ON OUTLINE AND APPLIQUÉ
Hitherto we have considered outline merely as it is traced upon the
material to be enriched by embroidery—as a boundary for the needle to
work to; or when an outline has been placed round the edges of the
stitching, simply to make it neat. In this chapter I propose to deal with
OUTLINE as a distinct method of ornamentation, used independently of any
‘filling’; as an adjunct to appliqué; and as enclosing portions of the
background to be further enriched, but not entirely covered.
OUTLINE WORK is often looked down upon by the expert embroidress as a
kind of needlework quite unworthy of her serious attention, because it
requires very little technical skill; while, as to APPLIQUÉ, it is not to
be mentioned, being almost beneath contempt!
This attitude towards the simpler kinds of decoration merely shows a
want of artistic perception. Walter Crane gives outline in general its
true position when he says it may be called the ‘Alpha and Omega of
art,’ being the earliest mode of expression among primitive peoples and
children, and also cultivated for its power of expression, character, and
as an ‘ultimate test of draughtsmanship by the most accomplished artists
of all time.’[2]
Outline and appliqué go naturally together because they are very often
mutually dependent upon each other, appliqué nearly always requiring an
outline, and outline frequently being partially filled with appliqué.
Outline may really be considered more purely artistic work than elaborate
embroidery, because it depends more entirely upon the merit of the
design for its beauty, being unable to hide its defects under a maze of
intricate stitchery or to carry away the mind of the beholder by the
glory of various colours.
In early and medieval times needlework as an adjunct to weaving and
outline work by itself was used with a most perfect artistic effect,
done in couched metals or silken cord, or in simple chain-stitch or
back-stitch, &c.; while, as for appliqué, many gorgeous vestments may
still be seen retaining much of their original beauty, worked in satin
on velvet, silk upon damask, &c., Botticelli and other great masters not
disdaining to draw designs for such work with their own hands.
There are several reasons for the employment of special outline in
embroidery besides the elementary one of marking out the shape. In a
picture such lines are not only unnecessary, but objectionable in the
finished work; why, then, are they admirable here? The object of art
needlework is _not_ to make pictures (however beautiful they might be),
but so to decorate certain textile articles—of furniture, clothing,
&c.—that they do not lose their natural characteristics, but become
themselves more truly beautiful. Figures, foliage, inflorescence, &c.,
should not stand out from their background like _real things_, but become
actually part of the textile itself.
This being the case, we are debarred from the employment of naturalistic
half-tones, shadows and reflected lights by which a painter makes the
different objects in his picture at the same time harmonious in colour,
distinct from each other, and altogether life-like in appearance.
In decorative art the use of a good, bold outline separates the colours,
defines the form, harmonises the general effect, and increases the
appearance of flatness.
The isolation of various colours by means of an outline is especially
desirable in work which is to be seen from a distance, because masses of
colour when placed in direct contact with each other become blurred and
lose their true relation and value.
In the same circumstances the _form_ is also apt to lose its proportions
to some extent on account of the propensity of white and all light
colours to spread themselves and increase their apparent size.
[Illustration: Fig. I.—Appliqué
_Italian, Seventeenth Century. V. & A. Museum, S. Kensington (No.
243—1895)._]
[Illustration: Fig. II.—Outline alone]
A very happy use of outline is sometimes made as a softener of general
effect both for appliqué and many kinds of embroidery by the addition of
a secondary outline beyond the boundary of the ornament, sometimes of the
same colour, but frequently of a paler shade, or altogether different.
Or again, in conjunction with appliqué, the outline frequently breaks out
into more or less fanciful and luxurious scroll-work, which entirely does
away with the hardness which is the besetting fault of this kind of work.
[Illustration: Fig. III.—Outline with a little Appliqué]
[Illustration: Fig. IV.—Appliqué enriched with Scroll-work
_Apparel of Dalmatic, Spanish, Sixteenth Century. V. A. Museum, S.
Kensington (No. 888—1897)._]
Illustration IV. shows a good example of this, one half of which I
have drawn without scroll-work to show what a difference it makes. It
is outlined throughout with four threads of fine gold, sewn down all
together very closely with green silk round the leaves; the double set of
four threads, meeting at the base of the leaves, form the stem, and are
also sewn closely with green. On the white ornament the gold is sewn
with yellow, and there is an inner line of blue all round; also stitches
of blue silk are placed in pairs across the white satin all the way down.
All the scroll-work is done in gold twist, the same thickness as the
outline of four gold threads sewn together.
It is generally desirable thus to work all small detail occurring in
appliqué designs; they should be done on the ground itself after the
pattern has been transferred to it. The design used for this kind of
work should always be bold and broad, unmistakable in its language and
graceful in its expression, and so arranged as to make the best account
of the materials to be employed. Several different textures may be used
to enhance the richness and interest of the composition, but it can
be made very beautiful with only two—one for the ground and one for
the onlay. The same may be said with regard to the colours. Any two of
sufficient harmony or contrast between the ground and the pattern are
sufficient, and perhaps more certain of good result in the hands of the
inexperienced than a variety of colours might be.
Appliqué is particularly suitable for altar-frontals and sanctuary
hangings; the finer work and smaller patterns such as Figs. III. and IV.,
make very effective and handsome apparels for dalmatics and albes, and
orphreys for chasubles.
Appliqué can also be used for banners, where effect is really more
desirable than over-much work. Quite beautiful is such a banner showing
figures of saints or angels in bright raiment, well drawn, expressive,
and with few details (something in the style of good stained-glass),
where the full value of pure colour is obtainable and the changing light
in a procession modifies or accentuates the tones alternately in a most
delightful manner. Needless to say such designs must be fully coloured
before the materials are chosen, and the greatest care must be exercised
to see that they harmonise; nothing short of seeing the actual pieces of
silk together will accomplish this; small snippings or threads of silk
are useless for the purpose. And the outlines must be sufficiently thick
and well marked to keep the colours distinct. A ‘cool’ dark brown or a
‘warm’ dark grey is preferable to black for this purpose.
The various fabrics used for appliqué may be prepared in the following
manner.
In the first place embroidery paste has to be made, although many
substitutes have been tried with more or less success. If there is a
large quantity to prepare, it is better to make the paste than to try
‘cobbler’s paste’ or photograph mountant, though either will do very
well for small pieces of work or to paste the back of embroidery which
has been done in a frame to be mounted afterwards. In this latter case
a small quantity of the paste is carefully rubbed on the back of the
work with the tips of the fingers, and then thin tough paper stuck to it
before cutting it out of the frame: the paper should be crumpled up and
then slightly smoothed out before applying it to the work, or it is apt
to contract in the course of drying, with disastrous results.
EMBROIDERY PASTE is made thus: mix 3 oz. fine wheaten flour (_not_
‘_self-raising_,’ ‘_whole meal_,’ or any fancy kind), 2 dr. finely
powdered resin, ½ pint distilled water (cold). It must be perfectly
smooth before putting on the stove to boil; it can be strained through
a sieve if necessary. It must be kept well stirred, especially as it
approaches boiling point, when it thickens and requires vigorous action
to prevent it from burning or getting lumpy.
When once the whole mass boils, it becomes thinner and clearer, and must
be kept boiling for _at least_ five minutes.[3]
A piece of Bishop’s lawn (mounted in a frame) is next covered with as
thin a layer of the paste as can be spread smoothly all over it; a large
strong brush is used for this, a hog’s-hair tool such as house-painters
use, round or flat. Then lay the material to be mounted upon the pasted
surface, pat and stroke it down gently with a soft silk or linen rag to
make sure that it is in contact with the paste evenly throughout, then
pin or tack it firmly all round, and screw or peg the frame up taut.
Air bubbles and creases would spoil it altogether. It is then left
twenty-four hours to dry. If required sooner, it may be placed in a warm
dry room, not too near the fire, but near enough to hasten the drying,
or a warm flat-iron may be passed over the back; but the face of the
silk or velvet must not be touched with anything; the iron must not be
nearly so hot as a laundress would use; it is better, if possible, to let
it dry naturally; there is less risk of damaging the material; and as
it is rather a delicate process from first to last, it is advisable to
experiment with something of little value to begin with.
Small pieces of stuff are much easier to mount than large ones. The whole
of the pasted surface in the frame may be covered with different pieces,
but they must all be put on while the paste is wet, and of course it is
not _necessary_ to paste the whole of the ‘backing’ if it will not be
used, though it will dry more evenly if it is at least wiped over with a
damp cloth where there is no paste.
When the mounted material is thoroughly dry, it may be cut out of the
frame and laid, face downwards, on a board, when the shapes required
should be marked out on the linen, and cut with a sharp knife or
scissors. The appliqué should be accurately traced from the same drawing
as that used for the whole of the work; but it must be remembered that
whatever is drawn on the linen backing will be reversed when seen on the
‘right’ side. The shapes should always be cut out a trifle larger than
the drawing, rather than smaller.
The ground for the appliqué being mounted in a frame, and the design
traced, nothing remains to be done but to tack each detail firmly down
in its place and couch round the edges with filoselle or gold, &c. The
tacking stitches may be of fine white cotton taken right across and
withdrawn after the work is finished; but in any case a small stitch of
the same colour as the onlay should be placed through any sharp point
there may be, to prevent it catching in the silk, or getting curled out
of shape while being worked round. These stitches will not be taken out
afterwards. A few stitches are also desirable down the centres of leaves,
flowers, &c., so that they may keep flat as well as in place.
Some method should be kept to in cutting the appliqué a certain way in
the stuff; there is a distinct difference in colour when it is cut _with_
the warp or _across_ it, or again, diagonally. Take satin for example:
cut a leaf or the petal of a flower with the ‘smooth’ of the satin going
in one direction, and then cut another exactly similar, with the satin in
a different direction, and place them side by side; it will be evident at
once that this quality of textile fabrics (_i.e._ the change of colour
according to direction of warp and weft) must be reckoned with and used
intelligently. It is common to all in a more or less marked degree, and
follows the same principle which I have pointed out when speaking of
the _direction_ of stitches. Flowers (if more than an inch in diameter)
look best with the petals cut separately, all one way of the stuff, and
arranged so as to radiate from the centre. Leaves can be cut with each
half starting towards the midrib; but too much cutting about is not
desirable.
Appliqué is intended to have a somewhat flat effect. Quite sufficient
variety can generally be obtained by varying the direction of the whole
leaf, and by adding veins in couched, or crewel, or split stitch. A
mass of French knots or a diaper over a different-coloured silk for the
centres of flowers may combine very well with appliqué, but any other
additional stitches should be resorted to but rarely. It should not look
like an imitation of work done entirely by the needle, and much stitchery
mixed with it or worked upon it is apt to give a false impression,
besides weakening the character of the work, which should be simple and
dignified, with no fussiness about it. If much variety is desired, it can
always be produced by the judicious selection of different materials.
There is great diversity of surface effect in satin, diaper, damask and
corded silks, while velvet is indeed more different than any added stitch
would be.
[Illustration: Fig. V.—Counter-change Inlay]
INLAY is something like appliqué in appearance. It is, however, worked
differently, the decoration being _set into_ the fabric to be ornamented
instead of being laid upon it. It ought to be worked in cloth or some
substantial kind of material not liable to fray at the edges when cut.
It is eminently suitable for church hangings, dorsals or wings, &c.,
having a certain nobility and sincerity about it, while all it asks of
the worker is accuracy in the cutting and neatness in the sewing. The
hand and eye of women are so much more trained nowadays than they used to
be, by means of various arts and crafts, that it ought to be a matter of
course to follow a line perfectly with a sharp knife on cloth, &c.
The method of work is as follows: Two pieces of cloth of different
colours and about equal thickness are tacked together and pinned down to
a board with drawing-pins. The pattern is traced on the top one, and the
two are then cut together with a very sharp knife (a leather-cutter’s
knife is good for this purpose). The blade of the knife must be kept
vertical, that ground and inlet may be of the same size. They are then
taken off the board and tacked down to linen already mounted in a frame,
carefully fitting the two colours into each other. If the pattern be a
counter-change design, there will be absolutely no waste of the stuff, as
the piece which is cut out of the one material is set into the other.
When the edges have been sewn together (which is done with plain
over-sewing not going through the linen—and is best worked _out_ of the
frame) the linen is removed and the outline added if required. This may
be of cord or gold or narrow braid, or chain-stitching answers this
purpose very well, especially as it is done loose in the hand. If a
thinner material, or one more liable to fray is used, it is better to
keep it in the frame throughout, and work through the linen; but it is
not such a perfect method, as there is a ‘wrong side’ to it, which there
should not be in the other. Neither will it hang in such soft folds,
especially if it is pasted on to the linen, as some recommend.
[Illustration: _Chain-stitch._
Fig. VI]
CHAIN-STITCH, which I have mentioned as a suitable stitch to cover the
join when working in inlay, may be described here, as it is very useful
for any work that is not done in a frame. It has been so much imitated
by means of the sewing-machine in modern times as to be somewhat out of
favour, but it need not look mechanical if used with discretion. It makes
a beautiful even line, following any curve with great precision and ease,
and will always find its place at the hands of the competent worker,
either as an outline stitch or a filling.
It is done by setting the needle into the stuff at the same place it
came out, the thread lying under the thumb of the left hand. A small
piece of the stuff is taken up by the needle in the right hand, and the
thread drawn not too tightly (beginners always make their chain-stitch
too tight); the needle is then set in as before, exactly in the same
place where it came out. The ‘wrong side’ of the work should look like
back-stitching.
[Illustration: _French Knots._
Fig. VII]
FRENCH KNOTS, which are placed in the middle of each of the grapes in
Illustration I., are extremely useful, whether in masses, singly, or in
lines following an outline; they may be used as a filling, or scattered
over the ground, where they will break the colour in a very pleasing
manner and add to the richness of general effect. Purse-silk, or some
other kind of thick, firm variety of silk, is best for knots. Floss used
double and twisted together is very satisfactory; in pale shades or white
it has the effect of pearls.
After fastening the end firmly to begin with, bring the needle to the
surface, take the thread up on it from right to left, holding the thread
with the left hand, give the needle one turn and set it vertically into
the stuff near the point it came out, but not exactly on it. The thread
should still be held in the left hand till it has all gone through,
leaving the knot on the surface. It should not be twisted more than once
round the needle. If a larger knot is wanted, thicker silk should be
used; knots made with two or three twists on the needle do not lie well
in their place.