Have you ever been tempted to have a play with machine embroidery? Have you ever looked at beautiful machine embroidery and thought that you would like to have a go, but lack the confidence to try? If that sounds like you, help is at hand. The author of this book not only creates beautiful machine embroideries, she has become known and respected as a teacher of this art form.

The brief introduction describes three methods of machine embroidery, including (a little disparagingly!) computer embroidery. Chapter One then launches into the various and varied tools and materials you may need followed up with ideas for setting up both the machine and workspace.

Throughout the book are exercises and examples, from the most basic (setting up the machine) to the rather more complex (planning and embroidering a landscape from a photograph). I suggest you do the exercises, which will increase your confidence as you make samples which build into useful references of the appearance of various stitches, using various threads and techniques and tension. You may have to look at the problem-solving pages from time to time!

There is a chapter on what is my personal stumbling block – design. As the book progresses, so does the challenge and complexity of the projects. The first project is a straight stitch, monochromatic tulip, followed by a really lovely monochrome bag. Both of these are embroidered with the feeder teeth UP. Yay! It’s when they have to be dropped that ‘real’ machine embroidery skills are built up. That, by the way, is my personal opinion, not that of the author.

The projects have been carefully designed to build up the embroiderer’s skills and confidence. Each one is preceded with what you will need for it – equipment, materials and templates and even the type of sewing machine used with instructions to leave the teeth up or down, and what tension to set the machine at. You will also be introduced to some materials you may not have used before, such as solvy and metallic sewing machine threads. There are landscape projects, animal projects, abstract projects.

The copy of the book I have is from Auckland Libraries. There are obviously some borrowers out there who are keen to try this embroidery form as I have had to wait a while to get this title and I can’t renew it because others are still waiting. If the idea of machine embroidery appeals to you, this book is a great jumping off place. It is methodical in its approach. It’s amply illustrated with excellent photos, templates and diagrams and I particularly like the way the author carefully builds up skill levels as the book progresses. As the man in the tea ad says, ‘do try it!’

Erica Marsden

Search Press has been prolific this year! I’ve just reviewed two books of crewel work projects published by them – neither of which use wool, the traditional thread for crewel, although one does have a conversion chart from DMC to Appleton’s crewel wool colours. Both books have the usual Materials and Tools section. Both have well illustrated, extensive stitch dictionaries which include some interesting variations on familiar stitches and some stitches which look challenging. I suggest that you have your doodle cloth handy. Do read the introduction in both books. They reveal so much of the authors’ passion for what they create.
The second book is… Crewel Birds

The six (male) birds in this book all have Hazel’s unique exuberant stamp on them. They are worked in DMC threads with a few others thrown in. There is a ‘tips’ section – essential reading before embarking on a bird! Do you know that a wee dab of superglue on your finger is a useful part of your tool kit? General instructions cover all six designs. Hazel is adamant that the embroidery needs to be done in a hoop or on stretcher bars. She is making her six birds into a rag book but she has suggestions for other ways they may be displayed. Each bird is preceded with a list of materials, threads and beads needed. Then come numbered stitching instructions. They look straightforward to follow. If fantastical birds are your thing, do have a look at this book. I rather fancy Kevin myself – a very colourful sort of pheasant – he has a gorgeous floral and fruity tail.

Each book has templates in the back which can be photocopied and transferred onto fabric. Having tested them, Hazel likes Frixion pens. So do I. I was surprised at the size of the templates in both books. Tatiana’s are slightly larger than Hazel’s but except for Tatiana’s Tree of Happiness design, none need to be enlarged. Both authors encourage you to change colours and/or stitches. Given the complexity of some of the stitches, especially in Hazel’s projects, which include needle weaving and needle lace, it’s nice to feel one has that freedom straight from the designers’ pens.

Both this and Tatiana Popova’s Crewel Embroidery have templates in the back which can be photocopied and transferred onto fabric. Having tested them, Hazel likes Frixion pens. So do I. I was surprised at the size of the templates in both books. Tatiana’s are slightly larger than Hazel’s but except for Tatiana’s Tree of Happiness design, none need to be enlarged. Both authors encourage you to change colours and/or stitches. Given the complexity of some of the stitches, especially in Hazel’s projects, which include needle weaving and needle lace, it’s nice to feel one has that freedom straight from the designers’ pens.

Do have a look at this and Popova’s Crewel Embroidery. They both offer unique, fun but challenging embroidery projects. Even if you aren’t fussed on the projects but would like to extend your stitch repertoire, the wonderful stitch dictionaries in each book are worth a perusal.

Erica Marsden

Search Press has been prolific this year! I’ve just reviewed two books of crewel work projects published by them – neither of which use wool, the traditional thread for crewel, although one does have a conversion chart from DMC to Appleton’s crewel wool colours. Both books have the usual Materials and Tools section. Both have well illustrated, extensive stitch dictionaries which include some interesting variations on familiar stitches and some stitches which look challenging. I suggest that you have your doodle cloth handy. Do read the introduction in both books. They reveal so much of the authors’ passion for what they create.
The first book is… Crewel Embroidery

This is my favourite of the two books, partly because I love Tatiana’s colour palette. She is a young Ukrainian embroiderer. Most of her projects are of a fairly typical, traditional crewel work style but with such a freshness. The first is a delightful Tree of Happiness. This is the largest project from either book. The superb balance and apparent airy simplicity of this project belies its complexity. As with all the projects, it starts with a brief explanation of the tale behind it. Then comes the list of threads needed, all DMC, both stranded cotton, pearl 8 and a few more which in New Zealand, we may have to find substitutes for. There are also some beads needed. Each project is divided into numbered ‘zones.’ The numbers relate to threads and stitches used in each zone. That sounds a bit clumsy, but given the clarity of the photos and instructions and the way the projects are divided up, it seems like a nice way to work. There are so many projects in this book that I would like to embroider but given time constraints, if I have to choose one, it will be ‘The blue bead.’

Both this and Hazel Blomkamp’s Crewel Birds have templates in the back which can be photocopied and transferred onto fabric. Having tested them, Hazel likes Frixion pens. So do I. I was surprised at the size of the templates in both books. Tatiana’s are slightly larger than Hazel’s but except for Tatiana’s Tree of Happiness design, none need to be enlarged. Both authors encourage you to change colours and/or stitches. Given the complexity of some of the stitches, especially in Hazel’s projects, which include needle weaving and needle lace, it’s nice to feel one has that freedom straight from the designers’ pens.

Do have a look at this and Blomkamp’s Crewel Birds. They both offer unique, fun but challenging embroidery projects. Even if you aren’t fussed on the projects but would like to extend your stitch repertoire, the wonderful stitch dictionaries in each book are worth a perusal.

Erica Marsden

Touch typing is not a skill I have ever learned. The name of the author of this book was quite a challenge for me. It is correct – I have checked it many times! Her credentials are quite impressive too. On the cover of the book are the words ‘learn by doing…step by step basics + projects.’ Does the book live up to its goals? Is it a good guide for an absolute beginner? More importantly, perhaps, will it inspire an absolute beginner to give embroidery a go?

In the introduction, Linda encourages stitchers to try to keep stitches uniform but emphasises that even more important is being relaxed and having fun. Although she suggests fabrics and threads to use throughout, she also encourages the new stitcher to be adventurous and use what will give them pleasure. Linda then exhorts the reader to go shopping. Several pages are  devoted to ‘stitching equipment and supplies’ which new embroiderers may need. It seems a comprehensive and well thought out list. Under needles, for instance, the various types of needles are listed, along with a description and what each kind is best used for. Each needle type is accompanied with a photo and examples of the sizes available. Each equipment type is accompanied with a handy hint, e.g., under hoops and frames, the hint is to slip work into a pillowcase to keep it clean when not stitching. These hints appear throughout the book and are really useful and practical.

How does a new embroiderer know how to read charts, diagrams, patterns? Transferring patterns and stabilising fabric is also explained clearly. There are descriptions of threads and practical ideas for dealing with each type, including various ways to begin and end them when stitching. There is a knot technique new to me which I shall be trying. There are even hints on removing stitches. It’s great to see that included, as we all have to from time to time!

The next three sections are on creative (surface) embroidery, crewel work and cross-stitch. Each section has a stitch dictionary. Each stitch has a written method plus lovely, clear, close up photos. They look comprehensive but I am aware I have several years’ experience and it is really hard to ‘see’ them as a new stitcher would. I would love to have a tyro here to test them out on. After each dictionary, there are two projects for the beginning embroiderer to try out. I think more stitches could have been included in the crewel section but the basics are certainly well covered. I also think it a bit of a shame that more counted thread techniques were not discussed a bit but then, this is a book for beginners. I feel the projects would appeal to young people but there’s not a lot to encourage the male of the species, which is a shame.

I do think this would be a good book to encourage a young embroiderer, particularly someone who has had a go at it and is showing enthusiasm to learn more. The copy I reviewed comes from Auckland Public Libraries. Book Depository has it for $28.00.

Erica Marsden

Life is just too short to try out all the different types of embroidery which are out there and I really wish I had the time to become competent in sashiko and kogin. I’d not really thought much about the differences between the two until two new books, one on each technique, were acquired recently by Auckland Libraries, but different they are. Follow the link below for an excellent, easily understood description of each.

https://www.athreadedneedle.com/blogs/with-a-threaded-needle/sashiko-kogin-hitomezashi-boro-what-are-we-stitching

After a brief introduction which explains Susan Briscoe’s interest in and understanding of kogin, she outlines the regional histories of the technique and then describes its revival in the middle of last century and the Japanese people and institutions who were involved with that. She also lists the books which have contributed to its increasing popularity. The original materials used are still not easy to come by, even in Japan, so her inclusion of several ideas for substitutions is really helpful. Evenweave fabric is a must and threads chosen must cover the fabric well so that there are no gaps between the rows.

Basic techniques are clearly described, starting with how to work from charts – essential to know if you are going to give kogin a go. There is even a boxed paragraph on how to correct mistakes, which, in my case, could prove quite useful! There is a page on how to design kogin (you will need graph paper), but you really won’t have to do this unless you are keen, as about half of the book consists of a library of graphed patterns, so you can jump straight into the technique. I would recommend though, that you jump carefully as some of the patterns do look quite complex. Each page of patterns is printed in one colour and I do find the ones done in red make my eyes (or brain?) a bit overwhelmed. At the beginning of the pattern library there is a list of pattern names and their symbolism and which I found really interesting.

Preceding the pattern library are several projects, including for the buttons and brooches which illustrate the attractive cover. Most of the projects are for home décor items and bags, along with some ideas for greetings cards, which would be nice, relatively simple things to start with. Materials needed to make each item are listed and the instructions for making them up seem straightforward and easy to follow.

This is a really nicely produced book, with a clear typeface, lovely photos and helpful hints. The instructions appear clear and logical. If counted work is something which you enjoy, or even if it isn’t, try kogin, or at least, borrow this book from Auckland Public Libraries. It’s a bit different. I tried to find out the correct way to pronounce ‘kogin’. I am still unsure as checking on the internet didn’t really help. It was pronounced with both a soft ‘g’ and a hard ‘g’, so go with whatever you prefer.

Erica Marsden

In the introduction, the author shares that her favourite things to design and make are small, useful day-to-day items, often something she can use or give to someone, which I think we, as embroiderers, can identify with. She explains how she goes about designing and the delight she has in choosing fabrics and threads to realise her vision. You need to be aware that the author is a quilter, but all the projects has embroidery as its focus. 

Have you ever heard of a tool called an appliquik rod? Me neither and I doubt if the RSN would approve. In the general techniques chapter, the author explains how to use them and why they are her preferred way for appliqueing fabric. My rule of thumb is, use the way which suits you. Other supplies you may need are also listed, including fabric glue which is used with the appliquik method…hmmm. At the end of the techniques chapter is a small, not awfully good stitch dictionary but most of us know how to access Mary Corbett’s if we get stuck. Given that the stitches used in the projects are pretty simple, many of us will already know how to execute them. 

Each project has a coloured photo of the completed item, along with the measurements it will be when finished. There is a list of all materials needed – including specialised quilting buttons (from the author’s web site). Such buttons can be a challenge to get here but as skilled needlewomen, we could always just embroider the object instead, couldn’t we? There is a list of embroidery threads needed – Cosmo threads, which are made in Japan. However, I looked on line and there are conversion charts from Cosmo threads to DMC, so not really a problem, or you could be brave and create your own colour scheme. There are full size templates for the project and it is nice not to have to flip backwards and forwards for these. Each project is ‘complete’ with all instructions accompanying it in the same chapter and each project having its own chapter. There are projects for pillows (cushions?), totes and other bags, wall hangings, a sewing caddy, a needle case and scissor keep and so on – 13 in all. Instructions, both for the embroidery and for sewing the objects, seem to be well written and illustrated clearly. There are useful ‘tips’ in separate boxes on some pages. 

If you like whimsical, folksy, quite cute, country style projects, I think you will find this a fun, useful book. It may appeal to younger stitchers too, especially as the embroidery itself is pretty basic and some of the designs will appeal to the younger at heart. Each design has an end product, many of which are useful – always a plus for a younger person. However, and I know I am being a GOW (grumpy old woman), it irritates me that the sub-title tells me I will ‘adore’ the projects. How can they possibly make that assumption? I do like them, but adore? That’s a bit of an assumption! 

The copy I reviewed comes from Auckland Libraries. It is available at the time I wrote this, for $34 (NZ) from Book Depository or $50.00 if ordered locally. 

Erica Marsden 

Among the several books Tracey Chevalier has written are ‘Girl with a pearl earring’, ‘The lady and the unicorn’ and my personal favourite, ‘Remarkable creatures’. For me, one of the deep pleasures I get from Tracy’s novels, is the careful and through research she carries out before writing – research which never feels intrusive as the stories unfold but rather, enhances them. 

A single thread’ is the story of Violet Speedwell, a surplus woman. There were several of them after World War I after so many young men were killed. What a terrible label it is. Neither Violet’s older brother or fiancé returned from the trenches. Shortly after the war, her beloved father died. Violet was stuck. She was expected to stay home with her mother, who, unable to be pleasant to her daughter or remaining married son and doomed to see the gloomy side of everything, was difficult to live with. When the opportunity came for Violet to transfer to Winchester, she took it and moved into fairly depressing digs – anything to be independent. She really struggled to make ends meet. Office politics hardly cheered her up either. 

While visiting Winchester Cathedral, Violet heard about the group of volunteer women who were embroidering replacement kneelers and cushions for the choir. These women were supervised by a remarkable teacher, Miss Louisa Pesel, the actual person who the bishop had asked to undertake the daunting project and who has an integral role in the novel. All other characters are fictional. Violet became a member of the cathedral broderers, where she makes a particular friend, who introduces her to other people outside the group, one of whom becomes the romantic interest in the book. I don’t want to give away any spoilers so need to be careful what I reveal. However, I learned much about the embroideries themselves and the process for designing and working them.  

I loved this book. The outcome of Violet’s romance is a little startling, as are some of the friends she makes along the way. She is the real star of the story, becoming the single thread which holds a new family together. Nevertheless, the embroideries, the broderers, the staff and other volunteers at the cathedral play significant parts in Violet’s life. Her relationships are what the novel is about. However, being an embroiderer and learning something about the cushions and kneelers meant I just had to look on the internet to see what I could find. I was not disappointed! The link is rather lengthy, so I suggest you type into your search engine ‘Winchester Cathedral needlepoint’. Click on ‘images’ and you will see the resplendent items themselves. Seeing them online, I am completely smitten and understand why Tracy Chevalier became curious about their history and wrote a novel inspired by these marvellous treasures. 

 Erica Marsden