Embellishment in Textile Art: A How-To Guide | Katie Tume | Skillshare

Embellishment in Textile Art: A How-To Guide

Katie Tume, Textile Artist and Teacher

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10 Lessons (1h 19m)
    • 1. Welcome!

      2:03
    • 2. What are Embellishments?

      8:28
    • 3. Tools & Materials

      8:53
    • 4. Creating Padding

      9:47
    • 5. Beading - 2 Ways

      13:14
    • 6. Sequins - 2 Ways

      18:17
    • 7. Combining Beads & Sequins

      12:38
    • 8. Finishing Touches

      3:49
    • 9. Over To You...

      1:03
    • 10. Outtakes...

      1:16
20 students are watching this class

About This Class

Join Textile artist Katie Tume in her studio where she will teach you the foundations of embellishment design and share the 6 techniques that you can use to realise countless creative ideas you may have.

If you love hand embroidery and want to develop your skills or take your designs a bit further, then this class is for you!

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In this class I will teach you the basics of selecting the most appropriate fabrics, needles and other tools to make sure your project is successful from the start. You will be introduced to the many different types of beads and sequins you can choose from to make your art unique. I will show you how to create a padded shape using felt, and show you how to get started embellishing in 3-dimensions.

I will walk you through filling a shape with 2 beading techniques, 2 sequin techniques, and 2 techniques combining the two.

I will then show you how combining these techniques with your own creativity offers you limitless options to add finishing touches to your class project.

When I’m designing a piece of textile art, I get really excited when I think about a certain bead or sequin I can use to describe a particular texture, or express an idea I have.

For your class project, you’ll be applying what you’ve learnt and creating your own embellished beetle. You’ll be able to choose what kinds of beads and sequins you want, select a colour palette, and have fun giving your beetle character with legs, eyes and antennae.

Transcripts

1. Welcome!: Hi, I'm Katie Tomb, and I'm a textile artist. I've been a professional artist for about 10 years, but before that I can't really remember a time when I wasn't using a needle in free to express myself creatively. I'm a self taught artist on, but all my work is created entirely in hand techniques, embroidery, a plea K fabric college on by love, using beads and sequins and embellishments in my work. But I'm designing a piece. I get really excited when I think of a particular style of embellishment Butera sequin. But I can use to describe particular idea or expressive texture. Join me in this class where I will teach you the foundations of embellishment. Design show with six techniques that you can use to realize any design ideas you might have . I think one of the best subjects for a project to learn embellishment techniques are insects. In 2018 I launched a line of embroidery kids called Mother Eagle Textile art boxes. Teoh share my knowledge of these techniques. Your project for this class will be to apply what you've learned and create your own embellished beetle. If you want to check out any of my artwork, you can go to my website made my mother eagle dot com. Otherwise, let's get started 2. What are Embellishments?: Okay, So in this first class, we're going to talk about what is embellishment Festival. So I'm going to give you a tour, my embellishment stash that I've accumulated over my career. So I can explain to you the differences between all the types of C Koreans and bathed and other embellishments that you can use in your embroidery. So busy five different categories of sequins I'm going to show you The 1st 1 is simply flat sequins. So these kinds of sequins comes in all kinds of finishes, like this one I've got here is this iridescent finish, and they come in all kinds of sizes as well. So you can get really, really tiny two millimeter flat sequins, right up to quite a quite large ones. But they are just completely flat sequins. And you can see that I have used them, for example, in this ghost beetle kit design of mine, all on his win case, next category or sequence to show you our cup sequence. So these are, um, sequence that I've got these facets so they you can use them, whether upside down. So that kind of con cable comebacks on your work, they give you a bit more glitter on a bit more sparkle. Because of that, I mentioned that they've got again. You can get these in different sizes from quite small to quite large. You can see these again that I've used in my tansy beetle design on its way, In case you can also get a kind of cups eat cup sequin called a full cup. I'm sure you these ones, so these literally are like little bumps, little sort of cups like this again in all different finishes. So this one is an ever distant finish, and you can use these on your work con cable convex again, giving you some different knife kinds of texture. And you can also get them cut in shapes. See these ones little cut flower shapes. We should really, really gorgeous, going back to sort of flat sequence again, but these tend to be called pie. It's because they usually are much larger and they have one single hole. You tend to find these more in fashion embroidery because you can have these all going in one direction on address or something because of their single hole. That kind of create a nice tasseled effect, but they're really interesting to use. You can also fold them and use of in combination with other embellishments as well. But you do tend to get much larger sizes in a pie, etc. Crim and then finally, again, a bit of a combination as a flat sequin. But you can get sequence in all kinds or shapes. So these are some flat sequins. That or in little flower shapes, I just give you something a bit different to work with. Uhm, I'm going to show you in this example off this piece that I made the tour toys basically use almost every kind of sequin shape that you can come you confined. So we've got the semi shaped for our sequins, their faceted ones. We've got really cupped flowers, sequins, completely flat, normal shape sequence. So, yeah, you can use them in all different combinations. Okay, so now shiny sequins, I'm going to show you the different types of off beads that you can use. The first ones are safeties. You would have probably come across these already on on and see. Beads are basically when you pull them out into your hand, you see, they're basically along the same shape and size, but you will find variations. So just because of the nature of how they're made on the quality off them, some might be a little bit bigger, so might be a little bit smaller. You might find some floors in there where one hasn't kind of whole made through it, or you might get to fuse together. So but they are your basic seed beads that usually find in any craft shop on their widely available online in millions of colors and millions of finishes. But there's other choices available to you, so the 1st 1 I want to show you is it's a brand name. The brand name is Toho, but it describes a specific type of bait. These are really, really tiny ones. It's really a mark of quality. Toho is a Japanese brand on all of the When you buy Toho Bead, you're gonna expect that every single bead is exactly the same size and dimension, so it gives this really really good consistency in your embroidery so you don't have to sort weed out any floored ones or anyone's a slightly bigger or smaller or a bit of an odd shape that would be really, really consistent on again. Just like the normal fee. Bates. You will find it in every single color shape size. Andi, finish. You can think off. Um, another brand name from Japan is Miyuki and Miyuki tend to make delicate bees. Angelica eyes. Another type of CDBG could call it, But it's za specific kind of shape Where, if you can see, they're very bluntly cut. I don't have round edges. They're like little tiny slices off achieve cut right at right angles. Um, and again, Miyuki is it is a brand of quality, uh, delicate beads. Really. What you should expect is that you're gonna have that consistency and you're gonna have that blunt shape rather than the rounded shape of the seed beat on. When you get when you use the menu embroidery in rows or however you want to use them, you're going to get this really nice, consistent line with no floors. But you can see on my peacock spider that I've used these Miyuki delicate beats on you can see what I mean. So they're very, very consistent. No particular be pops out as being slightly bigger or smaller. They will work really well together. And here on my stag beetle, you can see of your seed beats on this store axe on. And yet they're good qualities that they're pretty consistent. But you would be able to see a that there are much more rounded shape, so they look like little dots rather than you know more Angula on also in there. You know, I can see a couple that I may be slightly smaller. Couple. That may be what you think, I say, Um, but it's still a really nice effect. So finally, their beef that I want to show you are the bugle beads again, really common. You would probably come across these bugle beads just shapes. You can get them in lots of different lengths. They come in kind of quite short lengths to you can get them in quite long. These are nice, foil lined ones that make them very sort of silvery. These are really useful to use for all kinds of projects, but they just give you a nice, different effect. I've used them quite often in my beetles in the legs off used them in flower stems on the tour toys there, so that's a tour of my embellishment stash. Obviously, there are loads of other different types of embellishments that you might know over you've come across before. I'm not going to show you every single one. But these the ones that are most commonly used in my work in my kids that I sell in my final practice. So I hope that's being helpful. Joining in the next class will start to show you how to use some of them. 3. Tools & Materials: So in this next class, I'm going to talk. He threw their kinds of equipment that you need on some of the reasons why you need them. First of all, let's talk about the hope. This is just a basic bamboo hoop that you can get in any craft store. But you'll notice that what I've done, which is really a bit of a tip for you, is you should really wrap your hate with some. I've got this bias binding, which is scraps of fabric or anything. The reason for that is it will give you a much tighter grip on that is really important for avoiding tension problems. Whenever you're doing any kind of embroidery. What's really important is that your attention remains consistent throughout your whole project. Otherwise, you tend to get those little puckering marks, which nobody likes to see, and you really can't get rid of them. So that's a little tip for you. It just means that your your hope can really grip onto the fabric much, much stronger. Okay, so you've got your wrapped hope. The next thing you need to be aware of when you're doing embroidery with embellishment is the need to have both your hands free. What I mean by that is, if you're used to doing embroidery, you may already be using the method where you're holding your hope with your one hand on. Then you're embroidering like this. Well, when you're using beads and sequins, you'll quickly realized that in order to keep control of your beads and sequins, you need both hands free. So you need something to hold the hoop for you. My preference with this is something like this, which is called a seat frame. So, quite simply, what you do is you're going to sit on top of it. And then there you go. You can see I've got my hoop all set up. It's exactly the same size as this is the perfect size. I think it's six inches for the kind of projects that you you're gonna be working on. Andi. I can easily do my embroidery pickup sequins on, Manipulated like that. So that's my personal choice. You can also get a kind of clamp called a barrel clamp, which you just attached to a desk on. That's another good option where it will hold your hope for you and you can have all your material set out when your desk. So now I'm going to show you some fabric options that are available. T when you're doing this kind of embroidery now, the most important thing with any fabric that you choose and you might prefer is that it has absolutely no stretch whatsoever. And that's just a must for any kind of embroidery. Regardless, it must have no stretch, no like her out. Nothing at all now the kind of fabric that I prefer to use, which I find the most reliable, durable eyes cotton drill. I got two colors. Here's black and white. You might know it is 12. It's basically got this diagonal wave on. It's just really, really excellent for any kind of embellishment work because it is quite heavy weight. So the weight of the embellishments that you're going to use aren't gonna cause any puckering or anything like that. So that is my personal choice that I always use, and you can see that I've used those in my little bug projects as well. The other good choice that you might you might make if you can't find drill or 12. Something like that, is just a heavyweight or medium weight calico. It's sometimes known as canvas cotton canvas in different parts of the world, but essentially, it's just a really easily available, widely available plain weave cotton. This is an unbleached type. You can get it in other colors, and you can get it bleached white as well. But it's just a good even. Even we've cotton that you can get in various wait. So again I would recommend a medium or heavy weight for your fabric for embellishment. So the next thing I'm going to show you is the kinds of needles that you're going to need to use when you're during embellishment and embroidery. Um, stupidly, two kinds of needles that I'm always using. So this first needle is on Embroidery Needle. You'll sometimes find it called a cruel needle on. It's really good. It's got a big I. It's got a sharp point, Andi. You'll notice that it's a little bit thicker. So this is the kind of needle that argues for all of my stitching down padding. Are any surface embroidery techniques that I might need to use where I'm not actually using any Beatle sequins? Uh, this second needle is you actually beating needle? Um, obviously very slim. And that's the most important thing on the eye is exactly the same width as the rest of the shaft of the needle. You may be more familiar with a beating needle as a very, very long a needle that is very common. That is the most common sort beating needle that you're finding quality shops. But actually that needle is more suited Teoh making jewelry and threading beads onto for jewelry making. This is a nice, short beating needle, and that is much more usable, much more versatile for embroidery with sequins and Bates. So you can find these on the Internet or in good quality embroidery specialists are finally the kind of threat that you're going to need to use. So the most important thing with beads and sequins, embellishment and embroidery is that the thread that uses really good quality and that if you're using especially any heavy and wait glass beads or sometimes you might be using beads or sequins that got quite sharp edges. So you want to make sure that the threat that you're using is really good quality on isn't gonna break fray on the so the cotton that I recommend for this is machine cotton. So this is a cotton that has bean Merce arised specifically for use on a sewing machine rather than with hand embroidery. But if I show you the difference, this is a machine twist. Qatar 100 ST Cotton Um, machine threat compared Teoh This, which is a polyester kind of also all thread for kind of household use on. You'll notice that this nice machine threat is really, really consistent. It's quite thick, Andi. It's got a really good strong twist all the way through it. This polyester thread, on the other hand, you can see it's quite hairy, so it's quick. It's gonna Frey quite easily. It's got, you know, thin a bit from thicker bit. It's just generally not good quality, and you'll also be able to find that you can break it quite easily like that with your fingers. Where is any good quality machine thread? You won't be able to do that. Gu Timmons is a brand that I recommend, and that is the brand off 100% cotton thread that I use in my kits that I produce. So you should be able to find fat Lloris Dembele Equality in any good embroidery. Happy touches. I'm going to quickly demonstrate how Teoh hoop up your fabric. So I've got my piece of cotton drill here. Just pretend that it is a natural square on the first thing to do, which will really really help you with your attention is to find the center. Just so you've got a guide when you're putting in the hope what I do is fold the piece of fabric roughly into quarters and then pinch that center point so that when you open it, you can see where you're you're sent to. Market is now making sure that you've got the right side of the fabric, which if you're using a drill or 12 it's the diagonal side that you want facing out that you're actually embroidering onto. Take your on the outer hope the hope that you've wrapped I'm with the screw with its hope Lay your fabric so that you've got your centre point in the middle Then you're going to take your interior part of your hoop lineup where the screw is with the top and then evenly pressed all the way around at the same time, make sure that your hope is completely Philly inserted. Now, already you can hear got quite a good tension. But then you're going to go around and just tug on all the excess fabric so that it's as tight as it can bay finally tightening the screw, of course. And no matter what kind of embroider your deering, what you're always looking for, it's here. That sound, that's what we call drum tightness, and that's we'll show you that you've got a detention and you're ready to start embroidering. 4. Creating Padding: now for this class, you're going to learn how Teoh dimension to your embellishment embroidery by creating some padding with felt. Now, of course, you can embellish onto a flat surface. But this is gonna show you how to get the most out of your materials. Because when you use a management on a three dimensional surface, you get extra sparkle. Andi, it's just a nice technique to have in your toolbox. So you can see this is one that I've prepared earlier. I felt that I always use is a type of felt called E Ko Phi, which is made from recycled plastic bottles. Any felt will work, But if I'm buying, you felt that is the kind of felt that I use. I'm gonna use yellow ico for I felt today just cause it's what I have on hand and you can get ico for I felt in loads of different colors in the resources section off the class project. You'll see. I've provided you with a pattern for a beetle body for this part. You've got three ever increasing sizes off oval. These gonna provide your beetle body padding. So I've already cut these out on one of the best tools I have I couldn't be without. Is this air erase herbal pen? So this just you can use to draw in any fabric and it will just fade over time completely. It will just become invisible. I'm just gonna drew around my shapes. If you don't have one of these pens, you can just pin your shapes to your felt and cut them out that way. Or, to be honest, you could use a pencil for this bit as well, because you're gonna be covering up the felt with your embellishment anyway. But I love this pen. Okay, so I've cut a drawer around my shapes, I'm gonna cut him out. So I got my three shapes now cut out in felt and his my fabric all hopes up in ready. I want to make sure just to start with just that I Aibel where the finish, the final padding piece is gonna go so roughly in the center. And then I'm going to start with my smallest piece of felt and just put that roughly in the middle. Now I've threaded up my embroidery needle just with any old cotton. This doesn't need to be the machine Cotton just for this putting piece. Obviously, if this was your project, you want to get a cotton that is the same color or near near to the color of the felt that you're using. But just so that you can see exactly what I'm doing. I'm using a contrast in color, you know, you're Fred, and then coming up from the back of the work anywhere, really around the shape is fine. Just bring you a needle right up against the edge of the felt peace and then down inside the felt just making short stitches. But always make sure that you're bringing your needle down through the felt No, up through the felt. And that is just so that you're not bringing your needle up on bringing loads of felt fluff with you. I'm just holding this down. I'm not pinning. It felt pretty sticky to fabric anyway, so it shouldn't made around too much. Not being to me, I'm not really worrying about within my stitches. A really even. And I'm not really worrying about how close the stitches are either, because all I really care about at this point, it's making sure that my felt peace. It's going to stay where I want it to stay. Because everything I'm doing now is going to be covered over with the next piece of felt anyway. So we've done a fast pace, will just take our second biggest piece and just again position it, making sure that IHS even the place century over the piece you've just done and then starting from why you finished, do exactly the same thing. - So you've done your to interior paths. Now you're gonna tell you a final peace already. You can see you've got some really good relief and then exactly the same as before. You gonna go around now, bear in mind that with this one your stitches are going to be a little bit more visible. Although the aim with this class project is that you're going to cover this whole surface with embellishments anyway and your threat isn't gonna be such a high contrast as minus here. - So now we reached the top we've sown. All are £3 down. You can see a nice, rounded shape. But instead of finishing here, what we're now going to do is go around again and placing a couple of stitches one or two in between the ones we've already done. That's just gonna make sure that your your final pad is really nice and secure. Its got really nice to meet edge that's flush to your fabric. So there we go. We've done our hugging. We've got our nice, clean edge. It's not lifting up anywhere, and we can now do your final touches on this to make it into our beetle body. So if you have a look at your largest pattern piece, you'll see that there's a dotted line that guy's kind of 3/4 of the way out. This is a line that you're gonna now stitched down through the center to sort of indicate the wing case of your beetle. So take your Rays bullpen and just kind of roughly give yourself a guideline, then using the same cotton again, remembering that it's gonna be the same cotton the same color as your felt. Just bring your needle up right at the toff, and you're gonna just so neat line off back stitch along that line. - So there we go, your completed padded beetle body. Now you're ready to do your management 5. Beading - 2 Ways: Now you've got your padding down. I'm gonna show you how to fill a shape with beads two ways. So you've got your nice padding down on. I'm gonna firstly show you with the seed. Reads how Teoh fill the head part off the beetle. In a technique similar to this on this day, Beato. So I've got my beating leader, which I've threaded up in a cotton collar similar to the seed beads I'm gonna be using. The first thing I'm gonna do is just use my marker to just draw a line which is marking out the shapes I'm gonna feel I'm gonna show you a technique called the waste, not method with how to start and finish your your needle and thread. So you're gonna not your Qatar And then in the center of the shape, take your needle down from the front. So you've got the Not on the actual outside. I'm gonna make a couple of about the stitches. Just Teoh secure just anywhere kind of place together, small stitches. All of this is gonna be covered up for your Sweet Pete's anyway, So once I've done that, I'm gonna come up again place to the not pick up my first bead and then just sort of you can play around with way You want it to go, but doesn't really matter. This 1st 1 just put your needle down, really close up against where that needed that it's gonna lie. So it's really accurate in your placing. Now, the trick with this technique is that you want it to look quite random, not in rows or anything like that. And the way that I find it easiest is if you roughly fill out in a sort of spiral shape. So I'm just sort of going around that first aid, not really worrying about the angle of the beat, just sort of filling up the space. Now, As you can see, I've got quite close. It is not now, but I've done a few stitches already, so I don't need to worry about anything being insecure. I'm just gonna take my embroidery scissors and just snip that not away this way. You haven't got any notes on the back of the work. Ah, and everything is concealed. It's just quite up a nice, neat way of not in your threat. So I'm just gonna continue like that now, just kind of going around in a roughly clockwise motion. You'll see that I'm bringing my needle up away from at the front. The front of where the bead is, um, sort of in a back stitch. This is just a net extra secure way of touching. Your Bates kind of made my first little circle. Now, on that first beat, I'm just gonna continue like that until I feel the whole shape. So when it starts to look like you filled your shape, you just want to check around the edge to make sure that you really have covered all of the felt on that the beads is off edging on to the actual fabric so that you've got a really nice clean, uh, Phil and that you're not leaving any gaps anywhere on you can. Also, at this point as well. City, if you've missed any, if there are any gaps in between the beads that you could fill in with like a small one, so I can see it like a little gap here, which I can try just pulling out, just covering with a little beat. It might just stick a little bit prior proud. Um, so you can decide if that's something that you want to do. But there you go. Your first took make filling a shape with beads. The second technique I'm going to show you is how to fill a shape with beads in rows. So, like before, we're going to be doing this on the head portion off the beetle. So I'm just using my erase herbal marker to mark the space out for this one. I'm gonna be using delicate Bates with these ones here, these nice green ones. So I threaded my beating needle again. As before I got my not in the end. And I'm just going to start off again anywhere in the shape, using the waste, not method. Just to start off, we're gonna fill it in horizontal rows. I think so. If you have a look at my spider design, this is the effect that we're going Teoh achieve. Um, but just with one color this time, So I'm going to start know at the very bottom or the very top, but in the senator. And the reason for doing that is because it's easier to keep your rose nicely straightened . Parallel if you start from the center and work outwards rather than start at the bottom or top of work upwards do tend to just get a little bit more accuracy that way. So bringing my needle up on threat at the very edge off the felt I'm going to thread on about 10 of these delicate Bates, you have got a few on here Now, what I'm able to do because I've got a few is then angle my thread around. Exactly, So I can position exactly where I want that row to bay. So just eyeballing now I can see that's pretty straight. So with my other hand, I'm holding that threat down. I'm making sure that all my beats are, uh, thread it down and then I'm taking my NATO right back at that point. Some with my row now is nice and straight. Now I'm gonna take my needle back just up next to the sort of very center of that row and then make a little stitch over the Bates. You went. You're not going to see this stitch because when you see when I pull it, it's gonna disappear in between those two beads. But What that will do is make the whole row a lot less wobbly. Now I'm gonna bring my neighbor back op, but again instead of right at the end of this road, a couple of beads from the end, just here. And then I actually going to thread my needle. Three. Oops. Those last couple of Bates like that. Then I'm going to thread another roughly 10 baits on again on repeat the whole process. I'm not really counting how many beats there are. I'm just sort of roughly taking that many. So because I have woven that needle in through those last two beads, what happens is that my the first bead of my next row sits up against that against that one . Much closer than if I was to just bring the needle straight back up again. This is giving me the option man off making sure that this line continues completely straight across the shape. I'm holding it down, making sure my need, my bait, my beads rule up against each other, putting my needle in. I'm happy with that and then bringing it down once again, I'm going to bring my needle back up at the center roughly on placing a little couching stitch over the top, which then we can just make sure oops disappears between the Bates coming up again at the end, two beats in I weave my nido three and then I start again. Now you'll see as we get to the edge that I might not need 10. So what I'm gonna do is again put a few on and then I'm just all just measure. So I get exactly the number of seats that I need to get a nice length. So we've got that, uh, so I can see there that I think I'm probably a bit one. Be too many. I'm just gonna take one off, right that and then holding them up my needle right down at the edge. So I'm just I know that my my length of beads is accurate on I'm writing against the edge, so hopefully you'll see when I take that down, I've now got a perfectly straight perfectly, uh, perfect length of beads going right across the center of that head. No, because I'm not starting another road beats here. I'm not gonna bother weaving through the final two, but I think I will still place a little holding stitch over the top just to make sure it's extra secure. Okay, now I'm going to start the next Ray this. Sorry, we're underneath it, and you're just going to continue to fill both. First the bottom half of the shape, and then we'll go back and finish the top half of the show so that you have your beetle head covered in rows of beads that you've both couch down on waving your needle in at the end. There you have your two take make. So we've used the seed beads just randomly filling. We've got beats in a row. Join me in the next class where I'll show you two techniques for using sequins. 6. Sequins - 2 Ways: in this class. I'm going to show you two techniques for embellishing with sequins. First that make I'm going to show you is a back stitch method, and I'm going to be using the's are cupped pink sequins. Um, so I've got my I'm using my embroidery needle rather than the beating needle with this one . Just because I'm working through the padding exactly same as before, but my sequin holes are quite large, so I don't need to use this more beating needle, and it's a bit easier to use a bigger needle. Anyway, when you're doing this technique, you want to start the opposite end of the way the sequins are going to be laid. So if I show you on this example, you can see on my spider head. I've got all of the rows of sequins overlapping on each other from top to bottom. So to do that, you're going to be starting from the bottom and working upwards. I've got my needle thread it starting near the bottom. So take my first sequin. I'm just gonna position it where I want it. So I'm looking for the sequin edged. Just overlap slightly the very edge of the felt on hasn't been previous techniques were going to be working from the center out, So I want to make sure that each side of this wing case is going to be symmetrical. So just holding that Sequent down just to start with, I'm going to bring my needle through the hole and secure it with a stitch directly underneath at the bottom. You see, I'm using white thread here, but ideally, you'd want to use the same color as the sequence. Of course. So once I've done that first stitch, I'm gonna bring my needle back up the top edge of that first Sequim directly above the hole , going to threaten my second secret with these cup sequins. I'm working with them convex, so that their cut curving downwards. And I bring my needle up as before, and then I'm gonna take my needle back down through the hole off the first sequin. As you can see, my my threat starts to make a line. So to repeat that again, I bring my needle up threat to my sequin through the hole and then take the needle back down the previous hole. When you get to the top of the line. If you want to secure this top sequin so that it's not so, my bile, you can simply bring your needle through center hole of it again. I'm secure it with a stitch of the top of So there's your first row When you've got to the top of the first rail, regardless of how much cotton you've got left in your needle, you need to finish off that that threat and start again at the bottom to make sure that you're all your rows of sequins. Continue to go in the same direction. So I'm just going to snip off and not there, which I don't need and start my next threat. Or okay, now, obviously with his next row, you're starting slightly further up, but you're going to start in exactly the same way now. What's important with this technique is that your overlapping overlapping not only each sequence on top of each other, but next to this role as well. So in order to do that, I'm just gonna again just play around with where we want that sequin to go, and then I'm gonna bring my needle up again just slightly to the right off my my first sequence, but making sure that the edge of it is overlapping the felt. So that's completely covered too. So there's my first holding stitch. And then just just before, bring my needle up directly above the hole threat on my 2nd 1 and take my needle back through the first hole. Now, this final row, you can see that I've only got a very narrow strip Have felt that I need to cover. So I want to be really careful that I don't end up having any gaps on that. I don't end up needing to have an extra row because I think it would be nice if I could just have nice four rays. So for this 1st 1 I could see that I'm probably going to end up with a little gap. But I can fix that later, and I'll show you how so I'm quite happy with that going there, so I'm just gonna bring up my needle in position. Might seek ran as always. And now, with every secret on this final row, I'm just gonna be careful that I've got the secret position, so that is covering all of the felt. Okay, so that's one side of the wing case covered now in this back stitch sequin row method. Now I bring your attention back to this little gap here, which we talked about earlier. If you find that you do have these little gaps, you can always go back at the end and just add an extra one. So I think that's going to look a bit nature for just add an extra sequin there is going to give me a more consistent curve on the bottom. So I'm just going to touch it in exactly the same way. But bringing my needle through the hole, giving it a securing stitch to the bush, um then then coming back in three that home and then tucking my NATO wherever I can. If there is a gap or if no, I can go in through the whole off the sequin nearest. So I'm going to choose to go into that one. You can see that's already really pretty. And because I've used cop sequins, you get a lovely shimmer and sparkle. So now you've done one side, you're gonna complete the other side in exactly the same way. Okay, So there we have the finished beetle wing case. You can see that in the center where the line separating the two sides. I haven't overlapped, but they're both perfectly symmetrical. And each side working from the outside from the inside out. Andi from bottom to top for this next technique, I'm gonna show you how to apply sequins in a way that makes him look like fish scales. Uh, basically a bit like this again. It's gonna be very simple stitches that you'll be using Onda again. I have my embroidery needle this time threaded up with my cotton. So for this technique, the first thing you need to do is make a decision as to what direction you want your scales to be going in. So the reason I've turned my Beetle shape this way is because I want the scales to be going from the center line outwards on either side rather than from top to bottom. But this is a personal choice. The technique remains the same regardless. So it doesn't really matter whether you start at the top of the bottom, but so that I make sure I've got a good, consistent straight line up against the head portion. I'm going to start at this end on starting my threat off with the waste. No, as always. And take my first sequin Andi, just once again just position it so that I know that it's the edge of the secret is gonna fairly obscure the edge of my felt on the side edge of the sequin is right up against but not covering the beads of the head. Once I've done that, I'm gonna find with my NATO the very top edge of the sequin in line with the whole and make a straight status just like that going to repeat exactly the same thing with the next seat Crim. But I'm no evil lapping it all. I'm just that this day is just having exactly next to the previous one. - So I have come to the edge of this end of this line. I can see that in order to maintain the sort of straightness of this line, I'm going to start to Liza as the bottom of the shaped curve. So what I want to do is start a new row. I don't have to come back up to the the start for this one. So what I'm gonna do initially is just position Might second row, first seat Quinn, Right in between the last two of that row to give you that nice kind of scaling either Lap 60 with that one of the guide, the edges of the sequin just sort of touching the holes of the previous two. Now, the lower that you make the secret in the tighter your overlaps going to bay. So to show you what I mean, in theory, I could bring my, um I could bring my needle in Roy in that center where they're just touching. And that way I would have a very low I would get more sequins in. But I'm just deciding that that's where I want my my rose to be spaced another. I've got the 1st 1 is a guide. I'm going to get back and just finish off that space of the bush him. So just like before For now, I'm happy with how much that's covered. A but so I worry about the next bit when I get to that right. Okay, so I finished 1/2 of the wing case and I just want to point out a few tips regarding this technique. Now you'll have seen on the time lapse as I've bean during it, that the guideline for where I'm bringing my needle out is really dependent on the previous stitch. So I'm what I'm aiming to do is create as much as possible a straight line with my parallel state chicks. But you can see that it's not a completely perfect representation. Off scales, for example, Off against the head, you can see we've just got this one straight line, and that's to keep the nice uniformity and coverage of the of the scales, and similarly, you have seen at the bottom. Sometimes you have to kind of improvise. So I've got some scales that are a bit more overlapping than others, some that are right up against each other. There was even one round here where I had made too much for Gap, so I had to fill it in. So this is all really to say that in your own work. You know, sometimes you have to improvise. You don't don't get too caught up in it being perfect, because, as you can see what she finished, the overall effect is extremely, even extremely pleasing. It really gives you that lovely, mirrored, overlapping scale. Look. So now I'm gonna finish up with completing the second side of the wing case starting exactly before is actually seems before, and I've turned my fabric hoop around so that I'm now again working from the outside in. - Join me in the next class where I'll show you techniques to combine beads and sequins two ways. 7. Combining Beads & Sequins: so far, I've shown you four techniques to techniques using beads to fill a shape and two techniques using sequins on. Now I'm gonna show you two techniques that combine beads and sequins. It's a little bit more advanced, but it's basically expanding on the techniques that you've already used on. It starts to show you how you can, really. There's no limits to how you can use embellishments, only your imagination. So with this first method, I'm going to show you this is a method called stacking. We're gonna be using these gold sequins and these purple bates. So for this one, I'm gonna use this technique on the head or this beetle. So I just gonna mark how I'm gonna work too. Andi, with this technique, I want to start at the edge. Andi, as before, I want my two sequence to always be completely covering the edge of the felt. So, as always, will start off with our waste. Not now, just to say I'm using my beating needle with this one because I'm using beads and I want to make sure that the needle compulsory both sequins and beads with no problems on. I've got a similar colored threat. Okay, so just position my first sequin about there. So I know that the edge conceals the felt. I'm gonna bring my need O three, the center off the sequin. Then I'm going to thread a bead onto my needle so it's sitting on top of the secret like that, putting my needle the way out. Now, I'm simply going to take my needle back through the whole of the sequin missing the bead. So we're not taking the needle through the bead, Just the sequin. You'll see that What that does is create this metal toggle. So now I have a sequin with a bead on top. Now, there's no real rules around how you go about filling the shape now, using this technique and similarly no rules, really, about whether you want to have your sequence really overlapping or sitting next to each other. So I'm gonna have mine. I think overlapping a little bit. And I'm just gonna work from left to right just across this line to start with. So there's my sequin Oh, threat on my bait. Just manipulate my sequence. I've got it in the right place where I want it and then take my needle back. Three sequence hole and I've got my 2nd 1 That's all there is to it. So for this final technique, I'm going to show you how to combine beads and sequins in rows with a beaded line. You can see this technique that I've used in the tansy beetle and the ghost Beetle projects that I'm showing you. Now, Uh, this basically is exactly the same technique as doing sequence in a line that I showed you with the Pink Win case earlier. So I'm using the same dark purple beads and these translucent orange iridescent sequins this time. So these are quite large. Now, with this technique, you can start at the bottom, will start at the top. It doesn't matter. I'm going to start the top for this one, Andi, for your first sequin. As before, you want to try and make sure that your edge of your sequence is right up against your center line On as always, we're working from the center. So just to begin, you gonna bring your beating needle threaded through the center Onda. We want to firstly place a stitch of the top. But instead of just using our thread. What we're gonna do is a touch a couple of Bates. I'm gonna need three holding my thread up. I can see that I need to take three Bates in order to reached the edge of the top edge of that sequin. So just holding my secret down, I'm gonna tuck my needle in because I gotta tuck it between the sequins there so you can see that I've now got a line of beads holding my secret that I'm gonna bring my needle back up at the base of the secret right underneath the whole threat another one and then do exactly the same thing. So I know now that with these beads and this size of sequin, I'm gonna need roughly three Bates now, depending on what means you're using what size of beads you may need to add an extra sequence. So because my seat beats are just general quality seed beads, some are slightly bigger than others. So, actually, for this one, I'm gonna add an extra fourth beat and see if that gives me a better line and it does. And then I'll take my needle down. Three dissenter hole of the first sequin stay. You can see already. I've got a nice continuous line of beads forming on top of my sequins. I will do that one more time. Se holding my feet Quran gonna bring I need a lot, right The bottom edge of the proceeding. Secret threat on my the 3rd 1 Try again with three Bates. I don't think that's gonna be a kite. It's time. Just three back. I go through the whole of the preceding secret. So when you get to the Bushmen where you do have a choice, you can bring your needle back up at the bottom and extend. You're beating line back through the center hole so that it the line runs right to the edge . Or you could just leave it like that and then finish your thread and start another row because you'll need to startle the rose from the top to keep the sequence going in the same direction now because I'm using translucent sequins, I think I'm going to just add another row of beads just the bottom, just cause it'll hide the edge off the felt a bit more. So just like that, I think I'm actually gonna come out and add another bead. I agree. That's my first, right. So I'm gonna finish my threat. - Okay , So I'm starting my second row on already. I can see that because my sequence of quite large I'm only gonna probably get three rows to each side. So in order to make sure they fit pretty even may with this particular combination, I'm going to make sure that my sequin is right. The edge of it is right up against those beads. So I starting again exactly the same as the first. And bring my needle up through the center hole. Do you? My first little line off three beats up to the top, just took my NATO in that. So there we go, and then bring my needle back at the bottom edge and continue as before. Thanks for watching. Join me in the next class where I will be giving you some tips and techniques for finishing your design. 8. Finishing Touches: Okay, so now you have six embellishment techniques that with a little bit of imagination you can use to realize countless design ideas that you might have. Now, you'll have some sort of beetle body like this. Now, if your cost project, you're gonna wanna add eyes and legs and maybe antenna. So I'm going to talk you through some of the ways that you can do that. One of the easiest ways of adding these elements is just with bugle beads. So, as I showed you earlier because of the tubular nature of these beads, they work really, really simply, if you want to use them to create legs or anything like that, and you can also use in for an tonight as well. Of course, you can see here on two of my designs examples of where I've used bugle beads in combination with other types of beads. So here I've got some delicate beads and bugle beads on just some ordinary seed beads, sequins and vehicle beats as well. So really, you can combine these elements anyhow, you want to now for the eyes. I'm really big fan of the stacking method that I showed you at the end of the last class A . So you can see you can really have some fun with ease by layering up different types of beads and sequins. So with this one, I've got a sequin a pearl and then a tiny bead on top. And then with this one, it's it's just a nice positive beed with another beat on top. So you could really have fun and add character by combining these different types and embellishments together using the techniques that I've shown you. So next, we gonna have a look at some antenna so you can see in this one. I've just used the back stitch method with some tiny shaped flower sequins to create these little antenna. Um, and then with this one, just use, um, uh, some sparkly thread in a chain stitch just to literally do some surface embroidery to create that element there. But you might decide to create the kind of insect that has a large mandibles like this stag beetle on these. Adjust them tusk shaped large sequins that you can just stitch down like this with this little ghost beetle. I've used a pair of leaf shaped sequins just to create that again, these little mandibles. So, um, there's really lots of ways you could manipulate your embellishments to create the design that you want. I'm just going to show you a way as well that I've used flower shape sequence by cutting them up and just couching them down to create yet even more possibilities. So here I've got some flower shape sequins. You don't have to use thes, but they're quite useful. And what I'm gonna do is just normal household scissors that you just for cutting paper, is just snip a couple of petals off. So you see, I've created, like, a little heart shape and you can This one's good cause it's a six petaled flower. So you get three of those out of one, so there's ever seen no hole or anything. Now, in this, we've we've used the whole we've cut that out. But what you can use this four is in something like this where I've used the cut up sequence and just couched over for these parts of the leg here and also in this design here 9. Over To You...: thanks for joining me on my skill share class. I really hope you've enjoyed it and that you've learned something. I'm really looking forward to seeing you share your class projects in the project section of this class on. Don't forget to share any of your projects on Instagram If you're on instagram using the hashtag talked by mother ego if you want to take things further or enhance your learning experience, don't forget that I sell embroidery kits called Mother Eagle Textile Art Books is on my web shop, which you can see the address below. Thanks so much again for joining may. Andi. I hope you enjoy your new embellishment techniques. 10. Outtakes...: Hello. I'm the disembodied head of Katie to Woo. Thanks for joining me on my Scotia class. I really hope you enjoyed it. And they leave minute. No. Any good quality machine threat, you should come up. That's really annoying. I nto second ship now. Of course you can. But joining may and enjoy. Oh, my God, that was so good, right? I'm not gonna do another one.