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Stem Stitch or Outline Stitch
The Stem stitch is
worked left to right. The needle emerges at the end of the line to be covered.
It then enters the material a little to the left on the line to be covered and
emerges half way between where the needle emerged and where it enters the
fabric. Be sure that the needle always emerges on the same side of the line
being worked, or your stem stitch will appear twisted. For a thin line, always
pass the needle through the drawn line of your pattern. For a fuller, more
cable-like look, push the needle down on one side of the line, and bring it up
on the other side of the line, giving each stitch a slight slant. Be sure to be
consistent on which side you go down on and which side you come up on.
The stem stitch can be
used to make outlines, or when lengths of stem stitches are worked side by
side, it can be used to fill a design element.
Split Stitch
Work just like the Stem
Stitch, only instead of the needle emerging beside the previous stitch, the
needle passes through the preceding stitch. Also, only back up about a third of
the previous stitch, not half way as in the stem stitch.
Can be used as an
outline stitch, or as a filling stitch.
Double Running Stitch or Holbein Stitch
A simple running stitch
that requires two passes to cover the line of the design. The needle emerges at
the beginning of the line. Make a series of short stitches - leaving a gap
between each stitch that is the same length as the stitches. Also take care
that each stitch is the same length. (i.e., ___ ___ ___ ___ ___ )
When the end of the line
is reached, turn the work and work back to the beginning, filling in the gaps.
This is the main stitch
used in black work, and when done with care, results in the back of the work
being identical with the front of the work.
Chain Stitch
Bring the needle up at
the beginning of the line. Use your thumb to hold the thread against the
fabric, a little to the left of the line. Pass the need back down through the
fabric in the same spot it came up through. Do not pull the stitch tight! Bring
the needle up a little farther down the line of the design, passing through the
loop this has created. Now pull the stitch tight until the bottom the loop is
snug, but still laying below where the thread is emerging from the fabric.
Insert the needle in the same spot the thread is coming out of the fabric and
insert it a little farther down the design line, again coming up through the
loop. Continue in this fashion.
You can create a wider
chain by inserting the needle beside the emerging thread, instead of going back
down the same hole you came up through. The farther to the side, the wider the
chain.
Surface Couching (and Underside Couching)
Bring one or more
threads up through the fabric at the starting point of the design. Lay the
threads on the fabric. With another thread (either a contrasting, or matching
color), make a series of small stitches across the main thread. Be sure the
main thread lies smooth and does not pucker or bunch. When using couching to
fill in a design, you can create a further design effect by how you place the
couching stitches, whether you stagger them, or line them up from thread to
thread. The commonest method for working metallic threads.
An older version of
couching is called Underside Couching. In this method, the main thread is laid
on the fabric. With a different thread, come up beside the main thread, pass
over it, and put the needle back through the same hole. Tug the couching stitch
all the way back through the fabric, pulling the main thread through the fabric
just enough to let the couching thread disappear from the surface.
Brick Stitch
Work first row right to
left, second row left to right, third row right to left, and so on. The first
row consists of alternating long and show stitches (see diagram above). Each
succeeding row consists of long stitches only, until the last row, which is
again worked in alternating long and short stitches. All long stitches should
be the same length, with the short stitches being half as long. All stitches
should lie parallel to each other.
The stitches can be
packed together tightly so that no fabric shows through, or they can be worked
with a slight gap between stitches to create a more airy effect. This works
well to fill in backgrounds, or rectangular areas. Does not do curves easily.
The modern variation on
this, known as the Long and Short stitch, was also used in medieval embroidery.
In the Long and Short stitch, the stitches to not stay strictly parallel and
can fan out to fill the design area.
Satin Stitch
Bring needle up on left
side of design element. Lay thread across design and push needle down on right
side of design element. Bring need up on the left side, right beside the
previous stitch. Push needle down on left side, right beside where the needle
passed down on the previous stitch. Continue in this manner until the design is
completely covered. The back of the work will be as fully covered as the front.
Pull the stitches tight enough so that they lie flat and do not flop around,
but not so tightly that the fabric puckers.
To make a raised satin
stitch, cover the design area with chain stitches or brick stitches, then work
the satin stitch on top of them. It is also easier to keep the correct tension
on your satin stitches if you do this. The under stitches don’t have to be
perfect, since they will not show in the finished product.
Bayeaux Stitch or Laid Work
Bring needle up at
position A and down at position B (far left example). Bring needle up at
position C, leaving a gap between the A-B thread that is the same width as the
thread. Take needle down through position D. Continue until you reach the
bottom of the area to be covered. Turn the work 180 degrees. Bring the needle
up between the original A and D positions, push need down between the B and C
positions, filling the gaps. Continue in this manner until area is completely
covered. (middle examples above)
Lay thread across work
at right angles to first sets of threads (see the far right example). Lay
couching stitches over this thread.
Tips
Never knot the end of
your thread to anchor it at the starting point of your stitches. It will leave
an unsightly lump on the front of your work. An easy way to anchor the
beginning of your thread starts out by breaking this rule. Put a knot in your
thread. From the front side of the work, push the needle through the fabric
about 3 inches away from your starting point. Bring the needle up through your
starting point and embroidery. Be careful not to pull the first stitches so tight
that the fabric puckers near the knot. When you reach the end of your thread
(or the end of the area to embroidered with this thread), snip the knot and
thread the 3 inches of thread onto a needle. Weave this into the back of the
stitches just worked. You can also use a very small crochet hook to weave this
‘tail’ into the back of your work.
If you are doing the
brick stitch or satin stitch, you can take four or five little running stitches
(in the area you are about to cover), at right angles to the direction your
first ‘real’ stitch will be going. Hold these stitches in place with your thumb
while you pull the first three or four embroidery stitches taut. After that,
you don’t have to worry about them, they’ll stay. This anchors the thread, and
your brick or satin stitches will completely cover the running stitches. If you
are careful, you can anchor the end of the thread the same way - just be
careful not to catch the embroidery threads on the front.
When you reach the end
of your thread, or a stopping point in the design, always weave the thread
through the back of the stitches to anchor the end of the thread. Never use a
knot or several small stitches in the same spot (like you would for normal hand
sewing). They will leave a lump on the front. The lump may not show up
immediately, but trust me, it will appear.
If you are embroidering
a garment, and if you are worried that this method of starting and ending a
section of embroidery will not hold, you can iron on a very light weight
fusable interfacing to the back of the work. If your fabric is very light
weight, you can touch the interweavings with a bit of fray check, instead.
However, if you are planning on entering your work in an A&S competition,
don’t add the fusable interfacing until after the competition! Lining a garment
that has been embroidered will help reduce wear and tear on the back of the
stitches. Again, if you are entering the embroidery in an A&S competition,
leave one seam of the lining undone, so the judges can see the back of the work.
Which leads to: make the
back of the work as neat as you possibly can. Judges will look at the back and
neatness definitely counts. More importantly, a neat back leaves fewer stray
threads to be caught and pulled, causing puckers, or caught and broken, causing
your stitches to unravel.
When using floss (either
cotton or silk) always separate the plies one at a time. Even if the number of
plies you have is the number you need, separate them first. Both cotton and
silk floss come in skeins of six plies (six threads loosely twisted together).
After clipping the length of thread you want (never more than 18 inches!), hold
one end in your hand and grab one of the plies. Pull gently. If it doesn’t
slide out easily, switch to the other end of the thread. Embroidery floss has a
nap, like velvet, and if you pull against the nap, the thread will bunch up. If
you pull with the nap, it slides easily. If you take care to thread your needle
so that the thread is being pulled through the fabric with the nap, your thread
will not fray. If you pull the thread through the fabric against the nap, it
frays very quickly. If you find that your stitches start looking a little fuzzy
or sloppy before you’ve used half the thread in your needle, you are pulling
against the nap. Tie off the thread and get a new one. With a little practice,
you will be able to feel the nap of the thread. Be patient, the difference in
feel is very slight.
Never pass the thread on
the back side of the work more than half an inch to get from the end of one set
of stitches to the beginning of the next set. It will show! Also, it increases
the probability that your fabric will pucker. You can, however, weave your
thread through the back of existing stitches to get it where you need to start
the next set of stitches.
Do have several needles
going at once for a multi color design. By switching from working one color to
working another, you decrease the temptation to carry the thread across the
back without weaving it into the back of stitches. Unless individual design
elements are so small that there is no room to weave in the beginning and the
ending of the thread, just don’t hop from one design element to the other - tie
off and start fresh with each design element.
When following these
instructions seems to be creating a bigger mess than breaking them does, ignore
the instructions and do what works. Sometimes, you have to break the rules to
get the results you want.
The Stem stitch is
worked left to right. The needle emerges at the end of the line to be covered.
It then enters the material a little to the left on the line to be covered and
emerges half way between where the needle emerged and where it enters the
fabric. Be sure that the needle always emerges on the same side of the line
being worked, or your stem stitch will appear twisted. For a thin line, always
pass the needle through the drawn line of your pattern. For a fuller, more
cable-like look, push the needle down on one side of the line, and bring it up
on the other side of the line, giving each stitch a slight slant. Be sure to be
consistent on which side you go down on and which side you come up on.
The stem stitch can be
used to make outlines, or when lengths of stem stitches are worked side by
side, it can be used to fill a design element.
Split Stitch
Work just like the Stem
Stitch, only instead of the needle emerging beside the previous stitch, the
needle passes through the preceding stitch. Also, only back up about a third of
the previous stitch, not half way as in the stem stitch.
Can be used as an
outline stitch, or as a filling stitch.
Double Running Stitch or Holbein Stitch
A simple running stitch
that requires two passes to cover the line of the design. The needle emerges at
the beginning of the line. Make a series of short stitches - leaving a gap
between each stitch that is the same length as the stitches. Also take care
that each stitch is the same length. (i.e., ___ ___ ___ ___ ___ )
When the end of the line
is reached, turn the work and work back to the beginning, filling in the gaps.
This is the main stitch
used in black work, and when done with care, results in the back of the work
being identical with the front of the work.
Chain Stitch
Bring the needle up at
the beginning of the line. Use your thumb to hold the thread against the
fabric, a little to the left of the line. Pass the need back down through the
fabric in the same spot it came up through. Do not pull the stitch tight! Bring
the needle up a little farther down the line of the design, passing through the
loop this has created. Now pull the stitch tight until the bottom the loop is
snug, but still laying below where the thread is emerging from the fabric.
Insert the needle in the same spot the thread is coming out of the fabric and
insert it a little farther down the design line, again coming up through the
loop. Continue in this fashion.
You can create a wider
chain by inserting the needle beside the emerging thread, instead of going back
down the same hole you came up through. The farther to the side, the wider the
chain.
Surface Couching (and Underside Couching)
Bring one or more
threads up through the fabric at the starting point of the design. Lay the
threads on the fabric. With another thread (either a contrasting, or matching
color), make a series of small stitches across the main thread. Be sure the
main thread lies smooth and does not pucker or bunch. When using couching to
fill in a design, you can create a further design effect by how you place the
couching stitches, whether you stagger them, or line them up from thread to
thread. The commonest method for working metallic threads.
An older version of
couching is called Underside Couching. In this method, the main thread is laid
on the fabric. With a different thread, come up beside the main thread, pass
over it, and put the needle back through the same hole. Tug the couching stitch
all the way back through the fabric, pulling the main thread through the fabric
just enough to let the couching thread disappear from the surface.
Brick Stitch
Work first row right to
left, second row left to right, third row right to left, and so on. The first
row consists of alternating long and show stitches (see diagram above). Each
succeeding row consists of long stitches only, until the last row, which is
again worked in alternating long and short stitches. All long stitches should
be the same length, with the short stitches being half as long. All stitches
should lie parallel to each other.
The stitches can be
packed together tightly so that no fabric shows through, or they can be worked
with a slight gap between stitches to create a more airy effect. This works
well to fill in backgrounds, or rectangular areas. Does not do curves easily.
The modern variation on
this, known as the Long and Short stitch, was also used in medieval embroidery.
In the Long and Short stitch, the stitches to not stay strictly parallel and
can fan out to fill the design area.
Satin Stitch
Bring needle up on left
side of design element. Lay thread across design and push needle down on right
side of design element. Bring need up on the left side, right beside the
previous stitch. Push needle down on left side, right beside where the needle
passed down on the previous stitch. Continue in this manner until the design is
completely covered. The back of the work will be as fully covered as the front.
Pull the stitches tight enough so that they lie flat and do not flop around,
but not so tightly that the fabric puckers.
To make a raised satin
stitch, cover the design area with chain stitches or brick stitches, then work
the satin stitch on top of them. It is also easier to keep the correct tension
on your satin stitches if you do this. The under stitches don’t have to be
perfect, since they will not show in the finished product.
Bayeaux Stitch or Laid Work
Bring needle up at
position A and down at position B (far left example). Bring needle up at
position C, leaving a gap between the A-B thread that is the same width as the
thread. Take needle down through position D. Continue until you reach the
bottom of the area to be covered. Turn the work 180 degrees. Bring the needle
up between the original A and D positions, push need down between the B and C
positions, filling the gaps. Continue in this manner until area is completely
covered. (middle examples above)
Lay thread across work
at right angles to first sets of threads (see the far right example). Lay
couching stitches over this thread.
Tips
Never knot the end of
your thread to anchor it at the starting point of your stitches. It will leave
an unsightly lump on the front of your work. An easy way to anchor the
beginning of your thread starts out by breaking this rule. Put a knot in your
thread. From the front side of the work, push the needle through the fabric
about 3 inches away from your starting point. Bring the needle up through your
starting point and embroidery. Be careful not to pull the first stitches so tight
that the fabric puckers near the knot. When you reach the end of your thread
(or the end of the area to embroidered with this thread), snip the knot and
thread the 3 inches of thread onto a needle. Weave this into the back of the
stitches just worked. You can also use a very small crochet hook to weave this
‘tail’ into the back of your work.
If you are doing the
brick stitch or satin stitch, you can take four or five little running stitches
(in the area you are about to cover), at right angles to the direction your
first ‘real’ stitch will be going. Hold these stitches in place with your thumb
while you pull the first three or four embroidery stitches taut. After that,
you don’t have to worry about them, they’ll stay. This anchors the thread, and
your brick or satin stitches will completely cover the running stitches. If you
are careful, you can anchor the end of the thread the same way - just be
careful not to catch the embroidery threads on the front.
When you reach the end
of your thread, or a stopping point in the design, always weave the thread
through the back of the stitches to anchor the end of the thread. Never use a
knot or several small stitches in the same spot (like you would for normal hand
sewing). They will leave a lump on the front. The lump may not show up
immediately, but trust me, it will appear.
If you are embroidering
a garment, and if you are worried that this method of starting and ending a
section of embroidery will not hold, you can iron on a very light weight
fusable interfacing to the back of the work. If your fabric is very light
weight, you can touch the interweavings with a bit of fray check, instead.
However, if you are planning on entering your work in an A&S competition,
don’t add the fusable interfacing until after the competition! Lining a garment
that has been embroidered will help reduce wear and tear on the back of the
stitches. Again, if you are entering the embroidery in an A&S competition,
leave one seam of the lining undone, so the judges can see the back of the work.
Which leads to: make the
back of the work as neat as you possibly can. Judges will look at the back and
neatness definitely counts. More importantly, a neat back leaves fewer stray
threads to be caught and pulled, causing puckers, or caught and broken, causing
your stitches to unravel.
When using floss (either
cotton or silk) always separate the plies one at a time. Even if the number of
plies you have is the number you need, separate them first. Both cotton and
silk floss come in skeins of six plies (six threads loosely twisted together).
After clipping the length of thread you want (never more than 18 inches!), hold
one end in your hand and grab one of the plies. Pull gently. If it doesn’t
slide out easily, switch to the other end of the thread. Embroidery floss has a
nap, like velvet, and if you pull against the nap, the thread will bunch up. If
you pull with the nap, it slides easily. If you take care to thread your needle
so that the thread is being pulled through the fabric with the nap, your thread
will not fray. If you pull the thread through the fabric against the nap, it
frays very quickly. If you find that your stitches start looking a little fuzzy
or sloppy before you’ve used half the thread in your needle, you are pulling
against the nap. Tie off the thread and get a new one. With a little practice,
you will be able to feel the nap of the thread. Be patient, the difference in
feel is very slight.
Never pass the thread on
the back side of the work more than half an inch to get from the end of one set
of stitches to the beginning of the next set. It will show! Also, it increases
the probability that your fabric will pucker. You can, however, weave your
thread through the back of existing stitches to get it where you need to start
the next set of stitches.
Do have several needles
going at once for a multi color design. By switching from working one color to
working another, you decrease the temptation to carry the thread across the
back without weaving it into the back of stitches. Unless individual design
elements are so small that there is no room to weave in the beginning and the
ending of the thread, just don’t hop from one design element to the other - tie
off and start fresh with each design element.
When following these
instructions seems to be creating a bigger mess than breaking them does, ignore
the instructions and do what works. Sometimes, you have to break the rules to
get the results you want.