Filling Pattern – No. 582

Filling Pattern – No. 582

category: openwork filling pattern with Cable stitch grid
linen used: 13.5/cm thread count
threads used: coton à broder No. 30 for the Cable stitches and No. 20 for the Rose stitches
stitches used: Cable and Rose stitches
center: intersection of withdrawn thread lines (square)
one pattern segment: 48 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First, establish an openwork grid with a square (an intersection of withdrawn thread lines) in the center by cutting 2, leaving 2 both vertically and horizontally.

Stabilize the established grid with Single Faggot stitches worked from the back side of the fabric. Please remember that Single Faggot stitch worked on the back side will look like Cable stitch viewed from the front.

Start in the fourth square below the center. The end of the working thread remains on the front side for now.

Work a rose stitch into this square. It’s a good idea to place the first part of the rose stitch in the direction you want to continue stitching later—i.e., the first partial stitch upwards if you want to work additional rose stitches above; the first partial stitch to the left if you want to work additional rose stitches to the left, and so on. This ensures that the square’s area is well covered.

After completing the first rose stitch, move the needle diagonally one square to the top right and from there work three rose stitches to the left.

In the square above the middle rose stitch, embroider another rose stitch, then emerge a square diagonally to the top right

and from there work three rose stitches to the left. After completing the third rose stitch, emerge a square above,

from there, embroider four rose stitches to the left.

Then move the needle diagonally one square to the right and one square down.
There, work a rose stitch, and then move the needle two squares up. There, work another rose stitch.

Leave 1 square remaining free to the right (to ensure that the square in between remains well defined and open, slide the working thread through a cable stitch on the back).

From there, work three rose stitches to the right. Over the middle of the three stitches, work a cross of one, three, and one rose stitches. The working thread is brought back to the square to the right of the center on the back.

From there, four rose stitches are worked to the right and then the needle is moved diagonally one square to the left and one square down.

There work a rose stitch and then move the needle up two squares. There work another rose stitch.

The first element of the pattern is finished.

An identical element is embroidered at intervals of three empty squares.

From the middle of the three remaining squares, leave one more square free and then embroider further elements to the left and right.

In this way fill the entire area.

An extraordinary pattern emerges,

which appears particularly effective in large areas, as here on a tablecloth from 1927.

Tulip Motifs

In previous posts, I’ve chronicled the evolution of tulip motifs over the centuries.
Now, as luck would have it, hundreds of different tulips have bloomed in my garden.

Pointed in the bud,

star-shaped,

large and small,

filled

more rounded, or

with pointed petals.

The splendor gave me the idea to create a tulip sampler. Unfortunately, I have no talent for designing. But perhaps you’d enjoy such a task. To make it easier, I’ve compiled various tulip outlines. You can pick the ones you like best from the selection and create a pattern with some accessories like small leaves, spirals, etc.

I look forward to seeing such designs someday.

Schwalm Tulip Motifs Through the Ages (3)

So far, the development of tulip motifs has been shown from the end of the 18th century to the 1920s and from the 1920s to the 1980s.

The boom that began in the 1980s inspired many other designers — not all of whom can be named here — to continually create variations. It’s not always easy to attribute the designs to their respective originators, as they often took up other people’s ideas, slightly modified them, and combined them differently.

Maria Jung, who is mainly known for designs with many tendrils, usually shows tulips with more than three points – with divided and undivided areas.

Leni Klingelhöfer designed the flowers more artistically.

Maria Deistler, (see: “Schwalm Tablecloth – roundIrmgard Mengel (see: “Special Offer: Linen with Pre-Transferred Designs (2)”

and Christa Waldmann (see: „Schwalm Whitework and Blue(2)“

brought through the variety of their designs, all kinds of tulip shapes into play, so it is not possible to assign them a specific design.

Anna Elisabeth Grein (1936–2024) should not go unmentioned (see also: “Pretty Contemporary Schwalm Table Cloth ” and “A Lampshade with a Needlelace Edging .” Trained at the Thielmann School, she returned to the original patterns. She preferred large, single-piece shapes with slight bulges — perfect for embroidering effective area-fill patterns.

Her divided tulip examples exhibit curves rather than points, which facilitates precise pattern execution at the edges.

Schwalm Tulip Motifs Through the Ages (2)

The depictions shown in the article Schwalm Tulip Motifs Through the Ages (1) remained constant throughout the 19th century.

It wasn’t until the 1920s that they changed significantly. Alexandra Thielmann (1881–1966) adapted the forms to contemporary tastes and reduced the areas to be embroidered.

See also: „Schwalm Whitework Sampler Cloths “.

She developed a variety of tulip shapes and designed them to fit their place in the overall pattern. She designed bulbous forms

and drew tulips that had deep cuts

or extremely prominent calyxes.

She also brought particularly artistic designs into play.

Thekla Gombert (1899 – 1981) moderately reduced the designs, but focused on smaller forms

and tulips that open wide at the top, often with strongly rounded bases and mostly with three tips.

The boom that began in the 1980s inspired many other designers to continually create variations. These can be seen in the next blog post.

Schwalm Whitework by EDAC

Watch and participate – this is the motto of the European Days of Arts and Crafts held in 24 European countries every year at the beginning of April. Studios run by creatives and artisans open their doors to give visitors a glimpse into their work, encourage them to try things out, and spark enthusiasm.

Margarete Grandjot will also be participating in this year’s Arts and Crafts Days from April 4th to 6th. Her embroidery studio will be opening its doors for this event. Schwalm whitework will be the focus. This is a great opportunity for those interested to gain initial insights into this unique technique, while advanced students can benefit from the knowledge and skills of the artists.

Opening Hours:
Friday 2 p.m. – 6 p.m.
Saturday 10 a.m. – 6 p.m.
Sunday 11 a.m. – 5 p.m.