PREVIEW Elegant Hardanger Embroidery by Yvette Stanton

A STEP-BY-STEP MANUAL FOR BEGINNERS TO ADVANCED

Yvette Stanton

HardangerEmbroidery

ELEGANT

HardangerEmbroidery

copyrighted material

You can find the instructions for these projects on the pages listed.

Clockwise from top left:

Waterlily cushion, pages 56–7;

Karen doily, pages 46–7;

Scissors case, pages 39–40;

Handtowel, page 38;

Patchwork cushion, pages 33–5;

Star cushion, pages 44–5;

Claire doily, pages 52–3;

Genevieve framed doily, page 58.

More projects shown inside back cover.


3

Contents

Introduction ................................................................4

Before you begin.........................................................5

Fabric for Hardanger...............................................6

Thread ....................................................................6

Other equipment ....................................................7

Preparing fabric for stitching...................................7

Reading a Hardanger chart .....................................8

Stitching order ........................................................8

Caring for embroidery ............................................9

Hardanger discussion forum .................................10

Stitch instructions and techniques .............................11

Notes....................................................................12

Starting with a waste knot....................................12

Starting a new thread...........................................12

Kloster blocks .......................................................13

Satin stitch............................................................14

Buttonhole edge...................................................14

Eyelets ..................................................................16

Algerian eyelet stitch ............................................16

Four-sided stitch ...................................................17

Faggot stitch.........................................................17

Cutting and removing threads for needleweaving...18

Needleweaving .....................................................19

Wrapped bars .......................................................22

Dove’s eye stitch ...................................................22

Greek cross...........................................................23

Spider’s web .........................................................24

Knotted picot .......................................................25

Looped picot ........................................................26

Lacy buttonhole edge ...........................................27

Triangular webs with buttonhole bars ...................28

Twisted Y with looped picots ................................29

Spider’s web in eyelets..........................................29

Cable stitch ..........................................................30

Beading ................................................................30

Cutting Hardanger from the fabric........................31

Hardanger projects ....................................................32

Patchwork cushion ...............................................33

Hardanger box......................................................36

Hand towel...........................................................38

Scissors case .........................................................39

Christmas stocking ...............................................41

Square sampler .....................................................43

Star cushion..........................................................44

Karen doily ...........................................................46

Gift cards..............................................................48

Honeysuckle tablecloth .........................................50

Claire doily............................................................52

Trish runner ..........................................................54

Waterlily cushion ..................................................56

Genevieve doily ....................................................58

Organza bolster ....................................................59

Appendix – names, symbols and stitches...................62

Acknowledgments ....................................................63

Index ........................................................................64


Fabric for HardangerHardanger embroidery is a counted thread embroi-

dery requiring even-weave fabric. Even-weave fabric

has the same number of threads across the warp and

weft, over the same distance. To check whether a

fabric is even-weave, insert a pin in the fabric. From

the pin, measure 5cm (2in) along both the warp and

weft, marking the end of each distance with another

pin. Count the number of threads between the pins.

If the fabric is even-weave, the number of threads will

be the same over both distances.

The most commonly used fabrics are even-weave

linens, cottons and cotton/viscose blends. Aida cloth

is not suitable for Hardanger embroidery.

Even-weave linen and many other even-weaves

have a weave of single threads. Hardanger fabric, so

called because it is used most often for Hardanger

embroidery, is made of a weave of double threads.

Traditionally, Hardanger is stitched in white thread on

white cloth, but many designs are now made with

either coloured cloth or thread, or both.

FABRIC COUNTThe “count” of an even-weave fabric refers to the

number of threads per inch. Inches are used as the

unit of measurement for the count of fabric, even in

countries where metric measurements are standard.

A 25 count fabric (i.e. 25ct) has 25 threads per

inch, a 36 count fabric has 36 threads per inch, etc.

Count can also be referred to as TPI or “threads per

inch”. The lower the count of the fabric, the larger

the embroidery stitches will be.

To work out how large an embroidery will be on a

specific count of fabric, you will need to know how

many threads the embroidery will cover. If the

embroidery is 100 threads square, on a 25 count fab-

ric it will measure 4 inches or approximately 10cm.

On a 20 count fabric, the same design will measure 5

inches or approximately 12.5cm.

To work out the size of the embroidery in inches,

divide the number of threads covered, by the count

of the fabric. To work out the number of centimetres,

multiply the number of inches by 2.54.

ThreadHardanger embroidery uses two weights of thread.

The heavier weight is used for satin stitching, and the

lighter weight is used for all other stitching, including

needleweaving and eyelets. Occasionally a third, even

lighter weight may be used for pulled thread work.

Pearl cotton (or perle coton) is the thread most

often used for Hardanger. It is made of two strands

twisted together and is indivisible (it cannot be split as

it will fall apart). Pearl cotton comes in four different

weights: Numbers 3, 5, 8 and 12. No.3 is the thickest,

and used only for very low counts of fabric. No.12 is

the thinnest, used for much finer work on higher

counts of fabric. Some of these weights are available

in skeins, some as balls and some are available in both.

Generally, the colour range is larger in skeins.

The weight of the threads to be used is dependent

on the count of the fabric. The heavier weight of

thread must be able to provide good coverage of the

fabric when sewn as satin stitch. Choose a weight

that is similar to the thickness of the fabric’s threads.

The lighter thread to use in combination with the

thicker thread would be the next weight down. For

example, on 28 count fabric, use pearl cotton No.5

for the satin stitching, and pearl cotton No.8 for all

other stitching.

Stranded embroidery cotton can also be used for

Hardanger. Having a much wider range of colours

available than pearl cottons, stranded cotton can be

very useful. To create the two weights of thread

needed, different numbers of strands are used. For

very fine needleweaving, a single thread of stranded

cotton can produce very lacy results.

Before use, stranded cotton must always be

“stripped”: all the threads must be separated from

each other and recombined. For two stranded work,

remove one thread from the length to be used, by

pulling it from the end of the six, and then another

thread. The two threads are then put back together

6

Hardanger fabric (cotton)

Lugana (cotton/viscose

blend)

Aida (not suitable

because of its weave)

Even-weave linen


and used together. For six stranded work, all threads

should still be separated. Stripping threads ensures that

the strands lie flat when used and are less likely to twist

around each other, producing a more pleasing result.

Embroidery threads come in a wide range of

colours and are also available in metallics and hand

dyed variegated colour schemes. They are most often

100 per cent cotton, but some varieties are silk, linen,

wool, or rayon, or a blend of fibres.

LENGTH OF THREADWhen stitching, I use approximately 80cm (32in) of

thread. This length is easily measured out from skeins

of pearl cotton by using the length of the skein as a

guide. Take off the two paper bands and untwist the

skein. Find an end and pull away a piece twice the

length of the skein. Cut the piece off. It should be

approximately 80cm (32in). When you are sure that

this length suits you, you can cut all the loops of one

end of the untwisted skein so that all pieces are the

same length. You might not want to do this for a var-

iegated thread, so that you can have more control

over the placement of the colour variations.

If the length of thread you are using consistently

becomes dull and furry before you have finished with

it, it is too long and you should use a shorter piece.

Never re-use thread that you have unpicked. It will

be noticeably less shiny than a fresh piece of thread

and create an uneven visual effect in your work.

Other equipmentNEEDLESThe needles used for Hardanger embroidery are tapes-

try needles. Tapestry needles have a round point which

makes them less likely to split the fabric threads.

Because Hardanger is a counted embroidery, it is

important that the stitches are worked in the spaces

between the threads, and that the threads aren’t split.

Some Hardanger embroiderers prefer to use two

sizes of needle for their embroidery – a larger one for

the thicker thread and a smaller one for the thinner

thread. However, all the embroideries in this book have

been done with the one size: a No.24 tapestry needle.

The eye size of needles varies between brands. If

you find it difficult to fit the thread through the eye,

change to the next larger size of needle.

If you find that your thread is difficult to pull

through the fabric, change to a larger size needle.

SCISSORSA pair of sharp, fine pointed embroidery scissors are

essential equipment for Hardanger. They must be very

sharp and fine to allow for the careful cutting of the

fabric’s threads very close to the embroidery, without

cutting through the embroidered threads.

A pair of scissors that are not sharp or fine enough,

or used incorrectly, can really make the difference

between Hardanger embroidery that is executed to a

high standard and Hardanger embroidery that is only

average. It is worth investing in a quality pair.

EMBROIDERY HOOPSome Hardanger embroiderers prefer to use an

embroidery hoop while stitching as they find this

gives them a better result. As a matter of personal

preference, I choose not to use a hoop for Hardanger

embroidery, although I use one for most other

embroidery. Experiment with and without a hoop to

see what you prefer for your work.

Preparing fabric for stitchingBefore you begin, it is important to finish the edge of

the fabric so that it doesn’t fray as you stitch. To do

this, either overlock the edge with a sewing machine

or overlocker, or hand stitch with blanket stitch.

COUNTED TACKINGBecause Hardanger is worked on the basis of a four

thread block, counted tacking carefully stitched over

and under groups of four threads will help in the correct

positioning of the stitching. Use pale coloured machine

sewing thread, so that when it is removed it will not

leave any dark fibres in the fabric.

To begin tacking, find the centre of the fabric by

folding it in half both ways. Mark the centre with a pin.

Enter the needle at the centre. Leave a tail of thread

long enough to tack to the other edge. Bring the nee-

dle back up again after two threads. Weave over and

under groups of four threads across to the edge of the

fabric and secure the end of the thread.

7


NotesThe difficulty rating of each stitch or stitch combina-

tion is indicated by a cotton reel symbol next to the

heading for each stitch.

A stitch or technique suitable for

beginners.

A stitch or technique suitable for inter-

mediate embroiderers.

A stitch or technique suitable for

advanced Hardanger embroiderers.

Stitches may have variations with differing levels of

difficulty. In these cases, the difficulty rating is shown

beside the heading for each variation. Fundamental

techniques and information which are for all stitchers

do not show a rating. The stitch instructions are

ordered within the book following the steps outlined

in ‘Stitching order’ on page 9.

The stitch diagrams in this book use the following

convention: the heavier weight threads are shown

as striped, and the lighter weight threads are plain.

Practise each of the stitches before working on a

project. This will mean that by the time you come to

do your project you will feel much more confident

with the stitches. You can use the sample pieces to

build up a record of your stitching experience by

assembling them in a scrapbook or folder.

Starting with a waste knotA waste knot is used to secure a thread in an areawhere there is no previous stitching.

METHOD 11 Work out where the

new stitching needs to

begin and where the

stitching line will contin-

ue. Tie a knot in the end of the thread, large enough

not to slip through the holes in the fabric.

2 From the front of the fabric enter the needle about

10cm (4in) from where the stitching needs to begin.

The waste knot should sit loosely on the front of the

fabric. Make sure it is well away from any subsequent

stitching. Begin stitching.

3 When a reasonable amount of stitching has been

completed, cut off the knot and ease the end

through to the back. Thread the needle onto this end

and work it into the back of the stitching to secure it.

METHOD 2This method works well for long straight lines of

stitching.

1 Work out where the new stitching needs to begin

and where the stitching line will continue. Tie a knot

in the end of the thread, large enough not to slip

through the holes in the fabric.

2 From the front of the

fabric enter the needle

about 5cm (2in) away

from the beginning point,

where it will be covered by the subsequent line of

stitching. Bring the needle back through to the front at

the beginning point of the stitching. The waste knot

should sit loosely on the front of the fabric.

3 Begin stitching, check-

ing that the waste knot

thread is caught into the

back of the stitches.

When the stitching pass-

es the waste knot, carefully cut off the knot without

damaging any of the stitches. Ease the end of the

thread through to the back of the fabric.

Starting a new thread1 Thread the needle with the new thread. With the

back of the fabric facing you, take the thread through

the back of about 5cm (2in) of stitches closest to

where you need to continue stitching. If the previous

thread was secured under the same threads to finish,

make sure the new thread does not pull it back out

again by holding its end as you begin the new one.

2 Give the thread a very light tug to check that it is

reasonably secure. If not, work through the back of a

few more stitches or take a small backstitch through

the back of the stitches.

When working pulled thread stitches, make sure the

new thread is well secured. Because of the tension

needed to work the stitch, if the new thread is not well

secured it will slip out again as you begin stitching.

If there is no previous stitching adjacent to where

you need to stitch, use the waste knot method.

Finishing a threadTo finish off a thread, turn the fabric over so the back is

facing. Slide the needle under the back of the last few

stitches. With kloster blocks I usually take the thread

12


13

through the back of at least five blocks. For other stitch-

es take the needle through a similar distance.

Always make sure you leave enough thread to

enable you to secure it well. If you don’t have

enough thread to end off, undo a few stitches to

give you more length to work with.

Never finish a thread halfway through a kloster block

or any other stitch combination. Doing so can cause

the stitch to sit incorrectly, and could cause your

stitch tension to go awry. If the thread you are using

has become slightly worn, the new thread will look

considerably different next to it, making the thread

change very obvious. This effect will be lessened if

the thread is changed at the end of a kloster block.

Kloster blocks Kloster blocks are the basic buildingblocks of all Hardanger designs. They aremade up of five satin stitches over asquare of four threads. Kloster blocks arethe first stitches worked in a Hardangerdesign, with the heavier of the twoweights of cotton being used.

Kloster blocks are most commonly stitched in diag-

onal lines. Less commonly, they are stitched in line

with the fabric’s grain. When stitching kloster blocks

it is important to count carefully. As they are the

foundation for all other parts of Hardanger designs,

care should be taken to make sure all elements are in

the correct place from the outset.

DIAGONAL LINES1 Bring the needle out

from the back to the

front of the fabric. Insert

the needle four threads

to the right. Bring the needle out again, one thread

up from the beginning of the first stitch.

2 Continue, making each

stitch one thread higher

than the previous one,

until there are five parallel stitches.

3 Bring the needle out

again through the same

hole as for the beginning

of the last stitch. Count

four threads up and

enter the needle. Bring it

out again one thread to the left of the base of the

previous stitch.

4 Continue working left, with each stitch one thread

to the left of the previous one until there are five par-

allel stitches. This completes the second kloster block.

5 To begin the third kloster block, count four stitches

to the left of the end of the last stitch and bring the

needle up as before. Repeat the instructions to build

up a line of kloster blocks.

The back of the work

should look like the line

of stitching on the left.

If it looks like the line

on the right, the direc-

tion has been reversed

in error (two errors shown). Such errors can cause the

stitching to unravel when the fabric threads are cut.

STRAIGHT LINESWork the first kloster

block. Leave a space of

four threads and work

another block. Continue

in the same way, building

up a straight line of

spaced kloster blocks in

which all blocks face the same direction.

The back of the work

should look like the top

line of stitching. In the

bottom line, the direc-

tion has been reversed in

error (two errors shown). Such errors can cause the

stitching to unravel when the fabric threads are cut.

MISTAKES TO WATCH OUT FORIt is very easy to make mistakes while stitching kloster

blocks. As they are the first elements of the design to

be stitched, there is often only the counted tacking to

cross check against. As you stitch check, check and

recheck that all your stitching is in the correct place!

When stitching in diag-

onal lines the corners

of kloster blocks touch.

Make sure that tension is constant throughout. Ten-

sion that is too tight will cause the fabric’s threads

to bunch up. Tension that is too loose will mean

BACK

✓

✗

RIGHT

WRONG

BACK

✓✗

RIGHT

✓RIGHT

✓RIGHT

WRONG

✗WRONG


Patchwork cushion This cushion beautifully combines patchwork andHardanger. The outer Hardanger designs featuresurface stitchery and are highlighted in green tomatch the patchwork. The centre design featureselegant cream on cream.

DIFFICULTY Beginner

FINISHED SIZE 40 x 40cm (16 x 16in)

STITCHES USED Kloster blocks, satin stitch, eye-

lets, needleweaving bars, four-sided stitch, Algerian

eyelet stitch.

MATERIALS■ 5 pieces 11 x 11cm (43/8 x 43/8in) cream Hardanger

fabric, 22 count■ 4 pieces 11 x 11cm (43/8 x 43/8in) cream cotton fabric■ 75cm (30in) green floral cotton fabric, 120cm

(47in) wide■ 15cm (6in) pink floral cotton fabric, 120cm (47in)

wide■ 10cm (4in) medium-weight fusible interfacing■ 3.6m (4yds) cotton edging lace■ 2 x 18mm (13/4in) buttons■ 35cm (14in) cushion insert■ machine sewing thread, one to match green fabric

and one to match lace■ 1 skein No.5 DMC pearl cotton, colour 712 (cream)

■ 1 skein No.5 DMC pearl cotton, to match

green fabric■ 1 ball No.8 DMC pearl cotton, colour 712 (cream)■ No.24 tapestry needle

EMBROIDERYYou must be accurate when positioning the embroi-

dery in the centre of each patch.

Design A Work satin stitch ships in green pearl cot-

ton. Stitch kloster blocks in corners with No.5 pearl

cotton, colour 712. Work eyelets in No.8 pearl cotton,

colour 712.

Design B Work the satin stitch star in green pearl cot-

ton. Sew eyelets and four-sided stitch with No.8 pearl

cotton, colour 712. The four-sided stitch should be

worked as a surface stitch with regular tension.

Design C Work kloster blocks in green pearl cotton.

Sew the eyelets, four-sided stitch (as a surface stitch),

and all half Algerian eyelets in No.8 pearl cotton,

colour 712.

Design D Work kloster blocks and ships in green pearl

cotton. Work eyelets and four-sided stitch (as a sur-

face stitch) in No.8 pearl cotton, colour 712.

Design E Work all satin stitch in No.5 pearl cotton,

colour 712. Work Algerian eyelets in No.8 pearl cot-

ton, colour 712. Stitch needleweaving in No.8 pearl

cotton, colour 712.

33


64

Index

acetate, photocopier 8

advanced projects 52–61

Algerian eyelet stitch 16–17

aida 6

backing out of a corner 21

beading 9, 31

beginner projects 35–42

bolster 59–61

box 36–7

buttonhole bars 28

buttonhole edge 9, 14–16

cutting from fabric 31

lacy 27–8

cable stitch 30

cards 48–9

caring for embroidery 9–10

chart

creating a full chart 8

reading 8

Christmas stocking 41–2

Claire doily 52–3

count, of fabric 6

counted tacking 7

cushion

patchwork 33–5

star 44–5

waterlily 56–7

cutting 9

threads 18–19

fixing mistakes 19, 31

from the fabric 31

where to cut 18–19, 31

diagonal lines 13

difficulty rating 12

discussion forum 10

doily

Claire 52–3

Genevieve 58

Karen 46–7

double cable stitch 30

dove’s eye stitch 22

in a wrapped circle 22–3

drawn thread work 9

edging, buttonhole 9,

27–8

embroidery hoop 7

even-weave 6

eyelets 9, 16

Algerian eyelet stitch 16–17

spider’s web in 29–30

fabric 6

count 6

preparing for stitching 7

cutting embroidery from 31

faggot stitch 17–18

filling stitches 20, 22–7, 28–30

finishing a thread 12–13, 19,

20–1, 27, 31

four-sided stitch 17

forum, Hardanger discussion 10

Genevieve framed doily 58

gift cards 48–9

Greek cross 23–4

border 23–4

reverse 24

hand towel 38

hardanger box 36–7

hardanger fabric 6

hem 9

honeysuckle tablecloth 50–1

ironing 10

inside corner

buttonhole edge 15

greek cross border 24

intermediate projects 43–51

Karen doily 46–7

kloster blocks 9, 13–14

substitutes 14

knotted picot 25–6

lacing thread across the back 21,

27

lacy buttonhole edge 27–8

left-handed Hardanger 9

linen, even-weave 6

looped picot 26–7, 29

Lugana 6

mistakes 8, 13–14, 18, 19, 31

needle 7, 16, 31

needleweaving 9, 19–21

backing out of a corner 21

lacing thread across the back 21

starting and finishing a thread

19, 20–1

straight lines 20

zigzags 20

organza bolster 59–61

outside corner

buttonhole edge 15

greek cross border 24

patchwork cushion 33–5

pearl cotton 6

photocopier acetate 8

picots 25–7, 29

pulled thread work 9

stitches 16–18

quarter cross foundation stitch 23

reverse Greek cross 24

runner 54–5

sampler 43

satin stitch 9, 14, 19

scissors 7

case 39–40

correct use of 18, 31

ships, satin stitch 14

spider’s web 25–6

in eyelets 29–30

square sampler 43

star cushion 44–5

stars, satin stitch 14

starting a thread 12,19, 20–1,

27, 31

stitching order 9

stocking 41–2

straight lines

kloster blocks 13

needleweaving 20

stranded cotton 6

stripping threads 6

surface stitchery 9, 16–17, 30

tablecloth 50–1

tacking, counted 7

tapestry needle 7

thread 6

finishing 12–13, 19, 20–1, 27, 31

length to use 7

starting 12,19, 20–1, 27, 31

triangular webs with buttonhole

bars 28–9

Trish runner 54–5

twisted Y with looped picots 29

washing 10

waste knot 12

waterlily cushion 56–7

wrapped bars 22

zigzags 20


You can find the instructions for these projects on the pages listed.

Clockwise from top left:

Trish runner, pages 54–5;

Hardanger box, pages 36–7;

Square sampler, page 43;

Honeysuckle tablecloth, pages 50–1;

Organza bolster, pages 59–61;

Christmas stocking, pages 41–2;

Gift cards, pages 48–9.

More projects shown inside front cover.


You can do Hardanger embroidery!Do you want to try Hardanger embroidery but think it looks too difficult? Have you mastered the basics and want new challenges? This manual will take you step by step from novice to advanced stitcher, with helpful diagramsand hints and tips at every stage. Stunning Hardanger projects, graded beginner, intermediate and advanced, will guide you to your next level of expertise. You will refer to this manual again and again.

You will discover:

ü how to create the stitches of Hardanger embroidery

ü how to work those harder stitches that you don’t get in beginners books

ü hints and tips that you normally only learn in classes

ü that you don’t need to be afraid of cutting the fabric threads

ü how to fix mistakes

ü how to use your skills to work elegant Hardanger projects

‘I got your books: fantastically good! The Hardanger one is the best book onthat topic that I've ever seen. The instructions are not only clear, with excellentgraphics, but you also give a good view of how the stitches should look on theback, and shouldn’t look! You also give an idea of how to tuck in ends, andmove from one bit to the other. That’s precisely what the student needs, anddoesn’t get in the other books. That chapter of instructions is really somethingspecial.’ —J.O’L. Queensland, Australia

‘I really wish I’d found this book at the beginning of my hardanger learningcurve. I taught myself Hardanger from magazine instructions and didn’t realizeI’d also taught myself some bad habits. This book is really outstanding and Iwould recommend it to anyone interested in Hardanger – from beginner toexperienced!’ —R.R. California, USA

This manual has taught thousands of stitchers how to create elegant Hardanger embroidery, and it will teach you too.

Yvette Stanton is a respected embroidery teacher and award-

winning needlewoman. In 2000 she won the Nordic Needle

Annual Hardanger Design Contest.

Yvette is also the author of ‘Ukrainian Drawn Thread Embroidery:

Merezhka Poltavska’ and with co-author Prue Scott ‘Mountmellick

Embroidery: Inspired by Nature’. Yvette regularly contributes articles

on the history of needlework and embroidery projects to leading

Australian and international embroidery magazines.

www.vettycreations.com.au


PREVIEW Elegant Hardanger Embroidery by Yvette Stanton

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