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EMBROIDERY STITCHES
An Illustrated Guide

Anne Butler

Effective embroidery depends on the use

of the stitch appropriate to the material,
purpose, and design. Anne Butler here
imparts a basic needlework vocabulary,
so that, having mastered it, the worker
can produce designs genuinely expressive
of her own personality. The photographs
and drawings show clearly the stages by
which a stitch is completed. Many stitches,
of course, are composite, and in these

cases it has only been necessary to dem-

onstrate the second or third stage by
which the simple stitch leads to the more
complicated one. Invaluable as a work
of general reference in the elementary
repertoire of embroidery, this book will

be particularly useful to students of the

craft and an excellent guide for all who
embroider for pleasure.
 "Bi
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Embroidery Stitches
An Illustrated Guide
Embroidery Stitches
An Illustrated Guide

Anne Butler

Frederick A. Praeger, Publishers.

New York Washington
.
BOOKS THAT MATTER
Published in the United States of America in 1968
by Frederick A. Praeger, Inc., Publishers
111 Fourth Avenue, New York, N. Y. 10003

© 1968 in London, England, by Anne Butler

All rights reserved

Library of Congress Catalog Card Number 68-23042

Printed in Denmark by
F. E.Bording Limited, Copenhagen
and bound in Great Britain by
Wm Brendon and Son Limited, Tiptree, Essex
TT77 /

.S8V
Contents

Acknowledgment 7
Author's note 9
The diagrams 11

The photographs of embroidery details 13

Fine Art 13
Stitches 14
Early stages 14
Design 15
Tension, thread, needle and fabric 23
Colour 24
Preparing to embroider 24
Framing 26
A general attitude 27
Index to stitches 127
I
Acknowledgment

The Author thanks all those who have loaned

work to be photographed for the purposes of
this book and to the principals and individual
members of staff of the following schools and
colleges for their co-operation and kind per-
mission to reproduce details from embroideries
by their students, or work by children taught
by students:
The Maria Assumpta College of Education,
London;
The Mid-Warwickshire College of Further
Education, School of Art, Leamington Spa,
Warwickshire
Goldsmiths' College, School of Art, London
Maidstone College of Art, Fashion Depart-
ment, Kent
Brooklands Primary School, London
and special thanks to Julie Dorrington who took
most of the photographs.

Leamington Spa 1968 A.B.

Author's note
The following pages illustrate simple stitches
used in hand embroidery. The emphasis is put
firstly on the necessity for acquiring a basic
knowledge of stitchery, and secondly on the
choice of stitches appropriate to the work and
the worker concerned. Skill of course develops
with experience, and stitchery then becomes
not just a pattern or embellishment, but a
genuine expression of personality.
A knowledge of a large number of stitches is
necessary; but it is not necessary to prove this
knowledge in one piece of work. Over-use of
stitchery makes the work look like a sampler and
the eye is unable to take in anything but a
crowded area. I cannot over-emphasise the
importance of using just the right amount of the
right stitch, with the correct thread and thick-
ness. These points can be seen in the photographs
but they can only be fully known to the worker
by experience in this medium and by trial and
error.
The knowledge and confidence gained in
completing a piece of work makes the worker
eager to do more, and the learning process never
comes to an end.
The diagrams

These pages set out to enable the reader to see

how to do the stitch and at the same time to see
what it should look like, as a diagram gives poor

indication of the result in thread. Photographs

of stitches from work by various embroiderers
are also shown, but these ways are not the only
ways of applying stitches, and they serve merely
as examples of the sort of interpretation that can
be made from the basic stitch.
The diagrams show the stages by which a stitch
is completed. Stitches which are composite, that

is made up of two or more stitches, follow the

basic stitch and in these instances the basic stitch

isnot repeated, but just the second and/or third
stage worked with it, to complete the new stitch.
When the needle is in position, pull the thread
through gently, otherwise the background fabric
will pucker.
Apart from the diagrams on page 29, the
needle is symbolised by a straight line, the
thread passing over the line at the eye end. It
will be noted that there is variation in the
lengths of needles and thicknesses of threads,
even in stages for the same stitch; this is to en-
able the diagram to be easily read.
The diagrams show stitches as worked by the
right hand: to convert them to be worked by
the left hand it is necessary to think in reverse.
If this is found difficult, hold the diagram up to
a mirror.

11
 Twisted chain for left hand

Hold here
with right thumb

The reverse side of many stitches can be

stitches in themselves, (see the reverse side of
back page 1 17), ^nd it is often worthwhile
stitch
looking at the back of your work as the mark 1 Hands in position for single fly stitch,
you are trying to achieve may well be there. showing use and placing of left thumb indi-
The photographs of stitchery to go with the cated as A in the diagrams
diagrams are worked in two colours of the same
type of thread and on two different background
fabrics: this is to ensure clear results. Variations
can be achieved by using threads of different
thicknesses (in a composite stitch two different
types of threads can be used) and by altering
the tension. This can be seen in the photographs
of details where the different threads used play
a large part in producing a certain effect.

12
 Fine Art
The emphasis in Art Schools and Colleges is on
the development of embroidery as a Fine Art. Its
The photographs of embroidery
domestic and industrial uses, which were for-
details
merly its main applications, are out of keeping
The photographs chosen show stitches used fcr with the pace of life today. Hand embroidery
panels and also for dress embroidery. There is a for these purposes is tremendously expensive in
marked difference between the two types of a mechanised age and, except where needed on
work (compare photographs 38 and 123). The individual orders, impracticable.
stitches used in panels tend to be directions, areas, This new approach to embroidery and stit-
personal marks, whereas the stitches used on chery cannot be over-emphasised. So different
a dress are all-over textures. This is not a rule but is the modern attitude towards the medium that

a generalization made in comparing the two a new word is really needed to distinguish it
types of work. from its old connotation, or alternatively, the
These details represent a diverse collection idea of what the word indicates must change as
from sources varying from primary school well as the worker'sapproach to the medium if
children, students in colleges of education and what is produced is to be more than a 'craft'.
art schools, and experienced embroiderers from Embroidery has in this century lacked true
Holland, the United States of America, and the artists and, as a consequence, has not been
United Kingdom. looked at seriously.

13
 ,

Stitches
There are similarities in many stitches, for
example, the simple up-and-down movement
can be either a running stitch or seeding, and
something of the adaptability of stitches is seen
in the photographs of the details of embroidery.
The effects of stitches vary according to the
background texture and colour as well as to the
stitch itself
The development of stitchery can be seen as a
Early stages
permutation of simple movements added to and
elaborated on. All stitchery is basically /\ |
— By studying the photographs of the basic stitch
and from these, composite stitches are formed. and of the stitch as used by other workers, it
—
For example, many times is a running — , should be possible for the beginner to use
stitch; or / plus \ is x , a cross stitch. Short cuts stitchery on a piece of work right away. There
or elaborations become necessary, such as when should first be a rough design, planning the
V are put together: rather than work each one basis of the work, and giving an idea of which
separately it is easier to work them as fly stitch areas will be applique, cut work, or whatever
(see figure 1, also pages 50 and 51). An elab- method is chosen, and also indicating where the
oration of back stitch is threaded back stitch thread will go. There is no set method for this
(pages 1 16 and 118). and you can cut out paper if drawing is found
For working on a frame or hoop it is easier to difficult. You can then play around with this
make the up-and-down movement separately: rough design until you are reasonably satisfied
but a taut surface does limit the type of stitches withit. The stitchery available will be learnt
which can be used. Running stitch, pages 29 much more readily from a real situation than
and 31/1, demonstrate the difference between out of context. This is not to say that a stitch
the stitch for the frame and for working in the should not be practised; in fact it is often
hand. Whether in the hand or on a frame, advisable to practise a stitch in the thread you
seeding, the couching stitches, french knots, want to use, firstly to gain confidence, secondly
raised chain band, for example, give a better to see the efTect and thirdly to save having to
result if a separate up-and-down movement is undo stitches as this soon makes the fabric look
used. rough.

14
Design
The preliminary work leading up to a design is

of the utmost importance. This can consist of

drawings from any source, cutting out shapes in
paper and moving them around on the back-
ground area, designing from the drawings on to
paper, selecting a background colour and col-
ours of fabrics and threads to be worked with it.
One should have a clear idea from the start of a particular mark which cannot be achieved by
what one is trying to achieve. It is not sufficient, traditional threads.
for example, to just abstract from a fruit section. When designing for embroidery, whether for
The work must be thought of as a separate examination purposes or not, it is impossible to
statement, apart from the source, and this show fully on paper what the stitchery itself will
attitude must equally apply to the stitches look like. Therefore it is important to show that
which can then be seen as marks, textures and the working method is known and to employ
areas. time in working out the suggested stitches. It
Experiment with new products is an ever- gives the embroiderer a real opportunity to
increasing aspect of work in this medium. develop an idea; in this way the embroidery
Emphasis must be placed on the attitude of grows as a living thing, rather than just a design
experiment and not on mere gimmicks. New slavishly carried out (especially in an examina-
threads, especially knitting wools and synthetic tion where marks for development from design
yarns, are available when you are searching for to embroidery are given).

15
 ,iit!r. (iirJ'y eiuci\>

i
Photographs 2 and 3 show ways of designing. idea clearer. Photograph 2 gives ideas for em-
Here pencil and paint, and paint alone, have broidery on a loose knee-length coat; and photo-
been used on paper: pieces of fabric have been graph 3, a complete design and detail of a
stuck on both to give an idea of fabrics which panel to be used in the foyer of an exhibition
might be used when carrying out the design, showing exclusive clocks, watches and other
and also notes have been added to make the time-pieces.

16
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17
 Photographs 4 and 5 show firstly a method of
designing with pieces of fabric glued to a card,
and secondly, a detail from a piece of work Opposite
which gives the same feeling but of course goes 5 Detail from frontal in St Edburgha's
further. Both by Pat Russell. Chapel, Pershore Abbey

18
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 »
h o ^ <>e '9 w •

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ir\ »: I
 Working close to a piece of embroidery, but you walk towards and away from it. Stitchery
also needing to view from a distance, is a
it can be intricate in treatment and colour when
particular problem and should always be taken close to and can become an over-all colour and
into account at the design stage. Work alters as texture from a distance (6 and 7).

21
 In photograph 8 we can see how the addi-
tion of arow of French knots to the outside of the
triangles of apphed leather can effectively alter
the motif The cross shape left by the triangles
becomes more important, so the addition to one
area is seen to alter another.

22
 Tension. Twisted chain
a ordinary
b tight
c loose

Tension, thread, needle and fabric

Tension is another factor which must be borne
in mind. A tremendous difference can be ob-
tained in using a stitch with a slack or a tight
tension. This difference should be tried when
practising a stitch. important to obtain the
It is

desired tension and not to leave it to chance,

otherwise the stitchery will look careless.
The thread chosen must relate to the stitch as
well as to the piece of work; some stitches are
obviously easier to work in a thinner thread.
Also in order to work a thick thread on a fine
background, a suitable stitch must be chosen;
e.g. running stitch would be difficult to pull
through, whereas a line of thick thread could
be couched with a thin thread. A stitch can also
vary by the selection of thread, e.g. two thick-
nesses of thread used in an area of seeding.
The needle of course is chosen in relation to
the thread and the fabric.
Colour
Colour is must be considered
very important. It
in relation to the texture, stitch and thread
used, to any other immediate colour and to the
embroidery as a whole. Sometimes thread or
stitchery is used to build up a movement or
area of colour as on page 73.

Preparing to embroider
Whether working hand or on a frame, the
in the
area has first be prepared. Sometimes the
to
background fabric is used alone, and sometimes
a backing (mull, fine cotton) is tacked on to
strengthen the surface. Photograph 10 shows
a completed embroidery still on the frame. Here
the two main preparations can be seen: firstly,
the tacking around the edge which gives the
final size of the work and the area in which to
work, with plenty of material left to attach the
work to the frame and also for mounting when
completed; secondly, applique and some stit-
chery which comes up to the edge of the work,
is taken over the tacking line; this will then Opposite
make a clean clear edge when the work is 10 Pink Sun and Flowers Panel by Christine
mounted later. Risley

24
25
Lacing Putting on to stretcher

Work from the middle outwards first one side :

then the other, turning in the corners

Mitre the corners and nail or staple the fabric

pulling it taut

Framing
When the work is completed, before mounting
Two methods of hanging
or framing, it often has to be stretched so that
it Hes flat. To stretch a piece of work, place
layers of blotting paper on a drawing board or
suitable table top, cover an area a little larger
than that of the work. There is no need to soak
the paper, just sprinkle water over the whole
surface: a washing-up liquid container filled
with water is ideal for the purpose. Lay the
work, face upwards, on the blotting paper. Put
drawing pins (thumb tacks) in on two adjacent
sides, making sure the grain of the background
fabric is kept straight and any puckering made
by the stitchery is stretched out. It is best to
stretch each side by placing the drawing
first
pin (thumb tack) in the centre of the side and
spacing the pins out towards each end; in this
way it is easier to control and correct the
stretching. Leave
dry slowly, away from
to
direct heat. When dry, the work can be laced
on to card or hardboard, stapled on to a
stretcher, or lined and backed and made up
into a hanging which can be suspended in
various ways from a rod.

26
Showing end being worked into back of stitches
when transparent fabric is used

A general attitude
Thread not through The correct use of stitchery is not easy. Taking
the fabric one simple stitch alone and trying it in various
threads and fabrics and colours could be a
never-ending series of permutations. Therefore
common and
sense a basic knowledge are
obviously tremendous aids for arriving quickly
at the desired effect. A few selected stitches are
as telling as, and often more so, than a whole
area merely covered in stitchery; the main rea-
son for this is that the spaces are used in the for-
mer to enhance the stitchery, and the latter
can possibly be over-worked so that the impact
is lost. However, whatever stitches are used, it

is essential that the design as a whole should

'read'.
It is important that it should be realised that
the illustrations in the book are only examples,
and should be treated as such. They are not
the only way to develop the basic stitchery, and
to copy them is of no real help. We do of course
When the fabric is transparent, the end is left learn from others, but it should be remembered
loose and it is worked into the back of the that it is the development which is important.

stitch later. In a piece of work you may deceive others but

not yourself, and an embroidery which has been
The usual way of starting and ending a stitch, done by you should, taken as a whole, be rec-
see page 29. ognisable as yours and yours alone.

27
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Begin and end all stitches with a back stitch:
here for example running stitch. Work a small
back stitch at the back (see pages 1 16 and 1 17)
and then bring the needle up to the front

a\
Stage 1 Pull up needle Stage 2

Stage 3 Put needle down Stage 4 Pull

=> C 3 c D
Stage 5 Bring needle up again for next stitch
Stage 6

Pull . . . and so on making

a running stitch

Please note, after this page the needle is shown as in B

'' ' r r r r r
r r r r
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12a Running stitch
-
b Brick filling stitch
*
c Double running stitch
'
d Seeding
 o a
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D D a

D c 3 C D C
J c 3 C
D C D C

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14 Brick filling stitch. Detail fi-om a cope de-
signed by architect George Pace, embroidered
13 Running stitch. Detail from a panel by by Mrs Ozane for Padgate church, Warrington,
Lies Guntenaar, Holland Lancashire

33
 i

15 Running stitch, also herringbone stitch.

Detail from a white open-work panel 24" x 17"
by Louise Whitehurst

Opposite
16 Running stitch, seeding, also couching and
the introduction of buttons. Detail from a
1
sampler 18" x 1 " by Katie Benn

(
 17a Couching, bokara
b Couching
c Couching, thread knotted
d Couching, thread
unravelled
e Couching, variation
f Couching, single chain
stitch

Wf • -

i^lT> «|l - g| .i||||J;.|(|

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iiik

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 ^^

2 Stage 1 Lay a thread Stage 2

3 Long thread knotted before hne is couched

down
4 Long thread unravelled before line is

couched down
5 A simple example of the variations which
can result from stitch 2

6 Stage 1

Lay a thread Stage 2 Stage 3

37
18 Couching. Detail from a panel 32" x32"
by Sheila Beatty
19 Couching. Detail from a panel 16"xl2"
by Sheila Beatty
 n- ^

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9^

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21 Couching, chain stitch single, also couch-

ing herringbone. Detail from a hanging 16' x 9'
20 Couching, also couching herringbone. De- by Anne Butler for Lownsley Green Methodist
tail from a sampler 9" x 6^" by Wendy Lees Church, Derbyshire 41
 22 a Cross stitch
b Cross stitch, couching
c Cross stitch, couching
variation
d Thorn stitch
e Ermine fiUing stitch

. i-fi '-^ ',•;

 Stage 2

Stage 2 Stage 3

2 Stage 1 Lay a thread 3 The same as stitch 2, except the cross is

shown smaller
4 The cross exaggerated to make a thorn stitch

Stage 3

Stage 2

43
23 Cross stitch, also chain stitch single and Opposite
stem stitch. Detail of a panel by Cath Goeting- 24 Thornstitch, also buttonhole stitch. De-
Stultiens, Holland, after a poem by Jacques tailfrom A Deep Sea Place 24" xl8" on white
Prevert Les fitranges fitrangers wool by Nik Krevitsky, USA

44
*'•
25 a Star filling stitch
b Cross stitch, double
c Woven wheel basis (star
stitch)
d Woven wheels, 3 types
 cC DD
r~.

B
G^ <^

1 Bring the needle up at A, down at B, up at

C, and so on

D^ A B

hC JG

2 Bring the needle up at A, down at B, up at

C, and so on

3 Basis for woven wheels

Bring the needle up at the letter and put
down in the centre.
Stitch 2 may also be used as a basis

4 Three woven wheel variations; thread is not

through the fabric

A
 Opposite
26 Half-star filling stitch, also running stitch 27 Woven wheels, also chain stitch twisted.
and running stitch threaded. Motif 6" x 10" on Detail from a panel 24" x 17" by Louise White-
tea cosy by child hurst

48

I
28 a Fly stitch, single
b Fly stitch, couching
c Wheat-ear stitch
d Tete-de-boeuf filUng
stitch
 ^

1 Stage 1 Stage 2

2 Couching, with a fly stitch single

3 Stage 1

Stage 2 Down the same hole

Stage 3

4 Two right angled stitches enclosing

a chain stitch 51
29 Fly stitch single, also back stitch threaded, Opposite
chain stitch and French knots. Detail from a 30 Fly stitch single; also running stitch, chain
sampler 14" x 12" by Maureen Hollywood stitch twisted, couching, chain stitch single,
Cretan stitch, french knots and chain band
52 raised. Detail from a panel by lone Dorrington
 \

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Pil
 U.>'. ' «

31 Fly stitch single, also herringbone stitch,

chain stitch broad, buttonhole stitch and back
stitch. Sampler 8"x8" by Valerie Castello

54
c

32 Fly stitch single, also beads. Detail from a

sampler 6 ^2 x 6 " by Wendy Lees
"

55
33 a Fern stitch
b Arrowhead stitch
c Wheat-ear stitch
\ rf^ Stage 3

Stage 2 Down the same hole

1 Stage 1
Down the same hole i

Stage 4 Stage 5

Up the same hole Down the same hole

Stage 2

Down and up the same hole Stage 3

Stage 2 Stage 4
^" Down the same hole
Stage 3

Down the same hole

Thread not through the fabric

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 opposite
34 Wheat-ear stitch, also cross stitch, herring-
bone stitch, running stitch threaded. Detail 35 Fern stitch, also seeding, French knots and
4 2
from a sampler 1 " x 1 " by Maureen Holly- running stitch. Detail from a sampler
wood
59
36 a, b Feather stitch, open
c Feather stitch
2 Stage 1 Stage 2
61
^- *

^ ^ 37 Feather stitch,
stitch, also thornstitch
wheat-ear
and Cretan
stitch. Detail from a panel by
lone Dorrington

Opposite
38 Feather stitch open, also
herringbone stitch and button-
hole stitch. Detail of a panel
IValk with a Cobra by Nik Kre-
vitsky, USA
• i'

in
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39 Feather stitch, also couching and seeding. 40 Feather stitch, also stem stitch, chain stitch
Detail from a small sampler 12" x 11 " piece of and cross stitch by Ann Sullivan, age 13
work by Jane Barker
65
;^'./,^s,%,V..

41 a Feather stitch, double

b Feather stitch, closed
c Knot stitch, double

.
t#^^*^W>2
 1 Stage 1 Stage 2

2 Stage 1 Stage 2

3 Stage 1 Stage 2 Thread not through the fabric Stage 3

 ^
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Opposite
43 Knot stitch double, also Cretan stitch,
herringbone stitch, chain stitch twisted and
42 Feather stitch double, also feather stitch. running stitch. Detail from a small panel by
Detail from a small panel by Isabelle Chapman Isabelle Chapman

68
46 a Chain stitch
b Chain stitch, back stitched
c Chain stitch, whipped
1 Stage 1 Down the same hole Stage 2 Down the same hole

2 Stage 1 = Stitch 1

Stage 2 Stage 3 Down the same hole

3 Stage 1 = Stitch 1

Stage 3 Thread not through the fabric

Stage 2 \Sryy Thread not through the fabric 71

Si^yi .V',ii.'^i*i^
 opposite
44 Chain stitch single, also French knots, 45 Chain stitch, also running stitch. Detail
cable stitch knotted, couching and cretan stitch. from a panel 18^" x 12^2 "
W
Diana Springall
Detail from a panel Sunflower by Brenda Holmes
47 Chain stitch single, also cable stitch Opposite
knotted, running stitch and french knots. De- 48 Chain stitch, Cretan stitch, also french
tail from a panel 23" x25" by Gloria Cook knots and running stitch. Detail from a panel
23" X 25" by Gloria Cook
49 a Chain stitch, twisted
b Coral stitch, zigzag
c Cable stitch, knotted
2 Stage 1 Stage 2

Stage 2 Thread not through the fabric

3 Stage 1 Stage 3
77
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'-t' ••-'ir*-^.^!sss?;*

:j *„ .
-N ' Mim
 opposite
50 Chain stitch and cable stitch
twisted 51 Chain stitch twisted and cable stitch

knotted, also knot stitch double and chain stitch. knotted, also couching and running stitch. De-
Detail from a small sampler 9V2"x7/4" by tail from a small sampler 434"x6" by Susan

Susan Wheildon Wheildon

52 Stem stitch, also chain stitch twisted and Opposite
couching. Detail from a small sampler 4%" x 53 Chain stitch twisted and cable stitch
4 14" by Isabelle Chapman knotted single, also couching and chain stitch.
Detail from a panel by Eirian Short
80
 /•'
':*
*i*i^
^'^

^''•:%

Vh.

'x^.
e/?^ * r ^ V '^

'^;?^'
 54 a Chain stitch, broad
b Chain stitch, open
c Chain double

^m
stitch,

?^

PSff

%B9
 Stage 2 Thread not through the fabric Stage 3

1 Stage 1

Stage 4 Thread not through the fabric Stage 5

li\im-iim»i»^'-
 opposite 56 Chain stitch broad, also herringbone
55 Chain stitch open, also french knots, stitch,buttonhole stitch, back stitch and run-
running stitch and cable stitch knotted. Detail ning stitch threaded. Sampler by Pauline Mor-
from a small panel by Isabelle Chapman gan, age 13
85
 57 a and 4
Basis for 2, 3
b Chain band, raised I
c Stem stitch band, raised
d Stem stitch band, raised
(reversed)

* « "^ f^ » r t
^W IP^ l-S » B "8

SK M n I

I, _.

r
I
'"•'Mil,. o;,Br «B V ^. _ .-
•;;-- ~J'^ 1" *,
r
 1 Basis

2 Stage 1 Basis as above

Stage 4

Stage 2 Stage 3 Thread not through the fabric

c 3 C D
Thread not through the fabric Thread not through the fabric

3 Stage 1 Basis as above

Stage 2 Stage 3

r /
I 1

/
1

1 1

Thread not through the fabric Thread not through the fabric

4 Reverse of stitch 3
58 Chain band raised, alsobeads and couch- Opposite
ing. Detail from a panel 16"xl6" by Anne 59 Stem stitch band raised (reversed). Detail
Butler, reproduced by courtesy of A.W.Rhodes from a panel by Helen Sampson

88
60 Stem stitch band raised, also couching and
herringbone stitch threaded. Detail from a
panel by Sheila Beatty
 / /'I rf' r r^,,'

w Mi

/'/V.:.

, , jn^VilWPfi

61 Half-chain band raised, Detail from a

panel by Helen Sampson
62 Chain band raised, also beads. Detail from Opposite
6 6
a panel 1 " x 1 " by Anne Butler, reproduced 63 Chain band raised. Detail from Bridge
by courtesy of K. Swindell Structure 14^4" X 26" by Valerie Tulloch

92
 h^-^

jMmi^^.
64 a Portuguese border stitch
b Sheaf filling stitch
 1 Stage 1 Basis (see diagram 1 page 87)
Stage 4

Thread not" through the fabric

Stage 2
c J
Thread not through the fabric

Thread not through the fabric

Stage 5

Position when working the other side

Thread not through the fabric

2 Stage 1 Basis

Stage 2 Thread not through the fabric Stage 3 95

65 Portuguese border
stitch, also runningstitch
and wooden beads. De-
from a small sampler
tail

by Isabelle Chapman

Opposite
66 Sheaf filling stitch,
also chain stitch twisted
and running stitch. De-
tail from a small panel

by Isabelle Chapman
 ^^Vi

IgU

vV H'.*^
67 a Chessboard filling stitch
b Basket filling stitch
c Ceylon stitch
 Stage 2 Stage 3
1 Stage 1 Basis

(see diagram 1 page 87)

Stage 4

2 Worked as Basis (Stitch 1) page 87

c D n

J U
3 Stage 1 Basis

Stage 2 Thread not through the fabric

 Opposite
68 Chessboard filling stitch, also beads. De- 69 Basket filling stitch, also couching. Detail
tail from a small panel by Isabelle Chapman fi-om a small panel by Isabelle Chapman

100
• • \i
 70 a Cloud filling stitch
b Fishbone stitch

«, >t >- . »* . ."

til I It
D

D
ODD
1 Stage 1 Stage 2
ODD
Thread not through the fabric

Stage 3 Thread not through the fabric

2 Stage 1

Stage 2

Stage 3

Stage 4
Bring the needle up at A next, then continue
* * • • » i *
I « k t ^
* i I • / -

* » ^%.,
 opposite 72 Fishbone stitch open, also herringbone
71 Cloud filling stitch, also couching. Detail stitchand running stitch. Detail fi-om a small
from a small sampler by Isabelle Chapman panel by Isabelle Chapman

105
e%i»j> 73 a
b
c
Cretan stitch
Herringbone stitch
Herringbone stitch,
threaded
d Herringbone stitch, tied
3 Stage 1 Stitch 2 Stage 2 Thread not through the fabric

4 Stage 1 Stitch 2

Stage 2 Thread not through the fabric 107

 «
<*|. «»<•» * M^mi-m-^-f^ • *
_f
•l^ m^mS %^ j

«. I >l A I
<Jil- a • • Ji

! •« Ai
» • •t
,.«%• •-
3lr *. •• »»
;M • 6 »A
(U5 \* * * «
^ m •I

7. * • • • <

.-. « « ». • <

%.* AJi *.• >

*;•.> a I

^lk.Ak « 1
^«( fa »• *<
tl» * »- •

i. « •

r«jv •..« I

.^if!>^ I*
Lf.
»• a«
m.m9
•
m. * «..«

f* «
» • •»

*-»'•.!
' » I f I
»-» »-» ».4
• *
• » » 1

*•••-'•'<..
it • « < «^
^f jt

«• .
•» • lU* a.« fc^j
I

J*2
"-^ • « «^ iC^ >!«.*.,.* ^

' "^ --» a « m-M • • ».* «^ «i ,

,'* • • «Ji_ K * • R s^ » 4 » » I
, %• »^

>»»».«r

«*-a«j»«.a^H ^*«Vj^^
JjM f - > • AJr**^ .>« ^^jifr
T3** *-* •••••• ••••• fc-^ m-
'^mm.M m ». a.mm ••l* aJT
\W» «-A'» m mm mm «*T''
.j>-«6.* m^ •«.* •-* MLnt

«.. »r-i
..a • m ^ m m »m «k« \
^^•« *-•••* ••1* /
/i>«a« «««««• IK*
kl^ I « •-« •. a a ai * w
u.i'ia.
, < f 4k. «- c-ai « IL* k> <ir
• >4Li*« ft.««4»««a ft
 opposite
74 Herringbone stitch threaded. Detail from 75 Herringbone stitch, detail from panel
^
a sampler 1 14 " x 1 3 " by Wendy Lees by Cath Goeting-Stultiens, Holland
Petrouschka

109
^IM '7i-^*<

I e

:> ' -i

,r»fK

r^iTxi'jalflT
w ' »'. •»-

'^^V

:'>*".
l>ij^
 ••^tia ««• tlllll«VI<i

Opposite 77 Herringbone stitch, also couching herring-

76 Herringbone stitch, also Cretan stitch, bone and couching. Detail from a sampler 9" x
French knots and feather stitch. Detail from a 6V2 by Wendy Lees
"

panel by Jane Wood 111

 , ,

* 1 « - - — u « , , , ,
1 •
« V I * V * » » t ,

78 a Buttonhole stitch
b Buttonhole stitch, closed
c Stem stitch
d Stem stitch, different
angle
e Stem stitch, whipped

;
..'i

f f I I •; .# », I It i .S I. lis I F; ^ a I ¥.
'i l"i|::C
it » I I ! I I I - - - • - - - r f I I • , III
m
'11^ n '• t .|..#. »,. t . . .
^ . ^ r: fil |, f i^ > rut gig
\

f
t V n I k
11 i i I
-• 4; »'
»'• .'- "» -
m m
im ,» ' .
•

- I

, .
>
* c. •«' 'II I .' R r

« « i I 1 I

I I

yi ^^-^'?^£^-i^|^
<j|^4

|<%4*|>>| i4 i' *i'<* ' i'

4

•*ff^»pnr4
4 To obtain, a broader line

5 Stage 1 Stitch 3 Stage 2 Thread not through the fabric

 opposite
79 Buttonhole stitch closed, also feather stitch 80 Stem stitch, also couching. Detail from a
and cross stitch. Detail from a small panel panel Krone by Eira Ahola, Germany
14" X 17" by Isobel Jones
115
 81 a Back stitch
b Back stitch, reverse side
c Back stitch, threaded
d Pekinese stitch

»*r f^-9 fry. ^-

i-t^'^n ^^i
^m»T

'

iihatl'-^ -^j( '^^

^A «<i& ^.^ *« »
,tf^ -Mi» -^ti, -*^ ..air --IMW
-triH, -«Nir;'iia -utt ,«B|H1«»>-«BWT^i»-w
««4^
.«li t^ f«**r l^* <•• «.i*r >* ^ -^..U .'
^Ww
U^ - '
'

iU
-^^^m *<PH^fc ""^"
1 Down the same hole

D( )

2 Reverse side of stitch 1

3 Stage 1 Stitch 1

^^ Stage 2
"^^
Thread not through the fabric

^
Stage 3 Thread not through the
^^
fabric

4 Stage 1 Stitch 1

Stage 2 Thread not through the fabric

117
 WJWm

82 Back stitch threaded, also chain stitch, Opposite

running stitch and beads. Small panel 11 " x 10" 83 Pekinese stitch, also couching. Detail from
by Sarah Cook, age 9 Just Rust a panel 15" x 20" by Isobel Jones

118
 • <• ^< ^

84 a French knot
b Bullion knot

^ i%% •vi, .-«/*

 1 Stage 1 Stage 2

Hold here with thumb and first finger of left hand

Hold here with thumb and Pull the stitch flush with the fabric
first finger of left hand and then pull the needle through

To make a thicker knot

use a thicker thread

Hold and guide point of needle with thumb and

finger of left hand
first

2 Stage 1 Use a thick needle which has a Stage 2 Twist on needle

narrow eye »

n
\:ss5^

Stage 3 121
85 French knots, also couching and the intro- Opposite
duction of fur, seeds and bark. Detail from a 86 French knots, chain stitch twisted and
small panel by lone Dorrington beadwork. Detail from dress embroidery by
Isabelle Chapman
122
^ /."",'#.
W , W\

^i^ %

%^
87 French knots in different types of threads Opposite
by Isabelle Chapman 88 BuUion knots, also chain stitch twisted,
Cretan stitch, stem stitch, running stitch and
124 beading. Detail from a panel 3^"x6^"by
Diana Springall
^,-^,
^-'^:^

>iS»M>l

kV

*«»• 'h

I A
.si> ..
 Index to stitches

Numerals refer to illustration numbers

Arrowhead 33 b

Back 11a, b, 31, 35, 56, 81 a, b, c

thread 29, 82
Basket fining67b, 69
Bokara couching 17a
Broad chain 31, 54 a, 56
Brick fining 12b, 14
Bullion knots 84 b, 88, 89
Buttonhole 24, 31, 38, 56, 78 a
closed 78 b, 79

Cable knotted 44, 47, 49c, 50, 51, 53, 55

Ceylon 67 c
Chain 29, 40, 45, 46 a, 48, 50, 53, 82, 89
back stitched 46 b
band raised 57 a, 58, 62, 63
broad 31, 54a, 56
double 54 c
half band raised 61
open 54 b, 55
single 21, 23, 44, 47
twisted 27, 35, 43, 49a, 50, 51, 52, 53, 66, 86,
88, 89
Opposite whipped 46 c
89 Bullion knots, also chain stitch twisted, Chessboard filling 67 a, 68
chain stitch and herringbone stitch. Detail from Cloud filling 70a, 71
child's dress by Susan Legg Coral 49 b

127
Couching 16, 17b, 18, 19, 20, 21, 39, 44, 51, 52, Herringbone 15, 31, 34, 38, 43, 56, 72, 73 b, 76,
53, 58, 60, 63, 65, 69, 71, 77, 80, 83, 85 89
bokara 17a couching 20, 21, 77
cross 17 b, c threaded 60, 73 c
fly 28b tied 73 d
herringbone 20, 21, 77
single chain 17f Knot double 41c, 43, 50
thread knotted 17c Knotted cable 44, 47, 49 c, 50, 51, 53, 55
thread unravelled 17d Knotted thread, couching 17c
variation 17e
Cretan 37, 43, 44, 48, 63, 73a, 76, 88 Pekinese 81d, 83
Cross 22 a, 23, 34, 40, 79 Portuguese border 64 a, 65
couching 22 b
Raised, chain band 57b, 58, 62, 63
couching variation 22 c
stem stitch band 57c, d, 59, 60
double 25 b
Running 1 1, c, d, e, 12 a, 13, 15, 16, 26, 43, 45,

47, 48, 51, 55, 66, 71, 72, 75, 76, 82, 88
Ermine filling 22 e
double 12c
thread 26, 34, 56, 74
Feather 36c, 37, 39, 40, 42, 76, 79
closed 41
Seeding 12d, 16, 39
double 41 a, 42
Sheaf filling 64 b, 66
open 36 a, b, 38
Star filling 25 b, 26
Fern 33 a, 35
Stem 23, 40, 52, 78 c, 80, 88
Filling
band, raised 57 c, d, 59, 60
basket 67 b, 69
whipped 78 e
brick 12 b, 14
chessboard 67 a, 68 Tete-de-bocuf 28d
cloud 70 a, 71 Thorn 22 d, 24, 37
ermine 22 e
sheaf 64 b Threaded back stitch 29, 82
star 25 a, 26 Threaded herringbone 60, 73 c
tete-de-boeuf 28d Tied herringbone 73 d
Fishbone 70 b Twisted chain 27, 35, 43, 49a, 50, 51, 52, 53,
open 72 66, 86, 88, 89
Fly, single 28 a, 29, 31, 32 Wheat-ear 28c, 33 c, 34, 37
couching 28 b Whipped chain 46 c
French knots 29, 44, 47, 48, 55, 76, 84a, 85, 86, stem 78 e
87 Woven wheel 25c, d, 27, 35

128
 BOSTON PUBLIC LIBRARY

3 9999 00769 027 2

TTTU

he
i Libraify.
Sale c

Boston Public Library

CODMAN SQUARE
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Dorchester 02124

The Date Due Card in the pocket indi-

cates the date on or before which this
book should be returned to the Library.
Please do not remove cards from this

pocket.
THE AUTHOR: Anne Butler, author

of Teaching Children Embroidery, is a

teacher in the Embroidery Department
of the Goldsmiths' College, School of
Art, London.

Frederick A. Praeger, Publishers

New York Washington

Printed in Denmark
s

\
\