Beginning Counted Thread Embroidery by Eleanor le Brun
There are many types of embroidery used in the historical
period covered by the SCA (approximately 400 AD to 1600 AD). Counted thread embroidery is one of the
easier forms of embroidery found in our period.
In this type of embroidery the stitches are applied over the same number
of threads in the background fabric each time the stitch is worked. This makes all the stitches a uniform size
and shape. In the SCA period there are
many different stitches in the class of counted embroidery. These
stitches can be combined to form different styles of embroidery including Blackwork,
Counted Embroidery Stitches Used In The SCA Period:
v Cross Stitch (mostly long arm cross stitch in period)
Linen was the primary background fabric for most embroidery in the SCA period, sometimes an even weave, sometimes not. It is easiest to work counted embroidery on even weave fabrics, an uneven weave can be used but you will have to count over a different number of threads in each direction, which can be confusing. The modern fabrics are many; the most common are aida, hardanger and congress cloth. Aida is the least expensive and the easiest to find. It is made from cotton, and the threads are bound into bundles leaving little open holes in the weave where the needle should pass through the fabric. Hardanger is woven with threads in pairs but there are no open holes in the weave. Congress cloth is an open mesh weave that is commonly used in needle point today.
All of these fabrics are described by thread count, the higher the number the more threads per inch. Adia cloth generally comes in thread counts from 11 to 18. Hardanger is a 22 count fabric and Congress cloth usually is 24 count. Linen comes in counts from 18 to 52, most common being 28 and 32 counts. When doing counted thread embroidery the higher the thread count the smaller the finished embroidered pattern will be on the fabric. Typically these embroidery fabrics are sold by the piece in a little plastic package, either folded or rolled, each piece is about 18” x 24”. Needlework shops and the better fabric stores will have these fabrics for sale by the yard. The price by yard will be shocking, at least $30 a yard.
When doing a large embroidery project it is a good idea to finish the edge of the fabric so it will not ravel. This can be done on the sewing machine quickly, simple sew a zigzag stitch close to the edge of the fabric. For a quick fix use masking tape along the edge, do not use duct tape it gets sticky over time and could ruin the embroidery. Masking tape when it gets old dries out and becomes brittle, rather than sticky.
Waste canvas is open even weave fabric that can be placed over an uneven weave ground fabric to aid in doing counted work. This is a modern, not technique used in the SCA period. After the embroidery is complete the canvas is picked out thread by thread leaving only the embroidery on the ground fabric. An important thing to remember when using waste canvas is to make sure that you don’t catch the canvas in your stitches. If you do, when you pull out the canvas it will warp and pull the embroidery stitches. If you do catch the waste canvas in your stitches, clip the canvas before and after the stitch very carefully with a pair of small pointed scissors, then pick out the canvas. Another note about pulling out the canvas, some instructions tell you to get the canvas wet. Don’t do this, it will be a big mess and be much harder to get the waste canvas out. If the canvas is not coming out easily, use a pair of tweezers to get a good firm grip on the threads.
Pre washing your fabric is a good idea if your embroidery will be washable later. Silk embroidery floss is not always dye safe so washing silk embroidery is questionable. If you do not wash you fabric it is a good idea to iron out the wrinkles. Ironing embroidery is tricky, a pressing cloth is needed. If you iron it directly it will crush and distort the threads in the embroidery.
Silk and wool threads were commonly used in period embroideries, silk being the most common. Modernly the most common embroidery thread available is cotton. Cotton comes as perle cotton and stranded cotton use the stranded variety. The major differences between cotton and silk are sheen, availability and cost. Silk is more expensive, $0.65 to $1.10 a skein for silk and $0.16 to $0.29 for cotton. Wool is easy to find and not too expensive, look on Ebay, sometimes you can find a really good deal. Cotton is a good substitute for silk; it is easy to find, inexpensive and available in a multitude of colors. Bright jewel tone and earth tones are good choices for colors.
Embroidery thread or floss comes in skeins; different kinds of fibers come in different size skeins. Cotton typically comes in a skein of 8 meters, just about 9 yards. The floss is in six strands. Silk comes every which way.
Needles come in all sizes and varieties. Tapestry needles are blunt so they push the threads of the fabric apart rather than piercing them as regular sewing needles do. Embroidery needles are sharp like regular sewing needles but they have an elongated eye so they can be used with the larger diameter threads. When doing counted work it is best to use a tapestry needle, this way the needle will pass through the fabric in the space the weave rather than piercing the threads of the fabric. This makes it easier to get very even stitches. The smaller tapestry needles (size 26 or 28) are best for counted embroidery.
As the embroidery is being worked to store the needle simply catch a bit of the fabric with the needle to secure it. Make sure you do this in a part of the fabric that will not be part of the finished piece. When the needle spends a long time in the same spot it will separate the threads of the ground fabric, causing a gap in the fabric. The needle also may rust leaving a stain on the fabric.
To make sure the tension on the stitches is uniform over the piece of embroidery the ground fabric can be stretched onto some sort of frame. You want the fabric to just be taught not so tight as to be able to bounce a quarter off it. The most common modern round embroidery hoops were not used in the SCA period, rectangular frames and special pillows were used instead. Slate frames were the most common embroidery frame used in period. These frames are similar to modern scroll frames but they have extra pieces of wood on the left and right sides with drilled holes that the fabric is sewn to keep the fabric taught along the sides. Frames or hoops are not required to do the embroidery, they just make it easier to hold the embroidery and get even tension in the stitches. One of the problems with hoops is when you move to a new part of the work they will crush and distort any stitches the hoop is placed over. This problem is avoided using a scroll frame, these are better for larger pieces. My advice is to use something, hoop or frame or pillow it does not matter. My favorite is a scroll frame with a lap stand for large pieces or just a small scroll frame for smaller piece.
How long do I cut my thread? Cut your thread to a length just about as long as your arm, wrist to shoulder. If you cut a length too long it will be hard to work with and the friction of the fabric will wear out the thread.
How many threads to use? That all depends on the work you are doing. I try to make the number of threads I am embroidering with be a little bit thicker than the thickness of the threads in the back ground fabric. Typically 2 to 3 threads, but in blackwork I usually use a single strand.
How do I start a new thread? Knots are generally not a good idea in embroidery. They will make the finished piece bumpy. So what do you do? You weave the ends under the stitches on the back. See the figures below. When you start, try to capture the new thread under the new stitches. When you finish a thread, pull it through some worked stitches on the back. In the first image below, I simply bring the thread down through the fabric and I do not use a knot. (the images are taken from (Coss, 19))
What about knots in the thread as I work? As you embroider you will get knots in your thread, knots are generally caused by the thread twisting as you work. To avoid knots, every now and then hold up the embroidery work and let the thread and needle dangle freely. It will untwist. Knots come in two common types, a twist knot and a free end knot. To get out the twist knot put the needle in the loop of the knot, hold the thread below the knot and pull with the needle. Usually it will pop right out. The second free end knot happens when the tail of the thread wraps around the working side of the thread. This type tends to be more troublesome. Use the needle as a tool and try to pick at one of the loops of the knot. Try to pick up all the threads in the loop all at once. If the knot is not coming out snip the free end of the thread off as close to the knot as you can. Usually the little piece of thread left can simply be picked off. Be careful not to cut the working side of the thread, the part of the tread that is after the needle attached to the working part of the embroidery. If the knot won’t come out there are two options, deal with it or cut it out. If the knot is small and slips though the fabric easily I would just let it stay in. Try to work it out so the knot ends up on the back. You can do this by weaving the thread through the back and then starting to work again. If the knot is difficult to pull through the fabric it is better to tie off the thread and either start a new thread if what is left is too short or just start again with the same thread.
How do I know the size of the finished embroidery? The size is determined by the thread count of the ground fabric and the number of stitches in the pattern. The higher the thread count, the smaller the finished piece. To determine the size of a finished piece of counted embroidery, first take the number of stitches in the pattern then divide this by the number of threads per inch in the ground fabric divided by the number of threads counting over.
For example:
The thread count for the ground fabric is 32 threads per inch
Counting over 2 threads in the piece.
32 divided by 2 is 16
This is the number of stitches per inch
The pattern is 72 stitches wide
72 divided by 16 is 4.5
So the finished work will be 4.5 inches wide
Things to know about counted thread embroidery and some advice. To make this type of embroidery more enjoyable, count twice and embroider once. If you forget what you are counting or where you counted from, count again. It only takes a few seconds to count again, but if a mistake is made in counting all your work will be for naught. To help with counting, keep a frame of reference on the working piece so you won’t have to keep looking at the paper pattern. For example if you are stitching a line remember how many stitches it is away from something else you have already worked on the piece. When you finish an area and before you move on, check to see that it matches up to the other parts of the piece. Check often, every 10 stitches, to make sure the finished embroidery matches its portion of the pattern. It is important to find mistakes early so it won’t be a big deal to take out the stitches to fix the problem. Being repetitive in how you do your embroidery will help minimize mistakes.
Something I heard once, the difference between a good embroiderer and a great embroiderer is the ability to take the time to take out the stitches that are wrong and do it all over again.
The
Stitches of Counted Embroidery:
Directions for stitches taken from (Coss, 29, 66)
Contrary to popular belief cross stitch is an SCA period embroidery technique. It is different from modern cross stitch in that it was used commonly in conjunction with other stitches, not as the only stitch used in the entire piece as it is in most common modern patterns. The patterns embroidered exclusively using cross stitch were more of the geometric patterns and not the modern elaborate tapestry scenes. Also the ground fabric was linen and the thread was silk or wool, not the modern cotton aida cloth and cotton embroidery floss.
There are several pieces of extant embroidery that contain
cross stitch. On an English seal bag
dating from the 1319
(Kay Standland’s “The Embroiderers”) the center part of the embroidery was done
in cross stitch and the remaining stitches were done in stem stitch, satin
stitch and underside couching. There are
some extant examples of embroidered works done entirely in cross stitch alone. There is an extant purse, of French origins,
dating to the early 12th century done entirely in a geometric
pattern in cross stitch alone. There is
also a pillow cover from
Cross stitch was also used with wool thread on linen to make cushion covers and table carpets imitating oriental rugs. In modern cross stitch the color of the background fabric is use in the pattern as a color. Typically in period cross stitch the ground fabric is completely covered. In most of the extant pieces I mentioned use the form of cross stitch embroidery called long arm cross stitch, a very close cousin of our modern cross stitch.
There are samplers that date to the SCA period but they are
very different from their modern cousins, these period samplers would be
classified as spot samplers. Spot
samplers have random “spots” of an embroidered patterns scattered over the
work. One of the earliest samplers is a
German work done in cross stitch and long armed cross stitch dated 1500-1550(to
see the piece go to the V&A museum web site and search for item number T.114-1956). It consists of an alphabet across the top,
segments of geometric patterns, a few human images and heraldry. Another sampler, and the earliest known
signed sampler, is from
The style of the motifs used in the embroidery is the most obvious difference from the modern cross stitch to the medieval cross stitch. Commonly in modern cross stitch the pattern creates an elaborate scene usually with very life like human and animal figures. This is not commonly done in period embroideries. There were other techniques used in the SCA period to accomplish this. The common period use of cross stitch would be to depict geometric patterns, simple flowers (German piece), simple animal or human figures and heraldry. In period pieces there is not a lot of shading or ½ stitches to round corners. I also do not notice the modern practice of outlining in contrasting back stitch in extant works. Also the pattern would not be charted on a piece paper to be referenced as the piece was worked. Many times the pattern was drawn on in pencil. Pattern books did not start to emerge from until the beginning of the 16th century.
Links:
http://www.bayrose.org/wkneedle/Articles/cross_stitch.html
http://www.bayrose.org/wkneedle/Articles/cross_stitch_patterns.html
http://www.moonshadowstitchery.com/rnga/projects/badges.html
http://home.earthlink.net/~wymarc/asoot/cross/cross.htm
http://www.florilegium.org/files/TEXTILES/p-x-stitch-art.html
Jane Bostocke's Sampler:
http://digilander.libero.it/artedelfilo/eng/history.htm
http://www.exemplum.co.uk/history.html
Directions for stitch taken from (Ireys, 89, 90)
Tent stitch comes by many names, but this is what we now
call needlepoint. The stitch goes by
many names, petit point, basket weave
tent stitch, continental stitch or half cross stitch. These all look the same on the front, they
get different names by the direction the stitch is worked and what the effect
on the back. If the stitch is worked
horizontally can be called continental stitch, worked vertically it is called
tent stitch, or diagonally it is called basket weave tent stitch. All of these look different on the back but
the same on the front. Diagonal tent
stitch is the best because it does not distort the fabric. The first stitch diagram, horizontal tent
stitch, if it is used across the entire piece will pull the fabric and it will
no longer be square.
Tent stitch was popular in 14th and 15th German works as well as 16th century English works. In period it was worked with silk threads on a linen ground fabric just like the other forms of embroidery not the modern version of wool on an open mesh fabric.
The patterns used in period tent stitch embroideries were mostly of plants and flowers but also the more complex scenes of animals, people that we see modernly done in cross stitch. The inventories of Hartwick hall has many works of embroidery done in tent stitch. Mary Queen of Scots was an avid embroiderer with many of her works done in this stitch. It was common for this type of embroidery to be completed on linen and cut out as slips. These slips were then sewn onto a fancy ground fabric such as velvet or silks.
Another extent piece worked in tent stitch is a table carpet
made in
Links:
http://members.aol.com/tbyrnes883/armonye/canvas.html
http://users.easystreet.com/rafaella/survey_needlework.pdf
http://webstitch.designwest.com/stitch06.html
http://www.bayrose.org/wkneedle/Articles/canvaswork.html
http://members.aol.com/tbyrnes883/armonye/canvas.html
Extant works
http://www.cloudband.com/frames.mhtml/magazine/articles2q01/exh_barnes_embroidery_0501.html
http://www.elizabethangeek.com/wiki/TableCarpets
http://infotrope.net/sca/household/tablecarpets.html
Mary Queen of Scots Embroidery
http://www.marie-stuart.co.uk/embroidery.htm
Other Patterns
http://www.dragonbear.com/as-pins.html
Directions for stitch taken from (Coss, 48)
Double running stitch is a common stitch used in Blackwork embroidery. Blackwork was done by many different countries and is not always black. It has Spanish origins and was brought into popularity in England in the 16th century by Catherine of Aragon Henry VIII first wife. Chemises and shirts were commonly decorated with blackwork embroidery in many different countries. Also in the later 16th century coifs and partlets, sweet bags, and foreparts of skirts were all embroidered with forms of blackwork embroidery. There are also extent table carpets and wall hangings done in blackwork. The main stitch for this form of embroidery is double running stitch; it can also be done in back stitch. The embroidery was worked on a linen ground with silk threads in a single color of gold, blue, black, red. Black thread being the most common.
Blackwork can sometimes be reversible, meaning that the pattern is the same on the front and back. This is not always possible for every pattern out there. My suggestion for beginner is to try to get it reversed but don’t let it get you down if it is not working out. Keep trying different stitch paths (called trips) and eventually you will get enough practice to reverse the pattern. It takes some time to gain the awareness of what is happening on the back without seeing it. I suggest using a small tapestry needle, size 26. When working rows of straight stitches it is some times difficult to keep the stitch line straight. To keep lines straight the second pass of the stitch need to come up directly in the center of the previous stitch to get it to look straight rather than zigzag. With larger tapestry needles the previous stitch slides to either side of the new stitch.
Links:
http://infotrope.net/sca/textiles/embroidery/blackwork-sources/
http://blackworkarchives.com/bw_cost.html
http://aeg.atlantia.sca.org/projects/howto/blackwork/index.htm
Brick stitch, modernly called upright gobelin stitch, is applied in vertical stitches with symmetrical overlapping of the next stitches to the first. This stitch is primarily used in works from German 14th and 15th Centuries. This form of embroidery works when doing diagonal patterns better than tent stitch does. There are many extant German works using this stitch including altar cloths, covered boxes and pouches.
Directions for stitch taken from (Ireys, 3)
Pattern image taken from http://home.flash.net/~wymarc/asoot/stitch/sect2.htm
Links:
http://home.flash.net/~wymarc/asoot/stitch/cont.htm
http://www.doctorbeer.com/joyce/emb/embroid.htm
Assisi Embroidery is a specific Italian style of embroidery using double running stitch and long arm cross stitch. Generally in this type of embroidery a pattern was drawn onto the ground fabric and outlined in double running stitch, then the background was filled in different cross stitch techniques, long armed cross stitch was the most common. The entire work was done with the same color thread. The materials used for this type of embroidery would be linen ground fabric embroidered with silk threads commonly in blue, red or green, red. Table cloths and towels were decorated with this style of embroidery.
Links:
http://www.bayrose.org/wkneedle/Articles/assisi.html
http://mywebpages.comcast.net/medievalneedle/assisi.htm
http://www.ega-gpr.org/Activities/TravThread/Assisi.htm
http://www.bayrose.org/needlework/Voided_Work_Rabbits.html
http://www.planetc.com/users/derwyddon/rstage1.htm
Image is taken from:
http://www.planetc.com/users/derwyddon/assisi.html
Single
Running/Darning Stitch:
This is a simplest form of embroidery generally used on linens to decorate them. The stitch used is running stitch. This form of embroidery is reversible with the opposite of the pattern shown on the back.
There is an extant Egyptian spot sampler dated 1300 – 1420 done in pattern darning.
Directions for stitches taken from (Coss, 49)
Links:
Extant pieces
http://www.mfa.org/exhibitions/samplers/object.asp?id=c1&AccNum=48.1053
http://aeg.atlantia.sca.org/classes/50308.htm
http://www.needlepoint.org/Archives/00-02/darning.htm
http://mywebpages.comcast.net/mathilde/embroidery/chrtindx.htm
http://mywebpages.comcast.net/mathilde/embroidery/mameluke.htm
General
http://www.sca.org.au/cunnan/wiki/Embroidery
http://aeg.atlantia.sca.org/index.htm
http://www.bayrose.org/wkneedle/
Icelandic Counted thread embroidery
http://www.dragonbear.com/icepattern.html
http://www.doctorbeer.com/joyce/emb/icealt/icealt.htm
http://www.bayrose.org/wkneedle/Articles/cross_stitch_patterns.html
Museum Sites
(V&A) http://www.vam.ac.uk/
(The Met) http://www.metmuseum.org/
Site of stitch instructions
http://www.bayrose.org/wkneedle/stitches.html
Sources for materials
Silk Floss online shopping
http://www.eternasilk.com/products.htm
http://www.hedgehoghandworks.com/
http://www.webofthread.com/madeira_silk_embroidery_floss.htm
Hoops/Stands/Frames
http://www.leonconraddesigns.freeserve.co.uk/slates.htm
Books and Patterns
http://www.traditionalstitches.com/
http://www.threadneedlestreet.com/booksembroidery.htm
Bassée,
Nicolas. German Renaissance Patterns for Embroidery: A facsimile copy of
Nicolas Bassée's New Modelbuch of 1568.
Coss,
Melinda: Readers Digest Complete Book of
Embroidery:
Enthoven,
Jacqueline; The Stitches of Creative
Embroidery. West
Geddes,
Elisabeth, and McNeill, Moyra. Blackwork Embroidery.
Gostelow,
Mary. Blackwork.
Ireys
Katharine: The Encyclopedia of Canvas
Embroidery Stitch Patterns: Thomas Y. Crowell Company:
Newall,
Kathryn. Needlework Patterns from Renaissance
Salazar,
Kim Brody. The New Carolingian Modelbook: Counted embroidery patterns from
before 1600.
Schuette, Marie and Muller-Christiansen, Sigrid. A
Pictorial History of Embroidery.
Staniland, Kay. Medieval Craftsmen: Embroiderers.
Swain, Margaret; The Needlework of Mary, Queen of Scots;
Ruth Bean Pub; 1986