Keeping Costs Down

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Starting a new hobby can be expensive, especially when you have lots of ideas but don’t know where to start. In this post I will talk about the areas where you can save money and what you need to spend a bit more money on. There are lots of ways to save money and if you have any top tips I’d love to hear them.

Embroidery Threads

Embroidery threads vary quite dramatically in price. In my stash I have DMC threads like Cotton Perle and stranded cotton that are great to stitch with but prices start at around £1.25 for a skein of stranded cotton and up to £3.50 for a ball of perle thread. My stranded cotton boxes of thread also contain bargains from the pound shop that cost £1.00 for 20 skeins. I’ve used these threads on commission pieces and for workshops and I’m happy with the results.

Your local charity shop or car boot sale is a great place to find good quality second hand threads. I’ve picked up expensive brands like Coats and Gutermann for less than £1.00 for a reel. I usually wind off a bit of the outside layer as it can be faded, although the colour faded reels create an interesting variegated thread to work with.

If you’re lucky to live somewhere that has a shop like Scrap in Leeds or Scrapstore in Hull you can also pick up some great value threads and divert waste from landfill.

Scissors

Because of the amount of embroidery I do, I have an expensive pair of curved tip scissors that retail for about £15.00. For years and all through my degree I used nail scissors from Home Bargains that cost around £3.00 a pair. If you do a lot of stitching, I would use small scissors as cutting thread with a larger pair can damage the blades.

For larger scissors, you can pick up a pair from shops like B&M and IKEA. Make sure you keep them for fabric only, they will stay sharp enough to use for ages. Prices start from as little as £2.50 a pair.

I’m lucky to live somewhere that has a market stall where someone sharpens scissors so I regularly get mine sharpened which saves money and stops them from going into the metal recycling.

Needles

Needles are one of the areas I don’t like to skimp on, I’ve had frustrating experiences with cheap needles. They are made of poor quality metal and can easily break, the eye is also badly punched out. A poorly punched out eye can damage your threads and be hard to get threaded in the first place.

I like to use needles by John James or Prym, they can be picked up online and in haberdashery shops. Prices start at £2.75 for an assorted pack of needles. You don’t have to buy the specialist embroidery needles either, an assorted pack will have something that works for embroidery. Once you’ve decided that embroidery is the craft for you, pick up a pack of the type of needle you find best to use.

Remember…

You can use calico tote bag freebies to embroiderer onto, I know you have a stash of them in the bottom of the wardrobe. I’ve also picked up fabric from charity shops and used worn clothes and bedding for fabric. The charity shop is your friend for bargains like threads and embroidery hoops too. You can get embroidery kits from shops like Aldi and The Works that have good quality bamboo embroidery hoops in them. An embroidery hoop will last a lifetime if you take good care of it. You can sand away rough edges of a hoop using a emery board, this will prevent it from snagging your fabric.

Working with Collage

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Creative block can be really disheartening so how do you get out of it? A question I asked in a recent Instagram post sparked an idea for this blog post. The technique that has helped me shake that creative block over the years is collage.

In my studio plan chest I have a drawer dedicated to collage materials, my collection includes:

  • Old artwork donated by workshop participants and fellow artists
  • Magazines from membership subscriptions
  • Old packaging that has a great pattern or texture
  • Postcards from exhibtions
  • Old photographs from vintage albums and donated by photographers I know

You can use the imagery, texture and patterns from the materials as a starting point or a particular theme for a project. I used this technique when I started my Fancy Goods collection of work.

Working with interior design magazine, I cut out images that I thought could create fun abstract sculptures. These collages helped me work through ideas and eventually became pieces or work which I printed and stitched into for my exhibition in 2025.

Last week, I started to create collage inspired by photographs of a rusty boat that I found in my research images folder. The texture of the rust and peeling paint lends itself to collage and building layers.

I used old papers from fabric dyeing, eco printing samples and pieces of embroidery donated by my friend and fellow textile artist Maria Walker. I’m working in an old scruffy A3 sketchbook and trying not to waste anything, even the trimmings from pieces of found paper. I also dug out some art materials, adding little details with a fineliner and oil pastels to add more colour and pattern to the layers of collage. I’d forgotten how much fun it was to just play with materials and I filled 3 pages in quick succession.

Why not try this technique when you’re feeling a bit stuck and uninspired, you don’t need loads of materials and equipment to get started:

  • Plain paper or a sketchbook
  • Scissors or a craft knife
  • Glue or double sided tape
  • Different papers
  • Drawing materials

For regular updates about what I’m working on in the studio you can sign up to my monthly newsletter and follow me on Instagram where I share work in progress and cat pictures.

Learning New Tricks

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After sharing some throwback images I had a few people ask about how I transfer some of my embroidery designs on to fabric. Back in 2024, I decided to try a new technique which would allow me to transfer more complicated designs quickly and with lots of detail.

I’d had a small roll of Madeira Avalon in my fabric cupboard for the longest time and I wanted to try using it for a new workshop sample. I’d seen printed transfers for embroidery being sold online so I thought I’d make my own using a design I’d hand drawn. I used washi tape to attach a piece of the film to a sheet of A4 cardboard and printed it using my little inkjet printer.

I decided to work with my DMC Cotton Perle threads as they are colourfast and I knew they wouldn’t run when I came to wash away the stabilser. This is my top tip and you can check if your threads are colorfast by wetting them and leaving them to dry on a white piece of paper. This will highlight any colour transfer and save you lots of heartache.

I love working with the different greens for botanical pieces and I added coral details for the floral elements of the design. I used six stitches for this design, back stitch, stem stitch and chain stitch for the stems and leaf details. For the flowers I used satin stitch and clusters of French knots to create texture. I love to use simple straight stitch and the larger leaves really stand out in the design.

I really loved this finished design but I decided to refinine it for my embroidery workshops so it was more manageable in a few hours.

To wash away the film I used hot water from the tap which worked really well. I have actually put some pieces in my washing machine on a very short cycle with good results. I was very confident that the cotton canvas fabric and threads were colourfast which is very important.

It was great to try this new technique in my embroideries and I’ve used it loads on different designs. I’ve now discovered A4 sheets of a similar product by Brothread so I don’t need to tape it to cardboard anymore.

Choosing Your Thread

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I’m often asked about the best type of thread to use for different hand embroidery projects so I thought I would share some of the threads that I regularly use in my work. The thread I use often depends on that fabric I’m working with (and what I remembered to take with me!). Here are a few of the different types I have in my stash.

Good to Know… When using any thread it’s good to know what type of finish you want on the work, for example a thicker thread can produce really nice texture. You can also experiment with different types of thread to see how they will look against your chosen fabric. When you’re buying threads, where possible you should look at a single strand of the thread against your fabric, this is the best way to colour match as the whole reel looks different.

DMC Cotton Perle

Cotton Perle No 8 thread is 100% cotton, it has a distinctive twist and a slight sheen which gives it a lovely finish. This thread doesn’t get fluffy easily and is suitable for many types of hand embroidery. The heavier weight of this thread will give your project a raised texture and great definition. This comes in 80m balls and there are so many colours to choose from.

I started using this thread when I was given a ball in a mixed bag of vintage threads. I love to use it to add texture to my hand embroidered pieces and recently I’ve been experimenting with the different colours to build up layers.

DMC Stranded Cotton Embroidery Thread

DMC Stranded Cotton is made from long staple cotton which is mercerised twice to give the thread a lovely sheen. It’s made up of 6 strands which you can divide into different thicknesses depending on the finish you want for your project. It comes in huge variety of colours too.

I use this thread for my cross stitch and hand embroidery samples for my classes as the finish is great and I can get lots of different colours. Take care when separating the threads as it can get twisted if you cut off a really long piece. I tend to use it lengths of around 30cm.

Gutermann Hand Quilting Thread

I came across this 100% cotton thread a few years ago, I was looking for a thicker thread for some of my hand stitched projects. Gutermann Hand Quilting thread is a fine but strong 40 weight cotton. The thread has a special waxed finish which gives it added strength and it’s not prone to tangling like some other threads. There a 50 colours to choose from on 200m spools and a few years ago I was lucky enough to complete my collection.

I use this thread for all my tacking and utility sewing because of it’s durability. It’s also great for adding details like beading to a project. I recently started using it to stitch the maps from my daily exercise too and it’s becoming my thread of choice for lots of projects.

Anything Goes

I’ve recommended some of the big brands of thread because I stitch every day but you can find a huge variety of threads in shops like The Works and from your local charity shop. Be bold and experiment with the threads you find to see what type of line they create and how you can use them in your projects.

If you want to wash the piece you’re making I do recommend getting the thread wet first to see if it’s colour fast, I’ve been burned by this a few times. Take care when storing vintage threads too, if they’ve been kept in a dirty environment they may contaminate your other threads.

I recommend trying lots of different types to find the best one for you and making notes in your sketchbook or journal to remember what you used for a particular project.

Notes from the Studio

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My studio hasn’t always been a productive place this year, there’s been lots of building work happening which has been expensive and disruptive. Work started back in February and still isn’t completed, I needed the front wall tanked and insulated for damp. Things got worse when they found that all my joists had woodworm and needed to be replaced. I now have a new floor with wood laminate that is nearly identical to the previous one but no skirting boards or architrave. The whole room needs decorating which will have to wait as I’m working on a big commission for Projecting Grief and I need the space.

The first image is the current studio, waiting to unpack everything to get to work. I did enjoy the memories of studios past that came up recently. When we moved here in December 2020 my studio had this huge 1990s Art Nouveau fireplace and baroque wallpaper that they hung after they accepted our offer. The last image is back in 2021 when the studio was first refurbished and I set up a temporary one in the dining room. Something I enjoyed more back then as I was teaching away so much.

In my temporary space, also known as the dining table I’ve been busy planning new workshops, creating new pieces of work and working on my commission. I’ll be taking part in Scarborough Art this year, exhibiting Fancy Goods in The Glass Box Gallery from Wednesday 15 to Sunday 19 July. You can find more details on the Scarborough Art website. I love working with beads and toys from seaside souvenir shops. There’s something meditative about creating these taxidermy pieces and I’m looking forward to making some more for the exhibition.

Away from the studio I’ve been focusing on one of my 2026 goals and getting back into drawing. It’s been fun to sketch in the car and in cafes, using continuous line drawings of my surroundings. I don’t know how this will feed into my textile work yet but I’m just enjoying the creative process.

Back in January alongside my goals for the year I created an embroidery project plan, this wasn’t intended to be a strict set of rules or tasks for the year but instead a set of prompts when I was feeling uninspired. Here are a few activities I created from the plan:

  1. Create a sample using different textures of thread with stitches like couching and French knots
  2. Use fabric scraps and embellishments to a raised piece of work
  3. Explore mark making through stitch
  4. Create a sample exploring shading using thread
  5. Use stitch to manipulate the surface of different fabrics

Why not try these ideas yourself?

I use a sketchbook to keep all my samples together. My stitch experiments books are a great way to make notes about the types of threads I’ve used and what stitches I’ve experimented with. I just use a cheap paperback book and stick the samples in with bookbinding glue. I make notes next to the work to refer back to. Some of my books are very thick!

For regular updates about what I’m working on in the studio you can sign up to my monthly newsletter and follow me on Instagram where I share work in progress and cat pictures.

Hand Embroidery Stitches

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My last blog post Concept to Creation looked at how I use my inspiration to create a piece of digital embroidery. In this month’s post I thought it would be great to focus on hand embroidery stitches. During my embroidery classes, I’m often asked which embroidery stitch is my favourite. The answer is always back stitch because it’s practical but I always refer people to this wonderful quote…

“You don’t need to know hundreds of stitches. But you need to use the ones you do know well!”

Constance Howard, textile art pioneer

You don’t need to be a walking stitch glossary, if you learn a few hand embroidery stitches really well you can use them to create so many different styles of embroidery. I thought I would share some of the stitches I’ve used in my workshops and hand embroidery pieces over the last few years.

The image on the right is a stitch sampler from a hand embroidery workshop. I wanted to start at the simplest stage which is running stitch. This gets people used to plotting stitch width and can be made more decorative by weaving through other threads to create a whipped back stitch. A sampler of a few embroidery stitches will help you to build your own designs as you can see and feel the texture and surface of the stitch.

The centre image was inspired by one of my dinner plates when I was trying a new way of transferring designs onto fabric ready to embroider. I’ve used the stitches I teach in my new beginner’s hand embroidery workshop. It explore using straight stitches, satin stitch and another six stitches.

The image on the right is a new way of stitching for me, it’s most like long and short stitch as stitches of different lengths build up the design. There are layers of cotton perle threads in various weights which gives texture and depth to the finished piece. The centre image is worked in the same threads but has a very different look.

Going back to my earlier answer of back stitch as my favourite stitch, the piece on the left was a 2018 commission for the Seacroft Tapestry Project in 2018. Back stitch is my favourite stitch to use for handwriting. I can make the stitches small to trace the contours of delicate writing and it can be worked in six stranded embroidery thread or a finer thread.

The centre image is a sample from a hand embroidered graffiti sample from a workshop in 2024. This combined a range of hand embroidery stitches to give different textures and styles. Each stitch is done in a Number 8 cotton perle thread. I used satin stitch, which I’m not great at as a filing stitch but I also chose to use chain stitch to fill two areas of the design.

The image on the right is also a mixture of embroidery stitches, detached chain stitch is combined with back stitch to make leaves. Fly stitch has been used to create twigs and berries are tiny French knots. This design also brings in straight stitches, this is where I just just straight lines to build up a shape like a leaf.

Once you have learned the basics of these stitches you can start to experiment with different ways of using them. One of the techniques I recommend putting a piece of patterned fabric in an embroidery hoop. Use different stitches to trace the lines like back stitch or stem stitch, then fill the shapes with different stitches like satin stitch or French knots.

Remember to be bold and be ready to make pieces that you don’t love as you will also learn something from them.

Concept to Creation

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I’m often asked about how I go from finding inspiration to creating a piece of work so I thought I’d share some insights into my process with you.

I like to lay out inspiration images and threads that I would like to use to as this helps my creative process. Sometimes I will sketch ideas for the finished work and sometimes I just start making an embroidery and see what ideas I come up with as I’m making.

For pieces like this, I use specialist embroidery software to create my designs. These designs can be based on drawings or collages I’ve made and photographs I’ve taken. There are lots of tweaks to make to an image to make it work as an embroidery. Sometimes you need to play with the brightness, contrast and saturation of an image. It might look strange as a photo but it will make a great design file.

My software allows me to select the type and colour of threads for each design but I still love to look through my boxes of rayon thread. This means that I can find a great colour match and keep a colour story through the pieces I make for a particular piece of work.

A common misconception about digital embroidery is that you can just leave the machine to stitch the design and there’s no input from the artist. That would be brilliant but I need to be with the machine at every stage, changing colours and bobbins and troubleshooting as I go. Sometimes, I will even make changes to the colours as I stitch if they need tweaking.

My designs are stitched out onto Solufleece fabric, a wash away fabric that leaves just the stitches behind. Before I wash away the fabric there are lots of threads to trim away, my curved embroidery scissors are perfect for this. Then the scary time arrives where you have to drop the piece into a sink full of warm water.

I like to dab the wet embroideries with a towel before drying on the radiator because I’m impatient! They usually crinkle up but the rayon threads are easy to iron with a warm iron and some steam. Once dried and pressed, I trim the edges to get rid of any loose threads. Sometimes I just use my curved embroidery scissors and sometimes I use a rotary cutter to get the edge precise.

The finished design is part of LS6, an installation for the 2024 Prism Textiles Edgelands exhibition. It sits alongside other graffiti embroideries which took a total of 90 hours to stitch out plus all the trimming, washing, drying and cutting.

You can find out more about the materials and equipment I use in my Tools of the Trade post.

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, and for cat pictures and work in progress follow me on Instagram.

Hello 2026

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A new year is here and I’m looking forward to seeing what 2026 has in store. 2025 was a busy year and I worked on brilliant projects with amazing people. October and November were a bit of a blur so I took time in December to rest, I needed time to relax and evaluate what I want to do as I move forward in my freelance career.

I taught some wonderful workshops across Yorkshire, and I was back in The Art Library at Leeds Central Library too, teaching workshops and working on the biggest commission of my life, Threads of Freedom. After viewing the Leeds Tapestry for so many years, it was an honour to be selected as the lead artist on the new panel. You can view the work in Leeds Central Library on the first floor corridor between the Art and Music Libraries.

2025 also included my first solo exhibition in Scarborough, at the beautiful Woodend Gallery. Fancy Goods is a fun collection of work inspired by the seaside gift shops we know and love. I also have some ideas for new work that I’m hoping to create and exhibit this year.

During my December break, I’ve been reflecting on the last year and spending more time resting and watching telly with the cat. I didn’t create much work in the second half of the year, instead I focussed on commissions which took up all of my creative thinking.

I don’t enjoy making resolutions but I do like to do some goal setting for the year ahead so here is my list for 2026…

  1. I’d like to create new work each month in the studio. I already have a plan for this which is great
  2. I’d love to master another technique so I’ve chosen quilting
  3. Getting back into drawing will really help me when creating new work
  4. Explore more options for selling my artwork
  5. Thread Collective began in 2025 and I want to grow and develop this in 2026

For regular updates about upcoming workshops and events you can sign up to my monthly newsletter, follow me on Instagram too where I share work in progress and cat pictures.

Tools of the Trade

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In my Artist’s Q&A post, I shared the tools I couldn’t live without. I thought it would be good to write about these tools in a separate post so you can find out more about them and how and why I use them.

Good to Know: As you become a more experienced embroiderer you will find tools and equipment that work well for you and your craft. The best tools for you might not be what people would recommend and this is okay as it works for you.

Pfaff Creative 3.0 Embroidery Machine

During my MA in textiles I was lucky to have access to digital embroidery machines. They changed my practice, and in 2013 I was able to buy one for myself. Working in conjunction with mySewnet Embroidery software, this machine allows me to stitch my photographs and drawings and bring my ideas into being.

I love working with the machine at every stage and it definitely needs to be watched rather than left to its own devices in my opinion. I like to ensure I’m using the right colour of bobbin thread and making sure that the colours are working well together as the design progresses.

If you’re visiting a big crafting event like Festival of Quilts or the Knitting & Stitching Show I recommend watching them in action. They can do a lot more than stitching traditional florals and monogramming.

Elbesee Table Clamp

A few years ago I was struggling with a neck and shoulder injury. Embroidering was really tough because of the way I was sitting and holding the hoop. When I started to feel my shoulder hurting again I bought myself an Elbesee table clamp and hoop, it’s like a holiday for my shoulders.

I use the clamp when I’m sitting at my desk or on the sofa with a folding table. It keeps both my hands free for stitching and I don’t get tired holding the hoop. You can get a universal hoop holder which works with your existing collection or they offer a range of hoops with the attachment built in which I prefer.

Rayon Thread

Used in my digital embroidery work, rayon thread comes in a vast array of colours. I use 40 weight which gives me the best results, as with other threads, the higher the number the thinner the thread. You can also use rayon threads for free motion embroidery, they are strong and have a great finished when used densely.

The brands I use the most are Gutermann Sulky, Madeira Rayon 40 and Mettler Poly 40 but there are lots of other great brands too.

Good to know: Barnyarns are a great supplier for embroidery threads. They have a great range and do multibuy offers too. I use them for lots of my supplies and they are really knowledgeable about all the products they sell.

Wash Away Stabiliser

There are a few different names and products that fall under this category of wash away fabric, I use them for my digitally embroidered projects. I prefer the type that feels more like a fabric than a sheet of plastic. This is usually called Aquasol or Solufleece. I find this feels nicer and is easier to work with, I use two or three layers depending on how dense the embroidery will be.

Top Tip: This is supposed to be cold water soluble but I’ve found that it washes away much quicker with slightly warmer water, I use my mixer tap in the central position. To keep your embroidery flat when you wash away the fabric you can tack it to a polystyrene printing tile, this works well for very lacey designs.

Embroidery Scissors

I love my curved embroidery scissors, they are great for trimming loose threads on my digital embroidery and unpicking stitches. They are great for getting right on the surface of the fabric and cutting away loose threads as the blades are sharp right to the end. These are my go to scissors for any hand or machine embroidery project.

Top Tip: Be careful when handling these scissors, the pointed blades can stab you if you leave them in the bottom of a box or bag.

Cotton Perle Thread

Cotton Perle thread is 100% cotton, it has a distinctive twist and a slight sheen which gives it a lovely finish. This thread doesn’t get fluffy easily and is suitable for many types of hand embroidery. The heavier weight of this thread will give your project a raised texture and great definition. I started using cotton perle when I was given a ball in a mixed bag of vintage threads. I love to use it to add texture to my hand embroidered pieces and recently I’ve been experimenting with the different colours to build up layers.

Glue Pen

I’m a big fan of the Sewline or Prym glue pen, it’s really handy for temporary fixing of seams before you sew them and I use mine to secure paper hexagons to the fabric when I’m doing English paper piecing or adding small scraps for a stitchscape. The refills come in a variety of colours but dries clear. I use the fluorescent yellow as it’s easily visible on both light and dark fabrics.

Vintage Fabrics

My favourite type of fabric has to be vintage, in particular vintage cotton like tray cloths and bed sheets. The smooth worn surface makes it perfect for hand embroidery, dyeing and printing. I like to make use of the features on the fabric too, like printed designs for embroidery or labels and laundry marks. You can pick up some great vintage pieces with prices starting at around £1.00 per item in charity shops. It’s great to think about reusing rather than buying new for every project.

You can freeze vintage fabrics for a couple of weeks to get rid of anything like clothes moths and gently hand wash them to remove any strange smells!

Pilot Frixion Pens

I’m often asked about the best way to transfer designs onto fabric ready to embroider, I use a variety of different pens for my work. These heat erasable pens are my go to for speedy projects, it disappears with the heat of an iron or hairdryer.

Good to know: Make sure you check that the pen will hear erase by testing an area of the fabric. These pens can mark vintage fabrics and the marks can return if the fabric gets very cold. I have to be mindful of this is my work is being archival frozen for a museum collection.