Design Transfer – Test 3

In the near future, I want to address the different ways in which embroidered pillowcases are made.

Old hand-woven linen is best for embroidering pillowcases because it is not susceptible to creasing. Now I have been looking for an alternative for the embroiderers in countries where one cannot fall back on “household linen”. At the weaving mill Übelhör I found what I was looking for with durable pressed natural coloured linen.

My preferred method of transferring patterns onto the linen is ironing them on with a DEKA iron-on transfer pen. However, it requires heat. The durable pressed linen, however, cannot withstand great heat. So I looked for other transfer solutions.

During my exhibition in September there was enough opportunity to exchange ideas about the different transfer methods used by the embroiderers. I’ll test some of them over time. Here is my experiment with a non-permanent pen from Staedtler. In contrast to the FriXion rollerball pen from Pilot, the colour can be completely washed out and does not reappear later.

Caution! I have just received a call from an embroiderer who has worked with the pen several times. She reports that the composition of the ink has been changed and the colour of the newer pens can no longer be washed out. So please check on a small test piece before embroidering whether the colour of your pen can be washed out or not.

With the help of a light pad, the pattern was transferred to the linen. The natural tone of the linen is swallowing light much more than white linen, and will not allow the design lines to show through without bright lightning.

The constant up and down of the pen point crossing the threads made my lines a little bit wobbly. This I found it disturbing.

The lines turned out fine and clear, the colour is strong and lasts until the end. The pen is available in many other colours – I just happened to have a green one on hand – and also in different widths. “F” should be the most suitable for the design transfer.

After embroidering, I put the motif in lukewarm water, and the colour immediately dissolved.

After a short time, the soap suds was coloured green.

Only a very short rubbing was necessary to wash the last remains of the ink from the linen.

The result was a clean fabric from which the outlines could be completely washed out in a very short time. If the wobbles weren’t created while tracing, this would be a perfect way to transfer designs.

An Autumnal Table Ribbon

It´s autumn – the leaves are falling….

This brought me to the idea to show an embroidery with autumn coloured leaves.
This autumnal project was designed and embroidered by Christa Waldmann. She arranged leaves and fruits of different broad-leaved trees to a long border. The entire piece measures 15 cm X 220 cm. The design was embroidered on a linen ribbon with a relatively coarse weave which did not allow thread withdrawing. Christa Waldmann chose autumnal shades for her project.

Additionally she embroidered a similar design single-colour on finer linen. The fine weave enables thread withdrawing and hence much more possibilities for using different filling patterns.

Filling Pattern – No. 560

Filling Pattern – No. 560

category: openwork filling pattern without Cable stitch grid
linen used: 13.5/cm thread count
threads used: coton à broder No. 20
stitches used: Double Back stitches
center: intersection of four fabric threads
one pattern segment = 6 threads

The filling pattern shown here is a practice exercise only. You can see it used in a shape at the end of this article.

First, establish an openwork grid with an intersection of four threads in the center by cutting 2, leaving 4 (!) both vertically and horizontally.

Work Double Back stitches in eight steps as establishes in the article Filling Pattern – No. 559 (here shown without turning the piece).

Continue working Double Back stitches in the established way covering each intersection square to fil the entire shape.

From the front the pattern looks like this:

This pattern is similar to the “Filling Pattern – No. 469 “, but here the stitches of the working threads are not pulled together in the end.

As a result, the intersection squares remain relatively flat

Filling Pattern – No. 560 is also embroidered in an elaborate border of a parade cushion from 1821.

Filling Pattern – No. 559

Filling Pattern – No. 559

category: openwork filling pattern without Cable stitch grid
linen used: 13.5/cm thread count
threads used: coton à broder No. 20
stitches used: Rose and Double Back stitches
center: intersection of four fabric threads
one pattern segment = 8 threads

In Vivian Kwok’s contribution #85 to the Global Schwalm Sampler, I discovered a filling pattern that I found interesting because of the slit-like holes that were created by tightening the Rose stitches.

This pattern is not necessarily typical for Schwalm whitework. It seems to come from Hardanger embroidery. However, since Schwalm whitework often deviated from the thread extraction sequence that is common today, I am also showing this pattern for Schwalm border motifs.

The filling pattern shown here is a practice exercise only. You can see it used in a shape at the end of this article.

First, establish an openwork grid with an intersection of four threads in the center by cutting 4, leaving 4 both vertically and horizontally.

Rose stitches are worked into the holes created. Each single “leg” of a Rose stitch takes up only two of the four Fabric threads. Work is done in diagonal rows from bottom right to top left.

*Bring the needle up (point where the needle emerges = center of the stitch) in an empty square, loop the thread up and to the left, cross over two threads to the left, insert the needle and bring it up in the center again with the looped thread beneath the needle. Tighten thread, but not too much so.

Loop the thread to the right and up, cross over two threads up, insert the needle and bring it up in the center hole again. Notice that the looped thread is beneath the needle. Tighten thread.

Loop the thread downward and to the right, cross over two threads to the right, insert the needle and bring it up in the center again with the thread beneath the needle. Tighten thread.

Loop the thread down and to the left, cross over two threads at the bottom, insert the needle and bring it up in the center again with the looped thread beneath the needle. Tighten thread.

After working the fourth stitch, the working thread comes up to the right of the fourth stitch. Cross over the fourth stitch to the left and insert the needle at the bottom of the center hole.*

In this way, the working thread traveling from Rose stitch to Rose stitch is nearly invisible from the front.
Bring the needle up in the next center, one square diagonally left up. Continue working Rose stitches in the established way.

With the help of the needle, the single stitches of a Rose stitch can be shifted a little bit so that they lie in the middle of a square side.
Continue working in the same way, until the entire shape is filled.

I was not fully satisfied with my first attempt.
In order to give the pattern more stability, Double Back stitches are now worked – from the back and over the fabric thread intersections (Please see detailed steps further down.)

A comparison between the area with added Double Back stitches (see picture below, right side) and the area without shows that Double Back stitches helped to improve the pattern’s appearance.

Nevertheless, I was not satisfied and started a new attempt.

Again, first is to establish an openwork grid with an intersection of four threads in the center by cutting 4, leaving 4 both vertically and horizontally.

Because it is much easier, the Double Back stitches are now worked first. They are worked on the back of the fabric in 8 steps.

1. Coming from the bottom, pick up the left pair of threads on top of an intersection square from right to left. Pull the thread through.

2. Pick up the same pair of fabric threads underneath the intersection square from right to left. Make sure that you also catch the traveling working thread. Pull the thread through and tighten it.

3. Pick up the right pair of threads on top of an intersection square from right to left. Pull the thread through and tighten it.

4. Pick up the same pair of threads underneath the intersection square from right to left. Pull the thread through and tighten it.

5. Turn the piece 90° clockwise.

Pick up the now left pair of threads underneath the intersection square from right to left. Pull the thread through and tighten it.

6. Pick up the same pair of threads on top of the intersection square from right to left. Pull the thread through and tighten it.

7. Pick up the right pair of threads underneath the intersection square from right to left. Pull the thread through and tighten it.

8. Pick up the same pair of threads on top of the intersection square from right to left. Pull the thread through and tighten it.

Turn the piece back 90° counterclockwise and slide the working thread through the left side of the made crosses

to start the next Double Back stitch by picking up the left pair of threads on top of the next upward intersection square from right to left.

Continue working Double Back stitches in the established way covering each intersection square until the entire shape is filled.
From the front a nice pattern is seen.

Such patterns are also found in traditional Schwalm whitework, as in a border of a parade cushion from 1832.

It could stand alone, if fewer threads were cut. This filling pattern will be published as Filling Pattern No. 560 in an upcoming article.
In the circle motif I added Rose stitches from the front of the fabric as explained at the top of this article.

Working this pattern the other way around is not only easier but it also makes the pattern appearance more even.

Embroideries by Rosemarie Landsiedel-Eicken (6)

With the high level of knowledge acquired, it was now possible to use that knowledge and corresponding skills individually. Rosemarie Landsiedel-Eicken designed an elaborate, very individual and varied border design for a table runner. With great attention to detail, she turned scenes from rural life into embroidery that is both uncommon and well worth seeing. She has skillfully integrated, for example, sections of needle-weaving hems or small needlelace fillings.

Enjoy the viewing!