Computer Role in Embroidery
Specialized Embroidery Machines have been designed to work with data from a computer. This data instructs the machine to stitch a particular design, determines the correct stitching order, indicates when to trim threads, and many other functions. In only a few minutes, the computerized embroidery machine will stitch a design with precision accuracy that no human can match for near perfect quality.
The artwork for embroidery design is entered into the computer. The computer transfers the robotics instructions necessary for stitching the design to the machine. The machine operator places the item, such as a sweatshirt or ball cap on the machine with a holder or hoop. The operator also chooses the colors of thread appropriate to the design. Once the "set up" has been performed, stitching may begin by pressing the "Start" button on the machine. It will precisely and efficiently stitch the design. A typical logo on a ball cap may take five minutes or so to stitch, roughly a dozen caps an hour.
The computer processes the artwork from your customer in a manner that the machine can understand. The computer allows you to do lettering with a design, such as adding the date to an event such as a golf tournament.
The process works like this:
1) The Computer chooses a design from the selection that you have stored on disk or your customer asks you to prepare his artwork for embroidery using the process known as "digitizing."
2) The computer program allows you to "input" the artwork so it can be seen on the color monitor.
3) Add lettering or dates, re-size the design to fit right on the garment or even edit the design for changes.
4) Once you save the design, it can be directly transferred to the machine for stitching. The computer has made intricate and complex embroidery available to the public on a scale never thought possible!
Commercial and Contract Embroidery Factories
Factories can have a few small machines or many large machines, or any combination of machines. Contract embroidery is a term used to describe embroidery being done on goods that are supplied by the customer to the embroidery house. Contract embroidery is limited to the trade. A company offering "Contract Embroidery" is embroidering wearable items for brokers, other embroiderers, ad specialty firms and screen printers at a wholesale rate. The customer of a contract embroiderer usually supplies the items to the factory and only pays the factory for the embroidery service. Commercial Embroiderers offer their services to the public and supply the wearable items.
Embroidery Machines
Not all machines are for embroidery only. Some are a combination of embroidery and sewing. Some of the more advanced features becoming available include a large color touchscreen, a USB interface, design editing software on the machine, embroidery adviser software, and design file storage systems. Commercial embroidery machines can be purchased as 1, 2, 4, 6, 12, 15, and 18 head machines. Industrial embroidery machines are available from 12 to 56 head models.
Loading the Embroidery Design and Stabilizing the Fabric, Embroidering the Design
Loading the Design
After editing the final design, the design file is loaded into the embroidery machine. Different machines expect different files formats. The most common home design format is PES. Common design file formats for the home and hobby market include: ART, PES, VIP, JEF, SEW, and HUS. Embroidery patterns can be transferred to the computerized embroidery machines in a variety of ways, either through cables, CDs, floppy disks, USB interfaces, or special cards that resemble flash and compact cards.
Stabilizing the Fabric
To prevent wrinkles and other problems, the fabric must be stabilized. The method of stabilizing depends to a large degree on the type of machine, the fabric type, and the design density. For example, knits and large designs typically require firm stabilization. There are many methods for stabilizing fabric, but most often one or more additional pieces of material called "stabilizers" or "interfacing" are added beneath and/or on top of the fabric. Many types of stabilizers exist, including cut-away, tear-away, vinyl, nylon, water-soluble, heat-n-gone, adhesive, open mesh, and combinations of these.
For smaller embroidered items, the item to be embroidered is hooped, and the hoop is attached to the machine. There is a mechanism on the machine (usually called an arm) that then moves the hoop under the needle.
For large commercially embroidered items, a bolt of fabric can be worked by a long row of embroidery "heads", producing a continuous pattern of embroidery. Each embroidery head is a sewing machine with multiple needles for different colors, and is usually capable of producing many special fabric effects including satin-stitch embroidery, chain-stitch embroidery, sequins, appliqué, cutwork, and other effects.
Embroidering the Design
Finally, the embroidery machine is started and monitored. For commercial machines, this process is a lot more automated than for the home embroiderer. For most designs, there is more than one color, and often additional processing for appliqués, foam, and other special effects. Since home machines only have one needle, every color change requires the user to cut the thread and change the color manually. In addition, most designs will have a few or many jumps that need to be cut. Depending on the quality and size of the design, stitching out a design file can require a few minutes or an hour or more.
After editing the final design, the design file is loaded into the embroidery machine. Different machines expect different files formats. The most common home design format is PES. Common design file formats for the home and hobby market include: ART, PES, VIP, JEF, SEW, and HUS. Embroidery patterns can be transferred to the computerized embroidery machines in a variety of ways, either through cables, CDs, floppy disks, USB interfaces, or special cards that resemble flash and compact cards.
Stabilizing the Fabric
To prevent wrinkles and other problems, the fabric must be stabilized. The method of stabilizing depends to a large degree on the type of machine, the fabric type, and the design density. For example, knits and large designs typically require firm stabilization. There are many methods for stabilizing fabric, but most often one or more additional pieces of material called "stabilizers" or "interfacing" are added beneath and/or on top of the fabric. Many types of stabilizers exist, including cut-away, tear-away, vinyl, nylon, water-soluble, heat-n-gone, adhesive, open mesh, and combinations of these.
For smaller embroidered items, the item to be embroidered is hooped, and the hoop is attached to the machine. There is a mechanism on the machine (usually called an arm) that then moves the hoop under the needle.
For large commercially embroidered items, a bolt of fabric can be worked by a long row of embroidery "heads", producing a continuous pattern of embroidery. Each embroidery head is a sewing machine with multiple needles for different colors, and is usually capable of producing many special fabric effects including satin-stitch embroidery, chain-stitch embroidery, sequins, appliqué, cutwork, and other effects.
Embroidering the Design
Finally, the embroidery machine is started and monitored. For commercial machines, this process is a lot more automated than for the home embroiderer. For most designs, there is more than one color, and often additional processing for appliqués, foam, and other special effects. Since home machines only have one needle, every color change requires the user to cut the thread and change the color manually. In addition, most designs will have a few or many jumps that need to be cut. Depending on the quality and size of the design, stitching out a design file can require a few minutes or an hour or more.
Editing Embroidery Designs
Once a design has been digitized, it can be edited or combined with other designs by software. With most embroidery software the user can rotate, scale, move, stretch, distort, split, crop, or duplicate the design in an endless pattern. Most software allows the user to add text quickly and easily. Often the colors of the design can be changed, made monochrome, or re-sorted. More sophisticated packages will allow the user to edit, add or remove individual stitches. For those without editing software, some embroidery machines have rudimentary design editing features built in.
Editing Embroidery Designs
Once a design has been digitized, it can be edited or combined with other designs by software. With most embroidery software the user can rotate, scale, move, stretch, distort, split, crop, or duplicate the design in an endless pattern. Most software allows the user to add text quickly and easily. Often the colors of the design can be changed, made monochrome, or re-sorted. More sophisticated packages will allow the user to edit, add or remove individual stitches. For those without editing software, some embroidery machines have rudimentary design editing features built in.
Digital Embroidery Design Files
Digitized embroidery design files can be either purchased or created. Many machine embroidery designs can be downloaded from web sites and one can be sewing them out within minutes. Please note that there are many different brands of machines, and each may use a different format. When purchasing or downloading free designs, you need to make sure you get the format used by your machine. If your format is not available, you can get a conversion program to convert from one stitch file format to another stitch file format - from PES to HUS or from DST to PCS, for example. Different conversion software programs are available.
A person who creates a design is known as an "embroidery digitizer" or "puncher". The digitizer, or puncher, users digitizing software to create their embroidery design. The digitizer creates the design in the native file format for the digitizing software. These are 'Object Based' design and allow the digitizer to easily reshape and edit the design later.
The native file formats retain important information such as:
1) Object outlines
2) Thread colors
3) Original artwork used to punch the designs
As a digitizer it is critical to maintain and keep the original digitized design file. Converting the design to a stitch file such as DST, PES and DSB will lose many of the valuable information, and make editing and changing the design very difficult or impossible.
Software vendors often advertise "auto-punching" or "auto-digitizing" capabilities. However, if high quality embroidery is essential, then industry experts highly recommend either purchasing solid designs from reputable digitizers or obtaining training on solid digitization techniques
Computerized Machine Embroidery Process
These are the basic steps for creating embroidery with a computerized embroidery machine.
1) Purchase or create a digitized embroidery design file
2) Edit the design and/or combine with other designs (optional)
3) Load the final design file into the embroidery machine
4) Stabilize the fabric and place it in the machine
5) Start and monitor the embroidery machine
Machine Embroidery
Machine embroidery is a term that can be used to describe two different actions. The first is using a sewing machine to "manually" create (either freehand or with built-in stitches) a design on a piece of fabric or other similar item. The second is to use a specially designed embroidery or sewing-embroidery machine to automatically create a design from a pre-made pattern that is input into the machine. Most embroidery machines used by professionals and hobbyists today are driven by computers that read digitized embroidery files created by special software.
With the advent of computerized machine embroidery, the main use of manual machine embroidery is in fiber art and quilting projects. While some still use this type of embroidery to embellish garments, with the ease and decreasing cost of computerized embroidery machine, it is rapidly falling out of favor. Many quilters and fabric artists now use a free machine embroidery process often called "thread drawing" (or thread painting) to create embellishments on items, or to create examples of textile art.
History of Machine Embroidery
Before computers were affordable, most embroidery was completed by "punching" designs on paper tape that then ran through a mechanical embroidery machine. One error could ruin an entire design, forcing the creator to start over. This is how the term "punching" came to be used in relation to digitizing embroidery designs.
In 1980, Wilcom is thought by many to have introduced the first computer graphics embroidery design system running on a mini-computer. However, old timers often debate this. Melco Industries has been delivering embroidery solutions since 1972. Melco created the first embroidery sample head for use with large Schiffli looms. This sample head became the first computerized embroidery machine marketed to home sewers. The sample head was needed to avoid sewing out the sample for the Schiffli loom and taking up valuable production time. Schiffli looms spanned several feet across and produced, lace, patches and large embroidery patterns. The economic conditions of the Reagan Years, coupled with tax incentives of the day for in-home business, helped propel Melco to the top of the market. At the Show of the America's in 1980 Melco showed the Digitrac. The original digitized design was produced at 6 times the size it would eventually be sewn out.
The Digitrac consisted of a small computer, similar in size to today's Blackberry Devices, mounted on an X and Y axis on a large white board. It sold for $30,000. The original sample head with one needle sold for $10,000 with a 1" paper-tape reader, and 2 fonts. The digitizer would mark common points of the design to create elaborate fill and satin stitch combinations. Melco is the result of an international distribution network formed by Randal Melton and His partner Bill Childs. Melco patented the ability to sew circles with a satin stitch, arched lettering generated from a keyboard. An operator would "digitize" the design into the computer using similar techniques to "punching", to create a 1" paper tape, or later to a floppy disk. This design would then be run on the machine. The machine would stitch out the digitized design. Wilcom enhanced this technology in 1982 with the introduction of the first multi-user system that allowed more than one person to be working on a different part of the embroidery process, streamlining production times.
Brother International got into the embroidery business as a result of being contracted by several computerized embroidery companies to provide sewing heads. Their sewing heads were mounted and branded on several different brands of computerized embroidery machines. Adler was also a common choice. Later Tajima, from Japan, provided sewing heads that were capable of using multiple threads. Singer failed to remain competitive during this time. Melco was acquired by Saurer in 1989.
Recently Singer was acquired by Affiliates of Kohlberg & Co., L.L.C. ("Kohlberg"), a leading U.S. private equity firm specializing in middle-market investing, they also acquired VSM is a leading supplier of high-end consumer sewing machines and accessories under the Husqvarna Viking and Pfaff brands.
Saurer and Wilcom, Tajima, Brother, began to innovate. The early functionality of the computerized commercial systems were adapted and marketed to compaines such as Janome for home use.
As costs have fallen for computers, software, and embroidery machines, computerized machine embroidery has grown in popularity since the late 1990s. Many machine manufacturers sell their own lines of embroidery patterns. In addition, many individuals and independent companies also sell embroidery designs, and there are free designs available on the internet.
With the advent of computerized machine embroidery, the main use of manual machine embroidery is in fiber art and quilting projects. While some still use this type of embroidery to embellish garments, with the ease and decreasing cost of computerized embroidery machine, it is rapidly falling out of favor. Many quilters and fabric artists now use a free machine embroidery process often called "thread drawing" (or thread painting) to create embellishments on items, or to create examples of textile art.
History of Machine Embroidery
Before computers were affordable, most embroidery was completed by "punching" designs on paper tape that then ran through a mechanical embroidery machine. One error could ruin an entire design, forcing the creator to start over. This is how the term "punching" came to be used in relation to digitizing embroidery designs.
In 1980, Wilcom is thought by many to have introduced the first computer graphics embroidery design system running on a mini-computer. However, old timers often debate this. Melco Industries has been delivering embroidery solutions since 1972. Melco created the first embroidery sample head for use with large Schiffli looms. This sample head became the first computerized embroidery machine marketed to home sewers. The sample head was needed to avoid sewing out the sample for the Schiffli loom and taking up valuable production time. Schiffli looms spanned several feet across and produced, lace, patches and large embroidery patterns. The economic conditions of the Reagan Years, coupled with tax incentives of the day for in-home business, helped propel Melco to the top of the market. At the Show of the America's in 1980 Melco showed the Digitrac. The original digitized design was produced at 6 times the size it would eventually be sewn out.
The Digitrac consisted of a small computer, similar in size to today's Blackberry Devices, mounted on an X and Y axis on a large white board. It sold for $30,000. The original sample head with one needle sold for $10,000 with a 1" paper-tape reader, and 2 fonts. The digitizer would mark common points of the design to create elaborate fill and satin stitch combinations. Melco is the result of an international distribution network formed by Randal Melton and His partner Bill Childs. Melco patented the ability to sew circles with a satin stitch, arched lettering generated from a keyboard. An operator would "digitize" the design into the computer using similar techniques to "punching", to create a 1" paper tape, or later to a floppy disk. This design would then be run on the machine. The machine would stitch out the digitized design. Wilcom enhanced this technology in 1982 with the introduction of the first multi-user system that allowed more than one person to be working on a different part of the embroidery process, streamlining production times.
Brother International got into the embroidery business as a result of being contracted by several computerized embroidery companies to provide sewing heads. Their sewing heads were mounted and branded on several different brands of computerized embroidery machines. Adler was also a common choice. Later Tajima, from Japan, provided sewing heads that were capable of using multiple threads. Singer failed to remain competitive during this time. Melco was acquired by Saurer in 1989.
Recently Singer was acquired by Affiliates of Kohlberg & Co., L.L.C. ("Kohlberg"), a leading U.S. private equity firm specializing in middle-market investing, they also acquired VSM is a leading supplier of high-end consumer sewing machines and accessories under the Husqvarna Viking and Pfaff brands.
Saurer and Wilcom, Tajima, Brother, began to innovate. The early functionality of the computerized commercial systems were adapted and marketed to compaines such as Janome for home use.
As costs have fallen for computers, software, and embroidery machines, computerized machine embroidery has grown in popularity since the late 1990s. Many machine manufacturers sell their own lines of embroidery patterns. In addition, many individuals and independent companies also sell embroidery designs, and there are free designs available on the internet.
Tent Stitch
Tent stitch is a small, diagonal embroidery stitch that crosses over the intersection of one horizontal and one vertical thread of needlepoint canvas forming a slanted stitch at a 45 degree angle. It is also known as Petit point and Needlepoint stitch and is one of the most basic and versatile stitches used in Needlepoint and other Canvas work embroidery.
Variants of Tent Stitch
Basketweave Tent Stitch
The basketweave form of tent stitch is worked in diagonal rows up and down the canvas. The yarn on the back of the canvas has a typical basketweave appearance, with alternating horizontal and vertical stitches. Basketweave is the best stitch to use for covering large areas of canvas as it does not distort the canvas as the other two forms of tent stitch do.
Continental Tent Stitch
Continental stitch is worked horizontally or vertically across the canvas. On the back of the work, the stitches appear diagonally across two threads. This method uses more yarn than half cross stitch tent stitch but is more hardwearing. The illustration at right is NOT correct. It shows continental stitch on the odd numbered rows and half cross on the even numbered rows. When stitched this way, the result is a ridged effect on the front of the stitching, called the corduroy effect.
Half Cross Tent Stitch
Half cross stitch is worked horizontally or vertically across the canvas. On the back of the work, the stitch appears vertical or horizontal, not diagonal, and crosses only one thread. This method uses less yarn than other stitches but is not very durable as coverage on the back of the canvas is a little thin. It shows half cross on the odd numbered rows and continental on the even numbered rows. When stitched this way, the result is a ridged effect on the front of the stitching, called the corduroy effect.
Variants of Tent Stitch
Basketweave Tent Stitch
The basketweave form of tent stitch is worked in diagonal rows up and down the canvas. The yarn on the back of the canvas has a typical basketweave appearance, with alternating horizontal and vertical stitches. Basketweave is the best stitch to use for covering large areas of canvas as it does not distort the canvas as the other two forms of tent stitch do.
Continental Tent Stitch
Continental stitch is worked horizontally or vertically across the canvas. On the back of the work, the stitches appear diagonally across two threads. This method uses more yarn than half cross stitch tent stitch but is more hardwearing. The illustration at right is NOT correct. It shows continental stitch on the odd numbered rows and half cross on the even numbered rows. When stitched this way, the result is a ridged effect on the front of the stitching, called the corduroy effect.
Half Cross Tent Stitch
Half cross stitch is worked horizontally or vertically across the canvas. On the back of the work, the stitch appears vertical or horizontal, not diagonal, and crosses only one thread. This method uses less yarn than other stitches but is not very durable as coverage on the back of the canvas is a little thin. It shows half cross on the odd numbered rows and continental on the even numbered rows. When stitched this way, the result is a ridged effect on the front of the stitching, called the corduroy effect.
Straight Stitch
Straight or Flat stitch is a class of simple embroidery and sewing stitches in which individual stitches are made without crossing or looping the thread. These stitches are used to form broken or unbroken lines or starbursts, fill shapes, and create geometric designs.
Running stitch, Holbein or double-running stitch, satin stitch and darning stitch are all classed as straight or flat stitches. Backstitch is also sometimes included in this category
Applications of Straight Stitch
Pattern darning is an ancient technique in which parallel rows of straight stitches in varying lengths are arranged to form geometric patterns. Japanese Kogin embroidery is a pattern darning style from the island of Honshū, often worked in white cotton thread on rough, dark blue indigo-dyed linen.
Variants of Straight Stitch
Variants of straight stitches include:
* Running stitch or straight stitch
* Double-running or Holbein stitch
* Darning stitch
* Arrowhead stitch
* Eye stitch, a sixteen-stitch starburst resulting in a hole in the center
* Algerian eye stitch, a simplified starburst of eight stitches
* Fishbone stitch
* Open fishbone stitch
* Raised fishbone stitch
* Flat stitch
* Satin stitch
* Seed stitch, small individual running stitches used as fillings or accents
Shisha Embroidery
Shisha embroidery, or mirror-work, is a type of embroidery which attaches small pieces of mirrors reflective metal to fabric. The term "shisha" means glass in Persian, and the technique is said to have originated in Persia in the 13th Century. However, shisha embroidery was brought to India by the Moghuls and is now most common on the Indian subcontinent, especially in parts of Gujarat, Rajasthan, Haryana and Delhi. This type of embroidery lends a sparkling appearance to the brightly-colored clothes worn in the region, and is very popular for use on clothing, hangings, and domestic textiles.
Shisha is also used to describe the small mirrors purchasable for use in embroidery, which come in varying shapes and sizes. Traditionally, shisha work was done using mica flakes, but was later subsumed by glass blown into large thin bubbles and broken into small pieces for this use. Contemporary shisha work almost entirely consists of mass-produced, machine-cut glass shisha with a silvered backing.
Sashiko Stitching
Sashiko is a form of decorative reinforcement stitching (or functional embroidery) from Japan. Traditionally used to reinforce points of wear, or to repair worn places or tears with patches, this running stitch technique is often used for purely decorative purposes in quilting and embroidery. The white cotton thread on the traditional indigo blue cloth gives sashiko its distinctive appearance, though decorative items sometimes use red thread.
Many Sashiko patterns were derived from Chinese designs, but just as many were developed by the Japanese themselves.
Satin Stitch
In sewing and embroidery, a satin stitch or damask stitch is a series of flat stitches that are used to completely cover a section of the background fabric. Narrow rows of satin stitch can be executed on a standard sewing machine using a zigzag stitch or a special satin stitch foot.
In order to maintain a smooth edge, shapes can be outlined with back, split or chain stitch before the entire shape including the outline is covered with satin stitch.
Machine-made satin stitch is often used to outline and attach appliques to the ground fabric.
Variants of Satin Stitch
Variants of the satin stitch include
* Brick stitch, in which alternate rows of satin stitches are offset by half the stitch length. Worked in several related colors, brick stitch allows stepped shading. (Brick stitch is also the name of a beadwork technique.)
* Encroaching satin stitch, in which the top of each row of stitches is set between the bottom of the stitches on the previous row.
* Long-and-short stitch, used for fine shading; in the first row of satin stitches, every other stitch is half the length of its neighbors. Subsequent rows in related colors are all of the same length.
* Padded satin stitch, in which shapes are filled with rows of small running stitches which are then covered with satin stitches.
Thread
Satin stitch is frequently made with embroidery thread, which has less twist than standard sewing thread. This gives a more uniform effect, with the individual threads' filaments merging together.
While good sewing threads produce acceptable satin stitch, low quality threads do not sit straight, and produce a poor uneven result
Running Stitch
The running stitch or straight stitch is the basic stitch in hand-sewing and embroidery, on which all other forms of sewing are based. The stitch is worked by passing the needle in and out of the fabric. Running stitches may be of varying length, but typically more thread is visible on the top of the sewing than on the underside.
Running stitches are used in hand-sewing and tailoring to sew basic seams, in hand patchwork to assemble pieces, and in quilting to hold the fabric layers and batting or wadding in place. Loosely spaced rows of short running stitches are used to support padded satin stitch.
Running stitches are a component of many traditional embroidery styles, including kantha of India and Bangladesh, and Japanese sashiko quilting.
Parisian Stitch
Parisian stitch is a longer horizontal/vertical stitch used in needlepoint next to a smaller parallel stitch to create a basketweave pattern. The end points on either end alternate in a staggered pattern.
Holbein Stitch
Holbein stitch is a simple, reversible line embroidery stitch most commonly used in Blackwork embroidery and Assisi embroidery. The stitch is named after Hans Holbein the Younger (1497-1543), a 16th-century portrait painter best known for his paintings of Henry VIII and his children, almost all of whom are depicted wearing clothing decorated with blackwork embroidery.
Although superficially similar to Back Stitch the Holbein stitch produces a smoother line and a pattern that is identical on both sides of the fabric. It can be worked in straight lines, diagonally, or in a stepped fashion to make a zigzag line and is well suited to creating outlines or intricate filling patterns
Holbein stitch is also known as double running stitch, line stitch, Spanish stitch, Chiara stitch and two-sided line stitch
Description of the Technique
Holbein stitch is usually worked on on an even-weave fabric where the threads can be counted to ensure perfect regularity and is worked in two stages. Firstly, a row of evenly spaced running stitches is worked along the line to be covered. Then the return journey is completed, filling in the spaces between stitches made on the first journey and sharing the same holes.
Modern Holbein Techniques
In recent years Holbein stitch has become fashionable again, along with modern blackwork and modern Assisi embroidery. Formality has given way to a more light-hearted approach, and motifs include cute cats and other cartoon-style animals. Classic map samplers and chessboard designs have also been updated, and the use of colours is much more imaginative and daring
Feather Stitch
Featherstitch or feather stitch and Cretan stitch or faggoting stitch are embroidery techniques made of open, looped stitches worked alternately to the right and left of a central rib. Fly stitch is categorized with the featherstitches.
Applications of Feather Stitch
Cretan stitch is characteristic of embroidery of Crete and the surrounding regions.
Open Cretan stitch or faggoting is used in making open decorative seams and to attach insertions. Featherstitch embroidery arose in England in the 19th century for decorating smock-frocks. It is also used to decorate the joins in crazy quilting. It is related to (and probably derives from) the older buttonhole stitch and chain stitch.
Featherstitch Variants
Common variants of featherstitch include:
* Basic featherstitch
* Long-armed featherstitch
* Double featherstitch
* Closed featherstitch
* Chained feather stitch
Couching
In embroidery, couching and laid work are techniques in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn.
The couching threads may be either the same color as the laid threads or a contrasting color. When couching threads contrast with laid threads, patterns may be worked in the couching stitches.
Applications of Couching
Laid work is one of two techniques used in the Bayeux Tapestry, an embroidered cloth probably dating to the later 1070s.
Underside couching of metal thread was characteristic of earlier Opus Anglicanum in Medieval England and was also used historically in Sicily and rarely in other parts of Italy and France. Couching is also characteristic of Japanese metal-thread embroidery and Central Asian suzani work.
Variants of Couching
In couching, one or more threads are laid on the fabric surface and sewn to the fabric at regular intervals
In couched filling, threads are laid on the surface in a trellis pattern and sewn to the fabric at the intersections
In laid work or Bayeux stitch, threads are laid side-by-side to fill a shape, then held in place with a thread at right angles to the laid threads. This crossing thread is then couched to the fabric to hold the laid threads in place.
In Bokhara couching or Bokhara stitch, the couched threads are held in place with many tiny crossing stitches, which may be aligned from row to row to produce patterns.
In Roumanian stitch, long satin stitches are each held in place with a small diagonal stitch made in the center
In Roumanian couching, bundles of laid threads are held in place with Roumanian stitches
In Underside couching, a heavy couching thread (historically, a stout linen) is brought up from the wrong side of the work, looped over the laid thread, and returned to the wrong side. The couching thread is then given a sharp pull which draws a small loop of laid thread through to the wrong side of the fabric. Underside couching has the advantages that the couching thread is completely concealed from the front and is not subject to wear.
The couching threads may be either the same color as the laid threads or a contrasting color. When couching threads contrast with laid threads, patterns may be worked in the couching stitches.
Applications of Couching
Laid work is one of two techniques used in the Bayeux Tapestry, an embroidered cloth probably dating to the later 1070s.
Underside couching of metal thread was characteristic of earlier Opus Anglicanum in Medieval England and was also used historically in Sicily and rarely in other parts of Italy and France. Couching is also characteristic of Japanese metal-thread embroidery and Central Asian suzani work.
Variants of Couching
In couching, one or more threads are laid on the fabric surface and sewn to the fabric at regular intervals
In couched filling, threads are laid on the surface in a trellis pattern and sewn to the fabric at the intersections
In laid work or Bayeux stitch, threads are laid side-by-side to fill a shape, then held in place with a thread at right angles to the laid threads. This crossing thread is then couched to the fabric to hold the laid threads in place.
In Bokhara couching or Bokhara stitch, the couched threads are held in place with many tiny crossing stitches, which may be aligned from row to row to produce patterns.
In Roumanian stitch, long satin stitches are each held in place with a small diagonal stitch made in the center
In Roumanian couching, bundles of laid threads are held in place with Roumanian stitches
In Underside couching, a heavy couching thread (historically, a stout linen) is brought up from the wrong side of the work, looped over the laid thread, and returned to the wrong side. The couching thread is then given a sharp pull which draws a small loop of laid thread through to the wrong side of the fabric. Underside couching has the advantages that the couching thread is completely concealed from the front and is not subject to wear.
Chain Stitch
Chain stitch is a sewing and embroidery technique in which a series of looped stitches form a chain-like pattern. Chain stitch is an ancient craft - examples of surviving Chinese chain stitch embroidery worked in silk thread have been dated to the Warring States period (5th-3rd century BC). Handmade chain stitch embroidery does not require that the needle pass through more than one layer of fabric. For this reason the stitch is an effective surface embellishment near seams on finished fabric. Because chain stitches can form flowing, curved lines, they are used in many surface embroidery styles that mimic "drawing" in thread.
Chain stitches are also used in making tambour lace, needlelace, macramé and crochet.
Chain stitch is also a technique used to shorten rope or cable for storage or while in use.
Applications
Hand Embroidery
Chain stitch and its variations are fundamental to embroidery traditions of many cultures, including Kashmiri numdahs, Iranian Resht work, Central Asian suzani, Hungarian Kalotaszeg "written embroidery", , Jacobean embroidery, and crewelwork.
Machine Sewing and Embroidery
Chain stitch was the default stitch used by early sewing machines; however, as it is easily unraveled from fabric, this was soon replaced with the more secure lockstitch.
Machine embroidery in chain stitch, often in traditional hand-worked crewel designs, is found on curtains, bed linens, and upholstery fabrics.
Buttonhole Stitch
Buttonhole stitch and the related blanket stitch are hand-sewing stitches used in tailoring, embroidery, and needle lace-making.
Buttonhole stitches catch a loop of the thread on the surface of the fabric and needle is returned to the back of the fabric at a right angle to the original start of the thread. The finished stitch in some ways resembles a letter "L" depending on the spacing of the stitches. For buttonholes the stitches are tightly packed together and for blanket edges they are more spaced out. The properties of this stitch make it ideal for preventing raveling of woven fabric.
Buttonhole stitches are structurally similar to featherstitches.
Applications of Buttonhole Stitch
In addition to reinforcing buttonholes and preventing cut fabric from raveling, buttonhole stitches are used to make stems in crewel embroidery, to make sewn eyelets, to attach applique to ground fabric, and as couching stitches. Buttonhole stitch scallops, usually raised or padded by rows of straight or chain stitches, were a popular edging in the 19th century.
Buttonhole stitches are also used in cutwork, including Broderie Anglaise, and form the basis for many forms of needlelace.
Blanket Stitch
This stitch has long been both an application by hand and as a machine sewn stitch. When done by hand, it is sometimes considered a crochet stitch.When done by machine, it is called a whip stitch or, sometimes, a Merrow Machine Company Crochet Stitch, after the first sewing machine that was used to sew a blanket stich. This machine was produced and patented by the Merrow Machine Company in 1877. The defining characteristic of the crochet machine is its ability to sew with yarn and stitch thick goods with a consistent overlock edge. From 1877-1925 the machine evolved dramatically, and consequently so did the capacity of manufacturers to produce goods with the whip stitch. To this day, Merrow retains a patent on the mechanism that creates the blanket stitch, renewing it with each redesign, which has occurred hundreds of times since its introduction in 1877. The most recent patent renewal occurred in 2007.
In the early 1990s Chinese manufacturers copied the design of the original crochet sewing machines; Merrow is currently involved in litigation with several Chinese firms who are accused of violating Merrow's intellectual property rights.
Style of Blanket Stitch
The blanket stitch is commonly used as a decorative stitch on an array of garments. Besides blankets, it it used on sweaters, outerwear, swimsuits, home furnishings, and much more. There are many styles of production blanket stitching, including rolled, narrow, with elastic, and traditional
Backstitch
Backstitch or back stitch and its variants stem stitch, outline stitch and split stitch are a class of embroidery and sewing stitches in which individual stitches are made backward to the general direction of sewing. These stitches form lines and are most often used to outline shapes or to add fine detail to an embroidered picture.
Applications of Backstitch
Basic backstitch is used to outline shapes in modern cross-stitch, in Assisi embroidery and occasionally in blackwork.
A versatile and easy to work stitch, backstitch is ideal for following both smooth and complicated outlines and as a foundation row for more complex embroidery stitches such as Herringbone ladder filling stitch. Although superficially similar to Holbein stitch, commonly used in Blackwork embroidery, backstitch differs in the way it is worked, requiring a single journey only to complete a line of stitching
Description of the Technique
Backstitch is most easily worked on an even-weave fabric, where the threads can be counted to ensure regularity, and is generally executed from right to left. The stitches are worked in a 'two steps forward, one step back' fashion, along the line to be filled
The back stitch can also be used as a hand-sewing sewing utility stitch to attach two pieces of fabric together
Variants oF Backstitch
Variants of backstitch include:
* Basic backstitch or point de sable.
* Threaded backstitch
* Pekinese stitch, a looped interlaced backstitch
* Stem stitch, in which each stitch overlaps the previous stitch to one side, forming a twisted line of stitching, with the thread passing below the needle. It is generally used for outlining shapes and for stitching flower stems and tendrils.
* Whipped stemstitch
* Outline stitch, sometimes distinguished from stem stitch in that the thread passes above rather than below the needle.
* Split stitch, in which the needle pierces the thread rather than returning to one side.
Applications of Backstitch
Basic backstitch is used to outline shapes in modern cross-stitch, in Assisi embroidery and occasionally in blackwork.
A versatile and easy to work stitch, backstitch is ideal for following both smooth and complicated outlines and as a foundation row for more complex embroidery stitches such as Herringbone ladder filling stitch. Although superficially similar to Holbein stitch, commonly used in Blackwork embroidery, backstitch differs in the way it is worked, requiring a single journey only to complete a line of stitching
Description of the Technique
Backstitch is most easily worked on an even-weave fabric, where the threads can be counted to ensure regularity, and is generally executed from right to left. The stitches are worked in a 'two steps forward, one step back' fashion, along the line to be filled
The back stitch can also be used as a hand-sewing sewing utility stitch to attach two pieces of fabric together
Variants oF Backstitch
Variants of backstitch include:
* Basic backstitch or point de sable.
* Threaded backstitch
* Pekinese stitch, a looped interlaced backstitch
* Stem stitch, in which each stitch overlaps the previous stitch to one side, forming a twisted line of stitching, with the thread passing below the needle. It is generally used for outlining shapes and for stitching flower stems and tendrils.
* Whipped stemstitch
* Outline stitch, sometimes distinguished from stem stitch in that the thread passes above rather than below the needle.
* Split stitch, in which the needle pierces the thread rather than returning to one side.
Trianglepoint
Trianglepoint is a form of embroidery in which a series of equilateral triangles are stitched in different colors to create geometric designs, three-dimensional designs or pictures.
Suzani
Suzani is a type of antique embroidered and decorative tribal textile made in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries. Its name is from the Persian Suzan which means needle. The art of making such textiles in Iran is called Suzankāri (needlework).
Chain, satin, and buttonhole stitches are the primary stitches used. There is also extensive use of couching, in which decorative thread laid on the fabric as a raised line is stitched in place with a second thread.
Major types of Suzani
* Bukhara Suzani
* Buxoro Suzani
* Khodjent Suzani (Khodjent, Tajikistan)
* Lakai Suzani
* Nurata Suzani
* Pskent Suzani
* Samarkand Suzani
* Shakhrisabz Suzani
* Tashkent Suzani
* Ura Tube Suzani (Istaravshan, Tajikistan)
Stumpwork
Stumpwork is a style of embroidery where the stitched figures are raised from the surface of the work to form a 3-dimensional effect.
Stitches can be worked around pieces of wire to create individual forms such as leaves, insect wings or flower petals. This form is then applied to the main body of work by piercing the background fabric with the wires and securing tightly. Other shapes can be created using padding under the stitches, usually in the form of felt layers sewn one upon the other in increasingly smaller sizes. The felt is then covered with a layer of embroidery stitches.
A modern day subcategory of this art form used primarily in production embroidery on automated embroidery machines is referred to as puff embroidery. The process involves putting down, typically, a layer of foam rubber larger than the intended shape on top of the target material to be decorated. The shape is then embroidered on top of the foam rubber in such a way that the needle penetrations cut the foam rubber around the periphery of the shape. When the embroidery is finished the excess foam rubber is weeded (pulled away or cleaned off) from the design area, leaving the underlying foam rubber shape trapped under the embroidery stitches resulting in a stumpwork effect.
Puff embroidery generally lacks the intricate design characteristics obtainable with true stumpwork techniques and is primarily seen on leisure wear such as baseball caps, sweatshirts and jackets. Many times the designs are used to portray company logos or team mascots.
Smocking
Smocking is an embroidery technique used to gather fabric so that it can stretch. Before elastic, smocking was commonly used in cuffs, bodices, and necklines in garments where buttons were undesirable. Smocking developed in England and has been practiced since the Middle Ages and is unusual among embroidery methods in that it was often worn by laborers. Other major embroidery styles are purely decorative and represented status symbols. Smocking was practical for garments to be both form fitting and flexible, hence its name derives from smock - a farmer's work shirt. Smocking was used most extensively in the eighteenth and nineteenth centuries.
Materials for Smocking
Smocking requires lightweight fabric with a stable weave that gathers well. Cotton and silk are typical fiber choices, often in lawn or voile. Smocking is worked on a crewel embroidery needle in cotton or silk thread and normally requires three times the width of initial material as the finished item will have. Historically, smocking was also worked in pique, crepe de Chine, and cashmere. According to Good Housekeeping: The Illustrated Book of Needlecrafts, "Any type of fabric can be smocked if it is supple enough to be gathered."
Marking equipment is also necessary unless the fabric is pre-printed in a polka dot pattern. One option is a smocking-dot transfer, which is an iron on transfer that places evenly spaced dots onto fabric. Some embroiderers make their own guides using cardboard and an embroidery marking pencil.
Method of Smocking
A smocking sampler demonstrating various stitches. See accompanying text in the article for details.
Smocking refers to work done before a garment is assembled. It usually involves reducing the dimensions of a piece of fabric to one-third of its original width, although changes are sometimes lesser with thick fabrics. Individual smocking stitches also vary considerably in tightness, so embroiderers usually work a sampler for practice and reference when they begin to learn smocking.
Traditional hand smocking begins with marking smocking dots in a grid pattern on the wrong side of the fabric and gathering it with temporary running stitches. These stitches are anchored on each end in a manner that facilitates later removal and are analogous to basting stitches. Then a row of cable stitching stabilizes the top and bottom of the working area.
Standard Hand Smocking Stitches
Cable Stitch
A tight stitch of double rows that joins alternating columns of gathers.
Stem stitch
A tight stitch with minimum flexibility that joins two columns of gathers at a time in single overlapping rows with a downward slope
Outline stitch
Similar to the stem stitch but with an upward slope.
Cable flowerette
A set of gathers worked in three rows of stitches across four columns of gathers. Often organized in diagonally arranged sets of flowerettes for loose smocking.
Wave stitch
A medium density pattern that alternately employs tight horizontal stitches and loose diagonal stitches
Honeycomb stitch
A medium density variant on the cable stitch that double stitches each set of gathers and provides more spacing between them, with an intervening diagonal stitch concealed on the reverse side of the fabric
Surface honeycomb stitch
A tight variant on the honeycomb stitch and the wave stitch with the diagonal stitch visible, but spanning only one gather instead of a gather and a space.
Trellis stitch
A medium density pattern that uses stem stitches and outine stitches to form diamond-shaped patterns
Vandyke stitch
A tight variant on the surface honeycomb stitch that wraps diagonal stitches in the opposite direction.
Bullion stitch
A complex knotted stitch that joins several gathers in a single stitch. Organized similarly to cable flowerettes.
Smocker's knot
A simple knotted stitch used to finish work with a thread or for decorative purposes.
Materials for Smocking
Smocking requires lightweight fabric with a stable weave that gathers well. Cotton and silk are typical fiber choices, often in lawn or voile. Smocking is worked on a crewel embroidery needle in cotton or silk thread and normally requires three times the width of initial material as the finished item will have. Historically, smocking was also worked in pique, crepe de Chine, and cashmere. According to Good Housekeeping: The Illustrated Book of Needlecrafts, "Any type of fabric can be smocked if it is supple enough to be gathered."
Marking equipment is also necessary unless the fabric is pre-printed in a polka dot pattern. One option is a smocking-dot transfer, which is an iron on transfer that places evenly spaced dots onto fabric. Some embroiderers make their own guides using cardboard and an embroidery marking pencil.
Method of Smocking
A smocking sampler demonstrating various stitches. See accompanying text in the article for details.
Smocking refers to work done before a garment is assembled. It usually involves reducing the dimensions of a piece of fabric to one-third of its original width, although changes are sometimes lesser with thick fabrics. Individual smocking stitches also vary considerably in tightness, so embroiderers usually work a sampler for practice and reference when they begin to learn smocking.
Traditional hand smocking begins with marking smocking dots in a grid pattern on the wrong side of the fabric and gathering it with temporary running stitches. These stitches are anchored on each end in a manner that facilitates later removal and are analogous to basting stitches. Then a row of cable stitching stabilizes the top and bottom of the working area.
Standard Hand Smocking Stitches
Cable Stitch
A tight stitch of double rows that joins alternating columns of gathers.
Stem stitch
A tight stitch with minimum flexibility that joins two columns of gathers at a time in single overlapping rows with a downward slope
Outline stitch
Similar to the stem stitch but with an upward slope.
Cable flowerette
A set of gathers worked in three rows of stitches across four columns of gathers. Often organized in diagonally arranged sets of flowerettes for loose smocking.
Wave stitch
A medium density pattern that alternately employs tight horizontal stitches and loose diagonal stitches
Honeycomb stitch
A medium density variant on the cable stitch that double stitches each set of gathers and provides more spacing between them, with an intervening diagonal stitch concealed on the reverse side of the fabric
Surface honeycomb stitch
A tight variant on the honeycomb stitch and the wave stitch with the diagonal stitch visible, but spanning only one gather instead of a gather and a space.
Trellis stitch
A medium density pattern that uses stem stitches and outine stitches to form diamond-shaped patterns
Vandyke stitch
A tight variant on the surface honeycomb stitch that wraps diagonal stitches in the opposite direction.
Bullion stitch
A complex knotted stitch that joins several gathers in a single stitch. Organized similarly to cable flowerettes.
Smocker's knot
A simple knotted stitch used to finish work with a thread or for decorative purposes.
Quillwork
Quillwork is a form of textile embellishment traditionally practiced by Native Americans that employs the quills of porcupines as a decorative element
History of Quillwork
Porcupine quillwork is an art form completely unique to North America. Before the introduction of glass beads, quillwork was a major decorative element used by the peoples who resided in the porcupine's natural habitat. The use of quills in designs spans from Maine to Alaska. The earliest known fragment of quillwork was found in Alberta, Canada and dates back to 800 CE.
Cheyenne oral history, as told by Picking Bones Woman to George Bird Grinnell, says quilling came to their tribe from a man who married a woman, who hid her true identity as a buffalo. His son was also a buffalo. The man visited his wife and son in their buffalo home, and, while among the buffalo, the man learned the art of quilling, which he shared with the women of his tribe.
Joining the Cheyenne Quilling Society was a prestigious honor for Cheyenne women. Upon entering the Society, women would work first on quilling moccasins, then cradleboards, rosettes for men's shirts and tipis, and ultimately, hide robes and backrests.
Porcupine quills often adorned rawhide and tanned hides, but during the 19th century, quilled birch bark boxes were a popular trade item to sell to European-Americans among Eastern and Great Lakes tribes.
Technique of Quillwork
Quills suitable for embellishment are two to three inches long and may be dyed before use. In their natural state, the quills are pale yellow to white with black tips. The tips are usually snipped off before use. Quill readily take dye, which originally was derived from local plants and included colors such as black, yellow, red, and blue. By the 19th century, aniline dyes were available through trade and greatly expanded the quilling palette.
The four most common techniques for quillwork are appliqué, embroidery, wrapping, and loom weaving. Appliquéd quills are stitched into hide in a manner that covers the stitches. In wrapping, a single quill may be wrapped upon itself or two quills may be intertwined.
Quills can be appliquéd singly to form curvilinear patterns, as found on Odawa pouches from the 18th century. This technique lends itself to floral designs popularized among northeastern tribes by Ursuline nuns. Huron women excelled at floral quillwork during the 18th and 19th centuries.
Plains quillwork is characterized by bands of rectangles creating geometrical patterns found also in Plains painting. Rosettes of concentric circles of quillwork commonly adorned historical Plains men's shirts, as did parallel panels of quillwork on the sleeves.
The Red River Ojibwe of Manitoba created crisp, geometric patterns by weaving quills on a loom in the 19th century.
History of Quillwork
Porcupine quillwork is an art form completely unique to North America. Before the introduction of glass beads, quillwork was a major decorative element used by the peoples who resided in the porcupine's natural habitat. The use of quills in designs spans from Maine to Alaska. The earliest known fragment of quillwork was found in Alberta, Canada and dates back to 800 CE.
Cheyenne oral history, as told by Picking Bones Woman to George Bird Grinnell, says quilling came to their tribe from a man who married a woman, who hid her true identity as a buffalo. His son was also a buffalo. The man visited his wife and son in their buffalo home, and, while among the buffalo, the man learned the art of quilling, which he shared with the women of his tribe.
Joining the Cheyenne Quilling Society was a prestigious honor for Cheyenne women. Upon entering the Society, women would work first on quilling moccasins, then cradleboards, rosettes for men's shirts and tipis, and ultimately, hide robes and backrests.
Porcupine quills often adorned rawhide and tanned hides, but during the 19th century, quilled birch bark boxes were a popular trade item to sell to European-Americans among Eastern and Great Lakes tribes.
Technique of Quillwork
Quills suitable for embellishment are two to three inches long and may be dyed before use. In their natural state, the quills are pale yellow to white with black tips. The tips are usually snipped off before use. Quill readily take dye, which originally was derived from local plants and included colors such as black, yellow, red, and blue. By the 19th century, aniline dyes were available through trade and greatly expanded the quilling palette.
The four most common techniques for quillwork are appliqué, embroidery, wrapping, and loom weaving. Appliquéd quills are stitched into hide in a manner that covers the stitches. In wrapping, a single quill may be wrapped upon itself or two quills may be intertwined.
Quills can be appliquéd singly to form curvilinear patterns, as found on Odawa pouches from the 18th century. This technique lends itself to floral designs popularized among northeastern tribes by Ursuline nuns. Huron women excelled at floral quillwork during the 18th and 19th centuries.
Plains quillwork is characterized by bands of rectangles creating geometrical patterns found also in Plains painting. Rosettes of concentric circles of quillwork commonly adorned historical Plains men's shirts, as did parallel panels of quillwork on the sleeves.
The Red River Ojibwe of Manitoba created crisp, geometric patterns by weaving quills on a loom in the 19th century.
Types of Metal Thread
A variety of threads exists, in order to create differing textures.
Passing
passing is the most basic and common thread used in goldwork; it consists of a thin strip of metal wound around a core of cotton or silk. For gold thread this is typically yellow, or in older examples orange; for silver, white or gray. This is always attached by couching, either one or two threads at a time, and pulled through to the back to secure it. When multiple threads must be laid next to each other, a technique called bricking is used: the position of the couching stitches is offset between rows, producing an appearance similar to a brick wall. This same type of thread is used in making cloth of gold
Japan Thread
Japan thread, sometimes called jap, is a cheaper replacement for passing, and is far more commonly used in modern goldwork. It appears nearly identical, but rather than a strip of metal, a strip of foil paper is wrapped around the core.
Buillion or Purl
Buillion or Purl is structurally a very long spring, hollow at the core; it can be stretched apart slightly and couched between the wraps of wire, or cut into short lengths and applied like beads. This thread comes in both shiny and matte versions.
Jaceron or Pearl purl
Jaceron or Pearl purl is similar to buillion, but with a much wider piece of metal used in making it, such that it looks like a string of pearl-like beads when couched down between the wraps of metal. Lizerine is a very similar thread.
Freize or Check purl
Freize or Check purl is again similar, but the metal used is shaped differently, producing a faceted, sparkly look.
Faconnee or Crimped purl
Faconnee or Crimped purl is almost identical to buillion, but has been crimped at intervals.
Rococco
Rococco and the similar Crinkle cordonnet are made of wire tightly wrapped around a cotton core, with a wavy or kinked appearance.
Milliary wire
Milliary wire is a wire core wrapped with finer wire.
Plate
Plate is a strip of metal a few millimeters (1/8") wide; often this is used to fill small shapes by folding it back and forth, hiding the couching stitches under the folds.
Flat Worm or simply Oval thread
Flat Worm or simply Oval thread is a thin plate wrapped around a yarn core and flattened slightly. This is used like plate, but is considerably easier to work with.
Twists or Torsade Threads
Twists or Torsade, threads made of multiple strands of metal twisted together are also sometimes used, some of which, such as Soutache, sometimes have different colored metals or colored non-metal threads twisted together. These are either couched like passing, with the couching thread visible, or with the thread angled with the twist to make it invisible.
Passing
passing is the most basic and common thread used in goldwork; it consists of a thin strip of metal wound around a core of cotton or silk. For gold thread this is typically yellow, or in older examples orange; for silver, white or gray. This is always attached by couching, either one or two threads at a time, and pulled through to the back to secure it. When multiple threads must be laid next to each other, a technique called bricking is used: the position of the couching stitches is offset between rows, producing an appearance similar to a brick wall. This same type of thread is used in making cloth of gold
Japan Thread
Japan thread, sometimes called jap, is a cheaper replacement for passing, and is far more commonly used in modern goldwork. It appears nearly identical, but rather than a strip of metal, a strip of foil paper is wrapped around the core.
Buillion or Purl
Buillion or Purl is structurally a very long spring, hollow at the core; it can be stretched apart slightly and couched between the wraps of wire, or cut into short lengths and applied like beads. This thread comes in both shiny and matte versions.
Jaceron or Pearl purl
Jaceron or Pearl purl is similar to buillion, but with a much wider piece of metal used in making it, such that it looks like a string of pearl-like beads when couched down between the wraps of metal. Lizerine is a very similar thread.
Freize or Check purl
Freize or Check purl is again similar, but the metal used is shaped differently, producing a faceted, sparkly look.
Faconnee or Crimped purl
Faconnee or Crimped purl is almost identical to buillion, but has been crimped at intervals.
Rococco
Rococco and the similar Crinkle cordonnet are made of wire tightly wrapped around a cotton core, with a wavy or kinked appearance.
Milliary wire
Milliary wire is a wire core wrapped with finer wire.
Plate
Plate is a strip of metal a few millimeters (1/8") wide; often this is used to fill small shapes by folding it back and forth, hiding the couching stitches under the folds.
Flat Worm or simply Oval thread
Flat Worm or simply Oval thread is a thin plate wrapped around a yarn core and flattened slightly. This is used like plate, but is considerably easier to work with.
Twists or Torsade Threads
Twists or Torsade, threads made of multiple strands of metal twisted together are also sometimes used, some of which, such as Soutache, sometimes have different colored metals or colored non-metal threads twisted together. These are either couched like passing, with the couching thread visible, or with the thread angled with the twist to make it invisible.
Goldwork Embroidery
Goldwork is the art of embroidery using metal threads. It is particularly prized for the way light plays on it. The term "goldwork" is used even when the threads are imitation gold, silver, or copper. The metal wires used to make the threads have never been entirely gold; they have always been gold-coated silver (silver-gilt) or cheaper metals, and even then the "gold" often contains a very low percent of real gold. Most metal threads are available in silver and sometimes copper as well as gold; some are available in colors as well.
Goldwork is always surface embroidery and free embroidery; the vast majority is a form of laid work or couching; that is, the gold threads are held onto the surface of the fabric by a second thread, usually of fine silk. The ends of the thread, depending on type, are simply cut off, or are pulled through to the back of the embroidery and carefully secured with the couching thread. A tool called a mellore or a stilleto is used to help position the threads and create the holes needed to pull them through.
History of Goldwork Embroidery
Goldwork was originally developed in Asia, and has been used for at least 2000 years. Its use reached a remarkable level of skill in the Middle Ages, when a style called Opus Anglicanum was developed in England and used extensively in church vestments and hangings. After this period it was also used frequently in the clothing and furnishings of the royalty and nobility throughout Europe, and still later on military and other regalia. Goldwork is currently a fairly uncommon skill, even among embroiderers who work in other free embroidery styles; it is now most commonly used for the highest-quality church vestments and art embroidery. It has always been reserved for occasional and special use only, due to both the expense of the materials and the time to create the embroidery, and because the threads - no matter how expertly applied - will not hold up to frequent laundering of any kind.
Cross-Stitch Embroidery
Cross-stitch is a popular form of counted-thread embroidery in which X-shaped stitches are used to form a picture. Cross-stitch is usually executed on easily countable evenweave fabric. The stitcher counts the threads in each direction so that the stitches are of uniform size and appearance. This form of cross-stitch is also called counted cross-stitch in order to distinguish it from other forms of cross-stitch. Sometimes cross-stitch is done on designs printed on the fabric (stamped cross-stitch); the stitcher simply stitches over the printed pattern.
History of Cross Stitch Embroidery
Cross-stitch is one of the oldest forms of embroidery and can be found all over the world. Many folk museums show examples of clothing decorated with cross-stitch, especially from continental Europe and Asia.
Two-dimensional (unshaded) cross-stitch in floral and geometric patterns, usually worked in black and red cotton floss on linen, is characteristic of folk embroidery in Eastern and Central Europe.
There are many cross-stitching "guilds" across the United States and Europe which offer classes, collaborate on large projects, stitch for charity, and provide other ways for local cross-stitchers to get to know one another.
Today cotton floss is the most common embroidery thread. It is a thread made of mercerized cotton, composed of six strands that are only loosely twisted together and easily separable. Other materials used are pearl cotton, Danish flower thread, silk and Rayon. Sometimes different wool threads, metallic threads or other speciality threads are used, sometimes for the whole work, sometimes for accents and embellishments.
History of Cross Stitch Embroidery
Cross-stitch is one of the oldest forms of embroidery and can be found all over the world. Many folk museums show examples of clothing decorated with cross-stitch, especially from continental Europe and Asia.
Two-dimensional (unshaded) cross-stitch in floral and geometric patterns, usually worked in black and red cotton floss on linen, is characteristic of folk embroidery in Eastern and Central Europe.
There are many cross-stitching "guilds" across the United States and Europe which offer classes, collaborate on large projects, stitch for charity, and provide other ways for local cross-stitchers to get to know one another.
Today cotton floss is the most common embroidery thread. It is a thread made of mercerized cotton, composed of six strands that are only loosely twisted together and easily separable. Other materials used are pearl cotton, Danish flower thread, silk and Rayon. Sometimes different wool threads, metallic threads or other speciality threads are used, sometimes for the whole work, sometimes for accents and embellishments.
Bargello (Needlework)
Bargello is a type of needlepoint embroidery consisting of upright flat stitches laid in a mathematical pattern to create motifs. The name originates from a series of chairs found in the Bargello palace in Florence, which have a "flame stitch" pattern.
Traditionally, Bargello was stitched in wool on canvas. Embroidery done this way is remarkably durable. It is well suited for use on pillows, upholstery and even carpets, but not for clothing. In most traditional pieces, all stitches are vertical with stitches going over two or more threads.
Traditional designs are very colourful, and use many hues of one colour, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylised flowers or fruits. Bargello is considered particularly challenging, as it requires very precise counting of squares for the mathematical pattern connected with the various motifs to accurately execute designs.
Bargello Technique
Bargello refers not just a stitching technique, but also to motifs created by the change of colors in the stitches. This section describes the vertical stitch, and how it is combined with color and "stepping" to create different motifs.
Vertical Stitches
Most agree that traditional Bargello pieces incorporate a series of all vertical stitches (vs. diagonal stitches). The basic unit is usually a vertical stitch of four threads, but other heights are possible.
Some Bargello pieces use only one height of stitch, but even the earliest pieces (such as chairs in the Bargello museum) combine different heights of stitches.
Stepping
Bargello patterns are formed when vertical stitches are stepped or offset vertically, usually by two threads (i.e., halfway down a unit of four threads). The patterns in the steps combined with color changes determines how the overall pattern will emerge.
Flame (Sharp) vs. Curved Motifs
If vertical stitches are stepped down quickly, the design forms sharp points or zig-zags. This type of Bargello motif is often known as "flame stitch". Flame stitch can be found on the Bargello Museum chairs.
If steps are gradual, then the design will appear to be curved. Traditional curved Bargello motifs include medallions and ribbons.
Examples of Bargello Motifs
There are many identified motifs possible , but some common ones include:
* Flame Zig Zag (Sharp)
* Stitches step sharply across the design.
* Diamonds (Sharp)
* Stiches step sharply across the designs and color changes cause diamonds to appear.
* Ribbons (Curved)
* Stitches are gradually stepped in different colors
* Medallions (Curved)
* Stitches are gradually stepped and color changes cause spheres or medallions to appear
Traditionally, Bargello was stitched in wool on canvas. Embroidery done this way is remarkably durable. It is well suited for use on pillows, upholstery and even carpets, but not for clothing. In most traditional pieces, all stitches are vertical with stitches going over two or more threads.
Traditional designs are very colourful, and use many hues of one colour, which produces intricate shading effects. The patterns are naturally geometric, but can also resemble very stylised flowers or fruits. Bargello is considered particularly challenging, as it requires very precise counting of squares for the mathematical pattern connected with the various motifs to accurately execute designs.
Bargello Technique
Bargello refers not just a stitching technique, but also to motifs created by the change of colors in the stitches. This section describes the vertical stitch, and how it is combined with color and "stepping" to create different motifs.
Vertical Stitches
Most agree that traditional Bargello pieces incorporate a series of all vertical stitches (vs. diagonal stitches). The basic unit is usually a vertical stitch of four threads, but other heights are possible.
Some Bargello pieces use only one height of stitch, but even the earliest pieces (such as chairs in the Bargello museum) combine different heights of stitches.
Stepping
Bargello patterns are formed when vertical stitches are stepped or offset vertically, usually by two threads (i.e., halfway down a unit of four threads). The patterns in the steps combined with color changes determines how the overall pattern will emerge.
Flame (Sharp) vs. Curved Motifs
If vertical stitches are stepped down quickly, the design forms sharp points or zig-zags. This type of Bargello motif is often known as "flame stitch". Flame stitch can be found on the Bargello Museum chairs.
If steps are gradual, then the design will appear to be curved. Traditional curved Bargello motifs include medallions and ribbons.
Examples of Bargello Motifs
There are many identified motifs possible , but some common ones include:
* Flame Zig Zag (Sharp)
* Stitches step sharply across the design.
* Diamonds (Sharp)
* Stiches step sharply across the designs and color changes cause diamonds to appear.
* Ribbons (Curved)
* Stitches are gradually stepped in different colors
* Medallions (Curved)
* Stitches are gradually stepped and color changes cause spheres or medallions to appear
Assisi Embroidery
Assisi embroidery is a form of counted-thread embroidery based on an ancient Italian tradition where the background is filled with embroidery stitches and the main motifs are left void i.e. unstitched. The name is derived from the Italian town of Assisi where the modern form of the craft originated
Description of the Technique
Assisi work uses a method known as voiding in which the background is filled in while the motif itself is left blank. Cross-stitch is used for the background and Blackwork Embroidery, i.e. Holbein stitch is then used to outline the motif and create the surrounding decorative scrollwork.
Traditionally, Assisi embroidery was rarely executed in cross-stitch, but most often in long-armed cross-stitch. Examples employing other stitches are also known, such as cross-stitch, Italian cross-stitch and Algerian plait stitch. The colours of thread used were the traditional ones of red, blue, green or gold for the background, and black or brown for the outlines. Traditional motifs were largely heraldic, especially heraldic beasts, and typically featured symmetrically arranged pairs of animals and birds surrounded by ornate filigree borders.
In the oldest pieces, the figures were drawn on the fabric free-hand, surrounded with Holbein stitch and the background was filled as well as possible. For more modern pieces the pattern was constructed carefully on paper, in much the same way as cross-stitch patterns are created. Today Assisi embroidery is nearly always done this way.
History of Assisi Embroidery
Historically, Italy has had a long tradition of bright and colourful embroidery. In the thirteenth and fourteenth centuries monastic embroideries developed a simpler style where designs and motifs were voided on fine linen cloth with the outlines and background embroidered in coloured silk. Motifs were strongly influenced by traditional designs of bird or animal pairs surrounded by elaborate scrollwork. These early articles were most often used for religious purposes e.g. altar cloths and chasubles
Description of the Technique
Assisi work uses a method known as voiding in which the background is filled in while the motif itself is left blank. Cross-stitch is used for the background and Blackwork Embroidery, i.e. Holbein stitch is then used to outline the motif and create the surrounding decorative scrollwork.
Traditionally, Assisi embroidery was rarely executed in cross-stitch, but most often in long-armed cross-stitch. Examples employing other stitches are also known, such as cross-stitch, Italian cross-stitch and Algerian plait stitch. The colours of thread used were the traditional ones of red, blue, green or gold for the background, and black or brown for the outlines. Traditional motifs were largely heraldic, especially heraldic beasts, and typically featured symmetrically arranged pairs of animals and birds surrounded by ornate filigree borders.
In the oldest pieces, the figures were drawn on the fabric free-hand, surrounded with Holbein stitch and the background was filled as well as possible. For more modern pieces the pattern was constructed carefully on paper, in much the same way as cross-stitch patterns are created. Today Assisi embroidery is nearly always done this way.
History of Assisi Embroidery
Historically, Italy has had a long tradition of bright and colourful embroidery. In the thirteenth and fourteenth centuries monastic embroideries developed a simpler style where designs and motifs were voided on fine linen cloth with the outlines and background embroidered in coloured silk. Motifs were strongly influenced by traditional designs of bird or animal pairs surrounded by elaborate scrollwork. These early articles were most often used for religious purposes e.g. altar cloths and chasubles
Embroidery Hoops and Frames
Embroidery Hoops
An embroidery hoop or (earlier) tambour frame consists of a pair of concentric circular or elliptical rings. The larger ring has a tightening device, usually in the form of a metal screw. The artisan repositions the hoop as needed when working over a large piece of fabric. Embroidery hoops come in various sizes and are generally small enough to control with one hand and rest in the lap. Hoops were originally made of wood, bone, or ivory. modern hoops are made of wood or plastic. Hoops may be attached to a table-top or floor stand when both hands must be free for sewing, as in making tambour lace. Standing floor frames and lap frames allow the crafter to keep both hands free for working, which increases the speed and precision of work performed.
Very thin plastic hoops are also used in machine embroidery.
Scroll Frames
A scroll frame or embroidery frame keeps the entire piece of fabric taut, rather than just the piece being worked. It is made of four pieces of wood: two rollers for the top and base, and two side pieces. Each of the rollers has a piece of fabric securely nailed or stapled along it and holes in ts ends to hold the side pieces, which can be secured in place with wing nuts to adjust the width of the frame and the tautness of the stretched fabric. The ends of the ground fabric are sewn to the rollers, which are turned until the area of the fabric to be worked is stretched within the frame.
Frames are used in needlepoint and other forms of canvas work as well as embroidery.
Embroidery Threads
Embroidery Floss or Stranded Cotton Thread
Embroidery Floss or Stranded Cotton is a loosely twisted, slightly glossy 6-strand thread, usually of cotton but also manufactured in silk and rayon. Cotton floss is the standard thread for cross-stitch. Extremely shiny rayon floss is characteristic of Brazilian embroidery.
Perle Cotton, Pearl Cotton, or French Cotton Perlé Thread
Perle Cotton, pearl cotton or french cotton thread is an S-twisted, 2-ply thread with high sheen, sold in three sizes or weights (No. 3, 5, and 8, with 3 being the heaviest).
Matte Embroidery Cotton or French Cotton Thread
Matte Embroidery Cotton or French Cottton à broder is a matte-finish (not glossy) twisted 5-ply thread.
Medici or Broder Medici Thread
Medici or broder medici is a fine, light-weight wool thread formerly manufactured by DMC Group.
Crewel Yarn
Crewel Yarn is a fine 2-ply yarn of wool or, less often, a wool-like acrylic.
Persian Yarn
persian Yarn is a loosely twisted 3-strand yarn of wool or acrylic, often used for needlepoint.
Tapestry Yarn or Tapestry Wool
Tapestry yarn ot Tapestry Wool is a tightly twisted 4-ply yarn.
Threads for machine embroidery are usually of polyester or rayon (less often cotton or silk).
Embroidery Floss or Stranded Cotton is a loosely twisted, slightly glossy 6-strand thread, usually of cotton but also manufactured in silk and rayon. Cotton floss is the standard thread for cross-stitch. Extremely shiny rayon floss is characteristic of Brazilian embroidery.
Perle Cotton, Pearl Cotton, or French Cotton Perlé Thread
Perle Cotton, pearl cotton or french cotton thread is an S-twisted, 2-ply thread with high sheen, sold in three sizes or weights (No. 3, 5, and 8, with 3 being the heaviest).
Matte Embroidery Cotton or French Cotton Thread
Matte Embroidery Cotton or French Cottton à broder is a matte-finish (not glossy) twisted 5-ply thread.
Medici or Broder Medici Thread
Medici or broder medici is a fine, light-weight wool thread formerly manufactured by DMC Group.
Crewel Yarn
Crewel Yarn is a fine 2-ply yarn of wool or, less often, a wool-like acrylic.
Persian Yarn
persian Yarn is a loosely twisted 3-strand yarn of wool or acrylic, often used for needlepoint.
Tapestry Yarn or Tapestry Wool
Tapestry yarn ot Tapestry Wool is a tightly twisted 4-ply yarn.
Threads for machine embroidery are usually of polyester or rayon (less often cotton or silk).
Drawn Thread Work
Drawn thread work is a form of counted-thread embroidery based on removing threads from the warp and/or the weft of a piece of even-weave fabric. The remaining threads are grouped or bundled together into a variety of patterns. The more elaborate styles of drawn thread work use in fact a variety of other stitches and techniques, but the drawn thread parts are their most distinctive element. It is also grouped as whitework embroidery because it was traditionally done in white thread on white fabric and is often combined with other whitework techniques.
Styles of Drawn Thread work
Basic Hemstitching
The most basic kind of drawn thread work is hemstitching. Drawn thread work is often used to decorate the trimmings of clothes or household linens. The border between hemstitching gone fancy and more elaborate styles of drawn thread work isn't always clear.
Needle-Weaving
This relatively easy type of drawn thread work is created by weaving (or darning) the embroidering thread into the barelaid warp or weft threads to create patterns of light-colored threads and dark openings in the drawn-thread cloth. Needleweaving is most often used for decorative borders. It is nearly always used in combination with other types of embroidery stitches. Together they create a complete design and, historically, in ethnic embroidery, distinctive embroidery 'styles'.
Also known as "needle-darning".
Berlin Wool Work
Berlin wool work is a style of embroidery. It is a subtype of canvas work. Typically it is executed with tapestry wool on canvas, in petit point stitch only. It was traditionally executed in many colours and hues, producing intricate three-dimensional looks by careful shading. The design of such embroidery was made possible by the great progresses made in dyeing in the 1830s.
This kind of work produced very durable and long-lived pieces of embroidery that could be used as furniture covers, cushions, bags, or even on clothing.
History of Berlin Work
Berlin wool work patterns in color were first published in Berlin, Germany, early in the 19th century. The first Berlin wool patterns were printed in black and white on paper and then hand-coloured. The stitcher was expected to draw the outlines on the canvas and then stitch following the colours on the pattern. But soon it became usual to publish counting patterns on charted paper, much like our cross-stitch patterns today. This made it easier to execute these patterns, because there was no need for translating the patterns into actual wool colours by the stichers themselves. They were published as single sheets mostly, which made them affordable for the masses.
Soon they were exported to Britain and the USA, where "Berlin work" became a craze. Indeed, Berlin work became practically synonymous with canvas work.
In Britain, Berlin work received a further boost through the Great Exhibition of 1851, and by the advent of ladies' magazines such as The Englishwoman's Domestic Magazine.
The popularity of Berlin work was due largely to the fact that, for the first time in history, a fairly large number of women had leisure time to devote to needlework.
Subjects to be embroidered were influenced by Victorian Romanticism and included Victorian paintings, biblical or allegorical motifs, and quotations such as "Home Sweet Home" or "Faith, Hope, Love".
In the 1850s to 1870s, the demand for Berlin wool work decreased dramatically, largely because the taste of the populace had changed, and the publishers failed to accommodate Berlin work to new tastes. Other, less opulent styles of embroidery became more popular, such as the art needlework advocated by William Morris and his Arts and Crafts movement.
Berlin Wool Work Today
Today, embroidery resembling Berlin work is available as kits, usually they are not worked after counting patterns but are printed directly on the canvas. The motifs still resemble classic Berlin work, but are typically less intricate. Such kits are stitched by a dwindling minority.
Modern needlepoint has lost almost all resemblance with Berlin wool work, it uses a great variety of stitches and threads, often with emphasis on creative work by the stitcher rather than simply copying patterns.
In many ways, some styles of modern cross-stitch can be seen as the true descendants of Berlin work. Of course, modern cross-stitch is a kind of surface embroidery rather than canvas work
This kind of work produced very durable and long-lived pieces of embroidery that could be used as furniture covers, cushions, bags, or even on clothing.
History of Berlin Work
Berlin wool work patterns in color were first published in Berlin, Germany, early in the 19th century. The first Berlin wool patterns were printed in black and white on paper and then hand-coloured. The stitcher was expected to draw the outlines on the canvas and then stitch following the colours on the pattern. But soon it became usual to publish counting patterns on charted paper, much like our cross-stitch patterns today. This made it easier to execute these patterns, because there was no need for translating the patterns into actual wool colours by the stichers themselves. They were published as single sheets mostly, which made them affordable for the masses.
Soon they were exported to Britain and the USA, where "Berlin work" became a craze. Indeed, Berlin work became practically synonymous with canvas work.
In Britain, Berlin work received a further boost through the Great Exhibition of 1851, and by the advent of ladies' magazines such as The Englishwoman's Domestic Magazine.
The popularity of Berlin work was due largely to the fact that, for the first time in history, a fairly large number of women had leisure time to devote to needlework.
Subjects to be embroidered were influenced by Victorian Romanticism and included Victorian paintings, biblical or allegorical motifs, and quotations such as "Home Sweet Home" or "Faith, Hope, Love".
In the 1850s to 1870s, the demand for Berlin wool work decreased dramatically, largely because the taste of the populace had changed, and the publishers failed to accommodate Berlin work to new tastes. Other, less opulent styles of embroidery became more popular, such as the art needlework advocated by William Morris and his Arts and Crafts movement.
Berlin Wool Work Today
Today, embroidery resembling Berlin work is available as kits, usually they are not worked after counting patterns but are printed directly on the canvas. The motifs still resemble classic Berlin work, but are typically less intricate. Such kits are stitched by a dwindling minority.
Modern needlepoint has lost almost all resemblance with Berlin wool work, it uses a great variety of stitches and threads, often with emphasis on creative work by the stitcher rather than simply copying patterns.
In many ways, some styles of modern cross-stitch can be seen as the true descendants of Berlin work. Of course, modern cross-stitch is a kind of surface embroidery rather than canvas work
Needlepoint
Needlepoint is a form of canvas work embroidery, in which yarn is stitched through a open weave canvas vertical and horizontal threads are formed to make precise holes between the thread and then hand painted or printed with a design. Stitchers use different colored Yarn or thread to cover each area with the corresponding colour on the canvas. Unlike surface embroidery, the types of stitching and threads used on the canvas make it more durable than embroidery that using fine count aida. Needlepoint worked on very fine (high-count) canvas and has 16 or more mesh holes per liner inch is called petit-point. Needlepoint is often referred to as "tapestry", but differs from true tapestry which is woven on a vertical loom rather than stiched on canvas mesh. Finished works may be made into pillows or upholstery, or may be displayed on the wall, framed or unframed, or made into holiday ornaments, purses, stuffed stand-up figures, or rugs.
History of Needlepoint
The roots of needlepoint go back thousands of years to the ancient Egyptians who used small slanted stitches to sew up their canvas tents, Howard Carter, of Tutankhamen fame, found some Needlepoint in the Cave of a Pharaoh who had lived 1500 years before Christ. Modern needlepoint descends from the canvas work in tent stitch that was a popular domestic craft in the 16th century and from 17th century Bargello through the shaded Berlin wool work in brightly-colored wool yarn. Upholstered furniture became the fasion in the 17th centuray and this prompted the development of a more durable material to serve as a foundation for the embroidered works of art.
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