Embroidery Explained
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" Where Every Piece is a Masterpiece "
by
Maistreas Sîban nî Sheaghdha, OL
Embroidery, like every other art form, needs to be understood to be fully appreciated and enjoyed. Insight of the principles not only creates the urge to "paint" with needle and thread but gives one the knowledge that enables a more keen perception of the old masterpieces as well as modern day pieces. This project was borne by the collective wishes of those who long to attempt even the simplest piece but are hindered by a misunderstanding of these principles.
Therefore, it is my intention to address those nervous misgivings by simply dissecting what appears to be complex and unlock the joys of the work.
Not long after man clothed himself he began to search for ways of embellishing his garments. One of the earliest examples is a fragment of whitework (white stitches on white ground) of Danish origin. This braided hairnet was discovered in a 3000 year old grave.
As the centuries passed, embroidery began a transformation. Simply embellishing garments was no longer the only use for embroidery. Liturgical uses began their long reign that continues even to this day. Biblical stories and the life events of saints were often the theme of these works. The Chasuble of Sts. Harlindis and Relindis (9th c.) now at Stad Maaselik in Lemburg, Belgium and St. Cuthbert's stole (10th c.) at Durham are two of the earliest pieces depicting the boom of ecclesiastical work. Such importance was held toward the ecclesiastic themes that silk and gold/silver gilt were the predominate materials used.
Concurrently, this time was producing naturalistic impressions of contemporary historical events and subjects in stitches instead of pigment and brushes. One of the earliest masterpieces is the Bayeux Tapestry (11th c.). Created within the Battle of Hastings generation, the tapestry in actuality, is an embroidery since the scenes are laid on a ground cloth instead of woven in during creation. The most common materials employed for embroidery, linen ground and wool thread, were used in its construction.
From literary evidence we know such historical hangings were common in the houses of royalty and in aristocratic circles. Servants were often hired because of their skills with a needle. Master designers were also hired for layout and design while the women of the church, the lady of the house, or the Queen could devote her time to her handiwork. Mary, Queen of Scots, is known to have studied in France and had two master designers, Pierre Oudry and Charles Houvart. During Queen Anne's reign, Robert Adam was designing embroidery patterns and it is widely believed Queen Matilda or the half-brother of William the Conqueror, Odo, charged a monk with designing the Bayeux Tapestry. However, most embroidery was self-designed or augmented to fit the purpose of the piece.
Whether one had a master designer or the work was self-designed, houses often had a large room set aside where the women could congregate to take exercise in winter. It was in this room that their needlework was done or the young girls were taught.
The heyday of embroidery coincides with the height of the illuminated manuscripts in England. The 13th and 14th centuries produced "Opus Anglicanum", a terminology given to the English embroidery widely exported during this period. The true professional embroiders who produced "Opus Anglicanum" were men and served a 7 year apprenticeship. Mabilia of Bury St. Edmunds was one exception. Records of payment from Henry during 1239-44, for many vestments, shows a few notable females were paid for their skills in "Opus Anglicanum". This highly skilled and valued technique is today our most simplified needlework. Below is a few of the most commonly used stitches. I have included the Latin term in the event you should see them while you research that new project.
Towards the end of the Middle Ages, the renaissance of embroidery began to take shape. The influence of the Mediterranean countries, especially Spain and France, started intertwining itself in the fashion of embroidery. Flowers, animals, vines, and hangings of nature began to appear. With the more intricate designs came more intricate stitching. And, with the commercial markets opening with the East, the fabric dyes and tools became more intricate.
Spanish work (black work), White work, Assisi work, and Crewel grew in popularity. Much of this work is still done today. Because of the parallels between the early stitches and the vastness of the works just mentioned, I will leave information on these techniques for a later time.
It is obvious that you can not begin a project without an idea. In part, all ideas are good. Whether that good idea flourishes into a workable reality depends on a plan. Embroidery is the art of enriching a fabric. Without a plan, embroidery is thoughtless stitching with no direction or focus.
An idea is not exclusive to those who are perceived to be creative. In other words, creativity is just a perception. Generally ideas do not "pop" into our heads. Usually the spark was generated by an outside influence. A portrait, a piece of trim on someone's garb, or a Manuscript are just a few avenues in which our ideas are conceived. I have also found that nature is an excellent area in which to work. Animals, birds, and plant life are very stable resources in which to glean ideas. I have gone as far as plucking ivy from my garden to trace a pattern. Look around you. See what embellishments are on people's garb. Go up and inquire. You would be surprised at the smile and the amount of information you will receive. Remember, you do not have to be "creative" to be perceived as creative. So, you now have all these great ideas floating around in your head. Let's start a plan and see if your idea is workable.
Decisions must be made before you begin. You must decide in what "SCA period" you will be working. It would look very odd to have a Late Period Black work cuff or neckline on a Byzantine-style Coptic tunic or a Norwegian Viking Caftan. Research is learning even if it is just phoning someone. Hearsay is not documental information but usually the person you asked can support their claims, or the know who can.
Call the library. They employ people whose sole responsibility is to assist with research material. Librarians can not tell you the specifics but they can assist you in finding the resources that will guide you to the period you have chosen. I began by asking an embroiderer in our group if she had any extra patterns that I might use. While I worked that piece, I began educating myself in the library and soon discovered that there were mountains of information available. A word of caution here. Not all the information you find in the library is of "our period". To find what was of my SCA period, I began to attend classes at events and asked lots of questions. Many groups in the SCA have a least one class at their event for beginners. Make the time to attend these classes, they usually have handouts. You will find that there are many people just like you. Beginning a new art can be both confusing and frustrating. Go slow at first. Do not cause yourself to go into information overload.
While we are on the subject of research and documentation, let's discuss competition. I suppose several of you are now thinking that you do not want to learn embroidery if you must compete. Relax! No one ever has to put their work in competition. Let me repeat that. Competition is not for everyone. Competing can be very damaging to the ego. It can also give you an incredible sense of pride and accomplishment. In actuality, you could feel both within the same competition. Then why compete? The reasons are as varied as the projects entered but I enter primarily for the unbiased feedback. I use this avenue for its diversity of opinions and techniques. When I receive the judges' opinions, whether good or bad, I learn and learning is our goal. Therefore, I encourage you to compete, at least once, even if it is on a local level. Getting impartial input can help lift you to a more experienced level.
When (if) you decide to enter a competition you should contact your local MOA/MOS for The Middle Kingdom Arts and Sciences Criteria. It was written to establish continuity and assist your preparation for Kingdom competitions, however, I use the Kingdom Criteria as a guide when I compete in local competitions also. I find that they help keep me on track. If you decide to put your projects in a competition, use the Criteria as your guide. It will be the guidelines upon which judging will be based.
The simple ring hoop is very common amongst embroiderers. The advantages these offer are their mobility and adjustment flexibility. The screw adjustment allows the hoop to be tightly adjusted to various weight fabrics. Because of the availability and the ease of handling, I intend to limit my comments only to modern equipment. I do not want to gobble up valuable space here to discuss "in SCA period" tools.
First of all, is a frame or hoop necessary? Yes and no. If you want consistency in your stitches and wish to reduce the chance for puckering, then some sort of tension must be applied to the fabric. If you want inconsistency in your stitches and some puckering (similar to some "in period" works) then certainly do not use any frame or hoop. The latter is documentable but by our current standards of judgment, the latter I strongly discourage, especially for beginners. When you are just learning to embroider, using a frame or hoop will enable you to actually see the weave of your fabric, which will allow you greater ease in laying your stitches. If you learn without a frame or hoop, bad habits can be learned and will be very hard to break later.
There are several types of frames and hoops on the market today and I have experimented with most of them over the years. Each type has their own advantages and disadvantages but I found that the majority of them are good, except maybe the metal ones. The sweat and oils from your hands will eventually cause rust marks to appear on your work and they do not grip the fabric well. The spring held ones seem to do well at first, but with time they will lose their tension that will eventually allow your fabric to slip. The simple wood ring hoop (with the screw adjustment) seems to work best for me but you may prefer a different one. Regardless of which hoop, stand, or frame you choose, be sure to choose what meets your needs and makes you comfortable. They also allow you to move around on your pattern giving you greater flexibility in your project's size. These hoops can easily be transported allowing you the opportunity to work anywhere. The disadvantages are the quality and durability. Many times I have been stuck with an "out of round" hoop that only showed up when I loaded the hoop with my project. To avoid this costly mistake, tighten down the outer ring at the store before you purchase it. A hoop that is out of round will not meet evenly at the screw adjustment. Check for splintering and cracking also. Some splintering may be present and is quite easy to eliminate. However, when you pull that small splinter and a chunk comes with it, find another hoop. The rough edges caused by this chunk will eventually damage your project.
Variations of the ring hoop generally involve the stands in which they are attached. The table clamp variety screws on a table edge or chair arm and can be adjusted for height and angle. It is small enough to carry about, however, the availability of a table or chair arm may limit your work locations. The floor model gives you the ability to move your project from work area to work area but is more bulky to transport. It can also be adjusted for height and angle. The lap model can sit on the table or in your lap and can be transported but it tends to tip and wobble when loaded with a project. A weight of some type can help eleviate this problem.
The last one I would like to mention is the square frame. These frames hold the fabric very taunt, even those where slippage is a problem. These frames are also excellent for fabrics with a deep pile where you do not want to crush the nap. The biggest drawback in using the square frame is that they dictate the size of your project by their size. When you decide to try a frame similar to "in SCA period", the square frame should be your choice.
The next important choice is your needles. While you are searching for the right needle remember that not all needles are created equal. Each size and length has a different control factor and the ones you will employ are directly related to the thread and technique chosen. For beginners, I suggest purchasing a variety packet and encourage you to experiment with each. Generally speaking, the "Embroidery" type will work well for almost everything but you may find one particular type is the best for you. I have found a medium to short needle with a long eye usually works well for me. I prefer a short, very sharp point, gold plated needle for working with silk or on satin. They tend to leave smaller holes when punching through the fabric. For wools, I prefer the larger "Crewel" needles with very long eyes. It is important to remember to choose a needle just large enough to create an easy path for the wool to pass otherwise breakage will occur.
A blunt point, or Tapestry, needle will be needed if you intend to work mostly on the surface, with only an occasional pass through, such as with a Weaving Stitch. I use the blunt needle when working on canvas. The thickness and strength of these needles seem to endure the abuse of the canvas better.
You are getting close to seeing your idea flourish into reality. You will begin to feel the anxious anticipation that all of us feel when a new project starts to take shape. But now is the time to really slow up. Before you begin you should study your pattern very carefully. Look at it closely. If you apply some effort in your preparation now, you will save yourself a lot of grief later.
The first step I instruct beginners is to work a small article, or Sampler, when first attempting a new project. The word sampler, came originally from the Latin word "Exemplar", meaning "to show". By taking the time to perfect your technique on a sampler, you will test out the appearance of the different stitches thereby reducing the possibility of a "tear out" later. Now is the time to bring ideas, your ideas, to the work you are about to begin.
The fabric depends on the "SCA period" that you have chosen. For example, interlacement (knotwork) works beautifully on deep piled velvet for your wall, but would it work on a Tudor gown? A linen surcoat might be more appropriate, although you might find an example of interlacement on velvet while searching the museum or library. Use some care in choosing the appropriate fabric for your project.
As you are choosing fabric, take into account the actual design with colors. The hardest thing when you are confronted with the vast array of colors is to choose and eliminate. The most common error beginners have in their thinking is that leaves must be green, the sky must be blue and that the animals must conform to their natural color. Do not limit yourself but try to keep the color scheme simple.
You can achieve a variety of color illusions by varying your stitches. Light will strike one stitch differently than another resulting in the "illusion" that many color values were used. To experiment with color illusions brought on by stitch variance, try laying the different values (light, medium and dark) on your pattern. This trick will teach you to look for tone values in colors and you will learn to adjust where to put a different value or simply change the direction of your stitches.
An easy and effective way to choose your scheme is to choose a predominate, or basic, color. Pick all of the varieties of that color and lay them on your pattern. This will help you visualize the finished project. Don't be afraid of the brilliant color you see before you. They are never as bright when they are worked as they are in the skein. If you have difficulty visualizing the muted colors, cut off a few small pieces and place them instead.
Here is where I pull out my colored pencils and I color in my pattern. I make a "key" in the corner with the colored pencils and I place the corresponding color number beside it. This helps me to match the correct value on my colored pattern to my design. This is not a difficult task but it can be time consuming, especially if you are not sure of what colors would be appropriate. As a beginner, you might hold your choices to earth tones and gemstone colors. Remember, don't "busy up" your project with a lot of colors. Utilize stitch variance instead. Practice and experience are the only real guides here and the more embroidery you do, the more you will become conscious of the color around you.
Applying your pattern to your fabric can be tricky. There are several ways to apply your pattern. The easiest way is to free-hand draw. Unfortunately not all of us can draw, therefore, transferring a pattern to fabric by another means is necessary.
The first is by Dressmaker's Transfer Paper. There are several brands available so, without endorsing one specific brand, purchase one that has a wax base but is removed by washing or dry cleaning. You may also use carbon paper but this will smudge and dust off. You will lose your trace before you are finished.
Another method of transferring is to make a pricking. This method can be documented "in SCA period" but this method takes time and several steps to complete. I recommend that you do not try this until you have some experience.
The method of tracing your pattern to tissue paper then basting on is another way of applying to deep piled fabric. When your project is complete, simply tear away the excess and clean. The tissue under your stitching will disintegrate. A variation of this method is a jelly-type material. This material requires a jelly ink pen. Applying your pattern is the same as the tissue paper method. You must be careful around moisture though. Even the sweat from your hands will melt away this material. I highly recommend this soluble material for deep piled fabrics such as wools and velvets.
The last method I would like to mention is the Basting Stitch. I use this method if I need a little support for my embroidery. Light weight fabrics such as satin and gauze cotton usually needs some extra weight so the embroidery does not pucker or sag.
Putting the pattern on the wrong side of the fabric and tracing the design with a running stitch, I can then embroider on the right side using the running stitch as my guide. The extra support is achieved by the running stitch and the paper.
When you have completed your project you will probably find some tracings or guidemarks that need to be removed. You also want to "set" the colors so bleeding will not occur later. Depending on the materials you used, you need to wash or dry clean.
If you have a washable project, immerse it in cold water with a small amount of gentle laundry soap. Gently rub any markings that are being difficult. Rinse thoroughly in cold water and a small amount of white vinegar. The vinegar will help "set" your colors. Wrap your project in a towel, squeezing tightly but not wringing, to soak up the excess water. Lay it out on a flat surface to dry. You may press with a cool steam iron on the wrong side of the stitching, if desired.
If your project is a recommended "dry clean only", the fluids used in the process generally removes all the difficult markings and no further attention is required.
The end of your plan has been reached. It started with an idea and concluded with a finished project, cleaned, and ready to be enjoyed. I would like to conclude by acknowledging that I have left out mountains of information. I intended to just give you a little information available within the vast world of embroidery. Gleen what little is here and seek out what was excluded. You will not regret the time you invested while exploring the possibilities. Embroidery is imaginative and individual. Use your imagination and make it individually yours. Happy Stitching!
Disclaimer: The opinions and conclusions represented here are those solely of the author and do not represent or delineate the Embroidery Cafe, Inc. policies.
also see Embroidery Machine Advice Yahoo! Google MSN HotBot or ask that Jeeves fellow also see: Embroidery Module Objectives Embellishment Sewing Embroidery Explained Embroidery Tips Other Embroidery Resources Embroidery Home Custom Tee Shirts
Maistreas Sîban nî Sheaghdha - OL, CDH, etc…. She is an early 12c Irishwoman (and extremely proud of her heritage) living on her father's land and quite fond of a young man from Clan Byrne. She sews, embroiders, and tends to an interesting garden for enjoyment and income. Cheri Byrnes (4419 Crestview Dr. Evansville, IN 47711) lives with her husband and 3 cats. Having raised 2 daughters, she is now enjoying a more quiet way of life.
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