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It's one strand of DMC Embroidery floss. What embroidery thread do you use. I find that the make is important. Some cotton threads dry with time and lose their lustre and suppleness. DMC is my preferred brand because of the quality of the cotton.

Thank you so much for your comment. I so appreciate it.

Thank you so much Chellie

Thank you so much. I have been quiet recently and not posted much, but you encourage me to return to showing more secrets of this beautiful art form.

Thank you so much. I'll try to post more frequently and hopefully encourage you in your practice.

This is such a lovely comment. Thank you. You may have spurred me on to do more videos. I have been quiet these last two years but now possibly ready to post again with different effects within the family of needle painting techniques. Thank you again.

@@kathrynborel4872 I would love for you to continue. I'm just starting my embroidery journey started with cross stitch for a few years now and want to expand my skills, but I specifically want to do painted thread since I'm not good at actual painting

большое спасибо thank you so much

thank you so much

How kind to write. Thank you Loretta. Good luck with your practice.

Thank you so much for your kind comments.

I have just viewed your work and it is exquisite. Many congratulations. Kathryn

Hello Maldita, thank you for your kind words. I work on Belgian Linen which has about 40 threads to the inch. It is not an even weave (meaning same number of threads per inch in both directions) And in this video, I am using 1 strand of DMC embroidery floss and a #10 Hemmings crewel needle. I really recommend beginning your practice with good materials. This way, all you need to focus on is the technique. All the very best Kathryn

@@kathrynborel4872 thank you so much 😊

I appreciate your support. I'm happy to know that this video may have helped you in your practice.

@@kathrynborel4872 it definitely helped! It's not always to understand some details just watching.

Hello Sherri, I mostly use 1 strand of DMC embroidery floss although for my art work, I work with Pipers 90 floss - a beautiful fine flat silk. I rarely use pearl cotton.

@@kathrynborel4872 where would I find Pipers floss? I Googled...no luck.

@@sherrigittel4623 Hi, Sherri. here is the link for Pipers Silks: pipers-silks.com They are based in England but are very efficient in their turn-around time. Hope this helps. Kathryn

@@kathrynborel4872 thank you so much 💓

@@sherrigittel4623 Happy to help, anytime. Good luck with your practice

First of all, thank you so much for you kind comments. To answer your question, if I have understood you correctly, this particular video was a study in movement and change of colour. I did not apply any aesthetic to where the colour changes so on one side the dark pink is more concentrated and less on the other. But in fact, there is something to be learned from this. Colour is defined in part by what other colours are adjacent to it. Where there are more layers of one colour, by the concentration of the stitches of the same colour, it seems to the eye darker in hue. on the left side, I put only one layer of the deep pink, so the colour of the threads that are placed in the next layer, through the way our eyes blend hues, appears to lighten it. Did this answer your query? As an additional note, needle painting applies the rules of colour theory as in brush painting. When a colour is placed alongside another, the visual impact is modified. If you want to learn more about this, here is the definitive book: www.amazon.ca/Interaction-Color-Anniversary-Josef-Albers/dp/0300179359 I wish you all the best in your practice. Kathryn

@@kathrynborel4872 thank you so much for your answer. I did not expect to receive one that fast :)) yes it did answer my question. In facy, I realized afterwards that you did the same with the next color layers and it kind of opened my mind on the freedom you can take with needle painting. In all my books and other learning resources, the study examples are more or less the same: stittching "regular" layers from one side of the shape to the other using long and short stitches. This was different :). Thank you again and thanks much for sharing the book reference, I will certainly have a look at it. Do you give classes btw?

@@talykiss1 yes, this concept of 'regular' layers is a little foxy, but one has to start somewhere and these preliminary exercises do help in understanding the long and short technique in a fundamental way; i.e. understanding how one stitch sits between others. After that, the focus should move to movement and as the form widens, stitches are added and as the form narrows, stitches are reduced... then you add the idea of colour, blending, and varying the threads, wool, cotton, silk, etc.... so it is a multi-faceted learning curve and requires tons of practice hours! But persevere - it's worth it. I might suggest you looking into the Royal School of Needlework's publications. Here is a link: www.thriftbooks.com/w/the-royal-school-of-needlework-embroidery-techniques_sally-saunders/9661563/item/19590120/?gclid=CjwKCAjwtIaVBhBkEiwAsr7-c2b-fyDbDS0j8_VvzLjN9qj5MHn4Jv4EX7ST8I8U0qxXXkvlbHe22xoCp8cQAvD_BwE#idiq=19590120&edition=7257028 All the best. Kathryn

@@kathrynborel4872 Thank you so much for your reply and for the book recommendation, I will have a look at it :)

Thank you for your compliment. I'm sorry it has taken me a little while to answer. I had hand surgery last week and am now only able to get back to the computer. I'm using a very fine linen with roughly 45-50 threads to the inch in the weave. This is not an even weave fabric (as needed for cross-stitch). The weave has to be tight and the threads of the weave fine. This gives you, the embroiderer, flexibility in where you can place the needle and the stitch without separating the threads of the fabric. The choice of needle is also important. I use # 10 Hemmings crewel needle. And as an additional tip, the thickness of your embroidery thread should be no thicker than that of the threads in the weave of your ground fabric. All the best and don't hesitate to write again if you need more information and guidance.

@@kathrynborel4872 Thank you so much. I hope your hand healing quick. I'm a newbie so I really appreciate you answering my question. Plus more 💖

Thank you so much. So nice of you

Thank you. I might suggest you watch the video entitled: 'Needlepointing - movement, colour and form. There I explain my technique.

Thank you, Amanda... good luck with your practice. Kathryn

I have another video entitled: Needlepointing, movement, colour and form. I might suggest you watch that since it has a voice over and I explain my technique.

Hello, Diane. If you go to the video entitled 'Needle painting - movement, colour and form', you will be able to hear my explanations when working a second row as well as how to negotiate a curved form and changing colour. Around the 5 minute mark of this video, you will see how I place the stitches within those of the first row. I hope this helps you in your practice. Thank you for writing. Kathryn

muchas gracias

You are welcome... enjoy the process

Hi, Jono. It's hard to advise without actually seeing your work. But, as a rule of thumb, it is really important to not have abrupt movements to the right or left of the last stitch. If you are working the dew drop as in this video, why not map out some curving directional lines in the design before you start stitching, thereby guiding your stitches as you work from right to left and back towards the point i.e. curving slightly towards the outer edge on either side of the centre vertical line and then curving them back to the centre as you get beyond the horizontal centre point. This may help you a bit. And then remember after you have set up rhythm in the starting row at the base, stay with longer stitches so to keep a smooth effect while respecting two important points: no two stitches placed side by side should have the same starting point or end point and make sure you place your stitches between those of the row before or the previous section. Let me know if this helps. Kathryn

Thank you

I work on 100% Belgian linen. There are about 45 threads to the inch but it is not an even weave, so the warp and the weft are slightly different. And I use a #10 Crewel needle. In this demonstration, I am using 1 strand of DMC cotton embroidery floss. I hope this helps. Don't hesitate to ask more questions, if you have them. Take care Kathryn

@@kathrynborel4872 thank you so much for replying! I think I’ve used linen that has too few threads per inch hence lots of puckering and noticeable holes.

Obrigado, Carolina. Kathryn

Hi, Karen I'm not sure what needle you refer to as an 'embroidery' needle. A 'crewel' needle is the generic term for a needle with a long eye and a fine body. There are several sizes ranging from # 7 to # 10, the #7 having the larger eye and thicker body. # 10 is very fine, eye and body. I use this one when working with DMC floss (1 strand) and flat silk. Rule of thumb is: the thicker the thread, and/or the thicker the ground fabric, the larger the needle. All crewel needles have a very sharp point. Other needle types are: Chenille, sharps, tapestry, milliner, beading... each has a its separate function. I hope this helps.

@@kathrynborel4872 your explanation is helpful. I always thought the crewel needle was for heavy weight threads and embroidery needles for finer threads. Thanks again!

Hello Crystal, you have highlighted a really important point. To successfully blend colours, I believe you have to come up in between the previous row's threads, just slightly below where the head of those stitches end. If you come up in the same place where the previous row's stitch ends, then there is a risk of creating a hole in the weave of the fabric because of the tension of each stitch pulling away from that point. My technique is slightly different than those described in very reputable technical books but I believe the final effect is smoother and the blending more effective. Let me know if you have further questions. I'm here to help. All the best, Kathryn

@@kathrynborel4872 thank you so much! Going to try needle painting soon! I’m nervous lol :)

@@crystalvalenzuela9872 Be patient and you'll learn to love it.

Thank you so much, Melek. I love it when viewers write in. In 2021 I plan to do more videos like this, with different techniques as well as adding more shapes to guide you in your practice with needle painting. Take care and stay safe. Kathryn

Thank you... all the best with your practice.

I've been practicing most of my life... it does take patience but keep at it, and your eye and fingers will ultimately find their skill and the needle will do its magic.

@@kathrynborel4872 Thank you!! I’m starting to get a little better at it.

Hello Susan... to answer your question, generally I have a picture in my mind of the overall project. I try to establish at the beginning where the light source is, and this is a key guide to going from dark to light. Having said that, I tend to introduce some surprise colour elements in my work, to keep the viewer engaged and curious. To help my students, I suggest that they do a colour study first with crayons on paper and use that as a starting point. After that, I like to let the artist speak and if that means she makes a departure from her first idea while she works, then let it be so. Let me know if this is helpful. I might suggest you watch the butterfly video where I worked with several hues of the same colour in each section to create a shimmer and a subtle play of colour. And thank you for your support. We all need to know that what we create gives pleasure.

Kathryn, thank you for your detailed reply. Much appreciated. I’ve watched the butterfly. Sometimes, these videos can be quite mesmerising ❤️

I'm happy you find this helpful