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Mountmellick Embroidery (Yvette Stanton, Prue Scott

White dimensional embroidery

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962 views89 pages

Mountmellick Embroidery (Yvette Stanton, Prue Scott

White dimensional embroidery

Uploaded by

michele
Copyright
© © All Rights Reserved
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i [ \ | , e & if va e io adsl Gehl) = Design —oaiatall | Mountmellick Embroidery INSPIRED BY NATURE lal Syl Tha" ‘Mubarak pudslic Library First published in Australia in 2004 by Kangaroc Press, an imprint of Simon & Schuster (Australia) Pty Lid 20 Barcoe Streot, East Roseville NSW 2068 ‘A Viacom Company Sydney New York Lendon Visit our website at wwrwsimonsaysaustralia.com (© Yvette Stanton and Prue Scott 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form, or by any means electronic, mechanical, photocopying. recording or otherwise, without the prior permission of the publisher in writing, National Library of Australia Cataloguing-in-Publication Stanton, Vette. ‘Mountmelick embroidery: inspired by nature Bibliography. Includes index. ISBN 0.7318 1181 x 1. White work embroidery. 2. White work broidery ~ Patterns. 1. Scott, Prue. Il Tite. 746 24002 Book design: Ywette Stanton, Vetty Creations ‘Typeset in Syntax 8.5 pt on 14 pt Printed in China through Coloreraft Ltd, Hang Kong 10987654321 For Tim and Ben -P. S. For John and Emma ~¥. 5. ACKNOWLEDGMENTS ‘The authors wish to thank all thase wha have helaed Inthe research and crestion of this baok. ‘Yeette wuld particularly lke to thane John and Emma Stanton; Yvonne and Frank Wilkey; Joan Stanton; Julla Colingysood and Helen Gclic at ‘Simon and Schuster Australie; Megan Johnsen; Janine Flew; Sister Teresa Margaret NicCarthy; Sandra Caunahan; Blanne Lewandowski; Mary Dolen and the Mountmellcx Development Assacistion: Valerie Viison at the Ulter Folk and Transport Museum Alex Ward at the National Museum of Ineland: Annie Kelly; The Mountmellicx Embroidery Group; Abigall McEvoy; Helen Persson and Charlatte Samuels at the Vietaria, ac albert Museum; Effie Mittotanis; Dorothy Morgen. Pam Breukhoven and iWaria Xeros-Colbert at the Embroiderers’ Guild, Victorie; Gladys Gillrap; Melody Lord: Jocelyn, Dianne and Louise at the Hoensby Wool and Craft Nook, Prue wishes to thank: Tim Scott; Yxonne and Frank Wilkey: Jahn Stanton; John and Sheelagh Scott; Julia Collingwood and Helen Golic at Simon and Schuster Australia; Megan Johnson Jaen Flew; Jacelyn, Dianne, Louise and Sereh at the Homsby Wool and Craft Nooic Gladys Ciltrap; Patrica Selkirk: melody Lord. PHOTO CREDITS Page 9 (both) An Grianan Adult Education College, 2002, used by permission. All other photographs are © Yvette Stanton, 2004. Ter ee STANTON & PRUE SCOTT TS | Kangaroo Press —— Contents “What is Mountielick embroldeny?.... “The history of Mountmelick embroidery Examples of Mountmelick embroidery. STITCH INSTRUCTIONS & TECHNIQUES Fabric... Thread. Needles ‘Tracing the design Botanical terms... Guide tines. Linear and filing stitches... Leftshanded stitchers.. ack sith. Seed stitch. Bokhara couching. Bullion stitch. on Double bullion Ovenwrapped bullion. Buttonhole fringe ‘uttonhele fringe ~ locked... Bulttonhole stitch Simple variations Detached buttonhol filing... Knotted buttonhole...-~ Padded buttonhole ..... ‘Whipped buttorhole.. Cutting out the work Cable chain stitch... Cable chain, zigragging .. Cable plat stitch Cable plait with overeasting Chain stitch neem Reverse chain sttch.. Detached ehain sith. Coral knot sich... Conting stitch... Couching.. 4 AD Cretan stitch. Feather stitch... Double feather stitch... Long-aerned feather stitch... Buttonhaled feather stitch Single feather stitch. Fiy sth... French nt. Herringbone sith. Indian fling Loop stitch... Aountmelick stitch. Palestrine knct.... Running stitch Satin stitch Padded satin sitch ‘Spider wel Stem stitch ‘Whipped stem stitch... Portuguese stem stitch . Straight StRCM ea ose Thom stitch som Trellis filing Half ross couching Cross stiteh eouching vandyke stitch Wheat ear sth. Whipped card button. KNITTING INSTRUCTIONS & TECHNIQUES ..36 Bt ‘Materials and equipment... Knitting needles... Yam, Leftchanded knitters ‘Making a slip kat. Knit stitch. Shamrock and lly GOH seo a PHoneysuckle dily wena meransriinminnmreninini’® ‘etermediate projects ‘Soming glory beush and comb bag. Wweheat mat... Oval dogrose dolly. Advanced projects Blackberry table runn Clematis and fem pilow sham... Shamrock, thistle and rase tablecloth so... PROJECTS WITH CONTEMPORARY APPLICATIONS ... Beginner projects Ok leaf needlecase iY OX Framed owe sry PRUE nn Intermediate project Grapes larapshade cence TB Advanced projects Wildifower fable runner. sient essianflower and maldenhatr fern bolster... Ce Appendic 1 ~ Suppliers of Mountmelick MRLEAAIS ssn 36 ‘Appendix 2 - Museum collections with Mourtmellick embroidery ener BE Bibiography and further reading a7 Index... z a7 PATTERN SHEETS ‘Two double-sided pattern sheets are included with this bookcontaining the patterns which are not found withia its pages. What is Mountmellick embroidery? For those who have never encountered Mauntrelick embroidery, itis often difficult to explain exactly what rmekes it distinct fram other forms of embroidery, particularly crevrel embroidery, which it most closely resembles. The following features are regarded as being chacacterstc of Mountmelice work: WHITEWORK ‘Mountmellck is worked in white cotton thread on white cotton fabric. No colour is used. COTTON SATIN JEAN The fabric used for Mountmellick embroidery Is heavy cotton satin jean, also known as cotton sateen. Due to the satin weave, the fabric has & low-level sheen, MATT THREAD Matt thread is used, as a contrast to the sheen of the fabric. Often only one or two different thicknesses of thread were used on each piece. When the werk was very large, for example, a bedcaver, the threads used ‘were very thick, in keeping with the scale. NATURE AS INSPIRATION The subject matier is based on nature, and is usually flocal. The flowers used were initially those found in the hedgerows of MMeuntmelcle and slong the banks of the River Qurenass, which flows through the towa, These include blackbemy, dograse, shamrock, fern and oak. There are some notable exceptions, such as the tiger lily and pessionflowee which, although they may heve grown in Mounimellck, vould have been found only in hothouses. As time progressed, mare plants were added to designs, Including cyclamen, nareissus, wheat, grapes and ivy. Occasionally shells, butterflies and naive birds can be found on historical designs. Even less ‘requentiy, pineapples, vases and baskets have been knoven to appear. BIG AND BOLD ‘The shapes are big and bold - Mountmellck designs are not small and dainty. While the stitching itself may bbe exquisite in its detail and fineness, the motifs are 6 large and expressive. The leaves and flowers are usually at least life-size, if not larger. Think big - not small EDGING ‘Mountmelick embroidery typically has a bultenholed edge, with a knited fringe attached to i. The finge Is never cut, nor should it be crocheted or replaced wath lace, Sometimes historical pieces do not have the knitted fringe, but juste buttonhole edging. Often the buttonhole éwith or without finge) is scalloped or ‘curved, The buttonhele stitch may be padded, sawtooth, knotied er one of other variations HIGHLY TEXTURED ‘Mountmellick isa highty textured form of embroidery, with many knolted and padded stitches emplayed. Because no colour is used in Mountmelick embroidery, itis the texture of the stitches that brings much of the variation and interest. (Much use Is made of padded satin stteh, bullions and large French kriels. Wile seme historical exarnples are quite two dimensional. Mauntmellck embroidery is at its Dest wahen the stitching has a high degree of texture ABSENCE OF OPENWORK Mountinelick embroidery typically has ro open work or eyelets. Altheugh eyelets do appear on sorte historical articles, this is wery care and is not characteristic of the work. Mauntmellck is certainly ‘ot lage a5 iti s0 often described APPLICATION ‘Mountmellick embroidery is very sturdy due ta the heavy fabric and bold stitching, This meant that it was entirely suitable for everyday Items of household use, and not just embroidery for special or best items. After use it could be boiled clean again, and its vihiteness restored ‘Typically the items to which Mountmellick embroidery was applied were nightdress cases, brush and comb bags, bedspreacs pillow shams, table centres and doies. Sistory of Mountmellck embroidery has unfolded specs distinct stages: its invention by Johanna Carter, 2] by Mrs Millner and a subsequent revival by ‘Teresa Margaret McCarthy. After the fist tuo , Mourimellick embroidery declined in popularity could have been forgotten, so we are very sonate to have this style of embroidery today. “Moonimelick embroidery is named after the town Sp iceland where it originated. In the late 1700s, ‘Mountmelick, County Laols Coronounced “Leash” was ‘ey prosperous end was known as the ‘Manchester of freland’ for its successes in the milling, spinning and sweaving of cotton. les Johanne. Carter is credited with the invention of Mountmellick embroidery. Itisaften suggested that she was a member of the Religious Screty of Friends (alsa kcnown as the Quakers; however, an 1824 educetional report describes her aca member of the Church of feland. Around 1825, Johanna Carter was teaching embroidery to 2 group of fifteen local Mountmellick women and ‘their daughters, seven of whom were Catholic and ight of whom were Protestant ~ an unusual mixture of denominations given the religious conflicts in Ireland, ‘Of the students taught by Johanna Carter, itis beloved that the last dled In approsimately 1870, It is tkely that the embroidery Jahanna Carter taught ‘was based on the crewel style popular in Europe at the time and included some stitches that she had invented or adapted herself, White cotton thread and ‘abric were used due to thale ready avallabiity in ‘Mouritmelick, The designs were based on nature, and featured plants that grevr locally in the wild, particularly along the banks of the local Owenass River, including bleckbermies, ferns, dogroses and oak, In the household records of 1847 for Adare House in ‘County Limerick, Its recorded that a bedspread was purchased ftom J, Garter Uahanna Garter) itis highly probable that this piece would have bean made in Mrs Carters new white-viore style, and as such, this was history of Mountmellick embroidery ‘The Qwenass River flows through the tenn of Mountmellick in Coury Laois the frst recorded sale of Mountmelick embroidery. The embroidery continued to be popular during the middle ‘ofthe century, but as with many nev fads, as time pasted interest in this new style of embroidery decined. Ireland was a country dependent on agriculture and, In particular, the potato crop. Potatoes were the staple food of more than half the population. in 1845, the potato crop failed due to potato blight Again in 1846 and 1847 the crops failed, each time more severely than before, The widespread famine that resulted ftom these successive fellures meant that milions died from stanation and disease, when the rest of Europe's population was ineressing. Many Irish emigrated in an effort to escape the dire situation, The famine brought poverty to everyone in Ireland except the very rich, who could stil afford to pay the highly Inflated prices {ot food. Following the feilure of the fist crop in 1847, the September crop vas successful, but only a very small amount had been planted due to the shortage of seed. Thus began the very slow process of rebuilding. ‘As the grip af the potato famine took ho'd across Ireland from 1845 erwards, the Religious Sacity of Friends was among the cherites and religious groups who sought to aid needy people, Even as an industrial ‘town, Mountmellick experienced great hardship as many became wnemplayed and had little money. 1880, as the country was stil rebuilding tself, Mes ‘Millne, 2 member of the Religious Society of Friends, started an industrial association to ald “stressed ksh entewomen’ As a means of emplayment, the women produced embroidered articles In the style that Johanna ‘Carter had previously developed. At the essocietion’s peak, around 1880, there were fifty workers producing, ‘embroidery for sale, but numbers declined as poverty decreased, and it had ceased production by the beginning of World War One Yet Quaker women continued to stitch and teach ‘Mountmelick embroidery, the white on white style being consistent with their doctines requiting plainness and simpikity, Along with other styles of embroidery, ‘Mountmelick was taught as part of the curticulurn to the gis at the Religious Society of Friends’ School In Aountmelli¢k, From 1890 to 1898, during the time that Ars Millers organisation in Mountmelick was using the embroidery as 2 means of eaming a living, Weldon Publishers in London produced 2 series of eight booklets on Mountmellick ‘embroidery for the Engish market. These booklets Intraduced the style of enbroidery to ladies who could atford the time to sit end stitch far pleasure (as had been the case in Johanna Carters day). Sinilar publications were aso available in America. Projects were alo included in women’s joumals 30 that wortien could make their own pieces. These new projects published were more stylised ‘than the natural style of former designs, ‘Articles of Mountellick embroidery were purchased by ‘revellers on thelr way to America, often at the port of ‘Cobh, County Cork, In this way the popularity of the ‘work also spread further afield. Its somewhat ‘surprising that, although the embroidery is so sturdy In nature, to date so few examples have surfaced in family linen collections 4 1521, the Refigious Society of Friends sold their school in Maunimellck to the Sisters of the Presentation Order. The nuns continued to run the school, teaching. embroidery to the students as part of the curriculum, itis not known whether Mountmelitk embroidery was taught: certainly as more af the school’s teachers began to come from parts of ireland where it ws uncornman, there nivuld have been fewer teachers wha could instract the gids in the Mountmelick style. tn the records of the convent, here is no mention of ‘Mounimslick embroldery until the 4870s ‘Shortly before 1970, Sister Teresa Margaret McCarthy ‘of the convent began to investigate the lost art of ‘Mountmellick embroidery, having found one pattern within the convent. Sister Teresa experimented writh the design, warking it in colour &s one would for crewel embroidery. A request for information about and examples of the embroidery was sent throughout the town and its sunoundings, and pieces were uncovered among ferily linen. From these, much was learst about the embroidery, including the fact that it was always Worked in white on white, Using her existing knowledge of embroidery, the scant information she could unearth and the few examples of Micuntmellck work as reference, Sister Teresa taught hersef the extra stlches that are unique to the Mauntmelick style and then began to teach others. In 1920, the frst place of Mountmelick embroidery, ‘a coverlet. was donated by the Scully family to the Presentation Convent, thus teginning their collection ln the 1970s, a local Quaker family by the name of Pist presented a trunk to the convent, Thinking it wes just another tuk, twas put into storage and it was not Until same time later that ts aunty was discovered ~ the trunk was full of old Mountrelick embroidery patterns designed by members of the Pim family and their friends, Its also likely that some were bought (prices can be seen written on some pattems), and had been ordered fram cetelogues of embroidery patterns. For many years, the im trunk was taken to Sister Teresa's embroisery classes for the designs to be copied And adapted by the stitchers. More recently, coples have been made of all these designs, sa thet the precious originals can be preserved, Mountmelick embroidery continues to flourish both in ‘the toven of Mountmelice and further afeld. Classes in Mountmatiee embroidery are taught throughout Ireland and around the world. As mare people are ‘educated about this traditional style of embroidery, ‘more vrll appreciate its great beauty and want to lear to stitch it themselves, 1g examples of IMlaunémelick embroidery, can be leamed about the designs and how were used to interpret those designs, if you the opportunity to view historical examples in da 50 ~ $0 much can be leamed by 1 the real thing! ‘Mountonelick designs are filed with stitching, very litle unstitehed ground. A beautiful le of this is the Aim Griandn quit from the n of the An Griandn Adult Education Centre, monfechin, County Louth). There Isa very vee + of embroidery around the edges, with a large section also completely filed. This design mires with large shapas in thick thread contrasting with “small motifs in finer thread. Amiongst the unusuel ‘sobject matter are a pinespple, a basket and Detail oF a feat form frown the An Grianin quilt. This sccolling lea! is vrorked in Feather stitch end cable plait stteh ples of Mountmellick embroidery. Intricecy of tie sitchin aed the variety of plant Forms and stitches sunflowers. There are alse a few senall sections of detached buttonhole filings. vhich are not a common feature of Mountmelick embroidery. In pieces where the mein design does nat fill the whole surface. sometimes povrdering (or sprigging) is sed te fil the remaining space. On the clematis and fem pillow sham shown on page 71, the mein design is on the ends, with regularly spaced double bulions (two togetnen filing the centre. On the shamrock and lily dolly (page 45), the powslering takes the form of “small padded satin-stitched shamracks with bulions as the stalks, In this example, the main design isin the centre, with the powdering filing the spaces around ‘the edges. (On large-seale items such as bedspreads, the motifs are often large in scale and stitched in thick thread, In these cases, the thread used is often the equivalent of +8 ply (UK: DK» knitting cotton, Some designs use very Fev stitches. Sister Teresa tells of a 9 x Ssfcot bedspread thet used predominantly french knots and only a small amaunt of satin stitch, Indeed. some of the mast striking examples ust only small number of stitches, Jet are made of card buttons, and those on tre right are clusters of french knots ‘When the leaves an the plant occurin groupings, such as the blackberries on the table runner shown above, odd number groupings are used, for example, one, three cor five, Within each group, all the leaves are worked similarly, but each grouping is diferent to the others. ‘Mountmelicx embroidery typically has highly caised stitching due to the use of knotted and padded stitches ‘ce lly bos, right. When looking at bietaread ‘examples of Mountmellck, its interesting to see that some sttchers used very two-dimensional stitching. ‘while others used highly padded stitching. Occasionally stitchers ectuelly couched aver small wads of fabric ‘with herringbone stitch and then worked satin stitch saver the top. Historically, Mountmellick stitchers were very innovative in thelr use of stitehes. Many of the stitches are cammon ones that embroiderers familiar with styles such as ereviel work would know, However, there a¥e @ 10 umber of stitches that are unique to Mauntmelic. embroidery. Among these aré mountmellick stich, and thom stitch, which is essentially a feather stitch with a french knot worked into it. Interesting’y, neither of ‘these stitches has been found on historical examples. (Maybe this is because they were not popular with sfitchers, of they were not developed until late However, at some point they have become associated wath Mtountmelick embroidery, end es such are included in this book. Mourrmellick embroidery is, pethaps one of the earliest styles of embroidery to use ‘the bullion stitch. ‘The lly box top {belovn illustrates the creative use cf bullions in the flower petals, where they are substituted for some of the satin stitch. The blackberry {able runner (left) shows haw large french knots with many wraps are clustered tightly togetier to create wonderfully textural blackberries, The nner also Uses cord buttens as blackberties. These are created by tnvising lengths of thread to make a thick cord, andl then whip stitching the cord to itself to build up & button. This technique was discovered on some historical examples of MMountrellick, Sttches are often combined in an interesting way £0 create unusual effects. One such example is a variation Luly box showing the texture of drench knots bullions ane ighly pede satin stitch ig authentic threads and fabrics cen be the most spect of Mountmelics embroidery. Asitis, ‘he time of witing, astyle of embroidery sil atively crown, authentic materials can be difficult to source. list suppliers carry fabric and theeads speciticaly “© Mountinelick embroidery. Authentic lish fabric and ‘Seeads are exported to specialist suppliers in other ‘countries, See suppliers listing (Appendix 1, page 86). deciding what materials you will use, be aware that fy departing from the authentic threads and fabric, you sce departing from the traditional style of Mountmellck embroidery lis worth considering that vihen trying a new style of embroidery one should de it properly, using the traditional threads and fabrics. FABRIC “The fabric traditionally uéed for Mounimelick embroidery is @ white heevy cotton satin jean, or cotton sateen, It rust be heawy in order to take the weight of the thread and the thick stitching, The satin weave of the fabric creates a smooth surface on which the individual threads are indistinguishable. Hf cotton satin jean is unavailable, a heavy cotton twill may suffice. Use high-quality fabrics, so that your work wil looks bast. A low-quality fabric or one that is not eavy enaugh may spoil your piece when washed. Washing Traditional fabric is cream and must be boiled to become white, If using an altemative fabric, use one that is already white. Fabrics should de washed before use to. remove the sie in the fabne and ally for shrinkage To boil the fabric vihite ‘At the completion of stitching, soak the finished piece for several heursin cold water. Place the embroidery in & lange pot of water with soap fakes. Bring the water fo the toll for a few minutes, then ciseard the water. Refill the potwith cold water— no extra soap —and bring to the boil again. Repeat until all the soap suds have boiled away (three to five timest, and the embroidery is vitened. terials, equipment and preparation for stitching Dry the washed piece fat in the shade. To iran, place ‘the work face down on a well-padded surface, such as slean thick towels. Stearn iran gently from the back to remove any creases without flattening the stitching. THREAD ‘Tracitional threads were matt = that is, they had no shine. For this reason mercerised cottons or perle cottons are not suitable for Mauntntelick embroidery, Dittering vieights of thread were used), though usually ‘only two at the mest within the one piece, Larger iter such as bedspreads were often worked in thick cottan = about 8 ply (UK: DK) knitting cotton —due to the scale (of both the piece and the design, Smaller articles such as dailies ce pillow sharns used finer cotta, more akin ta 4 ply knitting eatton. There were occasionally sectians of detached buttoniole used as a filer, in very fine cotton For those who choose not to search out authentic thread, shore are less suitable altermatives, such as cotton fleche, coton a broder seft cattan and candlewicking cotton. Each of these has ils own particular cisedvantages, for example, too much shine, not enough twist, oF to fine, Kritting or crochet cotton is @ mare suitable alternative, though limited in its range of weights. Do not use one that is mercerised, NEEDLES The needles used for most stitching in Mountmellick embroidery are chenille needies, which have 2 sharp point, large eye and comparatively thick shaft, For knotted stitches (hench knot and bullion), ‘traditionally saw needles, or milingr's needles, are used Homever, because the threads used for Mountmellick embroidery are too thick to fit through the eye of these needles, large dammers must be used instead, To make vary thick bulllons and large french knots, very lage demers can be used to increase the size of the wreps. TRACING THE DESIGN Photocopy the pattem atthe size indicated, Postion the abi over the photocopy and trace using a pale lead B pencil or wateresoluble fabric marker. Taping the fabric and pattern to a window ar using a lightbox may help Aiter the completion of stitching, make sure all lines are removed. If using a veater-soluble fabric marker, be sure to follew the manufacturer's instructions af all times, BOTANICAL TERMS peal hi tore yy amen 5 g-samen (} IN @= a 4 i Oy ondary sera | 4 vein I stom om opening flower open flower GUIDE Lines ‘The stitch instructions show the stitches worked en ‘guide lines. These guide lines are shown to th understanding the construction of the stitch and need not be used on the werk. If you choose to use Buide lings on anything other than a working sampler, make sure they can be completely removed (for example, washed aut) or fully covered. LINEAR AND FILLING STITCHES “Two distinct groups of stitches are refered ta inthis books linear and filing stitches. Linear sttches are those ‘that are used in lines, such as for outlines or stern Filing stitches are those that are used to fil spaces, such 45 petals or leaves. Some stitches, depending on how +they are usad, can be both linear and filing slitches. LEFT-HANDED STITCHERS This book ean be successfully used by left-handed embroiderers, however, the stitch Instructions will need to be reversed. The easiest wey to do this is to substitute “right” wherever eft’ is mentioned and vice versa. It mey alsa help to reverse the diagrams. This can 15 be dome by holding the page up toa ight sour and 2 looking at the diagrarn fram the back of the page, “2 or with the acetate method: photocopy the diagrams onto photocopier acetate and flip i over ta see the -cediagrams in reverse. You ean also use 4 mirrar to reverse the diagrams. Back stitch Back stitch is used in Mauntmellick embroidery as a filling stitch, but only very rarely as & linegr stitch, 4 Use one guide line. 2 Bring the thread out of the fabric on the line. Insert the needle back a small eistance to the right. Bring the needle cut again the seme distance in frant of the thread, a 3 Pullthe needle and theese through. “4, ¢ 4 Subsequent slches are work by insarig the needle ——_- ae back at the an of the Fist, stitch tough the ame hole), and bringing the needle ‘ut again the same cistance in front ofthe thread. 5 Repeat to build up a line Of stitching. To finish, insert the neecle back at the end of the previous stitch SEED STITCH Seed stitch, or seeding, Is a filling siltch made up of small randomly seattered back stitches. 1 Fil the shape with small, randomly scattered, individual back stitches. The stches should be short = less ‘than 2mm Ca in) in length. ODoubte seed stiten is where each stitch Ie worked eis to create thicker seeds". Bokhara couching Bokhara couching is 2 self-couched stitch ~ the laid thread Is also used for the couching. se two guide lines. Bring “thread out of the leftline losert the needle into the Bring the needle and out a short distance. ig the laid thread, Take a small diagonal tsar cover the laid thread. Sg the needle out further ising the laid thread, esi 2 Take 4 short dlagonal s8tch over the laid thread 2nd bring the needle and ‘read out again on the | left line. uiners Oi the distance between the guide lives is wider than shown here, use mase couching stiches as appropriate. 4 Insert the needle into the — ‘ight guide, and bving the ioe needle and thread out se that ae the tying dawn stitch wil be i equally spaced between the | ‘wo of the previous line 5 Continue working evenly spaced couching stitches iy along the laid thread, 6 Repeat the process to build up a pattem of couched threads tying down the laid stitches, 9 Mhe couching stiches can also be ware 50 that they Tine up with each other E (© The-coucag sttenes shouts be short an the front of the fabric, ard lang on the back. @ ay working the couching stiches so that they crass the latd stitch in the opposite disection, depending on the rection of twist of the thread, the couched! stitch will veither ‘cfseppear’ into the laid stiteh, ar became mare pronounced. Either way can ke used, producing ditfecent effects. Bull in stitch Bullion stitch, which is often known as ‘worms! to ‘Mountmellick embroiderers, is a thick wrapped stitch. IRcan be used as a linear stitch, or asa filling stitch by working: a number of adjacent stitches. Wise a straw (ov miles} deedte for bulions as the shait thickness does nat increase at the eve, making it eesier to pull me eel and thread through the wraps. ‘very thick catton val act At theawgh the eye of stat needle, 50 in this case use large damers @Fhrsed your ceecte s0 that the ta of the thnead fs not ven long. This wil mean there is esr thread of double thickness to pull Uougis your wraps: 4 Mack the length of the ioe bullion on the fabric. ring end insect the needle again et the other end. the thread out at one end 2 Bring the needle paint out at the first end. Pull the needle part way through the 4 fabric, so that most of it if 1 above the surface of the material. Hold the eye of the ‘needle below the fabric with ‘your left hand, Wrap the thread around the needle three times ina clockwise direction. +3 Push the wraps down to the base of the needle to sit stacked ageinst the febric. 5 4 Wrap the thread elocawise around the needle about six more tines. 5 Push the wraps down again so they are neatly \ stacked. Repeat steps 4 and \ 5 es meny times 25 necessary for the desired number of wires, @ by gently stroking the threads in 2 clockwise direction the wraps will become tighter. Conversely staking in an anticfockwise direction will produce fooser wraps. 6 Hold the wraps between your right thumb and Pa forefinger, Gently pull te needle and thread through wrth your left hand. Continue to gently pull the thread through the wraps until they lie flat against the fabric 7 insert the needle into the fabric at the end of the bullion ) 8 Pull the thread through to the back to complete the bullion. @ very dong buifions can be coucted in order to hold ‘he full length in place. DOUBLE BULLION Deubte bullions are twe blions worked side by side, ss) OVERWRAPPED BULLION Overnrapping a bulion and ipping me ‘working it over a short 16 distance creates a lullion which sits up tram the surface of the fabric. Work as for a regular bullion, bul wind on more wraps ‘than are needed for the distance. When pulling the ‘needle through, alow the buon to si up from the fabric rather than evertghtening lta feree the bullon to si flat. Buttonhole fringe ‘There are two versions of the buttonhole fiinge. This Is the simpler of the two, 11 Use three guide lines, The tap-two guide the with of the buttarhole stitch, and the battam one guides the length of the fringe. 2 Bring the thread out on the middle ling, Insert the needle at the tog and bring it ‘ut, over the thread, on the riddle ine, Pull the needle and theead through to create the first buttanhole stitch 23 Insert the needle next to the fist stitch, in on the top fine and out on the middle, over the thread. Leave the thread looped davin to the bottont line to create the fringe, 44 Insert the needle through the top line, exiting, over the thread, through the riddle line, Pull the needle and thread through to tighten the stten, 5 Ropeat steps 3 and 4 to build up aig of fringing, To finish, take a small stich over the last fringe to secure it. Wien working this ringe around ihe entire edge of a project, nis by stipping the last stitch into the frst ‘ONHOLE FRINGE - LOCKED. version of the buttonhole fringe is the more of the twa as It locks each fringe loop in place. “1 Use three guide lines. The top two guide the width ‘ofthe buttonhole stiteh, and the bottom one guides Se length of the finge. 2 ring the thread aut on she middle Iie, Slightly to She right, insert the needle at Se top line and out through te middle, +3 Hold the section of thread ear where it goes through the needle eye. Bring this part of the thread down and Joop It under the needle tip from lett to right 4 Take the needle down through the locp that has been formed, end gently tighten so that the stitch 's locked in place, 5 Insert the needle through the-top line and bring it cut through the middle line. Pull the needle and thresd through, leaving the thread looped down te the batter ling #0 eeate the fing a 6 Slightly ta the right, insert the needle at the top line and out through the middle. 7 Repeat steps 3 through & to build up line of fringing: Finish by taking @ smell sien dover the last fringe love. In CU @ When working this tringe araund the entie edge of + project, finish by slipcing the last stitch into the tt. Buttonhole stitch Buttonhole stiteh Is used to edge most articles of ‘Mountmellick embroidery. It is also used as e feature stitch In the embroidery. 4 Use two guide lines. 2 Bring the thread out on the lower gulde line, Insert the needle through the top line, and bring it out, over the thread, on the bottom line adjacent to the first stitch. 3 insert the needle through the top line, and bring it out , con the bottom line adjacent } to the previous stn, Pullthe 0 J needle and thread through. | 4 Repeat to build up a line cf ches Ter, ake a -—— 0 small stitch over the final buttoshole stitch. @ Wien worked with the stitches spaced, this stitch is more conectiy refered t 25 blanket stitch v SIMPLE VARIATIONS ‘A number of bulttonhole variations can be created by changing the length ofthe stitches used er by curving the line of sttches, ‘Stepped buttonhole Use three: guide lines, ‘Sauitooth buttonhole — version 4 Use four guide lines. Sawtooth buttonhole— version 2 Use four guide lines. Seallaped buttonhote~ Cancave G Scalloped buttonhole ~ Convex Ly i Wavy buttonhole ‘The angle of the stitches may iat change with the curve, as with the scalloped buttonholes. DETACHED BUTTONHOLE FILLING Detached buttonhole filling is sometimes used to fill shapes and motifs, Work the filing before the outline. Dcerscher buttentate fling ie only attached to the tbr atthe edges of the shape. The rest of te filling shoes at eatch in any ofthe fail. 4 Take a straight stitch across the tap of the shage. ) 2 Bring the thread out on the edge of the shepe, = short distance down. Take a buitonhole sich through the straight stitch 18 820 not ull the threed light, ut leave it loasely looned. Aim fo maintain 2 constant tension throughout through the straight stitch, a SS to fill the width of the shape. Insert the ngedie and thread at the other edge. 3 Spacing the stitches out, work buttonhole stitches 4 Bring the needle and ‘thread out om the guide line, ashort distance below where ‘the previous row ended, Take a buttonhole stitch through the bottom of the clasest loop in the row above, ‘5 Continue across the rar, working a buttonhole stitch into each loap from the previous row. © Repeat steps 4 end 5 to fill the shape. KNOTTED BUTTONHOLE 41 Using two guide lines, i bring the thread out on the leftline. Take the thread over the front of the needle and down behind it AREER 2 Without allowing the i thread to sia off the paint of i the needle, insert the needle 5 point in the right tne, up a : litle from where the thread came out on the eft, 23 Bring the needle out on 1 the left ine, over the thread, = © do not pull the needle ali the way through yet, 4 Pull the thread upwards to lighten it around the needle, ‘the needle and thread to complete the fiest buttonhole stitch. at instructions to ‘up a line of stitching Sessh, anchor the final hale with a small stitch, DED BUTTONHOLE buttonhole is similar to padded satin stitch (see 30), except that buttonhole stitch is worked aver padding, rather than satin stitch HIPPED BUTTONHOLE 4 Work regular buitonhole sing a long stitch length. Soking « small stitch into she fabric, exiting again just above the level of the looped edge. 2 Turn the work 180 egrees. Without entering, the fabric, take the needle under the frst buttonhole sutch on the left-hand side, 3 Gently pull the thread up towards the looped section of the buttonhole to lack the ‘ stitch in place. i Ean 4 Without entering the i fabrie, take the needle under the next buttonhle stitch. 5 Repeat steps 3 and + to cover ail the buttonhole stitches, To finish the row, flee asmall site ints the fabric, exiting just below the level of the previous raw. 6 Work back and forth along the rows to fill the desired section of buttonhole suit whipping, Quihen worked on 3 burttonhole wheel, the whining can Be used in ome continuous ceaction as shown here, or aternate rows can change ditection a forthe straight version shown above. CUTTING OUT THE WORK ‘When the buttonhale edging is complete, and the work has been washed and, if necessary, whitened, it can be ‘ul fram the surrounding fare Carefully and slowly, cuts dose as possible to the rolled edge of the buttonhole stitching, without damaging it Qik may be hell to tam the week over aad ext fom the back this offen enables a closer cut. However, care must be takert mot to catch the scissors Jn the buttonhofe stitching or innge Cable chain stitch Use one guide line. 2 Bring the thread out on the line, and lay it across the needle 3 Place a finger on the thread to hold itin place on is te needle, Take the thread up behind the needle 9 4 inser the needlepoint into the ive 3 few mifimetes along, Your sablsng finger can now be removed. aoe 5 ing the needle point out further along the line the length you requite for your B chain). Loop the thread AQ behind the needle point. eet 6 Pul the needle and thread through to gently tighten the ===———“= chain and link 7 Repeat steps 2 through 6 to build up 2 line of stitches, To finish, take a small stitch over the end of the last chain cam be changed to create a different fook. CABLE CHAIN, ZIGZAGGING ‘This stitch is a variation of cable chaln stitch, where of the previous one. 4 Use tivo guidelines. 2 Bring the thread out on one line, and lay the thread across the top of the needle 3 Follow steps 3 trough 6 cof cable chai stiteh to complete the first chain, 4 Repezt steps 2 and 3 of cable chain sich, but instead of inserting the needle pcint into the same line, insert tin | the other line. 20 z me BSeea— ey varying the length of the chains cr fins; the effect exch alternating chain ls worked to the left or the right 5 Work the remainder of the chain following steps 5 and 6 fe of cable chain stitch. SS 6 Work the next and subsequent chains onthe oem etna altemate line to build up a ‘ rove of stitches. To finish fake a small stitch over the end of the last chain. @ 8p varying the length of the chains or tnks, the effect can be changed to create 2 oiffevent look. Cable plait stitch ‘Also known es “braid stiteh! or ‘igure of aight’ When ‘worked side by side, the basis of this stitch forms ‘cable chain stitch. 4 Use tora guide ines. 2 ring the thread out on the left line, and lay it across the needle, 2 Place a finger an the ‘thread to hold it in place on the needle, and then move both tothe right. Take the Ahiead up behind the needle. 4 without allowing the thread to slip off the needle, i insert the needle point inta the right line. Your stabilising. i finger can now be removed, 5 Bring the needle point aut e. fon the left line and take the SS 7 thread behind it Gently 1) ie lighten the tread sothatit “~/( j fits snugly around the needle. ie Full the needle and thread i to gently tighten . iss stitch, withen tightening, pull to the Jett only. as tnis wily liou the stitch to tighten whist maintaining it shape, 7 Work the next stitch just ‘below the previous one, Slowing steps 2 through 6. & Continue in the samme way © build up a line of stitehes. To finish, take smal stitch over the bottom of the fal ptt © o00 not stich cave plat sth too wide. The stitch should be very compact, otherwise it val! become unstable and loak very messy. Jt should be so compact ad fry worked that can be ‘eked with fngetnais an rtan fs shape. @5y working cable plait stitch over a narrow width, Che stifching wl sit higher above the surface of the fabnc. CABLE PLAIT WITH OVERCASTING 4 Work @ line of cable toy pit stitch, 2 Bing the thread out through one of the loops at the side and insert the needle and thread again a short cistance to the side. 3 Bring the needle and thread out through the next loop end meke enotiver shor stitch, 4 Continue in the same way until all the cable plait stitches have been overcast. @ The tength af the overcast stitch can be shart or long, depending on the effect desired @ both sides ofthe exits pint stitch can be overcast. Chain stitch 1 Use one guide line. 2 firing the thread out on the line. insert the needle at fi the same point and bring it cut again further along the Jing, Loop the twead undemeath the needle point. 3 Pul the needle and thread ‘orough. Insert the needle f through the first chain, into a the line where the thread emerges. Bring the needle point beck out again further along the line, 4 Repeat to build up a ine of chain stitches. 5 To finish, anchor the final chain by taking a small stitch over its end, REVERSE CHAIN STITCH “This stitch is worked in reverse compared to reguler ‘hain stitch, The final stitch is worked first and then ‘the remaining stitches are worked in behind it, This method often mekes the placement of stitches more 2 exact as itis easier to see the needle placement. The result is the same as regular chain stitch - use the method you prefer. 1 Use one guide line 2 At the far end of the line, work one chain stitch (as explained above} with the ft} anchoring stitch at the furthermost paint. 3 ring the thread out on the line a short distance back towards the beginning (umworked end, without entering the fabric, take the needle under the two ‘arms" af the previous chain 4 Enter the needle next to where the thread emerges ‘rom the fabric. 5 Repeat steps 3 and 410 build up 2 line of chain stitehes, working back Towards the beginning of the line, SEES GAs. is easier fo sce the whole stitch length while you work, reverse chain stitch can be useful for attaining: very regular chain stitching. DETACHED CHAIN STITCH ‘A single chain, instead of a line of joined chains, this stiteh can be used singly, or the detached chains can be worked side by side In @ line, 1 Bring the thread out of the fabric. Insert the needle into ‘the same hole and bring it outa short distance away. Loop the thread under the needle peint, R 2 Pull the needle and thread ‘through. Take a small stitch ‘over the end to finish. @ To work line of detached Ny chains, lengthen the chains: ceretmcrm tc MCN next fo the fist one. Detached chal sitch worked in a Jing.can be stitched with or without pactding, Coral knot stitch ‘Also known as ‘snail tril’ this stitch can be worked with the knots very clase together, ar spread further apert. 1 Use one guide line, 2 Bring the thread outon the guide line. Hold the thread alang the gulde line and against the fabric with your thumb, 3 Take a tiny diagonal stitch through the fabric under neath tke thread vrhich is lying aleng the line. Bring the neadlle point out over the section of threed which loops up to the needle. 4 Pull the needle and thread through and tighten to ereste 2 small knot 5 Repeat steps 2 through + to build up a line of knots, To come a finish, take a serail stiteh at the end of the final knot, oes B Varying the spacing of the knats wall create different affects, as stun here, rding stitch Use one guide line. 2 Bring the thread out on ‘Se guide line. Dlagonally srsert the needle a small stance above and to the left of the line, Bring the 2 Pull the needle and thread through. Diagonally insert ‘the needle point above the fine @5 close a possible to ‘the previous stitch, Bring the 3 Continue in the seme way to build up a line of stitches, “To finish, take a small stitch cover the final cord stitch. Couching number can be used. 1 Use one guide line, 2 Bring the threads to be couched (the laid threads) ‘out on the guide line. Lay them flat along the line, 3. Holding the laid threads \with your let thumb, bring-a separate cauching thread out eedle point out just below the line. keep the stich length very shart, so that the carding stteh logis like a finaly tvested cord, ae needle out again just below the line, BERRI ome ‘Couching can be used to create outlines or as a filling stitch. Here two threads are couched In place, but any a es below the laid threads. Teke a small perpendicular stitch over the laid threads, end bring the needle back out of the fabric atthe position of the next stitch, 4 Repeat to build wp a line of couching. B The laid threads should not pucker ar be toa lease, but should lie flat against the feb, 5 When the line of couching is cornplete, thread the laid threads into & needle and take therm fa the back af the fabric and secure. ‘The completed couching @couching can siso be used asa filling stitch by tuning the laid thvead at the edges of the shape and couihhing her next to te previous tine, Cretan stitch top to bottom. 2 Bring the thread out on guide line 3. Slightly to the Tight, insert the needle in ‘guide line 1 and bring it out again om guide line 2. Take the needle point over the stitch, and pull the needle and thread through. +3 Siightly to the right, insert the needle In guide line # and bring it out again through guide line 2. Take ‘he needle point over the stch, and poll the needle and theead through, ‘Work with four guide lines, numbered 1 to 4 fram 23 4 Slightly to the ight, insert the needle in guide ine, bringing it out agein on ‘guide line 2. Take the: needle point over the stich, and pull the needle and thread through. 5 Continue, repeating SPs pepe 3 and 4 ta build up a line of ih i i stitching. To finish, take a = small stitch over the final cretan stitch, @ by varing the space in between stitches, cretan “litch can be viorked ‘pen (right) or closed elo nighy. al F Feather stitch 41 Use four guides, numbered 4 to 4, from left to right. 2 Bring the thread out on guide line 3. Insert the needle into guide line 1 level with where the thread comes ut on guide line 3. Bring the needle and thread out on guide line 2, a short distance below. 4334 Rod ‘K 3 Insert the needle into guide i line 4, evel with where the : ‘thread exiis on guide line 2 Bring the needle and thread cut on guide line 3 using the ‘same distance asin step 2. 4 Insert the needle into guide ; line 1 evel with where the XK ‘thread exits on guide tine 3. i Ing the needle and thread ‘out cn guide line 2 using the ‘same distance as in prior steps. waa 24 5 Continue working through stops 3 and 4-to build up a line of stitching. To finish, take a small straight stitch jover the final feather stitch. M4 ‘@ Altering the guide spacing creates eifferent effects. DOUBLE FEATHER STITCH Double feather stitch has two steps In each direction, 1 Use five guides, numbered 1 to 5, from left to night. 2 Bring the thread out an ‘guide line 4, Insert the needle into guide line 2 level vith where the thread comes ‘out of guide line 4, Bring the needle and thread aut con guide line 3, a short distance below. 3B Insert the needle into guide fine 1, level with where the thread exits on guide fine 3. Bring the needle and thread ‘out on guide fine 2 using the same distance asin step 2 4 Insert the needle into guide line 4, level with where ‘the thread exits on guide line 2. Bring the needle and ‘thread out on guide line 3 sing the same distance as before. 5 Insert the needle into guide fine 5, level with where the thvead evits on guide line 3. Bring the needle and thread cut on guide line & Using the same dlstance as betore, & Continue warking back and forth across the guide Snes to build up a line of stitches. Finish with a. small stitch over the final feather stitch. LONG-ARMED FEATHER STITCH 1 Use three guide lines. 2 Bring the thread out on x os the mille guide ling, Insert “T= i the needle onthe left ae ‘fine, level with the emerging thread. Bring the neecle end thread aut, looping the thread under the needle point on the centre guide line, a short distance below. 3 Insert the needle on the right guide tine, level with the ‘emerging thread. Bring the needle and thread out just below om the centre guide line. Loop the threed undemesth the needle point. 4 Insert the need on the ER left guide line, level with the ad é tera ee needle and thread out just via below on the centre guide line, 5 Continue working stitches con alternate sides of the centre guide line, finishing with a small straight stitch ‘over the final festhersltch. DOUBLE LONG-ARMED FEATHER STITCH Ta wark double long-armed ‘eather sith, work as for vegular long-armed feather stitch, but with two stitches ‘on each alternating side BUTTONHOLED FEATHER STITCH This stitch combination makes delicate fern fronds. 4 Work « line of feather stitch Cany variety: regular ‘eather stiteh is shown here). with a new thread, bring the ‘thread out al the top of the uppermost feather stitch. 2 Without entering the fabric, work small buttenhole: “sitches down the feather arm to reach its inner end. 4 Bring the thread out at the ‘top of the next feather arm, 8 and continue working tuttonhole stitch along the subsequent feather arms. SINGLE FEATHER STITCH ‘This stiteh is also a slanting buttonhole stitch. 1 Use two guide lines. 2 Bring the thread out on the ft left guide line. Slightly lower, lat insert the needle diagonally ia the right guide line, exiting on the left, and looping the thread under the needle point, the needle in the right, and bring it out again on the left, Ae with the needle point passing aver the loop of thread, 3 Pull the nesdle and heed through. Diagonally insert 4 Repeat to build up a line of stitches To finish, take = small stitch over the final feather stitch = SSS 2 CLOSED FEATHER STITCH 1 Use two guide lines 2 ring the three out on the right guide line, insert pel Derendepobente et | fl guide line end bring it out a Cs i I short distance below, Lop the thread underneath the | needle point. 3 Pull the needle and thread through, Insert the needle point in the right guide line. just below where the previous stitch begins. Bring feo below on the guide ki using the same distance as in step 2, Loop the thread underneath the needle point. 4 Pull the needle and thread through. Insert the needle point in the left guide line, just below where the previous slitch begins. Bring it out below on the guide Ine, using the samme distance as before, Loop the thread undemeath the needle point, 5 Repeat steps 3 and 4 to build up a line of stitching, Finish with a small straight stitch over the final closed festher stitch. UPRIGHT FEATHER STITCH Upright feather stitch Is also known as coral stiteh. tis very simllarto closed feather stitch. 1 Use tive guide ines. 26 2 Bring the thread cut on saa she ight guideline. insert ‘the needle in the left guide A line level with the emerging oh ‘thread. Bring the neacle 7 | point out aver the thread, f a short distance below. Qiay varying Ue distance betireer wince the thread emerges ard the start of the subsequent vertical stitch, the uprigitt feather stich will look more open (@rester stance) or more closed (shorter distance) 3 Pull the needle and thread through. Make 2 vertical stitch in the ight guide line, using the same spacing and length as for the previous step. Loop the threed uncemeath the neesle point: 4 Pull the needle and thread i through, Make a vertial stitch in the ight guide line, tii using the same specing and i length as for the previous step. Loop the threed undemeath the needle paint. 1) 5 Repeat steps 3 and 4 to build up a line of stitching, To finish, take 2 small straight stitch over the final stitch Fly stitch 1 Use three guide lines. 2 Bring the thread out on the left guide line. Diagonally insert the needle point in the right guide line and bring it out again a short distance below on the centre guide line. Teke the needle point aver the thread. Pull the needle and thread through. 3 Sighily below, insert the needle point in the centre guide fine. Using the same distance as for the previous step, bring it out on the left I guide ling, Pull the neecle and thread through. 4 Diagonally insert the needle paintin the right {guide line and bring it out again a short distance below : fon the centre guide line. Take a ‘the needle point aver the thread, Pull the needle and ‘thread through. 5 Continue, cepeating steps ue 3 and # te build up a line Mv y of stitching. To finish, insert. m the needle in the cenire ine, BF a shrt distance below. Oy varying the woth betereen the guides. and the length of tke stitches, oiferent effects are achieved. French knot 1 Bring the thread out of the fabric, 2 Wind the thread eround the needle once (or the umber of times required), Take the needle point back over to-where the thread emerges from the fabric. 3 Insert the nescle point slightly to the right of the emerging thread fone or two fabric threads in between). SK 8 Do not take the needle ail the way trough the fabric. 4 Holding the needle paint below the fabric with your other hand, pull the thread to tighten the wrep(s) around the needle shaft s0 that they sit flush against the fabric. ‘This tightening will give a neat, compact knot. 5 Gently pull the needle and thread through to the back of the fabric to complete the @ finished knot. enlarged Qideatty you should use a straw (or ilies) needle tox French Grats, as the eve oF these needles Is similar ir width to the shatt. However, finding straw or miflines's ‘needles with a large enough eye te ft Mountractlick thread an be very alticut. tn these instances, the next best opifon fr large caer. Herringbone stitch 1 Use two guide lines. 2 Bring the thread out on the top guide line. A short distance to the right, insert ‘the needle from right to left, : under a small section of fabric on the batiom guide line, Pull the needie.and theead through. ea previous step, an the top, guide line insert the needle ‘from right to left, under a small seetion of fabric. Pull the needle and thread through. 3 Using the same distance ta the right as for the 4 Using the same distance to the right as for the a previous step, insert the needle in the bottom guide line, from right to feft, under a small section of fabric. Pull the needle and threed through. a7 5 Repeat steps 3 and 4 t0 build up a line of stitching. his stitch can be worked ‘open as described in the steps above, or by closing the spacing between the stitches st can be worked as closed hentragbone stitch. Indian filling Indien filling is # self-couching stitch = the laid thread |s also used for the cauching. The laid and couching stitches twist together and appear as a single stitch The stitch can be used more successfully than satin stitch for covering large areas, 4 Use two guide lines. @ Paraie! sloped tines drawn within the stitching area, if “regularly referred f0, can help keep the stitching an te correct angle. Ensure the Jines will be-covered er can be veashed out 2 Bring the thread out on the left guide line. insert the nade on the Hight guide line and take a small slitch under “the fabri, with the needle f parallel to the angle requiced ¢shown here by dotted lines). @é2ch stitch on whe underside af the kabvic is very shart — most of the thread stould tle on the top ef the fabric. B Insert the needle on the * ther side of the laid thread i | thread out on the left guide ling, Just Delow the previous laid stiteh. Once again keep: ‘the length of the stitch under the fabric very short. 4 Ropeat steps 2 and 3, t0 m build up an are of stitches, , ensuring that each couching | ssiteh starts and fishes in a i ‘different place to the previous one. 28 @ compariag the back and font of the stitching L4 iustetes Rete oF te 4 “thread is on the back 4 i & (© Over fongorcictancos and to curvo the lat stichos, mare than one couching stitch cam be used. @ rhe stitches should blene into each other and Fook as one stitch. Logp stitch 1 Use tuo guide lines. 2 Bring the thread out centred betvieen the two to the left, insert the needle in the top guide line, and bring it out through the bottom guide line. 3 Pull the needle and thread ‘through. From the right, insert the needle under the fist stitch, with the needie point going over the laop of ‘thread. Pull the needle end thread through, 4 Slightly to the left, insert the needle through the top ‘Buide line, and out through the bottom guide line. She i Sa ‘5 Repeat steps 3 and 4 to build up « ine of stitching, To finish, take a small stitch over the final loop section, Mountmellick stiteh 4 Use twe guidelines. 2 Bring the thread out on the loft guide ne, smal ae distance below, insert the ieee needle through the right guide line and out through the left guide line. Pull the needle and thread through. 3 From the right, insert the needle under the first stitch, without catching in any of the fabric, and pull the i needle and thread through. 4 Gentiy pull the thread downwards to tighten the stitch slightly ‘5 Insert the needle at the ‘top of the first stitch, and bring it aut vehare the second stitch begins. Loop the ‘head undemeath the | needle point, © Pull the needle and thread through and gently down to tighten slightly, 7 Using the seme distance & asin step 2, insert the needle i" a shart distance below, in an — the right guideline, and out oon the left. Pull the needle and thread through, 8 Repeat steps 3 to 7 to build up-a line of stitching. To. finish, take a small sttch over the loop made at step 5. @ varying the woth between the guide fines wit ater the appearance of the stiching. i Palestrina knot ‘This stitch is also knoven as double knot, It can be used as a linear stitch without ‘arms’ or as a filling, slitch vith ‘erms'. 1 Use one guide fine. 2 Bring the thread eut on the guide line. Slightly ta the right, take a small stitch from one side of the line to — the other 3 From above, take the needle undesneath the stitch ., vethout entering the fabric. | Pull the needle and thread | —--—————Agb through 4 Without entering the Fabric, take the needle under the first stitch again, this time )) to the nghtof the previous stitch. The point of the needle should pass over the thread leading to the needle. 5 Pull the needle and thread through. Take another small stitch fram one side of the | line to the other. “To finish, take a smal site Waltecing tre fereth of the - © Repeat steps 3 through 5 ta build up a line of stitching. . oSeouas inte the fabric at the end of step 4. ‘vertical stitch laken i steps 2 and 5 (forming the ‘amms’) achieves different effects, 29 Run ig stitch J Mountmellick embroidery, running stitch is used as a simple filling. 1 Bring the thread aut on the guide line. Insert the Oo needle point in and out several times on the line, entering or exiting a litte further along the guide ling each time, 2 Pull the needle and thread through so that the stitches f lig fat against the fabric. i he 8.0 mot pull foo tightly or the fabric may puke. 3 Repeat as needed to fill the shape with fines of running stiteh. ‘@stitches should be cegular fn length and evenly spaced. However fara differant ettect, the stitches on top of the fabric can be ronsistently fonger or shorter than those underneath, Satin stitch Satin stitch is a useful filling stitch, used to great effect in Mauntmellick embroidery. It is worked as both padded and unpadded, though the former is more common. Because the stitch lengths are often relatively long. it is eecommended to always work this stiteh with the fabric held tavt in a hoop or frame. 4 Use two guide lines. 2 Bring the thead cut on Uheleft guide tne Inset the ote needle on the right guide if ling, so that you create & stitch thal is perpendicular to the guide lines. Bring the 30 needle out again just below on the left guide line, Pull the needle and thread through. 3 Werk another stitch pavallel to the previous one. 4 Fil the shape with parallel stitches. a 5 @ when sing a shape with tapered ends (see Below). it is often caster to stert stitching i the centre of the “shape and wrk out fo one sic, them retuin to the contre and work out fo the cther sic. (> Cc (@ Pals or removable guide lines sawn within the stitching area can asi sn kesping stitches parailel, or tanning to fit curves. PADDED SATIN STITCH Padding satin stitch gives more height to the stiteh. 1 Fillthe shape with chain stitch (see page 21). Work the chain stitch so that the autormost stitches are just within the outline of the shape. 2 Forextre height. work adcitional layers of chain stitch caves the first layer These should be stepped inwards se ‘that each extra layer Is sightly “smaller than previous ones. Starting fram the centre, regular satin stitch ever hain stitch padding, ing out to one side. 44 Retum to the centre and seork out to the other side. \ Spider web ‘Woven spider webs ere infrequently used In ‘Mountmatlick embroidery. Because the web Is woven ‘there need to be an odd number of foundation stitches, of the weaving will not alternate correctly. 41 Use an odd number of evenly spaced guides, radiating trom a central point. 22 Bring the thread out from ‘the centre, and insert the needle om one of the lines. Bring the needle and thread ‘out through the centre again. @ he length of this stich will determine the radius oF the web. 3 Using the same distance ‘as before, work around the ‘itcle to create the remainder cf the foundation stitches. 4 Bring the thread ut clase to the centre, Take the needle and thread under one of the foundation stitches. O The meedia should not be inserted into the febric at any time during the weeving siage 5 Continue around the foundation stitches, by alternately vieaving over or ude, until the wed is completely fled. To finish, take the needle and thread through 16 the bak, Stem stitch 4 Use one guide line. 2 Bring the thread out on the guide line, Insert the needle a short distance to the right om 2 Pulling the needle and 5 thread through, leave a loop \ silting above the fabric. Bing AS the needle out on the guide line and above the loop, helfway along the first stitch, 4 Pull the needle and thread through to tighten the ficst stitch. Insert the needle into the guide fine, further along to the right, Pull tie needle and thread through The second stitch should be the same fength as the fest, but half overlapping it 5 Bring the needle out 5 ‘through the same hale in the : fabric es the end of the fist A stiteh, Pull the thread See ee through to flatien the previous sitch © Continue in the seme way to build up a ine of stitching, ed ‘GAiuays bring the meedie aut on the same side of the stitching. Strictly speaking, bvinging the needte out above the guide line creates stem stitch, and belovr the guide line is outine stitch, 3 WHIPPED STEM STITCH 1 Work a Ine of stem stitch, Bring the theead aut beside the last stitch, neerthe end, Insert ‘the needle into the opposite side of the stitching, under the last two stitches, Pull the needle end thread through, 2 Continue whipping in the Same Way to build up a line “= 8?eAetaterece of stitching. To finish, take the needle and thread through to the bck next to the last stem stitch, PORTUGUESE STEM STITCH 4 Use one guide line 2. Bring the thread aut on the guide line. Insert the needle point further along and bring it baek out, halfvvay along the frst stitch. @ Mace sure the thread is to the cight of the needle. 3 Pull the iteedle and thread ‘through. With the thread at thetop, insert the needle Under the fist stitch without catching any fabric. ues 4 Take another stitch below the previous ona, 5 Invert the needle a short 1 distance further up the guide line so that the stitch will be (a (he same length as the first ‘6 Bring the needle out through ‘the same haleas the top of the fist stitch, Pull the: needle and thread thraugh 6 insert the needle under the top of the fist stitch and ‘the middle of the next stem stitch, Pull the needis and thread througin, 32 7 Take another stitch just below the previous one. 8 Repeat steps d to ? to ulld up a line of stitching, To finish, take the needle and thread through ta the back at the completion of the stitch in step 6. STD on Straight stitch Straight stitches are always singular. 1 Bring the thread out of the fabric and insert the needle at the end point of the stitch, 2 Pull the needle and thread through so that the stitch sis flat on the fabric surface, O stitches can be placed ig: apt <= at any angle, and be of any Fen a le Thorn stitch ‘Thorn stitch isa feather stitch that incorporates ‘french knat, 41 Use two guide lines. 2 Bring the thread out centrally between the twa guide lines, Insert the needle into the left guide line, and bring it out a short distance : below, Loop the thread under the needle point. +3 Pull the needle and thres ‘through. Using a similar length as for the previous step, insert the die in the right gulde line slightly lower than in the lef Loop the thread under needle point. 4 Pull the needle and thread through. Wrap the thread around the needle thee times, Take the needle point up and aver the bottorn of the previous stitch 5 Insert the neadle point under the previous stitch, also taking.in a very small amaunt of the fabric beneath. Tighten the wraps of the knot around th needle. Loep the thread under the needle point. 6 Pull the neegle and thread ch to complete the knot french knot. 4 Use four guide lines, numbered 4 to 4 trom lett to right, Trellis filling Trelis stitch is created by laying. a trellis of threads and couching over them. The couching can be either half crasses or cross stitch, 4 Take a long stitch across the shape. 2. Using even spacing, vrork paalel stitches back and forth to fil the remainder of the shape. 3 Perpendicular to the previous ones, werk another BR set of stitches back and forth eee to fill the shape, using the aaa to fill the shape, using SEG? same spacing. ss HALF CROSS COUCHING Over the intersections of each of the laid sttehas, wont 2 bal css, coose SUICH Li B + Pull the needle and thread through. Using a similar stitch length as for the previous step, insert the needle in the right guide line slightly lower than in the left, Loop the thread uncer the needle point 4 Pull the needle and thread through. Wrap the thread around the needie three times, Take the needle point up and aver the battar oF the previous stitch, 5 Insert the needle point under the previous stitch, also taking:in a very small amaunt of the fabric benzath. Tighten the wraps of the knot around the needle. Loop the thread ‘under the needle point. 6 Pull the needle and thread through to complete the french knot. 7 Insect the needle into the left guide line, bringing it out again a short distance Below. Loop the thread under the needle point. & Continue, working steps 3 through 7, to build up a line of stitching, To finish, take a smal stitch into the fabric at the completion of the french knot. Trellis filling Trellis stitch is created by laying a trellis of threads and couching over them. The couching can be either half crosses or eros stitch, 4 Take a long stitch across. the shage. “he Sees 2 Using even spacing, work — parallal stitehes back and ee forth to fil the remainder of — the shape. = 3 Perpendicular to the previous anes, work anather set of stitches back and forca tp fil the shape. using the same spacing, HALF CROSS COUCHING (Qver the intersections of cach of the laid stitches, ova work a half cross. tose CROSS STITCH COUCHING If desived, work another halt cross in the opposite direction aver each half crass so that the stitches become full cross stitches. © All helt crosses ar eros stitehes should lie in the same direction. Vandyke stitch 1 Use four guide lines, numbered 4 to 4 from left to right. 2 Bring the thread out on sees guide line 4. Insert the 4234 needle paintin guide line 3, 7 slightly above. Bring it out dolaisy again on guide line 2 Pull she needle and threed through. + Insert the needle in g line 4, level with where the ‘thread first came out of the ‘fabric. Bring the needle out ‘on guide line 1, Just belove i ‘the initial thread. 4 Without entering the saree abe, take the needle under Hig the point where the two previous stitches crass over. it 5 Repeat steps 3 and 4 to build up 2 line of stitching. To finish, take the needle ‘through to the back of the ‘abi at the completion of a stitch. Wheat ear stitch 1 Use three guide lines. 2 Bring the thread out on ee the lett guide line. A short of sistance below, insert the Alt needle in the centre guide A line. Bring the needs aut through the right guide line, : level with the beginning of the fist stich. Pll the nesdle and thresd through. 3 Insert the needle into the ‘centre guide line at the bottom of the first stich. Bring the needle aut again 2 short distance below. Pull the needle and thread through i 34 4 Without entering the ry febric, fake the needle under iA tthe previous twa stitches, Pull the needle and thread through under the stitches. 5 Insert the needle in the same hole as where the Te thread emerges, and Bring \wy it out a short distance above con the left guide line. Pull the / needle and thread through. 6 Insert the needle in the Pe same hole as-for the previous f step. Bring it outan the wht pide line, level wath fA the top af the previous \ stitch. Pull the needle and thread through. 7 Repeating steps 4 to 6 build up-a fine of stitching, To finish, take the needle through to the back at step 5, finishing with a loop stitch, Whipped cord button ‘This button is used to

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