EGA Education Catalog

Education Catalog 2011-2012

The embroiderers’ Guild of AmericA

2011 – 2012 Education Catalog 1

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EDUCATIONAL ADVANCEMENTKay Stanis, Administrator

RESEARCH FELLOWSHIP GRANTEvelyn Petschek ____________________2

TEACHER CERTIFICATION EXAMINATIONKay Stanis _______________________2

CERTIFIED TEACHER GRADUATE EXAMINATIONKay Stanis _______________________3

CERTIFIED NEEDLEWORK JUDGES PROGRAMCarole Rinard ______________________3

MASTER NEEDLEWORK JUDGES PROGRAMCarole Rinard ______________________3

CERTIFIED NEEDLEWORK APPRAISAL PROGRAMBarbara Herring ____________________3

EXTENDED STUDY PROGRAMS 2011/2012Jane Farber _______________________4

Vima’s Italia Mia Needlework Tour of ItalyVima deMarchi Micheli ________________4

Images of the EarthCharlotte Miller ____________________4

MASTER CRAFTSMAN PROGRAMSCatherine Jordan____________________5

BeadingPeggy Huffine _____________________5

Canvas EmbroideryMimi Selick _______________________5

Color for NeedleworkLaura Smith ______________________6

Counted Thread EmbroideryRachel Atkinson ____________________6

Crewel EmbroideryJudy Jeroy _______________________6

Design for NeedleworkCarole H. Lake _____________________7

Plain and Fancy NeedleworkRoberta Chase _____________________7

QuiltingEunice Porvaznik ____________________7

Silk and Metal Thread EmbroideryMargaret Kinsey ____________________8

SmockingKim Sanders ______________________8

Surface EmbroideryDianne Lewandowski _________________8

EGA SCHOLARSHIP AND AWARD OPPORTUNITIES

Scholarships ______________________9The Bobby Pilling Memorial Award _________9

EDUCATIONAL PROGRAMSRissa Peace Root, Administrator

CHALLENGE/CHALLENGE WITH A TWIST 2011/2012Karla Gee ______________________ 10

INDIVIDUAL CORRESPONDENCE COURSES ENROLLMENT INFORMATION

Sharon Pierce ____________________ 11 THREE LESSON A Basic Study of Schwalm Embroidery

Barbara M. Kershaw _______________ 12 Counted Thread Finishing Techniques

Pat Donaldson ___________________ 12

Hidden Treasures: A Guide to Researching Embroidery

Barbara Herring __________________ 12 Introduction to Metal Thread Embroidery

Kay Stanis _____________________ 13 Introduction to Princess Lace

Roberta Chase ___________________ 13 Jacobean Crewel Embroidery

Judy Jeroy _____________________ 13 Machine Embroidery I

Casey Bradford ___________________ 14 Machine Embroidery II: Advanced Techniques

Casey Bradford ___________________ 14 SIX LESSON The Art of Teaching Embroidery

Casey Bradford, Carole H. Lake, and Kay Stanis ___________________ 14

Design for NeedleworkIndia Hayford ___________________ 15

Rainbows Bend: A Course on Color TheoryShirley Kay Wolfersperger and Carole Rinard __ 15

Hungarian Kalocsa Lace IIEniko Farkas ____________________ 15

NINE LESSON Silk and Metal Thread Embroidery

Kay Stanis _____________________ 16GROUP CORRESPONDENCE COURSE ENROLLMENT INFORMATION

Lisa Dunn ______________________ 17 AUSTRALIAN WOOL EMBROIDERY Molly: A Dimensional Bear

Dianne Lewandowski _______________ 18 BEADWORK Floral Whimsy

Peggy Wright ___________________ 18Lady LarkspurJeanette Carmichael ________________ 18

My Favorite BraceletJeannette Carmichael _______________ 19

CANVAS CHINESE CHECKERS

Mimi Selick _____________________ 19 Cleopatra’s Cat

Mary Long _____________________ 19 Dutch Legacy

Sandy Rodgers ___________________ 20 Florentine and Tulips

Gail Stafford ____________________ 20 COUNTED THREAD Angelina: Italian Drawn Thread

Barbara Kershaw _________________ 20 Assisi

Marion Scoular ___________________ 21 Beginner’s Hardanger

Marion Scoular ___________________ 21 Dresden Garden

Jane Ellen Bazuweit ________________ 21 Dresden Kitty

Wanda Linsley ___________________ 22 How To’s of Swedish Naversom

Phyllis Maurer ___________________ 22 Ikebana

Ilse Altherr _____________________ 22

Liesel-SchwalmBarbara Kershaw _________________ 23

Lydia’s NecessitiesJudith Gulick ____________________ 23

Moonlight SonataCindy Valentine __________________ 23

Morning GloriesIlse Altherr _____________________ 24

RosesCarol Algie Higginbotham ____________ 24

Star Studded SamplingsIlse Altherr _____________________ 24

FINISHING Finishing with Flair

Marion Scoular ___________________ 25 MIXED MEDIA Embroidery with Mixed Media

Laura Smith ____________________ 25 Mark and Paint on Canvas and Fabric

Laura Smith ____________________ 25 A Memory Book: Scrapbooking with a Needle

Cathy Trostmann__________________ 26 QUILTING Sashiko Plum Blossom

Lois Kershner ____________________ 26 STUMPWORK Hummingbird and Honeysuckle

Luan B. Callery ___________________ 26 Summer Dream

Luan B. Callery ___________________ 27 SURFACE EMBROIDERY Brazilian Embroidery Purse

Ganet Burr _____________________ 27 Circle with Blue Flower

Margaret Kinsey __________________ 27 Crewel Choices

Judy Jeroy _____________________ 28 Cutwork, Shadow Work, and Trapunto Basics

Luan B. Callery ___________________ 28 Shading Stitches

Judy Jeroy _____________________ 28 Silk Ribbon Pond

Kim Sanders ____________________ 29 Spring Splendor

Kay Stanis _____________________ 29 TEMARI Japanese Temari Basics for Beginners

Barbara Suess ___________________ 29 Blue Heaven: Temari II

Barbara Suess ___________________ 30

FIBER FORUM

FIBER FORUMCarol Lynn Stratton ________________ 30

REGISTRATION / INFORMATION REQUEST FORM

EGA REGISTRATION/ INFORMATION REQUEST FORM ______________ 32

2 2011 – 2012 Education Catalog

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EGA provides you and every member with several comprehensive, professional programs for educational advancement. Certification programs for teachers, graduate teachers, judges, master judges, and master craftsmen are examinations designed to recognize individual achievements in their respective categories. The Extended Study Program encourages in-depth investigation of various needlework and textile topics with instructors from around the world. The Research Fellowship Grant program promotes research in all areas of embroidery and allied textile arts through cash grants to successful applicants. Whether your passion is the skillful execution of basketweave, needlework history, dollmaking, color for embroidery, or encouraging high needlework standards through teaching and/or judging, pursue a program in Educational Advancement. To request information on certification, enroll in a Master Craftsman program, or receive an Extended Study brochure, turn to page 32, contact EGA headquarters, or go to www.egausa.org.

RESEARCH FELLOWSHIP GRANTEvelyn Petschek, Chair

The Education Department has a permanent fund to promote in-depth research in all areas of embroidery and allied textile arts, and to create a basis for dialogue between EGA and other grant and research institutions. EGA makes cash grants annually of up to $1,000 to a successful applicant(s).

ELIGIBILITY Anyone may apply without regard to gender, race, religion, national or ethnic origin. Applications are reviewed by the Research Fellowship Grant Committee. The committee reserves the right to withhold grants if no projects are deemed suitable. Applicants need not be members of EGA.

DEADLINES Proposals for the 2012 grant were to be postmarked on or before May 31, 2011. The 2012 recipient will be announced at the National Seminar in Naples, Florida. Proposals for the 2013 grant are to be postmarked on or before May 31, 2012. Recipient(s) sign a contract agreeing to comply with the preliminary reporting deadlines and complete the research within eighteen months of the date EGA issues the check.

REQUIREMENTS AND CONDITIONS EGA requires that the recipient’s research project result in an EGA-approved publication or project. Examples include a feature article in EGA’s Needle Arts, a CD/DVD slide program with an accompanying script, or other project approved by EGA.

The recipient may apply the grant to various aspects of the project, such as travel, research materials, embroidery supplies, and source fees. Purchase or rental of office equipment or office space is not acceptable.

For the 2012 grant, two interim reports on research activities are required, postmarked by June 1, 2012 and December 31, 2012. The final report shall be postmarked on or before July 1, 2013.

For the 2013 grant, EGA requires two reports on research activities, postmarked by June 1, 2013, and December 31, 2013. The final report shall be postmarked on or before July 1, 2014. Under certain circumstances, the grant committee may allow an extension, providing the applicant sends a written request.

Grant recipients who fail to comply with the conditions of the contract must reimburse EGA the full amount of the grant upon demand.

TEACHER CERTIFICATION EXAMINATIONKay Stanis, Chair

The Teacher Certification Examination certifies teachers in various areas of needlework for EGA. The program sets high standards for excellence in design, technique, and knowledge of the field. Throughout the examination, candidates are evaluated on their abilities to communicate knowledge and promote creativity.

Before becoming a candidate, the applicant must go through a screening process. The screening requirements include a résumé, letters of reference, classes in design and color, and answers to a questionnaire. The applicant is urged to have at least sixty hours of teaching experience.

The Teacher Certification Examination, which must be completed in two years, is comprised of five parts:

1. Color and design2. Techniques3. Essay questions on selected needlework topics4. Teaching proposals, lesson plans, and résumé5. A classroom evaluation of the candidate in an actual

teaching situation

Upon request, candidates will be assigned a mentor who is not an evaluator.

Certificates are offered in beading, blackwork, canvas work, contemporary embroidery, counted thread work, crewel and surface embroidery, fine handsewing, pulled thread work, quiltmaking, raised and padded embroidery, silk and metal thread embroidery, smocking, and whitework.

Having passed the examination in one technique, those interested in certification in an additional technique(s) are required to repeat parts two through five in a 18-month time period for each area of interest.

ENROLLMENT Prospective candidates should send a $10 fee to the EGA headquarters to receive the screening requirements. The balance of the fee (See below) is due upon acceptance into the program. Candidates may enroll in only one EGA certification program at a time.

FEE Cost of the examination, including screening, is $225 for the initial technique and $100 for each subsequent technique. The fee includes the pin, received upon successful completion of the program. Visa and MasterCard are accepted.


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CERTIFIED TEACHER GRADUATE EXAMINATIONKay Stanis, Chair

The EGA Certified Teacher Graduate Examination has been designed to help and encourage certified teachers to evaluate their professional careers, expand their knowledge of embroidery, and develop their skills in critical thinking.

To fulfill the requirements of this program, the candidate must complete assignments in the five categories listed below within a period of five successive years. A graduate of the program will be known as a Graduate Teacher.

Category 1. Exhibition of original work Category 2. Attendance at enrichment classes Category 3. Research and publications Category 4. TeachingCategory 5. Service to local community and/or EGA or

other needlework organizations

ENROLLMENT The program is open to EGA Certified Teachers and those who hold teaching credentials from other ICNA organizations.

FEE The cost of the program is $200, and payment is sent to EGA headquarters by the candidate upon acceptance into the program. The fee includes the pin, received upon successful completion of the program. Application for enrollment should be accompanied by documentation of certification.

CERTIFIED NEEDLEWORK JUDGES PROGRAM Carole Rinard, Chair

The Certified Needlework Judges Program guides and assists prospective judges in developing and refining their ability to evaluate needlework. Apprentice judges learn standards of excellence in color, design, technique, material, and finishing, and they learn the ethical standards of judging exemplified by our certified needlework judges. They do practice and actual judging, exhibit their own work, pass a series of written examinations, and meet with members of the Judges Certification Program Committee for an exit interview. The program, designed to be completed within two years from the date of enrollment, requires attendance at two classes sponsored by the Judges Certification Program Committee.

ENROLLMENT Prospective candidates should send a $10 fee to EGA headquarters to receive the screening requirements. These requirements include a résumé and completion of a questionnaire. The balance of the fee is due upon acceptance into the program.

FEE The cost of the program, including screening, is $250, and payment is sent to EGA headquarters. The fee includes the pin, received upon completion of the program.

MASTER NEEDLEWORK JUDGES PROGRAM Carole Rinard, Chair

EGA Certified Needlework Judges may enter the Master Judges Program (MNJ), a five-year course of judging, exhibiting, and study. MNJ candidates study needlework techniques, design, color, judging procedures, and methods for planning and presenting exhibits. This program is designed to build on the basic knowledge accrued while working on the Certified Needlework Judges Program and to refine the knowledge and ability of our judges.

ENROLLMENT The program is open to EGA Certified Needlework Judges.

FEE The cost of the program is $200, and payment is sent to EGA headquarters. The fee includes the cost of the pin, received upon completion of the program.

CERTIFIED NEEDLEWORK APPRAISAL PROGRAMBarbara Herring, Chair

The Certified Needlework Appraisal Program (CNAP) has been established to train individuals to appraise or value embroidery from a monetary and historical perspective. The program will be a combination of organized instruction and self-directed study that includes exercises in needlework observation, research, and a formal apprenticeship in appraisal writing. To fulfill the requirements of this program, the candidate must attend an EGA-sponsored class in embroidery appraisals for insurance/fair market value/donations, fulfill the requirement in judging needlework, complete an EGA appraisal apprenticeship, write a research paper, and pass the final exam. The program has been designed to be completed in 1 to 5 years.

The next class will be offered in 2012.

ENROLLMENT To apply to become a candidate in CNAP, complete and mail the application to EGA headquarters postmarked January 1 – May 1. Individuals will be admitted on a first come-first served basis. The number of candidates is limited to fifteen or the availability of mentors.

FEE The cost of the program is $375 for EGA members and $450 for non-members. This fee includes a copy of the current EGA Appraisal Manual, the cost of the final exam as well as, the certification pin and certificate upon completion of the program. The program fee does not include the cost of the EGA appraisal class or any EGA judging classes.


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EXTENDED STUDY PROGRAMSJane Farber, Chair

The Extended Study Program (ESP) serves the distinct educational, research, and leadership needs of its enrollees. The program provides all members of EGA the opportunity to participate in comprehensive programs that encourage creative expression and personal growth.

The faculty of an Extended Study Program is selected from diverse fields. Teachers include recognized experts in embroidery and textiles, members of the academic community, and respected museum authorities.

CLASSES ESP classes will be held in Louisville, Kentucky, and other venues. Check the website, www.egausa.org, for information on individual classes and updates.

REGISTRATION EGA requires advance registration and a minimum $50 deposit for all ESP classes. Non-members may attend ESP classes and will be assessed an additional fee for each class they attend or have the option of becoming a member. A form to request an ESP brochure can be found at www.egausa.org or on page 32 of this catalog.

CLASS CANCELLATION POLICY EGA may cancel the program in the event of insufficient enrollment, teacher’s or immediate family member’s illness or death, act of nature, or any emergency. Student class fee reimbursement or credit will be issued. Any travel costs are the sole responsibility of the student.

STUDENT’S CANCELLATION POLICY Refunds will be made up to the date of the registration deadline, minus a handling fee. After the registration deadline, refunds minus a handling fee will be paid in the event of the student’s or immediate family member’s illness or death. Other emergencies are refunded at the discretion of EGA.

VIMA’S ITALIA MIA NEEDLEWORK TOUR OF ITALY VIMA deMARCHI MICHELI

MAY 9–25, 2011Tour Venice, Burano, Parma, Florence, Tuscany, Perugia, Assisi, and Rome. Highlights include visits to a Venetian bead artist, a lacemaker, churches, museums and shops, the Italia Invita, the mercato centrale food market, the wine region, the Trevi Fountain, the Vatican, the Pantheon, and so much more!

IMAGES OF EARTH CHARLOTTE MILLER

OCTOBER 7–11, 2011Planet Earth is vast, beautiful, and always inspirational. It is filled with mountains and plains, oceans and ponds, lakes and rivers, rocks and hills, flowers and trees. Its skies can be beautiful, dramatic, or terrifying. Any and all of nature’s bounty open vast and exciting worlds of interpretation!

Our quest will be to identify the specific images that excite us. We’ll experiment with paints, art papers, a variety of fabrics and threads, and any other unusual materials that might illustrate the Earth images we want to remember. Depictions can be

traditional, realistic, stylized, contemporary, or totally abstract. The image can be a fractured view, a grid design of various views, or a panoramic layout of a specific view. The colors can be objective or subjective. The format can be a framed work, a hanging, a constructed box, a book cover—the options are unlimited.

We’ll use sketches, collage and painting experiments, and any other means necessary to solidify an idea, refine shapes, and identify colors and values as we create a plan for our fiber art. Free your imagination to interpret your personal Images of Earth.

Classes will be held Oct. 8–11. Opening dinner will be held Oct. 7.

This ESP will be held at the Denver Marriott South, located at 10345 Park Meadows Drive, Littleton, Colorado. The rate is $99/night. Call (800) 686-2767 and use EGA ESP to secure the rate.

Registration Deadline: September 15, 2011. to register, submit a registration form with a deposit of $50 to Ega headquarters.

Class Fee: $325 for members; $400 for those who are not members.

Kit Fee: approximately $75. includes instruction booklet, assorted fabrics to include ground and collage fabrics (muslin, sheers, nets, synthetics, felts, backing and iron-on fabrics), a variety of paper products to include watercolor papers, art tissues, assorted art materials, paints, and brushes

Students to Bring: threads of choice, small pieces of favorite ground fabrics, usual needlework tools, hard-lead pencil, black fine-line marking pen, paper scissors, tweezers, metal ruler, double-stick removable tape, watercolor pencils, and any other tools or materials with which you would like to experiment

2011 – 2012

Kay StaniS, adMiniStratOrEDUCaTIonal aDVanCEMEnT


1–DaY and 2–DaY ClassEsSaturday and Sunday, auguSt 30th – 31St

CANVAS EMBROIDERYCHAIR: MIMI SELICk

STEP 1. Choice of ten stitches used in one of three provided designs with a monochromatic color scheme

STEP 2. Twenty-one different stitches used in a provided design with an analogous color scheme

STEP 3. An original design or one of the stitcher’s choice using four diaper patterns and worked in a split-complementary color scheme

STEP 4. Eight Florentine patterns used in an original design or one of the stitcher’s choosing

STEP 5. Two appliqués of one size canvas to another one irregularly shaped, used in an original design or one of the stitcher’s choosing

STEP 6. This piece must demonstrate Master Craftsman ability. It requires an original design incorporating a variety of threads, stitches, and techniques.

Judging: May and november

Judging Criteria: technique, canvas coverage, color, design, overall appearance, and ability to follow directions

BEADINGCHAIR: PEggY HuffInE

STEP 1. Bead embroidery with three different methods in a single piece, using appropriate beads and embroidery techniques

STEP 2. An original design peyote stitched amulet bag using given specification with emphasis on color usage, stitch tension, and fringe techniques

STEP 3. Square stitch and/or bead weaving on a loom used to create a wall hanging of specific dimensions. Beader must demonstrate stitch technique, increasing/decreasing, color/shading usage, and appropriate finishing

STEP 4. An original design using herringbone (Ndebele) to create a dimensional work with size limitations. Flat and tubular herringbone, plus increasing and decreasing, must be demonstrated.

STEP 5. An original dimensional piece using right-angle weave, with minimum size limitations. Appropriate use of materials and stitch techniques is emphasized.

STEP 6. The final piece must demonstrate Master Craftsman ability in an original design using at least three of the previous techniques. The piece should be three-dimensional, showing good color and stitch usage with appropriate bead and stitch techniques.


Judging Criteria: Workmanship, selection of appropriate materials, mastery of beading techniques, color, and ability to follow directions

Beading, Step #2, stitched by Sarah Langston Canvas Step #6, stitched by Gail Stafford

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MASTER CRAFTSMAN PROGRAMSCatherine Jordan, Coordinator

Are you an accomplished needleworker? Have you ever wondered if you could become a Master Craftsman? To begin, all it takes is registration in the program of your choice: Beading, Canvas Embroidery, Color for Needlework, Counted Thread Embroidery, Crewel Embroidery, Design for Needlework, Plain and Fancy Needlework, Quilting, Silk and Metal Thread Embroidery, Smocking, or Surface Embroidery. The aim of these programs is to reward those who demonstrate mastery of a technique, enabling them to reach excellence in needlework.

GENERAL INFORMATION A member may enroll in as many Master Craftsman programs as desired. Prior to registration, prospective candidates may address questions to a specific Master Craftsman chair.

Following registration, a candidate will receive an information packet containing program requirements and instructions for the first step of the program. Upon completion of each step, the next step will be provided. The candidate is responsible for finishing each requirement as specified. This includes, but is not limited to, working embroidery, creating designs, doing research, and following program guidelines.

The initial step in any Master Craftsman Program must be submitted within two years of enrollment. Each subsequent step or resubmission must be submitted for judging within the next five-year period. Participants who fail to send a piece for judging within the allotted time will be considered to have withdrawn from the program.

FEES To enroll, complete the registration form and send with the $50 fee to EGA headquarters. Each step sent for evaluation must be accompanied by a check for $20; for each resubmission, $10. Fees will be adjusted to cover extra postage for foreign students.


Crewel Embroidery, Step #4, stitched by Moira MacAvoy

Counted Thread Embroidery, Step #6, stitched by Jean Connelly

COUNTED THREAD EMBROIDERYCHAIR: RACHEL ATkInSOn

STEP 1. An original design or an adaptation for a family or historical cross stitch embroidery

STEP 2. An original design or an adaptation for an Assisi embroidery

STEP 3. An original, adapted or provided design for blackwork with specific stitch pattern requirements

STEP 4. An original, adapted or provided design for pulled thread embroidery with specific stitch requirements

STEP 5. An original design or adaptation for a Hardanger embroidery, along with samples of finishing techniques

STEP 6. An original design demonstrating Master Craftsman ability and incorporating a specified combination of counted thread techniques

Judging: april and October

Judging Criteria: Workmanship, design and color, stitch selection, and ability to follow directions

CREWEL EMBROIDERYCHAIR: JudY JEROY

STEP 1. A provided design with emphasis on basic skills in stitch execution and color usage

STEP 2. A provided design with required and elective stitches and color choice based on research of eighteenth-century New England crewel embroidery

STEP 3. An original design, developed from specific motifs, to be worked in an analogous color scheme

STEP 4. One of three provided designs, demonstrating skill in shading techniques

STEP 5. An adaptation of a Jacobean or Elizabethan crewel design based on research into the period

STEP 6. An original design, entirely in crewel wool, demonstrating mastery of stitching, color, and design


Judging Criteria: Workmanship, selection of appropriate materials, color, and ability to follow directions

COLOR FOR NEEDLEWORKCHAIR: LAuRA SMITH

STEP 1. Color symbolism: An essay on color symbolism in various cultures and two stitched pieces demonstrating traditional and nontraditional color harmony

STEP 2. Value and intensity: An essay on value and intensity and two stitched examples using a common design and the same hues, thread types, and stitches, but different value keys

STEP 3. Contrast: An essay on different types of contrast, and a single stitched piece illustrating at least two types of contrast

STEP 4. Space: An essay describing how color can illustrate space, accompanied by a stitched piece to illustrate space

STEP 5. Illusions: An essay on how five illusions (transparency, irridescence, luster, luminosity, and optical mixing) can be suggested by using color. One stitched piece representing optical mixing and another demonstrating one of the other illusions

STEP 6. Unity: An essay on color unity and a stitched piece demonstrating mastery of color and its usage

Judging: February and august

Judging Criteria: the Color for needlework program differs from other Master Craftsman categories by its very nature. rather than demonstrating knowledge of a specific needlework technique, the candidate uses the needlework medium to demonstrate knowledge of the color principle or principles being explored. For each step, both a brief essay on the principle(s) for that step and one or more stitched pieces are required.

Color for Needlework, Step #1, stitched by J. Marsha Michler

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Quilting, Step #3, stitched by Beth CarlsonPlain and Fancy, Step #1, stitched by Margaret Berstein

PLAIN AND FANCY NEEDLEWORKCHAIR: ROBERTA CHASE

STEP 1. Shadow work: A design including complementary techniques such as shadow appliqué and pin stitching

STEP 2. Fine handsewing: A stitched piece that includes fabric manipulation, finishing and construction techniques, joinings, and surface decoration

STEP 3. Monogramming: A stitched piece that incorporates techniques of padded satin stitch, seeding, and trailing stitches

STEP 4. Cutwork I: A stitched piece incorporating Renaissance and Richelieu cutwork

STEP 5. Cutwork II: A stitched piece incorporating broderie Anglaise and Ayrshire embroidery

STEP 6. A masterpiece incorporating techniques from three of the previous steps

Judging: March and September

Judging Criteria: Selection of appropriate designs and materials, mastery of finishing techniques, and ability to follow directions. a finished article using a design of candidate’s choice will be stitched for each step.

QUILTINGCHAIR: EunICE PORVAZnIk

STEP 1. A traditional pattern is enlarged to a 17-inch block and a specified portion is quilted.

STEP 2. Construction of a quilted work, designed to hang and view upright. Reverse or shadow appliqué and specific curves are incorporated.

STEP 3. A functional work, other than quilt, including cording and stuffing with specialty techniques such as strip piecing, crazy quilting, etc.

STEP 4. Curved piecing and two or more of the provided geometric shapes, with borders and edge finishings

STEP 5. A mariner’s compass with a minimum of three points

STEP 6. A completed small quilt with an original design, constructed with some or all of the techniques in the program and demonstrating Master Craftsman ability.


Judging Criteria: Pattern drafting, color, design, fabric selection, piecing, appliqué, quilting techniques, and finishing. the techniques in this program are to be executed primarily by hand, not machine.

DESIGN FOR NEEDLEWORKCHAIR: CAROLE H. LAkE

STEP 1. Rhythm and balance: A stitched piece created by developing a motif into a repeat composition

STEP 2. Proportion and scale: A piece reflecting the principle that proportion equals the correct and perfect relationship of all parts within a whole

STEP 3. Emphasis and harmony: A composition based on a historical or ethnic theme, with three different related stitch charts, one of which is stitched

STEP 4. Space, motion, and line: A stitched piece consisting of vertical or horizontal lines to demonstrate these themes

STEP 5. Form, shape, light, and texture: A composition based on object rubbings, with an accompanying stitched piece

STEP 6. A composition demonstrating mastery of the principles and elements of design


Judging Criteria: this program differs from other Master Craftsman categories by its very nature. rather than demonstrating knowledge of a specified technique, candidates use their chosen needlework medium to demonstrate knowledge of design principles and elements.

Design for Needlework, Step #2, stitched by Joyce Blundell


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Surface Embroidery, Step #1, stitched by Betty Pillsbury

Smocking, Step #1, stitched by Sandra Sackstedder

SMOCKINGCHAIR: kIM SAndERS

STEP 1. Drop-yoke dress, blouse, or nightgown embellished with a design that shows competence in the basic stitches and dress construction.

STEP 2. An inset panel featuring an original landscape or other natural scene mounted on a tote bag, purse, pillow, apron front, dress pinafore. The article must demonstrate mastery of stacked cables/picture smocking.

STEP 3. Smocking shaped into a three-dimensional object, such as a hat, box covering, stuffed animal, lampshade, or Christmas ornament. The design must incorporate lattice smocking with decorative embroidery stitches overlaid.

STEP 4. Reproduction of a traditional English smock, including Dorset feather stitching and handmade buttons.

STEP 5. A bishop dress, blouse or nightgown. Smocking design must incorporate ribbon, beads, and bullion knot flowers.

STEP 6. An original design that clearly demonstrates flawless control of a variety of stitches used in smocking, garment construction techniques, and knowledge of color and design.


Judging Criteria: Stitching techniques, construction techniques, selection of appropriate materials, use of color and design, and ability to follow directions

SURFACE EMBROIDERYCHAIR: dIAnnE LEwAndOwSkI

STEP 1. Silk ribbon embroidery: An original, adaptation, or combination of motifs creating a bouquet or floral arrangement and an appropriate border

STEP 2. Raised work embroidery: An original, adaptation or provided design in raised work embroidery as exemplified in seventeenth-century and contemporary stumpwork eras

STEP 3. Silk shading: An exact replica of the provided design, an adaptation or an original work, which includes block and directional shading

STEP 4. Brazilian embroidery: An original, adaptation, or provided design which includes at least nine different Brazilian embroidery stitches.

STEP 5. Ethnic embroidery: A project created with Chikan, colcha, shisha, Mountmellick, Schwalm, or Casalguidi embroidery with authentic stitches, colors, threads, and fabric. Other ethnic embroideries with permission.

STEP 6. A unified, cohesive work incorporating at least three of the first five steps, with other techniques as appropriate.

Judging: March and September

Judging Criteria: design, color, stitching expertise, suitability of materials, and adherence to specific requirements

SILK AND METAL THREAD EMBROIDERYCHAIR: MARgARET kInSEY

STEP 1. Embroider the provided design, exhibiting expertise in the use of specific metals, plus metallic kid appliqué. The use of padding is optional.

STEP 2. Work an embroidery using the provided design exhibiting expertise in the handling of silk and metal threads for both filling stitches/patterns, including the technique of or nué. The use of padding is optional.

STEP 3. Create an embroidery using the provided design exhibiting your expertise in the use of silk threads applied to specific surface embroidery stitches, some being over padding. This embroidery may be worked on a countable ground.

STEP 4. Create an original embroidery or adapt a design from a different medium to show your expertise in the handling of Japanese metal and passing thread in a variety of specific techniques. Some must be over padding.

STEP 5. Using one of the two provided designs to exhibit expertise in the technique of long and short/soft shading from a given light source and using only silk threads, create an embroidery. Include some flat silk.

STEP 6. Create final embroidery which must demonstrate your mastery of the various silk and metal threads exhibited in a variety of techniques, their proper application as well as your skill in color and design to produce a coherent original design. Every aspect of this presentation will be judged.

Judging: May and October

Judging Criteria: Everything, including the selection of the fabric, threads, and stitches as to appropriateness for design; also application technique, colors chosen, and design itself (if not provided), plus the ability to follow instructions.

Silk and Metal Thread Embroidery—Example only Step #6, stitched by Kay Stanis

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The following are scholarship opportunities currently available from EGA funds. Amounts awarded may vary each year. For more information and registration forms, contact EGA headquarters or visit www.egausa.org.

Mary-Dick Digges Scholarship• For EGA members to study surface embroidery

defined as crewel embroidery, Japanese embroidery, and stumpwork. May be applied to an EGA-related or non-EGA sponsored class.

• The fees for EGA and non-EGA sponsored classes and kits are eligible.

• Awarded by the Education Department• Deadline April 1, 2011 or April 1, 2012• Recipient notified by May 1, 2011 or May 1, 2012

Genny Morrow Memorial Scholarship• For class tuition to an EGA national seminar class in

a canvas technique• Scholarship awarded to an EGA national seminar

attendee for use at the next year’s national seminar• A name is drawn from all the attendees at the

seminar• Deadline September 2011, or October 2012

(National Seminar)• Information available at each national seminar

Legacy Scholarship• For EGA members to study the art of embroidery

and the preservation of the heritage of the art of embroidery

• Awards up to four scholarhips per year• Awarded by the Scholarship Review Committee• Deadline December 10, 2011 or December 10, 2012• Recipients notified by March 15, 2011, or

March 15, 2012

Penny Evans Memorial Scholarship• For EGA members for an embroidery-related class,

study project or similar education offering by EGA, The Royal School of Needlework or the City and Guilds of London Institute, in the U.S. or the U.K.

• Awarded by the Scholarship Review Committee• Applications must be postmarked by April 1, 2011,

or April, 1, 2012 • Recipient notified by May 1, 2011, or May 1, 2012

Designated Scholarship• For specifically designated scholarships• Awarded by the Scholarship Review Committee

Judith and Susan Richardson Initial Steps Toward Teacher Certification Scholarship

• May be applied for once a Teacher Certification candidate has been accepted into the program

• Benefits candidates in the EGA Teacher Certification Examination seeking their first EGA certification

• This scholarship covers the cost of the teacher certification program ($190 after completion of the $10 screening process). This scholarship awards the successful candidate $100 to help cover the cost of materials and expenses incurred while preparing required submissions.

• Full details and the application are available on the EGA website.

• Awarded by the Scholarship Review Committee• Applications are processed throughout the year.

THE BOBBY PILLING MEMORIAL AWARD• For an original piece of needlework, titled, in any

technique, accompanied by a short description of what inspired this piece and inspired the stitcher “to go outside the lines.”

• A ribbon will be awarded and the winner will be featured in Needle Arts.

• Deadline May 5, 2011 and May 5, 2012

Pat Waltz’s Blue Heron won first place for the 2010 Bobby Pilling Memorial Award.


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Fantasy Garden by Karen SchuelerIsland Sunset by Carole Rinard

2011 – 2012 CHALLENGE/CHALLENGE WITH A TWIST

THEME FOR 2011: THE WOW FACTORCOnSuLTAnT: CARLOLE RInARd

The theme for 2011 is “The WOW Factor.” What creates a feeling of awe, a sense of wonder or tickles your fancy? For each of us the WOW factor is based on our own lives and experiences—each one unique. Is the WOW factor nature, scenery, glitz and bling, architecture, emotions, music, or something else? The list could go on.

In accepting the challenge, you will create an embroidery that expresses your WOW Factor. The work can be realistic, representational, stylized or abstract, and in any technique. It can be traditional or contemporary and executed in any materials. The choice is yours in how you interpret “The WOW Factor.” Accept the Challenge.

The consultant for the Challenges for 2011 is Carole Rinard, who hails from Los Alamos, New Mexico. Rinard has been involved with EGA and the needle arts for many years. She is an EGA-certified Master Needlework Judge and a Master Craftsman in Color. In addition to having judged exhibitions from coast to coast, she has served on needle arts boards at the chapter, regional and national levels. Her needlework techniques have ranged from canvaswork and counted thread to couture embroidery, contemporary background techniques, and dyeing to needlelace, quilting, and machine embroidery. Her work has been exhibited widely as well. As a consultant, she seeks to encourage the creative spirit.

Challenge/Challenge with a Twist 2011: registration opens January 1, 2011, and closes June 30, 2011.

Challenge: Final stitched piece must be mailed to the consultant by September 20, 2011.

Challenge with a Twist: Proposal of project must be mailed to consultant by July 1, 2011; final stitched piece must be mailed to consultant by September 20, 2011.

THEME FOR 2012: LOST AND FOUNDCOnSuLTAnT: kAREn SCHuLER

The theme for 2012 is Lost and Found. In these days of repurposing, reusing and using up, the Challenge this year is to create a well-designed embroidery without buying anything new, and to incorporate found objects. Think Stash. Think Thrifty. Think Re-purposing. Think Serendipity.

You can start now by hand or machine. Begin with a doodle cloth or UFO or an old garment, and start dreaming with the needle, stitching or beading or quilting without any end in mind. Use up odd bits of thread; appliqué favorite scraps or failed work from another project. Just meander and play with shapes and colors, plying the needle to enjoy the physical pleasure of working with your tools without a preconceived idea of what will happen at this stage.

Don’t buy anything. Use what you have at hand or find at the back of the drawers that you haven’t thrown away for one reason or another. Keep alert for the found object, some piece of metal, jewelry, or odd button or bit of wood that seems curiously interesting and might work with your embroidery. Take your time stitching, even months. Your friends will wonder what in the world you are doing. You will wonder yourself.

You will lose your way stitching but then find your way back by looking critically at your work and seeing what is needed to complete it as a work of art.

The Consultant for the 2012 Challenge is Karen Schueler of Newark, Delaware.

Schueler’s first job after completing her college degree in painting was sewing men’s costume shirts and selling patchwork quilts and appliquéd picture pillows.

The programs portion of EGA’s Education Department consists of Group Correspondence Courses, Individual Correspondence Courses, and the Challenge Program. We are proud of these carefully selected programs that enable our members to increase their knowledge of needlework. New courses are being developed and several have been added this year. Teachers of all courses give expert evaluations, which enhance the needleworker’s skill and confidence.

CHALLENGE/CHALLENGE WITH A TWISTKarla Gee, Chair

The Challenge/Challenge with a Twist program provides a bridge between working the designs of others and entering juried exhibitions with your own original design. The program offers one-on-one encouragement, guidance, and evaluation on color and design with a nationally-recognized consultant. Designed to promote creativity for the participants, Challenge/Challenge with a Twist encourages participants to stretch the horizons of color and design at their own pace and in the familiar surroundings of their own home.

Challenge may appeal to the more self-assured designer. A theme is given, and the choice of technique(s) is up to the participant. When the piece is worked, it is sent to the consultant for one evaluation. This evaluation will reinforce good color and design choices and will suggest ways to achieve better results on future pieces by indicating how and why changes might be made.

Challenge with a Twist is for the needleworker who wants to try something for the first time other than pre-designed projects or the sticher who has attempted an original project or two but would like some direction from a consultant. Again, a theme is given and the choice of technique(s) is up to the participant. The ”twist” is that the design may be sent to the consultant for one evaluation before it has been stitched. The consultant will make helpful suggestions, and the completed piece is then sent to the consultant for a final evaluation.


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Individual Correspondence Courses offer EGA members an opportunity for intensive, personalized study under the supervision of teachers selected for their outstanding needlework skills and knowledge. The courses are in-depth study programs covering a wide range of embroidery techniques and disciplines at various skill levels. They are a perfect complement to workshop classes, group study courses, and lectures.

There are three categories of Individual Correspondence Courses from which to choose. The three-lesson courses are designed to be completed within six months, while the six- and nine-lesson courses require a commitment of a year or more. Students are expected to maintain a time schedule, but arrangements for extensions may be made if necessary.

The text for each course is clear and concise, containing historical background as well as related instruction in stitches, materials, tools, techniques, and their application. Assignments at the end of each lesson offer opportunities to explore the material presented. As each lesson is completed, it is sent to the instructor for evaluation. The evaluation is not only a critique of the work, but a vehicle by which the instructor shares expertise with a student. It is designed to help with problems and contains suggestions for improving specific techniques. The evaluation also encourages experimentation and individual expression while offering suggestions for further development of the student’s ideas.

Upon completion of the course, a certificate is awarded and the student’s achievement is recognized in the EGA newsletter, Inside EGA.

If you are self-motivated and like individual study, if you do not have easy access to chapter functions, if you want to study a topic your chapter has not scheduled, or if you prefer to work at your own pace in the quiet of your home, these courses are designed for you. As more and more satisfied graduates share their enthusiasm for these courses with chapter members

and friends, the popularity of the Individual Correspondence program continues to grow.

ENROLLMENT: To enroll in an Individual Correspondence Course, write EGA headquarters and send a check, money order, or Visa/MasterCard/AMEX number to cover the course fee. Registration fees are $110 for three-lesson courses, $175 for six-lesson courses, and $245 for nine-lesson courses.

The cost of the text and approximate cost of supplies is listed with each course description. In addition, all the postage is paid by the student. The teacher will correspond directly with the student concerning these fees. All Individual Correspondence Courses are subject to current shipping and handling rates.

Read the Individual Correspondence Course description and choose carefully. COURSE AND TEXT FEES ARE NOT REFUNDABLE.

The estimated cost of supplies given with each Individual Correspondence Course is a guideline and is as accurate as possible at the time of publication of this catalog. EGA and the instructors are not liable for any variation in the price or change in the availability of materials required for the courses. Instructors are not liable for shortages of materials resulting from students incorporating their adaptations into the teacher’s printed instructions. It is understood that certain needlework accessories, such as hoops, frames, and other tools, are necessary for the execution of embroidery.

EGA SKILL LEVEL DEFINITIONS

BASIC: No experience with the technique being taught is necessary.

INTERMEDIATE: Knowledge of basic stitches and materials and their use in the technique being taught is required.

ADVANCED: Ability to execute simple and difficult stitches in the technique is required. The student should also have knowledge of color and design which will allow for exploration and creativity.

Her only formal training in fiber arts was a year of the City and Guilds program in Embroidery during an extended stay in Oxford, England. In the forty years since, she has attended many workshops, guild classes, and exhibits as possible to expand her skills. Her work combines embroidery, silk painting, mixed media, surface design, and fabric collage, embellished with machine work as well as hand stitching. Each month, Schueler brings her embroideries and silk paintings to a critique group.

Schueler participated in and exhibited with a number of fiber art guilds while she lived in Albuquerque, New Mexico. As a member of the Sandia Mountains Chapter, she edited the chapter’s Colcha Embroidery Study Box, wrote the Colcha Embroidery Handbook, and illustrated the New Mexico Wildflowers for Embroidery pattern book.

Schueler has exhibited with Fiber Forum since 2000, contributed to a three-woman show at EGA Headquarters in 2006, and had work accepted in three EGA national exhibitions. In 2008, she was awarded the Diana Grossman Memorial Award. Currently, her silk paintings have been winning awards.

She currently edits The Forum for Fiber Forum and was the 2011 Fiber Forum Retreat coordinator. Now living in Delaware, Schueler is secretary of the Brandywine Chapter.

Challenge/Challenge with a Twist 2012: registration opens January 1, 2012, and closes May 15, 2012.

Challenge: Final stitched piece must be mailed

Challenge with a Twist: Proposal of project must be mailed to consultant by July 1, 2012; final stitched piece must be mailed to consultant by September 20, 2012.

INDIVIDUAL CORRESPONDENCE COURSESSharon Pierce, Chair; Bette Sargent, Development Assistant

Detail of Fantasy Garden by Karen Schueler


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HIDDEN TREASURES: A GUIDE TO RESEARCHING EMBROIDERYTEACHER: BARBARA HERRIng

Needlework items are often part of our heritage. Far too few of these items and their creators are researched and/or documented. This course is a guide to teach individuals how to locate and document facts that aid in the identification and documentation of needlework and its creator(s).

LESSON 1. The student will establish a personal research objective.

LESSON 2. The student will identify and document a previously unknown piece of needlework and/or stitcher. The student will create a new piece of embroidery that is either based on the design elements, materials, techniques, and/or finished product of a historic piece; as in the style of the era of the historic piece; or is inspired by the historic piece and/or its creator.

LESSON 3. The student will present a written presentation of research findings.

Prerequisites: none

Level: all

Time: One year

Fee: $110

Text: $50. the text is supplied on a Cd in either a pdf or Microsoft Word document. (the text fee includes a yearly updated, annotated bibliography in either a pdf or Microsoft Word document.)

Supplies (approximate): the student will need to have access to a computer, the internet, and a word processing program.

A BASIC STUDY OF SCHWALM EMBROIDERYTEACHER: BARBARA M. kERSHAw

This course introduces the student to the beautiful style of whitework from Germany known as Schwalm Embroidery. As the Schwalm River flows from ancient sources the student will learn of symbolism, tradition, and their evolution that brings about this charming needlework.

This in-depth study will cover some of the history and the basic skills needed for this technique. As students create the samples for their reference binder, they will become familiar with the basic surface stitches such as coral knots and chain stitch. The cutting of threads combined with filling and composite filling stitches will develop lovely patterns to which the student will add fancy borders and hems for the perfect finishing touch.

LESSON 1. Historical background, supplies, and equipment. How to set up the reference binder, design elements and basic surface stitches.

LESSON 2. Cutting and withdrawing of threads, filling stitches and composite filling stitches, and designing the final project

LESSON 3. Simple borders, hems and hemstitching and completion of the final project

Prerequisites: none

Time: Six months

Fee: $110

Text: $25

Supplies (approximate): $50

Stitched by Julia Appell Stitched by Barbara HerringStitched by Barbara M. Kershaw

COUNTED THREAD FINISHING TECHNIQUESTEACHER: PAT dOnALdSOn

The purpose of this class—like sampler classes of old—is to give the student a repertoire of finishing techniques to be used as finished edges for future counted thread pieces. The stitches and techniques taught are done as small pieces to attach to the corresponding pages in the notebook. Techniques include hemstitching, hems with mitered corners, fringing, ladder and zigzag hemstitching, simple and fancy buttonhole edges, three- and four-sided stitches, a simple picot edge, nun’s stitch, two finishing turned edges, mitering corners, and the proper removal/weaving back of threads to form openwork channels.

The notebook samples are done on a variety of fabrics, threads, and counts for learning purposes. After completion of this course, the student should be able to select and stitch a finished edge to give counted thread projects a very professional look.

LESSON 1. Basic finishing techniques, including hemstitching, a mitered hem, ladder and zigzag hemstitching, and thread removal for single and multiple channels

LESSON 2. Simple and knotted fringes, buttonhole edges—both simple and more intricate—and nun’s stitch

LESSON 3. A simple picot or box edge hem combined with four-sided stitch, two stitches used as neat decorative turning edges and tying it all together, including learning how to apply the techniques in combination and determine which techniques are most suitable

Prerequisites: none

Time: Six months

Fee: $110

Text: $25


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JACOBEAN CREWEL EMBROIDERYTEACHER: JudY JEROY

This course presents an example of a design typical of the Jacobean period, using motifs from historical sources. Basic crewel stitches, as they were used in the period, are taught. Students are encouraged to research the stitches, dyes, materials, and design influences that shaped this embroidery. A short research paper relevant to the textiles of the period is required from the students. Students may design their own sampler if they wish.

LESSON 1. Read about the history of the period, including thread dyes. Learn to identify a typical Jacobean design. Work a sampler of long and short shading as well as buttonhole stitches.

LESSON 2. Work a sampler of filling patterns from the period, as well as a sampler of additional stitches for the final project. Submit an outline of the research paper. Submit a line drawing of your final project if you decide not to stitch the example.

LESSON 3. Submit a short research paper with bibliography and a sampler featuring a design typical of the period.

Prerequisites: none

Time: Six months

Fee: $110

Text: $20


Stitched by Judy Jeroy

INTRODUCTION TO METAL THREAD EMBROIDERYTEACHER: kAY STAnIS

This in-depth study of the techniques of metal thread embroidery will introduce the student to the shimmer of real gold and silver on fabric. From actual samples of the metal threads discussed to the proper methods of framing up the foundation fabric, the world of metal thread embroidery will be explored. Although this technique is often regarded as difficult, the student will learn that this needlework is not only a challenge but also a delight.

LESSON 1. Metal thread description, samples, and brief history; annotated bibliography; framing up; transferring the design; couching Japanese gold and silver; vermicelli, one pair, turning corners, narrow points, successive rows, in pairs, pair and a half, filling regular, irregular, and contoured shapes including circles, in conjunction with surface embroidery stitches; technique questions and applications

LESSON 2. Pattern couching and metal threads: passing thread; doubles #1 gold; crinkle; twist; cord; braid; jaceron (coiled, uncoiled, beads), smooth, rough, crimpled, and check; plate; texture and value; filling patterns; surface embroidery combined with purls, burden stitch; technique questions and applications

LESSON 3. Padding with cotton, string, felt, and card; laid work patterns; basketwork; kid appliqué; technique questions and applications

Prerequisites: none. Knowledge of some surface embroidery techniques is helpful.

Time: Six months

Fee: $110

Text: $20

Supplies (approximate): Minimum per lesson $5. the initial outlay will probably be more.

INTRODUCTION TO PRINCESS LACETEACHER: ROBERTA CHASE

This course is an introduction to princess lace, a deceptively simple tape lace (similar to Battenberg) popular at the turn of the nineteenth century that is defined by a specific set of eight cotton tapes. The goal is to educate the student about this somewhat obscure needle art, introduce uncommon materials and techniques, and open the door to related needlework techniques. Princess lace was originally developed to be an imitation of the much more complicated duchesse lace, worked when Brussels was an esteemed lace center. While not considered lacemaking, but rather lace assembling, princess lace can be used on clothing and household items. This very interesting technique can create beautiful visual texture and would surely add to one’s basket of needlework tricks.

LESSON 1. Learn historical background and how this tape lace fits into the larger world of lacemaking. Discuss the general materials and equipment necessary to execute princess lace. Discuss the specific materials necessary for this project. Commence work by basting the net onto the pattern cloth. Execute the net embroidery. Work open darning.

LESSON 2. Learn how to manipulate the princess lace tapes and arrange them onto the pattern cloth. Baste all the tapes into place, including formation of flowers, stems, and leaves.

LESSON 3. Appliqué the tapes permanently onto the net. Secure the guipure area together. Execute two needlelace filling stitches—simple Russian and spider. Also included are laundering suggestions and a bibliography.

Prerequisites: none, but patience with a needle helps

Time: Six months

Fee: $110

Text: $15

Supplies (approximate): Less than $20

Stitched by Terry FaberStitched by Kay Stanis – Example Only

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MACHINE EMBROIDERY II: ADVANCED TECHNIQUESTEACHER: CASEY BRAdfORd

An advanced course in free motion machine embroidery that goes well beyond the basics. Learn to do machine cutwork and needlelace, which look nothing like their traditional hand-embroidered forerunners. Experiment with stitching on water-soluble web for a whole new approach to machine embroidery. Fancy sewing machines are not required—just a built-in zigzag.

LESSON 1. Cutwork on the sewing machine

LESSON 2. Contemporary machine needlelace

LESSON 3. Machine stitching on water-soluble web

Prerequisites: Completion of Machine Embroidery i or a good working knowledge of basic free-motion embroidery techniques

Time: Six months

Fee: $110

Text: $13.50


Stitched by Diane Thurston Stitched by Casey Bradford

MACHINE EMBROIDERY ITEACHER: CASEY BRAdfORd

Drop your teeth! Remove your foot! Get ready to use your sewing machine in a most unusual way. Using the sewing machine without foot or feed dogs, you can create an infinite variety of freely worked stitches, textures, and designs. In these three lessons, you will explore the basic techniques of free machine embroidery. You will learn how to use your sewing machine as a creative drawing and stitching tool, resulting in a unique embroidery form quite different from any others.

LESSON 1. A complete introduction to free machine embroidery including necessary materials, machine set-up, and how to get started. This is followed by exercises using both straight and zigzag stitch, helpful hints, and a troubleshooting guide.

LESSON 2. Experiment with various types of machine threads, then learn to use satin stitch and whip stitch.

LESSON 3. Explore cable stitch and wrapped cords before creating a final project using your new skills.

Prerequisites: Comfortable using a sewing machine in normal sewing mode

Time: Six months

Fee: $110

Text: $13.50

Supplies (approximate): $30, depending on supplies on hand

Graphic designed by Kay Stanis

THE ART OF TEACHING EMBROIDERYTEACHERS: CASEY BRAdfORd, CAROLE H. LAkE, And kAY STAnIS

Are you interested in becoming a better teacher? Do you have questions about developing classes, text, kits or visual aids? Or do you have questions about the practical aspects of teaching, finances, contracts, time management or proposals? You will be assigned one of three EGA-certified teachers, who will help you with your questions and problems. Upon completion of this course, you should feel better qualified to tackle the certification process, if that is your goal, and you will have developed competencies to teach needlework more effectively at any level.

LESSON 1. Developing a needlework class

LESSON 2. Research and writing

LESSON 3. Creativity

LESSON 4. Presentation in the classroom—kits, lesson plans, instructions, and visual aids

LESSON 5. The practical side of teaching

LESSON 6. Connections: publicity and proposals

Prerequisites: none

Time: One year

Fee: $175

Text: $13 (the text is approximately 100 pages.)


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Stitched by Eniko Farkas

HUNGARIAN KALOCSA LACE IITEACHER: EnIkO fARkAS

This course is an introduction to handmade Kalocsa lace. The prerequisite is having knowledge in Kalocsa embroidery, satin stitching, or needlelace skills. If students have not met these prerequistes, they can complete them with the help of the instructor.

LESSON 1. The text discusses the brief history of needle-made lace. The student learns how to make eyelets and buttonhole stitches for the scalloped edges. One stitching assignment; two research assignments

LESSON 2. Discussion of Hungarian needle-made laces varieties. The student will make a sampler of needlelace stitches used in making Kalocsa lace. One stitching assignment

LESSON 3. The student will start working on the large Kalocsa lace project. One stitching assignment

LESSON 4. The student will start working on the Richelieu ground and the corner roses. Two stitching assignments

LESSON 5. Discussion about aesthetic rules of Kalocsa lace design. Two design assignments; one stitching assignment

LESSON 6. Discussion of the principles of textile conservation. Two stitching assignments

Prerequisites: Knowledge of Kalocsa embroidery, satin stitching or needlelace skills

Time: One year

Fee: $175

text: $16

Supplies (approximate): $11, two skeins of white floche size 16 and one skein of Brilliant cutwork thread size 1

Designs for needlework by India Hayford

DESIGN FOR NEEDLEWORKTEACHER: IndIA HAYfORd

For the technically adept embroiderer, who wishes to take their skills a step further and become an artist or for the budding artist whose attempts at original embroideries fall short of expectations because he/she doesn’t quite understand what constitutes good design. This course will encourage students to immerse themselves in a study of visual language, design mechanics, sensibility, and critical judgment. In the course of study, students will examine a wide range of designs created by famous and unknown artists in every media from thread to watercolor to stone.

Students will create and execute their own designs for embroidery while developing a style that is personal and aesthetically sound. Each lesson will require at least one embroidered project in addition to several other assignments.

LESSON 1. Point, line, and the language of design

LESSON 2. Principles and elements of design, shape and balance

LESSON 3. Value and texture

LESSON 4. Color, motif and pattern

LESSON 5. Space, proportion, movement, perspective, and focal point

LESSON 6. Processes of design

Prerequisites: Proficiency in at least one embroidery discipline.

Time: One year

Fee: $175

Text: $20 for text with explanations, illustrations, exercises, glossary, and extensive annotated bibliography

Supplies (approximate): $50, depending upon choices and personal stash. Many items are found in most homes. also required: a copy of Art Fundamentals by Ocvirk, Stinson, Wigg, Bone and Cayton. used copies are available online for as little as ten dollars.

Drawing by Shirley Kay Wolfersperger

RAINBOWS BEND: A COURSE ON COLOR THEORYTEACHERS: SHIRLEY kAY wOLfERSPERgER And CAROLE RInARd

From exploring color wheels to learning how to use color in your own work, this course is s comprehensive study of color. For all levels of embroiderers, Rainbows Bend is an intense class that looks at every aspect of color.

Each lesson has research, paper/colored medium and stitched exercises.

LESSON 1. Color systems, color wheels, and attributes of color

LESSON 2. Value, value keys, plus warm and cool colors

LESSON 3. Classic color combinations and contrast

LESSON 4. Color illusions

LESSON 5. Illusion of depth and more color combinations

LESSON 6. Color unity and personal palette

Prerequisites: none

Degree of Difficulty: For all levels

time: 12 to 18 month

Fee: $175

text: $35. 53 pages, 26 in color, 14 templates for exercises, and Color-aid® papers in hues and values

Supplies: a minimum of $30. Coloring medium (colored pencils, paints or crayons), colored papers, glue stick, ruler, scissors, threads and fabrics

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SILK AND METAL THREAD EMBROIDERYTEACHER: kAY STAnIS

The shimmer of gold and silver on fabric is the focus of this course. This is an in-depth study of the various techniques of silk and metal thread embroidery.

To suit the student’s needs, all the classes may be taken or portions grouped in sets of three; i.e., three, six or nine. The three lessons would not have to be in any order, but Lessons 1 and 2 are required. If the student wishes to skip the first and second lessons, it is necessary to submit a worked sample of these techniques to determine proficiency.

LESSON 1. History, framing up, transferring design, and metal thread techniques

LESSON 2. Silk embroidery techniques

LESSON 3. Pattern couching, Italian shading, and couché rentré

LESSON 4. Various metal threads

LESSON 5. Linear and filling patterns including value and texture

LESSON 6. Padding, laid work patterns, basketwork, and kid appliqué

LESSON 7. Or nué

LESSON 8. Shading Japanese gold to a figure

LESSON 9. Paper and final project due

Prerequisites: none. if wishing to skip Lessons 1 and 2, submission of worked techniques

Time: Flexible, from six to twenty-four months, depending on the lessons selected

Fee: $110 to $245, depending on lessons selected

text: Lesson 1, $12

text: Lessons 2 and 4, $7 each

text: Lessons 3 and 5-9, $4 each

Supplies (approximate): Minimum per lesson $5. initial outlay will probably be more

Stitched by Kay Stanis – Example Only

ARE YOU INTERESTED IN WRITING A CORRESPONDENCE COURSE?

The Education Department is always looking for new Individual and Group Correspondence Courses. If you would like to write one, if you have an idea for a new course, or if you would like to take a course in an area not currently covered, please contact either the Individual or the Group Correspondence Course chairs or EGA headquarters. We are always ready and willing to help with the development of new courses. Your input and your ideas and comments are valuable to us. We hope to hear from you soon.

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BC Stitchers complete the Group Correspondence Course, Luan Callery’s Hummingbird and Honeysuckle.


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GROUP CORRESPONDENCE COURSESLisa Dunn, Chair

The purpose of Group Correspondence Courses is to offer low cost, high-quality learning experiences for groups of twenty or fewer plus their group coordinator. Participants work together or individually to learn new techniques, and the course fee is divided among them. Participants purchase their own course booklets and other supplies. Supply sources are provided with every course. EGA is aware of the difficulty students may have in finding and working with some of the unusual materials featured in Group Correspondence Courses. These materials have been employed because they provide a variety of options for a student’s own work.

Group Correspondence Courses are open to all EGA members, except associate members. A group coordinator is chosen to act as a liaison between the teacher and students. The coordinator orders booklets and arranges to have projects sent to the teacher and evaluated projects returned to students. For this service, the group coordinator does not pay a share of the course fee for the course but does purchase a booklet and supplies. Note: We request that the group coordinators provide their e-mail address or that of another student who is willing to receive e-mail communications.

Every student who submits a partially-worked course project receives an evaluation. Those who submit a course project that meets the course certificate requirements will receive a certificate of completion.

Any individual member may register for a Group Correspondence Course and will be responsible for the entire course fee. There are three group options open to EGA me mbers: CHAPTER: Made up of chapter members REGION: Made up of chapter members from various

chapters in a given region, and MALs if the region allows INDEPENDENT GROUPS: Made up of MALs, MALs and

chapter members from various chapters, or chapter members from different chapters

EGA also sponsors online and Quarterly Correspondence Courses. See Inside EGA or visit www.egausa.org.

ENROLLMENT:

1. Read the Group Correspondence Course description and choose carefully. Course and text fees are not refundable.

2. No more than twenty members plus the group coordinator may register as a group.

3. Download a registration form, from the EGA website or send an SASE to EGA Headquarters.

4. Schedule the first meeting and turn in date. When scheduling the first meeting, allow time for office processing and mail delivery. The starting date must be scheduled at least six weeks after the Group

Correspondence Course registrar receives the completed registration form and check.

5. Return the following to the EGA headquarters: the completed registration form, a list of participants with membership numbers, and a check (no credit cards, please) to cover the course fee of $175 and to cover the text fees for each student. Please note: checks must be drawn from the chapter or region treasury, as appropriate. Only members registering as a group of one, members-at-large, and independent groups may send personal checks.

6. When all the paperwork is complete and the starting date arrives, begin the fun, the learning, and the stitching.

7. The projects must be received by the scheduled deadline, unless an alternate date has been arranged with the teacher, prior to the original due date; otherwise, the group may forfeit the privilege of evaluation.

8. For participating chapters, the chapter name must appear on all correspondence and on each project sent for evaluation. For regions, the region name must appear. Independent groups must indicate their status on all correspondence and on each project sent for evaluation.

9. When evaluated projects are returned by the teacher, complete the course evaluation form, mail one copy to the teacher, and mail one to the Group Correspondence Course chair.

10. Foreign students are responsible for additional postage incurred in the mailing of texts outside the United States.

FEE: The course, text, and approximate supply fees are listed with each of the following course descriptions. The course fee is shared equally by participants, excluding the group coordinator. All participants, including the group coordinator, purchase their own texts and supplies. Text price includes mailing cost. All Group Correspondence Courses are subject to current shipping and handling rates.

The estimated cost of supplies given with each Group Correspondence Course is a guideline and is as accurate as possible at the time of publication of this catalog. The Embroiderers’ Guild of America, Inc., and the instructors are not liable for any variation in the price or change in the availability of materials required for the courses. Instructors are not liable for shortages of materials resulting from student adaptations of printed instructions. It is understood that certain needlework accessories, such as hoops, frames, and other tools, are necessary for the execution of embroidery.

For questions or registration help, e-mail [email protected] or call EGA Headquarters.


LADY LARKSPUR NECKLACETEACHER: JEAnETTE CARMICHAEL

A dichroic bead with its artistically blended glass is the focal point of Lady Larkspur Necklace, the ultimate accessory to any wardrobe. Each participant will select the focal bead of choice, whether similar to the original or uniquely suited to the student’s wardrobe scheme. Instructions include how to choose the focal bead and complementary seed beads. The student will learn about dichroic beads and about seed beads—their individuality in color, finish and cut.

Techniques include the amazingly versatile three-bead spiral stitch and attachment to that spiral of branched fringes with contrasting end beads to complement the focal bead, as well as attachment of a sterling silver or gold clasp. Handy tips for simplifying the accomplishment of the beaded project help make this course fun and easy. A bonus instruction page for matching earrings is included.

Project: Beaded necklace with dichroic focal bead

Size: 18” to 22” long (participant’s choice) plus length of focal bead

Color: Participant’s choice with complementary seed beads

Supplies: Focal bead, variety of seed and other fringe end beads, clasp, thread, needles, beeswax, bead pad and sharp embroidery scissors

Skill Level: intermediate

Prerequisites: none

Time: three months, three meetings

Fee: $175 per group

Text: $36 per student, 48 pages, spiral bound, color photos

Supplies (approximate): Focal bead: no cost if participant’s stash; $25–$85 if purchased. remaining supplies based on bead selection and sharing: $25–$35

Beaded by Jeannette Carmichael

MOLLY: A DIMENSIONAL BEARTEACHER: dIAnnE LEwAndOwSkI

The Australians invented wool embroidery on wool grounds, including some unique stitches and motifs. They apply this embroidery to blankets, shoe bags, hot water bottle covers, knee rugs (afghans), dolls, and stuffed animals.

In this project stitchers will learn doll-making construction using both machine and hand sewing. The limbs and head will be moveable, using different methods so that the student can become familiar with different processes for future projects. Stitchers will also learn interesting stitches to make roses and buds in wool that rise above the ground.

Some discussion is given on changing the color scheme. The course requires that the student have basic knowledge of surface embroidery. Directions are given with graphics for the hand sewing required which uses stitches students more than likely already know. Stitchers will need access to a sewing machine.

Project: Free-standing teddy bear

Size: approximately 12”

Color: Values of rose, green, blue, gold

Supplies: Wool blanketing, appleton® crewel, Silk Mori, sewing thread

Skill Level: advanced beginner/Early intermediate

Prerequisites: Some experience with surface embroidery and machine sewing

Time: One preliminary meeting, four working meetings, and one turn-in session

Fee: $175 per group

Text: $30 per student, 73 pages and extensive color graphics

Supplies (approximate): $40 (supplies can be shared for reduced cost). Finishing kit available

FLORAL WHIMSEY TEACHER: PEggY wRIgHT

You can almost smell the fragrance of this flower with its life-sized petals. Add realism to the flower by creating stumpwork petals with bead embroidery. Wire on the outside of the petals gives them dimension. Combine the five petals to create a flower, attaching each to a metal screen. Color is an important element in the teacher’s work, and the bead embroidery uses gradation to make the flower more lifelike. Learn basic color theory and several techniques for the bead embroidery.

Dress up the necklace using Swarovski® crystals or dress it down using simple buttons. Working in tubular peyote stitch, frame either choice in a bezel, adding one crystal or button to the center of the flower and using the other for the clasp. Finally, learn spiral rope to create a vine-like neckpiece that allows the elegant flower to adorn the neck and makes the necklace a piece of wearable art.

Project: One Floral Whimsy necklace

Beads and Threads: Japanese 14˚ regular seed beads, Japanese 11˚ cylinder beads, Swarovski® rivolis or buttons, various sizes and shapes of crystals or other beads for the neckpiece, 24-gauge coated copper wire, fabric, fusible web, ultrasuede® or other heavy fabric, 30 x 40mm perforated oval wiring screen, fabric glue, Silamide or nymo and Fireline, optional 6˚ regular seed beads for exercise

Colors: Student’s choice; class covers color theory and use of color schemes

Prerequisite: Experience with peyote stitch

Skill Level: advanced beginner with experience with peyote stitch

Time: Within six months, seven or eight meetings; two or three for Lesson 1; one each for Lessons 2, 3, 4, 5, and 6

Fee: $175 per group

Text: $38 per student; 76 pages, including nine pages with color graphics; spiral bound


Stitched by Peggy WrightStitched by Dianne Lewandowski

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CLEOPATRA’S CATTEACHER: MARY LOng

Cleopatra’s Cat is a canvaswork sampler of 46 laid fillings and composite stitches. The color scheme is based on the beautiful gold and blue mask from King Tutankhamen’s tomb, with the model worked in many different blue threads with metallic accents of blue and Japan gold. Overdyed stranded cotton and silk, overdyed pearl cotton #5 and #8, silk and wool blends are used as well as Kreinik™ metallic threads. Beads and a “gold” medallion are used for the embellishments.

This project is probably best worked in a monochromatic color scheme because of the number and variety of patterns. The values chosen for the model are generally dark to medium dark. The metallic thread and exposed light-colored canvas provide value contrast. Colors the stitcher likes could be substituted. This is an ideal project for using up some stash. Many thread substitutions are possible.

Project: Free-standing, bag insert or wall-hanging

Size: 14” × 9” on 18-count canvas; model approximately 16” × 10” × 5”

Color: Student’s choice. Model stitched in middle to dark values of blue w/gold and blue metallic threads

Supplies: 18-count mono canvas or Congress cloth, overdyed cotton and silk threads, overdyed pearl cotton #5 and #8, silk and wool blends, metallic braid, beads and a ”gold” medallion

Skill Level: advanced intermediate

Prerequisites: the student must be comfortable stitching on the diagonal, working and compensating irregularly-shaped areas

Time: Seven working meetings, seven months

Fee: $175 per group

Text: $48 per student, 132 pages plus color scan of stitched piece, color photos of completed project and embellishments

Supplies (approximate): $70 for supplies used in model; could also be stitched with materials from the stitcher’s stash

Beaded by Jeanette Carmichael Stitched by Mary Long

MY FAVORITE BRACELETTEACHER: JEAnETTE CARMICHAEL

Resplendent with pearl, silver, and crystal beads, My Favorite Bracelet is the time-honored classic bracelet, at home with both casual and formal wear and easily paired with a pearl necklace and earrings. It is made to fit the student’s wrist perfectly and is fastened with a sterling silver clasp.

The student will learn about beads and bead finishes, the reinforced square stitch foundation upon which the embellishment beads are attached, and a technique for a looped raised platform atop the foundation providing a dimension of height to the bracelet. Other techniques include various types of bead attachments, the application of filler beads, silver bead caps and spacers, anchor and pivot beads, and two very simple beading knots to end and begin new threads. The Color Choice Challenge allows for choice of beads in colors to coordinate with any wardrobe.

Project: Beaded bracelet

Height: ½” Width: 13⁄8”; Length: to fit wrist

Color: Pearl, silver, and crystal aurora borealis

Supplies: Various seed and embellishment beads, thread, needles, beeswax, bead pad, and sharp embroidery scissors


Prerequisites: none

Time: three months, preliminary meeting plus three meetings

Fee: $175 per group

Text: $36 per student, 55 pages, spiral bound, color photos

Supplies (approximate): $55–$75, depending on beads selected and the sharing of supplies

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Chinese Checkers by Mimi Selick

CHINESE CHECKERS TEACHER: MIMI SELICk

Chinese Checkers is a long time family favorite. Selick’s new creation, Chinese Checkers, was designed for both play and display, thus providing many hours of enjoyment. It is worked in a variety of threads and stitches.

This piece offers the intermediate stitcher the challenge of a geometric pattern. Like most Chinese Checker boards it has a bold color scheme.

The text is contains explicit illustrations of each stitch and instructions on how to place the different parts of the design and borders. The text also includes a history of canvaswork as well as several hints to make stitching easier. In addition, the text provides the rules of the game to guide play.

When completed, this framed piece can be used to play Chinese Checkers. In place of glass, use Lexan™, a surface more suitable for playing the game.

Size: 20˝ x 20˝

Fabric: 18-count mono canvas

Threads: Stranded cotton, metallics, and metallic ribbon

Colors: as shown


Prerequisites: any experience with geometric designs

Time: Six months

Fee: $175 per group

Text: $28.50

Supplies (approximate): $25 Optional kit available includes all threads, template to aid in stitching spirals, playing pieces for $29.50


Stitched by Gail StaffordStitched by Sandy Rodgers

FLORENTINE AND TULIPSTEACHER: gAIL STAffORd

Designed for the canvas embroidery beginner and inspired by a love of flowers, patterns, and Florentine embroidery, this quilt-like design can be stitched in one or two suggested color schemes or one of the stitcher’s choosing. Students will read and follow charts to execute the reverse Scotch stitch, basketweave, slanted Gobelin Stitch, a Florentine continuous line design, and the continental stitch. Students will use a laying tool to create smooth stitches and maximize sheen with stranded embroidery cotton.

A brief history of Florentine embroidery leads into an overview of continuous line designs.

Students may choose the option of developing their own color schemes. Intermediate and advanced stitchers may select threads or canvas other than those recommended and may make minor design changes, should they chose to do so.

Project: Framed picture

Size: design area 6 ½” × 6 ½”, frame size 11” × 11”

Fabric: 18-count mono canvas

Threads: Stranded embroidery cotton

Colors: red-orange/blue/green or violet/yellow/green or student’s choice

Skill Level: Beginner and beyond

Prerequisites: none

Time: Six months; six sessions

Fee: $175 per group

Text: $30 per student, 37 pages pre-punched for three-ring binder plus color photocopy and master chart for one quadrant of the design, unbound, two-pocket folder

Supplies (approximate): $15 plus stretcher bars and laying tool

DUTCH LEGACYTEACHER: SAndY ROdgERS

There’s lots of help in the text as stitchers make choices for working Dutch Legacy: cotton or silk, colors already selected or those just right for individual tastes, #18 canvas or Congress cloth, vertical or horizontal orientation. Any choice will led students to stitch a glorious, single flower specimen. Along the way, they will learn several easy shading techniques that can be used over and over again for other stitching projects. They will also learn how to work with Trim™ thread and couch bullion, and stitch seven blackwork patterns. Lots of photos, numerous large and clear diagrams plus excellent instructions will guide the stitcher every step of the way. The reference materials will benefit every stitcher.


Size: 7¾” × 5½” on 14” × 12” canvas

Color: Student’s choice, text gives color selection help

Supplies: Congress cloth or 18-count canvas; stranded silks or stranded cotton, Kreinik 3⁄8” trim™, Japanese metal #1, pearl purl bullion


Prerequisites: able to work stitches from a diagram

Time: three or four meetings one month apart plus preliminary and wrap-up meetings

Fee: $175 per group

Text: $42 per student, 84 pages, 4 pages of color photos, full size color scan, spiral bound, plastic covers

Supplies (approximate): $42 using silk; $28 using cotton

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Stitched by Barbara Kershaw

ANGELINA: ITALIAN DRAWN THREADTEACHER: BARBARA kERSHAw

In this introduction to Italian drawn thread embroidery, the stitcher will make either a fingertip towel that will look lovely in a powder room or make a placemat for a table by finishing the borders at both ends. The model uses 32-count Belfast linen, but the student may choose to use 28-count Cashel linen or 36-count Edinburgh linen. If a different linen is chosen, the measurements stay the same, but some of the calculations and counts will be different and require compensation.

This course will teach the student to overcome the fear of cutting threads and to work one of the many ways to deal with threads once they are cut and withdrawn.

Included are many traditional elements: Italian four-sided stitch and peahole hemstitch, Rodi stitch, needleweaving, Palestrina knots and bullion knots as well as the punto principessa or princess stitch. The hem has mitered corners, antique hemstitch and a lacy edge. Left-handed instructions are available—just state how many are needed.

Project: Fingertip towel or placemat

Size: 12”× 18”

Color: White

Supplies: White 32-count Belfast linen or student’s choice; #8 and #12 pearl cotton

Skill Level: Beginner drawn thread for the intermediate stitcher

Prerequisites: none

Time: Six months, six meetings

Fee: $175 per group

Text: $35 per student



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Stitched by Marion Scoular

ASSISITEACHER: MARIOn SCOuLAR

Assisi embroidery, which originated in the birthplace in Italy of St. Francis, is a counted thread embroidery, characterized by the design being outlined and left empty and the background filled in, generally with cross stitch. This is known as a ”voided design.” Double running is used for the outlines, making the work reversible. The cross stitch is then worked with an effort to maintain vertical stitches on the wrong side. Long-armed cross stitch and N stitch are alternatives to cross stitch and will be explored.

Project: three pincushion doodles followed by a small design (supplied) or an original design by the student

Size: Pincushion (depending on fabric count chosen) 2” × 2½”; Butterfly (depending on fabric count chosen) 3½” × 3”

Fabric: Evenweave choices given

Thread/Color: Student’s choice

Skill Level: Beginner

Prerequisites: ability to read a chart

Time: Six months; two, possibly three, working meetings; one submission

Fee: $175 per group

Text: $21.50 per student, 30 pages in punchless binder



BEGINNER’S HARDANGERTEACHER: MARIOn SCOuLAR

Elegant and lace-like, Hardanger embroidery is easier to stitch than it appears. Worked in the hand, it is great to take on travels. The basic techniques are clearly explained, and the student has the option of stitching in a solid color or experimenting with Watercolours®.

Project: Cushion, tote bag or vest insert

Size: 8¾” × 8¾”

Fabric: 14” × 14” 22-count cotton hardanger

Threads: Pearl cotton #5 or Watercolours®, pearl cotton #8 and #12

Colors: Student’s choice


Prerequisite: ability to read charts and count accurately

Time: Six months

Fee: $175 per group

Text: $33.50 per student, 44 pages

Supplies (approximate): $12.50

Dresden work by Jane Ellen Balzuweit

DRESDEN GARDEN TEACHER: JAnE ELLEn BALZuwEIT

Dresden Garden introduces the student to the technique of Dresden Lace, a combination of pulled thread stitches, where fabric threads are distorted to form holes. Flat stitches, reverse herringbone, shadow work, and padded satin stitches will be covered.

The difference between pulled thread and Dresden Lace is the fabric on which it is worked. Pulled thread can be worked on any count fabric; however, Dresden is worked on fine handkerchief linen. Dresden is always worked with combination stitches, flat stitches, and pulled thread stitches with a background of four-sided stitch.

This project can be framed, placed on a box top, used as a ring bearer’s pillow or for a guest towel border, to name a few.

Size: 4½” × 3¼”

Fabric: Legacy shadow work linen

Thread: Stranded cotton

Skill: advanced intermediate

Prerequisite: Knowledge of reading charts, experience with pulled thread

Time: three months, three lessons

Fee: $175 per group

Text: $40 spiral bound

Supplies (approximate): Less than $10


Stitched by Wanda Linsley

DRESDEN KITTYTEACHER: wAndA LInSLEY

The ultimate graphic art technique in Dresden Kitty is an adventure into pulled work, also known as drawn fabric, a type of counted thread whitework. Pulling the working thread to compress the ground threads gives this work its lacy appearance and texture.

Pulled work is composed of variations on a few basic stitches: double backstitch, four-sided stitch, crossed stitch, straight or satin stitch, wave stitch, faggot stitch and composite stitches. Dresden Kitty provides the opportunity to learn all of these stitches, beginning with basic stitches and progressing to more complex. The opportunity to design a unique background is an option.

This piece is based on the teacher’s cat Patches, a Manx, a uniquely tailless breed. Her “patches” worked well for becoming Dresden Kitty.

Dresden Kitty is worked on 24- to 28-count evenweave linen, such as Zweigart® Dublin Linen, with DMC® #12 pearl cotton and DMC® #80 crochet cotton.

Project: Pulled thread

Size: 5” × 7” design area

Color: Student’s choice

Supplies: 24- to 28-count evenweave linen such as Zweigart® dublin Linen, 11” × 13” white, ivory, cream of natural; pearl cotton #12 and cotton for crochet #80 in a color to match the linen

Skill Level: intermediate to advanced

Prerequisites: ability to read and apply a graph to fabric threads

Time: Four months with meetings left to the discretion of the group

Fee: $175 per group

Text: $20 per student, unbound, two-pocket folder

Supplies (approximate): $20 or less depending on type of linen. Purchasing the linen by the yard as a group will reduce the expense.

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Swedish Naversom by Phyllis Maurer

HOW TO’S OF SWEDISH NAVERSOM TEACHER: PHYLLIS MAuRER

Naversom is a seldom seen form of Swedish needlework. It is also called “Birch Bark Weaving,” taking its name from the frame originally used to support the work. The lacy appearance and geometric nature of the designs will remind many embroiderers of Hardanger, but Naversom is created in a distinctly different manner. Withdrawing threads from the ground cloth creates the stitching grid. Naversom uses only four stitches to create a wide variety of designs. Two of the stitches (darning and diagonal) use a heavier weight thread, while the remaining two (goose-eye and ground) are created with finer threads.

The practice doily and coaster will provide an in-depth exposure to this technique. Traditional materials and colors are used for the practice coaster, while the student may select alternate materials for the doily. This technique is one that provides great versatility, and is easily adapted to many original designs. An extended description is provided on the teacher’s website: www.ethnicfiberart.com.

Project: doily and practice coaster

Size: 5¾” x 5¾” (doily) and 4” x 4” (coaster)

Fabric: 35-count linen

Threads: 16/2 rainbow Linen and 50/3 Londonderry Linen

Colors: Beige and ecru on ecru (doily) and ecru on ecru (Coaster)

Skill level: advanced beginner

Prerequisites: Willingness to try something new

Time: Six months. required number of meetings is left to discretion of the group

Fee: $175 per group

Text: $40 per student, 67 pages, spiral bound, three color photocopies


Stitched by Ilse Altherr

IKEBANATEACHER: ILSE ALTHERR

Ikebana is a sampler of composite pulled thread stitch patterns. The central floral composition, created in the style of a Japanese flower arrangement, is worked in counted diagonal satin stitches and pulled Scotch stitches. It introduces a touch of color to the sampler, bringing out the textural pulled thread patterns of the frame.

While the embroidery on the sampler measures approximately 8½˝ × 6½˝, the size of the student’s sampler depends on the ground fabric used. Worked on Zweigart® Cashel linen, any countable ground, cotton or linen, can be used with the exception of Aida cloth or Hardanger fabric.

Designed for the advanced intermediate stitcher, each stitch is clearly graphed as to its location and execution. The text includes one color photocopy, nine master chart pages, one complete layout, numerous charts and instructions, as well as suggestions and hints for easier and better stitch accomplishments.

Project: Sampler

Size: 6½” × 8½”

Color: Cream and medium dark ecru as well as greens and mauves or student’s choice

Supplies: Zweigart® Cashel linen, cream or student’s choice; 6 stranded cotton, pearl cotton #8 and #12



Time: Six months; required meetings are left to the discretion of the group

Fee: $175 per group

Text: $31 per student, unbound, two-pocket folder and one color photocopy

Supplies (approximate): $25; less if materials are purchased to be shared or used from stash


Lydia’s Necessities by Judith Gulick

LYDIA’S NECESSITIES TEACHER: JudITH guLICk

In this Hardanger course, students will create either a reticule or needlebook to store all stitching necessities and/or a stitcher’s angel to guard threads, ensuring they do not tangle while the stitcher sleeps. Both designs are included in a 33-page text that includes nine pages in color, a brief history of Hardanger, and an extensive Hardanger glossary.

Lydia’s Necessities is a truly portable, stitch-in-hand, fun project, with the text written for advanced beginners. Also included is a For Experienced Stitchers Appendix that outlines the following optional procedures: resizing the designs, stitching connected needlebook or stitcher’s angel wings, cutting kloster square centers, and/or removing threads then weaving bars with dove’s eyes.

Project: hardanger reticule with needlebook or stitcher’s angel

Size: #22 hardanger fabric: reticule 9” x 12”, needlebook 3.5” x 3.5” and stitcher’s angel 8.5” tall #18 aida fabric: reticule 10” x 14”, needlebook 4” x 4” and stitcher’s angel 9.5” tall

Fabric: #22 hardanger, #18 aida, or student’s choice of finer count.

Threads: Student’s choices: pearl cotton, Encore, Watercolors, Bravo, Floche, Wildflowers, Overture, stranded cotton or silk


Skill Level: advanced beginner; “For Experienced Stitcher” instructions

Prerequisites: reading a stitch chart

Time: introductory session, four stitching sessions and one turn in session. approximately three to six months

Fee: $175 per group

Text: $30 per student. 33 pages, nine in color

Supplies (approximate): $19 to $29

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Liesel-Schwalm by Barbara Kershaw

LIESEL-SCHWALM TEACHER: BARBARA kERSHAw

This course introduces students to the beautiful German whitework technique, Schwalm embroidery. Schwalm embroidery combines surface stitches with pulled thread and drawn thread techniques.

This course will teach the basic surface stitches: coral knot, chain stitch, and satin stitch. Students will cut threads and form a grid on which to work beautiful pulled thread stitches such as the rose, cording, and mosquito stitch and a traditional mouse-tooth edge.

Students will start with a blank strip of 32-count Strathaven linen and DMC Coton à Broder, and watch as it is transformed into a lovely decorative band. This unique pillow band will slip onto a pillow for display but also slip off again for easy laundering or a change of background color when redecorating a room. Instructions are included in the text for students who prefer to make their own pillow rather than purchasing one. Also available are instructions for working the piece left-handed. Please state the number of left-handed instructions needed when registering.

Project: Pillow band

Size: 12” (30cm) x 27” (69cm)

Fabric: 32ct Strathaven linen

Threads: dMC® Coton à Broder (Broder Spécial) #s 16, 20, and 25

Colors: White

Skill Level: Beginner Schwalm Embroidery for the intermediate stitcher

Prerequisites: none

Time: Six meetings, six months

Fee: $175 per group

Text: $50 per student; includes six skeins of Coton à Broder with 40-page text

Supplies (approximate): $15 (does not include pillow)

NEW

MOONLIGHT SONATATEACHER: CIndY VALEnTInE

An intermediate course in Hardanger embroidery, Moonlight Sonata focuses on some of the ways traditional Hardanger embroidery stitches can be embellished using other pulled stitches, surface stitches, specialty threads, and beads. One chart helps students select an alternate colorway if desired.

Several filling stitches will be learned while stitching this sampler, including small webbed spokes, adjoining wrapped bars, curled V, struvor, and large, wheeled spokes. In addition, there are double cables, a four-sided stitch, faggot stitch, Algerian eyelets and other eyelet stitches. These stitches are combined with traditional Hardanger motifs, satin stitches, and klosters to make a piece suitable for framing.

Because some of these stitches require compensation or complex pathways, information is given to help the student plot a path for irregular areas of needleweaving or wrapping. Information is provided about how to repair common cutting errors.

Project: Framed piece

Size: Stitched area is 75⁄8” × 155⁄8” on 28-count linen

Fabric: 28-count linen

Threads: a variety of cottons, silks, and metallics

Colors: Periwinkle blues and white; chart included to aid in selecting alternate colorways


Prerequisites: ability to read a chart and some hardanger experience

Time: Six months

Fee: $175 per group

Text: $40 per student, more than 70 pages, extensive color graphics including photos showing each step for completing complex stitches and pathways


Stitched by Cindy Valentine


MORNING GLORIESTEACHER: ILSE ALTHERR

Morning Glories is a sampler of pulled thread stitches. The flowers and vines, worked in counted diagonal satin stitches and cross stitches, complement and introduce color to the design as well as give it a frame-like appearance.

Morning Glories was worked on Zweigart® Congressa Cloth®, a soft congress cloth. The size of the student’s sampler will depend upon the ground fabric, which can be any countable ground, cotton or linen, with the exception of Aida cloth or Hardanger fabric. Please note that counting the threads for the flowers on a high-count, fine fabric, will, indeed, be a challenge.

This sampler was designed for the advanced beginner. Each stitch is clearly graphed as to its location and execution. The text includes one color photocopy, nine master chart pages, one complete layout, numerous charts and instructions, as well as suggestions and hints for easier and better stitch accomplishments.

Project: Sampler

Size: Model: 111⁄4” × 8”

Fabric: Zweigart® Congressa Cloth®, white, or student’s choice

Threads: Stranded cotton and #5 and #8 pearl cotton

Colors: White pearl cotton for the pulled thread patterns; all others, student’s choice

Skill Level: advanced beginner


Time: Six months, required number of meetings is left to discretion of the group

Fee: $175 per group

Text: $31 per student, unbound, two-pocket folder, one color photocopy

Supplies (approximate): $25, less if materials are purchased to be shared or taken from stash

Stitched by Ilse Altherr

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ROSES TEACHER: CAROL ALgIE HIggInBOTHAM

Roses takes a favorite flower and uses it to teach one method of working blackwork. Using a floral motif is in keeping with historic pieces done in one period when blackwork was a dominant technique.

Students will be introduced to the history of blackwork, materials, design transfer, and a method of working blackwork patterns. They will discover the difference between dark, medium, and light density blackwork patterns. The original is worked in black and a gray to give some contrast and interest to the piece.

The use of gold for the enhancement echoes the historic use of gold.

While the original is in black, gray, and gold, students may work in any color they prefer. Students will make their Roses bloom, and be ready to work any blackwork design.


Size: 8½”x 12” design area

Fabric: 28- or 30-count white or cream linen

Threads: Stranded cotton, #4 Very fine braid

Colors: as shown in photograph or student’s choice


Prerequisites: none

Time: Six months. required meetings are left to the discretion of the group.

Fee: $175 per group

Text: $30, includes color pictures and detailed instructions


Roses by Carol Algie Higginbotham

STAR STUDDED SAMPLINGS TEACHER: ILSE ALTHERR

Star Studded Samplings, a compilation of seven golden stars glowing in a field of blackwork patterns and medallions, was the result of a series of stars Altherr stitched for her enjoyment. One thing led to another and with the inclusion of a variety of blackwork elements, a sampler was born. There is no history to this sampler, so none will be included in the instructions.

Altherr used these stars, individually and enlarged, to decorate some of her holiday greeting cards and small items for gift giving. They are also suitable for bookmarks or for decorating linens, articles of clothing, or accessories of any kind. While stitched with gold metallic threads on the sampler, they would be equally appealing when stitched with silk or cotton threads.

Project: Sampler

Size: 12” by 12”

Fabric: Zweigart® Congress Cloth ®, cream, or student’s choice

Threads: Soie d’alger®, three different metallic threads

Colors: Silk: burgundy; metallic threads: gold. Student’s choice



Time: Six months. required meetings are left to the discretion of the group.

Fee: $175 per group

Text: $32.50 per student, unbound, two-pocket folder and two color photocopies, 40+ pages

Supplies (approximate): $30; less if materials are purchased to be shared or used from stash

Star Studded Samplings by Isle Altherr

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EMBROIDERY WITH MIXED MEDIATEACHER: LAuRA SMITH

Study the amazing possibilities of four new mixed media materials. Work with soluble fabric, DuPont™ Tyvek®, Angelina® fibers and film, and acrylic gel media. These materials have expressive qualities for embroidered designs. To add color, use acrylic paint. Powdered pigments and Shiva Artist’s Paintstiks® are optional colorants. Bo-Nash Bonding Agent 007® and its pressing sheet are used to fuse Angelina fibers to non-heat sensitive fabrics. Tools covered in the course include an iron and three optional tools: the embossing tool, mini iron, and steamless iron. Only the materials mentioned above are covered in this class.

Project: Samples or finished embroideries that incorporate 1. Fabric created using soluble stabilizer 2. tyvek that has been worked with heat 3. three forms of angelina (straight cut, crimped cut and film) made into fabric or worked with heat to shape them 4. two acrylic gel transfers and a small gel-coated embroidery

Size: Student’s choice

Fabric , Threads, and Colors: Student’s choice

Skill Level: all

Prerequisites: none

Time: One short preliminary meeting to gather supplies, four working meetings, and one short turn-in session

Fee: $175 per group

Text: $32 per student, 72 pages comb-bound with numerous color photographs; will serve as a reference for future work

Supplies (approximate): $30. groups are encouraged to share supply expenses.

A new sampler by Laura Smith

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FINISHING WITH FLAIRTEACHER: MARIOn SCOuLAR

Finishing with Flair is a notebook course covering three useful techniques for finishing needlework and instructions for lacing needlework for framing. Do the finishing yourself, save money, and know that the work is done well. Little expense is involved as students may use scraps from their collection.

Project: Four doodles

Size: 8” × 10”

Fabric: Small pieces of evenweave fabric, 8” × 10” and one 10” × 12”

Threads: Stranded cotton, #8 and #12 pearl cotton or other threads

Colors: n/a


Prerequisites: ability to read diagrams and count accurately

Time: Four to six months, one organizational meeting plus four working meetings

Fee: $175 per group

Text: $34 per student, 47 pages

Supplies (approximate): Foam core board (negligible cost)


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Laura Smith prepares a design

MARK AND PAINT ON CANVAS AND FABRICTEACHER: LAuRA SMITH

Do you have a drawing or photo that you’d like to make into an embroidered design? In this class, you will mark and paint one design onto needlepoint canvas and one onto silk fabric. Step-by-step instructions are given for painting with acrylic paint and fabric paint or dye (including using resist). Emphasis is placed on using markers and paint that conform to archival quality standards for fabrics. An appendix gives details about specific products and sources.

Students may use the three provided designs, but are encouraged to create their own. The annotated bibliography includes design and drawing books, but this class will not teach drawing per se.

The goal of this course is for students to feel confident and competent to transfer designs to fabric or canvas with markers and paint. After you complete the course, the text becomes a reference manual that students will use over and over again.

Project: two drawn and painted designs, one on needlepoint canvas and one on silk fabric

Size: Student’s choice

Fabric: needlepoint canvas, silk

Threads and Colors: Student’s choice (no stitching instructions are included)

Skill Level: all

Prerequisites: none

Time: One preliminary meeting to gather supplies, three working meetings, and one turn-in session

Fee: $175 per group

Text: $32 per student, 65 pages comb bound with 40 color photographs and three design diagrams

Supplies (approximate): $30 depending on choice of supplies/ground fabric and number of students sharing paint


A MEMORY BOOK: SCRAPBOOKING WITH A NEEDLETEACHER: CATHY TROSTMAnn

Have you ever wondered what to do with linens that stay in your closet because you cannot bear to toss them? Maybe Aunt Sallie or Grandmother Jo made them but now there are holes or stained spots in some area. The stitcher is invited to use bits and pieces of these treasured linens that are no longer useful in the home. Create a cloth book that will contain these keepsakes and make them available for viewing every day. If you have no keepsakes, then maybe a collection of buttons or handkerchiefs might be the answer. When your pages are complete, you will be directed to make a crazy quilt cover. Making the cover will enable you to use more collectables in this Victorian form of art work. This course will inspire creativity while invoking a little nostalgia.

Project: a cloth book with linen pages and a crazy quilt cover

Size: Folded book is 8” × 10”

Threads: Wildflowers®, pearl cotton or stitcher’s choice

Colors: Stitcher’s choice

Skill Level: all levels

Prerequisites: Basic sewing and embroidery knowledge

Time: Six months, six meetings

Fee: $175 per group

Text: $35 per student, 47 pages that can be used in a notebook

Supplies (approximate): $30 for linen, 100% cotton muslin, threads such as Wildflowers® and pearl cotton, and stitcher’s choice of other decorative threads

Stitched by Cathy Trostmann

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HUMMINGBIRD AND HONEYSUCKLETEACHER: LuAn B. CALLERY

Stitchers at all levels will enjoy creating this lifelike design, while learning the basic techniques of stumpwork. The honeysuckle vine is worked with whipped chain, dimensional buds, and padded and wired flowers, with a smattering of wired leaves. The ruby-throated hummer is worked on a slip, then attached to the linen and filled with stuffing. His wing is wired to give the illusion of hovering at the source of the honeysuckle nectar and floats on the surface.

Stitches include buttonhole variations, whipped stitches, chain variations, padded satin and shading. The padded and wired elements establish dimension for the raised flowers, and the stuffed body sculpts a lifelike hummingbird. Techniques for framing up are included. The designer frequently enjoys seeing this little bird in her Florida garden. Colors can be chosen to resemble the hummingbirds in your area.


Size: 7½” round or square mat or 8” framed without a mat

Fabric: Linen twill and chiffon

Threads: Stranded cotton or silk and gold metallic

Colors: red, green and grey or student’s choice


Prerequisites: Knowledge of basic stitches is helpful

Time: Six months, five working sessions

Fee: $175 per group

Text: $30 per student—two-pocket folder with detailed color pictures and embroidery stitch diagrams

Supplies (approximate): $20 using stranded cotton, stretcher bars or hoop

Stitched by Luan B. Callery

SASHIKO PLUM BLOSSOMTEACHER: LOIS kERSHnER

Sashiko Plum Blossom introduces the basic techniques of traditional Japanese sashiko embroidery. Sashiko uses just one stitch, a running stitch, for all of the stylized patterns within the petals of the lovely plum blossom motif.

Step-by-step illustrated instructions will guide the stitcher. First, the student will learn to transfer the patterns for the five flower petals to fabric. Then, the student will learn the techniques of sashiko, including starting and stopping threads without a knot, calculating consistent stitch length, mirroring stitches, turning sharp corners, rounding curves, and meeting stitches at intersections.

The text includes practice and master patterns, a history of sashiko, numerous diagrams, and thorough instructions—all the information needed to design and stitch future sashiko projects.

Project: Pillow or chair cushion, wall hanging

Size: 10½” x 10½”

Fabric: 50% cotton/50% linen fabric, or student’s choice

Threads: Sashiko cotton or student’s choice

Colors: traditional white on navy blue, or student’s choice


Prerequisites: none

Time: three months, preliminary meeting plus three meetings

Fee: $175 per group

Text: $30 per student; 30 pages, including 12 with color illustrations, full-sized master transfer pattern, transfer paper, unbound, two-pocket folder

Supplies (approximate): less than $20, depending on fabric and marker choice

Stitched by Lois Kershner


Purse in Brazilian embroidery by Ganet Burr

BRAZILIAN EMBROIDERY PURSETEACHER: gAnET BuRR

This project is an introduction to the techniques used in Brazilian embroidery. Use of the threads is discussed with hints on ways to use the threads to create interesting effects.

Basic as well as familiar stitches are used, such as stem stitch, satin stitch, and French knots. Some less familiar stitches such as bullion, cast-on, and double cast-on are used in this project.

Students will learn how to use three needles with a double cast-on stitch to create a lovely flower petal. Students will have a lovely bag to add to their needlework collection.

Project: Small clutch purse

Size: approximately 5” x 9”

Fabric: Linen twill

Colors: assorted rose, lavender, and blue flowers on off white fabric

Threads: Edmar Brazilian embroidery thread


Prerequisites: none

Time: Six months, with four or five meetings

Fee: $175 per group

Text: $30 includes a book of instructions, the pattern, a picture, and postage

Supplies (approximate): $12 to $14 for threads, $23 for linen twill

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SUMMER DREAMTEACHER: LuAn B. CALLERY

Summer Dream is a stumpwork piece that can stand on its own or be stitched as a companion to the retired course, Fantasy Remembered. The design is worked on crewel linen or linen twill. The colors can be changed to fit a particular décor.

A lily is partly worked on the linen. Two petals are padded, and for added dimension, two petals, are worked on wire and attached to the flower. Beads enhance the petals, and stamens poke out from the center of the flower. There are bullion buds, padded forget-me-nots, and wildflowers worked in needleweaving on wire. The butterfly and the bee incorporate wire so their wings stand away from the linen. A padded lady bug crawls along a leaf, ready to take flight.


Size: 6” × 12”

Fabric: Linen or linen twill

Threads: appleton® wool, stranded cotton, neon rays®, Watercolours®

Colors: Values of green, blue, bright pink or student’s choice


Prerequisites: Knowledge of long and short shading is desirable

Time: Six months, six sessions

Fee: $175 per group

Text: $30 per student, includes detailed photographs

Supplies (approximate) $40 or less than half if sharing supplies

Stitched by Luan B. Callery

CIRCLE WITH BLUE FLOWER: BEGINNING SILK AND METAL THREAD COURSETEACHER: MARgARET kInSEY

Circle with Blue Flower is a study in silk and metal thread, designed for the beginner, and inspired by the illuminated letters created in medieval times.

The reference notebook for this course is extensive, including color images and discussions of silk and metal threads, definitions of stitches and diagrams of some, a section on tools, a brief history of silk and metal threads, and ”How To” sections with pictures for framing up and detailed information for finishing the completed embroidery.

The embroiderer will be working with real metals as well as imitation metal threads. Stitches include couching techniques using pearl purl, twists, and silk thread; satin stitch over padding of parchment and cord; and satin stitch using flat silk and purls. The outline stitch is worked in rough purl. Chipping will be explored.


Size: 10” × 10”

Color: Blue silk on white fabric with gold

Supplies: Silk satin; pearl and rough purl, flat silk, silk couching thread, twist, Elizabethan twist, gold braid #8, and Japan gold


Prerequisites: none

Time: Six months, five meetings

Fee: $175 per group

Text: $50 per student, stitching instructions in outline form, many colored pictures and diagrams, extensive reference material, comb bound

Supplies (approximate): $70, optional kit available; extensive supply list is located on Ega gCC website

Stitched by Margaret Kinsey


SHADING STITCHESTEACHER: JudY JEROY

Shading Stitches, a basic course in surface embroidery, introduces the student to nine stitches useful in shading, defining shade to mean ”vary the transition of a color hue from light to dark.” Stitches are chain, coral knot, burden, fly, outline/stem, raised outline/stem, crescent spider, French knots, and long and short.

Designed for crewel wool lovers and for those allergic to wool or who would prefer to use a different thread, one sample shown is in stranded cottons, silks, and rayons, using only one or two strands; another is done completely in one-strand crewel wools. Students may do one or both options in their own choice of colors. Whatever they submit will be evaluated.

The history of the technique is given in some detail: how this form of needlework moved from Europe to America and how it was adapted to fit the conditions of the colonial world. Step into the world of shading stitches, make some choices, and take some chances.

Project: Picture

Size: 8” × 5” design

Color: Student’s choice

Supplies: Linen twill; appleton® crewel wools or stranded silks/cotton/rayons


Prerequisites: none

Time: Five months, three lessons

Fee: $175 per group

Text: $40 per student, for 32-page booklet (10 color pages)

Supplies (approximate): $45–$55 plus scissors, needles, hoop, or stretcher bars

Stitched by Judy Jeroy Stitched by Judy Jeroy

CREWEL CHOICESTEACHER: JudY JEROY

This course is designed to encourage intermediate-level stitchers to make choices, take chances, and insert changes in my example. Students are encouraged to move the individual elements of the design around and/or reverse them. There is an element of mystery as students are challenged to find the things that the teacher would change about the piece if she were doing it again. Numerous technical tips and hints will be given to allow participants to achieve excellence in this medium.

Project: Picture

Size: 10” × 7” oval design

Fabric: Linen twill

Threads: appleton™ crewel wools



Prerequisites: none

Time: Four lessons, six months

Fee: $175 per group

Text: $30 per student

Supplies (approximate): $42 to $50 plus scissors, hoop, or stretcher bars

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CUTWORK, SHADOW WORK AND TRAPUNTO BASICSTEACHER: LuAn B. CALLERY

Three mini-courses are to be used as a notebook course or to incorporate into the included project.

The cutwork butterfly is worked with basic stitches. It can be cut out and used as an appliqué or left on the ground fabric as the focal point of a towel, quilt square, or item of choice.

Shadow work is stitched on the back side of a sheer fabric allowing the color to show through and create a gentle shadowed pattern.

Trapunto, created by running a cord or yarn through a stitched channel, is a lovely embellishment for clothing or decorative touch in the home.

Shadow work and trapunto can be incorporated into the same design to form an interesting pattern. The cutwork can be used as an add-on, such as a flower or butterfly. Each technique is written for the beginner who will be well-versed by the final stitches. All projects are quick, inexpensive, and fun to do.

Project: notebook, quilt square, clothing embellishment

Fabric: Batiste, linen, organdy

Threads: Stranded cotton and pearl cotton

Color: as indicated or student’s choice

Skill Level: Beginner in these techniques for the stitcher with basic embroidery knowledge

Prerequisites: Love of embroidery

Time: three to four meetings/months

Fee: $175 per group

Text: $25

Supplies (approximate): $22 or $12.00 if sharing.

Design by Luan B. Callery

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SILK RIBBON PONDTEACHER: kIM SAndERS

Explore the luscious colors and luxurious texture of silk ribbon embroidery as you create a fantasy landscape from a dozen uncomplicated silk ribbon stitches. Step-by-step instructions make Silk Ribbon Pond simple enough for a beginner while a wide variety of stitches and the option to choose one’s own colors will engage the intermediate stitcher as well.

The course includes detailed information on successfully manipulating silk ribbon, clear stitch diagrams and many illustrations to guide the student as each flower is embroidered. Students may use the suggested color scheme or personalize the piece with their own choice of colors for ground fabric and ribbons. A section on color theory is provided to assist students in making successful color choices. The text also discusses a variety of ways a single stitch can be used so that embroiderers can create their own variations and original designs in the future.


Size: 8 × 6”

Color: as shown in photograph or student’s choice

Supplies: Silk dupioni; 2mm and 4mm silk ribbon, stranded cotton

Skill Level: Beginner to intermediate

Prerequisites: none

Time: Five months: one preliminary meeting, five working meetings

Fee: $175 per group

Text: $30 per student, one color photocopy, four detailed color photographs

Supplies (approximate): $45–$50 depending on ribbon selection and if ribbons are shared

Stitched by Kim Sanders Spring Splendor by Kay Stanis

SPRING SPLENDORTEACHER: kAY STAnIS

Finally, after that long cold winter and the long cold drizzle that melted the gray snow and rinsed the earth clean, comes the time of generous sun. Blossoms play in the golden light and spring walks among us again.

The foundation for this bouquet is Dupioni silk, and the silk threads used are soft twist silk and silk sewing thread. These threads combine with pearl purl, check purl, Japanese Twist, Grecian twist, passing thread, Japanese golds, to create the butterfly, blossoms, and leaves.

The stitches include vertical, radiating, horizontal, voided, and diagonal satin; long and short over padding and split stitch; normal and pattern couching.

Students will also learn how to transfer their own patterns and twist flat silk. The focus of the class will be on couching, filling areas with purls, and blending long and short over padding.


Size: 8” x 10” design on 13.5” x 18” silk foundation

Fabric: dupioni silk

Threads: Silk: five skeins of soft twist silks, four values of red, one of gold; Silk sewing thread. Metal: #1 Pearl purl; #6 Bright check purl; #1 gold, Sterling™, 07; #5 Passing thread; #5 Japanese gold; #3 Japanese twist; Medium grecian twist; #8 Braid, preferably Coronet Braid™

Colors: Student’s choice, sample is in reds

Proficiency level: intermediate to advanced

Prerequisites: Some experience working with silk

Time: twelve months, six working sessions

Fee: $175 per group

Text: $30, more than 50 pages, all color

Supplies (approximate): $55, if provided by teacher

JAPANESE TEMARI BASICS FOR BEGINNERSTEACHER: BARBARA SuESS

This course will ease absolute beginners into a fun and gentle way into making their own temari with classic, introductory designs. Portrait Temari (optional project) begins the journey in stitching on a thread-wrapped ball. Three more patterns created exclusively for this course are July the 4th, Quaker Ladies, and Bound Star. Students will learn how to make a well-wrapped temari by starting with a styrofoam ball or a variety of other items, such as thread scraps, rice hulls or dryer lint. Directions are given for finding the north and south poles and dividing the ball into eight and ten sections.

Temari techniques and stitches include wrapped bands, starbursts, spindles, double herringbone stitching, and stitching a five-point star interlocked with a pentagon. Students are encouraged along the way to drop any tendencies toward perfectionism and just have fun playing with this ancient folk craft from Japan.

Project: Japanese temari

Size: 10” (25 cm) circumference balls

Threads: Black sewing thread for wrapping, yLi Candlelight or Kreinik™ #8 Braid for marking, #5 pearl cotton for stitching

Colors: Suggestions provided but students are encouraged to choose their own colors


Prerequisites: none

Time: Five months, five meetings

Fee: $175 per group

Text: $29.50 per student, 54 pages, unbound in a two-pocket folder, five pages color

Supplies (approximate): $20 for suggested threads and other supplies

Stitched by Barbara Suess

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BLUE HEAVEN: TEMARI IITEACHER: BARBARA SuESS

This second EGA group correspondence course on Japanese temari focuses on the favorite stitch of many temari makers— the kiku herringbone stitch (uwagake chidori kagari). This classic variation on the herringbone is unique to the art of temari. Students will learn detailed tips on how to perfect it while creating two stellar designs.

The first project, Baby Blue, is for experienced beginners. An elegant six-point star is stitched on each pole of this simple twelve-division ball. Students will learn to layer two kiku herringbone designs to create an eye-catching obi decoration.

The second project, Big Blue Heaven, is stitched on a combination eight-division temari and is intended for intermediate level temari makers. This larger temari has interlocked kiku herringbone designs around the equator and four-point stars stitched on the north and south poles. Add pine needle stitching to complete this exciting and intricate looking design. For extra support, students are given access to an online slideshow of instructional photos.

Project: two Japanese temari

Size: 10.5” (27 cm) circumference ball and 13” (33 cm) circumference ball

Threads: sewing thread for wrapping, nordic gold (rainbow gallery) or Kreinik #8 Braid for marking, #5 pearl cotton for stitching

Colors: Blues, variegated teal shades, and white

Skill Level: advanced beginner to intermediate

Prerequisites: Be able to make a round ball and accurately mark a simple eight-division

Time: Four meetings, four months

Fee: $175 per group

Text: $40 per student, 82 pages, seven pages color, spiral bound, clear cover, professional quality diagrams, complete directions


Blue Heaven Temari by Barbara Suess

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FIBER FORUMCarol Lynn Stratton, Chair

Fiber Forum was organized in 1992 to advance embroidery as an art form through the exhibition of original works of exceptional merit. The group exhibits annually in the Education Exhibition at the national seminar and in venues across the country. Members are juried in each year through digital photos of original, non-teaching pieces. The submission postmark date

is February 15-March 1; forms are on the EGA website under Fiber Forum or can be obtained by contacting EGA headquarters. Upon acceptance, dues are $25 annually. To remain a member requires rejurying at least every three years. EGA members interested in FF activities may become Fiber Forum Friends, for $10 a year and receive newsletters and an opportunity to attend retreats.

CDs and DVDs of accepted works of past years are available for chapter programs through the EGA library. These are the photos received by independent, credited jurors to critique submissions for membership in Fiber Forum. The photos are accompanied by the artist’s statement and other information. For an armchair look at gallery-quality work check out Fiber Forum on the EGA website.

Fiber Forum also holds retreats to stimulate creativity and introduce innovative art practices. Past retreats have been held in inspirational locations such as Santa Fe, with renowned artists such as Jean Littlejohn, Jan Beaney, and Karen Birch, to name a few. Laura Smith effectively states the value of the retreat: “While each of us worked to move forward in our own process, there was fruitful sharing in an atmosphere of camaraderie and rejoicing in our art.”

FIBER FORUM RETREAT April 15–18, 2012 Arrowmount School Great Smokey Mountains Gatlinburg, Tennessee

Felted Surfaces for EmbroiderersgERI fORknER

Create a number of textured surfaces that will be perfect base for embellishment. We’ll laminate colorful merino wool to all textures and weights of silk and cotton cloth using a wet felting process known as nuno felting. Surface embellishment can be applied by hand stitching, free motion machine embroidery, or embellisher machine.

For further information, contact Peggy Huffine at [email protected].

Attendees from front row, from left, Florence Mellinger, Michele Chavez, Deborah Forney, Carol Lynn Stratton (Fiber Forum Chair), Peggy Huᬀne, Canby Robertson, Marilynn Helms, Marie Campbell. Back row, from left: Kay Stanis (Treasurer and Membership Chair), Anita Penn, Cathy Brodersen, John Waddell, Karin Birch, Karen Schueler, Elaine Evans, Cheryl Sharp, Laura Smith, and Mary Richwine

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Fiber Forum Jurying

Fiber Forum holds jurying for EGA members every year beginning in February. If you are interested in joining Fiber Forum or in renewing or extending your current membership, you may submit images of one or two works only. The entry fee is $30, in check or money order payable to EGA Fiber Forum, whether one or two entries are submitted.

All jurying is by digital images; no actual works are sent to the jurors. Top-quality images are essential. Please note the EGA Photo Guidelines on the website. We highly recommend the use of professional photographers. The following guidelines apply:

1. The submitted work must be an original, non-teaching piece completed within the previous three years. EGA’s definition of original is “one which from the beginning is solely the creative product of the stitcher.” A piece previously juried but not accepted may be re-submitted once within the time limit. A piece previously juried-in may not be re-submitted.

2. Each submission requires an entry form and TWO images—an overall and a detail of the work. For three-dimensional work and work done as a series, three images may be submitted. The images should be created using EGA Photographic Guidelines (www.egausa.org/login/secure_members/forms.html), loaded onto a CD or DVD in jpeg format, and sent to the address below. CDs and DVDs WILL NOT BE RETURNED.

3. An artist statement about each piece, limited to fifty words, is required.

4. Incomplete entries—those without the entry form, artist statement, or entry fee—will be returned to the sender with annotation of the missing item(s). If the submitter returns the completed materials prior to the submission deadline, the entry will be considered for jurying.

5. Entries must be postmarked between February 15 and March 1, 2012. Entries outside these dates will not be accepted.

Send the entry forms, CD, artist statement about each piece, fee, and a self-addressed stamped envelope (SASE, for return of jurors’ comments) to:

Cheryl Christian 7912 Elkhorn Mountain Trail Austin, TX 78729-6407

Ways of Looking at Dodd Creek #9 by Molly Elkind

Detail of Poinsettia by Judith Burrows

Detail of Bluebird Flugen Meister by Jan Kozicki

Autumn’s Bounty by Marilyn Helms

Above and Below by Diane Marie Chaudiere

EGA REGISTRATION / INFORMATION REQUEST FORM

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EGA PROGRAMS & CERTIFICATION

Please send me information and registration forms for: Teacher Certification Examination Master Judges Certification Program Certified Teacher Graduate Examination Certified Needlework Appraisal Program Judges Certification Program Research Fellowship Grant

EXTENDED STUDY BROCHURE

Course/Technique: ______________________________________________________________________________________

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Program Fee: $50 Technique: ________________________________________________________________________

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Course: ____________________________________________________________________ Course Fee: $ _______________SEND TEXT FEE DIRECTLY TO TEACHER AFTER CONFIRMATION OF ENROLLMENT.

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ALL FORMS MAY BE PHOTOCOPIED—Forms available at www.egausa.orgMAIL TO: The Embroiders’ guild of America 1355 Bardstown Road, Suite 157 Louisville, kY 40204

for EgA Office use Only:

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The embroiderers’ Guild of AmericA

1355 Bardstown Road, Suite 157

Louisville, KY 40204

“The purpose of this organization shall be to foster the highest standards of excellence in the practice of the art of embroidery through an active program of education and study

and to preserve the heritage of the art of embroidery.”

The Embroiderers’ Guild of America, Inc., (EGA) is a national non-profit educational organization offering study and preservation of the heritage and art of embroidery. Our membership is open to anyone interested in needlework, from the beginner to the professional. Located in Louisville, Kentucky, EGA Headquarters houses administrative offices, a 2500-volume lending library and rare book collection, a small gallery space, and a permanent textile collection of over 900 pieces. It is our primary location for education, distribution of needlework-related materials, and publications to members and to the public.

Acquired through the generous donations of those who recognize the importance of the preservation and promotion of the needle arts, EGA’s permanent collection consists of pieces both contemporary and historic. The collection was established as a resource for study and research. It is made available to the membership through individual study as well as exhibitions.

The EGA Department of Education is comprised of the following individuals who are available to aid each and every member in the furtherance of their education in the art of embroidery:

Director of Education Wanda Anderson Administrator of Education Advancement Kay Stanis Appraisal Program Barbara Herring Extended Study Program Jane Farber Judges Certification Program Carole Rinard Master Craftsman Program Catherine Jordan Teacher Certification Examination Kay Stanis

Administrator of Education Programs Rissa Peace Root Challenge Karla Gee Group Correspondence Courses Lisa Dunn DVDs, Slides, Videos, and Study Boxes Karen Van Hine Individual Correspondence Courses Sharon Pierce

Education Catalog 2011–2012 Editor Laura Synder Managing Editor Education Catalog Cheryl Christian Fiber Forum Carol Lynn Stratton

© 2011 The Embroiderers’ Guild of America, Inc.1355 Bardstown Road, Suite 157, Louisville, KY 40204tel. 502-589-6956, fax 502-584-7900, www.egausa.org

ON THE COVER Hummingbird and Honeysuckle, by Luan B. Callery

Documents

EGA Education Catalog