Sheer Magic: Hand Embroidery On Tulle & Organza | Dana Batho | Skillshare

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Sheer Magic: Hand Embroidery On Tulle & Organza

teacher avatar Dana Batho, Peacock & Fig Cross Stitch & Embroidery

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 12m)
    • 1. Class Overview

    • 2. Materials

    • 3. Tracing Your Design

    • 4. Backstitch and Straight Stitch

    • 5. Ending Your Threads

    • 6. Satin Stitch

    • 7. Leaf Stitch

    • 8. Detached Chain Stitch

    • 9. Finishing Your Hoop

    • 10. Final Words

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About This Class

Learn the popular hand embroidery technique of stitching on sheer fabric with cross stitch and hand embroidery designer Dana Batho of Peacock & Fig


Students will learn how to stitch on organza or tulle fabric and create a beautiful “floating” embroidered hoop that's Instagram-worthy. In this class, you will learn everything you need to know to complete this project, including materials needed, the five stitches used, and finishing techniques. The pretty "Tulip and Daisy" hand embroidery pattern is also included in the class. Beginner embroiderers can do this class, but it's recommended to do the Hand Embroidery Fundamentals class first to learn more about the basics of hand embroidery, as stitching on organza or tulle can be slightly more challenging.


This class is taught using organza but the techniques can be easily applied to stitching on tulle or other translucent or transparent fabrics as well. The finished project makes a lovely piece of hoop art for your home or a unique gift for a loved one.


Meet Your Teacher

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Dana Batho

Peacock & Fig Cross Stitch & Embroidery


Hi there! I'm Dana Batho, designer and founder of Peacock & Fig! 

I’m well known for my easy to follow tutorials and fun colourful cross stitch and hand embroidery patterns (and sometimes quite snarky designs). My patterns have been featured in Cross Stitch Crazy magazine, Just CrossStitch Magazine, on, and I’m also a regular designer for XStitch Magazine. My tutorials have been featured on sites like BuzzFeed and Hello Giggles, and they have had millions of views online.

I've been creating art my entire life, and did four years of art and design training in New Zealand. I returned to my art and craft life after an injury while serving in the Canadian Armed Forces forced me to leave that career path. Through that experience I learned how calming st... See full profile

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1. Class Overview: I wear the owner and designer peacocking thing in this class, you're going to be learning how to make this cute little who project on sheer fabric. I'm actually using organza for this class. Stitching I'm sheer fabric like organza is often seen is really difficult, but I'm gonna show you an easy way to do it so you can make instagram worthy projects. You'll learn what materials you need. You'll learn stitches. Subjects backstage street stitch satin sich Leave sitch attached chain stitch as well as how to finish off the back. You also be learning specialty tips and tricks for working with sheer flattery. You'll also learn how easy it is to make different variations of your projects, such as making it bigger. We're using different colors of Fabricant flaws. If you haven't done the hand embroidery fundamentals class, I would highly recommend starting there, which is this little project here, because the techniques you learn in this class will be very helpful in this upcoming plus, I can't wait to jump in and start teaching how to make your beautiful little project. Let's get started 2. Materials: So in this video, I'm going to be going through the materials you're going to be needing for this project. As you can see here, there are a couple different samples, and I'll talk about those in a moment. But first you're going to be needing a four inch hoop. You can do it on a six inch hoop, but you'll have to blow your pattern up to 150% on your printer. But I'll talk about that a little bit later as well. Some various options that you might have with it. This is a foreign troop. You'll need either seven or eight inches square ish of your fabric. This is a polyester organza. Um, there are all kinds of colors and really neat things you can get for your fabrics like this is beautiful organza here. Beautiful. Um, you can also use tool, but I wouldn't recommend tool if you're just starting out with this technique cause it's a little bit because the the textures of airier bigger holes. So it might be a little bit tricky if you're brand new to this, to use the the tool rather organza, and I've got a few other ones here as well. So this is silk organza, this orange one of silk organza. And then I've got a polyester tool here. But it's gold, and it's absolutely gorgeous. So you can see this little green one here I've done with the green silk organza, and this one here is done on the gold. And the cool thing is like you could see that the sexual turns complete transparent when you put it up against white to the weight background coming through. So it could be gold fabric or a commie totally white, depending on her. Clear, I should say, depending on what you actually, but the sub against which is quite cool. So you have a lot of options for fabric. So if you're going to your fabric shop and do have fun with it for this demonstration, I am showing you just using the white because it's gonna be a little bit easier to see the stitching on it. Like I said, you do have options for other colors. This is using a crew DMC accrue color, and this is using DMC 959 because it matched the color of the of the silk organza really quite prettily. So that's those there. So you get your food, your fabric. Obviously you're gonna need some embroidery. Scissors, Whatever we happen have is fine. This is a number six embroidery. Needle got this pack of clover ones, actually wrote the numbers on it myself. So six, So nine is going to be your smallest in this set, then eight second smallest. And they kind of go back and forth in this particular set as to the numbering. So six is kind of a medium size when it's not super huge, like the number threes. But it's not really small, like the number nine, either sort of in between. So that's what we're using for that. You're also obviously going to be needing here and broader if loss so got four colors here that have chosen because it, um, in other videos, if you've watched the other, like handmade, um, so the hand embroidery fundamentals class, you can choose your own embroidery colors. That's totally fine for this one have chosen four colors. It's got a dark purple here, 32 sort of a nice periwinkle purple here, a 3 43 41 which is a lighter version of it and 9 58 So they're my four colors I'm going to use. But if you have other colors that you want to use for this project, go for it. It's your project. You get to choose what you want to do with it for tracing your pattern. You're going to be needing some simple either scotch tape or masking tape. Gonna take your pattern down trace over top of it. Obviously, you're gonna need something trace with a variety of things. Here. Got a friction pen. I've talked about these in detail in another video that's on my YouTube channel on my website. I'll put a link to that in the resources list. Basically, these are heat. I lost a heat soluble pens like normally, you would erase amusing the little tip here. But if you blaspheme with a hair dryer or an iron actually disappears, disappears. Which school? We got a water soluble one here, same idea. But when she hit it with water, the lines disappear. I got a mechanical pencil here and just a permanent marker. Assume macron pin, so there's a couple options I'll show you right now. The reason we want a couple of options is sometimes depending on the fabric. You can't see this very well. But some of the markers say on polyester versus on soak won't show up as well. So you want to have a couple of options to play with just in case. For example, the friction pen works better on the polyester where his pencil actually works. Really well on to the silk. There's that. Get your tape. Obviously, you're going to be needing your printed pattern. So God, our main one hears this is what you're gonna be tracing. And I've also got a stitching map included in the pattern. So this is telling you your color numbers type of stitch, and we're gonna go through all of this, so don't worry about that. And where the stitches are that you're going to be using those particular stitches in that color for one last thing that you might want is either some white glue or double sided tape . This is for finishing the back. You don't technically need either one of these. You can just finish your hoop, just as is, and I'll show you how to do that. It's a little bit different than the technique I show in the hand embroidery fundamentals class because that one you're actually putting a piece of felt on the back of your hoop. You obviously don't want to do that with this type of class, because then you ruin that effect of being less see right through the back, the hoop. But so these might be useful for you for finishing up your product, and that's pretty much it for now. And the next video, I'm going to be talking about how to transfer your design to the fabric. 3. Tracing Your Design: along, right? So in this video, I'm going to be showing you how to trace your pattern onto your fabric. So I've taped down the piece of paper using the scotch tape to my desk. Even use masking tape as well, whatever you have on. And as I was saying on the materials list, you would do wanna have a variety of pens and what not to try out on your fabric? Sometimes different ones will show up better than others. Like you can see, the pencil doesn't show up bad on the polyester. Ah, the water soluble marker doesn't really show up at all. And then the friction marker to me is a little bit easier to see, then any of them. So I'm probably going to go with the friction marker for this particular project, but you can choose whichever one. And obviously, if you're going to use the permanent marker, then you'll have to make sure that you stitch completely over your lines cause you can't erase that or anything. Even the pencil you can't really erase once it stitched down. You can try, but you might kind of rock help your stitches a little bit if you tried that or you just might smear the graphite, neither one of which is a great outcome. So I've taped everything down. What I'm gonna do now is actually take down the fabric itself. You're gonna want to do this quite well. Just because, like most fabrics, air, fine silk organza is gonna show me less. I've found on the polyester organza. The polyester tends to be a little, um, softer. I guess it doesn't have the same sort of structure as a soak doesn't soak, tends to have a little bit more sort of. Ah, wait to it. Even though it's translucent as well. So I'm actually taping down all of the corners. You don't want to pull super tight because in that could screw up your attention of your fabric once it's in the hoof and you start sitting it. But you do want to pull this not super tight, but taught so that it's not going to start shooting on your once You start drawing like I said, too. If you did want this to be bigger, like I showed in the material sample, you can has blow it up. So there's a designed for a foreign troop. So if you wanted in a 16 troop, you just blow it up at 150% and that's gonna give you the right size to trace to go into a six inch troop. If you want a really big double size, it's gonna go into a NATO troops. All right, so keep total down there. Nice. So you can see it's it's still gonna shimmer. Show me a little bit, but way better than before. So going to use the friction marker here and I'll just do one thing of this so you can see you know I don't want you toe waste your time watching the whole thing. Um, so what I do is I actually, I market heard enough that I can see the lines, but not so hard that your like potentially, you know, catching the pen on the fibers of the fabric or, in the case of the for using, like a permanent marker, like making the lines so fat that you end up having a really hard time sitting over it. So for the friction markers or water soluble pen that's gonna disappear once you're finished, you don't have to be crazy, Crazy, accurate with your line work, it helps. But like I said, your fabric is gonna show me just a little anyway, so just do the best you can, so that's pretty much it. So I'm gonna go across the whole piece and do that. If you are using a permanent marker for the daisy stems, you might not want to draw each individual little pedal because that's is going to be ah, lot to try to cover. So what you could do is you could just draw the center line here, and then you could dress draw, like maybe about halfway out, knowing that you're going to go out just beyond that for the chips of your stitches. So you could just do that. If you're using the water soluble or the friction pain, you can go right out to the edge, and that's gonna mark where the edges of your stitches we're gonna land. You don't have to draw in all of the detail of every single pedal that's not necessary at all. So I'm gonna pause the camera now and to keep going with this and I'll come back once this is finished and so show you what it looks like. Okay, I'm back. So I've finished stitching it. Now, this is a nice thing about working with tools. You don't have to put your pattern up against the window or anything to trace your design, which is super handy. So you can see there. It's very delicate, very pretty. So when you're putting this in your hope for stitching and tool, I actually do a technique cold putting your fabric called stitching in the ditch. So it's just the way you put your fabric in your hoops. So normally you put your small who down first, and then your bigger Hooper were taught. But this way, we'll just move. Yes, you can see. So when you're sitting in the ditch, basically it means that your fabric is sitting at the base of your hoop. So we're gonna and as you can see to actually traced the outline of the pattern as well, just to make it easier to place in the hoop. So doesn't show me too much. You can or can't. You know it's your choice whether to do that or not. It's not necessary. It'll just to help me centering. So what I've done is I put the bigger hoop of the bottom roughly centered, and then you're putting your small hoping the tops that when you press it down, Chris itching in the ditch. So this is actually the reason you're doing this for stitching onto organza is it makes it so much easier to get to your back, which is super handy when you're stitching with organza just because you are gonna be being very careful about where your ends go, where details go, it's gonna make a lot easier to thread your tails through the back so that they're not seen from the front. So that's why it's advisable to stitch in the ditch. If you're stitching on organza, you don't have to. Obviously, just I've found. When I was making the samples that stitching it this way was a lot easier. So what I'm doing now is I'm carefully tightening up the fabric in the hoop, but not so much that it works the pattern cause you don't not your fabric or your designed to look lopsided. When you start stitching, it tightness up a little bit. One thing to note to with, um, embroidery hoops is sometimes you'll notice us a lot more with the finer fabrics like organza is sometimes like they'll actually grip se along this edge really well and along this age. But then, maybe around here and around here, not so well like the circles aren't perfect exact, precise circles, which means that the tension isn't being put across the fabric evenly. It's not a big deal. It's just sometimes if you keep trying to tighten your hope, tighten your hoop heightened who, because there's a little buckle of fabric that just won't tighten It could just be that your hoop itself is slightly not perfectly circular. So try not to stress too much about that. Like try to keep your fabric is taught as you can, but particularly when working with very, very fine, delicate fabric. Try not to worry about it too much. It could just be your hoop is the issue, and I'll show you a trick if your hopes really out of whack and having a really hard time tightening of your fabric keeping it taught. I'll show you a trick in two seconds as soon as I finish, he says. Nice and tight enough. So one trick that I learned when doing some, um, sort of more advanced embroidery classes that gold work and stuff like that is to actually bind your hoop. You'll see this a lot in, um, sort of more professional stitching classes, like with the Royal School of Needlework, teachers and whatever. So that's just a strip of fabric that I've wrapped around the outer hoop. And what that does is it creates a little bit more give, so it actually groups your your inner hoop tighter so you can get your fabric a lot lot tighter than you normally would be able to without actually breaking your hoop. So if if you're finding tightening, this is really problematic and you're getting these weird bubbles, you just can't tighten it cause your hoops aren't lining up. Try this. You can do this with just normal fabric strips of like scrap fabric. You can do with pretty bias taping and leave it there. When you're done like you can finish off, the ends here stitched him down, so it actually looks like a decorative thing, so there's a couple of different options you can do. But this is definitely one option is ah, gold work class I'm working on from a leave. It's I can't remember her name, but she's on. She's one of the teachers at the world school when you don't work and she's very, very talented and I'm having fun. This isn't finished yet, but so this is one technique to try. If you're having issues with your hoops not closing up properly. So that's it for this lesson. In the next one, I'm going to be teaching you how to do back sit and straight stitch to do these outer briefs. See you in a moment. 4. Backstitch and Straight Stitch: All right. Welcome back in this video, I'm gonna teach you how to do the back section straight stitch, which is going to be the out these outer branches here as well as your stems of your flowers. So what I've got here is I've got the color number 31. Sorry, 32. This is gonna be the darker color around the outside edge here, the branches. So what you're gonna be needing for all of your stitches for this pattern is three strands , So DMC embroidery, floss, and most embroidery floss is coming Six strands. This one's probably five there. Probably used one before. So what you're gonna dio is if it's full six strand, you're going to split it in half. But otherwise gonna split off three strands like that and just gonna slowly separate them out. You'll see that they want a kink. So just let them un kink as you're going. Just do this nice and slowly. So for cross stitch, I normally recommend a strand no longer than the length of your elbow to your fingertips because you don't want the Feb of the flaws to get kind of roughed up a zits going through the fabric. ITC Untangle easier. What not? This strand is actually double that length because originally I was using this thief strands for another project. Right was doubling a single strand. But what I will say is, if you're using your working on organza and tool, you might wanna have slightly longer strands. This because it's not a simple is just putting a note on the back like you would with your normal embroidery and stuff like that to carry on when you run out of threads so you might want to use longer strands than you would normally. Um, if you are using long strands like this when I'm using, do just be aware to make sure it's not tangling on. You go a bit slower if you have to, Um, and if it's becoming kind of nodded or it is becoming kind of a pain in the butt and it's tangling upon itself and, dude, cut it shorter. So I've got my number 60 you know, here. So how I threaten my needles. I just folded over the the I and squeeze it really tight and just push it through like that . So find the number six is a good wits because it's not so thick that is creating a giant hole in your fabric. But it's not so fine that it's hard to thread with three strands either A nice, happy medium. So what I'm doing is I'm just This is a longer strand in a fold it mostly in half, leave a bit of a tail. So obviously with sitting on embroidery fabric, our story on organza the point is that you can see through it. So obviously you have to be careful about how you'd tie off your ends, things like that. So for this you such is here, I'm gonna be showing you a trick that I've picked up about how to hide your ends. There's a couple ways you can do this. You can either just leave the slightly longer tail when you're starting and just hold your finger against it. And then we have the tail in later. Or you can do this trick that I'm gonna show you. So which direction you start from? That's not a really big deal. I'm gonna start from going this way, so I'm gonna leave. You see, I don't even have to turn it over, I believe. Roughly inch and 1/2 an inch the fabric of F lost on the other side. You can see what inch and 1/2 I'm not gonna is gonna I'm gonna put it roughly where the line is of my direction of travel. So for this one, I'm gonna do to back stitches in between this section this tip here and this one, you can do much longer stitches if you want. If that's easier for you to start just doing longer stitches like one long section between as totally fine. You won't get quite a smooth of a curve. It's totally fine. Do whatever you feel comfortable with, especially if you're relatively new to embroidery. You might want to just keep it simple on yourself. For the first time. We're so doing this, I'm gonna drop down as if I'm doing a normal back stitch again. I'm just holding this tail lightly with my fingertip. You can see what I mean about using slightly longer strands. You just a little bit slower so you don't tangle. But what I'm gonna be doing is instead of just doing normal back such where I would come up here and they brought back down there. It's actually want to catch this tale. So I've seen some people do split sits where they kind of catch the tail is they're coming back up through for me. I found that a little bit tricky to do. So this is actually a simpler version of that. So what I'm doing flips over to show you, So my direction of travel is going this way. Tangle around me. So this is your tail here. It's gonna be folding it up against the direction of travel and your thread that you're stitching with this loose one here. I'm actually gonna come up and over it and basically just catch it. So I'm gonna come back up the same place. But I went down before, and it's basically just catching that tail underneath this loop at the back slowly is you don't want holding to not you can see it's creating l a loop that's gonna catch that tail, but you can pull it. You don't want to pull these hard, obviously, but you can pull it taut like that when you come up to your front again. It's the next stitch. I'm going to do is get another waste. You can see the next such I'm gonna do is up to this first juncture of the first straight stitch off. So I'm gonna put my needle down there, and you can either do this in the back of the front. I'm gonna do it from the front this time. You can kind of you gonna move the tail around with a chip of your needle So you're you're basically putting your thread around that strand of the back and catching it. You're making a loop around the back. Damn, You can see that's caught it again. So if you're adjusting a simple straight stitch simples syriza back stitches, you could just keep doing that. But because we're forking off, I'm gonna show you what to do as well. So this one, I'm gonna be doing this first little straight such year. So you're just gonna go down there, then come back up in exactly the same spot? So the trick with working with organza and tool and anything is transparent is your direction of travel on the back in the front has to be identical. So wherever you come up and go down, you have to come back up The same spot Doesn't matter whether you're coming up and then going down and coming up or whether you're going down, up, down doesn't matter either way. Um, you have to come back up in the same spot. Otherwise, you're gonna kind of see your direction of travel, your threads carried across the back unless you come back up in the exact same spot so you can see that's basically left. No shadow of the stitch underneath. And I'm gonna do this little straight stitch over here. Same thing. Go down, Come back up in the same spot because this next straight stitches a little bit further up. So I'm gonna do a really short back stitch just to get to their and I also catch set tail again at the back, some going down. So I'm going down on the right hand side of that tail at the back and I'll come back up on the left hand side that way, it just catches it that Then do your next little street stitch. Ouch! Back up. You come up straight. There we go. Cute. So I'm gonna keep traveling this way, so I'll do a couple more seconds sees I'm going to go to more stitches in between this junker and the next juncture of the next two straight stitches coming off the center line. So going down the game, coming down on the right hand side of that threat on the reverse. Coming up, I'm gonna do. You gonna catch that threat on the verse one more time? Going down. I'm coming up on the left hand side of it. Tries pull that a little bit, too, to make sure it's flat. I'm going to my straight stitches out. You can come back to You're originating point. Other straight stitch out factor originating point. I do a little short little back stitch to get to the next branched out straight stitch. So this one, you can see I went down here and I ended at the base, which is totally fine because what I can dio I can come up instead of coming up and then down into the tip. I can do it in reverse so I can come up where that tip is. Then I sing about working with the friction pens or the water soluble ones is if, as you're stitching. You want to move where some of the lines are A little bit. You totally can. And you don't have to worry about covering up your lines cause they're gonna disappear later. So you get come up and then I'm gonna go back down and that same originating spot, and as you can see, I just kind of left the tail off to the side here. I'll deal with that shortly. So to keep going with the back stitch, you're next sections down. So normally with back stitch, you would go this way always. So the next time I would come up here and then go down here, but because you're working on organza like sometimes there's a bit of a curve between where you went down here and where you're gonna come up here. So if you traveled from here up to here to come up, you might see a bit of the shadow of that carrying stitch. So it's totally okay to actually do you kind of like a variation of a back station actually come up at the end of your last one and then travel the other direction. It's totally okay. And then same again I'm gonna come up these side points and down. You know them, so it's pretty much it. So what I'm gonna do is I'm gonna continue on, but just strand of the Reese when we want to get to the end, I will show you how to end off your thread and also how to deal with this little tail here . And then we're gonna continue on with that. We'll see you in a moment. 5. Ending Your Threads: Ah, all right. As you can see, I finished off the first little wrap of the wreaths. So what I'm gonna do now show you how to finish off your end. So this is why I recommend doing this stitch in the digital. It's a lot easier to finish off your ends delicately because you don't normally just throw your and Europe tail through the back a few times and it's fine, but because of this being translucent, you want to be able to do this quite neatly. So what I would do is catch. So again you're wanting to make sure that you're traveling the same line of directions so that your stitches aren't seen from the front, some just catching tiny little bits of the's stitches in the back. You want more? You may be a section words a little bit thicker. Like where there is the sort of the cluster of little straight stitches meeting you could go back into that. So you traveled this way and then go back one or two stitches a little bit. We're really help angrier your thread. All right. And then I'm gonna shove the needle tip through some of these strands. Just leave it through and pull it out and then trim Very close, very close to the the stitching without actually cutting any of the stitching. I was gonna show up for you. Okay, so that's so. It's well hidden, and it's it's nice and secure as well. So for this end here, if it was safe much longer and he could get your needle and re threat it and we've been back through again or, um, Thursday's neat thing called Star to Taylor's or this other variations, it's like a little hook thing that you can pull you're ends through. In this case, I'm just gonna trim it so again, gonna get really close to where the stitching is without cutting this gene interest. There we go. So that's one section of the little we've done. So what I want you to do now is I want you to continue with the second side exactly the same way I want you to do back stitch only from the tip of the tulips stem all the way up to the base of the tulip itself. Don't go any further. Just to that base, just with the back stitch. Obviously, There's none of these little straight stitches coming off. Don't worry about the leaves right now. That's a different stitch. And you can also do the Leafs and the stem of the Daisy. And so that easy is going to be done. Did easy and the tulip are gonna be done in the 9 58 color. So with the daisy, you can see it's got these little sort of triangles coming off. There's basically just multiples of these, all starting at the same point, so you'd do one straight stitch out. Come, come back to that same starting point. Do another one. Do another one, do three or four right next to each other, and it will create kind of like a little fan shape and then do some more of your back stitch in again. Three or four little streets. Such is this way three or four this way, and it will create a little fan shape. So again, you're going from here up to the base of your daisy. If you did Onley mark the center line. Ah, in case you are using a permanent marker, then you can travel up a little bit further with your your stem if you want, because it it's going to get covered a bit by your your pedals. Or you could just stop right where the edge of your pedals will be. Either one is fine. All right, so I'll show you this again once this is all stitched up. All right. As you can see, I'm just finishing up everything here. So I'm gonna be showing you just a quick tips about the so daisy leaf. Such is here. So as I was saying, it's like three or four little stitches to make your little daisy leaves. You're going to come up in the center, usually go out to the center first. That way, they're all kind of angle the right way back to the center angle. Ouch. Again, if you're using the permanent marker, you're gonna have to, um, make sure you cover all the lines that you drew very well out again. You can see their own feeding off that center point and starting in the centre. That's it for your little easy leaves. So, as I showed you before, you're gonna you going until you get to the end. Like I said, you can go a little bit deeper into the where the daisy petals will go. But I'm going to stop there. Then finish off the ends here again. We've been through a little bitch. Go back a little bit. Just make sure you're not leaving it through so much that it's really, I think, from the front from your ends. Three other ends. So that set. So, as you can see, I've finished off the back of this stitch in one of the little threads have come up. So it would just from that again. Um, But if you want to, when you're stitching these, you can leave the stem for last and actually leave your threads still attached, and then we can work our way back down to start the leave stitch. But, um, first, we're gonna be doing the satin stitch on the tulip head, so I will come back and show you how to do that in the next video 6. Satin Stitch: All right, So we're gonna be starting with 3:40 p.m. C. 3 43 strands again and doing the satin stitch, which is going to be for this little section here of the tulip flower head. So sentence, which is gonna be a little bit easier to anchor because you can actually catch your end in as you're working. So what I'm gonna be doing is I'm gonna be starting in the center of this bigger block. And if you want, you can get your friction, Markle, whatever using and just draw line straight down. This way, this is gonna be the direction of your stitches. And then for this one gonna be about 45 degree angle. You can do that if you want, or you can his eyeball it, whatever floats your boat. So we're gonna start with the bigger block first, show you the technique. So first, I'm just gonna anchor my threat a little bit. So because this is going to be completely covered with stitch in, you can just do a little stitch right in the center. But the block, it doesn't matter. You can leave your little ends a little bit shorter as well, if you like, because we're gonna get covered. Just make sure you don't pull them out. Stitch There. You want to do one more little stitch next to it? Hope anchor catcher ends around if you'll If you like corgis, let him go. That's we're going to get caught up anyway. All right, so with satin stitch, where do that horizontal line? That's the direction I'm gonna be going in my she gonna be starting in the center of the block. And the reason is is if you started one edge and you're trying to travel horizontally this way by the time you get to the other edge. If you started over here, you might have started to shimmy your line a little bit for us. If you start in the center and work one way and then work the other way and your stitches are gonna be much more parallel and even I'm using three strands for this if you want to really, really smooth sat instruction you, the fewer strands you use, it's going to take longer to dio, but it's going to get a much smoother effect. This is a project camera, um, with Kate Barlow. And you can see here, this is silk shadings is using one strand of silk, three different colors so you can see it's got a really nice sort of feathery effect, and that's from using one strand. So the fewer strands used it's going to take longer, like each of the purple parts of each of these took probably about eight hours to stitch each. Um, so we'll take longer Like this little project here obviously isn't gonna take eight hours to Stich tiny little tulip. But it is something to be aware of that the fewer strands use it is gonna look smoother, But it's gonna take longer. But for honestly, if if you're a beginner, believe it or not, I wouldn't worries so much about trying to get your sat in such looking absolutely perfect . Because is this one of those things, like some people who are just really good at it? Naturally, sometimes it depends on the quality of your flaws or whether it's twisted as you're stitching it, like whether it's perfectly lying parallel. There's all sorts of things, like whether you do sometimes for a lot of project killin, you'll do a tiny little row of split stitch around the out. She outside edge and then you're satin stitch will come up over that edge, and that sort of creates almost like a a bit of a padded effect, and it creates more of a sort of it an edge. So there's a lot of factors that could affect how your satin stitch looks. So please don't freak out. If it doesn't look as smooth as you would like it to, it's fine. It's lots of practice and not being hard on yourself. So I've come up right on that line of the design, and I'm coming back down on the opposite line right at the end of that parallel line that I drew. That's basically gonna be my center roughly and come up again right next to that first stitch. So with hand stitch, it's best to go always one direction to go up this way, then down and around up Rand, rather than trying to go this way and in this way and in this way this way, you tend to get in a bit of more of a rhythm, and your stitches actually will look smoother. And if you're worried about using UPF loss. Don't worry about it. It's fine. Then again, going back down really close, begin coming up. It's close. You can last stitch and see. I'm kind of piercing a little bit of the thread that sticking out underneath totally fine front and back down trickle satin stitch is just trying to keep it as parallel as you can to the design lines each drew on or you're just got in your head and keeping the stitches has brought it up is close to each other as you can. But you can always go back and put in the odd stitch here and there. If you found that it's not not Ling as closely as you'd like or there's little gaps, it's told me. Okay, this is also why I don't recommend using tool Um, for your first project like this, just because the holes are bigger. So it's gonna be harder doing satin stitch because here, stitches aren't going to get as close to each other because fabric already has quite big holes in it. All right, so you can see I've pretty much done that edge, so I'm gonna come back against this first center when I did. That's basically it I've seen. Some really need effects where people once a stitch, they will put like a decorative stitch around the outside of this hat and stitch, which is quite cool and that can also be used like, say, if you're for some reason your stitch edges aren't, it's smooth as you would like. They don't flow as nicely as you would like that he can, but like a rollback stitcher split stitcher something around the outside edge. That's totally fine. Getting close to finishing this one one little short stitching here. All right, so that's pretty much that one done section you nice Move him out with here. Thumbnails will make it look a little smoother. Pretty, - it's open section. I'm going to travel just horizontally, vertically, in this case, the way I'm holding the pattern. But you can choose to go any direction. Like like I said, the reason for the change of direction in these stitches is just too. Give a little bit more texture, and the light will bounce off of it a little bit differently. No, well, Chinese stitch. It's pretty much done, so to finish the edges are the ends off this. Like I said, it's got a really nice patting on the back. So it's super easy to finish off your threads or if you have to add more threads in. Yes, we've been back and forth a few times. Little snip slip off your their ends and you Oh, cute. So the next time I'm gonna be teaching us how to do the leaf stench that's going to be learning how to do these leaves down here. We'll see you in a moment. 7. Leaf Stitch: a lot, right? We're back. So we're gonna go back to the green, which is your 958 for your leaves here. Like I said before, if when you're actually doing this yourself, if you want to do this stem last and just leave this attached and that's totally fine. And then you could do the to look ahead when I really like. So what I'm gonna do is I'm gonna show you how to add in more los. This is exactly the same as if you run out of flaws like when you're stitching one of these same same technique and you can pull it shouldn't leave a bit of a tale to make it easier to cut. You go back the other way, and it is weaving it into the previous stitches tree. Don't go through the organza. And with these projects to it is you might want to just always double check when you're starting a new section or whatever, that you're actually working on the correct side like it doesn't matter hugely for certain parts because it is ish reversible. But because you are stitching in the ditch and most people are used to stitching with their fabric on the surface. You want to make sure you're actually stitching the top of the fabric Three way. So it is gonna go down here, Gonna go to the base of the first leaf here in case let's part of down. Second, we have just wound it around and go through to get down to here. So because this leaf is sort of touching up to about here, you can stop anywhere around here because we're actually starting from the top of this leaf threat. Angered. So what I'm gonna do is what you can see I've done to is have drawn. Sorry. Makes you can see this of drawn to little center lines using my friction. Penn, you don't have to do this, but it just makes use. Um, learning how to do the leaf stitch easier is if you have that center lines that just makes following Ah, paths a little bit easier. You're gonna start. You have half an inch down from the top again, making sure that wherever you have anchored your your thread is not gonna be seen from the front. So you gonna go straight down there straight stitch down and then this one. I always start off from the left. Go down to the right. So you're coming. You're sort of crossing that center line that you drew and that center stitch that you play sound. So if you've done the hand embroidery fundamentals class, you'll have seen this stitch being demonstrated there as well. This version of it is much, much tighter that one, um, in the embroidery fundamentals class because it's on a non transparent fabric. You can make your stitches a lot wider apart and get a really cool texture going for this one because it is a translucent fabric. You are going to be wanted to keep your stitches butted right next to each other. You still get the same kind of effect, but you do need to keep the stitches very close to each other. What? You'll see all the stuff that's going on in the back. So as you can see him just alternating sides, some going from the right across that center line into the left and coming back again right underneath my last stitch from left and coming down to the right. So you just alternating back and forth like that. You can see him sort of pushing stitch its previous sort of out of the way a little bit. So you don't catch it down once you start hitting the leaf or that the stem here, then you're gonna be shortening where your landing your you're crossing Citrus, so to speak and just got a nice effect. So this is actually gonna go into one of the holes. It's already there from the back stitch stem since my last one coming down from here around there. So for the rest of these stitches, this is basically gonna be satin stitch the rest of the way down. So what? We just practiced in the last listen cause you're in assets only doing 1/2 of the the stitch. We just keep following your design lying down. Wow, that's pretty much it. And then we'll do doing the exact same thing on the other leaf. So to get down there so you can't obviously cross from here straight across to here cause you're gonna get a nice straight line across what? Supposed to be an open space here. So again, just flip it over, travel down one or two steps, then you can come up. You can see that crossing thread is going to be covered by your design lines. You can always push it a little bit out of the way with your fingers, too. As you're working in case it's getting too close to the edge again. Center point and then left. Right. - As you're getting closer to the base, your stitches were getting shorter, curving around the corner, more stitched full, that in there, we'll stitch Don't no, again, any of these stickers, stitches or a lot easier to tire treads off of the back. So you just gonna bury them in there just to make sure that you're not pushing your thread through to the front where it could be seen punching back? Bingo. Done. So the last six I'm gonna be teaching you is the detached chain stitch, and that's gonna be used to make the pedals of the daisy. So I will see you in the next video 8. Detached Chain Stitch: Okay, I'm back. So as you can see, I fixed that like, purple thread. Here, this is DMC 3 41 that I'm using really pretty light violet color. So I've already fixed that to the back of the talk with the daisy leaves, so it's ready to go. So, as I was saying before, if you are using permanent marker, you're gonna want to extend your daisy leaves out beyond where you drew. Otherwise, you're not. You're gonna be able see them the end. So this one, it's sort of taking advantage of the fact that these leaves are these pedals are gonna be quite close together. So that because there is gonna be a slight bit of what else a traveling at the back where the travel directions gonna be slightly different than the front. But because these pedals are gonna be so closely packed together, it's not gonna be noticeable. So you can see I've attached here is coming out, like, really close to where the end of the the stem is. So what I'm gonna do is go opposite the stem into the center. Just the center is always gonna be our starting point. Sorry for this so and want center, This is a really fun said it was just attached change stitch. So if you did this in a series, this will be changed such But this is called the tax change such because you're doing each loop one at a time. So you're taking a leap of your thread. You hold it under your thumb and you're gonna put your thread back down right where you came up. So where we came up, you're putting your your go back down the same place. It doesn't have to be the exact same hole. It's fine. Like, don't think it has to be, like, really super precise, cause it doesn't just really close to where you came up. You gonna slowly draw that down until it's, you know, exercise loop, and then right where you're at the edge of your pedals, like wherever you want your pedals to end. So in this case, I've drawn the line where I want the pedals to end because this line is gonna get erased. You gonna clear a needle up? But then you're actually gonna put your needle through through that loop. You're gonna catch that loop when you gonna really slowly pull your threads air quite long for this tonight, Mike. It a bit tangled, so just do it slowly. We're gonna pull really slowly. We're going to see it that last inch catches salute. And then you're gonna Anchorage over top of the loop anchor over top of that Luke with just a tiny little straight stitch that holds at looking place. So that's a detached chain stitch. If you're doing actual change situ air. You just did that little angering stitch. You would do another loop and then another loop in another loop in that, that you would end it with that little anchoring such So this is what I mean by the traveling A slightly different. So instead of because the threads coming down here where you just did your little anchoring stitch, but it's gonna come up not precisely in line, it's gonna come up to slightly to the side. That's what I mean, like the back. It's traveling a little bit. So it, um, if these stitches weren't as closely packed, then you would see that traveling line where the angle of starting is going to be slightly different for each one cause you're wanting them to rotate around If you want to make this easier for yourself. If you're having a hard time visualizing which angles, things have to be out again. Be careful. If this is your permanent marker, you can actually make two marks roughly indicating that you not to follow these exactly. But it just gives you an idea of the angle of your stitches where they should roughly land . So it doesn't look like they're all kind of sliding one direction. But I mean, if you end up stitching something, you're not super happy with how their lane and just on picket on do it again. It's totally fine. So again, you're catching your thread with your some Sorry, but in my camera going back down exactly where you came up and then you get reading your threat up. Yes, where you want your anchoring stitch to be So for me, I'm doing it right in between this one on the one that's gonna be on that next line. The guideline dropping your angry in such background or anchoring stitch can go back down the same Cole doesn't matter. Here we go. You don't have to pull your loop stitches. Super tight. You can you give him a little bit of Ah, roomed? Breathe, so to speak again. You're coming up and you can see, like, each time I'm coming up. It's very close to where the previous pedal came up. But it's not exactly the same place because you are rotating your way around that center circle. All right, playing more my throat. Okay, so again, making loop, catching it going back down. So this one, you can see it's gonna land directly on that center. That vertical guideline Do this watching that agency you help taken. Hold your lips stitched down with your thumb as you're placing your anger stitch. That's pretty much it. So you're just gonna keep traveling around your daisy like that? And I will see you when it's finished. All right, there we are, then. So, as you can see, I finished off the end again. Same way did all the other ones is running it under a few stitches in the back and then trimming it close. And that's pretty much it. I also blasted this with a hair dryer to get rid of any of the the drawing lines that you could still see. And that's pretty much it, though. Isn't it? Pretty? So, the next video, I'm gonna be showing you a couple of different ways that you could finish off your who? Because you don't want to just leave all the ends floating around like this. I will see you in the next video. 9. Finishing Your Hoop: a lot, right? So for finishing your hoop, there's actually a couple of different ways you can do this. If you've done my hand embroidery fundamentals class, you'll see that on this project for it. You'll see that, um, you'll know that there's a way of doing it where you stick a circle of felt to the back of your to your who via the embroidery fabric. That's one option, But for something is translucent or transparent, you kind of want that effect of being able to see through it. So you don't really want to cover the back like this. You still can, especially you find, like a really cool pattern felt or something like that that could look quite cool. But then you're gonna get, like, the gathering and stuff like that of the of the tool behind. It's not ideal, but I mean, it could look quite cool, depending on how you do it. So there is that option. Um, the other option, like I was saying, is, Teoh, if you're gonna bind your hoop like buying your outer hoop with ribbon or with just plain fabric or ah being it's a medical bias tape now is while it would work. Really? Well, if you're going to do that than what you could do as well is actually, don't worry about gluing or cutting. Um, sorry. Not gluing or taping or anything like that, which I'll show you in a moment because the binding is gonna be holding the fabric so tight you can trim right to the edge of the hoop. And I will show you that in a moment as well. So it depends on what? Whether you're gonna bind your hoop or not as to what your options are. First, put this into a little hoop itself. I am happy with which tighten it up. So I'm gonna show you a few options of what you can do from binding and finishing off your hoop. Sorry, not buying me. Just finishing over hoop. Make sure it's nice and I want So you do want to make sure if you're finishing off your hoop, particularly if you're gonna cut the fabric and stuff like that, you do want to make sure that it's nice and flat that there's no big bubbles that your gonna be unhappy with Leader get your who was tight as it can be. This one's a little bit broken as you can see it, but it's hanging in there that we find alright sounds pretty much as good as when they get I think centred. Happy with that? Okay, So, like I was saying, if you're hoop is bound with ribbon or something than what you can do is this cut right to the edge of your hoop here and just leave it at that because the binding is gonna hold your fabric pretty tight. You can also run a bead of your white glue along the edge. I would recommend to be safe, putting it into like a little take out container and using a paintbrush just so you don't drip glue on anything or have so much glue that starts dripping the last thing you want. Just glue, like dropping down on the inside of your hoop or something like that, cause I could touch your fabric and that would be very, very sad. So there's that so you could just trim that. That's one option. Another option is to use double sided tape. This is scrap bookers tape, So usually stuff designed for scrapbooking is acid free. But You can also check the labels as well. Acid free just means it's pH neutral, which means it's not going to accelerate deterioration of the fabric or floss or whatever. It's touching overtime. Like, um, you feel well of seeing things that we're really old and it kind of gone yellow. If it's not acid free, it will accelerate that process. So you do want acid free stuff. The problem with using tape sometimes is that you can see your hoop with is narrower than your tape with, so you might be able to find tape that's narrower or you might cut it in half. Another option is just to I'll show you how to do this anyway, so you would put your tape. You do it in little strips you don't do. One long strip proved to be problematic, but obviously you'd have trim it to the right with of your Hooper. At least half of that and then what you're gonna be wanted to do once it's taped all around the inside or you could just work in little sections is very evenly. Fold your fabric down. It's like every centimeter or so. Fold it down so you can either fold it down and then trim it right to the edge of your hoop . Or you can measure the width of your hoop and then trim it to that lengths. So either way, just be careful. If you are gonna trim it after you, you push it down that you're very, very careful to not cut the fabric on the side, cause that would be very sad. So there's that option is using the tape that can leave. What? Quite a nice finish. You can actually put a nice ribbon on the inside as well, and that can leave a really nice finishes. Well, that's one option is the tape. I do this So another way you can do this. Sorry. Keeping the hoop out of camera. Another way you can do this is to trim your fabric up. I would say measure, measure the width of your hope and then trim your fabric to just slightly longer than that because it's going to bend over the hoop and down as well. And then you're gonna trim it again. Or you could just trim it Afterwards. I would experiment with ease because I mean there's a lot of different ways to do this and actually depends on the size of the Hutu. If you're using a bigger hoop, the curvature is gonna be a lot wider. So you're not gonna have to bend your fabricas much if that makes any sense. So experiment you might find one that works best for you. This is why I'm giving you a bunch of different options. So what you do is you trim your fabric up a little bit like lead. At least get rid of a lot of the excess you would get. I'm not going to do this. I'm gonna show you A different method is you get your paint or it's where your paint your white blue and you paint it along. This wouldn't edge here. This role wouldn't edge being careful again not to drop it on the inside, not to drip it on sheer fabric. I'm using a paintbrush in this because you can like this one. Is that a nice, um, nice point on it, which is cool. But, you know, sometimes your glue could get stuck or bubble up or whatever, and you get a big blob of it, and invariably it's going to land on your fabric because that's just the way Murphy's little work. So that would be really sad. So that's when recommending using a paintbrush and, uh, a little pot of glue like this. So you paint your glue on the inside, you dio as you again fold your fabric down around. We're gonna need bulldog clips or clothes pins or something like that. And he'd Clampett at spaces like maybe an inch apart inch and 1/2 parts. You're gonna fold it evenly around and clamp it and then let the glue dries. That could be up to 24 hours, 24 hours. You're gonna be totally safe. Um, depending on how thick your glue is, and all things probably six hours is pulling the minimum I would let it dry for And yes, he fold it all the way around Clampett. And then if you needed to cut anymore excess off, he could do it after it's dried. You could cut it right at the inside edge here, where it's not glued. So there's that option and the final option. I'm going to show you with this one, so again making sure everything's perfect. You're happy because you're not gonna be able to change. Just once it's done, you're gonna be trimming right around the inside edge Here doesn't have to be like crazy, crazy flash, but it has to be close ish. It's like I was saying, with the, um, if you're hoop is bound with ribbon or biased a person like that, then you could just leave it at this stage. You could just trim it and be done with it because it's going to is gonna have enough tension on it, too. Be relatively safe in that the fabrics not going Teoh to come out of the group. All right, so trim that up. It's relatively even all around. Trim up any little excess bits if you need to. All right, settle trimmed Send. What I'm doing is using my paintbrush goes down in making sure you don't have, like, huge globs of glue on your paintbrush because you don't want it to drip. And then what you're gonna do is paint your blue right on that seem you can always add more glue, but be careful about putting too much on because you don't want it to drip. Ideally, you want it like this Where that seem is pretty much comfort, covered completely by glue. Because once that dries, it's gonna create a nice seal, and it's gonna capture the fabric in between the two hoops and it's not gonna go anywhere. All right, so there we go. So as you can see, there's a few weird little edges. It didn't get trimmed right, sticky up bits for Spitzer a bit longer. Things like that. That's okay, because you can actually go back after once. This is completely dried. So, like I said, I'm gonna leave this for 24 hours and let it completely dry, and then I can come back and trim up those little edges if I want to. Also, you'll notice I painted a little bit of glue right here, even though there's no join right there. That actually will help seal that edge of that little fabric. That's right in between where the gap of the bolt is and that's it. And also OSI, make sure be careful when you're touching. It did not get glue on on the front of it or under your hands, and there we go. Done. I hope you've enjoyed this class. I can't wait to see your projects and see what you came up with. I can't wait to see what color he chose. 10. Final Words: thanks very much. I hope you had fun in this class. If you have any pictures of your project, I would really love to see them. So please do post them in the class Project gallery below. I'd love to see what fabrics you chose and what colors you chose. A few varied on the pattern colors. I genuinely would really, really like to see what you've done. And also, if you have any questions or comments, please do feel for you. Let me know as well that messaging.