In last week’s All Stitched Up! issue #223 HERE we explored the concept of wabi-sabi which is the Japanese philosophy of accepting your imperfections and making the most of what surrounds you, not despite the imperfections, but because of them.

Upon further exploration, we came across the art of kintsugi.

Kintsugi is the ancient Japanese art of repairing broken, chipped and cracked pottery using lacquer mixed with gold. Not only does repairing broken ceramics in this way give a new lease of life to the pottery, but the Japanese view the golden ‘scars’ as adding a refinement to the pottery that didn’t exist prior.

And that got us thinking…

It would seem that in our ‘western’ pursuit of perfection, we do anything but display our scars with pride! Whilst striving for faultlessness in who we are and what we create, we’ve lost sight of the idea that imperfections are necessary for full appreciation of beauty.

So that ‘counted once and stitched twice’ stitch you’re trying to hide under the surrounding stiches, why not find a way to ‘kintsugi’ it into place and show the world that you appreciate your imperfections and are willing to embrace the perfectly imperfect you!

By Nancy Williams

We recently had a query about frames. Most embroiderers work in a frame saying they achieve better tension and evenness with their stitches, but there is still some confusion about what frame is what.

Let’s start at the beginning with the question, why use a frame at all?

For many stitchers, a frame is an essential part of their kit. Putting your work in or on a frame keeps your fabric taut which allows you to retain even tension across your stitching. That said, there are many exquisite embroiderers who only ever work ‘in hand’ or without a frame, so the issue is by no means black and white. Next, let’s explore the different type of frames available.

Embroidery Hoops

The most common types of frame are embroidery hoops. Available everywhere in a range of materials, sizes and shapes, the standard embroidery hoop has two rings, the outer with a join and a screw. You place your fabric over the inner ring, loosen the outer ring so you can place it over the top, then tighten the screw to hold your fabric taut. Depending on your hoop, you may need a screwdriver to tighten and loosen it, and you may need to periodically pull your fabric and re-tighten the hoop to keep it nice and firm.

Hoops are ideal for all kinds of embroidery, however if you are concerned about ‘squashing’ your stitches when you move the hoop to another part of the embroidery, you need to make sure you have one large enough to contain your entire piece. Next up is the scroll frame.

Scroll (Roller) Frames

A scroll frame is usually rectangular or square and consists of four bars – the two side bars which are often (but not always) shorter and the top and bottom roller bars which fit into the side bars. These can be turned so they roll up the fabric on either end, then they are secured with wingnuts to hold the bars tight.

To put your work in the frame, you first need to secure your fabric onto the top and bottom roller bars – usually by stitching it to the attached webbing. You then roll up the slack top and bottom so that the area you are going to stitch on is taut in the centre of the frame.

You can lace the sides, although because you’ll generally need to roll the fabric up or down to get to other parts of your embroidery, you may find yourself lacing and unlacing frequently.

Scroll frames are excellent if you are concerned about squashing your stitches. One of the problems, though, is unlike the hoop, you can’t remove your piece from the frame during the time you’re working on it. Once it is stitched on to the frame, it will have to remain there for the duration (unless you want to cut it off each time!)

Now onto the mysterious slate frame.

Slate Frames

The slate frame also consists of four pieces, however your side bars are usually at least as long as your top and bottom bars. Like the scroll frame, you attach your fabric to the top and bottom bars, also called the stretcher bars, by stitching it on to the webbing. However, the idea of the slate frame is that your entire stitched area will be visible so there will be no rolling up or down during the time you stitch.

The stretcher bars slot into the side bars, which are flat with a series of holes drilled top and bottom. Once the fabric has been secured to the top and bottom bars, you push the bars as far out from each other as possible and secure them with split pins or dowels. You need to ensure the split pins are even on both sides and when you think it is tight enough, give it another push and see if you can achieve another hole!

Once the fabric is taut, you can then lace the sides. Because the fabric is now secured for the duration, you can increase the tension by tightening the lacing – when you do it, it feels a bit like you are playing the harp. The result should be that your fabric is drum tight. However, you don’t want it so tight that little ripples are created when you start to stitch, as these will never come out.

So why ‘slate’?

The slate in these frames was brittle so easily broken. In an age unlike ours, where nothing was thrown away, the remaining frame was then used to secure a piece of fabric so a young girl could learn her stitches. It took a while, but by the mid-20th century the term had become synonymous with the frames we know today as slate frames.

Now to the most important question of all… which frame should you use and when?

While there are no absolute rules, here are a few guidelines you can follow:

If you need something light, small or you need to be able to remove your fabric from the frame between stitching sessions, choose a hoop.

If you’re happy for your work to remain on your frame, but don’t mind whether it is rolled, then a scroll frame is ideal. Although do note that they don’t work well for most kinds of raised work, goldwork or any type of embroidery with raised embellishments such as beading.

If you need perfect, all over tightness and you can’t flatten stitches or elements, then it is worth investing in a slate frame. They may seem large and cumbersome at times, but once you’ve used one, you’ll learn how to handle it and you’ll be pleasantly surprised at the results.

Last week we released the first of our special Mother’s Day Gift Packs to help solve the annual dilemma of what gift to get your Mum. Or, if you are a Mum, to help pick a gift to request for yourself.

With the bird lovers all sorted thanks to our first gift pack ‘Beautiful Birds’ this week we have a special treat for those who love botanicals and in particular the spectacular Camellia flower.

The project Camellia by Julie Kniedl is a stunning three-dimensional embroidered replica created with astounding realism.

Vibrant red petals, lush green leaves, picture perfect buds and even a bud on the cusp of blooming, this piece is such a delight.

Camellia is one of 12 projects showcased in Julie’s book ‘Botanica’ which includes comprehensive easy to follow step-by-step instructions to help anyone re-create this amazing design.

And to ensure the lucky recipient of the Camellia Gift Pack has everything they need to get started, we’ve even included three premium quality Nurge embroidery hoops to cover the different sizes required in the instructions.

Inside the Camellia Gift Pack you will find:

1 x Botanica book by Julie Kniedl featuring instructions for Camellia
1 x Camellia Ready-to-Stitch kit
1 x Nurge hoop size 1 (4”)
1 x Nurge hoop size 3 (6”)
1 x Nurge hoop size 4 (7”)

The individual items in this pack total over AU$158 when purchased separately, however, as a special Mother’s Day celebration, the Camellia Gift Pack is only AU$85, and comes in a box ready for you to gift wrap!

Buy one for your Mum, buy one for someone to gift you, or just buy one because it’s crazy good value – the choice is yours!

Ladies and gentlemen, for all the stitchers out there this announcement is for you!

Hosted by Inspirations, entries are received from around the world and displayed at the Beating Around the Bush convention for all to see. Past winners and entrants are regularly seen in Inspirations Magazine, so the challenge provides a fabulous opportunity to be discovered and possibly win some of the amazing prizes on offer.

Open to any skill level, you can use any techniques and any materials, create your own project or stitch someone else’s design - this is a needlework challenge no stitcher or their needle should miss.

It’s that special time of the week when we get to make a stitching wish come true. This request came in from Beth Marshall from the UK:

‘I am wondering if you can help me. I am looking for a pattern that was originally published way back in Inspirations issue #25. The canvas work pattern is for three small scissor 'pillows,’ or fobs. The designer was Susan O'Connor.’

Absolutely Beth, we’d love to help you! The project you’re referring to is ‘Faithful Companion’ and features a set of beautiful and practical scissor fobs, worked in subtle colours on canvas.

Scissor pillows such as these are a must for every embroiderer. They are useful in so many ways, whether as a handy place to pop a spare needle, a useful tool to prevent your scissors falling on their points if dropped, or as a way of identifying your scissors.

‘Faithful Companion’ by Susan O’Connor offers you the chance to create three beautiful fobs which will take pride of place in any stitcher’s workbox.

Speaking of the super talented Susan O’Connor, she will once again be stepping out from behind her desk as Inspirations Magazine Editor-in-Chief and is joining us to teach at Beating Around the Bush 2020.

Susan’s superb project ‘Honey Bees & Blossom’ has become an instant hit after featuring in the BATB 2020 logo and that class has nearly sold out.

With two other signature designs by Susan also on offer, don’t miss the opportunity to spend time stitching and learning with the lady responsible for keeping the world’s most beautiful needlework magazine, the world’s most beautiful!

Over the past few weeks we’ve included stories about how people around Australia and the world have come together in order to support those affected by the recent bushfires.

Another fabulous act of kindness has been undertaken by Nicola Parkman and Sandra Moffitt from Hands Across the Sea Samplers. Hands Across the Sea are a company based on both sides of the world, with Nicola in the UK and her partner, Sandra, in Australia.

The company is famous for producing comprehensive charts of antique samplers from around the world. Each sampler has not only been meticulously reproduced so that you can stitch it almost exactly as it would originally have been stitched but included with each chart is a history of the original stitcher and the sampler itself.

So, when Sandra purchased a small antique sampler originally stitched in New South Wales, Australia, the plan was to reproduce it and chart it in the way the company normally does. However, before this could happen, the bushfires came.

Sandra’s husband is a volunteer member of the NSW Rural Fire Service and, within a very short time, he was called away for long stretches to fight the fires.

It was fitting that Hands Across the Sea would put the resulting chart up for sale, with all proceeds going to the Katoomba/Leura Rural Fire Service, where Sandra’s husband volunteers, and the Wentworth Falls RFS where husband of model stitcher, Suzanne, volunteers. And the stitching community has jumped into help, with thousands of copies of the chart already sold.

If you want to help and buy a copy, you need to be quick as the chart is a limited-edition and will only be available until 16th April. To purchase the chart, click HERE.

They say that every little bit helps, but the kindness of stitchers knows no bounds. So far, over £27,000 (AU$52,000) has been raised for the RFS. We’re so proud to be a part of this community.

Last week we asked for your help to fill our empty ‘What Are You Stitching?’ cupboard by sending in photos of your work.

The great news is that it’s working!

But for those of you who think you’re off the hook because other people have answered the call… think again! We still need more!

Remember your project might just be the spark someone needs to ignite their stitching mojo, so help out your fellow stitcher by taking some happy snaps of anything you’ve got – work in progress, recently finished, or completed a long time ago - the needlework community would LOVE to see it!

Email your photos and a few details about your stitching journey to news@inspirationsstudios.com

Gary Clarke’s unusual study of the South African Leucadendron plant in Inspirations Magazine issue #105 is surprising in many ways. The plant itself is part of the famous Proteaceae family, known for its bold and long-lasting blooms and prized by gardeners for its low maintenance and hardiness.

This particular flower, white with delicate tips of pink on the bracts or petals, lends itself perfectly to the project which Gary has conceived.

What makes this project so unique is Gary’s choice of fabrics and materials. At first glance the Leucadendron flower seems to jump out of the frame in the same way that a traditional stumpwork piece would. However, on closer inspection, it can be seen that the main body of the flower is worked as surface embroidery.

What gives the piece its three-dimensional effect is the fact that it has been worked onto organza and then mounted over a ceramic tile.

There are some three-dimensional stumpwork elements to the flower, however even these have been worked in an unusual fashion. The central cone and two of the bracts are initially stitched over a sandwich of organza and printed paper. The printed paper provides pattern and depth, with the tactile effect achieved by careful placement of select stitches.

Once these unusual slips have been attached, the flower seems to immediately cry out to be cut and placed in a vase in the centre of a table.

Working on organza is far more delicate than working on heavier fabrics. Keeping your ground fabric tight on the frame is very important and, if you don’t already make a habit of doing it, start out with a brand new, unblemished and very sharp needle to minimise the risk of snags.

The Leucadendren flower, originating from South Africa, is today known around the world and often adorns bouquets and sprays of flowers. Despite the fact that the natural blooms do last a long time, retaining their beauty often long after their companion blooms have faded, none will match up to the lasting beauty of Gary Clarke’s Leucadendron flower.

Floating in the frame in ethereal beauty, this unique piece of embroidery will challenge and delight in equal measure. If you’ve been looking for something new to extend your skills, you need look no further.

Step 1 – Purchase Project Instructions

Leucadendron by Gary Clarke is a dimensional, botanical embroidery worked on organza.

Step 2 – Purchase Ready-To-Stitch Kit

The Inspirations Ready-To-Stitch kit for Leucadendron includes everything you need to re-create this delightful flower: Fabric (unprinted), fibre-fill, embroidery threads and needle.

Please Note: To cater for flexibility of purchase, instructions are not included with our kits. For step-by-step directions on how to create this project, please refer to the magazine/digital pattern.

Hummingbird by Gary Clarke from Inspirations issue #83 is a unique organza embroidery of a dainty hummingbird.

Birdsong by Gary Clarke from Inspirations issue #93 is three fabulous brooches featuring Australian birds.

Blossom by Gary Clarke from Inspirations issue #90 is a small, zipped bag stitched with a single flower from a stunning repeating design.

Flowers have provided inspiration for art and design for centuries. And our love and fascination with recreating the floral world is strong amongst the needlework community. So, this week we wanted to share some of the beautiful floral pieces created by those of us within the Inspirations community.

‘I’m an RSN-trained embroiderer but I still love my cross stitch. As you said in a previous newsletter: ‘This is where it all started’ – when I was 5 years old. While I’m travelling by train, I always do some cross stitch.’

‘I had never tackled surface embroidery before, preferring the discipline of counted thread work, but I thoroughly enjoyed the challenge and am determined to do more to improve my skills. It was a great leap of faith for me to step out of my comfort zone and I am reasonably happy with the finished result.

Perhaps I might be brave enough now to tackle more complex designs. There are flaws, but I know what went wrong and next time I hope the results will be better.’

‘Quilting and embroidery are my favourites and I’ve been lucky enough to win a blue ribbon at a country show for a quilt I made. A wedding gown that I embellished with silk ribbon roses also won a Golden Gown award.’

‘Then, with the skills learnt from Julie’s book I also made a Remembrance Day Poppy.’

Thank you, Philippa – we didn’t know that about mistletoe, how fascinating, we’ll be sure to look for the sprigs with lots of berries from now on! The pieces you have created look beautiful and your poppy is a beautiful homage to Julie’s work, no doubt you’ll wear it with pride every Remembrance Day.

If you’ve been stitching anything botanical, floral or indeed anything at all we’d love to see it! Your needlework and your story could be just what someone needs to help them along in their stitching journey. Email us at news@inspirationsstudios.com

Projects Featured in This Week’s What Are You Stitching?

If you’ve been inspired by the projects showcased above, the good news is digital patterns, complete with step-by-step instructions, are available for the following designs:

Become part of the Inspirations family by subscribing to the magazine... we'd love to have you join us!

Spanish Lace by Christine Burton is a gorgeous blackwork embroidered cushion with golden highlights.

Delicate Touch by Victoria Laine from Inspirations issue #86 is a clever blackwork strawberry given dimension with shading techniques.

Delicate Shadow by Maggie Gee from Inspirations issue #79 is an elegant shaded blackwork poppy.

Black Beauty by Victoria Laine from Inspirations issue #95 is an elegant study of a full-blown rose in shaded blackwork.

~ Leonard Cohen ~

Stay informed of upcoming needlework events taking place all around the world in our new What’s On page on the Inspirations Studios Website HERE.