STITCHES--(_continued_)
Satin Stitch--Long and Short Stitch--Stem Stitch--Overcast
Stitch--Back Stitch--Buttonhole Stitch--Tailor's Buttonhole--Fancy
Buttonhole Edgings--Flower in Open Buttonhole Stitch--Leaf in Close
Buttonhole Stitches--Petal in Solid Buttonholing.
SATIN AND SIMILAR STITCHES
Satin stitch is perhaps the most commonly used of all stitches. It is
more quickly worked by hand, but for complicated work the help of a
frame is required. Floss silk thread is seen to greatest advantage in a
stitch of this kind, for it shows off the glossiness of silk
particularly well. It is straightforward in the working and needs no
further description than is given by the diagram (fig. 39). The stitches
may vary in length, they must neither be impracticably long nor, on the
other hand, too much cut up, lest the silky effect be partly lost. These
stitches lie close together and in parallel lines; the chief difference
between satin and several other closely allied stitches being that these
others may radiate or vary in direction according to the space to be
filled. The stitch is usually worked in oblique lines; stems, leaves,
and petals would be treated in this way; sometimes it is worked
regularly having regard to the warp and woof of the material; it would
be treated thus when used in conjunction with cross or stroke stitch.
[Illustration: Fig. 39.]
It will be seen that there is as much silk at the back as on the front
of the work. There is a method of carrying out the stitch by which this
waste of material at the back is avoided; the thread is returned to the
front close to where it went through instead of crossing over and coming
up on the other side. The effect on the right side, however, is not so
good, so this method cannot be recommended.
One of the technical difficulties with satin stitch is to get a neat
firm line at the edges of the filled space; this is excellently attained
by the Chinese and Japanese, who use this satin stitch a great deal.
They frequently work each petal of a complicated flower separately,
leaving as a division, between each one and the next, a fine line of
material firmly and clearly drawn.
[Illustration: Fig. 40.]
The stitch is much used for raised work, and also lends itself well to
gradation of colour. Fig. 40 is an example of shading in satin stitch.
In this case each new row of stitches fits in just between those of the
last row; this is a bold but very effective method of expressing
gradation. A variation upon this is shown in fig. 42; the bands of
different colour are here necessarily worked in a chevron pattern which
makes the shading rather more gradual. An example of the same thing can
be seen in fig. 44 in the leaf upon which the squirrel sits. Apart from
gradation of colour, the surface to be covered by satin stitch has often
to be partitioned up in some way in order to make the satin stitches of
a practical length.
[Illustration: Fig. 41.]
Long and short stitch is a very slight variation, if any, from satin
stitch. The name describes the method of working, for it is carried out
by working alternately a long and a short stitch, the stitches being
picked up just as in satin stitch. It is useful for close fillings and
shaded work, and also as a solid outline for any kind of open filling.
The working of the stitch can be seen in fig. 41, where the band of
lightest colour on the upper part of the leaf is worked in long and
short stitch. The advantage of this way of working can be seen at once,
it makes a firm outline on the one edge and a nicely broken-up one on
the other, just ready for another shade to be worked in. In order to
carry out the rest of the shading on the leaf in the same way the
stitches can be all of the same length; this will always ensure a broken
line at the edge, which is a necessity for this method of gradation.
Long and short stitch used as an outline for a leaf with an open filling
can be seen on page 209. The _opus plumarium_ or feather stitch that we
read of in the descriptions of the old embroideries was a similar stitch
to this, and so called, some say, because it resembled the plumage of a
bird.
[Illustration: Fig. 42.]
Stem stitch, well known and frequently in use for various purposes, such
as for lines, outlines, gradated and flat fillings, and so on, is
usually done in the hand, and is quite simple; fig. 43 explains the
working. If a broad line is required the needle is put in more
obliquely, and a raised effect can be obtained by working over a laid
thread. The thread must be kept to the same side of the needle, either
to the left or to the right as better suits the purpose in hand; the
effect is more line-like when it is kept to the right. Occasionally,
when just a double line is to be worked, it is deliberately done in the
two ways, and then the line resembles a narrow plait. A solid filling
in stem stitch should be worked in lines as illustrated in the squirrel
in fig. 44. This little beast is taken from the curtain shown in Plate
VII., and is a good example of the life and interest that the
introduction of such things adds to embroideries.
[Illustration: Fig. 43.]
[Illustration: Fig. 44.]
The stitches just described were largely used in crewel work. This is a
rather vague name that denotes a decorative kind of needlework carried
out with coloured wools upon a plain white linen ground. The design is
usually composed of conventionally treated leaves and flowers, often
growing from boldly curved stems. These were partly shaded in solid
stitches, partly worked with geometrical open fillings; ornamental birds
and beasts of all kinds were introduced, and the effect of the whole was
very beautiful. The work is characteristically English, and a great
deal of it was executed in the XVIIth century. Plates VII. and VIII. are
illustrative of the type of work, and fig. 45 represents a detail. The
various stitches which occur in this drawing are stem, herring-bone,
long and short, knot, basket, buttonhole, single chain and satin
stitches.
[Illustration: Fig. 45.]
[Illustration: Fig. 46.]
[Illustration: Fig. 47.]
Overcast stitch in embroidery is practically a very short raised satin
stitch. It requires neat workmanship, and then makes a bold clear line
or outline. To work it (fig. 46)--Run or couch down a thread on the
traced line, then with fine thread cover this over with close upright
stitches, picking up as little material as possible each time in order
to make the line clear and round. The stitch is worked most perfectly in
a frame.
Back stitch sometimes makes a good line or outline. To work it (fig.
47)--Bring the needle through one-sixteenth of an inch from the end of
the traced line, insert it at the commencement and bring it through
again one-sixteenth of an inch beyond where it first came out. Each
stitch, it will be seen, commences at the point where the last one
finished.
BUTTONHOLE STITCH AND ITS APPLICATION
Buttonhole stitch, which is well known in plain needlework, is very
useful also in embroidery, besides being an important stitch in
needlepoint lace. Owing to its construction it is well suited for the
covering of raw edges, but it is also adaptable to a variety of other
purposes, such as are open or close fillings of leaves and flowers, cut
work, and the outlining of applied work.
[Illustration: Fig. 48.]
There are two ways of forming the stitch, the common buttonhole and what
is called tailor's buttonhole.
To work the ordinary buttonhole stitch (fig. 48)--Bring the needle
through at the left-hand end of the traced line, hold the thread down
to the left with the thumb and insert the needle as shown in the
diagram, draw it through over the held thread to complete the stitch. It
is worked openly in the diagram, but it may, as required, be either more
or less open or quite closed.
[Illustration: Fig. 49.]
The tailor's buttonhole is for some purposes more satisfactory; the
stitch is firmer than the other kind owing to the heading having an
extra knot in it; this makes it also more ornamental. To work it (fig.
49)--Commence in the same way as the last stitch until the needle and
thread are in the position shown in fig. 48 then, with the right hand
take hold of the thread near the eye of the needle, bring it down and
loop it under the point from right to left, draw the needle and thread
through over these two loops, and the first stitch is made.
[Illustration: Fig. 50.]
Buttonhole stitch can be varied in many ways, dependent mainly upon the
spacing of the stitch and the direction that the needle takes when
picking up the material. Fig. 50 shows four simple varieties; the first
is the open buttonhole spaced slightly irregularly and with a thread
slipped underneath it; any variety of spacing can be arranged, and the
thread shown running underneath, which sometimes forms a pretty
addition, is usually of a contrasting colour or material. The second
shows the stitches taken slanting-wise, so that they cross each other.
In the third the stitches are at different angles and of unequal length.
The fourth example shows two lines of spaced buttonhole stitch fitting
neatly the one into the other and forming a solid line. One row is
worked first, leaving just sufficient space between each stitch for the
second row to fill up, which can be carried out by reversing the
position of the material and exactly repeating the first line in the
same or in a different colour.
[Illustration: Fig. 51.]
A flower filled in with open buttonhole stitch is shown at fig. 51. The
centre consists of a mass of French knots, and the outside line is in
satin stitch. The innermost circle of buttonholing is worked first, the
next row is worked over the heading of the first row as well as into the
material; the succeeding rows are worked in the same way until the
outside limit is reached, and there the satin stitch just covers the
heading of the last row of buttonhole stitching. Gradation of colour can
easily be introduced by using a different shade for each circle of
stitches, and this produces a very pretty effect. An open method of
filling a space, whether flower, leaf, drapery, or background, is
sometimes preferable to a solid filling, and the two methods can very
well be used together as each shows off the other. These light fillings
give opportunity for further variety and ingenuity in the stitching, and
prevent the work from looking heavy. A butterfly, carried out partly in
open stitches, is illustrated in fig. 52.
[Illustration: Fig. 52.]
Fig. 53 is, in the original, a gay little flower carried out in orange
and yellow. The stitch employed here is a close buttonhole.
[Illustration: Fig. 53.]
Another example of the use of close buttonhole is shown in the ivy leaf
in fig. 54. The stitch is worked in two rows, back to back, in each lobe
of the leaf, and the resulting ridge down the centre rather happily
suggests the veining. This method of filling in might be just reversed
for a rose leaf; the heading of the stitch would then suggest the
serrated edge, and the meeting of the two rows down the centre the line
of the vein.
[Illustration: Fig. 54.]
A cluster of berries can be very prettily worked in buttonhole stitch in
the way shown in fig. 55. The stitches are so arranged that the heading
outlines each berry, and the needle enters the material at the same
point, always in the centre. A bullion stitch in a darker colour marks
the eye of the berry.
[Illustration: Fig. 55.]
A good method of filling a space with solid buttonhole stitching is
shown in fig. 56. Each row is worked into the heading of the preceding
row, and the stitches do not pierce the material except in the first row
and at the extremities of succeeding rows. They are placed rather close
together in order to completely cover the ground. The stitch is worked,
first, from left to right, then for the next row from right to left;
this is quite easy and enables the work to be continuously carried out.
Sometimes, when the first row is done, the thread is thrown across to
the side where the row began, and there made fast; then the second row
is worked with stitches which take up the thrown thread as well as the
heading of the first row. By using a more open buttonhole and thus
partly exposing the laid thread, a filling, both quick and effective, is
obtained. This is a useful method to employ when the work is done over a
padding of threads, for there is no necessity to pierce the material
except at the edges.
[Illustration: Fig. 56.]