A quick guide to embroidering a corvid and stitching on charms for beginners

Oct 14, 2026 Last reply: 23 hours ago 4 Replies
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The trick with a black bird on dark fabric is contrast, so go for a rich magenta or deep plum instead of trying to out-black a crow. Sketch the bird first with a water-soluble pen, keep the body as simple shapes, and use three strands of floss in satin stitch for the wing so it reads glossy rather than flat. A split stitch outline around the beak and eye gives you that sharp, judgmental corvid expression we all love. For the trinkets, less glue is more. Stitch everything down. Flat buttons get two tiny tacks through existing holes, beads get a single pass through the center, and weirdly shaped objects like watch parts or typewriter keys just need a couple of wrap stitches over the thickest edge. Lay everything out on the hoop before committing anything, photograph it, then rearrange once. You will thank yourself.



Word of warning from experiance, wash your hands before handling tarnished old jewelry bits because they smudge light fabric fast, and knot your thread twice behind heavy charms. They catch on things. Mine survived a move in the car though, so the wrap method holds up fine.


I did a raven piece last winter on a charcoal linen and learned the hard way that even plum wasn't enough contrast for me. What finally worked was a dusty teal background fabric instead of fighting it with thread color. The bird itself is mostly DMC 310 with a bit of 413 blended in for the wing highlights, and I used long and short stitch instead of satin because my satin always ends up with bumpy edges on curved shapes like wings. On the trinket part, I agree about stitching everything down. I tried fabric glue on an earlier hoop and half the buttons peeled off within a month. My version of the layout trick is to baste a rough circle guide on the fabric first so I know where the border of the design sits before I start positioning charms. Saved me from having a typewriter key hanging half off the edge.

One thing I do differently is knotting behind heavy charms three times instead of two, because my mom's vintage brooch pin I stitched on is genuinely heavy and pulled the fabric into a little dimple untill I added a scrap of fusible interfacing behind that whole area. Also worth saying that beading needles saved my sanity for the tiny seed beads around the eye, regular needles were too fat to get a clean pass through those holes.

Ha, this takes me back. Before water-soluble pens we traced designs with dressmaker's carbon paper, and honestly that still works fine on dark cloth if you get the white or yellow sheets. My old instructor also made us couch the black floss on glossy areas instead of satin stitch, laying two strands down and tacking them with tiny stitches in matching thread. Gives a real feathered sheen and no bumps on the curves. I still run my thread over beeswax before doing anything with heavy charms, keeps the strands from fraying where the metal edges rub. Does anyone else still keep a cake of wax by the hoop, or is that just us graybeards now?

I did a magpie on the back of a denim jacket last year and the hoop advice doesn't really apply there, so I just chalked my layout straight onto the fabric and pinned the charms with a dab of painter's tape while I stitched. Worked fine, though the tape left a bit of residue that washed out eventually. Also, for that glossy eye, one black seed bead does the job better than any satin work I've managed. Makes the bird look properly annoyed at everyone. Does anyone else find corvids way more forgiving to stitch than songbirds? All those black shapes hide a multitude of wobbly edges.

Update: the dusty teal background idea saved this piece, the bird finally pops against it. Still wrestling with the wing though. Tried the couching trick with two strands but the stitches holding it down show up as little dashes across the shine. Do you space them close togehter or pick a matching thread so they disappear? Charms are all stitched down and holding.

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