Stem Stitch or Outline Stitch - Tamil stamilnavarasam.com/Books/Embroidery/Embroidery.pdf · Stem...

Stem Stitch or Outline Stitch

The Stem stitch is worked left to right. The needle emerges at the end of the line to be covered. It then enters the material a little to the left on the line to be covered and emerges half way between where the needle emerged and where it enters the fabric. Be sure that the needle always emerges on the same side of the line being worked, or your stem stitch will appear twisted. For a thin line, always pass the needle through the drawn line of your pattern. For a fuller, more cable-like look, push the needle down on one side of the line, and bring it up on the other side of the line, giving each stitch a slight slant. Be sure to be consistent on which side you go down on and which side you come up on. The stem stitch can be used to make outlines, or when lengths of stem stitches are worked side by side, it can be used to fill a design element.

Split Stitch

Work just like the Stem Stitch, only instead of the needle emerging beside the previous stitch, the needle passes through the preceding stitch. Also, only back up about a third of the previous stitch, not half way as in the stem stitch. Can be used as an outline stitch, or as a filling stitch.

RangaRakes tamilnavarasam.com

Running and Double Running Stitch

The Double Running (or Holbein Stitch) is a simple running stitch that requires two passes to cover the line of the design. The needle emerges at the beginning of the line. Make a series of short stitches - leaving a gap between each stitch that is the same length as the stitches. Also take care that each stitch is the same length. (i.e., ___ ___ ___ ___ ___ ) When the end of the line is reached, turn the work and work back to the beginning, filling in the gaps. The Running Stitch is a simple decorative technique, especially effective for necklines and cuffs. The Double Running is the main stitch used in Blackwork, and when done with care, results in the back of the work being identical with the front of the work.

Chain Stitch

Bring the needle up at the beginning of the line. Use your thumb to hold the thread against the fabric, a little to the left of the line. Pass the need back down through the fabric in the same spot it came up through. Do not pull the stitch tight! Bring the needle up a little farther down the line of the design, passing through the loop this has created. Now pull the stitch tight until the bottom the loop is snug, but still laying below where the thread is emerging from the fabric. Insert the needle in the same spot the thread is coming out of the fabric and insert it a little farther down the design line, again coming up through the loop. Continue in this fashion. You can create a wider chain by inserting the needle beside the emerging thread, instead of going back down the same hole you came up through. The farther to the side, the wider the chain.


Surface Couching (and Underside Couching)

Bring one or more threads up through the fabric at the starting point of the design. Lay the threads on the fabric. With another thread (either a contrasting, or matching color), make a series of small stitches across the main thread. Be sure the main thread lies smooth and does not pucker or bunch. When using couching to fill in a design, you can create a further design effect by how you place the couching stitches, whether you stagger them, or line them up from thread to thread. The commonest method for working metallic threads. An older version of couching is called Underside Couching. In this method, the main thread is laid on the fabric. With a different thread, come up beside the main thread, pass over it, and put the needle back through the same hole. Tug the couching stitch all the way back through the fabric, pulling the main thread through the fabric just enough to let the couching thread disappear from the surface.

Brick Stitch and Long & Short Stitch

Work first row right to left, second row left to right, third row right to left, and so on. The first row consists of alternating long and show stitches (see diagram above). Each succeeding row consists of long stitches only, until the last row, which is again worked in alternating long and short stitches. All long stitches should be the same length, with the short stitches being half as long. All stitches should lie parallel to each other. The stitches can be packed together tightly so that no fabric shows through, or they can be worked with a slight gap between stitches to create a more airy effect. This works well to fill in backgrounds, or rectangular areas. Does not do curves easily. A variation on this, known as the Long and Short stitch, was also used in medieval embroidery. In the Long and Short stitch, the stitches to not stay strictly parallel and can fan out to fill the design area. In order to fan the stitches you add in extra stitches as needed.


Satin Stitch

Bring needle up on left side of design element. Lay thread across design and push needle down on right side of design element. Bring need up on the left side, right beside the previous stitch. Push needle down on left side, right beside where the needle passed down on the previous stitch. Continue in this manner until the design is completely covered. The back of the work will be as fully covered as the front. Pull the stitches tight enough so that they lie flat and do not flop around, but not so tightly that the fabric puckers. For a raised satin stitch, cover design area with chain stitches or brick stitches, then satin stitch on top of them. It is also easier to keep the correct tension on your satin stitches if you do this. Under stitches don’t have to be perfect, since they will not show in the finished product.

Bayeaux Stitch or Laid Work

Bring needle up at position 1 and down at position 2 (far left example). Bring needle up at position 3, leaving a gap between the two threads that is the same width as the thread. Take needle down through position 4. Continue until you reach the bottom of the area to be covered. Turn the work 180 degrees. Bring the needle up between the original 1 and 4 positions, push need down between the 2 and 3 positions, filling the gaps. Continue in this manner until area is completely covered. (middle examples above) Lay thread across work at right angles to first sets of threads (see the far right example). Lay couching stitches over this thread.


Extra Stitches you might want to learn

Or Nue

Gold thread is laid side by side to cover the entire ground. Underside couching is used at each side to pull a small part of the gold to the reverse side. The design is worked in topside couching stitches. Various colors of silk thread are used to create a detailed image. Couching stitches are placed close together where the color should be dark and farther apart where the color should be light. The gold thread shining through the silk creates highlights. To create such embroidery you need to draw the outline of your design on ground fabric. Lay one gold thread and stitch all couching stitches on that gold thread, following the outlines on your ground fabric. Then lay the next gold thread, using underside couching where you turn the thread at the edge. Couch this thread. This technique has the advantage of allowing you have a drawn pattern to follow.

Long Armed Cross Stitch

The Long Armed Cross Stitch can be worked from left to right or from right to left. In this cross-stitch variation, one arm of the cross is twice as long as the other. These instructions are for working from left to right.

Imagine a series of squares (or a piece of Aida cloth). The first leg of the cross is worked from the lower right corner to the upper left corner. The second leg of the cross is worked from the lower left corner to the upper right corner of the second square. The third leg is worked from the lower right corner of the second square to the upper left corner of the third square. The stitches continue in this pattern, short leg from right to left, long leg from left to right. The stitches interlace, creating a lattice when widely spaced or a braid when worked closely.


Herringbone

Figure A Figure B Figure C Figure D

The Herringbone stitch is a variation on the Cross Stitch. This is a good stitch to work over the stop of seams as decoration and to strengthen a hand sewn seam. To begin, make a slanting stitch, slanting from lower left to upper right. Bring the needle back up even with where the needle passed through the fabric but slightly below. See Figure A. Make a slanting stitch that slants from lower right to upper left. Bring the needle up even with where it went down, but slightly below. See Figure B. The cross thus formed is crossed very near the top. Continue in this fashion. See Figure C. The end result is a line of crossed stitches which cross near the ends of the legs forming the cross. This stitch can be worked with long legs, as in the diagram, for an open look, or can be worked with short legs to create a more braid like look.

Buttonhole Stitch or Blanket Stitch

Figure 1: Blanket Stitch Figure 2: Buttonhole Stitch Figure 3 Figure 4 Figure 5

The Buttonhole Stitch and Blanket Stitch are actually the same stitch. In the Blanket Stitch, stitches are spaced apart (Fig. 1) and in Buttonhole Stitch, stitches are place against each other (Fig. 2). Buttonhole stitch is used, obviously, for buttonholes, eyelets, and also for pure decoration. Bring the needle up through the fabric at A (see Figure 3). Pass the needle back through the fabric at B and back up at C. Pull the thread fairly taut, being sure that it forms an upside down L. The next stitch will anchor this stitch. Put the needle down at D (see Figure 4) and bring it back up at E. This creates another upside down L. Continue in this manner, each new stitch anchoring the stitch to it’s left (see Figure 5). To anchor the last stitch, do a small stitch to anchor the angle of the last stitch (see Figure 1). This stitch can be worked right to left, as well. There are many variations you can do with this stitch. You can vary the length of the ‘legs,’ alternating long and short legs. You can group stitches, doing some close together, then leaving a gap, and then more stitches close together. You can work this stitch over the edge of the fabric. This is a good stitch to use to appliqué one piece of fabric onto another.


HOW TO DO THE STITCHES:


EXAMPLE

Half Pattern Center ↓

* * - * x ا * - o - * x x ا ا * - o - o - * x x ا x ا ا * - o - o - o - * x x ا x ا x ا * * * * * * - o - o - o - * x ا x ا x ا x ا x ا ا x ا x ا * - o - o - o - o - * - o - o - * x ا x ا x ا x ا x ا ا x ا * - o - o - o - o - * - o - * x ا x ا x ا x ا x ا ا * - o - o - o - o - * * x ا x ا x ا x ا * * * * * * x ا x ا x ا x ا * - o - o - o - o - * * x ا x ا x ا x ا x ا ا * - o - o - o - o - * - o - * x ا x ا x ا x ا x ا ا x ا * - o - o - o - o - * - o - o - * x ا x ا x ا x ا x ا ا x ا x ا * * * * * * - o - o - o - * x x ا x ا x ا * - o - o - o - * x x ا x ا ا * - o - o - * x x ا ا * - o - * x ا * - * *

Key: * Double cross stitch using darker floss o Woven circle stitch │ Straight running stitch - Straight running stitch x Double cross stitch using lighter color floss


PLATE 1

THIS plate was sketched from a very old strip of Tudor work, measuring about 5ft. 8in. in length and 1ft. 8in. in width. Each leaf was about 22in. long and 19in. across. The strip had evidently been part of a bed valance, and, as far as one could tell—for it was much faded—had been worked in two shades of wool only—dark indigo blue and bright green; the latter had faded, almost everywhere, to a soft mignonette colour.

Op. II

PLATE 2

A group of blue leaves, etc., taken from some old cushions at Knole Park, Sevenoaks.

No. 1. Stem stitch contour: Maidenhair in buttonhole stitch. Star in buttonhole stitch on background of small crosses.

No. 2. Stem stitch.

No. 3. Stem stitch contours. Centre in loop stitch.

No. 4. Stem stitch contours. Centre loop stitch and maidenhair in buttonhole stitch.

No. 5. Stem stitch.


PLATE 2a

GROUP of the lighter details that break up the heavy masses in the earliest and latest examples.

The medlar-like fruit is worked in Crewel stitch in bands of brown, stem lighter in shade.

The leaves, Example I & II, satin stitch with stem stitch outline both sides, centre veinings in stem stitch, turnover in leaf, II, in block stitch.

III Buttonhole edging with darned centre, centre filled with strands of wool caught down at intervals with double back stitch.

IV Flowers in soft blues in satin stitch, acorns have their cups worked in French knots. RangaRakes tamilnavarasam.com

Op. III THE following plates were sketched from an old strip of work done in deep indigo worsted wool, with a rather lighter wool, both in colour and make, used in the fine buttonhole work and darning, of which there is much throughout the work. The design was a branching one, the flowers and leaves—most of which appear in the following plates—are hanging from stems about a quarter of an inch thick done in herring-bone stitch, with the exception of the violas (plate 5) which have a thicker stem of their own in herring-bone, stem stitch and loops. The thistles (plate 3, No. 1) reproduced the same size as in the work, were scattered about in groups of three, making a very pleasing contrast to the hanging roses (plate 6), whilst the irises reared their heads all along the bottom of the strip, but owing to the work having been cut, it was impossible to see how they joined their straight stalks to the branching ones above.

PLATE 3


PLATE 4

THE iris shown here was worked as follows: The contours in stem stitch throughout. The centre and two side petals have stem stitch veins, edged buttonhole stitch and were filled in with big knots. The smaller petals were partially filled in with buttonhole stitch and darning. The dark petal on left was done in Cretan[3] stitch edged stem stitch.

[3] A variation of herring bone stitch.


PLATE 5

No. 1. Contour in stem stitch, filled in lightly with buttonhole stitch, and darning and long-and-short stitch.

No. 2. Ditto, with the addition of herring-bone stitch on two upper petals.

No. 3. (Stalk) herring-bone stem stitch with loops between.


PLATE 6

No. 1. Stem-stitch, buttonhole stitch and darning.

No. 2. Ditto.

No. 3. Stem stitch, buttonhole stitch, French knots and darning.

No. 4. Stem stitch, buttonhole stitch and darning.

All have herring-bone stitch stalks.


Sketched from a piece of work in blue crewels on white linen, belonged to the late Lady Maria Ponsonby.

PLATE 7

MOST of the stitchery shown here is similar to that on the preceding plates, but has the addition of the plait stitch[4] edged with buttonhole stitch in the veins of the big leaf, and the close knots on the sheaf of the foxgloves, while the sheaf of the convolvulus has veins of stem stitch and small French knots.

In all this piece of work there is to be noted a great deal of buttonholing and darning.

[4] A variation of herring-bone stitch. RangaRakes tamilnavarasam.com

Op. IV

PLATE 8

SHOWS many uses to which stem stitch can be put, which is the only stitch employed in the work illustrated here, if we except the little arrow-heads used to edge the vine leaf.


THE following sketches were taken from a most beautiful and elaborate strip of work, forming part of some bed-hangings, dated A.D. 1696, worked in hard twisted crewels in blue, mignonette, and green colourings only.

PLATE 9

treats of button-holeing stitch done in a variety of ways.

No. 1 has groups of three button-hole stitches and crosses in centre, and is edged by chain stitch and arrow-heads.

No. 2. Button-hole stitch centre and edge.

No. 3. Button-hole stitch with stalks in stem stitch. RangaRakes tamilnavarasam.com

PLATE 10

IN this sketch are three principal stitches, viz.: Chain stitch filling in spaces Nos. 1-2 (on left of sketch) and forming the contour of the whole leaf; button-hole stitch filling spaces Nos. 3-4; and a lace stitch filling spaces Nos. 5-6-7. The other two spaces are filled by brick stitch, and darning with little veins of coral stitch and herring bone. There are loop stitches in the centre of the veining in spaces 6-7, and these are also worked round the outside of the leaf.


PLATE 10a

THIS leaf, having a contour of chain stitch, is filled in at the top with a brown and blue branch in stem stitch, edged with short-and-long stitch. The green turnover is in chain stitch with blue chain stitch veins, and the blue turnovers at base of leaf are done in a lace surface stitch, while the rest is filled in with small darning stitches, coral stitches and a little bit of button-hole stitching. The three central leaves crossing stem are in red and green, and blue and green; the brown stalks are worked in stem stitch. Loops are worked round the outside of the leaf here as in all the bigger leaves on this work. The spike on the left of the sketch is in herring bone stitch edged with arrow heads.


Op. V THE following three plates are sketches from the bed hangings in the "Chapel" room at Hardwicke Hall, Derbyshire—the property of the Duke of Devonshire.

PLATE 11

Shows the full design, which is a repeating one, of the hangings. The details of the stitchery will be found on the following plates.


PLATE 12

No. 1. One of the many conventional foliations in this design, carried out in stem stitch, buttonhole and darning.

No. 2. Close chain stitch for the circles with herring bone for the stalk running through them.

No. 3. The same stem as in foxgloves but with darning introduced up the centre.

No. 4. The sheafs of the foxgloves are worked in crochet stitch edged stem stitch.

The contours of flowers in back stitch, filled in short-and-long stitches and darning.


PLATE 13

No. 1. Contour in chain stitch. Vein stem stitch edged two rows short-and-long stitches and darning.

No. 2. Contour in double chain stitch. Veins in knot stitch edged darning. Loops in middle of centre vein.

No. 3. Contour in stem stitch; vein ditto, edged with two rows of short-and-long stitches and darning.

No. 4. Contour in chain stitch, edged darning. Centre vein chain stitch. Branching veins knot stitch outlined with darning stitches.

No. 5. Contour buttonhole stitch and darning. Veins knot stitch and darning.


Op. Va

PLATE 14

A group of fillings in which darning plays an important part, the backgrounds of two of the leaves were carried out in indigo, the veinings were worked in solid rows of outline stitch in brown shading to a lighter bronze green, the central vein in the upper leaf was in chain-stitch in dark blue and the outline of leaf was carried out in two rows of chain stitching in darkest indigo. The shamrock leaf has a darned contour of double threads, the filling was in stem stitch, solid, with bars of a darker colour worked across it. The little band at the bottom of the group was a mixture of satin, chain, stem and French knots.


Op. VI The following sketch was done from bed hangings, the property of the Earl of Powis, at Powis Castle.

PLATE 15

THE design is a bold one of big leaves worked on the usual thick white hand-made linen. Undoubtedly the wools used were green at the time of working, but have now changed to beautiful shades of blue to indigo. Each leaf throughout the work has a thick contour in rope stitch of the four shades of the wool used, and the stem is most effective, done in squares of Cretan stitch in the same four shades.


Op. VII

PLATE 16

THIS bold leaf is mainly carried out in block shading, but the colours are unusual. Indigo for the outside edge, soft brown the central block, and light green for the inner; in the second leaf the green is employed only for the line of veining; the two leaves or sections on the right-hand side are treated as follows—The upper one has outlines of brown, between which blocks of "buttonhole" in indigo are worked, the intervening spaces being simply decorated by a loop stitch in green wool. The sprays are in satin stitch, which is one of the best for small sprays to be worked solid.


PLATE 17

A very handsome leaf, in the working of which many stitches are employed.

The curved scroll at the top is carried out in block shading in blue to pale green; the curved section on the right is marked out in squares filled alternately with satin stitches, with a simple French knot in each square, and by a square trellis secured in the centre by a cross stitch; the scroll below this is outlined in crewel stitch, and filled with laid work or strands of wool thrown across from edge to edge and couched by back stitches at the points of intersection.

The three leaves at the root of the stem are carried out in block shading in shades of grey green, the leaf above is outlined in crewel stitch and filled with fancy devices worked in buttonhole stitch with darning background; the centre motive is a solid mass of French knots, well raised and blue in colour. I have seen this same motive carried out in three shades, the lightest group at the point, the darkest at the back.


PLATE 18

MORE fillings taken from a piece of work executed in the late 17th century.


I Is one of the diverse methods of treating the large tree stems in a design. Within the fan-like outlines traced down on the linen is a solid filling of satin stitches, varying row by row from pale fawn at the foot to dark chestnut brown round the top, the direction of the stitches is shewn in the drawing.

II Here we have a fancy lattice of three strands of laid wool couched with small French knots at the intersecting points, the outline is in stem stitch and fanciful back stitches are used as fillings.

III Has first rows of long single threads thrown across, caught down with stars and groups of satin stitching crossed.

IV A light treatment for stems, the filling, shells in buttonhole stitches, with second outline in darning.

V One of the examples of the introduction of lace stitches that is to be noted in work of the late 17th century, the alternate blocks are in basket stitch, the others in double cross stitch in contrasting colours.

VI Quaint example of couched work.


Op. VIII

PLATE 20

THESE two sketches were taken from an 18th century (?) curtain done in solid crewel work, in somewhat bright colouring. The brown veining which occurs in I and in nearly all the leaves was most effective; in this plate is also shown a good example of basket stitch stem work. The acorn cup was worked in close French knots.

II The large leaf is a good example of solid work. The contour was in stem stitch, the serrated edges turned over on to the brown surface were in shading stitch, the red veinings in satin stitch.


PLATE 21

THESE two leaves are of a bold, simple character that is easy to suggest, and proves a great relief in a design that is somewhat over-detailed. The large one is carried out in browns and greens. The turned over serrated edge is in satin stitch of graduating shade. The heavy veining is somewhat unusual in that it is carried out in laid stitch, dark green in the centre and light green outside. The stars are worked in dark green. The outline to the lower leaf is in two shades of green, the palest continuing to outline the remainder of the large leaf.

The small leaf is worked solid in shading stitch in blue with brown satin stitch edge, the veining is brown as is also the contour of the upper point.


PLATE 22

WE have here a large leaf very characteristic of the complicated detail introduced by the conventional treatment of foliage in early English work.

The curved point of the leaf is outlined in rope stitch in a dark shade of soft bronze green, the heavy double cross lines are in crewel stitch and of a lighter shade of bronze in which the square lattice is also carried out, the French knots in the centres are of a dark olive green.

The round medallion is outlined similarly to the above but in darker shade, the centre being worked solid in slanting satin stitches set in rows, each row taken at the opposite angle to its neighbour; the next leaf is outlined inside, in two rows of chain, the turnover of the leaf being solid satin stitch in three shades of green. The stem is double back stitch, and the other leaves are worked solid in shading stitch in graduated shades of green.


The two small leaves, I & II example: 1st, rope stitch with alternate fillings of darning and outline stitch, and 2nd, rows of outline stitch for one-half the back leaves and one-half grey knot stitch and blue snail trail in alternative, the end leaf being in rows of outline of brown colour.

PLATE 23

A portion of the terra firma of the curtain.

The strawberries and clear parts of the ground are worked in French knots.

The plants are very useful in breaking up the solid masses of dark colour, and the stag serves to introduce into the base of the work the colouring of the acorns above (on plates 1 and 2).

As a rule this base of a design repeats all the colourings used throughout.


PLATE 24

EXAMPLE of a bird introduced into the late 17th century work.

It is executed in simple feather stitch for the tail feathers and satin stitch very evenly shaded. The dark centres of the short feathers are in crimson, the rest in shades of buff, the breast feathers also worked in satin stitch are in putty colour, legs and beak are brown and the crest in crimson.


PLATE 25

QUAINT early example of a parrot, head in knot stitch, breast feathers block stitch, and wings in shaded single feather stitching.

The butterfly and grub are found in all early examples.


PLATE 26

GROUP of animals usually disporting on the terra-firma at base of large designs.

Worked always in long and short stitch.


PLATE 27

SQUIRREL in rich brown colour, with cream chest worked in shading stitch, tail in overcasting for the centre and furry part in single feather stitch with stem stitch outline.


PRINTED BY W. W. CURTIS LTD., CHEYLESMORE PRESS, COVENTRY


Hand Embroidery Transfer Methods

If you’re new to hand embroidery, pick a simple design with not too many tiny details. The difficulty level can vary with different designs, so use your astute powers of observation to decide which one is best for you.

Print out your design on regular paper. (If you need some tips on printing hand embroidery files, check out this tutorial!)

Take that carbon paper and place it carbon side down onto your fabric, then place your printed design on top of it. Keep in mind when you’re placing your image that you need enough room around it to be able to hoop the fabric, so don’t put it too close to an edge.

Trying to transfer an image onto dark fabric? No problem! Carbon paper comes in different colors, and one of them is white. Using white carbon paper on black fabric with ensure your design comes through nice and clear. If you can’t find it in your local craft store, try online. This is one of the advantages of carbon transfer over an iron-on transfer, as most iron-on methods can only be used on light fabrics.

file:///F|/Sandbox_UT/content/UT_pr146.html (2 of 8) [3/4/2011 8:42:49 AM]RangaRakes tamilnavarasam.com

http://www.urbanthreads.com/pages?id=688


Use a pencil, stylus, or anything firm and vaguely pointy to trace over your design. Don’t use anything too sharp, or you might punch right through your fabric, and take extra care not to let your design move while you’re tracing it. I like adding a piece of masking tape to the top or side to keep it in place.

Taking care not to shift your design, pull it back now and then to make sure your design is transferring properly. Mine comes out a nice pretty blue, light enough to be subtle but still visible. If you can’t see your design well enough, trace over it again.

There you have it! That’s the very common carbon paper transfer method.

Transfer Pen (or Pencil)



Another very common way to transfer images is with a transfer pen, found in almost any craft or sewing store. All you need is a print of your design, your pen, and an iron. You might also want a pressing cloth, depending on how you transfer your image. I’ll explain...

If you’re starting with a brand new transfer pen, the tip will be dry. Hold the pen onto a blank piece of paper or scrap, and press it down a few times to start the ink flowing. Not too much! You don’t want to pool up excess ink. If it ever runs dry tap it once like that and the ink should return.

My favorite way of using the transfer pen is by printing my design as-is, and then flipping it over and tracing onto the back. This is so when we iron it, it doesn’t turn out backwards. If you’re having trouble seeing through your paper, try holding it up to a bright window.



If you’d prefer not to mess with the back, you can always trace over the front, but you have to mirror your image first (check out this tutorial to find out how). Keep in mind, if you’ve printed black and your transfer pen is black, it might be kind of tricky to see where you’ve traced already. If you like, you can adjust the color or lightness of your print with some tips from this tutorial, so it’s easier to see where you’re tracing.

Are you working with a transfer pencil instead of a transfer pen? No problem! The technique is exactly the same -- trace the image and iron on. The only difference is the quality of the transfer of the two. Pencils tend to be much lighter (and sometimes a lot harder to see) but then the transfer is more invisible after it’s stitched over. It’s totally personal preference. If you’re just starting out, I’d recommend the pen, as it makes the clearest marks to follow.

Place your design transfer ink side down (this will depend on which side you traced). If you traced on the back, and used a laser printer or photocopier to print it, here’s where you might need a pressing cloth... Most inks from laser printers or photocopiers can actually come off the paper when heat is applied. If that happens without a pressing cloth, that means you get ink right on your iron. Guess how the bunny knows this.





So, if you need it, put a pressing cloth down. With a hot iron, carefully iron over your design, making sure it doesn’t move or shift while you’re ironing!

To check your transfer, carefully peel back your paper every once in awhile to see how it’s coming through. You may need a lot of heat for it to transfer properly. Usually the cotton setting, no steam works best. There’s our little owl! All neat and transferred over to our stitching fabric.

Psst... Don’t have a transfer pen handy? Well that problem you can have with your printer ink coming off with heat can actually be your friend! All you need is a laser printer or photocopier (inkjet won’t work), and you can try this sneaky trick if you’re in a jam...

Sneaky Printer Trick



Now, this doesn’t work terribly well, but if you have no other supplies and you really really need to stitch something, ironing a photocopy or laser print directly onto the fabric can leave a very faint transfer, like shown. Remember, you’ll want to mirror your design if you’re doing this! Don’t know how? Check out this tute.

Printed Fabric Transfer

Don’t care for all that tracing? Well, another more permanent option is to print your design onto fabric, using inkjet fabric found at the craft store. The only problem with this method is your transfer lines are completely permanent, and pretty bold. This is an example of a kitty if we printed him just as he came.

As you can see, the printed lines can peek through your stitches, and it means you have to stitch over every line. There are ways to soften this effect though...




You can lessen the impact of the transfer by lightening or changing the color, for example, making it a light blue like our other transfer often looks like. You will still have to stitch over every line to hide the transfer, but it should be less noticeable than a heavy black. Want to know how to change the colors of a hand embroidery or stock art design? Click here for some tips from the bunny!

Want another method of transferring that doesn’t require tracing? There’s this neat stuff called Transfer-Eze!! It’s kinda like water soluble stabilizer. You print your design on it, peel and stick it onto your fabric, and dissolve it away with water when you’re done! Easy-peasy, and no transfer lines left behind when you’re done.

So that’s it! There are all sorts of ways you can transfer your downloaded design, and you can choose which one works best for you. All you need to do now is find a hoop big enough to accommodate your spiffy stitches and you’re ready to stitch! If you’re just starting out, you can check out this tutorial that covers some basic hand embroidery stitches, so you can start creating that embroidered masterpiece!

Want a printer-friendly PDF of this page? You got it, bud.



http://www.google.com/search?q=transfer-eze



http://www.urbanthreads.com/pdf/UT_pr146.pdf

Basic Hand Embroidery Stitches

Basic Hand Embroidery StitchesSo, you’ve downloaded and printed your design, and you’ve transferred your design. It’s time to stitch! Finally! The wonderful part of hand embroidery is everything is up to you ... the colors, the stitches, even parts of the design. You can stitch whatever you what, however you want. If you’re just getting started, here are a few stitches for you to try out on your swank new designs...

Backstitch Satin Stitch Split Stitch French Knot

Backstitch

Time to put those nimble fingers to work! We’ll start with some of the most basic stitches very useful for outlining, a backstitch. The backstitch is simple to do and only slightly less simple to explain...




http://www.urbanthreads.com/pages?id=689#backstitch

http://www.urbanthreads.com/pages?id=689#satinstitch

http://www.urbanthreads.com/pages?id=689#splitstitch

http://www.urbanthreads.com/pages?id=689#frenchknot


After you have a knot in the back side of your embroidery to keep your thread in place, come up and go back down the length of your desired stitch (1 to 2). When you come back up, come up about a stitch length away (3) from your first entry point (1), and then go back down right next to it (4). My stitches on this birdy are really far apart; you can make them much closer for a more solid outline.

The backstitch is great for outlining when you have a lot to do, but since the stitches tend to be longer than others, it’s not quite as good around tight corners.

As you can see, this birdy is pretty much very loose, very basic backstitches the whole way, except when I got real fancy like with his eye, which is a little tiny satin stitch. What’s a satin stitch?

Satin stitch



A satin stitch is a nice solid fill stitch you can use to fill in areas. It gets its “satin” name because it leaves a shiny smooth raised surface behind after you’re done stitching. We have a satin stitch for machine embroidery too.

To start, be sure you have a knot at the back. Come up at 1, down at 2. Then, don’t come back up right next to where you went down. Instead, once you’ve stitched from top to bottom (1-2), go back to the top again (3) and then go back down for your next stitch (4).

The reason we always go in the same direction (top to bottom or bottom to top) is because otherwise it’s difficult to keep those wayward threads straight. If you always came up right next to your last stitch, your needle placement needs to be super exact to keep your stitches straight.

Split Stitch



The split stitch is a lot like the backstitch, but with one important difference. Instead of coming up away from your last stitch, you come up right in the middle of it! Don’t worry, I’ll explain...

So, start from underneath (1) (with a knot, as usual) and come up and back down one stitch length (2). Now, instead of coming up far away, like in the backstitch, you come right up in the middle of the stitch you just made, splitting the threads, hence, the split stitch (3). Go back down again the same stitch length, (4) and repeat the process!

This stitch is also great for outlining, and since the stitches end up a bit smaller, it’s a little more maneuverable. It does, however, take a little longer to stitch, since each stitch is half its usual length. If you’re going to do a bit long outline of something, you may want to try the backstitch instead!

Here’s a close-up of a piece done with all three of these stitches thrown in for good variety. It’s fun to mix up stitches to see what kids of effects and textures you can achieve.



There are lots of other fancy stitches out there, from stem stitches to chain stitches, but these few basic stitches will get you a long way when you’re just starting out.

However, if you’re looking for something a little more fun and a little more challenging, you should try out this next stitch...

French Knot

This stitch is called the French knot, and it takes a little bit of practice to get the hang of, but it can create some really great accents or even some fabulous texture when repeated as a fill.

Start, of course, with a knot in the back, and pull your needle through. Once you’ve pulled your thread through, grab a few inches above where it comes out of the fabric, and pull it taut so you can control it better.



Wind the thread around your needle twice for a nice large knot. Keep tugging gently at the thread to keep it wound around your needle, and re-insert the tip of the needle right next to where it came out. Do NOT place it exactly where it came out, or you might pull your stitch out completely when you pull the thread through. Keep it as close as possible to your marked dot, though, so you get a nice neat stitch.

Once the tip of your needle is in the fabric, tug on the thread that’s wound around the needle. The knots will slip down the needle to form a small little knot at the bottom. Don’t relax the thread yet, keep tugging at it gently so the knots don’t loosen.

Now pull your needle all the way through your fabric, but keep the thread holding the knots firmly but gently held as long as possible. You’ll have to let go eventually to let the last of your thread go through your fabric.

The more you can control the tension on the thread, the less likely it will be that your knots will loosen as you’re finishing the stitch.



Once you’ve pulled your thread all the way though, you’re done!! Your little neat French knot is finished.

French knots are great for little details like eyes, or do a whole bunch in an area for an amazing textured fill. They take a bit of practice, but really, they’re not so scary. Not as scary as a bunny with fangs, for example...

Now you have a few basic stitches to get you started! Nothing’s stopping you now. There are hundreds of designs to choose from, and hundreds of ways of stitching out each one. personalize it with your own colors, your own stitches, or even change up the design! Then if you like, share it in our flickr pool or send it our way at [email protected] to show off your stitchy work!

Want a printer-friendly PDF of this page? You got it, bud.


http://www.flickr.com/groups/urbanthreads/

mailto:[email protected]

http://www.urbanthreads.com/pdf/UT_pr148.pdf

needlecrafts : hand embroidery : vintage needlework












ABC-Embroidery-Designs.com

Secrets of Machine Cross Stitching - Introduction

This topic is dedicated to a series of questions about cross-stitch designs - MACHINE cross-stitch designs - which we are constantly asked.

(Caution: What you might read now might change the way you feel about embroidery designs.)

Have you ever tried the Cross Stitch technique? Well, you might be surprised to know that you do not need any special software or any other "Add-Ons". Just you and your embroidery machine…

If you’ve never tried Cross Stitch, or maybe you haven't even heard about it, here you'll find some basic tips, instructions and free patterns for beginners.

We know you will fall in love with machine cross stitching and recognize that it is art in itself; the same way we did.

As a bonus, we are also including a freebie rose design for you:

What Is "Count Size"?-------------------------

Although each design (and even each separate object within an embroidery design) has some kind of stitch count, we are now specifically referring to machine cross-stitch designs.


http://ABC-machine-embroidery-designs.com/

http://www.abc-free-machine-embroidery-designs.com/designs/SmallRose.html

http://www.abc-free-machine-embroidery-designs.com/designs/SmallRose.html

You can see that our Cross-Stitch embroidery designs are offered in 3 count sizes - 14, 16 and 18.

These count-size numbers indicate how many stitches per inch are in each version. The higher the count number, the denser and smaller will be the design. It goes this way:

● 14 counts/inch - large-sized designs - fairly loose ● 16 counts/inch - medium- sized designs - medium density ● 18 counts/inch - smallest-sized designs - most dense

Here is a close-up photo of the same rosebud, embroidered in different counts:


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/


As you can see, the same rose design in three different counts has been embroidered on the tablecloth. The largest design is closest to the sitting person, while the smaller ones are towards the table’s center.

Such positioning of designs, one after another, creates a feeling of perspective and depth, because our brain thinks that the smaller roses are a lot farther away than they really are.

You may take advantage of this trick every time you want to create a composition effect of prospect or depths.Also, you may download this rose, in all three counts, for free, here:


http://ABC-machine-embroidery-designs.com/Newsletter/3counts.html

What Thread to Use for Machine Cross-Stitch?--------------------------------------------------

Machine cross-stitch designs embroider beautifully, using popular polyester & rayon 40wt thread, which is exactly the type of thread you use for all other machine-embroidery designs.

In case you feel a need for more colors, because cross stitch designs include many gradient colors, please click here to order an amazing kit of machine embroidery thread with a great color palette:

If you have access to good colors of thick (30 wt) cotton machine-embroidery thread, it will also look very nice with 14-count designs. (On 16- and 18-count, the cotton looks too bulky).

What Fabrics to Choose?---------------------------

Cross-stitch designs usually look great on fabric types that aren't particularly delicate. For example, they look beautiful on linen, denim, and cotton/polyester blends - simple, inexpensive types of fabrics. Also, make sure the fabric you select isn't too stretchy.


http://ABC-machine-embroidery-designs.com/Newsletter/3counts.html

http://ABC-machine-embroidery-designs.com/Embroidery_Threads/


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/11StockingsTrifles.html


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/RosesAllure_index.html


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/FruitSeason.html


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/AllAboutViolets.html


http://ABC-machine-embroidery-designs.com/Cross_Stitch_Designs/StrawberriesFlavour.html

Embroidery Sampler

Materials and Supplies:

Fabrics: Other:

1 9” X 15” White Top Fabric 1 48” Ribbon for Ties

1 18 1/2” X 12 3/4” Backing Fabric 2 Embroidery Needles

1 18 1/2” X 12 3/4” Batting 1 Instruction Sheet

1 1/2 2 1/2” X fabric width for Borders 1 Embroidery Diagram

Floss:

48” Green 54” Red 54” Yellow

48” Blue 24” Black

Instructions: 1. With a blue washout marking pen, draw lines 1” from the lengthwise edges of your white piece of

fabric. This forms the border of where you will begin and end your embroidery stitches.

2. Using the blue washout pen, draw 12 lines across your fabric, spacing the top and bottom lines 1”

in from the edge, and the others 1” apart.

3. By hand, stitch out each embroidery line following in the following order and color, following the

instructions for each stitch on pages 3—6.

Row 1: Green Chevron Stitch

Row 2: Blue Chain Stitch

Row 3: Red Feather Stitch

Row 4: Black Outline Stitch

Row 5: Using pattern on page 2, draw design on fabric

with blue washout marker.

Satin stitch leaves green.

Satin stitch flowers red and yellow, alternating each.

Row 6: Green Stem Stitch

Row 7: Blue Eyelet Stitch

Row 8: Red and Yellow Lazy Daisy Stitch, alternating colors.

Row 9: Black Blanket Stitch

Row 10: Red French Knots

Row 11: Yellow Herringbone Stitch

Row 12: Blue with red Couching Stitch

4. Apply the borders:

..Cut two 2 1/2” wide borders 14 1/2” long. Pin and sew these borders

to the sides of the sampler section. Press entire seam allowance

toward print fabric (A)

..Cut two 2 1/2” wide borders 12 1/2” long. Pin and sew these

borders to the top and bottom sides of the sampler section.

Press entire seam allowance toward the print fabric (B).

A.

B.


5. Applying the batting and backing:

..Using your completed top piece as a pattern, cut the backing and

batting fabric to the exact size of the front.

..Layer these three layers in this order:

1. Quilt batting

2. Quilt top, right side up.

3. Quilt back, wrong side up (C ).

..Pin all three layers together, all the way around the four edges.

..Stitch at 1/2” all around the quilt, leaving 6 inches open (do not stitch)

to turn your quilt.

..Clip across the corners (D).

..Turn your sampler quilt right side out.

..Carefully poke your corners out square, using a large knitting needle.

..Hand stitch (slip stitch) your opening close (G).

..Lay your sampler quilt out flat. Do not press—this will flatten the

Batting (E).

6. Quilting the sampler:

..Lengthen your stitch length to 3.5.

..Place pins lengthwise, centered along all 4 borders and in the

center section, about 1” from the seam line.

..Topstitch the outside edge, about 3/8” from the edge. Also, topstitch

3/8” on both sides of the border seams (F).

7. Finishing:

..Add ribbon bows to the 4 corners.

1. Divide your ribbon length into 4 equal pieces.

2. Bar tack the middle of the ribbon to the corner.

3. Tie your bow.

Satin Stitch

Design:

Basic Hand Stitching

Slip Stitch - is what you use when you don’t

want the stitches to show. You will use it to

hand stitch openings closed. Slip the needle

through the edge of the fold of the top

fabric. Then, with a small stitch, pick up a

thread of the lower fabric. Repeat. Stitches

should be about 3/8” long.

C.

E.

F.

G.

D.


Hand Embroidery Stitches

Chain Stitch

Using 2 strands of floss, bring needle up from the backside. Form a loop of thread in front of you. Put your needle into the fabric very close to where it came out. All in one motion, bring it back up about 1/4” away, pulling thread up over the top of the original thread loop. Repeat this sequence. Anchor the last stitch by going over the top thread and taking your needle down. through the fabric. undernest

Back Stitch

The back stitch is used mainly for outlining. Using 2 strands of floss, bring your thread up from the backside about 1/8” in from the starting point of the design. In all one motion, put your needle down at the starting point, and bring it back up 1/8” beyond your original thread. Keep repeating this sequence. Work to make your stitches come to, but not into any existing stitches.

Feather Stitch

The looped feather stitch is a fun to make, decorative stitch. Draw lines on your fabric as shown, using a wash out marking pen. Using 2 strands of floss and beginning at the top, bring your needle up from the backside on 1. All in one motion, insert your needle at 2, and bring it back up at 3, passing the floss under the needle point. Put your needle through at 4 and bring up at 5, again keeping the thread under the needle point. Repeat this sequence, making your feathers 3 to 5 stitches wide and then changing directions.


Blanket Stitch

This is a nice stitch for appliqué as well as for finishing edges. Using 2 strands of floss, bring the needle up at A. You will insert at B and come out at C all in one stitch. B will be located about 1/4” away from the last stitch, and goes through the fabric. C is where it simply hooks under the thread from the last stitch. C becomes A for the next stitch. Repeat this sequence.

Satin Stitch

Satin stitches fill in an area. Using 2 strands of floss, and beginning from the wrong side of your fabric, bring the needle up at the end of your design. Stitch straight stitches closely together to fill in a solid shape. You may angle the stitches however you desire. Floss should be close, but not overlapping.

Stem Stitch

The stem stitch can also be used as an outline stitch. Using 2 strands of floss, bring the needle up from the backside. Take a short back stitch while holding the loop of the floss to one side. Bring the needle halfway back along the stitch, pulling the stitch into place, while taking another small stitch. Pull this stitch into place, and follow the sequence of taking small stitches halfway back from the stitch you just made. Consistently hold the loop on either the inside or outside edge of the design.

B.

C.

A.


French Knots

French knots are used for a variety of things...eyes, flower stamen, etc. Depending upon the size of your desired know, use either 2—4 strands of floss. Bring your needle up from the bottom side exactly where you want your knot to be. Holding your floss with one hand, take your needle and wrap the floss around it 3 or 4 times. Now direct your needle back down through the fabric, only a thread or two away from where you came up, and holding the floss taunt, pull it through.

Herringbone Stitch

The decorative herringbone stitch is a simple, interwoven stitch, which is worked left to right, with backstitches. Using 2 strands of floss, bring your needle up from the back side at 1. Take your needle through the fabric from 2 to 3, and again through the fabric at 4 to 5. You are now where you began the pattern., and you may continue to repeat this sequence.

Lazy Daisy Stitch

Cute flowers! Using 2 strands of floss, bring your needle up from the backside on a dot near the middle of your flower. Form a loop of thread in front of you. Put your needle into the fabric very close to where it came out. All in one motion, bring it back up about 1/4” away, pulling thread up over the top of the original thread loop. Make a small anchor stitch over the top of the floss loop to hold it in place. Bring your thread up at the next tiny dot and repeat this sequence.

1. 5. 4.

3. 2.


Couching Stitch

The couching stitch is an easy stitch used to accent or outline a design. Using 2 strands of floss, bring your needle up from the back side, and lay it down following your design line from the back and moving forward. Cut your floss, leaving enough to finish your line. Bring another needle with floss up and put a small stitch over the top of your main thread, which you are holding in place with your thumb. Repeat these stitches about 1/4”

Eyelet Stitch

Using 2 strands of floss, and beginning from the wrong side of your fabric, bring the needle up at #1, and go back down in the center. Repeat the rest of the way around, always coming up from the back, and going down in the center. Tension on your thread will create a hole in the middle, creating an “eyelet”. Draw the pattern for this onto your fabric in the shape of a square.

Chevron Stitch

The decorative chevron stitch is made using backstitches. Using 2 strands of floss, bring your thread up from the back side at 1. Take your needle through the fabric from 2 to 3, again through your fabric from 4 to 5, then from 6 to 4, then from 7 to 8. You are now back at 1 and may continue to repeat this sequence.

5. 6.

4.

3. 7.

1. 2. 8.

1. 2. 3. 4. 5.

16. 6.

15. 7.

14. 8.

13. 12. 11. 10. 9.


Date post:	20-Mar-2018
Category:	Documents
Upload:	vuongkhue
View:	252 times
Download:	3 times

Stem Stitch or Outline Stitch - Tamil stamilnavarasam.com/Books/Embroidery/Embroidery.pdf · Stem...

Documents