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Guide S is for Stitch: 52 Embroidered Alphabet Designs + Charming Projects for Little Ones

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What is called "Indian Herring-bone" B is merely stitch A worked in longer and more slanting stitches, so that there is room between them for a second row in another colour, the two colours being, of course, properly interlaced. To work C, bring your needle out as for A, and, putting it in at the upper edge of the line to be worked and pointing it downwards, whilst your thread lies to the right, take up ever so small a piece of the stuff.

Then, slightly in advance of the last stitch, the thread still to the right, [51] your needle now pointing upwards, take another similar stitch from the lower edge. The variety at D is merely a combination of A and C, as may be seen by reference to the back of the sampler opposite ; though the short horizontal stitches there seen meet, instead of being wide apart as in the case of A.

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What is known as "fish-bone" is illustrated in the three feathery shapes on the sampler E , two of which are worked rather open. It is characteristic of this stitch that it has a sort of spine up the centre where the threads cross. Suppose the stitch to be worked horizontally. Put it in again on the upper edge of the spine, rather in [52] advance of where it came out on the lower edge of it before, and bring it out on the lower edge of this spine immediately below where it entered.

In close herring-bone F on the sampler, Illustration 20 you have always a long stitch from left to right, crossed by a shorter stitch which goes from right to left. If you wish to cover a surface with herring-bone-stitch, you work it, of course, close, so that each [53] successive stitch touches its foregoer at the point where the needle enters the stuff F on the sampler, Illustration It will be seen that at the back 21 this looks like a double row of back-stitching.

Worked straight across a wide leaf, as in the lower half of sampler, it is naturally very loose. A better method of working is shown in the side leaves, which are worked in two halves, beginning at the base of a leaf on one side and working down to it on the other. There is here just the suggestion of a mid-rib between the two rows. The stitch at G on sampler, having the effect of higher relief than ordinary close herring-bone F , is sometimes misleadingly described as tapestry stitch.

It is worked, as the back of the sampler 21 clearly shows, in quite a different way. You get there parallel rows of double stitches. Having [54] made a half-stitch entering the material at the upper edge of the work, bring the needle out on the lower edge of it immediately opposite.

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Then, going back, put it in at the beginning of the upper edge, and bring it out at the beginning of the lower one. Thence take a long slanting stitch upwards from left to right, bring the needle out on the lower edge immediately opposite, cross it by a rather shorter stitch from right to left, entering the stuff at the point where the first half-stitch ended, bring this out on the lower edge, opposite, and the stitch is done. The artistic use of herring-bone-stitch is shown in the leaves of the tulip 84 , and a closer variety of it in the pink, or whatever the flower may be, in the hand of the little figure on Illustration Buttonhole is more useful in ornament than one might expect a stitch with such a very utilitarian name to be.

It is, as its common use would lead one to suppose, pre-eminently a one-edged stitch, a stitch with which to mark emphatically the outside edge of a form. There is, however, a two-edged variety known as ladder-stitch, shown in the two horn shapes on the sampler, Illustration By the use of two rows back to back, leaf forms may be fairly expressed. In the leaves on the sampler, the edge of the stitch is used to emphasise the mid rib, leaving a serrated edge to the leaves.

The character of the stitch would have been better preserved by working the other way about, and marking the edge of the leaves by a clear-cut line, as in the case of the solid leaves in Illustration The stitch may be used for covering a ground or other broad surface, as in the pot shape J on the sampler, where the diaper pattern produced by its means explains itself the better for being worked in two shades of colour.

The simpler forms of the stitch are the more [56] useful. Worked in the form of a wheel, as in the rosettes at the side of the vase shape A , the ornamental use of the stitch is obvious. One need hardly describe Buttonhole Stitch. The simple form of it A is worked by when you have brought your needle out keeping the thread under your thumb to the right, whilst you put the needle in again at a higher point slightly to the right, and bring it out immediately below, close to where it came out before.

This and other one-edged stitches of the kind are sometimes called "blanket-stitch. The only difference between versions such as B and C on the sampler, and simple buttonhole, is that the stitches vary in length according to the worker's fancy. The Crossed Buttonhole Stitch at E is worked by first making a stitch sloping to the right, and then a smaller buttonhole-stitch across this from the left. The border marked D in sampler consists merely of two rows of slanting buttonhole-stitch worked one into the other.

Needlewomen have wilful ways of making what should be upright stitches slant awkwardly in all manner of ways, with the result that they look as if they had been pulled out of the straight. The border at F, known as " Tailor's Buttonhole ," is worked with the firm edge from you, instead of towards you, as you work ordinary [59] buttonhole. Bringing the thread out at the upper edge of the work to the left, and letting it lie on that side, you put your needle in again still on the same edge, and bring it out, immediately below, on the lower one.

You then, before drawing the thread quite through, put your needle into the loop from behind, and tighten it upwards. In order to make your ladder-stitch G square at the end, you begin by making a bar of the width the stitch is to be. Then, holding the thread under your thumb to the right, you put the needle in at the top of the bar and, slanting it towards the right, bring it out on a level with the other end of the bar somewhat to the right.

This makes a triangle. With the point of your needle, pull the slanting thread out at the top, to form a square; insert the needle; slant it again to the right; draw it out as before, and you have your second triangle. The difference between the working of the lattice-like band at H, and ladder-stitch G, is that, having completed your first triangle, you make, by buttonholing a stitch, a second triangle pointing the other way, which completes a rectangular shape. In the solid work shown at J, you make five [61] buttonhole-stitches, gathering them to a point at the base, then another five, and so on.

Repeat the process, this time point upwards, and you have the first band of the pot shape. Characteristic and most beautiful use is made of buttonhole stitch in the piece of Indian work in Illustration 24 , where it is outlined with chain stitch, which goes most perfectly with it. Cut work, such as that on Illustration 65 , is strengthened by outlining it in buttonhole-stitch. Ladder-stitch occurs in the cusped shapes framing certain flowers in Illustration 72 , embroidered all in blue silk on linen.

It is not infrequent in Oriental work, and, in fact, goes sometimes by the name of Cretan-stitch on that account. Feather-stitch is simply buttonholing in a slanting direction, first to the right side and then to the left, keeping the needle strokes in the centre closer together or farther apart according to the effect to be produced. It owes its name, of course, to the more or less feathery effect resulting from its rather open character. Like buttonhole, it may be worked solid, as in the leaf and petal forms on the sampler, Illustration 25 , but it is better suited to cover narrow than broad surfaces.

The jagged outline which it gives makes it useful in embroidering plumage, but it is not to be confounded with what is called "plumage-stitch," which is not feather-stitch at all, but a version of satin-stitch. The feathery stem A on the sampler is simply a buttonholing worked alternately from right to left and left to right.

The border line at B requires rather more explanation. Presume it to be worked vertically. Bring your needle out at the left edge of the band; put it in at the right edge immediately opposite, keeping your thread under the needle to the right; [65] bring it out again still on the right edge a little lower down, and then, keeping your thread to the left, put the needle in on the left edge, opposite to where you last brought it out, and bring it out again on the same edge a little lower down. The border at C is merely an elaboration of the above, with three slanting stitches on each edge instead of a single one in the direction of the band.

Bands D, E, F, G, are variations of ordinary feather-stitch, requiring no further explanation than the back view of the work 26 affords. On the face of the sampler it will be noticed that lines have been drawn for the guidance of the worker. These are always four in number, indicating at once, that the stitch is made with four strokes of the needle, and the points at which it is put in and out of the stuff. In working G G, suppose four guiding lines to have been drawn as above—numbered, 1, 2, 3, 4, from left to right. Bring your needle out at the top of line 1.

Make a chain-stitch slanting downwards from line 1 to line 2. Make a chain-stitch slanting downwards this time from right to left, and bring your needle out on line 3. Feather-stitch is not adapted to covering broad surfaces solidly, but may be used for narrow ones. Oriental-stitch is the name given to a close kind of feather-stitch much used in Eastern work. The difference at once apparent to the eye between the two is that, whereas for the mid-rib of a band or leaf of feather-stitching 25 you have cross lines, in Oriental-stitch 27 you have a straight line—longer or shorter as the case may be.

Oriental-stitch, sometimes called "Antique-stitch," is a stitch in three strokes, just as feather-stitch is a stitch in four. It is usually worked horizontally, though shown upright on the sampler, Illustration Like feather-stitch see diagram , it is worked on four guiding lines, faintly visible on the sampler. Stitches A, B, and C are worked in precisely the same way. Keep the thread under your thumb to the right and put your needle in at the top of line 4, bringing it out into line 3 on the same level.

Then put it in again at line 2, just on the other side of the thread, and bring it out on line 1 ready to begin the next stitch. In A the three parts are equal: in B the mid-rib is narrow: in C it is broad, as is most plainly seen on the back of the sampler The difference is only a difference of proportion. The sloping stitch at D is worked in the same way as A, B, C, except that instead of straight strokes with the needle you make slanting ones. Stitch E differs from D in that the side strokes slant both in the same direction.

It is worked from right to left instead of from left to right. Stitch F is a combination of buttonhole and Oriental stitches. Between two rows of buttonholing [70] dark on sampler a single row of Oriental-stitch is worked. The stitch employed for the central stalk, G, has really no business on this sampler, except that it has something of the appearance of a continuous Oriental-stitch. A single sampler is devoted to Rope and Knotted Stitches , more nearly akin than they look, for rope-stitch is all but knotted as it is worked. Rope-stitch is so called because of its appearance.

It takes a large amount of silk or wool to work it, but the effect is correspondingly rich. It is worked from right to left, and is easier to work in curved lines than in straight. Lines A on the sampler, Illustration 29 , represent the ordinary appearance of the stitch; its construction is more apparent in the central stalk B, which is a less usual form of the same stitch, worked wider apart.

Having brought out your needle at the right end of the work, hold part of the thread towards the left, under the thumb, the rest of it falling to the right; put your [72] needle in above where it came out, slant it towards you, and bring it out again a little in advance of where it came out before, and just below the thread held under your thumb. Draw the thread through, and there results a stitch which looks rather like a distorted chain stitch B. The next step is to make another similar stitch so close to the foregoing one that it overlaps it partly.

It is this overlapping which gives the stitch the raised and rope-like appearance seen at A. A knotted line C in the sampler, Illustration 29 is produced by what is known as " German Knot-stitch ," effective only in thick soft silk or wool. Begin as in rope stitch, keeping your thread in the same position.

Then put your needle into the stuff just above the thread stretched under your thumb, and bring it out just below and in a line with where it went in; lastly, keep the needle above the loose end of the thread, draw it through, tightening the thread upwards, and you have the first of your knots: the rest follow at intervals determined by your wants. The more open stitch at D is practically the same [75] thing, except that in crossing the running thread you take up more of the stuff on each side of it.

What is known by the name of " Old English Knot-stitch " E is a much more complicated stitch. Keeping your thread well out of the way to the right, put your needle in to the left, and take up vertically a piece of the stuff the width of the line to be worked at its widest, and draw the thread through.

Then, keeping it under the thumb to the left, put your needle, eye first, downwards, through the slanting stitch just made; draw the thread not too tight, and, keeping it as before under the thumb, put your needle, eye first, this time through the upper half only of the slanting stitch, making a kind of buttonhole-stitch round the last, and draw out your thread. These knotted rope stitches, call them what you will, are rather ragged and fussy—not much more than fancy stitches—of no great importance.

Knots used separately are of much more artistic account. Bullion or Roll-stitch is shown in its simplest form in the petals of the flowers F on the sampler, Illustration To work one such petal, begin by attaching the thread very firmly; bring your needle out at the base of the petal, put it in at the tip, and bring it out once more at the base, only drawing it partly through.

With your right hand wind the thread, say seven times, round the projecting point of the needle from left to right. Then, [76] holding the coils under your left thumb, your thread to the right, draw your needle and thread through; and, dropping the needle, and catching the thread round your little finger, take hold of the thread with your thumb and first finger and draw the coiled stitch to the right, tightening it gently until quite firm.

Lastly, put the needle through at the tip of the petal, and the stitch is complete and ready to be fastened off. The leaves of these flowers consist simply of two bullion stitches.

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The bullion knots at the side of the central stalk are curled by taking up in the first instance only the smallest piece of the stuff. To work French Knots G , having brought out your needle at the point where the knot is to be, hold the thread under your thumb, and, letting it lie to the right, put your needle under the stretched part of it. Turn the needle so as to twist the thread once round it.

That done, put the needle in again about where it came out, draw it through from the back, and bring it out where the next knot is to be. For large knots use two or more threads of silk, and do not twist them more than once. With a single thread you may twist twice, but the result of twisting three or four times is never happy. The use of knots is shown to perfection in Illustration Worked there in white silk floss upon a dark purple ground, they are quite pearly in appearance, whether in rows between the border lines, or scattered over the ground.

They are most useful in holding the design together, giving it mass, and go admirably with chain-stitching, to which, when close together, they have at first sight some likeness. A single line of knots may almost be mistaken for chain-stitch; but of themselves they do not make a good outline, lacking firmness.

A happier use of them is to fringe an [78] outline, as for example in the peacock's tail on page 38 ; but this kind of thing must be used with reticence, or it results in a rather rococo effect. Good use is sometimes made of knots to pearl the inner edge of a pattern worked in outline, or to pattern the ornament instead of the ground all over. Differencing of this kind may be an afterthought—and a happy one—affording as it does a ready means of qualifying the colour or texture of ground, or pattern, or part of either, which may not have worked out quite to the embroiderer's liking.

The obvious fitness of knots to represent the stamens of flowers is exemplified in Illustration Worked close together, they represent admirably the eyes of composite flowers, as on the sampler; they give, again, valuable variety of texture to the crest of the stork in Illustration The effect of knotting in the mass is shown in Illustration 31 , embroidered entirely in knots, contradicting, it might seem, what was said above about its unfitness for outline work. The lines, even the voided ones, are here as sharp as could be; but then, it is not many of us who work, knot by knot, with the marvellous precision of a Chinaman.

His knotted texture is not, however, always what it seems. He has a way of producing a knotted line by first knotting his thread it may be done with a netting needle , and then stitching it down on to the surface of the material, which gives a [80] pearled or beaded line not readily distinguishable from knot stitch. The Japanese embroiderer, instead of knotting his own thread, employed very often a crinkled braid.

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This is shown in the cloud work in Illustration The only true knotting there is in the top-knot of the bird. The samplers so far discussed bring us, with the exception of Darning, Satin-stitch, and some stitches presently to be mentioned, practically to the end of the stitches, deserving to be so called, generally in use. By combining two or more stitches endless complications may be made; and there may be occasions when, for one purpose or another, it may be necessary, as well as amusing, to invent them.

In this way stitches are also sometimes worked upon stitches, as shown on the sampler, Illustration You will see, on referring to the back of it 33 , that only the white silk is worked into the stuff: the dark is surface work only. Those on the sampler do not need much explanation; but it may be as well to say that A starts with crewel-stitching; B and C with back-stitching; D with chain-stitching; E with darning or running; F, G, and H with varieties of herring-bone-stitch; J with Oriental-stitch; and K with feather-stitch.

The interlacing on the [84] surface of these is shown in darker silk. C and G undergo a second course of interlacing. The danger of splitting the first stitches in working the interlacing ones, is avoided by passing the needle eye-first through them. There is really no limit to patterns of this kind. Some are better worked in a frame, but that is very much a matter of personal practice. In the Surface Darning at H 34 long threads are first carried from edge to edge of the square, there only piercing the stuff, and then darned across by other stitches, again only piercing it at the edges.

The Lace Buttonholing at B 34 is worked as follows:—Buttonhole three stitches into the stuff from left to right, not quite close together, and further on three more; then, working from right to left, make three buttonhole stitches into the thread connecting the stitch groups; but do not stitch into the stuff except at the ends of the rows. The last row must, of course, be worked into the stuff again. It is much more open, and the first row of horizontal stitches is crossed by two opposite rows of oblique stitches, which are made to interlace.

The square at G is worked by first making rows of short upright stitches worked into the stuff, and then threading loose stitches through them. The square at D is worked on the open lattice shown; the solid parts are produced by interlacing stitches from side to side, starting at the angle. In the square at E Japanese Darning horizontal lines are first darned, and then zigzag lines are worked between them, much as in G; but, as they penetrate the material, this is scarcely a surface stitch.

The horizontal lines at top and bottom of the square at A are back-stitching, the intermediate ones simply long threads carried from one side to the other; they are laced together by lines looped round them. The band at L is begun by making horizontal bar stitches. A row of crewel-stitch and one of outline-stitch, worked on to the bars, and not into the stuff, makes the central chain.

The band at J is buttonhole stitching wide apart, the bars filled in with surface crewel-stitch. Most delicate surface stitching occurs in Illustration [88] 35 , the fine net being worked only from edge to edge of the spaces it fills, and not elsewhere entering the stuff; which accounts for most of it being worn away. The delicate network of fine stitching, which once covered the whole of the background, is for the most part neither more nor less than a floating gossamer of lacework.

One cannot deny that that is embroidery, though it has to be said that lace-stitches are employed in it. Stern embroiderers would like to deny it. Of course it is frivolous, and in a sense flimsy, but it is also delicate and dainty to a degree. It is suited only to dress, and that of the most exquisite kind. A French marquise of the Regency might have worn it, and possibly did wear it, with entire propriety—if the word is not out of keeping with the period. The frailty of this kind of thing is too obvious to need mention, and that, of course, is a strong argument against it.

All attempt to give separate names to diapers of this kind, whether worked upon the surface or into the stuff, is futile.


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They ought not even to be called stitches, being, in fact, neither more nor less than stitch patterns, to which there is no possible limit, unless it be the limit of human invention. Every ingenious workwoman will find out patterns of her own more or less. They are very useful for [89] filling in surfaces pattern or background which it may be inexpedient to work more solidly. The greater part of such patterns are geometric Illustrations 35 and 73 , following, that is to say, the mesh of the material, and making no secret of it.

On Illustration 3 you see very plainly how the rectangular diaperings are built up geometrically on the square lines of the mesh, as was practically inevitable working on such a ground. The relation of stitch to stuff is here obvious. The choice of stitch patterns of this kind is invariably left to the needlewoman.

The utmost a designer need do is to indicate on his drawing that a "full," "open," or "intermediate" diaper is to be used. And the alternation of lighter and heavier diapers should be planned, and not left altogether to impulse, though the pattern may be. Moreover, there is room for the exercise of considerable taste in the choice of simpler or more elaborate patterns, freer or more geometric. Many a time the shape of the space to be filled, as well as its extent, will suggest the appropriate ornament. The diaper design is not, of course, drawn on the stuff, but points of guidance may be indicated through a kind of fine stencil plate.

The patterns used for background diapering need not, as a rule, be intrinsically so interesting as those which diaper the design itself, nor are they usually so full. They take more often the form of spot or sprig patterns, not continuous, in which the [90] geometric construction is not so obvious, nor even necessary. In either case the prime object of the stitching is not so much to make ornamental patterns as to give a tint to the stuff without entirely hiding it with work; and the worker chooses a lighter or heavier diaper according to the tint required.

If the work is all in white it is texture, instead of tint, that is aimed at. For a background, simple darning more or less open, in stitches not too regular, is often the best solution of the difficulty. The effect of the ground grinning through is delightful.

Satin-stitch is par excellence the stitch for fine silkwork. I do not know if the name of "satin-stitch" comes from its being so largely employed upon satin, or from the effect of the work itself, which would certainly justify the title, so smooth and satin-like is its surface. Given a material of which the texture is quite smooth and even, showing no mesh, satin-stitch seems the most natural and obvious way of working upon it.

In it the embroidress works with short, straight strokes of the needle, just as a pen draughtsman lays side by side the strokes of his pen; but, as she cannot, of course, leave off her stroke as the penman does, she has perforce to bring back the thread on the under side of the stuff, so that, if very carefully done, the work is the same on both sides. Satin-stitch, however, need not be, and never was, confined to work upon silk or satin. In fact, it was not only worked upon fine linen, but often followed the lines of its mesh, stepping, as in Illustration 9 , to the tune of the stuff.

This may be described as satin-stitch in the making—at any [92] rate, it is the elementary form of it, its relation to canvas-stitch being apparent on the face of it. To cover a space with regular vertical satin stitches A on the sampler, Illustration 36 , the best way of proceeding is to begin in the centre of the space and work from left to right. That half done, begin again in the centre and work from right to left. In order to make sure of a crisp and even edge to your forms, always let the needle enter the stuff there, as it is not easy to find the point you want from the back.

In working a second row of stitches, proceed as before, only planting your needle between the stitches already done. Fasten off with a few tiny surface stitches and cut off the silk on the right side of the stuff: it will be worked over. To cover a space with horizontal satin stitches B on sampler , begin at the top, and work from left to right. The longer stretches there are not, of course, crossed at one stitch; they take several stitches, dovetailed, as it were, so as not to give lines. The easiest, most satisfactory, and generally most effective way of working flat satin stitch is in oblique or radiating lines C, D, E , working in those instances, as in the case of A, from the [95] centre, first from left to right and then from right to left.

Stems, narrow leaflets, and the like, are best worked always in stitches which run diagonally and not straight across the form. In the case of stems or other lines curved and worked obliquely, the stitches must be very much closer on the inner side of the curve than on the outside: occasionally a half-stitch may be necessary to keep the direction of the lines right, in which case the inside end of the half-stitch must be quite covered by the stitch next following.

Satin-stitch is seen at its best when worked in floss. Coarse or twisted silk looks coarse in this stitch, as may be seen by comparing the petal D in the sampler, Illustration 36 , with the petal in twisted silk here given Marvellously skilful as are the needle-workers of India Illustration 39 , they get rather broken lines when they work in thick twisted silk.

The precision of line a skilled worker can get in floss is wonderful. An Oriental will get sweeping lines as clean and firm as if [96] they had been drawn with a pen, and this not merely in the case of an outline, but in voided lines of which each side has to be drawn with the needle. The voided outline, by the way, as on Illustrations 39 , 40 , is not only the frankest way of defining form, but seems peculiarly proper to satin-stitch; and it is a test of skill in workmanship: it is so easy to disguise uneven stitching by an outline in some other stitch.

The voiding in the wings of the birds in Illustration 40 is perfect; and the softening of the voided line, at the start of the wing in one case and the tail in the other, by cross stitching in threads comparatively wide apart, is quite the right thing to do. It would have been more in keeping to void the veins of the lotus leaves than to plant them on in cord. Satin-stitch must not be too long, and it is often a serious consideration with the designer how to break up the surfaces to be covered so that only shortish stitches need be used.

You might follow the veining of a leaf, for example, and work from vein to vein. But all leaves are not naturally veined in the most accommodating manner. Treatment is accordingly necessary, and so we arrive at a convention appropriate to embroidery of this kind. It takes a draughtsman properly to express form by stitch distribution. The Chinese convention in the lotus flowers Illustration 40 is admirable. It is the rule of the game to lay satin-stitch very evenly. Worked in floss, the mere surface of [98] satin-stitch is beautiful. A further charm lies in the way it lends itself to gradation of colour.

Beautiful results may be obtained by the use of perfectly flat tints of colour, as in Illustration 40 ; but the subtlest as well as the most deliberate gradation of tint may be most perfectly rendered in satin-stitch. Surface Satin-stitch not the same on both sides , though it looks very much like ordinary satin-stitch, is worked in another way. The needle, that is to say, after each stitch is brought immediately up again, and the silk is carried back on the upper instead of the under side of the stuff.

Considerable economy of silk is effected by thus keeping the thread as much as possible on the surface, but the effect is apt to be proportionately poorer. Moreover, the work is not so lasting as when it is solid. The satin-stitch on Illustration 58 is all surface work. It looks loose, which it is always apt to do, unless it is kept stretched on the frame, on which, of course, satin-stitch is for the most part worked.

Very effective Indian work is done of this kind—loose and flimsy, but serving a distinct artistic purpose. It is to embroidery of more serious kind what scene painting is to mural decoration. Embroidery is often described as being in "long-and-short-stitch," a term properly descriptive not of a stitch, but of its dimensions.

Whether you use stitches of equal or of unequal length is a [] question merely of the adaptation of the stitch to its use in any given instance; there is nothing gained by calling an arrangement of alternating stitches, "long and short," or by calling them "plumage-stitch," or, which is more misleading, "feather-stitch," when they radiate so as to follow the form, say, of a bird's breast.

The bodies of the birds in Illustrations 40 and 85 are in plumage-stitch so called. This adaptation of stitch to bird or other forms gives the effect of fine feathering perfectly. But why apply the term "satin-stitch" exclusively to parallel lines of stitches all of a length?

A little further removed from satin-stitch is what is known as "split-stitch," in which the needle is brought up through the foregoing stitch, and splits it. The way of working this stitch is more fully given on page The worker adapts, as a matter of course, the length of the stitch to the work to be done, directing it also according to the form to be expressed, and so arrives, almost before he is aware of it, by way of satin-stitch, at what is called plumage-stitch.

The distinction between the stitches so far [] described is plain enough, and an all-round embroidress learns to work them; but workers end in working their own way, modifying the stitch according to the work it is put to do, and produce results which it would be difficult to describe and pedantic to find fault with. Even short, however, of such individual treatment, the mere adaptation of the stitch to the lines of the design removes it from the normal.

It makes a difference, too, whether it is worked in a frame or in the hand: in the one case you see more likeness to one stitch, in the other to another. The flower at B, for example, and the leaf at D, on the sampler, Illustration 41 , are both worked in what is commonly called "plumage," or "embroidery" stitch, though the term "dovetail," sometimes used, seems to describe it better. Instance B, however, is worked in the hand, and D in a frame—from which very fact it follows that the worker is naturally disposed to regard B as akin to crewel-stitch and D to satin-stitch, between [] which two stitches "dovetail" may be regarded as the connecting link.

The petals at B are worked in the method illustrated in the diagram overleaf. The first step is to edge the shape with satin-stitches in threes, successively long, shorter, and quite short. This done, starting at the base again, you put your needle in on the upper or right side of the first short stitch, and bring it out through the long stitch as shown in the diagram. You then make a short stitch by putting your needle downwards through the material, and taking up a small piece of it. You have finally only to draw the needle through, and it is in position to make another long stitch.

As the concentric rings of stitching become smaller, you make, of course, shorter stitches, and you need no longer pierce the thread of the long stitch. I love the colors in the escape line for my own items and the trapeze line for my granddaughters as well. Very impressed. I really like the Escape, the Motley, and the Vogue!

Tough choices! I guess I may need to order online! I love this idea. Every morn I wake up looking forward to seeing what project Crazy Little Projects are up too! I love your Pinterest board too. Keep up the great patterns and sewing. I love all the patterns. The trapeeze line is pretty and we dont have a target close so I have to order online. Thank you so much for sharing tutorial and information about awesome fabric!!

Thank you for the give away! How exciting! I really love the Motley line in that fabric. Thanks for sharing! Especially the cotton and canvas that has all the colors in that mismatched floral. What a fun way to be organized and it is bright enough even I could find it. I love the escape line…. I like the Vogue Arrow Feathers. Baby Girl stuff is just so darn cute and fun to make. I would usually pick Vogue for the colors, but I really liked Trapeze best.

Thanks so much for the chance to win. Could Target get any better!? Really wish they had fabric at mine, but that might be waaaay too dangerous. I love the Escape collection— the blues are beautiful! Thanks for the chance to win! What great fabric and I love this project. I think I like the Escape colors the best, although they are all really pretty.

I really love the bright colors of Trapeze. Thanks so much for the giveaway. I love them all, but especially Trapeze what I refer to as bright pastels. My favorite fabric in the line is the high tops. Fabric at Target??? Be still my heart!!!!! I am off to target for sure.

I love the Escape line of Fabric Loft. It has a good mix of patterns but keeps a professional theme that I can be comfortable taking with me to work. Just have to order some. Thanks for the giveaway. If I want it to make it for me, the Escape fabric is the line. I would definately pick Trapeze! For myself I like the selections in the Escape group best but the Trapeze group would make some really adorable doll clothes for my granddaughter. They are all so lovely! But I especially love the Trapeze selection! Would make some beautifully bright and bold things! They are all beautiful, Escape and Motley would be great for these small projects.

I also make small change purses with 3 slots for cards, money etc. All of these will work wonderfuly. The Escape collection would fir very nicely with the decorating scheme of my house. I really like the Vogue line, and the Trapeze is pretty dawn cute. My little girl love all the pinks. The Trapeze line would be really fun to use for my daughter.

I also really like the colors in the Escape line. That said, I adore the earthy tones in this particular line. I love the Vogue, so pretty. Thanks for the chance. Hi Amber! The hummingbird designs in the Escape group are great! Our family has a special connection to hummingbirds so I have several projects I could use those fabrics for. I love the trapeze and motley collection. Thanks for the tutorial and the intro to the target fabric! I love them all!! LOVE this organizer. One for me, my sister and my sister in law.

Need to do one more for my daughter. Hi there! Love this tutorial! Just wondering if this has an option for a hard cover? One piece slightly smaller than that of the material to give it a snug look on each side leaving the middle floppy Depending on the material? I think you could do that. Those are some beautiful colours and designs I mike make one myself. Well if I can fined the fabric. Thank you for the idea! You may have figured this out by now though.

Will one of those large yellow memo pads fit into the left largest pocket on this? I do not have one to measure it but I am wanting to make this as a gift for my dad who I know uses them for work.

A Spoonful of Sugar Blog Tour {Part 3} - A Spoonful of Sugar

Thanks in advance for your reply!! Maybe google the size of them and the adjust accordingly? I love this Amber! Thank you for any measurements you might be able to give! So you can tweak accordingly to make it any size you want. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Blue Spring Flowers, a beautiful wild flower cross stitch design, stitched in a lovely 20 colour thread palette of Spring shades. Palest pinks and warm blues, with vibrant greens on natural cream Zweigart 3.

Worked in cross stitch using unique acrylic yarns, this lovely kit includes pale blue linen-look cotton backing fabric and zipper. Perfect as a cushion. A floral counted cross stitch kit from the Marjolein Bastin Collection. Summer Bouquet is an outstanding study in striking colour tones. This beautiful watercolour painting adaptation offers a wealth of intricate detail. Kit contains chart and instructions, needle, 14 count Aida and pre-sorted DMC stranded cotton threads on a loaded thread organiser.

Pattern instructions

NEW A beautiful elegant floral design, with a modern contemporary simplistic feel, stitched in a lovely thread palette on white Aida fabric. Design size: 17" x 8. Garden Roses. A lovely, elegant floral study of the Garden Rose.

Hand Embroidery for Beginners - Part 2 - 10 Basic Stitches - HandiWorks #52

With a wonderful natural 'wild rose' feel to the design, this super cross stitch piece is stitched on natural oatmeal fabric in a pretty range of thread colours. A super design, suitable finished as a framed picture or pretty cushion, being of a size that lends itself perfectly. Beautifull detailed flowers, insects, and large butterfly. A large project, perfect framed as a picture.