• Add a plain fabric as the base for the embroidery.
• Take your color cues from the printed fabric.
• Differentiate the scale of the embroidery
In this tunic, I selected a base fabric (manufacturer unknown) that matches one of the colors in Valorie Wells Free Spirit Jenaveve Linen print. Notice it contrasts in color and value from the background of the print and defines the embroidered area.
Use the colors in the fabric as your guide for selecting threads. I selected a dark, very dark, brown thread that pops off of the medium value plain fabric. That same dark brown thread is also the same shade as the background of the print creating a unified schematic.
Rarely is it a good idea to introduce another color scheme when balancing embroidery with a large scale print. Of course, you want the embroidery to be visible so select threads the same color as the print but of a different value. It’s the contrast between the base fabric and the thread that makes the embroidery visible.
Now select the embroidery design. Make sure its one that coordinates in style with the large print yet contrasts in scale. If the main fabric in the garment is a large print, then stitch a simple, medium-sized, repeating design. Large prints draw the eye across the fabric while the embroidery here frames the face and adds a touch of texture on an otherwise flat surface. Audition different sizes of designs – too small and the embroidery will be completely overpowered by the large scale print. Too large and the embroidery will battle with the large scale print for center stage.
But what about small scale prints? Apply the same principals keeping the focus on the embroidery, not the print. I made this jacket (Indygo Junction Midtown Trench) with Ty Pennington’s Impressions sateen fabric, Kimono, in taupe.
Way too busy of a print to splash embroidery across, I opted for a black collar washed with open, airy embroidery designs.
I selected black for the collar because black is the smallest element in the Kimono print. Next, I used taupe and silver thread to stitch the embroidery. The threads coordinate with the fabric and most certainly separate from the black base letting me achieve my ever present number one goal – let the embroidery be seen! The large designs, built-in on the Brother Quattro, do not fight with the Kimono print, rather they complement it very well.
I enjoyed making both of these garments and learned quite a bit about working with luscious, printed fabrics – both large and small! It’s always good to stretch your creativity and get out of your comfort zone.