Diane Herrmann’s design and new GCC Lightning Round, “Your Roots are Showing”, demonstrates a signature element: whimsy. It’s a term that has been thrown around a lot recently in the crafting and stitching world, but Diane isn’t exploiting the latest trends. Take a look at many of her pieces, from “Walking the Water’s Edge” to “Weaving Hope” and “Escher at the Alhambra” (all shown below), and the whimsical elements rise to the forefront. Three-dimensional stumpwork pieces, a blending of embroidery techniques that amplify texture, and a perspective that deliberately draws the viewer into a colorfully tactile space define much of her work. We were excited to sit down with Diane to learn more about her latest design, her experiences taking EGA’s Master Craftsman program, and what’s next in her fantastical embroidered world.
What were your first embroidery experiences? How did you learn?
My first Girl Scout Badge was “Needlecraft”, and I still have the Christmas hand towels I made for part of the requirements. I also had a cross stitch session in art class in elementary school, and I have that piece framed as well.
You took EGA’s Master Craftsman program for Canvas Embroidery? What was that experience like?
I wanted to improve my skills in Canvas Embroidery, and Master Craftsman provided a way to do that and give me feedback about my work. I found the first 2 steps to be challenging because, for me, working with a provided design sometimes had me frustrated. However, I enjoyed creating my own designs for later steps and grew in confidence as I progressed through the program.
Do you have a favorite design? Why is it your favorite?
My favorite teaching piece has to be “Walking the Water’s Edge.” It was only the second piece I designed in the NAN Teacher Certification Program, and it became wildly popular. Using the suggestions of the mentors I had in the NAN program, I was able to revise my original design so that it really imitates a wave breaking on the sand. I enjoyed teaching that piece because it was often a stitcher’s first attempt at a canvas piece after being a cross stitcher. I loved teaching students to lay threads, to do an L-stitch, and to do single strand thread blending. I also loved challenging them to do the dreaded random stitch and to try doing a Bullion knot!
My favorite non-teaching pieces are ones I completed for EGA Master Craftsman and NAN Master Teacher programs. “Escher at the Alhambra” was my Step 6 MC submission; it features many design elements found in the art and pattern at the Alhambra Palace in Grenada, Spain. And “Weaving Hope,” designed in the NAN program, includes a geometric canvas aspect as well as a stumpwork figure that challenged me.
What does your design process look like? Where do you draw inspiration from for your designs?
I frequently find an image that inspires me and then try to interpret it in stitching. I spend a lot of time sketching and working on a doodle canvas. Many of my designs, including “Your Roots Are Showing,” have been stitched twice: the first version is “almost” right, and then with some modifications, the final version becomes more satisfying. Recently I completed EGA’s ICC in Design for Needlework with India Hayford, and she helped me understand how to modify a design to capture color and balance and make the images work better together.
Your bio says you “strongly support the integration of needleart/fiber art and mathematics” and that you are a contributing author of Crafting by Concepts: Fiber Arts and Mathematics. Can you talk a little bit about why the relationship between needleart and mathematics holds importance and meaning for you?
My professional life before I retired was as a college teacher of mathematics. In that role, I often worked with students whose love was definitely not for mathematics. One way to help them see the beauty in my discipline was to focus on geometry and symmetry. I’ve designed several pieces that include tessellations, and have made needlework Mobius bands (“Color Wheel with a Twist” and “The Stitching Party,” both seen below). It’s fun to introduce stitchers to the unexpected connection that mathematics can have with their work.
EGA members can now take your Group Correspondence Course, Your Roots Are Showing, as a GCC Lightning Round through August 31, 2026. Can you tell us a little bit about this course—what should embroiderers know before signing up?
This piece combines traditional canvas stitches with some unexpected stumpwork elements. I love the way this piece is whimsical and has a three-dimensional aspect to it. Students signing up for the course should be confident about basics (threading a needle, starting and stopping threads) and following a pattern for a stitch (like Scotch Stitch or Smyrna Cross). If someone knows canvas work, they might be challenged by creating a detached wire leaf. On the other hand, someone who knows stumpwork technique might be challenged by creating a Woven Trellis Stitch border. I’ve tried to include detailed instructions so that all stitchers can be successful.
Why did you decide to craft a Group Correspondence Course for EGA?
I decided to create a GCC out of one of my designs because I’ve truly enjoyed working with students who have taken, and are taking, my Individual Correspondence Course Techniques in Canvas Embroidery. The opportunity to share feedback with stitchers who are working with me in a correspondence course has been very fulfilling. These courses allow me to work with students from all over the country, and watch their progress as they learn. I look forward to doing this kind of sharing with GCC students.
Are you working on anything fun right now you’d like to share? Where can interested embroiderers learn more about you?
My two most recent designs are “Elephant Walk” and “Moonlight Owls.” I’m working on a piece for NAN’s Challenge this year, which is “look up!”, but I can’t share that design…yet…
My website is dianeherrmann.com.
