Hand-Stitched Badges for Me-Made-May

A beginning embroidery primer, with free patterns.

 

For the last few years, May has found us around Washington DC. We usually do two art shows there, and in between stay with some dear friends and ride the Metro to visit the sites of our nation’s capitol. The whole time we’re surrounded by so many people (especially from my middle-size-town perspective). Since it’s Me-Made-May, I spend even more time thinking about what those people are wearing than I normally would. It’s easy to get a little bummed out when I look around and consider that, of the hundreds of strangers I can see at any given moment on the subway platform or at a monument, perhaps none of them are wearing anything handmade. But it also got me thinking that maybe they just haven’t considered it, that if they knew there was a whole movement going on, that folks around the country and the world were encouraging each other and posting about their handmade wardrobes at that very moment, maybe it would encourage a few of them to at least think about it.

So I wanted to bring something that said I was participating in Me-Made-May, and/or that I had made part of my outfit, off the internet and onto my physical person where all those strangers could see it. I started to talking to Zoe about it, and she liked the idea too. I owe her big thanks for her support, bouncing ideas around, and of course for putting on this challenge for us again this year! Since MMM is all about stitching, and I’ve been doing a lot of hand-sewing and embroidery lately, here’s what I ended up with:

 

embroidered mmm badge

 

You can make them too! I designed these little badges with embroidery beginners in mind, and I’ll walk you through some parts that might be confusing, so even if hand-sewing isn’t usually your thing, you can handle it. If you’re already further along in your embroidery journey, feel free to skip down and glance through the photos, then print the pattern and get started.  Click the link below to get the pattern:

MMM-badges-pattern

 

materials & tools

You’ll need some felt, and some embroidery floss, thread, or fine yarn.

Wool felt is an ideal material to start stitching on, since it’s forgiving, doesn’t ravel, is thick enough to not need backing, and you can hide ends and extra stitches in the thickness.

The Me-Made-May badge is stitched here in variagated cotton floss, and the “I MADE this!” one in wool thread.  There’s more about the specific threads I used at the end of this post.

You’ll also need a few basic sewing tools: a sharp needle with a long eye, and a small sharp scissors. I always wear a thimble like this one when I’m hand stitching.

Finally, you’ll need a scrap of tissue paper and a fine-point pen to transfer your design to the felt.

 

thread types

Let’s talk for a minute about the differences between cotton and wool, and floss and thread, for stitching. Wool threads designed for embroidery are often labeled “crewel” (a type of embroidery) and are usually made up of two single strands (called plies) twisted together. This plying is integral to the structure of the thread, and it’s not meant to be separated.

 

embroidered mmm badge 9

 

Cotton floss often comes in a loosely twisted bundle of threads, which can be separated to make various thicknesses. This is called “strandable” floss. If you look closely (maybe with a magnifier), each strand of this kind of floss actually has its own two-ply structure. Some cotton threads have a non-strandable structure as well.

 

embroidered mmm badge 8

 

Just like in sewing or knitting, the different properties of wool and cotton fibers make a difference to how they work in embroidery. Wool’s crimpy, elastic nature means that it plumps up, filling gaps and making it easier to embroider a smooth satin stitch or a plush knot. Cotton is denser, smoother, and less elastic, meaning you may need more thread to cover the same area, and the stitching will have a tighter, flatter look.

 

getting started

Put a little piece of tissue paper over the printed pattern you want to make. You can use scraps of tissue, and iron them flat if necessary. Using a fine-point pen that won’t bleed, trace the pattern carefully, including the circle around the edge. Make a single line for thinner shapes and letters, and draw around the outline of thicker shapes. Pin the tissue to your felt, with the pins outside the circle. You’ll stitch right through the tissue and the felt to make the design.

 

embroidered mmm badge 1

 

I tried several methods of transferring the patterns to my felt, and this one worked the best. An iron-on transfer pen (not a pencil) also works, but it makes thick permanent marks that are a little fiddly to apply, and must be covered with stitching.

To thread the needle, I use the techniques I shared in this Seamwork article about hand-stitching. I found that it helps to fold over the end of the wool thread, and to wet the end of the cotton floss.

To begin, take a long stitch on the back through the thickness of the felt, coming up near where you want to start. Let a little bit of thread remain on the back surface. You can trim it off later to neaten things up. If possible, take your first stitch as a backstitch to anchor the thread.

 

embroidered mmm badge 5

 

General embroidery tips:

  • Stitch in good light! It’s unbelievable what a difference this makes.
    Test out your stitches and thread on a scrap before you start, especially if you are experimenting with new stitches and/or aren’t sure what thickness of thread to use to get the look you want.
  • How even your stitches look depends mainly on how even the tension is between one stitch and the next. Start off slow and even.
  • When moving from one letter or shape to the next one, take a stitch through the thickness of the felt to keep it hidden. To keep long stitches from pulling the next part of the embroidery out of shape, push the needle straight through to the back of the work, then take a long stitch into the felt, coming out on the back near where you want to start again. Then bring the needle up to the front in your next spot.

 

the stitches

Most of the text in these patterns is made with backstitch. I explain this stitch in that Seamwork article, and in even more detail in this post.

 

embroidered mmm badge 2

 

Backstitch tips:

  • Put your needle in right at the end of the last stitch for a solid line.
  • Look ahead at the section you are stitching, and decide whether to divide it into two stitches or three, etc.
  • Think about the path of the thread when you come to corners and curves. Remember that where the needle goes in is the beginning of the current stitch, and where it comes out is the end of the next stitch.

 

embroidered mmm badge 3

 

For the scallops around the edge of the Me-Made-May badge, I used a simple straight stitch. Follow the individual lines on the pattern for a looser look that shows off the separate threads, or fill in the whole scallop shape, depending on the thread you’re using and the look you’re going for.

 

embroidered mmm badge 6

 

I filled in the thicker lines of text with satin stitch, which is basically a row of straight stitches very close together, so that they look like a solid surface. It’s easier to keep these stitches even and plush-looking if you work them over a base of another stitch. For these patterns I outlined the satin stitch sections in backstitch first.

 

Straight & satin stitch tips:

  • Backstitch around the outline of all the text, and finish all other parts of the design that use the pattern as a guide, then remove the tissue pattern before you fill in the satin stitch. You’ll be able to see exactly where the stitches are more clearly, and pulling off the tissue will be easier.
  • Cut carefully around the outer circle of the design. Leave the outside of the tissue pinned to the felt for reference and later cutting (you may actually want a few more pins at this point to hold it smoothly). Tear out the part under the badge itself. Pointed tweezers are an ideal tool for pulling out tiny/stubborn pieces of tissue.

 

embroidered mmm badge 7

 

  •  I find it easier to keep an even tension if I put the needle all the way through to the back at the end of each stitch, and bring it up again close to the stitch I just made on the same side of the shape I’m stitching. This method is slower to work than the more common technique of taking the needle under on one side of the shape and up on the other side in one stitch. But, it uses less thread and is easier to control, especially when you’re starting out.
    • Stitch as close to the foundation backstitches as possible for a full look. You can even push the foundation stitches to the side with the needle to make more space and keep the line of stitches even.

     

    embroidered mmm badge 10

     

    • If your satin stitch comes out a little lumpy, it can help to put the eye of your needle into a row of stitching and move it gently back and forth.

     

    embroidered mmm badge 11

     

    • When making satin stitch around curves (like on the D in “MADE”) it helps to make the stitches inside the curve as close together as possible, and fan them out a bit on the outside of the curve, a technique that’s illustrated in detail on Needle ‘n Thread here.

     

    The round knots around the outside of the “I MADE this!” badge are colonial knots. They’re a variation on a French knot where you loop the thread in a figure eight around the needle before pushing it back into the fabric. I like these because they hold a larger, more textural shape, and can’t come undone as you’re making them. They look especially plump in wool threads.  There are more pictures and explanation about colonial knots on Sarah’s Hand Embroidery Tutorials.

     

    embroidered mmm badge 13

     

    finishing

    When you come to the end of a section of thread, bury it through the felt for a short distance and come out on the back. You can trim the ends close, since some thread remains in the thickness to keep your stitches from pulling out.

     

    embroidered mmm badge 4

     

    Once all your stitching is complete, cut out the felt circle, once more going carefully around the shape you traced.

     

    embroidered mmm badge 12

     

    Sew a pin, a clip, or a magnet to the back, and it’s ready to go meet the world.

     

    embroidered mmm badge back

     

    supplies

    I used handmade felt, because I have lots of scraps of it laying around. Use what you can find near you, but if you possibly can, use real wool felt rather than the synthetic stuff. Wool is just so much lovelier to work with, and it will hold up to wear much better. Mine was 2-3mm, or around 1/8” thick.  Weir crafts sells a variety of felt online, including some that’s handmade and some that’s made in USA.

    I discovered two things while looking for threads for this project: there are probably as many small companies and indie dyers making embroidery threads as there are making knitting yarn, and I personally am just not interested in using floss in flat colors. My mom has been into embroidery for as long as I can remember, and a quick dig through just part of her stash resulted in many more beautiful options than I could use.

    For the Me-Made-May badge, I chose two colors of variegated cotton “painter’s threads” from Tentakulum; 121 “Cezanne” and 125 “Matisse.” They’re made in Germany, and available through embroidery suppliers in the US, including Artistic Artifacts. DMC also makes a couple of ranges of variegated floss, which are a lot more common, at least where I live.

    For the “I MADE this!” design, I used some amazing fine crewel wool thread, dyed with natural pigments by Renaissance Dyeing, out of France; color numbers 0309, 1622, 1708, and 2000. Single colors are available in the US through Hedgehog Handworks.  Photos do not do these colors justice; they are good enough to eat!  Any crewel wool or very fine yarn that you like would be a good substitute.

     

    embroidered mmm badge 14

     

    In case you’re wondering, while I had plenty of materials to choose from right in front of me, I did do a little searching to see what I could come up with for organic/traceable threads. Renaissance Dyeing looks good on the sustainability front; they use all natural dyes and local wool, it’s just that they’re far away from me. Organic Cotton Plus also sells a line of organic cotton embroidery floss which is grown & spun in Peru and dyed in the USA.

    Personally, I think I’ll be using a lot of the yarn scraps I have lying around, especially for larger designs.  And I think it would be well worth it to buy (or spin!) some natural colored thread, and drop a tiny skein into every dye pot I try.  It takes so little, why not?

     

    resources

    All you have to do is start searching on Instagram, Etsy, or wherever you get your internet eye candy to find amazing examples of beautiful modern embroidery.  I particularly like Katherine Shaughessy’s crewel work, she has two books with a fun modern aesthetic, and sells supplies and patterns (with some free ones) on her site Wool & Hoop. Yumiko Higuchi also does some of my favorite embroidery. She likes to to mix wool & cotton threads, and her book just published in English (Simply Stitched) does a great job of taking advantage of the properties of both, as well as being full of inspiring designs.

    If you make one of these, I’d absolutely love to see it!  Share it using #mmmay16, #handstitched, or email me a photo. And of course, I’m here to answer questions if I can.

    Happy stitching!

     

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    Our Relationship with the Tangible World, or How I Learned to Spin

     

    first handspun yarn 1

    You may be able to guess what this is … yeah baby, my first bobbin of handspun yarn!

     

    So it’s like this: My beautiful, wonderful cousin came to visit me (with my beautiful wonderful auntie) and when she went back home, she left her spinning wheel here for me to borrow while she’s at college this spring. Amazing!

    I’ve been thinking vaguely about learning to spin for, um, the past two decades give or take, ever since I first practiced weaving with my grandmother. But it just seemed to take so long, like it would add so much time to my whole knitting/weaving process, so I wasn’t ready to commit. Needless to say, that was before the infinite list.

    In my new post-infinite-list world, starting to spin seems like the perfect choice; an expression of surrender and adventure all at the same time. Since there’s no way to ever finish all the knitting I’d like to (or weaving for that matter), I might as well make some frickin’ yarn!

     

    first handspun yarn 3

     

    Spinning is pretty amazing (I’ll talk more about that in a minute), but one of the best parts about it so far is an accidental discovery. In an effort to keep my immediate-onset spinning obsession from taking over my whole life (remember, I’m supposed to be focusing this year), I decided on some rules: I wouldn’t read about spinning except during times when I would normally read something else, and I wouldn’t sit down to spin at odd times during the day. Instead, I would wait until just before bed. So every night at 10 pm, I give myself permission to stop whatever I’m doing, shut off the computer, and spin for up to half an hour before getting ready to sleep.

    Oh people, this has been life-altering. A lot of the work I’ve been doing lately has been very abstract: putting my ideas out there to various people and institutions, basically a whole lot of online research and laboring for hours composing messages, many of which are never answered at all. I do hope that good things will come of it, but it’s basically a frustrating process that leaves me floating in inconclusiveness, and for the most part, kind of grouchy.

    Then at the end of the day, I put all that aside and sit down to learn, to make something real, to interact with the tangible universe. I’m reminded of this quote from Anaïs Nin about letterpress printing (which I found, like a lot of my deep-thought quotes these days, via Brain Pickings):

     

    The relationship to handcraft is a beautiful one. You are related bodily to a solid block of metal letters, to the weight of the trays, to the adroitness of spacing, to the tempo and temper of the machine. You acquire some of the weight and solidity of the metal, the strength and power of the machine. Each triumph is a conquest by the body, fingers, muscles. You live with your hands, in acts of physical deftness.
    You pit your faculties against concrete problems. The victories are concrete, definable, touchable. A page of perfect printing. You can touch the page you wrote. We exult in what we master and discover. Instead of using one’s energy in a void, against frustrations, in anger against publishers, I use it on the press, type, paper, a source of energy. Solving problems, technical, mechanical problems. Which can be solved.

     

    Although later this spring I will return this wheel to its rightful owner, I fully intend to keep this night practice going with knitting, or drawing, or something else. At 10 pm the computer shuts off, and I make something real for a little while before bed.

    Some things you may be wondering: yes, the spinning wheel tempts me all day when I look at it, but in a sweet way of something to look forward to. And yes, if we’re going out at night or I think we’ll have guests staying late (I’m not really a late-night person and tend to crash hard if kept up past my bedtime) I find a half an hour earlier in the day to spin. Yes, this is in addition to the hour I still try my best to find every day for personal projects. I’m discovering that the more up-in-the-air my day’s work is, the more real-world-project time I need to stay happy.  I’m also a firm believer in taking the time your life will allow for the things that are really important to you. And yes, when I wake up at night lately I find myself thinking about twist in fiber, which I like much better than mulling over my worries!

     

    first handspun yarn 2

     

    Another thing that’s been beautiful about this process (although it sounds funny) is watching myself learn. I suppose I’ve absorbed the mantra I’ve told all my beginning knitting students: “You can do this! Anyone can do it if they just decide to practice it.” I do absolutely believe that this is true, that skill in handcraft is available to anyone who’s willing to start where they are (which a lot of times means training your hands from scratch) and keep practicing. It’s a gift we get just for being human, but it does take work.

    Anyway, I’m cheating at learning spinning—the process is brand new to me but the feel of fibers and their qualities, the look and feel of yarn I’d like achieve, these things I already know. Not that I didn’t have lumps and bumps (you can see them!) and moments of beginner’s frustration which I had to push past, of course I did, and do still. But it’s been a long time since I learned something truly new to me, and maybe because of my teaching experience, but this time I’ve been able to let go of the outcome (a really healthy attitude for a first project in any material, I feel) and enjoy it. I’m a little surprised and pleased every time I sit at the wheel and notice that my technique is a little bit better, the yarn is coming out a little more even, or I just figured out some tiny thing that no one told me, it’s there in the materials and my hands to be discovered. When I first started I couldn’t spin from the imperfectly-carded batts of wool leftover from my early felting days, or treadle with one foot, but now I can do both.

     

    first handspun yarn 4

     

    If you’re not interested in being seduced into the wild world of spinning, stop reading now.

    Three compelling reasons to spin:

    Spinning is fast! For some reason I always assumed it was the slowest part of the fiber-to-garment process, but it’s clearly not, due to being a more-or-less continuous flow, rather than a stitch-by-stitch motion. It’s fairly shocking how quickly a newbie like me can make enough yarn to knit something out of.

    You can make yarn that you can’t buy, and the other people doing so are interesting folks!  This, realized while reading Ply Magazine, was one of the final straws for me: I could see myself wanting just such a yarn for such a project, but it wouldn’t exist commercially … I started reading Ply because of an article about how twist protects the fibers in yarn from wear (by Deborah Robson), and ended up reading every. single. thing. in the Twist Issue, even though at that time I had no plan to become a spinner. The way the articles are presented; with differing opinions, and explorations by people digging around the fundamentals of their craft, captivated me. The intricacies of how yarn is made are interesting even if you’re working with the yarn and not making it … but as I read I also became more and more convinced that if this is how spinners think, they are my people, and I must become one.

    Spinning is amazing! There’s something very fundamental about it, an immediate sense of how old and how intrinsic this process is, which draws me in. The rhythm is soothing, and at this point in my learning anyway, it works best if I can concentrate on what’s happening and be present without many words in my head—a lot like meditating, or dancing with someone. Plus you make real yarn from a pile of wool! If that doesn’t seem amazing, then you’re just not paying enough attention.

    I have just two tips so far for other would-be beginning spinners:

    Read the book The Intentional Spinner by Judith MacKenzie McCuin. Although it doesn’t have the variety of perspective you get from reading Ply, she lays out answers to a lot of the basic questions I had with clear photos, fascinating descriptions of fiber, and even ideas for making tools you need using a cardboard box and old knitting needles!

    Try not looking for a second while you’re spinning. I know it sounds crazy, but I tried it after reading an article by Carson Demers in which he said (among other things) that looking up at least part of the time you’re spinning (or knitting!) is much better for your body. And it turns out that (also like dancing with someone) if you take your eyes off what you’re trying to do, even for a couple of seconds, you become instantly so much more aware of all the other information available to your body—in this case what your fingers can tell about the twist and diameter of the yarn you’re making by feel.

    Ok three tips: just try it! Or try something else you’ve been meaning to do, and save it as a treat until the end of the day. I really can’t recommend it enough.

    Winter/Spring 2015 Workshops & Announcements

    tasha's lupine cowl

    Hello everybody! I’ve got some fun opportunities for hanging out with fiber folks and in-person learning coming up that I wanted to share.

    I’m teaching felting again this year at the Fiber Retreat at Arcosanti, AZ, coming up this weekend (Jan 23 and 24)!  My class is full, but there are still spots in other classes, and overall it should be a good time, with vendors, a speaker, and lots of opportunities to just hang out and knit or spin.  If you’re in the area and you’d like a little more info, contact me and I’ll send you some.  (Their website is a little sparse.)

    And, if you’d still like to take a felting class with me in AZ you may be in luck, because I’m also teaching at the newly revamped Flag Wool and Fiber festival this spring, May 30 & 31st!  I’ll be teaching felted flowers and 3D wet felting.  Details about the workshops should be up on their site soon.

    A new year also means new classes at Purl in the Pines.  Beginning Knitting and Sweet Tomato Heel Socks start the last Saturday of January.  Coming February 21st is a class I’m quite excited about, because we’re knitting a pattern of my own design, which I put together just for beginning lace knitters!  It’s called the Lupine Cowl (pictured above).  Please contact the store for more info and to sign up.

    I’m also talking with the folks at LocalWorks (Flagstaff’s maker space) about running some beginner sewing classes there, and hopefully I’ll have more info on that soon.

    While we’re on announcements, I keep meaning to mention (for those of you reading via email) that I’ve been working on the site slowly, starting this summer, and it this point I think it looks about as good as it’s going to unless I break down and pay someone to help with it (what—people do that?).  There are now category pages which hopefully make it a lot easier to find what you’re looking for, and a bunch of hand-carved stamps and typewritten words which have found their way into the digital world, so if you haven’t been in a while, check it out!

    I’m going back to preparing for Arcosanti now, but I hope to see you all soon, either in person or out here on the interwebs!