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 EMPOWERED

EMBROIDERY

Amy L. Frazer
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 TABLE OF CONTENTS
Introduction
Essential Tools & Materials
Drawing Ideas
Getting Started
Stitching Guide & Techniques
Stitch Map
Transferring Designs to Fabric
Step-by-Step Drawing & Embroidery Projects
Frida Kahlo
Eleanor Roosevelt
Maya Angelou
Harriet Tubman
Ruth Bader Ginsburg
Michelle Obama
Resources
About the Artist

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 Introduction
As I wrote, illustrated, and embroidered the artwork in this book during the
worldwide COVID-19 pandemic of 2020, I spent hours upon hours in my studio
and often listened to podcasts and audiobooks such as Michelle Obama’s
Becoming, Maya Angelou’s I Know Why the Caged Bird Sings, and Ruth Bader
Ginsburg’s My Own Words. Listening to the stories of these courageous women,
often in their own voices, helped me to stay present in my work. Learning more
about their tragedies and triumphs helped me focus and brought me back to the
present moment. I was inspired as I researched and designed each project,
sorting through and organizing my threads, fabrics, and beads.
 A few years ago, I got a sleeve tattooed on my arm that depicts the birth month
flowers of myself, my mom, and my granny. In this way, I connected our lives through
art and flowers. Consider how your life and experiences can be connected to the
people you admire and use that inspiration as a meditation as you stitch. Think about
embroidery as a way to do justice to these women and honor their lifetimes of work
that are paving the way for future generations.

This book is about more than just drawing and stitching portraits. I want to
encourage you to find people that inspire you from all walks of life, races, and
religions. Maybe you’re inspired by your grandmother who was born in a time when
women did not yet have the right to vote, or a Swedish teenager fighting to save our
planet. Sources of inspiration are everywhere around us, and telling these women’s
stories through stitching is a way to honor their work and keep their messages of
hope, activism, leadership, community building, and persistence alive.
I hope this book will inspire you to research people from your past and present, so
you may discover and tell their stories. Use art and embroidery to document their
lives, whether you embroider a quote, a favorite flower, or a full portrait. And
remember that capturing someone’s exact likeness isn’t necessarily the goal here.
The objective is to capture what these women mean to you—their energy and
inspiration—and to interpret that into art and embroidery.

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ESSENTIAL TOOLS & MATERIALS
When I was a kid growing up in Ohio, my favorite time of year was back to
school. Because I wore a uniform, I didn’t get a lot of new school clothes, so my
focus became my supplies. After we went to the store, supply list in hand, my
mom stashed my supplies in her closet. I would often sneak in there and
reorganize the pencils, folders, and glue sticks, waiting for the first day of
school when I could put them to good use. To this day, I’m obsessed with art
materials and office supplies.

As with any hobby, craft, or art practice, you will acquire all kinds of sewing
notions (supplies). Start out with the basics and build your collection of
supplies as you continue your stitching journey.

In this chapter, I’ll walk you through the basic toolkit you’ll need as we work
through the projects in this book. I encourage you to experiment and discover
what types of fabric you prefer, which needles become your go-tos, and the
perfect sewing snips (mine are my granny’s little gold ones). For information on
where to find drawing and embroidery supplies and which items I use in my art,
see “Resources” on these pages.
In My Toolbox
FABRIC

If you’re like me, you probably have a nice stash of fabrics in

all sorts of colors, textures, and patterns. We collect them
along the way, saved from worn-out clothing, bandannas,
friends’ unwanted items, vintage fabrics, and so on.

For most of the projects in this book, however, I’ve chosen

to use solid-color woven fabrics like linen and cotton. I
generally wash store-bought fabrics by hand or in the
washing machine on the delicate cycle and line dry to
preshrink it.

The most important thing to consider when choosing a base

fabric is the relationship between your fabric and threads,
and to think about what your final embroidery will be used
for. Using a thicker thread or yarn calls for a more open-
weave fabric, while thinner threads can be used on tighter
weaves. Test out the fabric, needle, and thread combination
to make sure it glides through the fabric without getting
stuck, and that you like the effect.

PLAIN-WEAVE FABRIC

Fabrics that are best suited for embroidery, such as cotton

and linen, are called “plain weave.” This means that the
warp and weft, or threads that run horizontally and
vertically, are irregular and don’t require you to pay
particular attention to where your needle enters the fabric.
These are the fabrics that I will be using for projects in this
book.

Some examples of fabrics that I love to use are:

 100-percent quilting-weight cotton: The most common
cotton-weight fabric, it can be found in craft and fabric
stores in a range of weights, colors, and prints.
Linen or linen blends: My absolute favorite type of fabric
to stitch on is linen. The weight is perfect for hand
stitching and it comes in a variety of colors and blends
such as linen/rayon or linen/cotton.
Felt: One of my other favorite materials to stitch on, it
comes in a wide variety of colors, and unlike woven
fabrics, the edges won’t fray when cut. You can get wool
felt, acrylic, or wool blends.

As a general rule, woven fabrics work better for embroidery

than knits, due to their stability. Knits can certainly be
worked with, but due to their stretchiness, they can change
shape pretty dramatically when taken out of the hoop.
 TIP
A great way to freshen up an older piece of clothing, like a cotton top or a jean
jacket, is to embroider on it. You’ll breathe new life into the clothing and have a
one-of-a-kind piece to show off!
NEEDLES

The thickness of your needle should match the thickness of

your thread. Pick a needle that’s too big for your thread and
you’ll leave holes in the fabric. Pick a needle that’s too
small, and the thread won’t be able to pass through the eye.
Experiment with different sizes of threads and needles to
find what works best for you. I usually sew with three
strands of floss and a size five embroidery needle or a 22 or
24 chenille needle. You’ll want a needle with a bigger eye if
you use more strands of floss.

It’s helpful to have a needle book or a piece of felt to keep

your needles in one place. It’s also a real time saver to load
up several needles with thread and put them in your needle
book so that they are ready to go for a project.
TYPES OF NEEDLES

Embroidery (crewel): Medium length with sharp points and

relatively large eyes, these are used for most hand
stitching. They are sized in reverse order, so the larger the
number, the finer the needle.
Chenille: Longer and thicker than embroidery needles,
these have a large eye and sharp point. Chenille needles
are useful for thicker threads, ribbon, or yarn.
Tapestry: These needles have a blunt point and large eyes
and are great for counted embroidery work like cross
stitch. They won’t pierce the threads of your fabric;
instead, they slip between threads without splitting.
Milliners (or straw): These are long, sharp needles
traditionally used in the millinery trade that are great for
making French knots and long bullion knots. The eye and
the shaft of the needle are the same size all the way up,
which means that the needle will slip more easily through
wraps.
Beading needles: Very long and thin needles made
especially for beading.
 TIP
If you’re having trouble getting your thread through the needle, try a metal
needle threader.

Another tip if you’re having a hard time getting it threaded is to turn the needle
around to access the other side of the eye. Most needles are punched by a
machine, which can leave a small metal fragment for the thread to catch on.
THREADS

There are so many different types of threads and yarns. For

me, if it fits through the eye of a needle, I’ll embroider with
it. Try varying the weight of the threads to create different
textures in your embroidery. A single strand of sewing
thread will create a very different look than a wool yarn.
Practice making the same stitch using different types of
thread or yarn as a fun exercise. This is modern embroidery
and there are not a lot of rules here!
TYPES OF THREADS

Cotton embroidery floss: DMC® six-strand cotton floss is

the most commonly used embroidery thread and one that
I use all the time. It’s easy to find at your local craft or
fabric store and comes in a wide array of colors. This
thread is made up of six strands twisted together and can
be separated, allowing you to modify the thickness of the
floss depending on the number of strands you use.
Perle cotton: Unlike embroidery floss, this cannot be
separated. It is a mercerized, twisted single strand and
comes in a range of colors and thicknesses. It has a
beautiful sheen and is soft to sew with.
Sewing thread: Use this for machine and hand stitching. It
comes in a huge array of colors and fibers including
cotton, polyester, rayon, and silk. It’s great for fine lines
and details.
Metallic perle and metallic sewing thread: Metallic threads
come in a limited number of colors and are great for
adding highlights, although they are sometimes difficult to
work with and require patience. It’s best to use shorter
lengths of metallic threads (12 inches) and either one or
two strands at a time.
Crewel yarn: A fine, two-ply thread (two strands twisted to
make one) that’s usually wool. Several strands can be
combined to make a thicker line.
SCISSORS

Having the right scissors on hand for embroidering will make

life so much easier for you! Keep them sharp and use them
for their intended purpose. It can be difficult to snip thin
threads with scissors that are too large. I have a few pairs of
my grandmother’s scissors that don’t leave my studio, as
well as a few other pairs that I can travel with in case they
get lost.
Embroidery scissors: It’s important to have a small pair of
sharp scissors to cut threads with. I use the kind with a
curve on the tip to help get under small stitches. It’s
important to keep these special scissors only for cutting
threads; don’t use them for paper, fabric, or anything
else!
Fabric shears: These shears have long, sharp blades and
are used to cut the fabric you’ll embroider on. Don’t use
them for paper or plastic, as they will get dull faster. As an
alternative, I often use a rotary cutter and a metal straight
edge to cut my fabric.
Regular all-purpose scissors: These are great for cutting
paper and water-soluble stabilizer (see here).
Pinking shears: Nice to have but not necessary, these cut
a zigzag line and help prevent fabric from fraying when
cut. They are great for creating a decorative edge on felt.
Seam ripper and tweezers: While technically not scissors,
these tools are handy if you need to unpick stitches. For
densely stitched areas, try snipping the threads with
embroidery scissors and gently pulling them out with
tweezers. Tweezers are also great to use when working
with beads.
HOOPS & FRAMES

To hoop or not to hoop? That is the question. I personally

almost always use a hoop. I like to keep my fabric flat and
tight when stitching. If I’m stitching something larger like
the portraits in this book, I prefer to use a larger hoop or
frame so that I can see most of the embroidery all at once. If
you use water-soluble stabilizer to transfer your designs to
fabric, I suggest using a hoop.
Wooden or plastic hoop: Hoops come in a wide range of
sizes, from about 3 to 14 inches or larger. Quilting hoops
are even bigger. A quality hoop will maintain the fabric at
an even tension and keep the grain straight. This will
allow you to keep the stitches even and consistent. If the
hoop seems loose, you can wrap the inner ring with a long
¼-inch strip of fabric to keep it nice and tight.
Plastic square frame: These come in a variety of sizes and
have pieces that snap together. They are great for
working on larger projects and keeping your fabric taut,
and I like them because my work is often square or
rectangular and fits in the frame perfectly.
Floor or table stand: These are helpful if you are using a
larger hoop or just want to free up your hands so you
don’t have to hold the hoop. Totally optional, but nice to
have!

VINTAGE METAL HOOP

WOODEN HOOP
Other Embroidery & Sewing Supplies
These sewing supplies are nice to have but not totally necessary to get started. I will
discuss other materials specific to drawing and transferring images in later chapters.

Storage container: I like to keep the threads and materials I use for each
project in a small box so that I can just pull it out when I want to work on a
certain piece.
Thimbles: I don’t use thimbles that often, but they are great to have in case
you need to push your needle through a thick patch of stitches or a few layers
of fabric. I like to collect a few different kinds like metal, rubber, and
decorative ones—just for fun.
Floss bobbins: Either plastic or cardboard, these work well for keeping your
thread organized.
Iron and ironing surface
Thread conditioner: You can swipe the end of your thread through this to help
thread the needle, or you can pull your full length of thread through it to put a
protective layer on the thread.
Needle threader
Quilting pins: When I’m using a large piece of water-soluble stabilizer, it’s
sometimes helpful to pin it down in a few spots to keep it from shifting
around.
Water-soluble pens or pencils
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DRAWING IDEAS
For me, designing an embroidery is equal parts research project and drawing
assignment. Let me explain. Before I pick up a pencil to start sketching, I
research the subject to gain inspiration.

I’ll use Frida Kahlo as an example. A few years ago, I was fortunate enough to
visit her Mexico City home, where you could pay a fee to take photos. I opted
not to take photos that day, which was very uncharacteristic of me! Instead, I
wanted to experience the house, sights, and sounds. I have memories of her
studio; the way her pigment jars and brushes were arranged on her desk; the
specially made bed that she could lay in and paint from because her back was
injured; and the textiles, objects, and artifacts that were once a part of her life.
At that time, I had no idea that I would be writing this book that features a
project dedicated to Frida. If I had known, I probably would have taken the
photos!

In this chapter, I will walk you through my process of designing an embroidery,

from researching and brainstorming to refining drawings before preparing them
for embroidery. This is not a drawing tutorial but a lesson in turning ideas into
images. I want you to understand the process of thinking about and building the
stories behind the images. As you start sketching more, you’ll gain the
confidence to add your own ideas to my designs, eventually designing your own
projects.
Inspiration & Research
To research Frida’s life a bit more, adding to my memories of visiting her home, I did
an online search for images of her, her home, and her incredible paintings. When
possible, try to do hands-on research as well, perhaps going to a botanical garden to
look at flowers and plants or taking your sketchbook to a museum. Documentaries,
podcasts, and movies tell the stories of the lives of women we admire. Pinterest is a
great online image-sharing platform that you can use to make digital inspiration
boards, as I did for Frida.

By doing a bit of research, you will gather information and inspiration to feed your
brainstorm and sketching activities.

SUGGESTIONS FOR RESEARCH

Online search for images and articles
Personal memories
Quotes
Libraries and museums
Documentaries, movies, and podcasts
Brainstorm & Make Lists
After gathering my inspirational research, I like to make lists
of words and mind maps. A mind map is a fun way to
brainstorm ideas organically without too much structure. It’s
a way to arrange concepts, words, and thoughts linked to
each other around a central concept or subject. The maps
can be a simple web of connected circles, or they can be
creative and colorful and incorporate simple sketches and
symbols.
Sketch
This is when I begin to put my ideas on paper by sketching
my thoughts and ideas into icons and images. I bring my
ideas to life and give them a visual vocabulary. When
referencing photographs or online images, be sure to use
them as a guide, and don’t copy them. Interpret and expand
upon what you see, adding your own details.

I like to sketch my ideas in a sketchbook or on plain copy

paper with a soft graphite pencil or brush pen. These are
both great for staying loose and not getting too precise or
detailed. The objective at this stage is to work quickly and
connect ideas to each other when possible. How do the
words and ideas translate into icons and images? What do
your ideas look like?

Just know that as you sketch and ideate more, your skills will
evolve and improve. Start with simple line drawings and you
can continue to add more details as your drawing skills
increase.

Here are a few examples of the many sketches I made for

Frida Kahlo.
Refine
Now you want to consider how big or small your embroidery
project will be, keeping in mind whether you will eventually
frame the piece, make it into a pillow, sew it onto a tote
bag, or make it into a square to be sewn into a quilt.

This is the time to decide what sketches and ideas stay and
which ones get set aside for another project or kept in your
sketchbook. Style and composition come into play here, and
your style may be more realistic or simplistic. Think about
how you want your embroidery to look. Does it consist of
outlines, or are there areas that are filled with stitches to
give the embroidery a bold look?

I knew for my Frida embroidery that I wanted a classic

image of her facing the viewer directly and wearing a floral
headband. From there, I added flowers and other symbols
that I pulled from quotes and her paintings. Adding textures
or flowers is a great way to fill a space with interest.

Here are some refined sketches that I did. I incorporated

color and textures that will influence my thread choices.
Combine ideas and sketches and think about composition.
Start to incorporate color and textures that will influence thread choices.
Line Drawing
To make an image suitable for embroidery, it’s important to
transform your sketches and doodles into a clean line
drawing. I use a pencil, an eraser, and tracing paper to
refine my drawing and finalize the layout and details. Now
that you’ve gone through the process from research and
brainstorm to sketches and refinement of a final line
drawing, focus on the essential lines needed to embroider.

Once I have my drawing finalized on tracing paper, I can

then trace over that drawing using a thin-line pen. As soon
you have your image in line-art format, you are ready to
transfer it to fabric and can make any necessary
adjustments in size.

I scanned the black-and-white images in each project in this

book into my computer and then traced them into vector
format using Adobe Illustrator®. This gives the lines a very
clean appearance and the image can be enlarged or
reduced, colored, and printed very easily. If you are making
an embroidery project for your own use, there is probably no
need to go to this step.

Now you can transfer your line drawing onto fabric using
your chosen method (see “Transferring Designs to Fabric”
on these pages). This is when I usually start the process of
choosing which stitches and colors of thread to use and
often make a copy of my pattern and write notes on it. It’s
helpful to start embroidering with a plan and then adjust as
you go. You are going to have so much fun when you start to
customize projects and eventually start designing your own
patterns!

For complete instructions for embroidering your own portrait

of Frida Kahlo, see here-here.
I use a pencil, an eraser, and tracing paper to refine my drawing and finalize the layout and
details.
The final inked drawing being prepped for transfer.
 Final vector image.

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 GETTING STARTED

Before you start each project, you’ll need to get a couple of things ready. First,
plan your project, including picking your fabric and threads, deciding on the size
of the portrait, and adding or changing any elements from your sketch before
transferring to the fabric. I prefer to use a hoop when stitching, as it holds my
fabric flat and makes it easier to work with my needle and thread.

The base fabric should be larger than your hoop, with plenty of room around the
sides of the image. You may want to frame your piece later or stitch it into a
quilt, so that is something to consider now. I like to use a lightweight piece of
fabric behind my base fabric, especially if it is light in color or weight.
Experiment and see if you like this method too.

I like to gather my materials for each project—including threads, needles,

scissors, thread conditioner, practice hoop, and pens—into a small box or pouch
so that I have them at the ready when I need them.

By taking some time before beginning each project to consider and gather your
materials and methods of approach, you will begin to form a creative process
that works for you and that you can return to each time you embroider. Once
this routine is established, your mind and hands are free to have fun with the
embroidery and to play with your stitches and color.
Assembling the Embroidery Hoop
Depending on the type of hoop you are using, this process
may be slightly different each time. For larger projects like
portraits, I like to use a square, plastic, snap-together frame
or a very large wooden hoop so that I can see the entire
embroidery come together and work on different sections
without moving the fabric around. If using a wooden hoop,
it’s helpful to bind the inner ring with a ¼- to ½-inch length
of fabric strip or narrow cotton tape and to stitch or glue the
two ends down. This prevents the fabric from slipping
around and loosening in the hoop.

To assemble an embroidery hoop with fabric, loosen the screw of the outer ring so that it
fit loosely over the inner ring. Remove the outer ring from the inner one and set aside.
After transferring the design to your fabric, center the fabric over the inner ring. If you are
using a backing fabric, place this in the hoop as well. Then place the outer ring over the
fabric and push the ring over the fabric, fitting it snugly onto the inner ring. Tighten the
screw to hold the frame together.
Go around the edges, gently pulling the fabric snug. You will probably need to tighten the
screw again. Repeat as needed.
Thread & Needle Prep

A crucial part of the creative process is preparing your tools.

Pick out a few needles that you want to use for your project.
You may need a couple for thicker threads, a milliners
needle for French knots, and smaller ones for thinner
threads. I like to load up a few needles with the colors I’m
using and place them in a small piece of felt. This saves me
some time when stitching.
To start, cut about 18 inches of thread.
Cut the end of the thread so that there are no frayed
ends. Gently push the thread through the eye of the
needle, using a needle threader if it’s helpful.
Some embroiderers knot their threads, while others don’t.
I usually start and end my stitching with a knot. You don’t
want the thread to pull all the way through the fabric. If
you don’t knot the end, you can weave the end of the
thread through a few stitches.
Starting & Finishing
With the threaded needle, bring the tip through the back
of the fabric at the starting point. This is referred to as “up
1.” The next step, unless you’re making a knot, is “down
2.” Insert the needle into the fabric and push it through,
pulling the thread until it catches on the front. Continue
stitching.
As you stitch, the thread will inevitably become knotted.
Don’t worry! Try to unknot it, and if after a few tries, it
isn’t working, tie it off on the back and start with a freshly
threaded needle.
To finish stitching or to change colors, tie a small knot on
the back side, close to the fabric. Run the thread under a
few stitches before snipping it. Make sure that when you
end a thread, you have enough length to finish it off—
generally about 5 to 6 inches.
When you finish the embroidery, look at the back side and
trim and loose threads to clean up.
Sewing vs. Stabbing
For most stitches, you can either use a stabbing method or a sewing method. As you
practice and learn each stitch, you will find what works best for you. I generally prefer
the stabbing method because I feel I have better control over the shape, size and
spacing of my stitches.

STABBING METHOD
When using the stabbing method, start by bringing the needle up through the
fabric; then take the needle back down through the fabric, working the stitches
in an up-and-down motion. With each stitch, the needle passes through the
fabric.

SEWING METHOD
The sewing method keeps the needle above the fabric. When making a stitch,
scoop under the fabric and back up in one continuous motion. Your stitching
hand does all the work, and your free hand holds the hoop or fabric. Ideally your
stitching hand does not go under the fabric or hoop.
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 STITCHING GUIDE & TECHNIQUES

Keep a Practice Hoop Handy

When I’m stitching a project, I like to keep a small hoop
handy with the same base fabric I’m using for my final
embroidery. I can test out stitches and colors to see how
they look on the fabric color. It’s also an opportunity to get
messy, try new stitches, or practice stitches you haven’t
used in a while.
 TIP
Keep a roll or length of fabric going as a daily stitching project. It’s portable and
easy to take almost anywhere when you have a few moments to practice. Over
time, you will begin to see the progress you’ve made as your skills improve. You
may even discover new stitch combinations to keep in your toolbox!
Stitch Legend
BS=backstitch
CH=couching
CS=chain stitch
DCS=detached chain stitch
FLY=fly stitch
FK=French knot
OFB=open fish bone
RUN=running stitch
SAT=satin stitch
STR=star stitch
STM=stem stitch
SS=straight stitch
TBS=threaded backstitch
TRS=threaded running stitch
WBS=whipped backstitch
WRS=whipped running stitch
Stitches
Stitches can be divided into categories like line or straight
stitches, fill stitches, long stitches, cross stitches, knotted
stitches, and so on. There are hundreds of stitches and
stitch combinations to explore, so I’ve detailed some basic
stitches and variations to help get you started. When
deciding what stitches to use for different areas of your
embroidery, think about the effect you want to convey. Do
you want to simply outline the image or make a bolder
statement and fill it in?
Backstitch
The backstitch is a great stitch for outlining just about
anything straight or curvy, including lettering and type.
Make longer or shorter stitches for more variety.

HOW TO

Bring the needle up from the back of the fabric at 1, down at

2, back up at 3. Go back down at 4, in the same hole as step
1. The stitches form a continuous line with no breaks
between them. Each stitch should be uniform in length; this
will take a bit of practice. Play with the lengths of your
stitches for variety.
 Stabbing method

Sewing method

Threaded Backstitch
This variation adds weight to the backstitch. Embroider a
line of backstitches, and then starting at the beginning,
bring the thread up through the stitch line and weave, or
thread, in and out of the stitches. The needle does not
pierce the fabric.
Whipped Backstitch
Embroider a line of backstitches. Then, starting at the
beginning, bring the thread up through the stitch line, wrap
the thread around the first stitch and back under the next
stitch, repeating this motion as you progress down the
backstitched line. The needle does not pierce the fabric.
 TIP
Draw lines on your fabric to practice stitches. Working on backstitch? Draw a
straight or curvy line. You can make tick marks for the stitch length too;
eventually you won’t need to do this as you gain confidence.
Chain Stitch
The chain stitch is very versatile and can be used as an
outline and a fill stitch, or to make little flowers. It is thicker
and more textured than the backstitch and stem stitch. Play
with changing stitch lengths and be sure not to pull the loop
too tight or it will lose its shape.

HOW TO

Bring the needle up through the fabric from the back at 1.

Form a small loop with thread, and holding the loop with
your free thumb, insert the needle into the fabric in the
same hole, down at 2. Bring the needle up at 3, inside the
loop. As you pull it through gently, form another small loop.
Insert the needle back down at 4, then up at 5, down at 6.
Continue working along the design line. When the last stitch
is made, finish off the loop with a short stitch to anchor it.
Stabbing method

Sewing method
Detached Chain Stitch (or Lazy Daisy or
Isolated Chain Stitch)
This variation on the chain stitch can be worked in singles or
grouped together to form flowers and small leaves.

HOW TO

Bring the needle up through the fabric from the back at 1.

Form a small loop with thread, and holding the loop with
your free thumb, insert the needle into the fabric in the
same hole, down at 2. Bring the needle up at 3, inside the
loop. Forming a small stitch, insert the needle at 4 outside
the loop. This tiny stitch will hold the loop in place.
Sewing method
Stabbing method
Couching Stitch
The couching stitch uses two threads. The first thread is laid
on the surface of the fabric and stitched down using a
second thread. The laid thread is usually thicker than the
sewn thread, but not always, and it can be contrasting in
texture and color. You can couch with small straight stitches
or other stitches, like satin or blanket stitch. Experiment
with combining colors and shapes.

HOW TO

Bring your first thread up through the fabric from the back
side. Lay this thread along the top of the fabric, following
the design line, maneuvering it as you go. Using a second
thread, stitch down the laid thread at evenly spaced
intervals, going in and out of the fabric. When finished, both
threads pass through to the back of the fabric and are tied
off.
Stabbing method

Sewing method
 TIP
I keep a page of small bundles of each thread I’m using with its thread number
written next to it. If I run out, I have a record of what I’ve used—plus, I just like
documenting things and making lists!
French Knot
Whenever I teach workshops, everyone wants to learn how
to make French knots. I totally get it! Although there is a bit
of a learning curve, they are really fun and easy to make.
French knots are great for filling areas, like flower centers,
and adding cute random details. For me, making a French
knot is all about managing the thread so that it doesn’t
tangle. Have patience and practice a lot. French knots can
be time-consuming to make, but the overall texture you can
achieve is worth it.

HOW TO

Bring the needle up through the fabric from the back side at
1. With your free hand, hold the thread with your index
finger and thumb to the side. Wrap the thread around the
needle front to back two times and pull gently to tighten the
wraps. Keeping the thread taut, insert the point of the
needle into the fabric about 2mm to the side of 1. (Down at
2.) As you push the needle through the fabric, slide the
wraps down the needle against the fabric, keeping taut the
thread held with your free hand. Push the needle into the
fabric to from a knot.

Milliners needles are great for working French knots, as they

have the same shaft thickness throughout the length of the
needle, making it easier to slide the knot off.
 TIP
Don’t let your thread get too short when making French knots.
Stabbing method
Fly Stitch
The fly stitch works well for making a border or a line with
texture and movement. Try combining fly stitches of
different sizes, overlapping them using different colors of
thread for an interesting effect.

HOW TO

Bring the needle up through the fabric from the back side at
1. Insert the needle at 2, horizontally across from point 1,
forming a small loop. Bring the needle up at 3, inside the
loop. Go back down at 4 on the outside of the loop. This
stitch will hold the loop in place.
Stabbing method

Sewing method
Open Fish Bone
This can be a tricky one to master, and I always have to
practice it before I use it in a project. It is perfect for filling
small shapes, like leaves and trees.

HOW TO

Define the shape to be filled. I like to draw two lines down

the center, a few millimeters apart. Working from top to
bottom, bring the needle up through the fabric from the
back side at 1. Make a diagonal stitch, down at 2. Bring the
needle back up at 3 and make another diagonal stitch, down
at 4. Bring the thread back up at 5 and diagonal down at 6,
repeating the process until the shape is filled.
Running Stitch
Similar to the backstitch, the running stitch is for making
straight or curvy lines and can be used to create fun
geometric patterns. I like to use it for adding decorative
details to a piece and experimenting with combining colors
and shapes.

HOW TO

Working right to left, bring the needle up from the back of

the fabric at 1, down at 2, back up at 3, down at 4. The
stitches form a continuous line with equal-sized stitches and
spaces. You can play with the stitch and space length for
variety.

Although you may achieve more precise results with the

stabbing method, this stitch is great for using the sewing
method because it’s so easy to quickly make multiple
stitches.
 Stabbing method

Sewing method

Threaded Running Stitch

This is the same as threaded backstitch, but you start with a
running stitch line.

Whipped Running Stitch

This is the same as whipped running backstitch, but you
start with a running stitch line.
Satin Stitch
The trick to keeping satin stitch looking neat is to outline it
with a line stitch, such as backstitch. By doing this, you can
hide any imperfections and inconsistencies. Satin stitch is
great for filling areas and adding a bit of dimension to
shapes.

HOW TO

Define the shape to be filled. Bring the needle up through

the fabric from the back side at 1. Make a stitch across the
shape and insert the needle into the fabric at 2. Cross back
under the shape and bring the needle up at 3, next to 1.
Keep crossing over and under until the shape is filled. The
stitches should be laying side by side with consistent
tension so that they don’t pucker.

To add dimension to the shape, stitch the outline of it first

with backstitch or split stitch. Then stitch around the outline
stitch using the method above to fill the shape.

To tidy up the outline of a satin stitch, stitch around the

shape close to the edge with backstitch, chain stitch, or
stem stitch.
Stabbing method
Sewing method
Stem Stitch
This is one of my favorite outline stitches to use. It’s simple,
it has a bit of texture, and it follows curves beautifully. To
maneuver around tight curves, simply shorten the stitches.
This stitch is perfect for script lettering, facial features, and
flower stems.

HOW TO

Working from left to right, follow the design line. Bring the
needle up through the fabric from the back side at 1. Make a
slightly diagonal stitch, inserting the needle at 2, just
outside of the design line. Bring the needle back up at 3,
halfway between points 1 and 2, on the center design line.
Continue making uniform stitches following the line.
Stabbing method

Sewing method
Star Stitch
Star stitch is fun to use when creating a decorative border,
filling a large shape, or making gemstones sparkle. Try using
a variegated or sparkly thread to achieve a more textural
effect.

HOW TO

Bring the needle up through the fabric from the back side at
1. Using straight stitches, make a cross stitch going down at
2, up at 3, down at 4. Then work a diagonal cross, up at 5,
down at 6, up at 7, down at 8. Make a small cross stitch in
the center to hold the star stitches in place. Up at 9, down
at 10.
Stabbing method

Sewing method
Straight Stitch
This is arguably the most versatile stitch on the planet!
Straight stitches simply consist of up-and-down stitches.
Vary the length as needed. When I need to fill a random
space, I straight stitch! Straight stitches are ideal for
building up texture and experimenting. Seed stitches are
small straight stitches used to fill an area.

HOW TO

Bring the needle up through the fabric from the back side at
1 and insert the needle down at 2. Repeat, working in any
direction and changing the length of the stitches as needed.
 Stabbing method

Sewing method

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 STITCH MAP

Before you begin stitching a portrait, look at the overall movement and direction
in the face. Here I’ve used the Ruth Bader Ginsburg project that appears on
these pages.

With the red arrows in figure 1, you can see how I’ve approached stitching the
face and neck, following the topography of the face. This information isn’t in the
transferred pattern (see here-here to learn how to transfer a design to fabric),
but if you look at my final embroidery on this page, you can use that as a
reference. This is an intuitive process, so use this as a guide for stitching a face,
and step back from your work often to take a break and gain perspective. When
I get too close to my work, it’s often difficult to see the real progress and areas
where I need to pivot and change direction.

The stitch map in figure 2 shows in greater detail my approach to filling the face
with color and texture. Again, use this as a guide for stitching the overall effect
of a face. Use longer stitches for bigger areas of color and shorten the stitches
for detailed areas, such as the eyes, nose, mouth, and ears. Your stitches will
look slightly different from mine, and that’s OK!
FIGURE 1
 FIGURE 2

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TRANSFERRING DESIGNS TO FABRIC

Whether you prefer to use the design I have provided in each project or want to
get creative by adding other elements or drawing your own design, you will need
to get that design transferred onto fabric. There are quite a few methods of
transfer, and I’ve used different ones in different projects. The method you
choose will depend on several factors, including the size and detail of the
project, the content and color of the fabric you are using, and the tools and
materials that are available to you. Take your time preparing your fabric and
choosing the best method of transfer, as this will set you up for a successful
(and fun!) embroidering project.
Preparing the Fabric & Hoop
Before transferring the design, I like to wash my fabric by hand or using the
gentle cycle of the washing machine, and then let it dry. This will wash away
any sizing or chemicals left on the fabric by the manufacturer and preshrink the
fabric, preventing puckering or distortion of the stitches later. This is important
especially if you will be washing away stabilizer or using a water-soluble pen or
pencil. After pre-washing, iron your base fabric to remove any wrinkles.

At this stage, I also choose the hoop I’m going to use for my project, often
opting for a larger one that will fit the entire project within the hoop so that I can
see and work on it all at once, rather than shifting a smaller hoop around on the
piece as I stitch.

Before committing to any of the transfer methods listed here, it’s important to
test them on a scrap piece of the fabric you are using. Different types of fabrics
will work differently with each transfer method. Testing the transfer method will
save you time, money, and heartache in the long run.
METHOD 1: WATER-SOLUBLE STABILIZER

Since I discovered the existence of water-soluble stabilizer

at a workshop years ago, this has been my go-to method for
transferring designs to fabric, especially if I’m working on
something complex and detailed. With this material, you
can copy, trace, or print the pattern directly onto the
stabilizer, and then place that on your fabric. I like the
sticky-back version that sticks onto the fabric, rather than
pinning it down.

You can copy the black-and-white design in each project in

this book onto the stabilizer sheets or use a light source to
trace the image if you don’t have access to a printer and
copier. You can also scan the image into your computer,
resize it as needed, and print onto water-soluble stabilizer.

I like Pellon® and Sulky Solvy® brands. When you are

working on dark fabrics or if you have a detailed pattern,
the water-soluble stabilizer method is a great option.
STEP 1
Trace, copy, or print the design of your choice onto a water-
soluble stabilizer sheet. Depending on the size of the
embroidery pattern, you may need to use two sheets of
stabilizer. I prefer to print or copy versus tracing with pencil.
STEP 2
Peel off the backing if necessary and place the sheet firmly
onto your fabric. Now you are ready to stitch your design!
Remember that the stabilizer is water soluble and any drops
of water will dissolve it. Very high humidity will also affect
the stabilizer, so store it in a cool, dry place.
STEP 3
After stitching the design, remove the fabric from the hoop
and trim off any excess stabilizer, taking care not to cut
your stitches.
STEP 4
Soak the embroidery in warm water, gently agitating the
water, and the stabilizer will dissolve away. I often use a
soft, clean toothbrush to gently wash away any remaining
stabilizer. After completely removing the stabilizer, lay and
pin your project flat to dry.
METHOD 2: DIRECT TRACING

These methods of directly tracing the pattern onto the fabric

are, for the most part, removable by heat, water, or eraser.
In addition to the pens mentioned below, you could also use
a sharp graphite pencil. Just be sure to test the method you
choose before transferring to your fabric.
FriXion® pen: My favorite method uses a FriXion pen by
Pilot. They come in a variety of colors, and the best part is
that you can use an iron to “erase” the ink if you make a
mistake.
Water-soluble pen: I prefer to use a water-soluble pen
versus a marker to get more precise marks on my fabric.
When using a water-soluble pen or pencil, just remember
that if your fabric gets wet, the lines will disappear.

STEP 1
Print or copy the design at the size you want to embroider
and tape it to your light source.
STEP 2
Place your fabric in a hoop that’s large enough to fit all of
the design. If the hoop is too small, you will have to
reposition it to finish tracing the entire design. Using a hoop
keeps the fabric taut enough to trace the lines accurately.
Here I’ve used a FriXion pen.
STEP 3
If you make a mistake, simply iron over the ink lines. Once
you finish stitching, gently iron any ink lines that still show.
METHOD 3: HOT IRON TRANSFER

There are quite a few iron-on pen and pencils available, but
my absolute favorite is the Fine-Tip Iron-On Transfer Pen
from Sublime Stitching®. They come in black and a variety
of colors, and you can use the transfer multiple times. Just
make sure to trace the reverse image of the design,
especially if it has type. Otherwise, your design will transfer
backwards. And remember that these pens are permanent
and do not wash out. Always read the manufacturer’s
instructions before using transfer pens or pencils.

OTHER MATERIALS
There are many variations and methods for transferring patterns to fabric, including
carbon transfer paper, stencils, and pouncing. I’ve outlined the three that I think best
suit the projects in this book because of their complexity. Experiment and see which
methods you like best! Check “Resources” on these pages for my favorite materials
and where to find them.

STEP 1
Print or copy the image you want to transfer and tape it to
your light source. You will need to reverse the image when
using transfer pens or pencils.
STEP 2
Trace the reverse image onto copy or tracing paper. I prefer
using copy paper, but you can experiment to find what
works for you.
STEP 3
Iron the image onto preheated fabric with a hot iron. Gently
lift a corner of the paper to see if it transferred. If not, keep
ironing, taking care not to shift the paper around.
OceanofPDF.com
FRIDA KAHLO
 FRIDA KAHLO was a self-taught Mexican painter who grew to be one of the most
influential artists of her generation. Known for her self-portraits, Frida produced
dramatic depictions of her physical and emotional pain, but through her art, she
turned pain into beauty. After a horrific bus accident and multiple surgeries, she
spent months recovering in bed, where her mother rigged a special easel and
mirror so that Frida could paint lying down. Despite her lifelong suffering, she
was resilient and never stopped doing what she loved.

You can use the image on this page to embroider your portrait of Frida Kahlo, or
spend some time researching Frida and make your portrait of her your own! One way
to gather inspiration is to do an online image search. Lots of images of Frida Kahlo
will pop up; use those as references when drawing her!

Notice the flowers in Frida Kahlo’s paintings, as well as the patterns and details in her
clothing and in the backgrounds of her paintings. Perhaps you can change out the
accessories in one painting to those seen in another one.

By observing the details in Frida Kahlo’s paintings, you can get to know her better
and may feel inspired to add the elements that are meaningful to you into your own
embroidery.

Other items you may want to sketch and embroider include flower varieties, such as
calla lilies, poppies, marigolds, sunflowers, magnolias, and fuchsias; butterflies;
parrots; monkeys; floral headbands; and items from her studio.
Stitch & Color Guide
The embroideries and patterns in this book are designed to
be playful and flexible to suit your taste and stitching style.
Here are a few ways to interpret the pattern with stitches.
These are just suggestions to get started, though! Use this
as a starting point; then let your imagination go wild. Don’t
want a yellow flower? Change it! Want to use a different
pink color? Go for it!

Threads & Stitches

Gather the threads you’ll need and plan out how you want
to approach this design. This is a detailed embroidery, and I
find that a good way to approach this project is to think
about it in layers. What elements overlap each other? Work
on the bottom layers first and build up color and textures.
It’s OK to be playful and expressive! Each DMC color is listed
below, but you might want to see what colors you have in
your collection and use those first, substituting as you want.
Use different threads and yarns for added texture.
THREAD COLOR GUIDE
DMC 906

DMC 907

DMC 727

DMC 3820

DMC Blanc

DMC 959

DMC 955

DMC 311

DMC 321

DMC 601

DMC 894

DMC 352

DMC 606

DMC 783

DMC 444

DMC 869

DMC 758

DMC 413

DMC 310

STITCHES USED
BS=backstitch
SS=straight stitch
DCS=detached chain stitch
STM=stem stitch
FK=French knot
SAT=satin stitch
Pattern
Use your method of choice to transfer this design to your fabric. Keep as many
details as you want, leaving some out or adding your own! To download any of the
patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Flowers & Leaves
When embroidering motifs like flowers, consider their layers.
Embroider the flower on the bottom layer first, then the
yellow overlapping one. Stitch the flower petals first, then
the leaves, to create a nice, layered look. Add the center of
the flower last. You can embroider just the outlines of the
designs or fill in the petals with color to create a more
dramatic design.
STEP 1
Fill in the petals with satin and/or straight stitch.
STEP 2
Outline using backstitch; then add details using straight
stitch.
STEP 3
Fill in the center using two shades of yellow and French
knots.
STEP 4
Fill in the petals with straight stitches.
STEP 5
Outline with backstitch.
STEP 6
Fill in the leaves with straight stitches and outline with
backstitch.
STEP 7
Fill in the petal with satin stitch.
STEP 8
Outline with stem stitch.
STEP 9
Add details with straight stitch and French knots, as well as
a few French knots to form the center of the flower.
Finishing the Flower Crown
If you’d like, you can stitch the smaller flowers as you stitch the larger flowers around
the flower crown. This way, you won’t have to change out your needle and thread as
much! The little flowers are really fun to make, so feel free to add more!
Hair & Accessories
When embroidering faces, it’s usually best to keep things
simple. I like using backstitch for facial features, varying the
lengths of my stitches as needed for details. Below are
different options for Frida’s eyes, nose, and mouth. Try
practicing these facial features on a scrap piece of fabric
first.
STEP 1
Use a combination of backstitch and straight stitch, varying
the lengths of the stitches.
STEP 2
Outline the ear with backstitch. You can add a bit more pink
as well for more depth if you like.
STEP 3
Outline the chin and neck with backstitch, again adding pink
for depth.
Eyes & Eyebrows
STEP 1
Fill in the iris with straight stitch. Start in the center and
radiate outward. Outline the iris with brown backstitch and
add a star stitch in the center for the pupil.
STEP 2
Add the rest of the details using backstitch. Add a tiny white
stitch for the white highlight.
STEP 3
Add the bridge of the nose with a few small slip stitches.
Then create the eyebrows with small straight stitches.
Nose & Mouth
STEP 1
Use one color for the nose, plus a bit of pink on the tip if
you’d like. Use backstitches of varying lengths to
accommodate the curves.
STEP 2
Outline the lips using small red backstitches. To add more
dimension, fill in the lips using straight stitches.
Necklaces & Banner
This area is very layered, so approach it by working from the bottom layer up.
Embroider the pink and red trim on the shirt first, as well as the golden necklaces.
Then add the dark green trim and outline. Finish with the blue necklace and the
hummingbird and banner.
STEP 1
Stitch two rows of French knots very close together to form
the first necklace. The darker gold necklace consists of one
row of stem stitches. You could also experiment with
metallic thread here.
STEP 2
Start with light pink using satin stitch to fill the neckline.
Add long straight stitches on top of the satin stitches to form
the diamond pattern; then add a small straight stitch at the
intersections to hold down the long stitches.
STEP 3
Add back stitches around the edge of the pink collar; then
add a stem stitch in green to form the outline of the shirt.
STEP 4
Outline each bead of the necklace in backstitch. Fill each
bead with “sloppy” straight stitches to add fun texture and
dimension.
STEP 5
Outline the hummingbird using small stem stitches.
STEP 6
Add details with stem stitches. Use one or two strands of
thread to create dimension, and add final details with
straight stitches.
STEP 7
Using small stem stitches, outline the letters, or use
backstitch. Add a French knot to dot the “i.”
STEP 8
Outline the banner using backstitch.
ELEANOR ROOSEVELT
 ELEANOR ROOSEVELT was born in 1884 in New York City. She became the longest-
serving First Lady of the United States and fought fiercely for the poor, workers,
women and youth groups, Japanese-Americans, miners, and the Civil Rights
movement. She expanded the traditional role of First Lady into one that gave
her time to write, teach, and pursue reform politics. Eleanor used her privilege to
enact change and advocate for those who suffered the most.

Eleanor Roosevelt lived a full and expansive life, and you will find a lot of information
about her online. Read biographies of her life as an activist, a writer, and a
humanitarian. Study quotes from her that you find inspiring.

Suggestions include:

“You must do the thing you think you cannot do.”

“Do one thing every day that scares you.”

“The giving of love is an education in itself.”

“The future belongs to those who believe in the beauty of their dreams.”

“It is not fair to ask of others what you are not willing to do yourself.”

Doing an online image search for Eleanor Roosevelt will bring up lots of pictures of
her in clothing, hats, and jewelry that tell the story of her time.

Other things you might want to sketch and embroider in a portrait of Eleanor
Roosevelt include the White House or a portrait of Eleanor with her husband,
President Franklin D. Roosevelt.
Stitch & Color Guide
I’ve taken inspiration for the colors in this project from
photos of the time period in which Eleanor Roosevelt lived:
black and white; soft, warm grays; and muted colors. The
stitches are simple, and I’ve used a loosely woven natural
cotton with some slubby pieces in it. I’ve used DMC cottons,
but the softness of the piece could also be reinforced with
beautiful wool threads.

Threads & Stitches

Gather the threads you’ll need and plan how you want to
approach this design. You can follow the threads I’ve used or
choose a different color scheme to suit your style. I love
looking at old photos of Eleanor Roosevelt to get inspired,
and then interpreting those images into colored stitches.
THREAD COLOR GUIDE
DMC 3824

DMC 722

DMC 772

DMC 471

DMC 800

DMC 3765

DMC 310

DMC 645

DMC 07

DMC 3033

DMC 4000

DMC 4145

DMC E5200

STITCHES USED
BS=backstitch
CH=couching
FK=French knot
RUN=running stitch
SS=straight stitch
TBS=threaded back stitch
Pattern
When transferring this design, consider using different textures on the blouse, collar,
and bow, or adding to the background. I’ve kept the details fairly simple, but you
should feel free to add more details if you’d like. Include any of Eleanor’s powerful
quotes, her name in a 1940s font, or a fun picture frame using a simple stitch. To
download any of the patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Face
To embroider the face for this project, I’ve used mostly
running stitches of varying sizes and one color (black) for
the facial features. Experiment with adding soft pinks to the
lips or other skin tones.
STEP 1

Outline the eyes with small backstitches and use a few

straight stitches for the corner. Keep it simple here!
STEP 2

Outline the iris with a few small backstitches and fill with
straight stitches or satin stitch. Add the creases of the eyes
using running stitch and fill in the brows with straight
stitches.
STEP 3

Outline the nose and creases of the cheeks with running

stitch. To navigate the tight curves of the nostrils, shorten
your stitches. Again, keep it simple!
 Mouth Options
As with all of my patterns, you have the freedom to change up the colors,
stitches, elements, and layout. Here are a few options for the mouth that I
stitched on scrap fabric before finally landing on the simplicity of a black line.
I’ve used straight stitches to fill the lips with color.
STEP 4

Outline the lips using running stitch. I’ve used one strand of
thread to outline the teeth with straight stitches. I suggest
looking at some photos of Eleanor smiling to get a good
sense of the structure of her mouth and teeth.
Hair
Eleanor Roosevelt’s hair is a mix of soft, warm grays and
browns. It’s not essential to stitch each strand exactly as I
have; rather, you want to capture the shadows and light to
create the forms of the hair. I’ve used three strands of DMC
cotton. You can also use one or two strands to indicate some
of the wispy strands around her face. All of the stitches are
running stitch, but you can substitute any other type of
outline stitch, such as backstitch or stem stitch.
STEP 1

Stitch light-colored strands of hair using the lightest tone

and light variegated thread. Add a medium tone to build
volume.
STEP 2

Layer in the darker tones to build shadows. Using a dark

variegated thread is a great way to add several colors to the
stitches.
STEP 3

Continue to build volume with medium and dark thread

colors.
STEP 4

Finish adding any light-colored stitches that need to be

filled. You can also fill in with darker colors to finish off the
hair if necessary. For some of the wispy hairs around the
face, use two strands instead of three to create variety in
the texture.
Shirt, Collar & Bow
Keep the stitching consistent when outlining the blouse. A
simple running stitch will unify the entire design, but you
should feel free to use different types of threads or yarns to
make it even more special. I’ve used a metallic and cotton
blend for the bow to add a bit of sparkle.
STEP 1

Stitch the outlines of the shirt, collar, and bow using running
stitch.
STEP 2

Add the darker blue in the collar. You can use the same color
inside the bow to create a shadow effect.
STEP 3

I’ve added a bit of sparkle in the bow using a special

multistrand thread. One of the strands is metallic.
STEP 4
Outline the flower with light-blue backstitch. Thread the
darker blue through the backstitch without piercing the
fabric, carefully maneuvering in the corners. This is the
threaded backstitch. Add the straight stitch details to the
center.
STEP 5
Using the same method as in step 4, stitch the green flower
with the light green first, followed by the dark green.
STEP 6
Finish by stitching the orange flowers with light and dark
colors. You can also add small seed stitches to the shirt for
more detail, or just keep it simple with flowers.
Necklace
Eleanor Roosevelt often wore strands of pearls or other
necklaces. You can use interesting-looking yarn or beads to
interpret these necklaces. See what you have in your
materials, and experiment with different looks. Below are
three different ways to interpret the pearl necklaces. Have
fun with them and use some practice fabric to play before
stitching your piece!
OPTION 1
Here I’ve used beautiful hand-spun wool yarn. If you go a
similar route, make sure to use the right size needle. I’ve
used a needle for ribbon embroidery that has a large eye to
accommodate the thick yarn, as well as French knots. For
the larger knots, I’ve wrapped the wool twice around the
needle, and with the smaller ones, I’ve wrapped once.

OPTION 2
You can also stitch beads or faux pearls onto the fabric. Here
I’ve used just one strand of beads, but you could try
different sizes of beads and create more strands. I’ve used a
size 10 beading needle and one strand of DMC white thread.

OPTION 3
Here I’ve used French knots again, but with a six-strand
thread that is iridescent (DMC E5200). This thread is more
difficult to work with and often gets tangled, especially on
the back, but I love the look of it! I’ve used three strands
here.
Typography
Sketch out Eleanor’s name and your favorite quotes from her before adding them to
your portrait. Stitches that work well for embroidering type include backstitch, chain
stitch, and couching.
Finishing Your Embroidery
After you’ve finished stitching the necklaces, step back from
your work and decide if you want to add anything
else . . . perhaps a hand-stitched quote or more textures?
Sometimes less is more, so you might be finished! I’ve used
printed water-soluble stabilizer, so I rinse and soak it in
water, and then dry flat.
The Back Side of the Embroidery
I’m showing you the back side of this embroidery for a
couple of reasons. I’ve used quite a bit of black thread, so
you’ll notice that I didn’t carry the thread over long
distances. This prevents the thread from getting stuck or
snagged on things. Because the fabric weave is more open
and lighter in color, you won’t see the threads showing
through the front. I’ve used a combination of small knots
and the weaving method to finish my stitches. Either way is
perfectly fine in my book! I do like to keep the back fairly
tidy, but I’m not obsessive about it. You’ll notice a few spots
where my thread got a bit tangled, but I’ve done my best to
tuck it back in and keep stitching.
MAYA ANGELOU
 MAYA ANGELOU was many things in her lifetime, including a poet, an actress, a
screenwriter, a dancer, and a civil rights activist. Maya experienced prejudice
and racism while growing up in the South, and these experiences led her to help
her friends Malcolm X and Martin Luther King Jr. fight racial injustice. Maya
Angelou used the power of her words to champion equality for Black women
and men. In her books, including the internationally acclaimed I Know Why the
Caged Bird Sings, Maya Angelou explores issues of identity, family, rape, racism,
the struggle for freedom, and literacy. In spite of a life filled with sadness, death,
and racial abuse, Maya traveled the world and became a strong survivor,
inspiring many lives with her writing and speaking.

Born in the month of April, Maya Angelou’s birth-month flowers are the daisy and the
sweet pea. Flowers are great for borders, details to fill space, and as I have done,
definition in the letters of a name.

Maya Angelou was incredibly active throughout her life, and there is an abundance of
imagery to reference when drawing ideas. Doing a quick online image search will
yield many references, but you can also watch documentaries and read interviews
and Maya’s books for inspiration as well.

I’ve read that her favorite color was pink and that her favorite words were “joy” and
“love.” It’s easy to incorporate some of Maya Angelou’s words, phrases, and quotes
into your embroidery designs and use them to fill shapes or spaces.

Maya’s writing rituals included a bottle of sherry, a yellow legal pad, a thesaurus, a
Bible, and the game of solitaire when she needed a break. These are all great items to
incorporate into embroidered stories about her.

She recited a poem at President Bill Clinton’s inauguration, and President Barack
Obama awarded her the Presidential Medal of Freedom in 2010.

Phrases to embroider:
“You can’t use up creativity. The more you use, the more you have.”

“You may kill me with your hatefulness. But still, like air, I’ll rise.”
Stitch & Color Guide
I’ve chosen a gorgeous mustard-colored linen to stitch this
portrait of Maya Angelou. It’s a nice midrange neutral to
stitch on and works well with so many colors. By performing
an online image search for “Maya Angelou fashion” or
“Maya Angelou dress,” you will find lots of inspiration for
color, pattern, and texture to use in your designs if you want
to customize this piece.

Influenced by African and European cultures, Angelou was

always impeccably dressed, from her pearls and head wraps
to patterned dresses.

Threads & Stitches

This project, like so many others in this book, is a great
opportunity to experiment with pattern, texture, and color.
Play with using contrasting colors, like orange and blue or a
range of greens, for the head wrap and blouse Maya
Angelou wears. Experiment and practice on a piece of scrap
fabric with different colors to work out your color scheme, or
feel free to follow the colors and stitches I’ve used.
THREAD COLOR GUIDE
DMC 869

DMC 3031

DMC 310

DMC 317

DMC BLANC

DMC 498

DMC 22

DMC 3859

DMC 4000

DMC 783

MET GOLD

DMC 3822

DMC 4015

DMC 4065

DMC 4126

DMC 518

DMC 336

DMC 69

DMC 4190

DMC 891

DMC 4070
STITCHES USED
BS=backstitch
CH=couching
CS=chain stitch
DCS=detached chain stitch
FK=French knot
RUN=running stitch
SS=straight stitch
STM=stem stitch
TBS=threaded backstitch
TRS=threaded running stitch
Pattern
When transferring this design, consider embroidering a quote from Maya Angelou in
the background or below the portrait in place of her name and flowers. To download
any of the patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Face
I’ve kept the details simple in Maya Angelou’s face, but
small details are important—the twinkle in her eye, the way
her lips turn up slightly at the corners. I’ve used three
strands for most of the face, but if you’d like to add a few
more expressive details or areas of shadow, you can switch
over to one strand of thread. I like to keep the face simple
and add more detail to the rest of the image.
STEP 1

Using backstitch, embroider the outlines of the face,

including the upper eyelid. Use stem stitches to embroider
the facial details, shortening the stitches around small
curves. Use small straight stitches for details like creases by
the mouth and eyes.
STEP 2

To give areas of the face a little more definition, outline

them using a darker thread. I’ve used dark brown, but a
deep, dark purple or midnight blue would be great too. If
you want to add more detail in this stage, switch to a single
strand.
STEP 3

Outline the lips using dark maroon and medium red. Adjust
the size of the backstitches as you maneuver around
corners and creases.
STEP 4

Fill the upper and lower lips with two shades of red using
different sizes of straight stitches. The upper lip is darker
here. Overlap the stitches as needed, changing direction to
show dimension.
STEP 5

Add highlight stitches using the lightest red or pink color.

With two strands of the darkest brown, use straight stitches
to add a bit of definition between the lips and a tiny bit of
shadow around the edges.
STEP 6

Using two strands, outline the iris with backstitch and fill the
area with small straight stitches. Leave room for the black
pupil. Outline the bottom eyelid with dark gray thread.
STEP 7

Add black straight stitches for the pupil and backstitch for
the upper eyelid. Add small straight stitches for the inner
corner of the eye.
STEP 8

You may need to use a thimble here to push the needle

through the layers of stitches. Using two strands of white
thread, add small straight stitches to indicate the whites of
the eyes. Add a few tiny stitches as highlights on the pupils.
Stitch the eyebrows using straight stitches.
Hair, Head Wrap & Earrings
As you may have noticed, I love using variegated threads!
You can achieve so many different shades and tones using
just one thread. The head wrap on Maya Angelou is a great
place to play with color and texture, using different
thicknesses and colors of threads and yarns. You will notice
that in my final embroidery, I’ve added more pattern and
texture to the head wrap.
STEP 1

Stitch light-colored strands of hair using the lightest and

medium variegated threads. Feel free to add more stitches
to fill in spaces if necessary. For areas like the hair, where
I’m “painting” with color, I usually have a couple of needles
going at the same time. It’s a fun way to stitch; just make
sure to keep the threads from tangling.
STEP 2

Layer in the medium and dark colors using stem and

straight stitches as needed. Add French knots for texture.
STEP 3

Outline the earrings with backstitch. Here I’ve used DMC

Moline Etoile (C725) because it has a little sparkle. Fill the
earrings with metallic gold thread using chain stitch. If you
need to fill in space, add another row or two with backstitch
or straight stitch.
STEP 4

Using backstitch, outline the head wrap. Here I’ve used a

beautiful hand-dyed wool yarn (right) to give the stitches a
chunky look. Add more details using chain stitch, stem
stitch, and couching. Continue to embellish the head wrap
with fun patterns if you’d like.
 TIP
Another option is to research Maya Angelou’s various hairstyles and add hair to
the portrait instead of a head wrap.
Shirt & Text Outline
If you are using printed water-soluble stabilizer, as I do on
most of my work, you will notice that over time it may shift
around a bit. On larger pieces like portraits, I often use pins
to keep the stabilizer in place. In this portrait, I’ve also
stitched down the “Maya” text using a single strand of floss
and backstitch. This helps neatly outline the text and keeps
the stabilizer from shifting too much.

Take some time to research the creative outfits that Maya

Angelou wore as an actress, a singer, and a writer in places
like Egypt, Ghana, and the United States. Her clothes were
colorful and authentic, and you will take much inspiration
from them. This is where you can also have a lot of fun with
embellishments, such as seed beads or sequins, to add
color and texture.
STEP 1
Start by outlining the shirt using stitches that give a bit of
texture: threaded backstitch and running stitch.
Alternatively, you can also use whipped stitches. The outline
of “Maya” and light-blue detail stitches use a single strand
of thread. Later you will embroider flowers on top of portions
of the blue lines.
STEP 2
Because this is a complex area, I’ve used two strands of
thread for each color. It’s fun to have several needles going
at once, but you can also embroider each color one by one
using straight stitches.
STEP 3
If you’d like, you can add extra detail by stitching on some
colorful beads or adding French knots here for more sparkle
and texture.
Flowers & Type
I’ve chosen daisies from Maya Angelou’s birth month of April
to give shape to the name “Maya” in this portrait. Feel free
to experiment if you want to add sweet peas (the other birth
flower from the month of April) to the mix as well. You can
also leave off “Angelou” if you’d like and add even more
flowers!
STEP 1

Embroidering the flowers is a really fun step in this project.

I’ve used a variety of stitches for the daisies, including
detached chain stitch, French knots, and straight stitches.
You can add other types of flowers too for extra variety. A
simple yet stunning effect to try is using only two colors—for
example, white and yellow—with a variety of threads and
yarns.
STEP 2

Continue to fill in the areas around the name “Maya” with

flowers, stems, and filler stitches, including straight stitches
and French knots. As you can see, I’ve added extra-bright
colors and fun yarns for more texture. Be playful and have
fun!
STEP 3

Use couching stitch to embroider “Angelou” in two colors.

Feel free to draw the type in your own handwriting or switch
up the colors. Chain stitch is another great option here.
STEP 4

Embroider the swirls in the background, or keep the look

simple and leave them off. Here I’ve used a simple running
stitch with two strands.
STEP 5

If you are using water-soluble stabilizer to transfer your

pattern to the fabric, you can wash it off now. To reduce the
amount of stabilizer you have to wash out, carefully trim off
as much excess as you can. If you are using a different
method of image transfer, go to step 7.
STEP 6

Wash off the water-soluble stabilizer using lukewarm to

warm water. I use a soft, new toothbrush to gently wipe off
all the little bits, rather than rubbing the fabric together, to
avoid disturbing the stitches. Stretch and dry the fabric.
STEP 7

After the fabric has dried, gently iron the back. Decide if you
want to add more details and flowers to your piece. I’ve
added more flowers and stitches around the word “Maya” to
fill in the empty spaces. This is a great time to add any
beads or other embellishments if you wish!
Finishing Your Embroidery
Sometimes it’s difficult to know when to stop stitching. I’m a
bit of a maximalist, so I love adding more stitches and
embellishments, and often I struggle to simplify. By leaving
out details, however, you allow the viewer to fill them in. Do
what feels right for yourself and your stitching style. More
isn’t always better . . . or is it? Step away from your work for
a few hours or days and just let it be. You’ll come back with
a fresh perspective and you will know if you need to add
anything to the piece or if it’s truly complete.
The Back Side of the Embroidery
I love the back side of an embroidery almost as much as, if
not more than, the front! It has a visual language all its own,
almost like a shorthand version or an abstraction of the
front. I try to keep the back sides of my pieces as neat as
possible, but I don’t let that hinder my progress. It’s mainly
a matter of managing threads, and over time, you’ll figure
out how best to do this. The main reason I like to keep the
back tidy is so that threads don’t come loose, pop up
through the front, or get lumpy. There’s a lot of debate
regarding knotting your threads. I don’t mind knots,
although I like to keep them small and tuck the tails under
my stitches.
HARRIET TUBMAN
HARRIET TUBMAN was born around 1820 to enslaved parents. Conductor of the
Underground Railroad, leading abolitionist, nurse, spy, and suffragist, Harriet
escaped to freedom in 1849 and rescued and led dozens of enslaved people
from Maryland to freedom in the North. One of her greatest achievements was
the raid at the Combahee River, where Tubman and Union soldiers rescued more
than 700 enslaved people working on nearby plantations. Harriet Tubman died
on March 10, 1913, of pneumonia. She was buried with military honors at Fort
Hill Cemetery in New York.
Born Araminta Ross, she married a free Black man named John Tubman, taking his
last name and changing her name to Harriet. Worried that she and the other slaves
on the plantation where she lived were going to be sold, Tubman ran away to
freedom, settling in Philadelphia.

She rescued dozens of enslaved people from Maryland and assisted others in
making their way to Canada. As her reputation in the abolitionist community grew,
she became acquainted with Frederick Douglass and John Brown.

Harriet Tubman became an outspoken advocate for African-American and women’s

rights, insisting that all be afforded dignity, treated with respect, and granted equality.

It’s believed that Harriet personally led at least 70 enslaved people to freedom,
including her elderly parents, and instructed dozens of others on how to escape on
their own. She once said, “I never ran my train off the track and I never lost a
passenger.”

Tubman depended on her great intellect, courage, and religious faith to escape
slavery and rescue others. She followed rivers that snaked northward and used the
stars and other natural markers to guide her. She relied on sympathetic people, Black
and White, who helped her to hide, told her which way to go, and connected her with
other people whom she could trust.

Tubman was an ardent suffragist and began appearing at suffrage conventions

before the Civil War, becoming more active as the 19th century wore on. She fought
for civil and political rights for not only women and minorities, but seniors and people
with disabilities too, and she established a nursing home for African Americans.
Stitch & Color Guide
Before beginning your piece, do a bit of planning and think
about how you want to approach this project. Each project in
this book offers options for you to customize and make your
own. Take some time to carefully choose the base fabric you
want to embroider on, as it will set the tone of the piece
from the start.

This project can be simplified to just the embroidery on a

solid background. To give yourself a challenge and add
dimension to the piece, you can use simple raw-edge
appliqué (see here).

Threads & Stitches

Depending on the color of your base fabric, you may want to
use the colors of thread suggested here, or you can choose
different variations. I like to collect all of my threads and lay
them on top of the fabric and next to each other to see if I
like the effect. For each project, I tape a small bundle of
thread tied in a knot to a piece of paper to keep track of the
colors I’m using. It’s a fun exercise, and if you need to buy
more thread, it gives you a record of what you’ve used.
THREAD GUIDE
DMC 938

DMC 310
DMC 315

DMC 3859

DMC 778

DMC 413

DMC 27

DMC 4205

DMC C814
DMC 433

DMC 169

DMC 111

DMC 90
DMC 3765

DMC 4025

DMC 807
DMC 3750

DMC 520

DMC 4065

DMC 4050

DMC 4047
STITCHES USED
BS=backstitch
CH=couching
CS=chain stitch
DCS=detached chain stitch
FK=French knot
OFB=open fish bone
RUN=running stitch
SAT=satin stitch
SS=straight stitch
STM=stem stitch
TRS=threaded running stitch
Pattern
When transferring this design, if you are going to use the raw-edge appliqué method,
make sure both images are the same size when you transfer them. When I
embroidered my appliqué piece, the only area where I transferred the pattern to fabric
was the face. I used the fabric shapes as a guide. If you are not doing the appliqué,
transfer the whole design or modify with your drawings as you like. To download any
of the patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Fabric Appliqué Option
Remember that this step is completely optional! I’ve included this portrait with an
added layer to demonstrate to you how adaptable and customizable these projects
are. If you want to take the time on this or any of the portraits to add an interesting
background, fabric collage is a great technique to use. You can layer the stitching
right on top of the collaged fabric pieces. You can use as much or as little fabric
collage as you want; for example, you could just use appliqué in your portrait of
Harriet to enhance her image.

The technique I’ve used is called raw-edge appliqué. With this technique, you don’t
need to worry about seam allowances (inlays) or clipping points, and you can choose
to stitch around the shapes or not. With a bit of adaptation, you can use the same
embroidery steps on fabric collage as you would on a solid background. I’ve used
fabric from the stash in my studio and found some really great batiks and blenders
that give the appearance of a solid color but with a bit of texture, allowing the
embroidery to stand out. If you choose not to do the fabric appliqué, skip this
altogether and get to stitching.
The numbers on this image indicate the individual pieces of fabric appliqué. Use
these when tracing and cutting out the shapes in the image (see here).

The dashed lines indicate areas of fabric overlap.

 Gathering Materials for Appliqué

There are quite a few methods for making a raw-edge appliqué, so feel free to
research the method you like best. I’ve used a double-stick fusible web called
Lite Steam-a-Seam 2®. Here are the materials you’ll need:

Lite Steam-a-Seam 2
Fineline water-resistant marker
Iron and ironing surface
Nonstick pressing sheet (optional but nice to have)
Quilting cotton or lightweight linen in a variety of colors and textured prints
Tracing or tissue paper
All-purpose scissors
STEP 1: TRACE SHAPES
When using double-stick fusible web, you’ll need to make
sure you trace the reverse of the shapes.
STEP 2: CUT SHAPES
Create a bit of margin (¼” is plenty) around the shapes
when you cut them out. This will allow the shapes to be fully
covered in the final cut.
STEP 3: PEEL BACKING
Remove the backing from the cut piece to reveal a sticky
adhesive.
STEP 4: STICK AND IRON
Finger press or lightly iron the shapes onto the wrong (back)
side of the fabric.
STEP 5: CUT FINAL SHAPES
Cut the shape out on the drawn line. Remember you can
always cut off more if you cut this shape too large.
STEP 6: PEEL BACKING AGAIN
Peel off the backing. This is the side with the adhesive that
you will stick down to your base fabric. Repeat this process
for each piece of fabric appliqué.
STEP 7A: PLACEMENT
To place the appliqué pieces properly, trace the black-and-
white line drawing on a piece of tissue paper. Tape it at the
top and reposition the pieces as needed, checking as you
go.
STEP 7B: LAYERING
Layer the background appliqué pieces, layering other pieces
on top. You want to embroider the eyes and mouth, as they
are tiny pieces to appliqué.
STEP 8: FINAL IRON
When all the pieces are stuck in place, press them down
firmly and give the piece a final iron according to the
directions on the fusible package.
Embroidering the Appliqué
Whew! Now it’s time to embroider! The embroidery steps will be almost the same
whether or not you choose to appliqué. You will just need to adjust some things as
you go, adding more or less thread details. Take the house, for example. You may
choose not to embroider it at all and just leave the fabric appliqué as it is, keeping it
simple, or you may choose to stitch the outline details.

TIP
Use tweezers to help manage small pieces of fabric.
Face & Head Wrap
I’ve kept the basic structure of Harriet Tubman’s face fairly
simple. Feel free to go back in and add more details,
shadows, or highlights if you’d like, or change the color and
pattern on the head wrap. I’ve used a thicker yarn for the
couching on the head wrap to give it a bit more texture. You
could redraw this and either stitch her hair or add a different
hat after doing some photographic research into her outfits
and accessories.
STEP 1
Using backstitch, embroider the outlines of the face,
including the upper eyelids. Use stem stitches to embroider
the nose, shortening them around small curves. Use small
straight stitches for details like the creases by the mouth
and eyes. You can also use stem stitches for all of the
details if you like.
STEP 2
Outline the lips using maroon and medium pink. Adjust the
size of the backstitches as you maneuver around the
corners and creases.
STEP 3
Fill the upper and lower lips with two shades of maroon and
pink using different sizes of straight stitches. Overlap the
stitches as needed, changing direction to show dimension.
STEP 4
Add highlight stitches using a light-pink color. Using two
strands of the darkest brown, add straight stitches to give a
bit of definition between the lips and add a tiny bit of
shadow around the edges.
STEP 5
Using two strands, fill in the iris and pupil shape with satin
stitch. Outline the top and bottom eyelids with black thread
and backstitch. Using two strands and straight stitches, fill
in the whites of the eyes.
STEP 6
Stitch the eyebrows with one strand of black thread. You can
use two here if you’d like, but I like using one to keep it
more delicate.
STEP 7
Using a darker, thicker thread, outline the head wrap with
couching stitch. Add the wrinkle details in the head wrap
using backstitch.
STEP 8
Add the pattern in the head wrap using a single strand of
straight stitch (or cross stitch).
Jacket, Bag & Hands
I’ve kept the jacket and bag details fairly simple, but you
could continue to add more details or even change the outfit
that Harriet Tubman is wearing, including the styling and
color. I like using the threaded running stitch to outline the
jacket, as it adds dimension and a bit of color variation. You
may want to add sparkle to the buckle and buttons using a
metallic thread. I’ve chosen a blue linen to embroider on to
represent a nighttime scene. Be mindful of the colors of
thread you are using and how they interact with the base
fabric to create a mood.
STEP 1
Outline the jacket using threaded running stitch. This will
give the outline a bit of weight and texture. Add backstitch
for the creases in the jacket. Using backstitch, add the white
shirt. Stitch the bag strap with six strands of thread and
stem stitch.
STEP 2
Using satin stitch, embroider the buttons. Chain stitches add
nice dimension to the buckle. With French knots, indicate
the holes in the strap. Use metallic thread here for some
sparkle!
STEP 3
Embroider the hands using backstitch and straight stitches
as needed to add details to the fingers.
Lantern
Start by embroidering the light inside the lantern first,
creating a soft glow using one strand of thread for the larger
circles around the center light. Then proceed to stitch the
other parts of the lantern on top of the light. Feel free to
change up the shape of the lantern.
STEP 1
Create the central “star” of the light source using straight
stitches.
STEP 2
Building up the layers of light, stitch the elongated ovals
using backstitch. Create the radiating light using one strand
of thread with running stitches in concentric circles. Stitch
the outsides of the glass with three strands and running
stitch.
STEP 3
Stitch the base and top of the lantern using chain stitch for
added texture. Straight stitches add a bit of dimension.
Outline the cage of the lantern using stem stitches, which
are great for creating curves.
Background
We’re almost there! Harriet Tubman utilized not only her
intellect to escape slavery and guide others to freedom, but
the rivers and stars helped guide her as well.

The background of your portrait can be as detailed or simple

as you’d like. I like to add lots of details, just because that’s
my style. Once I’ve added the stitches below, I wash off the
water-soluble stabilizer and add more stitches to fill in
areas. Again, make this your own by redesigning the trees
or the river!
STEP 1
Stitch the outline of the house using backstitch. Fill the
window with satin stitch. Using light blue and satin stitch,
stitch the front of the house.
STEP 2
Outline the river using a threaded running stitch. Using a
perle cotton adds a nice bit of texture here. Fill the river with
stem stitches and seed stitches (which are basically tiny
straight stitches!).
STEP 3
I’ve used different stitches and shades of green to add
interest and texture to the trees. Practice on a scrap piece
of fabric before stitching your portrait.
STEP 4
Stitch the North Star using straight stitches. For the main
star, I’ve used six strands, with three strands for the
secondary details and one strand for fine details. Stitch the
starry sky using straight stitches in cross and star shapes.
This is what the appliqué base looks like without the
embroidery. After building this fabric appliqué base, you can
then embroider on top using the instructions in this project.

First, wash away the water-soluble stabilizer. If you’re using

this to transfer your pattern, you’ll be able to see more
clearly where you want to add stitches and details. After
removing the white stabilizer, I’ve used a darker denim-
colored linen to show the contrast of the stitches on the
darker fabric and give a different perspective. I’ve added
more details to the grassy areas and Harriet’s name too.
RUTH BADER GINSBURG
 RUTH BADER GINSBURG, aka RBG or “the Notorious RBG,” was the second female
justice to be appointed to the United States Supreme Court. From an early age,
Ruth dreamed of becoming a lawyer and representing clients in the pursuit of
justice. She advocated for gender equality and women’s rights and was known
for expressing her femininity and sense of style through her extensive collection
of collars. Each one had political and personal meaning and symbolized her
strong feminist legacy. Ruth Bader Ginsburg’s fiery dissents catapulted her into
an unexpected American icon. She died at age 87 on September 18, 2020, from
complications from cancer. Upon hearing of her death, the country mourned her
loss. She continues to inspire after her death and her words and contributions
to the country remain.

Spend some time learning about RBG’s life for ideas on embellishing your embroidery
design. Look online for reference photos of her various collars and earrings and swap
out the ones I’ve drawn if you like. Another idea is to embroider a quote onto her robe
or background.
Suggestions include:
“Fight for the things that you care about, but do it in a way that will lead others to join
you.”
“My mother told me to be a lady. And for her, that meant be your own person, be
independent.”
“Women belong in all places where decisions are being made. It shouldn’t be that
women are the exception.”
“I would like to be remembered as someone who used whatever talent she had to do
her work to the very best of her ability.”
Stitch & Color Guide
The Ruth Bader Ginsburg project is designed to be the most
challenging in this book—but that doesn’t mean you can’t
modify, simplify, or add to it! The technique I’ve used in the
face is called “thread painting,” and it is a fun, yet
challenging, way to embroider. You can approach it as I’ve
outlined it here and reference my final embroidery on this
page, or simplify it and just use outlines instead of fill
stitches. Either way, have fun with it and take your time.

Threads & Stitches

You’ll need quite a few colors to capture the different skin
tones, build up the colors, and create depth in the face. I’ve
used three strands of DMC threads in most of the design,
except for the details in the eyes and mouth and the
gemstones on RBG’s collar, where I’ve used two strands for
this star stitch. Variegated threads are a great way to add
more color to your stitches, and I’ve used those for the lacy
work. Her hair would be a great place to use this type of
thread too. Finally, I’ve added some seed beads to the
pattern around her head for a bit of sparkle.
THREAD COLOR GUIDE
DMC 223

DMC 3373

DMC 603

DMC 151

DMC Blanc

DMC 20

DMC 955

DMC 760

DMC 153

DMC 3855

DMC 844

DMC 3768

DMC 169

DMC 807

DMC 321

DMC 783

DMC 3482

DMC 336

DMC 4015

DMC 4170

DMC 4075

DMC 310
STITCHES USED
BS=backstitch
DCS=detached chain stitch
FK=French knot
FLY=fly stitch
RUN=running stitch
SAT=satin stitch
STM=stem stitch
SS=straight stitch
STR=star stitch
Pattern
Because there is a lot of detail in this image, think about how large you want to make
your design. The smaller it is, the more challenging it will be to stitch details into
areas such as the face and gemstones on the collar. If you want to make the design
smaller, consider redrawing the design and taking out some details. My original
embroidery is 9” x 11” wide for reference. I printed the design onto two sheets of
water-soluble stabilizer and pieced them together at this size. To download any of
the patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Thread Painting
Painting or drawing with thread is similar to working with
watercolor or gouache, as I do in my illustrations. However,
instead of brushstrokes, you use stitches to create line and
form. I’m mixing colors as I go, following the direction and
movement of facial features. As you approach this
embroidery, start first with the hair, outlining the features,
and then work to fill in the larger areas with thread. By
overlapping and layering different colors of thread, you’ll
create form, texture, and movement.

This is an intuitive process, so use this as a guide to

stitching, and step back from your work often to take a
break and view your work from a distance to gain
perspective. Use this guide to stitch the overall effect of the
face. Add longer stitches for bigger areas of color and
shorten the stitches in detailed areas, such as the eyes,
nose, mouth, and ears. Your stitches will look different from
mine, and that’s OK!
Hair
Start by stitching the hair. This will give context to the face
and allow you to blend the area of the forehead that meets
the hairline. Begin with the darkest color, then the medium
gray, and finally add the highlights. You can add more dark
or light color as needed when the hair is finished to capture
the shadow and highlights. I’ve used three strands of
thread, but you could certainly use six or a wool yarn to give
the hair more texture.
STEP 1
Stitch the darkest color using stem stitch. You can also work
the hair in sections, as opposed to stitching each color
separately.
STEP 2
Add the medium gray.
STEP 3
Add the lightest gray for the highlights; then step back and
assess whether you want to fill in more darker or lighter
areas.
Face & Neck Outlines
Again, think of embroidering the face like painting. Switch
back and forth between colors of thread as you work
through the different areas. Start with the outlines; then fill
in the facial features. Afterward, go back and stitch the
outlines again with a slightly darker color to add definition
to the features. You can also just stitch the outlines and add
minimal details—it’s up to you! Use three strands of thread
for the outlines.
STEP 1
Outline the features of the face using a stem stitch. Adjust
the stitch lengths as needed, making smaller stitches to go
around tight curves.
STEP 2
Stitch the light gray of the eyebrows using straight stitches
of varied lengths. Add dark gray details on top.
STEP 3
Add earrings that look like the scales of justice! First stitch
the circles on the earlobes using satin stitch. Add three long
straight stitches to form a triangle and satin stitch the
highlights of the bottom of the scale. Backstitch the outline
and satin stitch fill the shadow.
ACCESSORIZE
Ruth Bader Ginsburg was known for accessorizing her black robes with various
collars, all of which had a different meaning. Add visual interest to your portrait of
RBG with any number of collars and accessories, including necklaces and earrings.
Do an online search for the meaning behind her collars and pick your favorite!
Face & Neck Fill
This is where the fun really begins! Refer to the stitch map
on this page as a guide to embroidering the face. It will
require building up the stitches and, often, going back
several times to add highlights or shadows. You can
approach this by either stitching color by color, as I’ve
outlined below, or by sections of the face, stitching multiple
colors at the same time (right).
STEP 1
Start by stitching the main skin color and adding light green
to begin the shadows. You’re just building a base here and
will blend in the other colors as you go. Pay attention to the
direction of the stitches; this will help create texture,
movement, and dimension.
STEP 2
At this stage, things may start to look “bad” before they
look good, but keep going! Here you’ll build the shadows
and midtones of the skin using four more colors. Use the
colors I’ve indicated, or feel free to choose brighter colors if
you prefer!
STEP 3
Add highlights to give the nose and forehead more
dimension. After the face is filled in, use a darker color to
again outline the facial features to give them more
definition. Use your judgment here; you might not need to
stitch over every outline.
Glasses
This embroidery will really come to life when the glasses are
added. The dark contrast gives the piece a lot of dimension,
and the eyes and mouth give it personality! Be patient here;
the eyes and mouth require small stitches to get the details
right. You may find it helpful to use a thimble to push the
needle through the fabric and layers of stitches more easily.
STEP 1
Outline the glasses in medium blue using backstitch.
STEP 2
Fill the glasses with medium blue, varying the direction of
the stitch.
STEP 3
Add dark blue stitches to give the glasses a bit of
dimension, placing the stitches on top of and between the
stitches in the first layer of blue.
Eyes
STEP 1
Stitch the iris with light blue using satin stitch, working from
the center outward in a circle. Leave room in the center for
the pupil. Stitch the top lid using medium gray and the
bottom lid using a backstitch.
STEP 2
Stitch the pupil using tiny black satin stitches.
STEP 3
Add a highlight to the pupil using one or two tiny stitches.
Add the whites of the eyes. Then, using small straight
stitches, add three tiny eyelashes.
Mouth
STEP 1
Stitch the inside of the mouth with a combination of
backstitch and straight stitches. Use just enough to fill the
area between the teeth and lips
STEP 2
Stitch the base color of the lips. It’s OK if there are some
gaps; you’ll add highlights in the next step.
STEP 3
Add a medium pink tone to begin to build dimension in the
lips. Then add light pink highlights and a few stitches for the
teeth. Finally, create dark gray stitches for depth in the
open area of the mouth.
Lacework
The lacework around RBG’s head is inspired by one of her
collars. It consists of a few design elements repeated many
times and is brought to life by a variegated thread. For a bit
of sparkle, I’ve added seed beads in varying yellow colors
after completing the embroidery. You could also use metallic
gold thread for this area to make it extra special. The
earrings representing the scales of justice could also be
accented with metallic thread.
STEP 1
Stitch a curved line from top to bottom using the backstitch.
STEP 2
Return to the starting point and, working your way down the
backstitched line, add the radiating lines, backstitch first,
and then detached chain stitches. Add the details along the
original line as you go. You’ll find your stitching rhythm.
STEP 3
Add the remaining backstitched radiating lines with a French
knot atop each one. Add yellow and gold seed beads at this
point if you’d like more sparkle. Repeat these steps to fill in
the lacework on the other side.
RBG Type
STEP 1
Fill the letters with satin stitch. Don’t worry about lining up
the edges perfectly; the backstitch you’ll add next will cover
up any rough edges.
STEP 2
Outline the letters with a backstitch. Add fly stitch around
the edges of the letters to create a scalloped look.
STEP 3
Add details with yellow on top of the satin stitch. To create
the “stones” between the letters, make a star stitch in the
center and outline with backstitch. Add a French knot in the
center.
Collar & Robe
Justice Ginsburg wore this collar to give a dissenting opinion.
It looks more complicated than it is; really, it’s just a lot of
star stitches in different sizes, with French knots outlined by
slip stitches.

TIP
You can achieve an effect that looks truly special simply by repeating the same
elements over and over.
STEP 1
Outline the black edges of the collar using stem stitch; then
outline the edges of the robe with dark blue. You can keep
this simple, or, as I’ve done, fill it with varying sizes of
running stitches in a lighter blue.
STEP 2
Add the “gemstones” to the collar. There are a few different
sizes here; you’ll use fewer stitches in the smaller stones.
Start with one long straight stitch; then add the other
straight stitches in a radiating circle. This will give
dimension to the stone. Switch to solid gray and add two
long stitches on top to form a cross and one small stitch to
lock them down.
STEP 3
Finally, add the French knots. These represent small
gemstones on the collar.

Add nine red stitches to the robe to represent Justice

Ginsburg famously saying that there will be enough women
on the U.S. Supreme Court only when there are nine.
MICHELLE OBAMA
 MICHELLE OBAMA is inspirational on so many levels. One of the great things about
Michelle Obama is the diversity of time periods in her life to research and learn
about, from her childhood on the South Side of Chicago and her time at
Princeton and Harvard universities to her position as First Lady of the United
States. She is inspirational on so many levels! As FLOTUS, she aimed to reduce
childhood obesity and encourage a healthy lifestyle in children, motivate
students to continue their education past high school, and address the
challenges that keep girls from receiving an education. She has gone on to
become a best-selling author and continues to fight for diversity and gender
equality across numerous industries.

Here are some quotes from Michelle Obama that you might consider embroidering:

“When someone is cruel or acts like a bully, you don’t stoop to their level. No, our
motto is, ‘When they go low, we go high.’”

“Your story is what you have, what you will always have. It is something to own.”

“Don’t be afraid. Be focused. Be determined. Be hopeful. Be empowered.”

“Choose people who lift you up.”

Stitch & Color Guide
You can really have fun with this project by using different
threads and yarns to stitch the type. If you have wool
threads or sparkly yarns on hand, try using those to add
some interest. Instead of using the stem stitch for the type,
try couching with a chunky yarn. I used a pretty mauve-
colored linen, so be playful with the fabric you chose too!

Threads & Stitches

Gather the threads you’ll need and decide how you want to
approach this design. I’ve used mostly DMC six-strand
thread divided into three strands, but I’ve also mixed in size
5 cotton perle. DMC’s thread colors are generally
interchangeable, so a blue #798 is the same in cotton perle
as it is for the six-strand.
THREAD GUIDE
DMC 433

DMC 3031

DMC 3371

DMC 4140

DMC Blanc

DMC 317

DMC 310

DMC 223

DMC 3688

DMC 152

DMC 315

MET GOLD

DMC 4075

DMC C444

DMC 3766

DMC 798

DMC 336

DMC 722

DMC 351

STITCHES USED
BS=backstitch
CH=couching
FK=French knot
RUN=running stitch
SAT=satin stitch
SS=straight stitch
STM=stem stitch
Pattern
Use your method of choice to transfer this design to the fabric. Keep as many details
as you like, or add others based on your own research. If you want to stitch a
different quote, sketch it out first to get the placement correct. To download any of
the patterns in this book for printing, click here:
https://www.quarto.com/files/EmpoweredEmbroidery.
Face
When embroidering the face in this project, try to make
each stitch as efficient as possible. Don’t fuss over the
stitches too much, and don’t overstitch an area. If you’re
unsure how to stitch the mouth or eyes, take a few minutes
and practice on a scrap of fabric . . . and then go for it!
Remember that the eyes and mouth are a small part of the
overall portrait, so keep the stitching simple.
STEP 1
Using backstitch, embroider the outlines of the face
including the nose. Use smaller stitches to navigate around
the tight corners of the nostrils. Use small straight stitches
for details like the creases by the mouth.
STEP 2
Outline the iris with backstitch and fill the area with small
straight stitches. Leave room for the black pupil.
STEP 3
Add black straight stitches for the pupils and backstitch for
the upper eyelids. Add small straight stitches for the
eyelashes and the inner corners of the eyes.
STEP 4
Add small straight stitches to indicate the whites of the
eyes. Using two strands of white thread, add a few tiny
stitches as highlights on the pupils. Stitch the eyebrows
using straight stitches.
STEP 5
Outline the lips using a dark mauve or dusty pink color. I’ve
mixed in a few straight stitches on the corners of the mouth.
STEP 6
Fill the upper and lower lips with two shades of the pink
using different sizes of straight stitches. Overlap them as
needed, but keep them simple. Add darker straight stitches
for the area between the teeth.
STEP 7
Add small straight stitches for the teeth. You can also
simplify the teeth further and use just a few longer stitches
on the upper and lower teeth.
Hair
When stitching the hair, the idea is to create highlights and
shadows to indicate volume. I’ve used variegated thread to
get lots of color in the medium tones. Fill in the hair as much
as you want, adding more lines if you’d like. You can also
research different hairstyles that Michelle Obama has worn
over the years and change it up!
STEP 1

Stitch light-colored strands of hair using a variegated thread

and stem stitches.
STEP 2

Layer in the light brown color using stem stitch. Use smaller
stitches in the tighter curves of the hair.
STEP 3

Continue to build volume with medium and dark thread

colors. Add more strands if you want to fill in the empty
areas at this stage.
STEP 4

Using the variegated color, stitch the wisps of hair on top of

the existing stitches.
Necklace & Sweater
As you stitch the necklace and sweater, look through your
stash of yarns and threads to see if you have something
fuzzy or metallic that could add more dimension. A wool
thread would be fun for the sweater. Change the color if you
wish!
STEP 1

Using perle cotton and metallic gold threads, lay down the
perle and stitch it in place with metallic gold. Place stitches
closer together to form the tight curves of the letters.
STEP 2

Outline the sweater using two lines of backstitch. Add one

line of dark blue using backstitch to indicate a shadow.
STEP 3

If you’d like to add an extra detail to give the sweater more

dimension, backstitch the “ribbing” using a single strand of
thread. You can draw these lines first or just stitch them
freehand. Chain stitch would make a fun alternative to
backstitch here!
Typography
Sketch out your favorite quotes from Michelle Obama before adding them to your
portrait. Stitches that work well for embroidering type include backstitch, chain
stitch, and couching.
Typ
This is where you can really have some fun with stitches and
trying different types of yarn. When stitching the script type,
if the yarn is too thick, the words may become less legible.
When adding the final details, feel free to add more French
knots or some seed stitches for more texture.
STEP 1

Outline the banner with backstitch and fill the ends with
satin stitch.
STEP 2

Using perle cotton, stitch the letters using stem stitch. Use
smaller stitches to stitch around the tight corners and small
details.
STEP 3

Add the final details to the radiating lines around the type.
Feel free to add more embellishments if you’d like.
STEP 4

Using perle cotton, stem stitch the type using smaller

stitches around the tight corners.
STEP 5

Use the running stitch to outline the block letters. Start with
the dark blue line on the outside; then move to the yellow
line inside; and finally, add the medium blue. I’ve used a
cotton floss with a metallic sparkle for the yellow.
STEP 6

Add the decorative details using straight stitches. Use small

backstitches to outline the sign off “—mo.” Michelle Obama
often included this when she wrote her own social media
posts as FLOTUS.
Final Details
This last bit will make this embroidery really fun and add a
pop of color. Add more of your own embellishments, or
stitch some sketches if you like. Step back from your
embroidery and enjoy the work you’ve done!
OceanofPDF.com
 RESOURCES

Every embroiderer has their favorite needles, threads, fabrics, and other notions.
There are so many sources for materials, including estate sales, yard sales,
online, and friends cleaning out their studio stashes. Here are some of the
materials and resources that I use daily for my work. I try to find what I’m
looking for locally at small fabric shops, but sometimes I will order online or go
to big-box stores. The key is to experiment with different tools and materials
and discover what works for you.
Needles & Other Tools
www.merchantandmills.com
www.dritz.com
www.dmc.com
www.jjneedles.com
en.tulip-japan.co.jp
www.joann.com
www.michaels.com
www.123stitch.com
Q-Snap™ embroidery frame: www.yarntree.com
Wooden hoop stand: www.hawthornhandmade.com
Thread & Floss
www.dmc.com
www.lecien.co.jp/en
www.purlsoho.com
www.kreinik.com
www.etsy.com
www.ebay.com

I like to stitch on linen fabric with a lightweight cotton or linen backing. You will likely
need to experiment with this to find what you like to use and what combination of
fabric and backing you prefer. You can find nice-quality linens at local fabric stores or
any of the following:

www.boltfabricboutique.com
www.fabricdepot.com
www.moderndomesticpdx.com
Fabric & Fabric Appliqué
Lite EZ-Steam® II: www.pellonprojects.com and
www.warmcompany.com
Dritz® Non-Stick Pressing Sheet (18” x 18”):
www.joann.com

TIP
Look for locally hand-dyed threads at craft stores and estate sales!
Transfer Materials
Water-soluble stabilizer: www.sulky.com

Stick-N-Washaway™: www.pellonprojects.com

Pilot® FriXion ColorSticks or FriXion Ball Clicker:

www.pilotpen.us

Fine Point Mark-Be-Gone Marking Pen: www.dritz.com and

www.joann.com

Artograph® LightPad® 930: www.artograph.com and

www.dickblick.com

Fine Tip Iron-On Transfer Pen: www.sublimestitching.com

Iron-On Transfer Pen: Sulky.com

Aunt Martha Hot Iron Transfer Pencil: www.joann.com and

other craft stores

Nonce® White Marking Pencil (water-soluble for transferring

to dark fabrics): www.joann.com and other craft stores
Drawing Materials
Saral® Wax Free Transfer Paper: www.jerrysartarama.com
and www.dickblick.com

Copic® Multiliner Pen or Sakura® Pigma Micron Pen:

www.dickblick.com and artistcraftsman.com

Canson® Tracing Paper (Foundation series):

www.dickblick.com and artistcraftsman.com

Borden & Riley® Paris Bleedproof Paper For Pens:

www.dickblick.com

OceanofPDF.com
About the Artist
Amy L. Frazer is an illustrator and
embroiderer living and working among
the plants and trees of Portland, Oregon.
She is a multidisciplined craftsperson
and a lover of all things made by hand.
Through her work, she captures the
beauty of the world around us and
embellishes it with personal mark
making. Amy believes that embroidery is
a means to bring people together and
build community and connections where
previously none existed.

With a BFA from the Columbus College

of Art & Design, Amy has a solid
background in drawing and illustration
and continues to take workshops and
classes to hone her skills, stay fresh, and
learn new techniques. She is a self-
taught embroiderer and has taught
workshops with local colleges and arts
and nature organizations. With extensive
experience in product creation from
working at companies such as Galerie au
Chocolat, Old Navy®, and Nike®, Amy enjoys designing objects as well as the prints
and colors that adorn them.

Amy loves to travel and always has a bag packed for her next adventure to the
mountains, the sea, or a fun city to explore and gather inspiration. Always with a
portable art studio in tow, she finds moments of quiet to draw or embroider whenever
she can.

Her popular on-the-go workshop, Hike N’ Stitch™ (@Hike_n_Stitch), is a favorite with

local hikers and stitchers in Portland. Her artwork has been featured in the
UPPERCASE Encyclopedia of Inspiration, Stitch-illo; on seed packets for the Hudson
Valley Seed Company; and in the popular Portland Trail Blazers gameday poster and
“Made by Her” series.

Amy’s grandmother, Pearl, was a major influence on her love of art making. When she
views others’ art, Amy likes to think that maybe their granny taught them how to
make things too.
Amy lives in Portland with her boyfriend, Matthew, and their two dogs, Seymour and
Josephine, who often get up to eat at 4:30 am.

You can see more of her work at www.AmyLFrazer.com or on Instagram

@AmyLFrazer.
ALSO AVAILABLE FROM WALTER FOSTER PUBLISHING

Art Makers: Polymer Clay for Beginners

978-1-63322-632-6

Art Makers: Papier-Mache

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© 2021 Quarto Publishing Group USA Inc.
Artwork and text © 2021 Amy L. Frazer. Photos on pages 51, 65, 81, 95, 111,
and 125 © Kayley Hoddick, Hoddick Photography. Photos on pages 127 and 128
© Gia Goodrich.

First published in 2021 by Walter Foster Publishing, an imprint of The Quarto

Group.
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T (949) 380-7510 F (949) 380-7575 www.QuartoKnows.com

All rights reserved. No part of this book may be reproduced in any form without
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no responsibility is accepted by producer, publisher, or printer for any
infringement of copyright or otherwise, arising from the contents of this
publication. Every effort has been made to ensure that credits accurately
comply with information supplied. We apologize for any inaccuracies that may
have occurred and will resolve inaccurate or missing information in a
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Walter Foster Publishing titles are also available at discount for retail, wholesale,
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