Blackwork

for beginner'sbyCarol Lea!er

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Copyright © 2001 by Carol Leather

Printed in EnglandFirst printing August 2001Published by X-Calibre, 9 West Bank, Old Weston, Huntingdon, Cambridgeshire, PE28 5LJ

All rights reserved. No part of this publication may be reproduced or used in any form or byany means, graphic, electronic or mechanical, including photocopying or scanning without permis-sion, in writing, from the author.

Cover and book design, page layout and all illustrations by the author.

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AcknowledgementsMany people have helped in getting this book off the ground and I would like to take this op-

portunity to thank them.

First I would like to express my thanks to my husband Roger, for keeping the house and fam-ily running while I was at the computer. My daughter Becky also played her part, by stitchingthe leaf border designs and helping me with the journey plans for these two designs. I must alsothank my mother, Shirley, for volunteering to test out some of the journey plans when all shehad stitched before was cross stitch. She delighted me by telephoning to say how easy theywere to follow and how she was now addicted to blackwork.

My friend Sherry Symes-Meineck deserves my appreciation for seeing a gap in the marketwhere blackwork was concerned and pushing me to produce both my kits and this book. She wasalways at the other end of the phone to answer queries and make suggestions, whatever time ofthe day or night!

I mustn't forget my friend Liz Bartlett who had confidence in my ability to see this projectthrough and for giving me insight into the world of writing and publishing.

Due to time constraints I would never have managed to stitch all the pieces in the book so Ihave to thank Angie Bradshaw and Julie Caisey for their nimble fingers.

I must also thank Shirley Bates, Scilla Stephenson, Margaret Compton, Karen Enderby andSherry Symes-Meineck for their help with proofreading and checking the layout of the book.

Colin Fulford, who designed Easy Cross, had his part to pay in this project. Without his pro-gram I could not have achieved the diagrams or charts. Special thanks are in order for his pa-tience when my computer crashed the day before publication! He kindly sent me the programfiles by e-mail so that I could reinstall them and therefore complete the book.

Lastly I must say thank you to all my students who encouraged me to write the book. I knowyou have been waiting patiently and I hope it was worth while!

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So What is blackwork? 5

Part 1: Materials and Equipment 6Threads 6Fabric 7Needles 8Other Equipment 9

Part 2: Techniques 11Starting and Finishing threads 11Outlining 11Fill patterns 13Pattern tone and size 14Using metallic threads 17Shading 19Using Over-dyed threads 20

Part 3: Simple Projects 21Lesson 1: Outlining and basic fills 22Lesson 2: Shading 24Celtic Diamond 27Leaf border 1 29Leaf border 2 30Diamond flower bed 31Sailing boat 32Lion 33

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Let us start with some of the questions which I am often asked at workshops and exhibi-tions.

Is it embroidery worked in black thread?Yes, but not always . . . it was traditionally stitched with black silk on white linen. But you

do not have to stick with black, any colour can be used. The best effect is achieved, however, ifthere is a strong contrast between the colour of the thread and fabric.

Is it a counted thread technique?Yes, but not always . . . blackwork patterns are usually worked on an evenly woven fabric by

counting the fabric threads. However, the design can be transferred onto the fabric, and sur-face embroidery stitches can be used (mainly for the outlines).

Is it reversible?Yes, but not always . . . many patterns can be stitched in double running stitch so that the

front and back of the work look the same. This is only possible for patterns that have a continu-ous line. For others backstitch is normally used.

Is it geometric?Yes, the fill patterns are geometric but the overall design does not have to be. Even in Eliza-

bethan times subjects such as flowers, fruit and leaves were represented. You will find bothsamplers and pictures in my range of designs.

Is it wearable?Yes, in the past blackwork was almost exclusively stitched on clothing. It is not easy nowa-

days to obtain the very fine linens that were once used for decorated shirts and coifs but wastecanvas (see page 9) can be utilised to allow blackwork to be added to non-evenweave fabrics suchas sweatshirts.

Is it versatile?Yes, modern blackwork is suitable for many different items: pictures, samplers, cushions,

workbox accessories, tablecloths, ornaments, greetings cards, bookmarks, coasters . . . the listcould go on and on.

Is it quick to stitch?Yes, blackwork can be completed in less time than a cross stitch design of the same size. As

the whole design is not filled in with stitches going in both directions, in fact, some areas areleft entirely empty, results are achieved quickly.

Is it easy?Yes . . . if you can do running stitch you can do blackwork. Other stitches are often in-

cluded but they are all simple.

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Any thread that creates a sharp, clean stitch can be used for blackwork. Steer clear offuzzy fibres. Traditionally black silk was used, but although wonderful to stitch with, this canbe a little expensive. The most common fibre used today is cotton.

Threads of different thickness can be used in the same piece of work. Blackwork was onceknown as poor man’s lace and the use of a fine thread helps to keep this lace-like appearance.Here are some of the threads I have tried:

6 stranded cotton (floss)Very versatile as you can use a single strand or combine them to get a thicker thread. I,

generally, use two or three strands for outlines and a single strand for the fill patterns.

Flower threadThis non-divisible cotton thread is similar in thickness to two strands of floss. It is lovely to

work with but is only available in a limited range of colours.

Cotton a broderThis delightful thread is a smooth, mercerised cotton that comes in different weights . . .

30, 25, 20, 16, and 12. I find 16 very useful for outlines. It is tightly twisted and, again, non-divisible.

Eterna SilkAn economical thread, Eterna comes in two forms, stranded and mini twist. As with all silk it

is important to have smooth fingernails and no rough skin to avoid damage to the fibres.

Space-dyed threadsThis is a broad term for a thread that has different coloured dyes dropped on it, creating an

exciting random mix of colours or tones along its length. Due to the nature of their manufacturethese threads are not always colourfast and it is best to test a small length to make sure it doesnot run before risking a completed project.

There are many companies who manufacture these threads including Caron, House of Embroi-dery, Needle Necessities, Oliver Twists, Rainbow Gallery and Stef Francis.

Lacemaking threadsFine threads normally used for tatting or making bobbin lace (pillow lace), such as fil á dent-

elles, are wonderful for blackwork.

Metallic threadsMany blackwork designs incorporate metallic threads. There are a great variety of threads

and manufacturers to choose from including Anchor, DMC, Kreinik and Madeira. They come inmany different forms, from fine blending filament to chunky braids. With any metallic thread itis advisable to use short lengths to prevent breaking, splitting or wearing of the fibre.

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MarlittMarlitt is a shiny rayon thread made by Anchor. If you can cope with this slippery thread it

gives a lovely effect. Dampening each length before you stitch can help to tame it!

Blackwork is normally worked on fabric which has an equal number of horizontal and verticalthreads to an inch. The “count” of a particular fabric is determined by this figure. Fabrics with14 to 36 threads to the inch are most commonly used today. The higher the count the closer thethreads are together, smaller the individual stitches and the smaller the overall design size. Ifyou choose your fabric count carefully you can ensure that the finished work will fit in a particu-lar size of frame or mount. The table below gives some examples.

Design size Stitch count 14 count Aida(or 28 count over 2 threads) 18 count Aida(or 36 count over 2 threads)2” x 3” 28 x 42 36 x 544” x 6” 56 x 84 72 x 1088” x 10” 112 x 140 144 x 180

AidaAida is available in 11, 14, 16 and 18 count. It is known as a “block weave” fabric. Bunches of

fabric threads are grouped together with clearly defined holes showing in the corners of eachblock. This makes it an ideal fabric for beginners to use. One drawback to Aida is the obviousblocks that are visible in the background of a design. It can also be difficult to pierce the cen-tre of a block, if necessary, for a particular fill pattern.

HardangerAnother cotton block weave, this fabric is also known as Oslo. It has 22 threads to the inch

and can be worked over either 1 or 2 blocks.Davosa

If you prefer to work over one fabric thread, Davosa is an 18 count evenweave that makes anexcellent substitute for Aida. This fabric is 100% cotton.Linda

100% cotton fibres are used for this closely woven 27 count “single thread” fabric. It ispossible to work over a single fabric thread to create a fine piece of work but it is more usual tostitch over 2 or more to prevent the stitches moving around.

JobelanMy favourite "single thread" fabric, Jobelan is made from 51% cotton/49% modal. Jobelan

is suitable for stitching table linens or cushions (pillows) as it hangs well and is easy to wash.Jobelan is available in both 28 and 32 counts.

LinenPure linen is a tough, durable single thread fabric woven from flax. Due to the nature of the

fibre, linen fabrics can have bumps or “slubs” which make them more difficult to work on. Somelinens are quite loosely woven, causing threads carried across the back of the work to be easilyvisible from the front. Some of the most well known linens are Dublin (25 count), Glenshee (29),Belfast (32) and Edinburgh (36).

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Waste CanvasBlackwork can be worked on a non-evenweave fabric (such as sweatshirt material) by using

waste canvas. This is tacked into place and used as a temporary grid through which the stitchesare worked. When the project is complete the canvas is dampened and removed, thread bythread, with tweezers. Waste canvas is available in various counts but if you want to do finerwork you could substitute a piece of linen or evenweave, however, this may not be as simple toremove afterwards! Check www.needlework-tips-and-techniques.com for a lesson in using wastecanvas

Quaker ClothWoven from 55% linen and 45% cotton this 28 count single weave fabric gives you the best

of both worlds. It has the feel of linen but with few slubs or uneven threads.

TapestryI use a tapestry needle for working blackwork fill patterns. These long-eyed needles are

blunt, making them less likely to split the fabric threads.

Try to choose the correct size needle. Too large and the needle will distort the fabric as itpasses through – too small and it will wear out the thread. The table below is a guide to the bestneedle to use for the fabric and thread.

Fabric Count Needle Size No. of strands14 24 2 or 316 26 218 26 1 or 222 26 128 (over 2 threads) 24 or 26 232 (over 2 threads) 26 236 (over 2 threads) 26 or 28 1

CrewelSharp-pointed crewel needles are often used for outlines worked in surface embroidery

stitches. They are also used if you back your evenweave fabric with a fine fabric for support.The stitches are then worked through both layers and the sharp point makes this easier.

BeadingFor some designs you may need a beading needle. These are very fine with a tiny eye that

will pass through the centre of a seed bead. Short beading needles are the easiest to use forsewing beads onto fabric. The very long beading needles can be difficult to handle and are bestsuited for other bead crafts.

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Blackwork can be adorned with beads. The most commonly used beads are known as seedbeads and are available in an enormous range of colours and finishes. Some are clear, some me-tallic and some pearly. Cylindrical bugle beads can also be useful.

After collecting together the basic materials, (fabric, threads and needle) there are someextra items of equipment that you may find helpful to have.

One necessity is a sharp pair of scissors, preferably not used for anything but needlework ascutting paper or fingernails can blunt them very quickly!

A needle threader may be useful for when your eyes are tired. Cheap wire varieties aremore liable to break. My favourite type is a flat piece of metal that you slide through the eye ofthe needle. The thread is laid across a hook at the end and then pulled back through the eye.Easy!

Another aid for eyes that are not as good as they could be, is a magnifier. There are manytypes available:

a simple magnifying bar that you lay on your charta magnifier with a string attached to both sides that you support on your chesta clip on device that sits on top of your existing spectacles (glasses)a magnifier/light combination unit

My favourite magnifier looks like a headband with a visor extending beyond it. A rectangularmagnifying glass fits into the front of the visor and is worn in front of the eyes, moving whenyou do, and therefore always keeps the work in focus and enlarged.

A hoop or embroidery frame can help to keep your fabric taut. A wooden embroidery hoopconsists of an inner and outer ring. It is a good idea to bind the inside ring of your hoop withbias binding or a finger bandage to prevent any discolouring or snagging of your fabric. Whenholding the hoop, position the screw at the 10 o’clock position if you are right handed or 2 o’clockif you are left handed. This will help to prevent the thread tangling around the screw.

There are many types of frames available. The classic type has canvas strips at top and bot-tom, to which you can sew or pin your fabric. However, many of the more modern frames elimi-nate this step by inserting the fabric into slots, which are then gripped by a thin wooden dowel.Another type of frame consists of 4 pieces of plastic tubing that fit together by means of cor-ner sections. The fabric is laid over the frame and snap-on covers hold it in position.

Whichever type of hoop or frame you use it is good practice to loosen the work at the end ofa stitching session to avoid over stretching the fabric.

A floor stand can be useful as it saves you holding the frame or hoop and leaves both handsfree for stitching. Your stand can be made from wood or metal but needs to be sturdy. Somestands have places where you can attach a lamp, magnifier and chart holder. I attach a magnetto my frame, which acts as a temporary parking area for my needle or scissors. You can‘sandwich’ your chart and fabric between two magnets to keep the section you are working onclose at hand.

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If you wish to transfer an outline to your fabric rather than counting it, you will require thinpaper, special pens or an iron-on transfer. After drawing your outline you can tack through thepaper to temporarily mark the fabric. Transfers can be bought or drawn with a transfer pen.They create a permanent line that will not wash out and therefore needs covering completelywith stitches. A more temporary line can be made with a disappearing ink pen, but these do notalways disappear totally! Some are supposed to fade with time while others need wetting for theline to vanish.

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As in all types of embroidery, starting a length of thread by tying a knot at the end is theleast satisfactory method. Knots can cause unsightly bumps that are visible when the work isframed. They can also come undone! It is, however, fine to tie a knot that will be cut off later,known as a waste knot. Position this knot on the side of the fabric, where it will be cov-ered by future stitches. This eliminates the risk of marks showing on unstitched areas. Workup to the knot, securing the thread on the back by working over it, then cut it off.

If you prefer to leave your thread unknotted, leave a tail when you begin and work your firstfew stitches over it to secure it. You can start the next piece of thread by anchoring it understitches already in place.

If you are stitching with an even number of strands of thread it is possible to use the loopmethod. Cut a length of thread twice as long as you like to stitch with. Fold it in half andthread the cut ends through the needle. When you take your first stitch do not pull the threadright through the fabric but leave a loop on the back. Take your first stitch and pass the needleback through the fabric, then turn your work over. Push the point of the needle through thethread loop and pull gently, but firmly, until the thread is anchored. Unfortunately if you laterfind that you have made a mistake you may have to undo a substantial amount of work if you havestarted in this manner. If, however, you have left a tail it is easier to undo the mistake fromthe beginning and leave any correct stitching in place.

To fasten off a thread, the easiest way is to thread it through the back of about 4 stitches.When I near the end of my length of thread I would rather fasten off under an existing outlinerather than risk running out half way across an area of pattern where it is more difficult to fin-ish tidily.

Another method of finishing a thread is to take minute running stitches underneath a row ofoutline stitches by pushing the existing stitches to one side. This can be fiddly but is almostinvisible.

A number of different stitches can be used for outlining areas which will later be filled witha repeating "fill pattern". The two that are used most often are backstitch and double runningstitch or Holbein (see illustration on following page). Other surface embroidery stitches can beutilized such as chain, stem, coral knot and couching. A thicker thread (or multiple strands of athinner one) is often used to make the outlines more visible. Whipping the outline can also makeit prominent as well as disguising the joins where stitches meet. This is worked after the out-line, by slipping the needle behind each stitch without going through the fabric. The whippingcan be worked with the same thread used for the outline or in a metallic thread for an interest-ing effect.

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When working on fine fabrics, backstitch can cause unsightly threads to show through fromthe back whenever you turn a corner (diagram top right). To eliminate this problem you can use avariation known as running back stitch (diagram, centre left). However, the stitch that gives theneatest appearance on the back of the work is double running stitch (diagram bottom right).

Double running stitch is worked in two “journeys”, making a dashed line on the first “trip” andfilling in the gaps to make a solid line on the return. On the return journey it is best to insertyour needle slightly above or below the existing stitches rather than splitting them. Althoughsplitting the thread can give a slightly smoother line it can make the work almost impossible toundo if you find you have made a counting error.

It is useful to begin by working the outlines of a design. Start by finding the centre andcount out to the nearest outline. It is not necessary to complete the outline of the whole designbefore starting the fill patterns, just the section on which you want to work.

However, not all blackwork designs need outlines. Sometimes a fill pattern "suggests" theoutline.

In the example (left) your eye follows the edgesof the patterned areas and automatically puts in anoutline, even though it is not there. You can find thechart for this design on page 31.

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In this next photograph the shape of the front sail isthe same but the pattern used leaves gaps making the out-line difficult to visualize.

Another method of working blackwork withoutoutlines is to reverse the position of the patternfills. Similar to Assisi work the design itself is leftempty and the stitching is worked outside. Whenusing this technique it is important to choose a suit-able pattern. In the photograph (left) a larger,more open pattern would have obscured the dog'sshape.

I have used this assisi technique for my black-work cats, dogs, and swan kits.

Backstitch and double running stitch (Holbein) are the most commonly used stitches forworking blackwork fill patterns. The diagrams in the pattern library show how to use Holbeinstitch where possible. Planning a route for a pattern worked in this way can be challenging andfun.

Significantly less thread is used for Holbein stitch than backstitch. However, it is only pos-sible to use this method where the pattern is made up of a continuous line. Many stitchers aremistakenly led to believe that all blackwork should be reversible and must be worked this way!

Sometimes it is necessary to use a combination of stitches to complete a fill pattern. Thebasis of the pattern can be worked in Holbein with cross stitches, running stitches or backstitched squares added later. There is a method of working isolated cross stitches so that trail-ing threads are not carried across unstitched areas on the back. If the cross stitch is to beworked in 2 strands, thread the needle with just a single strand of thread, leave a long tail, thenwork each leg of the cross twice. Cut the thread leaving another long tail then tie the two tailstogether across the back of the stitch before trimming close to the work. Because you are onlyusing a single strand the knot will be to small to be a problem but it will hold the stitch more se-curely than if you threaded it through the back of the work.

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Compensating stitches (Part patterns)Some fill patterns do not fit exactly into an

area of a design. Often there are part repeatsnext to the edges where compensating stitcheswill have to be made as illustrated in the photo-graph left. It is best to start stitching where the

longest complete row can be established, so that you can get into a rhythm before reaching anoutline that disrupts the pattern. I frequently leave these compensating stitches until later,preferring to continue the pattern sequence without interruption.

As most blackwork tends to be monochromatic, tonal contrast is essential. Using the righttones can make or break a design. You could compare blackwork with a pen and ink drawingwhere tones are built up with lines and cross-hatching. The darkest areas of a drawing may,even be, solidly inked in; an effect that can be imitated in a blackwork design by using crossstitch. The lightest areas, by comparison, can be left completely empty.

Generally if the stitches in a pattern are close together it will appear darker than one wherethe stitches are spaced apart. Some patterns need to be used in a large area for the full effectto be seen whilst others would take a long time to stitch if used for anything other than a smallsection of a design.

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The fill patterns chosen for the lion shown above do not work for a number of reasons.

Firstly, you would expect that the legs furthest away would be in shadow and thereforeappear darker. The pattern used here is much too light.The body has been filled with a very dark pattern, which would take a long time to stitch.The mane appears to be lighter than the body and the design may look better if thesetones were reversed.

Our second lion (above) is still not right.

The main mistake here has been choosing a pattern for the body that is too large andopen.However, the shadowed legs look better now that they have a darker fill.This lion appears to have a blonde mane, which could have worked if the body pattern hadbeen darker.

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Our third attempt (above) is no better!

The body is darker but would take a long time to stitch.The patterns chosen are not appropriate. The sprigged pattern used in his mane is moresuitable for an area of foliage. The distant legs are not wide enough to allow enough ofthe chosen pattern to show, and once again they are too light in tone.

This is the best lion in the pride! The tonal contrast is good and patterns of appropriate sizehave been picked.

The two main patterns (body and mane) are both “related”. The basic octagon shape is re-peated throughout with additional stitches added to the mane pattern to make it appear darker(see the section on Shading, on page 20). Where the two patterns meet I have been careful toline up the octagons. If these were offset the design would still look wrong.

When choosing fill patterns for your own designs try to keep the following in mind:Small shapes need small patternsLarge shapes can carry a larger, bolder patternDiagonal shapes look best filled with diagonal patterns"Pictorial " patterns, those with flower or animal motifs in them, are best used formatching areas. Scales on a bird would look as silly as a fish with a feathered pattern!

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Using metallic threads in a blackwork design can make an effective contrast. Too much, how-ever, could spoil a design, also using it in the wrong place. Taking our lion as an illustration I haveshown various ways in which gold could be added to the design.

Gold can be used in relatively small areas, as it tends to draw the eye. On the lion above itserves to highlight the wrong part of the design! The shadowed legs are supposed to stay in thebackground, not catch the eye.

A lion’s mane is his most distinctive feature and is often a different colour to his bodytherefore using the gold to highlight this area works well.

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Lastly, I have added gold crosses to the pattern in the lion’s body. This technique is used alot in blackwork, adding a touch of sparkle without emphasizing an area too much. You may pre-fer either of the last two examples, neither is wrong; it just depends on the effect you are try-ing to achieve. You will find the chart for this design on page 32.

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There are many ways to add shading and dimension to blackwork Variations of simple fill pat-terns can help to create the illusion of highlights and shadows. The clever use of thread andcolour can also give added impact to a design.

Thread colourI try to use colour variation sparingly in blackwork, maybe just using

two different shades of the same colour, as for the pansy petals in thephotograph left.Thread weight

Varying the thread is a useful method of adding shading (or high-lights). The pansy is stitched entirely with stranded cotton but Ichanged the number of strands used from 1 to 2 as I worked into thecentre of the flower.

The photograph, right, shows how using a thicker thread can makeblackwork appear darker. From left to right I have used: Sylko sew-ing cotton, 1 strand DMC stranded cotton, Special dentelles 80(tatting thread), flower thread, Pipers 40/3 silk gimp and DMC cottona broder 16. The fabric used was Aida 14 count.

Added stitchesMy favourite way to shade a design is to add extra stitches to a pattern. To achieve the

darkest tones in the middle of the pansy vertical and horizontal rows were worked on top of theexisting diagonal lines.

Some patterns can be built up in a number of steps to pro-duce many tones, as in the photograph right. Others are lim-ited in the amount of extra stitches that can be added.

For examples of shaded blackwork designs check the following web pages.

Rhino and elephant - these designs use the fill patterns shown in the photograph above.

Coral - a 1930's period lady who's skirt uses shading techniques

Blackwork flowers - all the flowers on this page involve shading

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Over-dyed threads are difficult to describe aseach one consists of a unique blend of colours andtones randomly dispersed throughout the skein. Thephotograph, left, shows a few examples from variouscompanies. You may also find these hand-dyed threadsreferred to as space-dyed or hand painted. Variegatedthreads differ, in that they are machine dyed and havemeasured blocks of colour changing from dark to lightalong their length.

Over-dyed threads are wonderful to work with butthere are some points to bear in mind when using themfor blackwork. Threads with large differences in tonecan cause problems: if you are working on light fabricsthe light sections of a thread can disappear and if thebackground is dark it is difficult to see the dark sec-tions.

Because the colours and tones change randomly it isbest to use backstitch rather than double running stitch.The chances are that if you use the latter, the colour willhave altered by the time you make the return journey giv-ing a spotty, disjointed effect as seen in the top row ofthe photograph right.

Space-dyed threads are dyed by hand which can result in differences between one skein andanother of the same make. You may wish to purchase enough thread from the same dye lot tocomplete a project and avoid the problems of trying to match it later.

Lastly, as I mentioned in the section on threads, not all space-dyed threads are colourfast.Therefore it is best not to use them for items that will need regular washing, such as napkins ortablecloths. A good way to test if the colour is going to run is to wet the thread and place it ona paper towel. If it bleeds onto the towel, try to use it on a project that will not need washing.Keeping your hands clean whilst stitching can help to avoid the necessity of washing the workwhen it is completed.

I used an over-dyed thread in the tail of my mermaid design, Marina.

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After practising some of the patterns in the pattern library it is time to use them in thecontext of a design.

In this section you will find stitch-by-stitch instructions for the first two designs which willguide you through outlining, fill patterns and simple shading. After these introductory lessons Iwill still be “holding your hand” for the following designs until you gain confidence to tacklesomething on your own. Where I have used fill patterns I have given their names so that youcan refer back to the diagrams in the pattern library for assistance.

The first six designs could be mounted into coasters. Just remove the plastic back fromthe coaster, position it over the design and use it as a template to draw around. Cut the work,just inside the drawn line, and then slip it into the coaster. The backing plastic then pushes intoplace to hold the fabric securely.

To enlarge the leaf borders just add extra repeats along each side. Alternatively you couldmake a bookmark by working one repeat along the top and bottom and as many as required downthe sides.

The Celtic Diamond could be repeated and used on a cushion (pillow).

Lastly I have included the patterns for the sailing boat and lion used as illustrations earlierin the book. You could also stitch the outline of the lion and choose your own fill patterns. Iwould love to see the results of your experiments.

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Materials6" (15.25 cm) square Aida 14 or Jobelan 28DMC stranded cottonSize 24 tapestry needleDesign size: 2.7 x 2.7" (6.85 x 6.85 cm)

Step 1. OutlineThe outline can be worked in either backstitch or double running stitch. Separate the cot-

ton into 2 strands and following the chart outline the petals. To work these in double runningstitch work the red stitches on the outline of the petal first, then make a return journey to fillin the gaps. One petal of each shape is shown with a red dashed outline. As this is a symmetri-cal design you can turn it round to line up the “guide” petals so that they lay next to a petal youhave completed, this helps to avoid unnecessary counting.

Step 2. Zigzag fill patternUsing a single strand of cotton work this fill

pattern in the vertical and horizontal petals. Worktwo of these petals in double running stitch asshown in the photograph (right).

Start in the centre of a petal and work eachzigzag row in 2 stages leaving gaps on the outwardjourney (red stitches on top petal on your chart)and filling them in on your return. In this way thepattern on the back of your petal will look the sameas that on the front.

The photograph (left) shows how the needle will travel to com-plete the second journey of each row. (Please note that the photo-graphs show the needle being used in a “sewing” position, however,blackwork is best stitched by using a stab stitch technique whenworking on a hoop.) Work the remaining rows to fill the petal.

The photograph (left) shows how the needle will travel to com-plete the second journey of each row. (Please note that the photo-graphs show the needle being used in a “sewing” position, however,blackwork is best stitched by using a stab stitch technique whenworking on a hoop.) Work the remainingrows to fill the petal.

To see the difference, work the remaining two petals in backstitch.This will not give a reversible piece of work, instead rows of straightstitches will be visible on the back (see photograph right).

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Step 3. Chain link fill patternNext we will move on to the diagonal petals. We will use

double running stitch again for these. Working clockwise, thephotograph (left) shows the four stages in completing a rowof this pattern. Starting with the petal shown in the top leftof your chart, work the first journey missing gaps as before.Fill in the gaps on your return journey as in the top right petalin the photograph. Next work the red stitches in the bottomright petal on your chart to begin the third stage of this pat-tern. Again fill in the gaps to complete the row on the wayback.

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Materials6" (15.25 cm) square Aida 14 or Jobelan 28DMC stranded cottons, 209 (lavender), 550 (purple), 3346 (green)DMC stranded metallic thread, 5282 (gold) or gold seed beadsSize 24 tapestry needleDesign Size 3 x 3" (7.62 x 7.62 cm)

Step 1. OutlineThe outline can be worked in either backstitch or double running stitch. Separate the purple

cotton into 2 strands and follow chart 1 on the previous page. The red stitches on the lowerpetal can act as a guide if you wish to work in double running stitch. The black stitches are filledin on the return journey.

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Step 2. Lightest toneUsing a single strand of lavender cotton start by working the

diagonal lines in either backstitch or double running stitch, fol-lowing the thin mauve lines on chart 2. Then work the diagonallines in the other direction to form the lightest toned fill pat-tern. See photograph (left).

.

Step 3. Medium toneNext we will begin to add depth to our pansy petals. For this

lesson we are using two strands of the purple stranded cotton butthe same effect would be achieved if you used one strand of athicker thread. Leaving the square in the centre of the flowerempty, fill in the rest of the petals using the same method as inStep 2. Both the colour and thread thickness help to make theseparts of the petals look darker, as can be seen in the photographright.

Step 4. Darkest toneTo make the middle of our pansy look even darker we will, this

time, add extra stitches to those already worked. Using 2strands of the purple, work horizontal then vertical rows whereshown in orange on chart 2.

The centre of your pansy is stitched in cross stitch using 2strands of the gold metallic thread. Alternatively you could at-tach gold seed beads in this area.

Step 5. LeavesOur last job is to work the leaves using the green thread. Outline with two strands in either

backstitch or double running stitch. The light toned pattern is worked in a single strand usingrunning stitch. No shading has been used on the leaves to give a contrast to the flower. If youwish you could stitch the centre row of each leaf in two strands to form the illusion of a vein.

SummaryWe have used three methods to achieve the shading on this design: varying the thread

colour, varying the thickness of the thread and varying the pattern itself. Using all three tech-niques in one design is perhaps rare but this lesson gives you the chance to see how each isworked.

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Materials6" (15.25 cm) square Aida 14 or Jobelan 28DMC Stranded cotton, 1 skein 310 (black)DMC stranded metallic, 1 skein 5282 (gold)Size 24 tapestry needle

Design size 3.7 x 3.7" (9.39 x 9.39 cm)

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Just outlines for this design. The coloured lines once again show the journey to take if youwish to use double running stitch.

Start at the pink dot by counting up 18 Aida blocks from the centre of your fabric and then2 to the left. Following the arrows on the pink lines outline the knots taking side paths (colouredblue and green) where indicated. The green dots show where you will reverse direction to fill inthe gaps on the side paths before rejoining the main route.

The bottom section of the chart shows the return journey to fill in the gaps and work thecrossover sections in the middle of the knot. Start at the large black dot this time and followthe blue lines. You will have to stop two stitches below the pink dot on the top section of thechart as the next stitch is already in place! Rejoin your thread and work the yellow stitches tocomplete the knot.

Where the knots meet skip the stitches that have been completed when stitching a previousknot. The side knots are drawn fully in black and can be followed if you prefer to use back-stitch for your outlines.

The final step is to work the gold metallic accent lines down the middle of each knot. Thistime I have left the path for you to work out. You may find it helps if you take a highlighter penand mark in the dotted lines for yourself if you wish to stitch these in double running stitch.

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Leaf border 1Materials

6" (15.25 cm) square Aida 14 or Jobelan 28DMC Stranded cotton, 1 skein 310 (black)Size 24 tapestry needle

Design size: 3.4 x 3.4" (8.63 x 8.63 cm)

Use 1 strand of cotton throughout. The guidelinesshow how to work this design in double running stitch. Start by working the pink lines in a clock-wise direction around the leaves. When you reach the dot bring the needle back up in the centreto work the last two pink lines. Reversing direction, work the blue lines around the leaves untilyou reach the centre again. Each vein is worked by stitching the yellow line first then the green.Move on to the next cluster of leaves leaving the trailing stems to be completed on the last re-turn journey.

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Materials6" (15.25 cm) square Aida 14 or Jobelan 28DMC Stranded cotton, 1 skein 310 (black)Size 24 tapestry needle

Design size: 2.9" x 2.9" (7.36 x 7.36)

Use 1 strand of cotton throughout. The guidelines show how to work this design in doublerunning stitch. Work the pink lines first completing each leaf as you come to it, leave the mainstem until the return journey. Work the inside border last.

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You will need:6" (15.25 cm) square Aida 14 or Jobelan 28DMC Stranded cotton, 1 skein 310 (black)Size 24 tapestry needle

Design size: 3.4 x 3.4" (8.63 x 8.63 cm)

Use 1 strand of cotton throughout. No outlines here, just dive straight into the patterns!Start in the centre and stitch the Flower and Lozenge pattern. Add the backstitched X’s in thespaces left.

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You will need:7.5 x 8" (19 x 20.25 cm) Aida 14 or Jobelan 28DMC Stranded cotton, 1 skein 310 (black)Size 24 tapestry needle

Design size: 3.6" x 3.9" (9.14 x 10 cm)

No outlining here again. Work all fill patterns in 1 strand. The mast is worked in 2 strands.

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Materials10.75 x 9" (26 x 23 cm) Aida 14 or

Jobelan 28DMC Stranded cotton, 1 skein 310

(black)DMC stranded metallic, 1 skein 5282

(gold)Size 24 tapestry needle

Design size: 4.7 x 3" (12 x 7.62 cm)

Use 2 strands for the outlines and 1 strand for the fill patterns.