Whatever odd beads you have, or old pieces of coloured paste and
imitation stones—which are often to be had in old buckles—spangles
and bugles, all are grist to the mill. I have also used broken pieces
of pebbles and stones which I found among the gravel, and which were
broken by the roller, and which, when chipped very fine, displayed
really brilliant colouring. Pieces of flint with a sparkle of mica look
beautiful.
Making the Beads.
Having completed this collection, I turned my attention to the
bead-making, and I began in this manner:—
I started with a set of six large beads in blues for my chain. I
chose the largest beads in my assorted box, irrespective of colour
and shape. Taking one of these I slipped it over the end of a steel
knitting-needle, using one large enough to hold the bead tightly. This
needle I first greased with a rag on which a little lard had been
rubbed. This prevents the sealing-wax adhering to anything but the bead.
Next I lit a taper, and, using blue wax, I covered the bead roughly
with it, turning the knitting-needle in my hand, so that the hot liquid
ran round it. This I plunged into cold water.
Before proceeding, I would like to say that great care must be taken
not to smoke the wax when a taper or candle is used; if you will heat
the wax in the centre of the flame, you will find that the colour does
not become blackened.
As soon as the blue wax had cooled, without hardening, I splashed on
some of the gold, and, turning the bead rapidly in the flame itself,
the gold mingled with the blue, so forming a sort of marbled effect.
This I also plunged into the cold water.
Then I chose a brilliant yellow wax, and, heating it in the candle
flame, I squeezed the tip into a sharp point.
This, in turn, I heated, and dabbed it in regular intervals round the
bead to form spots. While the spots were still soft, I pushed into the
centre of each one a tiny piece of broken china, in a pure turquoise
shade, pinching the wax to cover the rough edge.
Do not use the fingers to the sealing-wax more than can be possibly
helped, as touching it takes away the glaze.
I made three beads similar to this design, and three in a paler shade
of blue, with the same yellow spots, but using pieces of dark red china
instead of the turquoise. These I strung with a three-inch length of
small yellow beads (which I bought at the same shop as the box of beads
came from, and which were also sold for children’s kindergarten work)
between each large one, and the chain, when finished, looked truly
beautiful. It certainly enhanced the beauty and value of the frock for
which it was made.
Making Fancy Buttons.
To match the chain I made four buttons, used to fasten the
shoulder-pieces of the bodice, in the same colours and the same design.
To make these, any old buttons that have shanks to them will do, but
have shanks they must, as there is no other means of fastening them. I
had four old brass buttons, with flat, shiny tops. With an old knife
I scraped the face of each so as to make it rough, as the wax adheres
better to a rough surface.
[Sidenote: Pretty Uses for Beads.]
I used a piece of cardboard—piece of an old box—and cut four small
slits in it large enough to slip the button-shanks through. On the
other side I slipped a burnt match into the shank of each, and by this
means the buttons were quite firm and did not wobble about.
Then I covered two with dark wax, and two with light wax similar to the
beads, scraping away any wax which had overflowed on to the cardboard.
Before it was cold I pressed a tiny ring of the small yellow beads
round the immediate edge, finishing off with a spot of the yellow wax
in the centre of each, and a scrap of broken china in the centre of
that, again.
I found the buttons a little rough on the edge, but, with the aid of a
nail file, I rubbed them fairly smooth, and they did not notice when
sewn on the frock.
I have made buttons and buckles galore from old oddments, using up
different coloured beads in an inlaid fashion.
A most effective way is to cover the surface of a button with a thin
layer of glue, and to lay the beads on in a design like a mosaic. This
is a really beautiful way of decorating buttons, and a very pretty
opaque look can be given by sprinkling the beads, while the gum is
still wet, with a little of the flitter used in pen painting.
Various Ways of Using Beads.
A very pretty way of using beads also is to hem a skirt with them,
simply tacking the hem in the desired depth, and then, with a long
cotton and needle, make a stitch through to the right side, slip on a
bead, pass the needle through to the wrong side, take a long stitch
underneath, and come up on the right side for a bead again. This is a
most effective way of finishing a hem, and has the advantage of being
much quicker done than ordinary hemming. I feel sure that, once having
tried this way, you will confess it is very much prettier than an
ordinary hem.
Tops of tassels can be made to match buttons and bead chain in the
exact manner that the sealing-wax beads are made themselves.
If a whole set, consisting of chain, buttons, tassel-tops, belt and
shoe-buckles, are made to match, you have no idea how lovely they look;
and also what a very “Parisian” look it gives to an otherwise plain and
rather ordinary frock.
Of course, if you are very industrious, and would like to complete your
outfit, I would suggest knitting one of the ever-popular bead-bags.
For this all that is necessary is a ball or two (according to the size
of the bag) of coloured knitting silk, and a bunch of small beads,
either the same or a contrasting shade. For instance, a golden brown
silk, with tiny yellow beads, would look beautiful, especially were it
lined with a daffodil lining, and finished off at the end with a bead
tassel made to match.
To make these bags you want, as I say, one ball of brown silk, and
one bunch of tiny yellow beads, and a pair of fine knitting-needles
especially made for this work, and which are about as thick as a
hat-pin.
To begin with, thread a needle (a bead needle or darner is best) with
the end of your ball of silk, then pull out one little strand of beads
and run the needle, darning fashion, into the thread on which the
beads themselves are strung. Pull your silk out of the needle, leaving
a tiny piece over where the silk and cotton are entwined. Slip the
beads along, and you will find they go easily over the joined silk, and
so pass, as it were, _en masse_ on to the knitting silk.
According to the size of the purse or bag, whichever you desire to
make, so cast on sufficient stitches for one side only, the bag being
knitted quite flat, and sewn up the sides when finished.
Having cast on your stitches, knit one row plain and then one row in
this manner—
Slip your needle into a stitch; push up a bead; knit the stitch, and so
on to the end of the line.
Next row knit plain silk with no beads, as the beads are only wanted
one side.
If you do this for about eight inches, for a small bag, and then halve
it and sew it up, you can then mount it on a piece of brown silk to
make it deeper.
Personally, I think they look much prettier when knitted on four
needles; and a very pretty purse I made I knitted first of all to a
depth of three inches in plain silk, and then four inches with the
beads.
As I came to the bottom I narrowed off as for the toe of a sock,
finishing to a point. This point I finished with a tassel of brown
and yellow beads which matched the bag itself. With a crochet-hook, I
made a tiny edge at the head of the bag, through which I passed a draw
string of silk in ordinary chain-stitch, finished at each end with a
tiny tassel.
[Illustration: No. 9 See the article on the next page.]
Some Embroidery Stitches.
No. 1.
This design in squares is suitable for working either in white or
colours. Many useful purposes present themselves for making the design
into trimmings for dresses, hats, etc., as well as for the alternate
squares in a checked cushion cover. “Tenax” is a lovely silk thread
that would be suitable for these stitches.
[Illustration: No. 8.]
[Illustration: No. 4.]
[Illustration: No. 5.]
No. 2.
Here each little diamond is worked in simple outline stitch, and each
square outlined with backstitch.
No. 3.
This design is very suitable for hat bands and is worked in two
colours. The stitch used is stem stitch, worked from left to right,
bringing the thread over two of the double threads which form a square,
then bringing it out in the centre of the two squares, that is,
half-way back on the preceding stitch, and carrying it down over next
two squares and so on. Work the crossing lines first, then fill in the
spaces, all in same stitch.
[Illustration: No. 2.]
[Illustration: No. 3.]
[Sidenote: Designs in Squares.]
No. 4.
A mosaic design, suitable for trimming sports coats, hats, belts, etc.,
also for cushion borders, and other household purposes.
[Illustration: No. 7.]
[Illustration: No. 1.]
No. 5.
This is the knitting stitch, and is also suitable for trimming, coats
and making bands for the new knitted hats. It is made with stem stitch
worked diagonally.
No. 6.
Lattice work made of stem stitch. A very beautiful design for present
day dress trimming, and easily and quickly worked.
No. 7.
Another design for dress trimming, either with cotton, silk or fine
woollen thread. It is just satin stitch combined with simple running
stitch.
No. 8.
Like No. 7, this design is used for trimming dresses, and tweed or
serge costumes, also worked with fine wool on crêpe-de-chine for
blouses, rest gowns, etc.
No. 9.
Another “alternate design” for a checked cushion cover, equally
suitable for dress, hat and other trimmings. It also makes a pretty
border for table centre, cushion cover, tunic, or curtain.
[Illustration: No. 6.]
Two Novel Bags.
A Crochet Bag Embroidered in Cross-Stitch.
Ecru “Star Sylko,” No. 8, with No. 5 in green and purple for the
cross-stitch embroidery were used in making this lovely bag. A pair of
ring handles, dark green, give a nice finish.
[Illustration: A BLACK SILK BAG WITH WHITE BEADS.]
[Illustration: A BAG IN CROCHET AND CROSS-STITCH.]
Commence with 5 ch formed into a ring into which put 6 dc.
_2nd Row._—2 dc into each dc.
_3rd Row._—* 1 dc into next dc, 2 dc into next dc, * repeat.
_4th and every alternate Row._—1 dc into each.
_5th Row._—* 1 dc into each of next 2 dc, 2 dc into next dc, * repeat.
_7th Row._—* 1 dc into each of next 3 dc, 2 dc into next dc, * repeat.
_9th Row._—* 1 dc into each of next 4 dc, 2 dc into next dc, * repeat.
_11th Row._—* 1 dc into each of next 5 dc, 2 dc into next dc, * repeat.
Continue on in this way, increasing the number of stitches before the 2
dc into 1 dc by one until there are 182 stitches around, then work 72
rounds more.
In the next 12 rows there are chs at each side.
_1st of the 12 Rows._—91 dc into first 91, 3 ch, 91 dc into next half,
3 ch.
_2nd Row._—* 91 dc, 5 ch, * repeat.
_3rd Row._—* 91 dc, 7 ch, * repeat.
_4th Row._—* 91 dc, 9 ch, * repeat.
_5th Row._—* 91 dc, 11 ch, * repeat.
_6th Row._—* 91 dc, 6 ch, 1 dc into the 6th ch below, 6 ch, * repeat.
_7th Row._—* 91 dc, 7 ch, 1 dc into the dc below between the chs, 7 ch,
* repeat.
_8th Row._—* 91 dc, 8 ch, 1 dc into the dc, 8 ch, * repeat.
_9th Row._—* 91 dc, 9 ch, 1 dc into the dc, 9 ch, * repeat.
_10th Row._—* 91 dc, 10 ch, 1 dc into the dc, 10 ch, * repeat.
_11th Row._—* 91 dc, 11 ch, 1 dc into the dc, 11 ch, * repeat.
[Sidenote: Two Novel Bags.]
_12th Row._—* 91 dc, 12 ch, 1 dc into the dc, 12 ch, * repeat.
Take up one of the ring handles and make * 24 ch, bring these across
the side of the ring and fasten to the 3rd dc with a dc, * repeat into
every 3rd dc up to the chs at the side. Fasten the thread and cut it.
Fasten again to the first dc after next chs and work the 24 ch loops
over the other handle in the same way.
The design is worked in cross-stitch—green on one side and purple on
the other. A diagram is given for this part of the work.
Finish the end of the bag with a tassel made of the combined threads.
Line the bag in the usual way with light color silk.
A Black Silk Bag Beaded in White.
This bag is very easily made and requires only one ounce of white
porcelain beads with a ball of No. 12 black “Star Sylko.” Cut out the
bag to the required size and use the corners of the silk left over to
form the four vandyke points. Turn a narrow hem at each side and the
top of each point, tack in place. Sew the beads at each side of the
point with a very fine needle and the “Star Sylko,” each bead is put
on with a “top-stitch,” going through the centre of the hem. When the
four points are worked, sew up the sides and bottom of the bag with a
French seam, and turning out the right side crease the edge all round
and tack it, then sew on the beads as in the points, around the seam.
Make a crease around the top of the bag, one and a half inches from
the top edge. Tack the points to this crease, one on the centre front
and another on the centre back, then one at each side, all with edges
overlapping. Now sew the points to the bag with the top-stitch and bead
as before.
Make the lining to fit the bag, turn in both top edges and tack in
place with the lining edge even with the edge of the bag, top-sew with
the beads to join them.
Make a line of running stitches about the quarter of an inch above to
top of the points to make the slot for the tie-strings. Turn the bag
inside out and sew the lining to the silk front along the line of beads
at the top of the points.
Now work a buttonhole at each side of the slot through which the narrow
black riband is run, one from each side. Make a small loop of the
riband and sew below each buttonhole for the purpose of pulling the bag
open when closed.
The Beaded Tassels.
With the No. 12 “Star Sylko” make 5 ch into a ring, 6 dc into the ring,
then 2 dc into each dc for two rounds, draw the thread through the last
loop and, leaving about a yard of it attached, cut it. Run the end of
the thread through the eye of the fine needle and thread 24 beads, sew
this into a loop to next dc, and repeat into every 2nd dc. Fasten a
thread on the wrong side of the disc and bring it up through the centre
ring, thread five beads, sew to a point and bring the thread back again
through the beads, fastening off underneath the disc.
A Violet Handkerchief Sachet.
There are often small pieces of canvas left over after a piece of work
is finished that are too good to throw away (especially considering the
present price of canvas) and yet do not seem large enough to make even
a tray cloth.
The little handkerchief sachet shown here suggests one way in which
such a piece may be used. The bit of canvas employed measured 12 inches
by 8 inches, but two pieces half that size would do, joined to form the
two sides of the sachet.
Single violets and leaves are worked in cross-stitch and dotted about
over the sachet. “Tenax” Embroidery Thread was used in pretty shades
of violet and green, with one stitch of yellow in the centre of each
open flower, each stitch being taken over two threads of the canvas.
White silk was used to line the sachet, but if you have a bit of
pale primrose or pale heliotrope, this would do equally well, and go
beautifully with the colour of the violets. The edge is finished with a
fine cord, and narrow violet ribbon is used to tie the sachet.
Diagrams are given here for working the nine little designs used on the
handkerchief sachet, each blackened square representing a cross-stitch
on the canvas. Or you could, if you preferred, work little rosebuds and
leaves, or daisies, instead of the violets.
One often wants to make something for a Sale of Work that does not
involve too much outlay of time or money. Little sachets of this
kind would be just the thing, and would probably find a ready sale.
Moreover, they do not entail a great deal of work, which is a big
consideration in these busy days.
[Illustration: Only a small quantity of canvas is required for this
Sachet.]
[Illustration: The diagrams above show a bud, a leaf, and an open
flower.]
[Illustration: On the left, is the diagram of a delightful little bud.]
The arrangement of the flowers on the sachet need not, of course, be
strictly adhered to. The little buds and blossoms lend themselves to
almost any form of treatment. Just two or three of the violets may be
used, repeating as desired.
One may be placed at each corner and one in the middle, or they may
be arranged in a straight or diagonal strip. The latter would be very
pretty.
[Illustration: These diagrams are for the flowers at the top right and
bottom left corner of the Sachet.]
[Illustration: Below are shown other flower, leaf, and bud
illustrations.]
A Rosebud Handkerchief Box.
Pretty boxes have a fascination for most girls. For handkerchiefs,
gloves, and the ever-accumulating stock of collars and ribbons, there
is no receptacle quite so handy as a box, and, of course, it should be
pretty.
These are expensive to buy, however, and therefore the girl who wants
one at little or no cost must make it herself. Moreover, the one you
buy is not the _only_ one of its kind, whereas the one you make can be.
The rose-box here illustrated has a little cross-stitch pattern worked
on every side, and on the lid. This gives a very pretty and original
effect. The designs are worked in pink and green “Star Sylko” on white
Hardanger canvas, and the box is lined with pale blue.
To make this box, four pieces of thin cardboard 7 inches by 5½ inches
are required for the lid and bottom of the box, four pieces 7 inches by
2½ inches for the sides, and four pieces 5½ inches by 2½ inches for the
ends. In each case one piece of cardboard is covered with the lining
material, and one piece with the canvas, both of which are cut a little
larger than the cardboard. In the case of the canvas the cross-stitch
design is, of course, worked on before the cardboard is covered.
[Illustration: A Cross-stitch Design is worked on each side of the Box.]
Having covered all the pieces, proceed to sew them together in pairs—a
canvas-covered piece to a lining-covered piece. Then seam the double
pieces together to make up the box. This wants to be done carefully to
be quite secure, and, at the same time, neat.
Before attaching the lid, the seams and edges are finished off. In the
box illustrated this was done with No. 3 white “Star Sylko,” using
three strands, and couching down at intervals with white cotton. This
is continued down the corners of the box, and completely covers the
seams.
The lid is next attached to the back of the top edge with over-sewing,
which must be neat and yet strong. Finally, the lid is edged with No. 3
“Star Sylko” in the same way as the box, making a little loop at each
corner, and a knot and ends at the back.
Diagrams for working the rosebud cross-stitch designs are given, though
some other flower can be worked if preferred.
White canvas, as shown, gives a pretty, delicate effect, but, of
course, this soils very quickly, and for a more serviceable box
it would be better to use a colour. Pale blue or pink would be
delightful, or the shades can be chosen to follow the colour scheme of
the room. If a plain material is used, of which it is not easy to count
the threads, the cross-stitch can be worked over Penelope canvas.
[Illustration: A DIAGRAM FOR THE DESIGN ON THE FRONT OF THE BOX.]
[Illustration: A DIAGRAM FOR THE DESIGN AT THE END OF THE BOX.]
Again, if time is limited, it is not actually necessary to work the
cross-stitch designs. Some figured material, such as brocade, can be
used, or anything that you happen to have by you; but a thin material
should not be employed, or it will tear away when you come to join the
pieces together.
A particular attraction about this box is that it costs practically
nothing. The outside was made from those odd pieces of white canvas
which every girl has, and which are too small for the smallest cloth.
The lining was of pieces left over from making a summer dressing-gown.
The cardboard was from a collection of old boxes and other odd bits
carefully saved, and the quantity of ‘Star Sylko,’ from balls already
possessed, was very slight.
[Illustration: A DIAGRAM FOR THE DESIGN ON THE LID.]