Heart Cushion

To make a small heart-shaped pillow, you need two pieces of linen fabric. They should be large enough so that they can be easily placed in an embroidery hoop. The attached heart motif istransferred via iron-on or via direct tracing, using a water or a heat soluble pen, to one of the two parts.

The outer heart line is marked using coloured thread with short Running stitches. The heart with half-eyelet scallops is embroidered.

The finished embroidery and the other piece of linen – with the addition of a little washing powder –

are first soaked in water and then boiled.

Both parts are dried and well ironed and placed on top of each other so that the back of the embroidery is placed on the outside. Both parts are now sewn together closely along the marking line. Only in one place – as straight as possible – does a piece of approx. 4 to 5 cm remain open. The marking remains there, otherwise it is removed.

The edges of the fabric are unfolded and

the seam is smoothed with the thumbnail very well.

The excess fabric is ctrimmed close to the seam, but be careful – at least two fabric thread cross hairs must remain outside the seam so that the fabric does not fray later. Only in the unclosed area is a remaining fabric of approx. 1 cm.

The embroidery is carefully turned inside out. The seams are positioned on the outer edge by carefully pushing back and forth between the fingertips. Small, loosened portions of Poly-Fil or wadding are inserted through the opening into the heart bag and first transported to the edges with the fingers. The entire area is gradually padded up.

After enough filling has been added, the remaining fabric excess is folded inwards at the level of the marking. The marking thread is removed and the seam is closed with small, delicate hand stitches.

A cord is twisted using cotton yarn that is not too thin. If there is a Twister, this is child’s play. But you can also do it the old way with a pen or wooden stick.

Starting at the top center, attach the cord over the seam. The beginning and end are sewn together tightly close to the fabric.

The remaining ends are knotted together to form a hanging loop.

Together with a square cushion, the cones, small angels, bells, the cut out hearts, the snowballs and maybe also the mushrooms, the grapes and leaves or even small bags (here you can find the instructions), bag or hanging it can become a pretty and very individual Christmas tree decoration.

The Embroiderer Fritz Bierwirth

Men can also embroider excellently – that wasn’t new to me. Now this knowledge was reinforced by a visit from Fritz Bierwirth. He embroiders for up to 5 hours every day. And that at its best. He had some of his works with him. I was allowed to photograph these to share with you now.
But first things first: Born in 1940, he discovered his passion for handicrafts as a child. He spent much of his free time knitting and crocheting. He drove buses through many European countries for eight years before driving trams in Kassel until 1998.
After work he regularly picked up an embroidery needle. At first he was ashamed of his passion and made all handicraft utensils disappear as soon as a visitor announced himself.

He came to the Hardanger technique through tapestry embroidery.

But ever since he visited an exhibition of Schwalm whitework in the museum in Ziegenhain about 30 years ago, he became interested in this technique, which he taught himself.

From the first moment he was fascinated by Schwalm whitework, his enthusiasm has not left him to this day.

He often embroiders in white,

sometimes he uses subtle colors.

He had to stop embroidering for a few years. His eyesight was failing and caring for his wife, who had dementia, demanded his full attention. After her death and a successful eye operation, he likes to pick up the embroidery needle again. His hobby keeps him busy for several hours a day. He never gets bored.

In addition to the traditional outlines, he also likes to work openwork pattern borders into which he embroiders the motifs with needle-weaving stitches.

Back in 2002, he elaborately embroidered a baptismal dress made of the finest linen. This is shown in the 2004 exhibition catalog.
He can now look back on a large number of mostly elaborate embroideries.

At his daughter’s request, he also makes unusual pieces such as the large rabbit (pictured at the top) or the table runner adapted to the asymmetrical table.

He is currently working on a doily that he is embroidering in shades of green to match the furnishings. After many sizes of coton à broder threads were no longer available in his local store, he discovered straded cotton as a thread for Schwalm whitework. With the six individual strands of the twist, he can put together any thickness he wants. He likes to use 1-strand for the Cable stitches in openwork grids. This keeps the holes in the grid larger and the patterns stand out better. He twists several individual strands together before embroidering. This way everyone maintains the same tension and no loops form.

Schwalm Heart (1)

Many years ago, during an exhibition, I was able to purchase a few leftover pieces of linen along with the corresponding outline patterns for little money.
I have now acquired the rights to these patterns.
The pretty individual motifs are quickly embroidered. They are also ideal for processing leftover fabric.
Little things like pictures, bags or pillows were created in a short time. They are therefore suitable as souvenirs and perhaps also for sale as souvenirs for exhibitions.

I ironed such a motif onto 16 tpcm linen. In order to clearly transfer the iron pattern colour to the fabric, I ironed very hot. The slight scorching marks that were created can be clearly seen. They will disappear later in the wash.

The Coral Knot stitches were embroidered with coton á broder No. 16, Blanket stitch eyelets and Chain stitches withcoton á broder No. 30. The rounded leaves were decorated with Satin stitches. Here 2 strands of the 6-ply stranded cotton were used.

The Limet grid – thread withdrawing 3:1 – has a withdrawn theard line in the middle longitudinal axis.

Starting there, a pattern similar to the filling pattern 578, but without the rows of Four-Sided stitches in between, is embroidered with coton à broder No. 20 .

After the embroidery is finished, the piece is soaked in soapy water for a few hours and then boiled. The colour has completely dissolved after two repetitions of the short cooking process.

The scorching marks have also completely disappeared.

I like the relatively unobtrusive pattern in contrast to the striking edge with the many leaves

and Blanket stitch eyelets.

Depending on which angle you look at it from, the pattern looks different.

If you also want to embroider this small motif, you can download the hand-drawn outline pattern for free.

Filling Pattern – No. 579

category: Limet-Filling pattern
linen used: 13.5/cm thread count
threads used: coton à broder No. 20
stitches used: Back-, Straight- and Satin stitches
center: center: intersection of withdrawn thread lines (in other shapes or motifs: longitudinal axis = withdrawn thread line)
one pattern segment = 8 threads

The filling pattern shown here is a practice exercise only. You can see it used in a shape in the end of this article.

First, establish a Limet grid with a withdrawn thread line as the longitudinal axis by alternately cutting 1, leaving 3, vertically and horizontally.

Turn the motif 90° counterclockwise and embroider Backstitches over 3 fabric threads each along the central longitudinal axis.

At the end of the row, after completing the last Backstitch, bring needle up one square diagonally to the top left.

Cross under the working thread of the first Backstitch,

insert the needle 2 squares below the emerging point and move the needle up two squares and one square to the right and bring it up there.

*Cross under the working thread of the next free Backstitch,

insert the needle 2 squares below the emerging point and move the needle up two squares and one square to the right and bring it up there.*

Repeat these three steps (*) until the row is finished.
*Then leave a space of one square between a finished row and the next row of Backstitches

and work the row there with Backstitches and the row back with Straightstitches in the established way.*

Repeat these both steps (*),

until the entire area is filled.

When turned back to the original position, the pattern looks like this:

This pattern can be used as both a horizontal and vertical stripe pattern. It also looks interesting if you place it on the motif from top to bottom.

Schwalm Band (18)

The long band is finished. It looks nice hanging on the wall, but I also like it lying on my large table. Unfortunately, it is very difficult to photograph the full length.

Therefore, all sections follow here again from top to bottom.

Threads and linen have shrunk in the laundry. Only then did the filling patterns get their final appearance and their special effect.

Ironing from the left side of the fabric and placing it on a thick, soft base allowed stems, tendrils, leaves, etc. to press into the base. The entire surface embroidery now stands out vividly from the linen.

This creates the contrast between openwork embroidery and surface embroidery that is so typical and characteristic of Schwalm whitework.

The small raised elements contrast with the rather flat-looking surfaces of the large motifs.

Many components of Schwalm whitework were used in this project:
stems with forks
tendrils
rounded and pointed, divided ans undivided leaves
Blanket stitch eyelets
small flowers and other vegetal elements as well as small hearts
Eyelash stitchese
Blanket stitch half-eyelets scallops and Blanket stitch scallops
2short-2long
knife points and Blanket stitches
simple withdrawn thread patterns
Limet withdrawn thread patterns
openwork
some fillings without thread withdrawing from the area of ​​early Schwalm whitework and
one needle lace filling.

Of course, the embroidery can be designed completely differently, especially in the area of ​​filling patterns. However, my aim was to use as many different patterns as possible.

Schwalm Band – Outline Design
Schwalm Band (1) Design Transfer
Schwalm Band (2) – Preparatory work of section 5
Schwalm Band (3) – Preparatory work of section 4
Schwalm Band (4) – Preparatory work of the sections 3 – 1
Schwalm Band (5) – Filling Patterns of Section 5 II
Schwalm Band (6) – Filling Patterns of Section 5 I
Schwalm Band (7) – Filling Patterns of Section 4 b II
Schwalm Band (8) – Filling Patterns of Section 4 b I
Schwalm Band (9) – Filling Patterns of Section 4 a II
Schwalm Band (10) – Filling Patterns of Section 4 a I
Schwalm Band (11) – Filling Patterns of Section 3 II
Schwalm Band (12) – Filling Patterns of Section 3 I
Schwalm Band (13) – Filling Patterns of Section 2 II
Schwalm Band (14) – Filling Patterns of Section 2 I
Schwalm Band (15) – Filling Patterns of Section 1 II
Schwalm Band (16) – Filling Patterns of Section 1 I
Schwalm Band (17) – Completition