Embroidery and Tapestry Weaving Part 12

Slip the needle through the centre of the wound thread close to the cardboard, then through the loop and draw the thread tight; this will bind the threads securely at that point. They can then be cut exactly opposite this on the other side, which will release the cardboard. Give the binding thread another tightening pull, and then take the needle and thread straight through the centre, as shown in fig. 160, and fasten it off with a good knot. This knot will be in the ball part of the ta.s.sel and will help to make it round. Next, double the ta.s.sel into shape ready for the collar. Thread the needle as before and make the thread encircle the ta.s.sel, as shown in the second figure in the diagram, drawing the thread quite tight, and, if necessary, winding it several times round the neck of the ta.s.sel until the collar is of sufficient width, then take the needle and thread straight through the centre, bringing it out at the top, where it can be made use of to fix the ta.s.sel in its place upon the work. With sharp scissors trim the edge of the ta.s.sel which now is complete. The ball part can be further decorated by covering it with an open network of st.i.tches in some contrasting colour; b.u.t.tonhole and various lace st.i.tches can be used for the purpose.

[Ill.u.s.tration: Fig. 160.]

KNOTS

Knots, which can be very pretty, are at times required in embroidery; anything that requires a fastening may give an opportunity for some pretty interlacing strap work or knotting. Also knots may be practically useful in both weaving and embroidery, for sometimes a finis.h.i.+ng thread must be knotted on to a new one, since there may be no opportunity of making a firm commencement with the aid of the material.

The knot shown in fig. 161 is called the girdle knot; it might be made use of in many other ways. To carry it out, make a loop with one end of the cord and hold it between the left finger and thumb, the looped part being towards the right, and the end that points downwards to the left pa.s.sing over the other end. Take up the other piece of cord, pa.s.s it diagonally across the surface of the loop, commencing from the right-hand lower side, then round under one end and over the other, then up into the loop from underneath, over its own end that crosses the loop there, and then out under the loop at the top right-hand corner.

[Ill.u.s.tration: Fig. 161.]

The Chinese knot, which is used for a sailor's collar, is shown in fig.

162. The looped end can be left as large as necessary. To work it the first part of the knot is laid in position on the table, commencing at point A; for the latter part (from point C) the thread is interlaced through to the finish. It can then be pulled tight, taking care in the drawing-together process that the various loops are adjusted in right position.

[Ill.u.s.tration: Fig. 162.]

[Ill.u.s.tration: Fig. 163.]

Another ornamental knot is shown at fig. 163. To make it--Form a loop and hold it between the left thumb and finger, the loop pointing to the right, the longer end pointing upwards and pa.s.sing over the end that points downwards. Take hold of the end pointing upwards, pa.s.s it perpendicularly downwards across the surface of the loop, then round under the other end, up over its own end, under the side of the loop, over its own end that lies across the loop, and out under the loop at the right-hand end. Pull as tight as required. All these knots may be made of double cord by running a second through, following the lead of the first, just before tightening up the knot. The one last described may be made of doubled cord from the commencement, the looped end being used as the working end: the knot will then finish off with a loop at one end, which can be used as a loop or cut if required.

[Ill.u.s.tration: Fig. 164.]

Fig. 164 is an example of a pretty piece of interlacing strap work attached to a fastening.

The weavers' knot (fig. 165) is useful for practical purposes in both weaving and embroidery; this knot is universally employed by the cotton weavers when the warp breaks. It is made as follows--Place the two ends that are to be knotted together between the thumb and first finger of the left hand in such a way that they cross each other at right angles, the end that points towards the left pa.s.sing under the one pointing towards the right. Pa.s.s the long end of thread that hangs down towards the right, and which is the newly attaching piece, over the thumb, round the back of the end pointing to the left in front of the other end, and let it hang down again towards the right, holding the loop thus made between the thumb and finger; then pa.s.s the end pointing towards the right down through this loop and out on the opposite side. To draw the knot tight, pull the end which hangs down towards the right, which will tighten the loop and so complete the knot.

[Ill.u.s.tration: Fig. 165.]

The reef knot (fig. 166) is another useful one, and it has this advantage over the weaver's knot, that both short ends return parallel to the long ones instead of going off at an angle; this makes it neater for some purposes.

[Ill.u.s.tration: Fig. 166.]

FOOTNOTE:

[14] This will be found described in detail in Chapter II. There is an interesting drawing of a neat little machine, similar to this, but worked by cogwheels, in _L'Art du Brodeur_, by Germain de St. Aubin (1770).

CHAPTER XIV

PRACTICAL DIRECTIONS

Transferring Patterns--Paste for Embroidery Purposes--Protection and Preservation of Work--Was.h.i.+ng Embroidery--Prevention and Cure of Puckered Work--Points about the Thread--Dressing the Frame.

The best method of getting the pattern on to the material is to draw it on directly with a brush; since this, however, is not always possible, other ways of doing it can be employed.

The pattern can be transferred to the background by a process called pouncing. To do this fix some tracing-paper over the design and carefully take the outline; a good margin of plain paper should be left round the outside in order to prevent any of the pounce getting accidentally rubbed on to the embroidery. The next process is the perforation of the pattern. Lay the tracing upon some substance of the nature of thick felt, then with a p.r.i.c.ker or a needle, held in an upright position, pierce tiny holes all round the outline of the pattern, very close together. This completed, attach the perforated tracing securely to the material, the smooth side of the perforations towards the stuff. Both material and tracing paper may be fixed to a board with drawing pins. Next, rub the pounce, which consists of finely powdered charcoal or of white chalk, lightly over the perforated parts with a soft pad, keeping the rubbing always in the same direction; once or twice at the most over the surface is quite sufficient, often too much is rubbed through, which afterwards is only in the way. The pad, first dipped into the pounce, is rubbed preparatorily upon some paper to remove the superfluous powder, and then upon the actual work. Carefully remove the tracing-paper; there should now be visible upon the surface of the material, in charcoal dust, a perfectly clear reproduction of the pattern. Should, however, the impression be blurred, it is quite easy to flick everything away with a duster and repeat the process. The causes of failure would most probably be that the perforations were too large or too far apart, or that there was some movement of either paper or material during the process. It is necessary for the pattern to be permanently fixed upon the ground material; blow lightly to remove any superfluous powder, then, with a brush dipped in light red oil-paint moistened with turpentine, trace a fine clear line over the powdered pattern. When this is dry, what is left of the charcoal can be lightly dusted away. Red is in most cases a good colour to use for tracing purposes, for if by chance any tracing should show or come off on the thread it will be a clean-looking colour, and one comparatively easily removed in any after cleaning.

Red or blue carbonised paper is used for tracing patterns; it is not a good medium though it may be an expeditious one. If it is used, an after painting over the outline will make the marking permanent.

When pouncing or painting is difficult, a method of indicating the pattern upon the stuff is to trace the design on tissue paper, and tack it to the ground material with cotton, the st.i.tching of which should follow the outline of the design, and be kept as much as possible upon the front. The thin paper is then torn away, and there will be some suggestion of pattern left upon the material.

Transparent ground stuffs need only be laid upon the pattern; then the tracing can be taken directly on the stuff.

Paste is sometimes in request for embroidery purposes; the following is a good recipe--Pour rather less than half a pint of cold water into a saucepan, add to this a piece of carpenter's glue about the size of a small filbert and place it on the fire to heat. Put three teaspoonfuls of flour into a basin, and with cold water mix to a smooth paste; when the water in the saucepan boils add it to the paste, stirring well all the time; then place the mixture in the saucepan and boil for about two minutes. When cold it is ready for use. It may be required as a preservative; for instance, canvas work when finished can have a thin coating of paste rubbed over the back in order to preserve the st.i.tches from giving or running; when the work is to be used for such things as furniture coverings this may be a good thing to do. Applied work is sometimes pasted on to its new ground, and a backing may be fixed to the surface material by paste. The more all this can be avoided the better, for its tendency is to give a stiff mechanical look to work; professional people, however, are rather fond of the paste pot. Paste, if used, must be of the right kind, or it will do more harm than good.

It should be very fresh, and have no acid in its ingredients, of which gum arabic must not be one if any after st.i.tching has to take place through the stuff, for gum makes it hard and less penetrable. The paste must be applied and allowed to dry thoroughly before the work is removed from the frame. A finger makes a good brush for the purpose. The paste should be put on as thinly and evenly as possible, care being taken not to rub on the cross of the material, since this might stretch it unevenly.

Shoemakers' paste is easily procured, and can be used for embroidery purposes. This is made from rye flour, and is very strong. It is harmless if perfectly fresh.

A good many things go to the keeping of work fresh and orderly, which is a very important matter. The work must be kept carefully covered up when not in use; finished parts can sometimes be covered whilst the work is going on, for the covering is easily raised when comparison with the part in progress is necessary. The work should have some protection if the hand rests on it; the worker should wear a white ap.r.o.n with sleeves.

The worker's hand should be cool, dry, and smooth; hot hands should frequently be washed. The use of pumice stone cures slight roughness, but fine work cannot be attempted if the fingers are for any reason constantly rough. Wools and silks need a case to keep them orderly and clean. The best way to preserve valuable embroidery is to frame it, which, of course, is not always practicable, but it is a sure safeguard against moth and dust.

For was.h.i.+ng embroidery special soap should be procured. It is not well to use any ordinary soap, for this may contain alkali, which would injure the colours in the work. Dissolve the soap in boiling water, and add cold to make it just warm and of the required strength. Immerse the embroidery in the lather thus made, and work it about gently, avoiding any friction. When clean, rinse first in warm water, afterwards in cold, to which a little salt may be added. The water must be squeezed out carefully and the material quickly dried. If ironing is necessary it must be done on the wrong side, but if the work can be pinned out on a board to dry, and in this way stretched and smoothed without any ironing, so much the better, for the embroidery will not be flattened at all. Another way of ironing embroidery that is not harmful is to do it from underneath while some one holds out the material.

It is easy to prevent the puckering of work when it is carried out in the frame; there is, however, no necessity for it to occur in hand work.

Certain st.i.tches are more inclined to draw up the material than others, and extra care has to be taken in working upon the cross of the fabric.

The work should be held in convex fas.h.i.+on over the fingers of the left hand. Weights are occasionally attached to the corners of the work to prevent any unconscious drawing of it up.

There are remedies for the cure of slightly puckered work. Place on a drawing-board some clean blotting-paper, damp it evenly over with a wet handkerchief, and then lay the work, right side up, upon it. Fix the work down to the board with drawing-pins, inserted at regular short intervals round the edge, endeavouring during the process to stretch the material to its original shape. This needs doing carefully, for it is quite possible to stretch it to a wrong shape, and it will remain as now pinned out. Next, lay some white paper or a handkerchief upon the surface of the work, and then place upon it a flat weight that presses equally on every part of the embroidery. Leave it undisturbed for a night, and the puckering will probably be cured. Work, if not puckered, may be improved by going through this process, which practically amounts to a mild ironing, but without any injurious effects.

[Ill.u.s.tration: Fig. 167.]

There are various points about the thread that should be known. To commence a new thread run a few st.i.tches in the material upon the right side upon a part that will afterwards be covered by the working. This is a better way than a fastening on the wrong side, for it is both neater and more secure. A knot made at the beginning is fairly safe, but it is undesirable for several reasons. The needleful should not be lengthy lest it gets worn before it is all worked in. With some threads it is important to thread only the proper end into the eye of the needle, since one way they will work in roughly and the other way smoothly. An end of a coa.r.s.e thread can be taken through to the back of the material by the help of a fine one; the fine thread is brought through from the back by the needle, it then encircles the coa.r.s.e one, and returns to the back by the same hole, pulling the coa.r.s.e thread with it, as in process in fig. 167. Taking it through by the aid of a thick needle would make too large a hole. Thread can be knotted into the eye of the needle if for any reason it is required to be quite safe from accidental unthreading. The neatest way of doing this is to pa.s.s the needle through the centre of the thread and draw it tight; this is a useful trick for any unskilled worker with needles and thread, for re-threading also may be a difficulty. When work has to be unpicked it is better to cut the threads rather than do any drawing out, for they are in any case unfit for further use, and this method wears the material less; a beginner must not s.h.i.+rk unpicking if first-rate results are to be obtained.

FRAME WORK

Certain st.i.tches and methods of work cannot be carried out except with the help of a frame, others are hand st.i.tches, and some few can be worked either way. Work done in a frame takes longer than that done by hand, and is rather more fatiguing. Each method has its advantages; in the frame it is perhaps easier to get good technique, for difficulties such as puckering the material, irregular st.i.tching, and so on, are more easily avoided, also it is more possible to see the effect of the whole whilst the part progresses. In frame work a thimble is required for each hand, for one pushes the needle through from above and one from below.

It is a rest to be able to reverse the hands, so both should be equally dexterous in either position.

To dress the frame correctly is an important preliminary, for unless done well the effect of much after labour may be spoiled. In the chapter upon tools and appliances in fig. 9 is shown a piece of linen stretched in the frame ready for commencing work.

The square of material that is seen to be inserted in the centre of the stretched linen is to show how a very small piece or a portion of a large surface could be stretched in the same sized frame. A corner may require marking or a small detail of embroidery carrying out upon it. A portion is cut out of the centre of the stretched linen, and the piece or part of the material to be worked st.i.tched securely to it, as ill.u.s.trated in the diagram. The remainder of the material, if there is any, can be folded up and pinned out of the way over the rollers.

To return to the dressing of the frame--the linen to be stretched, before being fixed in place, must be hemmed or herring-boned down at the top and base and then sewn with overcast st.i.tches to the webbings, inclining during the process to pucker the webbing rather than the material. The side pieces can now be put through the holes at the ends of the rollers and the metal pins inserted, or nuts adjusted, as the case may be, in order to stretch the material to the right tension. The raw edges at the sides must now be turned in or bound with tape, and a string securely attached at intervals along the edge; this is for lacing the string through that now braces the material to the sides of the frame (see fig. 1). The screw-sided frame has an advantage over the side pieces shown in fig. 9, in that in the former an extra turn can, at this point, be given to the nuts to still further stretch the material; on the other hand, some workers prefer the flat side pieces, thinking that they make the frame more rigid.

If the material, when fixed to the two webbings, is too long for the frame, it must be wound round one of the rollers until of the correct size. This must be done carefully, for a delicate fabric might get damaged in the process; the roller can be padded with soft paper, and an interlining of tissue paper can be inserted and wound up with the material. It may not always be desirable to do this winding round the rollers; in that case fine glazed holland can be stretched in the frame, and the part to be first embroidered fixed to it. When the first part of the work is completed, the holland is cut out of the frame and fresh pieces subst.i.tuted as the work goes on. If it is not wished that the st.i.tches should be taken through both surfaces, as would here be the case, it would be possible to cut the linen partly away underneath, and use it only as a kind of inner frame for stretching the material on, in a way somewhat like that already described (see fig. 9).

A backing to the material, however, is often a necessity--perhaps heavy work may be put on it or the stuff itself is fragile; in such cases there must be a backing of some kind. This usually consists of fine holland or linen, which is first stretched in the frame and then has the surface material securely st.i.tched to it with overcast st.i.tches, care being taken that both materials are equally strained.

To frame velvet, sew it to the webbing by the selvedges or that way of the material, since the pile with that arrangement is more manageable when the embroidery is in progress.

[Ill.u.s.tration: Fig. 168.]