Pre-Transferred Designs and Heat (2)

Pre-Transferred Designs and Heat (2)

A few months ago in preparation for a series about small embroideries, I moistened linen with pre-transferred designs and then ironed it so that the linen appeared nice and smooth in the photos.

I had already embroidered some of these patterns.

As explained in Part 1 of this article, the embroidery was initially soaked for two days in lukewarm soapy water.

Then I tried in vain to get the blue colour out of the fabric by rubbing, washing, and rubbing again. After almost an hour of effort, the blue lines under the Coral knot stitches were a bit faded but still clearly visible.

Since I hadn’t invested too much time or effort in this little embroidery, I tried a wide variety of remedies – including harsh agents. Nothing helped. The blue lines seemed to have become permanent.

They can be seen very clearly against the light.

As a last resort, I got a decolouriser, which I dissolved in lukewarm water exactly as instructed.

The embroidery was submersed and completely covered with the mixture. The vessel was covered with a lid, and the embroidered linen soaked there overnight.

The next day the lines were weaker, but still dimly visible in the wet fibers. Repeated washing with rubbing and rubbing did not help.

Conclusion: Damp heat makes pre-transferred designs permanent. So you should avoid steam ironing before starting the embroidery. In any case, you should wash the finished embroidery after soaking in lukewarm water until the blue lines have disappeared and only then boil!

It is comforting that the blue lines can no longer be seen after drying and ironing.

Pre-Transferred Designs and Heat (1)

Pre-Transferred Designs and Heat (1)

I was asked if a cloth with a pre-transferred design could be ironed before embroidering or would the heat set the color permanently.

Since I had no knowledge about this, I decided to do a few tests.

I took a small piece of linen with a pre-transferred design and marked it in three places along one side with a coloured thread.

The iron – but without steam – was set to the highest heat setting. The marked half of the piece of linen was ironed from the back until a slight scorch appeared.

Due to a lack of time, the outlines were not embroidered.
The piece of linen was cut into six parts – three from the marked and ironed half and three from the un-ironed half.

Detergent was completely dissolved in lukewarm water.

The six parts were inserted.

After two days of soaking, the color had already softened a little – about the same amount from all pieces.

I took one of each, a marked and an unmarked piece, and was able to remove the marks by rubbing.

The colour faded significantly with the first rubbing

and disappeared completely after rubbing it again.

Next, I took a marked and an unmarked piece and put them back into the soapy water. This was brought to a boil. The two pieces remained in the boiling broth for a few minutes,

after which they were rubbed in an attempt to remove the lines.

Even after long, heavy rubbing and washing, the blue lines were still clearly visible. They can barely be seen on the dried linen, but as soon as the linen is moistened, they can be seen in shadow.

Also note: In this test, the lines were not embroidered and therefore much easier to reach.

I put the last two pieces back in the cooled wash liquid to soak them for a longer time. However, no other result has been achieved.

Conclusion: The longer duration of the soaking time does not matter.
Dry heat did not appear to affect the durability of the design’s fixation. But damp heat has made the colour permanent.
So if a printed pattern is ironed with a steam iron before embroidering, this can lead to permanent fixation of the colour.

Also, after embroidering, one should first soak the work in lukewarm water and then wash out all the colour. Only after the marking lines are removed should the linen be shrunk by boiling.

Another test will follow in the next post.

Embroideries by Rosemarie Landsiedel-Eicken (1)

In one of my previous posts, I presented an elaborately crafted and uniquely designed wall hanging by Rosemarie Landsiedel-Eicken, which met with great interest from my blog readers. Now I have been given pictures of her other embroidered works, which I will show gradually.

In order to learn Schwalm whitework in courses taught in the 1970s, it was common to first embroider a tea cloth with a corner design. Such a pattern always contained hearts and tulips, often “suns,” sometimes other floral motifs, sometimes birds, but always small leaves and a few tendrils. A Peahole hem was worked on the edge.

On the one hand, corner motif designs were easier to iron on than larger designs, and on the other hand, they offered the possibility of finishing the work after completing only one corner.
Rosemarie Landsiedel-Eicken chose a particularly expansive corner motif. As a beginner, she did not necessarily pay attention to the grain of the fabric when positioning the motifs, but she did pay attention to the balance of the design.

It started with the corner heart. This was given a border of Blanket stitch half-eyelet scallops and an openwork filling pattern. In the Cable stitch grid a needle-weaving pattern was embroidered; “Four windows” or, as can be seen here, “nine windows” were popular. Simple withdrawn thread patterns such as Wave, Honeycomb Darning, and Satin stitch bars followed. With the Limet patterns, one began with Satin stitches as well as the easy and quick to work Diagonal cross filling stitches. Rose stitches in the openwork Cable stitch grid followed.

Opposite corners were often embroidered with the same filling patterns. Embroiderers, who were particularly eager to learn, tried to use as many different patterns as possible in their work. This was true with Rosemarie Landsiedel-Eicken, too.
The Satin stitch “one-pattern,” a combination of Square eyelets and Rose stitches, and a combination of Satin stitches in a stair step manner and rows of Rose stitches were added.

The third corner contains more openwork Rose stitch patterns, the Satin stitch “two-pattern,” and a combination of Rose and Satin stitches.

The fourth corner also contains other pattern combinations, such as Satin with Wave stitches.

On such a project, in addition to a few combinations, all the basic stitches could be learned:
• simple withdrawn thread patterns: Satin, Wave, and Honeycomb Darning stitches,
• openwork pattern: Cable stitch grid and single Faggot stitch grid, Cable stitch grids filled with needle-weaving patterns and with Rose stitch patterns
• Limet patterns: Diagonal Cross filling, Satin, Square eyelets, Rose stitches. In this example, the only basic stitch that is missing is the Four-Sided stitch as a filling pattern, but this appears in the Peahole hem.
With knowledge of all these basic stitches, the world of the embroiderer is now open to the most beautiful pattern combinations.

Filling Pattern – No. 553

Filling Pattern – No. 553

category: Limet-Filling pattern
linen used: 13.5/cm thread count
threads used: coton à broder No. 20 for the Rose and No. 16 for the Four-Sided stitches
stitches used: Rose and Four-Sided stitches
center: intersection of withdrawn thread lines (in other shapes or motifs: longitudinal axis = withdrawn thread line)
one pattern segment = 24 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 a Limet grid with an intersection of withdrawn thread lines as center by alternately cutting 1, leaving 3, vertically and horizontally.

Mark around the center point a square of 2 X 2 squares. Bring the needle up in the next hole left of the bottom left corner. This is the center of the first Rose stitch.

Work Rose stitches in a diagonal row.

Work a second row of Rose stitches parallel to the first and at a distance of 2 empty holes (counted in a diagonal line from one Rose stitch center of the first row to a Rose stitch center of the second row).

Do the same in the crossing direction.

Up from there lay a grid of Rose stitch rows across the entire shape in the established way. Each area of the grid has a remaining section of 2 X 2 squares around the respective center hole, which now should be covered with Four-Sided stitches.

Because the working thread has to be slid under previously worked stitches to travel from one stitch to the next, it is easier to work the stitches from the back.

Secure the working thread very well and bring it up at an intersection of two Rose stitch rows.
It is important to choose the opposite side for starting the Four-Sided stitch to get the corner holes clean and open and the stitch centered.

*Start on the top of the center square, inserting the needle in the top right hole and bringing it up in the top left hole.

Travel to the bottom, insert the needle in the bottom right hole and bring it up in the bottom left hole. With this stitch the thread can be tightened a little bit more to pull together the threads of the center square.

Insert the needle in the top right hole again, but bring it up in the bottom right hole.

Insert the needle in the top left hole and bring it up in the bottom left hole.* In this way and always tightening the working thread, a prominent center is established on the front.

But this stitch will turn out much more prominent, working the Four-Sided stitch twice. This also enables one to better tighten the working thread and so to establish a more even structure of the complete pattern. So repeat the four steps (*) once.

Then, traveling straight up to the next center square, slide the working thread through the cross that has been made with the Four-Sided stitches and then through the stitches of the right three-thread column.

Work one Four-Sided stitch two times in the established way in each section center of the Rose stitch grid.

I discovered this stitch in the contribution of Ekaterina Khokhlova to the Global Schwalm Sampler.

A Fabulously Grand Sampler

The painter Rosemarie Landsiedel-Eicken from Korbach put brushes, paint, and canvas aside for several years to create works of art with needle, thread, and fabric.

In fact, her fabulously grand sampler was the inspiration behind the Global Schwalm Sampler. When putting forth my proposal I could only show a superficial picture of her project.

Now I have been kindly provided with detailed images with the permission to show them on my blog.

In her wall hanging, Rosemarie Landsiedel-Eicken has recorded a huge selection of pattern options that Schwalm whitework offers.

In the upper part, there are fourteen squares (seven per row) containing circular motifs. The squares are divided vertically by a hem with wrapped bundles and horizontally by a zigzag hem. The circular motifs are alternately filled with Limet and openwork patterns – repeating patterns can be seen next to figural motifs.

A “bean-hole” hem separates the upper area from the following border. Here a wide strip was worked with an openwork Cable stitch grid, into which houses, stars, and angels were woven.

A border with seven semi-oval arches comes next The areas are outlined with Blanket stitch half-eyelet scallops and alternately filled with an array of Limet and openwork repeating patterns. Two leaves emanating from a Blanket stitch eyelet – arranged in a wing shape and worked with different stitches – fill the spaces in between.

With its open structure, an A-pattern needle-weaving hem, bounded at the lower edge by a row of Blanket stitch half-eyelets, forms a contrast to the border above and, with its simple structure, a clear contrast to the area below.

This area is densely embroidered with animal figures reminiscent of mythical creatures.

Thin Coral Knot stitch lines mark the areas of the individual animals. Every now and then rows of Four-Sided stitches, Blanket stitch half-eyelet scallops, Satin stitch and Blanket stitch knife points, 2 short-2 long stitches as well as knife point stars complete the border embroidery of this section.

Rooster, peacock, duck, owl and other birds, bats, elephants, giraffes, rabbits, penguins, lions, monkeys, rhinoceros, dromedaries, ibexes, pigs, and donkeys as well as fish can be found in very different designs.

A needle-weaving hem with spiders separates this area from another band with an openwork Cable stitch grid. Figures were embroidered into this band with Rose stitches. Birds, chair, dog, cow, star, and others can be seen.

This is followed by a wide border, which, with its motifs and their arrangement, is reminiscent of traditional Schwalm border patterns. Many different tulips, flowers, and fruits that grow out of vessels, different depictions of birds were worked out with various filling patterns.

Many tendrils, small leaves, and flowers were arranged between the densely packed motifs. Different needle-weaving hem sections complete the picture. Needlelace fillings in the “suns” enrich the pattern selection with another element.

In contrast to this lively arrangement is the severity of the following border: Nine semi-oval shapes of almost the same size form this pattern strip, which looks like a row of arched windows. Again, more Limet filling patterns were embroidered into the areas.

“Dancing” butterflies can be seen in the next section – large and small, with wings spread wide or shown from the side, expand the range of motifs.

Finishing the butterfly border, there is a needle-weaving hem with a one-piece block pattern, bounded at the bottom by Blanket stitch half-eyelet scallops. And a needlelace edge completes the sampler at the lower edge.

The years 1990 and 1991 are noted. In a relatively short period of time, a mammoth task was completed by a single embroiderer!