embroideries

Filling Patterns of Section 4 b II

The circle lends itself to a needlelace pattern. Since it is much easier to work needlelace over intact fabric, the fabric in the center of the circle is not cut away for now. First, markings are made – a circular line approx. 4mm from the outline. The inner circle is divided into eighths, with every other line following the grain and the others lying diagonally in between. All eight lines are marked at the same distance from the center.

Using coton à broder No. 16, Buttonhole stitches (not simple Blanket stitches) are first embroidered between the outline and the circular line.

Then threads are stretched three times over the straight lines and wrapped tightly on the way back without picking up the fabric. Even with further stitches, the fabric must not be accidentally picked up. The resulting center point is circled twice with needleweaving stitches.

At the level of the markings, the straight bars are connected in a circle in two rounds of laid threads. These connecting sequences form the basis for the needlelace pyramids. Start with five Blanket stitches. Work in back and forth rows, each time reducing by one Blanket stitch. The tip is attached to the Buttonhole stitches on the edge, the working thread is returned to the base along the edge of the needlelace pyramid. In the next section, the next needlelace pyramid is worked in the established way. Once all eight needlelace pyramids are finished, you can carefully cut away the fabric from the back of the work. The double knot of the Buttonhole stitch would hide the raw edge.
I decided to leave the fabric.

How to work the needlelace pyramids can also be found in my publication Schwalm Needlelace edge decorations – easily embroidered .

If you don’t have much practice with needlelace pyramids, it’s good to work with thick thread. Then you can tell the individual stitches better apart. Coton à broder No. 12 would also be possible – if available.

The tip above the circle is given a pattern without thread withdrawing: slanted, opposite Blanket stitches with a little space and with the loops along the center line (coton à broder No. 20.

The bellflowers also have a pattern without thread withdrawing. I chose closed herringbone stitch (also called closed feather stitch) (coton à broder No. 25). I also like to use this stitch to represent wide stems.

The first large heart should have an openwork pattern. The thread is withdrawn 2:2 and the thread grid is secured with Cable stitches (coton à broder No. 30).

I actually wanted to embroider a pattern with a diagonal structure (pattern 128 or 132 from Openwork Needleweaving Patterns). But then I decided on pattern 72 because the slant of the pattern fits better to the outline of the heart.

So section 4 b II has already received filling patterns.

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

Filling Patterns of Section 5 I

The bird’s belly has a relatively large area, which, due to its shape, can be used to embroider the Limet pattern “Cones” (Limetrosen I, page 79), but embroidered from top to bottom. To ensure that the pattern does not turn out too coarse, the thread withdrawing is made 2:1

and embroidered with the pattern using coton à broder No. 25.

I think this pattern represents the bird’s plumage well.
The pattern of the bird sitting opposite is worked in mirror image.

For the small bellflowers, the outer petals are surrounded with Chain stitches (coton à broder No. 30).

The center of the flower receives a simple horizontal thread withdrawing 3:1.

Wave stitches are embroidered using coton à broder No. 25.

The opposite flower is in the middle section also embroidered with Wave stitches.

One could decorate the petals of the carnation with daisy stitches, I left them unembroidered, as well as the crest of the right bird, its middle tail feather and the center of the wing.

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

Filling Patterns of Section 5 II

After all the preparatory work has been done, comes the exciting time of deciding on the filling patterns. The band has around 80 motifs. The mirror-image ones are decorated with the same patterns. Nevertheless, around 50 different motifs remain,
which I want to fill with a wide range of different options. I start at the bottom and work my way up little by little.

First, the areas to be filled are surrounded with Chain stitches (Coton à broder No. 30). Then the desired thread withdrawing is made.

I notice that the threads can be withdrawn very easily.

The basket should have the Satin stitch Limet pattern “Fence Wickerwork – double with a gap” (Wickelstiche, page 75) (Coton à broder No. 20).

I also notice that the top edge of the basket is crooked. Therefore, I try to set the pattern in such a way that this no longer immediately catches the eye at the end – the focus is on the second to last row with the double-width Satin stitches and the free spaces in between.

I initially just surround the areas in the handles of the basket with a Chain stitch border. I won’t decide until later whether I’ll incorporate a pattern here too.
After preliminary completion of the complete embroidery at the end, I find the handles of the basket too empty overall. Therefore, I make thread withdrawing 3:1

and embroider the area with Diagonal Cross stitches (Coton à broder No. 20).

The circles should have an openwork figurative pattern. To do this, I create an openwork grid of threads with an intersection of two withdrawn thread lines in the center and stabilize it with Single Faggot stitches (Coton à broder No. 30) from the back. Since the fabric isn’t even weave, I end up with more squares horizontally than vertically. The pattern I was considering – hearts similar to filling pattern 470 – is not suitable because it would emphasize the different distances up and down or to the sides.

So I draw different designs in an appropriate grid until I find a suitable one.

I decide on a pattern that emphasizes the diagonals and is therefore equidistant from the edge of the area at the end points. The needle-weaving is made with coton à broder No. 20.

The small heart receives a simple vertical thread withdrawing 3:1.

Satin stitch bars, the angle adapted to the shape, are embroidered with Coton à broder No. 20.

The middle part of the tulip should have the square eyelet pattern “Magic Net” (Limetrosen I, page 70). So that the pattern doesn’t look too clunky, I reduce the thread withdrawing and draw 2:1.

The pattern is embroidered with Coton à broder No. 25.

The outer tulip part should have a horizontal striped pattern – rows of Easy Eyelet stitches should alternate with rows of Satin stitch bars. To do this, a 3:1 thread grid is created.

With Coton à broder No. 20 the pattern is embroidered.

The ovals should have an openwork, diagonal striped pattern. Since the surfaces are relatively narrow, the threads are withdrawn 2:1.

I choose a pattern similar to filling pattern No. 550, but with only one row of Rose stitches and Cable stitches each, embroidered with coton à broder No. 25.

This way section 5 II has received very varied surface filling patterns, which I really like in combination.

Schwalm Band – Outline Design
Schwalm Band (1) Design Transfer
Schwalm Band (2)
Schwalm Band (3)
Schwalm Band (4)

Preparatory work of section 4 of the outline design.

There are actually only three considerations to make for the next short sub-section.
1. How to embroider the oxeye daisy?
I opt for divided Blanket stitch leafs and a ring of Blanket stitches around the center circle (coton à broder No. 20)

and test the same with an extra Blanket stitch eyelet in the center.

2. How to embroider the little bellflower ?
It receives outlines of Coral Knot stitches and a middle section of Blanket stitches.

3. Most of the thoughts go into the design of the middle element, the circle with the “fool’s cap”.

To get more room for a filling pattern, I decide not to hold account on the center circle. The outer circle is worked with wrapped Chain stitches (coton à broder No. 20), as well as the middle tip. The side tips are embroidered with Stem stitches on the lower edges and Blanket stitches (coton à broder No. 20) on the upper edges.

This means that the preparatory work of the next short section has already been completed.

The heart of section 4 is surrounded by Coral Knot stitches (coton à broder No. 16) and Blanket stitch half eyelet scallops (coton à broder No. 25).

The birds are given an outline of wrapped Chain stitches (coton à broder No.20).

The beak is worked as a Satin stitch knife point, eye, comb and

tail feathers are embroidered as Blanket stitch eyelets respective Blanket stitch half eyelet scallops (all coton à broder No. 30).

The bird sitting opposite is worked in a similar way.

The bellflower (Coral Knotstitches, coton à broder No. 16) has stamens made of bullion knots and in the middle part a lower edge of Blanket stitches (coton à broder No. 25),

the oval flower divided Blanket stitch leaves and Blanket stitch eyelets (also coton à broder No. 25).

The large tulip is outlined only with Coral Knot stitches.

The next sub-section contains many very small pattern elements. That’s why I embroider some Coral Knot stitches with coton à broder No. 20, like the small tendrils on the circle. The circle is given a border of 2short-2long (coton à broder No. 20). It is good to mark the direction of the stitches before stitching.

The bird outline is worked with coton à broder No. 20, eye, beak and the small Blanket stitch eyelets with coton à broder No. 30. The small rounded leaves and the heart-shaped petals are worked with Satin stitches (2 threads of the 6-thread stranded cotton). However, the flower seems too massive to me in this form,

that’s why I actually wanted to make it with wrapped Chain stitches (coton à broder No. 30). But then I realized that the Chain stitch border looks good too and leave out the wrapping. The mini carnations are embroidered once with Blanket stitches (coton à broder No. 30) and the other time with Satin stitches (2 threads of the 6-thread stranded cotton). Both variants are not optimal.

The small bleeding-heart is bordered with Coral Knot stitches and Chain stitches (coton à broder No. 30). The daisy stitches are worked with coton à broder No. 20.

The mini leaves are also worked as divided leaves (2 threads of the 6-thread stranded cotton). They usually turn out better than one-piece leaves (see right edge of the picture).

So the preparatory work of the next sub-section has already been completed.

The scallops of the large clover leaves are embroidered with coton à broder No. 20 and Blanket stitches.
The row of tiny Blanket stitch eyelets is worked with coton à broder No. 30, as well as the final heart.

The Blanket stitch half eyelet scallops at the end of the bird’s tail are embroidered with coton à broder No. 30, the remaining Blanket stitch half eyelets with coton à broder No. 25. The divided leaves and the undivided ones on the central axis are designed with Satin stitches using 2 threads of the 6-thread stranded cotton.

The rounded leaves are embroidered with coton à broder No.20 and Blanket stitches, as well as the middle part of the small tulip. The ends of the stamens receive bullion knots with 3 wrappings (coton à broder No. 16).
The bird’s eye is worked with Satin strtches (coton à broder No. 30). The Blanket stitches of the little flower are made with coton à broder No. 25. The outline of the little heart is embroidered with wrapped Chain stitches using coton à broder No. 25.

This completes the preparation of the last part of section 4.

Schwalm Band (2)
Preparatory work of section 5 of the outline design.

As you will notice, I experimented a bit with stitches and thread sizes as the project progressed. My descriptions are intended to serve as suggestions only. Of course you can work many things differently. I would be happy to see a few pictures of your creative work at the end.

So that the fabric is easier to handle when embroidering and the outlines are not too exposed to light, I roll up the upper part and secure the roll with two safety pins.

The heavy linen is initially quite stiff. Only after I had embroidered it in my hands for about ten hours did it become pleasantly soft.

As is common practice, all outlines are first embroidered to avoid fading as much as possible. I start at the bottom and embroider the Coral Knot stitches there. Since I want this to be distinctive, I use coton à broder thread No. 16. You could also choose coton à broder No. 20.

Due to age and also because of the heavy and stiff linen, my stitches no longer turn out evenly. The strong magnifications make this mercilessly clear. Nevertheless, I show the pictures. Not all embroiderers are perfect, and they should be encouraged not to give up.

In addition, the finished embroidery looks completely different after washing, as a “look through the keyhole” shows.

During many hours of past embroidery, I have found that it takes my hands about half an hour to “warm up” and allow even stitches. So during this time I try to place stitches where they will later be bordered by other stitches, like at the top of the basket. Surrounding stitches soften the irregularities of the Coral Knot stitches.

My tip: Always start larger tendrils with a new thread so that you don’t have to secure inside the tendril and start again . Short thread ends can be used for short stems etc.
I embroider the rounded leaves and the half-eyelet scallops on the upper edge of the basket with coton à broder No. 25 – you could also choose No. 20.

I embroider the bottom edge of the basket with wrapped Chain stitches using coton à broder No. 20. I leave the division lines of the basket ignored for now – you can still embroider them if you know how you want the pattern to be designed.

I actually wanted to surround the circle with 2short-2long, but there wasn’t enough space. So I chose eyelash stitches and embroidered with coton à broder No. 20.

If it happens that an outline fades too much, I have the Pilot Frixion pen on hand to trace. I have now observed the reaction of the pens on the linen over several years and have not noticed any discoloration. Some of my blog readers who use the pen frequently also didn’t notice any negative effects.

For the single Blanket stitch eyelets I also use coton à broder No. 20.

The oval should have a distinctive border that is as even as possible. Therefore, I create the outline with coton à broder No. 20 and wrapped Chain stitches. The bottom of the basket is also embroidered in this way.
The small heart and the tulip are given an outline using Coral Knot stitches.

This means that – after approx. 6 hours – all the preparatory embroidery in Section 5 II has been completed.

I provide the wide petals of the flowers with an imaginary center line and embroider them with satin stitches using 2 strands of 6-ply stranded cotton.

The corresponding small circle is embroidered as Blanket stitch eyelet with coton à broder No. 20.

The smaller leaves were worked undivided with 2 strands of 6-ply stranded cotton.

How should the bird be embroidered, how should the tail feathers be designed? For example, you could leave out the dividing lines in the wings, making room for a filling pattern.

But I choose a different version. To create a few distinctive lines, I use wrapped Chain stitches using coton à broder No. 20.

I use this to create the middle tail feather

and embroider the inner wing part, the legs, the belly outline and the ruff. Depending on your taste, you can also leave out the wrappings on the neck brace.

Starting at the tip of the wing, Blanket stitches (coton à broder No. 20) are embroidered around the line of wrapped Chain stitches. The inclination of the stitches is adjusted to the curve. Then the outer wing edge and the remaining tail feathers are embroidered in the same way. The middle tail feather and the inner part of the wing are filled with Satin stitches (2 strands of 6-ply stranded cotton).

In the close-up, the patterning done looks a bit rough. But I think that the type of embroidery will fit well into the overall picture.

Coton à broder No. 25 and wide Stem stitches surround the bird’s head, wrapped Back stitches around the comb.

If you finish embroidering the comb arches individually and start at the bottom, you can clearly separate them from each other.

The comb parts are filled with satin stitches using 2 strands of 6-ply stranded cotton.

The eye also initially receives a border made of wrapped Back stitches. I’m thinking about putting a small Blanket stitch eyelet or a Satin stitch point as the inside eye.

For the outer petals of the flower next to the bird I want to use one-piece Satin stitch. To do this, I first surrounded the outline with Backstitches and filled the inside with Chain stitches. With this underlay, I embroidered the petal. It seems too massive to me. On the next attempt I embroidered Satin stitches without underlay, but they didn’t turn out very neatly at the edge.

So I ended up embroidering a border with wrapped Back stitches (coton à broder No. 25) and filling the inside surfaces with Satin stitches (2 strands of 6-ply stranded cotton). This way the edges were even and the filling didn’t look too bulky.
For short lines that need to be embroidered exactly with Coral knot stitches, like the arches of the heart shape here, I use coton à broder No. 20. This makes the lines finer and more precise.

I embroidered the similar leaf elements between the bird bellies once with and once without a center line. Using 2 strands of 6-ply stranded cotton, long-and-short stitches were embroidered with a wide free leaf center for the larger leaves and with a narrow center leaf axis for the smaller leaves.

The calyx of the carnation was designed like a rounded leaf, the narrow petals similar to the bird’s comb with wrapped Back stitches (coton à broder No. 25). They should remain unfilled.

The middle petal was decorated as a divided leaf with Satin stitches.
I embroidered a small Blanket stitch eyelet in the left bird’s eye and a Boullion knot with 3 wraps in the right one. I like this version better.

The final consideration for completing the preliminary work of the second section belongs to the centers of the small flowers. Blanket stitch eyelets (coton à broder No. 25) decorate the surrounding petals; another Blanket stitch eyelet in the middle would be conceivable.

I tried a version – on the left in the picture below – with Daisy stitches. One or more Boullion knots – on the left and on the right in the picture above – would probably look best.

With the design of the little flowers, the preparatory work for Section 5 I has already been completed – another nine hours were spent with embroidery fun.

Schwalm Band – Outline Design
Schwalm Band (1) Design Transfer