Nuts about Needlepoint » blackwork

Blackwork as Backgrounds

Janet Perry — Wed, 19 Oct 2011 14:34:09 +0000

Canvas by Tink Boord-Dill

Blackwork is an wonderfully effective technique to use as a background for needlepoint.

By its nature Blackwork has several characteristics that make it great for backgrounds. First, it’s open, so it will almost always look lighter than the focal point, even if the focal point is stitched in Tent Stitch, as is the case with the peach’s background.

Canvas by Kelly Clark

Second, because the stitches are usually done in thinner threads, it is lower and looks more distant than the focal point. You can see this in the chicken wire background for the rooster.

Canvas by Juell

Third, if you do the Blackwork in a color similar to the background color, you can use busy patterns that may not work if done in other colors. The pattern behind the cats is elaborate and large. If it had been done in textured stitches, it would overwhelm the cats.

Here are some wonderful Blackwork patterns (called fills) that make great needlepoint backgrounds.

This pattern, Chinois, was designed by me based on a Chinese Lattice pattern. Although it is a dense pattern, it’s just fantastic as a background because of the repetition of the squares.

Clamshell Blackwork, seen above, is a large open pattern. I recently used it for a sky, where the pattern reminds me of a mackerel sky.

Lawn is a small pattern that would be a wonderful background in a color to match the canvas color. You could also vary it by leaving out motifs, either randomly or in a specific pattern.

Stark is a large pattern that was designed by me inspired by an elaborate carpet.

Based on a Japanese quilting pattern, Floating Diamond, is a wonderful motif pattern that could easily be made more dense if needed.

I hope you’ll try Blackwork for your needlepoint backgrounds soon.

Japanese-inspired Blackwork

Janet Perry — Wed, 17 Aug 2011 13:50:25 +0000

Working from the seamless Japanese pattern I created a couple of weeks ago, I was inspired to create Blackwork patterns.

Because the lines of the hemp leaf pattern are oblique, they can be hard to create in needlepoint. I think these lines look better when stitched as lines and that means Blackwork, either on its own or over Tent Stitch.

Remember that the original pattern is based on the shape of the hemp leaf and is call asanoha. I have created two patterns based on this. In the first, below, you can see the leaves pretty clearly.

The second pattern, below, is larger, so that the leaves will only be apparent in a larger area.

Remember that these are charted as traditional Blackwork charts, not as needlepoint diagrams. Each square in the chart represents a stitch going over two needlepoint threads. Therefore, the short oblique lines go over 4 threads in one direction and two in the other. The longer oblique lines go over a total of 8 threads in one direction and 4 in the other, divided into two stitches.

Needlepoint Bookstore

Janet Perry — Sun, 14 Aug 2011 13:47:23 +0000

Originally posted 2008-08-02 07:53:05. Republished by Blog Post Promoter

Are you frustrated with finding the needlepoint books you want?
Do you wish you had a place where you could go immediately and buy the books you’ve heard about?

Me too.

So I’ve added a bookstore to the blog. You can also access it anytime by clicking on the “Needlepoint Bookstore” link in the upper right corner of any page in the blog.

It’s in association with Amazon.com. I’m going to be adding more categories as time goes on (including books on other fiber techniques, color, clip art, and books for ideas). I also plan on checking out the offerings weekly, so stop back often to look for updates.

Many of the best needlepoint books are out of print, so this gives you a way of finding them and getting them quickly and easily.

In addition, whenever a book I review is available on Amazon, I will include a link to buy it. I have already added these to all the reviews I can on the blog already.

Happy stitching and shopping!

Gallery of Free Middle Eastern Patterns for Blackwork, Pattern Darning & Counted Needlework

Janet Perry — Mon, 25 Jul 2011 14:12:13 +0000

In this outstanding library of counted patterns (thanks to Denise of CraftGossip for pointing it out), you’ll find dozens of motifs from the riches of traditional Middle Eastern embroidery.

The index page for the designs breaks them into technique. It shows a thumbnail of each design,describes it, and provides information about the source.

Click on the title to get the full-size chart. The pieces cover a broad range of dates, from the 12th Century to today and come from many countries.

It’s a marvelous resources and a wonderful source of ideas.

Blackwork Patterns by Laura Perin – book review

Janet Perry — Thu, 07 Jul 2011 14:27:40 +0000

Laura J. Perin Designs,2005, $40

While you may know of Laura’s work from her lovely and popular quilt adaptations to needlepoint she also has many wonderful Blackwork designs. She compiled all the patterns and variations of patterns she has designed into this wonderful book.

There are over 600 designs in all, divided into three groups of small, medium, and large patterns.

The book begins with a short introduction, explaining the consistent symbols she uses throughout. Unlike traditional Bargello, which uses one color with only occasional accents, these patterns are designed to use up to 3 color plus beads. There is also a short chapter explaining the different stitches in Blackwork.

Each of the patterns is shown three ways, with 1, 2, or 3 colors (or 3 colors with embellishments). Sometimes the patterns are just alternate ways to color them, sometimes they have additional stitches that give them a different look.

Each pattern also has a short description that talks about the pattern, possible uses, or additional variations.

Helpfully for the needlepointer, and like Julia Key Snyder’s recent book, the patterns show the individual stitches. They are not numbered, so that you can choose your working method and work out the pattern based on that.

I love that the book divides the patterns up by size, although I wish the different chapters were more clearly indicated. Paging through the book, the patterns range from simple to complex but none are difficult.

Although not indicated in the Table of Contents, there is a chapter of border patterns, 26 in all, following the large patterns. The book finishes up with a gallery of many of Laura’s blackwork projects.

It’s an idea-filled book, perfect to inspire using blackwork in your needlepoint.

Blackwork: Royal School of Needlework Essential Stitch Guides – Book Review

Janet Perry — Wed, 06 Jul 2011 14:06:39 +0000

Becky Hogg, Search Press (Turnbridge Wells, UK, 2010) ISBN:978-1-84448-551-2, $21.95

This book is one in a series on different techniques done under the banner of the Royal School of Needlework. In fact the author has both studied and worked there. This book is an excellent introduction to Blackwork with a strong emphasis on the use of the technique as a fill for outlined shapes and for shading.

The stitched examples lavishly illustrate the book. Many are astonishingly complex and show off the use of Blackwork in classic and contemporary designs. Your jaw will drop (mine did) at the level of detail and shading you can get with this technique.

The book begins with a history of Blackwork, then follows with a discussion of materials and how to frame your fabric so it is tight. Here they use a type of traditional embroidery frame called a slate frame, where the fabric is bound with twill tape and then laced onto the frame (as an aside, this is about the best explanation of how to do this I’ve seen).

Then it’s on to topics specifically applied to Blackwork. You’ll learn about design principles, transferring the design, the two main stitches used in Blackwork and other stitches that are used for outlining and emphasis.

There is an extensive section on Blackwork patterns, with each pattern show both stitched and charted. As is traditional in Blackwork, the stitches are shown on the lines and the diagrams are not numbered. Over 30 Blackwork patterns are shown, along with some darning patterns. Throughout you’ll see examples of completed Blackwork with short explanations. Many of the patterns here are simple, but they do a wonderful job of conveying texture and shading and would be lovely done on needlepoint canvas.

The next section discusses shading, which is a fundamental technique when using Blackwork in needlework. You’ll learn about the two main ways to shade:by changing the thread thickness or by breaking up the pattern. You can also combine the two to get even more subtle effects.

The final section has ideas for how you can expand your use of this technique.

The book is spiral bound in a hard cover so it can lay flat.

Although there are no projects for you to stitch in this book, it is a wonderful guide to traditional Blackwork and will fill you with ideas.

Great New Book on Blackwork in Needlepoint – Book Review

Janet Perry — Tue, 05 Jul 2011 14:25:18 +0000

Blackwork is used as a background in this canvas from Tink Boord-Dill, with a stitch guide by Janet M. Perry

Everything ‘Blackwork’ is New Again, Julia Key Snyder, self-published, 2011 (available at needlepoint shops)

I love Blackwork and love to do it on my needlepoint, so I was very excited when I read about this book. When it arrived I was a little skeptical because, it’s just pages and pages of patterns with no names and no text. After having looked at it, I am now a fan of this approach.

Each pattern is numbered and the diagrams are large. They are big enough to show several repeats of the pattern. That’s great because you really get a feel for how they will look. For one part of the pattern, the stitches are numbered, but arrows showing the direction to use for each stitch are shown on every single stitch in the diagram.

That is the most incredibly helpful thing!

Blackwork as a technique on needlepoint canvas has two stumbling blocks and Snyder addresses them both beautifully in this book.

First many blackwork patterns look like the diagram above, with the stitches on the lines of the grid. Since in needlepoint the convention is to have the stitches begin and end in the holes of the grid, this can be very confusing. In this book all the diagrams are like good needlepoint diagrams; the stitches have curved ends so you see every stitch and they begin and end in holes.

If Blackwork diagrams have defeated you in the past, this will help you understand the technique.

Second, because canvas is so open, it can be hard to figure out a path to take so that threads don’t show on the back. Snyder acknowledges this as a problem with Blackwork on canvas and in her numbering schemes she has worked out paths for most patterns that aren’t double running (used for Blackwork on cloth) but that don’t leave thread trails.

There is a one-page introduction that talks about some ways to use Blackwork as well as some working notes on the diagrams. Then it’s on to the patterns.

The patterns are wonderfully varied and I can think of tons of projects sitting in my stash where they would work.

Many of the patterns are variations of other patterns and this is the source of a small complaint. I’d love to see related patterns next to each other. Occasion ally this happens, but mostly it does not. Having related patterns next to each other would make it easy for me to decide if I wanted to add more stuff to a simple pattern or not.

There are a few patterns in her that are not strictly Blackwork, I saw a laidwork pattern and some textured stitches, but there aren’t many of these.

All in all it’s a simply fantastic book and I’m so glad I have it.

Free PDF of Blackwork Book to Download

Janet Perry — Mon, 04 Jul 2011 14:33:30 +0000

This is going to be a very black and white week, with reviews of Blackwork books the next three days. To start the week off right, I want to let you know about a book available to download free (in four parts). Ensamplario Atlantico is 40 pages long with 35 pages of plates. It is split into four parts and can be downloaded here. The book is made available through the blog String or Nothing. They ask that you let them know about things you make with these patterns and that they not be used for commercial purposes. Thanks to Denise at Craft Gossip for pointing this out. Related posts: Great New Book on Blackwork in Needlepoint – Book Review The New Anchor Book of Blackwork — Book Review Needlepoint Trade Secrets: One chapter free download & special offer Blackwork Patterns by Laura Perin – book review Ultimate Big Book of Finishing, Needlework Knowledge and Techniques – book review Related posts:

December Twinchy Gallery

Janet Perry — Wed, 15 Jun 2011 14:34:16 +0000

Originally posted 2008-12-31 06:18:18. Republished by Blog Post Promoter

This Twinchy is of ornaments hanging on a tree. I made a stocking of it with much larger ornaments, all in blackwork on dyed canvas, but I wanted something simpler, easier, and faster.

It uses another technique to make differently colored areas. I began by using a quarter to trace out the ornament shapes, making sure they overlapped. Then I stitched in background in Encroached Gobelin using Gumnuts Blossoms. The soft shading of this wool allows the ornaments to stand out.

Each ornament is stitched in a different Blackwork pattern (pictured above). You can click on the picture to get a full size chart for all four. All but the pink and blue one are stitched in Kreinik metallic. The remaining one is stitched in an Anchor peal with metallic from my scrap bag.

Once the ornaments were stitched I felt it looked a bit abstract. So, for a finishing touch I stitched some bunches of random Diagonal Gobelins to be the bunches of pine needles, covering the edges of the ornaments. This was the perfect touch, making the whole thing look life-like.

This first Twinchy is called Snowflakes and it uses an easy overstitching technique to do Blackwork on needlepoint canvas. I began by coloring the background blue (or you could use blue canvas but I didn’t have any). Then I stitched T Stitch over the entire area using one strand of Impressions.
Over this, using white (100HL) Kreinik metallic, I made snowflakes in Blackwork. None are centered and they overlap. The charts for the snowflakes will be available around Jan 12, once I get the manual I need unpacked.

Last, but not least, is this unassuming Twinchy. It will be finished with a wired ribbon bow and will look like a real package.

I divided the Twinchy into quadrants and stitched a ribbon down the center. Notice how the ribbon “overlaps” to look realistic. The rest of the Twinchy is stitched in Jacquard using Very Velvet for the Byzantine and metallic for the Tent Stitches.

This is a really simple Twinchy to do, just use any stitch and thread combination you like.

These three Twinchies give you lots of ways to exercise your creativity.

Bath Mosaic Needlepoint – Central Medallion & Borders 1

Janet Perry — Thu, 02 Jun 2011 14:07:18 +0000

Originally posted 2009-08-13 07:07:06. Republished by Blog Post Promoter

This week we’ll start stitching the Bath Mosaic. The chart for this week will cover the central medallion, the square around it and the first two borders.

The chart is shown in parts, in a small size below. To get the full sized charts, click on the picture below. To help you find your place, each chart builds on the other ones.

The design, when stitched on Congress Cloth is stitched using one strand of silk. If you are using 18 mesh canvas use two strands.

The key to the charts is as follows: blue squares – blue Needlepoint Inc 325, red squares – terra cotta Splendor S925, green squares – gray Splendor S920

The design uses Tent Stitch and Blackwork only. Since the Tent Stitches are only single or in straight lines, continental stitch will be the best choice. This will give the most coverage on the back and will prevent the stitches from disappearing on the canvas. The blackwork on the model was done continental style, always moving the needle up in a clean hole and down in a dirty hole. You could also do this as Double Running Stitch or Backstitch. I like the thicker look Backstitch gives blackwork because of the greater coverage on the back.

A note about the chart: I had great difficulty in rendering the chart and finally ended up doing it in the way it makes most sense to me. The central medallion and all curvy lines are charted like regular blackwork (i.e. the lines of the stitches are on the lines of the paper). Tent Stitches always take up squares on the charts. Because of this you should check the counts on each border with your needle before beginning to stitch a side or section. Blackwork is terrible to unstitch on Congress Cloth!

To make the central medallion, begin in the center of the pattern. This is only a single tent stitch in blue. Four canvas threads from it begins the “sun” pattern in terra cotta. Make the circle of Tent Stitches first. Then add the backstitching over two threads in each direction. Use terra cotta for these stitches.

Now you can begin the first set of curves. The straight lines at the compass points begin one thread up from the sun’s rays and go over four threads. They are made up of two backstitches over two threads. I put these in first. Then I did each section of curve. Generally they use a 2 and 1 slope and curve around the area. Stitch the area in the same blue as the center stitch. For the innermost blue line the central stitch in the curve is shorter.

Once you have completed the blue curves, you will do the first circle of “flower petals” in terra cotta. Do the edge of the petals in Blackwork first. Later you can fill them in with Tent Stitches. I have only charted the Blackwork edge of the petals so you could see the design more clearly.

Next make the outer row of petals in blue. It has a single Tent Stitch at each point.

This completes the central medallion (curvy part).

Now you are ready to square the central medallion, making the first border and corners. Unlike the central medallion, here the Backstitches are done over a single thread of canvas. This is where doing Backstitch in the continental style will really make your life easier. It creates a much stronger line because stitches do not disappear. This line of stitching is one thread beyond the outermost points of the petals. I began in the middle of a side and worked around. Once you have completed the square you can do the squares in each of the corners.

This chart illustrates the proper method to make Backstitches for this project. By stitching front to back the coverage on the back is thicker than the coverage on the front, making a stronger line.

As you work on the borders, the best method is to lay down the innermost line of the border first. Then determine the location of the outermost line and stitch it. Now using your unthreaded needle, count to find the locations of the border pattern. I make sure the count is right by slightly moving the threads of the canvas out of the way wherever there will be a stitch. That way it is easier to figure out if the count is correct. The Blackwork on this border is stitched in blue. The Tent Stitches are blue and terra cotta.

The second border is two threads beyond the first border. This one has only an outside line. Stitch it and then put in Tent Stitches in terra cotta next to it, every other stitch, all around the square. You will note on the chart that the stitches meet at the corners.

Put the inside line of the third border three threads beyond the second border. In order to place the outside border I put in the corner crosses first. This lets me know where the outside line for the border should be. I next stitched that in.

This border looks to me like a bunch of books, lined up with the spines at the back. This border is not even; one block on each side is three threads instead of four. It is easy to discover these kind of problems and adjust for them before you stitch if you count the pattern out.

Follow the entire series on-line: Introduction and materials, central medallion and borders 1, borders 2, borders 3 & finishing ideas