ELEGANT

Hardanger
Embroidery
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A S T E P - B Y- S T E P M A N U A L F O R B E G I N N E R S T O A D VA N C E D

Yvette Stanton
 You can find the instructions for
these projects on the pages listed.
Clockwise from top left:
Waterlily cushion, pages 56–7;
Karen doily, pages 46–7;
Scissors case, pages 39–40;
Handtowel, page 38;
Patchwork cushion, pages 33–5;
Star cushion, pages 44–5;
Claire doily, pages 52–3;
Genevieve framed doily, page 58.
More projects shown inside back cover.

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Contents

Introduction ................................................................4 Spider’s web .........................................................24

Knotted picot .......................................................25
Looped picot ........................................................26
Lacy buttonhole edge ...........................................27
Before you begin.........................................................5 Triangular webs with buttonhole bars ...................28
Fabric for Hardanger...............................................6 Twisted Y with looped picots ................................29
Thread ....................................................................6 Spider’s web in eyelets..........................................29
Other equipment ....................................................7 Cable stitch ..........................................................30
Preparing fabric for stitching...................................7 Beading ................................................................30
Reading a Hardanger chart .....................................8 Cutting Hardanger from the fabric........................31
Stitching order ........................................................8
Caring for embroidery ............................................9
Hardanger discussion forum .................................10
Hardanger projects ....................................................32
Patchwork cushion ...............................................33
Hardanger box......................................................36
Stitch instructions and techniques .............................11 Hand towel...........................................................38
Notes....................................................................12 Scissors case .........................................................39
Starting with a waste knot....................................12 Christmas stocking ...............................................41
Starting a new thread ...........................................12 Square sampler .....................................................43
Kloster blocks .......................................................13 Star cushion..........................................................44
Satin stitch............................................................14

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Karen doily ...........................................................46

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Buttonhole edge...................................................14
Eyelets ..................................................................16

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Gift cards..............................................................48
Honeysuckle tablecloth .........................................50

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Algerian eyelet stitch ............................................16
Four-sided stitch ...................................................17
Claire doily............................................................52
Trish runner ..........................................................54

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Faggot stitch.........................................................17
Cutting and removing threads for needleweaving...18

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Waterlily cushion ..................................................56
Genevieve doily ....................................................58

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Needleweaving .....................................................19
Wrapped bars .......................................................22
Dove’s eye stitch ...................................................22
Organza bolster ....................................................59
Appendix – names, symbols and stitches...................62
Acknowledgments ....................................................63
Greek cross...........................................................23 Index ........................................................................64

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Fabric for Hardanger embroidery is 100 threads square, on a 25 count fab-
Hardanger embroidery is a counted thread embroi- ric it will measure 4 inches or approximately 10cm.
dery requiring even-weave fabric. Even-weave fabric On a 20 count fabric, the same design will measure 5
has the same number of threads across the warp and inches or approximately 12.5cm.
weft, over the same distance. To check whether a To work out the size of the embroidery in inches,
fabric is even-weave, insert a pin in the fabric. From divide the number of threads covered, by the count
the pin, measure 5cm (2in) along both the warp and of the fabric. To work out the number of centimetres,
weft, marking the end of each distance with another multiply the number of inches by 2.54.
pin. Count the number of threads between the pins.
If the fabric is even-weave, the number of threads will
be the same over both distances. Thread
The most commonly used fabrics are even-weave Hardanger embroidery uses two weights of thread.
linens, cottons and cotton/viscose blends. Aida cloth The heavier weight is used for satin stitching, and the
is not suitable for Hardanger embroidery. lighter weight is used for all other stitching, including
Even-weave linen and many other even-weaves needleweaving and eyelets. Occasionally a third, even
have a weave of single threads. Hardanger fabric, so lighter weight may be used for pulled thread work.
called because it is used most often for Hardanger Pearl cotton (or perle coton) is the thread most
embroidery, is made of a weave of double threads. often used for Hardanger. It is made of two strands
twisted together and is indivisible (it cannot be split as
it will fall apart). Pearl cotton comes in four different
weights: Numbers 3, 5, 8 and 12. No.3 is the thickest,
and used only for very low counts of fabric. No.12 is
the thinnest, used for much finer work on higher
Hardanger fabric (cotton) Even-weave linen

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counts of fabric. Some of these weights are available

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in skeins, some as balls and some are available in both.
Generally, the colour range is larger in skeins.

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on the count of the fabric. The heavier weight of

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Lugana (cotton/viscose

p Aida (not suitable

thread must be able to provide good coverage of the
fabric when sewn as satin stitch. Choose a weight

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blend)
o because of its weave)

Traditionally, Hardanger is stitched in white thread on

that is similar to the thickness of the fabric’s threads.
The lighter thread to use in combination with the
thicker thread would be the next weight down. For
white cloth, but many designs are now made with example, on 28 count fabric, use pearl cotton No.5
either coloured cloth or thread, or both. for the satin stitching, and pearl cotton No.8 for all
other stitching.
FABRIC COUNT Stranded embroidery cotton can also be used for
The “count” of an even-weave fabric refers to the Hardanger. Having a much wider range of colours
number of threads per inch. Inches are used as the available than pearl cottons, stranded cotton can be
unit of measurement for the count of fabric, even in very useful. To create the two weights of thread
countries where metric measurements are standard. needed, different numbers of strands are used. For
A 25 count fabric (i.e. 25ct) has 25 threads per very fine needleweaving, a single thread of stranded
inch, a 36 count fabric has 36 threads per inch, etc. cotton can produce very lacy results.
Count can also be referred to as TPI or “threads per Before use, stranded cotton must always be
inch”. The lower the count of the fabric, the larger “stripped”: all the threads must be separated from
the embroidery stitches will be. each other and recombined. For two stranded work,
To work out how large an embroidery will be on a remove one thread from the length to be used, by
specific count of fabric, you will need to know how pulling it from the end of the six, and then another
many threads the embroidery will cover. If the thread. The two threads are then put back together

6
and used together. For six stranded work, all threads SCISSORS
should still be separated. Stripping threads ensures that A pair of sharp, fine pointed embroidery scissors are
the strands lie flat when used and are less likely to twist essential equipment for Hardanger. They must be very
around each other, producing a more pleasing result. sharp and fine to allow for the careful cutting of the
Embroidery threads come in a wide range of fabric’s threads very close to the embroidery, without
colours and are also available in metallics and hand cutting through the embroidered threads.
dyed variegated colour schemes. They are most often A pair of scissors that are not sharp or fine enough,
100 per cent cotton, but some varieties are silk, linen, or used incorrectly, can really make the difference
wool, or rayon, or a blend of fibres. between Hardanger embroidery that is executed to a
high standard and Hardanger embroidery that is only
LENGTH OF THREAD average. It is worth investing in a quality pair.
When stitching, I use approximately 80cm (32in) of
thread. This length is easily measured out from skeins EMBROIDERY HOOP
of pearl cotton by using the length of the skein as a Some Hardanger embroiderers prefer to use an
guide. Take off the two paper bands and untwist the embroidery hoop while stitching as they find this
skein. Find an end and pull away a piece twice the gives them a better result. As a matter of personal
length of the skein. Cut the piece off. It should be preference, I choose not to use a hoop for Hardanger
approximately 80cm (32in). When you are sure that embroidery, although I use one for most other
this length suits you, you can cut all the loops of one embroidery. Experiment with and without a hoop to
end of the untwisted skein so that all pieces are the see what you prefer for your work.
same length. You might not want to do this for a var-
iegated thread, so that you can have more control
over the placement of the colour variations. Preparing fabric for stitching
If the length of thread you are using consistently
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Before you begin, it is important to finish the edge of

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becomes dull and furry before you have finished with
it, it is too long and you should use a shorter piece.

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the fabric so that it doesn’t fray as you stitch. To do
this, either overlock the edge with a sewing machine

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Never re-use thread that you have unpicked. It will

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be noticeably less shiny than a fresh piece of thread
or overlocker, or hand stitch with blanket stitch.

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and create an uneven visual effect in your work. COUNTED TACKING
Because Hardanger is worked on the basis of a four

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Other equipment
NEEDLES
thread block, counted tacking carefully stitched over
and under groups of four threads will help in the correct
positioning of the stitching. Use pale coloured machine
The needles used for Hardanger embroidery are tapes- sewing thread, so that when it is removed it will not
try needles. Tapestry needles have a round point which leave any dark fibres in the fabric.
makes them less likely to split the fabric threads. To begin tacking, find the centre of the fabric by
Because Hardanger is a counted embroidery, it is folding it in half both ways. Mark the centre with a pin.
important that the stitches are worked in the spaces Enter the needle at the centre. Leave a tail of thread
between the threads, and that the threads aren’t split. long enough to tack to the other edge. Bring the nee-
Some Hardanger embroiderers prefer to use two dle back up again after two threads. Weave over and
sizes of needle for their embroidery – a larger one for under groups of four threads across to the edge of the
the thicker thread and a smaller one for the thinner fabric and secure the end of the thread.
thread. However, all the embroideries in this book have
been done with the one size: a No.24 tapestry needle.
The eye size of needles varies between brands. If
you find it difficult to fit the thread through the eye,
change to the next larger size of needle.
If you find that your thread is difficult to pull
through the fabric, change to a larger size needle.

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Notes METHOD 2
The difficulty rating of each stitch or stitch combina- This method works well for long straight lines of
tion is indicated by a cotton reel symbol next to the stitching.
heading for each stitch. 1 Work out where the new stitching needs to begin
A stitch or technique suitable for and where the stitching line will continue. Tie a knot
beginners. in the end of the thread, large enough not to slip
A stitch or technique suitable for inter- through the holes in the fabric.
mediate embroiderers. 2 From the front of the
A stitch or technique suitable for fabric enter the needle
advanced Hardanger embroiderers. about 5cm (2in) away
from the beginning point,
Stitches may have variations with differing levels of where it will be covered by the subsequent line of
difficulty. In these cases, the difficulty rating is shown stitching. Bring the needle back through to the front at
beside the heading for each variation. Fundamental the beginning point of the stitching. The waste knot
techniques and information which are for all stitchers should sit loosely on the front of the fabric.
do not show a rating. The stitch instructions are 3 Begin stitching, check-
ordered within the book following the steps outlined ing that the waste knot
in ‘Stitching order’ on page 9. thread is caught into the
The stitch diagrams in this book use the following back of the stitches.
convention: the heavier weight threads are shown When the stitching pass-
as striped, and the lighter weight threads are plain. es the waste knot, carefully cut off the knot without
Practise each of the stitches before working on a damaging any of the stitches. Ease the end of the
project. This will mean that by the time you come to thread through to the back of the fabric.
do your project you will feel much more confident

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with the stitches. You can use the sample pieces to
build up a record of your stitching experience by

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Starting a new thread t
assembling them in a scrapbook or folder.

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back of the fabric facing you, take the thread through

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Starting with a waste knot
the back of about 5cm (2in) of stitches closest to
where you need to continue stitching. If the previous

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A waste knot is used to secure a thread in an area
where there is no previous stitching.
thread was secured under the same threads to finish,
make sure the new thread does not pull it back out
again by holding its end as you begin the new one.
METHOD 1 2 Give the thread a very light tug to check that it is
1 Work out where the reasonably secure. If not, work through the back of a
new stitching needs to few more stitches or take a small backstitch through
begin and where the the back of the stitches.
stitching line will contin- When working pulled thread stitches, make sure the
ue. Tie a knot in the end of the thread, large enough new thread is well secured. Because of the tension
not to slip through the holes in the fabric. needed to work the stitch, if the new thread is not well
2 From the front of the fabric enter the needle about secured it will slip out again as you begin stitching.
10cm (4in) from where the stitching needs to begin. If there is no previous stitching adjacent to where
The waste knot should sit loosely on the front of the you need to stitch, use the waste knot method.
fabric. Make sure it is well away from any subsequent
stitching. Begin stitching.
3 When a reasonable amount of stitching has been Finishing a thread
completed, cut off the knot and ease the end To finish off a thread, turn the fabric over so the back is
through to the back. Thread the needle onto this end facing. Slide the needle under the back of the last few
and work it into the back of the stitching to secure it. stitches. With kloster blocks I usually take the thread

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through the back of at least five blocks. For other stitch- out again one thread to the left of the base of the
es take the needle through a similar distance. previous stitch.
Always make sure you leave enough thread to 4 Continue working left, with each stitch one thread
enable you to secure it well. If you don’t have to the left of the previous one until there are five par-
enough thread to end off, undo a few stitches to allel stitches. This completes the second kloster block.
give you more length to work with. 5 To begin the third kloster block, count four stitches
Never finish a thread halfway through a kloster block to the left of the end of the last stitch and bring the
or any other stitch combination. Doing so can cause needle up as before. Repeat the instructions to build
the stitch to sit incorrectly, and could cause your up a line of kloster blocks.
stitch tension to go awry. If the thread you are using The back of the work
BACK
has become slightly worn, the new thread will look
considerably different next to it, making the thread
should look like the line
of stitching on the left. ✓
RIGHT

change very obvious. This effect will be lessened if If it looks like the line
the thread is changed at the end of a kloster block. on the right, the direc-
tion has been reversed
✗
WRONG

in error (two errors shown). Such errors can cause the

Kloster blocks stitching to unravel when the fabric threads are cut.
Kloster blocks are the basic building
blocks of all Hardanger designs. They are STRAIGHT LINES
made up of five satin stitches over a Work the first kloster
square of four threads. Kloster blocks are block. Leave a space of
the first stitches worked in a Hardanger four threads and work
design, with the heavier of the two another block. Continue
weights of cotton being used. in the same way, building

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Kloster blocks are most commonly stitched in diag-
onal lines. Less commonly, they are stitched in line

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up a straight line of

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spaced kloster blocks in

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with the fabric’s grain. When stitching kloster blocks
it is important to count carefully. As they are the
which all blocks face the same direction.
The back of the work BACK

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foundation for all other parts of Hardanger designs,
care should be taken to make sure all elements are in

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should look like the top
line of stitching. In the ✓
RIGHT

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the correct place from the outset.

DIAGONAL LINES
1 Bring the needle out
bottom line, the direc-
tion has been reversed in
✗
WRONG

error (two errors shown). Such errors can cause the

stitching to unravel when the fabric threads are cut.
from the back to the
front of the fabric. Insert MISTAKES TO WATCH OUT FOR
the needle four threads It is very easy to make mistakes while stitching kloster
to the right. Bring the needle out again, one thread blocks. As they are the first elements of the design to
up from the beginning of the first stitch. be stitched, there is often only the counted tacking to
2 Continue, making each cross check against. As you stitch check, check and
stitch one thread higher recheck that all your stitching is in the correct place!
than the previous one, When stitching in diag-
until there are five parallel stitches.
3 Bring the needle out
onal lines the corners
of kloster blocks touch.
✓
RIGHT ✗
WRONG

✓
again through the same
RIGHT
hole as for the beginning
of the last stitch. Count Make sure that tension is constant throughout. Ten-
four threads up and sion that is too tight will cause the fabric’s threads
enter the needle. Bring it to bunch up. Tension that is too loose will mean

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Patchwork cushion ■ 1 skein No.5 DMC pearl cotton, to match
This cushion beautifully combines patchwork and green fabric

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Hardanger. The outer Hardanger designs feature
surface stitchery and are highlighted in green to

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■

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1 ball No.8 DMC pearl cotton, colour 712 (cream)
No.24 tapestry needle
match the patchwork. The centre design features
elegant cream on cream.

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DIFFICULTY Beginner
You must be accurate when positioning the embroi-
dery in the centre of each patch.

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FINISHED SIZE 40 x 40cm (16 x 16in)

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STITCHES USED Kloster blocks, satin stitch, eye-
lets, needleweaving bars, four-sided stitch, Algerian
Design A Work satin stitch ships in green pearl cot-
ton. Stitch kloster blocks in corners with No.5 pearl
cotton, colour 712. Work eyelets in No.8 pearl cotton,
eyelet stitch. colour 712.
MATERIALS Design B Work the satin stitch star in green pearl cot-
■ 5 pieces 11 x 11cm (43/8 x 43/8in) cream Hardanger ton. Sew eyelets and four-sided stitch with No.8 pearl
fabric, 22 count cotton, colour 712. The four-sided stitch should be
■ 4 pieces 11 x 11cm (43/8 x 43/8in) cream cotton fabric worked as a surface stitch with regular tension.
■ 75cm (30in) green floral cotton fabric, 120cm Design C Work kloster blocks in green pearl cotton.
(47in) wide Sew the eyelets, four-sided stitch (as a surface stitch),
■ 15cm (6in) pink floral cotton fabric, 120cm (47in) and all half Algerian eyelets in No.8 pearl cotton,
wide colour 712.
■ 10cm (4in) medium-weight fusible interfacing Design D Work kloster blocks and ships in green pearl
■ 3.6m (4yds) cotton edging lace cotton. Work eyelets and four-sided stitch (as a sur-
■ 2 x 18mm (13/4in) buttons face stitch) in No.8 pearl cotton, colour 712.
■ 35cm (14in) cushion insert Design E Work all satin stitch in No.5 pearl cotton,
■ machine sewing thread, one to match green fabric colour 712. Work Algerian eyelets in No.8 pearl cot-
and one to match lace ton, colour 712. Stitch needleweaving in No.8 pearl
■ 1 skein No.5 DMC pearl cotton, colour 712 (cream) cotton, colour 712.

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Index eyelets 9, 16 outside corner
Algerian eyelet stitch 16–17 buttonhole edge 15
acetate, photocopier 8 spider’s web in 29–30 greek cross border 24
advanced projects 52–61 fabric 6 patchwork cushion 33–5
Algerian eyelet stitch 16–17 count 6 pearl cotton 6
aida 6 preparing for stitching 7 photocopier acetate 8
backing out of a corner 21 cutting embroidery from 31 picots 25–7, 29
beading 9, 31 faggot stitch 17–18 pulled thread work 9
beginner projects 35–42 filling stitches 20, 22–7, 28–30 stitches 16–18
bolster 59–61 finishing a thread 12–13, 19, quarter cross foundation stitch 23
box 36–7 20–1, 27, 31 reverse Greek cross 24
buttonhole bars 28 four-sided stitch 17 runner 54–5
buttonhole edge 9, 14–16 forum, Hardanger discussion 10 sampler 43
cutting from fabric 31 Genevieve framed doily 58 satin stitch 9, 14, 19
lacy 27–8 gift cards 48–9 scissors 7
cable stitch 30 Greek cross 23–4 case 39–40
cards 48–9 border 23–4 correct use of 18, 31
caring for embroidery 9–10 reverse 24 ships, satin stitch 14
chart hand towel 38 spider’s web 25–6
creating a full chart 8 hardanger box 36–7 in eyelets 29–30
reading 8 hardanger fabric 6 square sampler 43
Christmas stocking 41–2 hem 9 star cushion 44–5
Claire doily 52–3 honeysuckle tablecloth 50–1 stars, satin stitch 14
count, of fabric 6 ironing 10

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starting a thread 12,19, 20–1,
counted tacking 7
cushion
inside corner
buttonhole edge 15

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stitching order 9
patchwork 33–5
star 44–5

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greek cross border 24
intermediate projects 43–51
stocking 41–2
straight lines

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cutting 9

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waterlily 56–7 Karen doily 46–7
kloster blocks 9, 13–14
kloster blocks 13
needleweaving 20

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threads 18–19
fixing mistakes 19, 31
from the fabric 31
substitutes 14
knotted picot 25–6
lacing thread across the back 21,
stranded cotton 6
stripping threads 6
surface stitchery 9, 16–17, 30
where to cut 18–19, 31 27 tablecloth 50–1
diagonal lines 13 lacy buttonhole edge 27–8 tacking, counted 7
difficulty rating 12 left-handed Hardanger 9 tapestry needle 7
discussion forum 10 linen, even-weave 6 thread 6
doily looped picot 26–7, 29 finishing 12–13, 19, 20–1, 27, 31
Claire 52–3 Lugana 6 length to use 7
Genevieve 58 mistakes 8, 13–14, 18, 19, 31 starting 12,19, 20–1, 27, 31
Karen 46–7 needle 7, 16, 31 triangular webs with buttonhole
double cable stitch 30 needleweaving 9, 19–21 bars 28–9
dove’s eye stitch 22 backing out of a corner 21 Trish runner 54–5
in a wrapped circle 22–3 lacing thread across the back 21 twisted Y with looped picots 29
drawn thread work 9 starting and finishing a thread washing 10
edging, buttonhole 9, 19, 20–1 waste knot 12
27–8 straight lines 20 waterlily cushion 56–7
embroidery hoop 7 zigzags 20 wrapped bars 22
even-weave 6 organza bolster 59–61 zigzags 20

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 You can find the instructions for
these projects on the pages listed.
Clockwise from top left:
Trish runner, pages 54–5;
Hardanger box, pages 36–7;
Square sampler, page 43;
Honeysuckle tablecloth, pages 50–1;
Organza bolster, pages 59–61;
Christmas stocking, pages 41–2;
Gift cards, pages 48–9.
More projects shown inside front cover.

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You can do Hardanger embroidery!
Do you want to try Hardanger embroidery but think it looks too difficult?
Have you mastered the basics and want new challenges? This manual will
take you step by step from novice to advanced stitcher, with helpful diagrams
and hints and tips at every stage. Stunning Hardanger projects, graded
beginner, intermediate and advanced, will guide you to your next level of
expertise. You will refer to this manual again and again.

You will discover:

ü how to create the stitches of Hardanger embroidery
ü how to work those harder stitches that you don’t get in beginners books
ü hints and tips that you normally only learn in classes
ü that you don’t need to be afraid of cutting the fabric threads
ü how to fix mistakes
ü how to use your skills to work elegant Hardanger projects

‘I got your books: fantastically good! The Hardanger one is the best book on
that topic that I've ever seen. The instructions are not only clear, with excellent
graphics, but you also give a good view of how the stitches should look on the
back, and shouldn’t look! You also give an idea of how to tuck in ends, and
move from one bit to the other. That’s precisely what the student needs, and
doesn’t get in the other books. That chapter of instructions is really something

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special.’ —J.O’L. Queensland, Australia

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‘I really wish I’d found this book at the beginning of my hardanger learning a t
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curve. I taught myself Hardanger from magazine instructions and didn’t realize

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I’d also taught myself some bad habits. This book is really outstanding and I
would recommend it to anyone interested in Hardanger – from beginner to
p
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experienced!’ —R.R. California, USA

Yvette Stanton is a respected embroidery teacher and award-

winning needlewoman. In 2000 she won the Nordic Needle
Annual Hardanger Design Contest.
Yvette is also the author of ‘Ukrainian Drawn Thread Embroidery:
Merezhka Poltavska’ and with co-author Prue Scott ‘Mountmellick
Embroidery: Inspired by Nature’. Yvette regularly contributes articles
on the history of needlework and embroidery projects to leading
Australian and international embroidery magazines.

www.vettycreations.com.au

This manual has taught thousands of stitchers how to create

elegant Hardanger embroidery, and it will teach you too.