Mum of six, standup comedian and author, Jen Fulwiler, refers to the God-given gifts we all have, that are meant to be shared with the world and bring us energy when we use them, as ‘blue flames’.

As she sat in the empty house that once belonged to her grandparents, now hers as the generations before had passed, she felt surrounded by loss and grief. Not just the loss of family, but also by the losses she’d experienced in this craziest of seasons we’re all continuing to walk through – the loss of income, opportunities and special events to name just a few.

As Jen reflected on the life of her grandfather who was once an incredibly accomplished and successful engineer, but was forced into early retirement at fifty-two years old due to hepatitis, she was incredibly grateful for the fact that he found engineering wasn’t his only blue flame.

For her whole life, Jen knew her grandfather as a ‘chef, the man who always loved us through his cooking. Every major occasion was celebrated by a dinner at his house.’ Even at ninety, he loved nothing more than when his home was filled with the sounds of chatter and tables were spread with the culinary work of his hands.

For Jen it was one of the most beautiful examples she’d ever seen of a blue flame in action, and her grandfather would have missed it entirely if he’d clung to his mission from the past.

Her story got us thinking about blue flames – a lot! Do we know what our blue fame is? Are we sharing it with the world in ways both big and small whenever possible? Have we clung to a mission from the past that means we’re missing our blue flame of today?

Now, perhaps more than ever, it’s time to be curious about what we have to offer the world around us and imagine what’s possible if we were to embrace our blue flame wholeheartedly.

By Nancy Williams

In every needlework basket in every part of the world you will find the basics. Needles, pins, perhaps a thimble. But most important in any kit is a pair of scissors.

Whether we have just one pair which we wouldn’t part with for the world, or we have a pair of scissors accompanying every work in progress, scissors are fundamental to stitching.

Scissors have been around for a very long time. There is evidence that those clever Egyptians used a kind of U-shaped scissor design, not dissimilar to the old shears which we used to use for gardening (or shearing sheep!).

The first cross blade scissors were probably developed by the Romans. We call them ‘a pair’ of scissors because each blade is actually a single ‘scissor’ – hence a pair. Initially fulcrumed with a rivet which was replaced by a screw, scissors have not really changed much in functional design since then.

Early scissors used to be crafted from iron, but in the 1700s it was determined that steel was far more durable and gave a better edge. Steel had been developed in Sheffield in England so it was no surprise that some of the best scissors in the world started to come out of that town.

Completely hand worked before 1840, as industrial techniques became more common, scissors were soon hot-forged – a process similar to the minting of coins. By the 1920s, it became more economical and efficient to cold stamp them which reduced the ability to include ornate patterns, but produced a stronger steel. Nowadays, carbon steel and stainless steel are both used frequently in manufacture.

Throughout history, embroiderers have known the importance of having a good, sharp and practical pair of scissors in their embroidery kit and most embroiderers guard their scissors meticulously (rightly so, especially in households with husbands looking to cut their toenails or children looking to cut out their drawings!).

Most of us probably have at least one pair of stork shaped scissors. Curiously, stork scissors developed from midwifery forceps used specifically to cut the umbilical cord of a newborn. The stork represented new birth. Although the stork is still common, nowadays you can get all kinds of figurative scissors, including kangaroos, hares and even unicorns.

Figurative imagery aside, the rule of thumb with embroidery scissors is that as long as they feel comfortable in your hand and they cut cleanly, then they are the right scissors for you. Cost does not always factor into this as there are some excellent, low cost embroidery scissors available which many embroiderers swear by.

If you work with metal threads, it is recommended to at least have a separate pair of scissors for cutting your metal thread or wire, as using your regular embroidery scissors will be a sure-fire way of blunting them! Many goldwork experts recommend using specific goldwork scissors.

These have a very fine serration on one of the blades – so fine it is difficult to see with the naked eye. This helps to grip the wire or metal thread and ensure that it cuts cleanly.

For Hardanger or cutwork, the rule is that the points must be at the correct angle – approximately 10 degrees is ideal – and the blade must be narrow. This is to allow you to insert the scissors between the threads in the linen and cut a single thread with precision. Some people prefer to use scissors with an angled blade for Hardanger to help keep the fingers above the fabric while cutting threads, but a straight, fine pair will work equally as well.

For lace work or for delicate appliqué, lace scissors are very useful. These have a nib on the bottom blade to prevent you from inadvertently cutting through a bottom layer.

No matter which scissors you choose, investing in (or better still, making) a sheath or point protector is really important. There is nothing worse than watching your fine pointed Ginghers fall off the table to the hard floor, knowing that the points will never be straight again!

Another good way to help avoid that disaster is a weighted scissor fob. This can easily be made by putting a coin inside a fob before you sew it up. This means that if your scissors fall, the weight will land first and hopefully reduce the possibility of bent points. It also has the added bonus of helping you not lose those scissors down the sofa!

Some of us love scissors and love collecting them. Others of us just love our one, special pair. Whichever end of the scale you fall on, we all agree that scissors are a practical, beautiful and essential part of our kit. We couldn’t imagine living without them.

The time has come. All of those bits of cut up cereal packets, all of those rolled up receipts and envelopes, all of those tatty cardboard bobbins, covered in crossed through thread numbers – they’ve all got to go.

These beautiful mother-of-pearl thread winders are the jewel in the crown of thread storage.

Smoothly cut into shapes which not only look gorgeous, but hold your thread securely, you’ll never be satisfied with cardboard substitutes again.

Choose from pairs of angels, hares or ewes; or for storing several different threads, keep them tidily on the mother-of-pearl strawberry shaped thread keep. Now all available in limited quantities.

The Embroiderers’ Guild in the UK is renowned for its exquisite collection of historic and modern needlework. Wouldn’t it be wonderful to browse through their collection, marvelling at and gaining inspiration from all the amazing and varied works on offer?

While we might not be able to take you to the Embroiderers’ Guild in the UK itself per se, what we can do is bring you a showcase of their treasures, with a specific focus on animals.

From squirrels to snakes, dogs to dragons, this book is full of embroidered creatures, worked in every possible technique and spanning every era.

You’re guaranteed to be inspired every time you browse through this elegant hardcover book, amazed at just how many different animals have been rendered in thread.

With limited stock still available, we can also bring you a showcase of birds and flowers from the other two books in the Embroidered Treasures Series. With travel restrictions still in place, they’re the perfect antidote to not being able to see the Guild’s collections firsthand!

The world is changing, sometimes for the better, sometimes not. But one of the sad aspects of change is when an art form begins to fade. There are fears that this is what is happening to the fine art of Lefkaritiko Lace from Lefkara in Cyprus.

It is not an unusual story – the masters of the art are aging, younger people aren’t taking it up, tourists prefer to buy cheap copies rather than pay what these exquisite embroideries are worth.

There is a positive that we can add to this story, however. There are dedicated embroiderers within our own industry who have taken the time to learn these traditional techniques from the masters. Christine P. Bishop immediately comes to mind as working tirelessly to preserve these skills.

It just reminds us how important it is to learn from and share with others, so that these skills continue to be practiced by generations to come.

To read more about the plight and future hopes of Lefkaritiko, click HERE.

Most embroiderers are comfortable stitching flowers, animals or landscapes. But what about stitching people?

Many of us will avoid trying to create figures due to the complexity of the human form. It isn’t just getting the limb position and proportion correct, which can be harder than it looks - getting the face right can be downright frightening!

But back in the 17th Century, stitchers didn’t seem to demonstrate such fears. Stumpwork figures were worked frequently on caskets, bed hangings and panels. In fact, the addition of a royal, biblical or allegorical figure was necessary to tell a story or commemorate an event.

When we look at stumpwork figures from the past, we are as charmed by their naiveté as we are stunned by their detail. So, what holds us back from stitching more of them today?

Fortunately, Kay and Michael Dennis are masters at creating stumpwork figures and encourage all embroiderers to give them a try. Robin Hood is the perfect figure to start with. Yes, care must be taken in shaping the face and constructing the hands – the two things which will be the difference between a figure looking human or not.

But as soon as one accepts that their Robin Hood will have a unique personality and facial expression, unlike any other person’s Robin Hood, then one has opened themselves up to the joy of this technique.

There are very few human beings who are completely and indistinguishably identical to another. The same goes for your stumpwork figures. For their project ‘Robin Hood’ from Inspirations issue #106, Kay and Michael provide step-by-step instructions to create Robin’s face and hands, but the formation of the shapes and placement of the stitches will be yours alone.

If he doesn’t look right, try again until you catch him gazing out at you from the fabric, assuring you that he’s happy with how he looks.

Of course, human figures are not just hands and a face – they are clothing and stance as well. In the 17th Century, great care was taken with the drapery and clothing, ensuring that it admirably represented the kind of clothing such a royal or revered figure would wear. Needlelace was used frequently due to its versatility, and that is precisely how Robin Hood’s tunic and leggings are created.

Stumpwork figures allow you to experiment with a whole range of different techniques from soft sculpture to wire work, needlelace, embroidery techniques and the fascinating addition of little props like Robin’s bow and arrow, constructed from cocktail and satay sticks!

Part of being an embroiderer is pushing beyond your boundaries or comfort zone and trying something new.

Stumpwork figures were essential to our stitching ancestors and provide a rich subject matter for stitchers of today.

Why not start your own journey with Robin Hood. He will then proudly look upon you, hand on hip and a subtle smile on his face as he watches you take this wonderful technique and run with it.

Step 1 – Purchase Project Instructions

Robin Hood by Kay & Michael Dennis is a fabulous figurative stumpwork featuring Robin Hood beneath a shady tree.

Step 2 – Purchase Ready-To-Stitch Kit

The Inspirations Ready-To-Stitch kit for Robin Hood includes everything* you need to re-create this wonderful scene: Fabrics (unprinted), wool felt, leather, wires, fibre-fill, toothpick, satay stick, feathers, adhesive film, embroidery threads and needles.

*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.

Enchanted Forest by Zinaida Kazban from Inspirations issue #95 is an enchanting scene featuring a curious bunny.

Fine Feathers by Anna Scott from Inspirations issue #101 features a lyrebird displaying his tail in an enchanting stumpwork scene from an Australian rainforest.

Forest Floor by Kay Dennis from Inspirations issue #104 is an enchanting stumpwork scene of mushrooms and berries.

We’re probably all counting a lot at the moment – counting the days, counting how many rolls of toilet paper we have left, counting how many more Netflix series we have to watch. But the best form of counting is the counting we do during counted embroidery sessions! Here are some fantastic projects completed by our readers to inspire you to get counting.

‘Through the COVID-19 lockdown I have stitched the following piece, which was a Westpac bank ad in New Zealand. It so caught my eye that I HAD to stitch it!’

Inspiration comes from anywhere, doesn’t it! We wholeheartedly agree with the sentiment and in the fact your stitching is wonderful, Peta.

‘Recently I’ve been doing longstitch and what fun it is! It doesn’t involve counting exactly, but you certainly have to match one thread end to the other on the canvas while stitching. The project is from a vintage Australian kit by Myart titled Basalt Barn.’

‘I avoided anything akin to needlepoint for years, but after studying longstitch, I decided to try it and was pleasantly surprised at the result. It stitches up quickly and I thoroughly enjoyed the process.’

Longstitch doesn’t seem to be as popular nowadays as it was in the past, so it is great to see you doing it, Susan, and with such fantastic results.

‘I am very happy to send some photos of my finished etui ‘Christmas Spirit’ from Inspirations issue #104 designed by Betsy Morgan.’

‘The design was so interesting to stitch, with each side a new challenge, but the construction was where I had to really concentrate. Thank goodness it all went together so well.’

Your prizes are well deserved. Not only is your stitching impeccable, but the construction looks just perfect. Well done, Barbara, and we’ll be looking forward to seeing more of your projects in the future.

‘When my daughter was overseas in the 1990’s I completed a Beatrix Potter cross stitch for her. It was stitched with one thread and took two years to complete.’

‘Since then I have done numerous cross-stitch projects and enjoy this form of embroidery.’

This looks like it was a labour of love, Robyn. Your delicate stitches and the gorgeous expressions on the faces of Beatrix Potter’s characters must have been very much appreciated by your daughter.

‘I have been stitching all my life although never more so than now in my retirement years. My stitching often takes the form of useful items for my home, like tablecloths, pillowcases or embellishments for towels. I thought you might enjoy seeing my latest project.’

‘I have long wanted to do placemats with some needlework to the right. When I ran across this cross stitch pattern, I knew I finally needed to do it. I’m also a sewer, so making them into placemats was an easy task.

But these placemats will be ready to adorn my holiday table in 2020!’

We’re lucky that Christmas comes every year, aren’t we? We’re sure these placemats will come out year after year, though, as they are so well stitched and made.

This is just the first instalment of our collection of counted projects you’ve sent us, so look out for more next week. In the meantime, if you’ve finished a counted project, or if you’re so tired of counting you went and finished a different project, let us know! We’d love to see a picture of your work and hear a little bit about your stitching journey at news@inspirationsstudios.com

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

Coquette by Renette Kumm is an ornate hummingbird depicted in threadpainting.

Sunbird by Renette Kumm from Inspirations issue #99 is a fabulous threadpainted orange-breasted sunbird.

Bee-Eaters by Renette Kumm from A Passion for Needlework | Factoria VII is a superb threadpainted study of European bee-eaters.

Savanna Glory by Renette Kumm from Inspirations issue #95 is a stunning threadpainted Lilac-breasted Roller.

~ Jen Fulwiler ~

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.