THREADS : CHOOSING AND USING
I always use single strands of size 25 cotton embroidery floss. A skein of floss consists of six strands loosely twisted together, which you just need to separate and trim to a workable length. You can use double strands for this kind of work. However, I find a single strand more comfortable and flexible to work with.
BRANDS
The brands I use are Olympus, Anchor, and DMC. I list all the colors used for each project by their numbers. These numbers are universal across the brands, whether you buy them in the United States, Europe, or Japan.
Olympus threads may not be as readily available in some countries as they are in Japan, so you can use the conversion chart on pages 104–105 to find suggestions for Anchor and DMC shades that can be used instead.
You will soon learn that the key to success when painting with thread lies in using lots of threads in similar shades. All of the brands produce threads in a wide range of colors, so if you find you prefer the feel or workability of one brand over another, you will still be able to create rich and realistic painted embroideries by using that brand’s subtly graded shades of thread. If you go on to design your own cats or other embroideries you will soon see just how many color choices there are.
MORE IS MORE
When it comes to painting with thread, the slightest change can make a big impression on the end result. Just like an artist working with paint, you have choices to make, and there is no right or wrong decision. You might choose to use fewer colors, for an impressionistic or naive interpretation. Adding more colors between the existing ones makes a transition between the two, which can lead to more lifelike representations. You can build up this technique to produce an almost photographic effect. You can see what I mean with this tail, which has been built up in stages by adding in more colors.
However you choose to progress, the end result will be all yours: a genuinely unique and individual embroidery.
Two Colors
Four Colors
Six Colors
Eight Colors
IT'S NOT BLACK AND WHITE
Once you start to embroider cats you will soon learn that what you “think” you see might not be true. For example, when you look at a tabby cat, you might think you are seeing shades of gray, perhaps with some pure white or black as well. But, on closer inspection, you may well also notice shades of brown, maybe even some pink, yellow, or orange. Look at a cat with a white neck. Do you also see beiges, grays, and “shades” of white from muddy to bright? Thankfully, embroidery floss is produced in myriad shades, which means you can re-create natural-looking color and pattern, and produce embroidered cats that look like the real thing.
THE AREA YOU COVER
It is worth remembering that the appearance of a particular thread color will depend on the size of area being covered. A color used sparingly and spaced out will look different to the same color used densely to fill a whole area. You will soon learn how color is affected by density of use as you progress through the projects.
White thread used densely.
White thread used sparingly.
WHAT YOU’LL NEED
In order to start painting with thread, you really need to have all your equipment ready to go. You will need needles for each thread color, pin cushions to hold them, your fabric and hoop, and a few other essentials. Luckily, embroidery equipment is not expensive, and if you buy good-quality products, they will not only make your work easier but will also last longer.
(1) FABRIC
Your number-one consideration when choosing a fabric is that it must be able to hold the embroidery in place. Plain-weave, nonstretch, fairly smooth fabrics—that are not too thick—such as linen and cotton, are ideal for both embroidery and tailoring. Oxford cotton and denim are good choices.
You can apply embroidery to cotton jersey (T-shirt fabric), but the area to be worked will need backing with a stabilizer, such as an iron-on interlining.
Avoid textured, coarsely woven, or thick fabrics, since these are challenging to embroider delicately, regardless of their thickness. Remember also that you need to be able to transfer detailed sketches to your fabric, so avoid fluffy woolens.
(2) INTERLINING
Lightweight or delicate fabrics will need strengthening in the embroidery area. An iron-on interlining is easily applied to the wrong side of the fabric following the manufacturer’s instructions. You then work the embroidery through both layers.
(3) NEEDLES
I always use size 10 embroidery needles. These support the single strands of size 25 embroidery floss that I use, but also fit my hand and make working comfortable. Feel free to experiment with thinner or thicker needles to find the right fit for you.
A slightly thicker needle may be necessary when working with a stiff fabric, and it can also be useful to use a needle one size bigger than your working needle to loosen holes as you work. If you find your stitches are always tight, try using a needle in the next size up.
(4) EMBROIDERY HOOP
A 6- or 7-inch (15- or 18-cm) embroidery hoop is the perfect size for the projects in this book. While a smaller hoop will hold the embroidery area, you really need space around the edges of the design to make working easier and more comfortable.
It is a good idea to diagonally bind the inner ring with cotton tape to provide a better grip to keep the fabric in place. Some hoops are lined with nonslip rubber, which can degrade and stain your fabric, so I suggest you remove old rubber and bind with cotton tape instead.
(5) TRANSFER PAPER
Dressmaker’s transfer paper leaves lines on the fabric that disappear on washing. Simply lay the transfer paper on top of your fabric and your template on top of that, then use a ballpoint pen to trace over the template lines.
(6) THREAD TRIMMERS
Small, sharp scissors are fine for cutting threads, but thread trimmers are especially good for cutting away the loose threads at the back of your embroidery.
(7) SEAM RIPPER
If you need to take stitches out, a seam ripper allows you to work under the stitch without cutting into the fabric below.
(8) PIN CUSHIONS
My thread-painting practice has been changed dramatically thanks to a cheap pin cushion found in a children’s sewing set. The sections all around the edge of the cushion