Bunka with Flairunitedbunkaassociation.org/wp-content/uploads/2014/07/Bunka... · This Handbook of Bunks Shishu Embroidery is an easy to use reference guide for stitchers at all levels

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The Handbook

ofBunka

Section 1 Getting Started

Section 11 Glossary ofStitches andTechniques

Section 111 Appendices

The Handbook

ofBunka




The Handbook

ofBunka




The Handbook

ofBunka




Note From The AuthorsThis is the second edition of The Handbook ofBunka revised by Bonnie Ralph and Jan Babawho have been active instructors and stitchers formany years. Bonnie and Jan learned thebeautiful art of Bunka Shishu embroidery fromthe courses and samplers developed by KarenSchilthuis, Canada's First Lady of Bunka. In1986, Karen wrote and published the originalHandbook of Bunka that has received widecirculation over the past 6 years as the firstofficial Bunka Shishu reference book everpublished in North America.

This version is a compilation of the most up-to-date and most popular stitching techniques beingused today. We hope teachers and students alikewill continue to use the Handbook as a valuablereference tool and teaching aid. In no way shouldthis manual replace the knowledge and stitchingexpertise that can be learned from an experiencedBunka With Flair Instructor.

The authors request the reader to keep in mindthat the purpose of the Handbook is as areference tool which, while documenting the basicmethod will, hopefully, expand the stitchersknowledge and understanding of Bunka Shishuembroidery and encourage development ofpersonal style and methodology.

It is our hope that we have made Bunka Shisha anart for all, near and far, to experience, toaccomplish and mostly to enjoy.













To The Beginner Stitcher

The Handbook of Bunka contains general, basicinformation that is used for every Bunka Shishupicture. It also contains Advanced Leveltechniques that should not be attempted until youare comfortable with the basics.

It is strongly recommended that this manual beused as a learning tool in combination withBunka With Flair's Instructional Program, Levels1 to 3. If you do not have access to a qualifiedB.W.F. Instructor but would like to try somestitching on your own, we suggest:

1. Carefully reading the first section"Getting Started".

2. The second section, "Glossary of Stitches& Techniques" describes basic to advancedtechniques in alphabetical order. From thissection, refer to:

Flat stitch, page 84Line padding, page 123Wedge Stitch, page 180Blending, page 51

Learning these techniques will establish thebasic knowledge necessary to start your firstpicture. It will be very difficult for you toabsorb the contents of the entire book bysimply reading, so concentrate and practicethe basics first.






















"BUNKA SHISHU"

Also known as:

Bunka EmbroideryJapanese Punch Needle EmbroideryThread artThread painting

Originating in Japan, Bunka Shishu is uniquefrom other types of needlework since it requires

a) Punch Needle designed to operate exclusivelywith ...

b) Special 4-ply rayon thread manufactured inJapan ...

to embroider the design onto a taut, tight weave canvas.

This Handbook of Bunks Shishu Embroidery is an easy to use reference guide for stitchers at all levels. The techniques described range from the preliminary preparatory steps to advanced skills.

We hope this book will assist you in the hours of enjoyment you will experience in creatingbeautiful Bunka pictures.

5

"BUNKA SHISHU"

Also known as:








5

"BUNKA SHISHU"

Also known as:








5

"BUNKA SHISHU"

Also known as:








5

Kits are available from 3 sources -each has its ownfull colour catalogue.

1. Canadian - numbered kits designed in Canada,

2. Tokyo - numbered kits designed in Japan. Thethreads in Canadian and Tokyo pictures arenumbered like a paint-by-number where the threadnumber corresponds to the numbers printed on thecanvas.

3. Matsuhato - numbered and unnumbered kitsdesigned in Japan. Usually there are no numberson the canvas or threads. The stitcher decideswhich colour to use by analyzing the coIouredpicture insert and making up a 'thread chart'.

A Bunks Shishu kit consists of:a) Embroidery threadsb) screen-printed canvasc) coloured picture guide or insert -one side is a

photograph of what the completed picture shouldlook like; the other is a copy of the numbered,screen-printed canvas

d) Most Canadian kits also include stitch instructions.

Tokyo threads that are also used in Canadian kits arenumbered with a paper tag. These numbers will neverchange, i.e. #167 will always be brown. As a backupin case of thread shortage, leftover threads from onekit can be used on other pictures; however, watch fordifferences in colour shade that may vary betweendye lots.

Bunka thread is not cut into pieces as with standardembroidery. It is used in a continuous strand from the skein.




























Table of Contents

GETTING STARTED .................................... 11

Preparing the Kit .............................................. 11

How To Wind The Thread ................................. 11

About The Thread ............................................ 142/4 Pull Thread ............................................ 153/4 Pull Thread ............................................ 161/4 Pull Thread ............................................ 17

The Needle ....................................................... 18How To Thread The Needle .......................... 19

How To Stretch and Tack The Canvas ............ 20Workframes .................................................. 20Method 1 - Without Plumbline .................... 21Method 1 - With Plumbline ........................... 21

PICTURE STYLES ...................................... 24

Flat Stitch Pictures .......................................... 25

Dimension ................................................... 25

Stitch Direction ............................................. 26

How To Start And End The Thread ............... 26

Basic Needle Movement .............................. 28

Trouble Shooting .......................................... 30

Fluffy Pictures .................................................. 31

Table of Contents

GETTING STARTED .................................... 11






PICTURE STYLES ...................................... 24


Dimension ................................................... 25





Fluffy Pictures .................................................. 31

Table of Contents

GETTING STARTED .................................... 11






PICTURE STYLES ...................................... 24


Dimension ................................................... 25





Fluffy Pictures .................................................. 31

Table of Contents

GETTING STARTED .................................... 11






PICTURE STYLES ...................................... 24


Dimension ................................................... 25





Fluffy Pictures .................................................. 31

SECTION 11TABLE OF CONTENTSGLOSSARYOF STITCHES AND TECHNIQUES ............ 34

SECTION 111APPENDICES

APPENDIX 1 - FRAMING .......................... 186APPENDIX 11 - COLOUR CHART .............. 187










Section 1

Getting Started

Section 1

Getting Started

Section 1

Getting Started

Section 1

Getting Started

GETTING STARTED

Preparing the Kit

Step 1 - All the threads must be wound ontoindividual 'winding' cards.

Step 2 - The canvas must be stretched andtacked onto a work frame.

STEP 1

HOW TO WIND THE THREAD

Supplies

1. Winding Cards2. Bunks clippers or scissors3. Container to hold wound threads (commercial

floss organizers, reuse a chocolate box,plastic food container).

Each skein of thread is wound onto separatecards - one skein per card. The winding cardscan be purchased (50 to a bundle) or you can cutout your own from medium-weight cardboard(gift box, bristol board).

Shown in Fig. 1 are 2 examples of winding cards.

11

GETTING STARTED

Preparing the Kit



STEP 1


Supplies





11

GETTING STARTED

Preparing the Kit



STEP 1


Supplies





11

GETTING STARTED

Preparing the Kit



STEP 1


Supplies





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Fig. 1 -actual size

Each skein of thread is fastened with a white twisttie and the paper number tag. The ties arebundled together with a single tie.

1) Hold up the bundle ofthreads by the twistties.

2) Pull down on one ofthe paper tagnumbers. A singleskein will detach itselffrom the main bundle.

3) Write the threadnumber onto one endof the winding card.

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Fig. 2

Fig. 1 -actual size





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Fig. 2

Fig. 1 -actual size





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Fig. 2

Fig. 1 -actual size





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Fig. 2

4) Put your left hand throughthe loop of thread, tear offthe number tag and twistoff the white tie.

5) The circle of thread on yourleft hand is double-loopedand must be shifted to asingle loop. The ends ofeach skein have been tiedtogether in a knot to securethe loop.

6) Grab the knot with thefingers of your right hand;Drop the circle of thread offthe left hand. There shouldnow be one large loop inthe right hand.

7) Put this loop over your lefthand and untie the knot atthe top. Let the two looseends drop free on eitherside of the circle of thread.

8) Pick up one of the endsand proceed to unwind thethread.

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Fig. 3

Fig. 4

Fig. 5

Fig. 6

unwind white twist tie

knot

knot

U N W I N D






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Fig. 3

Fig. 4

Fig. 5

Fig. 6


knot

knot

U N W I N D






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Fig. 3

Fig. 4

Fig. 5

Fig. 6


knot

knot

U N W I N D






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Fig. 3

Fig. 4

Fig. 5

Fig. 6


knot

knot

U N W I N D

9) Slip one end of the threadthrough one of the slitson the winding card.Loosely wind the threadonto the card and tuck inthe end. Do not wind too tight since it may causeproblems with the thread.See Figure 1.

10) Number and wind all the threads and placein a container so that the thread numbers areclearly visible.

ABOUT THE THREAD

! Also referred to as 'Rayon lily yarn', bunkathread is manufactured in Japan.

! Each skein of this polyester/rayon thread isabout 6 meters long. Matsuhato skeins areshorter -about 5 meters in length.

! Since it is not coIour fast it cannot be used onarticles of clothing or household items such ascushions, tea towels, etc. but is usedexclusively for the creation of art; pictures,clocks, etc. The finished work is alwaysframed behind glass to protect the stitchingfrom the elements (moisture, dust, pets).

! The rayon fibers used in bunka thread arewoven Into a strand which can then beunraveled into:- a 1-ply thickness - 1/4 pull- a 2-ply thickness - 2/4 pull- a 3-ply thickness - 3/4 pull

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ABOUT THE THREAD





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ABOUT THE THREAD





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ABOUT THE THREAD





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2/4 Pull Thread

The 2/4 pull is used 99% of the time whereas the1/4 and 3/4 pull are generally used in moreadvanced stitching. 2/4 Pull thread is curly whichgives Bunks embroidery the beautiful texture;however, if the curl is lost either by pullingincorrectly or ripping and using the thread over afew times, the thread will become straight andshiny (much like embroidery floss) and will not beas attractive.

Manière d'étirer le fil au 2/4

a) Loosen the fibers at the endof the thread by picking at it withyour fingernails. Pinch the loosethread and pull it with a slightjerking motion. This shouldresult in a 2/4 pull. As thethread is pulled back it willmake a zipper-like sound.

b) Holding the start of the pulled thread in one hand.tug on the pulled end until there is about 18- of 2/4pull. Do not pull excessive amounts at one time.Always pull back on the whole thread when more 2/4pull is needed to ensure the thread stays nice & curly.

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full thread

RIGHT HAND SHOULD BEPLACED ON THE THICKWHOLE THREAD WHILEPULLING

2/4 Pull Thread





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full thread


2/4 Pull Thread





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full thread


2/4 Pull Thread





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full thread


3/4 Pull Thread

3/4 Pull is of course thicker than 214 but can differgreatly in appearance and usability; sometimes itwill look like 2/4, sometimes it will look similar tochain stitch which spirals and twists. Because of thethickness, 3/4 pull cannot be used on fluffy picturessince it will not brush out.

3/4 Pull is primarily used in advanced work such ason animal claws, teeth, pine needles, and birdbeaks. With these applications, it is usually'polished' which removes all the curt to make thethread look very smooth and shiny like regularembroidery floss. Because it is very straight it isdifficult to keep inside the needle, therefore, the useof a piece of a rubber band over the shank of theneedle is recommended. (see Threads, 3/4Polished).

To Get A 3/4 Pull

Start off by pulling about 1" of 2/4 thread. Grab anextra loop in the whole part of your thread and pull.It may take a few tries to get but you will know bythe appearance and the sound of the thread pullingback that you have a 3/4 pull (when pulling, 2/4sounds similar to a zipper whereas 3/4 makes nodiscernible sound).

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3/4 Pull Thread



To Get A 3/4 Pull


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3/4 Pull Thread



To Get A 3/4 Pull


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3/4 Pull Thread



To Get A 3/4 Pull


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1/4 Pull Thread

This thread has a much more relaxed curl to it ascompared to 2/4 pull but because it is veryfragile, it must be handled with extreme care toavoid tired or fluffy thread. Fluffy pictures stitchedwith 1/4 pull will result in longer, easily brushedout fiber. (see Threads, 1/4 Pull)

To Get a 1/4 Pull

1. Moisten the end ofwhole thread.

2. By stroking the end ofthe thread with thepoint of the bunkaneedle, the tip willspread out into 4loops.

3. Insert the tip of a bunka needle downinto the center of the whole thread andgently pull up. A singlestrand of thread willappear.

4. Grasp this end and givea gentle pull. The resultwill be 1/4 pull.

1/4 pull can very easily catch and slip into a 2/4or 3/4 pull. If it reverts to a 2/4 pull, place yourfingernail directly in front of the catch spot. Give agentle jerk and the thread will snap back into 1/4thread.

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1/4 Pull Thread


To Get a 1/4 Pull






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1/4 Pull Thread


To Get a 1/4 Pull






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1/4 Pull Thread


To Get a 1/4 Pull






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THE NEEDLEThere are two types of needles in Bunka:

1. Fluffy2. Flat

The only difference between the two needles isthe length of the shank of the needle. The shankof the fluffy needle is 1" long compared to ¾" onthe flat needle. Other than the difference in shanklength, both needles are identical and arethreaded in the same manner.

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Shank

Flat(Short shank)

Fluffy(Long shank)


1. Fluffy2. Flat


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Shank

Flat(Short shank)

Fluffy(Long shank)


1. Fluffy2. Flat


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Shank

Flat(Short shank)

Fluffy(Long shank)


1. Fluffy2. Flat


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Shank

Flat(Short shank)

Fluffy(Long shank)

How To Thread The Needle

The illustration below shows the direction of thethread through the needle. The thread goes downthe hole at the top of the needle, out through theside hole that is called the 'headlight', down thegrooved side of the needle and out through theeye. A needle threader can be used to pull theend of the thread through the eye.

There are other methods you can use to draw thethread through the eye of the needle:

- Dental floss loop - Straight pin

Once the needle is threaded as in the diagram,hold the end of the thread coming through theeye of the needle and pull back on the other end.The thread should now slip inside the groove anddisappear. If not, see-saw the thread back andforth between the two ends until it slips inside.The thread must be inside the needle to startstitching. When properly threaded, the threadshould only be visible where it is entering the topand exiting through the eye.

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STEP 2HOW TO STRETCH AND TACK THE CANVAS

Supplies1. Thumb tacks (box of 100)2. Soft wood work frame

Workframes

The canvas must be stretched and tacked onto awork frame as tight as possible. A loose canvaswill create stitching difficulties:! the canvas will move up and down with

the needle.! the thread will not lay flat! difficulty keeping the stitches anchored.

Soft wood such as pine ( 11/4" x ½" ) will makethe task of pushing in the thumb tacks mucheasier. The inside measurement of the frameshould be 1.5" larger than the size of the finishedpicture (plumb line).

Example : Picture Size = 12 x 16Work frame Inside Measurement = 13.5 x 17.5

There are 2 ways to mount the canvas -the firstone without using a plumb line, the second using aplumb line. For most pictures it is stronglyrecommended that the second plumb line methodbe utilized since it ensures that the picture issquarely mounted onto the frame and has beenstretched evenly in all directions. For simpledesigns such as fluffies, a plumb line is notnecessary as long as care is taken to center andstretch the canvas equally in all four directions.

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Workframes






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Workframes






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Workframes






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Method 1 - Without Plumbline

1. WIth printed side up, centerthe material over theworking frame and tack thefour comers.

2. Keeping the material tautand straight, place tacksabout 1/4" apart.

Method 2 With Plumbline

The purpose of using a plumbline is to ensure that the canvashas been stretched and tackedevenly in all directions toprevent distorting the design.

a) Placement of First 8 Tacks

The first 8 tacks, 2 per corner,are very important. Properlyplaced they will ensure that thecanvas has been stretched tightas a drum and as evenly aspossible. Please note that thetwo tacks are not placed directlyin the comer of the work framebut are placed so that they areadjacent to the comer point. ! Center the canvas over thework frame. Place one tack atPoint A. Pull the materialtowards Point B (oppositecomer) and tack. Repeat forthe lower two comers. Tack atC stretch and tack at D.

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Thread up a bunka needlewith 2/4 pull leftover thread.Turn the frame over andpush a tack on the insideof each comer. Do notpush them all the way in.These tacks will be used toanchor the thread.Turn the canvas over(printed side facing you) Holding the threaded bunka needle punch like apencil, push the needle through to its full depthat one of the screen printed corner markings.To get a hold on the thread 'pinch' the tip ofthe needle between the fingers of your lefthand, gently lift out the needle and set it down.A slight tug on the thread will pull the end tothe back of the canvas. Wind the end around the tack. Do not pushthis tack in yet. Take the needle to the next corner and punchin at the corner marking.Grab the loop at the back and slip it over thesecond tack.Give the thread a slight tug to tighten the line.Push this second tack in to secure. Repeat this step for the next two corners.

Repeat to stretch thecanvas vertically.i.e. Tack at E, stretchtowards F, and tack.Tack at G, stretchtowards H, and tack.

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b) Inserting the Plumbline



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There are now two lineson the canvas -one isthe thread plumb line,the other is the screen-printed line. The threadplumb line will beperfectly square whereasthe printed line shouldbe cupped towards thecenter (since only thecomers have beenstretched tight).

If the printed line is not curved in, it means thatthe comers were not stretched enough whenplacing the first 8 tacks that will result in aloose canvas. To correct this remove one ofthe 8 tacks, pull and re-tack.

Pull the canvas until the printed line matchesup with the plumb line. Tack. Continue pullingand tacking all four sides with tacks about 1"apart.

You are now back to the first comer. Punch intothe first comer again, hold the loop at the backwith your left hand, cut the thread from the frontand pull the tail to the back. Wind this end aroundthe first tack and push in to secure.

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c)

d)

By following this procedure the canvas may getso tight that the last side may become verydifficult to pull. If so, use a pair of pliers to assistin gripping the material -pull the canvas awayfrom you, and tack.

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d)


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PICTURE STYLES

There are two styles of pictures in Bunks Shishu:

1. Fluffy Picture2. Flat Stitch Picture

The only difference between a flat and fluffy kit isthe method of stitchery. If a kit has both fluffy andflat stitching in it, the fluffy areas must becompleted first.

Similarities

Both utilize the Lily yarn and Bunka needle. The canvas of both fluffy & flat pictures mustbe stretched and tacked onto a work frame. The threads from both types must be woundonto numbered, individual winding cards.

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Differences

Flat PictureStitch on the screen-printed side. This is thefinished side.

Stitches should vary inlength from 1/4" to 3/4".

Use flat needle.

Fluffy PictureStitch on the screen-printedside. This is the wrongside. The back of thecanvas with all the loopswill be the finished side.

Stitches are approx. 1/16"in length.

Use fluffy needle.

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PICTURE STYLES




Similarities


!

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Differences



Use flat needle.



Use fluffy needle.

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PICTURE STYLES




Similarities


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Differences



Use flat needle.



Use fluffy needle.

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PICTURE STYLES




Similarities


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Differences



Use flat needle.



Use fluffy needle.

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FLAT STITCH PICTURES

Contents of a flat stitch kit

Screen-printed canvasPrinted paper inserts:- a black & white line drawing- a coloured picture- stitching notes if availableThreads

Required stitching supplies

WorkframeTacksWinding CardsFlat stitch needlesBunka scissors or clippers

The working surface of Flat stitch pictures is thescreen-printed side of the canvas that will also bethe side of the finished design. The stitches laysmooth and flat to the material using varioustechniques.

To begin a Flat Stitch picture:

1. Stretch the canvas onto the work frame usingthe Plumb line Technique, Method 2.

2. Wind and number all the threads ontoindividual cards.

Dimension

Stitch order is extremely important in any flatstitch picture to create the 2-dimensional effect. Toachieve this depth perception in your pictures, thebasic theory is to stitch the area farthest away first;then stitch progressively forward to the areas infront, to the foreground.1. Scenes:

First stitch the sky.a)

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Dimension



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Dimension



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Dimension



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If the areas are worked in the proper sequence,you will notice that the stitching progresses fromthe top of the canvas down to the bottom.2. Flowers

Start with the petal that is furthest back.Stitch each subsequent petal progressing to thepetal that is closest to you.

a)b)

The screen-printed blending lines in an areaalways point in the accurate stitch direction.Sometimes arrows are printed either on thecanvas or the insert indicating direction.You can usually discern stitch direction byexamining the coIoured insert of the finishedpicture.

1.

2.

3.

Second, stitch the mountain (which is in frontof the sky)Third, stitch the trees - which are in front ofthe mountain.

b)

c)

With most flowers, if the petals are stitched in theproper sequence, you will notice that the flower isbeing worked from the outside petals to the center ofthe flower.

Stitch directionStitch direction is also very important in FlatStitching. There are various ways you candistinguish which way the stitching should flow:

How To Start And End The ThreadKnots are not required to anchor Bunksembroidery. The starts and ends will be securedsimply by pulling the thread to the wrong side ofthe canvas.

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a)b)


1.

2.

3.


b)

c)




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a)b)


1.

2.

3.


b)

c)




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a)b)


1.

2.

3.


b)

c)




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Have about 1/8 -1/4" excess thread extendingout through the eye of the needle. Rest thework frame between the edge of a table andyour lap with your left hand under thecanvas.Holding the needle like apencil, perpendicular to thecanvas push the shank of theneedle into the canvas as faras it will go. 'Pinch' the tip ofthe needle between thefingers of your left hand.Slide the needle out frombetween your fingers and liftout of the canvas.A slight tug will pull the endof the thread to the back ofthe canvas. Pulling too hardwill waste thread.

a.

b.

c.

d.

To Start

To End The ThreadThe thread must be cut off when an area iscompleted or if there is a change in colour. It iscut on the stitching side of the material and theend pulled to the back.

On the last stitch, with the needle still in thecanvas and your left hand under the canvas,'pinch' the needle shank with the left handfingers, gently lift the needle up and out ofthe material. By pinching and withdrawing theneedle the loop of thread will be held firmlybetween your fingers. Lay down the needle.

a)

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a.

b.

c.

d.

To Start



a)

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a.

b.

c.

d.

To Start



a)

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a.

b.

c.

d.

To Start



a)

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b)

c)

Basic Needle MovementHold the needle like a pencil, and punchthrough the canvas -pull the start to the backof the canvas. Turn the needle so that the 'Head light' ispointing in the stitch direction. This willensure that the thread is flowingcorrectlythrough the needle.Gently pull the needle up until the tip of theneedle just clears the canvas. To keep thethread as flat as possible to the material, it isimportant not to lift the needle off the surfaceof the material. In a smooth gliding motion drag the needletip along the fabric for about 1/2" - 3/4", Youshould be able to hear the needle 'scratching'the canvas, Place your non-stitching hand underneath thecanvas. Press your finger gently on the point

1.

2.

3.

4.

5.

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Holding the last loop of thread at the back ofthe canvas with your left hand, cut thethread from the top of the canvas, very closeto the cloth.With the left hand pull the end to the back.

cut at this pointpull end down toback of material

b)

c)


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2.

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b)

c)


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b)

c)


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of the needle as the needle is being lifted out.Keep your finger on this spot even when theneedle has been completely withdrawn. Thethread loop left by the needle is now pressedunder your finger.Repeat this action using both hands, taking1/2" stitches across the area. Withexperience, this motion will becomeautomatic and ensures that your stitching willremain secure.Insert or punch the needle through as far asit will go. Repeat from Step 3. This will createa line of thread referred to as 'RunningStitch' (see Stitch Glossary, Running Stitch). To fill in a large area such as sky or water,rows of Running Stitches are worked side byside and is called Sky or Flat Stitching. Referto Sky or Flat Stitch for detailed explanationof Flat Stitching.

6.

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To start and end the running stitch

Front

Back

a) Hold needle like pencilb) Insert needle full depth. Hold needle and thread underneathc) Pull needle gently up to clothd) Pull thread down and leave only 1/2� hanging downe) Slide needle 1/2� and insert to full depth, then pull up to top of clothf) g) h) Same as a)


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Front

Back



6.

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Front

Back



6.

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Front

Back


Trouble ShootingIt is very important that the needle is punchedinto the full depth of the shank. Every timethe needle is pushed in and withdrawn asmall loop of thread is created which isanchoring the stitch. If the needle has notbeen fully inserted the loop will not be largeenough to secure the thread. Bunka thread must flow freely through theneedle. If the thread is not staying in thecanvas, check the following:

1.

2.

needle was not inserted to the properdepth

thread may be caught on something.

whole thread has been allowed to godown the needle. -2/4 thread needs to bepulled.

thread has lost It's kink either throughoveruse or exposure to moisture. Pullthrough the eye of the needle and cut-offthe damaged part.

thread has slipped out of the needle atsome point. Pull back until it goes inside.

canvas is not tight enough. Tighten byremoving one tack, stretching the canvasand re-tacking. Work one tack at a time.

Non-stitching hand is not being usedunderneath the canvas..

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Fluffy or Pile stitch is worked on the screen-printed side of the canvas -this is the back orwrong side. The non-screen printed side is thegood or finished side of fluffy stitching. The loopsleft by the needle on the non-screen printed sidewill be brushed out with a special bunka brushthat separates it into soft mohair-like fibers.

Some kits have fluffy and flat stitching combinedon the same canvas in which case the fluffystitching and brushing must be completed firstsince the brushing action will easily pull out theflat stitching. If the fluffy areas have not beenscreen-printed on the back of the canvas then itwill be necessary to trace these areas -stretch thecanvas onto the work frame; with the wrong sidefacing you hold the canvas up to the light andtrace the fluffy areas with a pencil. Stitch on thisside.

Contents of a Fluffy Kit

ThreadsScreen-printed canvasColoured & numbered insertMay contain accessories

Required StitchingSupplies

Fluffy needleWinding cardsThumb tacksBunka wire brushWorkframeBunka clippers orscissors

Fluffy Pictures

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Fluffy Pictures

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Fluffy Pictures

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Fluffy Pictures

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Fluffy pictures can be stitched using either thefluffy needle (long shank) or the flat needle (shortshank). The loops created on the back of thecanvas by a fluffy needle will be much longer thanthose created by a flat needle due to the longershank which results in longer loops. For newstitchers working on their first fluffy, the fluffyneedle is recommended since the longer loopsare easier to brush out.

2/4 pull thread is used on most fluffy pictures but1/4 pull thread can also be used. 1/4 pull is veryeasy to brush out and results in longer, lighterpile. Due to the thickness of 3/4 pull, it will notbrush out and must be avoided on fluffy work atall times.

Please refer to Fluffy or Pile Stitch for detailedinstruction.










Section 11

Glossaryof Stitches

and Techniques

Section 11

Glossaryof Stitches

and Techniques

Section 11

Glossaryof Stitches

and Techniques

Section 11

Glossaryof Stitches

and Techniques

SECTION 11TABLE OF CONTENTS

GLOSSARYOF STITCHES AND TECHNIQUES

Angora Stitch ...................................................... 40Back Tracking ..................................................... 41Base Stitching .................................................... 41Birds, Beak & Claws .......................................... 41Birds, Breast ....................................................... 44Birds, Eyes ........................................................ 44Birds, Feathers .................................................. 45Birds, Legs .......................................................... 46Birds, Stitch Order ............................................. 48Blanket Edge Stitch ........................................... 48Blending ............................................................ 51

Stitch Blending .............................................. 52Row Blending ............................................... 53

Blizzard Stitch .................................................... 54Chain Stitch ....................................................... 55Claw Stitch .......................................................... 57Clip Stitch ........................................................... 58Cord Stitch ......................................................... 59

Cord Stitch Variations .................................. 60Couching Stitch .................................................. 61

To Tack Down Inlay Stitch ............................ 62To Tack Down Ring Stitch ............................ 63

Curves ............................................................... 63Double Canvas .................................................. 64Double Stitching ................................................. 67

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Eyes, Gold Ribbon ............................................. 67Padding ........................................................ 70Gluing the Gold Ribbon ............................... 71Attaching the Pupil ........................................ 71Eyeliners ........................................................ 71Highlight ........................................................ 72

Eyes, Stitched .................................................... 74Faces .................................................................. 75Feathering Stitch ................................................. 77Fish, Eyes ........................................................... 79Fish, Feelers & Mouth ........................................ 82Fish, Scales ........................................................ 83Fish, Order of Stitchery ...................................... 84Flat Stitch ............................................................ 84Flowers, Centres ................................................ 87Flowers, Petal Separation .................................. 88Flowers, Rollovers/Rollunders ........................... 89Flowers, Stems .................................................. 90Flowers, Order of Stitchery ................................. 91Fluffy Stitch ......................................................... 92

To Start ......................................................... 94To Stop ......................................................... 96Brush ............................................................ 96Sculpturing ................................................... 98Fluffy Animals .............................................. 98

Foam Stitch ......................................................... 99French Knot ....................................................... 100Grass Stitch ....................................................... 101Hair, Hairplanting ................................................ 101Hair, Layers ....................................................... 102

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Hair, Styling ....................................................... 102Highlights ............................................................ 104Inlay Stitch .......................................................... 105Ladder Stitch ...................................................... 106Layered Stitching ................................................ 106Lazy Daizy Stitch ................................................ 107Leaves - Bamboo ............................................... 107Leaves - Claw Clusters ...................................... 108Leaves - Feather Stitch , Smooth ...................... 110Leaves - Feather Stitch, Pointed ...................... 112Leaves - Maple ................................................... 112

Center Vein Method .................................... 113Wedge Stitch Method .................................... 114

Leaves - Palette ................................................. 115Leaves - Small Satin .......................................... 116Left-Handed Stitchers ......................................... 117Outlining ............................................................. 117Overlay Stitch ..................................................... 118Padding .............................................................. 119Padding, Deep Dimensional .............................. 120Padding, Double Stitching ................................. 121Padding, Fluffy .................................................... 122Padding, Line ..................................................... 123Padding, Multi-Colour ........................................ 125Padding, Raised ................................................. 127Padding, Solid .................................................... 128Padding, Tapered ............................................... 129Picot Stitch ......................................................... 130Pile Stitch (see Fluffy Stitch) ............................... 132Pine Needle Stitch .............................................. 132










Pine Needle Clusters .................................... 132Method 1 - formal ................................ 132Method 2 - Informal ................................ 133

Single Pine Needles .................................... 134Popcorn Stitch .................................................... 134Reverse Stitch .................................................... 135Reverse Stitch - Wet .......................................... 137Rice Glue ........................................................... 137Ring Stitch .......................................................... 138Running Stitch ................................................... 139Satin Stitch ......................................................... 140Seaming ............................................................. 141Sky Stitch .......................................................... 142Spiral Stitch ....................................................... 142Split Stitch .......................................................... 143Stitch and Cuts ................................................. 144Stretch Stitch ...................................................... 145Symbols ............................................................. 146

Solid Padding Symbol .................................. 146Area of Change Symbol ............................... 147Jagged Lines ............................................... 147Arrows ......................................................... 147Dotted Area ................................................. 148Fraction ........................................................ 148

Thread - Special Notes ...................................... 148To Polish 3/4 Pull ......................................... 1481/4 Pull ......................................................... 149

Thread Blending .................................... 149Tips for Stitching with 1/4 Pull ................ 149

Metallic Threads ........................................... 150



















Threading The Needle With Whole Thread .. 151Tiger, Body ......................................................... 152Tiger, Claws and Teeth ....................................... 153Tiger, Eyes ......................................................... 154Tiger, Stitch Order .............................................. 154Tiger, Whiskers .................................................. 155Trees, Bamboo .................................................. 160Trees, Birch ........................................................ 162Trees, Evergreen, Distant .................................. 163Trees, Evergreen, Large .................................... 165Trees, Evergreen, Layered ................................. 166Trees, Evergreen, Small .................................... 167Trees, Old Pine .................................................. 169Trees, Vertical Trunks ......................................... 170Triangle Stitch ..................................................... 171Twisted Dot ........................................................ 172Twisted Picot ..................................................... 173Waterfalls .......................................................... 174Weaving ............................................................. 177Wedge Stitching ................................................ 180

For irregular Shaped Areas ........................ 181Wedging for Change in Stitch Direction ....... 182

Zig Zag Stitch ..................................................... 183



Zig Zag Stitch ..................................................... 183



Zig Zag Stitch ..................................................... 183



Zig Zag Stitch ..................................................... 183

ANGORA STITCH

Decorative Stitch - thread must be prepared before stitching, to a soft frayed appearance, resembling short hair or fur.

APPLICATION

Winter fur muff, a Gentleman's beard, a Persian Lamb Fur effect, Coat or Hat.

TECHNIQUE

- pull your thread to a 1/4 Thread Pull. - using a Serrated steak knife or scissors,

slide your pulled thread gently betweenthe blade of the knife and your thumb.

- stitch with this frayed soft thread in shortLoop stitches. (See Stretch Stitch, page 124)

- Angora stitch length should be 1/8" or evenless.

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ANGORA STITCH


APPLICATION


TECHNIQUE





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ANGORA STITCH


APPLICATION


TECHNIQUE





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ANGORA STITCH


APPLICATION


TECHNIQUE





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BACK TRACKING

Technique used to secure the beginning andending of Fluffy Stitch. For detailed instruction,please refer to Fluffy Stitch, How to Start andStop.

BASE STITCHING

Is a layer of flat stitching that is over-stitched withanother technique or colour. Some stitches whichrequire this base layer are Overlay Stitch, Multi-colour Padding, Hair stitching.

BIRDS, BEAK & CLAWS

SMALL BIRDS these partscan be completed with 2/4 pullthread. Line Pad the edges;Solid Padding can also beapplied to build up the top half.Fill in the area with anglestitching. A line of RunningStitch up the center willdistinguish the upper andlower half of the beak.

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BACK TRACKING


BASE STITCHING


BIRDS, BEAK & CLAWS


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BACK TRACKING


BASE STITCHING


BIRDS, BEAK & CLAWS


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BACK TRACKING


BASE STITCHING


BIRDS, BEAK & CLAWS


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MEDIUM -LARGE BIRDS The beak & claws on medium to large-sizedbirds, requires 3/4 polished thread stitched on topof a padding layer. (See Thread, 3/4 Polished)

NOSTRIL

If there is a nostril, in order to make it look like anopening, it must be stitched first with smallstitches tight to the surface of the canvas.

CLAWS AND ONE COLOURED, ONE PART BEAKS

Pad the entire claw area with2/4 thread horizontally fromthe tip to the base.

Satin Stitch over the paddingwith 3/4 polished threadending (or starting) the tipwith one thread width to makea sharp point.

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TWO COLOURED BEAKS, TWO PART BEAKS

Some beaks require 2 shades of 3/4 polishedthread, blended together. These beaks areusually quite large and require some additionalpadding.

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NOSTRIL





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LOWER HALF OF BEAK

Line pad along bottom edge.

With 3/4 Polished thread, fill inwith Satin Stitch on an angle.

Upper Half of Beak

First pad the small area alongthe arch of the beak.

Line Pad and fill in the entirebeak with horizontal stitchesfrom the tip to the base.

Stitch the bottom half with 3/4Polished Thread using long andshort stitches.

Because 3/4 Polished Thread isdifficult to blend, use Stitch &Cuts and/or Pine Needle Stitchesto blend the second colour intothe first.

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Upper Half of Beak





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Upper Half of Beak





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Upper Half of Beak





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BIRDS, BREAST

The stitch direction for a bird's breast is veryimportant. It should curve naturally with the flowof the body. Solid Cord Stitch is an excellent stitchto use to achieve this direction and to create thenatural fullness.

Begin at the bottom of the breast, leaving long& short stitches on the blending side.

Continue to work Solid Cord in the secondarea. Extra care in blending will help to avoidbands of colour. When blending Solid Cord, afew of the stitches should extend very deep or'tossed' into the previous colour.

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BIRDS, EYESTwo methods for completing a bird's eye:

a) Stitched eye

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BIRDS, BREAST




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Work a row of Running Stitch around theperimeter of the eye first to mark the exactshape.

Complete all the stitching around the eyeup to the outline.

Follow the coloured insert for exact colourplacement and technique.

If there is a Highlight, use either a ClipStitch or a Reverse Stitch.

b) Gold Ribbon Eye

Use the same technique as described inthe Tiger Eye section. You will not requireall three layers of padding under the goldribbon since a bird's eye is much smallerthan a tiger's eye.

BIRDS, FEATHERS

Feathers must be stitched in the order that theynaturally overlap, i.e. outside feathers first.

It is important that each feather is clearlydistinguishable by using line padding, solidpadding or double stitching techniques.

There are a number of important factors to keepin mind when stitching feathers:

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b) Gold Ribbon Eye


BIRDS, FEATHERS




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BIRDS, FEATHERS




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BIRDS, FEATHERS




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Stitch order

Always place at least 1 row of line paddingaround each feather. Apply additional paddingtechniques as required.

Never use the kit thread for padding(especially with Matsuhato pictures).

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WINDOW FEATHERS

Some large feathers haveboxes or 'windows' along thecenter vein.

The stitch direction for theboxes and the body of thefeather is on an angle tothe center vein.

The windows are stitchedfirst -important to keep theshape clearly defined.

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Line pad around the perimeter of the wholefeather.

Complete the body of the feather - do notblend into the windows.

BIRDS LEGS

The legs of small birds can be completed withrows of Running Stitch or Satin Stitch. Legs oflarger birds (eagles, cranes) require moreattention to detail.

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Stitch order



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WINDOW FEATHERS




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BIRDS LEGS


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Stitch order



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WINDOW FEATHERS




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BIRDS LEGS


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Stitch order



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WINDOW FEATHERS




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Using 3/4 Polished Thread in the appropriatecolour, stitch over the padding with singlelength stitches in a horizontal direction. UseSeaming technique into the line running up themiddle of the leg.

Use 3/4 Polished Thread forthe detail lines runningacross the toes and leg.Some crane's legs haveFrench Knots added usingwhole and 3/4 pull thread.Refer to insert.

To complete the toenails, please refer to thesection Birds, Beaks and Claws.

LARGE LEGS!

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The floppy skin area shouldbe completed first. Line padalong the bottom edge and fillin on an angle with SatinStitch.

Pad the entire leg and eachtoe. If the upper leg had adividing line running down thecenter, stitch this line with adifferent colour of thread. Thisis to ensure that the exactlocation of the line is not lostwhen working the top layer.

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Leg

Toe




LARGE LEGS!

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Leg

Toe




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Leg

Toe

BIRDS, STITCH ORDER

It is very important that the proper stitch order isfollowed so that each area is clearlydistinguishable.

The legs are usually completed first because theyare under the feathers.

General rule of thumb for all birds, is to work fromthe tail feathers up to the head. In this way, eachfeather will overlap the previous ones. When stitching a wing, start with the outermost feathersand work in towards the body

BLANKET EDGE STITCH

It is used to decorate the edge of the opening onthe Secondary Canvas of a Double Canvaspicture using 3/4 pull thread and a regular bunkaneedle. This stitch requires some practice andpatience to achieve the desired results and is atechnique that should be learned from a qualifiedinstructor. Refer to Double Canvas for details onpreparing the secondary canvas. See alsoDouble Canvas.

TECHNIQUE

Thread 3/4 polished thread in flat needle.!

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BIRDS, STITCH ORDER




BLANKET EDGE STITCH


TECHNIQUE


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BIRDS, STITCH ORDER




BLANKET EDGE STITCH


TECHNIQUE


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BIRDS, STITCH ORDER




BLANKET EDGE STITCH


TECHNIQUE


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Punch in 1/2" out from the glued and basted edge ofthe opening.

Pull tail of excess thread tothe back of canvas.

Take one small stitch(approx. 1mm) to the side(anchor stitch).

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With your 'non-stitching' hand under thecanvas, grab the loop and pull through someexcess thread - approx. 1-1.5".

** Pull this loop up throughthe opening and over theedge.

Adjust the length of the loopby pulling the needle until itis the desired length.

Hold the loop flat to the canvas by pressing onit with the fingers of the left hand.

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Bring the needle over theloop and punch directlyunder the loop (CouchingStitch). DO NOT WITHDRAW THENEEDLE.**

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Reach through the canvas; grab and pull thenext loop off the needle. Repeat from ** to**.

Continue all around the ovalopening.

To end - on the last Couching Stitch, hold theloop, lift out the needle, cut the thread and pullto the back of the canvas.

CREATING A PATTERN

By experimenting with the length of the loop and repeating the pattern of the stitches, you can create some lovely designs.

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CREATING A PATTERN


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CREATING A PATTERN


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CREATING A PATTERN


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BLENDING

Blending is an extremely important aspect ofJapanese embroidery. Simply in methodology,it is a technique that requires much practice toachieve a smooth, natural-looking change fromone shade to the next.

Various symbols or markings on the canvas areused to indicate which technique to use (seeSymbols). Two symbols which are used to indicate blending are:

Row Blending Stitch Blending

The blending lines on the canvas tells the stitcher2 things:

1. Blend the colours together, and

2. Stitch direction - stitches are worked in thedirection of the points or lines.

APPLICATION

All areas of Bunka Shishu embroidery.

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BLENDING







APPLICATION


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BLENDING







APPLICATION


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BLENDING







APPLICATION


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TECHNIQUE

Blending is a combination of long and short stitches orrows combining two areas ofcolour.The line of demarcation between the two areas ofcolour should be veryirregular to create a smoothgradual change in shading.

If this area is not irregular, an unnatural stripedeffect is created which should be avoided.

STITCH BLENDING

Stitch Blending areas aremarked with extremelypointed, zig zag lines.

The direction of the stitchesshould be worked in thedirection of the points.However, this marking is onlya guide to the area forblending and does not have tobe followed exactly.

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TECHNIQUE



STITCH BLENDING



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TECHNIQUE



STITCH BLENDING



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TECHNIQUE



STITCH BLENDING



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The stitches should still bestaggered in 1/2" intervals. Inareas smaller than 1/2", singlelength stitches are used.

Every so often the threadshould be extended quite farinto the stitching above and/orbelow and then cut. Thissingle thickness of threadrunning into another colour willcreate a very fine merging ofthe two colours.

Colour changes in Flat Stitchareas (such as sky or water)are indicated by groups ofhorizontal dash lines. Theselines are called the 'Area ofChange'. A soft transition fromone colour to another isdeveloped within this area.

ROW BLENDING

Complete the top area (A)with flat stitching down tothe first set of lines in theArea of Change.

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ROW BLENDING


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ROW BLENDING


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Begin shortening the length of the rows,working down to the last set of lines in theArea of Change. Vary the length of each row.

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To complete the Area ofChange, rows of thesecond colour (B) shouldbe worked between therows of A. To do this,keep the tip of the needleon the canvas andscratch it along throughthe threads of colour A,turn the needle and stitchback out.

To soften the blendingeven further about everythird or fourth row, runcolour B very deepthrough colour A and endthe thread.

Stitch & Cuts consistingof one or two stitches willalso help create a naturalArea of Change; colour Ainto colour B; colour Binto colour A.

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BLIZZARD STITCH

Blizzard stitch is an obscure mass of shortstitches that is used wherever a misty or turbulenteffect is desired, such as along the crest of awave or the misty area across the base of amountain. The coloured insert will indicate whereBlizzard Stitch is to be applied but is a techniquethat relies on individual creativity. It is usuallystitched over a layer of base stitching.

APPLICATION

Flower centers, base of waterfalls/mountains.

TECHNIQUE

using a maximum stitch length of 1/4" work apattern of twisted triangles/squares as in thedrawing below.

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CHAIN STITCHChain Stitch utilizes whole bunka thread in abunka needle. Loops of un-pulled thread arecreated by punching up from the back side of thecanvas. Please refer to 'How To Thread TheNeedle With Whole Thread'.

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BLIZZARD STITCH


APPLICATION


TECHNIQUE


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BLIZZARD STITCH


APPLICATION


TECHNIQUE


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APPLICATION


TECHNIQUE


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APPLICATION

Decorative stitch used for fancy trim to create arope or macrame effect.

TECHNIQUE!

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Have about 1.5" of un-pulled thread extendingfrom the eye of the needle.

Punch needle with whole thread up from theback of the canvas through to the front.

Still holding the needle, pinch the loop ofthread from the side of the needle with theother hand.

Slowly withdraw the needle, still holding theloop in your left hand. Adjust the length of theloop by pulling either up or down on thethread.

Flatten the loop onto the canvas with your lefthand. Move the needle along the back of thecanvas to position the point under the tip ofthe flattened loop. Pull the needle down to getsome extra thread to work with if more lengthis required.

Punch up inside the loop close to the tip end.

Grab the thread from theside of the needle

APPLICATION


TECHNIQUE!

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APPLICATION


TECHNIQUE!

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TECHNIQUE!

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To end the chain, punch up to make one lastloop; withdraw the needle, holding the loop inthe other hand.

Cut the loop in half (one half is the end of thethread in the needle, one half is the end of thechain thread).

Withdraw the needle to pull out one end of theloop.

Insert a needle threader from the back of thecanvas close to end of the chain stitch.

Feed the end through the needle threader andpull to the back.

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CLAW STITCH

This stitch creates a 3-pronged effect resemblingthe claw print of a bird. Please refer to Leaves,Cluster to create groupings of Claw Stitch.

APPLICATION

Used for triple-pointed leaves (birch trees); as a decorative stitch creates a lacy pattern.

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APPLICATION


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With 2/4 pull thread in a flat needle, punch inand pull thread to the back of the canvas. Thispunch mark will serve as the base point of theClaw Stitch.

Take a 1/4" stitch on anangle to the left of thebase point.

Stitch back to the basepoint but not in the samepunch mark.

Take a 1/4" stitchperpendicular to the base point.

Stitch back to the base point but not in thesame Punch mark.

Take a 1/4" stitch on an angle to the right ofthe base point.

Stitch back to the base point.

TECHNIQUE

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CLIP STITCH

Creates small dots of thread similar to ReverseStitch but fluffier in appearance.

APPLICATION

Many areas - examples: water areas to simulatewater droplets; centers of flowers, etc.

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Actual Size








TECHNIQUE

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APPLICATION


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APPLICATION


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Actual Size

TECHNIQUE

2/4 pull thread in a flat needle.

Punch in - pull the end tothe back of the canvas.

Lift the needle up about 1/4"off the canvas.

Cut the thread.

Adjust the height by pulling on the ends.

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CORD STITCH

The different variations of Cord Stitch can beused for stitching single lines where a slightlythicker effect than Running Stitch is desired andalso for completing solid areas. Cord Stitch usestwice the amount of thread than normal FlatStitching.

APPLICATION

Flower stems, borders, breasts of birds, hair, etc.

TECHNIQUEBASIC TECHNIQUE

Take a normal 1/2" stitch

Go 1/2 way back along this stitch andpunch into the line.

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TECHNIQUE




Cut the thread.


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APPLICATION





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Cut the thread.


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Cut the thread.


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APPLICATION





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Take another 1/2" stitch.

Take a step 1/2 way back,on the same side that youpunched back on the firststitch and punch. Repeat.

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For Cord Stitch to look attractiveit is important that the 'step backstitch' is always punched on thesame side of the main stitch.

Shorten the stitch length whenworking on a curve.

CORD STITCH VARIATIONS

Varying the length of the back-up stitch willproduce different designs.

FOR STITCHING SINGLE LINES

Short Cord :

Long Cord :

Length of back-up stitch = 1/4 to 1/3 the length of the mainstitch.


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Long Cord :



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Long Cord :



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Tight Cord :

Single Cord :

Length of back-up stitch = full length of the main stitch

One back-up stitch between two main stitches.

TO FILL IN AN AREA WITH CORD STITCH

Solid Cord: (also referred to as Toss Stitch)Rows of Cord Stitch are worked back and forth within thearea.

COUCHING STITCH

This is a fastening stitch used to secure otherthreads to the canvas.

APPLICATION

- Used with Ring Stitch to tack down each loopto create a daisy effect.

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Tight Cord :

Single Cord :





COUCHING STITCH


APPLICATION


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Tight Cord :

Single Cord :





COUCHING STITCH


APPLICATION


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Tight Cord :

Single Cord :





COUCHING STITCH


APPLICATION


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- Lift the needle over thethread and punch directlyunder the whole thread.

- Pull the end to the back.One Couching Stitchcompleted.

- Place small Couching Stitches about every 1/2"along the length of the whole thread.

- Also used with Inlay Stitch to hold down the lineof whole thread. This line is then lateroverstitched with Satin Stitch.

TECHNIQUE

TO TACK DOWN INLAY STITCH

There are two methods - Method 1 is worked on the front of the canvas; Method 2 is worked fromunderneath the canvas.

Method 1

- Using 2/4 pull thread in a flat stitch needle, punch directly under the whole thread.

- Pull the end to the back.

Method 2

- With a bunka needle threaded with 2/4 pullunder the canvas, punch up through to thefront, on the line where the whole thread will lay.

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TECHNIQUE



Method 1



Method 2


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TECHNIQUE



Method 1



Method 2


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TECHNIQUE



Method 1



Method 2


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- Lift off the loop of thread.

- Slide the end of a length of whole threadthrough the loop.

- Tighten the loop over thewhole thread by pullingdown on the needle.

- Continue along the line,approx. every 1/2".

TO TACK DOWN RING STITCH

- Press the loop flat to thecanvas.

- Punch directly under thecenter point of the tip ofthe loop.

- Lift over the loop and punchdirectly under the loop.


CURVESStitch direction in Bunka Shishu embroidery isextremely important to the overall beauty of thepicture. With curved stitching, the stitch length,regardless of which technique is being used, mustbe shortened to ensure proper stitch alignmentand direction but returning to the normal 1/2"stitch length wherever possible.

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This is relatively simple for single line designs.

To fill in a section with solid flat stitching where adrastic curve is required (round objects such as awheel or a ball) it can become a little moredifficult to master. Because shorter stitches cansometimes create a knobby or 'terry cloth effect, itis important that the stitch alignment of theselarge curved areas be consistent with the level ofthe surrounding work.

DOUBLE CANVASIt is recommended that this advanced techniquebe learned from a qualified teacher.

The completed picture consists of 2 canvases;the primary canvas which is the main picture andthe secondary canvas which is placed over theprimary canvas with an opening cut out whichacts as a 'window' for the primary design.

The secondary canvas can have decorativestitching placed around the opening, in eachcorner, etc. The design on the secondary canvasshould be kept very simple but should complimentthe primary canvas. For example, if the primarycanvas is a bouquet of flowers, small flowers or adesign in the same colours could enhance theperimeter of the opening on the secondarycanvas.

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Upon completion of the picture, remove thecanvas from the work frame and stretch thesecondary canvas.

Draw and oval design,centered on a stretchedcanvas (best to use atemplate).

To reinforce the circularshape, sew a basting line onthe drawn using smallstitches with a regular sewing needle andthread. STEP 1

To lock in this basting line, sew a secondbasting line on top of the first, reversing thestitches; STEP 2

APPLICATION

Original Stitchery at Stitcher's Discretion.

TECHNIQUE

Primary Canvas

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Canvas 1 Canvas 2 Canvas 1+2Primary Secondary Combined





APPLICATION


TECHNIQUE

Primary Canvas

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APPLICATION


TECHNIQUE

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On the back of your canvas, place a line ofrice glue on top of the basting stitches.

When cutting out the oval, the cutting line willallow for a 1/2" seam allowance which will beturned to the back, over the glue line. thecutting line can be marked lightly with apencil.

Begin by using verysharp scissors and snipthe canvas 1/2" insidethe line basting (towardsthe center of the oval).

Continue to carefully cut1/2" in all the wayaround the oval.

TO COMPLETE THE OPENING

1. A 1/2" hem will be turned and glued to theback.

Trace any design work onto the canvas andcomplete the stitching before proceeding withthe following steps.

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To ease the curve, cut intothe seam allowance to thebasting line, about every3/4".

Turn these 'flaps' to theback and over the glueline.

Sew in another basting lineto secure the rough edgesabout 1/4" out from thefinished edge.

Blanket Edge Stitching isused to create a decorativeborder on the edge of theoval. (see Blanket Stitch)

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DOUBLE STITCHINGSee Padding, Double Stitching

Since the eyes are the focal point of the picture itis very important that they are constructed asneatly as possible. The eyes along with themouth and body position set the mood of thepicture, creating the aspect of either gentlenessor fierceness. The step-by-step instructions arespecific to a tiger's eye, however, the basic steps,such as creating the pupil, padding, gluing thegold ribbon will apply to all gold ribbon eyeapplications. Refer to the insert to see if theaccents such as the eyeliner are required for yourpicture.

EYES, GOLD RIBBON

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Because of the adhesive material used with thismethod, there should not be any stitching aroundthe eye area.

A Gold Ribbon eye consists of :

1. Layer of padding 2. Gold Ribbon3. Pupil 4. Outline

Considerable preparatory work is needed prior toworking directly on the canvas.

Supplies you will need:

Rice Glue Masking TapeToothpick Straight PinScissors

STEP 1 - Tracing the Patterns

Stick a small piece ofmasking tape behindthe eye to the back ofthe canvas. For light-coloured canvas, holdthe work frame up tothe light and trace theoutline of the wholeeye onto the masking tape. For black canvas,use the straight pin to punch holes through themasking tape from the front of the canvasfollowing the outline of the eye.

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Masking tape

Remove the tape and stickto the gold ribbon so thatthe grain in the ribbonmatches the direction used in thecoloured insert.

Cut out the eye from the gold ribbon. Withyour finger and thumb, curve the gold ribbonto create a bulge in the middle.

Kits may include a piece of adhesive whitesatin ribbon. Peel off the paper backing anduse the white ribbon in the same manner asthe masking tape.

Trace the pattern of thepupil onto another piece ofmasking tape in the samemanner as above.

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STEP 2 - Making the Pupil

Taper the end of wholeblack bunka thread bycutting it on an angle.

Stick this cut end to thecenter of the pupil designon the sticky side of the masking tape.

Coil the whole thread around the center pointuntil it covers the entire circle. If you arehaving difficulty starting the coil, use atoothpick or straight pin to hold down thethread in the center.

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Glued unpulled thread

Masking tape

Gold ribbon

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Masking tape

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Masking tape

Gold ribbon

Cut out

Cut the end on an angle and tuck it tightagainst the coil.

Spread a thin layer of rice glue over the coiland set aside to dry.

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STEP 3 - Padding

The entire eye should be padded withprogressively larger sections of 3 levels of flatstitching to create a mound or bulge in the topcenter area. Each padding level should bestitched in a different direction.

First layer: Stitch the pupilarea.

Change direction and stitcha second, larger layer overthe first layer, coveringapprox. 2/3 of the entire eyearea.

Change direction, stitch thethird layer over the first twolayers, covering the wholeeye area but staying insidethe printed design line.

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Carefully spread a thin,circular line of glue aroundthe pupil as shown in thediagram.

Carefully peel the pupil off of the masking tape.

Spread another thin layerof glue to the same sidethat was glued originally.

Place glue side down, tothe top center of the goldribbon.

STEP 4 - Gluing the Gold Ribbon

Spread a layer of rice glue evenly over thesurface and edges of the padding.

Place the gold ribbon masking tape side downover the glue.

Press and hold with your fingers until theribbon is secure.

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STEP 5

Complete the surrounding flat stitching up tothe eye area.

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STEP 6 - Attaching the Pupil

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STEP 7 - Eyeliners

Around the pupil:

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Around the pupil:

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Around the pupil:

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STEP 7 - Eyeliners

Around the pupil:

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Gold Ribbon

Lay 2/4 pull along the glueline.

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STEP 8

Around the Entire Eye:

Angle cut the end of wholeblack thread.

Spread a line of glue alongthe top and bottom edge ofthe gold ribbon.

Lay the whole thread alongthe top edge, from corner tocorner. Cut the end on anangle.

Repeat for the bottom edge,tucking in the cut ends tokeep it nice and neat.

Along the upper edge, gluea second line of wholethread above the first line.

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STEP 9 - Highlight

The highlight is usually located at either 2:00o'clock or 10:00. Refer to the coloured insert forexact placement, some pictures have twohighlights in the same eye.

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Threads touching


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Threads touching

Method 1Tie a knot in a short piece of white 3/4 pullthread.

Clip off the thread at both sides of the knot -this leaves a small ball of thread.

Stick to the gold ribbon with a small dot of glue.

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Using whole (un-pulled) thread, cut off a tinypiece (approx. 2 mm long) and glue onto thegold ribbon.

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SUMMARY PROCEDURE FOR GOLD RIBBONTIGER'S EYE

Step 1 Trace the pattern for the whole eye andthe pupil onto masking tape.

Step 2 Make the pupil using whole thread. Glue & set aside to dry.

Step 3 Pad the eye.

Step 4 Glue the gold ribbon over the padding.

Step 5 Complete any flat stitching right up tothe gold ribbon.

Step 6 Glue the pupil to the top center of thegold ribbon.

Step 7 Glue circular line of 2/4 pull black thread tothe gold ribbon, around the pupil.

Step 8 Glue 2 rows of whole thread above the eyeand 1 row below the eye.

Step 9 Glue highlight.

Method 2

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Outline the whole eye area first. This will helpyou retain the exact shape of the eye.

Outline the top edge of the iris.

Stitch the iris with theappropriate colour,working over the top andbottom outlines.

Stitch and cuts with a complimentary colourmay be added for accent.

Pad the pupil area, reversing stitch directionwith each layer. The number of layers mayvary depending on the size and image.Overstitch padding with smooth Satin Stitch.Recouvrir le rembourrage en point de plumetis(Satin Stitch) lisse.

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EYES STITCHEDThe stitched eye is much softer in appearance ascompared to gold ribbon eye that lends a morefierce appearance. Either 1/4 Pull or 2/4 PullThread can be used.

APPLICATION

Animals, birds, fish, people.

TECHNIQUE

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Lashes - place a mixture ofshort and long Pine NeedleStitches and Stitch & Cutsalong the top edge of thepupil.

Use either a Clip Stitch, Reverse Stitch or Picotto place a highlight on the same spot for botheyes.

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FACES

To create the proper contours for facial features, stitch direction and shading are extremely important. Faint guidelines should be drawn on the canvas with pencil to ensure the correct flow of stitches.

Stitch the outline of the eyewith bunka thread so thatthe exact size and shape ofthe eye is not lost whenworking on the surroundingareas.

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First, stitch the white area of the eye in a horizontal direction.

Second, complete the iris orcoloured part in a circulardirection with smooth shortstitches.

Third, complete the pupil orblack center area of the eyein circulation direction. Placesmall Stitch & cuts around the iris.

Fourth, place a small stitchon the pupil to create a highlight and to give the eyea focal point.

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The large skin areas (cheeks, forehead) are stitched next with Flat Stitch, carefully following the penciled guidelines. Work as smooth as possible with special attention given to good blending.

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The nostrils should be stitched first with smallstitches. Pull down each stitch to make surethey are as close to the canvas as possible.

The tip and bridge of thenose should be lightlypadded to give a raisedeffect.

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Highlight

Horizontal direction gives adefined effect, preferable for ladies faces.

Stitches worked verticallyon a slight angle creates a more shaggyeffect.

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Outlines:!

An outline around the face and hands isevident on some kits. Rather than a stitchedrow of Running Stitch, a strand of 2/4 pullthread is glued on which creates a morenatural, subtle effect.

Place a small amount of rice glue on yourFingers. Run 12" of 2/4 pull thread in theappropriate colour between your fingers andthrough the glue. This will stretch out thethread to a single straight thread removing allthe curl. Carefully place glued thread alongdesired areas. Refer to the insert.

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FEATHERING STITCH

Creates a soft downy, or misty appearance to a specified location. Feathering stitch should look very different from the fluffy stitch. Feathering stitch should be very transparent and lays flat on your base layer of stitching.

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APPLICATION

Used in soft fur on an animal, mist at the bottom of a mountain, center of petals.

TECHNIQUE

stitch a base layer of regular stitching, 2/4thread pull and 3/8" length stitches to coveryour area overlay every third row of flat stitches with 1/4thread pull, stitches 3/8" in length, in the samedirection as the under base stitchingusing a firm toothbrush, brush top of stitching use your fingers on your empty hand to applypressure underneath the canvas. This will helpin raising the stitched areafor areas requiring a longer silkier look - use apercolator brush.

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COMPLETED FEATHERING

APPLICATION


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TRIMMING AND SHAPING

the slant ended clippers are the easiestinstrument to use for trimming.

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brush the feathering FLAT to the surface ofthe canvas in the proper direction edges may be smooth or ragged. check insert of individual pictures forrequirements.

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FISH EYESThe circular area of a fish eye is stitched first withregular 2/4 thread. To ensure that the shape and size of the pupil are kept as precise as possible,take a pattern of the pupil area with masking tapebefore doing any stitching. The pupil is made outof whole thread and later glued on top of the stitched area.

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TRIM


Rice Glue Straight PinScissors ToothpickMasking tape

STEP 1 - PATTERN OF PUPIL

Stick a small piece ofmasking tape behind the eyeon the back of the canvas.For light-coloured canvas,hold the work frame up to the light and trace theoutline of the whole eye onto the masking tape. For black canvas, use thestraight pin to punch holes through the maskingtape from the front of the canvas following theoutline of the eye.

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STEP 2 - MAKING THE PUPIL

Taper the end of whole blackbunka thread by cutting it onan angle.

Stick this cut end to the center of the maskingtape tracing.

Coil the whole thread aroundthe center point until it coversthe entire circle. If you arehaving difficulty starting thecoil, use a toothpick orstraight pin to hold down thethread in the center.

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Spread a thin layer of rice glue over the coil.Set aside to dry.

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STEP 3 - STITCHING

Stitch each section of theeye with Satin Stitch in theappropriate colour.

When stitching the roundpart, use Seaming techniqueto mark the outline of thepupil.

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STEP 4 - PLACEMENT OF PUPIL

Carefully peel the pupil from the masking tape.

Apply another thin layer of rice glue over thesame side as was previously glued.

Place on the stitching.

Fish pupils do not have highlights.

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STEP 5 - OUTLINE

Some of the edges can be outlined with a rowof Running Stitch - refer to the insert.

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Line pad around each feelerand around the mouth or liparea.

Fill in with Solid Padding inthe direction indicated bythe Padding Symbol.

With 3/4 Polished Thread inthe appropriate colour, workover the padding with SatinStitch on an angle. All theedges should be smoothand neat.

The tip of each feeler should end with a singlethread to make it look sharp & pointed.

Finish off by running anoutline along the bottomedge of each feeler andthe mouth. Refer to theinsert.

FISH, FEELERS & MOUTH

These areas are stitched after the head area is completed. 3/4 Polished Thread is placed over apadding layer.

TECHNIQUE

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FISH, SCALESScales are stitched two times using Padding,Double Stitching technique. The top layer can bea different colour from the padding layer.

Each scale should beclearly defined with asmooth indentation aroundthe outer edge. Somescales are screen-printedwith dark lines. The dark,thick screen-printingshould be left showingbetween the scalesthereby creating a definitespace. The scales withlight screen-printing willappear closer together andwill be outlined.

TECHNIQUE

Stitch direction for each scale follows the flowof the body from the tail up to the head.

To follow the natural overlapping effect of fishscales, complete one scale at a time, startingwith the scales closest to the tail and workingup to the head.

Fill in with Satin Stitch, working inside theScreen-printed line.

To work the second layer, you do not have tocut the thread - On the last punch, leave theneedle in the canvas, turn the work frame andstitch the top layer.

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TECHNIQUE





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Outline the scales which were screen-printedwith the light lines one at a time with theappropriate colour.

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Complete any fins that are behind the body ofthe fish.

Stitch the scales starting from the tail andworking towards the head.

Stitch the head.

Stitch the eye.

Pad and stitch the mouth and feelers.

Complete the dorsal fin and any fins that are infront of the body.

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FISH, STITCH ORDER

FLAT STITCH(also referred to as Sky Stitch)

Consists of rows of Running Stitch stitched side-by-side creating an area of very smooth, evenstitching which lies very flat to the canvas.

APPLICATION

All areas that require 2 or more stitches to cover;example: sky, water, etc. Rows of sky or waterareas should always be perfectly horizontal.

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Important - use one ofthe fingers of your lefthand under the canvas.As the needle iswithdrawn, press yourfingertip gently on thepoint of the needle.When the needle ispulled completely back,the loop of the thread ispressed securely under your finger. Proceed tothe next stitch and repeat. Your left hand fingerwill move along the back of the canvas in thismanner. With experience, this action willbecome automatic. Be careful not to punchyour finger!

Turn the work frame so that the rows areworked up and down the area, moving left toright across the canvas. For proper stitchalignment, never try to do Flat Stitching byworking horizontally across the canvas.

Turn the work frame sothat the top of the areais positioned on the lefthand side. When youstart stitching the rowsthe needle should bemoving towards andaway from your body.

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Since a 'punch mark' iscreated at the point wherethe needle has gonethrough the canvas, it isnecessary to stagger thestitch length on subsequentrows to avoid creating aline of punch marks. To dothis vary the stitch lengthfrom 1/4" to 3/4" (neverany longer than this).

When stitching thebackground area (sky,water, etc.) the stitchesrun in horizontal rows,back and forth. If acloud or mountain is inthe stitching path, youmust work your rows back and forth from thisitem. After you have finished working alongone side of the cloud, cut your thread andreturn back to the other side and continue.Use Seaming technique to mark thin linemarkings (eg. tip of tree branch).

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FIRST ROW

1. With a flat stitch needle (short shank)threaded with 2/4 pull thread, punch in andpull the end to the back of the canvas.

2. Work one row of Running Stitch with the Headlight pointing in the stitch direction.

3. On the last stitch of the row, turn the Headlightso that it is pointing back along the first row.

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SECOND ROW

4. Vary the stitch length on thisrow so that the punch marksare staggered. The threadshould be laying right besidethe first row; not on top, nospaces in between.

Continue working the rows in thismanner, trying to keep the stitching flat to thecanvas; no spaces between the rows; but notbunched together.

To blend rows of Flat Stitch use the techniquedescribed in 'Row Blending'.

FLOWERS, CENTRESTechniques used for completing the center areaof a flower are unique to each picture. Some kitswill give instructions for stitching this area, if notrefer to the coloured side of the insert.

TECHNIQUE

Some commonly used stitches are Reverse,Satin, Blizzard, Outline.

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SECOND ROW





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FLOWERS, PETAL SEPARATIONThis technique, alsoreferred to as Voidingcreates a distinct spacebetween each petal byleaving approx. 1 - 2mm ofblank canvas around eachpetal.

APPLICATION - FLOWERS

TECHNIQUE

Line pad the outer edge of the petal.

Stitch the topmost section of each petal first,then the second blending, etc. working down tothe bottom edge of each petal. This stitchorder will help to judge the distance of spacebefore going on to the next petal.

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VOID



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VOID

Line pad entire rollover

Fill in with solidpadding - the singleline of the symbolindicates direction forthe padding.

Overstitch in thedirection of the doubleline of the Paddingsymbol with singlelength Satin Stitch.

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FLOWERS, ROLLOVERS/ ROLLUNDERS

Petals of many flowers have turned edges whichare called rollovers or rollunders.

1. ROLLOVER

The rollover is turned forward to theforeground and must therefore be completedafter the body of the petal. Each rollover isusually marked with the Solid PaddingSymbol ( ).

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2. ROLLUNDER

The roll under is turned back to thebackground and should therefore becompleted before the body of the petal.

TECHNIQUE

Line pad around theoutside edge.

Stitch in the properdirection (no otherpadding required).

Complete the body ofthe petal.

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FLOWERS, STEMSTYPE OF STEM POSSIBLE TECHNIQUES

Thin Stems Running Stitch, Split Stitch, Cord Stitch.

Medium Stem Flat Stitch (2-3 rows of RunningStitch placed side by side).Satin Stitch.

Thick Stems Solid Padding, Satin Stitch, Flat Stitch, Inlay.

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FLOWERS, ORDER OF STITCHERYThe sequence that the petals are stitched isextremely important. The basic concept ofstitching the background first applies even moreso for floral stitchery.

Floral pictures utilize a wide variety of stitchtechniques, such as Line Padding, Solid Padding,Satin Stitch, Reverse Stitch, etc.

TECHNIQUE

Start with the petal that is farthest away. Eachpetal must be completely finished beforemoving on to the petal in front of it.

Line pad around the outer edge. Complete thepetal.

Move to the next furthest petal; line pad andstitch.

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Rollovers are the last area to be stitched on aflower.

Roll under should be stitched before the body ofthe petal. (see Flower, Rollover/Rollunder).

Buds:

The overlapping petals of thebud must be stitched fromthe background to theforeground.

The body of the bud shouldbe stitched before the calyx.The calyx should be linepadded along the upper edgewhere it meets the bud.

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FLUFFY STITCH(See also Fluffy Pictures)

Fluffy or Pile stitch is worked on the screen-printed side, of the canvas. This will be the backor wrong side of the finished picture. By turningover the work frame to the right side, you can seethe loops left by the needle. These loops will bebrushed out with a special bunka brush whichseparates the thread into soft mohair-like fibers.If there is any flat stitching on the picture, all thefluffy areas must be completed first since thebrushing action will easily pull out the flatstitching.

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2/4 pull and 1/4 pull thread can be used. Due tothe thickness of 3/4 pull, it will not brush outand must be avoided on fluffy work at alltimes.

APPLICATION

As well as being used for full pictures, fluffy stitchcan also be used for small accent areas on a flatstitch picture such as flower centers; as a paddinglayer (eg. Ballerina Kit), etc..

TECHNIQUE

It is important that the needle be inserted to thefull depth of the shank with each stitch toproduce the desired loop height.

The motion of the needle when working Fluffystitch can be compared to the up and downmovement of a sewing machine needle.

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Position the needle so that the Headlight ispointing in the direction of stitching.

To ensure that the small areas remain well-defined it is important that the larger areas arestitched first, then the smaller sections.

Light coloured areas should be stitched slightlythicker than the dark shades.

The areas shaded with lines are not to bestitched. These are spaces usually allotted forinsertion of a plastic nose or eyes afterstitching is completed.

Rows of fluffy stitches can be done in anydirection. The stiitches should be about 1/16"apart and the rows about 1/8" apart so that onthe stitching side some canvas will be visiblebetween the rows; on the brushing side, thearea should be completely covered with evenlyspaced loose - not crammed together.

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Thread up the fluffy (long shank) needle with2/4 pull in a colour form one of the largerareas of the picture.

With the printed side facing you, push yourchair back until the top edge of the workframe is resting comfortably between a tableedge and your lap. To avoid damaging theneedle it is important that there is nothingunder the canvas that the needle could hit.

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Hold the needle like a pencil,resting the edge of your handon the canvas.

Punch the needle through toits full depth.

Slowly raise theneedle up out ofthe canvas,keeping thepoint as closeas possible tothe canvas - Donot lift the needle away from the surfaceof the canvas - and punch right down again.The stitch will be about 1/16" long.

The thread must be anchored at thebeginning and end of an area to prevent itfrom pulling out during the brushing stage.

To anchor the thread -punch three stitches; turn theheadlight and punch backdirectly on top of the firstthree stitches.

Continue on with the first row in the directionof your choice.

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On each subsequent row,turn the headlight until itis pointing back along thedirection of the first orprevious row.

Rows should be spacedapprox. 1/8" apart.Continue working the rowsin this manner until thearea is filled.

TO STOP

When an area is completed, the thread mustbe anchored by back-tracking directly on topof the previous three stitches.

Lift the needle out of thecanvas until there is about1/4" of thread. Cut thethread close to the needle.

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BRUSHING

The brushing is performed on the loop side of thecanvas, i.e. turn the stitching side of the canvasover so that the loops are facing you. Thepurpose of brushing is to turn all the knobs orloops of thread into a fluffy mohair-like texture.

The metal brush is specially designed to grip andseparate the thread. For easier handling thebrush can be attached to a 6" wooden dowel byremoving the staple which joins the two ends ofthe rubber strap on the brush and re-stapling itonto the dowel.

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To protect the canvas from the effects of thebrush, place a row of masking tape aroundthe picture by tearing off small pieces andplacing them as close to the stitching aspossible without catching any loops.

Place a second row of tape around the first.

Hold the brush so that the teeth are benttowards you. Push the brush firmly down intothe loops. Bring the brush up through theloops with a lifting motion. By using thislifting technique, the thread will start toseparate.

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The odd time an end (either a 'start' or a'stop') that has not been anchored properlywill pull free. It is very important to cut thisthread to prevent the other stitches fromunraveling - clip the end to the same heightas the surrounding loops.

To produce full, soft fluff it is important thatmost of the loops are brushed out. Bymassaging your finger down through thethreads, you will be able to feel the knobs ofun-brushed thread. Separate the threads andtry to get at as many of these knobs aspossible.

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The knobs at the edges of fluffy areas aresome times difficult to get completelybrushed out. Use the point of a bunka needleto carefully pick at these loops to get them tofluff.

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SCULPTURINGBy trimming down the fluff the design areasbecome more distinct and instead of being fluffy,the stitching will take on a more velvety texture.With your bunka brush raise the fluff so that it isstanding straight up, then start cutting off thedesired amount. The edges of a sculptureddesign look nicer when they have been angled on a smooth down to the canvas.

FLUFFY ANIMALS

Finishing Touches:

PLASTIC EYES AND NOSE - Cut a small hole inthe center of the area and push through the postof the eye/nose.

FLOWERS - Can be sewn on with needle andthread or insert the end through a small hole cutin the canvas. Secure on the back with a piece oftape.

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FOAM STITCH

This stitch is a variation of the Twisted Picot.Where each Twisted Picot is joined with a 'LeadStitch'. See Twisted Picot Stitch

APPLICATION

Can be used in water areas where a turbulenteffect is desired, such as the crest of a wave orthe base of a waterfall.

TECHNIQUE

Stitch the area first (i.e. the body of the wave).

Punch on the edge of the wave, using one ofthe lighter shades of thread.

Make a Twisted Picot.

Take a short 1/8" Lead Stitch to where youwant the next Picot.

Repeat. For a natural effect, do not line up theTwisted Picots neatly in a line. They should bestaggered along different areas of the wave.

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FRENCH KNOT

Utilizes a regular tapestry needle and eitherwhole or 3/4 pull bunka thread. Not advisable touse any pull less than 3/4.

APPLICATION

Centers of Flowers; Accents on Bird's Legs;Decorative Stitch.

TECHNIQUE

The technique is very similar to the method usedin traditional embroidery however in BunkaShishu work the thread is wrapped around theneedle only once.

Thread about 12" of whole bunka thread intothe tapestry needle and tie a knot in the end.

Bring the tapestry needle up from the back ofthe canvas to the front.

Hold the thread taut withyour left hand and wrap theneedle once around thethread.

Important - Keep a tighthold on the thread withthe left hand.

Take the needle to the back of the canvas1mm away from the thread and slowly drawthe entire length of thread to the back.

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It is not necessary to cut the thread ifadditional knots are required in close proximityto each other. However, if a space of morethan 1" is necessary between French Knots itis advisable to cut the thread after completingeach one.

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GRASS STITCH(See Claw Stitch)

HAIR, HAIRPLANTINGHair planting is an advanced technique used tocreate a natural-looking hairline. Requires the useof rice glue and a regular sewing needle.

APPLICATION

Masuhato Kits of Japanese Ladies.

TECHNIQUE

Cut 12" lengths of 2/4 pull thread in therequired colours - at least 3, light-grey,medium-grey and black.

Place a small amount of glue between yourfingers and run each thread through yourfingers and glue until all the curl has beenstraightened out. Set aside to dry.

Using a regular sewing needle, bring thethread up from the back of the canvas to frontjust below the edge of the hair.

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1/4 pull Fluffy stitch, as on theBallerina Rose, are done withtwo shades of brown in 1/4 pullthread. The outline of each curlis stitched 2x with Fluffy Stitchusing a fluffy needle. Theinside area of each curl is thenfilled in with the second colour.

Take a 1/2" to 1"stitch over into thehair. Repeat, placingvarying lengths andcolours of the gluedthread throughout thehairline.

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HAIR, LAYERS(see Layered Stitching)

HAIR, STYLINGStyling involves rolling strands of brushed FluffyStitch using either a curling iron or two bunkaneedles to roll the fluff into curls. The curling ironmakes large, loose curls and is usually used onlarger pictures. The bunka needle method createstighter, smaller curls and works beautifully whenthe hair has been stitched with 2 shades of 1/4pull although it can also be done with 2/4 pullFluffy thread. With both methods, it isrecommended that you work with small sections ofthe fluff at a time.

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Stitch and brush the area.Brush up the fluffy so that it is perpendicular tothe canvas.Section off a few strands (approx. 1/4" inwidth).Thread up one of the needles and hold it inyour stitching hand - leave the otherunthreaded.Hold the needleshorizontal to thecanvas placing thethreaded one in front ofthe fluff and the un-threaded needlebehind.Roll the strands of fluffy between the twoneedles; the needles should roll in a circularmotion. Take the curl right down to the 'roots'.Hold the threadedneedle inside the curl,withdraw theunthreaded needle.To anchor the curl,punch the needle atone end of the curl through the canvas, pullingthe end to the back.Draw the needle to opposite end of the curl andpunch; pull the end to the back and cut.Carefully withdraw the needle.

APPLICATION

Ballerina Rose, Stitcher's discretion.

TECHNIQUE - BUNKA NEEDLE METHOD!

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Roll

Draw out needlethroughhair

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HIGHLIGHTSHighlights give focus to eyes, sparkle to water andaccents to trees. Pay careful attention toplacement and size especially for eye highlights. Ifthese are not placed properly, the figure could belooking off in the wrong direction or could lookcross-eyed.

TECHNIQUE

1. Small Stitch & Cut2. Single Clip Stitch3. One Reverse Stitch

Tie a knot in a piece of 3/4 pullthread. Cut off both ends. Roll thedot between your fingers. Glue tothe gold ribbon.

Place single Stitch & Cuts over thebase stitching in the area where twocolours meet, usually along theedges (area of change) - lightthread into dark, and vice versa.Stitch & Cuts with metallic threadadds a nice sparkle.

To indicate where the sunlightstrikes some of the branches. Useeither Pine Needle Stitch or ClawStitch, kept very small, in proportionto the size of the tree.

With the lighter shades of threadused for the base stitching, work inrows of Running Stitch for a realisticeffect.

AREA

Stitched Eye

Gold Ribbon Eye

Water

Small Evergreens

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Draw up a 12" piece of whole thread in aregular sewing needle from the back of thecanvas.

Secure the whole thread tothe desired spot using eitherMethod 1 or 2 as explainedunder 'Couching Stitches':

- small, single stitchesplaced every 1/2" over thethread.

- push up a loop from the back of the canvasand thread the whole thread through theloop.

Thread a bunka needle with2/4 pull thread. Overstitchthe whole thread with atight, neat Satin Stitch.

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INLAY STITCHInlay is used for single stitching that has a verybold appearance using whole thread for paddingwhich is then overstitched with regular 2/4 pull.

APPLICATION

Decorative stitch used at stitcher's discretion,flower stems or veins, borders.

TECHNIQUE

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Whole thread

LADDER STITCH

Decorative Stitch, creates criss-cross design.Attractive when placed over a stitched area.

APPLICATION

Stitcher's discretion.

TECHNIQUE

Follow the numbers on thediagram to work acontinuous criss-cross lineacross the area.

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LAYERED STITCHING

A base layer, blending 3-4 colours, is completedfirst. Numerous Stitch & Cuts rows and/orstitches are then placed on top of the base layerusing 2-3 of the lighter colours.

APPLICATION

This technique is used for hair/beards, waterfalls.

TECHNIQUE

Stitch the base area with colours indicated.!

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LADDER STITCH


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Work in rows and/or single stitches ofadjoining colours on top of the base colour,neighbour into neighbour, until the definiteareas of colour are toned down.

Waterfalls - the lightest colours should beconcentrated wherever the flow of water ishitting an object such as rocks, at the baseand at the top.

Hair - the lightest colours should beconcentrated at the spot where the light isstriking.

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LAZY DAISY STITCH(see 'Ring Stitch')

LEAVES - BAMBOOThe technique of stitching bamboo leaves can beapplied to any object that widens out from a singlethread width at the tip and where the stitchdirection runs vertically. These leaves should bestitched very smooth and even like regular flatstitching but because of the irregular shape itrequires a little more work to gain this effect.

APPLICATION

Bamboo leaves, sword leaves, etc.

TECHNIQUE

Start at the tip, punch in 1mm past the screenprinting to ensure that the tread will cover theblue line.

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**Stitch one row down thecenter of the leaf. Turn theheadlight and stitch thesecond row back up thelength of the leaf to wherethe blue line is showing.

Punch over the blue line andcut the thread.

Re-insert the needle at thepoint where the blue line isjust starting to show through.

Repeat from **to** until onehalf of the leaf is completed.

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LEAVES - CLAW STITCH CLUSTERS

This technique is used to create clusters orgroups of leaves around the trunk and branchesof a large tree. It utilizes a minimum of 3 shadesand the overall effect should be light and airy.This is another technique that requires thestitcher to refer to the coloured insert for properplacement since the background sky area whichhas already been stitched has hidden any screenprinted guidelines.

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Turn the work frame so that you are able towork left to right on the remaining half of theleaf and repeat the above steps.





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When creating LeafClusters using ClawStitch, you are not limitedto a 3-pointed design.The 3-pointed Claw Stitchcan be increased up toas many as 8 points.

After completing one star-shape, take a 1/2" -3/4"stitch to where the nextstar shape will be worked.This 1/2" stitch is referredto as a 'Lead' stitch.

Since these Lead Stitches can becomeunsightly, they can be concealed by workingother groups on top of them.

Leaf clusters are stitched from the darkestshade to the lightest and should be scatteredaround the branch.

At certain points, crossover the branch for amore realistic effect.

APPLICATION

Used in many scenes.

TECHNIQUE

Please refer to Claw Stitch for the basictechnique.

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Lead

The clusters should never be neatly lined upbut should point off in all different directions.

The medium shade should overlap and extendfarther out from the dark shade.

Repeat with the lightest shade.

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LEAVES - FEATHER STITCH, SMOOTHThis technique is used on leaves and bird'sfeathers that have smooth edges and a centervein. The stitching is worked down one half of theleaf and then back up the other half with the stitchdirection on an angle to the center vein. LinePadding should be applied to the outside edge toensure a smooth even edge.

TECHNIQUE

Line pad around the outside edge.

Start at the base of the leaf working neatlyover the Line Padding, stitch up one side onan angle to the center vein.

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dark = first leavesmed. = second leavesdotted = third leaves




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Swing the stitches aroundthe tip and work down theother side on the sameangle.

Stagger the stitch length ifthe distance is too widefor a single stitch length.

If the leaf has more thanone colour, (eg. lighterarea in the center) stitchthe inside area first withlong and shortstitches/rows then stitchan outside area, blendinginto the center colour.

For small two-colouredleaves where the blendingareas are very small,stitch the outside colourfirst and then complete theinside area with long andshort Pine NeedleStitches, blending into thefirst colour.

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blend outer colour into it





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LEAVES - FEATHER STITCH, POINTEDThe outside edge of this type of leaf is jaggedwith the stitching worked on an angle to thecenter vein.

TECHNIQUEStarting at the base of the leaf, stitch up oneside on an angle to the center vein.

To make the points onthe outside edge, varythe stitch length with longand short stitches. Wherea long point is desiredextend the stitch outfarther than the screen-printed design and endthe thread. Punch inagain just below the tip.

Shorten the stitch length as you work acrossthe tip, then back down the other side on thesame angle.

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LEAVES - MAPLEMaple leaves are stitched clockwise if you are aright-handed stitcher and counter-clockwise if youare left-handed. The Headlight should be pointedin the neutral position (pointing to the right).

There are two methods for stitching maple leaves:

a) Center vein method for large maple leaves.

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b) Wedge Stitch method for small to medium

Examine the coloured insert closely to determinewhich method is used.

TECHNIQUE

CENTER VEIN METHOD- for Large Maple Leaves

Each lobe of the maple leaf is stitched to thecenterline of the lobe.

Starting at the center pointof the leaf, work up oneside of the lobe out to thetip, on an angle to thecenter vein.

Make a sharp point at thetip by extending the threadout and cutting.

Work down the opposite side of the lobe,maintaining the same angle.** If donecorrectly, the stitches should look like 'V'sradiating out from the center vein.

At the end of this lobe continue working up theside of the next lobe and repeat from **to **.

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WEGE STITCH METHOD- for Small Maple Leaves

This method creates a thicker looking leaf that ismore informal in appearance than the Center VeinMaple Leaf. Each lobe is stitched mainly withWedge Stitches but should have one long stitchwhich extends from the tip of each lobe rightdown to the base point.

Starting at the base pointof the maple leaf, take onestitch along the side of thefirst lobe.

The second stitch shouldgo back half the length ofthe first stitch. This is aWedge Stitch.

Take another stitch upover the blue line.

Make another Wedgestitch back to the centereither longer or shorterthan the first Wedge Stitch.

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Starting with the darkestgreen, place a series ofsmall, patches of 2-3horizontal stitches around thebranches of the tree. Thestitch length should be inproportion to the size of thetree.

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Continue in this manner untilyou reach the tip of the lobe.This stitch should extendfrom the tip all the way to thebase point.

Repeat this technique foreach lobe.

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LEAVES - PALETTE

This technique, used for creating a leaf pattern forsmall deciduous trees, is named for the oilpainting method of using a palette knife to applydabs of colour. Consists of many small, patchesof colour starting with the darkest shade andending with the lightest.

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With the Headlight pointing inthe neutral position, punch inat the base of the leaf andtake one stitch on an angleto the top edge.

This first stitch establishesthe angle of all the remainingstitches.

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Work in the second, mediumshade with the same sizestitches. Some of theseshould overlap the darkshade.

Repeat with the lightestshade that can overlap theother colours in some areas.Some of the backgroundstitching (eg. blue sky)should show through.

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LEAVES - SMALL SATIN

Standard type of leaf used in many floral designs.Usually stitched on an angle with Satin Stitch.

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Continue working on this angleuntil you reach the tip area.

To create a nice, tapered end,shorten the stitch length andend with a single thread at thetip.

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LEFT-HANDAD STITCHERS

Bunka Shishu embroidery is very simple to adaptto for left-handed stitchers. The only thing youmust keep in mind is to reverse some of the stitchdirections. For example, when doing rows of FlatStitch, right-handers would work left to right sothat their stitching hand is moving away from thestitching. Left-handers will work their rows fromright to left. If a right-handed person is showingyou a technique, by sitting directly across fromthem you will see the stitching from theperspective of a left handed stitcher.

OUTLININGOutlining helps to define or accent an object andshould be perfectly aligned around the edge.

The most common technique used for outlining isa row of Running Stitch that is worked around acompletely stitched object, for example, a rock.(see Running Stitch)

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Stitch the base colour.

With the designated colourfor overlaying, stitch on topof the base so that approx.half of the base colourshows through.

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On some Matsuhato Kits of Japanese ladies, anoutline around the face and hands is evident.Rather than a stitched row of Running Stitch, astrand of 2/4 pull thread is glued on which createsa more natural, subtle effect.

Place a small amount of rice glue on yourfingers. Run 12" of 2/4 pull thread in theappropriate colour between your fingers andthrough the glue. This will stretch out thethread to a single straight thread removing allthe curl. Carefully place glued thread alongdesired areas. Refer to the insert.

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OVERLAY STITCH

Overlay stitch is an 'open' layer of stitching placedover a layer of base stitching to soften the colourof the base which can result in some interestingnew colour effects. Overlay stitching is alwaysworked in the same direction as the base layer.

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PADDINGThis is a general term used for varioustechniques, to build-up or lift a section higher thanthe stitching behind it. It consists of working thepadding stitches first and then working the 'final'stitching over the padding.

APPLICATION

The application of certain padding techniques aresometimes marked directly on the canvas;however, most often it depends on the skill levelof the stitcher as to how and when to use differentpadding methods.

To avoid running short of the thread supplied withthe kit, it is recommended that you use leftoverthread for padding that is similar in colour to thekit thread being used.

TECHNIQUE

Listed are the various Padding techniques thatare fully explained in the subsequent pages.

Deep Dimensional Double Stitching Fluffy Stitch used as padding Line Padding Raised Padding Solid Padding Tapered Padding Three Colour Padding

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PADDING, DEEP DIMENSIONAL

This technique utilizes cotton batten for thepadding layer which 1s then overstitched withbunks thread. Since the overall effect is verydramatic and eye- catching, care should be takenthat it does not overpower the whole picture.

APPLICATION

Has been used on flower pods, rollovers andpetals. Stitcher's discretion.

TECHNIQUE

Depending on the size of the area to becovered, cut off the appropriate piece of acotton ball.

Roll this piece between your fingers and thepalms of your hands. Trim to fit the area.

Spread a small dab of rice glue on the canvasand place the trimmed piece of cotton battenon top.

Tuck in any loose edges of the cotton batten

To anchor the cotton,work a Zig Zag patternacross the cotton threadusing a fluffy needle and1/4 pull thread.

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Work another opposite ZigZag pattern (zig where youzagged and zag where youzigged!).

Overstitch the entire area with 1/4 pull thread,one length stitches. Refer to your insert forproper stitch direction. To ensure that this top-stitching is smooth and even:

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Lift the needle up from the canvas afterevery stitch to get some extra thread.

Take the needle up and over the padding, then punch.

Grab the loop with your left hand under thecanvas.

Lay the thread over the padding.

Pull the back loop to adjust the tension.

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PADDING, DOUBLE STITCHINGTwo layers of stitching, one on top of the otherboth running in the same direction, the firststitching acts as the padding layer.

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Fish scales, Stitcher's discretion.

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TECHNIQUE

Fill in a scale in the properdirection.

On the last stitch leave theneedle in the canvas andturn the work frame so thatyou can now work thesecond layer right over thetop of the first layer.

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PADDING, FLUFFYFluffy stitching can be used to pad or build-up aflat stitch area. The fluffy stitching is done firstand completely brushed out before any flatstitching is attempted. The finished effect is notquite as dramatic as Deep Dimensional Padding.

APPLICATION

Limited use on kits, at stitcher's discretion. Veryeffective when over-stitched with 1/4 pull thread.

TECHNIQUE

Trace the area to be padded onto the back ofthe canvas.

Stitch the area with Fluffy Stitch, 2/4 pullthread, remembering to backtrack the first 3and last 3 stitches. (See Fluffy Stitch)

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Protect the front side of the canvas with 2 rowsof masking tape around the stitching. Brush

Trim or 'sculpture' the fluffy so that the edgesare smooth and in line with the screen-printing.

Overstitch the padding with the appropriatethread using one length stitches. To ensure thatthis top-stitching is smooth and even:

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Take the needle up and over the padding.


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PADDING LINELine Padding is worked similar to a line ofRunning Stitch except that this line of threadaround the edges of an area will not be visiblewhen the stitching is completed -the final layer isstitched over the Line Padding.

This single row of stitching is used to definethe edges and helps keep the stitching smoothand even.

This method of padding can be used wheneverthe stitch direction of the area can cross overthe padding thread.

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It is a very important technique because:1. It elevates the perimeter of an area 2. Helps to hide the screen-printing. 3. Helps to maintain a smooth, even edge.

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Punch in a line of shortstitches just outside thescreen-printed line. Thiswill help hide the screen-printing. Stitch the area, workingover the line padding.Try to avoid serrated edges by punchingthe same distance over the line paddingeach time.

Individual areas are first line padded and thencompleted before moving to the next item. For example; a rock pile

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Never line pad the whole article at once, i.e. the whole rock pile. Each individual rock mustbe completed in order from background toforeground.

Line padding stitches should be quite short(about 1/8" -1/4") to prevent it from shiftingwhen doing the over-stitching.

When there is no background stitching, linepadding is used to conceal the screen-printingand to help achieve a smooth edge.

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Rock A is line padded then completely stitched. Next, Rock B will be line padded and stitched. Next, Rock C, etc.



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When there is background stitching, linepadding 'lifts' the area to be done above thebackground and also helps to keep an evenborder.

Punch in a line of shortstitches catching theedge of the backgroundstitching.

Stitch the area, working over the linepadding keeping this edge nice and evenby punching the same distance over theline padding each time.

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PADDING, MULTI-COLOUR2 or 3 colour

Most padding techniques involve establishing abase layer in a different direction and thencovering over it with the final stitching. Two orThree Colour Padding technique differs from theothers in that it does not require a base layerbecause the 'good' stitching also acts as thepadding. The explanation below is for workingwith 3 colours; two colour padding uses the sameconcept except you are only working with 2 layersof thread.

APPLICATION

Very popular technique for flowers.

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TECHNIQUE

With the first colour, stitchthe entire petal from thecenter to within 1/8" of theoutside edge.

The second shade is thenworked on top of the firstcolour except for the smallcenter area where the firstcolour will be left showing.The stitches at the centeredge should be alternatinglong and short in length sothat it appears that the twocolours are blending togetherand 1/8" short of the outeredge.

The third colour is worked inthe same manner, leavingsome of the first two shadesexposed and stitched evenlyover the outer edge.

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PADDING, RAISED

The area to be raised is first padded withprogressively larger sections of 2 or more levelsof flat stitching to create a mound or bulge. Eachpadding level should be stitched in a differentdirection.

APPLICATION

Tiger's Eye (3 levels), Owl's Eye (2 levels),Stitcher's Discretion.

TECHNIQUE

Example: Padding a tiger's eye

First layer: Stitch the pupil area.

Stitch the second layer largerand over the first layer.

Stitch the third layer larger andover the second area.

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PADDING, SOLID

Used when an entire area is to be raised by fillingit in with a base layer of Flat Stitching. Direction isnot important with this padding layer as long as itis on a different angle to the final layer. The topstitching can utilize all three different pulls (i.e.1/4, 2/4 or 3/4) dependent on the area beingstitched; for example, the bridge of a bird's beakhas an area of solid padding which is thenoverstitched with 3/4 polished thread.

APPLICATION

Extensively used in many aspects of BunkaShishu embroidery, eg. Petal Rollovers. Stitcher's Discretion.

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Fill in the area with regularflat stitching - paddinglayer.

Overstitch the padding withthe appropriate thread inthe proper direction. Toensure that this top-stitching is smoothand even:

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PADING, TAPERED

With this padding technique the stitches areworked close together in the area where thegreatest concentration is required and thentapered off to a single thread width. This taperingmethod prevents a sudden drop-off of the topstitching from the high to the low area.

APPLICATION

Tapered Padding is frequently used for areaswhere only a portion of the item is to be raised.Example, the overlapping sections of bambooleaves.

TECHNIQUE

These padding stitchesshould be in a differentdirection from the finalstitching. Example, stitchdirection for a bamboo leafruns back and forth from thetip to the base. The paddingshould be worked across theleaf.

Concentrate the padding in the area where themost 'lift' is required, for example, the sectionof the leaf where it overlaps another leaf.

As you move past this section, taper off thepadding to one thread by opening up therows/stitches.

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PICOT STITCHCreates small knobs of thread, which can be leftas individual dots or joined together with arunning stitch to create a continuous row.

APPLICATION

Decorative stitching; flowers; scenes; watereffects (splashes, waves)

TECHNIQUE

Single Picot

Punch needle into canvas, pull the end of thethread to the back.

Lift the needle about 1/2" off of the canvas.

Punch into the canvas right beside the last Punch mark.

Cut and pull the thread to the back of the canvas.

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Picot Row

Punch needle into canvas, pull the end of the thread to the back.

**Lift the needle about 1/2" off of the canvas


Take a 1/2" stitch. ** (Known as a Lead Stitch)

Repeat from ** to **.

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Note: The distance that the needle is lifteddetermines the size of the dot.

Variations

Shorten or lengthen the Lead Stitch betweeneach Picot.

Do Picot Rows, side by side, using differentcolours of thread.

Shorten or lengthen the height that the needleis raised to make smaller or larger Picots.

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PILE STITCH(see Fluffy Stitch)

PINE NEEDLE STITCHThis is a very simple stitch that resembles theletter "V".

APPLICATION

Extensively used in many aspects of BunkaShishu embroidery but is named for its specificapplication to stitching pine needles.

TECHNIQUE

This is basically a 1-2-3 cut method:

Punch into the canvas andpull the end to the back.

Make one stitch the desired length on a slight angle.

To complete the "V", punchan equal length stitch up on the same angle as the firststitch.

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PINE NEEDLE CLUSTERS

METHOD 1 -FORMAL

A combination of Pine Needle stitches worked in 2/4 and 3/4 pull thread creates a very stylized,formal sunburst effect.

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3/4 pull thread is used for the first step, stitching out and back from the center point. Follow the diagram working in a continuous flow of stitches. When 3/4 pull is used in a stand-alone effect like this, the thread shouldlay flat on the canvas and look like chainstitch. It should not be twisted or coiled.

Apply individual Pine NeedleStitches with 2/4 pull thread inbetween the 3/4 pull threads.

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METHOD 2 -INFORMAL

These clusters are not defined on the canvas with Screen-printed lines. Placement is left up to thestitcher to follow the coloured insert.

A base layer of regular flat stitching is first establishedwith the darkest shade of green. The stitch directionof this base stitching shouldfollow the natural flow of thetree branch.

A second flat stitched layerof medium green is thenblended into the dark,following the same direction.

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Pine Needle Stitches arethen placed throughout thisbase stitching, using thelightest green. Thesestitches create the focalpoint for the cluster andshould be placed carefully toappear natural looking.

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Single pine needles (as inMatsuhato Kit #1028) are stitchedwith 3/4 polished thread in a 1-5punch pattern + a small crossbar.

POPCORN STITCHWhen this technique is used on flower buds, it creates a significant bulge or mound along the center area.

APPLICATION

Flower buds, Round Decorative Circles.

TECHNIQUE

Using 2/4 pull thread, starting at one side of the circle stitch across to the halfway point with a very close Satin Stitch. Cut and pull the end to theback.

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Push a straight pin under the layer of thread through the canvas. With the pin, pushthe threads to the side.

Rotate the canvas and stitch the second half starting from the side and working towards the center. Crowd thestitches together in themiddle. Cut and pull the endto the back.

Remove the straight pin.

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REVERSE STITCH

This is a very easy stitch, which creates a small knob of thread on the front of the canvas. It is worked with the needle under the work frame and punched to the front.

APPLICATION

Reverse stitch, is extensively used by stitchers, atall levels to create many different effects.

Scenes: Small ground flowers, moss on treesFlowers: Often used in the centersBirds: Pupil of a bird's eye;

accents on a crane's leg

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Use 2/4 pull in either a flat or fluffy needledepending on the desired height of the knob (Reverse Stitch done with a fluffy needle willbe much longer).

With the right side of the canvas facing you,take the needle to the back of the canvas.

Spread two fingers of theleft hand on the canvas atthe point where the needlewill punch through. Thishelps to steady thecanvas.

Punch the needle up as far as it will go; withdraw the needle.

If an area is to be filled in with Reverse Stitch,continue punching up from the back.

When working with Reverse stitching it is very important that no tension is placed on thethread or the knobs will not stay.

Cut the thread from the back leaving about a1/2" of thread.

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REVERSE STITCH - WET

Please refer to the description of the original Reverse Stitch on page 135

The wet reverse stitch is used when you want a softer, looser curl in your thread.

APPLICATION

May be used in a Wisteria or Lilac type flower giving the appearance of the flower hanging downward.

TECHNIQUE

follow the directions for the original Reverse

dip your finger into some clear water and wetthe knobs on the right side of your canvas

while still wet take your bunka needle and pickat the knobs as well and you will notice theywill begin to relax and hang. Do NOT soak.This step can be done several times until youare satisfied with your work. Let eachapplication of water dry before repeating thesteps. If you overdo you will have a straightthread which loses the pretty effect.

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RICE GLUERice glue is strongly recommended for any areas requiring adhesive (gold ribbon eye, highlights) as opposed to common white craft glue.

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This rice-based glue comes in a plastic tube andis manufactured in Japan.

It is opaque when wet but becomes transparent when dry. Apply rice glue with a toothpick or afine syringe.

RING STITCH(also referred to as Lazy Daisy Stitch)

Ring stitch utilizes whole bunka thread in a bunka needle. Loops of un-pulled thread are created by punching up from the back side of the canvas. Please refer to 'How To Thread The Needle With Whole Thread'.

APPLICATION

Decorative stitch frequently used in the centers of flowers.

TECHNIQUE


With left hand, punch needle with whole threadup from the back of the canvas through to thefront.

Still holding the needle with the left hand, grabthe loop of thread from the side of the needle.

Slowly withdraw the needle, still holding theloop in your right hand.

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If a longer ring stitch isdesired, carefully pull upthis loop. If a shorter ringis required pull down onthe needle.

To move to the next stitch,create some slack in the thread by pulling theneedle down (1/2" -1").

Repeat above steps -loops should be thesame length.

Loops may be tackeddown with a small'Couching Stitch' tosimulate small daisyflowers.

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RUNNING STITCH

Is a single line of stitches. Keep the headlight pointing in the stitch direction so that the thread is perfectly aligned exactly with the screenprinting. If the screen-printing shows through, itdetracts from the overall beauty of the picture.

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Flower stems, small tree branches, etc.

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Grab thread here

TECHNIQUE

Punch in and pull the end to the back.

Stitch along the line with regular 1/2" lengthStitches, shortening the stitch length whereverthe line is curving or changing direction.

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SATIN STITCH

Uses single length stitches worked back and forth over an area to create a very smooth, even surface. Most often the stitch direction is on an angle but the terminology is applied to any stitching that involves covering an area withsingle length stitches in any direction.

APPLICATION

Required basic knowledge stitch with many applications especially in small areas and inflowers and leaves.

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Insert needle into canvasand pull the end to the back.

Keep the Headlight pointingin the neutral position (to theright).

**Take one stitch across the entire areaensuring that the screen printing is covered.

Take another stitch back beside the startingpunch. **

Repeat from **to**.

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SEAMINGIs a technique used on thin, single lines which would normally be covered over with stitching,such as the outermost branches of a tree whichextend out over sky stitching.

By punching into this line as you work across the Sky, the punch marks will create a row of dots,which will prove helpful in putting the branchstitching later on.

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line padding done first

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Repeat from **to**.

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SKY STITCH(see Flat Stitch)

SPIRAL STITCH

Decorative stitch - creates a tube-like coil of 2/4pull Thread, approx. 1/8 -1/4" in length. Anybackground stitching must be completed beforeworking Spiral Stitch.

APPLICATION

Very effective when used in flowers which have large stamens, for example, the lily; hair ringlets, decorative stitching.

TECHNIQUE

Thread 2/4 pull in a fluffy needle.

Punch into the canvas at one end of the areawhere the spiral will be placed. Pull tail to theback of the canvas.

Raise the needle about 3" from the surface ofthe canvas.

Hold the needle so that the front, slotted sideis facing up, horizontal to the canvas.

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Roll the 3" length of thread around the shankof the needle.

Punch needle back into canvas 1 mm besidethe first punch mark.

Place fingernail at the top of the roll.

Slide the roll off the needle by pushing with thefinger at the top of the roll.

Slowly draw the needle through the roll.

Punch the needle into the end of the designarea and cut the thread pulling the end to theback.

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SPLIT STITCH

Used for single line stitching, this stitch isbasically two rows of Running Stitch. One placedon top of the other, creating a thicker effect than asingle row of Running Stitch.

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APPLICATION

Flower stems, stitcher's discretion.

TECHNIQUE

Work a row of Running Stitch along thescreen-printed line.

At the end of the line, turn the Headlight so itis facing back down the row of Running Stitch.

Split the thread of each stitch in the first row bypunching through the fibers of each originalstitch.

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STITCH AND CUTS(Also referred to as Stitch & Clips)

Terminology used for a single stitch. Stitch and Cuts are a required basic technique.

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Soften a change of colour between 2 areas(Area of change)

Accentuate blending.

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STRETCH STITCHCreates a raised frill with a loopy effect. Thestretching action creates a slackness in the curtof the thread.

APPLICATION

Most commonly used for decorative edging such

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TECHNIQUE Punch in and pull end to the back of thecanvas.Take one stitch Cut and pull end to the back.For Areas of Change it is important that theStitch & Cuts are the same height as thesurrounding flat stitching thread -they shouldnot sit up too high. To do this, draw the needlealong the canvas between the threads of FlatStitch.

In other areas, such aswaterfalls or hair blending, the Stitch & Cuts are moreeffective if they look like theyare sitting on top of the basestitching. To do this, punch intothe canvas; then lift the needleslightly above the canvas andplace it over the stitched area.

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as around the edges of orchid petals.

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Punch into the canvas with 2/4 pull thread in aregular needle and pull the end to the back,holding it with the left hand. To stretch the thread, move the needle 1/2"away, in the direction you wish to cover but donot punch in. Move the needle back 1/4" and punch. Press on the knob at the back of the canvaswith the left hand and take another 1/2"stretch. Move back 1/4" and punch. Repeat

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Solid Padding Symbol

single lines indicate direction forpadding.

double line is direction for topstitching.

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Area of Change Symbol

Series of horizontal dash lines where a colour change is to occur. For full explanation see 'Blending'.

Jagged lines

Gives the stitcher 2instructions:

a) Blend the two colours together

b) Direction of stitching

Arrows

a) Arrows are used to indicate stitch direction

b) When an arrow shown with a thread number is pointing directly to a line:

1) An outline in that colour is to be done around the area.

2) Use the specified thread colour to stitch just the line (such as a leaf vein)

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Jagged lines




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Dotted Area

Used to indicate area to befilled in with black thread. Thejagged lines of the adjoiningblended areas indicate thestitch direction.

Fraction

ex. 21 Colour #21 stitched on top of89 Colour #89 (base stitching)

THREAD - SPECIAL NOTES(For basic Thread information refer to Introductory section -'About The Thread')

1. To Polish 3/4 PullRefer to Introductory section for instructions onhow to get a 3/4 pull.

Place the 3/4 thread in the palm of your hand and pinch the thread between the thumb andforefinger precisely at the pull back point of wholethread to 3/4 thread. Close the remaining fingersover the thread and squeeze. Slowly pull thethread through your fingers. The natural oils inyour skin will straighten and shine the thread.

Another method is to rub the thread over asmooth surface such as the edge of a table. If theedge being used is not smooth the thread willstart to fray.

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2. 1/4 PullTHREAD BLENDING

Refer to Introductory section for instructions onhow to get a 1/4 pull.

Thread 2 colours of 1/4 pull thread in one fluffy needle. Try experimenting with differentcombinations; dark + light will create a stripedeffect; two shades of the same colour will createa new pastel shade.

TIPS FOR STITCHING WITH 1/4 PULL

Work with about 12" at a time. Pullingexcessive amounts of 1/4 pull can result inmasses of tangled thread.

Always use the Fluffy (Long Shank) Needle -this creates a larger loop or knob on the backof the canvas which helps to better secure thethread.

A small piece of elastic band slipped over the shank of a threaded needle is helpful since 1/4 pull slides out of the needle very easily. The small rubber stopper from a hypodermicneedle can also be used for this purpose.

Because it is so delicate, 1/4 pull cannot be pulled out and reused -it will straighten out and/or fluff simply by threading, pulling, etc.

Before stitching, check the thread by pulling approx. 10 to 12 inches of 1/4 pull. If it pulls easily, chances are the whole skein will be problem-free; however, if it will not pull or

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continually catches change to another skein of thread (preferably a brand new one that hasnot been wrapped onto a card).

To protect 1/4 pull areas, place a paper towelor kleenex over the stitching.

1/4 pull thread builds up very quickly on theback of the canvas which can cause theneedle and/or the thread to catch and becometangled. To avoid this, trim down the back ofthe canvas with a sharp pair of scissors orbunka clippers. This should be done as oftenas possible.

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3. Metallic Threads

Metallic thread adds a lovely sparkle to your stitching. The thread is woven and unravelsexactly the same as regular lily yarn -1/4, 2/4, 3/4pull.

There are two kinds of metallic thread:

Bunka Metallic - is a 4-ply thread consistingof 3 threads of regular lily yarn and 1 thread of metallic.

Pure Lame - 4 ply pure metallic thread -doesnot contain any lily yarn. 2/4 pure metallic isusually stitched over a base stitching of lilyyarn; 3/4 pull is usually used alone.

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When pulling the thread into the desired ply, do so carefully since metallic thread breaks very easily.

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Have the first 2" of the thread pulled into a2/4 pull.

Guide the thread out through the headlight, through the large slit in body of the needleand out again at the top of the shank -do notslide the thread inside the shank at thispoint.

Have the thread aimed at a90 degree angle to the eye ofthe needle.

Thread the 2" of the 2/4 pullthrough the eye of theneedle.

Ease the whole threadthrough by pinching the thread and needle betweenthe thumb and forefinger.

Slide the whole thread inside the shank.

4. Threading The Needle With Whole Thread

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Take special notice when pulling Bunka Metallic thread into a 2/4 pull since it is sometimes difficult to differentiate between 2/4 and 3/4.

Advisable to use a piece of elastic over the shank of the needle to help hold in thethread.

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TIGER, BODY

When stitching the body of any animal/bird, the stitch direction should flow with the naturaldirection of the body fur/feathers. Therefore, stitchdirection and order of stitchery is extremelyimportant to achieve a realistic effect. The orderof stitchery is very important and can vary frompicture to picture, depending on the position ofthe animal - keep in mind the basic concept ofworking from the background to the foreground.

Stripes

All the black stripes on atiger's body are stitchedfirst following the directionof the jagged lines of theadjoining blending areas.Rather than usingnumbers, each stripe thatis filled with little dots should be stitched inblack.

Fur

Regular Flat Stitching and Blending of thebody colours. The stitching around the blackstripe should work even up against the stripe,i.e. do not blend.

DO NOT DO ANY STITCHING AT THISPOINT AROUND THE EYE IF THE KITCALLS FOR A GOLD RIBBON EYE.

Certain padding techniques should be used toaccentuate specific areas of the body:

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Around the nail of eachtoe.

The nose and the snoutarea just behind the nose.

Line padding whereverpossible -around theouter edge of the ears,side of the face, etc.

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TIGER, CLAWS AND TEETH

The claws and teeth should look smooth andshiny with a very sharp tip. 3/4 polished thread isworked over a layer of solid padding. (SeeThread, 3/4 Polished).

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TECHNIQUE

Pad the area with 2/4 pull thread in a directionopposite to the top layer. Donot pad down into the pointof the nail, taper it off justshort of this area.

Using the 3/4 Polished Thread, overstitch the padding in the directionindicated on the insert. Make the tip nice & sharp by extending the last stitch slightly beyond the design area.

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TIGER, EYESSee Eye, Gold Ribbon or Eye, Stitched

TIGER, STITCH ORDER

Gold Ribbon Eye (if required)

Black stripes

Body - stitch order of tail, legs, head, ears andtorso depends on the body pose of the tiger.Use Line Padding wherever possible to adddimension.

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Claws - body of the paw completed first.

Teeth - inside the mouth area must be completed first; top lip done after the teeth are stitched.

Whiskers.

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TIGER, WHISKERSWhiskers are the last area of a tiger to be completed. The angle, size and number of the whiskers are important to the tiger.

There are 3 methods, which can be used; most older tiger kits require the use of Method 1.

METHOD 1 - FOUR LAYERS

The first layer is the base stitching of the facearea with white, black and body colours,usually tan or gold.

The second layer is a row of long and shortopen Zig Zag Stitches using 2/4 Pull thread.

The total number of white stripes on the face indicate the number of rows of whiskers to be completed - one row of whiskers will extendout from each white stripe;

2 white stripes = 2 rows of whiskers3 white stripes = 3 rows of whiskers

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Start with the white stripe closest to the neck & shoulder area. Stitch one continuous row of long and short Zig Zag stitches radiating out from the white stripe (refer to the insert for length & placement).

Repeat the above on the next white stripe. This thread should occasionally overlap the previous row.

The third layer uses the special, shiny whiskerthread provided with thekit and a tapestry(sewing) needle. Repeatthe long and shortpattern created in Step 2for each row of whiskers- place the whiskerthread in between and extended further outthan the bunka thread layer.

The fourth and final layer for Method 1 is the Long Cat Whiskers. These whiskers are very distinctive; thicker and very bold looking. Each whisker consists of 2 long threads which are wrapped with a third thread.

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thread a regular sewing needle with a singlethickness of the shiny whisker thread providedin the kit. Tie a knot in the end.

Bring the needle up from the back of the canvas to the spot on the tiger's muzzle fromwhere the whisker will extend. Sometimesthese large whiskers will originate from smalldark brown or black spots on the muzzle.

Take a 2 -3" stitch out over the face and takethe needle to the back of the canvas. This willbe the longest thread and forms the tip of thewhisker. Refer to the insert for exactpositioning.

Bring the needle up 1/2" below the tip.

Take the thread back down to the startingspot.

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Bring the needle back up to the starting point.Wrap the first two strings by sliding the needleunder and over the threads approx. 3-5 times,depending on the length of the whisker.

Insert the needle back through the canvas 1/2"below the tip of the second string.

Pull wrapping thread tight.

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METHOD TWO - USING PINE NEEDLE STITCH TECHNIQUE

Using 2/4 pull thread, place rows of long andshort Pine Needle Stitches on the neck section ofthe tiger working towards the nose area.

Refer to the coloured insert for placement. The number of white stripes indicates the required number of rows of Pine Needle Stitches.

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MÉTHOD THREE - USING 3/4 PULL THREAD

Refer to Thread 3/4 Polished for preparing thethread.

Polish and straighten about 1 yard of thread.Place a dab of rice glue between yourthumb and index finger. Run the 3/4polished thread through your fingers,applying a thin layer of glue.

Set aside to dry. Thread should be straightand rigid.

Thread into a regular sewing needle, with aknot in the end.

Bring the needle up from the back of thecanvas. Cut approx. 4ft of thread - leave thisend hanging loose for thetime being.

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Knot the end of the thread inthe sewing needle andrepeat until the requirednumber of threads have beenattached.

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Place a small dab of glue 1/2" to 1" below thepoint where each thread is to be positioned.

Press the 3/4 polishedthread down onto the glue.

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Refer to the coloured insertfor exact placement andlength of each whisker.

Whiskers should not lay flatand dead straight on the face- strive for realistic andnatural appearance.

TREES, BAMBOO

Bamboo stalks are evident in many Bunka Shishu pictures. They represent strength and are very effective in presenting an oriental mood to the picture. A Bamboo Stalk is divided into bone- shaped sections which are thicker at the top and bottom, thinner in the middle. The area between each section is referred to as a 'joint'.

TECHNIQUE

Stitch each joint area first using a Satin Stitch on an angle.

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Both ends are built up foremphasis using TaperedPadding.

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Stitch horizontally acrossthe end with 3-4 rows ofsolid stitching. (thenumbers of rows will varyaccording to the size of thebamboo stalk, i.e. use 5-6rows for larger stalks).

Start shortening the rows,centering the stitchingacross the center area.

Gradually taper down to 1 thread width. It isimportant to taper off the padding, to avoid asudden drop-off when doing the topstitching. Pad the top and bottom area ofeach section.

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Bamboo stalks are usuallydivided into a minimum ofthree blending areas. It is important that the section bestitched in order; top, middle,bottom (1-2-3) even though the first and thirdsections may be the samecolour. It is very difficult to complete the middle area withgood, even blending if the topand bottom areas have been already stitched.

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Always try to avoid working between twostitched areas.

Keep the stitches adjoining the joint areasmooth and even.

To make the Stalk look more natural, place Stitch & Cuts of adjoining colours into each other (neighbour into neighbour).

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TREES, BIRCHThe birch is a very popular tree evident in many pictures since its characteristic white bark adds to the natural beauty of a scene. These trees are usually in the foreground and are one of thelarger types of trees in a picture, therefore, caremust be taken that the edges are stitched smoothand even -avoid serrated edges. Leaves areplaced in and around the branches using theClaw Stitch, Cluster technique.

APPLICATION

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TECHNIQUE

All the stitching behind the treemust be completed first.

Stitch 2 rows of Line Paddingside-by-side up and downeach side of the trunk.

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The top stitch direction for thebody of the tree runshorizontally (side to side).

Fill in the small patches ofcolour first, working even andsmooth over the LinePadding.

Stitch the main bark areas(usually) white, blending intothe patches.

When the trunk is completely stitched, anothersoft layer of thread can be added to the lightarea (see Overlay Stitch). This, will build-upthe tree and give it a more rounded look.

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NOTE : Note: Distant birch trees could bestitched vertically. Refer to coloured insert fordirection. Refer to Leaves, Clusters and ClawStitch for completing the leaves.

TREES, EVERGREEN, DISTANT

Three Methods:

Method 1 - Used to indicate the tree line orthe horizon. This area is always stitchedstraight up and down; smooth and even alongthe bottom edge and using long and shortstitches along the top edge.

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A row of Line Padding could be placed alongthe line first to help maintain a smooth, evenbottom edge.

Work rows of stitching upand down across the line.It is important to stitch overany background flatstitching behind the treeline so that there are nospaces.

Work up to the top edge with long and shortstitches, extending the odd stitch much higherand then cutting the thread.

Method 2 - These trees, in the background ofmany scenes, have a misty or hazyappearance. The stitches should extend overthe background flat stitching using long andshort stitches to develop the form of anevergreen.

Start at the top of the area with a small,horizontal stitch. Punch on top of thebackground flat stitching a little so that the treeappears to be 'in front' of the sky and not sunkinto it.

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Continue stitching acrossand down the treeexaggerating the edges withlong and short stitches.

If the base area is wider than½", it will be necessary tostart using 2-3 stitches to fillit in. Do not use single lengthstitches if the area is widerthan ½".

Method 3

Combination of Method 1and 2.

Complete first layer usingMethod 1

Stitch over the points usingMethod 2.

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Fill in the area with a baselayer of short choppy flatstitching.

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Work a layer of BlizzardStitch jagged short stitchesover the base layer.

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TRESS, EVERGREEN, LAYERED

A layered evergreen is madeup of overlapping sections or'skirts'.

Start with the lowestsection working eachsubsequent layer up to thetop.

Each skirt can consist of 1-3 areas. Start from thearea at the top of thesection, usually the darkestcolour, working down to thelower edge.

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Stitch direction is very important for this type of evergreen. Long and short stitches should radiate out at an angle on both sides but be straight up and down at the center point of thetree.


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Add Wedge Stitcheswhere necessary todevelop this change indirection.

The second layer isstitched exactly like thefirst section - start with thetop blending area, workingdown to the lower edge.The last blending areamust overlap the top ofthe previous skirt.

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TREES, EVERGREEN, SMALLThis type of evergreen is common to manyscenes. Due to its size, it is used in the middlethird of a picture. The background area must befilled in first.

The stitching is worked from the top, down the lefthalf, across the base and up the right side. Uselong and short stitches on the outside stitches todevelop the shape of the tree and when workingover the center line area to avoid making a troughof punch marks.

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Start at the very top of thetree and stitch down theleft half of the tree. Thestitches should be on anangle working back and forth with longand short stitches.

Alternate the placementof the stitches that crossthe center area to avoidmaking a trough of punchmarks: extend a stitch past the center line, thenext stitch punched right in the center, the nextstitch short of the center point.

'Wedging' the stitches inside the tree in this manner, staggers the amount of threadcrossing the center area thereby preventing abulge.

To work across thebase, use WedgeStitches to graduallyswing the stitchdirection. When youreach the center pointof the base, thestitches should bestraight up and down.Use Wedge Stitchesagain to swing thestitch direction to the right.

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Work up the right half of thetree using long and shortstitches that overlap the leftside -if a long stitch wasused on the left side. use ashort stitch on the right side;if there is a short stitch onthe left side. overlap it witha long stitch on the rightside.

Maintain the same stitch angle on both sidesof the tree.

The long stitches that extend out the sides ofthe tree are the ones that give the tree itsshape.

Highlights give the effect ofspots where sunlight isstriking some of thebranches. Use either PineNeedle Stitches or ClawStitch. Keep the stitchessmall -in proportion to thetree.

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TREES, OLD PINEOld Pine bark has circular patches surrounded bythe main trunk colour. The patches can be one solid colour or require blending of 2 colours. Thestitch direction for the patches can be the sameor opposite to the stitching on the main trunk - to

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emphasize areas of loose bark, some patches arestitched horizontally - the trunk is stitchedvertically.

APPLICATION

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TECHNIQUE

Complete the main trunkarea first. The stitchdirection flows vertically, upand down the tree.

Fill in each patch with theappropriate colours. Do notblend into the main trunkcolour - keep the edgesnice and firm. On largetrees, the colour of thepatch varies, that createsthe realistic shading effect.Refer to your insert forcolour placement and stitchdirection.

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TREES, VERTICAL TRUNKSStitch direction runs vertically up and down thelength of the trunk. All the background areas mustbe completed first.

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When the trunk is dividedby blending lines asshown in the diagram, fillin as much as possiblewith continuous rows ofFlat Stitch. Eachprojection is then filledindividually beforeproceeding with the nextcolour.

APPLICATION

Scenes

TECHNIQUE

Fill in with regular Flat Stitching workingdarkest to lightest. If there are areas thatrequire green thread and the trunk colour isbrown, complete the brown sections first, thenthe green. Accent techniques such as Reverseor Blizzard Stitch are used to represent mossgrowing on the trunk.

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Apply Stitch & Cuts to blend the colourstogether and to give a rugged effect.

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TECHNIQUE

Follow the Ring Stitchtechnique to make the desirednumber of loops.

Press the loop flat to thecanvas.

Flatten out the round tip of the loop to make atriangle shape by overstitching the wholethread with a nice, tight Satin Stitch using 2/4pull thread in a bunka needle.

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TWISTED DOT

A thread in a Twisted Dot has a swirled effect likea soft ice cream cone.

APPLICATION

Decorative Stitch.

TECHNIQUE

A Flat or Fluffy needle threaded with 2/4 pullthread may be used depending on thedesired size of dot.

Take the needle behind the work frame andpunch up through to the front of the canvas.

To hold the thread in place before twisting,press a fingernail to the thread and againstthe canvas just at the point where it emergesfrom the canvas

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Slowly turn the needlearound in a circular motion.

As the thread twists, pulldown slowly withdrawing theneedle from the canvas. Donot pull down too hard onthe needle or the stitch willbe pulled out.

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TWISTED PICOTForms a dot, slightly larger than a Reverse Stitchdot and similar in appearance to a Twisted Dot.

APPLICATION

Twisted Picots can be joined with 'Lead' stitchesor left separate. The bubbly effect is frequentlyused in waterfalls or ocean waves.

TECHNIQUE

Punch into the canvas and pull the end to theback.

Lift the needle about ½" to ¾" above thecanvas.

To hold the thread in place, keep the finger ofyour left hand pressing on the thread at theback of the canvas.

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Rapidly twirl the needle in acounter-clockwise motion.This will tighten up the fibersin the thread causing it totwist down into a knob.

Punch back into the canvas,almost directly under the dot.

Take a step to where youwould like the next dot with a1/2" 'Lead' stitch. Repeat.

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WATERFALLSStitching a waterfall may require combiningvarious techniques to create the desired effect -gentle flow; rapids rushing over rocks; foamingturbulence floating away from the actual waterfall.The basic principle of stitching the backgroundfirst is very important with subsequent techniquesapplied on top. A large waterfall could consist ofseveral secondary waterfalls.

Possible Techniques:

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TECHNIQUE

Complete eachsecondary waterfall,one at a time,progressing from thesection furthest in thebackground andfinishing with theforeground portion.

Line padding can beused to emphasize thetop edge of eachsection of the waterfall.

Flat stitch the entirearea to create a base,using the appropriatecolours working fromdarkest to lightest.The darkest colours,the area closest torocks, grass, etc.,illustrate the deepestpart of the waterfalland are thereforefurthest to thebackground.

When the base layer iscompleted, the verticalrows of colour will giveit a very stripedappearance.

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To make it more natural-looking numerousrows of Stitch & Cuts should be applied ontop of the base.

- apply Stitch & Cuts of the darkest threadover the medium thread.

- next, apply the medium colour over thelighter colour.

Work your way back over this first layer ofblending with a second layer.

- apply Stitch & cuts of the lightest threadover the medium colour.

- next, apply the medium colour over thedarkest thread.

Use either the lightest colour thread or somewhite thread to emphasize the heavier ormore active parts of the waterfall - the top,where the water is hitting a rock, at the base.

Use Foam or StretchStitch to develop a frothyeffect at the base of thewaterfall.

Use Blizzard Stitch tomake a gentle flow ofwater away from the baseof the waterfall.

Use Reverse or Clip Stitchto add droplets orsplashes of water to thelightest coloured area.

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WEAVINGThis technique creates a basket-weave designusing 4 to 5 colours of 2/4 pull thread and anordinary sewing needle. The area is first filled inwith a base layer, keeping the colours in thesame sequence. You then weave the secondlayer under and over the warp threads in thecolour order.

Groups of thread, consisting ofone row of each colour will beworked over the area: 1 row ofeach of the 5 colours = 1 group.

The sequence of thread coloursshould be repeated for eachGroup.

APPLICATION

Limited, used most often in original designs -veryfew kits utilize this technique.

TECHNIQUE

FIRST LAYER:

Thread up sewing needles with about 12" of 2/4pull thread of the various colours being used.

Bring the first colour up from the back, take onelong stitch up across the whole area and takethe needle to the back.

Move the needle over to the edge of the nextbox and take one stitch down to the bottom.

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APPLICATION


TECHNIQUE

FIRST LAYER:




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APPLICATION


TECHNIQUE

FIRST LAYER:




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Repeat the above, placingone row of the first colour ineach box. Do not cut thethread - set it aside forfurther use (stick it into theside of the canvas).

Bring the needle with thesecond thread colour upright beside the first threadin the first box and takeanother long stitch acrossto the other side.

Place one row of thesecond colour in each box.Set aside the needle.

Repeat the above untileach box is filled with onerow of each colour. Thiscompletes the first layer.

SECOND LAYER:

LOCKING IN THE WEAVE

Working in the opposite direction (horizontally)and using the same colour sequence, the methodfor the second layer (weaving layer) differs fromthe first.

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SECOND LAYER:



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SECOND LAYER:



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SECOND LAYER:



178

The second layer weaves under and over thethreads of the first layer. It is easier if you hold thesewing needle by the pointed end and slide theeye end of the needle under and over the threadsof the first layer.

Group 1Start with the first shade by sliding the needleunder and over each group of the first layer(under 5 threads. over 5 threads, under 5. over 5.etc.). DO NOT MOVE TO THE NEXT BOX - setthe needle aside. Repeat the same under andover pattern with 1 row of each colour until thefirst group is completed.

Group 2Returning to the first colour of the group, lock inthe weave by reversing the under and overpattern used with the first group -where you wentunder the threads of the first layer, you will nowgo over them; where you went over the threadsof the first layer, you will now go under.

Repeat the same under and over pattern for all the colours of Group 2.

Repeat this weaving patternfor the remaining boxes. REMEMBER to reverse theunder and over pattern aftereach GROUP. The raw edges of a woven area can be hiddenwith a row of a decorative stitch such as Picot orCord.

179






179






179






179

'Wedge Stitches' areshort length stitches

Wedge Rows are rowsof stitches. A WedgeRow is shorter in lengththan the surroundingrows.

WEDGE STITCHING

As the name implies a 'wedge' is a shorter row or stitch worked between longer areas to ensure smooth, even work for:

!

!

an irregular shaped area such as a triangle where the stitch direction fans out from a very narrow end to the opposite side which is much wider.

an area where there is a drastic change institch direction.

This concept of Wedging is applied to singlestitches as well as to rows of stitching.

APPLICATION

Used extensively especially in mountains, flowers.

TECHNIQUE

180



WEDGE STITCHING


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APPLICATION


TECHNIQUE

180



WEDGE STITCHING


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APPLICATION


TECHNIQUE

180



WEDGE STITCHING


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APPLICATION


TECHNIQUE

180

1. FOR IRREGULAR SHAPED AREAS

More thread is required to cover the wider endthan the narrow end. If the top area is the widest, wedge stitches or wedge rows areworked in the pattern of the letter "M". Every stitch is worked to the widest area but only a few reach the narrow end. Theseshorter stitches are called Wedge Stitches.

Working from the narrow side, take 1 stitchto the widest edge.

Return 1/2 way down the first stitch(towards the narrow side) and punch. Thisis a Wedge Stitch.

Return toward the widest edge again with aregular length stitch.

Return down this third stitch with a WedgeStitch which is either shorter or longer thanthe first Wedge. If all the Wedges werepunched in at the same point, a row ofpunch marks would become visible.

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181

If the base of the area is the widest, suchas in a mountain, then the wedge rows arereversed, following the pattern of the letter"W' where every stitch is worked to thebottom but only a few reach the top.

!

Wedge Rows are used for large areas wheremore than one stitch length is required.

2. WEDGING FOR CHANGE IN STITCH DIRECTION

Consists of a single, shorter stitch/row which isworked between regular stitching to develop asmooth change of direction.

APPLICATION

General knowledge that is used in variousapplications.

TECHNIQUE

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!

Make one Wedge Stitch/Rowabout every 2nd or 3rdstitch, varying the length.This will enable you to'swing' the regular lengthstitches around to thedesired direction.

Working from the narrow side of the area, take1 stitch/row to the widest edge.

Returning to the narrow side, make oneWedge Stitch/Row half the length of the firststitch.

182


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APPLICATION


TECHNIQUE

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APPLICATION


TECHNIQUE

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APPLICATION


TECHNIQUE

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Variations:

Short & Narrow Long & Open Irregular

! Return out to the widest edge again and thenright back to the narrow edge with a full lengthstitch/row.

ZIGZAG STITCH

Very basic stitch referred to as a technique morethan a specific stitch. It is worked across the axis of a straight line.

APPLICATION

Used on many scenes for the rough, shadowy effect of distant trees. Decorative Stitching.

TECHNIQUE

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punch needle from front of canvas, taking thebeginning thread to the back of fabric.

Stitch side to side across the straight line.

183

Variations:



ZIGZAG STITCH


APPLICATION


TECHNIQUE

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183

Variations:



ZIGZAG STITCH


APPLICATION


TECHNIQUE

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Variations:



ZIGZAG STITCH


APPLICATION


TECHNIQUE

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183

Section 111

Appendices

Appendix 1 FramingAppendix 11 Colour Chart

Section 111

Appendices


Section 111

Appendices


Section 111

Appendices


FRAMING

Trim

To prepare the completed picture for framing, turnthe work frame over and carefully trim off theexcess thread on the back of the canvas with apair of very sharp scissors. Remove the canvasfrom the work frame.

Mounting

The canvas is then stretched and mounted onto abackboard. 'Foamcore' is recommended because itis very strong but very light in weight. Otherbackings such as heavy cardboard can also beused. The larger the picture, the stronger themounting board. Use two-sided tape and/or staplesto mount and secure the canvas onto thebackboard.

Mats

The use of at least one mat is recommended. Matsserve two purposes - compliments the finishedappearance of the picture but more importantlyacts as a spacer between the canvas and theglass so that the glass is not resting directly on topof the threads.

Glass

Glass is mandatory on all Bunka Shishu picturesfor protection from dust, grease, etc. Regular glassis most widely used rather than the non-glare type.Non-glare is more costly and tends to dull thethread colours and 'flatten' out the 2-dimensionaleffect of the stitching.

186

FRAMING

Trim


Mounting


Mats


Glass


186

FRAMING

Trim


Mounting


Mats


Glass


186

FRAMING

Trim


Mounting


Mats


Glass


186

Yellow/G

reenYellow

Orange

Red

BlackViolet

BlueVioletTurquoise

Blue

16931

207M

11990

73200

17763

19219

20837

191224

201178

64

2132

209186

M120

74202

17965

2061

159193

M121

75203

18448

57108

M124

195225

M133

81

17077

M126

3912

3213

5566

23040

1154

212

106228

35M

128114

5214

53229

226M

134187

182231

10578

M118

3887

232

5830

22098

76233

618

196153

49

21821

189154

51

M131

185155

227

M132

50

M111

27

M130

8084

This chart lists all the Tokyo Bunka thread colors according to family groupings. The shades w

ithin each family are com

plimentary to

each other; the numbers listed separately are distinct, individual colors that do not belong to any specific fam

ily. The letter "M"

designates Metallic thread.

187

Yellow/G

reenYellow

Orange

Red

BlackViolet

BlueVioletTurquoise

Blue

16931

207M

11990

73200

17763

19219

20837

191224

201178

64

2132

209186

M120

74202

17965

2061

159193

M121

75203

18448

57108

M124

195225

M133

81

17077

M126

3912

3213

5566

23040

1154

212

106228

35M

128114

5214

53229

226M

134187

182231

10578

M118

3887

232

5830

22098

76233

618

196153

49

21821

189154

51

M131

185155

227

M132

50

M111

27

M130

8084



plimentary to


ily. The letter "M"


187

Yellow/G

reenYellow

Orange

Red

BlackViolet

BlueVioletTurquoise

Blue

16931

207M

11990

73200

17763

19219

20837

191224

201178

64

2132

209186

M120

74202

17965

2061

159193

M121

75203

18448

57108

M124

195225

M133

81

17077

M126

3912

3213

5566

23040

1154

212

106228

35M

128114

5214

53229

226M

134187

182231

10578

M118

3887

232

5830

22098

76233

618

196153

49

21821

189154

51

M131

185155

227

M132

50

M111

27

M130

8084



plimentary to


ily. The letter "M"


187

Yellow/G

reenYellow

Orange

Red

BlackViolet

BlueVioletTurquoise

Blue

16931

207M

11990

73200

17763

19219

20837

191224

201178

64

2132

209186

M120

74202

17965

2061

159193

M121

75203

18448

57108

M124

195225

M133

81

17077

M126

3912

3213

5566

23040

1154

212

106228

35M

128114

5214

53229

226M

134187

182231

10578

M118

3887

232

5830

22098

76233

618

196153

49

21821

189154

51

M131

185155

227

M132

50

M111

27

M130

8084



plimentary to


ily. The letter "M"


187

Blue Green

Green

Grey

Brown

PeachW

hiteBeige

Pink

160M

135M

129162

3389

175158

2660

16163

3422

176157

16170

17164

361

M112

156183

19711

165190

194101

19829

16867

220102

199109

21569

192188

10216

13221

5623

21762

22279

2428

174223

5982

4185

20688

252

M116

M112

15211

54M

12783

68210

M122

86204

717

728

1079

16652

167103

44104

47M

11714

17145

17243

17346

15142

152180181205

188

Blue Green

Green

Grey

Brown

PeachW

hiteBeige

Pink

160M

135M

129162

3389

175158

2660

16163

3422

176157

16170

17164

361

M112

156183

19711

165190

194101

19829

16867

220102

199109

21569

192188

10216

13221

5623

21762

22279

2428

174223

5982

4185

20688

252

M116

M112

15211

54M

12783

68210

M122

86204

717

728

1079

16652

167103

44104

47M

11714

17145

17243

17346

15142

152180181205

188

Blue Green

Green

Grey

Brown

PeachW

hiteBeige

Pink

160M

135M

129162

3389

175158

2660

16163

3422

176157

16170

17164

361

M112

156183

19711

165190

194101

19829

16867

220102

199109

21569

192188

10216

13221

5623

21762

22279

2428

174223

5982

4185

20688

252

M116

M112

15211

54M

12783

68210

M122

86204

717

728

1079

16652

167103

44104

47M

11714

17145

17243

17346

15142

152180181205

188

Blue Green

Green

Grey

Brown

PeachW

hiteBeige

Pink

160M

135M

129162

3389

175158

2660

16163

3422

176157

16170

17164

361

M112

156183

19711

165190

194101

19829

16867

220102

199109

21569

192188

10216

13221

5623

21762

22279

2428

174223

5982

4185

20688

252

M116

M112

15211

54M

12783

68210

M122

86204

717

728

1079

16652

167103

44104

47M

11714

17145

17243

17346

15142

152180181205

188

189

** 1ST EDITION ** THE ENTIRE CONTENTSOF THIS BOOK ARECOPYRIGHTED : 1986

Karen SchilthuisThe Creative Bunka Needle Inc.

** 2ND EDITION ** THE ENTIRE CONTENTSOF THIS BOOK ARECOPYRIGHTED : 1992

Bunka With Flair511 East AvenueWest Hill, OntarioCanada, M1C 3K5416-282-9257

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TELEPHONE :

NOTES :


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TELEPHONE :

NOTES :

Documents

Bunka with Flairunitedbunkaassociation.org/wp-content/uploads/2014/07/Bunka... · This Handbook of Bunks Shishu Embroidery is an easy to use reference guide for stitchers at all levels