Online Workshops – Hazel Blomkamp's Fine Needlecraft

Continuing on from Lesson 1, we will start with:

Needle Weaving

Texture no. 5 is the most complicated of the needle weaving patterns and by working through this, you should be on a position to work the others with ease.

This pattern, with it’s variation which we will cover, is worked in one of the feathers in the neck ruffle described in point 7 on page 88.
It is repeated at the base of the tail feathers, described in point 71 on page 97.

**Checks and Stripes no. 13** worked with stranded cotton

A variation of double weaving, checks and stripes no. 13 is more simple although, in this project I have used stranded cotton to work it in some places. Normally, I would only use a perle or a dentelles but in this instance, the colour I wanted to use was not available in the thread ranges. It is more fiddly, but do-able.

It is worked with stranded cotton in the purple check flowers described in point 10 on page 89.
It is repeated in the inside of the flowers described in point 49 on page 94.
It is also used for the two inner sections of the flower described in point 67 on page 96.

**Checks and Stripes no. 13** worked with perle thread

Checks and stripes no. 13 is also worked with perle threads.

This is worked into one of the feathers in the neck ruffle described in point 17 on page 90.
There is a small cirlicue described in point 61 on page 96.

Also worked with perle thread, needle weaving texture no. 2 is used to fill the feather described in point 43 on page 93.
It is used again in the upright feather described in point 63 on page 96.

Bead Embroidery

By far the most complicated of the bead embroidery techniques in this project is caging the flatback crystal to create Colin’s eye.

You will find a large plastic button in your teaching kit and we will work over this button with perle no. 5 thread, going through the stitch video clip on the stitch dictionary page.

This will bring us to the end of lesson 2. If, however, we have done well and there is still some time left we will move onto the remaining bead embroidery stitches that are talked about at the beginning of lesson 3.

And now, once again, for the lesson video which I will feature on all of the lesson pages because you will probably want to come back to it again and again, as you work through the project.

(Don’t forget to click the icon in the bottom right-hand corner of each video to get it to full screen).

Boston Seminar

Colin the Rooster – Online Workshop: Lesson 3

November 6, 2023November 7, 2023 Hazel Blomkamp

Continuing on from Lesson 2, we will start with:

Bead Embroidery

Beaded wheatear stitch is used to fill the blue feathers below the belly and is described in point 3 on page 87.
It is used again for one of the feathers below the head as described in point 28 on page 91.

Beaded backstitch is used to outline sections or create tendrils as described:

In point 8 on page 88.
In point 9 on page 89.
In point 16 on page 89.
In point 18 on page 90.
In point 41 on page 92.
In point 42 on page 93.
In point 64 on page 96.
In point 75 on page 98.
In point 82 on page 99.
In point 86 on page 99.
In point 87 on page 100.
In point 88 on page 100.
In point 89 on page 100.
In point 91 on page 100.
In point 92 on page 100.
In point 94 on page 101.
In point 95 on page 101.

Beaded fly stitch fills the skinny feather on the top of the head described in point 37 on page 92.

**Beaded Knotted Cable Chain Stitch** **and Attaching Single Beads**

Beaded knotted cable chain stitch is worked on the diagonal lines of the feather on the chest described in point 5 on page 88.
It is also used as the upper outline of the section described in point 46 on page 93.
It outlines to top side of a shaded area and is described in point 62 on page 96.

Embroidery Stitches

We have a large body of embroidery stitches to get through and whilst the ones that appear below are intended to be covered in this lesson, we might get through them fast and then we can go onto the ones covered in lesson 4. Or we might go more slowly, in which case we will cover the remaining stitches in the next lesson.

**Backstitch, Whipped Backstitch** **and Outline Stitch**

These stitches are used throughout the design to outline sections of the stitching.

**Chain Stitch Backstitch Combination** (filler)

This combination is used to fill some of the feathers below and around the head, as under:

In point 25 on page 91.
In points 39 and 40 on page 92.

**Chain Stitch Backstitch Combination** (single lines)

Single lines of the stitch are used to create whispy feathers, as under:

In point 45 on page 93.
In point 55 on page 95.
In point 84 on page 99.
In point 95 on page 101.

Double detached chain stitch is used for the pink petals at the base of the bottom shape in the image above. It is described in point 51 on page 94.

Fly stitch in both its basic form and with variations is used throughout the design, as under:

In point 2 on page 87 (basic)
In point 11 on page 89 (basic)
In point 48 on page 94 (with variation)
In point 65 on page 96 (with variation)
In point 69 on page 97 (basic)
In point 80 on page 99 (basic)
In point 83 on page 99 (basic)

**Interlaced Chain Stitch** (with variations)

Used to fill feathers and also, sections of the cockscomb, interlaced chain stitch (with its variations) is used throughout the design, as under:

In point 15 on page 89 (with variation 1)
In point 18 on page 90 (with variation 1)
In point 27 on page 91 (with variation 1)
In point 30 on page 91 (with variation 1)
In point 35 on page 92 (with variation 3)
In point 38 on page 92 (with variation 1)
In point 44 on page 93 (with variation 1)
In point 47 on page 94 (with variation 1)
In point 52 on page 94 (with variation 3)
In point 68 on page 97 (with variation 1)
In point 77 on page 98 (with variation 1)

**Long and Short Stitch Shading** (vertical/fanned)

For some, the most difficult of all the stitches. Sometimes overlaid with a additional stitches like fly stitch or trellis couching, vertical and/or fanned long and short stitch shading is worked in a few places in the project, as under:

In point 2 on page 87
In point 3 on page 88
In point 11 on page 89
In point 20 on page 90
In point 33 on page 92
In point 49 on page 94
In point 56 on page 95
In point 57 on page 95
In point 66 on page 96
In point 69 on page 97
In point 72 on page 97
In point 76 on page 98
In point 80 on page 99
In point 81 on page 99
In point 83 on page 99
In point 89 on page 100

**Long and Short Stitch Shading** (diagonal)

The method of working diagonal long and short stitch shading is slightly different from vertical shading. It is worked in the project, as under:

In point 50 on page 94
In point 60 on page 95
In point 79 on page 99
In point 87 on page 99
In point 91 on page 100
In point 93 on page 100

This will bring us to the end of lesson 3. If, however, we have done well and there is still some time left we will move additional embroidery stitches that are talked about at the beginning of lesson 4.

And now, once again, for the lesson video which I will feature on all of the lesson pages because you will probably want to come back to it again and again, as you work through the project.

(Don’t forget to click the icon in the bottom right-hand corner of each video to get it to full screen).

Boston Seminar

Colin the Rooster – Online Workshop: Lesson 4

November 6, 2023November 7, 2023 Hazel Blomkamp

In lesson 4 we will cover the remaining stitches that you need to learn to complete the Colin the Rooster project.

Embroidery Stitches

Loop stitch is used over long and short stitch in the plumage at the top of the head. It is covered in point 33 on page 92.

Raised chain stitch (woven) is used to fill feathers, as under:

In point 14 on page 89
In point 73 on page 97

Satin stitch, often padded, is used in project , as under:

In point 10 on page 89 (padded)
In point 46 on page 93 (padded)
In point 51 on page 94 (padded)
In point 76 on page 98 (padded)
In point 78 on page 98 (padded)
In point 100 on page 102 (small satin stitch leaf)
In point 101 on page 102 (with split stitch)

Split backstitch is used as under:

In point 23 on page 90
In point 101 on page 102

You will have used basic trellis couching in the random freestyle embroidery technique. It is also used:

In point 9 on page 89
In point 76 on page 98
In point 81 on page 99
In point 89 on page 100
In point 93 on page 100

You will have used trellis with cross stitch filling in the random freestyle embroidery technique. It is also used:

In point 20 on page 90
In point 66 on page 96
In point 72 on page 90

**Trellis with Cross Stitch Couching** (shaded)

In its basic and shaded form, trellis with cross stitch couching is used in the project, as under:

In point 21 on page 90 (basic)
In point 32 on page 92 (basic)
In point 42 on page 92 (shaded)
In point 59 on page 95 (basic)

In this project, work woven trellis couching in the following places:

In point 8 on page 88
In point 58 on page 95
In point 75 on page 98
In point 85 on page 99
In point 90 on page 100

Work layered buttonhole stitch to fill the following spaces:

In point 12 on page 89
In point 54 on page 95
In point 58 on page 95
In point 82 on page 99
In point 88 on page 100

**Up and Down Buttonhole Stitch** (double)

In this project, work up and down buttonhole stitch in the following places:

In point 53 on page 94 (double)
In point 66 on page 96 (double)
In point 67 on page 97 (double)
In point 72 on page 97 (double)
In point 76 on page 98 (double)
In point 87 on page 99 (single)
In point 91 on page 100 (single)

Chicken wire couching is described from points 96 to 99 on pages 101 and 102.

If you are intending to turn this project into the page of a book as I have done, and you did not add the batting and additional voile backing from
the beginning, you should now remove the project from the frame.

Place a layer of voile, then a layer of batting, then the project so far back over the frame and secure it all together, making sure that you stretch all of
the layers as you go. There should be no folds visible on the back of the work. Everything should be smooth and well secured.

This will bring us to the end of lesson 4 and also, the end of the workshop. So now, even if it takes us over time, please ask any remaining questions that you might have. Also, remember that you are always welcome to email me on blomkamp.hazel@gmail.com.

And now, for the last time, the lesson video which I have featured at the end of each of the 4 lessons.

(Don’t forget to click the icon in the bottom right-hand corner of each video to get it to full screen).

Boston Seminar

Protected: Creative Crewel – Online Workshop: Lesson 2

November 6, 2023 Hazel Blomkamp

Boston Seminar

Protected: Creative Crewel – Online Workshop: Lesson 3

November 6, 2023 Hazel Blomkamp

Boston Seminar

Protected: Creative Crewel – Online Workshop: Lesson 4

November 6, 2023 Hazel Blomkamp

Boston Seminar

Protected: Creative Crewel – Online Workshop: Lesson 1

November 5, 2023November 19, 2023 Hazel Blomkamp

Boston Seminar

Colin the Rooster – Online Workshop: Lesson 1

November 4, 2023November 7, 2023 Hazel Blomkamp

In this online workshop, I will take you through all of the stitches that you need to complete the Colin project.

In addition to the stitches and techniques, I guide you through each part of the project in the Lesson video which is at the bottom of this page.

In addition to the video lesson, I have provided video demonstrations for each and every stitch or technique used in the project. These are on a separate page which is called the Colin Stitch Dictionary. Click here and the access document for that page will open on a separate tab. Go to that tab and follow the instructions to access the stitch dictionary.

As you work through the project, you will probably want to pause the lesson video and return to it after you have worked through the stitch. By providing the stitches on a separate page, it makes it easier for you to do that. You will be able to experiment with each stitch before you work it onto your project and a teaching kit has been provided for you to do that.

In addition to the teaching kit, there is a template document. On this document are templates of the various shapes and lines that I used when I worked the stitches in the video demonstrations. This will allow you, to a large extent, to work stitch by stitch following the video clips.

Download the templates document by clicking on this link: templates document. It will open in another tab and from there you will be able to print it and use it to trace the shapes or lines onto the doodle cloth that is in the teaching kit, using the threads that are in the same small kit. Use the needles that are provided in the project kit.

Lesson 1

We will kick off with the more complicated stitches and techniques so that, if you find that you have questions once you’ve tried them on your own without me on the other side of the line, as it were, there is time to ask those questions before the workshop finishes.

We will start with:

Random Freestyle Embroidery

The random freestyle filler is throughout the project, as listed below:

Colin’s belly described in point 1 on page 87 of the Crewel Birds book.
One of the feathers in the neck ruffle, described in point 13 on page 89.
The small feather shape to the left of the eye, described in point 24 on page 90.
In the cockscomb, described in points 34 and 36 on page 92.
At the rear of the body, to the right of the bottom tail feathers, described in point 64 on page 96.

The stitch sample is work on a 65 mm diameter circle which is on your template document. You should trace it onto your doodle cloth. You will work with a perle #5 thread on a chenille needle.

Needle Lace

The Colin needle lace filler is used to fill one of the feathers in the neck ruffle. It is described in point 6 on page 88 of the Crewel Birds book.
It also fills a small feather described in point 74 on page 98.

Before working the filler stitch, we will go through the basics of needle lace using stitches no. 2 and no. 14.

Both basic needle lace stitches, as well as the Colin filler will be worked on 30 mm circles. These circles are on your template document and you should trace the 3 circles onto your doodle cloth. You will work with a perle #5 thread on a chenille needle.

Needle Weaving

Depending on how much time we have left in our first live session, we may be able to move onto the needle weaving. If we don’t get to it, I will be asking you to prepare the warp stitches for needle weaving texture no. 5 as your homework before the next live session. The video clip for this technique is in the stitch and techniques dictionary – it’s the last clip on that page. It’s worked on a 30 mm diameter circle with 2 perle #5 threads (2 colours).

Before the next lesson, please take the time to read the document titled Getting Started with Needle Weaving. Click here and a PDF version of the document will open in another tab.