qa-handsewing v2 cp

7/29/2019 QA-Handsewing v2 Cp

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how to hand sew using ladder, running, chain stitch, and more 1Q ui lti n g Arts.co m

ia

hAnd sewing for Quilters leArn how to hAnd sew

4

hand sewing techniques for quilters:

la h ha s ula s, r s,ca s, a m

1 Embellished Stitches and Exotic ThreadsmArgAret BAll

2 The Running StitchjuliA cAprArA

3 Ladder Stitch SamplerBeryl tAylor

4 Power to the Hand StitcherlAurA wAsilowski

1

2

3


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People the world over have used hand sewing

or centuries not just to stitch two pieces o

abric together, but to add color, pattern, and

interest to their clothing and

home dcor. Even though

todays quilter has many

electronic tools to make

stitching and quilting easierand aster, hand sewing

appeals to anyone who loves

ber.

In this ree eBook, Hand Sewing Techniques or

Quilters: Learn How to Hand Sew Using Ladder

Stitch, Running Stitch, Chain Stitch, and More

rom Quilting Arts, you will see how, with a

ew basic stitches, you can use hand sewing to

transorm your quilts.

In Embellished Stitches and Exotic Threads,

ber artist Margaret Ball describes how to

combine those wonderul ancy bers we all

love with basic stitches like the chain stitch,

running stitch, back stitch, and variations to

create rich, three-dimensional embellishments

or your art quilts and ber art projects.

Creative embroidery expert and mixed-

media abric artist Beryl Taylor shows

you the amazing variations you can create

with one stitch in Ladder Stitch Sampler.

She combines wool elt, strips o cotton,

hand sewing techniques

for quilters:

leArn how to hAnd sewusing lAdder stitch,

chAin stitch, And more

editorial director Pky B

editor c c

P

cv vc

division art director l d

PhotograPhers ly sKy s

Poj d fomo fo p-

o d po oy. Quilting rts

Magazine o pob fo y -

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ips

FROMMISTAKETOMASTERPIECEt

ips

p. 46

p.14

p.28

800.406.5283 (U.S. & Canada)

760.291.1519 (International)qa.

Quilting Arts MAgAzine, P.O. Box 469087, Escondido, CA 92046-9350

Quilting ArtsMAgAzine xp ideas, textiles, and techniquesrelated toembellished and contemporary art quilting. i,y p,

step-by-step,

ppy, motivation vp y p y, k v.

embroidery foss, and embellishments or a

sampler like youve never seen beore.

Known or her colorul hand-dyed, used abric

quilts, Laura Wasilowski also has a talent or

adding just the right amount and type o hand

stitching to make a small art quilt go rom fat

to antastic. In Power to the Hand Stitcher,Laura shows how to use hand stitches to create

backgrounds, add interest, and bring new lie to

old projects.

Finally, we include an article on the versatile

running stitch written by the late Julia Caprara,

artist, lecturer, and writer in the textile art eld.

Creating the running stitch is simplicity itsel,

but Julia shows you the many ways you can

use it to alter the surace, texture, and even the

color o abric or exciting, sophisticated eects.

Whether you have been hand sewing all your

lie or are new to this time-honored crat, Hand

Sewing Techniques or Quilters: Learn How toHand Sew Using Ladder Stitch, Running Stitch,

Chain Stitch, and More rom Quilting Arts, will

show you exciting ways to add texture and

design to your quilts.

Warmly,

Pokey Bolton

Editorial Director


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b stitches& x threadsBy MArgAret BAll

AdAptedfroM

Quilting ArtsMAgAzine

fAll 2006

hv y zz

y y

vb k p

y? ty v

k k vy vv

, p k

y b

, zy py

b

z . i y

x y , y

k

bb-v y

z by ,

b b

. m

y j

k

p b p bk b

by . hv,

y vy y

v b, y

. Y p

by pjBetween the Tides 812" 614"


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1. t (p p)

y v

k . Kp

y y

, v.

2. B p

b a. rv

-

py (b p) .

3. P py a

B ()

p

b .

4. P c d (p)

,

p b .

5. c b v

,

p

, y

.

6. c bk

b

v bk

b. t

b.

B

p, y bky y

v y

. a k

Vy Vv, by rb gy,

k

f, k

k . a

k y, k e

Py Y, v f fy

b. a ,

k dmc m aq ( 3

) v p k

v q.

by b y v, , y

p yv y

- , k p by f. t v

v yp b: bk ,

, , b . Y y

b ( -k ) by

f b .

Note: Chenille needles have a sharp

point and are used to pierce the abric

at the beginning and end o a stitch;

tapestry needles have a blunt point and

make it easy or you to weave, wrap,

and interlace your ancy threads without

accidentally piercing the base thread or

abric.

m a t e r i a l s

For the base stitches

Fabric (stiened with an iron-onstabilizer or held taut in a hoop)

Scissors

Thimble

Embroidery needles

Smooth threads like cottonembroidery oss or fne perle cottonin a variety o colors

For the embellishment stitches

Chenille and tapestry needles(size 18 to 24)

Fancy threads ribbon oss, suedeand velvet cords, metallic ribbonsand braids, eyelash and ribbon yarns

Heavy-duty needle threader

ACD

B

Single-threadedrunningStitch


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1. B p

b a ( ) p

v

bk ,

( , p

v , .) y

bk

. wk p

b.

2. t b k

bk pp ,

p b.

t p y

b v v,

y bk

y .

3. B B

.

Note: There are two ways to work the

second line o a double stitch: either

reverse direction at the end o the line, or

tie o and start a new line o decorative

stitching at the beginning. Here Im

using the U-turn method; the restartmethod is illustrated later, on the double

whipped chain stitch.double-threadedbackStitch

A

B

tipsAn eyelash yarn like Lion Brand

Fun Fur will make a wide, uy bandthat almost completely obscures thebase stitching. Avalanche, a thick,sot, silk yarn rom Henrys Attic,here dyed in uchsia and lavender,makes raised loops on either side othe back stitching, giving an almostbeaded look.

Fyre Werks Sot Sheen, a sot,metalized, nylon thread rom

Japan, tucks down between theback stitches to make a rich line o

alternating metallic copper and lightgreen oss.

Try double threading a line orunning stitch (the decorative threadwill be more prominent) or chainstitch (the base stitches will bethicker and will show through thedecorative stitching).

The ace o the dragon is worked in satin stitch. The wings are Angelina and are outlined with reebuttonholing; the inner lines are raised with single wrapped back stitch. The tail is done with doublethreading o gold on green; the claws are double wrapped chain stitch.


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ty p

-

b v.

1. B p a.

2. tk v

bk p

.

3. g v

p .

4. c v--

y

B; b

b,

.

5. n b p c,

p p v

.

6. c .

7. B d

.

Note: As shown at let, with a thin,tight metallic thread, such as two

strands o DMC Metallic Silver, the

chain stitch remains visible and the

X pattern shows up clearly. A uzzy

thread like Angora blurs all the stitching

together and creates a solid raised line.

A ladder knitting yarn like SRKs

Ranee, with short colored rungs o

bright silky oss, turns each rung into

a brightly colored bobble on one side or

the other o the base chain; the doublewhipping here completely covers the

chain stitch.

A

CB

D

Single-whipped backStitch1. B p a.

2. cy v

bk b p

x bk .

3. rp

by b

b B.

Note: I worked with any but the

fnest o decorative threads, this stitchtends to create a solid raised line o the

decorative thread, with the back stitch

completely hidden. As shown at let,

Bernat Eyelash yarn (a soter yarn

than Lion Brand Fun Fur) makes a

very bold, slightly uzzy line. Rachelette,

a translucent knitted nylon tube with

a metallic strand threaded through the

tube, shows o both the sot nylon casing

and the bright metallic threading in a

smooth, tight line. Precious Metals

Mini Garland makes a spiky, sparkly

raised line, while Access sot twist

copper blends with the brown back

stitching to produce the illusion o a

single line o copper stitching.

A

B

double-whippedchainStitch

Above: As beore, the rst line o decorativewhipping is shown in the lighter color and thesecond in the darker color.


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t b b k

v bk

p b xp

b .

a vy, b

yp

; zzy

pp,

y b y

, y

bk .

1. B p

a, bv b.

2. lp y . B

v b

p b v

k . t b

v p p

a. Y p b

... pp b

.

3. rp

b y v,

v x ,

p.

Note: I you use a sot, expandable

thread and pack the decorative stitches

tightly, the result should look like an

unbroken line o buttonhole stitching

raised above the surace o the work.

free buttonholeStitch

wovenbarS

A

A

t

k v b

b, b14" p y

b y; 38"

v, b v b

y y y b

p 34" .

wv b p y b

, y

, f bb b

p.

1. B y p

b, a.

2. wv v b,

,

y b

B.

3. B p c v

bk, v . i y

v b,

,

v x .

4. c v bk

b b y

b d.

5. c p e

y k

b.

A B

C

A B

CD

E


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t p v y

b, bb k

y , f b k

Fy wk hp rbb.

1. wk b b, b

k v

b, y k p

p y k .

2. B p a, j b

b.

3. lp v b b

p

b.

4. B p a k p bv

b, v b B.

5. B p b

b B a, v

p c.

6. d b

y v p

.

7. rp v b y ,

b by b

d y .

t by ,

b-k b py

b by k

zzy . i, y

k c v bk f

b, Kk b v

b k

f.

Margaret Ball is an occasional

novelist, ull-time bead and fber

artist, who is working on second bead

embroidery book. Visit her website:

ameweaver.com.

AB

AB

D

AB

C

raiSed chain band

The ribbon-woven yarn I used in thesample is Lion Brand Incredible,which is a relatively inexpensive, widely

available, smooth, multi-hued yarn.Its available in many abric and cratstores and can be ordered online.Some other yarns that would work areBeroccos Yoga, Louisa HardingsKimono Ribbon, and Langs Lido. Theproblem with all these names is thatyarn ashions are extremely volatilethey appear and disappear quicklysothe ones I used may not be availablewhen you go to the yarn shop. Isuggest you just pick up whats in stocknow and buy as much as you thinkyoull need.

The running stitch, back stitch, andchain stitch can all be used as abase or threading an exotic yarn orthread through the line o stitchingor whipping it over the stitches in thebase line.


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the running stitch

By JuliA CAPrArA

AdAptedfroM


suMMer2005

q b k jy p , , vby . i y b by y b . w b by , v bb, b y k.

B y , v v k

y P Bx vk !


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op Bx d

! exp y

p

pb pp.

Y y ,

k ,

by p k

b, p by

, p ,

qv y.

ontherunl k , p

,

v k .

t xy ,

. oy k

k vx, py b y

v p

b . ny

v x

b q

k .

o p ,

y

y .

i p b

p . i

,

p. wk

b, k , b

z b v

. a

vy, , v

y b

.

Above: Goddess Cloth - Aegean Goddess running stitches in brilliant colors leap through

various cottons and silks.

Let: Goddess Cloth - Triple Goddess Fabric pieces sewn with running stitches; displayed asthree separate but united wall hangings. (See detail previous page.)


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ty ,

y b z

x

y b. a y k

, v

. t xpv

b y pb, b

y xp

xy x .

i xy

jy by v y p

k i

k k. i y,

w pp i y

k

p p: ,

, y, , b, ,

v? o, pp

i y k p

, b

q b v,

b k b

bk?

my xp

p-v k-v

b b k , bb,

b p bk.

i by k

y , b vy

k ,

pb py

.

t x i y

. w pp

i k p

y p, b y

,

k, i y

k b

bk?

Sun Over Water Stitches wereworked in one direction and in varyinglengths using wools, abric strips, chions,and threads creating an almost painterlysurace.


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t v! u p

i y k

bk p y

i , y y b. i

y vy

p b

p . a i k

x p, x, i

y p p,

y

y - p

p p p

k y q v y

y . i y

y b

p

bk , b y

Above: Detail o Light Over Water On an open-weave abric, stitches were worked in onedirection using lighter shades o abrics and threads.

Below: Red, yellow, blue, and purple stitches worked on green elt; circular and square designsmaintain a rhythmic sequence.

t h e c o l o rs p e c t r u m

Getting to know the color spectrum iseasy. Keep your rules simple and your

materials straightorward.

Try:

Exploring overlays o spectrum colors(red, orange, yellow, green, blue,and indigo) in fne threads to create adierent color mix when seen rom adistance.

Working with complementary colors(colors opposite each other on thecolor wheel). For example, stitch withyellow threads on a mauve or violetbackground.

Working with sot mutedtertiary colorsthe colorachieved with paintwhen opposite colorsare mixed together, suchas red and green, violetand yellow, or blue andorange.


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b

.

i k ,

,

, v b, ,

k. i , i k .

n y bx

vy

p k y i

b. i p

b, , v

a p b

b , k, v.

my bk b

k,

j-k , p

, y

y .

try thiS

u b y

k

p k

k z.

u b k

y k .

u

,

, bk y, bz

, pp .

i y P bx

b

, y b

vf .

t k vy xpvy

, y b

pp xp, xp,

y xp. c

k k.

Above: Poseidons Wedding Carpet Awall hanging with pieced and patched abrics,running stitches, and ound objects rom the

seashore.Right: Running stitches in yellow, red, and bluethreads overlaid many times to create a richmix o color.


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ty xp kbk

p

k k .

w xp qky y pb x xy

.

B k y

v y

bk, k y

/ p

pp, , p.

obv q

py y

p, b

b v, f

b-

. t F ip

k -p

p, v bb

k

y .

s , by vy p

pb

vb

.

ty k yy

p p.

whynot

xp , ,

(.) b b.

.

v b

.

k y v

b.

s y p

y b, b vy

v y

p- b, y

p v .

r b

, v-

k . i v y k p

y , p

, by

k b vy

p , b

.

Julia Caprara was a teacher, author,

and visionary known to many as the

creator o cutting edge creative textiles

characterized by vibrant color and an

innovative use o materials. She passed

away in 2008. For more inormation,

visit: jctextilearts.com.

n e v e r

make your thread length longer thanthe distance between your hand andyour elbow.

work with the same colored threadtwice running.

take out a stitch or thread.

be araid o overlaying colors to thepoint that you have lost your frst color.

be araid o trying something newor taking a risk. Just when you thinkthat you have made chaos, you willbe certain to fnd that chink o light,that one glimpse o something thatis uniquely your own, and with it amethod to repeat your results until you

have turned it into your true voice.

gatheringinSpiration

Running stitch drawing using overlaid coloredcrayons.


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ladder stitch

a

m a t e r i a l s

A piece o wool elt

100 percent cotton abric o variouscolors and patterns

Sewing machine

Embroidery oss o varyingthicknesses

BeadsSilk ribbon

Needles with eyes large enough orthreads

Beading needle

ScissorsBy Beryl tAylor

AdAptedfroM


fAll 2006

ip p y k. s y y y v by

k py

x

, b,

b. i ,

, bb, b. i

b ,

p.

a p y

v , by

p v p

yp , y y


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p p;

i b 20 q

k .

i p p, i

p b i

v ( k p

).

directionSforpanel

1. c p b

ppxy 58" .

2. m- p

114" v.

3. w p

k .

dy b y.

4. w y, b b

p b fy

.

5. h- p

bb .

directionSforladderStitch

ay k

.

1. s bk b

b

bk

.

2. s v b p

bk

bk

v

p

y b p

.

3. a p

p

by b. t

p kp

k b

p , p by p

p

b b.

4. rp (

p p).

5. o ,

by k

.

Beryl Taylor is a mixed-media fber

artist, teacher, author, and host o two

Quilting Arts Workshop videos in

which she shares her techniques. Visit

her website: beryltaylor.com.

A

BC


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t i bv: by q.t p

by k f,

q p

b q . i

k

bfy.

Power to the

a stitcherBy lAurA WAsiloWski

AdAptedfroM


februAry/MArch 2009

h , x,

p

q. ty k

b b. t

b p

b p, pv p,

py,

v .

fourbackgroundSfor Stitching

t b y i

q

p: p

p bk;

q y ; p

p

; p

p,

- q.

g bk p

p vy

( r a

P #12). c b

bk by ,

elegAnt stitChes by

J Bk m,

p

Let: Random Acts o Piecing #12 1012" 1112"

Below: Random Acts o Piecing #4 12" 13"


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by p. a p

, y

, v, v

p.

i B c w,

k

p. t

k

.

Blue Chair at the Window 7" 912"The chair shape (made with a hand-carved stamp)is stamped onto a plain background abric. Stemstitches outline the chair, dene the window rame, anddelineate the division between wall and foor. Crossstitches pattern the foor and seed stitches texture thewalls. The woven stitches ound in the antimacassaradd detail and draw the eye to the ocal point, the chair.

m a t e r i a l s

A used quilt top

Fusible batting

Variegated, cotton embroiderythread, size-8 or -12

Long-eyed embroidery needle,size to correspond with thread size(In hand needles, the smaller thenumber size the larger the needlediameter. Use a size-3 with size-8thread and a size-5 with size-12thread.)

Optional

Embroidery hoop

Quilters pencilThimble


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t p b

Jy h #21 (bv). a p

p bk

b, -

,

p by

. t

p, x, ,

v p q p

.

Joyful Heart #21 9" 10"


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random actSof Stitching

ipv by

p,

p . s

p y , b

. i y, k

p, b

k y y

v y,

.

Note: The color o my hand-dyed

variegated threads changes every 3"

or less. This keeps the stitch color

interesting without having to change

threads or dierent colors.

directionS1. s y q p

- b

b k (

y pp q).

2. K b x 18"

bk

q b

p q

b . s y

b q p y. i

y

y y

y bk

( bk B c

w, bv ).

Note: For me, an embroidery hoop only

hampers my reedom to stitch, but use

one i you are comortable using one. A

thimble saves fngertips and also looksreally cool!

3. mk b

q p, y

.

P by

p y q p. s

y y k;

Joyful Heart #22 834" 1134"

Above: The backing o Blue Chair at theWindow was added ater the embroidery wascomplete. No stitches show through on the usedback.


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py b

. t

y

q p. Bk

b p. c- b p. F

k y

x

y k

b.

Tip: To gauge the length or the curve o

a stitch line on an open feld o abric,

draw that line with the tip o the needle

and then ollow the crease in the abric.

new life throughStitchery

a b

q p

vv k. hv

p

b by

by, i

k vy

p. h v

pk, x p, q

p by. i

v bv p

k by

b . a, yb, y

b pv by jy

p i

.

Laura Wasilowski is a quilt artist,

instructor, lecturer, dyer, and author o

un, ast, earless using books. Visit her

website: artabrik.com.

Coleens Calling Birds #9 1134" 1314"

This used quilt composition was steam set to batting. The stitching is just through the batting andtop layer o the quilt; red French knots were added to the leaves or hits o color. The bird becamethe ocal point with the addition o running stitches to pattern the wing, back stitches to outline thewing, and lazy daisy stitches and French knots to create his coronet. Once the handwork was done,the backing was put on the quilt; machine stitching lls in the background, adding subtle patternand texture.

A

A

Running stitch

French knotCross stitchStem stitch

qa-handsewing v2 cp

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