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Home , Crewel embroidery, Embroidery thread, Ribbon work, Straight stitch

machines are the fastest of all the machines that provides us with beautiful embroidery goods. It is the computer based machine that can complete more than 1000 stitches in a minute. Introduction of such tools has reduced the work of the workers who generally took a lot of time in embroidery on cloths. Different types of equipments usually have different types of speed. It depends on you that which one will fulfill your purpose of buying it. One such machine that is noted for its highest speed is the Tajima embroidery machine.

These machines of different forms, shapes and size are available in the market. Some of the them consist of manual operation to create designs on the fabrics and on some other materials. These types of tools are mainly used for the are and different types of embroidery projects. The homeowners can purchase those that are portable as well as only used for embroidery. The combination of it can perform both sewing and embroidery and are mainly used by the . Another type of machine that is used for the commercial purpose is the Commercial ones. It actually includes several needles and the best part of it is that before starting the work several colors can be threaded that also save lots of time. All these features are also available in Tajima embroidery machine which is one of the popular machine manufacturing company.

The software programs that are used in it are commercial software, machine specific software, independent vendor software and independent designer software. The market prices of them ranges between 500 to 600 dollars. Some of them are even capable of resizing, editing and creating patterns. So before you buy one of these it is very important that you check all the features and whether they are working properly or not.

The author has a great knowledge about all types of embroidery machines. He is the first to write article about these machines. For more information visit these sites: tajima embroidery machine and barudan embroidery machines.

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Article Source: http://EzineArticles.com/5243080 Types of Embroidery Stitches An embroidery is a technique executed in a particular manner, to form a figure or a on a fabric. The article throws light on the different styles and types of embroidery stitches.

Ads by Google EmbLibrary Designs emblibrary.com is the best source for creative & crafty emb. designs! www.emblibrary.com Kids Embroidery Designs NEW Old MacDonald's Farm Great fun quality children designs www.sewswell.com Metal Stitching Cast iron mechanical repair without welding www.locknstitch.com A stitch is defined as the periodic movement of a from the back of the fabric to the front side and then back again. The stroke formed at the front side of the fabric is also known as a stitch. Embroidery patterns are formed by practicing many embroidery stitches in the same or different style, by following a counting chart on paper or even by working freehand.

There are two ways to do embroidery stitches efficiently and neatly: hand-sewing method and stab or maggam work. In the hand-sewing method, the needle is inserted into the fabric, brought to the surface of the fabric and the thread is pulled through. It can be performed by using an embroidery frame or free- hand. The frame makes the work more simpler and helps in inserting the needle without stretching the fabric too much. The stab method is more common in India and is also known as 'Aari' work. It is like a in which the needle is put into the cloth at an angle of 90 degrees and then the thread is pulled through. It can also be performed using a frame or a hoop.

Types of Embroidery Stitches

Embroidery uses different variations of stitches. Each stitch has a particular name to help identify it. The stitches are generally simple to execute, however, when combined together the results can be unique and complex.

y Back stitch is commonly used to draft an area of a design. It works along one side of a square or diagonally across the square in an encircling motion. These stitches are normally worked last with a finer thread. Stem stitch, split stitch and crewel stitch are some examples of a back stitch. y stitch or , holds the loop of the thread on the surface of the cloth. In this, the needle doesn't return to the actual hole to pass back through the cloth. The stitches are tightly packed which prevent the raveling of the woven fabric. It forms the basis for a varieties of needle . Crossed , closed buttonhole stitch and 's buttonhole stitch, are some common examples of the buttonhole stitch. y passes through the fabric in a simple up and down motion, in which the needle is brought through the fabric at one end and returned from the wrong side at the opposite end of the stitch. The thread has to be pulled carefully, so that it shouldn't pucker or distort the work. Simple , algerian eye stitch, fern stitch, running or blasting stitch, are some popular types of straight stitches. y Chain stitch is the easiest of all the looped stitches, in which the needle is brought through the fabric at one end of the stitch and is inserted back into the fabric at the same point. Then, again the needle is brought back up at the polar end of the stitch. To complete and secure the row, the needle is taken to the wrong side over the loop from where it came through. Lazy daisy stitch, Spanish chain or zig-zag chain, are some examples of the chain stitch. y Cross stitch is done by forming a line of diagonal stitches in one direction by using the wrap and weft of the fabric and while coming back crossing the diagonal in the opposite direction, forming an 'x'. Breton stitch, sprat's head stitch and herringbone stitch are some types of the cross stitch.

These were just few out of the many different types of embroidery stitches. Stitches are used for basic sewing or decorative purposes. By slightly altering the stitching style, a completely different look can be achieved. Zardosi Embroidery zardosi is the oldest form of done in India. Its existence is from mughal age. Many types of embroideries have lost there identities in this designer world but zardosi is an form of embroidery which always attracts the designers and manufacturers. Indian women still loves her zardosi saree and consider it to be the most important attire in her wardrobe for functions and occasions.

Zardosi is a form of embroidery done by golden metal wires. For this form, embroidery saree is first tucked in a frame an then number of "kaarigars" design beautiful intricate patterns on the fabric through metal threads. This is an very timetaking and hard work. Zardosi sarees are not only famous in India but it has a vast demand in countries outside India too.

Indian has made its place in the world and been considered as one among the beautiful embroidery styles including Chickan, Kashmiri, Gujrati and Sindhi embroideries. It is one of the most expensive types of embroidery because not only is the fabric and the material used expensive but also the labourers follow a system of wages on hourly basis. Even though zari work is very expensive, the beauty, the glamour and versatility have made it the most widely used embroidery all over the world. The labour is cheap in India when compared to other parts of the world.

Most common patterns done by the Karigars are mangoes, flowersand leaf patterns.

Zari Embroidery

Zari is the metallic , made of pure silver. Originally, zari was manufactured in Yeola; Surat now being another zari-producing center. Initially, zari used in making Paithani was drawn from pure gold. However, silver is the affordable substitute today.

Zari is a type of thread made of fine gold or silver wire used in traditional Indian and Pakistani garments. This thread is woven into fabrics, primarily made of to create intricate patterns. It is believed this tradition started during the Mughal period. Zari is also a method of traditional in Iran. Zari is the main material in most silk sarees and ghararas. It is also used in other garments made of silk, like skirts, tops and vettis.

Bead Embroidery

Bead embroidery can be one of the most expressive, most satisfying methods of you will do. It's like painting with beads; forms create themselves, patterns flow and the beads know where they want to be. It is almost subconscious, you will be surprised at how it evolves. From century old traditions to the modern world culture, the style of beaded embroidery has evolved from simple designs to creatively sewn beaded techniques. The need to beautify both garments as well as household objects with precious and semi precious stones and glass beads has made this embroidery very popular not onlyin India but the western world as well. In India special bead work embroidery of the states of Gujarat and Rajasthan are very famous.

Types of Beads Used

* Glass Beads

* Wooden Beads

* Metallic Beads

* Plastic Beads

Aari Embroidery Work

Aari embroidery is done primarily by the Muslim cobbler community in India. The designs are of Mughal origin since the art was at one time patronized by them. By using subtle gradations of color the figures and motifs in the designs can be highly representational. Aari at times is also called zari work. The zari thread or the metallic thread if quite commonly used in this style of embroidery. It is done with colored thread as well using color gradations to make the motifs and figures highly representational.

Mirror Work for Embroidery

Mirror work is the art of stitching mirrors on to the fabric in a variety of designs. Mirrors of different shapes (Square, Diamond, Round etc) and sizes are used for Mirror work. Mirror work can be done on any fabric in sarees, blouse pieces, skirts etc. After fixing the mirror you can stitch beads around to make it more attractive. Sequence is a plastic silver coated material available in different shapes and size. This is also used instead of mirrors. Materials Required for Mirror Work

Mirrors or sequence of desired shapes & sizes Needle There are different ways of fixing mirrors of different shapes to the fabric. Two or three strands of thread are taken to fix mirrors or sequence.

Chicken Embroidery Work

Chicken Work is almost similar to Shadow work. Like Shadow work, Closed Herring Bone stitches are done on the wrong side of the fabric but the stitches are not done as perfectly as in Shadow work.

In chicken Work, stitching is always done with white rough thread and the fabrics used is thicker than those used for Shadow Work - usually cotton. Though both follow the same stitch they have a totally different appearance. (For Herring Bone stitches refer Shadow work.)

Kantha Embroidery Work

Kantha is basically close running stitch filled inside a design. Though the work is simple, the final appearance is beautiful. Different shades of thread; double shade or single shades can be used aesthetically according to your taste.

Patchwork

Patchwork in different shapes and size appear on many early American . Even today it is a fashion.This particular one is based on the eight-point Lone Star design. It will brighten your sitting room or study room. If you are using simple patchwork, plan your design on a paper with pencils before beginning your work.

Sequins Embroidery Work

Sequins are disk shaped beads used for decorative purposes. They are available in a wide variety of colors and geometrical shapes. Sequins are commonly used on clothing, jewelry, bags and other accessories.

Resham Embroidery Work

Resham work is where silk threads are used to hand embroidery

Kundan Embroidery Work

Kundan work is essentially Indian and it was brought to Rajasthan from Delhi during the Mughal period. Craftsmen from all over the country came to Jaipur, Bikaner, Udaipur and Jodhpur, under the patronage of royal houses. Numerous royal houses from Rajasthan, encouraged and patronized craftsmen to create exquisite kundan work on silver and gold. The entire technique of Kundankari lies in the skillful setting of gems and stones in gold, which is rarely solid.

Chikankari Embroidery Work

Chikankari was nurtured in Uttar Pradesh and primarily in Lucknow. The work is done on very fine muslin and now on georgette and chiffon and other fine fabrics. It is more suited for the outerwear but these days there are certain exclusive creations using work in Cushion covers, pillow covers and table . Partition curtains with the chikan embroidery are fast gaining ground.

Phulkari Embroidery Work

The traditional Punjabi embroidery art is phulkari. The pulkari word means growing flowers. This embroidery form, true to its name includes only floral motifs in bright colors. There is sanctity to the art form as the canopy over Guru Granth Sahib, the religious book of the Sikhs is of phulkari.

The phulkari with very intricate floral patterns is called Bagh that means garden. It is primarily used on the odhanies and dupattas. It is considered auspecious for the bride and for the new born. It is worn on ceremonies. Phulkari for some time now is being used in home furnishings specially wall hangings, sofa throws and other soft furnishings

Kashmiri Embroidery or Kashida

Kashmiri embroidery or kashida is colorful and beautiful as Kashmir itself. Embroiders often draw inspiration from the beautiful nature around. The colors the motifsof flowers, creepers and chinar leaves, mango etc. are the most common ones. The whole pattern is created using one or two styles.

How do I transfer my embroidery design to my fabric?

There are lots of different ways to get your design on fabric, and it seems each stitcher has a favorite way. Here are some popular choices:

y Tracing: Using a light box or a sunny window, tape your design down, and then tape your fabric over it, making sure the fabric is square (on the ). Use either a fine-lined permanent pen, a water-soluble pen (or pencil), or a light touch with a regular pencil to trace the design. Don͛t use sketch strokes while you trace ʹ use a smooth continuous line. Some pens I͛ve used successfully for tracing include the Sakura Micron Art Pen (which is permanent on paper but the company does not recommend it for fabric that will be washed) and the Papermate Ultra-Flair (it͛s water soluble and washes out well). My go-to instruments for tracing are mechanical pencils and the Micron pens. I͛ve also had good success with the Martha Stewart Crafts writing pen, which is permanent and archival, in the color ͞moonstone͟ (a gold-ish tan). y Carbon: Buy a package of dressmaker͛s carbon from your local fabric shop. Dressmaker͛s carbon comes in small packages with about 5 colors of carbon in each package. The ͞carbon͟ is not really carbon ʹ it͛s a graphite-free, wax-free transfer stuff that works like old-fashioned carbon paper. Put your fabric on a hard, smooth surface (I would tape it down to keep it from moving), decide where you want your design and tape your carbon onto the fabric, and then tape your design above the carbon. Using a stylus or a old ball point pen and a firm, steady stroke, carefully trace over the lines of your design. Again, don͛t sketch ʹ draw in long, continuous lines. There͛s also a specific brand of this kind of transfer paper called Saral Wax-free Transfer Paper that works well, is sold in larger sheets & rolls, and that won͛t set if ironed. y Iron-on Transfer: You can buy designs as iron-on transfers and follow the manufacturer͛s instructions for ironing the design onto your fabric. There are lots of popular options available for iron-ons. You can also purchase books of iron-on transfers for embroidery (that͛s a link to my review of a few), or sets of iron-ons from more obscure (but good quality) manufacturers, such as these iron-ons from Mani di Fata or these iron-ons from Mains et Merveilles. If you like the vintage-style designs that are popular today, you can try Aunt Martha͛s Iron-On Patterns (a link to my resource review). Another option is to purchase an iron-on transfer pen or pencil and try your hand with one of those. They͛re available through various sewing / craft stores online. Here͛s a brief tutorial on making your own design transfer and using an iron-on pen or pencil. y Prick and Pounce: This is a more complicated process, but it works well on dark fabrics, fabrics with a pile (like or velveteen), and for larger, complex projects that will be set up and worked on for a while. Here͛s a tutorial on using the prick and pounce method to transfer an embroidery design. I also used this method on my Agnus Dei project, and I was really glad I did! y Ink-Jet Printer: There are a couple options here. Lisa Tressler wrote a guest post here on Needle ͚n Thread, on using silk gauze and an ink-jet printer to transfer embroidery designs. Others I know use their ink-jet printers directly. Using a fine (usually vector) graphic image, they print the image directly on their fabric, taping the fabric to regular computer paper (or ironing it to freezer paper) and running it through the printer. This works best with a printer that spits the piece out the back, without rolling it around the rollers and back out the front. And of course, the fabric and design size have to fit the printer. y Water Soluble Stabilizer: Did you know you can use a water-soluble stabilizer on top of your fabric, and stitch through the stabilizer and fabric, then rinse away the stabilizer? A while ago, I wrote a two-part tutorial / experiment on using Solvy. Here͛s Part I and here͛s Part II. It͛s not my personal favorite as far as transferring goes, probably because I just don͛t like stitching through something that feels like plastic. But it does work. Obviously, you have to make sure you͛re stitching on something washable ʹ and that your threads are colorfast! y Transfer Mesh: I haven͛t tried this stuff, but Clover makes a product called ͞transfer mesh͟ that͛s used in , and has been recommended for embroidery design transfer. I intend to try it eventually, if I can get my hands on some, just to review it and see how it works. I͛m a little skeptical that it would work for very detailed embroidery designs, but I would imagine that it would work ok for larger, bolder designs. I͛m willing to eat my words on either of those statements ʹ like I said, I haven͛t tried it yet! This is what transfer meshlooks like and how you use it. I͛ve never personally ordered from that site site, but it has a good photo of the actual mesh. y Tissue Paper & Tacking Stitches: Though time consuming, this process works well, especially if you are very concerned about leaving any kinds of transfer marks on your fabric, or if you͛re stitching on a fabric that doesn͛t take any of the above transfer methods well. Simply trace your design on tissue paper, arrange the tissue paper on your fabric where you want the design, baste around the outside of the design to secure the tissue paper in place (using regular sewing thread and a fine needle), and then use small ͞tacking͟ stitches (running stitch, or plain sewing stitch), stitch over the lines of your design. Use small stitches, relatively close, on finer, detailed parts of the design. Here͛s my photo tutorial for using tissue paper and tacking stitches to transfer a design. Again, it͛s a bit more time and labor intensive, because you͛re stitching twice, but it always works! y Stitch or Transfer from the Back: I͛ve used this method successfully before on pieces made from ͞dressy͟ fabrics that were dark, but that allowed light through, like this embroidered pouch for altar . I traced the design on the in very dark ink, then basted the interfacing and the front ground fabric together, then mounted them on a frame. Putting a light behind the embroidery, I was able to see the design lines well enough to stitch. This worked well with that particular moiré silk, because the light from the back shone through it and the light interfacing. If you͛re using a heavier fabric, you can draw the design on the fabric, and then stitch little ͞tacking͟ or running stitches in light thread from the back, following the design. The design will then be on the front in the light stitches, which you can then stitch over and hide, or snip out as you go. Like the and tacking stitches above, this is another method that always works. Just remember that on fine, detailed parts of your design, you have to use small stitches.

I hope some of these tips are helpful! What about you? What are your favorite methods of transferring designs? Any particular one that has been a No-Fail option for you over the years? Any method that I missed that you¶d like to add to the list? Do leave a comment below to help out your fellow stitchers!

: : Developing a Spot Selecting Colors Developing a Spot Sampler Fabric Set-Up Tags: beginner embroidery, embroidery resources, embroidery tips and tricks

y Playing Around with Transfer-Eze... (December 23, 2010) y French Knot Video Updated... (November 9, 2010) y Cretan Stitch ʹ Close it Up!... (November 3, 2010)

TOOLS N EQUIPMENTS

Although embroidery doesn't have to be an expensive hobby, for those of us who get serious about our crafting there are certain techniques and equipment which help us embroider faster or fancier. Laying Tools. When you work with multiple plies on a single needle, you'll need to keep the threads parallel, not twisted, as you stitch. (This is called "laying" the thread.) A variety of laying tools will help you achieve this. The simplest is a large tapestry needle or bodkin. Others specifically designed as laying tools include a stroking tool (also known as a tekobari); one end resembles an awl or stiletto, and the other end is square to prevent it from slipping from your fingers. A trolley needle has a point like a tapestry needle affixed to a metal band that fits on the end of your finger.

Pincushions. are useful for stowing threaded needles if you must change colors often. Pincushions come in a variety of sizes and styles; select one that fits in your stitching bag or basket. Many stitchers like to make their own personalized models.

Many manufactured pincushions come with an emery, which looks like a very small filled with a gritty, sand-like material which keeps needles clean and sharp.

Needlebook or . With "pages" of soft fabric, a needlebook keeps your and needles protected (and protects you from the needles, too) and organized. Each "open page" is designed to store a particular needle type in a range of sizes. As with pincushions, this is an item you can make yourself to show off your stitching talents.

Many stitchers like to store their needles in , which may be narrow and cylindrical or large and box-like; some of the latter have magnets to keep needles in place.

Thread Palette. These plastic wood or paper palettes have a series of holes along the edges to hold individual colors of threads, which you attach using half-hitch knots.

Thread Organizer. There are many products on the market for storing and identifying threads you accumulate. One of the simplest is small individual plastic bags held together on a metal binder ring. Storage boxes such as those used for hardware and fishing lurs work well for thread wound on . On the other end are wooden boxes or chests that resemble fine furniture.

Ruler and . Clear plastic rulers calibrated in inches are invaluable and come in a 6" length that fits easily into a stitching bag. For measuring a larger area, a tape measure is useful and takes up little space. Thumbtacks and Puller. Use these to attach fabric to stretcher bars. (Don't use staples to attach embroidery fabric; you'll risk pulling one of the fine threads and spoiling the appearance of the fabric.

Drafting Tape. This tape is less sticky than regular masking tape and helps keep your cleaner. Use it for taping the edges of your fabric before mounting it in a stitching frame. Find it at art supply stores.

Lighting and Magnification. Both your eyesight and your needlework deserve optimal lighting. Choose a light that directs a circle (not a spotlight) of light onto your entire stitching surface. Floor lamps and swivel-arm table lamps (such as an architect's light) are good choices. To avoid casting shadows over the work surface, right-handers will benefit from a light directed over the left shoulder, left-handers from the right.

For very fine work you may want to use a lamp that has a magnifier attached. Other possibilities include magnifiers that hang around the neck, attach to your eyeglasses, or are worn atop the head.

Embellishments. Small, decorative accents give your embroidery beauty, whimsy, and individuality. Look for , beads, and charms at your local needlework shop, catalogs, consumer shows or online. Find them also in embroidery kits, often as the focus of a design theme.

Hand embroidery is an exciting hobby. An easy way to get started is with embroidery kits. You can buy them as well as any embroidery supplies online here. These kits make it easy for beginners to get started and also make excellent gifts. Sometimes giving your project to someone as a gift is a great incentive to finish a first project. You can find out more at the links above.

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Embroidery materials, especially during the Victorian era, were not restricted to silk and floss. These materials included beads, baubles, ribbons or anything else that could be attached to fabric in an attractive way. Of course, and flosses, as well as , were the most common of materials used.

In the late 1800's and early 1900's, silk was used more often than cotton floss for embroidery. The reason for this was that silk held color better than floss. Very few flosses were colorfast and when it became wet would "bleed," ruining the embroidery piece. Good silk was easily obtained, came in many colors, and held its beauty longer, therefore becoming a favorite embroidery material of embroiderers.

Embroiderers, at that time, were being offered new and improved embroidery materials at a fast and furious pace. Those who used these products became confused about which product was best for what project. It became clear to the manufacturers that, although they made available a wide variety of embroidery materials, giving suggestions for uses of their product would increase sales.

Soon manufacturers were printing books on embroidery and other fancy needlework. These books not only provided illustrations and instruction on needlework, they provided the "proper" item on which to use a specific type silk, floss or other embroidery material. Ladies found it easy to purchase items from these books feeling confident their final product would be a success as they were using the correct embroidery material for the correct project. Manufacturers, of course, promoted the use of their good silks profusely throughout the book they published.

To help embroiderers become knowledgeable about the different types of silks, flosses and other embroidery materials available and the best uses of each, one could find pages filled with descriptions of each silk or floss and the best uses for each.

The following information is typical of what you would find in manufacturers' needlework books in Victorian times.

Embroidery Silks and Flosses The particular thread to be selected depends largely on the character of the work and the artistic effects to be produced. It is our intention to describe these different embroidery threads, and to enumerate some of the ways in which they may be used to the best advantage. "Asiatic" Filo Selle Sometimes called "ASIATIC" FILO, is superior to any silk in the world for solid embroidery and fine outline work. It is finer than any other thread and for this reason gives a larger range to the skillful worker to produce the most harmonious shadings and artistic effects. It is especially adapted for floral designs on linen and is unsurpassed for working table linen.

"Asiatic Roman" Floss Similar to Filo in twist, but a much heavier thread. It covers the ground more rapidly. It also is used for solid embroidery and outline work, but on heavier fabrics. It is a splendid thread .for finishing the edges of linens and similar fabrics where a brilliant and lustrous effect is

"Asiatic Caspian" Floss This silk is especially designed for finishing the edges of linens and is at present more widely used than any other thread for scallop work on doilies and centerpieces. It is dyed in many plain colors and also in eight shaded colors; in fact it is the only one of Brainerd & Armstrong's collection that was dyed in shaded colors. It is not intended for solid work like the Filo and "Roman," but can be used effectively for outlining and cross stitching.

"Asiatic" Twisted Embroidery Thread A thread that is harder twisted than any yet mentioned. Its tight twist makes it very durable, and it is a popular thread for general embroidery. It is most used for scallop work until introduction of "Caspian" Floss.

"Asiatic" Silk A large, loosely twisted silk. It is used for bold designs in outline or solid embroidery on heavy material.

"Asiatic" Mountmellick Silk This is a hard twisted thread specially designed for Mountmellick Work. It is furnished in four sizes: F, FF, G and H, finest to coarsest in the order named. Size FF is about the size of Twisted Embroidery Silk. Mountmellick Silk is dyed in White only. For Mountmellick Work in colors, Twisted Embroidery Silk is used.

"Asiatic" Art Rope Silk Similar to Rope, but a trifle harder twisted.

"Asiatic" Outline Embroidery A desirable twisted thread, finer and harder twisted than the Twisted Embroidery Silk mention above. It is used for outline and buttonhole work, on fine quality linen or other fine fabrics.

"Asiatic" Honiton Lace Silk A thread somewhat like the one preceding but of a peculiar twist designed for Honiton Lace Work.

Insure the permanency of your work by using good silk embroidery threads.

The following is more "generic" information that Victorian women received in regards to choosing the correct embroidery materials with which to use to embroider. Unlike those listed above, these are not spouting the excellence of a specific brand. Other embroidery materials to consider are:

Crewels is a strong twisted woolen yarn, not at all like zephyr, but finer and firmer. The English crewels come in lovely soft shades, which blend beautifully.

Zephyr is a soft twisted woolen yarn used on canvas worked in cross-stitch.

Tapestry Wool is an English thread, larger than the crewel, but with the same firm twist; it is used on heavy linens, tapestry cloths and friezes. It comes in dull art tones, and is much affected by the Art Societies.

Arrasenes, both silk and wool, have been very popular and are still employed in some kinds of embroidery. It resembles a very narrow piece of silk which has been ravelled out on both sides, having one thread left in the center.

Chenille is a velvety-looking round thread, made in two sizes, large and small.

Smyrnasene is a coarse, round thread, resembling chenille, but having a rough, fuzzy surface; used sometimes to work thistle leaves and begonia foliage.

Ribbosene is a narrow, crinkled ribbon, used in the needle in the, same manner as arrasene. No blending of shades is possible with this material. We will speak further of the method of using ribbosene under the heading of ribbon work.

Feathersene is a thread much resembling arrasene, except that the silk has been ravelled only on one edge, and the remaining threads have been left on the opposite edge instead of in the center. It is designed to sew around the outline of designs, and is not used in the needle. It is very perishable, and should not be employed upon articles that are for use rather than ornament.

Embroidery Cotton is used for French embroidery upon linens and , and for initials. It comes in various colors, but red and white are the only ones recommended.

Embroidery Wash Silks, made in four sizes, as follows: Etching Silk, very fine, with a firm twist. Wash twist, larger than etching silk, out with the same twist. Filo Floss, a soft, untwisted, fine silk. Royal Floss, a soft silk resembling filo floss, but about twice as large. Rope Silk, the largest size of silk to be used in the needle, has a slight twist.

Couching Silk is a large, cord-like silk, but with a soft, loose twist; it is used for around outlines, etc.

Art Cord is a small silk cord; can be used for fancy filling stitches of certain kinds, for lacing, etc. .

Real Scotch Linen Threads, made in four sizes, as follows: Bargarren Linen, the largest size made. Rope Linen, corresponding to rope silk, and the size next smaller than the Bargarren linen. Flourishing Thread No. 4, which is finer than the rope, comes next. Flourishing Thread No.8, which is the finest of all, and corresponds to filo floss in silk, comes last.

Tyrol Cord is a twisted linen, and to be used in the same manner as couching silk.

German Cord, not art cord, is a white linen cord used for -holing over in Roman embroidery.

Fabric For Embroidery upper left: cashel linen (1), edinburgh linen (2). upper right: cotton muslin (3), cotton osnaberg (4). lower left: jacquard (5), polyester moire (6). lower right: premade cotton knit baby bib (7), premade cotton napkin (8), premade lace-edged linen handkerchief (9). with embroidery you enjoy more fabric choices than you would with other forms of needlework. you can choose beautiful dress and home decorating fabrics as well as fine even¬weave linens made for counted-thread work. even fabrics with subtle printed or woven patterns can provide a beautiful background for embroidery. tea-dyed cotton is, a nostalgic favorite for suggesting antique embroidery. one of the many delights of embroidery is adding your personal touch to your favorite ready- made clothing. finished table and bed linens and other ³pre-made´ items ranging from aprons to tea cozies await only your needle and thread, and an appropriately-sized design. Fabric Weight traditional embroidery fabrics range from lightweight, sheer organdy and fine silk to heavy canvas and linen, and every weight in between. fabric weight is the result of the size of the threads in the fabric weave and how densely those threads are packed together (also known as thread count) during the weaving process. if you are just learning how to embroider, a medium-weight fabric with a fairly dense weave will give you the best results. when choosing a fabric weight, ask yourself two questions: how do i intend to use the embroidery when i am finished stitching? match the fabric weight to the task it will eventually face as a finished project. a pillow for your rough-and-tumble family room will benefit from a medium-to-heavyweight fabric while a dainty boudoir ³show´ pillow may call for something lighter. how heavy will my intended embroidery be? the weight of the embroidery depends on how many strands of thread you use on your needle as well as how dense your embroidery design is. some designs, such as the summer bouquet, have more than one layer of stitching-in effect, stitching on top of stitching-which adds weight, and needs the support of at least a medium-weight fabric. pay attention to how densely or loosely the fabric threads are arranged. if you consider yourself a beginner, avoid loose, open weaves. Fiber Content a good rule of thumb for beginners is to match the fabric fiber to your stitching fiber. cotton floss on medium-weight cotton fabric is an ideal choice for a novice, as are most cotton blends. what about embroidering on t-shirt knits? once you have mastered a few stitches, stitched several projects, and are ready for something new, give it a try. because knits stretch, baste a tear-away stabilizer (such as sulky¶s totally stable) or tissue paper behind the design area to avoid distorting the fabric when you mount it on a hoop. when you are finished stitching, tear away the excess paper around the stitches.

EMBROIDERY THREADS As a contemporary embroiderer, you enjoy a greater selection of fabulous threads than stitchers of the past. Thread manufacturers offer you an array of natural and synthetic in a wide choice of colors, textures, and finishes. COTTON EMBROIDERY FLOSS is the most popular thread for embroidery, and rightly so. It¶s inexpensive, wash¬able, easy for beginners to handle, and comes in hundreds of colors from bright to soft, in dozens of color ³families´ that feature one hue in a range of shades from very light to very dark. The two most well-known manufacturers, DMC and Anchor, offer the greatest number of colors, while other companies specialize in special effects such as hand-dyed colors that resemble threads used in historic needlework. (If you use the latter, pay attention to the washing instructions; some hand-dyed fibers are not colorfast, and so are not a good choice for garments that will be washed frequently.) Floss is sold in convenient skeins as a six-stranded thread which you separate, then recombine in any number of strands your project requires. It¶s the natural choice for beginners. PEARL

COTTON (also written as perle cotton) is thicker than floss, is highly twisted, and has a lustrous sheen. It cannot be separated into strands, comes in several sizes from 3 (the thickest) to 12 (the finest), and is dyed in many colors to match floss. OTHER FIBERS await your exploration once you have mastered a few stitches Silk floss, has a similar weight as cotton floss ,and a particularly lovely ³hand´ (how it feels in your hand as you stitch). Historically, it¶s probably the oldest fiber used for embroidery, and originated in Asia. It¶s more expensive than cotton floss, and must be dry-cleaned. Once you feel confident in your skills, try silk floss on a special project. Needlework traditions which developed in the West have used wool and linen for centuries. Crewel wool is essential for . These fibers are also more expensive than cotton floss, but worth exploring as your skills develop. , which straddles the boundary between natural and synthetic fiber, has a bright, high sheen which makes it slippery to work with, and is not recommended for beginners. Metallic and synthetic threads are gaining in popularity, and new varieties appear with frequency. Many of them require the skills of an intermediate stitcher, but you can try adding small accents of these fascinating threads to your cotton floss projects to get a taste for their special effects. Silk ribbon is, as its name implies, a thin, flat ribbon that can be threided onto a needle and stitched just as if it were a conventional thread. Silk ribbon is particularly effective in floral embroidery, and creates a three-dimensional look. FROM TOP: DMCs cotton floss (1 & 2); Anchor¶s cotton floss (3 & 4); Needle Necessities¶ over dyed cotton floss (5); DMCs pearl cotton #5 (6), #8 (7), #12 (8); Inc.¶s silk (9); Caron Collection¶s over dyed silk Waterlilies (10); Appleton¶s crewel wool (11); DMCs Medici wool (12); The Thread Gatherer¶s over dyed linen Flax µn Colors (13); Londonderry¶s linen (14 & 15); Rainbow Gallery¶s linen (16); DMCs rayon floss (17); DMCs metallic floss (18); Kreinik Mfg. Co.¶s #4 metallic braid (19) and blending filament (20); Bucilla¶s 7mm variegated (21), 7mm solid (22), and 3mm solid (23) silk ribbon

EMBROIDERY TOOLS

clockwise from bottom: shears, embroidery with decorative fob, tapestry needles, , crewel needles, , beading needles, thimble, milliners needles, embroidery scissors, chenille needles, tweezers, sharps needles. Embroidery Needles needles are the single most essential tool in embroidery. poorly made needles

have small imperfections, so buy the highest quality needles you can afford to assure yourself a pleasurable stitching experience. the larger the needle number, the smaller the needle (with the exception of milliners, below). a too-small needle can damage the thread that doesn¶t easily fit into the eye. a too-large needle leaves holes in the ground fabric and will produce sloppy-looking stitches. Crewel (or embroidery) needles are basis to embroidery. these average-length needles have long, oval eyes and sharp points for piercing the ground fabric. Milliners needles, also with sharp points, have long and slender shafts and round eyes that are the same diameter as the width of the entire length of the needle. many stitches find the m helpful when stitching bullion knots which beginners often find tricky. tapestry needles have extra-long, oval eyes and blunt ends which do not pierce the ground fabric, and are usually used for counted-thread work. for embroidery, use them when you need to weave a second thread in to the surface of a completed stitch and do not want to piece either the fabric or the underlying stitches. Tapestry needles are sized differently than crewel needles:

above, clockwise from upper left: stretcher bars, hoops, q-snaps.

Other embroidery tools needle book or needle case safely stores needles in one place, keeps them organized by size, and protects you from accidental stabs. Threader is invaluable for threading multiple strands of floss or thick thread onto a needle, and will save you time and irritation. Thimble protects your middle fingertip as you stitch. it¶s a personal choice; some stitches wouldn¶t stitch without one, while others find them distracting. experiment to see if a thimble is right for you, and give yourself time to adjust to it. Thread Organizer keeps your embroidery threads clean and untangled. the simplest solution is a set of labeled plastic resealable bags. if you do a lot of stitching, invest in a large, sectioned box designed for stitches. , Embroidery scissors are small and sharp. reserve your scissors only for embroidery so they stay clean and sharp. keep them in a sheath to protect the points (and your hands!). Embroidery Frames holding the fabric under tension as you stitch is important if you want your stitches to look uniform and the fabric to remain free from puckers. hoops are simple round or oval frames composed of a pair of closely-fitting wood, plastic, or metal rings. some rely on the close fit of the two rings to produce tension on the fabric; others have metal springs or tightening screws. most hoops are 3/8´ to 1/2´ ) deep and from 3Ǝ to 8Ǝ in diameter. because a hoop will crush stitches, choose a hoop that¶s larger than the size of the design. (if you need a large hoop for your project, look for a quilter¶s hoop.) removing the hoop after each stitching session will keep your fabric free from permanent creases and indentations. Q- snap s are a modular system of four plastic tubes called ³elbows´ in various lengths (6Ǝ, 8Ǝ, 11Ǝ 17´, all interchangeable) that join together to form a rectangular frame. buy only the lengths you need for your project. first stretch your fabric over the frame, then snap four plastic clamps over the sides of the frame. q-snaps are as easy as hoops for mounting and removing fabric. Stretcher Bars are also modular, and consist of pairs of 3/4´ square wood strips that dovetail at the corners to form a rectangular frame. (look for bars intended for needlework, not painting.) unlike the two previous methods, this frame is designed to hold the fabric for the entire time you are stitching it. attach the edges of the your fabric to the wooden bars with thumbtacks; stapling is not recommended.