CHAPTER IV
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.
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.