Getting started

We outline all the different methods for transferring your design to the fabric, so you can pick the one that works best for you

PREPARING YOUR FABRIC

It sounds obvious but make sure your fabric is large enough not only to stitch the design onto it, but also to allow for what you want to make it into. For instance, you probably only need allow an extra 10cm of fabric for a framed design but quite a lot more if you want to turn your embroidery into a cushion.

Make sure that you cut the fabric on the straight of the grain, particularly when using evenweave fabrics as the threads are quite prominent.

Avoid fraying as you stitch ( or the ends will catch in the stitching) by folding masking tape around the edges of the fabric. This is a quick and simple method for small projects that won’t take you long to finish. If you’re attempting a larger project, it’s worth spending a little time finishing the fabric edge with a blanket stitch ( page 102), or using a sewing machine to make a zig- zag stitch.

HOW TO TRANSFER A DESIGN TO YOUR FABRIC

We’re going to show you eight – yes, eight – different ways to get your chosen design on to your fabric. Don’t panic, you won’t need all of them! We start with the easiest method for a beginner to try, then show you how to adapt to the different kinds of fabric you might want to use. There are fancy methods, too, for when you want to extend your skills a little further and experiment with different fabrics.

Contemporary embroiderer Mollie Johanson ( www. wildolive. blogspot. com) presents our guide to transferring. When you’re ready to begin, all of our designs can be found at the back of this book, starting on page 135. They’re shown at full size, so are ready for you to trace straightaway.

TRACE USING A WINDOW

It doesn’t get much more basic than this, but it works. Tape your pattern to a brightly- lit window, then tape your fabric over the top. Trace over the lines of the pattern with a pencil or one of the specially designed transfer pens – we go over these in more detail on the next page.

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TRACE WITH THE AID OF A LIGHT BOX

Tracing with a light box works the same as with a window, but you don’t have to rely on daylight. Tape the pattern and fabric in place before you trace so nothing shifts as you draw. A light box is great for larger designs and is a good investment once you’re addicted to embroidery!

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CHOOSING TRANSFER PENS AND PENCILS

One of the simplest methods is to use an ordinary pencil. As long as you keep it sharp when drawing onto the fabric then it shouldn’t show under the stitching. The pencil will also wear away with use if you draw quite faintly.

There are many different markers available. Use a permanent marker if your stitching will cover the lines or a removable marker if you need to erase the line once the stitching is complete. Water soluble pens are useful as after you’re done, a damp cloth or quick rinse takes away the markings. There are also air soluble pens which disappear gradually, but these can only be used on projects which you will be working on within a day. Dressmaker’s chalk pencils can be used to draw onto the fabric, then brushed off. The chalk does wear away as you handle the fabric so this is best saved for smaller projects. Whichever you choose, always test first on a small scrap of fabric so that you know it can be removed easily.

TRANSFER WITH CARBON PAPER

Dressmaker’s carbon paper or embroidery transfer paper is an easy- to- use method, and it works well on smooth fabrics. Place your fabric on the bottom, lay the carbon paper face- down, and then place your pattern on the top. With a regular pen, pencil or stylus, trace over the design. The colour on the carbon paper is now transferred to your fabric. The paper comes in several colours, so you can use it on dark fabrics, too.

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MAKING YOUR OWN CARBON PAPER

You can make your own version of carbon paper by tracing your design onto tracing paper, rubbing a soft pencil on the back of your pattern, then flipping it over and tracing over it just like you would with carbon paper. Kitchen greaseproof paper works well for this too.

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USING AN IRON ON TRANSFER

Transfer patterns give you a pattern and transfer method all in one, and that makes them easy. The ink responds to the heat of the iron and makes an impression on your fabric. To use an iron- on transfer, simply place the transfer ink- side down on your fabric and press it with a dry iron. Lift up a corner of the paper slowly to make sure that the design has been transferred. If it hasn’t, increase the temperature of the iron slightly and press the design again until the transfer can be clearly seen on the fabric.

Press the paper with the iron but don’t slide it around – if the pattern moves it will make a messy, blurred transfer. Many transfers can be used more than once, although they will become

5 a little fainter after each time.

MAKING YOUR OWN TRANSFERS

Iron- on transfer pens allow you to make your own transfer pattern from any artwork. To use them, trace over the pattern ( use regular paper or thick tracing paper), then iron the design on just as you would with an iron- on transfer described above. This process does flip the image, so it’s important that your design is reversed first,

6 especially for patterns that include words.

TRY A ‘ TEAR AWAY’ METHOD

This method lets you work without transferring the design onto your fabric at all. Trace your design onto thin tracing paper and tack the paper onto your fabric with enough large stitches to keep it firmly in place. Stitch through the fabric and paper all at the same time. When all the embroidery is done, carefully tear away the tracing paper. The most important part is to tear the paper without pulling the stitches. We wouldn’t recommend this for densely- stitched designs but it’s great for smaller, outline motifs.

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Give it a try on a small, simple outline to start with.

STITCH WITH A WATER SOLUBLE STABILISER

This posh- sounding product is a lightweight, slightly perforated paper that stays on the fabric as you embroider. Once you’ve finished stitching, you soak it with the fabric and it dissolves.

With water- soluble stabiliser s ( brands to look out for include Sulky Sticky Fabri- Solvy or Pellon Wash- n- Gone) you can print the design directly onto it for fast transfer. Once it’s printed ( you can also trace the pattern on with a pencil), cut it out, then peel the backing off and stick it to your fabric. Start stitching as you normally would. Your stitches will go through both the fabric and the water- soluble stabiliser. When your stitching is done, get a shallow dish of warm water. The warmer the water, the faster it works, but if you’re using wool, you’ll want to keep it cooler to avoid shrinkage. Submerge the embroidery and wait for the stabiliser to dissolve. You can also

8 rinse away any excess bits of stabiliser that cling to the fabric.

WORKING WITH A HOOP OR FRAME

Most embroidery benefits from being worked in a hoop or frame. They keep the tension of the stitches even and give the work a much neater finish.

HOOPS

Place the inner ring of the hoop under the fabric directly below the area you wish to stitch. Loosen the screw on the outer ring and place this over the fabric and inner ring, pushing down over it. Tighten the screw so that the outer ring fits over the inner ring and fabric then gently pull the edges of the fabric beyond the hoop so that it’s tight. It should be ‘ drum tight’ when you tap it. You should also make sure that the grain of the fabric is kept straight in both directions so you stitch evenly.

You may need to tighten the fabric from time to time as you stitch. This is done by loosening the screw slightly, pulling the edges of the fabric taut, then tightening the screw once more.

If you want to protect your fabric from the hoop, which is especially important with fine fabrics, wrap cotton tape around the inner ring. Make sure that it overlaps as you wrap it round so that all the ring is covered, then fasten it securely at the end by stitching into place. If you are working on a particularly fine fabric, place tissue paper over the right side of the fabric and the area to be stitched. Mount the fabric in the usual way with the tissue paper between the fabric and the outer ring. Tear the tissue paper away to reveal your working area. This also keeps the other areas of the fabric pristine.

FRAMES

None of our projects require a frame but these do help get great results if you are working on something larger in the future. If you’re using a rotating frame, you should hem your piece of fabric all the way around the edge. Stitch the top and bottom of the fabric to the tapes on the rollers using a small, strong backstitch. Make sure that you position it centrally on the tapes. Attach the side arms to the frame. If you’re mounting your fabric on a slate frame then you’ll need to lace the sides of the canvas to the arms. With

stretcher frames, make sure the fabric is positioned centrally over the frame, then staple the fabric round the stretcher bars and onto the back, making sure that the fabric is taut and ‘ drum tight’.

It’s good to cover work between sessions. Try clingfilm, or if it’s in a bag, roll it up rather than folding it, as it can be hard to get rid of creases. Take fabric out of the hoop or frame when it’s not in use.