An embroidery book

by Anne Knox Arthur

Plate XVb. gives an example of a work bag made from rug canvas. It is worked in cross stitch in two shades of blue, light green and a reddish-purple raffia. The edges are turned in and finished off with a border of soft blue brush braid; the handles are of raffia, plaited, in the different colours; the basket is lined with a printed silk which matches the various colours.

Plate XV. gives a Japanese basket woven in grass, trimmed with cherry-coloured braid and crocheted flowers—the flowers are sewn on with dark blue; the lining consists of two shades of blue. The handles are of cherry-coloured carpet braid. These baskets are so very useful for the holding of odds and ends, mending, or embroidery. Some of the simplest woven Japanese baskets look very well when trimmed with braids in gay colourings and little crochet flowers. The busy woman might well have one of these useful little baskets with work ready to her hand, or suitable in their contents to her various rooms.

A Cushion Case (Plate XVI.).—The original is a charming piece of work. The background, of a soft blue tone, is worked in blues, bright greens, heliotrope and cream. The design, in straight lines and circles, has two bars of needle-weaving, the definite pattern of which is shown to advantage by the plain woven bars on either side. The bars are worked similarly to the latchet darns which are frequently used instead of rings to support the draw strings of bags.

The design is so simple that it might be drawn directly on to the material—this should not be a difficult matter if the threads of the canvas are regularly woven. Put in the main lines first—in the illustration these lines are worked in satin stitch; use a ruler and a chalk pencil—the latter is easily rubbed out if a mistake is made—then run in the design in wool or thread. Measure off the bars for needle-weaving, but do not cut and draw the threads until ready to work them. Great care must be taken in planning out the various parts of the design to have all lines running accurately with the warp and weft of the material, otherwise, when the woven bars are put in, they will accentuate any mistake made. The corners are in “laid” stitch, that is, the threads are stretched loosely across from one side of the square to the other, horizontally, then vertically—or vice versâ; they are then sewn down at the junctions with tiny cross stitches, which requires some care if the squares are not to be displaced. The rows of running or tacking stitches accentuate the oval in the centre. Cut and draw the threads for the needle-weaving after the outer band of satin stitch has been worked. The plain bars should be worked in first, as they are simpler in construction. When these plain bars are finished, divide up the strands into groups of seven for the pattern, and one group of eight—the latter forms the start and finish of the pattern which should have four groups in each. Weave in all the purple blocks to begin with; these, as may be seen from the illustration, are widest at the base. Weave over seven groups for one-eighth of the space; leave out a group of threads on either side and weave over five; then over three, and then over one group; each step is fully one-eighth in height. This process is then reversed, and the weaving finishes at the opposite side over seven groups. The start and finish over four groups can be followed from the illustration. The central figures alternating in green and blue will then be woven in without difficulty.

The circles in the centre are worked in rows of satin stitch; the flat green beads are surrounded by French knots in cream, and each circle is surrounded on the outer edge by button-holing in blue of a lighter tint than the canvas.

Useful Hints.—As a preliminary to the embroidery of a piece of work comes the putting on of the pattern. This may be done in different ways, but whichever way is chosen, it is well to realise from the outset that accuracy is essential. All possible care should be taken with the drawing on or tracing of the pattern or design; all straight lines should follow the warp and the weft of the material, when they are visible—the slightest unevenness causes unnecessary trouble in the after-working.

Transferring the Design.—As previously mentioned, in a design for coarse canvas a geometric pattern may be put on with a ruler and a chalk pencil, but as chalk gives a thickish blunt line and is also very easily rubbed off, it is necessary to fix the design, either by running it round with a needle and thread, or by taking a fine brush and going over the chalk lines with Chinese white or oil paint thinned with turpentine. Another method is to lay a sheet of tracing paper over the design and trace it through clearly and accurately; then, following the plan of the little ones in the kindergarten with their embroidery cards, lay the traced design, face up, on a pad of felt, or on two or three folds of woollen material, and prick little holes very closely together, along the lines of the design.

Pouncing.—A needle or a fine glass-headed steel pen will serve as a pricker. Lay the pricked design face downwards on to the material—which has previously been pinned on to a drawing board; fix the tracing, and with a soft pad dipped in powdered chalk and charcoal rub lightly across the holes from left to right—keep always rubbing in the same direction; on removing the tracing, the pattern should be perfectly clear. Take a fine brush and go over the design with Chinese white or red oil paint thinned with turpentine; this is called pouncing. The superfluous chalk or charcoal will blow off.

Carbon Paper.—A simpler method is to use carbon paper, which may be had in yellow, blue and red. Fix the material on a board and place the design carefully and evenly on to it. Secure with drawing-pins at the top line—leave the lower part free; raise the design—like a flap—and place the carbon paper, colour downwards, on to the material, then pin down the lower edges of the design. Do not put the pins through the carbon paper as they leave an ugly mark wherever pressure is applied; thus rings and bracelets should be removed before tracing. The upper pins keep the design in position, and progress may be noted by removing the lower pins and lifting the tracing and the carbon paper without disturbing the position of the design.

Yet another way is to trace the design through on to a piece of tarlatan—an open-meshed muslin; this being done, place the tarlatan over the material, take a drawing pen, and with Indian ink run over the lines already there. If this is quickly done, a clear line should show on the material.