Embroider a sparkling brooch "Penguin"
This master class is my New Year's gift to all beginner embroiderers and interested in embroidery. I sincerely believe that understanding how, why and why we do these or those things, facilitates the process of learning a material, memorizing it, and applying it in practice. There are many useful secrets that not all embroiderers are willing to share. The master class is focused on beginners, assiduous and ready for difficulties. I admit and I hope that advanced embroiderers will also find something interesting for themselves.
So, we will embroider a penguin.
The penguin will be unusual, almost jewelry. This is a volume brooch embroidered with rhinestones that will glitter and shine in any light, and with a bonus holographic rhinestones will independently select shades, focusing on the surrounding colors. The size of the penguin is slightly less than 7 cm in height.
The penguin is a bird that is associated with winter through the paradigm (in quotes, of course :)) “It's cold! Arctic! "🙂 And winter, friends, as we know, close, it will be cold and boring, so let's add shine to it!
To work will require:
- felt thin;
- black acrylic paint and paint brush;
- strass ribbons white and black;
- tough silver and black;
- needles thin for beads;
- threads of black and white colors;
- silver and black glossy beads;
- one rhinestone of blue color in a zap the size is 4 mm;
- dark silver-colored truncal;
- silver beads Toho size number 15;
- Toho black glossy beads, size 15;
- eco-leather for the back side of the brooch;
- The pin is the base for the brooch.
For convenience, I will divide the master class into 4 parts. In the first part we will study how the flooring is made of felt, allowing the brooches to have a voluminous look.
In the second we will sew a stiff gimp along the contour. I will explain how to stretch the gimp, how to fasten the ends of the gimp, how to sew on a stiff gimp, to make neat corners, turns and bends.
In the third part we will explain how to sew a rhinestone ribbon, fasten the ends, adjust the arrangement of rhinestones on the ribbon.
In the fourth part we cut out the embroidery and make a brooch.
Part one. Creating bulk felt from the flooring.
To begin, redraw a sketch of a penguin on the felt.
There are a lot of options for transferring the picture to the base for embroidery, mainly it depends on the type of base used and the complexity of the sketch itself.In this case, the felt is not a transparent material, and the penguin’s sketch is not difficult at all, so as not to philosophize slyly, you can cut the outline along the outline and cut it around on the felt.
Than to encircle, the question is important, I categorically do not recommend doing it with a blue / black / red pen, the pen can be seen from under the embroidery, it is best in this case to use the disappearing marker or a pen with a silver rod or a simple pencil, just draw neatly, not make fat lines.
Creating volumetric decking made of soft felt, I recommend using hoops. The hoop firmly holds the canvas and does not allow you to pull the thread so that the embroidery is crooked.
The photo shows a red circled part of the picture, which it was decided to make a volumetric one, this is almost the entire penguin without a beak, one wing and legs.
This part needs to be cut out of paper, attached to a separate piece of felt (I have trimmed it especially for this purpose), circle and cut. Such details we need 3 pieces. Three pieces are usually enough to create a small relief.
One part remains the original size, the other is cut along the contour, reducing by 2 mm, the third part is reduced in the same way, but by 4 mm.We collect the three parts together, superimposing them on each other in such a way that they go in decreasing order. In this case, note that the top must be a detail of the original size.
We fix the details between each other with wide stitches, excluding the possibility of their displacement relative to each other. This is the flooring of felt, which we need to sew to the canvas with a painted penguin.
We also place wide stitches on the flooring, we put the stitches closer to the edge of the flooring for better fixing and to avoid the displacement of the flooring relative to the canvas.
After the flooring is fixed, you need to sew it around the perimeter with stitches. For what it is necessary - that the flooring is smooth, evenly convex, so that the place of fastening of the flooring and the canvas is even. We make stitches perpendicular to the edge of the flooring at a short distance from each other. Notice that at the very beginning we inject a needle from below into the flooring perpendicular to the plane of the canvas at a short distance from the edge (photo 1), draw the thread, then we insert the needle at an angle from above into the canvas itself along the line of the pattern. The sharp end of the needle is directed to the center of the web (photo 2).
When making fastening stitches, it is important to monitor the tension of the thread, it must be uniform throughout the circle and sufficient to ensure that the deck is snug against the web tightly, without gaps.
For the best result, I make a second circle of stitches along the flooring; stitches are made between the stitches of the first circle. If the line of transition from the floor to the canvas does not seem smooth enough to me, then I will make a 3 circle of stitches.
After the flooring is ready, cut off the notch and get a three-dimensional element. In the photo, the whole process is clearer and looks like this:
Also, I have a short video about how to do volumetric flooring of felt, but for another job, but the principle is important to us.
After the flooring is ready, you need to redraw the sketch lines on it.
Next, I want to single out one wing, giving it an even larger volume. On the sketch in blue, the part of the wing is marked, to which we will attach the volume. The technique of execution is the same. We cut - we apply to a piece of felt, we circle. The detail is made in two copies, one of which is smaller than the other by 2 mm. We connect the parts with each other with a basting, we tack on the canvas, we make reinforcing stitches in a circle. Now the flooring is complete.
I don’t like it when the base looks out from under the embroidery, I rarely buy colored felt and I often use acrylic paints, they mix well with each other, giving the right colors and shades, have a rich color, water dilutable, for embroidery it’s valuable that they dry quickly on the surface, dried paints are not soluble, they will not flow, do not stain either embroidery or clothes, even if you are hit by rain or accidentally wash a brooch.
My penguin is planned to be two-color, for black rhinestones and beads there will be an ideal black base. Therefore, I take a black acrylic paint, a brush and I paint a felt.
At this the first part of the work ends, the goal - the creation of bulk flooring - is achieved. You can decorate the penguin to your taste and desire with beads, sequins, other materials. I want rhinestones, so we will continue.
Part two. Creating a contour tight cantle.
Rigid gimp is used in embroidery in a variety of ways, it bends well, stretches and at the same time holds a given shape. You need to understand that stretching a piece of gimp, you can not return it to its former shape.In most cases, a stiff gimp is attached.
Gimp will sew along the contour of the penguin, it will not lie on the flooring, but on the canvas, that is, along the flooring and right next to it. Inside the picture we will sew the gimp along the marked lines.
We need two colors of gimp - silver and black. For embroidery with silver cantle, I needed a segment of about 10 cm in length. This segment needs to be carefully and evenly stretched so that the distance between the turns of the gimp is the same. Note that the longer the segment you took, the harder it is to stretch it evenly.
How to stretch the gimp. Take the cut by the ends with your thumb and forefinger, gently and slowly pull the ends in opposite directions. Stretching will be sufficient (in the embroidery of my penguin, in other cases the length of stretching depends on the artistic intent) when the distance between the turns of the gimp will be equal to one turn. The segment has increased by about half. The ends of the segment, for which we held, were not stretched, you can, of course, contrive and try to stretch them, but it is easier to cut off.
As already mentioned, the gimp will sew vprepk. Anchoring stitches should be arranged parallel to the turns of the gimp, the thread should be laid between the turns. We begin to sew under the very beak.
The first reinforcement stitch is doing so. We attach the gimp to the canvas butt to the flooring, hold the cut with a finger, fix the end of the gimp with the first stitch, passing the thread between the first two turns.
Thread and needle move as follows. We will sew from left to right. The thread with the needle is at the bottom, the needle is injected at an angle with the tip in the direction from the center and we leave in the middle between two turns (not on the side of the gimp, but from under it, butt in the wire of the lower turn). Try to thread the thread in such a way that the stitch is inside the gimp line, this is necessary so that later when cutting embroidery you do not cut the working thread.
The working thread is stretched and passed between the first and second coils. Hold the thread in this position with your finger so that there is no displacement and so that it lies flat between the coils.
Now we are completing the fixing stitch, sticking a needle (needle perpendicular to the plane of the canvas) on the other side of the gimp also in the middle between the same turns (the stitch turned out along an oblique line).
Further we continue to sew the gimp in the same way between the coils.
How often do you need to do interlocking stitches. Ideally, anchoring stitches should be made between 1-2 turns, then the gimp will lie more evenly and more closely to the canvas, will not move, and you will be sure that it will not deform from careless movement. I usually make interlocking stitches between each turn only at the beginning-end of a segment, in turns, bends, corners and in places where the volume converts to a plane, that is, in those places where it is necessary to fasten it in the most reliable way. Throughout the rest of the relatively flat line, do anchoring stitches in 4-5 turns. This is enough for a good result.
When working with hard cantle, I want to draw attention to several important points.
Firstly, we make only one interlocking stitch between the coils, no more, otherwise you risk to pull the thread and deform the bother, it can bend in this place, or the distance between the coils may increase.
Secondly, take your time and make it a rule to first lay the thread between the coils, and, holding it, finish the stitching.Over time, it will come to automatism, and the work will go much faster. Without putting the thread, not holding it in place, you risk again to deform the gimp.
Thirdly, the crook is a spring, cutting off the spring, we have at the beginning and at the end of the segment a sharp tip of the wire. This very sharp tip should be directed with the tip down, so that in the future it will not cling to everything in embroidery, as well as during the use of the brooch.
Fourthly, try to maintain the direction of movement of the thread from left to right or vice versa, and not as it pleases, especially this advice is relevant if felt is cut off right behind the cantle (our case) in order to avoid cutting the working thread from the inside.
How to make sharp turns and sharp corners. You can make them in different ways, you can stick the needle exactly at the top of the corner and leaning on the needle to turn the rigging in the right direction, sharpen the corner, for example, with thin pliers. When approaching the top of a dull or not too sharp corner, I make frequent anchoring stitches between the turns, the last anchoring stitch is located at the top of the corner. Then I stretch the worker thread, which is at the moment below.At this moment, the gimp is tightly pressed to the canvas (do not overdo it in tension, so as not to distort the gimp!) Due to the tension of the thread, the gimp is fixed and I turn the finger in the desired direction with my finger, that's the whole corner. Then again do frequent stitches. I also do cornering.
How to make bends, for example on the foot. Before the bend and throughout its length, we make frequent stitches between each turn. We direct the free end of the gimp along the drawing line, hold it in this position with your finger, fix it with stitches, bend it again along the picture, fix it again, and so on. Do not try to bend the gimp on the form at once, and then sew it, so you can miscalculate and / or deform the gimp, sew, gradually turning the piece, according to the shape of the drawing.
We sew a silver gimp according to a drawing, we don’t interrupt the segment anywhere, as you see, it was enough length. Having reached stitches to the beak, first cut off an extra piece of gimp with scissors and only then fix the gimp with frequent stitches to the end. Again, try to leave a sharp corner of the wire when cutting off the bottom.
Pruning trim was enough for the second foot. How to sew it, you already know. Plus the fact that I did not have to stretch the gimp again, referring to the initial stretching, the distance between the coils on the body of the penguin and on the foot is the same, it is nice)
Using this knowledge, we stretch and sew a black gimp. Do not forget the stretching (width between the turns) of the black gimp to be the same with silver, for beauty and aesthetics. I sew black gimp with black thread.
Part Three Sew on strass ribbons.
For the penguin, I picked up 2 color strass ribbons - glossy black and white holographic. Rhinestones I have several sizes, from 2 mm to 3.5 mm. My task is to place and fit the rhinestones inside the contoured contour so as to leave as little uncovered space as possible. Unless otherwise dictated by artistic design, I recommend to sew ribbons in one direction close to each other.
Before we get to work, let's find out what a metal strass tape is. In my case, this is a metal strip on which rhinestones are worn,clamped in a metal frame, otherwise called a tsap, inside a tsap a metal tape has stops that prevent the rhinestones from sliding freely over it, but nevertheless they remain movable relative to their place.
Tsapa holds the rhinestone with four paws and has two holes through which the metal tape passes.
Ease of use in the work of strass tape is the ease and speed of sewing a large number of rhinestones, as well as the fact that all the rhinestones are located on it in one direction.
Strass tape sewn to the canvas attached, with fastening stitches attached to the girth of the metal tape.
The metal tape is not bent in half and has a sufficiently large angle of rotation. It is impossible to make a sharp angle with a metal tape, it is bent in a semicircle. Therefore, to form corners, the rhinestone ribbon needs to be cut and turned in the right direction. In this case, the tape is cut immediately after the DAC, leaving no metallic tail. Thus, the last rhinestone remains attached to the canvas by only one side, can freely hang out and get out of the general pattern.To avoid this, there is a technique of fixing the first and last rhinestones. It consists in fastening the thread with the thread by the presser foot, thereby sewing it to the canvas, fixing and excluding the possibility of displacement. Details below.
We proceed to the penguin embroidery. We will sew the first segment close to the hard gimp line. I took a white ribbon with rhinestones of 2 mm. Putting it to the neck of the penguin, you need to place, or rather fit the rhinestone with the horizontal side as close as possible to the sharp corner. Now fix the rhinestones with your finger and sew a stitch to the back of the tape. I draw your attention to the fact that fastening stitches are made, firstly, strictly perpendicular to the ribbon, if you make at least a little diagonally, then under the weight of the lower rhinestones, the first one will unfold and move away perpendicularly to the stitch. Secondly, in order for the rhinestone to remain in such a position as we fixed it, it is necessary to make an anchoring stitch close to the underside of the pin and not a single millimeter lower, otherwise again, under the weight of the ribbon, the rhinestone will slide down. This is the first moment.
The arrangement of the rhinestones on the collet is dense, and it can be sparse; my 2 mm tape is of the second type.This type allows after embroidering to decorate the empty space between the rhinestones crochet, beads and other materials. According to my plan, rhinestones should be located as close as possible to each other and more closely. What we do. As I already wrote, Dacs are relatively mobile in their place. After the first rhinestone is sewn, I push the second one to it as close as possible, which the limiter will allow me to do, so I change its position on the tape and achieve the effect of density. Holding the second rhinestone in this position, I make the same anchoring stitch. I continue to sew a rhinestone ribbon, each time moving the rhinestones close to each other. Constructive stitches here need to do after each rhinestones. This is the second point.
Photo of the process:
The third moment, having reached the limiter, which is a stiff gimp, I cut off the tape right behind the collar, without leaving a metal tail. Now the last pin needs to be fixed so that it does not hang out. We do this as follows. We exit the needle butt-to-bottom to the lower horizontal edge of the tsap and exactly in the middle of the hole for the tape, pull the thread up to its full length and, putting the thread on the foot, catch it over the leftmost or right foot.It is important that the thread descends to the base of the foot, and does not remain on the surface of the rhinestones. If the thread does not pass, you can bend the foot slightly with a needle, and, having missed the thread, close the foot back.
When the thread passes through the foot, we pierce the needle on the side of the barrel, also close to the metal and in the middle of its vertical rib, pull the thread from below - one foot is fixed. In the same way fasten the other foot. Here it is necessary to explain why it is necessary to inject the needle in the middle of the rib. In relation to the lower horizontal - for balance and fixation in the right place for us. With respect to the vertical - if the stitch is slightly lower, then the stitch will turn out to be small and the upper horizontal rib will climb upwards, if the stitch is slightly higher, the stitch will turn out large, the rhinesthesis will remain relatively mobile, there will be a risk that the bracing will sooner or later slip off the paw and remain on embroidery ugly incomprehensible whence taken loop.
It is desirable to secure in this way all four legs, so that the tension of the thread will be evenly distributed throughout the entire ditch and it will not budge. On the side where the rhinestone is sewn, the first stitch is fixed not in the middle of the hole (there we have a ribbon), but immediately at the tape close to the zapa.For the lazy, in order not to fasten the upper legs, you need to repeat the anchoring stitch over the upper vertical edge of the pin, inserting the needle into the opposite edge from the foot that was last sewn. All these manipulations are done in order to balance the tension of the thread, fasten the rhinestone in the right place and give it the opportunity to pull up some of their four corners.
And finally, when sewing a strass tape, it is better to use threads that are thick and not fleecy, since they are often cut on the sharp edges of the tape and legs.
Having fastened the lower rhinestone, we return to the beginning of the segment, passing interlocking stitches once again throughout the tape, and similarly fix the first rhinestone.
Photo fixing process:
I have a short video illustrating the process described.
Laying the second row of strass tape. Next, I took rhinestones of larger size, which laid a few more rows.
In a similar way, moving along the lines of stiff gimp, I sewed black rhinestones. I sew black old-timers with a black thread.
Inevitably, we will have empty unclosed rhinestones places.Plan such places closer to the edges of the brooch, so that there are no holes in the very center of the penguin, like rhinestones carved from the frames. Due to the color of felt with acrylic paints, these voids will not be noticeable when we sew beads on them in the color of rhinestones.
Now the penguin needs to be made an eye, for this I chose the usual stitched rhinestone of rich blue color in a four-hole DAC. Strazu place on the canvas and sew, passing the thread through the holes crosswise.
We continue to sew strass ribbons. If there are empty spaces in which one rhinestone can fit, you can cut one strasse from the ribbon, thread it onto a thread, sew it to the canvas, but be sure to fasten it on all four sides of the tabs.
When a strass ribbon makes a turn, for example, like on a penguin's head, then at the top of the tape the distance between the rhinestones increases, and at the bottom decreases. Due to this, there are empty spaces between the ribbon and gimp at the top of my head, which I cover with black fine beads.
For beauty, I added black small beads all over the black surface to the junction of four crystals, while I did not push the beads inside,he remained towering above the surface. It turned out an interesting effect.
We look what happened.
Further we will issue an eye. From the photo it is clear how to do it. By the way, the thread was used light. We leave with a needle at the lower left leg, the needle in this case is not in the middle of the rhinestones (since the goal is not to fasten the rhinestones), but at the foot itself. We put the thread on the foot, pass 2 silver beads 15-pieces, we throw the thread on the upper left foot, stick the needle into the canvas at the very foot, tighten the thread. Again, we exit at this foot only from the other side (like a needle back), throw it on the foot, passing under the thread with beads, thread the beads and repeat, we fix it from below (the process looks like we are doing arches). Three sides of rhinestones close the beads. Now I need to round the eyelid. I come back with a needle through the last two beads, strung a tiny piece of soft silver gimp, walk through the middle 2 beads, string the gimp, go through the first 2 beads, tighten the thread and fasten it on the inside. The eyelid is ready.
The beak of the penguin is embroidered with pieces of dark silver silver.
Penguin embroidery is ready. Hooray! 🙂
Part Four Cut out embroidery and make a brooch
This part is the shortest, because I have already shown in the previous master classes the process of embroidering a brooch. But before giving a link to it, I note that you can decorate the edge of the brooch with beads at will, for this you need to cut the felt, retreating 1 mm from hard gimp, cut off boldly, the working thread is hidden in the center of the coils (if you, of course, :)). I also want to leave the embroidery as it is, without an additional row of beads, so I cut the felt back to back and tightly against hard boars, all the threads are hidden in the center of the coils, I'm not afraid to cut them.
My penguin I sew over the edge, only without beads.