Last week I mentioned some of the many different types and weights of thread that are available for embroidery. Today I would like to talk about the power and importance of color in embroidery. To the left you can see a color wheel which is a great tool for choosing colors that will work well to acheive the result you desire.
An extreme example of this is the Op Art movement of the 60's in which opposite colors or what are called complementary colors, such as purple and yellow or red and green, or orange and blue were used together to create visual tension. The tension caused by placing two opposite colors together combined with spiral and geometric repeated patterns actually made the artwork look as though it was moving or pulsating.
When you are designing embroidery you need to take into consideration the color of the fabric that you will be embroidering upon and think about the effect which will be achieved when the the thread color interacts with it.
If you want a design that is soothing and pleasing to the eye choose colors which are adjacent to the fabric color. Conversely if you want your design to stand out from the base fabric choose colors on the opposite side of the color wheel.
I know all of this is very elementary but sometimes it is the logical and simple aspects of embroidery design that we overlook. That is why when I was working on Compositions embroidery design software, I made sure that you were prompted to choose your fabric color before you actually start designing your embroidery. To see how this works step by step go to. http://www.kenparsonsdesigns.com/flash/webpreview.php

I put together this 80's flavored Rock A Billy design using lettering combined with designs from the A Boy's Life design collection. Placing the designs on a pink shirt (also very 80's) is a good way to really make the designs stand out. I used the power paste feature to ensure that the size and direction of the lettering always served to unite the different parts of the design. The power paste function in the Compositions software is a very powerful tool and it can be used with both lettering and designs. To use it you need only to select the part of your design you want to copy, resize and angle, click on the power paste icon, and then just click and drag to perform all of these operations at once. To download your free copy of Compositions go to www.annthegran.com and try it out for yourself.

After you embroider a garment you should remember that the thread that you used has changed the laundering needs of the garment that you have embroidered. I have listed below the instructions for garments which have been embroidered with metallic, polyester and rayon theads.


Metallic Embroidery Threads

Washing Instructions:

Embroidered articles or garments should be washed with a neutral detergent in cold or lukewarm water. Immediately after washing, rinse the embroidery in cold water thoroughly.

Avoid using chlorine bleach or optical brightening agents or heavy detergents which may cause discoloration.

Wash embroideries separately from other laundry and do not crowd them into washing machine. Do not wring out or rub briskly.

After washing, dry the embroidery immediately.　Never leave embroidered items soaking in water or folded or piled together when wet.

When stain removers are to be used, it is suggested that a small experimental evaluation be conducted in advance to make sure that the stain remover dose not affect colours adversely.

Embroidery is dry cleanable with petroleum only.


Ironing Instructions:

All embroidered items should always be ironed on the reverse side, at a low temperature setting, and most preferably between two pieces of cloth.


Usage Instructions:

It is recommended that thread from the same dye lot is used on symmetrical panels that require all identical colour combination. If no thread of the same dye lot is available, it is advisable to run, for evaluation, threads of different dye lots on a sample piece of material before sewing on a garment.


Storage Instructions:



Do not dispose the thread to sunlight or artificial light for extended periods.
Keep the thread in a well-ventilated area, avoiding high-temperature and high-humidity conditions under which to stock and work.
Never get the thread in direct contact with such materials or goods which　contain sulfide as rubber. Also keep it away from area with airborne contaminations, specially with area with gas stoves which tend to emit sulfur acid gas.

Care Instructions for Embroidered Garments with rayon thread.


1. HOME LAUNDERING
All embroidered garments should be washed with a mild detergent
Do not use chlorine bleach or optical brightening agents
If bleach is required for washing, use non-chlorine bleach in accordance with product instructions
Machine wash cold water
Delicate wash cycle
If color residue appears in water, rinse first in lukewarm water and then cold several times until rinse water becomes clear
Remove promptly after wash cycle completion
Never leave any piece of embroidered clothing soaking or in water or lying in a pile when wet
Upon completion of washing cycle place articles immediately in dryer, use normal setting. (For best results, we recommend preheating the dryer.)
Do not wring out the embroidered articles
Do not rub stained embroidery
2. DRY CLEANING
Embroidery may be dry cleaned, however, extreme care should be excercised when dry cleaning. Special care must be taken when dark shades are dry cleaned. Avoid use of pre-spotting agents.
3. INDUSTRIAL LAUNDERING
Garments that are embroidered with Super Strength™ Rayon, Twister Tweed Rayon, or 600 Denier Rayon can be industrially laundered when proper procedures are followed as outlined by the International Fabricare Institute. Please call or fax for details. Embroidery may be dry cleaned, however, extreme care should be excercised when dry cleaning. Special care must be taken when dark shades are dry cleaned. Avoid use of pre-spotting agents.
4. IRONING
Embroidered fabrics should always be ironed on the reverse side
It is recommended to iron embroidery between two pieces of cloth
It is not recommended to wet embroidery prior to ironing or to use a steam iron
Note: Normally the care label instructions pertain to the garment, not the embroidery. Special care should be taken when laundering embroidered garments.
Since the conditions of use, washing, pressing and cleaning, etc. vary in use of yarns and threads, the purchaser should assure himself by preliminary tests that the dye fastness of the yarn or thread is 100% colorfast to crocking or washing under all conditions.

Care Instructions for Embroidered Garments with
Polyester Threads
1. HOME LAUNDERING
All embroidered garments should be washed with a mild detergent
If bleach is required for washing, a small amount of chlorine bleach can be used. Non-chlorine bleach in accordance with product instructions is preferable
Machine wash cold water
Delicate wash cycle
If color residue appears in water, rinse first in lukewarm water and then cold several times until rinse water becomes clear
Remove promptly after wash cycle completion
Never leave any piece of embroidered clothing soaking or in water or lying in a pile when wet
Do not wring out the embroidered articles
Do not rub stained embroidery
2. DRY CLEANING
Embroidery may be dry cleaned, however, extreme care should be excercised when dry cleaning. Special care must be taken when dark shades are dry cleaned. Avoid use of pre-spotting agents.
3. INDUSTRIAL LAUNDERING
Garments that are embroidered with polyester thread can be industrial laundered when proper procedures are followed as outlined by the International Fabricare Institute. Please call or fax for details. Embroidery may be dry cleaned, however, extreme care should be excercised when dry cleaning. Special care must be taken when dark shades are dry cleaned. Avoid use of pre-spotting agents.
4. IRONING
Embroidered fabrics should always be ironed on the reverse side
It is recommended to iron embroidery between two pieces of cloth
It is not recommended to wet embroidery prior to ironing or to use a steam iron
Note: Normally the care label instructions pertain to the garment, not the embroidery. Special care should be taken when laundering embroidered garments.
Since the conditions of use, washing, pressing and cleaning, etc. vary in use of yarns and threads, the purchaser should assure himself by preliminary tests that the dye fastness of the yarn or thread is 100% colorfast to washing under all conditions.

Care Instructions for Embroidered Garments with
Metallic Threads

All embroidered garments should be washed with a mild detergent
Note: Normally the care label instructions pertain to the garment, not the embroidery. Special care should be taken when laundering embroidered garments.
Since the conditions of use, washing, pressing and cleaning, etc. vary in use of yarns and threads, the purchaser should assure himself by preliminary tests that the dye fastness of the yarn or thread is 100% colorfast to washing under all conditions.

If you can get your hands on a copy of the March 2007 issue of Traditional Home magazine, there is a great article in the Marketplace section of the use of embroidery in Home Decor and Fashion. They even inteviewed my friend Ernie Smith President of Penn and Fletcher Inc, who has created embroidered masterpieces for Broadway, the Cinema, and Home Decor for more than twenty years.
While they mention the popularity of embroidery on pillows, scarfs, gowns, shoes and furniture, the two specific applications that interested me most were embroidered wall paper and gift wrapping. I included an image of one of the embroidered gift wrap patterns availalbe and you can see more examples of embroidered gift wrap at http://www.katespaperie.com/store/search.php?PG=&s=embroidered
The company that produces embroidered wallpapers is a British company called Fromental.
The company is headed by Tim Butcher, former seven years Creative Director of world-renowned hand-painted Chinoiserie house de Gournay, Lizzie Deshayes, textile designer and decorative artist, and David Jones.

The 20 th Century collection consists of 12 designs hand-painted onto paper and silk. Styles range from elegant 30's inspired florals, through delicate 50's conversational pieces, to bold super graphics. All are panoramic in nature and non-repeating. Hand-painted to order, each installation can be customised in colour and scale.

The Embroidered Silk collections are unique. Patterns are hand-sewn in silk thread onto a fine silk background. The launch collection is a selection of stripes hand-stitched with incredibly fine workmanship in an almost infinite range of colours, and part painted, part embroidered delicate butterfly patterns. Although totally contemporary, the embroidered silk papers will also sit well in any traditional setting.

The third collection is a revisit to the grandeur of 18 th Century Chinoiserie. Hand-painted onto silk backgrounds, the depth and variety are timeless. The exquisite craft, bold colours and delicate design are both striking and versatile.

They often work through interior designers, though customers may contact them directly and visit their London studios to view the collections in full scale. When a customer wishes to place an order, measurements of the room should be supplied to them. From this they will produce a drawing showing how the design will work in the room along with a quote. Once an order is placed, it is hand-painted to order and delivered within 6 to 10 weeks
See their stock wallpaper collections at www.fromental.co.uk

I am often asked why I make such a clear differenciation between fashion embroidery and general embroidery. The simple answer is that fashion embroidery is specifically designed for a specific application. It is designed within the context of a specific garment or home decor item. The garment on the left Murder on an evening dress, was designed by British designer Catherine Walker and is a perfect example of this. Take note of embroidered bloody knife (detail, bottom right). Also pictured on the top right is Pierre Ira's painted silk dress, another spectacular tribute to Dali.
When embroidery is designed without a purpose in mind less focus is usually put into the the overall shape of the design and it is difficult to make it meld into the design of a specific project. This is actually the reason I came up with Compositions embroidery design software, it allow you to easily and quickly combine several designs together to create an overall shape which will compliment to part of the garment or home ecore item upon which it is placed. To see a full demo of the software and the design collections created to be used within it go to http://www.annthegran.com/kparsons/SWF/KP%20Compositions%20Web%20Final.html

Density
The other day I was talking about the many different thread choices that are out there, and the fact that in many cases they are not considered as solutions to everyday design problems.
Another tool that we all have in our design tool box is density and this is another overlooked design component.
in the design to the left I have placed a very low density fill with an outside travelling stitch so that it is hidden underneath the satin stitch border.
This is of course an extreme example of manipulating density but I think you can all agree it creates a very effective and pleasing design.
Another way you can use reduced densities is to use two different density fills to create the look of two different colors. When you reduce densities you allow the base fabric color to show through the stitching. When you see the fabric color through the stitching it creates the look of a new color which is a combination of the thread color and the fabric color. When you use this technique next to a full density fill stitch you will create the illusion of two different color threads. This is a very handy technique if you only have a one color machine.
Another reason for manipulating the densities in your design is to retain the hand of the fabric. When you embroider you are increasing the thickness of the fabric in that area. The more dense that embroidery is the thicker it will make that area of the garment. The thicker a fabric is the stiffer it becomes. When you reduce the density in a design it will have a significantly reduce the stiffnes of the embroidery. Based upon the fabric that you are embroidering upon a good rule of thumb is to choose your density based upon the thickness of the fabric. The lighter the fabric the lighter you ned to make the density in you design.
If you try out any of these these three ideas you will create not only more creative designs but will also make the designs sew out better and look and feel better when you wear the garments.

I found this article on hand embroidery and I thought it might be of interest to you.

Man, it seems, has an insatiable appetite to liven up his surroundings. From the earliest known fabric examples dating from 3000 B.C. to modern day three-dimensional thread creations, humans seem wont to enliven our clothing, toiletries and linens by adding hand work of some kind over the woven threads. Current Western culture links needle and thread to women. Originally, however, they relegated the task to men - in both Western and Eastern cultures, who served up to an eight-year apprenticeship before being considered a master at his craft.

Many earlier stitches are now our most common and more easily executed ones. The golden age of Western embroidery coincides with the golden age of music: the baroque period during the 17th and 18th centuries. For embroidery, it lasted into the mid-1800's. At that time, the invention of embroidery machines devastated the hand embroidery industry, causing major economic crises in many parts of the world.

Different areas of the globe devised their own peculiar style. The Norwegians created Hardanger, the Danes, Hedebo. In Italy, they devised richly detailed cutworks (Reticella). Peasants in Slavic countries such as Ukraine, Poland (most notably here Kolasca and cutwork embroidery), Czechoslovakia, Yugoslavia, created elaborately embroidered dresses for weddings and festivals, using darned and satin-stitched patterns along with bright colors. Each country has similar patterns, but conveyed in their own style, stitch and color combinations. The differences are distinct enough to allow anyone with just a little knowledge to determine their origin.

Western Europe is noted for its woolen embroideries: crewel (the name of the two-ply wool) on linen twill which is an art form at least 600 years old. This lush work adorned bedcovers, draperies, wall hangings, and chair coverings. These embroideries, now commonly but inaccurately called "Jacobean embroidery," continue to hold a fascination. Many needle workers are passionate about crewel work - although on a less grand scale.

Egyptians practiced white embroidery, but it was the fine work emanating from Western Europe that takes our breath away. Using only white thread on a white ground, the earliest works contained skill and details that few today can emulate. Dresden work was perfected in Germany, marked by intricate embroidered lace using drawn fabric stitches and diaper patterns in minute detail. Ayrshire Needlework came from Scotland with its roots in France. By some experts' standards, it is the most notable of all embroideries. Heavily padded motifs and openwork fillings characterize the work. The original muslin available was more fine and transparent than anything either manufactured or hand woven today. The openwork was executed by withdrawing threads from the ground fabric and working intricate patterns thereon. As the fabric became more closely woven, they cut areas of ground fabric away, and fine needlelace filled the space.

We usually credit England with broderie Anglaise, the original of this "Whitework" depicting flowers, leaves and stems entirely in eyelets, though its origins may be Czech. Through time, satin stitching and other cutwork techniques were added. Commercially, this work is still being done today on the island of Madeira off the coast of South Africa. Referred to as Madeira Work, it is primarily aimed at the tourist trade, with many different qualities of construction being produced.
India also practised Whitework - its workers being so skilled that the needle doesn't pierce through to the back but splits the ground threads. The resultant embroidery is entirely on the surface. Unfortunately, the prior skill of the Chikan embroiderers has been lost with the changing economies, for it is believed that workers must be trained from a young age. This training is no longer occurring. But India, and this region, is still producing very fine embroideries for export.

China perfected the art of two-sided embroideries - some of which take several years to complete. On one side may be a tiger, and the reverse may be a leopard or lion. Done entirely in silk, these embroideries fetch thousands, or tens of thousands of dollars, depending upon size. Asian embroideries exemplify art, spirituality, and culture through needle and thread, with strict adherence to technique and refined stitches.

To read the article in its entirety go to http://www.heritageshoppe.com/heritage/essays/handemb.html

Sampling The Fashion Market

By Ken Parsons

In the June, 2005 issue of Stitches magazine to wrote this interview which I thought you might find interesting.

The world of fashion embroidery is often considered alien to the average commercial embroiderer. This can probably be attributed to ignorance of potential rather than a lack of interest. To help break down some of the barriers for you, I spoke to an embroiderer who produces fashion embroidery, and a designer who uses embroidery. First, I spoke with designer Neville Bean, owner of Neville Bean Design, New York. I also thought it might be nice to hear from a digitizer who works with designers and was lucky to find Simone Balchunas, owner of Masterworks, Hauppauge, N.Y., who was very generous with her time and willing to share her personal experiences with me. This is how they both responded to my questions.

Fee For Service


KP: How do embroiderers usually charge for sample work? Is it by the time it takes to produce the final sample, by the stitch count, or is it a flat creative fee?

NB: Most embroiderers do not want to do samples if they are not going to get the production. For the most part, sample making is a money-losing process.

From the design side, I usually do embroidery designs as part of a larger design job.

They are included in the negotiated design fee for the whole project.

SB: Sample-work pricing is based on time. Some customers who have shopped in our industry question why I do not charge by the stitch count. My standard response is that a design — for example, a solid black box filled and finished with a satin stitch — may be 9,000 stitches, but takes literally 35 minutes to digitize and sample. However, there are graphically complex multicolor logos that amount to 9,000 stitches as well. The difference is that a logo such as this can take sometimes up to four hours to digitize and sample, as revisions are usually necessary.

Design Concepts


KP: How involved is the designer in the selection of stitch types and stitch directions?

NB: I usually present a stitch idea along with the artwork. They may adjust the concept depending on the capabilities of the machinery and to bring the design into a specific price point.

SB: I get very involved with the choice of stitches and stitch patterns used. Most purchasers of embroidered goods are unaware of how stitching lays on different fabrics. In order to be a great fashion embroidery designer, one must have a good knowledge of fabric and textiles. Most people don't understand that thread, as paint, is a unique medium.

Origination Of Artwork


KP: Is the initial artwork for the embroidery design created by the designer or the embroiderer?

NB: It depends on the project and whether the embroiderer has a good design archive or good artists on staff.

SB: These days, most of the artwork seems to be completed prior to arriving in the hands of a digitizer. Motifs are usually created for stationery, business cards, letterheads or signage. Those motifs are generally incorporated into the fashion product. For example, a bride will have a monogram designed by the print artist doing her invitations. That monogram will then be incorporated in an embroidered piece for the wedding: a chuppah, aisle runner, linens, chair backs and so on.

Embroiderer's Portfolio


KP: Do you, as a designer, prefer to have samples of the embroiderer's work to work from so that you are familiar with what they are capable of doing?

NB: Yes, usually the embroiderer will show a line and then do samples. These are usually revised or re-colored from the originals.

SB: My shop embroiders all of our designs. I have, from time to time, been given other shops' embroidery files to work from. I always insist on sampling prior to production. Frequently, I end up editing designs brought to me, as they are usually not production-friendly.
To read the rest of this article go to http://stitches.com/stitches/mag/apparel_sampling_fashion_market/index.html

Satin stitches take center stage because they reflect the most light (shiniest). Use this stitch type for whatever you want to be most prominent in your design
Running stitch and fill stitch are much duller because they are comprised of small stitches which don’t reflect as much light. To increase the prominence of these stitch types increase their stitch length.
When you vary stitch types and the direction of those stitch types within your designs you increase the interest and complexity of the overall design. Embroidery is an artform with texture. we create more textural interest when we vary stitch type and direction.
We basically use running stitches for detail work.
Satin are used for filling thin areas and borders and for creating focal points in our designs.
Fill stitches are used for filling large areas with stitching.
When you vary the direction of the stitches in your design you assure that the light will hit the design at different times from different angles, this gives the design a lot of life.
You can also use this to create 3-dimentionality in the design. As you change the angle of the stitches you can make the area of the design recede or jut out.
By experimenting with the different stitch types and drection you can come to realize what a hug impact this can have on the effectiveness of your embroidery.
To see more examples of my designs go to www.kenparsonsdesigns.com

When you look at embroidery you are actually looking at the thread that was used to create it. This is why it always amazes me how little thought usually goes into the choice of thread by embroiderers.
Most embroiderers stick to using either rayon or polyester 40 weight threads. These are of course the most readily available and are the threads usually recommended by embroidery machine manufacturers, but they are by no means the only ones you can use.
Changing the type and weight of the thread that you use can dramatically change the look of your embroidery.
Solar active thread, glow in the dark, varigated and acrylic thread are just some of the other choices out there.
Solaractive is a UV embroidery thread that actually changes color in the sunlight. An extraordinary new thread designed and tested for today's high-speed embroidery machines.

This new technology gives the opportunity to have embroidery designs change from one color to another after exposure to the sun or any UV light sources.
The unique color changing effect was tested and proven to last more than 2000 times in and out of the sun (equivalent to the life of a garment).
These threads will work on any embroidery machine up to 1200 rpm with any bobbin thread (poly, cotton, etc.).
UV threads are machine washable, and can withstand up to 420° F (for patch embroidery or emblems).
Cones yield 3000 meters or 3300 yards and 1000 meters or 1100 yards also 200 yard starter pack (all seven colors). UV threads are 120 denier/40 wt.
For more info go to http://www.solaractiveintl.com/emb_thd.htm


You can make your special projects "light up"
with glow-in-the-dark embroidery thread!
Looks like ordinary embroidery thread in the daytime,
but turn out the lights and see the glow!There are many different brands out there but to see one try this website http://www.allthreads.com/moonglow.aspx

Variagated theads are a god way to add more color without having to add color changes.
To see some examples go to http://www.embroiderthis.com/rainpolthrea.html
Madeira manufactures a thread called Burmi Lana Thread which is made of a 30% wool and 70% acrylic. An innovative technology combines the advantages of a spun thread (softness) with those of a filament thread (evenness and high running length).



Because of it's thickness they recommend needle size 100 or 110 for use with Lana thread.
To see what a dramatic change it can make to your embroidery go to http://www.thesewphisticatedstitcher.com/malawoemth12.html
Remember when you use a heavier weight threads simpler designs with a much lower density work best, so it is usually preferable to use designs specifically created for heavier weight threads.
So good luck experimenting.

How to use Classic and Designables Design Collections

Classic and Designables Designs Collections are part of a new approach to embroidery designs and when used in conjuction with Compositions software make it easier for you to manipulate these 20 designs to create an infinite amount of unique combinations. All of theses designs were created to give you the maximum amount of design versatility. Compositions software was designed to make the editing process effortless and expand the inherent flexibility of the designs.
These designs were created to be used in conjunction with each other. Because of this you can use the designs together to create the perfect design for the project upon which you are placing it. Embroidery is most effective when it has a relationship with the garment or base fabric you pair it with. Up until now embroidery designs have been created to be used singly and only offered limited flexibility. The Classic and Designables collections have changed all of that, but to use them to the fullest advantage it is helpful for you to ask yourself the following questions first:

Design
Is the design’s overall shape appropriate for the garment piece upon which it is to be placed? How can I combine the Designables together to create a shape the works better with the section of the garment upon which it is being embroidered?

Size
Is the size of the embroidery appropriate for the placement and the intended impact? Not only can you make the finished design smaller or larger by adding or subtracting Elements but you can also choose the size of the individual Designs.

Colors
Do the colors maximize the impact of the design and interact in an effective way with the base fabric color? Remember the suggested thread colors are just the suggested. You can change then to suit the fabric color upon which it is being placed.

Placement
What is achieved by the placement of the embroidery? Does it emphasize/ minimize a specific area of the garment or minimize or maximize an aspect of the body? Ask yourself why you are using embroidery and place it in the most appropriate part of the garment in order to achieve that effect.

Creativity
What could you have done to make your design even better? Would the addition of an appliqué have added to the overall impact of your design? If so what type of fabric would have worked best?

Production Efficiency
Does your design run smoothly?
Quality designs run on the embroidery machines with a minimum of thread breaks and a minimum stitch count, jumps and color changes. Compositions allows you to minimize both jumps and color changes automatically.

Accessory choices
Did you take the time to choose the right consumables?
The proper use of consumables plays a large part in producing a quality end product. By consumables I mean Backing, Topping, and Needles. Saving money by eliminating topping on fabrics with a nap or uneven texture can cause you embroidery stitches to look uneven. Using a sharp needle on knits can cause runs and pulls in the fabric. Using too heavy or stiff a backing can cause the embroidery to rob the base fabric of its hand and make it drape improperly.

After answering these questions you are now ready to create the perfect embroidered creation for your garment.

I teach Lace and Embroidery Design at the Fashion Institute of Technology as I think I have mentioned before. This year is my eleventh anniversary as a matter of fact. The years of doing this have been the main contibuting factor to how I see embroidery, talk and write about embroidery and appreciate embroidery.
While I find writing about anything is a great way to both organize your thoughts and gain clearer insights into the subject, teaching is the best way to do both of these things and at the same time either get instant validation or criticism.
Teaching whether at a school or college level or lecturing your peers puts you on the spot and if you take this responibility seriously you are the one that reaps the greatest benefits.
Each year I make slight changes to the way I teach the subject matter, this is a result of new techniques that I have learned and changes in the way that I prioritize the importance of the different lessons. It also serves to keep the material fresh for me.
I look forward to the coming semester and writing this blog has helped me imensely to put a new spin on some old material.
If you are thinking of a career in fashion FIT is an excellent choice you can find out more information about the school at http://www.fitnyc.edu/aspx/Content.aspx?menu=Future

My niece Karen Herter wrote this article for the Jun 2006 issue of Profitable Embroiderer, and I thought I would be of interest to you. You can also see his collection of color and pattern coordinated fabrics at http://www.christopherlowell.com/jas_fabrics.php

Jo-Ann Stores Partner With Christopher Lowell
by Karen Herter
Even if it were an inexpensive endeavor, most people wouldn't know where to begin when looking for upscale home décor fabrics and trim. Knowing which colors go together isn't an innate ability everyone is born with. High quality fabrics are expensive and hiring someone to figure out which fabric is good for draping, and which fabric is complementary to it and can be used to upholster a chair, will only add to the expense.

In an attempt to find a solution to this dilemma, Jo-Ann Stores Inc. has partnered with Christopher Lowell, Emmy™ Award-winning host, designer and author. Now, together they have launched a pre-coordinated home décor line that will be a precursor to Lowell's involvement with other departments of the store.

Barb Shears, director of fabric marketing at Jo-Ann Stores, explains, “Our customer looks to us for inspiration, she also looks to us to feel confident about what she's doing with her creativity, whatever she engages in.” She continues, “Whether it's fabric, whether it's decorating, whether it's sewing or crafting — they want to look to Jo-Ann as a resource for them, as a solution.”

If you've been looking for a solution to your designing dilemmas and are unsure how to proceed, Jo-Ann stores might have the answers you're looking for. The new collection, according to Lowell, will allow consumers “to have a professional look…with the colors, the palettes, the embellishments,” and they can “end up with something that's incredibly one of a kind.”

Lowell stresses that his brand doesn't offer anything that “doesn't answer a solution” and he feels that by offering a pre-coordinated line and limiting the amount of choices available, the consumer will have a much more palatable shopping experience.

You can read the rest of this article at http://www.stitches.com/stitches/profitableembroiderer/mag/apparel_joann_stores_partner/index-2.html

Sunday is Mother's Day and my Mother's Day gift to you is the design pictured at the left. I created it using the rose design (which comes free of charge with Compositions software) with the bud vase from the "Create A Centerpiece' collection.
If you would like a free copy of the design, please email me at Ken@kenparsonsdesigns.com and tell me what machine format you would like it in and I will email to out to you as a thank you gift for visiting my blog. Again Happy Mother's Day and give my best to your families. The design will be available for free until May 25,2007.
Ken

Father's Day is just a month away and embroidery allows you to create the most personalized gift of all.
I put together the design to the left by combining the Laurel Wreath (which comes free with Compositions software), the banner from the "Create A Crest" collection, a lure from the NEW "A Sporting Life" collection.
I then just added the lettering and used the envelope tool to wrap it around the wreath and on the banner.
This is of course just one idea, they are virtually limitless as are the applications. Gym bags, camping gear, barbeque aprons, and of course caps are just the beginning of a list of embroiderable items which would make great gifts.

I just figured out how to place multiple images into one post, which allows me to talk you thorugh the process of creating the gray blouse with black embroidered stylized flowers and leaves. I mentioned in my post earlier this morning.
The purpose of this design project was to show you how you can create a powerful and exciting embroidered design using a single color thread.
I first chose the garment I was going to place the embroidery upon and defined the area that the embroidery would occupy. The next step was to choose designs from my design library which would work well together to create a design to fit within this shape. The first design I chose because it fit nicely into the top of the trianguar location area.
I then added the central design element from which I would build my design from the inside outward.
Next I added the first leaf motif and copied it and pasted it on both the left and right sides of the central motif. Of course the right side was reflected to make it symmetrical.
I repeated the procedure for the second smaller leaf.
I then added the last motif which is a stylized flower with leaves, again duplicated and relflected the duplicate to create a finished symmetrical design which ocuplies my original triangular location.
The final step was to select the entire design and change all of the colors to black.
I think the finshed design succssfully accomplishes my original design goals.

The embroidery to the left was created solely using designs from my new "Fantastic Floral" Collection. While as you can see from the left (where the individual designs are displayed) the designs were created as multi-color designs, I chose to use them all as one color, that color being black. I think the monotone color pallette gives the overall design unity and power. These incredibly veratile designs are a must have for any embroiderer, that is designing for fashion or home interiors. You will be able to see the collection in it's entirety at both www.annthegran.com and www.kenparsonsdesigns.com on May 23,2007.

The design to the left was created using three designs from the NEW "Barnyard Birds" collection, I also added and duplicated the Fleur d'Lis from our "Create a Crest Collection and then used the Web Translator to translate and embroider The Barnyard Party into French. Quickly and easily I created a the perfect towel motif for a Country French kitchen. It was of course created using Compositions project based embroidery design software. For a full demo go to http://www.annthegran.com/kparsons/SWF/KP%20Compositions%20Web%20Final.html

Another new collection which is coming out in the next couple of weeks is my Barnyards Birds grouping. These designs are perfect for any kitchen accessory. They are also very versatile you can make them look very Country French or very Colonial American depending upon what you place them on and how you arrange them. You will find them both at www.kenparsonsdesigns.com and at Annthegran.com.

Traditional embroidery designs have always consisted of a combination of stylized flowers and leaves. These patterns were passed on from generation to generation. Some minor changes have been made in individual motifs and the designs created by the combination of these motifs varies, but the overall feel has remained the same. Starting in the 1980's with the advent of personal computers and easier and more versatile digitizing techniques, it became possible to create more realisitc embroidery and the types of designs possible are now endless.
My new collection of traditional florals, which will be released in the next few weeks harkens back to that simpler time in embroidery design. The individual motifs are created in multiple colors but work just a well as one color designs. I love these designs and they also work well with my paisley collection. I hope you enjoy them and you will be able to find them as always at www.kenparsonsdesigns.com.

The biggest impediment to the creative process is a blank canvas. While it provides endless possibilities it offers no direction.
Expediting the creative process is one of the reasons that led to the creation of Compositions. When you start an embroidery design you are forced to make most of your design decisions up front. Once you decide on the garment, fabric and fabric color upon which your embroidery is being placed, the size, shape and color of your canvas is now determined laying the groundwork for the rest of your creative decisions. All you need to do now is to select your design elements create a pleasing and appropriate overall shape, and arrange them within that shape. You can add lettering or a monogram or not the choice is yours. With Compositions designing embroidery is effortless and fun. To see a demo go to www.kenparsonsdesigns.com

Science and fashion, what an unlikely combination! They have, however, made incredible strides by working together for years.

The new finishes that resist, guard against and eliminate stains and wrinkles are remarkable. They are also quickly becoming a familiar part of our daily lives. These are all lumped into one category commonly known as functional finishes. Within this category are: crease resistant finishes (CRF), which impart the fabric with a finish that retards the wrinkling process, and crease retention fabrics, which are permanently creased usually by a heat process.

There are also other categories, which are comprised of fabrics with qualities either by their construction or by combining different yarns. When we talk about wicking fabrics, we sometimes use the term “hydrophilic” to describe fibers that absorb liquid, and “hydrophobic” for those that resist it. When they are combined together to force moisture away from the body, we refer to that quality as moisture-wicking. Fabrics in the action-stretch category all retain the ability to stretch and recover in all directions. This property has made them indispensable in the manufacture of active wear.

We also hear a lot about micro fibers, which are new silk-like fabrics made from synthetic fibers such as nylon and polyester. Micro fiber fabrics are made with extremely fine micro fibers lower than 1 denier in width. Micro fibers have become so popular in all areas of fashion because they offer the softness of silk with the ease of care of synthetic fabrics.

Designers are looking to new fabrics and finishes to create garments that are more comfortable, durable and, most of all, easy to maintain. In addition to researching new fabrics, they are also adding design elements to increase the comfort of their garments. Inset panels of action-stretch fabrics and mesh make garments more comfortable to move in and cooler to wear. The science of comfort is just as important as aesthetic appeal in modern sportswear.

As the array of different fabrics grows and designers' attention to detail creates even more subtle changes, it is our responsibility to keep track of the new developments and to make sure that we are offering our customers the perfect product for their individual needs.
To learn more about waterproof fabrics got to http://www.bookrags.com/Waterproof_fabric

My wife gave me a gym membership for my birthday, do you think she was trying to tell me something? That was three weeks ago. I finally went to the gym yesterday. You have to understand that I haven't been to a gym in twelve years. If any of you have seen my video at www.annthegran.com you can see what an abscence like that can do to a body. Today I am very very sore. I am not the kind of person to build up to something, I just jump in with both feet. In this instance I think that might not have been the best course of action. I will however continue and hope to get back to some semblence of shape by the fall season of trade shows. So if you see me and don't notice any change, please don't bring it up.
As I mentioned yesterday I am writing an article really a white paper to make available to the attendees of my webinar. Below I am including an excerpt.
The Influence of Fine Art On Contemporary Embroidery

Embroidery is not an art form that lives in a vacuum; it is influenced by everything around it. When we design embroidery, whether we know it or not our subconscious culls ideas from everything that we hear and see.
This is not really something new, it has always been happening. Some art movements are stronger and affect all aspects of our lives including fashion, automotive design, and even common household devices, such as was the case with the Art Deco movement, others have a more subtle influence.
In other cases it is everyday life which affects the art movement. The pop art movement is perfect example of that occurrence.
Andy Warhol started his career as commercial illustrator, and as such was very familiar with the rendering of everyday items. When he started to paint those same items on canvas, that is when he transcended commercial to fine art. This is also when contemporaries such as Robert Rauschenberg and Roy Lichtenstein were putting their own unique slant on similar works.
Warhol even designed a paper dress with his popular Campbell’s soup can screen onto it.
Not many artists have taken it upon themselves to make the transition from fine art to fashion, most have left that creative reinvention to others.