We just got advance copies of Embroider Everything Workshop by Diana Rupp in the office this week, and boy, do they look spiffy! And as we flip through the pages of techniques and projects, we’re reminded of the process that it took to get us to this place. Because beyond the months of editing and layouts, there were the photo shoots, illustration revisions, and more! Today, though, we look back at the photos that went into making Embroider Everything Workshop look so splendid.
The very talented photographer Jim Franco invited us into his studio as he began shooting some of the tabletop items. Here, he props the cross-stitched Fancy First Aid Kit (flip to page 210 in the book to check it out!) on a marble tile surface with some bandages and other basic fix-it gear. Then he switches out the surface for a more rugged wooden one to shoot the embroidered Return to Sender Luggage Tag (page 192).
Jim’s studio is right next door to an amazing prop room, where he had access to dishes, fabrics, mirrors, and other furnishings of all shapes and sizes (and color-coded, too!)–it was a wonderland of artfully organized treasures.
Below, author Diana Rupp works with Jim to style the satin stitched Peony Jewelry Box project (page 183) to get it juuuust right.
Each project gets photographed multiple ways, to ensure that we get a winning shot. Remember that luggage tag, above? Here, it’s attached to vintage suitcase with a bright red ribbon. Since he’s changed the angle of the camera, Jim takes a light reading before he clicks the shutter.
A couple of weeks later, we hit the streets of Brooklyn (with lighting assistants, and cute young models!), photographing on the sidewalks (the Smocked with Love dress, page 127) as well as the Patch ‘Em Ups stitched patches for kids (page 122).
Then we scouted locations in the park, where we clicked images of the Bargello Belt (page 112), the Monogrammed Sneakers (page 106)–which Diana thoughtfully stitched onto a pair of cute kicks in her editor’s size!!), the Stag Hoodie (page 102), and the Dashing Vest and Tie (page 90).
But the real treat was shooting at a farm in upstate New York for two days. Below, Jim experiments with the lighting while shooting the Something Blue Hanky (page 225).
“Did we get it right?” Jim and Diana check the computer monitor to see if he got the shot.
The model waits patiently to confirm that they have a good one before moving! And, to whet your appetite, here’s a closeup of the amazingly stitched keepsake.
Next up? The Sashiko Top and Tunic dress (page 86) using the traditional Japanese pattern called “Seven Treasures of Buddha.” Diana stitched white on navy for the dress bodice, and switched it up with a variegated floss on white along the sleeves and bottom of the shirt.
Again, Diana and Jim check the computer monitor to see if the photo is a keeper (it was! You can see the final one on page 86 of the book).
And here’s the project that’s up first in my queue: the Crewel But Kind Giraffe (page 118). I already ordered the fabric from my local quilting shop and the iron-on pattern comes in the pocket at the front of the book! A perfect project for my subway commute.
Keep an eye out for the book when it hits shelves later this fall–and check back to our website, too, to see if Diana will be doing an author event (and make-and-take) for Embroider Everything Workshop in your area before Christmas!
