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Background Information
"Blackwork is black, except when it’s not. Blackwork is
reversible, except when it’s not. Blackwork is a counted thread technique,
except when it’s not. Blackwork is called “blackwork,” except (you guessed it)
when it’s not."
Blackwork gets its name from the black silk thread traditionally used in
this form of counted thread embroidery. When done in red thread it is
Scarletwork, when in gold it is called clocking. Blackwork has been through many incarnations, but the most common
types employ simple stitches to create complex scrolling or geometric
patterns. The first such patterns were comprised of all horizontal and
vertical stitches, without any diagonal lines to make shifts. All turns
were at a forty-five degree angle which gave it a very square look.
Today, virtually all Blackwork patterns employ diagonal stitched for style and
design purposes. Because it is a counted method that requires
precise geometric alignment, even weave (same number of warp and weft fibers
per inch) fabric such as linen is the best choice. Blackwork employs just
a few simple stitches to create complex designs with great eye appeal.
Black on white embroidery dates back many centuries in various cultures all
over the world, but what came to be know as Blackwork, the scrolling designs
that adorned clothing, especially sleeves, cuffs and collars reached its peak
during the reign of King Henry VIII. It is often said that Blackwork
became so popular in Tudor England was because it was a less expensive alternative
to lace, but more likely, it was popular due to the sumptuary laws that
prevented anyone except for ranking nobility from wearing frivolous or
excessive clothing.
The introduction of this type of Blackwork to England is frequently
attributed to Catherine of Aragon, the daughter of Ferdinand and Isabella of
Spain, who was sent to England at the tender age of sixteen to be wed to Prince
Arthur, the eldest son of King Henry VII. She was young and pretty and
well received among the English Court. Arthur died shortly after their
marriage, which was never consummated. Catherine was caught in the middle
of dramatic political wrangling between Henry and her father King
Ferdinand. There was mutual attraction between Catherine and Prince Henry
(younger brother to Arthur), despite their six year age difference, and
Ferdinand wanted to negotiate a union, but things were not to proceed
smoothly. It was not until after the death of Henry VII that the newly
crowned Henry VIII was able to actually marry Catherine and she finally took
her place as Queen of England.
It was Catherine's love of lace and embroidery combined with keen fashion
sense that appealed to the English people, even before she was Queen.
Catherine was educated in many disciplines including the "wifely
arts." She was an accomplished embroiderer and many people believe
she herself embroidered some of the King Henry's tunics. The sudden rise
in popularity of the reversible scrolling designs on collars and cuffs was
certainly due in part to her influence. In the early 1500s, Blackwork had
a distinctly Spanish feel, which explains why it was often referred to as
Spanysshe Work. The black and white scrolling designs had an obvious
Moorish influence, hence the term "arabesque" is often employed in
the description of such designs. Since Catherine spent her formative
years in Spain and was exposed to Moorish art, architecture and textiles, it is
easy to see how the association between her and Blackwork would be made.
However, it is important to note that she merely helped create fascination with
this style of embroidery; she did not invent it. The Blackwork of this
period, looked like lace and was reversible, since both sides would be subject
to viewing if it adorned cuffs, coifs and collars. .
It was Elizabeth who was responsible for the next shift in how Blackwork
would be perceived. Like Catherine, she too was an accomplished
embroiderer. Elizabeth brought a more traditional English design theme to
this style, utilizing fruits, flowers and herbs as central design elements in
her Blackwork. Each segment was outlined and then worked with complicated
geometric designs, with contrasts of dark and light created by the different
fill patterns. This type of Blackwork was not reversible and was no longer
confined to cuffs and collars. The advent of printing presses offered
Elizabethan embroiderers a wide variety of design ideas. Flora and fauna
were common elements for black and white plates, which could then be used in
embroidery designs. The very nature of black on white print made it an
easy transition to black and white embroidery.
Blackwork fell from favor as a fashion item in the Stuart period, but it
persisted in samplers throughout the next two centuries. When Blackwork
was revived, it was once again transformed. During the 19th and 20th
centuries, in addition to the scrolling work and outlined objects filled in
with geometric designs, Blackwork was often used to depict scenes, reminiscent
of pen and ink drawings, a phenomenon closely related to the Elizabethan desire
to recreate black and white plates from books. Some of the most
interesting Blackwork I have seen are renditions of bridges and old homes, that
look drawn more than stitched. Blackwork seems to be popular with more
experienced stitchers, despite the fact that it is actually quite simple to
master. It does not have the same broad appeal to novice stitchers that
Cross Stitch and Scarletwork command. However, there is a group of people
outside of the embroidery mainstream, who have contributed greatly to the
documentation and current revival of more traditional Blackwork.
Participants in Renaissance Fairs and the historical re-creation groups use
Blackwork to create period costumes. It is very popular with them for the
same reason it was popular in the past, it looks fabulous and rich, but is
relatively easy and inexpensive to produce.
Stitches Used
Even though the over all effect of Blackwork is ornate, most of the stitches
are simple, but they are worked in such a way that conveys
complexity.
Double
Running Stitch - The running stitch was often done in such a way that the work
was reversible. This is also called the Holbein stitch, the Spanish stitch,
line stitch and writing stitch. It gives a smoother line than backstitch
and is easily worked on even weave fabric. If you do not have a stitch
dictionary, click on the image to the right.
Other stitches used are: Stem Stitch, Back Stitch, Split Stitch, Algerian
Eye, Bosnia Stitch, Double Cross Stitch, running stitch, and the list goes
on...because of its many incarnation, there are a variety of stitches that can
be used to create the complex patterns or reversible scrolling designs.
Thread
Any thread, in any color can be used. However, black silk embroidery thread
or floss is my first choice. Today, it is common for people to
use regular six-strand cotton embroidery floss (DMC 310) .
Fabric
A high thread count linen or cotton, preferably even weave. Usually
worked on 18 count or higher, but many books recommend 22 (also known as
Hardanger). Aida cloth is acceptable, but there is a wide range of linens
available are reasonable cost.
You can use any fabric, like silks and satins, if you employ waste canvas
while working the design.
Needle
Any fine needle with an eye big enough to accommodate the thread of your
choice can be used, but I tend to prefer sharps and often use betweens in a
size 10 or size 9. Since this is worked on even weave, you may prefer a
size 24 or 26 blunt tapestry needle, like those used for cross stitch and
needlepoint. The Holbein stitch will only really lay flat if you use a
sharp and stab through the existing stitches on your way back across a
shape. This is not an exact science, experiment with a few needle choices
to see which works best for the technique you prefer.
Hoop
A hoop or frame is completely optional, but very helpful with this type of
hand work.
Design Transfer Methods
Transferring a design for Blackwork is different, because this is a counted
method, that utilizes charts.
The easiest way to deal with a charted design is to find the middle of the
chart and the middle of your fabric and begin from the inside out. If you
start at an edge, you may waste fabric or fail to leave enough for a finished
item.
Remember that basting lines are sometimes called life lines for a
reason! It helps to do some two over two or four over four running
stitches before you start.
If you are doing a complex geometric design, do a rough outline of where the
design elements will be, then work each one as a separate entity, always
starting in the middle.
Tip and Tricks:
"Blackwork is black, except when it’s not. Blackwork is
reversible, except when it’s not. Blackwork is a counted thread technique,
except when it’s not. Blackwork is called “blackwork,” except (you guessed it)
when it’s not."
Blackwork gets its name from the black silk thread traditionally used in
this form of counted thread embroidery. When done in red thread it is
Scarletwork, when in gold it is called clocking. Blackwork has been through many incarnations, but the most common
types employ simple stitches to create complex scrolling or geometric
patterns. The first such patterns were comprised of all horizontal and
vertical stitches, without any diagonal lines to make shifts. All turns
were at a forty-five degree angle which gave it a very square look.
Today, virtually all Blackwork patterns employ diagonal stitched for style and
design purposes. Because it is a counted method that requires
precise geometric alignment, even weave (same number of warp and weft fibers
per inch) fabric such as linen is the best choice. Blackwork employs just
a few simple stitches to create complex designs with great eye appeal.
Black on white embroidery dates back many centuries in various cultures all
over the world, but what came to be know as Blackwork, the scrolling designs
that adorned clothing, especially sleeves, cuffs and collars reached its peak
during the reign of King Henry VIII. It is often said that Blackwork
became so popular in Tudor England was because it was a less expensive alternative
to lace, but more likely, it was popular due to the sumptuary laws that
prevented anyone except for ranking nobility from wearing frivolous or
excessive clothing.
The introduction of this type of Blackwork to England is frequently
attributed to Catherine of Aragon, the daughter of Ferdinand and Isabella of
Spain, who was sent to England at the tender age of sixteen to be wed to Prince
Arthur, the eldest son of King Henry VII. She was young and pretty and
well received among the English Court. Arthur died shortly after their
marriage, which was never consummated. Catherine was caught in the middle
of dramatic political wrangling between Henry and her father King
Ferdinand. There was mutual attraction between Catherine and Prince Henry
(younger brother to Arthur), despite their six year age difference, and
Ferdinand wanted to negotiate a union, but things were not to proceed
smoothly. It was not until after the death of Henry VII that the newly
crowned Henry VIII was able to actually marry Catherine and she finally took
her place as Queen of England.
It was Catherine's love of lace and embroidery combined with keen fashion
sense that appealed to the English people, even before she was Queen.
Catherine was educated in many disciplines including the "wifely
arts." She was an accomplished embroiderer and many people believe
she herself embroidered some of the King Henry's tunics. The sudden rise
in popularity of the reversible scrolling designs on collars and cuffs was
certainly due in part to her influence. In the early 1500s, Blackwork had
a distinctly Spanish feel, which explains why it was often referred to as
Spanysshe Work. The black and white scrolling designs had an obvious
Moorish influence, hence the term "arabesque" is often employed in
the description of such designs. Since Catherine spent her formative
years in Spain and was exposed to Moorish art, architecture and textiles, it is
easy to see how the association between her and Blackwork would be made.
However, it is important to note that she merely helped create fascination with
this style of embroidery; she did not invent it. The Blackwork of this
period, looked like lace and was reversible, since both sides would be subject
to viewing if it adorned cuffs, coifs and collars. .
It was Elizabeth who was responsible for the next shift in how Blackwork
would be perceived. Like Catherine, she too was an accomplished
embroiderer. Elizabeth brought a more traditional English design theme to
this style, utilizing fruits, flowers and herbs as central design elements in
her Blackwork. Each segment was outlined and then worked with complicated
geometric designs, with contrasts of dark and light created by the different
fill patterns. This type of Blackwork was not reversible and was no longer
confined to cuffs and collars. The advent of printing presses offered
Elizabethan embroiderers a wide variety of design ideas. Flora and fauna
were common elements for black and white plates, which could then be used in
embroidery designs. The very nature of black on white print made it an
easy transition to black and white embroidery.
Blackwork fell from favor as a fashion item in the Stuart period, but it
persisted in samplers throughout the next two centuries. When Blackwork
was revived, it was once again transformed. During the 19th and 20th
centuries, in addition to the scrolling work and outlined objects filled in
with geometric designs, Blackwork was often used to depict scenes, reminiscent
of pen and ink drawings, a phenomenon closely related to the Elizabethan desire
to recreate black and white plates from books. Some of the most
interesting Blackwork I have seen are renditions of bridges and old homes, that
look drawn more than stitched. Blackwork seems to be popular with more
experienced stitchers, despite the fact that it is actually quite simple to
master. It does not have the same broad appeal to novice stitchers that
Cross Stitch and Scarletwork command. However, there is a group of people
outside of the embroidery mainstream, who have contributed greatly to the
documentation and current revival of more traditional Blackwork.
Participants in Renaissance Fairs and the historical re-creation groups use
Blackwork to create period costumes. It is very popular with them for the
same reason it was popular in the past, it looks fabulous and rich, but is
relatively easy and inexpensive to produce.
Stitches Used
Even though the over all effect of Blackwork is ornate, most of the stitches
are simple, but they are worked in such a way that conveys
complexity.
DoubleRunning Stitch - The running stitch was often done in such a way that the work
was reversible. This is also called the Holbein stitch, the Spanish stitch,
line stitch and writing stitch. It gives a smoother line than backstitch
and is easily worked on even weave fabric. If you do not have a stitch
dictionary, click on the image to the right.
Other stitches used are: Stem Stitch, Back Stitch, Split Stitch, Algerian
Eye, Bosnia Stitch, Double Cross Stitch, running stitch, and the list goes
on...because of its many incarnation, there are a variety of stitches that can
be used to create the complex patterns or reversible scrolling designs.
Thread
Any thread, in any color can be used. However, black silk embroidery thread
or floss is my first choice. Today, it is common for people to
use regular six-strand cotton embroidery floss (DMC 310) .
Fabric
A high thread count linen or cotton, preferably even weave. Usually
worked on 18 count or higher, but many books recommend 22 (also known as
Hardanger). Aida cloth is acceptable, but there is a wide range of linens
available are reasonable cost.
You can use any fabric, like silks and satins, if you employ waste canvas
while working the design.
Needle
Any fine needle with an eye big enough to accommodate the thread of your
choice can be used, but I tend to prefer sharps and often use betweens in a
size 10 or size 9. Since this is worked on even weave, you may prefer a
size 24 or 26 blunt tapestry needle, like those used for cross stitch and
needlepoint. The Holbein stitch will only really lay flat if you use a
sharp and stab through the existing stitches on your way back across a
shape. This is not an exact science, experiment with a few needle choices
to see which works best for the technique you prefer.
Hoop
A hoop or frame is completely optional, but very helpful with this type of
hand work.
Design Transfer Methods
Transferring a design for Blackwork is different, because this is a counted
method, that utilizes charts.
The easiest way to deal with a charted design is to find the middle of the
chart and the middle of your fabric and begin from the inside out. If you
start at an edge, you may waste fabric or fail to leave enough for a finished
item.
Remember that basting lines are sometimes called life lines for a
reason! It helps to do some two over two or four over four running
stitches before you start.
If you are doing a complex geometric design, do a rough outline of where the
design elements will be, then work each one as a separate entity, always
starting in the middle.
Tip and Tricks:
- Use even weave fabric when
possible. - Mark the center of your
fabric with a single strand of embroidery floss in long running stitches
along both the vertical and horizontal axis. - Use waste canvas if you want
to do Blackwork on fabric without a even weave. - If you are constructing a
garment, wash the fabric and soak the thread prior to stitching. You
would not want the designs to pucker if there is shrinkage. - Use a piece of graph paper to
construct your own designs. - Collars and cuffs look
especially good when embellished with Blackwork. - For scrolling designs, mark
the center of the design with pins or loose running stitches before you
begin work and work from the inside out. - For outlined shapes, filled
with geometric designs, mark the center of each element and work it from
the inside out. This will be necessary to make sure the patterns are
symmetrical. - If you want your work to be
reversible, make sure to use a waste knot or start with a running stitch,
then reverse over it for a few stitches in order to secure it. - If want your work to be
reversible, but are having trouble making it work, try this to help you
map it out. First, make a photocopy, then take out a highlighter and
trace a path without lifting your pen from the paper. It may mean you have
to break it the design up into smaller pieces to do that. Once you have
marked off part of the graph as a continuous line, take another color
marker and mark every other stitch. That way, when you go to stitch it
from the diagram, you will be ready to do the Holbein Stitch on any
charted design. Just go one direction following every other stitch, then
turn around and come back. - Because it can be stitched to
be reversible, this is an excellent choice for decorating afghan
cloth. Most afghan cloth is done in 5 inch even weave squares that
would be well suited to Blackwork designs.