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Текст
^Vizards ^Angels Dragons Alermaids (Jherubs 'Unicorns dairies
Qross ^titcb
jttyth anij^Lagic
David &. Charles
A DAVID & CI IARI-ES BOOK
First published in the UK in 2002
Designs Copright: Sue Cook C' dwt pages 31.63. 84-85. 94-103: Maria Diaz <•* chart page* 20-21,
22-23. 38-39. 54-55, 70-71. 79. 86-87: Linda & Roger Garland — original artwork C Frost. Aquamarine:
Susan Penny 0 dun pages 15. 32-35. 36-37. 68-69, 80-83; Pinn (£ dun pages 47. 48-51. 52-53:
Man- Srocken C; chart pages 64-67; Teresa Wcnrzler C‘ chart pages 16-19
Photography, rm and layout Copyright C David & Charles 2002
The designs in this book are copyright and nuwr nor be stitched for resale.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted,
in any form or bv any means, electronic or mechanical, by plwctKopying. recording or otherwise, without prior
permission tn writing from the publisher.
A catalogue record tor this book is available from the British Library
1SBN 0 7153 1221 9
Designed and produced by Penny & Penny
Printed in Italy by Stige
for David A Charles
Brunel Mouse Neuron Abbot Devon
Contents
Introduction 6
Myth & Magic 8
Winter Enchantment 24
Oriental Fantasy 40
J
Angelic Messengers 56
The Mystic Deep 72
Celestial Heaven 88
Templates 104
Stitching Techniques 105
Suppliers 109
Acknowledgments 110
Chart Index 111
Index 112
6 Introduction
Introduction
^=^0
This cross stitch book will take you on a journey
to tlic nivstic.il work! oi Fantasy. Mere you will find
J J J
projects spun from the daydreams of their
designers: some based on myth, and some on legend,
but most mixed together like a magician’s spell with
a pinch of reality, a spoonful of romance, and a
cupful of imagination. Six exciting chapters are
packed with magical designs of castles, wizards,
dragons and angels. Within each chapter you will
find a showcase design, a medium design for a
picture or wallhanging, and a range of smaller
projects for cards, box tops and rowel edgings. In
the first chapter, Myr6 & ALtgrr, the showcase
project is by fantasy designer Teresa Wentzler: a
stunning study of a princess walking with her
dragon. You will also rind a wallhanging of Merlin
the wizard, and card designs of a castle and a
dragon. In Winter Enchantment rhe showcase
project of Santa on horseback is designed by Susan
Penny; a frost fairy and winter angel, plus a range of
smaller designs complete this wintry chapter.
Oriental Fantasy lakes you on a trip to the mystic
East, where you will find the beautiful goddess
of mercy, and a colourful oriental dragon. The
showcase project in Angelic Messengers is the angel of
peace, which has been designed by .Mary Stockett.
Other projects in this chapter include a unicorn and
cherubs. In The Mystic Deep. Susan Penny has taken
her inspiration for Aquamarine from an original
painting by fantasy artists Linda and Roger
Garland. Finally Greek architecture has given
Sue Gook the idea for rhe wallhanging in Celestial
Heaven: a study of the twelve zodiac signs, where the
project can be stitched as a whole or the
star signs made into cards or gifts. Truly a
magnificent design, and a great way to finish a book
that brings dreams to life, and conjures up magic
with every stitch.
Л s children we hear stories of magical castles, of princes rescuing
JL beautiful princesses from their evil step-fathers, and of knights in
shining armour fighting for the hand of the kings daughter. 11? hear about the
legends of King Arthur and the knights of the Round Table, and of Merlin the
wizard who used his special magic powers to kelp King Arthur rule the land.
As we grow up we start to wonder about the truth behind those stories and
legends; we read history books about people who really did live in castles, knights
in shining armour who did fight in tournaments, and kings so powerful that
humble subjects cowered at the mention of their name.
So in this chapter titled Myth & Magic we celebrate those days gone by; and
whether you believe in dragons, King Arthur or Merlin really doesn 't matter
because each design has a sprinkling of magic that is sure to make you want to
pick up your needle and start stitching
Myth & Magic: 11
The Princess and the Dragon
A beautiful princess walks with her pel dragon. He playfully runs around his mistress, then
stretches bis wings and wails for her to gently pat his scaly bead.
Designed by Teresa Wentder
Ф /1»1Гуиг white evenweave. 28 count 26. 7 5x30cm
(lOl/2xU3/<in)
V DMC stranded cotton 'doss in tee colours listed in the key
V Tapestry needle. No 26
0 Sharp sewing needle
& Mill Hill glass seed beads —gold 0201I; cobalt blue 00358;
ice blue 02006; heather 0202 5, mauve 02024
Gold picture frame
Stitching the dragon
I Mark rhe centre of your fabric with racking stitches
an J oversew around the edges to prevent them fraying.
Mount the fabric in a frame.
2Work the design from the centre out following the
chart and key on pages 16. 17. 18 and 19. Use two
strands of stranded cotton floss) for all the cross stitch,
working each stitch over two threads of evenweave fabric.
3Some areas of the design are worked using blended
needle. This technique gives the stitches a t weeded
appearance, blending two colours together in one stitch. If
a symbol in the key has two colour numbers listed against
it vou will need to thread vour needle with one strand of
J
each colour. So on page 16. where colour 522 and colour
523 arc listed against one symbol, take one strand of each
colour, lay them together and then thread vour needle m
the normal wav. Blended needle is also used lor the green
half cross stitch below the castle.
Adding the backstitch derail
I All the backstitch is worked using one strand
of stranded cotton floss), apart from the dragons eve
highlight which is worked in two strands of while.
2 The face derail and hair are worked using rhe small
chart on page 19. The face is backsritched in
one strand of brown 420. This colour is also used to
backstitch the yellow areas of the dragon’s wing, neck and
rail; rhe sash, brooch, crown and derail on the princess; and
the outer and inner lines of the border.
31 se burgundy 3740 ro backstitch rhe mauve areas
on rhe dragon’s wing, head and neck.
4 Backstitch the castle, all the whtre/grey areas on the
princess, rhe mauve edges ol her sash and her dress
with grey 414.
5 The green areas on the dragons head and wing, and
the flowers in the princess's hand are backstitched
using green 3362. Finally backstitch the blue areas on the
dragons wing, neck and rail using blue 792.
Adding rhe beads
Following the chan on pages 16. 17. 18 and 19
for position, srirch rhe beads on ro rhe design using
a sharp needle and one strand of stranded cotton (floss in
a colour close to the colour of each bead. Five bead colours
are used, which are srirched in small groups around
the border edge and on the flowers in both the princess’s
hand and the foreground. To finish the design,
carefully wash and then press the stitching on a soft
fluffy towel. Stretch the design following the instructions
on page 108. or take the stitching to a framer for
stretching and framing.
12 M'iti i & Magic
Merlin the Wizard
Merlin the wise old wizard used bis magical powers in support of King Arthur and the
knights of the Round Table. Here we see Merlin holding a flaming orb working on a spell.
Designed by Maria Diaz
Ф Xi-i-y blue evcfiweavf, 28 count 30x3 5. 5 cm (12x1 din)
Ф DMC stranded cotton \jloss_ m the colours listed in the key
& DMC rayon thread in the colours listed in the key
Ф DAfC metallic divisible thread — fold, silver
& DMC seed beads - aqua 03939
& Tapestry needle. Ac 26
Ф Navy blue fabric, 33x38.3cm (2 3x1 7.-.'i
Ф Iron-on vilene
Ф Bright blue cord with tassels
Ф Curtain pole with finials
Ф Sewing needle and thread
О
Stitching the dragon
I Mark rhe centre of the nav\ blue evenweave with
tacking stitches and oversew around the edges to
prevent them fraying. Mount the fabric in a frame.
2 Use two strands of stranded cotton floss) or two
strands of ravon thread for the cross stitch, and two
strands for the half cross stitch. Stitch Merlin from the
centre out following the chart and key on pages 20 and 21,
and working each stitch over two threads of evenweavc. h
will help to complete rhe areas of cross stitch worked in
stranded cotton (floss) before vou start stitching with the
ravon thread. I’he lining or Merlin's cloak and sleeves; the
top and bottom of his staff; his amulets, orb and the inner
glow surrounding the flame are worked in rayon thread.
3The backstitch is worked in one strand of stranded
cotton (floss), with one strand of gold being used on
the cloak, staff ends, amulets at rhe neck and wrists, and
rhe flame. The moon and star-shaped markings on the
cloak are worked in one strand of gold thread. One strand
of silver thread is used to highlight the sleeves and bottom
edges of Merlins blue cloak. The silver thread is also used
to stitch rhe stars on rhe background fabric surrounding
Merlin. Stitch the aqua coloured seed beads on to Merlin's
hand and on rhe amulet at his neck.
Assembling the wall hanging
I Use a photocopier to make an enlargement of the
template on page 104, increasing rhe size by 200%.
Cur our. the paper shape, then lay it on your stitching,
making sure Merlin is exactly in the centre. Pm the
template on to the fabric, then cut out the shape. Iron
vilene on to the reverse side of your backing fabric, then
use the paper template ro cur out the shape. Lay Merlin
face up on a flat surface, on top of this place the backing
fabric, vilene side uppermost. Stitch the layers together at
the edges, with a 1cm (3/sm) seam allowance, but leaving
the top edge open. Turn the wallhanging through to the
right side, then press carefully.
2 Fold over the top edge of rhe wallhanging on ro the
reverse side ro form a channel for the pole. The
amount that you turn over at the top will depend on rhe
size of the pole that you are using. Working on rhe reverse
side of the hanging, turn under rhe raw fabric edges
and then stitch along rhe width of the fabric to hold the
channel firmly in place. Make sure the channel remains
open at both sides for the pole.
3Pin, then slip stitch the cord around the edge of the
wallhanging, starting at the centre bottom point. To
finish the wallhanging thread the curtain pole through rhe
channel at the top.
№
14 Myth & Magic
The Castle and the Dragon
Backstitch has been used to create a blackwork style pattern on the scales of this dragon
and the walls of the castle. Both are quick to stitch, using shades oj green and brown.
Designed by Susan Penny
Ф Antique wb.7 linen, 28 cetin! 18x15 cm 7х6гл) x 2
V DMC stranded cotton floss) in the colours listed in the •'.r,'
V Tapestr. needle, Xo 26
* 3» D.VfC seed beads — copper 09 898
* 3» Blank greetings cards x 2
* 3* Handmade paper
Stitching rhe dragon and rhe castle
I Mark the centre of your linen with tacking stitches and
oversew around the edges to prevent them fraying.
Mount ihe fabric in an embroider; hoop.
2 Following the chart and key on the opposite page,
work rhe cross stitch on the dragon and the castle from
the centre out, using two strands of stranded
cotton (floss’. and working each stitch over two threads of
fabric. Complete all the cross stitch before starting the
backstitch. The main outline of the dragon is done in two
strands of dark green 895, all rhe other backstitch is done
in one strand. On the castle (he main outline is done in two
strands of dark brown 610, all the other backstitch is
done in one strand. Stitch a copper bead to the top ot each
flag pole on the castle. To make it easier to read the chart
some of the backstitch colours have been changed. Use the
numbers given in the key to identify’ the correct colour
to be used. Wash and press the stitching following the
finishing instructions on page 108.
Assembling rhe cards
Fray the edges of the fabric, then attach the stitching to the
front of a blank greetings card, decorated with a rectangle
of handmade paper.
Myth & Magic 15
The Castle and the Dragon
DMC stranded cotton (floss)
0 165 Backstitch
0 167 0 907
904 0 946
0 907 0 3045
946 0 3046
Backstitch 0 3047
0 165 Beads
0 167 Й *Copper
0 610
□ 677 895 ’V3-09-898
0 DMC copper seed
0 906 beads
16 Myth & Magic
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□ Blanc □ 503 E 613 3042 0 472/504 H 472/504 778/3689 Backstitch *02006
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Myth & Magic 17
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Merlin the Wizard
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Myth & Magic 21
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Myth & Magic 23
Myth & Magic Motifs
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merit
Л. night, when the snow lies crisp and white on the ground and clouds
blanket the moon, the landscapes can look very magical. The air is still,
and the eerie light of the winter moon turns the snow a ghostly shade of violet.
As you watch the landscape you see a slight movement in the trees, a glistening
cobweb rocks gently in the moonlight, and an icicle drops suddenly to the ground,
shattering into a million tiny pieces. Did you see something move in the trees, or
was it just the moonlight playing tricks on your eyes? In this chapter called
Л inter Enchantment we see three magical winter designs: Santa riding on
horseback to an enchanted castle; a frost angel covering the landscape with ice
from her long pointed finger: and an angel dressed in wintry robes sitting on the
crook of the moon. So the next lime you look out on a frosty scene and think
you see a movement in the shadows, ask yourself was it your imagination or
really a little bit of winter magic being spun before your eyes?
Wimer Enchantment 27
A Stranger Cometh
Santas journey has been long and difficult. The cold is now penetrating his thick velvet cloak and he
begins to shiver. He decides to seek sanctuary in the frozen castle, but will he be welcome?
Designed by Susan Penny
V Cream Aida fabric, 14 count 4 8x41 cm (19x16 in
V DMC stranded cotton (floss) in the colours listed in the key
V Tapes tn. needle, >\e 24
V DMC gold divisible thread
$ Seed beads — turquoise and red
С» Cold picture frame
Stitching the design
I Mark the centre of voui Aida fabric with tacking
stitches and oversew around the edges to prevent them
fraying. Mount the fabric in a frame or embroidery hoop.
2 Work the design from the centre out following the
chart and key on pages 32. 33. 34 and 35. Use two
strands of stranded cotton floss) for the cross stitch, apart
from the gold on the horse which is stitched in one strand
of gold divisible thread.
3The border edge which is stitched around the design is
made up of two rows of red cross stitch, with a gold
backstitch square between. In the centre of each square is a
red seed bead.
&П1
Making the tassel
I he tassel on the saddle can be stitched in cross stitch and
backstitch, or if vou prefer it can be made and then
attached on top of the stitching. If you are making the
tassel then vou will need to use the small section of chart
on page 34 to complete the horse where the tassel has been
removed. To make the tassel, cut lengths of gold metallic
thread 5cm 2m long. Make a bundle with rhe threads,
then fold them in half. I ic the bundle together just down
from the folded edge. Use your needle threaded with gold
metallic thread to go through the loop ar the top of the
tassel, and then attach the tassel to rhe saddle.
Finishing the design
Backstitch the main areas of the design in one strand oi
grey 844 stranded cotton (floss . then make a small
backstitch to highlight the horse's eye in one strand ol
white. Use gold metallic thread to stitch squares around the
border, and make two long stitches across the top of the
sack, leaving the loops hanging loose. Secure the thread
with a few small stitches. Sew a bell shaped charm at the
back of the sack, over the thread ends. Stitch turquoise
beads on to Santa's cloak. Carefully wash, press and then
Stretch the design following the instructions on page 108.
or take the stitching to a framer for stretching and framing.
28 Winter Enchantment
The frost fairy weaves a spell and casts her magic out into the still, cold air. Nothing escapes
her powers: trees and hedgerows turn white, and the grass becomes crisp underfoot.
Designed by Susan Penny from a painting by Linda and Koger Carland
V Riue linen, 32 count 28x35.5cm I lxl4in)
v DMC stranded cotton (floss) in the colours listed in the hey
V Kreinik blending filament — whitelOOHL
0 Tapestry needle, \o 26
V Seed beads — red and pink for tee holly berries: white for the
border; glass for the frost fairy
Ф Petite beads — glass for frost fairy
& Stiver snowflake charm
V Stiver picture frame
Stitching the frost fairy
I Mark (he centre of your liner, with tacking stitches and
oversew around rhe edges to prevent them f raving.
Mount rhe fabric in a frame or embroidery hoop.
2 Work the design from the centre out following the
chart and key on pages 36 and 37. Unless stated
below, use two strands of stranded cotton (floss lor the
cross stitch, two strands for half cross stitch, and one
strand for the backstitch, working each stitch over two
threads of fabric.
Backstitching the border
The green border lines are backstitched in three strands of
stranded cotton floss). The snowflakes on the border are
worked with two strands of white stranded cotton (floss
and one strand of white blending filament.
Stitching hedgerows
To make rhe frosty hedgerows, use one strand
of stranded cotton (floss}, and one strand of white blend-
ing filament to make french knots along the darker blue
area of the fields in the foreground. Add as many or as few
french knots as you feel you need to get the right effect.
You may prefer to leave the hedgerows as cross stitch.
Adding the backstitch and beads
I Use one strand of white stranded cotton (floss and
one strand of white blending filament for all rhe
backstitch on the frost fairy, the trees, and the holly leaves
covered in frost. Use one strand of green stranded cotton
floss) and one strand of white blending filament to
backstitch the rest of the holly leaves.
2 Following the chart for position, stitch white seed
beads to the border snowflakes, and red and pink seed
beads to the holly. The glass seed and petite beads on the
frost fairy are nor shown on rhe chart, but should be
stitched randomly over the backstitch.
Adding a charm
Finally backstitch rhe snowflake hanging from rhe fairy’s
wrist, adding glass seed beads to the points. II you prefer
vou can use a silver charm in place of the stitched
snowflake. If you are using a charm, do not cross stitch rhe
snowflake. Carefully wash and press the stitching, then
stretch it following the instructions on page 108. or take it
to a framer for stretching and framing.
30 Winter Enchantment
Winter Angel
A beautiful winter angel rests on the moon. She folds her wings and waits, her long flowing
robes falling around her ankles. In her hand she holds a star: a light to guide her on her journey.
Designed by Sue Cook
Ф Pale г.’ис linen, 28 count 28x35.5ctn I lx!4in'
0 DMC stranded cotton (floss) in the colours listed in the key
Ф DMC rayon thread in the colours listed in the key
& DMC metallic gold divisible thread
Ф Tapestry needle. .Vo 26
Ф Cold picture frame
srrand of stranded cotton floss) has been mixed with one
strand of rayon. The moon is stitched in half cross stitch
in one strand of stranded cotton floss) mixed with one
srrand of rayon, then backstirched with one strand of
rayon thread 33820 orange.
Stitching the angel
I Mark the centre of vour linen with lacking stitches and
oversew around the edges to prevent them fraying.
Mount the fabric in a frame or embroidery hoop.
2 Work rhe angel from the centre out following the chart
and key on the opposite page. Use two strands of
stranded cotton floss) for the cross si itch and one strand
for the backstitch, apart from the angel’s dress where one
The star in rhe angel’s hand is backstirched in metallic
gold thread, before adding yellow french knots.
4The angels face, hands and feet are backstirched in one
strand of 3064 stranded cotton (floss), her hair in 838
brown, dress in 930 blue, her scarf in 154 burgundy; and
her wings in 451 beige.
Stretch the stitching following the instructions on page
108. or take it to a framer for stretching and framing.
Winter Enchantment 31
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34 Winter Enchantment
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Winter Enchantment 35
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Winter Enchantment 37
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38 Winter Enchantment
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Winter Enchantment 39
“Metallic silver thread
Winter Enchantment
Motifs
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223 И 3752
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310 □ 3756
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The Chinese people have many beliefs that have their roots in folklore
and legend. passed down through the generations from father to son
and mother to daughter. Over the centuries these legends have evolved and
developed: the dragon is one of those stories. Thousands of years ago the first
images of the dragon were snake like, but as different clans in ancient China
mixed together they realised that the dragon could morph from one form to
another. Therefore the Chinese dragon, as we see him today, is a product of
imagination; a mythical creature that has evolved into a symbol
of harmony and the spirit of the Chinese nation. For most people happiness,
prosperity and a long healthy life are the things that they strive for. So by
stitching and displaying the Coddess of Mercy, the oriental dragon or the Hok,
Lok, Seiw or Sung symbols in a prominent place in your home, you should be
blessed with good fortune, health, wealth and harmony
Orien ial Fantasy 43
Goddess of Mercy
Legend says that the Chinese Goddess of Mercy was about to enter heaven when the cries of
the world reached her ears. Throughout the Orient devotees now seek her guidance.
Designed by Satfhon Borisuthibundit
V Blue grey Aida fabric, 14 сои/if 4 4x3 8cm 1 ~xl5in)
V D.WC s.'wnW cotton floss) in the colours listed in the key
V Tapestry needle, No 24
€> Hfe&n picture frame
4 1’he backstitch on her hands is done in 839 brown. To
give rhe lingers and arms a rounded appearance each
backstitch should be made over several stitches, working
around the outline smoothly.
Stitching rhe Goddess
к—
I Mark the centre of your Aida fabric with tacking
stitches and oversew around rhe edges to prevent them
fraying. Mount the fabric in a frame or embroider’, hoop.
2 Work the Goddess from rhe centre out following the
chart and key on pages 48, 49. 50. 51. Use two strands
o! stranded cotton (floss) for the cross stitch.
3Thc backstitch is worked in one strand of stranded
cotton (floss :. Use black 310 for her eyebrows and eve
lashes: 3772 beige for her nose: 351 pink for
her mouth: and 839 brown for the markings on her nose,
her eye sockets, and under her chin.
5 Use black 310 for the seed pod. and the veins of the
large dark green leaves; 351 pink for the pink flowers;
and 839 brown for the markings on the small leaves and
the orange flowers.
6 Го finish the design, carefully wash and then press the
stitching on a soft fluffy towel. Si retch the design
following the instructions on page 108. or take the
stitching to a framer for stretching and framing.
44 Oriental Fantasy
Oriental Dragon
The dragon stands as the symbol of unity; a mystical creature that has been revered by the
Chinese people for centuries, and is the fundamental spirit of Chinese culture.
Designed by Rungrat Puthikul
c3* White Aida fabric, IT count 2<5х35.?с;л (I lx I Tit:
Q DMC stranded cotton (floss) in the colours listed in the key
Ф Tapestry needle. № 24
Ф ll'fei.y cotton fabric, 30x2 5.5nn l2xl0in) x 2
Ф Идолги dowel — 35.5 an (I Tin) x 2
Ф Beads — 2.5cm Tin wooden x T;l.5cm ('Tin white x 4;
lent 'Tin while x 4
*3* Red tassels x 4
Ф 5ew;no needle and thread
Ф Orange acrylic paint, paint brush, pen knife, craft glue
Stitching the dragon
I Mark rhe centre of your Aida fabric with tacking
stitches and oversew around the edges to prevent them
fraying. Mount the fabric in a frame or embroidery hoop.
2 Work the dragon from the centre our following the
chart, and key on pages 28 and 29. Use two strands of
stranded cotton (floss; for the cross stitch and one strand
for the backstitch. Wash and press the stitching
following the finishing instructions on page 106.
Assembling the wall hanging
I Turn over the edges of rhe design on to the wrong side,
leaving 2.2cm ("/sin) of blank Aida around the.
stitching. Press the Aida flaps flat against the back of the
stitching. Cut a rectangle of white cotton fabric rhe same
size as the stitching. Lay the stitching face down on a flat
surface, on top of this place the cotton fabric tucking it
under rhe side and top Aida flaps. Slip stitch the side flaps
to the cotton fabric. Fold in the corners at cither end of
rhe top flap to form a *\". and slip stitch rhe flap to the
cotton fabric, but leaving an opening at the sides for the
dowel. Repeat with the other flap.
2 Cut a piece of white cotton fabric the same size as the
back of the design. Turn in the edges of the cotton
fabric so that it just covers the slip stitched Aida edges, bur
does nor cover the gaps left at the corners for the dowel.
Slip stitch the cotton fabric on to the back of the stitching.
3If the dowel is larger than the holes in the beads, you
will need to use a pen knife to whittle away some of
the wood so that the beads can be pushed on the end. The
dowel can be air with a pen knife, using rhe same action as
sharpening a pencil, but without making a point at the end.
Keep trying the beads until vou are happy they fit the
dowel. Paint the dowel and the wooden beads with several
coats of orange acrylic paint.
4 When the paint is completely dry, glue the beads on to
one end of the dowel. Slip the tassel in position and
thread rhe dowel into the gap left at the top of the
hanging. Slide rhe second tassel into position and glue the
beads on to the other end of the dowel. Repeat for the
bottom of rhe hanging. The dragon can be hung on the
wall with a length of plaited red cord looped around the
top dowel.
46 Oriental Fantasy
Good Fortune Emblems
These four emblems are believed to bring good fortune to those who own them. Hok symbolizes
wealth; Lok is for success: Siew brings a long healthy life; and Sung brings double happiness.
Designed by Pinn
Ф Red Aida fabric, 14 count 1 5x1 5cm (6x6in x 4
Q DMC stranded cotton floss) in the colours listed in the key
V Tapestry needle. No 24
V Rid fabric for backing purse
0 Greetings card blank; dressing table mirror
* 3? Clear plastic coaster — 1.5cin 3in, square
V Sewing needle and thread
Q Gold cord and button lor purse
Stitching the emblems
I Mark the centre of your Aida fabric with tacking
stitches and oversew around the edges to prevent them
fraying. Mount die fabric in an embroidery hoop.
2 Work the emblems from the centre out following the
chart and key on the opposite page. Use two strands of
stranded cotton floss) for the cross stitch and one strand
for rhe backstitch. Wash and press the stitching
following the finishing instructions on page (08.
Assembling rhe purse
Cut one piece of stitched Aida. 2cm //an) bigger on ali
sides than the design. Cut the backing fabric to rhe same
size. Place the emblem and the backing fabric right sides
together. Stitch around three sides with a 1cm -/sin) scam
allowance. Turn over the top of the purse over on to the
wrong side and slip stitch it in place. Turn the purse
through to the right side. Sew gold cord down the sides and
along rhe bottom of the purse. Sew- a button and loop to
the top edge of the purse.
Assembling rhe mirror and coaster
Use the template provided with, the mirror or coaster to cut
the fabric to size, then follow the manufacturer's instruc-
tions for mounting the stitching.
Making rhe card
Fray the edges of the stitched emblem before attaching it
to the front of a card.
Oriental Fantasy 47
Good Fortune Emblems
DMC stranded cotton (floss)
0 727
922
1 971
H 972
И 973
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0 920
И 972
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I I I I
Лп^еУс messengers сап take on many guises, and in this chapter you will
find three very different examples: a beautiful angel, a cute cherub and
the mythical unicorn, all. bringing their message of peace and love to the world.
Angels are heavenly beings and members of the celestial hierarchy. In mythical
art they are mostly portrayed as beautiful women with long hair and wings.
I he Angel of Peace in this chapter is no exception: a stunning portrait of a
woman with shimmering wings and a long flowing gown <f turquoise silk.
The imaginary unicorn is usually regarded as having the body of a horse. White
in colour, the single twisted horn which projects from the middle of its forehead
is thought to have magical properties. The unicorn in this chapter
can be seen striding through the clouds and early morning mist to greet the
newly risen sun. On bis back rides a princess, who carries a special message
of hope back to her home in the clouds
angelic Messengers 59
Angel of Peace
This beautiful angel blows her horn to announce her message of love and peace to the world.
Her flowing gown falls in graceful folds, and her wings shimmer as they catch the sun.
Designed by Mary Stockett
V .-Ьна/ие v. d'if л/huww, 2 7 count 44x 3 5.5cm I7x I 4in)
Ф DMC stranded cotton (floss) in the colours listed in the key
V Tapestry needle. No 26
V Kreinek blendingjtlament — pearl, gold
Ф Gold frame with decorated mount
Stitching the angel
I When choosing fabric for this project, it should be
noted that a finer fabric, where the stitches are worked
over two strands, should be used. This is because the face
is stitched over one thread of fabric. Instructions for
working rhe face are given below. Mark the centre of your
evenweave with tacking stitches and oversew around the
edges co prevent them fraying. Mount the fabric in a frame.
2 Work the angel from the centre out following the chart
and key on pages 64. 65. 66 and 67. Use two strands
of stranded cotton floss) for the cross stitch, apart from
the wings which arc worked with two strands oi stranded
cotton floss) and one strand of pearl blending filament;
the yellow dress edge and sleeve linings, are worked using
two strands of stranded cotton (floss and one strand
of gold blending filament; and the jewels on
the border edge, are stitched in both the light and dark
mauve stranded cotton floss mixed with a strand of pearl
blending filament. So that the blending filament lays flat
when stitched, it should be smoothed together with the
stranded cotton floss) before you thread your needle.
3When working the angels face each stitch on the chart
should be worked over a single fabric thread. This
will give the face a finer, detailed appearance. A
separate chart for the face can be found on page 67.
Adding the backstitch
I The backstitch is worked in one strand of
stranded cotton (floss'. Use grey 414 lor the wings;
beige 407 for rhe flesh; charcoal 844 for the eyelashes;
brown 433 for the eyebrows; pink 335 for the lips; pink
223 for the ribbon; and beige 782 for the hair and horn.
The yellow ribbon ar the bottom of the dress and the
sleeve linings are backstitched in 3829.
2 The mauve jewels on the border are backstitched in
one strand of mauve 327 stranded cotton floss),
mixed with one strand of pearl blending filament.
Mounting and framing
Carefully wash and then press the stitching following rhe
instructions on page 108, or take the stitching to a framer
for stretching and framing. Before framing each corner of
the fabric can be decorated with a strip of wide lace and a
pink ribbon rose.
60 Angelic Messengers
The Princess and the Unicorn
The mist and clouds swirl around the unicorn as he carries the princess home to her people.
The jewels on the unicorn s breast plate sparkle, touched by the rays of the newly risen sun.
Designed by Susan Penny
V Antique white linen, 32 count -flx30cm ' 16x1 din)
V DMC stranded cotton jic<: in the colours listed in the hey
Ф Tapestry needle, .Vo 26
V DMCgold divisible thread
V» Seed brads — ruby red; Petite beads — pearl. gold
V Gold horseshoe shaped charm
Ф Gold picture frame
Stitching rhe design
I Mark the centre of your linen with racking stitches and
oversew around rhe edges ro prevent them fraying.
Mount rhe fabric in a frame or embroidery hoop.
2 Work the design from rhe centre out following the
chart and key on pages 68 and 69. Use two strands of
stranded cotton floss for the cross stitch.
3Thc clouds can he faded away into the distance by
stitching those at the back in half cross stitch using two
strands of stranded cotton f floss .
Adding the backstitch
Il he unicorn is backstitched in ecru, and his mouth
in brown 3787. The derail around his eve and his horn
is also backstitched in brown 3787.
2 The princess's pantaloons are backstitched in mauve
333; her oveidres> in cerise 915: fur trim in 838: her
flesh in 356, and her hair in 632.
3Thc crown and derail on the princess’s hair, and the
decoration on the unicorns rein is backstitched in one
strand of gold metallic thread.
Adding detail ro the mane
I The unicorns mane and tail can be stitch in backsrnch
following the chart, or you can use a tufted stitch
to give it a three dimensional look. To do this, thread your
needle with all six strands of stranded cotton (floss'.
Starting on the right side of the fabric at the rip of rhe rail
make a stitch into rhe fabric, bring the needle up a short
distance from where you started. Adjust the thread so that
one end is the length of the tail hair, then cut the other end
to the same length. Continue working up rhe tail extending
the thread towards the middle of rhe rail, then shortening
it a little as you get to the top. Repeat for the mane, then
use sharp scissors to shape the tail and mane.
2Stitch petite gold beads on to the crown, petite pear!
beads at the front of the dress, and ruby red seed beads
to the unicorns breast plate. Attach a horseshoe shaped
charm ro rhe breast plate, which is marked on the chart
with a black dot.
3 Carefully wash, press and then stretch the stitching
following the instructions on page 108, or take it to a
framer tor stretching and framing.
ЙййЙ
62 Angelic Messengers
Golden Cherub & Lyre
Throughout the ages, cherubs or winged angels have been used as a symbol of peace. Here we
see a golden cherub, and the lyre, both bringing music, love and light to the world.
Designed by Sue Cook
V Стоят evenweave, 28 ron/Jf I8xl8cni 7x7»t) x 2
Ф DMC stranded cotton (floss) :>i the colours listed in the hi",
Ф Tapestry needle, .Vo 26
Ф Ready-made cushion cover approximately 28x28an (I lx I tin,
Ф Cold ribbon 2cm \y7-tin — approximately 66cm. (26in)
Ф Gold braid 6mm (flin, — approximately 122cm (48in)
Ф Sewing needle and thread
Stitching the cherub and lyre
Mark the centre point on bod) pieces of evenweave
fabric with a tacking stitch and oversew around the edges
ro prevent fraying. Stitch the cherub and lyre on to the
fabric, using two strands of stranded cotton floss) for rhe
cross stitch and one for the backstitch, working each stitch
over two threads of fabric. Add the beads in the
positions marked on the chart with a yellow dot.
Assembling che cushion front
I Place rhe stitched cherub and lyre on opposite corners
of the cushion front. Turn under the two outer edges
on both pieces of fabric, so that they fir the cushion front.
Pin then tack them in position. Lav a length of gold
ribbon horizontally, and then one diagonally on ro the
cushion front, so that the edges of rhe stitched fabric are
under the ribbon, and rhe four squares of fabric on the
cushion front arc equal in size and shape. Machine stitch
down the edges on both lengths of ribbon to hold
them firmly in place. Slip stitch the turned under edges of
the stitched fabric to the side seam ol the cushion.
2 Pin then tack a length of gold braid around the edge
of the cushion. Slip stitch the braid in position to
cover the side seam and the turned under fabric edges.
Angelic Messengers 63
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Angelic Messengers 65
Angel of Peace
DMC stranded cotton (floss)
223 X stitch blend
224 Я 680/3046
Ш 225 0 3047/3829
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597 В Blanc/Pearl
s 598 0 3I8/*Pearl
0 676 327/’Pearl
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Angelic Messengers 67
Use the small chart above for adding the detail to the
face of the angel. Each stitch on the chart should be
worked over a single thread of evenweave fabric to
give the face a finer, detailed appearance.
Angel of Peace
DMC stranded cotton (floss)
l~B~| 223 X stitch blend
[sj 224 S 680/3046
Ш 225 0 3047/3829
E 420 X stitch blend
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s 598 0 3I8/*Pearl
0 676 327/*Pearl
ffl 680 4I5/*Pearl
0 725 0 676/*Gold
0 726 0 3042/*Pearl
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0 745 0 223
s 747 0 335
s 783 0 407
E 899 0 414
0 945 0 433
В 951 0 782
E 3046 0 844
0 3047 0 3810
0 3713 0 3829
0 3743 Backstitch blend
3829 0 327/*Pearl
'Kreinek blending filament
68 Angelic Messengers
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□ Blanc 434 И 640
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Т оп& а&° when expl°rers travelled the seas under sail, they brought home
stories of mystical sea beings, half-human, half-fish that used their
magical powers to lure sailors to their death. Some, like the mermaid, were
beautiful and beguiling and sang bewitching songs that hypnotised mortals and
caused them to drown. Others like Poseidon from Greek mythology, rode his
chariot through the waves with unquestionable dominance, and brought fear to
anyone who crossed his path. Although the majority of sea tales were tinged with
tragedy, those involving dolphins nearly always had a happy ending. Dolphins
were once thought to be the saviours of the sea, they were said to rescue drowning
sailors from the waves. Today their sense of freedom and fun makes them one of
the most loved creatures in the world, and those lucky enough to swim with them
find their grace and compassion a spiritual experience. So if you love the sea you
are sure to enjoy stitching the projects from The Mystic Deep
The Mystic Deep 75
Aquamarine
Aquamarine suns herself on the rocks below the walls of the forbidden city. Her long golden
hair falls around her shoulders, and her tail glistens and shimmers in the sun.
Designed by Susan Penny from a painting by Linda and Roger Garland
V Cnam even weave. 2b conn: 46x38an I8xl5in
Q DMC stranded cotton floss) it: the colours listed in the key
V DSIC rnyon in the colours listed in ike key
Ф Tapestry needle, No 26
Ф Seed beads — turquoise and mauve
Ф Cold picture frame
Stitching Aquamarine
I Mark the centre of your evenweave fabric with racking
stitches and oversew around rhe edges to prevent them
fraying. Mount the fabric in a frame or embroidery hoop.
2 Work Aquamarine from rhe centre out following
rhe chart and key on pages 80, 81. 82 and 83. and
working each; stitch over two threads of fabric.
3 Aquamarines body, face and hair, the sea and the rocks
on which she is sitting arc worked in cross stitch using
two strands of stranded cotton floss .
4 The forbidden city, cliffs and sky detail are worked
in half cross stitch using one strand of stranded
cotton floss .
Working with rayon thread
I Rayon thread does knot vert easily, and so care should
be taken to keep the cut lengths and the remainder of
the skein organized and together.
2 Use one strand of ray on thread for Aquamarine's tail,
rhe waterfall and porpoise. .A few stitches in the water,
below the tail and below the waterfall are also worked in
rayon thread.
Adding the backstitch
I J he backstitch on the rocks on which Aquamarine is
sitting is in one strand rayon thread.
2The backstitch ro outline Aquamarines body and
face is worked in one strand of stranded cotton floss),
but to give the body7 a rounded appearance each backstitch
should be made over several stitches. Work around rhe
outline smoothly, avoiding sharp points and edges.
3The backstitch on rhe forbidden city and cliffs should
be done as long stitches using one strand of stranded
cotton floss).
4The backstitch on Aquamarine's rail is also done in
longer stitches, but using one strand of rayon thread.
Work diamonds for the scales on her tail, and a senes of
long stitches for rhe markings on her fin. The shells in her
hand and hair, the porpoise and water splashes are also
worked as long stitches.
5 fhe water pouring from rhe shell is stitched in rayon
thread, as a scries of overlapping long stitches. This
will create the feeling of flowing water.
6Stitch the mauve beads on Aquamarines hair, and the
turquoise beads at her throat.
Finishing rhe design
Carefully wash and then press the stitching on a
soft fluffv towel. Stretch rhe design following rhe
instructions on page 108, or take the stitching to a framer
for stretching and framing.
76 The Mystic: Deep
Friends from the Deep
Dolphins have long been linked with sea myths, many of which tell of drowning sailors being
rescued by them. In this fantasy globe we can see the magic of these much loved creatures.
Designed by Sue Cook
Ф Pale blue linen, 28 eount 44x4 dent 1 7x1 7 tn
V DMC stranded eorton Tlcss tn the colours listed in the key
Ф DMC raxon in the colours listed tn the key
& DMCgeld nierallie thread
Ф Kreinek Hendingjilament — 091 yellow, 092 pink
Ф Tapestry needle, A'o 26
Ф Seed beads — bright blue, pewter
Ф Pear! beads
Ф .XW/f and strong thread
*3» ToOufll [MfSkV!
Stitching the dolphin globe
I Mark rhe centre of your linen with tacking stitches and
oversew around rhe edges to prevent them fraying.
Mount the fabric in a frame or embroidery hoop.
2 Work rhe design from the centre out following the
chan and key on page 84 and 85. and working each
stitch over two threads of fabric. I'he general instruction
for this design is that the cross stitch and half cross stitch
are done in two strands, and rhe backstitch in one strand.
As stranded cotton floss), rayon thread and Kreinek
blending filament arc all used in this design, detailed
instructions for where to use rhe threads are given below.
3A11 the green and orange cross stitch is worked using
two strands of rayon thread, and then backstitchcd
using one strand. Some areas on rhe oyster shell ar the front
of the design arc also worked in cross stitch using two
strands of rayon thread.
t
4Some parts of rhe curlv yellow shells are worked using
one strand ol stranded cotton mixed with one strand
of Kreinek blending filament. Lay rhe two threads
together, then thread your needle in the normal way.
Blending filament is also used to cross stitch some of the
pink areas inside the oyster shell ar rhe front of the design.
5The half cross stitch around the globe and below rhe
shell at the bottom of rhe design is done in one strand
of stranded cotton. The remainder of rhe cross stitch is
done in two strands of stranded cotton floss).
6One strand of gold divisible thread has been used to
backstitch the small blue shells, and to add derail to the
curlv yellow shell either side of the oyster.
7Stitch a line ol pewter beads above each dolphin for
bubbles. Use blue beads for the seahorse eyes, and rhe
curb end of rhe yellow shells either side of the oyster.
Stitch two pearl beads in the oyster shell. Carefully wash
and then press the stitching on a soft fluffy rowel,
following rhe instructions on page 108.
Assembling the footstool
Remove rhe pad from the footstool. Lay rhe design
centralIv over the pad, and then push pins through the
fabric into the pad to hold it in position. Thread your
sewing needle with a length of strong buttonhole thread,
fie a knot in one end of rhe thread then begin lacing the
stitching across the pad. Work back and forwards in a
circle until you reach the point where you starred, finish
off with a few stitches to hold the lacing securely in place.
Remove the pins from the stitching, position the covered
pad on the footstool, and tighten the screw on the
underside of the base.
78 The Mystic Deep
Poseidon and his Undersea World
Poseidon, the god of the sea, was said to have spent most of his time in his watery domain.
When he did appear above the waves, he defrated those who erossed his path.
Designed by Maria Diaz
& Pink linen, 28 амс.чг 18x20.5cm (7x8in)
Ф DMC stranded cotton floss in the colours listed in the key
Ф DMC silver metallic thread
* 3* Tapestrc needle, No 26
* 3* Hand towel with inset Aida panel — bine and cream
V Picture frame decorated with shells
Stitching Poseidon
I Mark the centre of your linen with racking stitches and
oversew around the edges to prevent them fraying.
Mount the fabric in a frame or embroidery hoop.
2 Work Poseidon from the centre, following the chart
on the opposite page. Use two strands of stranded
cotton 'floss for the cross stitch and one strand for rhe
backstitch, working each stitch over two threads of fabric.
3 Poseidon’s crown, amulets and rhe end of his trident
are worked in one strand of silver metallic thread.
4Wash and press the stitching following the finishing
instructions on page 108. Mount the stitching in a
picture frame decorated with sea shells.
Stitching rhe hand towels
—-
I Both the hand rowels are stitched using two strands of
stranded cotton floss' lor the cross stitch, and one
strand for rhe backstitch.
2Find rhe centre point of rhe Aida panel on the rowel,
and mark it with tacking stitches. Start stitching at this
point, repeating the design as many times as is needed to
fill the space.
The Mystic Deep 79
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84 The Mystic Deep
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The Mystic Deep 85
86 The Mystic Deep
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z "f "'or thousands of years people have used astrology for help and guidance.
JL. The study and movements of the celestial bodies was first developed by
the Creeks, who used eclipses, comets and the planets to determine war, plague
and the weather. Today many people believe that the planets affect our
temperament and character, and use astrolog)' as a guide to everyday life. The
inspiration for the wallhanging in this chapter is taken from Greek architecture.
Cypress trees and classical urns rise up from the bottom, whilst the centre panel
is designed as an old manuscript on which sit the twelve signs of the godiac.
At the top a Creek god, surrounded by the night sky, holds the world under
his arm, whilst he leans on a panel containing an image of the sun and moon.
Celestial I leaven offers endless possibilities for stitching, and whether you take
these ancient beliefs seriously or not, any part of this wonderful design is a
work of art in its own right
Ch.istial Hi-, wen 91
Celestial Heaven
Shades of violet, blue and gold have been used to create this stunning astrological design.
The twelve zodiac signs in the middle can each be stitched into a card or keepsake.
Designed by Sue Cook
& Mate evenweave fabric, 28 count 70x53.5cm 28x2 tin
V JEW cwnweawfabric, 28 count 12x12cm (4^x4'/tin
for each gpdiac motif
® DMC stranded cotton floss in the colours listed in the key
V Tapestry needle. A'b 26
C* Iron-on vilenc 70x53.5cm '28x2 tin
& Burgundy velvet — 12x66.6cm -T'/s x 26l/tin x 2;
78x14.5 (30:'/4x5f-mj x 2; 78x66.6cm
(ЗСг/4х26У-Ип) x I
0 &wnu> needle and thread
& Clear plastic coaster 8x8cm 'у1/'х31/чп
Ф Greetings card blanks
v Scraps of sheer fabric and cord to decorate the cards
& Stiff cardboard 16x8cm '6!/ix3!/dn
V Pole for displaying wallkanging
Ф Upholstery cord, tassel
Ф Scissors, double-sided tape, compass, pencil
Stitching the wallhanging
I Mark the centre of your evenweave with racking
stitches and oversew around rhe edges ro prevent them
fraying. Mount rhe fabric in a frame.
2 Work the design from rhe centre our following the
chart and key on pages 94 - J 03. As the design is split
over ten pages, a diagram is shown several times on the
chart pages to help you with the position of each section.
3Use two strands of stranded cotton floss) for the
cross stitch and half cross stitch. The half cross srirch
is used for the sea and sky area in rhe landscape at the
bottom of rhe design; rhe blue sky up the sides: and the
blue sky at the top between the pillars. Several smaller areas
of stitching are also done in half cross stitch, these can be
identified using the key.
4 All the french knots and backstitch are done in one
strand of stranded cotton floss). Use 838 for
rhe buildings, zodiac signs, outer manuscript and border
line; 782 yellow for rhe patterns between rhe signs, and
pictorial rectangles between pillars: 580 green for the trees:
740 orange for the moon: and 333 blue for the moons
below the pillars at the top of the design.
Assembling the wall hanging
I Wash and press the stitching. Place a blanket or large
towel on a flat surface, on top of this place the
stitching face down. Lay the vilenc on top, and using a hot
iron, without steam, iron the vilenc on to the back of the
stitching. Trim the stitching leaving 5cm 2in) on all edges,
following the measurements on the left, cut two identical
velvet snips, one for each side of the wallhanging: one strip
for the top and bottom of the wallhanging; and a rectangle
for the back.
2 Pin the velvet strips around the edges of the stitching,
right sides together, leaving I cm (Умп) of blank
evenweave between rhe design and the velvet border edge.
Sew rhe cop and bottom strips on to the stitching with a
I cm '/sin seam allowance. Next, sew on the side strips,
extending the stitching over the top and bottom
velvet strips.
3 Place the assembled front and the backing velvet
right-sides together. With a I cm (Vain) seam
allowance sew rhe back and front together, leaving the top
92 Celestial Heaven
edge open, I urn rhe wall hanging through to die right side.
Genth- press the scams with a warm iron, making sure vou
cover them with a soft cloth to prevent the pile flattening.
4Cut several lengths of burgundy ribbon, bold each
piece of ribbon in half, and then place the cut ends in
the opening at the top of rhe wallhanging, using a rape
measure to space diem equally across the top. Pin and then
tack the ribbon hangers in position.
5Sew the ribbon firmly to the seam allowance, then slip
stitch the top of the wallhanging closed. A pole can
now be inserted through the hangers. Alternatively, sew a
snip of velvet fabric, horizontail}, on to rhe back of the
wallhanging to take the pole.
Stitching the zodiac signs
I Mark the centre of your cvcnwcavc with tacking
stitches and oversew around the edges to prevent them
fraying. Mount the fabric in a hoop.
2 Work the zodiac sign from the centre out following
the chart and key on pages 94 — 103. Use two strands
of stranded cotton tlos> for rhe cross stitch, and one
strand for the backstitch.
3Wash and press your stitching following the
instructions on page 108.
Assembling (he zodiac signs
I Using the template on page 104, cur two 8cm 3T/sin)
circle from cardboard. Cut vour stitched fabric into
a circle leaving enough fabric to wrap around the
cardboard circle.
2Stick double-sided tape on to both sides of the
cardboard circle. Lay the stitched design on to the
tape, and making sure the design is in the centre, press the
fabric well down to hold it in place. Turn the cardboard
over, and ease the excess fabric at the back on to the
double-sided tape. Secure rhe excess fabric ar rhe back with
a few lacing stitches to hold it firmly in place.
3 If you are making a hanging or mobile vou will need to
make a second fabric covered circle ro cover the back of
the stitching. You can cither use blank cvcnweavc fabric: a
coloured fabric like velvet: or you may prefer to stitch
another zodiac sign.
Assembling the zodiac mobile
I Place two fabric covered circles together. If you are
using two stitched designs vou will need to twist one to
make sure they are both the same wav up. Pin the circles
together, then slip stitch using small neat stitches.
2 Cut a length of cord to fit around the circle. Push
one cord end between the stitches that hold the
cardboard circles together. Pin the cord around the edge, to
cover the seam where the two cardboard circles meet. Tuck
the other end of the cord in next to the first, and slip stitch
the cord in place.
3The completed roundel can now be attached to a
length of upholsterv cord. Stitch a tassel to the
bottom of the roundel, and then decorate the cord with
star shaped beads.
Assembling the card
I Attach the stitched zodiac sign to a cardboard circle
following the instructions I & 2 for assembling the
zodiac signs. Do not make a second covered circle to cover
the back.
2Decorate the front of a blank greetings card with sheer
fabric and cord, then attach the roundel with
double-sided tape.
Assembling the coaster
I Lay vilcnc on top of the stitched design, and using a
hot iron, without steam, iron the vilene on to the back
— this will stop rhe fabric fraying.
2Using the template provided with the coaster, cut the
stitched design ro the correct size. Place the design
inside the coaster and snap on rhe back.
Celestial Heaven 95
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Celestial Heaven 103
□ниии
ИНИНЕ
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DMC stranded cotton (floss)
□ Blanc □ 644 IS 3022 E] 340 Backstitch
0 165 645 0 3023 S 341 ZJ ззз
@ 166 0 677 H 3041 0 519 0 580
0 168 0 726 □ 3078 742 0 645
0 169 s 728 3746 0 3041 0 740
333 s 740 □ 3747 E 3042 0 782
340 0 742 ]/2 X stitch 0 3078 И 838
s 341 0 744 s 155 3746 French knots
580 E 780 □ 224 0 3747 0 Blanc
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104 Templates
Use the templates on this page to
make the Merlin wallhanging and
zodiac mobile.
Sill CHING Techniqi JI-.S 105
Stitching Techniques
Most of the designs in this book are simple to stitch — a combination of cross stitch and
backstitch, with detail added using half cross stitch, french knots and beads. Below you will,
find working instructions for the stitches, and useful information on reading the charts
General stitching instructions
On projects where a fine even weave fabric is used, each
stitch should be worked over rwo threads of the fabric;
where Aida fabric is used each stitch should be worked
over one block of fabric. The number of strands of
stranded cotton floss) for each stitch will be listed tn
the instructions for that project. I he stitches used in this
book arc: cross stitch, three-quarter stitch, half cross
stitch, backstitch and French knots; beads and specialist
threads are used on some projects. On the princess and
the dragon (page I I . some stitches are worked with two
different colours of stranded cotion (floss in the
needle, this is called blended needle or (weeding (more
details sec page 106 i. On rhe angel of peace (page 59’.
one strand of blending filament is added to the needle
with the stranded cotton floss) to make the I bread
shine. Where rayon thread is used in a project, stranded
cotton (floss can be used in its place, as the colours
numbers are rhe same as the stranded con on colours.
Backstitch for outlining
J .<ar.’ dvwwg swne of ire stitetes i/.vd on the designs tfas nsck
i ro.-: three-quarter stitch. backstitch, trench knots and beads.
Reading the charts
I’he charts arc in colour, with a svrnbol printed in each
square. Each square on the chart represents one cross
stitch. In some cases, on finer fabric, each square on the
chart is worked over two threads of fabric. All the charts
have a key listing the DMC stranded cotton floss)
colours used in number order. The key also shows if
there is backstitch, french knots and beads, and whether
blending filament or blended needle has been used for
that stitch, see 106). The french knots and beads arc
shown as coloured dots on the key and chart more
details on beads can be found tn working with beads on
the next page;. If you would prefer not to use beads then
french knots can be used in their place. Most designs
have a combination of whole cross stitch, three-quarter
stitch and backstitch, a few designs use half cross stitch.
The three-quarter stitches arc shown on the chart as
triangles of colour printed in the corners of a square;
each half cross stitch appears on the chart in the same
way as a full cross stitch, but in the key is listed
separately below the cross stitch. As well as a chart
and key, each design has a list of materials and
working instructions.
Fabric
The designs in this book are worked on Aida or
evenweave fabric like linen. All the fabrics used
for cross stitch should have the same number of
horizontal and vertical threads to the inch. Aida has
threads grouped together in blocks, so that one stitch is
made over one block of threads using the holes as a
guide. When working on rhe finer cvcnwcave, like 36
count, rhe instructions may tell you to make each stitch
106 S i i i chi ng Techniques
over one. two or even tour threads ot fabric. On the
angel of peace page 59 the face is worked over one
thread, while the rest of the design is worked over two:
this gives the features a realistic appearance. A project
sewn over two threads on 28 count fabric, tor example,
would come out the same size as if yon stitched ii on 14
Count Aida. I he fabric listed in the ke\ shows the count,
4
the colour, and rhe size of fabric needed for the design.
When buying the fabric allow extra at the edges it you
are intending to work rhe design in a hoop or small
frame. It you want lo stitch on a different count ol
fabric than shown on the project, you will have to
calculate the finished size of the stitching before you bur
the fabric. Го do this, count the number of squares both
high and wide of your chosen design — this is the stitch
count. 1 hen divide the two measurements by the number
of threads per inch of your fabric. When you are
stitching over two threads remember to divide the stitch
count by half the number of threads per inch.
Needle and thread
Use a needle lor cross stitch that is blunt and slips
easily through the fabric without piercing it. A size 24
tapestry needle works best on 14 count .Aida, while a 26
tapestry needle is best tor finer fabric.
\ 26 tapestry needle should easily pass through the eye
of most beads, but you may find that using
a tine sewing needle is easier on some design*.
The design* arc stitched using DMC stranded cotton,
DMC rayon thread. DMC divisible metallic and kreinek
blending filament: the number ot strands needed for
each stitch i* in the project instructions.
Using blending filament
Blending filament can be mixed with stranded
cotton floss' to give the stitches a shiny
appearance. Cut a length of filament the same size as the
stranded cotton floss . bo that the threads stay flat
when stitched, they should be smoothed together before
threading vour needle. A single strand of blending
filament should be enough to give the stranded cotton
floss) a shiny appearance.
Using rayon thread
Rayon thread is ven slipper* and can be difficult to
work with unless handled properly. Once you have cut a
length from the skein make sure it is laid flat on your
working surface, or it may become tangled. Carefully
separate the threads from the length, and then recombine
the number you need to stitch with before threading your
needle. It may make the ravon thread easier to work with
if you use a strand of stranded cotton floss m the
needle as well as the rayon.
Blended needle
On some designs blended needle has been used to give
the stitches a tweeded appearance. If a symbol in the key
has two colour numbers listed against it you will need to
thread vour needle with one strand of each colour. So on
page 16, where colour 522 and colour 523 are listed
against one symbol, take one strand of each colour, lay
them together and then thread your needle. Each stitch
will then have a tweeded appearance.
Working with beads
I he bead* are shown on the chart* and keys a* coloured
dots. 1 or more details on understanding the charts and
keys see reading the charts, at the beginning of this
chapter. Most of the beads used in this book match
DMC stranded cotton floss colours. There arc four
different type of DMC beads: Ml general seed beads. \’2
nostalgia. V3 metallic and V4 frosted. As well as the
bead tvpe. a colour code and colour description will also
be listed. I he beads should be attached to the stitching
using two strands of stranded cotton floss). Thread the
bead on to the needle as you make the first part of the
cross, then as you make the second part, lay one thread
of stranded cotton ^floss cither side ol the bead, before
pushing the needle back into the fabric and continuing.
Working the stitches
Cross stitch Each coloured square on the chart
represents one cross stitch on the fabric. A cross stitch is
worked in two stages: a diagonal stitch is worked over
one block of Aida, ot two threads of finer cvenweave
Stitching Techniqui-s 107
fabric like linen, from the bottom left of rhe stitch to rhe
top right. The second part of the stitch is worked from
bottom fight ro top left to form л cross. When working
a block of stitches in the same colour, stitch a line of
half crosses before completing each stitch on the return
journey. Make sure that the top half of each cross lies in
the same direction.
wavs: as an outline to give definition io an area
of stitches: on rap of the cross stitch to give detail: on
its own. to create areas of lettering or detail lines.
Backstitch can be worked as single stitches over one or
two threads of fabric, or as longer stitches to cover
a larger area.
Half cross stitch The stitches arc shown on the chart as
full symbols m the same way as cross stitch, but on the
key they arc listed in a separate section. A halt cross
stitch is just the first part of a full cross stitch: a
diagonal stitch worked over one block of Aida, or two
threads of linen from rhe bottom left ro rhe top right.
Half cross stitch works well in areas of the stitching
where you wanr a less solid effect.
Three-quarter stitch Each stitch is shown on the chart as
a coloured triangle. A three-quarter stitch is a half stitch rhe
first part of a cross stitch with a quarter stitch worked from
one of the remaining corners to rhe middle of the srirch. It
is easier to work fractional stitches when each stitch is being
worked over rwo threads of fabric like linen or fine
evenweave . When stitching on Aida you will have to pierce
the middle of the fabric block with a sharp needle ro make a
hole for the quarter stitch.
Backstitch This is shown on rhe chart as a solid coloured
line, and may be used on the chart in several different
Preparing to srirch
(hit your fabric several inches larger than the size given
m the project materials list. Zig-zag around the edges
of the fabric or bind it with masking tape to prevent the
edges fraying, bold the fabric in four to hud the centre
point. and mark it with a pin or small stitch. Find the
centre of the chart bv following the arrows from rhe
edges to the centre - this is where you begin stitching.
Thread your needle and make a knot at one end of
the thread. Push the needle to the back of the fabric
about 3cm I :/-m from your starting point, leaving the
knot on the right side. Stitch towards the knot, securing
the thread on the back of the fabric. When the thread
is secure, cut off the knot. When you have finished
stitching, finish the thread bi weaving it through the
back of the stitches.
108 S n rci iing Techniques
Hoop or frame
Larger projects will need to be supported in л hoop or on
л frame whilst you are stitching. Before cutting your
fabric check carefully how much you will need, allowing
extra for lacing it to a frame. If you are using
a hoop you will still need to add extra fabric around the
design ro hold it in the hoop. Always remove the
project from rhe hoop when vou are not working ro
prevent a ring mark forming on the fabric. Once the
stitching has been completed the excess fabric can be
cur awav.
Washing and pressing
Handling even the smallest piece of cross stitch can make the
threads look flat and dull, so always wash your work before
it is framed or mounted. To do this, swish the stitching in
hike warm water and. if the colours bleed, rinse in fresh
water until the water is clear. Do not be tempted to stop
rinsing unless you arc absolutely sure the bleeding has
stopped. Roll the stitching in a clean towel and squeeze
gently to remove most of rhe water. On a second fluffy towel,
place your design face down, cover with a dean cloth and
iron until the stitching is dry.
Mounting and framing
It is best to take large cross stitch designs to a
professional framer who will advise vou on
displaying your work. If you would prefer to lace your
own work then most framers will be happy
ro make the frame and cut rhe mount and backboard for
you. If you are mounting rhe work yourself use acid-free
board in a pale colour. The mount board should be cut to
fit inside your picture frame, allowing tor the thickness
of material that will be wrapped over the board. There
are two methods of attaching the stitching to the board —
taping and lacing.
Taping
Place the cut board on the reverse side of your
stitching. Starting from the centre of one of the longest
sides, fold the excess fabric over on ro the board, then
pin through rhe fabric and ini о the edge of the board.
Repeat along all four sides of the board. Use strips of
double-sided tape ro hold the fabric on to the back of
the board. Remove the pins once the work is secured.
Lacing
Pin the work along the edges of the board in the same
way as for the iaping. Working from the centre of one
side, and using very long lengths of strong thread begin
lacing backwards and forwards across rhe gap between the
fabric overlap, while keeping the fabric on the right side
stretched. Remove the pins. Repeat for the other two
sides, taking care to mitre the corners or turn the corners
in neatlv.
Suppliers 109
Suppliers
When writing to any of the companies below, please include a stamped addressed envelope for your reply.
DMC Creative World Ltd
Pullman Road. Wigston, Leicester LES 2OY
Aida. linen, stranded cotton, metallic divisible
'.bread, rayon thread and beads.
Coats Crafts Ltd
PC) Box 22, The Linglield Estate. McMullen Road.
Darlington. Co Durham DL1 1YQ
Kreinek blending filament.
('raft Creations Ltd
2C Ingersoll House, Dalamare Road. Cheshunt,
Herts EN8 9ND
Card mounts.
Impress Cards & Craft Materials
Slough Farm. Wcsthall. Halesworih. Suffolk IP 19 8RN
Card mounts
The DMC Corporation
Port Kearney Bld. 10 South Kearney
NJ 070732-0650. USA
Ziveigart Aida. linen and stranded cotton.
Cay Bowles Sales Inc
PO Box 1060. Janesville.WI, USA
Anne Brinkley Designs Inc
-61 Palmer Avenue, Holmdel. NJ 97’33. USA
Ireland Ncedlccraft Pty Ltd
2-i Keppel Drive. Hallam. Victoria 3803- Australia
DMC Ncedlccraft Pty
PO Box 31’, Earlswood 2206. New South Wales
2204. Australia
Zireigart Aida. linen and stranded cotton.
но
Our Fantasy Designers
The following designers can lie contacted al the addresses below
Sue Cook at The August Moon Design Company Limited. .32 Wavell Drive. Mai pas. Newport, Gwent NP20 6QX.
Website: wwxv3ugu.4moon.co.uk.
Linda & Roger Garland at Lakeside Gallery. Fleardon Farm. Lczant. Launceston. Cornwall PL 15 9XW
Website www lakeside-galiery.cc mi
Susan Penny at Penny & Penny, 1.35 Bay View Road. Northam. Dexon EX.59 1131 email: penny.andpenny@virgin.net
Helen Philipps at Merry Heart Designs, PO Box HO. Hoylake. Wirral CH48 2WD. Website: www.merryheart.co.uk.
Pinn ar Old Orchard Cottage. Knutsford Road. Antrobus. Xorthwich. Cheshire CW'9 6|W. Website: www.x-stitch.co.uk
Man Stockett. The Miranda Corporation. Website: www.webmiranda.aim
Teresa W'entzler, 1AV Designworks Website www.twdesignworks.com
Acknowledgments
The publishers would like to thank rhe following fkxiple: Sue Cook. Maria Diaz. Susan Penny
Saithon Borisuthibundit and Rungrat Puthikul at Pinn. Man Stockett. Teresa Wcntzler fur their design contributions-.
Michaela Learner. Christine Thompson. Ann Swetman, Penn O'Gara for their expert stitching;
Doreen Holland for her chan checking:
Linda & Roger Garland for their art: and Susan and Marlin Penny for producing the book.
Chart Index HI
Chart Index
A Stranger Cometh. 32
Anchor. 86
Angel, 31, 64
Angel of Peace. 64
Angelic Messengers motifs, 70
Aquamarine. 80
Armour. 23
Black cat. 23
Castle. 15. 22
Celestial Heaven. 94
Cherubs. 70
Cherub and Lyre, 63
Crabs. 79
Dolphins, 84, 86
Doves, 71
Dragon. 15. 16. 52. 55
Hairy. 36. 38
Heather. 70
Flag, 23
Friends from rhe 1 )eep. 84
Frost Hairy, 36
Goddess of Mercy. 48
J
Good Fortune emblems. 47
Lvre. 63
J
Merlin the Wizard. 20
Mermaid, 80, 86
Mystic Deep motifs. 86
Myth and Magic motifs. 22
Orb, 22
Oriental Dragon. 52
Oriental emblems. 47
Oriental Fanrasv motifs. 54
J
Oriental girl, 54
Polar bear. 39
Poseidon and his Undersea World. 79
Presents, 38
Princess, 16
Santa. 32. 39
Seahorse, “9, 86
Shields. 22
Shells, 79. 87
Snow Queen, 39
Starfish, 86
Sun and moon. 23
Sword. 23
The Castle and the Dragon. 15
The Princess and rhe Dragon. 16
The Princess and rhe Unicorn. 68
Turtle, 87
Unicorn, 68, 70
Winter Angel. 31
Winter Enchantment motifs, 38
Wizard. 20
Wolf. 38
Zodiac signs, 94-103
112 Index
Index
Entries in iia'ics indicates illustrations, bold indicates charts.
A Stranger Cometh, 27. 27, 32 Angel of Peace. 56. 59. 64 Angelic Messengers motif's, 70 .Aquamarine. 72, 75. 80 Blending filament. 106 Cards. 14. 46. 92 Celestial I leaven. 88. 91. 94-103 Cherub and Lyre. 62. 62. 63 Coaster, 46, 92 Cushion. 62 Designers, 109 Footstool, 76 framed picture. 1 I, 27. 29. 31.43. 59. 60, 75, 78 Friends from the Deep, 76, 77, 84 Frost Fairy. 28. 29. 36 Goddess ol Mercv, 70, 43. 48 J Good Fortune emblems. 46, 46. 47 Hand towel. 78 Merlin the Wizard, 12. 13, 20 Mirror, 46 Mobile, 92 Mounting and framing, 108 Mystic Deep motifs. 86 Mvth and Magic motifs. 22 Oriental Dragon, 44. 45. 52 Oriental emblems, 76, 46, 47 Oriental Fantasy motifs. 54 Poseidon and his Undersea World, 28, 78. 79 Purse, 46 Reading the charts. 105 Stitches, backstitch. 107: cross stitch, 106; half cross stitch, 107; three-quarter stitch, 107 Suppliers, 109 I'he Castle and rhe Dragon. / 7. 14. 15 The Princess and the Dragon, II. 16 The Princess and the Unicorn. 60. 6 /, 68 Techniques. 105 Templates, 104 Wallhangings. 13. 44. 91 Washing and pressing, 108 Winter Enchantment motifs, 38
Seventy magical designs by nine talented artists and designers
are brought together to make a unique collection of fables and
legends from East and West in cross stitch
David & Charles
UK £17.99 US$24.99
41374 (Can $38.99)
ISBK 0 71S3 1221-5
II limn iiiiiiii I
8 «06488 000981 I9