Two questions / Duas perguntas

Gosto mesmo muito destes monogramas. Até agora só bordei a versão mais pequena, mas já estou a preparar-me para bordar um na versão maior. Parece-me que deve haver alguma habilidade especial para bordar o formato pequeno – ao perto notam-se muitas imperfeições. Talvez o maior seja mais fácil.

I do love these monograms. Till now I’ve only embroidered the little ones but I’m ready to embroidered one in a bigger size. I think I should have some particular skill to embroider the little size – a close-up shows so many faults. Maybe the bigger one would be easier.
These M and R were embroidered with DMC 25, for family’s napkin-bags I am doing.

Estes M e R foram bordados com DMC 25, para os sacos para guardanapos que ando a fazer para a família.

o mesmo linho, a mesma linha DMC 25
same linen, same thread DMC 25

That linen was over and I tried the same thread in a medium-weight linen (Mary Corbet said) and it was a disaster.

Aquele linho acabou e tentei a mesma linha no linho que mais uso, mais aberto e foi um desastre.

The faults are soooo big.

As imperfeições são ainda maiores.

Here you can see different linens, same thread.

Aqui podem ver-se os linhos diferentes, a mesma linha.

Usei, então, a linha que uso habitualmente neste linho: DMC perlé 8. Gosto mais, e é mais fácil embora algumas imperfeições estejam lá.

Then I used the thread I always use with this linen: DMC perlé 8. I like better, and it’s easier, though some faults remain there.

o mesmo linho, diferentes linhas

same linen, different threads

E queria deixar duas perguntas a quem por aqui passa, agradecendo, desde já:

– como escolhem as linhas de bordar versus tecidos (ou vice-versa)?

– como se evitam todas aquelas imperfeições num modelo cheio de curvas e contra-curvas?

And I want to ask my readers two questions, thanking in advance:

-how do you choose the embroidery threads versus fabrics (or vive versa)?

– how do you prevent those faults in a pattern full of curves and counter-curves?


Thank you

7 thoughts on “Two questions / Duas perguntas

  1. I don’t look for the faults, Méri – I only see the beauty in the design.Sorry I don’t have the technical knowledge about embroidery to be of more help to you. My untrained embroiderers eye thinks your work is beautiful!


  2. Hi, Meri!Aha! The Big Question!When you embroider on a heavier weight linen, it is usually better to use a heavier thread. However, you can still achieve Very Nice effects with a finer thread, like the stranded DMC 25. (I’m assuming you mean the stranded thread, in six strands that can be separated? or do you mean #25 coton a broder, which is a thicker, non-divisible thread?) When you stitch on a heavier linen, remember that you can split your linen weave. Don’t be guided by the holes in the linen, but rather by the lines of your design and the desired length of your stitches. Use a sharp needle (a crewel needle or embroidery needle, not a tapestry needle, so that you can pierce through the middle of the linen threads when you need to).When you work around a curve in stem stitch, make your stitches smaller. You can lengthen them again slightly on the straight parts, but as you approach and go around a curve, shorten them up to take the curve smoothly. It won’t look odd, if you keep a consistent length of stitch on the straight parts. You can also angle the stem stitch out a little bit, to widen it as it goes around the curve, making the curves slightly thicker and giving depth to your design.Keep up the wonderful work!!


  3. Thank you Nikki! You are so nice!Thank you very much, Mary! I knew you’ll have some tips :)In fact I’ve used #25 coton a broder. In theory I knew what you explain in your comment but doing those curves…is really difficult and I used outline stitch…


  4. Eu não sou grande bordadeira mas faço assim – uso linha mais grossa para tecido mais gosso. Por exemlo, se fosse para o teu linho grosso usaria 5 ou 6 fios das meadas DMC


  5. I agree with you,Meri. Theoretically it is very easy to say – keep the stitch short – I too found it difficult in even the simplest of flowers.May be when we become an expert like Mary, we’ll succeed :)


  6. The embroidered monograms are very gorgeous. I’m sorry but I’m afraid I can’t give you any good advice on this matter. Your work looks perfect to me.


  7. Meri, another simple way is to change your stitch. If you use split stitch instead of stem or outline, it can't 'open' like that on the curves. Another thing I have noticed is that there seems to be a 'modern' stem/outline stitch and an older version. With the older version each stitch lies more or less on a slight diagonal across the line, but each downstroke and upstroke through the fabric is in a 'new hole'. This is how I learned it from my grandmother and it looks more 'open' than the modern version. In the modern version that I keep seeing (and I have done it myself), you do the downstroke into the fabric at the end of your row and then come back under the fabric to come up again for the next stitch; at this point (on the upstroke) you come up through the same hole as the last-but-one stitch went down in (not the one now at the end of the row – the one uou made before that – this is difficult to explain!). In this way your stitches wrap around each other in a rope-like way, rather than looking like a series of diagonals laid next to each other. And they don't appear to 'open' so much as they go round curves (though short stitches around curves do look better).


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