DARNING STITCHES--BACKGROUNDS AND FILLINGS
“The needle’s work pleased her, and she graced it.”
There is an infinite variety of pattern to be made with darning
stitches, and fortunately many needlewomen have sufficient originality
to invent little variations to suit their work and material. Most of
the patterns on Plate II. are intended to be worked on a loosely woven
foundation where the threads are easily counted, such as some of the
coarser linens, single thread canvases, greenhouse shading, and tammy
cloth for finer work. These darning patterns are better worked with a
blunt needle and a long thread, as it is rather awkward, at times, to
join new threads in the middle of a pattern, especially an openwork
one (see Fig. H). Simple fillings like these may greatly enhance the
effect of a piece of embroidery. It will be seen by referring to Plate
II. that they might be worked so as to form quite a number of patterns
in straight lines (Fig. A), in waves or chevron pattern (Fig. C), in
clusters or stars (Fig. F), in lines of slanting stitches (Fig. D), in
groups of squares or chequers (Fig. E), in vandykes (Fig. G), or in any
of the openwork stitches as Figs. J and L.
=A Simple Openwork Filling.=--Fig. J is a pretty little pattern
suitable for a border, for the foot of a child’s frock, for a jumper,
for table mats, or for any article where a dainty openwork appearance
is wanted. It consists of straight lines in a vertical overcast stitch,
worked in rows, from left to right and from right to left.
These upright stitches are in groups of two, worked over four threads
of the material; each row is separated from the other by two strands of
the material.
=To Work Fig. J.=--Unfortunately the Fig. J does not show this filling
to advantage. When the pattern is worked it will be seen that the
intervening strands, in conjunction with the open spaces, form tiny
little crosses, which add transparency to the work.
A filling more tedious to work, but with a more open appearance, is got
by overcasting every stitch on the advancing row, and on the return row
working the upper part of each stitch into the lower space of the row
above, thus leaving no strands between the stitches or rows.
=Vandyke Border, Fig. G.=--This pointed pattern, worked in a single
row, makes a good finish for a border or hem.
To work as Fig. G, each group requires seven stitches to form it, the
shortest covering four threads and the longest twelve; the last stitch
of each group forms the first of the next one.
=Pyramid Filling.=--The size of the groups may vary; large and small
vandykes may alternate. Another filling somewhat similar may be made
by taking the stitches horizontally instead of vertically; in this way
groups of little pyramids are formed. Each row should be worked with
alternating pyramids. The simplest method is to begin at the top with
a short stitch over two threads, work five more horizontal stitches,
increasing in width, right and left, by one thread, so that the sixth
stitch covers twelve threads of the material. Work in oblique rows.
Strips of vandyke pattern may be worked over large backgrounds with
good effect. Make five horizontal stitches over five strands of canvas,
each stitch being below the other, but one thread to the right of the
last; then work four stitches beneath these, each stitch being this
time one thread to the left of the one above it; continue for length
required. Start the second row on a level with the first and six or
seven strands to the right of it.
=Fig. B, Arrow-head Filling.=--This is a useful stitch for covering the
ground quickly. The three stitches are here formed over six vertical
and ten horizontal threads, but, of course, the number must always
depend upon the quality of the material. The vertical stitch is worked
first, then the left slanting stitch, followed by the right. In working
with loosely woven cloth, it is necessary to carry the working thread
up behind the material to the top to start each stitch. This uses
rather more thread, but the stitches lie better and the work is not
puckered.
=Fig. F, Star Filling.=--Here, a number of stars are worked in
successive rows. To make them quite regular, each one should be begun
at the same point. In the Fig. F they are worked over sixteen strands:
start at the top left corner with a double stitch, then make the
horizontal stitch below, and so on till complete. By tightening the
working thread a little a hole is formed at each corner, and in the
centre of each star, which makes the pattern an open one, provided the
working thread is not too thick, in which case it would fill up the
hole.
An equally good background for a firmer material is to work stars in
two rows, diagonally, one up, one down, leaving always an equal number
of strands between each star. In this way the material itself is formed
into little diamond-shaped panels or lozenges.
=Fig. C, Wave Pattern.=--This is one of the more elaborate darning
patterns. It makes a more solid filling and takes rather longer to
work than some of the others. Many pleasing variations may be formed
with darning stitches, where the background weft or warp threads are
utilised to form the pattern.
=Damask Darning.=--Materials may be repaired by a linen, twill, or
damask darn, in which case the weft threads have to be put in first by
the worker before the pattern can be woven.
Work Fig. C by lifting two weft threads in descending rows and passing
over seven; after working six rows the pattern is changed by the two
weft threads being lifted in ascending rows, the last of the descending
counting as the first of the ascending row.
In a twill darn, the pattern of weft threads descends all the time in
regular diagonal lines.
It is quite worth while copying some of these damask patterns from
table napery, and reproducing them on a larger scale in bright
colours--in order to see what effective designs they are; they might
well be utilised as fillings for squares, stools, or cushions.
[Illustration: PLATE III.
A RUNNER IN CRASH (_See p. 63_)]
=Fig. A, Single Darning.=--A simple grounding pattern, such as that of
Fig. A, is useful; it is quickly worked, too, a number of threads being
lifted by the needle at each stitch. Start at the left corner; pass
over four and lift two weft threads alternately for the first two rows;
for the next two rows, lift the two weft threads in a line with the
centre of the long stitch, and so on.
=Basket Pattern.=--A basket or brick pattern may be got by working
four rows with the lifted threads in a line, instead of two, as Fig.
A, before changing the stitch. This pattern looks very well when the
chequers are worked with contrasting colours. Work four vertical
stitches first, in lines, and in one colour, over eight strands; then
take the contrasting colour and fill in all the horizontal stitches.
If one colour only is used these squares may be worked in rows, the
vertical and horizontal sections alternately.
=Fig. H.=--This type of work makes a rather more open background than
some of the others; it is very suitable for filling in small spaces,
for handkerchief sachets, nightdress bags or borders for collars or
handkerchiefs.
It should be worked with a fine coloured or white lace thread,
sufficiently strong to draw the strands firmly together, yet fine
enough to leave the spaces as clear as possible. As a filling it is
easily and quickly worked, as no threads are drawn out, which is a
recommendation.
The pattern is worked over six threads both ways--with the exception of
the first stitch--and in two horizontal lines. It will be noted that
the stitches are not quite vertical, being inclined towards each other
in twos.
=A Good Filling.=--To form the first stitches, bring the needle out
at the top left corner; count down over six strands and three to the
right; insert the needle and take a horizontal stitch under six strands
to the right. The slanting stitch is now formed by inserting the needle
into the hole on the upper line made by the first stitch, and taking
a horizontal stitch under six strands to the right on that line--the
upper one; proceed in this way to the end of the space. The next row is
worked from right to left. The thread should be tightened after each
stitch to increase the open space.
=Fig. D, Diagonal Filling.=--This grounding pattern consists of rows
of slanting stitches, worked downwards over six strands of material;
the working thread is taken across from corner to corner of a square,
each successive stitch being taken three strands below the upper one;
a strand of the material forms a mid-rib between the inverted rows. If
preferred, these rows might be separated by a line of backstitching,
in which case two threads should divide each row of slanting stitches;
this gives a clear line for the backstitching.
These backgrounds and darning stitches described above are well suited
for working on coarse materials with thick threads--as well as with
finer ones; although the patterns for the majority of workers are too
laborious for very fine stuffs, they may be used for small spaces in
linen embroidery such as fillings for flowers, or initials.
Charming open groundings may be worked without removing the threads
of the foundation material, but by drawing them in clusters tightly
together, by means of stitches. Compare Plate II., where the fillings,
Figs. H, I, B, K, L, and M, are worked in this way.
These patterns can be only shown properly on a loosely woven cloth,
such as canvas, linen, or cambric. For fine material a fine lace thread
is required.
=Fig. I.=--This pattern consists of little squares and crosses. In Fig.
I it has been worked with a thick thread and the strands have not been
pulled together--in order to show the method of working; but as already
explained, it requires a fine thread and tightened strands to show to
advantage.
=A Filling in Squares.=--Begin the pattern with vertical stitches,
in horizontal rows over six strands, exactly as in Fig. 10, until
the required space is filled, drawing each group of threads tightly
together; then work the horizontal stitches over five strands to
complete the squares, tightening them also, but not to such an extent
as to pucker the material. The squares may be made smaller and the open
spaces larger if each stitch is worked over twice with a very fine
thread.
=Fig. K, Squares and Stars.=--Here, each square takes up sixteen
strands of linen, and each one is completed before going on to the
next. Work by overcasting all round the outside of the square over
four strands, and make an inner square, as Fig. I, with a cross stitch
in the centre, taking care to finish with the needle in a position to
begin the next square.
=Fig. L, Square Stitch and Rhodian Embroidery.=--This pattern is
made up of rows of square stitches separated by vertical ones. It
is usually worked without removing any threads from the material,
although with a very firm cloth it is rather an advantage to do so
when an insertion is wanted; in the latter case the vertical threads
connecting the rows of square stitch are left out.
This is a stitch one frequently finds in old linen embroideries,
particularly of old German and Italian work--where it is used either
as a border or insertion, or as a separating line between squared or
diamond-shaped forms; there is a similarity in the working of it to the
stitches used by the people of the Island of Rhodes--latterly known
as Rhodes embroidery or punch work--the only difference being that it
covers the entire background in Rhodian embroideries and the threads
are more closely drawn together. In these Rhodian embroideries the
rose is frequently to be met with. It is the symbol which invariably
accompanies the head of Helios on its coins, and to which the classic
isle owes its name. Square stitch can be worked in straight or in
slanting lines, see Fig. M--the former is the simpler, as each square
is completed in one row, while the latter requires two rows to complete
it.
To work on horizontal lines, Fig. L, begin at the right-hand side and
make an upright stitch over six threads; take a slanting stitch at the
back and bring the needle out six threads to the left at the base. Take
a horizontal stitch to the right, inserting the needle at the foot
of the vertical stitch; take an upwards slanting stitch at the back
to the left and insert the needle into the top of the first stitch.
This forms three sides of the square. Now bring the needle out in
position to start as for the first upright stitch. If properly worked,
the reverse side forms a series of crosses. Fig. L has a row of these
square stitches with an alternate row of upright stitches worked from
left to right between them. This is a pretty and unusual combination
of stitches, and it makes a charming border worked in colour on a
loosely textured material for a collar or other small article. Another
variation of the same type, and still more open, is to have double rows
of square stitch between each row of vertical stitches, the lower row
of little squares coming between those of the upper row.
=Fig. I, Square Stitch in Slanting Lines.=--To work this stitch in
slanting lines is rather a slower process. The first row forms a series
of zig-zags or little steps on the right side, while on the wrong
side it forms two single lines on the bias of the material. Begin at
the right-hand side of the work; take a horizontal stitch from left
to right over six threads; a slanting stitch at the back to the left
brings the needle out six threads below the starting-point. Take an
upright stitch and put the needle into this point--two sides of the
square are now formed. Take a slanting stitch at the back and bring the
needle out six threads to the left of the base of the upright stitch
and continue for the distance required. This slanting line of square
stitch is easily acquired if the worker remembers the appearance of the
stitch, on the “wrong” side as well as the right.
=A Table Scarf in Russian Crash.=--This design is another of the direct
type in which the needle-woven border forms the principal subject.
The material is very pleasant to work--it is of a soft greyish-cream
colour, which combines well with the wools and braids, and the texture
is sufficiently open to allow of the threads being easily removed,
which is a recommendation when preparing for the needle-weaving and the
fringe. The stitchery is all done in wools, and the colours are dark
heliotrope with two lighter tints, blues (two tones), greens, a dark
and light emerald, and deep orange. The broad braid is of soft blue,
the narrow of straw colour. The design forms a deep border divided into
panels by bands of braid; the bands are tacked into place by short
button-hole stitches in the darker shade of emerald green, between
which are tiny little loop stitches (Fig. 3), in orange. The centre
panel has a wide band of needle-weaving, about three inches deep, which
is divided up into five groups; the groups are worked from the outside,
inwards, as in Plate I., and the various colours are introduced into
them. The most prominent colour in the scheme is blue, accentuated in
this case by the blue braid, the blue edging, and the second and fourth
groups of weaving, which are worked in two shades of blue. The first
and fifth groups are woven in heliotrope with orange in the centre; the
middle group has light heliotrope on the outer parts and pale green on
the inner. This same green is worked in oriental stitch on each side of
the central 3-inch bar, while the stitchery between the rows of wide
blue braid is in the lightest tint of heliotrope, tacked down with tiny
stitches of the darkest shade. The two side panels are worked in satin
stitch in two tones of heliotrope, each row of chequers being connected
by small chequers in light green--they also are worked in satin
stitch. The lines of straw-coloured braid are sewn down with French
knots in heliotrope (Figs. 22A, 22B). The pattern of the stitching on
the bands of braid which border the design is worked in the same way
as loop or oriental stitch; the needle is brought out on one side of
the braid and inserted on the other side, just opposite, then brought
out again in the centre to the right, where the wool is tacked down
with a tiny stitch; the needle is again brought out on the edge of the
braid, about half an inch further on, inserted on the lower edge and
brought out in the middle again in order to tack the wool down. These
two stitches reversed give the diamond shape of the insertion; three
satin stitches in orange give a bright little note to the edging. These
looped or petal stitches worked in different ways can be used to form
many pretty headings. The narrow edging on the selvedges between the
lines of blue braid is charming; it consists of two loops of heliotrope
in two shades--the one worked within the other--with a closed looped
stitch in orange between each pair. When all the embroidery is
finished, the weft threads are withdrawn from the remaining ends of the
material, which have been left for the fringe. Sometimes a fringe of a
closer texture or of a different type is worked, or the material may
be too short to allow of one--in all of which cases a strip of cloth
could be inserted under the braid and sewn down with the pattern, then
fringed.
It is generally advisable when working with narrow braids to take the
ends through the material where they can be stitched firmly in place;
wider ones are often tied at the ends to prevent spreading, then turned
in and stitched.