Classical Decoupage

Classical Decoupage

Decoupage is an old decorating technique which uses paper pictures cut out and glued and then varnished. There are many different kinds of varnish finishing. The pictures to be cut out may be found in magazines, present papers, postcards, photograph... and decoupage papers of course.

Historical note

This Art appeared in Europe by the end of the 17th Century to imitate lacquered objects introduced from Far East. Venetian craftsmen, carpenters and lacquer artists used this technique to realize furniture decorated with oriental prints, which was in fashion at that moment, and called this art "Lacquer of the poor" or "Fake Lacquer" too, in order to distinguish objects decorated using this technique from those decorated using "Venetian Lacquer", or painted and then lacquer finished. There is no need to say that Fake Lacquer was much less expensive than Venetian Lacquer, that's why it was so succesfull.

Later on in France this Art was called Decoupage, from the verb "decouper" which means "to cut".

Decoupage rapidly spread out as a hobby for rich ladies. The subjects most appreciated were flowers, insects, birds and after expecially during Victorian age also pictures of angels, cupipds, hearts, miniature of landscapes...

Today Decoupage is fashionable again thanks to many associations in Italy, England, America and Australia... and it's even easier than in the past thanks to the modern techniques we have: water glue fast and odourless, acrylic colours , special papers...

Many people believes that Decoupage is not an Art beacuse you just cut out pictures made by others and glue them when you are not able to draw and paint yourself. Basic technique truly consists of paper pictures cut out and glued and varnished, but the work is not just this: that kind of decoupage is trivial and anyone who has a little bit of aesthetic sense can manage to do it. The real art is creating something absolutely new and unique, complex and original by using the single cut out pictures.

Your scraps of paper are just what bricks are for architect, colours for painter, coloured tesseras for mosaicist; they are means to achieve a purpose, your project. (Hiram Manning, master of decoupage)

Basic technique

Decoration using decoupage may be realized on any material: wood, glass, pottery, metal, plastic...

This is the idea: instead of painting decorations, let's cut out the pictures from magazine, present papers, decoupage papers and let's use them to build decoration. Let's glue the scraps of paper on the object we want to decorate, and then let's varnish it with many coats (drown the scraps).

Let's see what we need, then we'll see steps of the work.

Materials:

• A pot of vinyl glue: vinyl glue, there exist special glue for decoupage too, but this is perfect and is less expensive.
• Water basin: it's used to wash hands from glue and to wet scraps of paper before gluing them.
• Soft flat brushes of various dimensions: a 2 cm large will be used to lay down the scrap of paper on the surface, and a 3 or 4 cm large will be used to varnish.
• Blotting paper: it's used to dry the scrap of paper after wetting it.
• Cotton sticks: they are used to smooth down creases and to eliminate glue excess.
• Pictures in papers: find pictures in calendars, magazines, present paper, postcards, photographs, photocopies; there exist special papers for decoupage with pictures of flowers, fruits, angels, children, animals...
• Scissors: it is useful to keep two kinds of scissors, a normal pair to cut big areas of paper, and small pair for manicure, to cut the details of the pictures.
• Acrylic plaster or water paint: it is used to prepare the surface before painting the background.
• Object to be decorated (trays, boxes, furniture...) any material is suitable: wood, glass, pottery, metal, plastic... each one of them has its particular way of preparation, but to start with the easiest surface is wood.
• Wood filler: it is used to close the tiny holes on wooden surfaces, it is possible to use vinyl glue watered down for this purpose.
• Primer: it is used to prepare wood as an option to the wood filler, with this product the wood grains are not covered but exalted.
• Acrylic colours: they are used to preapare a suitable background for the scraps of paper.
• Synthetic sponge: may be used to soften colours.
• Water varnish for parquet: it is used for the finishing touch, when varnishing the scraps of paper and it doesn't get yellow.
• Turpentine varnish for parquet: it does get yellow, so it is used when an ageing effect is sought.
• Sand paper of different grain from 280 : it is used after many coats of varnish so to eliminate the difference in level between the scraps of paper and the surface.

I believe that most of these things can usually be found in the house, without having to buy them.

How to prepare a wooden object:

As I said before, decoupage technique is suitable for almost any kind of surface, but each of them has its different preparation, so let's start from the wooden surface (wood, plywood...) because this surface is the easiest. We'll see later how to prepare the other surfaces.

First of all let's check the wooden surface: if it is already varnished then remove the old varnish with a specific product, if it is wax polished then clean the surface using turpentine soaked cloth in order to remove the wax coat, otherwise use directly abrasive paper on the surface. Now we are ready to prepare the base. This moment is very important and must not be ignored for the "hurry of doing", because a well prepared surface makes the next step easier: the gluing of the scraps. Now there are two alternatives.

If you prefer to see the wooden surface with its veins, then just give a coat of primer, there exist many kind: colourless or the kind that darkens the natural colour of the wood, or coloured. The result is always not covering: the wood veins are exalted. If the wooden object you want to decorate has nice veins, it could be a good solution to mantain the natural surface.

Whereas if you want to cover the surface perfectly because it's plywood or it's damaged, then you should give a coat of wood filler, then you should fill any holes or damages. Then you can proceed with the acrylic colour of the background. The turpentine woodfiller is rather toxic, as an option it's possible to use watered down vinyl glue.

I use vinyl glue then one or two coats of water paint, the one normally used to paint walls. When it is dry I use abrasive paper on it to smooth the surface. There exist many specific products such as acrylic plaster, which give almost the same results. I usually avoid buying specific products when I can manage with the ones I already have. Let's see the next step.

The pictures:

We have many pictures to cut uot for this purpose. Never be content with the mere decoupage paper, look through ladies’ magazine, they are full of beautiful pictures: flowers, jewels, fabrics... And also the presents wrapping paper often has very useful pictures for decoupage. Perfumer's and herbalists' leaflets are truly mines of fantastic pictures of flowers, insects and animals. If you have art books look trough the Flemish paintings: there are beautiful flowers, still lives, fruits compositions... of course you don't have to cut the pages of the book, just make a laser color photocopy. You can also download from the internet pictures suitable for decoupage, always use laser print. You can photocopy laces on a black background, or dried flowers...

Once you have chosen the picture, you have to cut it out: always use manicure scissors they are the most precise.

Some advice: do not insist on cutting small stems or stamens, or butterflies' antennas... it's better to cut away that parts and paint them with a thin brush. Another suggestion: some flower compositions are really hard to cut out precisely, because they are a maze of small roots and leaves and petals... Do not insist on cutting out the scraps among these parts, leave them and just cut the border (fig.1).

Once you have glued the scrap on the surface, (Fig.2), then paint the same colour of the background the white areas among the leaves and petals using a thin brush, in this example black (Fig.3). It's easier to paint the areas inside left uncut, rather than trying to cut out every each one of them.

This is only a general piece of advice, of course there are some cases in which this trick cannot be used. We'll see another time.

The background color:

Put the scrapes on the surface and assemble them in order to realize a nice composition. Now you can decide the colour of the background. Take the scraps away, if you are afraid of forgetting the composition you can draw some signs on the surface to guide you. There are many solutions for the background colour: you can choose a dark colour, even black, so that the pictures may stand out like a lacquering, or else you can choose a background colour in tune with the colour of the scraps. You can decide whether to paint the colour uniformely or to shade it using a sponge. This decision depends on the subject you have choosen and which result you are pursuing: a Chinese like lacquering (fig.4)? Or a pictorial effect (fig.5)?

For the shading using a sponge proceed this way: keep the colour quite watered, with a brush spread it on a limited area of the surface, then shade it immediately using a sponge (acrylic colour dries rather quickly, so you can't spread it all over the surface and then shade it with the sponge, it wouldn't work) proceed this way untill you have completed the surface.

Once it has dried up choose a darker or lighter tone of the basic colour and then shade it with the sponge in a casual way. This way you can realize a cloudy effect, like in fig.6. Let it dry, then get ready for the glue step.

Glue:

How to glue the scraps onto the surface? Prepare a mush of vinyl glue and water, the mixture should have the consistency of yoghurt and keep it inside a small pot with a lid.

Before gluing the scrap you had better get it wet in the basin you have prepared. This step is necessary expecially for paper which is not specifically for decoupage, in order to avoid any hardness and make it softer. There are some kind of paper, such as the magazine paper for example, which might be water-proof and prevent the glue from sticking. Dry the scrap of paper and be carefull not to damage it. Lay it down on a clean surface on which it can't stick, I use aluminium paper (the special paper used for cooking). Using a flat brush of 2 cm (more or less) glue the back of the scrap uniformely, pick it up and put it down onto the surface where you intend to set it. Make it adhere perfectly on the surface using the brush and also your fingers soaked with glue and flatten the air bubbles that might appear: start from the center of the figure and drive them out toward the border.

Brush the glue all over the scrap, and don't worry if it appears to dirty the background too; once the glue has dried it will be perfectly transparent. Now, if you think it's necessary, you can give the finishing touch to the picture as suggested before in fig. 1,2 and 3, for example if you had not cut away the inside areas. It's possible to mix succesfully painting and decoupage to realize decorations which will result almost pictorial or even as real paintings. We'll see these particular techniques in detail later on, in this page I will just explain the base technique.

Drown the scraps inside the varnish:

Once the decorated surface is perfectly dry, you can proceed to drown the scraps of paper inside the varnish. This procedure is called this way because you have to lay several coats of varnish to eliminate the difference in level between the surface and the scrap of paper.

If you want the colours not to become yellow, then you'd better use a water varnish, while if you want to warm the colours giving an ageing tone, then you'd better use a turpentine varnish or lacqer. I remind you that water varnish usually dries more quickly than the turpentine one, but always keep in mind what you want to do with the object you are decorating: if it is a tray, for example, it might need to be cleaned with some water, so the last coats of varnish should be laid with turpentine varnish. Whereas if it's rather improbable the object should come into contact with water, then you can simply use water varnish. In either cases I use parquet varnish, because it's stronger. There exist many varnish that are specific for decoupage, but I can't guarantee they have the same strength of the parquet varnish, because I never tested them, and I believe They might be more expensive. You can choose whether to use bright varnish or wax varnish. It depends on your taste and the result you are trying to obtain.

Sometime it happens that after the first coat of varnish some white spots appear where the glue was coated. Never mind: the effect will disappear as soon the surface dries.

Several coats of varnish are necessary to obtain a good result. This step is very important and must not be ignored: the work is well done when it's impossible to feel the difference in level between the surface and the scraps of paper. I suggest to proceed like this: give 10 coats of varnish and wait for each of them to dry, change the brushing direction at every coat you lay, for example if the first coat brush is horizontal, the second coat brush will be vertical, then horizontal again... Proceed like this until you have given 6 or 8 coats. Then when the surface is perfectly dry, you can start smooting the surface with an abrasive paper (250 for the beginning, then finer). Take care not to scratch the picture. Clean the surface with a soft cloth, then give it 2 more coats of varnish. Once it's dry proceed smooting the surface with finer abrasive paper. Then another 2 coats of varnish... And so on until the result does satisfy you.

I suggest you should carefully read step by step lesson published in the Examples.

Upkeep of the objects decorated using decoupage:

You can clean the object decorated with decoupage using a wet cloth (it's better to wait a month after the work is finished, expecially if you used a water varnish) . Never wash your objects in the dishwasher!!!

Extracted from:

http://www.artekjara.it

Decoupage: Step by step example

Extracted from:
http://www.artekjara.it


Step by step example: Decoupage - Kjara

I report here step by step work sequence for basic decoupage technique . I used a round tray of plywood on which I glued a print of a magnolia flower.

How to prepare the tray:: Vinyl glue, which works as woodfiller and white water paint.

Acrylic colours: Lefranc, Maimeri and Deka

Dimensions of the tray: diameter 30 cm

Of course you can click on the pictures to see them enlarged.

	The wooden tray I used a tray of plywood with the border made of wood paste. First of all this surface must be treated with a woodfiller: vinyl glue watered down is perfect. Brush all on the surface, the border and the back too. This coat will make the waterpaint adhere to the surface well.
	Water painting Now I brush a coat of white water paint, the one used for painting walls is perfect. Once it has dried I smooth the surface using abrasive paper. On this coat I am going to paint with acrylic colours.
	The background colour To make the colour of the background I use green and white acrylic colours and Siennas. Siennas are colour powder calledpigmentic. I use varnish, as medium, in order to mix the colours I have created with industrial colours.
	I brush the colour on the surface and while it is still wet I shade it using a sponge so as to eliminate the brush marks.
	I let it dry, then I lay some more coats of colour using this technique in order to make the surface uniform. I use a darker tone of green for the border of the tray.
	Scraps of paper I've choosen a print of a magnolia flower for the decoration, so I cut it out using manicure scissor. It's important to follow the side of the figure perfectly.
	Water, glue and a soft brush... Mix in a pot vinyl glue and water in order to obtain the consistency of yoghurt, prepare a paper towel to dry the scraps of paper and a soft brush to spread the glue.
	Arranging Before you proceed gluing the scrap, you'd better arrange the decoration of the flower placing the flower, the petals and the leaves so that everything is balanced.
	Wetting Before brushing the glue on the back of the scrape, I wet it in a basin filled with water. This way the paper get softer, will better receive the glue and will lie down on the surface easier, thus avoiding air bubble.
	Drying Using a paper towel I dry the wet scrap being careful not to damage the paper, which is still wet so it's fragile.
	Gluing I lay the wet and dried paper scrap on an aluminium sheet, then I spread the glue onto it using a soft brush. I use aluminium sheet as a support to spread the glue, because this way the scrap of paper won't stick on it. Whereas if I used other materials, such as newspaper sheet, the scrap would stick on it, and I wouldn't be able to detach it.
	Laying the scrap Using the brush I detach the scrap of paper filled with glue and I lay it on the surface in the center of the tray.
	Brushing the glue I brush the glue on the scrap in order to flatten it on the surface and to eliminate air bubble.
	Air bubbles Using my fingers covered with glue I press on the scrap starting from the centre toward the side, in order to push the air bubbles out.
	Brushing with the glue Once the gluing is over, then I brush the glue all over the surface, in order to protect the scraps.
	Varnishing Once the glue has perfectly dried, then I can brush the first coat of varnish. It's possible that while doing this some white spots might appear on the surface. Never mind, once the varnish has dried up it will turn transparent again. It's necessary to brush several coats of varnish to eliminate the difference in level between the background and the scrap of paper. I suggest to give almost ten coats of varnish, of course waiting for the last coat to dry before giving a new one, change the verso in which you brush for each coat, for example the first coat brush horizontally, the second coat vertically, then horizontally again...
	Smoothing the surface with abrasive  paper Once the ten coats of varnish have dried up, to smooth the surface, it's better to use an abrasive paper on it. I start with abrasive paper of middle grain then I dust it off with a cloth, I give it another coat or two of varnish, wait it to dry, then I use abrasive paper of fine grain, and give it another coat of varnish... and so on until I'm proud of the result.
	Over The work is over. I can give a coat of wax, then polish it, wax used for parquet is perfect.

Hints on Counted Cross Stitch

Hints on Counted Cross Stitch
(Excerpted with permission from "How to Embroider" Vol. IV, published by the National Needlework Association/TNNA)

Counted cross stitch is the most popular form of embroidery in the United States today. It's widely accepted because it's easy. and it offers such an exciting array of project design books. Here are some tips if you are just beginning.

Design Charts

Design charts for counted cross projects are drawn of graph paper, usually 10-square-per-inch, because it's easy to read. Each square on the chart represents a square on the fabric, and the stitcher counts the squares to transfer the design to an evenweave fabric. Diagram 40

The design can be stitched on any size evenweave, but the size of the finished design will vary according to the count of the fabric. Most commmercial patterns will tell you the exact size of your finished design. However, if you are designing your own, the following formula will help you to determine how large or small your design will be.

Determining the Width and Height of Your Design Area in Inches.

Divide the number of symbol squares in the width of your design chart (literally count the number of symbol squares across the widest point of the chart, do not count the squares that are outside of the design) by the count of your fabric (the number of threads per inch). This will equal the width of your finished design area in inches.

Then divide the number of symbol squares in the height of your design chart by the count of your fabric. This will equal the height of your finished design in inches.

For example:

If you have a chart that is 28 squares high and 42 squares wide and you are going to embroider the design onto 14 count Aida, the formula would be:

28 squares ÷ 14 count = 2 inches high

42 squares ÷ 14 count = 3 inches wide

You will need to use this formula to determine how much fabric to buy if you change the count of the fabric recommended in the pattern instructions, or if there is no fabric count indicated. Just remember to add enough fabric to all sides of your design area for finishing, usually 4 to 6 inches to each edge.

There are a variety of symbols which appear in the squares of the chart. These symbols are keyed to a color chart and tell you what color floss to use. The written instructions tell you what stitch to use. A symbol, usually an arrow, will indicate where the center of the chart is located. It is from this center point that you begin to count out your design. If no such point is indicated, follow the guidelines below.

Finding the Center of a Chart

To determine the center of a chart:

• First, count the number of squares across the design from one edge to the other. Divide in half; this is the vertical center. Now count from top to bottom. Again, divide in half; this is the horizontal center.
• Beginning at the bottom left-hand side of the design, count half the total of horizontal squares, and then count up half the number of vertical squares. This is the center of your chart. Diagram 41

To ensure that your counted cross stitch design is centered on your evenweave fabric, you must also find the center of the fabric. It is from this center point that you will begin to count out the design for your project.

STITCH COUNT	CROSS STITCH SYMBOLS
34 across	o red
	x pink
18 down	/ yellow
	C green

Finding the Center of Your Fabric
To determine the center of your fabric:

• Fold the fabric in quarters
• Draw a thread of contrasting color through at the fold point. When you open your fabric, the thread will mark the cneter of the fabric. For some projects, it is helpful to baste (running stitch) along the two fold lines. The point at which your basting lines cross will be the center of your fabric.

Cross Stitch
Cross stitches can be scattered singly, in small groups, or may be used as a filling stitch for large areas. There are two secrets to embroidering a good cross stitch. First, keep it absolutely square. (This is why it is such an ideal stitch to use with evenweave fabrics.) Second, keep all of the top stitches of the "crosses" pointing in the same direction. You will understand this point better as we review how to make a cross stitch.
Bring needle up at A and insert it down at B. Bring the needle up again at C and down at D. Diagram 61.


When working cross stitch on evenweave, the threads are always drawn through the holes between the squares on the fabric. Always work over one square unless otherwise instructed.
Cross stitch on evenweave fabrics is illustrated in Diagram 62.


Horizontal Rows of Cross Stitch
When embroidering horizontal rows of cross stitches on evenweave fabrics, you will embroider over one square of the fabric, unless otherwise instructed, inserting the needle in the holes between the threads, rather than piercing the fabric. You will work half of each cross stitch across a horizontal row and return completing the cross.
Bring the needle up through the fabric at A and insert it down at B. Bring the needle up again at C, down again at D and continue across the row in this way. Diagram 63.


When the row is completed in one direction, you will return, crossing the stitches as you go. Bring your needle up at O and down at P, thus completing the stitch. Come up again at Q, down at R and continue until all stitches have been crossed. Diagram 64.


Diagram 65 illustrates cross stitch on evenweave.


Vertical and Scattered Cross Stitches
When there is a vertical line or a random scattering of cross stitches, work each stitch individually. Just remember that all of your top stitches should be going in the same direction in any one piece, unless a variation is planned for effect. Diagrams 66 & 67.


Cross stitch is a commonly used stitch on all types of fabric. When not using an evenweave, you still follow the same stitch instructions, but it is more difficult to keep all of your crosses absolutely square.
Backstitch
Backstitch creates a distinct outline. It is an easy stitch to control on small curved areas where very small stitches are needed and on loosely woven fabrics.
Bring the needle up through the fabric a short distance from the beginning of the line at A. Make a stitch backward, inserting the needle at the beginning of the line at pointB. Bring the needle up at point C, the same distance in front of the first compelted stitch, so that the stitch and space on the surface are even in length. Diagram 45.


Insert the needle down at D, going back into the fabric at the same point where it was brought out for the first stitch (pointA). Bring the needle up at E and down at F. Continue in this manner along the line. Diagrams 46 & 47.


Stitches on the back of the fabric are twice as long as those on the front so that they overlap.
When working backstitch on an evenweave such as Aida, the threads are drawn through the holes between the squares on the fabric. Always work over one square unless otherwise instructed. Diagram 48.


Bullion Stitch
Bullion stitches re created by wrapping thread around the needle and securing it on the fabric. they can be arranged for bud effects or to make little leaves or petals.
Bring the needle up at A amd down at B. Do not pull the thread through. Bring the needle halfway up again at A, but do not pull the needle through the fabric. Diagram 49.
Holding the needle from below, wind the thread around the needle. The number of twists will be determined by the length of the stitich aand the thickness of the thread. As a rule, five or six twists are used. Diagram 50.


With your left finger and thumb holding the twist just made, ease the needle up through the twist with your right hand. Do not release your hold until the needle goes through. Slowly pull the remainder of the thread up through the twist. Reinsert your needle at B and gently secure the twist against the fabric. Diagram 51.

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READING STITCH CHARTS

Types of Grids - Color Placement Charts vs Stitch Guide Charts

Figure A shows the most common type of grid seen in magazines and instruction leaflets. It can be used in two ways:

1. In Figure B each square represents one stitch. A symbol within the square indicates the color of the stitch and/or the type of the stitch. The stitches can be cross stitches over two threads, cross stitches over one thread, needlepoint stitches or other types of stitches. The advantage of this type of grid is that a very large design can be charted in a fairly small space. The disadvantage is that decorative stitches are more difficult to depict.

2. In Figure C each line on the grid represents one thread of the canvas or fabric. The squares are the holes in the canvas or fabric. Instead of using symbols for stitches, the stitches are diagrammed as they actually are constructed. The advantage of this grid is that different sizes and types of stitches can be depicted easily on the same chart. The disadvantage is that this type of chart usually requires more space.

The following examples show the same design charted in both ways.

The same blackwork pattern depicted two ways.

Other Types of Grids

This type of grid more closely duplicates the weave of the fabric or canvas. It is more suitable for stitch diagrams than for symbols.

This grid duplicates the appearance of Aida cloth. Actual stitches are diagrammed on this type of grid.

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RULES OF THE TRADE FOR EMBROIDERY
(The following instructions are excerpted, with permission, from the leaflet, How to Embroider, published by The National Needlework Association. The 33-page booklet is full of helpful information and stitch guides. It is widely available through local retailers.)
Here are some general instructions for embroidery. Take a few minutes to read through them and familiarize yourself with these basic techniques, then refer back as needed while you work.
How do I start a thread?
When you start a thread, you must secure the end. There are several ways to do this, but usually tying a knot is never recommended. Knots cause bumps on the surface of your project. One method is to pull the threaded needle up through the faric, leaving approximately a 1" tail on the wrong side. Hold the "tail" with your fingers, and work over it at the same time you are working the first few stitches on your project.


To begin a new thread in an area that has been partially worked, run your needle through the backs of a few of the stitches that are nearby. Draw the thread through until the end of the tail just disappears under the stitch backs. Then proceed with your stitching. (This should be done in a similar color, so the new thread will not show through). Diagram 36.


Another method, the Loop Method, can be used when your project calls for an even number of strands. Separate half of the number of strands needed, i.e., if your project calls for two strands of floss separate out one strand of floss. Cut the strand(s) twice as long as desired for stitching, approimately 24"-30". Fold the strand(s) in half, and insert the cut ends in the eye of your needle. The folded end is at the opposite end of the strand(s). Come up through the fabric, leaving the loop on the underside. Make your first stitch. Bring the needle down through the loop in the folded end of the strand(s), and pull until loop lies flat against the fabric. Diagram 37.
How do I end a thread?
Run the needle through the backs of a few stitches. You do not want to create bumps or knots in back of work. Diagram 38

.
Where should I start stitching first?
Where you begin to stitch will depend on the type of embroidery you are doing and the design you are executing. In counted cross-stitch, for example, it's usually recommended that you begin at the center of the fabric and design
I have finished stitching one area, and there is another one nearby that I want to stitch in the same color. There is still some thread left in my needle. What should I do?
Do not carry thread far on the back if you are going from one area of the design to another. Even the slightest pull will cause a pucker. To get from one area to another that is nearby, you can run your thread under stitches on the back for short distances, as long as the two yarn colors involved are similar. Otherwise, end off your thread and restart it at the new area. Never carry a very dark color when you are working on a light color fabric.
As I work, I notice that my thread becomes twisted tighter and tighter. What should I do?
If your yarn becomes twisted or "kinked" as you work, just drop the needle and allow it to hang until the yarn untwists.
I made a mistake in my stitching! What should I do?
If you make a mistake that involves only your last few stitches, remove your needle from the thread and, using the end with the eye, slide the needle under the last stitch and pull up, taking out the thread. Continue to take the stitches out one at a time until the error has been removed. If the mistake is over a large area, you must carefully slide sharp embroidery scissors under the stitches and snip, being careful not to cut the fabric. Diagram 39.

Extracted from: 
http://www.caron-net.com/patguide.html