Not one butterfly, a whole cluster of them, spreading outward from the centre like they all took off at the same instant. Some face left, some right, some at 45-degree angles, wings at different stages of their beat. The whole composition has that explosive radial feel without being chaotic, each butterfly is clearly its own thing, just all caught at the same moment. Electric cobalt blue is the main wing colour, the upper wings have a violet tint at the tips and dusty lavender shading through the lower panels. White highlights sit in the centre wing sections and the black outlines keep each butterfly readable in the cluster.
5 colours, 1,079 density, professional digitising software ran the butterflies with separate underlay layers for each wing panel before the top fill goes in. Thats what keeps the wings looking layered rather than flat. The satin columns on the wing edges are directional, angled to follow the wing shape, and thats where slower machine speed pays off. Use a medium-weight cutaway stabiliser. Tearaway can work on the small sizes on canvas, but anything above the 5-inch version needs cutaway or the dense centre point of the burst distorts when you pull the stabiliser. Pop each colour through fully before moving to the next to avoid thread-nesting at the tight cluster centre.
Ive had a customer who makes spring market stock with this one every year, she buys it in late february and starts hooping linen totes for a March market run. She told me she sells out of the totes first every time and she runs about 20 of them. The burst composition works from a distance, it reads as a colourful art graphic before you realise theyre butterflies, which is the thing that gets people to stop and look. 9 size variants spanning 3.51 to 7.51 inch so you have options from a jacket pocket ranging through to a cushion front.
White, cream, soft grey, pale pink and natural linen all bring out the cobalt and violet palette well. Dark fabrics work too if you want a more dramatic version, the blue pops on black but you lose the lavender subtlety. Run the 7.5 cap on a linen cushion cover or a lightweight jacket back. Stitch the petite 3-in on a shirt pocket panel or a cap front. Avoid heavy felts or thick fleece on the smaller sizes, the detail in the cluster centre gets buried.
the zip carries all 8 standard formats. Any issue message me and Ill fix the file fast if needed.
What people are using this design for
A starting point. The design works for plenty more than just this list, this is what folks have stitched it onto most.
- spring market linen tote bagHoop the 7.5 cap on natural linen tote fabric and the cobalt and violet burst reads like a printed art design
- lightweight jacket or denim jacket back panelMount the large size on a lightweight denim jacket back panel for a spring-to-summer transition piece with movement
- shirt pocket panel accent designStitch the petite 3-in on a shirt breast pocket for a subtle detail that gets noticed on closer inspection
- cushion cover spring or nature themeRun the big version on cushion cover fabric in cream cotton and use it for a spring refresh on a plain sofa
- cap front panel embroideryEmbroider the small version on a structured cap front panel, centred, for a nature graphic that doesnt scream novelty hat
- framed hoop for boho or cottage decorFrame the 4-inch version in a 6-inch pale wood hoop and hang it in a boho or nature-themed room
- girls sweatshirt chest graphicRun the 5-in detail on a girls sweatshirt in heather grey and the violet and cobalt wings catch every angle of light
Dimensions
5 sizes included. Stitch counts shown for the largest colorway.
| Size (in) | Stitches |
|---|---|
| 3.50 × 3.38 in | 27,208 |
| 4.50 × 4.30 in | 35,323 |
| 5.50 × 5.28 in | 43,426 |
| 6.50 × 6.18 in | 51,868 |
| 7.50 × 7.50 in | 60,694 |
Files & Formats
Eight machine formats included in one zip. Whichever your machine reads, its in the pack.








Plus a color chart for thread matching. See full format guide.
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About the artist
Reyazul Masud Riham, hand-drawing every design on this site
Every design on Re Embroidery is hand-digitized by one person. Each file gets sketched, color-matched, and stitch-tested on real fabric before it earns a place in the shop. No team. No auto-conversion from images. Just slow, deliberate work, sometimes three or four days per design.
That's the joy I work for.
The hard part is finding my designs re-uploaded and resold elsewhere. So when you buy from Re Embroidery, you're paying one real person for the file you're about to download. That matters.










