Crewelwork Embroidery E-Book

Becky Quine

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Veröffentlichungsjahr: 2020

Beschreibung

Crewelwork has a long history but this book brings the technique right up to date. It mixes contemporary styles with older traditions to give an exciting twist on this enduring and beautiful style of embroidery. Becky Quine, a tutor and conservator/restorer with the Royal School of Needlework, clearly explains each step to making a piece, from early planning to stitching and finally to presentation. She encourages new ideas and a fresh, creative look at this popular and timeless technique. Advice on design is given along with working with colour and how to plan and stitch a piece of embroidery. This new book includes a guide to framing up and transferring a design onto fabric. There are step-by-step sequences to over forty different stitches ranging from filling to outlining stitches, and from accent stitches to new creative ideas. This book will be of great interest to embroiderers, textile artists, quilters, ecclesiastical embroiderers, costume designers and historians. It is superbly illustrated with 559 colour illustrations that support the instructions and showcase finished examples.

Leseprobe

CREWELWORKEMBROIDERY

CREWELWORKEMBROIDERY

Becky Quine

First published in 2020 byThe Crowood Press LtdRamsbury, MarlboroughWiltshire SN8 2HR

[email protected]

This e-book first published in 2020

© Becky Quine 2020

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication DataA catalogue record for this book is available from the British Library.

ISBN 978 1 78500 544 2

AcknowledgementsI would like to start by thanking my family for their support, my father Paul for the loan of equipment, my sister Natalie for her proofreading and photographic skills and my mother Lyn for her words of encouragement. Thanks also go to Helen Richman for suggesting the idea for this book, to Lizzy Pye for her support and to Shelley Cox for the loan of her studio, which was essential to the process of writing this book. The wise words and encouragement from Jacqui Macdonald and Rachel Doyle were also invaluable. I am grateful to Shelley Cox, Flo Collingwood, Lizzy Pye, Helen Richman, Jess Aldred, Rachel Doyle, Jenny Adin-Christie, Helen Stevens, Marg Dier and Chrissie Juno Mann for the privilege of allowing me to share their work in this book. Thanks also go to the Royal School of Needlework for allowing me the privilege of viewing and photographing pieces from the collection, and for permission to reproduce those images in this book. Great thanks go to Noleen Wyatt-Jones for her proofreading skills and to everyone for their patience during the writing of this book.

CONTENTS

Introduction: The History of Crewelwork

CHAPTER 1 Materials

CHAPTER 2 Design

CHAPTER 3 Choosing Colour

CHAPTER 4 Planning

CHAPTER 5 Getting Started

CHAPTER 6 Filling Stitches

CHAPTER 7 Outlining Stitches

CHAPTER 8 Accent Stitches

CHAPTER 9 Variations and Creative Stitches

CHAPTER 10 Mounting

CHAPTER 11 Moving on with Crewelwork

Motif Templates

Suppliers

About the Author

Index

 INTRODUCTION  

THE HISTORY OF CREWELWORK

The term ‘crewel’ is defined as a loosely twisted thin woollen thread used for surface embroidery. So quite simply, crewelwork refers to any surface embroidery worked in wool. In the UK crewelwork has been practised for centuries and has grown to include a large number of surface stitches, some of which we will cover in this book.

Crewelwork and embroidery in general has a long history. Sheep were one of the earliest animals to be domesticated for use in agriculture, so it is easy to speculate how old the technique actually is. There is evidence to suggest that crewelwork was practised in both Ancient Egypt and Ancient Greece; there are even biblical references to it. Over the centuries crewelwork has evolved under the influences that also affected more visible disciplines such as architecture and art, and as a result has faded in and out of fashion.

From the RSN collection (RSN 214), this picture shows a detail from a larger piece that was most likely intended to be a household item. The depiction of flora and fauna is one of the most common themes throughout history.

From the Royal School of Needlework Collection (RSN Grove Book), this small fragment is from a much larger monochromatic piece. Often depicting a collection of motifs drawn from the natural world, these pieces lack perspective.

From the RSN Collection (RSN402/582/1222/2234a), this sample was worked as a training piece by a Diploma student of the RSN in the first half of the twentieth century. The traditional shapes and motifs are reminiscent of the Elizabethan/Jacobean interest in the natural world.

The Bayeux Tapestry is one of the oldest existing and most well-known examples of crewelwork. The piece is 70m/230ft long, 51cm/20in wide, and contains seventy-two scenes depicting the Norman conquest of England in 1066. Surprisingly for such a big piece, it is worked in only ten colours and uses very few stitches, including Stem Stitch, laidwork, couching, Chain Stitch and Split Stitch. The date of this piece is unknown; however, it is believed to have been worked just a few years after the conquest. It is unclear who worked it, although many believe it to be connected to individuals closely related to William the Conqueror.

From the tenth century onwards wool threads became less expensive, which led to a rise in interest in the technique. Crewelwork had its heyday in the sixteenth and early seventeenth centuries. During the reign of Elizabeth I (1558–1603), the Elizabethans were looking beyond their shores, exploring the high seas and colonizing new lands. With this activity came new opportunities and money. As a result, families and individuals found greater wealth and greater status within society. Women in particular benefited from this change by turning more and more to needlework. Crewelwork as a technique was used to create all manner of household items such as bed hangings, curtains, covers for chairs, clothing, book covers and many other things. These items all worked to brighten and insulate rooms, particularly in large, draughty houses, and were often worked by the lady of the house. Their value was clearly recognized at the time, as they were itemized in inventories and even referred to in wills. There was also a thriving commercial embroidery industry that provided employment for both men and women, which was regulated by a Guild that still exists today, known as the Worshipful Company of Broderers.

Although silk was available at the time, it was expensive as it was imported; wool, however, was home-grown, readily available and often spun into a suitable thread by the stitchers themselves. At this time the motifs used reflected the fascination of society with herbs, plants and the natural world. The influence of Elizabethan costume can also be seen, as designs that had been previously rendered in blackwork for clothing were scaled up and used on larger embroideries such as wall hangings and curtains. The oriental influence is also noticeable in pieces from this time, although it later went on to develop a greater presence alongside motifs of exotic flowers, oversized leaves and mounds. This was the grounding for the Jacobean style that was to follow.

The reason for the introduction of the oriental flavour present in many embroideries is open to debate. Many believe this was a result of the formation in 1600 of the East India Company to open up trade routes between England and the Far East, and the huge influence on embroidery of the items they imported, which included pearls, spices, furniture, silks, and painted cottons adorned with a variety of plant and animal motifs called pintadoes, palampores and chints (chintz). Just three years later, in 1603, James I ascended the throne and the Jacobean period began. However, a study of the East India Company records conducted during the 1950s and 1960s by John Irwin, a historian of Indian art at the Victoria and Albert Museum in London, would suggest that, primarily, English embroideries were sent out to India. Although some textiles were imported from India, this trade did not reach its peak until after 1660 and the end of the Jacobean period. The East India Company paid close attention to those items that were popular in the English market; they were even known to request alterations to products from their suppliers in India to tailor them to the taste of their customers.

It is also possible that the oriental style was introduced into England with the silk trade routes through India and Persia, via the sea lanes established by the Portuguese in the early 1500s. By the 1600s most of Europe was trading with Asia. The oriental aesthetic was much appreciated by the English, and through their efforts to translate it into their own decorative arts, the ‘chinoiserie’ style started to develop. It is likely that this style of embroidery travelled with the early settlers to America in the early 1600s, and there in turn developed into a different style that took influence from the locality in both materials used and design inspiration.

From the RSN Collection (RSN232), this leopard motif is commonly seen in historical pieces. Used from the sixteenth century through to the present day, it is often seen on contemporary pieces where the Jacobean style has been imitated.

In 1624 a book of motifs and patterns, A Schole-House for the Needle, was written by Richard Shoreleykers and proved to be immensely popular. It was a favourite of professional travelling craftsmen, who used it to design pieces for large country estates that were to be stitched by the ladies of the household.

For the domestic stitcher, materials used in embroidery would have been home-made, with spinning, dying and weaving all being tasks that could be performed in the home. The fashion for crewelwork became immensely popular and was a staple in the life of women of the time. Crewelwork fell out of favour somewhat during the Civil War and the formation of the Commonwealth in 1649. The Puritan influence meant that the extravagances of the previous fifty years were frowned upon. Little in the way of crewelwork was executed in the following years; however, stumpwork, a type of raised or embossed embroidery, become more prominent.

After the dissolution of the Commonwealth and the installation of Charles II as king (1660–1685), social and religious changes caused a resurgence of interest in embroidery, and particularly crewelwork. With the introduction of upholstered furniture to England, there was less demand for chair, stool and bench coverings; instead, attention was turned to larger scale projects. Diarist Samuel Pepys (1633–1703) noted that every woman was involved in producing new ‘furniture’ for beds, such as hangings and pelmets. These items were time-consuming to produce, despite the background being left bare so that the motifs could be worked with relative speed, particularly in comparison to other types of embroidery. The technique had evolved, and although fewer stitches were used, they were worked more effectively. Long and Short Stitch was used prolifically with subtler shading than before. Other popular stitches of the time include herringbone, stem and Coral Knot Stitches. As the work of this time was on a much larger scale than before, it is likely that this was the reason why the stitches and colours used were limited. Monochromatic colour schemes were popular, with greens and reds appearing frequently.

From the RSN Collection (RSN1443), this piece, started in the late twentieth century, references a seventeenth-century wall or bed hanging and was intended to be a portière (door cover).

Throughout this time the East India Company continued to trade with and export to India, and by 1670 Indian artists were producing textiles from patterns provided by English businessmen. This proved so popular that the Indian artisans requested that the Company send a regular supply of patterns to stitch, as the Dutch and French were already doing. Often these designs were translated into textiles reflecting local culture, so that motifs leaving England depicting shepherds returned to England with figures wearing robes and cloth headwear. To the English eye, this gave an exotic appearance to the embroidery that was very desirable.

By the early 1700s there had been a huge outpouring of embroidery, although silk was overtaking wool as the preferred fibre. Counted work on canvas with a mixture of wool and silk came into vogue, and whilst crewelwork showed something of a decline in Britain, its traditions continued to evolve in America.

Although crewelwork survived in the eighteenth century – and historical examples demonstrate this – the fashion for it was very much on the wane. In the early nineteenth century a new form of embroidery came to the fore, evolving from the trend of canvas work, with the first Berlin wool work pattern introduced to the market around 1805. By the 1830s mass production of these patterns was in full swing thanks to the Industrial Revolution and the resulting rise in mechanization. This technique took advantage of the production of new aniline (synthetic) dyes producing vibrant colours, and soon most household surfaces were adorned with some form of Berlin wool work.

From the RSN Collection (RSN 231), this piece demonstrates the diverse ongoing cultural influences in British embroidery as seen in the Jacobean period.

However, towards the end of the nineteenth century crewelwork again saw a resurgence, along with a number of other traditional hand crafts. Born in 1834, William Morris grew up through the latter part of the Industrial Revolution and the resulting impact it was to have on Victorian society. Morris, Marshall, Faulkner & Co was founded in 1861 as a decorative arts company by Morris and a number of partners with the intention of using and promoting craftsmanship within the jobs they undertook and the items they produced. Considered by many to be a response to dubious Victorian work practices, the company became very fashionable and had a heavy influence on decorative arts throughout this time period. After some internal strife, including the loss and replacement of various founders, Morris took control of the company in 1875, renaming it Morris & Co, which continued trading until 1940. It was after this change that Morris developed his interest in textiles. He rejected the new and fashionable aniline dyes and returned to organic dyes. The ranges of colours available to him had expanded significantly over the years due to the established trade routes between Britain and the USA. In 1885 his daughter May Morris became the director of the Embroidery Department at Morris & Co, and she continued to work with the company while also becoming involved with a number of other organizations.

From the RSN Collection (RSN214), this unfinished piece was most likely intended to be a household item.

Morris’s philosophy of returning to craftsmanship was highly influential, particularly throughout the 1870s when a number of organizations were formed to preserve and promote what was known as Art Needlework. These included the Leek Embroidery Society and the School of Art Needlework (later to become the Royal School of Needlework).

The School of Art Needlework was formed in 1872. Its original focus was to preserve the art of needlework, and through this to provide a suitable form of employment for women who found themselves without financial support, in many instances due to the loss of their father or husband. The School of Art Needlework worked closely with notable artists of the day including William Morris, Edward Burne-Jones and later May Morris.

In 1885, the same year in which May Morris became a director at Morris & Co, Elizabeth Wardle of the Leek Embroidery Society decided that Britain should have its own copy of the Bayeux Tapestry. She set about researching the piece and recruiting skilled embroiderers to stitch the replica. By 1886 the piece had been completed and was exhibited in the same year at the Nicholson Institute in Leek. Purchased by Alderman Arthur Hill in 1895, it is now on permanent exhibition at the Reading Museum and Art Gallery.

All these influences ensured that different forms of needlework, including crewelwork, became more accessible to hobbyists and homeworkers. The production of house linens and decorative pieces has a long history of embroidery and continues to influence not only design, but materials as well. Whilst crewelwork can only be called crewelwork if it is worked in wool, there is also scope to mix in different fibres and embellishments such as goldwork threads, beads and sequins.

In this book the focus will be on surface stitches in wool and their application. However, these stitches are not exclusive to crewelwork; they can be worked in any fibre and in conjunction with many techniques.

From the RSN Collection (RSN 2226), this large fourpanel screen was advertised as a kit in the March 1934 edition of The Needlewoman. This large-scale piece was worked by one individual.

Modern Folk 1 designed and worked by Chrissie Juno Mann. This contemporary piece draws inspiration from the natural world and utilizes traditional stitches to create a fresh take on crewelwork.

 CHAPTER 1 

MATERIALS

Using the right materials and equipment is the first step to producing a successful piece of embroidery. There is a huge variety of materials and threads to choose from and it can be tricky to narrow the list down to items suitable for this technique. Similarly, the array of equipment, such as hoops and scissors of different sizes and prices, can be daunting.

Many of the choices to be made, such as background fabric or brand of wool, are personal. Everyone has their own preferences as to the materials and equipment that work best for them. However, it can be expensive experimenting and finding the right items for you. Therefore, when starting out in any technique, it is best to begin on a smaller scale to test the waters. With experience comes confidence that allows the stitcher to gradually move on to bigger and more complex projects. Working on a larger scale will have different requirements in terms of equipment and quantity of materials. Remember that equipment and materials used in this technique can be used for other forms of embroidery too, so it is always good to buy the best quality materials and equipment that you can afford.

The following information is designed to act as a guide for putting together a basic sewing kit and for selecting equipment and materials for the first few projects.

Art Deco rocket designed by the author worked by Rachel Doyle. This piece draws on traditional stitches in an unusual Art Deco style to create a striking contemporary embroidery.

Choosing the right equipment for a project will greatly influence the end result.

FABRIC

There are many fabrics that can be used for crewelwork. Here is a selection:

•Linen twill – possibly the most traditional of fabrics to use with this technique. It is a closely woven thick fabric that is neutral in colour, strong and slightly textured. This fabric can be used for large hangings, upholstery and other soft furnishings.

•Normandy linen – a closely woven fabric that is slightly lighter and smoother than linen twill.

•Calico – a plain woven fabric made of cotton which is most commonly unbleached, giving it a neutral cream colour. White calico is also available. Using a medium or heavyweight calico produces the best results, although two layers of lighter weight calico can be used at the same time. It is a low-cost fabric, so ideal for use when practising or ‘sampling’ stitches, and is also used in mounting.

•Silk – this fabric can make a lovely contrast to the wools used in crewelwork. However, silk can be quite delicate and will not take the weight of surface embroidery on its own. So it is important that it is applied to a backing fabric such as calico or a close-weave linen before the embroidery is worked.

•Denim – a closely woven cotton fabric, woven in the same way as a linen twill. Just like twill it can be heavyduty and will support the weight of the surface stitching.

•Miscellaneous fabrics – there are a number of other fabrics that could be used for crewelwork; however, consideration should be given to the density of the fabric before commencing work. Generally speaking, thicker fabrics such as banner silk or duchesse satin can be worked on directly. Finer fabrics should be backed with a stronger fabric such as calico or a close-weave linen before starting to stitch.

There are a number of fabrics to choose from. A good starting point is a closely woven fabric that is neutral in colour.

Hints and tips

Keep your threads and fabric clean by wrapping them in tissue paper and storing them in a dry place. Fabric is better rolled than folded.

THREADS

In order for the embroidery to be crewelwork, it needs to be worked in wool. The best wool to use is a two-ply or worsted wool. Most wools are sold in either a skein or a hank; a skein is approximately 25 metres/27 yards in length, and the length of a hank can vary, but is usually over 150 metres/164 yards. The colour of the wool can vary slightly from dye batch to dye batch, so it is best to order a little more wool than is necessary to complete the piece to avoid a colour mismatch if you run out in the middle of stitching. Most projects will only require skeins; however, if working a very large project, it may be worth considering buying a hank. The thickness of the crewel wool depends on the manufacturer and their process, and this will influence the size of the needle used.

Two-ply or worsted wool is best for crewelwork; however, the thickness of the thread can vary.

A variety of needles can be used for crewelwork. It is important to always have spares.

NEEDLES

There are a variety of needles suitable for crewelwork. The most commonly used are crewel or chenille needles, although tapestry needles can be used for certain stitches. Needles come in a variety of sizes and it is important to select the correct one. The needle should be big enough to create a hole in the fabric that is fractionally larger than the stitching thread. Using a needle that is too small can damage the thread. A needle that is too large could leave marks or holes in the fabric.

Needles are sized by number; generally, the larger the number, the smaller the needle. The needle size most often used in crewelwork is a size 24 chenille needle (for use with one strand of wool). If working with multiple threads, it is important to switch to a larger (lower number) needle. When working with finer wools, it is important to use a finer (higher number) needle.

•Chenille needle – this is a sharp needle with a large eye that is easy to thread and can be used for the majority of stitches.

•Tapestry needle – this is a blunt needle with a large eye that is easy to thread and is useful when working stitches on the surface of the fabric such as woven or whipped wheels.

•Crewel needle – this is a sharp needle with a small eye and can be used for the majority of the surface embroidery stitches in crewelwork.

•Curved needle – this is a sharp needle that has been deliberately shaped into a C or half circle. It is used for mounting a piece of work, so it is important to have a curved needle that is sturdy but flexible. One of the most commonly used curved needles is a mattress needle. Avoid using curved beading needles for mounting as they will be too fine.

Hints and tips

Tapestry and chenille needles share the same sizing system.

SEWING EQUIPMENT

There are a number of items that make up a good general embroidery sewing kit that will be used throughout the process of working a piece of embroidery. The following will make a good basic kit:

•Fabric scissors – a good-quality pair of scissors are useful for cutting out fabric.

•Embroidery scissors – these should have a sharp point with a fine blade in order to cut threads close to the fabric.

•Scissor sharpener (optional) – it is important to keep scissors sharp.

•Thimbles (optional) – using a thimble can feel awkward at first; however, they are essential for working a large project.

•Tweezers – tweezers can be useful for removing stray fibres and fluff.

•Screwdriver – a short screwdriver is useful when working with a ring frame; the tighter the screw of the frame, the more the tension will be retained in the fabric.

•Pliers – pliers are handy to use if the needle gets stuck when working over a particularly dense area of stitching.

•Pins – glass-headed pins are the best because they are sturdy, which is important when working with thick fabric. Pins are used throughout a piece of embroidery: from framing up, to applying fabrics and during the mounting process.

•Tape measure – this is an essential for any embroidery project, and is used mostly for measuring fabric when framing up. Take care when using a fabric tape measure as it can stretch over time.

Equipment such as scissors, pins and screwdrivers are essential to any sewing kit.

Hints and tips

Keeping scissors in good condition, clean and sharp is essential and will help prevent stray fibres and fluff appearing on the work.

Hints and tips

Screwdrivers and pliers should be purchased new and for the sole purpose of embroidery. Adopting ‘pre-loved’ tools could result in dirt and grease being transferred on to the embroidery.

EMBROIDERY FRAMES AND HOOPS

To ensure a good finish on a piece of embroidery, it is important to keep the fabric tight while it is being worked. This will help to prevent ripples and bubbles appearing when the embroidery is completed. The best way to do this is to work the piece on a frame, and there are a number of styles to choose from:

•Ring frames – these come in a multitude of sizes and are normally sized in inches. Hoops that are thinner in depth are useful for finer fabrics; however, when working with thicker fabrics, a deeper frame is preferable. There are a couple of different styles: hand-held frames (which are probably the most readily available), seat frames and barrel clamp frames to name a few. The latter two have a dowel attached to the frame that fits into either the seat or barrel clamp, allowing the embroiderer to stitch with both hands. The most common sizes are 6, 8 and 10 inches. The size of frame used should be appropriate to the motif. As ring frames can leave marks in the fabric, it is best to use a frame that is not only larger than the motif but also leaves a rebate of fabric around the stitched area; this extra unmarked fabric will give flexibility when finishing the piece.

•Roller frame – roller frames are the next step on from ring frames. They are lightweight and readily available. The preparation of this frame takes a little longer than a ring frame; however, it will hold the fabric tighter with a more consistent tension across the piece. When working with this type of frame, it is preferable to have minimal excess fabric. Extra fabric can be rolled around the bars; however, this will reduce the amount of tension that can be achieved and cause the fabric to slacken more quickly. When working with a roller frame it is important to have some way of supporting it; despite it being lightweight, it will still be heavier than a ring frame. A floor stand or set of trestles are recommended.

•Slate frame – slate frames come in larger sizes and are more robust than roller frames. As a result they are larger and heavier, so some form of support, usually trestles, is recommended. When properly constructed, a slate frame gives the best overall tension on fabric compared to other types of frames.

A set of trestles is essential when working with a slate frame; a floor stand, seat or clamp allow the stitcher to work hands-free when using a hoop.

Hints and tips

If a piece will not be worked on for an extended period of time, it is best to reduce the tension on the fabric. This can be done by moving the bars and slackening the strings on a slate or roller frame, or removing the fabric from a ring frame.

EQUIPMENT FOR FRAMING Up

The following equipment will help you achieve a professional finish:

•Crewel/chenille needles – a sharp needle is necessary when framing up due to the thickness of fabric to be stitched through.

•Button or upholstery thread – when the frame is made up, there will be a huge amount of tension on both the fabric and the holding stitches, which is why it is important to use a strong thread. Threads that are thick with a high twist are preferable, in particular a button or upholstery thread.

•Herringbone tape and parcel string – a closely woven cotton tape that is at least 2.5cm/1in wide is necessary for framing up. This will take the parcel string, which is then wrapped around the arms of the frame to achieve an even tension on all sides of the fabric.

•Bracing needle and cork – a large bracing needle is used to apply the parcel string to the herringbone tape. This is a large and very sharp needle which, when not in use, should have the point covered with a cork or similar so as to avoid injury.

•Tissue paper – this is used cover the work to keep it dirt and dust free. Acid-free tissue paper is preferable, but white paper is a must; coloured tissue paper, if wet, can leak dye into a piece of work. Alternatively, a clean pillowcase or cloth can be used.

EQUIPMENT FOR DESIGNING AND TRANSFERRING ON

You will need the following equipment to draw your design and then transfer it to the fabric:

•Drawing pad or paper – these are used for sketching out shapes and planning designs.

•Tracing paper – a good-quality thick tracing paper is necessary to create a pricking, but can also be used for tracing elements of the design.

•Drawing pencils – pencils with a variety of leads, such as H, F and HB, can be useful for transferring on and designing. Keeping the lead of a pencil sharp will create finer, more accurate lines, which makes a pencil sharpener another essential piece of kit.

•Shade cards (optional) – made by thread manufacturers, they help with the comparison and selection of colours for a project, but are not essential. On occasion, manufacturers may change the range by introducing new colours and removing old ones, which means shade cards can go out of date.

•Colour wheel – this is a useful reference point when selecting colours, as it makes it easy to see warm and cool colours, along with complementary and contrasting colours, and how they work together.

•Colouring pencils and pens – when designing, it is important to plan both the colour scheme and the stitches to be used. Good-quality pencils or pens in a variety of colours will help with this.

•Circle template (optional) – drawing a perfect circle freehand can be very challenging, particularly when working on a textured fabric. Using a circle template will make this easier.

•Sticky tape – a low-tack sticky tape, often known as Magic™ Tape, can be used to create a collage when designing.

•Watercolour paint and paintbrushes – these can be used to transfer the design on to the fabric and at the planning stages to determine the placement of colour. It is preferable to use watercolour paint from a tube due to its consistency. When painting on a design, a small, fine paintbrush will produce finer lines.

•Water dish and artist’s palette – when painting on, colours may need to be mixed together on the palette and the brush should be kept clean using the water dish.

•Pricker – this is a tool that is used to hold a sharp needle, which is then used to create a pricking to transfer a design onto fabric.

•Pounce – this is a mixture of ground cuttlefish and charcoal. It is a fine grey powder that is applied to a pricking to create a temporary outline on the fabric.

•Soft bristle brush – this is used to remove pounce from the fabric once the design has been transferred; a baby brush is perfect for this.

Pounce and watercolour paint can be used to transfer on a design.

EQUIPMENT FOR MOUNTING

You will need to mount your work before it can be framed and the following equipment will be required:

•Mountboard – this comes in many thickness and colours. Plain white is the best to use because, as with tissue paper, the addition of colour adds extra chemicals to the board, which can leak colour into the work in certain circumstances. Conservation board is the best, as this has been manufactured to be used with delicate vintage and antique textiles; sadly, this can be expensive and difficult to source. The most readily available is a 2mm mountboard. When using thinner mountboard, two identical pieces should be cut and glued together to make the board sturdier. A single piece will be too thin, causing it to buckle under the weight of fabric and the tension it is put under.

•Ruler – this is used to mark out the correct dimensions on the mountboard. A heavy metal ruler that can be used to cut against is preferable.

•Set square – a set square is used to create and check the square corners on a piece of mountboard and is essential for producing a well-mounted piece of embroidery.

•Craft knife and spare blades – a sharp, sturdy craft knife is used for cutting mountboard. It is important that the blade is sharp in order to achieve a clean cut.

•Cutting mat – this is used to protect work surfaces from damage when cutting a piece of fabric, paper or card. Cutting mats come in a variety of sizes and are usually made of vinyl or rubber.

•Glue – this is used in moderation in the mounting process. A conservation glue is preferable; however, as with the mountboard, it can be difficult and expensive to source. A good-quality PVA glue will work in the same way.

•Sateen or cotton fabric – a good-quality sateen or cotton fabric in a neutral colour can be used to back a piece once it has been applied to the mountboard.

When cutting board for mounting a good-quality knife, cutting mat, set square and ruler are necessary.

OPTIONAL EQUIPMENT

The following equipment is useful but not essential:

•Trestles – these are an adjustable pair of wooden stands on which to lay a large frame and are a good way of supporting heavier slate frames.

•Magnifier – this can be particularly useful when working with finer threads on a smaller scale. It can also greatly improve the accuracy of stitches.

•Light box – this can be used in place of the prick and pounce method to transfer designs onto thinner fabrics. However, there are some fabrics that are too thick to be used with a light box.

•Anglepoise lamp – whilst natural light is the best for stitching, the addition of a lamp can help to extend the number of stitching hours in the day. It is important to have a good-quality bulb that produces a white light that replicates daylight, as this is better to stitch by.

CHAPTER 2  

DESIGN

Designing can be a challenging process when starting out; however, there are a number of things to bear in mind. Staring at a blank piece of white paper can cause any design ideas to instantly flee; to combat this, coloured paper can be a less-intimidating alternative. It is best to avoid symmetrical or repeating motifs as most designs will alter subtly throughout the transferring on and stitching processes. Any variations between the elements at the start of the process will become enhanced as it is worked, which can throw out the symmetry. This is particularly true for an inexperienced embroiderer.

First, gather together interesting images, pictures and fabrics to provide inspiration for the basic shapes and layout of the final piece. A design doesn’t have to be drawn freehand in its entirety; tracing shapes from photographs or books (such as the motif templates section in this book) is an easy way to compile a design, particularly when starting out. These motifs can be enlarged/reduced on a photocopier or manipulated in a computer to aid the design process.

A good piece of embroidery starts with a strong design.

Designed and worked by Lizzy Pye, this crewelwork monogram uses a variety of stitches. Monograms make an excellent motif, particularly for a beginner.

Taking inspiration from the natural world can make a great starting point and is a very traditional approach. However, modern crewelwork designs can be of any subject and stylized to suit the embroiderer’s personal taste.

Generally speaking, design elements work best when combined in odd numbers; for instance, when drawing a tree, a main trunk with either two or four branches would create a pleasing basic structure. This would leave three or five points on which to include additional elements such as animals, leaves or flowers.

The following examples show the evolution of a tree of life design, which is a very traditional motif in British embroidery, particularly crewelwork. This type of design gives a lot of scope to work a variety of stitches and, depending on the size, colour as well.

An easy way to start a design is by drawing a single curving line across the piece of paper. Draw an additional line on each side. These should also curve out but be shorter than the central line. This creates the basic framework for the tree.

Fill in the shape of the trunk by sketching lines around the marks already on the paper. Try to keep the base broader and curve the lines up to a sharp point at the very top. Repeat this process with the branches. Note how the new outlines aren’t always equidistant from the mid line.

When the tree is complete, the shape needs to be ‘grounded’. This means elements need to be added at the base in order to prevent the tree from appearing to float in mid-air. Use a sweeping motion to run a pencil line across the bottom of the paper; this should create a curved line to represent a hill on which the tree will sit. It is worth considering adding additional hills in odd numbers, but take care not to overcrowd the design by adding too many.

Once the basic structure is in place, trace off various elements such as animals, leaves and flowers to embellish the image. These can be resized to suit. Tracing the elements is preferable as substructure will be visible that can inform the placement of the element. Remember: when tracing shapes they don’t have to be copied exactly; they can be altered or stylized to the taste of the designer.

Lay the elements on the paper over the existing lines. Take time over this process; have more elements than necessary as this will give plenty of options to swap them in and out to create a pleasing design.

Once the layout is complete, take a moment to look over the design. Are there any particular elements or areas that the eye is drawn to? If there are, this could suggest an imbalance. Consider adding additional elements into an empty space or resizing a shape if it is either overly dominant or lacking in impact. Throughout this process extra hand-drawn elements can be added at any time.

In this example the flower shape was ineffective and the eye was drawn to the right-hand side of the design. To correct this, the top middle motif was enlarged and a tendril added to fill the right-hand gap. The three leaves across the main stem were moved down and an additional wandering tendril was added to the left-hand branch. Whilst the overall layout of the design is pleasing, it still has potential for additional small details such as flowers or insects. As these will be very small details, they have not been included in the final drawn image. This gives flexibility during the stitching process, as if a mark is made on the fabric, it must be covered.

Tape the traced elements to the paper to secure them in place. Then trace the design on a fresh piece of tracing paper. Alternatively, the design can be photocopied before tracing. As the design is traced, the joins between elements should be refined, reshaping these where necessary and leaving out any lines that fall behind another element. Take care to ensure the lines are smooth as this tracing will become a pricking, which is used to transfer the design onto the fabric. Make at least four copies to be used for the next few stages with one spare.

When tracing off the final design, it is important to ensure the areas where elements join are smoothed together. This example shows the uneven join where the flower shape has been placed over the trunk.