Crafting A Unique Stitched Portrait | Lilach Tzudkevich | Skillshare

Crafting A Unique Stitched Portrait

Lilach Tzudkevich, Textile artist

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10 Lessons (39m)
    • 1. Intro

      1:04
    • 2. Material List

      0:42
    • 3. Preparing The Picture

      4:11
    • 4. Transfering Image To Fabric

      2:24
    • 5. Choosing The Fabrics

      5:04
    • 6. Stitching Part 1

      7:49
    • 7. Stitching Part 2

      5:49
    • 8. Working On The Background

      5:10
    • 9. Backround Details In Stitchery

      5:31
    • 10. Closure

      0:51

About This Class

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Crafting A Unique Stitched Portrait is an all level stitched art class by the textile artist Lilach Tzudkevich.

In This detailed class Lilach provides a structured explanatory footage of how to create a stitched portrait. From the first step to the last, Students participating this class will be guided through a creative process through structuring a composition, using simple stitches to compile a unique sensitive visual portrait in a unique whimsy style. Engaging with fabrics, threads, sewing, composition, and embroidery in a variety of ways. 

Although this stitched Art class is an all level class, basic knowledge of running stitch and handling a needle is required to complete the project.

This class suits curious crafters from deferent visual medias like sewers, embroiders, painters, illustrators, who would like to extend their creative practices, engage and experiment with textile as a vast romantic media of self expression and creativity.

Transcripts

1. Intro: Hi. Welcome to my studio. My name is he lost it. Give it, Jim. I'm a textile artist and a teacher here in sculpture. Join me to this unique creative class which will give you all the tools to create stage. This is an all level class for the curious crafters and embroiders who already have some basic swimming skills and would like to extend their knowledge. And practice is creating a stage. Don't you don't have any drawing skills because we're not going to use the tour. We're going to use a picture. Poetry as it is on show you 12 translator picture into a sketch to try, sir, sketch on fabric and how to construct your position of fabric and stages. I will be demonstrating how to apply basic running stage, backstage and overcast stage in your project and most importantly, to find your any creative voice and create What are you waiting for? Let's go into the cheeriest 2. Material List: 3. Preparing The Picture: The first step we're going to do is, of course, through a select your picture. So I have a few old pictures from childhood. You can see they're red and yellow on. I like them all, but I'm going to opt for the one picture with one person, because when you start with a portrait, it's easier to have a less complex to image. So you can either stand a image or you can take a picture with your phone and uploaded to the computer. That's what I've done. It was the simplest for me. Once I have uploaded a image into the computer and using the simplest everything program, which is a preview on my computer. But you can also do it on your from just simply at It's the picture to the result that they will be easy to work with and trace the lines later that for person taking a few simple steps, I'm going to lower the situation. So I have a black and white image, and then I'm going to hire the contrast on and a highlight the colors, so I'll have a definite clear lines toe work with later. Once my images ready, I'm going to send it out to print. When you print your picture, your image always opt for the larger size. You can get out of your printer or even go to a print house to do that for you. Because especially if your portrait is relatively small, you want to get as much details as you can from the image. So always up for a larger image so you can work easily later with the details. The larger the image, the larger the portrait, it easier to work on and the smaller it is, it's more of them Meticulous job. Once I have my image printed out, I'm going to go over the main lines off my portrait with the Black Bend to highlight them out so I can trace them later onto a tracing paper and then later on to my fabrics and just go over the contour and at some details that you feel are important. So no, just a control of the portrait for me. I added details off the shoe laces and the socks and the needs because they were important for me. So what I'm trying to convey here, really is that when you work on the your portrait, you will have to define the other datas that are important for you. That makes the person in a way, or that you feel a certain pool two boards them, and from some reason, whatever the reason is, and then you just amplify it by highlighting those lines. Once I'm done highlighting the lines, I'm going to use a tracing parchment paper. Andi, repeat the same process. Only this time I'm going to trace the lines again on the parchment paper like so if there are any details that I forgot or in your you need to fix, you can do that on the barge mint banker, and soon you will see that you will have a pattern off the image of going toe work on, and we're going to transfer it later to the fabric. Personally, the most important thing for me was to trace the portrait itself, less the surroundings. But you can also trace some of the surroundings off the picture. And if you want to include that in your project, and I'm just going to do the basic lines, which I think and add to the the composition off my work so Now my image is ready to be transferred to the fabric, and that's what we're going to do in the next step of the class. 4. Transfering Image To Fabric: in the next step of this project, I'm going to retrace the lines that I traced from the parchment paper into the fabric off my choice for that purpose. I'm going to use a light box. Lightbox is very cool. Easy tool to use. It's actually a replacement for what used to be a light table back in the days, but today it's such an easy, lightweight, portable, easy to use and inexpensive. We are going to use the light books through the various stages off this project. But if you don't want Teoh acquire a light box, you can always use a different source of light behind your fabric to the same result, like putting it on a window or using a tablet or something like that, or even your computer screen with a white light. But it is a cool and handy to, and I do recommend it. I switch it on, and then I placed my parchment paper and on top of my parchment paper, I'm going to place the fabric off my choice, which is a simple cotton old doily, and you can use any simple cotton that is not to fake so you can trace the lines. I'm using a self tree pencil to trace the lines, but it can also use colors. Pencil, preferably with a light shake, so you can erase or change the lines. Later. I make sure that my fabric is Ireland and stretched nicely over the image so I can trace the lines as accurately as possible and simply retracing the lines of the image. Once you're done tracing your image, you can put the lightbox away or bring your image to table on and make sure you keep your paper traced image aside for further use in the project, because we're going to use it in on the next steps. Once your images all traced on the fabric, take the time to compare it to your original picture and make sure that lines that correspond at any lines if you want to and get ready for the next steps, which is working with the fabrics 5. Choosing The Fabrics: Now that your image is set on the fabric, you can start working on the color plate. You can use the original photo as a color palette guide, or you can just work intuitively with the fabric scraps that you have in your like and you would like to use in the picture. I'm going to use my photo coffee off the tracing paper that I've done in order to create a pattern for the fabric you'll see in a minute. So I'm starting with this fabric, and I want to use it for the dress. I'm going to slowly and Aziz accurately as I can cattle the dress from the photocopy paper in the same that you could use the same technique to cut out the different elements of your portrait. For instance, the eyes or the mouth. If you have ah, facial portrait or whatever and then use thes cut out pieces as a pattern for working with fabrics. Once my dress is cut out, I can use the whole that is left in the and paper to check out the fabric and see how it looks like Andi. If I'm content with my choice than Duncan, start tracing the pattern onto the fabric. Now it really depends on the fabric. Sometimes you can see the pencil lines on the fabric and sometimes the colors of two vibrant. So I will turn the fabric with the left side turning off and trace the line as so notice that I also turned the pattern off the paper to the left. So when I turned the fabric back, it will fit my image to the right side. This is an important step to take into consideration. Otherwise you're gonna end up with the pattern facing the wrong way as soon as you turn into the right side. Another option that I'm going to show is to use the pattern off the dress itself, painting to the fabric with their selling pins. Here I'm using to fabrics at the same time, so I will have two different from bricks to test and see which one I like best and just cut around the shape off the paper. Basically, what I'm trying to show here is that it's better to have more than one option for a certain area off your piece, and then you can test it out by looking. You can't really guess it. You have to try it out. So cut a few pieces off the same area that you want from different fabrics and just trying them out and see how they feel and then making the choice based on what you're happy with. Once you have your fabric on your image, you can adjust it and sleep out and like, wondering now if it goes over the lines and I wanted to be more accurate on that agenda state over my image. We're going to show you now how combined to fabrics together. So I have the top under the dress. First of all, I can't read to, roughly to shape and put it under just to see if I like the combination. Then I'm going to use my light box again. Notice that I'm putting the paper and the fabric on the left side, and then I'm tracing the lines off the top firmly paper into the fabric, cut it into shape and apply it under the other fabric that I already chose in the game. It's much better to have a few options for the same piece to test amount, so I'm gonna try here another combination I was contemplating. I'm using the piece of fabric that over the cat and cut the other fabric in the same shape I've cut before. There's nothing like saying it on the physical on just testing it out. When you see it in the right shape, you can change the fabrics and really decide on the one that works for you. Once I'm happy with my selection. I clean it with the sewing pain for now, and I move on to the next object. Here are the shoes. Put the fabric on and then again trace it with the light box to the shape that I need. The higher depends. So you're using the softer days and the easier it is to get the lines on the fabric. So now I've I'm done setting the three fabrics that I wanted to use for the portrait, and I'm going to go ahead and start staging it. You can if you like, of course, prepare the fabrics for the whole picture. But I like to start with a portrait first and then see what I went to entry 6. Stitching Part 1: Before I start stitching my project, I'm going to fix the fabrics onto the base fabric using a stick, glue a stick. Glue gives a very light layer to work with, and you can still work with needles, ruder and gloomily tartans, as opposed to fabric Clue, which creates a thick and hard layer to work through. I keep my original photo as a reference for Qatar and details. It would help me many times to decide on the color of threat I want to use or details I want to put emphasize on. I'm working with a long and sharp needle, usually about size eight and I, Freddie, thread through the needle as so now. Sometimes I work with a double thread, meaning I tie both ends of the Fred together in a knot and then starts throwing. And later on you'll see that I'm also working with one thread when I wonder. Details to be very gentle. I usually work with backstage. Backstage is very good because it gives you an illustrated continuance line. I'm going to demonstrate very slowly how to sew the backstage so your first stage is a normal state where you put the needle through the fabric and go down to the next mystic. Then you point your needle backwards towards the end of your last stage, and once you threaded through the fabric, you pointed forward again, positioning ahead for the next stage, you come up from the right side of the fabric and then you pointed back down again to the end off the last stage, carrying on in the same manner, I will create a continuous line. Once I finished with this side of the arm, I'm going to moving to the other side by just pushing the NATO through under the fabric to the other side. As I staged the contour off the shape, I also dry very gently to catch the edges of the fabric, trying to catch two birds in one stone. I want to highlight the lines in the contours, but I also want to fix the fabric in place. Catching the fabric on its edge achieved that, but you don't have to work so closely to the edge as I do. You can definitely go further in and haven't easier life. Sometimes the edge of the fabric is not exactly located near the contour I wanted and I would fill up that there were repeated stages until I'm happy and content. It can also be a great technique to add shade or light to a specific area. I'm going to stitch now the control of the dress. And for that purpose I'm using only one spread because I want to stage to be more gentle. Now. I'm starting with the under arm and where the belt of the dress is, and this is why I'm using an overcast stage. You stitch it like so you make an vertical stage and then you direct the needle down in a 45 degrees angle and then do another very tico stitch and sew. I'm going to carry on stitching the control of the dress. Longley entered the fabric using exchange. - Let's go over what I've done. I've used my picture is the reference, and I've ended. Cem falls off the dress that added shade and shapes using backstage. No, I'm going to add some dark rung Coulter lines to highlight the shadows and falls off anything Good document tour. Your image will highlight dates and separated from the background. Just something you want to do when you creating fortunate. Even just a thin line under the neckline would emphasize great of everything. Shadow, emphasis, mystic shape, - way feel that fabric, cuisine conflict with counter that I wanted. I would snip it into shape to have enough room for my tour, not going to work in the other arm and in the picture. In the reference, I can see that there is more light on the other side of the character, and therefore I am stitching the other arm in a lighter cover off thread to emphasize that light. 7. Stitching Part 2: you sitting day hair control or now with the light color shades. Now, when I'm not happy with a certain line, I just unstitched hit by pulling it backwards very gently, like so I'm replacing the line I wasn't happy with with a one thread line because it's more gentle, and I felt it's more feet to the gentle face I'm stitching when stitching the hair. You want to make sure that your lines correspond with the natural flow off the hair, so it looks more realistic, and it reflects the original image more authentically. Another issue to take into consideration is to use a different shades in the hair. Now you can, if you want, stitch all the hair with the same color, and that's really okay. But I like to use several shades for the hair because I feel it creates a more realistic look. I can emphasize the shape of the hair, the shades and the light into the hair by using light and dark color, at least so that's what I do. I'm stitching the eyes now with the same brown color off the hair that I used, and in the beginning I'm just teaching the line. And then I'm going to add the pupils with a dark brown to emphasize the pupils. The smaller your portrait is the more meticulous job it is to create official details. So my suggestion is to and start with a much larger size portrait, especially if it's your 1st 1 And then the details are easier to handle because they're not up to one stage to define each line and each detail off the face. Trial and error is part of the work and be kind to yourself if they lines are not exactly as you for seeing them in your head, because this is a hand work and there is a room for error, which makes it more personal, more human in a way that send being insecure about your work. Is Dalton in natural, and it happens also to me. I was insecure when I stitched the eyes, and I ended up over staging them over doing it, which he ended up with a result that I wasn't happy with because it was a little bit too full, not air enough as I wanted it. So what I did is I unstitched the eyes from the beginning and just stitch them against her . Here you can see the eyes when they were overdone to my taste, and later on you'll see that I actually under them and stitch them again in a more minimalistic way, have carried on stitching the max and I ended up adding a little bit more, coloring the meal with a darker shade of red. No working on the hair. You can keep it in with one color, but I like reading more shades. I think it's contributes to a more natural and organic Luke, the more than one solutions, especially in a creative process. So experiment and find your inner voice off what feels right for your no with the facial condor and have used the same light color that I've used for the arms and also for some of the shades in the hair. I like repeating the same color. I think it's a contributes toe harmonic overall. Look off the work, but you can definitely do it with a brighter color if you like, or, you know, whatever you fence right to you. I moved on from the facial daters into the shoe details that there is no certain order off , creating a portrait, not in my eyes in any way. I just work intuitively. We'd what I feel right and what I want to work on. And sometimes if a certain area is hard for me, then I would take a break and work in something that is easier and then go back into the harder area with a bit of a fresh air with a bit off and fresh energy. Sometimes taking a break from a certain area that is difficult for you is the best method, because somehow you air it out. You concentrate on something else when when you come back to it, you can start a new with a new kind of, ah, fresh energy to work with it. So this is what I've done, and I carried on during the Contour off the legs and the Sox, and only afterwards I went back to fix the Facial data's 8. Working On The Background: Okay, so my porter now is nearly done, and I want to review the stitches that I've done. The shoe laces socks the knees in lighter color, the counter of the next. I've had also gathered a lighter shade off being into the dress to create some highlights. I've added an inner control for the arm, a slight shade on the neck line. I finished the continent off the facial returns and fixed the eyes as I wantedto and also flee Contour open here. So I'm going to start working on the background now on. Before I do that, I have some unnecessary lines which I would like to remove, and the way to do that because I used a pencil is with the razor. It's not the easiest job done, but within a goody razor, you can you raise the lines that you're not interested. I'm going to start pacing the background. Now. I'm using my original photo as a reference off colors and atmosphere, and I chance a few pieces of fabric that I felt described the color themes I wanted to find . And I'm just placing them in different areas off the piece to see if I like them, and if they match, then I would start cutting them into shape. Like so, I stopped by generally sketching the shape that I would like to add to my piece on on the fabric. And then very freely I cut it, according to my sketch. In a way, we're repeating the same steps that they took it by making the portrait, and there's nothing like seeing it with your own eyes. If you don't cut the fabric into shape, you can see if it matches, you can feel if it's the right match or not, you have to try it out. So don't worry. Just cut a few fat breaks and see what works for you. Trial and error are part of this creative process, and definitely at this stage, where you have to choose the fabrics and the cotton to shape, sometimes a fatty to shape. And I say it's the wrong firebreak, and that's okay, just changing through the different one. So this part of the process, or choosing the fabrics and cutting them to shape, putting them on the background. It's a long and tedious one. You know, The video that you're seeing is with time lapses. It took me far more time than spit up process like you see here after it's all cutting, edited pretty video editing programs. Really take your time. Build your background, build your piece until you're happy with it. And once it's done, we're going to start suing the elements of your background said You can start fixing them place with a stick stick is really great. As I said before, it's an easy light fix to the fabric. Pinpoint its under the various elements. So you consume so than when the next step of the plants were going to stage the background elements and colors and data into them. Stay tuned. 9. Backround Details In Stitchery: I'm going to stop working on the back rub down, and I'm going to show you a few drinks and ways to treat and process your background elements. So I'm starting to work on the element of the tree because this is what I chose to work on First. Andi. I start by mapping out their colors and shapes. I want to add in today the data's of the tree. I use my original picture with the reference and mark with the pencil. The areas that I'm going to stitch don't hesitate to mark your lines because it's always much easier to follow a mark line than to imagine when that is there. I will be using a simple running stage to the details of the background because I want to the lines to be more airy and also because I want to put less emphasis and less intensity into the data's off the background. So my portrait is still the main issue off my face, so the first drink I'm going to show you is creating a shade within the tree. But I don't want to shave to be too intense. One of doing is in feeling the area with long lines that have gaps between them. So when you look at it from afar, the taste darkened but not too intense. So I'm going to carry on working in the same manner on the shades inside a tree and later on is you will Cincy. I will add to other shades into the tree in lighter colors whenever you have a dark color shade, and you want to emphasize that trade and create a bit of a perspective. Then adding a light color next to the dark color will emphasize and create that kind of a perspective three dimensional look like so. So here you can see how did delight emphasize the dark, creating sort of organic natural feel? These stitched details give a smooth transition between a flat element into a more complex and organic one. And in the same way, I've done the plants with a darker shade of red to edsal color and also a lighter shade of yellow. Two ads and light. The next thing I want to show you is, however, created the grass like feel. It's very easy. It's actually with enormous cast. Stage is just into you, disorganized your stage, make one stage longer, a little bit to their left or a little bit to the right. And by creating this a bit of disorder, you create this organic look which is more free and not organized. It's not, you know, exactly the same length in the same angle. This is why it looks more natural in the same manner. I'm adding some stitches in lighter green to create a natural blend next, So moving on to the different area of the piece, I had an area which I wasn't very happy about. So I decided to to change it and to create another Chetry motif, very minimalistic one. So I've added another piece, just like I've done with a tree on a handsome leaves to support it. Sometimes when im contemplating on adding a stitch, and we tried out by just placing the thread on the piece itself and see if it matches in terms of color and presence. So I wanted to add some presence in some horizontal lines into the ground, and the way I did it is Marie stitching long, singular thread lines, very gently adding a presence into the horizontal lines at the back. Like so now did. My piece is nearly finished. I want to talk about adding details. It doesn't not necessary, but in my eyes they're important. There are the heart and soul of a piece because once I've constructed my image, they add a certain layer, a certain depth, a certain importance to certain areas. And they are what make me peace unique. So I'll show you. I added a little bit off shade to the dress and a little bit of shade to the shoes and also a little bit of shade at the background. The last detail I decided to add to my pace is according to the original image, if you concede E. There was a fence at the background, and I thought it would add to my image and kind of rapid around and give it depths. So I just placed my thread onto the piece to test it out and then sewn it in, like so 10. Closure: Now that you've finished watching the class, I hope you're all prepped up and ready to go well on your way to craft your own stage start . Don't forget to share your project because I'm really looking forward to seeing it. And very, very curious to see how you craft your way. If you like this class, you can pop into my other classes here in scale share revolving around textile art and creative sewing. Also, make sure you follow me here in skin share so you can get notified when my new classes are being published. If you want, you can also follow me on Instagram under my name lasted cabbage and get a glimpse of my creative tasks. I hope you had fun. I know I did the pushing you a lot of creative moments and I'll see you in the next class.