinations; dark + light will create a striped
effect; two shades of the same colour will create effect; two shades of the same colour will create
a new pastel shade. 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 ! Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in excessive amounts of 1/4 pull can result in
masses of tangled thread. masses of tangled thread.
! Always use the Fluffy (Long Shank) Needle - ! Always use the Fluffy (Long Shank) Needle -
this creates a larger loop or knob on the back this creates a larger loop or knob on the back
of the canvas which helps to better secure the of the canvas which helps to better secure the
thread. thread.
! A small piece of elastic band slipped over the ! A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4 shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The pull slides out of the needle very easily. The
small rubber stopper from a hypodermic small rubber stopper from a hypodermic
needle can also be used for this purpose. needle can also be used for this purpose.
! Because it is so delicate, 1/4 pull cannot be ! Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc. and/or fluff simply by threading, pulling, etc.
! Before stitching, check the thread by pulling ! Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be easily, chances are the whole skein will be
problem-free; however, if it will not pull or problem-free; however, if it will not pull or
149 149

2. 1/4 Pull 2. 1/4 Pull


THREAD BLENDING THREAD BLENDING

Refer to Introductory section for instructions on Refer to Introductory section for instructions on
how to get a 1/4 pull. how to get a 1/4 pull.

Thread 2 colours of 1/4 pull thread in one fluffy Thread 2 colours of 1/4 pull thread in one fluffy
needle. Try experimenting with different needle. Try experimenting with different
combinations; dark + light will create a striped combinations; dark + light will create a striped
effect; two shades of the same colour will create effect; two shades of the same colour will create
a new pastel shade. 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 ! Work with about 12" at a time. Pulling
excessive amounts of 1/4 pull can result in excessive amounts of 1/4 pull can result in
masses of tangled thread. masses of tangled thread.
! Always use the Fluffy (Long Shank) Needle - ! Always use the Fluffy (Long Shank) Needle -
this creates a larger loop or knob on the back this creates a larger loop or knob on the back
of the canvas which helps to better secure the of the canvas which helps to better secure the
thread. thread.
! A small piece of elastic band slipped over the ! A small piece of elastic band slipped over the
shank of a threaded needle is helpful since 1/4 shank of a threaded needle is helpful since 1/4
pull slides out of the needle very easily. The pull slides out of the needle very easily. The
small rubber stopper from a hypodermic small rubber stopper from a hypodermic
needle can also be used for this purpose. needle can also be used for this purpose.
! Because it is so delicate, 1/4 pull cannot be ! Because it is so delicate, 1/4 pull cannot be
pulled out and reused -it will straighten out pulled out and reused -it will straighten out
and/or fluff simply by threading, pulling, etc. and/or fluff simply by threading, pulling, etc.
! Before stitching, check the thread by pulling ! Before stitching, check the thread by pulling
approx. 10 to 12 inches of 1/4 pull. If it pulls approx. 10 to 12 inches of 1/4 pull. If it pulls
easily, chances are the whole skein will be easily, chances are the whole skein will be
problem-free; however, if it will not pull or problem-free; however, if it will not pull or
149 149
continually catches change to another skein of continually catches change to another skein of
thread (preferably a brand new one that has thread (preferably a brand new one that has
not been wrapped onto a card). not been wrapped onto a card).

! To protect 1/4 pull areas, place a paper towel ! To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching. or kleenex over the stitching.

! 1/4 pull thread builds up very quickly on the ! 1/4 pull thread builds up very quickly on the
back of the canvas which can cause the back of the canvas which can cause the
needle and/or the thread to catch and become needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often bunka clippers. This should be done as often
as possible. as possible.

3. Metallic Threads 3. Metallic Threads


Metallic thread adds a lovely sparkle to your Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4 exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull. pull.

There are two kinds of metallic thread: There are two kinds of metallic thread:

1 Bunka Metallic - is a 4-ply thread consisting 1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of of 3 threads of regular lily yarn and 1 thread of
metallic. metallic.
2 Pure Lame - 4 ply pure metallic thread -does 2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone. yarn; 3/4 pull is usually used alone.
TIPS TIPS
! When pulling the thread into the desired ply, ! When pulling the thread into the desired ply,
do so carefully since metallic thread breaks do so carefully since metallic thread breaks
very easily. very easily.
150 150

continually catches change to another skein of continually catches change to another skein of
thread (preferably a brand new one that has thread (preferably a brand new one that has
not been wrapped onto a card). not been wrapped onto a card).

! To protect 1/4 pull areas, place a paper towel ! To protect 1/4 pull areas, place a paper towel
or kleenex over the stitching. or kleenex over the stitching.

! 1/4 pull thread builds up very quickly on the ! 1/4 pull thread builds up very quickly on the
back of the canvas which can cause the back of the canvas which can cause the
needle and/or the thread to catch and become needle and/or the thread to catch and become
tangled. To avoid this, trim down the back of tangled. To avoid this, trim down the back of
the canvas with a sharp pair of scissors or the canvas with a sharp pair of scissors or
bunka clippers. This should be done as often bunka clippers. This should be done as often
as possible. as possible.

3. Metallic Threads 3. Metallic Threads


Metallic thread adds a lovely sparkle to your Metallic thread adds a lovely sparkle to your
stitching. The thread is woven and unravels stitching. The thread is woven and unravels
exactly the same as regular lily yarn -1/4, 2/4, 3/4 exactly the same as regular lily yarn -1/4, 2/4, 3/4
pull. pull.

There are two kinds of metallic thread: There are two kinds of metallic thread:

1 Bunka Metallic - is a 4-ply thread consisting 1 Bunka Metallic - is a 4-ply thread consisting
of 3 threads of regular lily yarn and 1 thread of of 3 threads of regular lily yarn and 1 thread of
metallic. metallic.
2 Pure Lame - 4 ply pure metallic thread -does 2 Pure Lame - 4 ply pure metallic thread -does
not contain any lily yarn. 2/4 pure metallic is not contain any lily yarn. 2/4 pure metallic is
usually stitched over a base stitching of lily usually stitched over a base stitching of lily
yarn; 3/4 pull is usually used alone. yarn; 3/4 pull is usually used alone.
TIPS TIPS
! When pulling the thread into the desired ply, ! When pulling the thread into the desired ply,
do so carefully since metallic thread breaks do so carefully since metallic thread breaks
very easily. very easily.
150 150
! Take special notice when pulling Bunka ! Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between sometimes difficult to differentiate between
2/4 and 3/4. 2/4 and 3/4.
! Advisable to use a piece of elastic over the ! Advisable to use a piece of elastic over the
shank of the needle to help hold in the shank of the needle to help hold in the
thread. 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 ! Have the first 2" of the thread pulled into a
2/4 pull. 2/4 pull.
! Guide the thread out through the headlight, ! Guide the thread out through the headlight,
through the large slit in body of the needle through the large slit in body of the needle
and out again at the top of the shank -do not and out again at the top of the shank -do not
slide the thread inside the shank at this slide the thread inside the shank at this
point. point.
! Have the thread aimed at a ! Have the thread aimed at a
90 degree angle to the eye of 90 degree angle to the eye of
the needle. the needle.
! Thread the 2" of the 2/4 pull ! Thread the 2" of the 2/4 pull
through the eye of the through the eye of the
needle. needle.
! Ease the whole thread ! Ease the whole thread
through by pinching the through by pinching the
thread and needle between thread and needle between
the thumb and the thumb and
forefinger. forefinger.
! Slide the whole thread ! Slide the whole thread
inside the shank. inside the shank.

151 151

! Take special notice when pulling Bunka ! Take special notice when pulling Bunka
Metallic thread into a 2/4 pull since it is Metallic thread into a 2/4 pull since it is
sometimes difficult to differentiate between sometimes difficult to differentiate between
2/4 and 3/4. 2/4 and 3/4.
! Advisable to use a piece of elastic over the ! Advisable to use a piece of elastic over the
shank of the needle to help hold in the shank of the needle to help hold in the
thread. 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 ! Have the first 2" of the thread pulled into a
2/4 pull. 2/4 pull.
! Guide the thread out through the headlight, ! Guide the thread out through the headlight,
through the large slit in body of the needle through the large slit in body of the needle
and out again at the top of the shank -do not and out again at the top of the shank -do not
slide the thread inside the shank at this slide the thread inside the shank at this
point. point.
! Have the thread aimed at a ! Have the thread aimed at a
90 degree angle to the eye of 90 degree angle to the eye of
the needle. the needle.
! Thread the 2" of the 2/4 pull ! Thread the 2" of the 2/4 pull
through the eye of the through the eye of the
needle. needle.
! Ease the whole thread ! Ease the whole thread
through by pinching the through by pinching the
thread and needle between thread and needle between
the thumb and the thumb and
forefinger. forefinger.
! Slide the whole thread ! Slide the whole thread
inside the shank. inside the shank.

151 151
TIGER, BODY TIGER, BODY
When stitching the body of any animal/bird, the When stitching the body of any animal/bird, the
stitch direction should flow with the natural stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely direction and order of stitchery is extremely
important to achieve a realistic effect. The order important to achieve a realistic effect. The order
of stitchery is very important and can vary from of stitchery is very important and can vary from
picture to picture, depending on the position of picture to picture, depending on the position of
the animal - keep in mind the basic concept of the animal - keep in mind the basic concept of
working from the background to the foreground. working from the background to the foreground.
! Stripes ! Stripes
All the black stripes on a All the black stripes on a
tiger's body are stitched tiger's body are stitched
first following the direction first following the direction
of the jagged lines of the of the jagged lines of the
adjoining blending areas. adjoining blending areas.
Rather than using Rather than using
numbers, each stripe that numbers, each stripe that
is filled with little dots should be stitched in is filled with little dots should be stitched in
black. black.

! Fur ! Fur
Regular Flat Stitching and Blending of the Regular Flat Stitching and Blending of the
body colours. The stitching around the black body colours. The stitching around the black
stripe should work even up against the stripe, stripe should work even up against the stripe,
i.e. do not blend. i.e. do not blend.

DO NOT DO ANY STITCHING AT THIS DO NOT DO ANY STITCHING AT THIS


POINT AROUND THE EYE IF THE KIT POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE. CALLS FOR A GOLD RIBBON EYE.

Certain padding techniques should be used to Certain padding techniques should be used to
accentuate specific areas of the body: accentuate specific areas of the body:

152 152

TIGER, BODY TIGER, BODY


When stitching the body of any animal/bird, the When stitching the body of any animal/bird, the
stitch direction should flow with the natural stitch direction should flow with the natural
direction of the body fur/feathers. Therefore, stitch direction of the body fur/feathers. Therefore, stitch
direction and order of stitchery is extremely direction and order of stitchery is extremely
important to achieve a realistic effect. The order important to achieve a realistic effect. The order
of stitchery is very important and can vary from of stitchery is very important and can vary from
picture to picture, depending on the position of picture to picture, depending on the position of
the animal - keep in mind the basic concept of the animal - keep in mind the basic concept of
working from the background to the foreground. working from the background to the foreground.
! Stripes ! Stripes
All the black stripes on a All the black stripes on a
tiger's body are stitched tiger's body are stitched
first following the direction first following the direction
of the jagged lines of the of the jagged lines of the
adjoining blending areas. adjoining blending areas.
Rather than using Rather than using
numbers, each stripe that numbers, each stripe that
is filled with little dots should be stitched in is filled with little dots should be stitched in
black. black.

! Fur ! Fur
Regular Flat Stitching and Blending of the Regular Flat Stitching and Blending of the
body colours. The stitching around the black body colours. The stitching around the black
stripe should work even up against the stripe, stripe should work even up against the stripe,
i.e. do not blend. i.e. do not blend.

DO NOT DO ANY STITCHING AT THIS DO NOT DO ANY STITCHING AT THIS


POINT AROUND THE EYE IF THE KIT POINT AROUND THE EYE IF THE KIT
CALLS FOR A GOLD RIBBON EYE. CALLS FOR A GOLD RIBBON EYE.

Certain padding techniques should be used to Certain padding techniques should be used to
accentuate specific areas of the body: accentuate specific areas of the body:

152 152
! Around the nail of each ! Around the nail of each
toe. toe.

! The nose and the snout ! The nose and the snout
area just behind the nose. area just behind the nose.

! Line padding wherever ! Line padding wherever


possible -around the possible -around the
outer edge of the ears, outer edge of the ears,
side of the face, etc. side of the face, etc.

TIGER, CLAWS AND TEETH TIGER, CLAWS AND TEETH


The claws and teeth should look smooth and The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See worked over a layer of solid padding. (See
Thread, 3/4 Polished). Thread, 3/4 Polished).

153 153

! Around the nail of each ! Around the nail of each


toe. toe.

! The nose and the snout ! The nose and the snout
area just behind the nose. area just behind the nose.

! Line padding wherever ! Line padding wherever


possible -around the possible -around the
outer edge of the ears, outer edge of the ears,
side of the face, etc. side of the face, etc.

TIGER, CLAWS AND TEETH TIGER, CLAWS AND TEETH


The claws and teeth should look smooth and The claws and teeth should look smooth and
shiny with a very sharp tip. 3/4 polished thread is shiny with a very sharp tip. 3/4 polished thread is
worked over a layer of solid padding. (See worked over a layer of solid padding. (See
Thread, 3/4 Polished). Thread, 3/4 Polished).

153 153
TECHNIQUE TECHNIQUE
! Pad the area with 2/4 pull ! Pad the area with 2/4 pull
thread in a direction thread in a direction
opposite to the top layer. Do opposite to the top layer. Do
not pad down into the point not pad down into the point
of the nail, taper it off just of the nail, taper it off just
short of this area. short of this area.

! Using the 3/4 Polished ! Using the 3/4 Polished


Thread, overstitch the Thread, overstitch the
padding in the direction padding in the direction
indicated on the insert. indicated on the insert.
Make the tip nice & sharp Make the tip nice & sharp
by extending the last stitch by extending the last stitch
slightly beyond the design slightly beyond the design
area. 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 3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger. torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add Use Line Padding wherever possible to add
dimension. dimension.

154 154

TECHNIQUE TECHNIQUE
! Pad the area with 2/4 pull ! Pad the area with 2/4 pull
thread in a direction thread in a direction
opposite to the top layer. Do opposite to the top layer. Do
not pad down into the point not pad down into the point
of the nail, taper it off just of the nail, taper it off just
short of this area. short of this area.

! Using the 3/4 Polished ! Using the 3/4 Polished


Thread, overstitch the Thread, overstitch the
padding in the direction padding in the direction
indicated on the insert. indicated on the insert.
Make the tip nice & sharp Make the tip nice & sharp
by extending the last stitch by extending the last stitch
slightly beyond the design slightly beyond the design
area. 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 3. Body - stitch order of tail, legs, head, ears and
torso depends on the body pose of the tiger. torso depends on the body pose of the tiger.
Use Line Padding wherever possible to add Use Line Padding wherever possible to add
dimension. dimension.

154 154
4. Claws - body of the paw completed first. 4. Claws - body of the paw completed first.

5. Teeth - inside the mouth area must be 5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth completed first; top lip done after the teeth
are stitched. are stitched.

6. Whiskers. 6. Whiskers.

TIGER, WHISKERS TIGER, WHISKERS


Whiskers are the last area of a tiger to be Whiskers are the last area of a tiger to be
completed. The angle, size and number of the completed. The angle, size and number of the
whiskers are important to the tiger. whiskers are important to the tiger.

There are 3 methods, which can be used; most There are 3 methods, which can be used; most
older tiger kits require the use of Method 1. 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 a) The first layer is the base stitching of the face
area with white, black and body colours, area with white, black and body colours,
usually tan or gold. usually tan or gold.
b) The second layer is a row of long and short b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread. open Zig Zag Stitches using 2/4 Pull thread.
The total number of white stripes on the face The total number of white stripes on the face
indicate the number of rows of whiskers to be indicate the number of rows of whiskers to be
completed - one row of whiskers will extend completed - one row of whiskers will extend
out from each white stripe; out from each white stripe;

2 white stripes = 2 rows of whiskers 2 white stripes = 2 rows of whiskers


3 white stripes = 3 rows of whiskers 3 white stripes = 3 rows of whiskers

155 155

4. Claws - body of the paw completed first. 4. Claws - body of the paw completed first.

5. Teeth - inside the mouth area must be 5. Teeth - inside the mouth area must be
completed first; top lip done after the teeth completed first; top lip done after the teeth
are stitched. are stitched.

6. Whiskers. 6. Whiskers.

TIGER, WHISKERS TIGER, WHISKERS


Whiskers are the last area of a tiger to be Whiskers are the last area of a tiger to be
completed. The angle, size and number of the completed. The angle, size and number of the
whiskers are important to the tiger. whiskers are important to the tiger.

There are 3 methods, which can be used; most There are 3 methods, which can be used; most
older tiger kits require the use of Method 1. 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 a) The first layer is the base stitching of the face
area with white, black and body colours, area with white, black and body colours,
usually tan or gold. usually tan or gold.
b) The second layer is a row of long and short b) The second layer is a row of long and short
open Zig Zag Stitches using 2/4 Pull thread. open Zig Zag Stitches using 2/4 Pull thread.
The total number of white stripes on the face The total number of white stripes on the face
indicate the number of rows of whiskers to be indicate the number of rows of whiskers to be
completed - one row of whiskers will extend completed - one row of whiskers will extend
out from each white stripe; out from each white stripe;

2 white stripes = 2 rows of whiskers 2 white stripes = 2 rows of whiskers


3 white stripes = 3 rows of whiskers 3 white stripes = 3 rows of whiskers

155 155
Start with the white stripe Start with the white stripe
closest to the neck & closest to the neck &
shoulder area. Stitch one shoulder area. Stitch one
continuous row of long and continuous row of long and
short Zig Zag stitches short Zig Zag stitches
radiating out from the white radiating out from the white
stripe (refer to the insert for stripe (refer to the insert for
length & placement). length & placement).

Repeat the above on the Repeat the above on the


next white stripe. This next white stripe. This
thread should occasionally thread should occasionally
overlap the previous row. overlap the previous row.

c) The third layer uses the c) The third layer uses the
special, shiny whisker special, shiny whisker
thread provided with the thread provided with the
kit and a tapestry kit and a tapestry
(sewing) needle. Repeat (sewing) needle. Repeat
the long and short the long and short
pattern created in Step 2 pattern created in Step 2
for each row of whiskers for each row of whiskers
- place the whisker - place the whisker
thread in between and extended further out thread in between and extended further out
than the bunka thread layer. than the bunka thread layer.

d) The fourth and final layer for Method 1 is the d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are whisker consists of 2 long threads which are
wrapped with a third thread. wrapped with a third thread.

156 156

Start with the white stripe Start with the white stripe
closest to the neck & closest to the neck &
shoulder area. Stitch one shoulder area. Stitch one
continuous row of long and continuous row of long and
short Zig Zag stitches short Zig Zag stitches
radiating out from the white radiating out from the white
stripe (refer to the insert for stripe (refer to the insert for
length & placement). length & placement).

Repeat the above on the Repeat the above on the


next white stripe. This next white stripe. This
thread should occasionally thread should occasionally
overlap the previous row. overlap the previous row.

c) The third layer uses the c) The third layer uses the
special, shiny whisker special, shiny whisker
thread provided with the thread provided with the
kit and a tapestry kit and a tapestry
(sewing) needle. Repeat (sewing) needle. Repeat
the long and short the long and short
pattern created in Step 2 pattern created in Step 2
for each row of whiskers for each row of whiskers
- place the whisker - place the whisker
thread in between and extended further out thread in between and extended further out
than the bunka thread layer. than the bunka thread layer.

d) The fourth and final layer for Method 1 is the d) The fourth and final layer for Method 1 is the
Long Cat Whiskers. These whiskers are very Long Cat Whiskers. These whiskers are very
distinctive; thicker and very bold looking. Each distinctive; thicker and very bold looking. Each
whisker consists of 2 long threads which are whisker consists of 2 long threads which are
wrapped with a third thread. wrapped with a third thread.

156 156
- thread a regular sewing needle with a single - thread a regular sewing needle with a single
thickness of the shiny whisker thread provided thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end. in the kit. Tie a knot in the end.

- Bring the needle up from the back of the - Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes where the whisker will extend. Sometimes
these large whiskers will originate from small these large whiskers will originate from small
dark brown or black spots on the muzzle. dark brown or black spots on the muzzle.

- Take a 2 -3" stitch out over the face and take - Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will the needle to the back of the canvas. This will
be the longest thread and forms the tip of the be the longest thread and forms the tip of the
whisker. Refer to the insert for exact whisker. Refer to the insert for exact
positioning. 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 - Take the thread back down to the starting
spot. spot.

157 157

- thread a regular sewing needle with a single - thread a regular sewing needle with a single
thickness of the shiny whisker thread provided thickness of the shiny whisker thread provided
in the kit. Tie a knot in the end. in the kit. Tie a knot in the end.

- Bring the needle up from the back of the - Bring the needle up from the back of the
canvas to the spot on the tiger's muzzle from canvas to the spot on the tiger's muzzle from
where the whisker will extend. Sometimes where the whisker will extend. Sometimes
these large whiskers will originate from small these large whiskers will originate from small
dark brown or black spots on the muzzle. dark brown or black spots on the muzzle.

- Take a 2 -3" stitch out over the face and take - Take a 2 -3" stitch out over the face and take
the needle to the back of the canvas. This will the needle to the back of the canvas. This will
be the longest thread and forms the tip of the be the longest thread and forms the tip of the
whisker. Refer to the insert for exact whisker. Refer to the insert for exact
positioning. 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 - Take the thread back down to the starting
spot. spot.

157 157
- Bring the needle back up to the starting point. - Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times, under and over the threads approx. 3-5 times,
depending on the length of the whisker. depending on the length of the whisker.

- Insert the needle back through the canvas 1/2" - Insert the needle back through the canvas 1/2"
below the tip of the second string. below the tip of the second string.

- Pull wrapping thread tight. - Pull wrapping thread tight.

METHOD TWO - USING PINE NEEDLE STITCH METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE TECHNIQUE

Using 2/4 pull thread, place rows of long and Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of short Pine Needle Stitches on the neck section of
the tiger working towards the nose area. the tiger working towards the nose area.

Refer to the coloured insert for placement. The Refer to the coloured insert for placement. The
number of white stripes indicates the required number of white stripes indicates the required
number of rows of Pine Needle Stitches. number of rows of Pine Needle Stitches.

158 158

- Bring the needle back up to the starting point. - Bring the needle back up to the starting point.
Wrap the first two strings by sliding the needle Wrap the first two strings by sliding the needle
under and over the threads approx. 3-5 times, under and over the threads approx. 3-5 times,
depending on the length of the whisker. depending on the length of the whisker.

- Insert the needle back through the canvas 1/2" - Insert the needle back through the canvas 1/2"
below the tip of the second string. below the tip of the second string.

- Pull wrapping thread tight. - Pull wrapping thread tight.

METHOD TWO - USING PINE NEEDLE STITCH METHOD TWO - USING PINE NEEDLE STITCH
TECHNIQUE TECHNIQUE

Using 2/4 pull thread, place rows of long and Using 2/4 pull thread, place rows of long and
short Pine Needle Stitches on the neck section of short Pine Needle Stitches on the neck section of
the tiger working towards the nose area. the tiger working towards the nose area.

Refer to the coloured insert for placement. The Refer to the coloured insert for placement. The
number of white stripes indicates the required number of white stripes indicates the required
number of rows of Pine Needle Stitches. number of rows of Pine Needle Stitches.

158 158
MÉTHOD THREE - USING 3/4 PULL THREAD MÉTHOD THREE - USING 3/4 PULL THREAD
Refer to Thread 3/4 Polished for preparing the Refer to Thread 3/4 Polished for preparing the
thread. thread.

! Polish and straighten about 1 yard of thread. ! Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your Place a dab of rice glue between your
thumb and index finger. Run the 3/4 thumb and index finger. Run the 3/4
polished thread through your fingers, polished thread through your fingers,
applying a thin layer of glue. applying a thin layer of glue.

! Set aside to dry. Thread should be straight ! Set aside to dry. Thread should be straight
and rigid. and rigid.

! Thread into a regular sewing needle, with a ! Thread into a regular sewing needle, with a
knot in the end. knot in the end.

! Bring the needle up from the back of the ! Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the end hanging loose for the
time being. time being.

Knot the end of the thread in Knot the end of the thread in
the sewing needle and the sewing needle and
repeat until the required repeat until the required
number of threads have been number of threads have been
attached. attached.

159 159

MÉTHOD THREE - USING 3/4 PULL THREAD MÉTHOD THREE - USING 3/4 PULL THREAD
Refer to Thread 3/4 Polished for preparing the Refer to Thread 3/4 Polished for preparing the
thread. thread.

! Polish and straighten about 1 yard of thread. ! Polish and straighten about 1 yard of thread.
Place a dab of rice glue between your Place a dab of rice glue between your
thumb and index finger. Run the 3/4 thumb and index finger. Run the 3/4
polished thread through your fingers, polished thread through your fingers,
applying a thin layer of glue. applying a thin layer of glue.

! Set aside to dry. Thread should be straight ! Set aside to dry. Thread should be straight
and rigid. and rigid.

! Thread into a regular sewing needle, with a ! Thread into a regular sewing needle, with a
knot in the end. knot in the end.

! Bring the needle up from the back of the ! Bring the needle up from the back of the
canvas. Cut approx. 4ft of thread - leave this canvas. Cut approx. 4ft of thread - leave this
end hanging loose for the end hanging loose for the
time being. time being.

Knot the end of the thread in Knot the end of the thread in
the sewing needle and the sewing needle and
repeat until the required repeat until the required
number of threads have been number of threads have been
attached. attached.

159 159
! Place a small dab of glue 1/2" to 1" below the ! Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned. point where each thread is to be positioned.

! Press the 3/4 polished ! Press the 3/4 polished


thread down onto the glue. thread down onto the glue.

Refer to the coloured insert Refer to the coloured insert


for exact placement and Glue for exact placement and Glue
length of each whisker. length of each whisker.

Whiskers should not lay flat Whiskers should not lay flat
and dead straight on the face and dead straight on the face
- strive for realistic and - strive for realistic and
natural appearance. natural appearance.

TREES, BAMBOO TREES, BAMBOO

Bamboo stalks are evident in many Bunka Shishu Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very pictures. They represent strength and are very
effective in presenting an oriental mood to the effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into bone- picture. A Bamboo Stalk is divided into bone-
shaped sections which are thicker at the top and shaped sections which are thicker at the top and
bottom, thinner in the middle. The area between bottom, thinner in the middle. The area between
each section is referred to as a 'joint'. each section is referred to as a 'joint'.

TECHNIQUE TECHNIQUE

! Stitch each joint area first ! Stitch each joint area first
using a Satin Stitch on an using a Satin Stitch on an
angle. angle.

160 160

! Place a small dab of glue 1/2" to 1" below the ! Place a small dab of glue 1/2" to 1" below the
point where each thread is to be positioned. point where each thread is to be positioned.

! Press the 3/4 polished ! Press the 3/4 polished


thread down onto the glue. thread down onto the glue.

Refer to the coloured insert Refer to the coloured insert


for exact placement and Glue for exact placement and Glue
length of each whisker. length of each whisker.

Whiskers should not lay flat Whiskers should not lay flat
and dead straight on the face and dead straight on the face
- strive for realistic and - strive for realistic and
natural appearance. natural appearance.

TREES, BAMBOO TREES, BAMBOO

Bamboo stalks are evident in many Bunka Shishu Bamboo stalks are evident in many Bunka Shishu
pictures. They represent strength and are very pictures. They represent strength and are very
effective in presenting an oriental mood to the effective in presenting an oriental mood to the
picture. A Bamboo Stalk is divided into bone- picture. A Bamboo Stalk is divided into bone-
shaped sections which are thicker at the top and shaped sections which are thicker at the top and
bottom, thinner in the middle. The area between bottom, thinner in the middle. The area between
each section is referred to as a 'joint'. each section is referred to as a 'joint'.

TECHNIQUE TECHNIQUE

! Stitch each joint area first ! Stitch each joint area first
using a Satin Stitch on an using a Satin Stitch on an
angle. angle.

160 160
! Both ends are built up for ! Both ends are built up for
emphasis using Tapered emphasis using Tapered
Padding. Padding.
- Stitch horizontally across - Stitch horizontally across
the end with 3-4 rows of the end with 3-4 rows of
solid stitching. (the solid stitching. (the
numbers of rows will vary numbers of rows will vary
according to the size of the according to the size of the
bamboo stalk, i.e. use 5-6 bamboo stalk, i.e. use 5-6
rows for larger stalks). rows for larger stalks).

- Start shortening the rows, - Start shortening the rows,


centering the stitching centering the stitching
across the center area. across the center area.

- Gradually taper down to 1 thread width. It is - Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a important to taper off the padding, to avoid a
sudden drop-off when doing the top sudden drop-off when doing the top
stitching. Pad the top and bottom area of stitching. Pad the top and bottom area of
each section. each section.

! Bamboo stalks are usually ! Bamboo stalks are usually


divided into a minimum of divided into a minimum of
three blending areas. It is three blending areas. It is
important that the section be important that the section be
stitched in order; top, middle, stitched in order; top, middle,
bottom (1-2-3) even bottom (1-2-3) even
though the first and third though the first and third
sections may be the same sections may be the same
colour. It is very difficult to colour. It is very difficult to
complete the middle area with complete the middle area with
good, even blending if the top good, even blending if the top
and bottom areas and bottom areas
have been already stitched. have been already stitched.

161 161

! Both ends are built up for ! Both ends are built up for
emphasis using Tapered emphasis using Tapered
Padding. Padding.
- Stitch horizontally across - Stitch horizontally across
the end with 3-4 rows of the end with 3-4 rows of
solid stitching. (the solid stitching. (the
numbers of rows will vary numbers of rows will vary
according to the size of the according to the size of the
bamboo stalk, i.e. use 5-6 bamboo stalk, i.e. use 5-6
rows for larger stalks). rows for larger stalks).

- Start shortening the rows, - Start shortening the rows,


centering the stitching centering the stitching
across the center area. across the center area.

- Gradually taper down to 1 thread width. It is - Gradually taper down to 1 thread width. It is
important to taper off the padding, to avoid a important to taper off the padding, to avoid a
sudden drop-off when doing the top sudden drop-off when doing the top
stitching. Pad the top and bottom area of stitching. Pad the top and bottom area of
each section. each section.

! Bamboo stalks are usually ! Bamboo stalks are usually


divided into a minimum of divided into a minimum of
three blending areas. It is three blending areas. It is
important that the section be important that the section be
stitched in order; top, middle, stitched in order; top, middle,
bottom (1-2-3) even bottom (1-2-3) even
though the first and third though the first and third
sections may be the same sections may be the same
colour. It is very difficult to colour. It is very difficult to
complete the middle area with complete the middle area with
good, even blending if the top good, even blending if the top
and bottom areas and bottom areas
have been already stitched. have been already stitched.

161 161
Always try to avoid working between two Always try to avoid working between two
stitched areas. stitched areas.

! Keep the stitches adjoining the joint area ! Keep the stitches adjoining the joint area
smooth and even. smooth and even.

! To make the Stalk look more ! To make the Stalk look more
natural, place Stitch & Cuts natural, place Stitch & Cuts
of adjoining colours into of adjoining colours into
each other (neighbour into each other (neighbour into
neighbour). neighbour).

TREES, BIRCH TREES, BIRCH


The birch is a very popular tree evident in many The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are the natural beauty of a scene. These trees are
usually in the foreground and are one of the usually in the foreground and are one of the
larger types of trees in a picture, therefore, care larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are and even -avoid serrated edges. Leaves are
placed in and around the branches using the placed in and around the branches using the
Claw Stitch, Cluster technique. Claw Stitch, Cluster technique.

APPLICATION APPLICATION
Scenes Scenes
TECHNIQUE TECHNIQUE
! All the stitching behind the tree ! All the stitching behind the tree
must be completed first. must be completed first.
! Stitch 2 rows of Line Padding ! Stitch 2 rows of Line Padding
side-by-side up and down side-by-side up and down
each side of the trunk. each side of the trunk.

162 162

Always try to avoid working between two Always try to avoid working between two
stitched areas. stitched areas.

! Keep the stitches adjoining the joint area ! Keep the stitches adjoining the joint area
smooth and even. smooth and even.

! To make the Stalk look more ! To make the Stalk look more
natural, place Stitch & Cuts natural, place Stitch & Cuts
of adjoining colours into of adjoining colours into
each other (neighbour into each other (neighbour into
neighbour). neighbour).

TREES, BIRCH TREES, BIRCH


The birch is a very popular tree evident in many The birch is a very popular tree evident in many
pictures since its characteristic white bark adds to pictures since its characteristic white bark adds to
the natural beauty of a scene. These trees are the natural beauty of a scene. These trees are
usually in the foreground and are one of the usually in the foreground and are one of the
larger types of trees in a picture, therefore, care larger types of trees in a picture, therefore, care
must be taken that the edges are stitched smooth must be taken that the edges are stitched smooth
and even -avoid serrated edges. Leaves are and even -avoid serrated edges. Leaves are
placed in and around the branches using the placed in and around the branches using the
Claw Stitch, Cluster technique. Claw Stitch, Cluster technique.

APPLICATION APPLICATION
Scenes Scenes
TECHNIQUE TECHNIQUE
! All the stitching behind the tree ! All the stitching behind the tree
must be completed first. must be completed first.
! Stitch 2 rows of Line Padding ! Stitch 2 rows of Line Padding
side-by-side up and down side-by-side up and down
each side of the trunk. each side of the trunk.

162 162
! The top stitch direction for the ! The top stitch direction for the
body of the tree runs body of the tree runs
horizontally (side to side). horizontally (side to side).

Fill in the small patches of Fill in the small patches of


colour first, working even and colour first, working even and
smooth over the Line smooth over the Line
Padding. Padding.

Stitch the main bark areas Stitch the main bark areas
(usually) white, blending into (usually) white, blending into
the patches. the patches.

! When the trunk is completely stitched, another ! When the trunk is completely stitched, another
soft layer of thread can be added to the light soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look. the tree and give it a more rounded look.

NOTE : Note: Distant birch trees could be NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves. 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 1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched the horizon. This area is always stitched
straight up and down; smooth and even along straight up and down; smooth and even along
the bottom edge and using long and short the bottom edge and using long and short
stitches along the top edge. stitches along the top edge.

163 163

! The top stitch direction for the ! The top stitch direction for the
body of the tree runs body of the tree runs
horizontally (side to side). horizontally (side to side).

Fill in the small patches of Fill in the small patches of


colour first, working even and colour first, working even and
smooth over the Line smooth over the Line
Padding. Padding.

Stitch the main bark areas Stitch the main bark areas
(usually) white, blending into (usually) white, blending into
the patches. the patches.

! When the trunk is completely stitched, another ! When the trunk is completely stitched, another
soft layer of thread can be added to the light soft layer of thread can be added to the light
area (see Overlay Stitch). This, will build-up area (see Overlay Stitch). This, will build-up
the tree and give it a more rounded look. the tree and give it a more rounded look.

NOTE : Note: Distant birch trees could be NOTE : Note: Distant birch trees could be
stitched vertically. Refer to coloured insert for stitched vertically. Refer to coloured insert for
direction. Refer to Leaves, Clusters and Claw direction. Refer to Leaves, Clusters and Claw
Stitch for completing the leaves. 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 1. Method 1 - Used to indicate the tree line or
the horizon. This area is always stitched the horizon. This area is always stitched
straight up and down; smooth and even along straight up and down; smooth and even along
the bottom edge and using long and short the bottom edge and using long and short
stitches along the top edge. stitches along the top edge.

163 163
! A row of Line Padding could be placed along ! A row of Line Padding could be placed along
the line first to help maintain a smooth, even the line first to help maintain a smooth, even
bottom edge. bottom edge.

Line Padding Line Padding

! Work rows of stitching up ! Work rows of stitching up


and down across the line. and down across the line.
It is important to stitch over It is important to stitch over
any background flat any background flat
stitching behind the tree stitching behind the tree
line so that there are no line so that there are no
spaces. spaces.

! Work up to the top edge with long and short ! Work up to the top edge with long and short
stitches, extending the odd stitch much higher stitches, extending the odd stitch much higher
and then cutting the thread. and then cutting the thread.

2. Method 2 - These trees, in the background of 2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy many scenes, have a misty or hazy
appearance. The stitches should extend over appearance. The stitches should extend over
the background flat stitching using long and the background flat stitching using long and
short stitches to develop the form of an short stitches to develop the form of an
evergreen. evergreen.

! Start at the top of the area with a small, ! Start at the top of the area with a small,
horizontal stitch. Punch on top of the horizontal stitch. Punch on top of the
background flat stitching a little so that the tree background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk appears to be 'in front' of the sky and not sunk
into it. into it.

164 164

! A row of Line Padding could be placed along ! A row of Line Padding could be placed along
the line first to help maintain a smooth, even the line first to help maintain a smooth, even
bottom edge. bottom edge.

Line Padding Line Padding

! Work rows of stitching up ! Work rows of stitching up


and down across the line. and down across the line.
It is important to stitch over It is important to stitch over
any background flat any background flat
stitching behind the tree stitching behind the tree
line so that there are no line so that there are no
spaces. spaces.

! Work up to the top edge with long and short ! Work up to the top edge with long and short
stitches, extending the odd stitch much higher stitches, extending the odd stitch much higher
and then cutting the thread. and then cutting the thread.

2. Method 2 - These trees, in the background of 2. Method 2 - These trees, in the background of
many scenes, have a misty or hazy many scenes, have a misty or hazy
appearance. The stitches should extend over appearance. The stitches should extend over
the background flat stitching using long and the background flat stitching using long and
short stitches to develop the form of an short stitches to develop the form of an
evergreen. evergreen.

! Start at the top of the area with a small, ! Start at the top of the area with a small,
horizontal stitch. Punch on top of the horizontal stitch. Punch on top of the
background flat stitching a little so that the tree background flat stitching a little so that the tree
appears to be 'in front' of the sky and not sunk appears to be 'in front' of the sky and not sunk
into it. into it.

164 164
! Continue stitching across ! Continue stitching across
and down the tree and down the tree
exaggerating the edges with exaggerating the edges with
long and short stitches. long and short stitches.

! If the base area is wider than ! If the base area is wider than
½", it will be necessary to ½", it will be necessary to
start using 2-3 stitches to fill start using 2-3 stitches to fill
it in. Do not use single length it in. Do not use single length
stitches if the area is wider stitches if the area is wider
than ½". than ½".

3. Method 3 3. Method 3

Combination of Method 1 Combination of Method 1


and 2. and 2.

! Complete first layer using ! Complete first layer using


Method 1 Method 1

! Stitch over the points using ! Stitch over the points using
Method 2. Method 2.

TREES, EVERGREEN, LARGE TREES, EVERGREEN, LARGE

1. Fill in the area with a base 1. Fill in the area with a base
layer of short choppy flat layer of short choppy flat
stitching. stitching.

165 165

! Continue stitching across ! Continue stitching across


and down the tree and down the tree
exaggerating the edges with exaggerating the edges with
long and short stitches. long and short stitches.

! If the base area is wider than ! If the base area is wider than
½", it will be necessary to ½", it will be necessary to
start using 2-3 stitches to fill start using 2-3 stitches to fill
it in. Do not use single length it in. Do not use single length
stitches if the area is wider stitches if the area is wider
than ½". than ½".

3. Method 3 3. Method 3

Combination of Method 1 Combination of Method 1


and 2. and 2.

! Complete first layer using ! Complete first layer using


Method 1 Method 1

! Stitch over the points using ! Stitch over the points using
Method 2. Method 2.

TREES, EVERGREEN, LARGE TREES, EVERGREEN, LARGE

1. Fill in the area with a base 1. Fill in the area with a base
layer of short choppy flat layer of short choppy flat
stitching. stitching.

165 165
2. Work a layer of Blizzard 2. Work a layer of Blizzard
Stitch jagged short stitches Stitch jagged short stitches
over the base layer. over the base layer.

TRESS, EVERGREEN, LAYERED TRESS, EVERGREEN, LAYERED

A layered evergreen is made A layered evergreen is made


up of overlapping sections or up of overlapping sections or
'skirts'. 'skirts'.

! Start with the lowest ! Start with the lowest


section working each section working each
subsequent layer up to the subsequent layer up to the
top. top.

! Each skirt can consist of 1- ! Each skirt can consist of 1-


3 areas. Start from the 3 areas. Start from the
area at the top of the area at the top of the
section, usually the darkest section, usually the darkest
colour, working down to the colour, working down to the
lower edge. lower edge.

! Stitch direction is very important for this type of ! Stitch direction is very important for this type of
evergreen. Long and short stitches should evergreen. Long and short stitches should
radiate out at an angle on both sides but be radiate out at an angle on both sides but be
straight up and down at the center point of the straight up and down at the center point of the
tree. tree.

166 166

2. Work a layer of Blizzard 2. Work a layer of Blizzard


Stitch jagged short stitches Stitch jagged short stitches
over the base layer. over the base layer.

TRESS, EVERGREEN, LAYERED TRESS, EVERGREEN, LAYERED

A layered evergreen is made A layered evergreen is made


up of overlapping sections or up of overlapping sections or
'skirts'. 'skirts'.

! Start with the lowest ! Start with the lowest


section working each section working each
subsequent layer up to the subsequent layer up to the
top. top.

! Each skirt can consist of 1- ! Each skirt can consist of 1-


3 areas. Start from the 3 areas. Start from the
area at the top of the area at the top of the
section, usually the darkest section, usually the darkest
colour, working down to the colour, working down to the
lower edge. lower edge.

! Stitch direction is very important for this type of ! Stitch direction is very important for this type of
evergreen. Long and short stitches should evergreen. Long and short stitches should
radiate out at an angle on both sides but be radiate out at an angle on both sides but be
straight up and down at the center point of the straight up and down at the center point of the
tree. tree.

166 166
Add Wedge Stitches Add Wedge Stitches
where necessary to where necessary to
develop this change in develop this change in
direction. direction.

! The second layer is ! The second layer is


stitched exactly like the stitched exactly like the
first section - start with the first section - start with the
top blending area, working top blending area, working
down to the lower edge. down to the lower edge.
The last blending area The last blending area
must overlap the top of must overlap the top of
the previous skirt. the previous skirt.

TREES, EVERGREEN, SMALL TREES, EVERGREEN, SMALL


This type of evergreen is common to many This type of evergreen is common to many
scenes. Due to its size, it is used in the middle scenes. Due to its size, it is used in the middle
third of a picture. The background area must be third of a picture. The background area must be
filled in first. filled in first.

The stitching is worked from the top, down the left The stitching is worked from the top, down the left
half, across the base and up the right side. Use half, across the base and up the right side. Use
long and short stitches on the outside stitches to long and short stitches on the outside stitches to
develop the shape of the tree and when working develop the shape of the tree and when working
over the center line area to avoid making a trough over the center line area to avoid making a trough
of punch marks. of punch marks.

APPLICATION APPLICATION
Scenes Scenes

167 167

Add Wedge Stitches Add Wedge Stitches


where necessary to where necessary to
develop this change in develop this change in
direction. direction.

! The second layer is ! The second layer is


stitched exactly like the stitched exactly like the
first section - start with the first section - start with the
top blending area, working top blending area, working
down to the lower edge. down to the lower edge.
The last blending area The last blending area
must overlap the top of must overlap the top of
the previous skirt. the previous skirt.

TREES, EVERGREEN, SMALL TREES, EVERGREEN, SMALL


This type of evergreen is common to many This type of evergreen is common to many
scenes. Due to its size, it is used in the middle scenes. Due to its size, it is used in the middle
third of a picture. The background area must be third of a picture. The background area must be
filled in first. filled in first.

The stitching is worked from the top, down the left The stitching is worked from the top, down the left
half, across the base and up the right side. Use half, across the base and up the right side. Use
long and short stitches on the outside stitches to long and short stitches on the outside stitches to
develop the shape of the tree and when working develop the shape of the tree and when working
over the center line area to avoid making a trough over the center line area to avoid making a trough
of punch marks. of punch marks.

APPLICATION APPLICATION
Scenes Scenes

167 167
TECHNIQUE TECHNIQUE
! Start at the very top of the ! Start at the very top of the
tree and stitch down the tree and stitch down the
left half of the tree. The left half of the tree. The
stitches should be on an stitches should be on an
angle working angle working
back and forth with long back and forth with long
and short stitches. and short stitches.

Alternate the placement Alternate the placement


of the stitches that cross of the stitches that cross
the center area to avoid the center area to avoid
making a trough of punch making a trough of punch
marks: extend a stitch past the center line, the marks: extend a stitch past the center line, the
next stitch punched right in the center, the next next stitch punched right in the center, the next
stitch short of the center point. stitch short of the center point.

'Wedging' the stitches inside the tree in this 'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread manner, staggers the amount of thread
crossing the center area thereby preventing a crossing the center area thereby preventing a
bulge. bulge.

! To work across the ! To work across the


base, use Wedge base, use Wedge
Stitches to gradually Stitches to gradually
swing the stitch swing the stitch
direction. When you direction. When you
reach the center point reach the center point
of the base, the of the base, the
stitches should be stitches should be
straight up and down. straight up and down.
Use Wedge Stitches Use Wedge Stitches
again to swing the again to swing the
stitch direction to the right. stitch direction to the right.

168 168

TECHNIQUE TECHNIQUE
! Start at the very top of the ! Start at the very top of the
tree and stitch down the tree and stitch down the
left half of the tree. The left half of the tree. The
stitches should be on an stitches should be on an
angle working angle working
back and forth with long back and forth with long
and short stitches. and short stitches.

Alternate the placement Alternate the placement


of the stitches that cross of the stitches that cross
the center area to avoid the center area to avoid
making a trough of punch making a trough of punch
marks: extend a stitch past the center line, the marks: extend a stitch past the center line, the
next stitch punched right in the center, the next next stitch punched right in the center, the next
stitch short of the center point. stitch short of the center point.

'Wedging' the stitches inside the tree in this 'Wedging' the stitches inside the tree in this
manner, staggers the amount of thread manner, staggers the amount of thread
crossing the center area thereby preventing a crossing the center area thereby preventing a
bulge. bulge.

! To work across the ! To work across the


base, use Wedge base, use Wedge
Stitches to gradually Stitches to gradually
swing the stitch swing the stitch
direction. When you direction. When you
reach the center point reach the center point
of the base, the of the base, the
stitches should be stitches should be
straight up and down. straight up and down.
Use Wedge Stitches Use Wedge Stitches
again to swing the again to swing the
stitch direction to the right. stitch direction to the right.

168 168
! Work up the right half of the ! Work up the right half of the
tree using long and short tree using long and short
stitches that overlap the left stitches that overlap the left
side -if a long stitch was side -if a long stitch was
used on the left side. use a used on the left side. use a
short stitch on the right side; short stitch on the right side;
if there is a short stitch on if there is a short stitch on
the left side. overlap it with the left side. overlap it with
a long stitch on the right a long stitch on the right
side. side.

! Maintain the same stitch angle on both sides ! Maintain the same stitch angle on both sides
of the tree. of the tree.

! The long stitches that extend out the sides of ! The long stitches that extend out the sides of
the tree are the ones that give the tree its the tree are the ones that give the tree its
shape. shape.

! Highlights give the effect of ! Highlights give the effect of


spots where sunlight is spots where sunlight is
striking some of the striking some of the
branches. Use either Pine branches. Use either Pine
Needle Stitches or Claw Needle Stitches or Claw
Stitch. Keep the stitches Stitch. Keep the stitches
small -in proportion to the small -in proportion to the
tree. tree.

TREES, OLD PINE TREES, OLD PINE


Old Pine bark has circular patches surrounded by Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to or opposite to the stitching on the main trunk - to

169 169

! Work up the right half of the ! Work up the right half of the
tree using long and short tree using long and short
stitches that overlap the left stitches that overlap the left
side -if a long stitch was side -if a long stitch was
used on the left side. use a used on the left side. use a
short stitch on the right side; short stitch on the right side;
if there is a short stitch on if there is a short stitch on
the left side. overlap it with the left side. overlap it with
a long stitch on the right a long stitch on the right
side. side.

! Maintain the same stitch angle on both sides ! Maintain the same stitch angle on both sides
of the tree. of the tree.

! The long stitches that extend out the sides of ! The long stitches that extend out the sides of
the tree are the ones that give the tree its the tree are the ones that give the tree its
shape. shape.

! Highlights give the effect of ! Highlights give the effect of


spots where sunlight is spots where sunlight is
striking some of the striking some of the
branches. Use either Pine branches. Use either Pine
Needle Stitches or Claw Needle Stitches or Claw
Stitch. Keep the stitches Stitch. Keep the stitches
small -in proportion to the small -in proportion to the
tree. tree.

TREES, OLD PINE TREES, OLD PINE


Old Pine bark has circular patches surrounded by Old Pine bark has circular patches surrounded by
the main trunk colour. The patches can be one the main trunk colour. The patches can be one
solid colour or require blending of 2 colours. The solid colour or require blending of 2 colours. The
stitch direction for the patches can be the same stitch direction for the patches can be the same
or opposite to the stitching on the main trunk - to or opposite to the stitching on the main trunk - to

169 169
emphasize areas of loose bark, some patches are emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched stitched horizontally - the trunk is stitched
vertically. vertically.

APPLICATION APPLICATION
Scenes Scenes

TECHNIQUE TECHNIQUE

! Complete the main trunk ! Complete the main trunk


area first. The stitch area first. The stitch
direction flows vertically, up direction flows vertically, up
and down the tree. and down the tree.

! Fill in each patch with the ! Fill in each patch with the
appropriate colours. Do not appropriate colours. Do not
blend into the main trunk blend into the main trunk
colour - keep the edges colour - keep the edges
nice and firm. On large nice and firm. On large
trees, the colour of the trees, the colour of the
patch varies, that creates patch varies, that creates
the realistic shading effect. the realistic shading effect.
Refer to your insert for Refer to your insert for
colour placement and stitch colour placement and stitch
direction. direction.

TREES, VERTICAL TRUNKS TREES, VERTICAL TRUNKS


Stitch direction runs vertically up and down the Stitch direction runs vertically up and down the
length of the trunk. All the background areas must length of the trunk. All the background areas must
be completed first. be completed first.

170 170

emphasize areas of loose bark, some patches are emphasize areas of loose bark, some patches are
stitched horizontally - the trunk is stitched stitched horizontally - the trunk is stitched
vertically. vertically.

APPLICATION APPLICATION
Scenes Scenes

TECHNIQUE TECHNIQUE

! Complete the main trunk ! Complete the main trunk


area first. The stitch area first. The stitch
direction flows vertically, up direction flows vertically, up
and down the tree. and down the tree.

! Fill in each patch with the ! Fill in each patch with the
appropriate colours. Do not appropriate colours. Do not
blend into the main trunk blend into the main trunk
colour - keep the edges colour - keep the edges
nice and firm. On large nice and firm. On large
trees, the colour of the trees, the colour of the
patch varies, that creates patch varies, that creates
the realistic shading effect. the realistic shading effect.
Refer to your insert for Refer to your insert for
colour placement and stitch colour placement and stitch
direction. direction.

TREES, VERTICAL TRUNKS TREES, VERTICAL TRUNKS


Stitch direction runs vertically up and down the Stitch direction runs vertically up and down the
length of the trunk. All the background areas must length of the trunk. All the background areas must
be completed first. be completed first.

170 170
APPLICATION APPLICATION
Scenes Scenes

TECHNIQUE TECHNIQUE
! Fill in with regular Flat Stitching working ! Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that darkest to lightest. If there are areas that
require green thread and the trunk colour is require green thread and the trunk colour is
brown, complete the brown sections first, then brown, complete the brown sections first, then
the green. Accent techniques such as Reverse the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss or Blizzard Stitch are used to represent moss
growing on the trunk. growing on the trunk.

- When the trunk is divided - When the trunk is divided


by blending lines as by blending lines as
shown in the diagram, fill shown in the diagram, fill
in as much as possible in as much as possible
with continuous rows of with continuous rows of
Flat Stitch. Each Flat Stitch. Each
projection is then filled projection is then filled
individually before individually before
proceeding with the next proceeding with the next
colour. colour.
! Apply Stitch & Cuts to blend the colours ! Apply Stitch & Cuts to blend the colours
together and to give a rugged effect. together and to give a rugged effect.

TRIANGLE STITCH TRIANGLE STITCH


This technique combines Ring Stitch and Inlay This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative Stitch to create a triangle-shaped, decorative
stitch. stitch.

APPLICATION APPLICATION

Very limited. Very limited.


171 171

APPLICATION APPLICATION
Scenes Scenes

TECHNIQUE TECHNIQUE
! Fill in with regular Flat Stitching working ! Fill in with regular Flat Stitching working
darkest to lightest. If there are areas that darkest to lightest. If there are areas that
require green thread and the trunk colour is require green thread and the trunk colour is
brown, complete the brown sections first, then brown, complete the brown sections first, then
the green. Accent techniques such as Reverse the green. Accent techniques such as Reverse
or Blizzard Stitch are used to represent moss or Blizzard Stitch are used to represent moss
growing on the trunk. growing on the trunk.

- When the trunk is divided - When the trunk is divided


by blending lines as by blending lines as
shown in the diagram, fill shown in the diagram, fill
in as much as possible in as much as possible
with continuous rows of with continuous rows of
Flat Stitch. Each Flat Stitch. Each
projection is then filled projection is then filled
individually before individually before
proceeding with the next proceeding with the next
colour. colour.
! Apply Stitch & Cuts to blend the colours ! Apply Stitch & Cuts to blend the colours
together and to give a rugged effect. together and to give a rugged effect.

TRIANGLE STITCH TRIANGLE STITCH


This technique combines Ring Stitch and Inlay This technique combines Ring Stitch and Inlay
Stitch to create a triangle-shaped, decorative Stitch to create a triangle-shaped, decorative
stitch. stitch.

APPLICATION APPLICATION

Very limited. Very limited.


171 171
TECHNIQUE TECHNIQUE
! Follow the Ring Stitch ! Follow the Ring Stitch
technique to make the desired technique to make the desired
number of loops. number of loops.
! Press the loop flat to the ! Press the loop flat to the
canvas. canvas.

! Flatten out the round tip of the loop to make a ! Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4 thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle. pull thread in a bunka needle.

TWISTED DOT TWISTED DOT


A thread in a Twisted Dot has a swirled effect like A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone. a soft ice cream cone.

APPLICATION APPLICATION
Decorative Stitch. Decorative Stitch.

TECHNIQUE TECHNIQUE
! A Flat or Fluffy needle threaded with 2/4 pull ! A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the thread may be used depending on the
desired size of dot. desired size of dot.

! Take the needle behind the work frame and ! Take the needle behind the work frame and
punch up through to the front of the canvas. punch up through to the front of the canvas.

! To hold the thread in place before twisting, ! To hold the thread in place before twisting,
press a fingernail to the thread and against press a fingernail to the thread and against
the canvas just at the point where it emerges the canvas just at the point where it emerges
from the canvas from the canvas

172 172

TECHNIQUE TECHNIQUE
! Follow the Ring Stitch ! Follow the Ring Stitch
technique to make the desired technique to make the desired
number of loops. number of loops.
! Press the loop flat to the ! Press the loop flat to the
canvas. canvas.

! Flatten out the round tip of the loop to make a ! Flatten out the round tip of the loop to make a
triangle shape by overstitching the whole triangle shape by overstitching the whole
thread with a nice, tight Satin Stitch using 2/4 thread with a nice, tight Satin Stitch using 2/4
pull thread in a bunka needle. pull thread in a bunka needle.

TWISTED DOT TWISTED DOT


A thread in a Twisted Dot has a swirled effect like A thread in a Twisted Dot has a swirled effect like
a soft ice cream cone. a soft ice cream cone.

APPLICATION APPLICATION
Decorative Stitch. Decorative Stitch.

TECHNIQUE TECHNIQUE
! A Flat or Fluffy needle threaded with 2/4 pull ! A Flat or Fluffy needle threaded with 2/4 pull
thread may be used depending on the thread may be used depending on the
desired size of dot. desired size of dot.

! Take the needle behind the work frame and ! Take the needle behind the work frame and
punch up through to the front of the canvas. punch up through to the front of the canvas.

! To hold the thread in place before twisting, ! To hold the thread in place before twisting,
press a fingernail to the thread and against press a fingernail to the thread and against
the canvas just at the point where it emerges the canvas just at the point where it emerges
from the canvas from the canvas

172 172
! Slowly turn the needle ! Slowly turn the needle
around in a circular motion. around in a circular motion.

! As the thread twists, pull ! As the thread twists, pull


down slowly withdrawing the down slowly withdrawing the
needle from the canvas. Do needle from the canvas. Do
not pull down too hard on not pull down too hard on
the needle or the stitch will the needle or the stitch will
be pulled out. be pulled out.

TWISTED PICOT TWISTED PICOT


Forms a dot, slightly larger than a Reverse Stitch Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot. dot and similar in appearance to a Twisted Dot.

APPLICATION APPLICATION
Twisted Picots can be joined with 'Lead' stitches Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves. used in waterfalls or ocean waves.

TECHNIQUE TECHNIQUE

! Punch into the canvas and pull the end to the ! Punch into the canvas and pull the end to the
back. back.

! Lift the needle about ½" to ¾" above the ! Lift the needle about ½" to ¾" above the
canvas. canvas.

! To hold the thread in place, keep the finger of ! To hold the thread in place, keep the finger of
your left hand pressing on the thread at the your left hand pressing on the thread at the
back of the canvas. back of the canvas.

173 173

! Slowly turn the needle ! Slowly turn the needle


around in a circular motion. around in a circular motion.

! As the thread twists, pull ! As the thread twists, pull


down slowly withdrawing the down slowly withdrawing the
needle from the canvas. Do needle from the canvas. Do
not pull down too hard on not pull down too hard on
the needle or the stitch will the needle or the stitch will
be pulled out. be pulled out.

TWISTED PICOT TWISTED PICOT


Forms a dot, slightly larger than a Reverse Stitch Forms a dot, slightly larger than a Reverse Stitch
dot and similar in appearance to a Twisted Dot. dot and similar in appearance to a Twisted Dot.

APPLICATION APPLICATION
Twisted Picots can be joined with 'Lead' stitches Twisted Picots can be joined with 'Lead' stitches
or left separate. The bubbly effect is frequently or left separate. The bubbly effect is frequently
used in waterfalls or ocean waves. used in waterfalls or ocean waves.

TECHNIQUE TECHNIQUE

! Punch into the canvas and pull the end to the ! Punch into the canvas and pull the end to the
back. back.

! Lift the needle about ½" to ¾" above the ! Lift the needle about ½" to ¾" above the
canvas. canvas.

! To hold the thread in place, keep the finger of ! To hold the thread in place, keep the finger of
your left hand pressing on the thread at the your left hand pressing on the thread at the
back of the canvas. back of the canvas.

173 173
! Rapidly twirl the needle in a ! Rapidly twirl the needle in a
counter-clockwise motion. counter-clockwise motion.
This will tighten up the fibers This will tighten up the fibers
in the thread causing it to in the thread causing it to
twist down into a knob. twist down into a knob.

! Punch back into the canvas, ! Punch back into the canvas,
almost directly under the dot. almost directly under the dot.

! Take a step to where you ! Take a step to where you


would like the next dot with a would like the next dot with a
1/2" 'Lead' stitch. Repeat. 1/2" 'Lead' stitch. Repeat.

WATERFALLS WATERFALLS
Stitching a waterfall may require combining Stitching a waterfall may require combining
various techniques to create the desired effect - various techniques to create the desired effect -
gentle flow; rapids rushing over rocks; foaming gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall. turbulence floating away from the actual waterfall.
The basic principle of stitching the background The basic principle of stitching the background
first is very important with subsequent techniques first is very important with subsequent techniques
applied on top. A large waterfall could consist of applied on top. A large waterfall could consist of
several secondary waterfalls. several secondary waterfalls.

Possible Techniques: Possible Techniques:

Blending Running Blending Running


Blizzard Stitch & Cut Blizzard Stitch & Cut
Foam Stretch Foam Stretch
Line Padding 3 Colour Padding Line Padding 3 Colour Padding
Overlay Reverse/clip Overlay Reverse/clip

174 174

! Rapidly twirl the needle in a ! Rapidly twirl the needle in a


counter-clockwise motion. counter-clockwise motion.
This will tighten up the fibers This will tighten up the fibers
in the thread causing it to in the thread causing it to
twist down into a knob. twist down into a knob.

! Punch back into the canvas, ! Punch back into the canvas,
almost directly under the dot. almost directly under the dot.

! Take a step to where you ! Take a step to where you


would like the next dot with a would like the next dot with a
1/2" 'Lead' stitch. Repeat. 1/2" 'Lead' stitch. Repeat.

WATERFALLS WATERFALLS
Stitching a waterfall may require combining Stitching a waterfall may require combining
various techniques to create the desired effect - various techniques to create the desired effect -
gentle flow; rapids rushing over rocks; foaming gentle flow; rapids rushing over rocks; foaming
turbulence floating away from the actual waterfall. turbulence floating away from the actual waterfall.
The basic principle of stitching the background The basic principle of stitching the background
first is very important with subsequent techniques first is very important with subsequent techniques
applied on top. A large waterfall could consist of applied on top. A large waterfall could consist of
several secondary waterfalls. several secondary waterfalls.

Possible Techniques: Possible Techniques:

Blending Running Blending Running


Blizzard Stitch & Cut Blizzard Stitch & Cut
Foam Stretch Foam Stretch
Line Padding 3 Colour Padding Line Padding 3 Colour Padding
Overlay Reverse/clip Overlay Reverse/clip

174 174
TECHNIQUE TECHNIQUE
! Complete each ! Complete each
secondary waterfall, secondary waterfall,
one at a time, one at a time,
progressing from the progressing from the
section furthest in the section furthest in the
background and background and
finishing with the finishing with the
foreground portion. foreground portion.

! Line padding can be ! Line padding can be


used to emphasize the used to emphasize the
top edge of each top edge of each
section of the waterfall. section of the waterfall.

! Flat stitch the entire ! Flat stitch the entire


area to create a base, area to create a base,
using the appropriate using the appropriate
colours working from colours working from
darkest to lightest. darkest to lightest.
The darkest colours, The darkest colours,
the area closest to the area closest to
rocks, grass, etc., rocks, grass, etc.,
illustrate the deepest illustrate the deepest
part of the waterfall part of the waterfall
and are therefore and are therefore
furthest to the furthest to the
background. background.

! When the base layer is ! When the base layer is


completed, the vertical completed, the vertical
rows of colour will give rows of colour will give
it a very striped it a very striped
appearance. appearance.
175 175

TECHNIQUE TECHNIQUE
! Complete each ! Complete each
secondary waterfall, secondary waterfall,
one at a time, one at a time,
progressing from the progressing from the
section furthest in the section furthest in the
background and background and
finishing with the finishing with the
foreground portion. foreground portion.

! Line padding can be ! Line padding can be


used to emphasize the used to emphasize the
top edge of each top edge of each
section of the waterfall. section of the waterfall.

! Flat stitch the entire ! Flat stitch the entire


area to create a base, area to create a base,
using the appropriate using the appropriate
colours working from colours working from
darkest to lightest. darkest to lightest.
The darkest colours, The darkest colours,
the area closest to the area closest to
rocks, grass, etc., rocks, grass, etc.,
illustrate the deepest illustrate the deepest
part of the waterfall part of the waterfall
and are therefore and are therefore
furthest to the furthest to the
background. background.

! When the base layer is ! When the base layer is


completed, the vertical completed, the vertical
rows of colour will give rows of colour will give
it a very striped it a very striped
appearance. appearance.
175 175
To make it more natural-looking numerous To make it more natural-looking numerous
rows of Stitch & Cuts should be applied on rows of Stitch & Cuts should be applied on
top of the base. top of the base.
- apply Stitch & Cuts of the darkest thread - apply Stitch & Cuts of the darkest thread
over the medium thread. over the medium thread.
- next, apply the medium colour over the - next, apply the medium colour over the
lighter colour. lighter colour.
! Work your way back over this first layer of ! Work your way back over this first layer of
blending with a second layer. blending with a second layer.
- apply Stitch & cuts of the lightest thread - apply Stitch & cuts of the lightest thread
over the medium colour. over the medium colour.
- next, apply the medium colour over the - next, apply the medium colour over the
darkest thread. darkest thread.
! Use either the lightest colour thread or some ! Use either the lightest colour thread or some
white thread to emphasize the heavier or white thread to emphasize the heavier or
more active parts of the waterfall - the top, more active parts of the waterfall - the top,
where the water is hitting a rock, at the base. where the water is hitting a rock, at the base.
SUGGESTIONS SUGGESTIONS
! Use Foam or Stretch ! Use Foam or Stretch
Stitch to develop a frothy Stitch to develop a frothy
effect at the base of the effect at the base of the
waterfall. waterfall.
! Use Blizzard Stitch to ! Use Blizzard Stitch to
make a gentle flow of make a gentle flow of
water away from the base water away from the base
of the waterfall. of the waterfall.
! Use Reverse or Clip Stitch ! Use Reverse or Clip Stitch
to add droplets or to add droplets or
splashes of water to the splashes of water to the
lightest coloured area. lightest coloured area.

176 176

To make it more natural-looking numerous To make it more natural-looking numerous


rows of Stitch & Cuts should be applied on rows of Stitch & Cuts should be applied on
top of the base. top of the base.
- apply Stitch & Cuts of the darkest thread - apply Stitch & Cuts of the darkest thread
over the medium thread. over the medium thread.
- next, apply the medium colour over the - next, apply the medium colour over the
lighter colour. lighter colour.
! Work your way back over this first layer of ! Work your way back over this first layer of
blending with a second layer. blending with a second layer.
- apply Stitch & cuts of the lightest thread - apply Stitch & cuts of the lightest thread
over the medium colour. over the medium colour.
- next, apply the medium colour over the - next, apply the medium colour over the
darkest thread. darkest thread.
! Use either the lightest colour thread or some ! Use either the lightest colour thread or some
white thread to emphasize the heavier or white thread to emphasize the heavier or
more active parts of the waterfall - the top, more active parts of the waterfall - the top,
where the water is hitting a rock, at the base. where the water is hitting a rock, at the base.
SUGGESTIONS SUGGESTIONS
! Use Foam or Stretch ! Use Foam or Stretch
Stitch to develop a frothy Stitch to develop a frothy
effect at the base of the effect at the base of the
waterfall. waterfall.
! Use Blizzard Stitch to ! Use Blizzard Stitch to
make a gentle flow of make a gentle flow of
water away from the base water away from the base
of the waterfall. of the waterfall.
! Use Reverse or Clip Stitch ! Use Reverse or Clip Stitch
to add droplets or to add droplets or
splashes of water to the splashes of water to the
lightest coloured area. lightest coloured area.

176 176
WEAVING WEAVING
This technique creates a basket-weave design This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the with a base layer, keeping the colours in the
same sequence. You then weave the second same sequence. You then weave the second
layer under and over the warp threads in the layer under and over the warp threads in the
colour order. colour order.

Groups of thread, consisting of Groups of thread, consisting of


one row of each colour will be one row of each colour will be
worked over the area: 1 row of worked over the area: 1 row of
each of the 5 colours = 1 group. each of the 5 colours = 1 group.

The sequence of thread colours The sequence of thread colours


should be repeated for each should be repeated for each
Group. Group.
APPLICATION APPLICATION
Limited, used most often in original designs -very Limited, used most often in original designs -very
few kits utilize this technique. few kits utilize this technique.

TECHNIQUE TECHNIQUE

FIRST LAYER: FIRST LAYER:


! Thread up sewing needles with about 12" of 2/4 ! Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used. pull thread of the various colours being used.
! Bring the first colour up from the back, take one ! Bring the first colour up from the back, take one
long stitch up across the whole area and take long stitch up across the whole area and take
the needle to the back. the needle to the back.
! Move the needle over to the edge of the next ! Move the needle over to the edge of the next
box and take one stitch down to the bottom. box and take one stitch down to the bottom.

177 177

WEAVING WEAVING
This technique creates a basket-weave design This technique creates a basket-weave design
using 4 to 5 colours of 2/4 pull thread and an using 4 to 5 colours of 2/4 pull thread and an
ordinary sewing needle. The area is first filled in ordinary sewing needle. The area is first filled in
with a base layer, keeping the colours in the with a base layer, keeping the colours in the
same sequence. You then weave the second same sequence. You then weave the second
layer under and over the warp threads in the layer under and over the warp threads in the
colour order. colour order.

Groups of thread, consisting of Groups of thread, consisting of


one row of each colour will be one row of each colour will be
worked over the area: 1 row of worked over the area: 1 row of
each of the 5 colours = 1 group. each of the 5 colours = 1 group.

The sequence of thread colours The sequence of thread colours


should be repeated for each should be repeated for each
Group. Group.
APPLICATION APPLICATION
Limited, used most often in original designs -very Limited, used most often in original designs -very
few kits utilize this technique. few kits utilize this technique.

TECHNIQUE TECHNIQUE

FIRST LAYER: FIRST LAYER:


! Thread up sewing needles with about 12" of 2/4 ! Thread up sewing needles with about 12" of 2/4
pull thread of the various colours being used. pull thread of the various colours being used.
! Bring the first colour up from the back, take one ! Bring the first colour up from the back, take one
long stitch up across the whole area and take long stitch up across the whole area and take
the needle to the back. the needle to the back.
! Move the needle over to the edge of the next ! Move the needle over to the edge of the next
box and take one stitch down to the bottom. box and take one stitch down to the bottom.

177 177
! Repeat the above, placing ! Repeat the above, placing
one row of the first colour in one row of the first colour in
each box. Do not cut the each box. Do not cut the
thread - set it aside for thread - set it aside for
further use (stick it into the further use (stick it into the
side of the canvas). side of the canvas).

! Bring the needle with the ! Bring the needle with the
second thread colour up second thread colour up
right beside the first thread right beside the first thread
in the first box and take in the first box and take
another long stitch across another long stitch across
to the other side. to the other side.

! Place one row of the ! Place one row of the


second colour in each box. second colour in each box.
Set aside the needle. Set aside the needle.

! Repeat the above until ! Repeat the above until


each box is filled with one each box is filled with one
row of each colour. This row of each colour. This
completes the first layer. completes the first layer.

SECOND LAYER: SECOND LAYER:

LOCKING IN THE WEAVE LOCKING IN THE WEAVE

Working in the opposite direction (horizontally) Working in the opposite direction (horizontally)
and using the same colour sequence, the method and using the same colour sequence, the method
for the second layer (weaving layer) differs from for the second layer (weaving layer) differs from
the first. the first.

178 178

! Repeat the above, placing ! Repeat the above, placing


one row of the first colour in one row of the first colour in
each box. Do not cut the each box. Do not cut the
thread - set it aside for thread - set it aside for
further use (stick it into the further use (stick it into the
side of the canvas). side of the canvas).

! Bring the needle with the ! Bring the needle with the
second thread colour up second thread colour up
right beside the first thread right beside the first thread
in the first box and take in the first box and take
another long stitch across another long stitch across
to the other side. to the other side.

! Place one row of the ! Place one row of the


second colour in each box. second colour in each box.
Set aside the needle. Set aside the needle.

! Repeat the above until ! Repeat the above until


each box is filled with one each box is filled with one
row of each colour. This row of each colour. This
completes the first layer. completes the first layer.

SECOND LAYER: SECOND LAYER:

LOCKING IN THE WEAVE LOCKING IN THE WEAVE

Working in the opposite direction (horizontally) Working in the opposite direction (horizontally)
and using the same colour sequence, the method and using the same colour sequence, the method
for the second layer (weaving layer) differs from for the second layer (weaving layer) differs from
the first. the first.

178 178
The second layer weaves under and over the The second layer weaves under and over the
threads of the first layer. It is easier if you hold the threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the sewing needle by the pointed end and slide the
eye end of the needle under and over the threads eye end of the needle under and over the threads
of the first layer. of the first layer.
Group 1 Group 1
Start with the first shade by sliding the needle Start with the first shade by sliding the needle
under and over each group of the first layer under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5. (under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the over pattern with 1 row of each colour until the
first group is completed. first group is completed.
Group 2 Group 2
Returning to the first colour of the group, lock in Returning to the first colour of the group, lock in
the weave by reversing the under and over the weave by reversing the under and over
pattern used with the first group -where you went pattern used with the first group -where you went
under the threads of the first layer, you will now under the threads of the first layer, you will now
go over them; where you went over the threads go over them; where you went over the threads
of the first layer, you will now go under. of the first layer, you will now go under.

Repeat the same under and Repeat the same under and
over pattern for all the colours over pattern for all the colours
of Group 2. of Group 2.

Repeat this weaving pattern Repeat this weaving pattern


for the remaining boxes. for the remaining boxes.
REMEMBER to reverse the REMEMBER to reverse the
under and over pattern after under and over pattern after
each GROUP. each GROUP.
The raw edges of a woven area can be hidden The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or with a row of a decorative stitch such as Picot or
Cord. Cord.

179 179

The second layer weaves under and over the The second layer weaves under and over the
threads of the first layer. It is easier if you hold the threads of the first layer. It is easier if you hold the
sewing needle by the pointed end and slide the sewing needle by the pointed end and slide the
eye end of the needle under and over the threads eye end of the needle under and over the threads
of the first layer. of the first layer.
Group 1 Group 1
Start with the first shade by sliding the needle Start with the first shade by sliding the needle
under and over each group of the first layer under and over each group of the first layer
(under 5 threads. over 5 threads, under 5. over 5. (under 5 threads. over 5 threads, under 5. over 5.
etc.). DO NOT MOVE TO THE NEXT BOX - set etc.). DO NOT MOVE TO THE NEXT BOX - set
the needle aside. Repeat the same under and the needle aside. Repeat the same under and
over pattern with 1 row of each colour until the over pattern with 1 row of each colour until the
first group is completed. first group is completed.
Group 2 Group 2
Returning to the first colour of the group, lock in Returning to the first colour of the group, lock in
the weave by reversing the under and over the weave by reversing the under and over
pattern used with the first group -where you went pattern used with the first group -where you went
under the threads of the first layer, you will now under the threads of the first layer, you will now
go over them; where you went over the threads go over them; where you went over the threads
of the first layer, you will now go under. of the first layer, you will now go under.

Repeat the same under and Repeat the same under and
over pattern for all the colours over pattern for all the colours
of Group 2. of Group 2.

Repeat this weaving pattern Repeat this weaving pattern


for the remaining boxes. for the remaining boxes.
REMEMBER to reverse the REMEMBER to reverse the
under and over pattern after under and over pattern after
each GROUP. each GROUP.
The raw edges of a woven area can be hidden The raw edges of a woven area can be hidden
with a row of a decorative stitch such as Picot or with a row of a decorative stitch such as Picot or
Cord. Cord.

179 179
WEDGE STITCHING WEDGE STITCHING
As the name implies a 'wedge' is a shorter row or As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure stitch worked between longer areas to ensure
smooth, even work for: smooth, even work for:
! an irregular shaped area such as a triangle ! an irregular shaped area such as a triangle
where the stitch direction fans out from a very where the stitch direction fans out from a very
narrow end to the opposite side which is much narrow end to the opposite side which is much
wider. wider.

! an area where there is a drastic change in ! an area where there is a drastic change in
stitch direction. stitch direction.

This concept of Wedging is applied to single This concept of Wedging is applied to single
stitches as well as to rows of stitching. 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 Wedge Rows are rows 'Wedge Stitches' are Wedge Rows are rows
short length stitches of stitches. A Wedge short length stitches of stitches. A Wedge
Row is shorter in length Row is shorter in length
than the surrounding than the surrounding
rows. rows.

180 180

WEDGE STITCHING WEDGE STITCHING


As the name implies a 'wedge' is a shorter row or As the name implies a 'wedge' is a shorter row or
stitch worked between longer areas to ensure stitch worked between longer areas to ensure
smooth, even work for: smooth, even work for:
! an irregular shaped area such as a triangle ! an irregular shaped area such as a triangle
where the stitch direction fans out from a very where the stitch direction fans out from a very
narrow end to the opposite side which is much narrow end to the opposite side which is much
wider. wider.

! an area where there is a drastic change in ! an area where there is a drastic change in
stitch direction. stitch direction.

This concept of Wedging is applied to single This concept of Wedging is applied to single
stitches as well as to rows of stitching. 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 Wedge Rows are rows 'Wedge Stitches' are Wedge Rows are rows
short length stitches of stitches. A Wedge short length stitches of stitches. A Wedge
Row is shorter in length Row is shorter in length
than the surrounding than the surrounding
rows. rows.

180 180
1. FOR IRREGULAR SHAPED AREAS 1. FOR IRREGULAR SHAPED AREAS
More thread is required to cover the wider end More thread is required to cover the wider end
than the narrow end. If the top area is the than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M". worked in the pattern of the letter "M".
Every stitch is worked to the widest area but Every stitch is worked to the widest area but
only a few reach the narrow end. These only a few reach the narrow end. These
shorter stitches are called Wedge Stitches. shorter stitches are called Wedge Stitches.

! Working from the narrow side, take 1 stitch ! Working from the narrow side, take 1 stitch
to the widest edge. to the widest edge.

! Return 1/2 way down the first stitch ! Return 1/2 way down the first stitch
(towards the narrow side) and punch. This (towards the narrow side) and punch. This
is a Wedge Stitch. is a Wedge Stitch.

! Return toward the widest edge again with a ! Return toward the widest edge again with a
regular length stitch. regular length stitch.

! Return down this third stitch with a Wedge ! Return down this third stitch with a Wedge
Stitch which is either shorter or longer than Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were the first Wedge. If all the Wedges were
punched in at the same point, a row of punched in at the same point, a row of
punch marks would become visible. punch marks would become visible.

181 181

1. FOR IRREGULAR SHAPED AREAS 1. FOR IRREGULAR SHAPED AREAS


More thread is required to cover the wider end More thread is required to cover the wider end
than the narrow end. If the top area is the than the narrow end. If the top area is the
widest, wedge stitches or wedge rows are widest, wedge stitches or wedge rows are
worked in the pattern of the letter "M". worked in the pattern of the letter "M".
Every stitch is worked to the widest area but Every stitch is worked to the widest area but
only a few reach the narrow end. These only a few reach the narrow end. These
shorter stitches are called Wedge Stitches. shorter stitches are called Wedge Stitches.

! Working from the narrow side, take 1 stitch ! Working from the narrow side, take 1 stitch
to the widest edge. to the widest edge.

! Return 1/2 way down the first stitch ! Return 1/2 way down the first stitch
(towards the narrow side) and punch. This (towards the narrow side) and punch. This
is a Wedge Stitch. is a Wedge Stitch.

! Return toward the widest edge again with a ! Return toward the widest edge again with a
regular length stitch. regular length stitch.

! Return down this third stitch with a Wedge ! Return down this third stitch with a Wedge
Stitch which is either shorter or longer than Stitch which is either shorter or longer than
the first Wedge. If all the Wedges were the first Wedge. If all the Wedges were
punched in at the same point, a row of punched in at the same point, a row of
punch marks would become visible. punch marks would become visible.

181 181
! If the base of the area is the widest, such ! If the base of the area is the widest, such
as in a mountain, then the wedge rows are as in a mountain, then the wedge rows are
reversed, following the pattern of the letter reversed, following the pattern of the letter
"W' where every stitch is worked to the "W' where every stitch is worked to the
bottom but only a few reach the top. bottom but only a few reach the top.

Wedge Rows are used for large areas where Wedge Rows are used for large areas where
more than one stitch length is required. 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 Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a worked between regular stitching to develop a
smooth change of direction. smooth change of direction.

APPLICATION APPLICATION
General knowledge that is used in various General knowledge that is used in various
applications. applications.

TECHNIQUE TECHNIQUE
! Make one Wedge Stitch/Row ! Make one Wedge Stitch/Row
about every 2nd or 3rd about every 2nd or 3rd
stitch, varying the length. stitch, varying the length.
This will enable you to This will enable you to
'swing' the regular length 'swing' the regular length
stitches around to the stitches around to the
desired direction. desired direction.

! Working from the narrow side of the area, take ! Working from the narrow side of the area, take
1 stitch/row to the widest edge. 1 stitch/row to the widest edge.

! Returning to the narrow side, make one ! Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first Wedge Stitch/Row half the length of the first
stitch. stitch.

182 182

! If the base of the area is the widest, such ! If the base of the area is the widest, such
as in a mountain, then the wedge rows are as in a mountain, then the wedge rows are
reversed, following the pattern of the letter reversed, following the pattern of the letter
"W' where every stitch is worked to the "W' where every stitch is worked to the
bottom but only a few reach the top. bottom but only a few reach the top.

Wedge Rows are used for large areas where Wedge Rows are used for large areas where
more than one stitch length is required. 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 Consists of a single, shorter stitch/row which is
worked between regular stitching to develop a worked between regular stitching to develop a
smooth change of direction. smooth change of direction.

APPLICATION APPLICATION
General knowledge that is used in various General knowledge that is used in various
applications. applications.

TECHNIQUE TECHNIQUE
! Make one Wedge Stitch/Row ! Make one Wedge Stitch/Row
about every 2nd or 3rd about every 2nd or 3rd
stitch, varying the length. stitch, varying the length.
This will enable you to This will enable you to
'swing' the regular length 'swing' the regular length
stitches around to the stitches around to the
desired direction. desired direction.

! Working from the narrow side of the area, take ! Working from the narrow side of the area, take
1 stitch/row to the widest edge. 1 stitch/row to the widest edge.

! Returning to the narrow side, make one ! Returning to the narrow side, make one
Wedge Stitch/Row half the length of the first Wedge Stitch/Row half the length of the first
stitch. stitch.

182 182
! Return out to the widest edge again and then ! Return out to the widest edge again and then
right back to the narrow edge with a full length right back to the narrow edge with a full length
stitch/row. stitch/row.

ZIGZAG STITCH ZIGZAG STITCH


Very basic stitch referred to as a technique more Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis than a specific stitch. It is worked across the axis
of a straight line. of a straight line.

APPLICATION APPLICATION

Used on many scenes for the rough, shadowy Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching. effect of distant trees. Decorative Stitching.

TECHNIQUE TECHNIQUE

! punch needle from front of canvas, taking the ! punch needle from front of canvas, taking the
beginning thread to the back of fabric. beginning thread to the back of fabric.
! Stitch side to side across the straight line. ! Stitch side to side across the straight line.

Variations: Variations:

Short & Narrow Long & Open Irregular Short & Narrow Long & Open Irregular

183 183

! Return out to the widest edge again and then ! Return out to the widest edge again and then
right back to the narrow edge with a full length right back to the narrow edge with a full length
stitch/row. stitch/row.

ZIGZAG STITCH ZIGZAG STITCH


Very basic stitch referred to as a technique more Very basic stitch referred to as a technique more
than a specific stitch. It is worked across the axis than a specific stitch. It is worked across the axis
of a straight line. of a straight line.

APPLICATION APPLICATION

Used on many scenes for the rough, shadowy Used on many scenes for the rough, shadowy
effect of distant trees. Decorative Stitching. effect of distant trees. Decorative Stitching.

TECHNIQUE TECHNIQUE

! punch needle from front of canvas, taking the ! punch needle from front of canvas, taking the
beginning thread to the back of fabric. beginning thread to the back of fabric.
! Stitch side to side across the straight line. ! Stitch side to side across the straight line.

Variations: Variations:

Short & Narrow Long & Open Irregular Short & Narrow Long & Open Irregular

183 183
Section 111 Section 111

Appendices Appendices

Appendix 1 Framing Appendix 1 Framing


Appendix 11 Colour Chart Appendix 11 Colour Chart

Section 111 Section 111

Appendices Appendices

Appendix 1 Framing Appendix 1 Framing


Appendix 11 Colour Chart Appendix 11 Colour Chart
FRAMING FRAMING

Trim Trim
To prepare the completed picture for framing, turn To prepare the completed picture for framing, turn
the work frame over and carefully trim off the the work frame over and carefully trim off the
excess thread on the back of the canvas with a excess thread on the back of the canvas with a
pair of very sharp scissors. Remove the canvas pair of very sharp scissors. Remove the canvas
from the work frame. from the work frame.

Mounting Mounting
The canvas is then stretched and mounted onto a The canvas is then stretched and mounted onto a
backboard. 'Foamcore' is recommended because it backboard. 'Foamcore' is recommended because it
is very strong but very light in weight. Other is very strong but very light in weight. Other
backings such as heavy cardboard can also be backings such as heavy cardboard can also be
used. The larger the picture, the stronger the used. The larger the picture, the stronger the
mounting board. Use two-sided tape and/or staples mounting board. Use two-sided tape and/or staples
to mount and secure the canvas onto the