How is the stitching going?  

The Board of Directors of EAC has had a blast challenging themselves to create this band sampler for you and we are very pleased about the comments we have received telling us you are enjoying it as well! 

For your convenience, we have put all the sampler line patterns together into one pattern, and you can access them now on the EAC website under “Free Projects”.  We sincerely hope that you will enjoy this pattern and others provided on our website.

These patterns will be posted on the EAC website in the near future.  We will post it here for you to easily find it :-)

This will be the final post for now in the Meet the Board Band Sampler series- until we have photos of reader’s samplers to share!  

Please share photos of your own samplers you have created using these designs by emailing them to along with permission to publish them.  We would love to share your creations on the blog here, the Embroiderers’ Association of Canada Facebook page, or in our magazine, Embroidery Canada.
Well, the easy answer is PPRD is not an it – it is a she (although it can be a he) and right now it is me!  

My name is Kerry Leslie and I have the pleasure of being in my second term on the EAC Board in the position of Prairie Pacific Regional Director (PPRD).  

Personally, I think a blog post without photos is a boring blog post so throughout this post you will see photos from my files – just so you can get to know me a bit better while you are getting to know more about the Regional Director position by reading the text.

As EAC grew, it was decided that it would be a help to the EAC Board if Regional Directors were put in place to lighten the workload and two were instituted:  Atlantic Central Regional Director and Prairie Pacific Regional Director.  The Atlantic Central Regional Director is currently June Barry and she takes care of the chapters from Ontario east to Newfoundland.  As PPRD, I act as liaison for the chapters between British Columbia and Manitoba and north to include the Territories.  Until recently, we also took care of the National Members within our regions but a new position has been created for National Member Representatives.  This new position is greatly enhancing the EAC experience for National Members.  

So, what do I do as PPRD?  The primary responsibility of the Regional Directors is communication.  We liaison between the EAC Board and the Chapters in our regions, arrange the location and date of the Regional Meetings and set the agenda in consultation with the Chapters.  We gather the annual Chapter Reports and circulate them and coordinate the billets, travel and other information between the Hosting Chapter and the attending representatives. We send out and receive applications for chapter funding to attend the meetings and act as Chair for the Regional Meeting and make sure that the Minutes of the Meeting are sent out in a timely manner.  When a member of the EAC Executive needs something from the chapters, we as Regional Directors chase down the information, nagging you unmercifully until we get it.

my favourite grandson!

Each Chapter in my region that has a newsletter sends them to me and I make sure that they get into the EAC Archives, and are forwarded to the Webmaster for inclusion on the EAC site.  I forward them to the National Representatives (who forward them to their National Members), the Atlantic Central Regional Director (who forwards them to all the chapters down east) and to all the EAC Board Members.  

I also make sure copies go out to all the Chapters in the Prairie Pacific Region.  So, as you can see, your newsletter gets a lot of mileage and ends up reaching every EAC member – something you can mention to your advertisers!  

I love exploring different stitches and enjoy writing articles for Embroidery Canada
 about different stitches and their variations

Any news sent out from EAC to the Chapters comes through the Regional Directors.  We try to keep all the chapters alerted to any changes or news that will affect them.  We also liaison between the Chapters themselves – recently I was pleased to send out an email about open registrations for a chapter workshop – it is always great to be able to share this type of information and I make sure the National Member Representatives receive it as well because the National Members really appreciate the chance to take workshops at one of the chapters.

The Regional Directors attend a two day Board Meeting each year at the beginning of Seminar and jointly host the Combined Regional Meeting one evening during Seminar. We attend a number of online Board meetings throughout the year as well.   We are also members of the Nominating Committee for EAC, conducting interviews of nominated candidates for the EAC Board.  June and I are also active Board members with all that entails – taking on different tasks and projects as the need arises.

This year June and I undertook the big job of doing a chapter survey to determine what direction EAC should be moving in to best meet the needs of the members.  I am sure many of you remember filling out that massive survey in your chapter – just imagine compiling all those results into a readable document.  Whew!  
my family and me - they are just as goofy as I am!
The benefits of taking on this position?  You will gain a wonderful understanding and appreciation of this national organization of ours.  You get to work hand in hand with the other Board members to continually improve the experiences of all of in this Canadian stitching family.  You will be “in the know” about all the new developments coming up and there are so many!  Exciting innovations like the first EAC Virtual Chapter, new correspondence courses, and nationwide group projects are just a few I have seen in my term.

If you would like a similar rewarding experience, 
I encourage you to consider applying for this position
 when it comes up – you won’t regret it!
President's Role

We have been asked to briefly describe our job descriptions on the EAC Board. I thought it might be interesting to tell you a bit about my role as President of EAC.  

The President is the "Chief Executive Officer" of our organization and is also keeper of the official seal.  (Did you know we have an official seal?) Traditionally this position requires a six-year time commitment:  two years as Vice-President during which time I learned all about the administration of EAC and assisted the President and the Board with a number of interesting projects; two years as President during which I am chairing the Board and overseeing the many functions of the organization; and, finally, two-years as Past President; Joyce has described these duties in her blog.

As Vice-President, I became the "Seminar Liaison" for two Seminars, Calgary’s Stampeding Stitches in 2015 and Ontario’s “Inspiring Stitches” in 2016.  With timelines being what they are, this role continues throughout both the Vice-Presidency and the Presidency.

President's Pin
The job description of the President, found in the Bylaws on the EAC website, provides a detailed overview of this position and what it entails.  However, now that I have been serving in the role for almost a year, I have discovered that there is so much more to this job than what you read there.  For example, I have had many opportunities to meet EAC/Guild members from all across Canada, both in person and on-line.  I have heard great ideas and am in a position to help work them into the future plans of our organization.  I have enjoyed the opportunity to travel to many points in Canada for meetings and Seminars.  I am able to contribute to plans that benefit all of our members and move the organization forward.  I get to represent EAC on many fronts as the positive and dynamic organization that we are.  And, finally, I get to design and stitch – and talk about it endlessly! – with a wide variety of colleagues and friends who challenge and teach me to expand and perfect my knowledge of our wonderful art, and to share my love of embroidery with them.

My role as President of EAC is proving to be a wonderful opportunity to "make a difference", not only to the Association and its members, but in my life. I am enjoying my "work", learning so much, and having fun!

Beryl Burnett

by Sheila Stewart

Celtic Colours is a Festival that lasts, by some definitions, “10 days and 9 nights without sleep”.  It takes place in October in Cape Breton Island, Nova Scotia.  From just before our Canadian Thanksgiving and through the entire following week, there are  almost 50 concerts and more than 250 Cultural Events in communities throughout the Island – workshops and dances, suppers and hikes, and voices speaking and singing in Gaelic , French and English. Many people from far and wide come for the whole Festival; we are not that lucky – we have only 3 days but we make the most of it!

It is a glorious time of year – the Fall of the year with the maple trees turning to rich scarlet and gleaming orange, the birches and poplars to gold and bronze, and all highlighted by the olive green, blue green and forest green of the spruce, pine and fir trees.  My fingers itch to capture this magnificent 

We journey up the western side of Cape Breton Island – and -Oh! – as we turn onto the road wending its way along the coast, the smell of the salt air assaults the air passageways and makes one think of whale watching and mussel farming.  How does one capture the salty tang of the sea air?  Kreinik braid? Arctic 

Rays? Definitely something sparkly! 

We walk along the boardwalk and then the beach at Inverness and Port Hood – the wind warm on our faces and the sand soft and mushy beneath our feet.  Off to the side we see cranberry bogs and people with pails on their way to gather them.  Um-m-m! The warmth of the wind, the softness of the sand, the crispness of the cranberries – all remind me of warm gold floss and honey-coloured silk thread, and 

We travel to Scotsville to the Scottsville School of Crafts where we join a group hike along the Southwest Margaree River, led by a guide dressed in kilt and tam.  He stops every now and then to sing a song in Gaelic - the milling song makes one think of the rhythm of “place-the-needle, pull-the-needle” that we stitchers have perfected over time.  It is like a piece of bargello, the long stitches reaching high and then becoming shorter to make an intricate, unique, colourful pattern.

A trip to Cape Breton would not be complete without tea and oatcakes.  In the midst of the John Allan Cameron Song Session, the music stops and we are treated to tea and an abundance of baked treats.  The Storytelling Session at the Chestico Museum features Tasty Tales which include stories of butter and cheese making, butchering and meat preserving,  and berry picking and jams of many kinds, followed by sampling of the “real butter”, blood pudding, and biscuits and jam.  In the evening we go to the concert Close to the Floor – a feast of toe-tapping music, Gaelic singing and young and old dancing traditional reels and jigs – and, in the middle a break for – you guessed it! – tea and treats!  One will never go hungry!  The sights, tastes, smells and sounds are a constant inspiration.  The rich colours, the variety of tastes, the smell of brewing tea and fresh-baked bread, the sound of the dancers’ feet on the floor and the strange Gaelic tunes weave together into a magnificent tapestry of succulent textures and extravagant hues.

Celtic Colours is a wonderful opportunity to see where the road will lead you, what is around the next bend, and what story you will find to tell.  Perhaps you will find yourself drawn to explore this little pocket of spectacular scenery, skirl of bagpipes, mouth-watering oatcakes and biscuits, salty ocean air, and soft sand bordered by smooth boardwalks.  It is indeed a feast for the senses!

“Look at the colour of those Trees!”

“Just smell the salt air!”

“Oh, the sand on my feet feels so-o-o good!”

“Aren’t these oatcakes de-e-e-licious?!  And REAL butter too!”

“Listen to those fiddles and bagpipes!”
We are happy today to be posting three more free patterns for the Meet the Board Band Sampler.

The first pattern for this round is provided by Sheila Stewart, the extraordinary Secretary for EAC:  “I love to get out for walks along wooded trails; the leaves on the trees and plants fascinate me with their variety of shapes and colour – particularly the colour! Spring brings light yellow-greens which turn to lush greens in the summer and golds and browns in the fall, often tinged with rain or dew drops or snow and ice. Don’t variegated threads in greens, golds and browns come to mind? And textures – smooth, rough, fuzzy…! And beads for drops of rain or ice or snow! It is indeed inspiration for stitching the leaf stitch in various ways to achieve different results. I hope you have fun playing with this versatile stitch as you create your own woods trail!”

Margaret Adey is the very hard-working Vice-President of EAC and has the pleasure of living in Newfoundland, one of the most beautiful and rugged parts of Canada.  It is no wonder then that Margaret draws the inspiration for her sampler line from the ocean.

*please note:  The following text and photos are as they appeared in the magazine, and have not be reformatted in order to preserve the context of the original article.  This may make this portion seem a little out of order in its instructions, and the materials are what was used in the original .


The corner star is worked like this. Taking three threads at a time, work under and over sixteen rows after having gone round three times to form the centre.

DRAWN-THREAD work has had a long innings, but is likely to be popular for many years yet.  To those who like fine sewing, it is never tedious.  For lasting wear and easy laundering it cannot be beaten.

This little traycloth can be made any size one likes; the original is 12 x 16½ inches and is made from Excelsior Canvas 36 inches wide. ½-yd. will make two cloths.  Ardern’s “Star Sylko” No. 8 is a good strong thread to use; peach (No. 878) and love-in-the-mist blue (No. 783) is a good colour combination, the “stars” and hems being in peach.

Tack a 1/4-inch hem to prevent fraying, but do not draw threads for hemstitching until the rest of the work is completed.

Half-an-inch from the hem commence drawing threads—17 each way, over 11 for the short and over 15 ½ inches for the long side. Buttonhole over the cut edges at the corners taking the stitches over four threads of material. Then hem-stitch into the border taking up two threads. This is done in blue.

With a long blue thread, make a buttonholestitch near the corner on one side. Take this across to the opposite corner and work five

in very simple stitches in two colours . . .

knot-stitches over the next five bundles of threads, miss three threads, go up to the top of the border, work five knots and repeat until the other end is reached.   The next line is commenced just under the first, the thread being taken across the open square to just above where you began the knots in the first row.  This time make the knotstitch over two threads of the first bundle and the next knot-stitch over two of the first bundle and two of the second—six knots in all. Take the thread over the same three bundles left before and go on in the same way, working the second row of knots just under the first. The third row is commenced at the bottom of the square; the fourth just above it.  The fifth is worked straight down the middle, dividing the threads of the bundles again, so that the lattice effect is obtained.
The stars are worked in peach.  Secure the thread at the back of the work; counting the bundles of threads as one, work under and over the threads until you get where you started. Then, taking only three threads at a time, work under and over for twelve rows, slip the cotton down the back of the part just worked; repeat three times on the remaining threads.   The corner is worked in a similar way, except

(Please turn to page 42)

Excerpt from FANCY NEEDLEWORK, Weldon Series No. 147, October 1938 DRAWN THREAD WORK.

Since Isla Marsh is the EAC Librarian, it is not surprising that her contribution comes from a wonderful old needlework magazine.  Enjoy this “blast from the past”!

Sadly, at last we have come to the last line in our series for creating the Meet the Board Band Sampler.  We hope you have enjoyed this series and are having as much fun stitching as the board members had designing. 

Please share photos of your own samplers you have created using these designs by emailing them to along with permission to publish them.  We would love to share your creations on the blog here, the Embroiderers’ Association of Canada Facebook page, or in our magazine, Embroidery Canada.

Check back on December 22nd – we will post the entire Meet the Board Band Sampler pattern at that time for your convenience. 

Thanks for stitching along with us!
Chanukah is a special time in my home. I always host a Chanukah dinner for my family and a few friends. I make honey garlic brisket, chicken schnitzel, salads and latkes (potato pancakes) with sour cream and applesauce. For dessert, I make sufganiyot (doughnuts) with white chocolate filling and two different kinds of cookies. 

Gifts are exchanged and after dinner, we play a game of dreidel. We each pick our own dreidel to spin and put a couple of pennies in a pile. One person spins their dreidel and depending on which side comes out on top, they get the whole pile of pennies, or half, or nothing, or have to add a couple of pennies. Then the next person takes a turn. Once you lose all your pennies, you're out of the game. Everyone has a great time with lots of laughs and joking.

In order to decorate my home for Chanukah, I am always on the lookout for patterns and fabrics. There's not a lot out there, but I have found a few and try to stitch at least one each year. I have also found a site that has Chanukah decorations and fabrics. 

One of my finds was an unusual gold print with Chanukiah (Chanukah candelabrums with nine branches). I found a table runner pattern that I thought would work and paired it with a wildly patterned Star of David and white on white dreidel (a spinning top) fabric. And voila, my Chanukiah Table Runner was born. 

I hope you all enjoy the holiday season, no matter which holiday you celebrate. May you have lots of fun with family and friends, lots of good food to enjoy and lots of stitching gifts.

Linda Brenner

By Jennie Wolter, Calgary, AB 

As a canvas embroiderer I find that I have collected small pieces of canvas, surplus thread from completed kits, seminar projects or my own impromptu ornament designs whenever I complete a project.  Over the years I have developed a love for stitching with the variety of thread textures that are available and after completing my projects I end up with a lot of “leftover” bits.  I also collect old pieces of jewelry and use them to enhance my stitching. 

Just like me, I am sure that many of you also have a collection of needlework supplies that are too small for a particular project but would like to bring them to life and not leave them in a box.  I have discovered a project that you too can do with your odds and ends pieces of canvas and surplus embroidery and at the same time incorporate your single earring that does not have a mate, old favorite costume jewelry that may appear out of date or interesting finds at a garage sale or perhaps from your local second hand store.  This collection of canvas, thread and jewelry can be Reduced, Recycled and Reused. 

If you attended The EAC Seminar 2015 in Calgary, you would have received a hand stitched pin, each one was unique in colors and stitches.  The pins used up a large stash of canvas and thread leftovers (Recycle).  The only thing that I purchased was pin backs to complete the pins.  I made over 250 pins, gave each Seminar registrant a pin during the AGM (Reuse) and any remaining pins will be gifted to friends for Christmas. 


The photo below shows some of the supplies that were used for the unique 3R ornament (Reduce and Recycle, Reuse).  The options are endless as you could make a brooch, necklace, bookmark, etc. 

supplies used to make ornaments using old jewelry

The pieces of canvas are 18 count and many are pretty small (e.g., 1” x 6” {2.54 cm X 15.24 cm}).  Choose a piece of canvas that is 2 ” (5.08 cm) or wider and maybe 2 ” (5.08 cm) long or longer for the front of your ornament.  The size of canvas will depend on the piece of jewelry you plan to attach.  For a 1” x 1” (2.54 cm x 2.54 cm) piece of jewelry, you will need a piece of canvas approximately 2.5” x 2.5” (6.35 cm x 6.35 cm) or larger.   For the back, I selected two small pieces of canvas to match the size of the front piece that I fused together.  This is a good example of Reuse. 

NOTE: All of the stitching is done in your hand – no stretcher bars are required.  Keep your tension tight but NOT too tight. 

If you are going to use an old piece of jewelry be sure to remove the backing or hardware from the earrings or pins.  It is best if you choose a piece of jewelry with lots of open space as this will help secure the jewelry to the canvas.  If you have a solid piece of jewelry, you may need to secure it to the canvas in a different fashion, such as with a suitable glue to a piece of fabric that is larger than the jewelry piece so you can anchor the fabric to the canvas and surround it with stitches. 

Use small stabbing stitches to secure the jewelry piece minus hardware to your canvas front. 

This picture shows these securing stitches on the back as well as on the front of this heart piece of jewelry.   

Then select threads that complement your jewelry.  For this old earring with pearls, I selected an off white pearl 5 weight silk for my stitching.   

With the heart shaped pin, I selected a variegated pink floss using three plies on that ornament.  A larger piece of canvas was used for both the front and back. 

ornament with jewelry containing rhinestones 
ornament with petite point jewelry 

Select “simple” stitches to use so as not to overpower the jewelry.  Stitch around the jewelry. 

ornament with jewelry containing rhinestones
ornament with petite point jewelry 
Then continue adding stitches leaving as least six (6) threads of canvas around the whole piece.  These remaining six threads will be used to add a pieced backing to cover your stitches, so no need to worry how messy your stitched back looks.    

If you are not comfortable laying three plies of floss carefully, use a pearl 5 weight instead.  This heart ornament used three ply of floss and they were carefully laid during stitching.  The ornament with the petite point jewelry had two ply of thread laid carefully as well.  If you do not lay your threads smoothly, the overall effect is not as pleasing. 

As I indicated if you have smaller canvas pieces, carefully lay out the pieces lining up the canvas threads and fuse a small piece of fusible interfacing to one side (this will be the back of the backing canvas piece).   

You will back your ornament with a solid piece of canvas same or similar size as the front or use a joined piece (Great way to use up those smaller pieces - Reuse).  Match up the holes of the front and back canvas pieces.   

Line up both pieces of canvas so the holes match.  Using a satin stitch, stitch through the front and back pieces of canvas.  Make sure your ornament hanging is inserted at the top of your ornament.  If you forget to include the hanger as you stitch front to back, add it later. 
Completed stitching around jewelry with simple hanger - front
Completed stitching around jewelry with simple hanger - back
Satin stitch securing completed stitching to two pieces of canvas joined together – Front
Satin stitch securing completed stitching to two pieces of canvas joined together - Back 

What a great way to gift a family member or friend with a unique ornament for Christmas this year or any other occasion! 

A selection of ornaments is included below.  Enjoy and make many for your family and friends.   

Photo of completed ornaments 
 Share pictures of your completed pieces with EAC 

Find out more at the Embroiderers' Association of Canada website.
EAC is not responsible for content at external links provided within this blog.

About EAC

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The Embroiderers' Association of Canada (EAC) is a national non-profit educational organization whose purpose is to have a fellowship of persons who enjoy needlework and wish to learn and share their knowledge; and thereby to work towards maintaining higher standards of design, colour and workmanship.

Our aim is to preserve traditional techniques and promote new challenges in the Art of Embroidery through education and networking.

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