[Betty Barnden] the Embroidery Stitch Bible

THE

Embroidery 1 Stitch BIBLE

j

Betty Barnden

lwause publications 700 E. State Street. lala, WI 54990-0001

'ENTS

Pulled stitcnes

A Quarto Book First published in North Arnerlca in 2003 by Krause Pubi~cations.700 East State Street loia. WI 54990-0001

Stitch select01 nbroidely essentials

Stitches for trimming!

8 24

Stitches for Canvas

Copyright 0 2003 Ouarto lnc

i rights reserved No part o f thls publication may be reproduced, stored in retrieval system, or transmitted in any iorm or by any means, eiectronlc, mechanical, photocopying recording or othervise, without the prior permission o i the copyright holder. Libraryoicongress Catalog Card No 20021 13120

The Stitch Collection :

Crossed stitches

Manufactured by Pica Digital Pte Ltd, Singapore Printed by Midas Printlng International Limited. C h ~ n a

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'chain stitches Blanket stitches

Art director Molra Clinch Publisher Piers Spence

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Line stitches

QUARESB

Senior project editor Nadia Naqib Art edltar Karla iennings Deslgner Maggie Aldred iilustrators Coral Mula, Elsa Godfrey. Michelle Stamp Assistant art director Penny Cobb Tent editors Sue Richardson, Deirdre Clark Photographers Steve Lumb. Paul Forrester Indexer Diana Le Core

zht stitches

Stitches for Fabric

ISBN 0-81349-5 10-1

Conceived, designed, and produced by Ouarto Publishing pic The Old Brewery. 6 Biundeii Sbeet London N7 9BH

Diagonal stitches stitches

Composite stitches Loop and pile stitches

Feather stitches

Working Practice

Satin stitches

Counted thread techniques

Couching stitches

Freestyle embroidery

Laid filling stitches

techniques

Detached stitches Raised stitches

Canvaswork techniques

Woven stitches

F~nishingtouches

Insertion s t ~ t c h e s

122

Smocklng stltches

126

Drawn thread s t ~ t c h e s

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Glossary Index and credits 4

Introduction I

Embroidery is the art of decorating a fabric with stitches t o enrich or add to its beauty. Through the centuries. embroiderers have experimented with the materials available to them, adapting and refining their techniques, drawing inspiration from their surroundings or from the art and ornament of other times and othercultures Embroidery has been used for many purposes: t o commemorate public or private events, to express ideas both politicai and spiritual, to indicate rank, t o tell stories, or to celebrate the beauty of the natural worid.

stitches described; browse here t o find the exact stitch you want, then refer t o the Stitch Collection for a detailed working description.

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The Stitch Collection is the heart of the book. The photographed 1 samples are shown fuil-size. Each stitch is fully described and illustrated with numbered figures, and accompanied by a list o f its main uses, with helpful notes on the working method. Many stitches have alternative names; these are also j listed, and included in the index as 6 $ useful reference aid. ,dL

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Although fashions in embroidery come and go, many basic stitches remain the same From simple cross stitch borders to elaborate goldwork a repertoire of versatile stitches has accumulated over time Over two hundred stitches are described in this book, and many can be used in a wide variety of ways, from bold. ~ r a c t i c acanvaswork l and quilting through t o the delicate, lace-like effects of cut work or shadow work.

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This book is intended t o enable you t o interpret designs in a flexible way, Whether you are adapting an existing design or inventing your own, this book will heip you t o choose stitches that are appropriate. both visually and practically, then use them to produce flnlshed work ,.m,, that Is unlquely yours. The Stltch

The Embroidery Essentials chapter will help you choose appropriate materials and equipment for whatever technique you intend t o use. Here you will find general information applicable t o all types of embroidery. The Working Practice chapter Is divided into four sections: counted Thread Techniques, Freestyle Embroidery Techniques, Canvaswol Techniques, and Finishing Touches Each one of the Techniques sectlon includes general working guldellnal followed by specific working methods for various types o f embroidery: how t o choose and u81 suitable fabrics, threads, and stltches for a wide varlety o f effects from dramatlc blackwork t o lntrlcat' three-dlmenslonal techniques.

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The Finishing Touches section shows you various ways of finishing and displaying different types of embroidety for both decorative and practical purposes, so that your work can be enjoyed and appreciated at its best. With the aid of this book, you can express your own design ideas with originality and display them in finished work. if you read the book with needles. threads, and fabrics at hand. you can try out stitches or techniques that appeal t o you, in

various combinations of materiais Discover the wonderful variety of effects that can be created on fabric with just a needle and thread-the sensuous. tactile wearable art that is embroidery. Happy stitching!

Stitches for Fabric LINE STITCHES Line st~tchesareoften used to represent a linear element in a design, such as a flower stalhor leaf veinThey may alsoadd emphasis by outlining or adding details to an area of another stitch, or be repeated to fill an area with fine texture.

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Runningstitch and variations

Holhoin stitch

Rosette cham ~bfch

Fsatheredcha! stitch Bachstitch and varratians

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Douhie hnat stitch

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Stem stitch

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Two-color chain

BLANKET STITCHES CHAIN STITCHES Chain st~tchesformbold, fluid n e s that are e a s v curved to suit sinuous natural forms. They may be used singlyor repeated t o f l an area with a close or open effect. Decorative variations such as crested chain st~tchare often Incorporated in borderdesigns.

1 Zigzag chain sfitch stitch

The stitches in this group are derived from the basic blanket stitch, which is often used do oneten the raw edge of a plece of fabr~cand prevent it from fray~ng.Thls stitch is simpleand quichto work and may be easilyvared in sire and spacngfor vadous decorative eflects. Thesesttches may also be used as outlines and to bu~ldup bold, decorative mot~fs,bends, and borders.

Shpinghlanhetand crossedslaping bianhetStitch

Up and down blanket stitch

Tailor's bunonhoie stitch

Interlaced hernqbane band

FEATHER STITCHES These stltches are formed ~n a sim~larwayto chain s ~ t c h e sbut the "linhs" are not closed as in a true chanTherefore they generally have a loose, open appearance and may be worked repularly as spiky nes. or irregularly to express natural forms Such llnes may be used to attach appliquC shapes. covering the rawfabrlc edges. Worked more closely they may be used to fill small shapes such as leaves with interes~ngtextures.

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sized areas with a smooth, soiid suriace. They are rarely used for la~geareas. The individual

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with nofabdc showing

stranded coiion thread is thereforea good choice. St~tchesmay be stroked

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needle to settie them

fabricand held down in the manner of couching stitches. They are used to

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The laid threads are

any type el couching: the laid" thread 1s aiiached tothe fabric sutiace by tlny st~tchesmade with the "couching" or "Ving" thread, which may be matchingor contrasting in color. Usually the

decorative stitches may be added. For a regular

Diagonal l a fi1Iing

RAISED STITCHES used n several ways: a single stitch unit may be worhed to represent an element o f a design. such as a French hnotfor an eye, or a singletetede-boeuf stitch as a flower bud. Detached stltches may be worked in a regular pattern, sprinhed informally, or artenxed with graduated spacing for a shaded effect.

Most 01 these stitches begin by worhinga base of straight stitches nto thefabrc, onto which decorat~vestitches are then formed wthout piercingthe fabric, thereby producing a raised effect. Some form detached, boldly raised mot~fswhile othersform decorative bands, which may be worhed side by sde to fill an area of the desgn

WOVEN STITCHES These stltches are worked In layers thefrst layer of stitches passes through the fabric, butthe second or subsequent layers often only pass through thefabrcat the beginning and end of athread or Ine 01 stitches. beng woven In and out of the first iayer in various formations. The group includes both solid and open fillingsfor rectangular, ifregular, and circular shapes.

Raisedch; L..:..

iev,anstitch

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DRAWN THREAD STITCHES

Knaned herringbone inserfion

These stitches are used for a v p e o f openwork embroidery in which somm ofihe fabric threads are withdrawn from the weave. and the remaining fabric threads then grouped in various ways with sttchas.This technique of withdrawing threads lends itself naturally to thecreation of border designs with an open, lacy appearance. Thefabric used must therefore be woven with easily visible threads; evenweave is ideal.The embroidery thread should be of a s~m!iarweightto one strand of the fabric thread, and a blunt needle is advisable.

Knottedd< stitch

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fig E Take needle down at 4 and up at 5, with thread beneath needle. Pull through. fig F Continue making stitches alternately t o right and left as required. Stitches may be worked at right angles t o the center line, or angied like the veins o f a leaf. They may be fanned out around curved edges.

USES leaf and feather shapes wth a plated appearance tothe center line. spiny Ines NOTES 1, this st~tchis smiario open Cretan stitch, but worhed much more closeiytogether 2. markfabricwithiour lines

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The Stitch Collection

The Stitch Collection

64 Closed fly stitch Work leaf shape from top to bottom: fig A Bring needle up at i,down at 2, making a small straight stitch, and up at 3. fig B Take needle down at 4 and up at 2, with thread under needle as shown Pull through. fig C Take needle down at 5. making a small straight stitch over the ioop of thread, and up at 6 t o begin next stitch Repeat to fill shape, ending with a small straight stitch over last loop. Qhis last stitch may be made longer t o represent a leaf stalk. Stitches may be worked closely for a solid filling, or spaced apart for a spiky effect.

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Work from top to bottom: fig A Begin by making a feather s t ~ t c hat right: bring needle up at at 1 , form a ioop with the thread and insert needle at 2. Bring needle out again at 3, inside the loop. fig B Make two more feather stitches diagonally down and t o the left: point 4 is level with point 3 and point 6 is level with point 5 fig C Now make two feather stitches diagonally down and t o the right. in the same way. Continue as required, making two stitches to the left and two t o the right.

To work lines: Lines may be straight or curved, of regular width or tapering fig D Work as given above, spacing evenly if a regular effect is required. Stitches should be fanned out evenly around curves.

fig

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D

USES leaf and feamer shapes with e pronounced center line, spiny lines NOTES 1,this Stitch is simply a serles of fly stitches (page 1061, worked closely together oriouching. 2 for leaf shapes mark outneand centralvein. 3 forreguarnes use evenweave. ormarkfabricw~ththree parallel Ines

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65 Double feather stitch

USES light, zigzag borders,straight or curved NOTE forregular Ines use evenweave,or markfabr~cwith five paiallei lines

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he Stitch Collection

The Stitch Collection

67 Padded satin stitch

66 Satin stitch and variation

padded with stitches

Decide in which direction the final layer of stitches will slant. fia A Outline the shape with split ,, stitch (page 441 flg B Cover the area with satin stitch (left), slanting the stitches in a quite different direction t o that required for the f ~ n a layer, l stitching just outside the split stitch outline. fig C Work the final layer o f satin stitch, slanting as required. Padded with non-woven fabric

Straight satin stitch

Work from left t o right: fig A Bring needie up at I,down at 2, up at 3 down at 4 and up at 5. Repeat as required Stitches should be close together with no fabric showing between them. Slanted satin stitch

Choose the direction of the slant t o suit the shape: stitches that are too long will not keep their shape.

Cut the shape from color-fast felt or craft interfacing. iron-on craft interfacing may be used, and the stitching in fig D therefore omitted. fig D Using fine thread, stitch the motif in position with small straight stitches piaced across the raw edges. fig E Cover the shape with satin stitch fig F Details may be added by working a line of small backstitch (page 42) t o tie down the satin stitches

Stitches on different areas may be worked in different directions t o catch the light fig B Begin at center of shape. bring needle up at i and down at 2. The first stitch sets the slant for all subsequent stitches. Work parallel stitches from center out to right. Then return to center and work parallei stitches out t o left

USES smooth solid fillingfor small areas such as leaves, petals, and monograms NOTES 1. on evenweave fabrics, stitches may be worked har~zontally.vertically. and at45 degrees. 2. outlines should be marked with a clean, crisp n e for the smoothest outne, always stitch at thesame slde of a Ilne 3. for a smooth glossy suiiace use stranded cotton thread. 4. keep stltches parallel: after brngngthe thread through to the suriace, lay t across the work ned to the prevous stltch togauge exactly where ta nsert the needle

NOTES 1, padding may consist of a lower l a y e i d sMches or a shape cut from a non~woven

interiac~ng.2. useihe same thread for all layers oi stltches

The Stitch Collection

1 69 Plate stitch

68 Encroaching satin stitch ~

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Begin at top left: figA Work top band in satin stitch (page 86) Fasten off, hg B Begin again at ieft: bring needle up at 1 and down at 4. between ends of two stitches above. Stitch should be parallel to those above. Repeat to the rlght Repeat this band

Workall bands from left t o right. fig A Bring needle up at I . down at 2.up at 3. down at 4, above center line and to right of first stitch. fig B Bring needle up at 5 to begin next stitch. A m a i l amount of fabric should show between the stitches. fig C Work second band: at top bring needle up between ends of stitches above. Repeat this band. The overlap may vary alonga row, or from row to row to add interest

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The Stitch Collection

70 o n g and short satin . . l-. ~~

stitch

Work all rows from left t o right: fig A Begin at top with a row o f long and short stitches: bring need up at 1, down at 2 . u p at 3. and down at 4. Repeat to the right. fig B For second row, bring needle u p at 5 down at 6, piercing base o f short stitch above up at 7, and down at 8, piercing base o f long stitch above. Repeat t o right Repeat this row. End with a row of iong and short stitches at lower edge

Begin at top left: fig A Bring needle up at I . down at 2. up at 3. and down at 4. Repeat t o the right fig B work second row from right t o ieft: bring needle up at 5, down at 6, at base o f long stitch above, UP at 7 , and down at 8, at base of short stitch above. Repeat these two rows. End with a row of iong and short stitches at lower edge.

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USES smooth, sold fillingfor Smali areas, wth the option of shading in several colors across the shape NOTE divide mot11 with marking Ihnes intotwo or more bands

71 Brick stitch

USES filling with an interwoven effect: the only satin stitch that does not cornpietely cover the fabrc NOTE mark each band wlth top, center, and lower lines

USES smooth, sold filling: colors may be blended NOTES 1for regular sutches, markfabrlcwith parallel lines 2. siltches should be parallel with no

fabnc showing

USES solid fillingwitha basketweave effect' NOTES 1,for reglilar stitches,markfabrlc with parallel

ihnes. 2. stitches should be parallel wit3 nofabnc showing

T h e Stitch C o l l e c t i o n

T h e S t i t c h Collection

72 Shaded satin stitch

fig A

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73 Couched lines

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fig A Begin at center o f outside edge with a line of long and short satin stitches (page 861 Work from center to right, then return to the center and work t o the left. Always bring the needle up inside the shape and insert i t at the edge. Point all stitches toward the center of the lower edge in a fan arrangement fig B With another shade, work stitches t o fit between those above if the shape tapers sharply, miss out some stitches. Make the lower edge of this line alternately long and short

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with stitches of different lengths. (Repeat this row as required.) fig C At the lower edge, make long and short stitches as necessary t o complete the shape.

USES toadd shadingtoa tapered area such as a leaf orflower petal NOTE dsdeihe area intoseveral bands

Work from right t o left. fig A Using away waste knot method (page 3 5 ) bring laid thread up at right end o f line. (Use lunging method [page 2271 for heavy threads). Bring tying thread up at I.Hold laid thread i n place with left thumb and insert needle at 2. making a srnail vertical tying stitch. Repeat at regular intervals along the line. Finish threads ends as shown on pages 227-228.

To turn the thread:

fig B Turn laid thread i n direction required and take a srnail horizontal tying stitch over it at the turning point. Turn the work t o continue along the line from right t o left. For other corners, see page 92,

ALIERNAIIVE NAMES simple couch~ng.basic couching,plain couching USES straight and curved lines,fillingshapes NOTE the aid thread soften used double. as shown here

The Stitch Collection

72 Shaded satin stitch

fig A Begin at center of outside edge with a line of long and short satin stitches (page 8 6 ) . Work from center t o right, then return t o the center and work to the left. Always bring the needle up inside the shape and insert it at the edge. Point all stitches toward the center of the lower edge in a fan arrangement. fig B With another shade, work stitches to fit between those above. l i t h e shape tapers sharply. miss out some stitches. Make the lower edge of this line alternately long and short

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USES ioadd shading to aiapered area such as a leal orflower petal NOTE dvide the area into several bands

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method (page 3 5 ) bring laid 11n st rioht end of line (Use ?-...-.. n l ~ t n ~ i nmethnc a I. [page 2271 for ,._..,..., heavy threads) Bring tying thread up

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~ ." ~ ~k i d i thread r n in d i r ~ r ~.~ tinn required and take a small horizontal tying stitch over it at the turning point. Turn the work t o continue along the line from right t o left. Fnr , , nth-* , , c n.r.n .-~.-r,c-tee - - n-a n ~97

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ielt thumb and insert needle at 2. making a small vertical tying stitch Repeat at regular intervals along the line. Finish threads ends as shown on pages 227-228.

with stitches of different lengths. [Repeat this row as required.) fig C At the lower edge, make long and short stitches as necessary to complete the shape.

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ALTERNATIVE NAMES smple couching,basic couching. plan couching USES straght and curved lines,fill~ngshapes NOTE the lad thread is often used double, as shown here

T h e Stitch Collection

T h e Stitch Collection

75 Bricking

74 Turning corners

6 Bunched couching

Right angled corners

When couching a pair of threads side by side, there are two methods of turning a right angled corner: fig A Where last couching stitch is close to the corner, work one diagonal stitch on outer thread only, hold laid threads in new direction, and continue as before. /is B Where last couching stitch is not close t o corner, work two small diagonal stitches, one over each thread, then continue in new direction. Acute angled corners

fig C The inner thread is not taken right into the corner. Turn outer thread and stitch over it at the point, bringing needle up at 1 and down at 2. Bring needle up at 3 and down at 4, making a stitch across the point, if necessary, bring needle up at 5 and insert i t at I,to hold down inner thread.

92

USES well defned n e s and outlines

Lines o f couching are worked t o and fro across required area, usually beginning at top Work first couched line from right t o left as page 91. Turn the work for each new line. Position new stitches halfway between the stitches of the previous line

Very sharp corners fig D Cut both threads about I in (2.5 cm) beyond the point. Take outer thread t o wrong side at point, and inner thread t o wrong side just before the point. Fold laid thread ends along the hack of the stitching line and secure. Begin a new length of laid threads, bringing them u p at staggered positions as shown -(leaving I in 12.5 cml tails on wrong side to be secured later]. Make a tying stitch from i to 2 across the two outer threads.

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Work from top t o bottom (or right t o left if preferred): Bring laid thread u p at top or right end of line Bring tying thread up at I.Hold the laid thread i n place with the left thumb and insert the needle at 2 making a small stitch. pull tightly t o hunch the laid threads. Repeat as required. At the end of the line, secure all the threads as on page 227-228.

ALTERNATIVE NAME basic couched filling; "or n u e u couching,bricked all over, with a design farmed by working different areas w~thdifferentcolors of couching thread (page 228) USES a regular pattern for flllingsmail and iargeareas NOTE for a reeul use evenweave fabric, or " ar aooeaiance, ,,

USES bold, decorative lines, both straight Bnd curved NOTE the lad threadfarth~sstitch consistsof several

mmarilabric~thparalie lines of dots

strands,as many as required

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T h e Stitch Collection

77 Pendant couching

Open loop pendant couching Work from right t o left. fig A Bring laid thread up at right. Make a small tying stitch from I t o 2 Arrange laid thread in a small loop and make another tying stitch close to the first. Repeat. At end of iine. secure both threads as page 227 Closed loop pendant couching fig B Work as above, but arrange

laid thread in closed loops, with tying stitches over double thread at top of each loop. ALTERNATIVE NAME looped couching USES decorative looped line: or 'pile'' texture f l i n g NOTE to fill an area begin at the bottom oftheshape and work backward and toward in lines to top

I 78 Zigzag couching

Work from right t o ieft: Bring laid thread up and lay it along upper iine. Bring tying thread up at I and down at 2, over laid thread. Hold laid thread across lower iine, bring needle up at 3 and down at 4, over laid thread. Repeat as required. Secure both threads as pages 227-228. Lines may also be worked from left t o right if preferred.

USES decorative lines, straight and curved ziglags, use evenweave fabric, or mark fabric w t h k o parallel linesof evenly spaced dots NOTE for

T h e S t i t c h Collection

79 Scale couching

Begin at top ieft: Bring laid thread up at left. Bring tying thread up at I and down at 2, over laid thread. Hoid laid thread in a small curve and make two more tying stitches. 3 t o 4 and 5 t o 6. Repeat t o right At edge, laid thread may be taken to wrong side and brought back t o begin next line, or turned in a curve on the surface. Work next line from right t o left, alternating with scales above. Secure threads as pages 227-228. USES open filling with a fishscale effect NOTES I.lor regular scales, use evenweave fabric, or marhfabric w ~ i hparallel llnes of evenly spaced dots 2. largarscales may be couched down with more stitches

I 80 Trailing

work from ieft t o right or top to bottom Brlne thread u u at end o f " la~d line Bringtying thread up at I . Hoid iaid thread in place with ieft thumb and insert needle at 2, slanting needle under laid thread. Repeat. working couching stitches close together so laid thread is hidden. taking up only a small amount o f fabric to form a corded effect Secure both threads as pages 227-228.

USES bold. sold lhnes with a corded effect NOTES 1, the iaid thread shouid b e f h and smooth: string-may. be dyed . to tone w ~ i hthe couching thread., hiding gaps in the stitches 2, far a bolder effect use three orfive iaid threads togeihertofonn a rounded bundle,

95

The Stitch Collection

The Stitch Collection

82 Decorative couched lines

81 Couching circles

used t o tie down a laid thread instead o f the usual small straight

Shown in the photograph (top t o bottom) are: blanket stitch (page 581, blanket stitches worked in groups of three, open chain stitch Circle with bricking stitches

Mark circle with regularly spaced radiating lines (eight or twelve are useful numbers). Circle with radiating stitches

Bring the laid thread to the surface at the center of the circle. fig AArrange t h e laid thread around the center point and couch down with a stitch along every alternate marked line on the first circuit only. Always bring needle up at outside edge and angle ail stitches in toward the center. Continue laying the laid thread in a smooth spiral, placing ail the subsequent tying stitches on the marked lines. Stitches at the center are closer together than those on the outside, s o extra stitches may be added around t h e edge At the end of the spiral, take the laid thread to the wrong side and secure a s page 227. The two ends of a double thread may be staggered for a smooth outline.

USES NOTE

soiid circles for flowers,wheels, and so on loose spirals may be couched n a similarway

Bring the laid thread t o the surface at the center of the circle. fig B Arrange t h e laid thread around the center point and couch down with a stitch along every alternate marked line for the first circuit only On t h e second circu~t, place t h e tying stitches on the marked lines. Continue laying the laid thread in a smooth spiral, placing each stitch midway between two stitches of previous circuit Aiways bring needle up at outside edge and angle all stitches in toward the center. Again, stitches at the center will be closer together than those on the outside s o extra stitches may be added around the edge. At the end of the spiral. secure the laid thread a s above

stitches worked in groups of three, and zigzag chain stitch (page 481, Many other stitches may b e used in t h e same way such a s double chain stitch (page 501, crested chain stitch (page 511, rosette chain stitch (page 54). up and down blanket stitch (page 621, closed blanket stitch (page 62). loop stitch (page 681, zigzag stitch (page 7 4 ) and herringbone stitch (page 75). Further variations may be made by arranging t h e stitches in regularly spaced groups, allowing t h e laid thread t o show to advantage. Lines of such stitching may be worked singly or arranged side by side to form deep borders

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The Stitch Collection

The Stitch Collection

85 Square and diagonal

84 Battlement filling

83 Square laid filling -

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I fig B

fig C

fig B

hg A First work a series of iong, horizontal stitches across the shape. working from top t o bottom: bring thread up at I . down at 2, up at 3. and down at 4 Repeat t o lower edge. Now make a series of long vertical stitches, working from left to right bring needle u p at 5 down at 6, up at 7, and down at 8 Repeat to fill the shape. Work from right t o left if preferred \is B Work a small diagonal tying stitch across each intersection.

Decorative variations fig C Upright cross stitches and detached chain stitches are added here to form a pattern. Other stitches t o use in this way include french knots (page 105). bullion knots (page 108). cross stitch (page 69). and star stitch (page 72).

Begin by laying a square grid, as fig A of square laid filling (see opposite). without the tying stitches. figA With a second shade, lay another grid in the same way, just] above and to the right of the first fig B With a third shade, lay another grid, just above and t o the right of the second, (Add more grids if required ) Using same thread as t o p grid. tie down each intersection o f top grid only with a small diagonal stitch. in same way as fig B of square laid filling

Begin by filling area with square laid filling (page 981. with tying stitches. fig A Add diagonal stitches: bring needle up at i . down at 2, up at 3, and down at 4. Repeat to lower right. Complete diagonal grid with long stitches in the opposite direction as shown fig B Tie down each intersection of the d~agonalgrid, always brlnglng thread up at I below the intersection and down at 2, above the intersection.

afairlyopen fillingfor small to medium~siied regular and irregular shapes NOTES 1. fabric must be firmly stretched. 2. plain fabrics should be marked wlih a regular grid

USES afairlyopenfilingfor srnanto medium-sized

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USES

98

LLTERNATIVE NAMES squared laid worh, treils filling USES a hght open filingfor small to medlum~slzedareas, often used wthfurtherdecorativestitching NOTES 1, fabric must be firmly stretched 2. plain fabr~csshould be marhed with ilnesformngaregulargrld

regular and irregular shapes NOTES 1 fabric must befirmlystretched.2 plain fabrics should be mahed w~thlines forming a regulargrid

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The Stitch Collection

87 Trellis and cross filling

Q6 Diagonal laid filling

88 Triangle filling

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fig^ Workdouble diagonal stitches sloping from lower left to upper right. bring needle up at I,down at 2, up at 3, and down at 4. Repeat t o lower right Then work double diagonal stitches sloping in opposite direction: bring needle up at 5, down at 6 . up at 7, a~nddown at 8. Repeat t o lower left. fig BTie down each intersection bring needle u p at I and down at 2. Tying stitches may be worked horizontally i f required

Fill area with diagonal laid filling (left), but tie laid threads down at each intersection with four small straight stitches: bring needle u p at I in the corner of a space and down at 2, at the center of the intersection, up at 3 down at 2 . up at 4, down at 2. up at 5. and down at 2 Work each group of four stitches in same order to maintain even appearance,

ALTERNATIVE NAME trell~sfllllng USES a light, open filingfor small to medium-sized regularand rregular shapes NOTES 1.fahric mustbeiirmly stretched2markplaln fabrics with a regular diagonal giid

USES a farly open fillingfor small to medium-sized regular and irregular shapes NOTES I.fabrlc must be firmly stretched.2. plain fabrics shauld be maihed with linesfwmingaregular

diagonal grid

fig A First make a series of long

stitches parallel t o one side of the triangle. Bring needle up at I,down at 2, up at 3, down at 4 and so on. making only short stitches on the wrong side fig B Then make a second series of iong stitches parallel t o the second side of the triangle, in the same way, bringing up the needle and inserting i t just outside the previous longest thread. fig C Make a third series of long

stitches parallel to the third s ~ d eof the triangle in the same way. fig D Uslng another color if desired, tie down each intersection with a small vertical stitch, always bringing the needle up at I below the intersection and inserting it at 2 above the intersection, to maintain an even appearance.

USES openflliingfoismallbmedium-sized regular and irregular shapea:may be used as a base, addingfurnet decorativestitches NOTES 1, fabricmust be firmly stretched. 2. plainfabhcs should be marked wlth linesforminga regulartriangulargrid.3, the triangulargrld shown here is based on an equilateral triangle (a1 sides el equal lengih),but othertriangles may be used for a less formal appearance

101

The Stitch Collection

The Stitch Collection

57 Close herringbone stitch

58 Fishbone stitch .

4

59 Feather stitch

60 Long-armed feather

-.-

fig C

fig B

Work from left t o right: fig A Bring needle up at 1 , down at 2, u p at 3, and down at 4. Bring needle up at 5 , just t o right of I.and down at 6, just t o right of 2. fig B Bring needle up at 7 and down at 8. Repeat these last two stitches t o the right, keeping the slant of the stitches constant. fig c Once the stitches begin t o overlap, i t is easier t o keep the spacing constant.

USES a soi~dIne wlth a braided appearance, straight or gentiy curved NOW for straight and curved lines. markfabric with

80

two parallel lines

Work from t i p of shape toward base: fig A Bring needle up at I and down at 2, u p again at 3, and down at 4, just overlapping previous stitch. Bring needle up at 5. fig B insert needle at 6, just overlapping previous stitch and bring it u p at 7 t o begin next pair of stitches. fig C Continue making stitches alternately at left and right, just overlapping along center line. The last stitch may be elongated t o represent a stalk.

Work from top t o bottom: fig A Bring needle up at I . down at 2, and u p at 3, with thread beneath needle. Distance 1-2 should equal distance 2-3 Pull through. fig B Take needle down at 4 and up at 5 with thread beneath needle. Pull through. fig C Continue making stitches alternately to right and left as required Fasten off last loop with a small stitch as for chain stitch (Page 461.

USES borders and edgings straight and curved nes,

USES a solid filling for small leavesand similar shaves NOTE mark fabric with ouilineofshape and a center iine. which may be stra~ghtorcurved

appliqu6 NOTE for regular stitches use evenweave, or mark fabric with three parallellines

Work from top t o bottom: fig A Bring needle u p at I down at 2, and up at 3 with thread beneath needle. Distance 1-2 should equal distance 1-3. Pull through. fig B Take needle down at 4, about level with i. and up at 5. with thread beneath needle. Pull through fig C Continue making stitches alternately to right and left as required. Fasten off last loop with a small stitch as for chain stitch (page 46). ALTERNATV I E NIME Cretan stltch USES borders and edg~ngs,straight and curved lines,appliqul NOTE for regular stltches useevenweave, or mark fabric wth three parallel lines

a

m

The Stitch Collection

The Stitch Collection

90 Roumanian couching

89 Bokhara couching

Begin at the lower edge of the shape: fig A Bring needle up at I and down at 2, making a iong stitch across the width, This laid thread should not be pulled too tightly as the tying stitches will hold it firmly in place. Bring needle up again at 3. where first tying stitch is required. fig B Take needle down at 4. making a small diagonal stitch across the laid thread, and up at 5. where next tying stitch is required.

These tying stitches should be made quite firmly. fig C Make as many tying stitches as required across the laid thread. then bring needle up at 6 . just above I , to begin the next line. fig D Continue laying threads from left t o right, tying them down on each return journey, until the shape is filled. The lines should be close toeether with n o fabric visible " between them.

ILTERNATIVENAME Bohharan couching USES a solid filling for small to medium-sizedregular and irregular shapes NOTES lfabric must be firmly stretched.2. fabric may be marked with parallel lines at regular intel~als as an aid to keeping all the n e s of stitches parallel. 3. if the$ing st~tchesarerequired to form a paitern it is helpfulto also markgudelinesfor this on the fabric

Begin at the lower edge of the shape: fig A Bring needle up at I and down at 2. making a long stitch across the width. This laid thread should not be pulled too tightly as the tying stitch will hold it firmly in place. Bring needle up again at 3. where tying stitch is required. fig B insert needle at 4, making a medium-length diagonal stitch across the laid thread. This tying stitch should not be pulled too

tightly. Bring needle up again at 5 t o begin next line. jig C Continue laying threads from left to right, and tying them down on each return iourney, until the shape IS filled The lines should be close together with no fabric visible between them.

ALTERNATIVE NAME Romanian couching USES a solid fillinglor small to medum-sizedregular and rregular shapes, with a fluid appearance, less forrnai than Bokhara couchng NOTES

lfabric must be firmly stretched.2. it is helpfulto mark notiusttheoutiineofthe shape required,but alsohvo lines

The S t i t c h C o l l e c t i a

!Seeding stitch

93 French knots

1

Work in any d~rection fig A Bring needle up at 1 Holding thread taut with finger and thumb of left hand, wind thread once or twice (not more) quite tightly around needle tip fig B Still holding the thread. insert needle very close to point I and pull needle through t o back of work so the twists Ile neatly on the fabric surface. Repeat as required fig C For a French knot with a tail, work as above but insert needle at 2 . a short distance away from I The knot will form at point 2. For a larger knot. use heavier thread-never wind more than twice

Work in any direction: Bring needle up at I and insert it at 2. Repeat as required. Where several stra~ghtstitches are closely grouped it is best t o work them all in a similar direction, e g . from bottom t o top, or from top to bottom.

Work in any direction: Bring needle up at i down at 2 making a very small stitch, up at 3, and down at 4, making a second small stitch close t o the first Repeat as required.

>

104

ALTERNATIVE NAME sngle sailn stitch USES isolated short, straight nes. may be scattered as

afillingoi usediorgrass and foliage effects

USES a simplefllingstitch;it may be worhed as an even scatter,to glue texture to an area, or clustered to shade an area from one side to the other

4 9

fig

B

USES a bold. rased dot. used singly (e.g. as an eye) or ingroups (eg. as aflower center]; may be worked ciosely packed be worked wlih a shorita f o i a more

01 evenly scatered as a textured filing. or clusieredfor a shaded filling. May also

Ormn~ceffect

105

The Stitch Collection

94 Fern stitch

Work in any direction, Bring needle up at I and down at 2 t o make the center stitch in the required direction Bring needle up at 3. down at 2 . up at 4 and down again at 2. Repeat as required The three stitches in each group may be all the same length with equal angles between t h e m or they may be varied as required for foliage effects.

USES as a scatteredfiing. or in straght and curved

lines for foiiage affects

5 Fly stitch

Work in any direction: Bring needle up at i and down at 2 leaving a loop of thread. Bring needle up at 3, inside the loop, and down at 4, outside the loop, holding the loop in place with a small stitch. Repeat as required. For a longer tail, point 4 may be some distance below point 3.

ALTERNATIVE NAMES open loop siitch,Y stitch USES scattered evenly or randomly as afillingstitchor foliage effect,or in veriicai or horizontal lines; may also be worked with a shorttall

96 Detached chain stitch

Work in any direction Bring needle u p at i and inse i t at same place, leaving a loop of thread on the surface. Bring needle u p at 2, inside the loop, and down at 3. outside the loop, making a tiny stitch to hold the loop in place. Repeat as required. For a longer tail, point 3 may be some distance below point 2.

Work lines of stitches from right t o left. iiy A Bring needle up at I down at 2 . up at 3. down at 4, up at 5 , and down at 6. Bring needle up at 7, halfway between 5 and 6. hy B Pass needle under bundle o f three stitches from right to left without piercing fabric, then reinsert it into fabric beneath center o f bundle, from the right. Pull tightly to shape the bundle. Repeat as required.

ALTERNATIVE NAMES single char stitch, lazy daisy st~tch USES scattered eveniy or randomlyas a filling, grouped

in ovals orcircles to represent dasy-iikefiowers,or worked singly as tiny leaves or buds May also be worked with a ongertail

USES Scatteredevenly or randomly as afilling close together or widely spaced

The Stitch Collection

The Stitch Collection

99 Wheatear stitch

98 Bullion knots

...-..

.-

i

I

1

I

8

1

..

fig

Work in any dire, fig A Bring needle up at I and down at 2. Puil through, leaving a long loop of thread. fig B Bring needle point up at I , and twist thread around point, five t o eight times. Hold twists in place with left hand and pull needle through, fig C Hold thread toward 2 and pack twists down with needle tip. fig D Take needle through at 2 Bullion roses fig E Begin roses with a triangle of bullion knots. Work next knot around

A

ALTERNATIVE NAMES knot stitch, caterpilar stitch, worm stitch, coil stitch, roll stitch, post stitch; when grouped as a rose. also known as Puerto Rlco rose stitch USES a raised, shortcolithat may be scattered evenly or randomly a s a filllng. grouped In ovals ar clrcies to represent flo~ers. or worked in continuous Ines as a bold outllne

!

D

J A ,,le corner, adding extra twists t o make it curl Continue adding overlapping knots as desired.

1

A

64

Work in any direction: fig A Bring needle up at I and down at 2 . Pull through leaving a loop of thread on the surface. Bring needle up again at 3, inside the loop. and pull through, fig B Make a detached chain stitch, re-inserting needle at 3, leaving another loop of thread on the surface, and bringing needle up at 4, inside this second loop. insert needle at 5, outside the loop, t o hold the detached chain stitch in place. Repeat as required.

Work in any direction: First worka detached chain stitch (page 1071. Then add two straight stitches bring needle up at I . down at 2 . up at 3 and down at 4. Repeat as required.

USES scattered evenly or randomly as a fillingorfoliage effect.or worked singly as ears of wheat

USES scattered evenly or randomlyas afilling,or worked singly astiny buds

..! ili ,:, ,;q

109

I

T h e Stitch Collection

The Stitch Collection

101.Star stitch

Eyelet wheels

hs B

'

110

Work in any direction Bring needie up at I.down at 2 . up at 3. down at 2, up at 4 and down at 2 Continue in this way around the circle. Ail stitches should end in the same central hole DO not work more than about ten radiating stitches as they will not ile fiat at the center.

Work in any d~rection: fig A Bring needle up at 1 , down at 2,up again at i , down at 3. up at 4,down at I up at 4, down at 3. and up at 5 t o make next backstitch Repeat around circle alternating backstitches and stitches into center. fig B For an irregular wheel move point 3 off-center

USES scahered evenlyor randomly as afiling,or worked singly to represent daisy~iikeflowersor stars NOTE may be worked wlfi number of points desred: six,

ALTERNATV I E NAME eyelet stlhh USES to represent small fiowers, wheels, or eyes NOTES 1, may be worked with any number of points desired,2, mark fabric with a crcedivided by radiahng lines. 3, central hole will be enlarged if fine thread is used and sttches pulled flrmly;firm fabric is required

eght, ortan points are convenient.Markfabricwith a crcle divided by radatinglines.On a firm fabric, central hole may beenlargedwith a stiietioor blunt needle

Flrst work a ladder o f straight stitches as a base: fig A Bring needle up at I , down at 2. up at 3, and down at 4. Repeat t o bottom of line, lipreferred, ladder stitches may be made by bringing needle up at left and inserting it at rlght but for a wide ladder the method above 1s more econom~cal Fasten off thread at base f i g B U s ~ n ganother color, bung a blunt needle up at 5 Pass needle under thread from A t o B a s shown ng without p ~ e r c ~ fabric

fig C Forming a loop with thread. pass needle again under top thread irom C t o D with loop o f thread beneath needle as shown, in the same way as for chain stitch (page 461 fig D Repeat steps shown in figs Band C down the ladder, without piercing the fabric, fastening off last loop with a small vertical stitch.

USES a bold. decorative bend: lines of chains may be worked side by side on the same base ladder, or separate base ladders,to 811 an area NOTES 1 the base ladder may be hldden completely by the chams, or allowed to show at each s~de,as desired 2 for a regular appearance, plalnfabrlc should be marked wlVl two parallellnes of evenly spaced dots

111

The Stitch Collection

aised herringbone .;+nh

First work, ,,Jder of -..,.ght stitches as for fig A of raised chain stitch (page I i I ) , Using another color if desired. bring a blunt needle up at I.Pass needle under second stitch above from A t o B without piercing fabric. bringing needle out at left. Repeat t o top. Each stem stitch passes over two threads and back under one. emerging left of stitch below. Add lines of stem stitch as required.

Legin at the stalk end of a leaf shape: fig A Bring a blunt needie u p at 1 on marked outline, down at 2, and up at 3. Pass needle from right t o left through thevertical stitch without piercing the fabric. Take needle down at 4 and up at 5 t o begin the next stitch. fig B Repeat as many times as required t o fill the shape.

USES a bold, decorative band; several linesofstem stitch may be worked side by side on thesame base ladder, or

USES bold,raised leaf and petal shapes; may be worked closely for a solid appearance. or moreopenly for a spiky anact NOTES 1, mark fabric with outline of shape required.

separate base ladders,to fill en area NOTE the base ladder may be hdden completely by the stem stitch, or allowed to show at each sde. as desred

2, use a blunt-tippedneedle throughout

106 Ceylon stitch

Begin at the top of the shape: figA Bring needle up at i and down at 2, making a iong stitch if area is more than about 112 in (12 mm) wide, tie down with small vertical stitches at regular intervals on the return iourney, bringing needle up at 3 and down at 4. fig B Bring a blunt needle u p at 5 and pass under top thread from top t o bottom, with thread beneath needle as shown, without piercing fabric fig C Repeat t o right. making

enough loops t o fit w i d t h insert needle at 6. fig D Bring needle up at 7. Pass needle from right t o left under two threads of loop above without piercing fabric, with working thread beneath needle. Repeat t o right and insert needle at 8. Repeat this line as required, fairly loosely so lower edge of the work lies flat without distortion. To vary shape, stitches may be added or omitted at side edges. At lower edge, fasten down each loop with a small vertical stitch.

ALTERNATV I E NAMES knitted stitch, Peruvianknitllng USES a fiilingstitchforsmallend medium-siredareas with a distinctiveappearance, similarto knitting;a single line may be worked as a bold, decorative band NOTE fora regularappearance.theside edges of the shape should be marked wilh two linesof evenly spaced dots

I

The stitch collection

The Stitch Collection

107 Buttonhole loops

114

aised cup stitch

Work two foundation stitches. fig A Bring needle up at I and down at 2 , making a loose stitch. Bring needle up at 3 and down at 4. makinga second loop. Bring needle up at 5, just beneath 3. Hold both stitches down with needle tip and pull thread gently t o make both stitches the same length. fig B With a blunt needle, work buttonhole stitch (page 611 closely over both threads together and insert needle at 6.

First work a triangle of backstitches as a base: fig A Bring needle up at I , down at 2 , up at 3, down at 1, up at 2 and down at 3 fig B Bring needle up just below 2. Change t o a blunt needle. Pass needle under first bar from A t o B without piercing fabric, with loop around needle as shown. Pull through gently Repeat clockwise around the triangle, packing stitches close together t o form a circle.

USES open or closed loops workedto stand freeofthe fabric surface:oftenused for floral and foliage effects; may also be used as a button loop NOTES the finished loop may be held In place by tiny stitches

USES srnaii, enclosed detached motifs, more or less

circular, often used to represanttiny flowers NOTE if Refoundationstitches are worked in an equilateral trangie as shown in the diagrams, the finshed effect will be circular

i

109 Woven picots

fig A Insert a pin along the vertical line of the picot shape required, Bring a blunt needle up at I down at 2, and up at 3. fig B Take thread around head of pin again, then pass needle irom right t o left under right-hand thread. over center thread, and under lefthand thread, without piercing fabric. fig C On return journey. pass needle over left-hand thread, under center thread, and over right-hand thread, without piercing fabric. fig D Repeat these two journeys until the shape is full, inserting the

needle back through the fabric behind the right-hand thread at 4. The lines of weaving should be closely packed to completely cover the three vertical threads, but at the same time the weaving itself should be slightly loose, t o emphasize the texture.

-

USES a woven petal shapeattached to Re fabriconlyat the base, used for flower petais and foliage NOTES 1. for the best result use afirm, roundedthread, to make the weavingeasierand emphasize ih texture. 2. each picot

may be mar!ied with a base line and a central veriical n e

-

;

.

! !

The Stitch Collection

111 Basic needleweaving

1 112 Wave fillinr

fin A

-

-

! I

116

First work a ladder ot straight stitches from top t o bottom as a base. i n the same way as for raised chain stitch (page 1 II). fig A Change t o a blunt needle. Bring needle out at I,iust below lowest base stitch and slightly right of center. Pass needle under second base stitch from top to bottom, then under first base stitch i n same way. without piercing fabric, emerging t o the left. Repeat this vertical stitch twice more, then pass needle under second base stitch only from top t o bottom without piercing fabric. emerging t o the left.

fig D

fig B Pass needle under third base stitch from top t o bottom without piercing fabric, then under second base stitch in same way, emerging t o the l e f t Then pass needle under third base stitch only from top t o bottom without piercing fabric, emerging t o the l e t . fig C Repeat the step shown i n fig B u p t o top o f band. fig D At top, insert needle at 2 and fasten off thread. Bring needle out again at 3. Make a series of matching, slanting stitches up right side o f the band, inserting needle at 4.

USES a hold, decorative bend or border NOTE fora regular appearance, piainfabnc should be rnarhed wiih hVo parallel lines of evenly spaced dots

fig A Begin by working a series of vertical stitches. Bring needle up at I . down at 2, up at 3, and down at 4. Repeat across the whole area, Using the same or another color and a blunt needle, bring thread up at 5. Weave needle over and under vertical threads and take it down at 6 and up at 7. fig B Weave second journey, alternating "unders" with "overs" of previous journey and vice versa. Repeat the two weaving journeys as required.

Begin at top left: fig A bring needle up at 1 and down at 2. Repeat t o the right. Change t o a blunt needle. Bring needle u p a t 3, pass i t through first vertical stitch from right to left and insert it at 4. Bring i t up at 5 and repeat t o the left. fig B Bring needle up at 7, pass under first half of stitch above and insert at 8. Bring needle up at 9 and pass under two threads above before inserting i t at 10. Repeat t o edge of shape. Repeat this line.

USES a salidfiilingforsmall and medium-siredareas of

ALTERNATIVE NAME hoped shading stitch (when worked

any shape NOTE the threads do not make long stitches on the back of the work

n two or more shades) USES an open fillingfor medium and large areas NOTE mark fabric with parallelhorizontai lines

i

i

The Stitch Collection

113 Cloud filling

First work lines of smaii verticai stitches across the whole area, spaced regularly as shown figA Using a blunt needle and the same or another color, bring needle up at I . Pass needle through first stitch on top row then through first stitch on row beiow then repeat t o the left and insert needle at 2. fig B For the second row. bring needle up at 3 pass it along t o the right through the small stitches as shown and insert it at 4 Bring i t up just beiow 4 to begin the next row to the ieft.

USES an open filling for medum and large areas N O 1 mark fabric with parallel hodrontal lines

The Stitch Collection

1 114 Honeycomb filling

-

First work a series of parallel horizontal stitches: bring needle up at I , down at 2 up at 3, and down at 4. Repeat as required, making only short stitches on the fabr~c'sback. Using the same or another color, make a series of parallel, slanting stitches in a similar way. With the same or a third color, make a series of parallei stitches slanting in the opposite direction, passing needle under threads of first layer and over those of second layer as shown.

USES an openfill~ngforsmall and medium-sized areas with a honeycomb appearance NOTE mark edges of area wdh seres of evenly spaced dots: irregular areas are moredifficulttomark

115 Twisted lattice filling

fig A Work a series of slanting parallel

stitches: bring needle up at I,down at 2, up at 3, and down at 4. Repeat, making only small stitches on the back of the fabric. Then work stitches slanting in the opposite direction: bring needle up at 5, down at 6 over onethread up at 7, weave over, under, and over the threads of first laver , and insert at 3 Repeat to make a diamond lattice. fig B Bring a biunt needle up at I and weave across as shown. Insert i t at 2, bring it up at 3, then weave back ~

~~

to 4. Repeat as required fig C A second thread may be woven as shown

USES afairly solid filingfor small and medium-sizedareas, with a lanicework appearance NOTE markedges of area wth series of evenly spaced dots: irregular areas are more difficult to mark as the lattice Ines

should be parallel

h e Stitch Collection

The Stitch Collection

116 Woven circles

117 Ladder stitch Using a biunt needle throughout, work from top t o bottom: fig A Bring needle up at I , down at 2 up at 3, down at 4 and up at 5 Pass needle from top to bottom under stitch above, from 6 to 7. At opposite side, pass needie upward under both threads from 8 to 9. fig B Insert needle at 10 a small distance down the right hand line and bring up at I i Pass needle from right t o left under the twist above At opposite side, pass needle from right to left under the previous twist. Repeat the steps shown in fig 8 , as required Fasten off at the left by passing needle under twist above and inserting it just below the twist.

Woven circle

fig A Work on an odd number of radiating stitches, such as seven. Mark fabric with a circle and a center dot, then divide the circle with evenly spaced d o t s Bring needle u p at outside and insert it at center t o work these stitches. Bring a biunt needle up at I fig B Weave over first thread and under next; repeat as required. Pull the first round quite tightly t o close up the center, but make later rounds looser, t o lie flat. When weaving is complete, insert needle under

previous round of weaving ( e g at 2 ) Whipped circle

fig C Work on any number of radiating stitches made as for woven circles. Bring blunt needle up at I.Pass needle under first thread, backover this thread, and under both first and second threads fig D Pass backover one thread and under two threads. Repeat as requ~redEnd as for woven circle

ALTERNATIVENAMES spider web, woven wheel USES small circular motifs with a raised appearance, such as flower heads NOTE outiines may befiiled completely or leit wlth spikes around edge

USES a w~dedecorat~veline wth a ladder-likeappearance,oflen used for stems; may be straight orgently curved NOTE mark fabric with two parallel Ines

Work from left t o right: fig A Bring needle up at I on lower edge. Make two, three, or four buttonhole stitches (page 611 along top edge. fiq B For stitches on iower edge. insert needle upwards as shown with thread beneath needle, and pull through. Repeat the upper and lower groups t o the right. Stitches may be varied in length and spacing t o form decorative patterns.

119 Herringbone insertion

120 Twisted herringbone insertion

dork from top t o bottom: Bring needle u p at I . down at 2. emerging from beneath right edge, with thread looped under needle as shown Insert needle at 3, emerging from beneath left edge with thread looped under needle in corresponding way. Repeat these two stitches downward,

Work from leR t o right, Bring needle up at I from inside lower hemmed edge and insert it upward beneath edge emerging at 2. Twist needle once around thread as shown, then insert downward under lower edge, emerging at 3 Twist needle once around thread and begin next repeat t o right by inserting needle at 4

Work from left t o right. Bring needle u p at I from inside lower hemmed edge and down at 2, with thread under needle as for herringbone insertion [page 122). Slip needle beneath both threads. from left to right, with thread looped under needle and pull through to form knot. Insert needle at 3, work matching herringbone stitch, and form knot on lower edge. Repeat to the right.

ALTERNATIVENAME twistedfaggot stitch, twisted insertion stltch USES a decorative stitch for .oninetwo . oieces of fabric NOTES 1, fabricedges must be hemmed if they are not selvages 2. tach the fabric edges to brown Patier,soaced about n (6-12 mm) apart

ALTERNATIVE NAME knotted lnsertlon stltch, knotted faggot stitch USES afirm stitch for joiningtwo pieces of fabr~c NOTES 1. fabric edges must be hemmed f they are not selvages. 2. tackthe fabric edges to brown paper, spaced about 1/6-'h in (6-12 mml apart

NOTES Ifabricedges must be hemmed if they are not selvages.2, tach fabric edges to brown paper,spaced

USES a decorative stitch for joining two piecesoffabric NOTES 1, fabric edges must be hemmed ifthey are not selvages. 2, tackthe fabric edges to brown paper, spaced

about 'lb'h in (6-12 mrn) apart

about l l d h in (612 mm) apart

The Stitch Collection

123 Italian insertion stitch

fig A First work a row of knotted loops from right t o left along each edge. bring needle up from inside hem at I Twist needle around thread as shown and insert needle downward beneath fabric edge emerging at 2 with thread under needle. pull through. Repeat t o the left. Note that when the loops are laced together, the center o i each loop will be placed opposite the edge stitch opposite, so for an exact seam the iirst and last loops on the second edge should be half the size of other stitches. ALTERNATIVE NAME lacedfaggot stltch

if required

fig B Now prepare fabric edges by tacking t o brown paper the required distance apart, as page 224 Using a blunt needle and a contrasting thread if required, bring needle up at 3 at b e g ~ n ~ i i no gf first half loop Pass needle through loops of previous stitching as shown. lacing them together without piercing fabric Repeat t o the left Fasten off securely

Work from top t o bottom: fig A Bring needle up at I and down at 2, emerging from beneath fabric edge, below strand of thread Work four small buttonhole stitches from left t o right along this strand. fig B Insert needle at 3 on right edge, emerging from beneath fabric edge with thread under needle. fig C insert needle at 4 on left edge, emerging from beneath fabric edge with thread beneath needle fig D Work four small buttonhole stitches over two threads at 3, from

center to right. Insert needle at 5 on right edge. emerging from beneath fabric edge with thread beneath needle. Work four small buttonhole stitches over two threads at 4, from center t o left. Repeat the two steps of figs C and D downward, inserting needle at 6 on left edge to begin next repeat. The number of buttonhole stitches worked in each group may be adjusted t o suit the width of the gap.

ILIERNATIVENAME ltalianfaggotlng USES afirrn decorative stitch farjainingtwo piecesoffabr~c NOTES lfabricedges must be hemmed iftheyare not selvages.2,iachRefabric edges$ brown paper, spaced 'h n (12 mm) or more apart

125 Rope stitch

Work from left t o right aiong a straight line of gathering stitches: bring needle up at 1 , take a small stitch from 2 to 3 bringing needle out below working thread. Take next small stitch from 4 to 5, bringing needle out above working thread. Repeat these two stitches t o the right. Two or more lines may be arranged with all the upper stitches taken through the same tubes. or with the upper and iower stitches alternating. ALTERNATIVE NAME aiternate Stem stitch USES an unbroken straight n e ofs~tchesthat may be used singiy or in several rows close together NOTES preDarefabric for srnochingby gathering into tubes (pleats1

Work from left t o right along a straight line of gathering stitches. jigA Bring needle up at i .take a stitch from 2 t o 3, bringing needle out above working thread Repeat t o the right. fia B T o slooe stitches the other way, bring needle out below working thread. Fig B worked closely above fig A w i l l resemble chain stitch. , A

ALTERNATIVE NAME outline stitch. stem stitch USES afirm. unbroken straight n e of stitches, may be used singly or repeated,to divideor edgeareas of more open smocking NOTES preparefabrlcby gathering lnto tubes (pleats1as page 225

126 Honeycomb stitch

Work from left to right aiong two lines of gathering stitches: bring needle up at I.Take a small stitch across top of two tubes. insert needle at 2 and bring out again at I,pulling firmly. Take needle down at 2 and u p at 3. Take a small stitch across two tubes as before, from 3 t o 4 then insert again at 4 and bring out at 5 t o begin next repeat t o the right Repeat the double line of stitches at equal intervals for an all-over pattern.

NOTE fabric must be prepared for smocking by gathering

into tubes (pleats1

Work from left t o right along two lines o f gathering stitches: bring needle up at I.Take needle down at 2 and up between tubes at 3 , with thread above needle. Take needle down at 4, at right of same tube, up at 5, down at 6 . and up between tubes at 4 with thread below needle. Take needle down at 7 at right of same tube and up at 8 t o begin next repeat.

ALTERNBIVENAME Vandyke stitch USES e decorative, zigzag line: an all-over pattern NOTE prepare fabric by gamering into tubes (pleats1

B

128

129 Wave stitch

Work from right to left along two lines of gathering stitches. bring needle up at i Work a firm backstitch through the tops of two tubes, taking needle down at 2 and up at I . Take a stitch below at 3, and one at 4, then a firm backstitch from 3 to 4. Begin next repeat with small stitches at 5 and 6.

Work from left to right along two lines of gathering stitches: bring needle up at i . With thread above needle, take a small stitch from 2 to 3, then one below from 4 to 5. With thread below needle. make next stitch from 6 to 4. Make next stitch above, from 7 to 8, to begin next repeat. Lines may be arranged as shown lo form an all-over Dattern

L.IERNATIVEhAME i.1i.t lcr~,:ln: ilir .SES ., v ' . l , ? ? c o ~ c ~ r??:,? .:.-~[O-CM NOTE prepare fabric by gathering lnto tubes ($eats)

ILTEAhAlVE hlMLS . I C . I ~ ? S ? - 1ancn. I ! JSES 9 0NOIE

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prepare fabnc by gathering into tubes (pleats)

Work from left to right aiong four lines of gathering stitches: bring needle up at I . With thread above needie take a small stitch i n top of next tube to the right, from 2 to 3 Now make a rope stitch (page 561 on gathering line beiow, with thread above needle, from 4 to 5. Repeat this stitch twice more, from 6 to 7 and 8 to 9. With thread below needle, take a small stitch in top of next tube to the right, from 10 to 8.

Now make a rope stitch on gathering line above, with thread below needle. from i 1 to 12. Repeat this step twice more. ending by bringing needle out on same gathering iine as first stitch, to begin next repeat. Note that for the stitch at the top of the repeat and rope stitches sloping downward, thread should be above needle: For the stitch at the bottom of the repeat and those sloping upward, thread should be beiow needie, Lines may be arranged as shown in fig,with lower stitches of each iine matching upper stitches of line beiow. TWO or more lines may also be worked parallel

4LTERNATIVE NlMES wave siltch,Vandyhe stltch, chevron stitch USES alternat~nglhnes wiil form an all-over pattern, gethedngthelabrlc into a wide trellis formaton NOTE prepare fabric by gaiheinginto tubes (pleats)

The Stitch Collection

The Stitch Collection

132 Ladder stitch

131SDoke stitch

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e r ~ e n t i n estitch

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130

This stitch is normally worked from the wrong side, shown at the top of the photograph with the right side shown below. The figures show the stitch worked along an edge with a hem; worked without a hem, either side may be the right side. The number of vertical threads in the border must be a multiple o f the number required in each bundle (three t o five). Work from left t o right: fig A Secure thread at left. Pass

needle t o left of first vertical thread and up through fabric (and top of hem) at I . Pass needle from right t o left under three vertical threads (or number required) and pull into a bundle. fig B Pass needle t o right o f bundle and bring up at 2 through fabric (and top of hem1 Repeat to the right. fig C On a border with corners, corner bundles are worked without a vertical stitch between them.

ALTERNATIVE NAME hemstitch USES to secure threads of a drawn thread border into groups; may be usedto secure a hem at thesame time NOTES 1, choose a suitable woven fabric, which must be prepared by wthdrawingthreadsas page 215. 2. choose embroidely thread of a similar thicknesstoone strand withdrawn from fabric. 3. usea blunt needle. 4. always begin wlth waste backstitch method (page 351 5. thread ends may be secured inside hem turning

First complete a row of spoke stitch (page 130). Turn the workand stitch another row of spoke stitch, catching the same threads in each bundle, t o match the first row.

First complete a row of spoke stitch (page 1301, making bundles of an even number of threads (four shown here). Turn and work spoke stitch along the opposite edge, beginning with a half-bundle (two shown here) The following bundles are then worked t o group half the threads o f adjacent bundles together The last bundle will also be a half-bundle.

ALTERNBIVE NAME ladder hemstitch USES sutabe far border u p i o about% in (12 mml wide NOTES see Notes 1-5 on page 130

ALKRNATIYE NAME trellis hemstitch USES su~tableforborder up to about % in (12 mml wide NOTES see Notes 1-5 on page 130

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131

The Stitch Collectio

T h e Stitch Collection

134 Knotted border stitch

132

ouble knotted border

Work ladder stitch along border. making a total number of bundles to suit groups. With right side of fabric facing: fig ASecure thread at right. With thread looped, pass needle under required number o f bundles and out through loop fig B pull tight, repeat to l e f t and secure thread at center o f side edge,

First work iadder stitch along the border, making a number of bundles divisible by four, With right side o f fabric facing Secure thread at right one-third of the way up side edge. Work a row o f knotted border (left].grouping four bundles with each knot. Begin again at right and work another row of knotted border, grouping first two bundles, then four bundles with each knot, ending with a group of two.

ALTERNATIVE NAME knottedclusters USES to secure bundies of a ladder siitch border into groups: suitable for border up tol/,in 12 cml wide NOTES see Notes 1 4 on page 130

ALTERNATIVE NAME double cluster border USES to secure bundles of a ladder stitch border into groups; suitable for border up to about 1 in 12.5 cml wide NOTES see Notes 1-4on page 130

136 Twisted border and variations

fig B Repeat t o left Secure thread ends at left.

Basic twisted border First work ladder stitch along the border, making an even number of bundles With right side facing: fig A Secure thread at right halfway up side edge of border. Pass needle from left t o right under second bundle and needle tip over first bundle. With needle t i p over first bundle, scoop first bundle under second and pull thread through.

Double bundle border fig C More than two bundles may be twisted together in the same way. There should be an even number of bundles in each twist. Double twisted border fig D Work the twisted border onethird of the way up. Then begin agaln at right, two-thirds up, and work another row, passing needie under first bundle without twisting it and over last bundle at the end.

ALTERNATV I E NAME crossng cluster border USES to secure bundles of a ladder stitch border ntogroups; sutabiefor border up to 1 n (2.5 cml wide NOTES see Notes 1-4 on page 130

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The Stitch Collection

The Stitch Collection

138 Woven bars and variations

137 Overcast bars

them quite closely. When bundle is completely covered, wrap next bundie from bottom to top. Repeat t o the left. End by sliding the needle up under the coils of last bundle, pull through and trim thread At beginning, pull on end of thread t o tighten first coil. then trim thread end i t may be preferable t o work the bundles singly, finishing each as above and beginning next with a thread end

'

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134

The number of vertical threads i n the border must be a multiple of the number required i n each bundle. With right side of fabric facing. fig A Hold end of working thread along threads t o be overcast and pass needie under bundle from right t o left. fig B Continue passing needle under bundle from right to lek until bundle is completely covered. After the first two or three coils, pull thread taut as you work. Use needle t i p to stroke coils into place, packing ALTERNATIYE NAME corded clusters USES to secure the threads n f a withdrawn border into groups NOTES see Notes 1-4 on page 130

Zigzag overcast bars fig C The number of vertical threads in the border must be a multiple of the number required in each bundle With right side of fabric facing, work first overcast bar as left. At base of bar, overcast twice over this bundle and next, pulling tightly Then overcast second bundle up t o top, overcast twice over this bundle and next, pull tight. Repeat t o left. End by securing thread as for overcast bar.

Then pass needle under left half of bundle from left to right, over tail of thread Repeat t o base of bar. Use needle tip t o stroke weaving into place Run in thread end up backof bar. Pull gently on starting end and trim off. Woven bar with picots

fig B Halfway down bar, pass needle under right half of bundle, loop thread around needle as shown, pull through t o make a

match on left side of bar in similar way, complete the bar. Basic woven bar The number of vertical threads in the border must be a multiple o f t h e number required in each bundle, and each bundle must be an even number of threads. With right side of fabric facing. fig A Hold end of thread along bundle and pass needle under right half of bundle from right t o left.

ALTERNATV I E NAME needleweavngclusters; darned bars USES to securethreadsof a withdrawn border intogroups NOTES see Notes 1 4 on page 130

Partly woven b a n Bars to be only partly woven should be secured with spoke stitch (page 130). Bundles may be woven in groups of three or more.

The Stitch Collection

The Stitch Collection

139 Buttonhole corner and loop stitch variation

Work from ieft to right, with right side of fabric facing. fig A Begin with away waste knot method (page 35) Work buttonhole stitch (page 61) along both outer edges of corner, rnak~ngst~tchestwo or three threads deep. If there is a hem, catch it in place with these stitches. Make one stitch between each pair of threads so the stitching is very close. Run in thread ends aiong back of buttonhoie stitches. Tailor's buttonhole stitch (page 61) may also be used for this purpose.

Loop stitch variation Work buttonhole corner as above, without fastening off thread. fig B Run thread along back o f buttonhoie stitches to center left side emerging at I.Insert needie through buttonholing at 2 (center top) with thread under needle. Pass needle under one bundle of threads at 3 with thread under needle. Pass needle under one bundle ofthreads at 4 with thread under needle and insert needle at 5 through buttonholing. Pull gently t o neaten. Run in thread end along backof buttonhole stitches.

USES tc neaten the corners of a barder up toS% in (15 mrnl wde and as preparation for othercorners on wder borders NOTES see Notes 1 4 on page 130

140 Dove's eye corner

fig C

fig A Work a buttonhole corner (see opposite) without fastening off thread, then run thread aiong back o f buttonhoie stitches and bring needle up at I . Pass needle through workat 2, then overcast this thread back t o I . insert needle at i and slip it through back of buttonhol~ng, bringing it up at 3. fig B Pass needle through work at 4 at inside corner, and overcast this thread back to center. Pass

I

needle under top right thread, over top ieft thread and under lower left thread, holding the two crossed lengths together. fig C Continue weaving over and under the crossed threads, forming a center spiral to size required, ending at top left thread. Overcast this thread back to top ieft corner, Insert needle at 3 and run in along back of buttonholing before trimming off.

USES tostrengthen the cornersof a border slain (15 mml wideor more NOTES see Notes I 4on page 130

T h e Stitch Collection

141Wheel corner

jig A First work twisted borders (page 133). securing threads at I and 2, Then work a buttonhole corner (page 136) without fastening off. jig B Run thread along back o f buttonholing t o outer corner and bring needle u p at 3. Pass needle through fabric at 4 and overcast this thread back t o center Pass needle once under all three threads at center, then through fabric at 5. Overcast this thread back t o center and pass needle under threads from A t o B. Pass needle through fabric at upper left corner at 6 and overcast this thread back to the center.

138

142 Pin stitch hem

fig C Working counter-clockwise, pass needle over center top thread, then under this thread and the next: repeat this backstitch, passing back over one thread and under two as shown, round and round to fill. End at center of an outside edge and run thread end in along back o f buttonholing.

USES to strengthenthe corners of a twisted border over i n (15 mm) wide NOTES see Notes 1-4 on page 130

Fold and tack a double hem along straight threads of fabric t o right or wrong side of fabric. With required side facing and hem at top, work from right t o left along folded edge: pull all stitches tight. Bring needle up from inside folded hem at I.down at 2 . up at 3, down at 2 and up at 3, pulling firmly. Insert needle at 2 and bring it up through hem edge 4. Begin next repeat by inserting needle at 3,

Begin at top right. Pull all stitches f~rmiy: Bring needle up at I and down at 2. Repeat twice more in same place. Bring needle up at 3 and down at 4 for next group of three stitches. Repeat t o left On subsequent rows, place tops o f stitch groups midway between bases of groups above; an even number of threads between groups is required.

USES e decorative hemmingst~tchfordrawn thread work

or asoutline st~tchfor appiqu8 NOTES 1, must be worhed on looseiy wovenfabric, for

USES a light, openfillingst~tch NOTES 1. must be wohed on loosely wovenfabric. for

The S t i t c h C o l l e c t i o n

unch stitch

-1

140

Begin at top right. Pull all stitches firmly, fig A Bring needle up at I dowr~ at 2, up at 3 down at I , and up at 4 Begin next repeat by inserting needle at 3. Repeat t o the left. jig B T o work subsequent rows, turn work and begin in same hole as base of last pair of stitches on previous row.

aegin at t o p right. Puli all stitches firmly: fig A Bring needle up at I , down at 2, up at i , and down at 2. Bring needle up at 3 t o begin next pair o f stitches. Repeat t o the left. Work second row from left t o right, placing pairs o f stitches directly below pairs above, through same holes. fig B Complete the squares by working pairs o f stitches through the same holes.

USES a filing stitch or border NOTES 1. must be worhed on ioosely woven fabric, for threads to be counted. 2, use a blunt needleand strong

USES af~llingstitch NOTES 1, must be worhed on loosely wovenfabric,for threads to be counted. 2. use a blunt needle and strong

thread of a similar weghtto one fabric thread

thread of a similar weight to one fabric thread

146 Pulled honeycomb stitch

147 Ringed backstitch

Begin at top. Pull all stitches firmly: fig A Bring needle up at I , down at 2. up at 3. down at i , up at 4, down at 3, up at 5 , and down at 4 Bring needle up at 6, t o begin next repeat. (Stitches on wrong side form a line of crosses1 fig B To work subsequent rows, turn work and stitch in same way, duplicating alternate vertical stitches of previous row through same holes, as shown.

fig B Turn work and stitch back in same way to complete each circle Stitches are duplicated where circles touch. Rows of circles may be worked as a filling.

ALTERNATIVE NAME pulled brick stitch USES afillingor border NOTES I. must be worked on loosely woven fabric, for threads10be counted 2. usea blunt needle and strong thread of a similar weghtto one fabric thread

USES a iilling or border NOTES 1. must be worked on loosely woven fabric, for threedsto be counted. 2. use a blunt needle and strong thread of a similar weightto one iabr~cthread

Each row o f circles is worked in two iourneys. Work the first journey from right to left. Pull all stitches firmly: jig A Work backstitches from 2 to i . ? t o 2, 4 t o 3, 5 t o 4. 6 to 5, 7 t o 6, 8 t o 7, and 9 t o 8 Begin next repeat a ..t

in

141

T h e Stitch Collection

149 Couching beads

attach next sequin. Distance between i and 3 is width o f one sequin, so that the sequins are just touching. Repeat t o the ieft. sewing an sequins with invisible stitches Here the sequins are overlapped t o hide the stitches. Use thread o f a color to blend with the sequins. Work -~~ from rieht " t o left: fig B Bring thread up through fabric at i and thread sequin onto needle. Make a backstitch over the left side of the sequin, taking needle down at 2 and up at 3 to attach next sequin. Distance between I and 3 is half the width of one sequin, so the sequins overlap and the backstitches are hidden. Repeat t o the left.

u Sewing on sequins with backstitch The stitching is visible, and therefore best treated as a decorative feature. perhaps with a contrasting thread. Work from right t o ieft: fig A Bring needle up at I through fabricand thread first sequin onto needle. Make a backstitch. taking needle down at 2 just over the right edge of the sequin and up at 3 t o

~

Sewing on sequins with continuous stitches This method holds the sequins more firmly, and flat against the fabric, Work from right t o left:

rows of sequns may beauached with visble or hidden stitches,or with the addition of finy beads: such rows may be used sinely, as an accent or border,or diflereniiycolored sequins may be used to build up the elements of larger designs NOTE use strongthread,or short lengths of weakerthread,to avoid fraying as stitching proceeds USES

~

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. Jle u p at I at . ....-ad first sequin onto needle. Make a backstitch, taking needle down at 2 , just over right edge o f sequin, and up at 3 on lelt edge o f sequin and make a second backstitch, inserting needle back through center of sequin at I and bringing i t out again at 4 t o begin next repeat.

fig C Bring

Sewing on sequins using beads Tiny seed beads may be used to attach sequins individually or in rows: choose beads of a matching or contrasting color, and thread to match beads. Work from right t o left: fig D Bring needle up through fabric at required position and thread a sequin onto needle. Then thread bead onto needle and insert needle backthrough center o f sequin. ~ u i l firmly so the bead holds the sequin i n place. Bring needle out at position for center o f next sequin. Repeat as required.

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Two threads are used, the first on which the beads are strung, and the second to stitch down the first. Bring up first thread through fabric at I . Thread on beads as required and " p a r k needle in a convenient position. Thread another needle, hold first bead in place, and bring needle up t insert needle at 2, close to f ~ r s bead. at 3 tying down first thread and holding first bead in place Repeat as required. At end of line take f ~ r s t thread through to wrong side of work and secure firmly. USES sewlngon rows of beads as single lines,or back and folth to Ill a desgn area NOTE use strongthread of a color to blend wth beads

T h e Stitch Collection

1 5 1 Looped bead fringe

152 Shisha stitch

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Knot the thread end, leaving a tail about 1% in (12 mm) long, and pass needle through required beads. Secure the top of the "dangle" where requ~redwith a firm backstitch or two. Cut thread and repeat. After completion, trim ail the tails of the knots to about '/a in (3 mm). "Dangles" may be made o f varying length t o form stepped and zigzag arrangements.

NOTES 1, each "dangle" is attached with a separate thread, sa if thsfrlnge s notworhed aionga ham, the securing bachstltchesare normally hidden by afoidoi fabric or a line of other trimming or stitching. 2. strong thread sadvisable.

Bring needle u p at required position for top o f loop at I and thread desired beads onto needle. Re-insert needle at same place as I and bring it out again at 2 where top of next ioop is required, pulling gently until all the beads are touching. Repeat as required. Distance 1-2 depends on size of heads and spacing required.

NOTES 1, a continuous threads used to attach the

ioops, mahinga neetiinshihat need not be hidden. 2, strongthread isadvisabie:if one ioop is broken, neighboring ioops may work loose

figA Hold disc in place with left

thumb. Bring needle u p at I , down at 2, u p at 3, down at 4. and up at 5. Pass under first stitch from top t o bottom, then under second stitch in same way as shown, and insert at 6 . hg B Bring needle up at 7 and pass under second stitch from bottom t o top, then under first stitch i n same way. inserting needle at 8. These four stitches hold the disc in place. Bring needle u p at 9. fig C Pass needle under first intersection of holding stitches with working thread to left. Pull through

jig D insert needle at 9 and bring it out at 10, with thread under needle t o form an open chain stitch Pull through. fig E Pass needle under single holding stitch, with thread t o left o f needle. pull through. fig F Insert needle at 10, make another open chain stitch along edge, bringing needle out at I I Repeat around edge of disc, working inner stitches over both threads at intersections of holding stitches Fasten off last open chain stitch with a tiny stitch.

ALTERNATIVE NAME Indlan mlrror stitch USES attachingsrnaiidiscs of glass or sheet metal: other simpleshapes,such as squaresor ovals, or small flat obiacts such ascoins NOTE the edge oftheshishamirror or other objectwill be hidden bythe stitching, making it appear slightiy smaller

STITCHES FOR CANVAS

A

The stitches in this sectlon are worked regularly by countlng canvas threads, normally coverlng the canvas completely Carefully count the number of threads or intersections between the numbers on the diagrams and always make the individual stitches in the order given in the text (see Canvaswork Techniques, pages 232-239)

The Stitch Collection

Horizontal raws Work from right t o left: fig C Bring needle up at i , down at 2 across one intersection, up at 3, and down at 4. Repeat t o end of row. fig D Work next row in reverse direction: i f it is difficult to turn the piece. work as shown here, bringing needle up at I and down at 2. Otherwise, turn the work. and stitch the next row from right t o left as before. Long sloping stitches form on wrong side of work

Vertical rows Work from top to bottom. fig F Bring needle up at I . down at 2, up at 7, and down at 4. Repeat as required. fig G Work next row in reverse direction i f it is difficult to turn the piece, work as shown here, bringing needle up at i and inserting it at 2. Otherwise, turn the work, and stitch the next row from top t o bottom 3 s before.

Trammed horizontal raws

Diagonal rows Work from top left to bottom right: fig A Bring needle up at I and down at 2 across one intersection. Leaving one canvas hole I * ] empty, bring needle up at 3 and down at 4. Repeat down t o bottom right. fig B At end of row. bring needle up at 5 and down at 6, then work back up t o top left. Stitches end in the empty canvas holes 1') o f previous row. Repeat these two rows

148

The tent stitches are worked over a laid or "trammed thread, making the rows slightly raised, and the finished piece particularly hardwearing. Double thread canvas is required. fig E Bring needle out at left end, between double threads and make a long stitch t o opposite end of row. inserting needle between double threads so tramming stitch lies along double thread. Then work the row of tent stitch from right t o left as for a horizontal row. Work each row i n the same way. When working long rows, the tramming should be worked as a series of long stitches overlapping by one mesh.

working up and down the canvas. The wrong side of diagonal rows shows a basketweave pattern (hence the alternative name) Tent stitch worked in this way is less likely t o distort the canvas.

ALTERNATIVE NAMES petit point. basbeweave stitch (when worked n diagonal rowsl, continenbl stitch (when worked in horizontal rows) USES Me most versate and wdely used stltch in canvaswork: used for bac&rounds,fillinglargeand small areas, outlines, colorwork, and repeatingpaiterns

R

NOTES 1. may be worked diagonally, harizontaiiy, orvertically: the diagonal method is recommended as it distortsthe canvas less than any other method. The horizontal and vertical methods are best restricted to smell detas where the diagonal method would be awkward. 2. may be worked acrosstwo or more canvas ntarsect~ons,instead of one, if a

larger stitch unit is required

149

!

T h e Stitch Collection

e Stitch Collection

2 Half cross stitch

Horizontal rows Work from ieft t o right fig A Bring needle up at I,down at 2, up at 3, and down at 4. Repeat to the right. At end of row, turn canvas t o work next row from left to right Vertical raws Work from bottom t o top. fig 5 Bring needle up at I,down at 2. up at 3, and down at 4. Repeat t o tot, o f row. Turn canvas t o work next row from bottom t o top. USES usedfor the same purposes as tent stitch; it is mare economcal with thread, and less hard-wearlng NOTES I,should not be combined w t h tent stitch n the same piece as ths produces an uneven appearance.

2. usually worked on double thread canvas

nted Gobelin stitch

4 Encroaching slanted Gobelin stitc

Begin at top right, fig A Bring needle up at I . down at 2, two (or rnore) threads above and one thread to the right, u p at 3. and down at 4. Repeat t o the ieft fig B Work second row from left t o right: bring needle up at 5, two (or more) threads below base o f stitch above. Insert at 6, in same hole as base of next stitch to right. Repeat t o the right. Work subsequent rows back and forth,

Begin at top right: /ig A Bring needle up at I , count three (or rnore) threads up and one thread to the right, take it down at 2, up at 3, down at 4. Repeat t o left jig B Work second row from ieft t o right: bring needie up at 5, two (or more) threads below base of first stitch. Insert at 6, one thread above base of next stitch t o right Repeat t o the right. Work subsequent rows back and forth.

ALTERNATV I E NAME oblique Gobelin stitch, gros Point USES large areas and backgrounds: stitches form deflnte horizontal lines NOTES 1, s~tchesmay bevarled n length up to about five horizontalthreads. 2, stitches may be slanted across b o vertical threads instead of one

USES large areas and backgrounds; smooth texture for shading and color blending NOTES 1. stitches may be varied in length up to about five horiionta threads. 2. stitches may also be slanted across two vettical threads instead of one 3, usualiy worked on single thread canvas

!antine stitch

.

Begin at upper ieft: jig A Bring needle up at I,down at 2, two intersections above and right. Bring needle up at 3 and down at 4. Make two more stitches to the right in this way. Work two more stitches directly below the fourth t o form a step Repeat these six stitches. fig B Work diagonally u p and down the canvas, fitting stitches into steps of previous row.

USES large areas and backgrounds NOTES 1. stitches may be var~edn sze by working over

morethantwo canvas lntersectlons.2, steps may be vared in slie, consisting of six or eight stitches

C

The Stitch Collection

T h e S t i t c h Collectic

7 Scotch stitch

6 Mosaic stitch

Horizontal TOWS Begin at top right: fig A Bring needle up at I , and down at 2, across one intersection. up at 3, and down at 4, across two intersections. up at 5 . and down at 6, across one intersection. These three stitches form one block Repeat block t o left fig B A t end of each row, turn work and stitch next row from right t o left in same way Diagonal rows Begin at top left jig C Bring needle up at I,down

at 2, across one intersection, up at 3 . down at 4, across two intersections. up at 5, and down at 6. across one intersection. These three stitches form one biock. Repeat this block downward t o the right. One canvas hole ('1 is left empty between biocks. fig D Work next row from bottom right t o t o p ieft, fitting new blocks between blocks o f previous row Center stitch of each block begins in of empty canvas hole i * ) previous row. Work subsequent rows down and UD the canvas

USES small~scaiebackground texture wth a block-like pattern, may be used for lntilcate mulit-coloidesgns NOTES 1. each block consists of three stitches 2 may be worked in horzonta or diagonal rows. to suit the desgn

Horizontal rou Begin at top r fig A Bring needle up at i down at 2, up at 3, down at 4. up at 5 . down at 6. up at 7 down at 8. up at 9, and down at I 0 These five stitches form one block. Repeat this block t o the left. fig B A t end of each row, turn work and stitch next row from right t o left. Diagonal rows Begin at top left fig C Bring needle up at I ,do. at 2. up at 3 . down at 4. up at 5 .

down at 6. up at 7, down at 8, up at 9 and down at I 0 These five stitches form one biock. Repeat block downward to the right One canvas hole ('I is left empty between blocks iig D Work next row from bottom right to top l e f t fitting new blocks between blocks o f previous row. Center (iongest) stitch of each block begins in the empty canvas hole ('1 of previous row. Worksubsequent rows down and ' ~ the p canvas.

USES medum~szedbock texture for medium or iarge areas NOTES 1. each block consists of flve stitches.2. may be worked in horzontai or diagonal rows. to suit the design

T h e Stitch Collection

9 Condensed Scotch stitch

10 Checker stitch

11 Scottish squares

Begin at t o p left: fig A Bring needle up at I , down at 2 . up at 3. and down at 4. These two stitches form one block. Repeat block downward t o the right fig B Work next row from bottom right t o top left, fitting short stitches next t o long stitches of previous row. and vice versa Work subsequent rows down and vp the canvas.

Begin at top left fig A Bring needle up at I down at 2, up at 3. down at 4, up at 5 . down at 6 . up at 7 and down at 8. These four stitches form one block. Repeat block downward t o the right fig B Work next row from bottom right t o top left, fitting shortest stitches next t o longest stitches of previous row, and vice versa. Work subsequent rows down and up the canvas.

Begin at top right: fig A First work a biock o f Scotch stitch (page 157).The five stitches are numbered 1-2.3-4. 5-6. 7-8. and 9-10. fig B Work next biock in tent stitch (page 148) making nine stitches, A-l i n the order given. Repeat these two blocks t o the left fig C Turn work for each new row and work from right t o left,

First work the regular grid: fig A Work all the horizontal lines in tent stitch (page 148) over one intersection (or two for broader grid lines). Then work thevertical lines t o form a grid. Squares shown here are four canvas threads in each direction, but they may be made larger or smaller fig B Using a different color. fill each square in turn with cushion stitch (page 157),slanted t o match the tent stitch

USES small-scalebackground texture wth block-

USES medium-szedbackgroundtexture for medium or large areas NOTES 1. each blockconsists offour stitches. 2. always worked in diagonal rows

USES medium-scale texture wth a bloch-likepanern, may he emphasized by using two colors NOTES 1, single-color version worked in horizontalrows.

ALTERNATIVE NAME Scottlsh stitch USES bold, ragulargrld NOTES 1. oftenworked in two or more colorsto represent windows or ties. 2. si~eof grid may be varied as desired

Ike pattern

154

NOTES I,each block consists of twostitches 2. always worhed in diagonal rows

A

2, two-color version worked diagonally

The Stitch Collection

ICondensed mosaic stitch

The Stitch Collection

1

9 Condensed Scotch stitch

10 Checker stitch

11 Scottish squares

fig A

fig

Begin at top ieft: fig A Bring needle up at I , down at 2, up at 3, and down at 4. These two stitches form one block. Repeat block downward t o the right. fig B Work next row from bottom right t o top left, fitting short stitches next t o long stitches of previous row. and vice versa Work subsequent rows down and IIP the canvas.

Begin at top left. fig A Bring needle up at 1 , down at 2, up at 3, down at 4 up at 5 . down at 6 . up at 7, and down at 8. These four stitches form one block. Repeat block downward t o the right fig B Work next row from bottom right to top left, fitting shortest stitches next t o longest stitches of previous row, and vice versa. Work subsequent rows down and up the canvas.

USES small-scalebackround texture with block-

USES medium-szedbackground texture for medium or large areas NOTES 1. each blockconsistsoffourstitches. 2. always worked in diagonal rows

Ike pattern

154

NOTES 1, each blockconsistsoftwostitches. 2. always worked in diagonal rows

A~ -~

2 b ;-

c

Begin at top right: fig A First work a biock of Scotch stitch (page 153) The five stitches are numbered 1-2. 3-4. 5 4 . 7-8, f i g B Work next biock in tent stitch (page 148) making nine stitches, A-l I n the order glven Repeat these two blocks t o the left ,ha * C Turn work for each new row and work from right t o ieft

USES medium-scaletexture wth a block-like paiiem, may be ernphas~zedby usingtwo colors NOTES 1, single-color version worked n horizontal rows.

2, two-color version worked diagonally

First work the regular grid: fig A Work all the horizontal iines in tent stitch (page 148) over one intersection (or two for broader grid iines). Then work the vertical lines t o form a grid. Squares shown here are four canvas threads in each direction, but they may be made larger or smaller. fig B Using a different color, fill each square in turn with cushion stitch (page 1571, slanted to match the tent stitch

ALTERNATIVE NAME Scottish stitch USES bold. regular grid NOTES 1. onen wotied in two or morecolorsto represent windows or tiles. 2. size ofgrid may bevaried as desired

155

T h e S t i t c h Collection

13 Condensed Cashmere

12 Cashmere stitch

fis A

H01imntal TOWS Work from right t o ieft: fig A Bring needle up at I , down at 2, up at 3. down at 4. up at 5 , down at 6, up at 7 and down at 8. These four stitches form one block. Repeat this biock to the left. fig B Turn work and stitch next row from right t o left in same wa:r with blocks aligned. Diagonal rows Begin at top ieft: fig C Bring needle up at i,down at 2, u p at 3, down at 4, u p at 5. down at 6. up at 7, and down at 8.

These four stitches form one biock. Work the next block diagonally down and t o the right, leaving one empty canvas hole ('1, Repeat to lower edge. fig D Work next row from bottom right to top left, fitting biocks between blocks of previous row as shown. Note that the second stitch of each block begins in the empty canvas hole ('1. Repeat these two rows as required.

overall background texture w~tha paitern of rectangular blocks NOTE may be worked horizontally or diagonally,io sut the deslgn USES

Begin at top left: fig A Bring needle up at i.down at 2, u p at 3, down at 4, up at 5 , and down at 6. These three stitches form one block. Work the next biock diagonaiiy down and to the right as shown. Repeat t o iower edge. fig B Work next row from bottom right t o top left, fitting biocks between blocks of previous row as shown. Repeat these two rows as required.

Uork biock from corner r o corner: our canvas threads i n each direction shown here: fig A Bring needle u p at I , down at 2, up at 3. down at 4. up at 5. down at 6, up at 7, down at 8, up at 9, down at 10. up at i I , down at 12, up at I?, and down at 14. These seven stitches form one square block. Blocks may be worked over any number of threads. Work individual stitches in same way as tent stitch (page 148). fig B Stitches may slant in either direction.

USES overall backgroundtexiure NOTES I, always worhed diagonally.2 working rows in

ALTERNATIVE NAME diagonal satin blochs USES all-over block patterns, square and rectangular details, eg. brlchworh and archltecturai motifs

different colors will produce steeply slanting strpes

The Stitch Collection

:

15 Milanese stitch

17 Jacquard stitch

16 Oriental stitch

ems

r-

U

.w 0 LL V)

W

r u r

-

I

I

C 10

2

I

Begin at top left. fig A Bring needle up at I , down at 2 , up at 3, down at 4, up at 5, down at 6, up at 7 and down at 8. These four stitches form one triangle fig B Repeat the triangle of stitches downward and t o the right Work next row from bottom right t o top left, fitting the triangles next to those of previous row as shown Repeat rows diagonally down and up the canvas.

158

USES bold, stepped pattern based on triangles, not

suitable for small areas

Cover area with rows of Milanese

Cover area with Byzantine stitches (page 15 1), spacing stepped rows one intersection apart. Work tent stitch (page 148) rows diagonally from lower right t o top left, turning work for each new row, On horizontal steps, form tent stitches i n the usual way by bringing needle up at 1 and down at 2. On vertical steps, keep formation correct, stitching from 3 to 4.

as shown, with longest stitches touching. Fill each space with three diagonal stitches formed "tentwise." Begin again at top left: Bring needle up at i.down at 2. up at 3. down at 4, up at 5, and down at 6. Repeat these three stitches in each space down t o bottom right. On return iourney, bring needle up at 7 . down at 8, up at 9, down at 10. up at l i , and down at i 2 Repeat to top left.

USES dramatic pattern, not suitable for small areas

A

USES large areas and bachgrounds NOTES I. stitches may be varied in size by working over

more than two canvas intersections.2. steps may be vaned in size, consistingof sixor eight stitches

/

.

'I

Work first row from top t o bottom: fig A Bring needle up at I , down at 2 . up at 3, and down at 4. Repeat downward. Work second row from bottom t o top. bring needle up at 5 and down at 6. Repeat t o top of row fig B Work a line of backstitch (page 42) down the center of the two rows of slanting stitches. Make one backstitch over each horizontal thread Repeat these three rows as required.

USES a plait-he pattern wlih a veriical emphasis.

A slngle line may be used as a veriical deia~l NOTE pattern may be enlarged by working over three or more ntersect~ons,nstead of two

I

T h e Stitch Collection

9 Moorish stitch

Begin at top left Worka diagonal line o f condensed Scotch stitch (page 154). Worka zigzag line of tent stitch (page 148) from bottom right t o top left as shown. Repeat these , condensed Scotch two i ~ n e sfitting stiiciies next t o tent stitches as shown. To work in two colors, first work all lines of condensed Scotch stitch up and down Lhe canvas Fill the spaces with lines of tent stitch using the second color

160

USES dramat~ciigiag pattern. not suitable for

small areas

20 Rep stitch

Work from top t o bottom. fig A Bring needle up at I down at 2 up at 3 and down at 4. fig B Repeat t o end of row At end of each row, turn the workand s t ~ t c h the inext row in the same way. To work the tiny version of this stitch, called Aubusson stitch, use doubie thread canvas. Use the needle t i p to separate the doubie strands and count each strand as one thread

ALTERNATIVE NAME Aubusson stitch USES fine detail santngiess steeply than tent stitch

Begin at top right: fig A Bring needle up at I , down at 2, up at 3, and down at 4. Continue in this way to end o f row fig B Work next row from left t o right in same way, bringing needle u p at 5 and down at 6. Work subsequent rows back and forth to fill.

Begin at top right: fig A Bring needle up at I,down at 2, up at 3, and down at 4 Repeat to end of row. fig B Bring needle up at 5 and down at 6. Repeat t o the right. Work subsequent rows t o and fro, always inserting needle to left of stitch above.

ALTERNATIVENAME stiaght Gobelin stitch USES quick and easy filling stitch for medium and large areas with a surface of horizontal ridges NOTE Stltches may bemade any size, over twoto five canvas threads (shown overtwo threads)

ALTERNATIVE NAME encroaching straight Gobelin st~tch USES quckand easyfiliin~stltch for medium and a l me ~. areas with a unformly textured surface NOA stitches may be made any we, over two to five ~

canvas threads (shown overthree threads)

-~

The Stitch Collection

23 Brick stitch

Begin at top right. figA Bring needie up at I,down at 2, up at 3. and down at 4 Repeat these two stitches t o the ieft, making a zigzag row. fig B Work next row from left t o right in the same way, positioning the top of each stitch in same place as base of stitch above, bringing needle up at 5 and down at 6. Continue working rows from right to left and left t o right, t o fill.

162

USES qu~ckand easy filling stitch for medium and large areaswlth a uniformlytextured suriace

The Stitch Collection

24 Gobelin filling stitch

Begin at top right fig A Bring needle up at I ,down at 2, up at 3, and down at 4. Repeat t o the ieft. fig B Work second row from ieft t o right, bring needle up at 5 and down at 6. Repeat t o end o f row. On next row, new stitches meet bases of first row. Work rows back and forth t o fiil.

USES quick and easy filling stitch for medium and large areas with a uniformly textured suriace NOlE stitches may be made over any even number d

threads (shown here over six threads)

25 Florentine stitch The pattern is set by the first row of stitches, worked across the center o f the required area. fig A Begin at center of canvas and work a line of stepped, straight stitches t o left. Make each stitch the same length (four threads shown here). Steps between may be of one, two, or more threads, but always shorter then the stitches themselves (two threads shown here). Always bring needle up at base of stitch ( I or 3) and insert i t at top ( 2 or 4). Return t o the center and work a similar line of straight, stepped stitches to the right, fig B Subsequent rows follow same steps as first row and may be worked from right to left or left t o right. The rows shown here are all of the same stitch length. Stitch iength may be varied from row t o row but not within the same row, except when working motif designs and quartered designs (see pages 238-239).

ALTERNATV I E NAMES Bargelo stitch,flame stitch, cushion stitch, Irish stltch USES produces name-like,Zigzag patterns when worked in several colors, known as Florenbne or Bargello work NOTE Patlerns may consst of regular "peaks" and "valleys,"as shown in diagrams, or be less regular as n photograph

The Stitch Collection

27 Hungarian diamond

Begin at t o p right: fig A Bring needle up at I . down at 2, up at 3, down at 4, up at 5, and down at 6. These three stitches form one unit. Repeat the unit t o the left. beginning at 7. Note that one canvas hole [ * ) is left empty between units. fig B Work next row of stitch units from ieft t o right, fitting the units between those above as shown: the center stitch of each unit ends in the empty canvas hole [') of the row above. Continue working rows back and forth.

Begin at top right: fig A Bring needle up at I.down at 2 , u p at 3, down at 4. u p at 5. down at 6, up at 7 down at 8. UP at 9. and down at 10 These five stitches form one unit. Repeat t o the left, beginning at 1I.Note that one canvas hole ('1 is ieft empty between units. fig B Work next row of stitch units from left t o right, fitting the units between those above as shown: the center stitch of each unit ends i n the empty canvas hole ('1 of the row above.

USES quick and easyfiilngst~tchfoimediumand large areas with a pattern of small diamonds

USES quickand easy fliingstitchformedium and iarge areas with a pattern d medium-sizeddiamonds

28 Hungarian grounding

Begin at top right: figA Bring needle up at I and down at 2. Make three more straight stitches 3-4, 5 4 , and 7-8. These four stitches form one zigzag unit. Repeat t o ieft. With second color, bring needle up at A and down at 3. Make two more stitches, B-5 and C-7. These three stitches form one diamond unit. Repeat t o ieft. fig B Work next two rows from left t o right, fitting into bases of stitches above. Work pairs of rows back and forth t o fill. if working in a single color, work zigzag rows from right t o ieft and diamond rows from left t o right. USES quickfiiiingstitchfor medium and large areas

29 Parisian stitch

Begin at top right: /ig A Bring needle up at I , down at 2. up at 3, and down at 4. Repeat these two stitches t o the left. fig B Work next row from left to right, fitting the stitches between those above: the short stitches fit below the long stitches above, and vice versa. Continue working rows from right t o left and ieft to right.

USES quickand easyfillingsiitchformedium and large areas with an rreguartexture,good for backgrounds

I

The Stitch Collection

The Stitch Collection

30 Old Florentine stitch

3

31 Darning stitch

32 Backstitch

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Begin at t o p right: /ig A Bring needle up at I,down at 2, three threads above, up at 3. down at 4. u p at 5 . down at 6, nine threads above, up at 7, and down at 8. Repeat these four stitches t o the ieft fig B Work next row from left t o right. fitting units between those above. The long stitches fit below the short stitches above and vice versa. Work rows back and forth to fill.

Each row is worked in two journeys: begin at top right. fig A Bring needle up at I down at 2, up at 3, and down at 4. Repeat t o the left. fig B Turn canvas and work return journey from right t o ieft, filling the gaps between stitches of first journey. Bring needle up at I.below previous stitch without piercing it. and down at 2, again below previous stitch and without piercing it. Turn canvas again t o begin the next row

Diagonal backstitch Work from top r ~ g hto t bottom left: fig C Bring needle up at I , down at 2, one intersection d~agonallyup to the right, up at 3. one intersection diagonally down to the left of I , and down at I. Repeat this stitch diagonally down the canvas. Diagonal backstitch may also be worked from top left to bottom r ~ g h t in a similar way.

Horizontal backstitch

Work from right t o left fig A Bring needle up at I , down at 2, one thread t o right, up at 3 one thread t o left of I.and down at I Repeat this stitch to the left. Vertical backstitch

Work from top t o bottom: jig B Bring needle up at I. down at 2, one thread above, up at 3, one thread below I,and down at I Repeat this stitch down the canvas.

USES quich and easy filling stitch for largeareas w i h a

bold basketweave pattern NOTE the size of the pattern may bevaried but long stitches are always worked overthree brnesas many threadsas short stitches

close. tightly stitched suriace with a pattern of verlkal fibs USES

USES asan ouHlnefor an area in another stitch, orto cover exposed canvas threads left b)(anotherstitch pattern NOTE may be worhed horizontally,veltically, or diagonally,as required

n

I

I

The Stitch Collection

E 3

2 3 3 Long stitch triangles

The Stitch Collection

i I

34 Cross stitch and variation

b

Each basic triangle is made up of an even number of stitches such as six or eight. (Six-stitch triangle shown here.) fig A Triangles are worked with one edge along a straight row o f holes, pointing up or down. Always work individual stitches by bringing needle up at lower edge of triangie and inserting i t at top. Begin at top right: Bring needle up at I , down at 2 over one canvas thread, up at 3. down at 4 over two canvas threads. up at 5 .

168

down at 6 over three canvas threads, up at 7, down at 8 over four canvas threads, up at 9, down at 10 over three canvas threads, up at II,and down at 12 over two canvas threads. These six stitches form one triangie. Bring needle up at 13 to begin next triangie to the left. Work next row of triangles from left to right, fitting them into row above. fig B if the next pair of rows are worked in the same way a zlgzag pattern will form. If the next pair of rows are worked as a mirror image of the first pair the result is a criss-cross pattern.

USES varlous patterns may be built up withtiiangles of stra~ghtsttchesand usedfor largeareasordecorative borders NOTE triangle patterns are easy to plot on graph paper

Single cross stitch fig A Bring needle up at I , down at 2, one intersection up and t o the ieft, up at 3. one thread below 2 . down at 4, one thread above I . Note how the top thread of the cross is formed from lower left to upper right This is the usual direction. Horizontal line of cross stitch Workthe iine in two journeys. beginning at right:

fig B Bring needle up at I,down at 2, one intersection up and to the ieft, and up again one thread below 2 to begin next repeat to the ieft Repeat t o end of iine. At ieft end of iine. bring needle up at 4 and down at 5 across first stitch, then repeat to the right. Further lines may be added to fill an area, always beginning with first journey from right t o ieft.

USES a slmple repeatingunit, identicalto cross stitch onfabrlc (page 69); sultablefor sngle detas (such aseyes). lines and outlines, and also for pctoria and geometric designs over large end small areas, forming a closely covered and

&

hardwearlngfabric NOTES make sure all the top threadsolthe crosses .I n the same drection: lower eft to upper gilts usual, as shown here

169

I

16 .Oblong . ...cross . with

9

37 Alternating cross stitch

-*,,

".,s:" ,,

.:,

Work lines in two journeys, beginning at top right. Bring needle up at I and down at 2 Repeat t o the left. At end of line, bring needle up at 3 and down at 4 crossing first stitch. Repeat t o the right.

Begin at top right, /ig A Bring needle up at I , down at 2, up at 3, down at 4. up at 5, and down at 6, making a backstitch across the center of the cross. Bring needle up again at 3 to begin next repeat t o the ieft. /ig B Work next row from left t o right Work oblong cross as before. beginning at I then bring needie up at 5 and down at 6. Bring needle u p again at 7 t o begin next repeat t o the right

Begin at top left: fig A Bring needle up at I , down at 2. u p at 3, and down at 4. making an oblong cross over three horizontal threads. Bring needle up at 5, down at 6, u p at 7, down at 8, making a small cross stitch, and uw at 9 t o begin next repeat t o the right. /is B Work next line from right to l e f t Make each cross with stitches in same order as before Work obiong crosses below small crosses and vice versa,

I

Work top row from ieft t o right fig A Bring needle up at l,dc at 2, up at 3, down a1 4, and up at 2 . t o begin next repeat t o the right. fig B Work next row from right to left. Bring needle up at i , down at 2, up at 3, and down at 4. Repeat to the left, fitting crosses between those above as shown. Repeat these two rows as required.

-

USES qu~ckto work. ths stitch makes an all-over

texture suitable for large backgrounds

170

NOTE ail top threads of crossesshould lie in

same direction

ALTERNATIVE NAME tied oblong crass stitch USES backgroundtexture with pronounced

horizontailines NOTE ai top threads of crosses should h le in same directton

ALTERNATV I E NAME double stitch USES an interestingall-overtexturesuitable for lame backgrounds NOTE all top threads of crosses should lie in ~

~

same direction

~

ALTERNBIVE NAME St George'scross stitch USES an interestingal-overtexturesuitable for small end large areas; may be used for pctorial orgeometric desians n the same way as cross stitch (page 1691 NOTE a top threads01crosses should e in same direction: horizontalis usual

39 Double cross stitch

10 Star stitch

-

Begin at top ieft: fig A Bring needle up at 1, down at 2, u p at 3, and down at 4. making a large cross stitch. Bring needle up at 5. down at 6, up at 7, and down at 8. forming a small upright cross stitch. Bring needle up at 9 t o begin next repeat to the right. fig B On return journey, make only upright cross stitches as shown. Repeat t o the left.

Begin at top left: fig A Bring needle up at I , down at 2, u p at 3, and down at 4, making a large upright cross stitch. Bring needle up at 5, down at 6, up at 7 . and down at 8, making a cross stitch on top of the upright cross. Bring needle up again at 9 t o begin next repeat t o the right. fig B Work next row from right t o left. Bring needle up at 10. Work stitches of each unit i n same order as above, fitting between units above as shown.

Begin at top left: fig A Bring needle up at I,down at 2, up at 3, and down at 4, four threads above I , making a large cross stitch. Bring needle up at 5 . down at 6, up at 7, so adding an upright cross on top. Bring needle up at 9 to begin next repeat t o the right. fig B Work next row from right t o left. Bring needle up at 10. Work stitches of each unit In same order and direction as above

The Stitch Collection

172

ALlERNATlVE NAME large and small cross stitch USES all-overtedure for largeareas NOTE all top threads of crosses should liein same direction

ALTERNATIVE NAME double straght cross stltch USES etexture sultabe for large areas NOTES workall sbiches of each unt in sameorder

41 Leviathan stitch

ALTERNATIVE NAME Smyrna stitch USES a bold tedure with a pattern of raised squares suitable for large areas NOTES make sureai the stitches of each unit are worked in the sameorder

Begin at top ieft: figA Bring needle up at I,down at 2 , up at 3, and down at 4, making a large cross stitch. Bring needle up at 5. down at 6, up at 7, and down at 8 Then make two more slanting stitches from 9 to 10 and from l l t o 1 2 End by making an upright cross, from 1 3 t o 14 and 1 5 t o 16. Bring needle up at 17 t o begin next repeat t o the right. jig B Work next row from right to left. Bring needle up at 18. Work each unit of eight stitches in the same order and direction as above, repeating to the left. USES a bold, dense texture for largeareas NOTES makeell stitches of each unit in same order

173

9

The Stitch Collection

43 Long arm cross stitch

y!(i!! 1 .; I' ,

:

Work from left t o right: fig A Bring needle up at I . down at 2, up at 3, down at 4. and up at 5, to begin next repeat t o the right. Take needle down at 6, so crossing the long "arm" just made and up at I . shown. fig B As stitching proceeds, each short 'arm" crosses the previous long 'arm.'

If required, an extra half stitch may be worked at the beginning o f the line (as indicated by the arrow), so completing the pattern. Further iines may be worked in the same direct~on,beginn~ngagain at the left, or lines may be worked to and fro, turning the work at the beginning of each line, for a slightly different textured effect.

The Stitch Collection

44 Montenegrin cross stitch

Work from left to right fig A Bring needle u p at I.down at 2, up at 3, and down at 4, so crossing the previous long stitch. Bring needle out again at 3 and down at 5 Bring it out once more at 3 t o begin next repeat t o the right. fig B As stitching proceeds, each short diagonal "arm" crosses the previous two long "arms." if required, an extra half stitch may be worked at the beginning o f t h e iine (as indicated by the arrow), so completing the pattern.

Further iines may be worked in the same direction, beginning again at the left, or iines may be worked to and fro, turning the workat the beginning of each iine, for a slightly different textured effect.

USES quick to worh, forming8 bold, solid single line; repeated lines form a dense texture wth horizontal ridges: a reversible stitch, in thatthe wrong sde elsoforms a peasingtexture NOTES this stlhh is simllerto long arm crossst~tch, butwith an exira veliical stitch added to each repeat, making it denser

I

175

The Stitch Collection

. 9 Plait stitch

Begin at lower left. Bring needle up at I.down at 2 . up at 3, down at 4, two threads r ~ g h t of I, making an uneven cross stitch. then up at 5 t o begin next repeat t o the right. At end of row, fasten o f f thread and begin next row above at left. ROWS may also be worked t o and fro, turning the work t o begin each line, for a different textured effect

ALTERNAIVE NAME knotted stitch USES plaited texture for small and large areas NOTES I, this siltch is worked heningbone-fashion, makinghoizontailines of smali stitches on the reverse side. 2 f o r best results, use double canvas

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Begln at top right. Bring needle up at I down at 2. up at 3, and down at 4. Repeat t o the left, making a line o f Slanting parallel stitches. Work next row from left t o right. slanting stitches in opposite direction, bring needle up at 5 down at 6, so crossing first stitch above. then up at 7 to begin next repeat t o the right. On subsequent rows, the t o p o f each stitch meets the base o f a stitch two rows above.

USES an all-overtexture with a woven plaited appearance, for small end large areas

50 French stitch

1

51 Rice stitch

Begin at top right. fig A Bring needle up at I , down at 2. u p a t 3. t o ieft o f first stitch just made, and down at 4. Then take needle u p a t I , down at 2, up at 5 , t left of stitch just made, and down at 3. Bring needle up at 6 t o begin next repeat t o left. fig B On subsequent rows, units fit between those above. Work second row from left to right: bring needle up at 7, down at 8, up at 9.down at 10, up at 7. down at 8. up at i I . down at 9,then up at 1 2 to begin next repeat. Repeat these two rows as required

Begin at top right: Bring needle up at I . down at 2 . up at 3, and down at 4, so making a large cross stitch. Now work a diagonal stitch across each arm of the cross: from 5 to 6. 7 to 6. 8 t o 7, and 5 to 8. Bring needle up at 3 to begin next repeat t o the left. Work next row from ieft t o r ~ g h t Bring needle up at 9.Work each unit in same order as hefore. To work in two colors, stitch all large crosses in first color, then ail smali crossing stitches in second color

USES a small-scale background pattern wlth a hor~zontal emphasis

ALTERNATV I E NAME crossed corners cross stitch USES background texture, may be worhed in two colors

I

The Stitch Collection

53 Fishbone stitch (on canvas)

52 Rococo stitch

pg

A Bring needie up at I,down at 2, up at 3, then pass needle under vertical stitch lust made, and down at 4 , making a backstitch t o tie down first vertical. Bring needle up again at I,down at 2, up at 5, and down at 3, so tying down second vertical. Make a third verticai from I t o 2 and tie it down with a backstitch from 6 t o 5 Make a fourth vertical from I t o

180

2 and tie it down with a backstitch from 7 t o 6. These eight stitches form one unit. Bring needie out again at 8 t o begin next repeat t o the ieft fig B On subsequent rows, units fit between those above as shown Work second row from ieft t o right. Bring needle up at 9 and down at 10. Tie this vertical down t o the ieft with a backstitch from II t o 12. Make three morevertical stitches. tying them down with backstitches. working from left t o right. Repeat t o the right. Repeat these two rows as required.

USES a dramaiic,large-scalepatiern oi interiocking"lantarn"shapes, quick to work far large areas NOTE this stitch is constructed in a similar way to hench stitch (page 179), but wlth larger units

Begin at top left, working first line from top t o bottom: Bring needle up at I, down at 2, up at 3, and down at 4. so crossing the end of the previous long sloping stitch. Bring needle up at 5, t o begin next repeat downward. Work next line from bottom t o top, with long stitches sloping in the opposite direction: bring needle up at 6, down at 7 . up at 8, and down at 9. Bring needie up at 10, t o begin next repeat upward. Repeat these two iines as r e w i r e d .

USES a chevron panern suitable for largeareas NOTES for best results use double canvas

Begin at top left. All lines are worked from top t o bottom: Bring needle up at I , down at 2, up at 3, down at 4, so crossing lower end o f previous stitch Bring needle u p at 5 t o begin next repeat downward At bottom of iine, fasten off thread. Begin again at top for next line, bringing needle up at 4. Repeat this line as required.

USES a paitern of vert~calndges, for large areas

181

r/

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The Stitch Collection

The Stitch Collection

55 Herringbone stitch

i6 Double herringbone

Begln at top lelt: Bring needle up at I , down at 2, up at 3, down at 4, then up at 5 t o begin next repeat to the right. ~t end of row, fasten off thread. Begin again at ieft for next row, working aii stitches one thread below those of row above, so rows ~nteriockas shown. Repeat as required.

Begin at t o p iett: Bring First color up at top left and work a row of herringbone stitch (as left] t o the right. At end of row. fasten off thread and begin again at left. Cover area with adjacent rows of herringbone stitch, without interlocking them Begin again at top ieft with second color: bring needle up at I down at 2 . up at 3. and down at 4. Repeat t o the right, filling spaces of first row as shown. At end of row. fasten off thread and begin next row at left.

(on canvas)

USES a small-scale,fightiy woven texture, very durable and therefore sutablefor rug-making NOTE constructedin same way as herringbone stitch on fabric (page 75). with lines worked closely tocover canvas

58 Darned web stitch

sti

USES a small-scale,tightly woves patiern. worked in two colors; very durable and suitable for rug-mahng

Begin at top left: fig A Bring needle up at I , down at 2, up at 3, down at 4 then up at 5 . to begin next repeat t o the right insert needle at 6 t o cross long sloping stitch just made. Repeat t o the right. fig B Turn canvas t o work next row in same way. Repeat as required. All rows may be worked from left t o right without turning the canvas for a differently textured effect.

USES quick to work, a smaii-scale,iightly woven texture with a ridged appearance NOTE ths stitch forms lines of backstitchon the wmng side

I

Begin at top e f t /igA Bring needle up at I,down at 2, up at 3 down at 4 up at 5 . and down at 2. Repeat up and to the right Work next diagonal line down and to the left as shown. Repeat diagonal lines t o fill area fig B With same or another color, bring needle up at I , pass through last diagonal stitch made, and insert it at 2, b r ~ n git up at 3 . and pass it through a line o f diagonal stitches. inserting needle at 4. Bring needle up at 5 t o begin the next line Continue in this way to top left.

USES tightly woven texture wlth the appearance of diagonal darnng; may be worhed n two colors

T h e S t i t c h Collection

T h e S t i t c h Collection

59 Perspective stitch

r

r

184

Begin at top left: fig A With first color, bring needle up at I . down at 2, up at 3, down at 4, up at 5, and down at 6, so completing three parallel stitches. Make three stitches sloping in the opposite direction, from 7 t o 6 . 8 t o 4, and 9 t o 2. Repeat these six stitches t o the right, ending with a complete repeat. "Park needle in the margin of the work. jig B Bring another needle and second color up at I and down at 2. then make 5 more stitches: 3 t o 4, 5 to 6, 7 t o 6 . 8 t o 4. and 9 to 2. Repeat to the left. Each group of three

60 Reversed cross stitch

stitches crosses those below, as shown. At end of row. "park" needle as before Use first needle and thread t o work third row from right t o left, parallel to and beiow the second At end of row. " p a r k needle as before. Use second needle and thread to work fourth row, from left t o right. crossing stitches of previous row as shown. Reoeat these four rows.

USES a unique pattern with the appearance af three-dimensionalb o w suitable for large areas NOTE the three~dimensionaleffect isenhanced if this stltch is worked n valyingtones of ane color

to fill the required area leaving unworked spaces between the crosses. Top threads of cross stitches should slant from lower left to upper right Fill the spaces between the crosses with upright cross stitches, worked in diagonal lines. Top threads of upright crosses should be vertical. fig B Change to second color and begin again at bottom left. Cover the first cross stitch with an upright cross. then work d~agonaliyup and down, covering each cross with an upright cross and vice versa

Begin at bottom left. fig A Make a single cross stitch over two intersections. bringing needle up at I.down at 2, up at 3. down at 4. Make diagonal lines of cross stitches, beginning with the cross above ( 5 t o 6 and 7 to 81, then working diagonally down and to the right, begin the next cross at 9. Work the next line of cross stitch diagonally up and t o the left. Repeat these two diagonal lines of crosses

~

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USES an interestingtexturedstitch. usually worked in two colon, suitable for largeareasand backgrounds

T h e Stitch Collection

62 Crossed cushion stitch

Begin at top right: fia A Bring needle up at I,down at 2:up at 3land down at 4. Make three more stitches as shown, from 5 to 6, 7 t o 8 and 9 t o 10. making a twisted unit of five stitches with the top thread slanting. Bring needle up again at I i t o begin next repeat t o the left. Note that units are placed two threads apart, fig B Work next row of units from left t o right. Begin by bringing needle u p at I , two threads below point 7 of last unit above and work five stitches of each unit in same order as before so units interlock as shown

186

Work the third row in the same way as the first, interlocking the units with those above in the same way as for the second row Repeat as required. Larger units may be worked if required: if first stitch crosses five intersections, each unit will consist of sin stitches: if first stitch crosses six intersections, each unit will consist of seven stitches, and so on

-

USES ~uch to work, an interestingtexturedpattern of twistedI biochs

First, work one or more blocks or cushion stitch of any size (page i 57). Blocks may be crossed either with a single stitch (fig A) or half-covered with crossing stitches (fig 6 ) . fig A Using the same or another color, work a single diagonal stitch i t o 2. from corner t o corner, sianting in the opposite direct~on t o the cushion stitches.

hg B il required, add more crossing stitches from 3 to 4 . 5 to 6, and so on until half the cushion stitch is covered Various patterns may be built up by working blocks sloping in the same or opposite directions. forming squares covered by diamonds or crosses. as shown in the photograph.

USES quichto work, blocks may be made any szeand worhed IIIvarious repeatngpatterns or as s~nglemoilis

187

T h e Stitch Collection

T h e S t i t c h Collection

64 Large Algerian eye stitch

63 Algerian eye stitch Begin at top right: fig A Bring needle up at i . down at 2 (center of unit), up at 3, and down at 2. Jig B Make six more stitches. bringing needle up at 4 5.6 . 7 8. and 9 and aiways inserting it at 2. These eight stitches form one unit. Bring needle up again at 8 t o begin next stitch unit to the left. fig C Stitch next row from left t o right, working stitches in reverse order. Repeat these two rows as required.

fig c -

fig D Begin at top right, working first row from right t o left. fig A Bring needle up at I , down at 2 (center of unit), u p at 3 and down at 2. fio B Make six more stitches. bringing needle up at 4. 5 6. 7 . 8. and 9 and always inserting it at 2. These eight stitches form one stitch unit. Bring needle up again at 8 to begin next unit t o the left.

ALTERNATIVE NAME star Stltch USES a small square st~tchunt, suitable for medium and large a reas, backgrounds,and geometric patterns NOTE this stitch is best worked on single thread canvas. becausl:eight stitches pass through one central hoe

fig C Stitch next row from left to right, working stitches in reverse order. Repeat these two rows as required. fig DThis s t ~ t c hoften shows the canvas between the units, the coverage may be improved by working lines of backstitch (page 1671 between the squares. This backstitch may be the same or a contrasting color i f desired.

USES a medum-sizedsquare stitch unit. quicker to work than Algerian aye stitch, suitable for medium and large areas, bachgrnunds,and geometric patterns NOTE best worked on sngla thread canvas. because eight stitches pass through onecentral hole

The Stltch Collection

65 Ray stitch

Begin at top left: fig A Bring needle up at I and down at 2 three threads above. Make six more stitches, bringing needle up at 3 4, 5, 6. 7 and 8, always inserting it at 2 Bring needle up again at 5 t o begin next unit t o the right. fig B Stitch next row from right to left, working stitches of each unit in the same order. Repeat these two rows.

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ALTERNATIVENAME fan stitch USES a small square stitch unlt, suitable for medum and large areas, backgrounds, and geometric pawns NOTE best worked on single thread canvas, because seven stitches pass through one hole

66 Expanded ray stitch

Begin at top lelt Bring needle up at I . down at 2 . three threads to the right. up at 3. and down at 2 Make I I more stitches, bringing needle up at 4 5 , 6 . 7 . 8 . 9 , 10. 1 1 . 12. i 3 a n d i 4 , a n d always inserting it at 2. These 13 stitches form one stitch unit Bring needle up again at 14 t o begin next stitch unit to the right. fig B Stitch next row from right t o left, working stitches in reverse order Repeat these two rows.

USES a rectangular stitch unit. suitable for medium and large areas, backgrounds,and geometric patterns NOTE best worked on single thread cannas, because 13 st~tchespass through one hole

i

The Stitch Collection

67 Diamond eyelet stitch

Begin at top left: pqA Bring needle up at I and down at 2 . four threads below, up at 3 and down at 2. Make 14 more stitches, bringing needle up at 4 to 17 in turn, always inserting it at 2. These 16 stitches form one stitch unit. Bring needle up again at 18, eight threads t o right of I to begin next stitch unit to the right. fig B Work next row from right to left, fitting new diamonds between those above. Stitches of each unit may be worked counter-clockwise throughout, or counter-clockwise o n alternate rows.

iig C If the canvas shows between the diamonds, work lines of backstitch (page 167) to cover.

T h e Stitch Collection

70 Leaf stitch

Begin at top right fig A Bring needle up at i and down at 2 , three threads t o the left. Working clockwise, make I 5 more stitches, bringing needle up at 3 to 17 in turn, always inserting needle at 2 . These 16 stitches form One stitch unit. Bring needle up again at i 0 t o begin next unit t o left. fig B Work next row from left t o right, fitting new circies between units above.

I 192

ILTERNATIVE NAME dalsy Stitch octagonal stitch unit suitable for medium USES a and largeareas and bacbrounds worked on slngie thread canvas, because 16 NOTE ~titchespass through onecentral hole

Stitch first row in same way as for circular eyelet stitch (left].but work second row with units positioned as shown, directly beiow units o f row above, with three stitches of each eyelet sharing holes with three stitches o f eyelet above. Repeat as required use a contrast color t o work smaller eyelets t o fillthe spaces. Small eyelets consist of nine stitches, worked into a centrai hole. %rn, stitches share a hole with u-,... those of the iarger eyelets. while others fit between

USES a medium-stzeddecorative Panern,

medium and large areas and bac$rounds

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Begin at top left: fi9A Bring needle up at I at base of leaf and down at 2. Make 10 more stitches. 3 t o 4. 5 t o 6, 7 t o 8, 9 t o 10. 11 t o 12 (centertop). 9 t o i 3 , 7 to 14. 5 t o 15, 3 t o 16, and i to 17 These i 1 stitches form one unit Bring needle up six threads t o right of i t o begin next leaf unit. Pg B Stitch next row from right t o left working stitches of each unit in reverse order and fitting new units between those above. Repeat these two rows.

USES a leaf-shapedstitch unit, suitable for medium and large areas and backgrounds NOTE individual unBs may be stitched in(fferentshades

Begin at top left: Work rows of leaf stitch as shown left. With a matching or contrasting color. add six backstitches (page 42) down the center of each leaf unit. If using the same thread, the backstitches may be added as each leaf unit is completed

USES a leafkhapedstitch unit, suitable for medium and large areas and backgrounds NOTE individual unlts may be stitched in diferentshades

The Stitch Collection

72 Diagonal leaf stitch

fly A

The Stitch Collection

73 Shell stitch

74 Rhodes stitch

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Begin at top right: fig A Bring needle up at i at top o f leaf, and insert it at 2 across two intersections. Make i O more stitches: 3 t o 2, 4 t o 5, 6 t o 7, 8 t o 9. l O t o 11, 12to I I , I 3 t o 9 , i 4 t o 7 . I 5 t o 5, 16 t o 2. These I I stitches form one leaf unit. Bring needle u p at 17. three threads left of 6. t o begin next unit. fig B Work next row o f leaf units from bottom left t o top right, fitting between those above, working stitches o f each unit in same order.

USES a leaf-shaped stitch unit, suitable for medum and large areas and backgrounds NOTE individual units may be st~tchedin different shades

oegln at top right:

Bring needle up at 1 and down at 2 , across three intersections. Make seven more stitches: 3 t o 2 . 4 t o 2, 5 t o 2 . 6 t o 2. 7 t o 2, 8 t o 2, 9 to 2. These eight stitches form one shell unit. Bring needle up at 8 t o begin next unit t o the left. Work next row from left t o right, fitting between units above. Work seven iong stitches in reverse order. then add short stitch at base.

Directions given below are for working counter-clockw~searound the square. but squares may be worked clockwise if desired. Begin at bottom left corner. fly ABring needie up at I and down at 2 at opposite corner of square Bring needle up at 3, one thread right of i.and down at 4, one thread left of 2 Make as many more stitches as required t o cover the square, moving counter-clockwise round the edge of the square as indicated.

On a square o f six threads in each direction as shown, the last stitch will be A t o B. fig B Optionai i f required, bring needle up near center o f square and insert again over the last slanting stitch. tying the Rhodes square down. I t is impossible to see the canvas mesh when placing this stitch so its position must be ~udgedby eye and by feeling w i t h the tip o f t h e needle

ALTERNATIVENAMES scallop stitch,fanstitch USES a shell-shaped unt, suitable for medium and large areas and backgrounds NOTES 1, individual units may be stitched in different

USES a raised stltch unit that may be workadover a squareof any numberofthreads:su~iableformedium and large areas

shades. 2, best worked on single thread canvas, because e~ghtstitches need to pass through one hoie

or individualmotifsand geometric Datterns NOTE thecentral tylnKStitch is optional, but usefulon large squares where the $p thread isquite iong

195

The Stitch Collection

The Stitch Collection

76 Brighton stitch

75 Nnrwich stitch

Begin at bottom lefthand corner: Bring needle u p at I and down at 2 at opposite corner Bring needle up at 3 at t o p left of square and down at 4, so making a large cross stitch. Bring needle up at 5, one thread above I , and down at 6. one thread left of 2, making a stitch parallei t o 1 t o 2 Bring needle up at 7, one thread right of 3, and down at 8, one thread above 4, making a stitch parallel t o 3 t o 4. Bring needle up at 9, one thread below 2, and down at 10, one thread

196

right of I,making another stitch parallel t o 1 t o 2 Bring needle up at I I,one thread left of 4 and down at I ? , one thread below 3, making another stitch paraiiei t o 3 t o 4. Continue in this way round the square until ail the holes on each side contain a thread, On a square o f nine threads in each direction shown, the last stitch is 35 t o 36. You may prefer t o pass needle under stitch 29-30 before inserting i t at 36.

USES afiat square stitch unit with a woven appearance that may be woined over a squareof any number of threads. sutabie for medium end large areas and backgrounds, individual motifs and geometric patterns NOTE working over a square of an uneven number of threads in each direction will ave the best coverage: if a squareof an even number oi threads is used, one mesh hole must be leftempbat the center of each side

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1 77 Triangle stitch

Begin at top ieit. figA Bring needle up at i , down at 2. up at 3. down at 4, up at 5, down at 6. up at 7, down at 8, up at 9, and down at 10. Work five more stitches sloping in the opposite direction, beginnine at I I These ten stitches form one i n i t . Repeat t o the right, fig B Turn and stitch second row of units in the same way as first. Repeat as required. With same or another color. work an upright cross stitch (page 171) in each diamondshaped space, as shown.

Begin at top right: fig A Bring needle up at I and down at 2, then make six more stitches 5 t o 6. 7 to 8, 9 to 10. 1 i t o 12. and 13 t o 14. These seven stitches form one triangle fig BTurn the canvas by 90 degrees and use point 13 as point I of next triangle. Repeat twice more, making a square o i four triangles. Repeat square as required. At each corner o f each square. work a cross stitch (page 1691 in same or another color over two intersections in each direction

USES an all-over,non-directtonalpattern, suitable for

ALTERNATIVENAME inanglesquares USES an all-over pattern for medium and large areas

medlum and largeareas and backgrunds

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197

T h e Stitch Collection

The Stitch Collection

78 Pinwheel stitch

79 Petal stitch

arm at left t o begin next motif. fig C Work next line of pinwheels from left t o right, with ends o f long arms sharing holes with those above. Repeat these two rows of pinwheels as required. Spaces may then be filled with diagonai st~tchesas shown always bringing needle up at edge of space and inserting toward center Alternatively, spaces between motils may be filled with tent stltch [page 1481.

Begin at right: fig A Bring needie up at I,down at 2, u p at 3, down at 4, up at 5. down at 6. up at 7, down at 8. up at 9, down at 2, up at 10, down at I i one thread below 2, up at 12. down at 13. u p a t 14, down at i5.These eight stitches form one quarter o f the motif fig B Turn the canvas by 90 degrees and work the next quarter in the same way. Repeat twice more Turn canvas right way up, as at Start. and bring needle out at end o f long

Each petal motif is worked over a square of any even number of threads in each direction (square of I 0 threads shown here). Begin at top right of square, fig A Bring needle out at I , down at center of square, up at 2 down at center, u p at 3 and down at center. Make another 17 stitches counterclockwise around the square. bringing needle out at points 4-20 i n turn, always inserting needle at center. Bring needle out at one cornerto begin next motif.

fig BTo fill motifs, bring thread up at I , one thread above center o f square. Pass needle under five threads of each corner in turn. around in a spiral, without piercing canvas, t o fill space. Pack the spiral thread closely to lie flat with no canvas showing Do not pull too tightly End by inserting needle at 2. If canvas shows at corners of squares, add straight stitches to hide gaps, as shown in photograph.

-

ALTERN&IIVE NAME windmil stitch USES ,o:~.o ,r 0r. 0,er':r~

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USES a decorative, non-directionalpattern or motif.quick to work and suitable for large areas NOTES 1. petal motifs may also be scattemd irregularly and spaces filled with a suitable background stitch. 2, best worked on single thread canvas, because 20 stitches need to pass through one hole n the mesh, although the thread used forthe "petals' may hequitefine

The Stitch Collectia

Stitch Collection

81 Velvet stitch

Rya stitch

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B

On single canvas

Begin at bottom left: fig A insert needle at i , leaving a short tail on surface Hold down tail with left thumb, bring needle up at 2, and dowli at 3, with thread looped above as shown. Bring needle out again at i fig B Pull through firmly Form a loop as shown and insert needle at 4.t o begin next repeat by bringing needle up again at 3 Repeat t o the right.

fig C At end o f row, cut thread leavinga short tail Return t o left t o begin next row. Work next row one thread above first row Repeat as required. After completion cut and trim loops if required.

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On single canvas On double canvas

fig D Count the double vertical threads as two single threads, so point I lalls at center o f a double thread, making one stitch for every canvas mesh

~LTIRN.~TIYENAME Ghiordes knot st~tch,Turkey work (when worked on fabric,with the ioops Cut) USES a farly loose free-standlng loop, suitable for rugs and multi-coloreddesigns, or as a cut or uncuttexture NOTES lfor evenly-sledloops work loops over a dowel rod or slmiar. 2, on single canvas, one loop isformedfor every alternate canvas square; on double canvas, one loop lsformed forevery canvas square; securing st~tchesmoreflrmly. 3 may be worked on fabr~c, when the firm stitches should be made to an even length and the rows worked closely

Begin at bottom, working each row from left to right fig A Bring needle up at I down at 2 and up again at I and form a loop as shown. Take needie down at 2 and up at 3 with needle below loop, fig B Insert needle at 4, forming

a cross stitch, and bring needle up

thread cut leaving a tail if loops will be cut Return to the left t o begin next row above by bringing needle up at point 4 of first stitch below, After completion, cut and trim loops. On double canvas

Counting each doubie thread as two single threads, work as above. The loops will be very firmly held. - -

USES a frmiy held free-standingloop, hard-wearlngandsuitable for rugs and multi-coloreddesigns, or as a cut texture NOTES 1. for evenly-sized loops, work loops aver a dowel rod or smiar 2 on single canvas. one loop is formed for every four canvas squares on double canvas, one loop isformedforevery canvas square, securingst!lchesmorefrmly

T h e Stitch Collection

~e srltch Collection

83 Single knotted stitch

,P Surrey stitch

On single canvas Begin at bottom left. fig A Insert needle at I leaving a short tail on surface Bring needle up at 2, with taii t o right. Loop thread above, insert needle at 3, and bring up at I inside ioop of thread fig B Pull through firmly and form a ioop as shown, insert needle at 3 and bring it out at 4, inside loop o f thread. Pull through. Begin next repeat to the right by looping thread above and inserting needle at 5.

202

/ig C At end of row fasten off thread, or cut leaving a short taii if loops are t o be cut. Return t o the left to begin next row above, beginning by inserting needle two threads above point i of stitch below. After completion, cut and trim ioops as required.

On double canvas Work as above, counting each double thread as two single threads. The ioops will be very firmly held.

isformedfor every four canvas squares; on double canvas, one loop is formed for every canvas square: individualstitches are secured more firmly when worked on double canvas

Begin at bottom ieft: fig ATake needle down at I , leaving a short tail on the surface, up at 2. down at 3. and up at 4. Form a loop as shown (or over a rod) and insert needle at 5 t o begin next repeat t o the right. Aiways bring needle up inside loop of thread. fig B At end of row fasten off thread; cut leaving a short tail if loops will be cut. Return t o the ieft t o begin next row by inserting needle two threads above point I of stitch below. Cut and trim loops if required. USES a fairiy firm free-standing loop, suitable for rugs and multi-coiored designs, oras a cut or uncut texture NOIEfor evenly-sized ioops. worh loops over a dowel rod or similar

84 Eastern stitch

Begin at ieft f ~ gA Bring needle up at I , down at 2, up at 3, and down at I . Bring needle up at 4, loop thread, and pass needle under stitch 1-3 without plercing canvas. fig B Loop thread as shown, pass needle under stitch 1-2, and pull through, Insert needle at 4 and bring up at 2 to begin next repeat t o the right Work next row from right to left. Work each group in same order as before. Repeat these two rows.

USES a iacy, looped fling stitch NOTIfor best results workon sngie canvas with a smooth thread: stranded s k o r cotton works well

WORKING PRACTICE :~~~:y; /I

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There are three basic types of embroidery techniques: Counted Thread techniques, worked on evenweave fabric; Freestyle Embroidery, worked on any type of fabric; and Canvaswork techniques, worked on canvas. The fabrics, threads, and stitches suitable for each technique are described in this chapter, with information on how to work existing designs or plan your own. The Finishing Touches section iooks at ways of finishing different types of embroidery

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Counted Thread Techniques in all types of counted thread embroidery, stitches are worked to a consistent slze by counting the threads of a woven fabric and passing the needle between the threads without splitting them. Such designs are usually worked from charts onto evenweave or Aida fabric Areas of such fabrics may be left unworked as part of the design

Cross stitch hints Follow Counted Thread Guidelines given on page 206. Work any part stitches as they occur. Work all the cross stitches before adding outiinesldetails in other stitches using finer thread if desired Make sure ail the top threads o i t h e crosses lie in the same direction.

Counted thread guidelines Cut fabricat least I inch (2.5 cm) larger ail round than finished size required, or larger t o fit a frame or hoop. Oversew edges t o prevent fraying, or bind with masking tape. Make a test piece t o choose suitable threads and tapestry needielsi. Markcenter lines, as shown on page 33. Leave these in place until work is completed Use a hoop or frame for ail but the heaviest fabrics Work with thread lengths o f n o more than 18 inches (46 cm) and begin with away waste knot or waste backstitch method (page 35). Begin at or near the center t o avoid mis-counting After completion block or press as on page 240,

Cross stitch Cross stitch is one of the most adaptable forms of embroidery, used tor simple decorative motifs, repeating border patterns, and intricate multi-colored pictorial designs It is usually worked From a chart onto Aida or evenweave fabric, or stitched onto plain fabric using the waste canvas method. Suitable stilches: cross stitch (page 6 9 ) three-quarter cross stitch (page 691, halt cross stitch (page 1501. Holbein stitch (page 40). backstitch (page 42). French Lnots (page 1051, herringbone stitch (page 75).

Thisdove motif was workedfrom thechart on page 33, and a background added of hall crossstitch worked n incomplete rows. The wliite crosses formngthe border were worked over twofabr~csquares in each direction. Thedesign was worked in stranded cotton on blue 14~countAidafabric, using three strandsfor all the crosses and part-crossesand h o strands forthe Holben stitch and French knot.

Blackwork Blackwork depends for its effect upon the diiferent tones created by small repeating patterns of straight stitches used to iill different design areas. This traditional counted-thread technique is said t o have originated i n Spain, becoming very popular across i6th-century Europe, with many variations from one country t o another. it was used for clothingsuch as caps. collars, and sleeves as well as pillow covers Originally worked in black thread In blackwork,gradations oftonecan be achieved by usingthreadsoivaryingth~chnesses(top1orprogon natural white linen, designs became ressivey omitting parts of the all-over pattern (above). increasingly intricate, sometimes embellished with gold thread or sequins, or worn beneath a i i l m of the finest linen gauze. Blackwork is usually worked on evenweave fabrics, including Aida, using stranded cotton or silk, or a singie firm thread such as pearl cotton; thread and fabric colors should contrast strongly Suitable stitches: Holbein stitch (page 40). backstitch (page 42). cross stitch (page 691. eve stitch (page 188). For s m a l l solid dark areas: satin stitch (page . Aleerian 861 For tiny details ~ r e n c h k n o t s(page 105). For free designs chain stitch (page 4 6 ) stem stitch (page 43). couched lines (page 91). a

Designs may be worked in two ways:

Working from a line chart Use this method for geometric and block designs, and for repeating designs. Follow Counted Thread Guidelines (page 206). Work each area of the pattern in turn. Work the individual stitches of each repeating unit in the same order, for a regular appearance work the units in horizontal, vertical, or diagonal rows.

.

A chartior biackworh

stitch, without reference t o the fabric threads Add small details as required Complete each pattern area before working its outline. To carry the thread across the wrong side, run it along the back of previous stitching; do not make long stitches on the wrong side across areas that are lightly stitched or unstitched, or dark threads may show as shadows on the right side Th~siloweimotliwas worked in biachcotton thread on ZCcount Hardangerfabric (cream),with each Square on the chart iepresentingbofabric souares in each direction.

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Working f r e e designs 1-

2

Use this method for non-geometric designs such as those of animals and flowers Decide which areas o f the design should be light, medium, or dark. Copy the design and roughly shade in the areas with pencil. Test the tonal effect: stitch about a square inch (6.25 square cm) of each pattern, then view the effect from several feet away Mark the design outlines on the fabric using one o f t h e methods described on page 29-30. Follow Counted Thread Guidelines (page 2061, marking a center line by eye on each pattern area. For each area, stitch one line of a pattern horizontally or vertically out from the center t o each side. with part patterns at edges if necessary. Refer t o first line t o place more lines, filling the pattern completely. For outlining, use a crewel needle (sharp point) and a fluid outline

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This rooster was worhed in stranded cotton on cream evenweave fabric, using two strands for the patterns. Four strands were used for the satin stitch wattleand comb. and also forthe stem stitch outlinng.A tiny orange bead was sewn on forthe eye, and extra stitches infne mld thread added to the neck area.

Hardanger work

Working in diagonal steps

This type of embroidery is named after the Norwegian district of Hardanger, where it still flourishes today The work is characterized by the use of kloster blocks. small blocks of satin stitch which enable threads t o be cut and withdrawn, leaving a grid. The remaining threads are then overcast or woven t o form bars, and the square spaces between them may be decorated with various filling stitches Patterns are therefore geometric. Hardanger fabric is a closely woven evenweave, commonly 22- or 24-count (page 27) Other evenweave fabrics may be used but they should not be too loosely woven The fabric count will affect the size of the motifs. and threads should be chosen accordingly. It is usual to work with two different threads: for Hardanger fabric, choose a medium weight pearl cotton for the kloster blocks, and a lighter weight such as two or three strands of stranded cotton for the bars and fillings. Although Hardanger work is traditionally worked in white thread on white l i n e n other colorways are often used today. Suituble stitches: kloster blocks (see below), satin stitch (page 861, overcast bars (page 134). woven bars (page 135) loop stitch filling (see ioop stitch variation, page 136). dove's eye filling (see dove's eye corner, page 137).

. . .

Hardanger hints Follow Counted Thread Guidelines (page 206). Tack design outlines accurately onto fabric. Place tacking along straight rows of holes, following chart.

Working kloster blocks Each kioster block consists of five satin stitches, each stitch worked over four fabric threads. The exact placing and direction of each kloster block is imuortant because threads may oniy be cut aiong the ends o f the satin stitches, and oniy where there is another kioster block directly opposite, so that the cut thread ends are enclosed on each side of the space. Work from left to right. (Turn the work as necessary 1 Use a small tapestry needle (biunt-tip). Begin with the away waste backstitch method (page 351 and bring thread up at I Insert it at 2. four threads above. Repeat to the

Work from top left t o bottom right. (Turn the work as necessary]. (fig 2b) Stitch the first biock in the same way as above, and bring needle u p again at 9 to begin second block. Work the satinstitches on the second block horizontally At end of second block, bring needle up again four threads below end o f previous satin stitch, t o begin next block down and t o the right. Repeat these two blocks as required, alternating the dir-*+;-~ down the stepped line.

carrying heavy thread across the back of the work When all the blocks are complete. unpick the waste backstitch and run in each thread end securely aiong the back of several blocks.

I

overcast bar empb square

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dove's eye corner

fig28 (left): working kloster biochs n a row fig2b (nghU: warhng kloster blocks n steps right, making five straight satin stitches i n ail from 3 t o 4. 5 t o 6. 7 t o 8, and 9 t o 10. When working blocks in a row, four threads must be left between blocks. Bring needie up again at i I,four threads right of 9. t o begin the next block t o the right.

fig2C: tacked outline with kloster blocks Work ail kioster blocks with heavy thread, beginning with waste backstitch (page 35). If blocks enclose a shape where threads will be withdrawn, begin at top left and work clockwise. Avoid

Each squareon the chat (top represents fourfabric threads in each d~reciion.Thls motlf (above1 was stitched on 2 7 m u n t evenweave cotton fabric, using mult~~color pearl cotton n o 5 thread forthe kloster blocks,with two strands of matchingstranded cotton thread forthe overcast bars and dove's eyellling

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(fig 2d) With sharp embroidery scissors cut through four threads at the bdRe of a kloster block, and cut through the same four threads at the base of the opposite block. Cut only those threads that run in the same direction as the satln stitches Use tweezers to withdraw the cut threads one by one Draw out all the required threads in one direction, then in the other direction, leaving a grid of threads (fig 2e) Change to a finer thread The bars may be overcast or woven. or woven with picots. Begin at the top (or top left) o f the shape and work diagonally down and up the shape, working the bars and any filling of each square in turn. Fill squares with loop stitch or dove's eye f~lling(Where kloster blocks border a square, work under central stitch o f each block.)

Preparing a drawn thread border Threads drawn along an edge t o be hemmed may be bundled with spoke stitch securing the hem at the same time Cut the fabric edge straight with grain. Decide on the depth o f the border required, and the depth of fabric required for a double hem If the border is not to be across the whole width of the fabric, decide on the width also Tack all around the edge of the required border, placing the tacking stitches between straight lines of threads. Mark the center o f the border with tacking. At the center o f the border, use small, sharp scissors to carefully cut through only the horizontal threads. Use a small tapestry needle to unweave cut threads back to the sides, You will need an exact number of vertical threads remaining t o fit intended stitches Count carefully, and unravel the horizontal threads no further at each side (fig ?a) At side edges, use the tapestry fig3a: weaving in the threads needle to weave each thread in turn back along the wrong side of the fabric for about 1 inch ( 2 . 5 cm), then trim the excess thread (fig 3b) If working a hem, press folds and tack in place. The border is now ready t o be stitched.

fig 2d: withdrawing threads

fig2e: working bars fg3b: tacking hem in place

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Preparing drawn thread corners

Drawn thread work For this type of openwork embroidery. some of the fabric threads are removed from the woven fabric in one or both direclions. This process leaves areas with threads running in one direction only. which are then grouped together by stitching in various ways to form open, lacy border patterns, suitable for items such as table linen Where two borders of drawn threads meet or cross, open spaces remain, often filled with corner motifs. Single borders may be worked on almost any woven fabric; fray a few threads at one edge t o find out how easy it will be t o draw the threads. When borders are t o be worked both horizontally and verticaily it is easier t o use evenweave fabric, so that the same number of threads withdrawn in each direction will leave borders of the same width. Suitable stitches: all stitches in the Drawn Thread Stitches group, pages 130-1 38.

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Cut the fabric t o the desired size, including a hem allowance all around Mark two center lines with tacking in the same way as page 33. Count the required number of threads outward from each center lhne and mark the outer edges of the border w ~ t htack~ng then the Inner edees " lfia 3c) Draw out the threads and secure them as before at the outside edges of each corner, Strengthen drawn corners with the buttonhole corner (page 136) Corners of X inch (1.25 crn) or more should be reinforced with a corner filling stitch (page 136).

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Freestyle Embroidery Techniques ?

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Crewelwork hints

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In freestyle embroidery, stitches follow a printed, transferred, or traced design, without regard t o the woven threads of the fabric, fine fabrics and non-wovens may therefore be used. Areas may be left unworked as part of the design.

Embroidered applique

Freestyle embroidery guidelines

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Applique IS the technique o f stitching fabric shapes onto a background of another fabric Such shapes may be stltched by hand using tiny matching stitches, or machine-stitched, but many embroidery stitches may also be used for the same purpose, adding to the decorative effect. The technique provides a quick and simple way of achieving bold, dramatic effects Almost any fabrics may be appliqued, but stretch fabrics are best avoided, as are coarsely woven fabrics that are l ~ a b l et o fray. To make the work easy t o handle, choose fabrics that are closely woven and of similar weight Fusible bonding does away with the need to completely cover the raw edges of the motifs with stitching, as it prevents fraying However hot ironing may spoil fabrics such as velvets, synthetics, or PVC

For practical articles, pre-shrink natural fabrics by washing and ironing them Cut fabric at least i inch (2.5 cm) larger all round than finished size required. or larger t o flt a frame or hoop. Oversew edges to prevent fraying. or bind wlth lnasking tape Trace or transfer design t o fabric using one of the methods on pages 29-30 To space stitches evenly, mark a series of evenly spaced dots. Make a test piece to choose suitable threads and crewel needleis) Use a hoop or frame for ail but the heavlest fabrics. Work with thread lengths o f no more than 18 inches (46 cm) and begin with away waste knot or waste backst~tchmethod (page 351 Follow the design lines without reference to the fabric weave After completion, blockor press as page 240.

Suitable stitches chain stitches lpages 46-57), blanket stitches (pages 58-68). crossed stitches (pages 69-80), feather stitches (pages 81-85) and couched lines (page 91 ).

Crewelwork Crewelwork is defined as any embroidery worked in fine wool on plain fabrlc w ~ t ha sharp-pointed (crewel) needle, by following traced or transferred llnes rather than by counting threads, Crewelworkdeveloped in 17th-century Europe, exuberantly covering large items such as wall-liangings and upholstery with exotlc designs of plants, fruit, and animals. The designs were interpreted using brightly colored wools and a large " varietv of stitches usuailv on wool or linen fabric. Today, similar designs are often stitched with cotton or silk threads and fabrics, whlch are I suitable for smaller articles Shapes are outiined with stitches such as stem stitch or chain stitch. and design 1 areas filled with seeded or ! laid fillings. The technique is suitable for any nongeometric des~en. whether b " " realism or fanciful paisley mi ~

Applique hints

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216

Stitches uwd almost any stitch from the "Stitches for Fabric" section may be used; stitches normally worked by counting threads may be marked up by a series o f evenly spaced dots

Follow Freestyle Embroidery Guidelines (page 216) Work laid fillings before outlining them. Other stitches may be worked in any convenient order.

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Aweb of heat-sensitive fiber, backed with greaseproof paper, is applied t o the wrong side of the applique shape, the paper removed, and then the shape applied t o the background with a hot iron. Always refer to the manufacturer's instructions for heat settingsand ironing Limes The bonding will slightly stillen the work. making it easy to handle Follow Freestyle Embroidery Guidelines (page 2161. Follow the instructions s u.w. ~ l i e d with fusible bonding to fix applique shapes in place. Cover raw edges of motifs with suitable stitches. Pieces mav be aowlied without .. fusible bonding if raw edges are turned under or completely covered with suitable stitching.

Tack pieces in place very securely, matching fabric grain t o background, or use fabricgiue.

appliquh heats

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Quilting In quiiting, two iayers o f fabric (main fabric and lining fabric) are placed together, u$ually with a layer of batting between them, and then stitched through all the iayers with simple line stitches t o form or outline a design The relief effect emphasizes the design with llght and shade. Such layered iabrics are warm and light, and have been used for bedspreads and winter clothing throughout history. Quilting protects against excessive heat and chafing. It prevents fabrics from stretching: large wallhangings are often quilted to stabilize them. Light- t o medium-weight fabrics are the easiest t o quilt, and show the relief effect most readily: cottons and silks are usual choices. The lining fabric may be lightweight calico or muslin, or i t may match the main fabric t o make an article (such as a bedspread) reversible. Batting is manufactured from cotton or synthetic fiber in a variety of thicknesses Ordinary sewing thread may be used for quiiting small articles: for larger pieces, choose a stronger, heavier thread or use special quilting thread, which is waxed for easy stitching through the layers. Quilting stitches may be in a matching or contrasting color. Use a small sharp-pointed needle with an eye t o suit the quiiting thread. The technique of quilting may be used in several ways Background quilt~ngis a regular quilted pattern, such as a simple grid or trellis, stitched across or between embroidered or appliqued motifs. Outline ouillinu , . is stitched onto an applique design, just inside or outside the outlines of the shapes t o emphasize them

>uiaii*g;EXi$&'''.' .' '

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Echo quilling consists of lines of quilting stitched outside a shape, echoing its outline with one or more concentric lines. Ornamentalquilting is the term used for a design worked entirely in quilting. Suitable stitches: running stitch (page 38). backstitch (page 42). chain stitch (page 46).

... . . The healt~shaved applique petals areoutiine-quilledwth running stitch, and theouter line of echo qultingfolows ~

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Finishing. Edges may be ieit raw if the piece is to be framed or mounted. Otherwise, they may be self-edged, requiring a larger piece o f lining, or bound with Lias strips, when all layers may e cut to the same sire.

the embroidered scroii st~tchoutiine.

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Follow.Freestyle Embroidery Guidelines (page 216). Trace or transfer the whole, t o the main fabric, includini embroidery lines, applique outlines, and quilting lines Regular grids should be accurately measured and marked. Workembroideryorapplique, as required. (fig l a ) Lay the lining fabric right side down on a flat surface, then the layer of batting, then t h main fabric, right side up. (fig l b ) Pin the layers together in a sunburst pattern, working from

stab method (page 34) to preven the layers from s l i.~. o i n eKeen the stitches small and reguiar pulling quite firmly. Stitch along ail the quilting lines, hiding all the knots and thread ends between the iayers. Finish the edges (page 241) Steam lightiy and leave flat to dr "-npletely. when the batting wil i x and p u f i up.

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fig la: assembling layers the center outward, smoothing the iayers as pinning proceeds, ~ckalong the lines of pins. rain working from the center outward. Large articles may need more lines of tacking.

flg l b : tacking layers

worked horizontally and vertically in a grid A hoop or frame is optional Begin quilting at the center ;.._ work outward. Knot the end of the thread and bring the needle up

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Three-dimensional effects Raised work, or stump work, is one of the most challenging types of embroidery, making usebf a wide variety of stitches and techniques t o interpret designs i n three dimensions, with "realistic" effects In 17th- and 18th-century Europe such work was used for pictures and small bags and t o cover wooden boxes and mirror frames By its nature unsuitable for most garments, or articles requiring t o be washed. the work is used for similar purposes today The same techniques may also be used on a much larger scale for dramatic pieces such as wallhangings. Traditional subjects ~nciudedgarden scenes with plants, birds, animals, and fountains, often featuring male and female figures in elaborate costumes. representing royalty, or biblical stories. Pre-shaped boxwood "stumps" of details such as faces, arms, and legs were covered with silk and stitched t o a firm silk background, with tiny costumes added in lace, needlepoint, or embroidered silk. Colored silk threads were used, often with gold threads, lace beads, and pearls In the 19th century, brightly colored wools were used t o work bold designs of fruit and flowers in raised stitches and pile stitches, often framed under glass in deep "shadow" boxes. Whatever forms you choose t o stitch, the challenge lies in choosing exactly the right technique, stitch, thread, and color t o best express the characteristics of your chosen subject Suitablestltches: any and every embroidery stitch may be included, raised stitches (pages i 11-1 161, loop and pile stitches (page 200-203). and couching stitches ,ages 91-94] are particulariy useful.

Padding Use felt or fabric backed with iron-on interfacing. Cut t o shape and stitch i n place as shown. Filling may be included (fig 2a). or extra (smaller) layers of felt (fig 2 b ) Cover padding with satin stitch or a laid or woven filling.

Applying fabric slips A slip is a small piece of another fabric. plain, patterned, embroidered, or previously knitted or crocheted t o shape. For a flat slip stitched down on all sides. work as for padding, turning raw edges under if necessary Slips may be gathered or pleated t o stand out from the background, and left free along one or more edges, often used for clothing or flowers Free edges should be hemmed or edged with buttonhole stitch (page 611. or similar.

T h r ~ e ~ d ~ . e f i s i 6 hints n & l :: Choose a firm, opaque backgro ibric. oilow Freestyle Embroic Guidelines (page 216). Begin with the flatter parts of the design, leaving the free-standing parts t o the last, as they will tend t o catch the working thread Protect finished parts by tacking a piece ;complete. or filling pac . as be1 31, or use toy filling, cott( sheeps' wool lide edges of padding and slips with ouched lines or other stitches.

IILC:

""ravel threads

f1g2b:three oieces

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Applying needlepoint slips Use for smail, intricate details. adding filiing if desired. Work the needlepoint or cross stitch on canvas or evenweave at least 1 % inches (3.75 cm) largerall round than the motif itself. Unravel the threads (fig 2c) around the finished needlepoint until single threads remain on all sides. Tack the slip in place then use a needle to take each thread in turn through t o the wrong side Tie the threads (fig 2d) together firmly in pairs Cut the ends short and dab the knots with fabric glue.

Using wire for freestanding shapes

pairs

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This technique provides the boidest three-dimensional effect. Shapes may be plain, patterned, or previously embroidered. Looped shapes are the easiest to manipulate

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Cut work

loin two layers of fabric, right sides together, in required shape, with a seam allowance of about '14 inch ( 0 6 cm). Leave a small opening in the seam next t o the point where the wires wili emerge t o attach the piece. Snip notches into the seam allowance, especially on curves (fig 2e) Turn right side out and insert a loop of wire, leaving ends o f about I inch (2.5 cm). Close the opening with tiny slip stitches. Attach the shape by taking the ends of wire through to the wrong side of the background. Form a loop with each end and secure with firm stitches where they will be hidden by the surface detail.

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Turkey work This pile stitch is worked in exactly the same way as lya stitch (page 200). but on a plainweave fabric. Space the stitches eveniy and place the rows very close together. The rows may be straight or curved, as desired. The

fig2e:an embroidered shape, v, to background.

Cut work is a form o f embroidery where certain areas of fabric are cut away along buttonhole stitch outlines. In broderie anglaise round or teardrop "eyelets" are cut t o iorm design motifs such as little flowers In Renaissance work, the motifs are left solid while the background areas are cut away and often reinforced with buttonhole bars Cut work is also often used for scallop pattern edgings. Other embroidery stitches may be added t o complete any design A iirm, tightly woven fabric not liable t o fray is essential. Stranded cotton or silk, or pearl cotton for heavier fabrics, are suitable threads Traditionally such work was often used for table linen, collars, and cuffs, st~tchedin white thread on white fabric. the delicate filigree effects resembling lace

uitablestit~hes.buttonhole :itch and itsvariations [page 221,single buttonhole bars ,,)age 6 4 ) double buttonhole bars [page 641, running stitch (page 38)

honeycomb filing worked over padded applique: the stalh is in ralsed c h a r stitch over uneven horizontal stltches to represent the prickles;the leaf is in woven picots The daisy head is also worked in woven picots, with a raised CUP atthe center; the stalk is in trailing(couchlng1;and the leaves are in Ceylon sttch over felt padding,wlth couched outlines.The bee is worked in cross stitch on evenweavefabr~c,and appied with a tny amount of fling; straight st~tchesare used forthe legs and feelers, and buttonholeloops for wings.

backstitches between the loops should be pulled firmly tight. Paint the wrong side with fabricglue if you wish. The ioops may then be cut if desired, and the pile may be left uneven, or trimmed t o give a surface almost like velvet

Buttonhole stitch 1s used for the petals and eaves behnd, double buttonhole stitch for the nearest leaves, slngle buiionhale bars forthe leafveins,with iongand sholl buttonhole stltch at the flower centers.

Cut work hints Follow the Freestyle Embroidery Guidelines [page 216). Mark lines of buttonhole stitch with double lines The length of the buttonhole stitches may be varied as part of the design Mark areas of fabric t o be cut awav with a cross Using the same color that wili be used for the buttonholing, outline each part o f the design with running stitch, working any single buttonhole bars as they occur To maintain a logical direction of working. carry the thread either two or three times across a space. so that when a bar is complete you can continue the running stitch outllne

Then work close buttonhole stitch t o cover the running stitches. At corners, the stitches may be fanned, but the edge t o be cut away must be solidly covered by the ridge of the buttonholing.

f g 3 a : runningst~tch outline with a bar

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Smocking Where the fabric will be cut on both sides o i a iine, use doubie buttonhple stitch Complete any other stitching required and remove fabric from hoop or frame Working from the wrong side. use very sharp, small scissors to cut away the unwanted fabric Snip from the center of the shape into each corner, as close t o the stitching as possible Work very carefully t o avoid s n i p p ~ n g stitches

Smocking is a decorative method for holding together the folds of a gathered fabric. A smocked border or panel may be used to gather the yoke or cufi of a garment, and is itself elastic, so that garments may be made without fastenings. "smock is a traditional English word, meaning a pull-on garment that slips o v ~ the head. Farm laborers no longer wear "smock-frocks'' as overalis, but the work is still used for babies' and children's clothes, and also for its decorative effect alone on articles such as cushions The fabric should be fairly lightweight, but stable. plain and printed cottons and silks are suitable. Smocking may also be worked on iabrics with small regular patterns, such as gingham checks, or polka dots, using the pattern as a guide instead o f a marked grid. Use pearl cotton, stranded cotton, or stranded silk, and a small crewel needle, f1g3b:cutawayfabric

Openwork seams

Suitable st~tches:insertion stitches (pages 122-1 251

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Working method

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straght seam tacked to paper

insmm-

Smocking hints

Pieces of fabric may be joined with insertion stitches (sometimes called faggoting), making decorat~ve,openwork seams. This techn~queoriginally developed as a means of joining narrow handwoven wool and linen panels t o make large articles such as curtains and bed-linen, but today it may be used in any situation requiring a seam between two pieces Choose any thread suited t o the weight of the fabric.

fig 4

Suitablestitches: smocking stitchec 126-1 29)

ifthe iabrics are not to be joined at the selvages, hem the raw edges Cut a piece of smooth. firm paper the length o f the seam and about 3 in ( 7 5 cm) wide Draw two straight lines down the center o f the s t r i p spaced from % inch (06 cm) t o I inch (2.5 cm) apart. as desired. (fig 4) Pin and tack the fabric edges to the marked lines, Work insertion stitches and remove backing

Smocking gathers the fabric t o about a third of its original width, so begin with a piece three times the final width required. Always work a test piece. Follow Freestyle Embroidery Guidelines (page 2 16). (fig 5a) Mark the wrong side of fabric with a grid of dots aligned with the straight grain o f t h e fabric. Spacing 1s normally %%inch (0.3-0.6 cm) between dots and X-X inch (0.3-1.25 cm) between rows (fig 5b) Work lines of tacking, beginning at top right. Begin each line with a knot. Pick up a smail stitch at each dot. At the end of each iine, leave a 3 in (7.5 cm) tail. (fig 5c) Pull up all the thread ends t o gather iabric t o an even, measured width; after smocking and removing tacking, width will increase so refer t o your test piece t o calculate this gathered width. Work smocking on right side o f fabric. Remove gathering threads

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fig 5a: grid of dots

f1g5b: tunes or tacking

fig5c: gather fabric

Shadow work

Precious thread techniques

Shadow embroidery is worked on transparent fabric by covering the design with :lose herringbone stitch worked on the wrong side. The color of the thread shows on the right side as a shadowy tint, outlined by tiny stitches around the edge. Such embroidery was popular in the mid-20th century when it was used to decorate delicate articles such as lingerie, handkerchief sachets, and babies' dresses with simple, stylized flower motifs .' 'ight-colored plain fabric, or Shadow work may be mounted over anr shown in silhouette against a soft light. The design must be divided into small and fairiy narrow areas suitable for working in close herringbone stitch. Details outside these areas may be added as lines of running or Holbein stitch. Stitches such as French knots may be added on the right or wrong side, but these may not be isolated: they should touch design lines. Thread may not be passed across the wrong side from one stitch to another without showing through as a shadow. Fabrics must be sheer: voile, organdie, chiffon. and georgette are all suitable. Stranded cottons and silks are the usual choice of thread' using Thepetaisarewoibed in close herringbonestltch.with strong colors that willbe muted thestem in runningstitch.Eachstamen isworkedout on the right side of the work. Use the from the petaledgein runningstitch,endingwith a smallest size of crewel needle that will French knot, then runningthethreadalongthewrongside back to the petal edge. take the thread.

Techniques for working with silk and metallic threads have developed over the centuries i n response to several factors Some metallic threads are liable t o damage i f they are repeatedly passed through the fabric; some are wiry, making them difficult t o handle. Threads made with precious metals or silks are expensive, and so are applied to the surface for maximum effect with as little wastage as possible. Couching is therefore the principal technique used for these threads in the past, the rich would advertise their wealth and status with garments, hangings, and horse trappings, all worked in the most expensive materials Today, such work is used for ecclesiastical vestments. SPECIAL THREAD! eveninewear and accessories. Excelient imitations of ali the traditional Gold or silver kid leather may be types of metal threads are avaiiable today, appliqued t o complement metallic not just in gold and silver, but in a range of threads, and beads, sequins pearls. metallic colors. All types are found in shisha mirrors, and "iewels" may several thicknesses. also be added

Suitable stitches: close herringbone stitch (page 801, running stitch (page 38). Holbein stitch (page 401. French knots (page 105)

Shadow work hints Follow Freestyle Embroidery Guidelines (page 2161 Using a non-permanent marker on the wrong side of the fabric, draw non-symmetrical designs In reverse.

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Fill in the des~gnareas with close herringbone stitch. Add any details in other stitches All thread ends must be run in neatly on the wrong side of outlines.

PASSINGTHREAD, OR JAPANESE GOLDISILVER a fine, round thread of gold or siiver leaf (or mit tat ion) wraooed around a silk.. flax..~or ,,

cotton core. GlMP slmiiarto above, but heaver weight. BULLION a wre co~ledIke a tight sprng. hollow n the center; once stretched it will not recoil. Usually applied in short engihs. PURL similar to bullion, but finer. Usually applied as an edging in continuous lengths. PLATE a flat ribbon-like strip. NilSTtwo or more wires twisted together to form a cord, used in continuous lengths for lhnes and outlines. LUREXson flexible mitation metal thread avaiiabie n a wide range ofcoiors and finishes. Easierto handle than traditionai metal thread. STRANDED SILK AND IMITATIONSILK of a similar weight to stranded cotton: strands may be separated orcombined in the same way. Often used to couch down heavier threads. OTHER SILKYARNS such as weaving or knitiingweights; may be smooth spun, fiiament (untwisted),or slubbed (alternately thickand thin).

Suitable stitches. couching stitches lpages 91-94]: beads and sequins lpages 142-1451,

S ~ e c i a techniaues l Couching Laid threads and tying

threads may match or contrast. Fill shapes with laid threads in straight lines, or following i h e contour of the outllne. PIui?ging (fig 6a) ifthe ends of a laid thread or cord are not to be hidden by a frame or by other stitching, the must be secured on tile wrong side

fig6a: plunging

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Leave the tying thread (fig 6al and needle at the back of the work. if necessany, pierce a large hole in the fabric with a stiletto. Cut the couched thread, leaving a short tail Insert a large-eyed needle part way through the fabric and thread the >.., . . , ..., tail into the eye, then pull through t o wrong side Untwist heavy cords fig 6b: Itallan shading and plunge individual strands, one by one. On the wrong side, fold the tail back along its own line (or wherever convenient) and use the tying thread t o secure i t with small stitches. ltolian shading, or or nu6 (fig 6b) Laid threads, whether straight or contoured. are couched with different colors o f silk tying threads in different design areas, The spacing of the tying stitches may also be varied t o shade the design from dark t o light. Use a different needle for each area of color, couching each line across in turn, leaving the threaded needles on the surface when not in use. A

fig6c:cou

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Padding Various materials may be used to pad the work, raising areas or lines of stitching i n high or low relief Padding with string (fig 6e) Lengths of string may be sewn t o the fabric surface, either singly or in a pattern, then covered by couching for boldly textured effects Strlng may be dyed yellow (for gold work) or pale bluegray (for siiver work). Use sewing thread t o secure threads as shown fig6f:coveiingsingie strings wlth bulion

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Cou~hingcords, twists, bullion, and purl (fig 6cI Twisted cords and threads may be couched with slanting stitches matching the twists. Use thread t o match the cord. When the stitches are pulled firm, they will disappear between the twists

flg6e: sewing down string

pulled tightly through t o the wror,, side, so that the couched thread appears t o be stitched through t fabric Background fabric with an open weave is required. an Bring the tying thread up"" . , at I,take i t over the laid thread and down at I through exactly the same hole. Pull firmly, and the laid thread will kink through t o the back of the fabric. repeat as required.

a

String may be covered by trailing (page 95) o r w i t h cut lengths of bullion or purl. (fig 61) Cut the lengths accurately t o suit the thickness of the string. Bring needle up below string, thread a cut length onto the needle and insert needle at other side of string, makine- a slantine" stitch as ~ shnwn - . Repeat. placing the cut lengths close together t o cover the string rnrnnieteiv - - ...r.-.-. , ~~~~~~

L a

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fig 6g patterns on sti~ng

I f l g 6 g l Evenly spaced rows o f string may be stitched down. then used as a base for varlous patterns with a woven appearance. Threads are couched across in rows. placing the tying stitches between the strings in a regular pattern. Double tying stitches may be used for firmness.

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Padding with fell Areas of couching may be padded with one or more layers of feit as page 221 ,The laid threads may be left unstitched across small felt shapes, or tying stitches may be worked through the feit if reauired o n larger areas. Padding with card (fig 6h) Small areas may be padded with card, making a firmer outline than felt. The card may be painted t o match the couching thread. Stitch the pieces down in the same way as feit (page

flg6h: padding with card

Special applications Sewing plate Plate may be stitched in zigzag lines, either fiat or over string Fold the first end under and secure with two stitches Fold the plate back and forth as shown, securing each foid with a stitch Fasten the

cut end in piace by folding it under and working two stitches. fig 6i Sewing plate ~ p p l y i n ggold or silver kid This is often applied over feit padding Tack the shape in place by taking the stitches right over it. w ~ t h o u piercing t the leather Stitch the edge in place with small stitches, bringing the needle up at the edge of the shape and inserting it over the 'I!

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Bullion and purl as beads Short lengths of bullion or purl may be cut with a knife o n a cutting board and applied in the same way as beads. They may be stretched t o uncoil them siightiy if required. Use a slender needle that fits easily through the hollow center. Sometimes two stitches will be necessary for firmness.

Working method for precious threads Stabilize delicate fabrics (page 28). Mount the fabric i n a frame. stretching tightly. A standing frame is advisable: you really need more than two hands. Only use a hoop if it completely encloses the design, as repositioning a hoop may damage completed stitching. Raise the surface of the stretched fabric by placing the frame over an object such as a large book, then transfer the design t o the fabric by one of the methods on pages29-30 Follow Freestyle Embroidery Guidelines (page 216). Use a thimble: sometimes one thimble on each hand is required. Work large areas of couching in turn: apply any felt, card, or string padding, then work the couching. Use the away waste knot method t o start the tying thread. Leave ends of couching threads on the surface until couching is complete. then plunge and secure them.

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Metallic and silk threads in a vaiieb of stitches.The water 1s couched averwavy lines of str~ngin straight lines of gold lurexthreed,using two shadesof blue sflh for the tying thread. The frothy edge is pearly iridescent thread couched down in loops.The large shell is thick filament silk, couched with pinhsilk in CuNes to follow theshape.The small spiral shells are couched twisted cords. A iength of crinkle bullion is added, and a scatter of beads, sequins, and buiion knots in pink silk.

Variousupes of bullion and purl cut n l o short lengths and applied as beads

Areas o f couching or applique may be outlined with a couched line, or a line of cord or braid. Add any further details such as beads, sequins, or embroidery stitches.

Canvaswork Techniaues

Simple pictorial designs

Canvaswork stitches are worked t o a consistent size bJcounting the canvas threads and passing the needle through the holes in the mesh without splitting the canvas threads. The canvas is normally covered completely with stitching. Designs may be worked on a pre-printed or hand-drawn canvas, or counted from a chart.

Canvaswork guidelines Cut canvas at least 2 inches ( 5 cml larger ail round than finished size required, or larger to fit a frame or hoop Oversew raw edges or bind them with masking tape t o prevent fraying i f working from a chart, mark center lines on canvas as on page 33. Leave tacking in place until work is complete Designs may also be traced onto canvas as on page 29 Use waterproof markers t o draw colored lines, or paint areas with thinned acrylic paints Make a test piece to choose suitable yarns and tapestry needleis) Stiff canvas may not require a hoop .: ,PI...' or frame, but diagonal stltches such ., d.Lc. as tent stitch will require less blocking ~f one is used. Work with thread lengths of no more , than 1 8 inches 146cml and begin wlth away waste knot or waste backst~tchmethod, as page 35 For charted designs, begin at or near ... .~the center t o avoid mis-counting Use the stab method of stitching (page 341 t o a v o ~ dfraying threads Work motifs or foreground first, l g 1: a sirnpie t s h desgn sutabefor tracing background last. After completion, block i as page 2 4 0 .

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Theflsh desgn fromflg 1 worked in tent sttch on 10 mesh canvas using tapestry wools w t h stranded cotton for the n e s in the water The eye has been added as a French knot

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Pre-printed canvases are available with a wide range of motifs and designs, or simple designs may be traced or transferred directly onto canvas Such designs are usually worked in a single basic stitch, often using many colors and shades for a realistic effect The impact of the work depends on the design and color, and the ali-over texture o f t h e stitch is constant. Small firm stitches such as tent stitch will form a hardwearlng fabric suitable for items such as chair-seats. bags, and cushions. Longer stitches form a more vulnerable surface and are only suitable for articles such as pictures and hangings, but they can be worked more quickly Canvaswork is often stitched entirely in wool yarn, but other threads such as pearl cotton and soft cotton are also suitable. Delicate embroidery threads such as viscose or artificial silk are best avoided because they tend t o catch on the canvas and fray. Suitable stitches. tent stitch (page 1481, half cross stitch (page 150). cross stitch (page 169). upright cross stitch (page 1 7 1 1, upright Gobelin stitch [page 161 1 Follow Canvaswork Guidelines (page 232)

Long stitch designs This is a very effective. quick technique for stitching simple designs. The stitch is worked in the same way as upright Gobelin stitch (page 1611, but instead of all the stitches beine" the same size., thev, are made of different lengths to f ~ t the areas of the design. Design areas must be divided into sections so that no individual stitch is longer than about %%inch [ i 2 5 - 1 8 cm) (depending on the firmness of the canvas). Use single canvas and heavy thread for good coverage. Follow Canvaswork Guidelines [page 2321.

n e i ~ s noeslgniromng I worneo in ongsr~rcnusng tapestly wools on 12-mesh single canvas, with a bead added to the eye

Charted designs Simple stitches These are wdrked from box charts (page 31 Box charts for counted cross stitch may be translated onto canvas using tent stitch, half cross stitch or cross stitch.

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back o f the motif for more than about X inch (0.6 cm) without runnine" it through - the back of the stitches. Whole or part-stitches along the edge of a shape should share holes with adiacent stitches. or slip underneath them t o make

Combining stitches Designs ~nvolvingseveral different stitches are usually worked from line charts [page 32). Stitches may be chosen for their contrasting textures. or to express particular qualities of the subject

Two-color stitches Many canvaswork stitches may be worked in two or more coiors within the same design area, emphasizing the pattern created by the stitch itself, Colors may be close shades or strong contrasts, depending on the effect required.

Striped rows Work rows of stitches in different colors: use two coiors alternately, or set up a coior sequence of three or more colors, repeated acioss the required area. The rows may be horizontal, vertical, or diagonal, depending on the construction of the stitch pattern.

Suilable stitches. all canvaswork stitches may be used in any combination straight. crossing. diagonal loop and pile, details may be added using stitches such as French knots (page 105). or outlines may be emphasized with backstitch [page 42) or couched lines (page 91 1

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Combining colors within a row (fig 3c) Different colors may be used ior alternate stitches. First work ail the alternate stitches in one coior. then use the second color t o work all the missing stitches. Matching stitches may be staggered or placed above each other. Use one coior ( f i g 3d) t o work ail the stitches of one tvue, .. then chanee to another for all the stitches of the second type

Charted design hints

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oilo ow CanvasworkGu~dellnes p r e ~ a r ea box or l ~ n e chart as pages 31-33 Shapes may be adjusted slightly to fit a stitch pattern, or part-stitches used at the edges. Some stitch patterns may be elongated to fit an outline, as on the fish's tail in fig 2 When working a background area surrounding a motif, never stop and begin again elsewhere, ifyou don't count threads accurately. the stitch pattern will not match up Work the background stitches in logical rows, around the motif; do not pass the yarn across the

than two colors (fig 3b1, workas many stripes as required for one repeat, then begin again with the first coior. The appearance of some stitches (for example, herringbone stitches) may change because their rows are directional. Fasten off the thread at the end of each row and work ail the rows in the correct direction for the stitch

oaper and the stltches chosen for each area drawn in detail as a line chart

fig3a (left):tled Gobelin stitch: horzontal stripes n two color^: fig 3b (right):fishbone st~tch:vertical stripes in three colors

The fish deslgn worked from fig2. usingstrandedPerslan yarn on 12-meshcanvas, The body is in shell stitch [worked sdeways), the head in crossst~tch, the fins and tall nfern stitch, and the bachground n Parisian st~tch.

(fig 3a1 Thread each color into a separate needle Work the first row in the usual way and " p a r k the needle and thread on the surface away from the working area Using the second color and another needle, work the second row, in the same or the opposite direction and "park again. For two-color stripes. you can then pick up the first needle again and work the third row back in the opposite direction. For more

fig3c (left):alternate stitches in a raw fig3d (right):oblong cross wia backsttchin twocolors

Iesign repeats

alf-drop arrangement

A design may be repeated in several walis as a border repeat stra~ght

arrangement, brick arrangement, or half -drop arrangement, in symmetrical halves, or as a quartered repeat.

Border repeats

Straight row arrangement

Count the number of canvas squares required for the width of one repeat and calculate how many repeats will be required for the length of the border. in the case of ~solatedmotifs on a plain background, the number of stitches in each repeat may be easily adjusted (by omitting, or adding, one or more background stitches t o each repeat) to make a perfect fit (fig 4a) For an odd number of repeats. place one motif at the center of the border, matching the vertical center lines, and repeat out to each side. (fig 4b) For an even number o f repeats, work one motif at either side of the center line on the canvas. then repeat out t o each side.

(fig 4c) Calculate how many repeats are required in each horizontal line, and how many rows of repeats. For an odd number of rows, work the central row first, as for a border repeat Then repeat the row above and below. For an even number of rows, work the first row above or below the canvas center line

ertical rows, work the central row in similar way t o a border repeat, but For an even number of rows, work e first row t o the right or left of the rtlcal canvas center line Then

bottom edges of the repeats t o right and ieft. Continue alternating the rows as required

f g k: stlalghi rows oi repeats

Brick arrangement (fig 4d) For an odd number of rows. first work the central row as for a border repeat. For an even number of rows, work the first row above or below the canvas center line. Then match the center line of each repeat on the first row with the s ~ d eedges o f the repeat above and below Continue alternating the rows as required

flg4d b r c k arrangement

fig 4f. Symmetricalhalves: veltca center

Quartered repeats Some designs are ''four-way symmetrical"and only one quarter o f the design is charted. (fig 4gl Mark the top of the canvas to match the chart. Work the first quarter following the chart. matching the center lines Work the top left (second) quarter as a mirror image of the first quarter. To work the bottom left (third) quarter, turn the chart upside down and copy it exactly Work the bottom right (fourth) quarter as a mirror-image o f the third quarter. I

I fig4e: half-droparrangement

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Adesign may be symmetrical about either a vertical or a horizontal center line. In either case, only one half need be charted. (flg 41) Begln by worklng the first half as charted, w h ~ c hmay be above or below the hor~zontalcenter line, or to the left or right of the vertical center line. Then match the second half exactly in reverse, as a mirror image.

f1g4g:square qualteied repeat

(fig 4h) This design is also quartered, but the sections are triangles made by dividing the design diagonally. Such designs may be centered by means of diaronal.miter lines instead of center lines. Tack matching miter lines on the canvas, dia$onally across the canvas intersections. work the top (first) quarter of the design exactly as charted. ,urn the canvas through 90 degress t o work each successive quarter ~fyou are worklng st~tches from a line chart, the direction of the stitches will change for each quarter. ~fyou are working from a box chart in a small stitch such as tent or cross stitch, you may choose t o turn the chart (instead o f the canvas! through 90 degrees for each successive quarter. and so keep the stitch direction the same across the whoie design.

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Pg 4h: diagonal quartered repeat

Motif designs These are formed by repeating units, each unit often defined by top and bottom rows that are mirror-images of each other. The stitches in each color line are not always of the same length. Motifs may be repeated i n any arrangement (see pages 236-2371, t o fill a canvas of any size. The spaces inside the motifs are filled with more rows of Florentine stitches in any formation. The spaces between repeating motifs are filled in a similar way.

Diagonal quartered designs These are usually worked with the stitches of each successive quarter running at right angles t o those of adjacent quarters.

A mot11design repeated in a straight arrangement usjng tapestry woo on 12-mesh canvas

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Florentine work Sometimes calied Bargello work, this unique type of canvaswork was developed in Florence at the time of the italian renaissance, I t is characterized by the use of ~ r.~ -+itch inage 1631 ,,-l.n -., ...nu-t..i.n .e , , ~ ~ " and its variations. Traditionally, the lines o f Florentine stitches in waves, flames, curves, peaks, and valleys are worked i n graded " ~ - - colors, forming dramatic abstract patterns that are easy to work once the first pattern line 1s established. For best results use singie-thread canvas and fairly heavy wools or silks t o give good canvas coverage. Choose several shades of one color or contrasting mlnrc nf a n eoual 1e.e - ~ value , ~ . - ~several pale colors or several dark colors); more complex designs may include two or three shades o f each of several colors separated by strong contrasts. There are three common ways in which Florentine stitch may be used in a design: row designs (page 1631, motif designs, and diagonal quartered designs A iine chart (page 32) is usually required ~

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fig 5: diagonal quartereddesign

Thecompleted design workedfromthe chart in fig5, Usingtapestrywo~ison 12~meshcanvas. Decide on the number of graph squares needed on each side of the square. Choose an odd number so there will be a central stitch. Draw this line on graph paper. and draw in the miter lines at 45 degrees t o it. Mark the center stitch of the line.

Plan a iine of Florentine stitches just inside the line, repeating as a mirror-image at each side o f the center stitch Plan more iines of stitches inside the diagonal quarter, following the steps of the first line As the width o f the triangle reduces. different patterns form at the miter lines. End with one stitch into the center, or fill a small central area with tent stitch or an Algerian eye stitch, The outer edge may be filled with Florentine stitches of different lengths, or with tent stitch to make a firmer edge. Tack matching miter lines onto the canvas. Use a frame or hoop i f desired. Begin either at the center or at the outside edge, Each quarter may be worked in turn, or each color may be worked as a round, changing the stitch direction at each miter iine.

Borders

Finishing Touches pressing and blocking Most embroidery on fabric may be pressed after completion to remove creases in the fabricand set the stitches; seriously distorted pieces may be blocked. Most canvaswork will need t o be blocked t o make the canvas threads lie at right angles, although canvaswork in straight stitches may only require pressing. ~f in doubt, try pressing the work first; if it remains distorted, block it

board, covered by transparent piastic. Soak embroidery on fabric in cold water. Thoroughly dampen canvaswork with a sponge and warm water on the wrong side Lay the work face down on the blocking board. Using the fabric grid or template as a guide, pull the work t o shape. Use map pins, or insert ordinary pins at right angles t o the edges of the work Beein at the center of u each side, pinning at i inch (2.5 cm) intervals, working outward to the corners Canvas threads should be straight and at right angles. Leave flat t o dry completely.

Pressing Lay the work right side down on a well-padded surface such as a folded towel or blanket, t o avoid flattening the stitches. Heat iron t o a suitable setting if several temperatures apply t o different fabric and threads. choose the lowest. Cover the work with a lightweight damp cloth, well wrung out. The cloth should be white or

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Press the embroidered area only lightly, lifting and replacing the iron, not rubbing it across. Press the surrounding fabric in the usual way Leave work flat to dry completely.

Blocking

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Prepare a blocking board. This is a piece o f soft board covered with a layer of batting and a top layer of cotton fabric, both layers are folded to the wrong side o f the board and glued or stapled in place. Use fabric such as gingham t o provide a grid for blocking rectangular pieces accurately. To block work t o an exact shape or size, make a paper tempiate or drawing of the shape required, with center lines, and pin it t o the

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Fabric embroideries may be used as household articles, or hung on a wall without mounting and framing. Unquiited pieces may be lined t o protect the backs of the stitches from fraying. Whether quilted or not, the edges will require finishing this may be done with an extended lining, or with separate strips of fabric, as below.

Edging with an extended lining Cut lining larger than main fabric: add the width of the desired edge, plus a turning allowance. all round. Work quilting as page 218 if desired.

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Edging with bias binding This method is particularly useful for a piece with curved edges. Bias binding will stretch around ail but the tightest curves. I t may be purchased in a wide range of colors and widths, or made from bias-cut strips o f any suitable fabric. + Apply binding t o two opposite sides: open out one fold of the binding and pin t o the right side o f the work, matching the edges. Backstitch or machine stitch along the fold line.

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4~ fig2:edgingwith extended lining P*

Fold and press the turning allowance to wrong side ail round the lining. Lay the lining face down on a flat surface, with the work face up at its center Fold, press, pin, and tack two opposite sides over the edge of the work, and machine or slip stitch in place Fold and stitch the two remaining sides in the same way, making square corners. Excess fabric may be cut away at corners as shown to make them less bulky.

fg3:foid and sew (figshowswrongslde of work) (fig 3) Press the binding up and fold it over the raw edge so the second fold matches the stitching line on the wrong side Slip stitch the second fold in place. Then apply binding t o the two remaining sides cut the binding Yi inch ( 1 25 cm) longer at each end and stitch in place as before. Fold in the excess at each corner and sew down the second fold.

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Lining canvaswork ; u

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Lining Substantial articles such as rugs and large hangings will prevent stitches from fraying on the wrong side and help the work t o keep its shape. Bare canvas at least I inch (2.5 cm) wide all round the work is required. The workshould first be blocked (page 240).

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fig4: stitch down excesscanvas Fold excess canvas to wrong side along straight thread lines, and slip stitch or herringbone stitch (page 75) in place to back of canvaswork stitches with strong thread.

An interiining such as thin carpet felt may be included. Cut this t o the same size as the work, pin i t t o the wrong.side, and slip stitch the edges in place. Cut lining fabric (such as hessian) 2 inches (5 crn) larger all round. Fold the excess t o the wrong side o f t h e lining all r o u n d Pin t o back of work, wrong sides together. Lining may be stitched t o work i n a grid pattern or following design lines, i n a similar manner t o quilting.

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Hanging methods

Unframed work may be hung from a rod 0 r pole by adding a sleeve or tabs t o the top edge. The piece should first be lined,

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Hanging with a sleeve

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Prepare a pole about 4 inches I10 cm) longer than the work's width. Cut a strip of suitable fabric 2 inches (5 cm] longer than the width of the work, and wide enough t o fit around the pole. pius I inch (2.5 cm). Turn a small hem t o the wrong side at each short end of the strlp

fig7: stitch strip (fig 7) With right side of strip t o wrong side of work, stitch one long edge of strlp t o back of work about X i n (0 6 cm) down from top edge

(fig 8) Place the pole in position. fold the strip over it and pin it in place. Remove the poie and stitch down the remaining edge of the sleeve.

fig9: hung with a pole (fig 9) Replace the poie Hang with a cord firmly tied around each end o f t h e p o l e or drill a hole at each end o f the pole. thread the cord through and finish with knots or beads.

Hanging with tabs Instead of a sleeve, attach separate tabs made from ribbon or braid

fig 6: sew on lining

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fig 5: cover exposed canvas Turn the work right side up and work small upright stitches in a suitable color yarn t o cover the exoosed canvas threads on each edge

Slip stitch lining in place with strong thread. For large hanging pieces leave the lower edge unstitched, and hang the work for a few days before finishing.

fig8: fold strp over pole

fig 10: hanging with tabs

Mounting and framing Finished work may be mounted o n a stretcher frame or o n a piece of flat board such as hardboard or acid-free cardboard. Stretcher frames are often used for canvaswork and flat boards for more delicate pieces I f the work is t o be framed, the stretcher or board should be a little larger all round than the area t o be visible, as the frame will cover the edges. The work itself must be larger all round than the stretcher or frame, and should first be pressed or blocked (page 240).

Mounting on a stretcher

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Lay the work face down on a fiat surface and place the frame centrally. Fold the unworked edges u p over the stretcher and fix in place with a staple gun, or with tacks and a hammer, at the center of each side. The work should be firmly stretched but not distorted Add more tacks or staples, working from the center of each side toward the corners.

Mounting on a board

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If desired, the board may first be covered with a layer of batting. folded over t o the wrong side. and glued or stapled in place. Lay the work on a flat surface and place board in position. Fold over the unworked edges on two opposite sides and insert pins into the edges of the board.

. (fig I I ] At each corner make a triangular fold and f ~ ixt down firmly The work is now ready to be framed

Framing Embroidery may be framed witn or without glass. Framing under glass protects the work, but even modern non-

reflective glass detracts slightly from textured effects. The frame should be deep, with an extra step inside so that the glass does not actually touch the embroidery, or the work may be surrounded with an acid-free cardboard window mount. The frame should be completely sealed to avoid condensation. Work framed without glass is more likely to become soiled, but if texture is an important part of the effect, and the work is not too delicate to be cleaned, i t is often more satisfactory.

Cords, braids, fringes, and tassel! Cords and braids

flg 12: lacing

fig 11: stapling edges in place and fixing corners

Pin and lace the remaining two sides in the same way, folding simple square corners. Turn the work over and make sure it is correctly positioned; the lacing may be loosened to adjust it, then the thread ends secured and trimmed The work is now ready t o be framed.

Use a needle and strong thread t o lace the two sides together as shown, pulling firmly. Thread may be pulled through from the starting point as shown. Hoid each end in place with a backstitch, and leave long thread ends.

These are easy t o make t o any length and thickness. and may be used t o trim ail kinds of embroidered articles, t o hide seams, or t o hang work mounted on a rod or pole (page 2411 Stitches to hold them in place may be hidden beneath a cord or braid, or cord may be attached by couching (page 91 1. The ends may be knotted and frayed into small tassels, or the securing knots untied and the individual thread ends plunged (page 227)t o the wrong side of the work. You can use almost any thread or yarn. In a single color or combine coiors t o match the work t o be trimmed. For heavier cotd s and braids, try decorative knitting yarns such as lurex or smooth cotton.

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f g 13: pin cord

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Making a twisted cord c u t two or more lengths of thread. each three times the finished length required, Knot the threads together at one end and pin the knot to a fixed surface, such as the back of a chair or an ironing board. + (fig I ? ) Stand some distance away so the threads are taut and twist the free ends round and round between your finger and thumb until the whole length is tightly and evenly twisted, (fig 14) Place your other forefinger at the center and bring the two ends together Release your forefinger and allow the threads to twlrl around each other IKnot all the ends toeether and remove the Pln " Run the cord firmly through your fingers to even out the twists. This cord must be knotted before being cut t o length. (fig 15) To make a two-color cord, cut lengths of each color as above Take the threads of one color. double them, knot the ends. and fix with a pin as above. Take the threads of the second color and pass them through the l o o p bring their ends together, and twist as above. When complete, each color will be twisted around the other

Fringes There are three main types of fringe: those made by fraying the edge of suitable fabric (such as evenweave linen), those added in thread or yarn after the work is complete, and beaded fringes (shown on page 144). A fringe is often used at the lower edge of a piece of work designed to be hungvertically, adding weight with knots or beads t o prevent curling. Rugs and other canvaswork furnishings may also be fringed.

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MaMng a frayed fringe

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fig 14: bring ends together

11815 two~colorcord

~ a k i n ag plaited braid Three lengths o f thread or yarn may be braided in the same way as hair. Pin the ends to a f ~ r msurface as for twisted cord.

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fig 16frayed fringe Sufficient fabric must be left unworked along the edge to be fringed: about twice the depth o f fringe required. Mark this depth with a line of pins (fig 16) Beginning at the outer edge, loosen each horizontal thread with a pin and remove it. Repeat u p t o the line of pins.

Knotted patterns may be built up, and beads may be added if desired.

Adding a separate fringe Knotted patterns or beads may be added if required. Strands for fringing should be cut accordingly. Yarns liable t o fray may be knotted at free ends. A heavy yarn such as silk or viscose rayon will hang well. Firm cotton or linen yarn is suitable for rug fringing.

fig 18: wind yarn around card (fig 18) Wind thread or yarn around a piece of car-' ---' -..*'make strands of equz

fig17: knotthefringe (fig 17) Knot groups of vertical threads together t o secure the edge. Use a tapestry needle t o adjust the position of each knot before tightening it.

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f ~ g13: oin cord

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c u t two or more lengths of thread. each three times the finished length required. Knot the threads together at one end and pin the knot t o a fixed surface, such as the back o f a chair or an ironing board. (fig 111 Stand some distance away so the threads are taut and twist the free ends round and round between your finger and thumb until the whole iength is tightly and evenly twisted. (fig 14) Place your other forefinger at the center and bring the two ends together Release your forefinger and allow the threads to twlri around each other Knot all the ends toeether and remove the PI^ w Run the cord firmly through your fingers t o even out the twists. This cord must be knotted before be~ng cut t o length. (fig 1 5 )TO make a two-coior cord. cut lengths of each color as above. Take the threads of one color, double them, knot the ends, and fix with a pin as above. Take the threads of the second coior and pass them through the ioop, bring their ends together, and twist as above. When complete, each coior will be twisted around the other.

. l ~ 14 g brlng ends together

fig 15, two-color cord

Fringes

Making a misted cord

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There are three main types of fringe: those made by fraying the edge of suitable fabric (such as evenweave linen), those added i n thread or yarn after the work is complete, and beaded fringes (shown o n page 144). A fringe is often used at the lower edge of a piece of work designed t o be hung verticaliy, adding weight with knots or beads t o prevent curling. Rugs and other canvaswork furnishings may also be fringed. MaMng a frayed fringe

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fig 16:frayedfrnge

Sufficient iabric must be left unworked along the edge to be fringed: about twice the depth of fringe required. Mark this depth with a line of pins. (fig 16) Beginning at the outer edge, loosen each horizontal thread with a pin and remove it. Repeat u p t o the line o f pins.

Adding a separate fringe Knotted

patterns or beads may be added if required. Strands for fringing should be cut accordingly. Yarns liable t o fray may be knotted at free ends A heavy yarn such as silk or viscose rayon will hang well. Firm cotton or linen yarn is suitable for rug fringing

fig 18: wind yarn around card

(Fig I81 Wind thread or yarn around a piece of card and cut to make strands o f equal length.

Making a plaited braid Three lengths

of thread or yarn may be b r a ~ d e din the same way as hair Pin the ends t o a firm surface as for twisted cord.

Knotted patterns may be built up, and beads may be added if desired.

fig 17: knot ihe fringe

(fig 17) Knot groups of vertical threads together t o secure the edge. Use a tapestry needle t o adiust the position of each knot before tightening it.

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H~~ t h fabric ~ and mark positions for evenly spaced h o p along it. Use a stiletto or large crewel needle t o form the holes through all thicknesses of the hem (fig 19) insert a crochet hook through a hole from the back, catch the center o f a strand or bundle, and pull the ioop through t o the back. the ioou and . D,,II t h e free e n r k throueh ~u tighten. Attach all the strands, then trim them to an equal length.

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Cut through all the strands at the other edge of the card. (fig 211 Use the same or another color t o bind all the strands

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fig 19: pull loop through

Tassels ~~~~~l~ are simple t o make and may be applied t o many forms of embroidery at corners ior anywhere!) or used t o finish the ends o f cords and braids. choose yarn that wiil not easily fray, and that will hang w e l l a heavy Yarn such as silk or viscose rayon is ideal

fig21: bindingthetassel

Making a knotted tassel Wind, tie, and cut as f o r 8 bound tassel, 2 inches ( 5 cm) longer than length required. Tie all the ends with an overhand knot. Use a large tapestry needle t o slide the knot i n t o place. Tighten the knot and trim all the ends level.

Making a bound tassel (flg 20) c u t a plece of card the depth of the requ~redtassel, and wind yarn around i t to the required thickness. ,,:read a separate ,>-inch 130-cmi ieneth of varn into a blunt needle and uass it under the bundie at one edge o f the card. Tie the ends firmly and leave them t o attach the tassei iater.

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Disolav t - - - - ~ ~~- -r i e hsunlight - dust, and damp will ail take the11 t o l l on threads, yarns w

fabrics, so choose your display position carefuiiy. types of embroidery should be stored flat in a dark place. protected iuiiorc n f i c i d - f r w tissue naoer. Pieces too large t o be stored flat may b e

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'Brrange in different foids from time t o time. Protect from moths.

'FCleaning embroidery Canvaswork may be regularly cieaned with a vacuum

-*-.."~ilnholctervton1 and reduced suction if possible ~ r a g i i epieces may be laid fiat and covered with an open fabric such as muslin or nylon curtain then vacuumed with the nozzle heid iust above the fabric fabric, held with ~~~t types of fabric and canvaswork may be washed or dry-cleaned. Avoid washingwork containing metal threads unless you are sure they will not deteriorate; use an a r t i s t . ~sable hair brush t o remove dust from such threads,

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bound and knotted tasssls

Display, storage, and care of embroidery

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tightly. lay one end in a loop along the tassel, then bind the other end tightly and evenly from the top downward. Pass the free end through the ioop and pull on the short end (as arrowed) to carry the free end beneath the binding. Trim the ends of the binding thread and dab with antifray solution Hold the tassel at the top and trim the ends evenly. The two thread ends at the top may be used to attach the tassel

ess: dab a piece of damp cotton wool on the wrong side

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!or comes out of the thread or fabric: test each thjsway. if there are any traces of color, do n o t wash. aswork, You may wish t o prepare a paper template to e n a b l ~ size Any lining must be removed from from fabric work too. *t-bottomed dish or bath large enough to allow the work t o lie flat. "*&@'in warm Water and dissolve a little mild soap or an embroidery shampoo (never use detergent). Place the work in the bath face downward and press the back I\ a sponae-do not rub or snueez~ . . Always Pour the water away without removing the work, t o avoid dragging. Rinse with several changes of cool water until all traces of soap are removed Lay the work right side up on a fiat surface protected with a towel and blot "'ith a clean sponge. Leave flat t o dry, or re-block canvaswork to shape as ige 240.

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Aida fabric An evenly woven fabric with reguiariy spaced holes, forming a grid of squares, used for counted thread embroidery. Applique The decoration of fabric by attaching shapes cut from other fabrics. Assisi work A type of cross stitch where the background is stitched and the motif left as background fabric.

of smail straight stitches. Blocking The damping and stretching of finished work to fix its shape. Broderie anglaise A type of freestyle openwork embroidery on fabric featuring small eyelet holes and dainty floral patterns. Bullion A type of metal thread, coiled like a tight, hollow spring; various finishes include "rough," "smooth," and "crinkled."

Bargello (Florentine work) A type of long stitch (straight Gobelin stitch) embroidery on canvas, producing dramatic zigzag or flame-iike abstract patterns.

Canvas A woven mesh with a regular number of threads (and holes) to the inch (2.5 crn) in each direction.

Batting Natural or synthetic wadding In sheet form, used for quilting.

Canvaswork Embroidery worked on evenly woven canvas mesh, with stitches placed regularly by counting canvas threads.

Bias binding Narrow strips of fabric cut on the bias ( i e . at 45 degrees to the straight grain) and therefore stretchable, pressed with folds for easy application, used to finish raw fabric edges. Binca fabric Similar to Aida fabric but with larger squares. Biackwork A type of counted thread embroidery featuring repeating patterns

Coarse weave Any fabric with a plain weave easily visible to the naked eye, such as hessian. Color-fastness The ability of threads and fabrics to withstand immersion in water without color running. Couching Attaching a thread or cord to the fabric surface by stitching it down with another thread.

Count The number of holes (or threads) to the inch (2.5 cm) of an evenweave or Aida fabric. Counted thread embroidery Any type of embroidery where stitches are accurately placed on evenweave or Aida fabric by counting the threads or squares. Crewel work A type of freestyle embroidery worked in wools on linen or woollen fabric. Crochet hook A smooth, slim shaft of metal or plastic with a hook at one end. Cut work A type of freestyle embroidery featuring areas outlined with close stitches and then cut away leaving holes in the fabric. Drawn thread work A type of counted thread embroidery where certain threads are withdrawn from the fabric, leaving threads in one direction only to be decorated by stitching. Evenweave fabric A fabric woven with the same number of threads to the inch (2.5 cm) in each direction, used for counted thread embroidery.

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Freestyle embroidery Any embroidery worked by following design lines, rather than by counting threads.

puling threads asde (e.g. drawn thread work, pulled work), or by joining pieces across a gap with insertion stitches.

Fusible bonding A web of non-woven fibers, usually backed with paper, which may be melted with an iron to attach fabric to fabric.

Passing thread A very fine metallic thread.

Florentine work see Bargelo. Gauge The number of holes (or threads) to the inch (2.5 cm) of a canvas. Hardanger work A type of counted thread openwork embroidery featuring threads cut and drawn in geometric patterns. Insertion stitches Decorative stitches worked to join two pieces of fabric together with a small gap between. Interlining A non-woven fabric used as a backing, or placed between two layers of fabric, to prevent distoriion in use or during stitching. Kioster block A block of five satin stitches used in Hardanger work. Muslin A very lightweight woven cotton fabric. Openwork Any type of embroidery producing holes or gaps in the surface by cutting (eg, cut work, broderie angiaise), by

Penelope canvas A very stable canvas woven with interlocking pairs of threads. Pile Thread stitched through a fabric or canvas to stand away from the surface in ioops, which may then be cut to leave a surface of individuai ends of thread. Plate A fine metaiiic strip Plunging A method for taking the cut ends of a couched thread or cord through to the wrong side of the work. Pulled work A type of counted thread embroidery worked on loosely-woven fabric, where stitches are tightly pulled to distort the loose weave into patterns. Purl A type of metal thread, s m l a r to bullion but finer and more flexible Quilting Stitching together two layers of fabric with a layer of batting between them. Shadow work A type of freestyle embroidery worked on the wrong side of translucent fabric, to

show as a muted shadow on the right side Slate frame A rectangular frame with adjustable rollers on two sides, used for stretching large pieces of work while stitching. Smocking Embroidery worked on fabric gathered into pleats, to both decorate and secure the pleats. Stabilizer fabric (usuaily non-woven) used to back embroidery during stitching, to prevent distortion. Stump work A type of freestyle embroidery featuring bold threedimensional effects, often achieved by stitching over padding, wires, or preformed shapes. Tacking Temporary stitching, usually similar to running stitch (page 38), used to hold fabrics in piace until work is complete. Turkey work An embroidery stitch worked on fabric to produce a series of tightly-heid loops which may then be cut. Waste canvas Special canvas that may be pulled apart when wet, used to apply counted thread designs to piain fabric.

206,226,242 Herringbone stitch (on canvas) 22, 182 ~ o l b e i nstitchk8, 40, 206, 207,209, 209, 210, 226 Honeycomb filling 15, 118, 222 Honeycomb stitch 16, 127 hnons 25 ~ i x i o n t abackstitch l 167 Horizontal line of cross stitch

line stitches 8 linen 2 7 Lines of cross stitch 69 lining canvaswork 242, 242 Long and short blanket stitch 9, 59 Long and short satin stitch 12,89 Long arm cross stitch 21, 72, 174 long stitch 233, 233 Lone stitch triangles 20, 168 160 Long-armed cross stitch 1 0 how to stitch 34-5 feather ~ ~diamond~stitch 20,g Long-armed ~ ~ stitchi 11, .. 164 Hungarian grounding 20, 165 loop and pile stitches 23, 200-203, 220 Hungarian stitch 20, 164 Loop stitch 10, 68, 214 LOOPstitch variation 136, insertion stitches 1 6 212 interfaced herringbone band Looaed bead fringe 18, 144 i l 74 Interlaced running stitch 3 9 magnifying lens 25 talian cross stitch 21, 177 Marking cross stitch 10, 7 1 taiian insertion stitch 16, marking grids 3 0 125 marking pens 25 Italian shading (nu61 228. masking tape 25 228 materials 26-8 metallic threads 26 Jacquard stitch 19, 159 Milanese stitch 19, 158 Japanese darning 4 1 Montenegrin cross stitch 21, 175 kloster blocks 212, 212, 213, ~ o & ; s hstitch 19, 160 213,214,214 Mosaic stitch 19, 152 knitting yarns 2 6 mounting Knotted blanket stitch 10, 67 on a board 244-5, 244 Knotted border stitch 17, 132 on a stretcher 244, 244 Knotted herringbone inseriion 16, 123 needlepoint slips, appiying 221,221 Laced herringbone stitch 11, . needles 24 76 Laced insertion stitch 16, 124 threading 34, 3 4 Norwich stitch 23, 196 Laced running stitch 3 9 Ladder stitch 15, 17, 121, Oblong cross with backstitch 131 2< 170 laid filling stitches 13 Oblong cross stitch 21, 170 Large Aigerian eye stitch 22, Old Florentine stitch 20, 166 189 Open chain stitch 8, 47 Leaf stitch 23, 193 Leaf stitch with backstitch 23, Open Cretan stitch 11, 82 Open loop pendant couching 191 94 ~ e v i i h a nstitch 21. 173 Openwork seams 224, 224 light source 2 5 line chatts 32,32, 210, 234, Oriental stitch 19, 158 ornamental quilting 219 234

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Overcast bars 17, 134. 212, 213, 214 Overlapping blanket stltch 10, 65 Padded satin stitch 12, 8 7 with non-woven fabric 87 with stitches 8 7 padding 221,221, 222. 229-30, 229, 230 paisley motifs 21 6 Parisian stitch 20, 165, 234 partial charts 3 3 Partly woven ~ ~ bars 135 Pekinese stitch 8 , 44 Pendant couchlng 1 2 , 9 4 Perspective stitch 22, 184 Petal stitch 23. 199 Pin stitch hem 18, 139 nlnc -...- 74 Pinwheel stitch 23, 198 Plait stitch 21, 178 Plaited Gobelin stitch 21, 176 Plate stitch 12, 8 8 plunging 227-8,227, 245 Portueuese border stitch 15. --

Precious thread techniques 227-31 special applications applying gold or silver kid 230,230 bullion and purl as beads 230 sewing plate 230 special techniques 2 2 7 ~ 3 0 couching 227-8 padding 229-30 spacial threads 227 working method for precious threads 2 3 1 pressing 240 Pulled honeycomb stitch 18, 141 stitches 18 Punch stitch 18, 140 purl 228, 229, 230, 231 Quilting 218-19, 218, 2 1 9 241 ornamental 219 Raised chain stitch 15, 111. 222 Raised cup stitch 15, 114,

222 Raised herringbone stitch 15,

Slanted satin stitch 8 6 applying needlepoint slips slate (or square) frame 25 221,221 117 slip stitm 241, 242 padding 221, 221 Raised stem stitch 15, 112 Sloping blanket and crossed Turkey work 2 2 2 . 2 2 2 raised stitches 15, 111.16. sloping blanket stitch 9, using wire forfreestanding 220 60 shaoes 221-2. 272 -, --Ray stitch 22. 190 Smocking 225, 225 ~hree~duarier cross stitch 69, reducing designs30, 3 0 smocking stitches 16, 225 206,209,209 Rep stitch 19, 160 Split stitch 8, 4 4 Tied cross stitch 10, 73 Reversed cross stitch 22, 185 Spoke Stitch 17. 130 Tied Gobeiin stitch 21, 176 Rhodes stitch 23, 195 square and diagonalfilling Tied herringbone stitch 11, Rice stitch 21, 179 13,99 75 Right angled corners 92 Squared laid f i i n g 13, 98 tracing method 29, 2 9 Ringed backstitch 18, 141 stab method 34, 3 4 Traing 13, 95, 222 Rococo stitch 22. 180 stabilizingfabrics 28 transfer method 29, 29 Rope stitch 9,16,56: 126 Starstitch 10, 14, 21, 72, Trellis and cross filing 13, Rosette chain stitch 9, 5 4 98, 110, 172 inn .-Roumanian couching 13, 103 startine to stitch 35 Trellis stitch 16, 129 run-in method 35 Stem siitch 8, 43.210, 211 Triangle filling 13, 101 Running stitch and variations stiletto 24 Tr~anglestitch 23, 197 8, 38-9, 219, 223, 223, stitch, how to 34-5 trimmings, stitches for 18 226,226 stitch coverage 35 Turkey work 2 2 2 , 2 2 2 Rya stitch 23, 200 stitches Turning corners 12, 92 for canvas 19-23, 146.203 Twisted border and varations satin stitch 12, 35. 212, 214 forfabric 8-18, 36-145 17, 133 Satin stitch and variation 12, for trimmings 1 8 Twisted chain stitch 8, 48 Rfi stitching methods 3 4 twisted cords 228, 245. 246, Scale couching 1 3 storage 248 246 scissors 24 straight Gobelin stitch 31, 32 Twisted herringbone insertion Scotch stitch 19, 153 Straight satin stitch 8 6 16,123 Scottish squares 19, 155 Straight stitch 14, 104, 222 Twisted lattice filling 15, 119 Scroll stitch 9, 49, 219 straight stitches 2 0 Two-color chain stitch 9, 57 Seeding stitch 14, 104 Stump work 220, 2 2 0 TWO-Color Split stitch 44 Serpentine stitch 17, 131 Surface honeycomb stitch 16, two-color stitches 235, 235 sewing method 34, 3 4 127 sewing plate 230, 2 3 0 Surrey stitch 23, 202 UP and down blanket stitch 9, Sewing on sequins 62 using beads 143 Tailor's buttonhole stjtch 9 Upright cross stitch 10, 21, with continuous stitches 61 73, 171,233 142-3 tape measure 25 Upright Gobeiin stitch 20, 3 1 with invisible stitches 142 tapestry needles 2 4 161,233 Sewing sequins and variations tassels 248-9, 2 4 8 , 2 4 9 18,142 Tentstitch 19, 31, 148.9. Vandyke stitch 16, 128 Shaded satin stitch 12, 9 0 232,232, 233, 234, Veivet stitch 23, 2 0 1 Shadow work 226, 2 2 6 238,239 Vertical backstitch 167 Sheaf stitch 14, 107 Tete-de-boeuf st~tch14, 109 Very sharp corners 92 Shell stitch 23, 194, 2 3 4 thimbles 24 Shisha stitch 18, 145 Threaded herngbone stitch washing embroidery 249 silks 26, 2 7 11.76 waste backstitch method 35, Single buttonhole bar 10, 64, threading needles 34, 3 4 35,213,232 223 threads 26 waste canvas 28, 208 Single cross stitch 69, 169 Three-dimensional effects water-soluble films and papers Single knotted stitch 23, 203 220-22 28 Slanted Gobeiin stitch 19, appyingfabric slips 221 water-soluble stabilizer 150 method 30, 3 0

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Index -

Wave filling 15, 117 Wave stitch 1 6 , 18, 128, 140 Wheatear stitch 14, 109 Wheel corner 1 7 , 138 Whlpped blanket stitch 5 8 Whipped circle 120 Whipped running stitch 3 8 , wired shapes 2 2 1 ~ 2 222 wools 2 6 working practice 2 0 4 ~ 4 9 canvaswork techniques 232-9 counted thread techniques 206-15 freestyle embroidery techniques 216-31 Woven bar with picots 135, 214 Woven bars and variations 17, 135, 212 Woven circles 15, 120 Woven picots 15, 115, 222 woven stitches 15 Zigzag chain stitch 8, 48 Zigzag couching 13, 9 4 Zigzag overcast bars 134 Zigzag stitch 10, 7 4

Credits Page 220 The Whitworth Gallery. The University of Manchester.

unlted Kingdom The author would like t o thank Coats CraRs UK for kindly supplying many of the embroidery threads and other materials used for the swatches i n this book. ) '