SINGER
Akt
bmm
'^>y
*«s ^
Tft.
n
SINGER Instructions FOR
Art Embroidery
PUBLISHED BY
SINGER SEWING A\ACH1NE COMPANY
Copyright,
191
i,
bv Singer
Sewing Machine Co.
\J
.'^
;CI.A28«ilSEi
;
General Instructions In
using
tlie
Singer Sewing Machine
for
making and embroidery, there are some very important rules that must be followed lace
K,by
all
who
desire to learn
how
to
do
this
most fascinating work. The most important thing is to be able, easily and naturally, to exercise an independent movement of the feet and the hands. The feet must be trained to start, stop and operate the machine very slowly by means of the treadle without any help from the This leaves both hands free for hands. manipulating the embroidery hoops holding the work. The first impulse of a beginner is to move the feet in unison with the hands
No. 27-4, No. 15259 for Machine No. 15-30, and No. 208733 for Machine No. 9W. These cover plates can be obtained by mail or otherwise from any Singer shop.
Do the
not remove the throat plate, nor disturb
feed dog because
should
position
as
whenever the machine
is
essential
that
originally
used
for
its
fi.xed
family
sewing. Place a small iron washer or a spool weight on the spool, to retard the movement of the upper thread. A spool weight ( No. 9537 can )
be obtained at any Singer shop.
Preparation of hoops and placing material therein
as a consequence, short stitches are formed,
and often several stitches in the same place. The fundamental rule is: "Move the feet This is the slozcly and the hands rapidly." hardest thing to acquire, and you will need
is
it
remain
two hoops constituting the embroidery frame and wind them with narrow strips of white muslin, covering them diagonally with one or more layers of the cloth,
Take
the
With
according to the thickness of the material on
however, it will become easy and natural, and you will be able absolutely to control, by means of the treadle alone, every
which the embroidery is to be done, as this must be held stretched firmly between the
to
remember
it
constantly at
first.
practice,
movement
hoops.
of the needle.
In connection with this treadle
movement,
the secret of successful machine embroider}" to know how to control with accuracy the movement of the embroidery hoops between is
gauging the distance to the next where the needle should penetrate to produce the stitch desired. stitches,
point
To prepare
Figure
the machine
To
To
prepare the machine, remove the presserThen and raise the presser-foot bar. push the screw regulating the stitch as high foot
as
it
will
go so as to stop the feed.
i
put the material in the hoops, stretch
it
smoothly over the larger hoop, then press the smaller hoop firmly If
down
the material be not
into the larger one.
firmly
and smoothly
stretched over the frame, tighten
See that the tensions are adjusted so that a perfect stitch will be made upon such materials and with the same silk that you intend to
on the
use for the embroidery work.
the goods, doing the
While not essential, it is suggested that the feed and the throat plate be covered with a plate made for the purpose, using No. 3258g for Machine No. 66-1. No. 8335 for Machine
fully.
in Fig.
liable
I,
it
as
shown
being very careful not to stretch
bias,
but to pull
it
work slowly and
care-
If the material be so delicate that to
standing
it
with the thread of
it
is
be injured by the hoops, notwiththe
muslin
padding,
paper or cotton between them.
place
tissue
Sometimes the material upon which the embroiden- is to be done is smaller than the hoops, or the design is so large that it comes In such cases sew the close to the cloth.
therefore, that the
material firmly to a piece of strong cloth large
holding the hoop.
enough the it
In order to keep
to cover the frame.
work
fresh and avoid disfiguring pinholes,
is
movement
of the right hand
what determines the direction and length of
the stitch.
Do
not change the position of the hands in
forward,
right,
Guide the hoop backward, left,
or
in
without
circles,
removing the hands from the hoop
at
any time.
advisable to sew to the outer rim of the
is
enough to whatever material may project beyond the frame while it is on the machine, and to wrap the entire design in while it is put away. larger hoop a piece of cloth large
permit of rolling
in
it
work
Placing
in
machine
shows how, by raising the needle to the highest possible point, you can ])lace the embroidery frame in position without removFig. 2
Figure 3
Practice slowly and carefully, and when you have learned to govern the movement of the frame, you will find that there is no exercise
more valuable stitches
making drawn on
to a learner than that of
between two
parallel
lines
the cloth about a quarter of an
inch apart.
Persist in this until you can drive the needle
through the center of each this is
the jiarallel lines until Figure
;
although
Alachine the latter that
it
usually
is
Singer Sewing
in the
such a simple operation
is
remove
best to
it,
thus
avoiding the danger of breaking the point or injuring the
work by
of the material.
an extra
It is
tliat
the
changing the
tiny ribbon aj^pliqueed
on the
ready to practice the
first
tensions
to handle the
Take
a piece of
and
oiling
the
hoops
The embroidery hoops should be held in hand and moved in the direction
required, while the left
(See Fig. 3.) the
work
hand
hand in
is
used to press
front of the needle.
hand does and the right
Practically, the left
of a presser foot
acts as a feed.
you will be openwork
unstamped material
the right
down
cloth,
lesson in
Preliminary Practice
advisable to have ready
work.
the goods gently
to
you
embroidery.
machine, to avoid any chance of staining the
How
it
in making the stitches so uniwork has the appearance of a
piece of cloth to be used to try the machine after
When
scratching the surface
hoops containing an ordinary
set of
form
When
you have reduced
about one sixteenth of an inch.
2
have succeeded ing the needle
line at will.
accomplished, decrease the space between
You
will understand.
Figure 4
to prac-
Outline Stitch.
Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
tice on.
Be sure
it
the hoops, so that
is it
drawn
perfectly tight in
will not
drag but move
and practice until you acquire perfect control of both hands and feet. Rest the arm, freely,
hot, as
entire
arm
to
move with
of the hoop
allowing the
the hand.
easily.
After
frame so
work unworked part of the design in the
this is done, replace the
as to bring the
within the rings. are general rules covering
The foregoing
near the elbow, on the table of the machine.
You can control the movement much easier in this way than by
some materials scorch very
we
all
shall
kinds of embroidery and hereafter take up, step by step, the details with which the beginners must become familiar before
endeavoring to do the more complicated work.
Beginning the Embroidery
When Fig.
4,
stitching
the
work
outline
is
the
in position as
design
twice
Before entering into a description of the
shown
in
with plain
Take hand, make one
and then begin the embroidery.
the upper thread in the left
various
lace
which
illustrations
of the
work
fection that
stitches,
at its
may
we show you
here
demonstrate the simplicity beginning and the high per-
ultimately be reached.
J
Figure
drawing up the under thread, and hold stitches both ends firmly until two or three on done be should This have been taken. stitch,
some spot
in the cloth that is
to be entirely
covered by the embroidery. When you have completed as much of the frame design as can be contained within the side one time, iron it carefully on the wrong covering first iron, with a moderately warm cloth, to remove the embroidery with a damp
at
the
marks made by the
rings.
The
greatest
iron too care should be taken not to have the
5
Fig.
5
shows the hoop embroidery frame
covered with a piece of to practice the
thing else
it
common muslin, on. More than
first stitches
used any-
resembles a child's slate covered
with the irregular marks made during the first lesson in writing: because in machine embroidery, as in writing, the lines tion
It
is
vacilla-
judging dis-
is uncertainty only by persistent practice that
and there
tance.
show
in
one acquires firmness combined with freedom of movement. The cloth in this frame shows the
first efforts
of the apprentice
:
unmeasured
stitches
made while learning to control with movement of the frame limiting
precision the
;
the length of stitch to the distance between
two
parallel lines imtil certainty of action
gained the
;
covering a cord, which
is
is
practically
same exercise on a narrower measure
:
all
repeated until considerable rapidity has been attained,
when
the learner begins to practice
covering a square opening cut
in
the cloth.
m.oving the frame rhythmically in the desired direction and in time with the the machine,
from one
movement
of
side of the square to
the other, so as to catch the edge of the cloth.
shown
In this illustration are ciples
upon which
the general prin-
machine embroidery
all
is
based.
These same without
stitches
made
in
either
certainty
or
when grouped
together
with
the beginning
fixed
the
direction,
precision
gained by practice (after one has learned to control the
and
movement
of the embroidery frame
to follow the design
as are
shown
illustrate
in
)
.
produce results such
the next
two pages, which
twelve unfinished pieces of embroid-
ery as they appear in the embroidery frame.
Figure 6
Figure
7
Shaded Embroidery
(Flowers). Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
Shaded Embroidery
FLOWERS Under
this lieading
we
offer the following
intelligence
directions to those who, having a taste in that direction and
some
practice in
and natural
We
part of the worker.
how
making machine
the
work
is
give such advice as
and good-will, desire to use this mechanical method of doing shaded embroidery without
in
exceeding the limits of their
own
ability
knowledge of drawing and painting, as obvious that
in
order to
and it
is
some of the work
may
would be necessary
know
to
have studied and to
the fundamentals of art.
selves, therefore, to
work
We
confine our-
that merely requires
on the you
and
shall also
be of service to you
ordinary work.
Prepare the machine by inserting a No. oo
i,
2
and
3
needle sary
(
although No. 000
when
No. 00
there
silk.
is
very
the success of the It is
well
is
sometimes necesand use
fine detail),
Place the material in the em-
broidery frame, having it
taste
shall describe to
to be prepared
embroidery, together with love of the work
Figures
artistic
it
tight
and smooth, as
work depends upon
first to select
the model, bearing in
this.
the silks required by
mind
that the silk on the
spool after
always darker has been worked.
is it
in
appearance than
Let us suppose that the model selected
the last part that should be embroidered.
composed of flowers and leaves. Stamp the design on the material. upper tension a
and work
little
is
Have
looser than under tension,
the stems of the flowers
When
first.
petals, etc., always work from the outside edge towards the center,
embroidering leaves,
slanting the stitches according to the design.
Keep side,
the stitches perfectly even on the out-
but not on the inside.
flowers are to be
worked
in
The
centers of
seed
modeling stitches finish the and see that of the flower, flower, which is the center of at the base or slightly the stitches to carry out the
all
(See
stitcii.
as in the petals
When
23.)
As
take a
damp
cloth,
each
hoopful
finished,
is
nib on wrong side of the
work and press dry before taking
out of the
it
hoop. Turn-overs of leaves and flowers should
be worked in raised embroidery or, as it.
we
call
embroidering the petals of
flat
such as daisies, wild roses, azaleas, broider toward
and
the center,
flowers
etc.,
beginning
at
emthe
outer edge and carrying the stitch toward the
base or calyx of the flower. Endeavor to curve
open
half
and others containing a great number of petals, group so as to overlap one another, thus showing only the Begin with the inside points of the petals. embroider in the same manner and petals and direction indicated (D, Fig. 4). then
tlie
outer
5
petals,
the turn-overs being the last covered
with the embroidery.
The
should be emwhich is described a part of the machine em-
center of the flowers
broidered in the seed hereafter, as
it
is
stitch,
broidery that deserves special study.
satin stitch.
When
Fig. 4.
embroidering buds
flowers, like roses, carnations
Figures 4 and
Page
B and C of
All
in Fig. 5 as well
of which you can readily see
should be embroidered diagonally
The stems
and upon the thickness of the stem, they are embroidered in a straight up and down stitch moving from the top to the bottom lengthwise of the stem (Fig. 5). sometiines, depending
(
Fig. 4
)
Art Embroidery.
Photographic reproduction of actual worit done on a Singer Family Sewing Machine without special attaclimcnts.
Art Embroidery Any
material whatever
foundation for this work
;
may
be used as a
that
is
to say, this
how
it
the
all
is
done.
Nevertheless
steps that
may
we
embroidery permits the use of thick as well
enable you to execute this artistic
as transparent goods, to be selected according
best possible manner.
to the object to
which the embroidery
This style of embroidery
devoted.
is
is
to be
usually
most beautiful when applied
to sash curtains,
bed-spreads,
and
scarfs,
tray
cloths,
other
ornamental objects for which the goods gen-
used
is
tine antl
cloth, batiste, etc.
transparent like bolting-
What
will be
found best to
harmonize with these delicate weaves is embroidery done in white silk, as was used in the sample reproduced in Fig. i. This needlework itself
nor does
its
is
not at
all
difficult
in
execution require great pa-
By merely
examining the sample you will be able to determine how the work should be done and
tience.
shown
in the
illustration
work
in the
The machine should be prepared with a Xo. oo needle and art embroidery silk should be used for both the upper and lower stitch. The
tensions should be slightly loose. Use Xo. o needle unless the material is very fine.
Figure erally
shall explain
be useful to you to
i
Xo. oo silk, 70 and 100 D. Darning Cotton.
AI. C. or
Singer
Patterns containing sprays of flowers are the most appropriate for this embroidery what-
ever
its
use.
Stamp
the design on the material as usual,
span the embroidery with the hoops and follow the design with machine stitching. \\'e shall
begin by embroidering the stems,
using the stem or oblique stitch distinguishable
in the illustration.
This reduces
itself to
cov-
ering the stems with stitches running diagonal to
the
veins
lines
shown
of each leaf should
In this embroidery start from the edge of
where the needle should penetrate the
times, that the stitch
firmly
obviating
fastened,
looseness. freely
From
to the
may
any tendency
that point
it
present the even, correct outline
to
should
its
form.
the other hand, the stitches that
inside of the leaves as
length.
Nor does
show any apparent
Figure
same spot several
may
you can
and do not preserve the
he embroidered in the same stitch.
the leaf,
it
On
The
of the stems themselves. in the centre
done
necessary to the perfection of
fill
the
see are uneven,
slightest regularity as this
part
of
the
leaf
intent to drive the needle
2
be
through any precise or determined point, as
to
must be rigorously done when embroidering
move
centre of the leaf, care being
taken not to destroy the symmetry of outline of the latter so that when the embroiderv is
the edges, as spoil the
we
stated before, in order not to
symmetry of design of
the aforesaid
leaves,
Xevertheless vou
mav
be assured that these
long and short stitches taken at irregular intervals in the centre of the leaves are
make than
difficult to
much more
those of the border, as
upon the dexterity in handling the embroidery frame acquired by practice, (we already know how cjuickly it is acquired with the Singer Sewing Machine), which gives such absolute certainty in driving the latter depend entirely
when
work
is
on bolting-cloth
it
the
done on is
but
satin,
preferable to
fill
if
done
in these
centres with a small web, as you will notice in the illustration in this lesson
Fig.
(
i )
,
taken
from a sample embroidered in white silk on bolting-cloth and showing part of a design for magnificent
a
same
made with these As you may suppose, the
bed-spread
materials.
cloth as to enable us to cover a small cord with
sample reproduced in the illustration is only a small part of this magnificent bed-spread. In
admirable exactitude and rapidity but to group
order to appreciate the beauty of
a needle through a determined point in the
;
different
stitches
so that
location
their
and
produce the artistic and agreeable effect that each figure demands in the accomplishment of this your own skill and artistic size will
—
taste will
The
guide you successfully.
entire effect of the
these irregular stitches,
border to the centre of each
leaf.
from the
in
We
cannot
determine their length for you nor their proportion to each other, nor
because the
how many
of them
There are no rules for
there should be.
this,
operator must
artistic taste of the
always figure as an essential part of the work. If you have no good patterns to copy you may first experiment and study effects by
making
how
a design
on
a piece of
paper showing
the stitches should be disposed.
the best effect until you find
it.
In this
may
seek
As you
will
way, with the aid of your pencil, you
notice by the illustration the placing of these stitches give a
shaded
the
work
is
would be necessary
work-
its
to see
it
fully
is
far
from
In Fig. 2
reality.
we reproduce
a magnificent Renaissance Lace cover containing many lovely lace
and four sunflowers embroidered in on linen. This piece of work, which consists of a combination of various styles of embroidery was made as follows. stitches,
art stitch with silk
The sunflowers were first embroidered with which was also used for the four
the art stitch
ornaments, simulating the leaves of the flowers which appear in the four corners of the cover.
The
lace stitches
were then worked, and the
edges of the cover were corded as were those of the flowers, leaves and other figures constituting the design.
We
effect that brings out all
the modeling and beauty of the pattern.
When
it
extended over an appropriate rose-colored lining. That alone would convince you that whatever you may imagine in connection with it
work depends on
shaded
manship
must warn you
that the
cord should
be covered with silk corresponding in color to
done on satin you should
that used in each figure
;
that
is
to say, the sun-
use silk of the same color as the ground, or
flowers and leaves should be corded with silk
somewhat
the
lighter
in
tone, to produce a mild
contrast.
same color as that employed for the art and the other figures in which these
stitch,
This work also admits of the use of raised
stitches
with
rings, particularly in the centre of the flowers
13
have not been used should be corded
silk the
same color
as the
groundwork.
Raised Embroidery This
is
common that
probably the best
of
all
known and most may say.
which serves as a basis of
learned in the schools.
you how
this
work
is
all
that
of em-
\\'hile this is usually the first style
broidery learned, and the one on which the
needlework, and. one
greatest practice
is
In order to explain to
hand, this
done on the Singer Sew-
is
Sewing ^Machine
medium tion
is
expended when done by
when
not the case
is
is
Singer
the
the rapid and efficacious
Your
of execution employed.
atten-
however, to the fact that
called,
it
is
new method of doing
best not to attempt this
raised embroidery until you have thoroughly mastered the machine and the movement of
To do
the embroidery frame. a
maximum
of precision
this
embroidery,
The
necessary.
is
cording already referred to as requiring the greatest dexterity and ability on the machine is
not nearly so important as the
now
This requires
taking up.
work we
are
the greatest
precision in the stitch and the utmost certainty
Raised embroidery is in properly placing it. extremely delicate, because of the high ])erfection that
The
must be
design
attained.
stamped upon the
should be
material to be used, and this in turn should be
placed in the embroidery frame, stretching
smoothly and
as .\.
Fig. I.)
tightly
Then
as
space between the
in the
fill
it
(See
possible.
outlines with stitching (see B. Fig.
I )
to give
the desired raised efTect. If the
embroidery
to be
is
done on
lingerie,
thread the machine with Xo. loo embroidery cotton,
thread.
winding the bobbin with the same Have upper tension just medium, un-
der tension a
little tight.
on broadcloth,
If
a No. o needle, and Xo. oo
ti^e
silk.
Begin the embroidery, taking the greatest care to see that the needle goes exactly from Figure
one
i
line to the other.
This work should be done so evenly and ing Machine,
it
is
only necessary
for us
accurately as to
to
make
it
impossible to discern
where the stitches join. On curved lines you must know how to narrow the stitch on the
you the size of the needle and the thread to be employed and how to prepare the machine, and then to do with the machine exactly as you would do with your hands. tell
inner curve, as well as the outer curve 14
how
to
(see C, Fig.
broaden i)
it
on
so that the
Raised Embroidery, Satin Stitch.
Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
em-
stitches will be perfectly united without over-
believe
lapping and without losing their uniformity. In otlier words, the work must be done just
broidery so appropriately and artistically shown
as carefuMy as though done
ing Alachine Co.'s exhibition at Madrid,
difference being the
necessity
accuracy
doing
it
for
in stitch
of
outline
by machine as
you go,
this
method
will
we had
to
this
raised
cushions, divans, tabourets and a magnificent
is
how slowly much more
rapid than by hand. If
of
and
rapicily as the latter
always be
pieces
This
precludes the possibility of
capable of working, but no matter
large
Arabian department of the Singer Sewwould have great ever have been attempted. There we
by hand, the only
medium employed.
uniformity
the
depend on handwork, we do not
in the
table cover, all richlv covered with raised
A
em-
most extraordinary sample of this is a splendid curtain, composed of strips of lace alternating with bands of raised embroidery, which we reproduce in Fig. 2. Had it been necessary to do all the broidery. artistic
work
work on
this curtain b}-
hand,
it
would probably
silk.
There
is
shown
also
The
pattern
is
composed of large conopenwork centers
ventionalized flowers with
never have been completed.
two other very showv
filled
in
with various lace
stitches.
In
the
Figure 3
pieces of
work each
than the other.
made
of glace
richer
Fig. 3 silk,
is
a
and more exquisite
center of each leaf there
handsome
out, covered with raised
petticoat
with raised embroidery
is
solid space, not cut
embroidered dots. These
conventionalized flowers, which are
in 16
made
sep-
arately
and then appliqueed onto the
ruffle,
embroideries produce magnificent effects
are
used as transparencies over
placed alternately at the upper and lower edge,
and
this as well as the flowers
This shade
themselves are
richly
surrounded with a festoon of leaves and sprays
glace
as described in another lesson.
This raised satin letters
stitch is largely
and monograms on
formed of eight pieces of net done on
appliqueed with embroidery
The
silk.
the pattern
used for
is
when
light.
is
outline of the large leaves in
brought out
in raised
embroidery,
The
as are the leaves of the sprays of clover.
table linen or the
net
and
silk
of the points upon which the
Figure 4 finest lingerie.
D. M.
C. mercerized cotton
clover leaves appear have been cut
is
the best for this purpose. Fig. 4 represents a
of
its
exquisite design and graceful
worthy of a place room. this
The
kind
is
ing the latter to
in the
form
hang
is
most elegant drawing-
idea of embroidering objects of most satisfactory as some of the
uniting
the
eight
pieces of net are covered with a raised
em-
broidery
design
The
shade
finished
is
of off
three-leaf in
clover.
chiffon
edges embroidered in points. 17
leav-
free.
The seams formed by
lamp-shade that because
away
ruffles,
the
Scallops
— Beadstitch — Cording
This lesson, as you will see by the heading, can be termed a
trio,
but be assured
it
is
a
good one and with the aid of your faithful friend and ally, the Singer Sewing ^Machine, you can turn it into a quartet that will win universal applause.
F
A
centerpiece with a scalloped edge and lace
under the scallops
Gengood width for a scallop at the widest part of course on a doylie or anything small it need not be as wide as that. is
erally speaking }i of
a thing of beauty.
an inch
a
is
;
enable you to cut the material
away from
the
outside edge of the scallops, as you would
if
done by hand. If you want to elaborate a scalloped edge. a row of beadstitching on the outside edge or all around the scallops, before you put the
most effective. This beadstitch or if you will, is a straight stitch about ys of an inch in length, made close to the scallop. Make about six stitches, one over the other in the same place, then take a stitch forward and repeat the operation if you want the stitches to stand out more to cord on.
is
look like beads, take
over and back
you
more than
six
will be delighted
stitches
with the
you are working with colored
silk,
the beadstitch in a darker shade than
the one
you use for the scallops
—black
may
be used with a bright shade of silk with good effect.
Cording can be done
backstitch,
;
If
result.
make
;
in
two ways, by cov-
ering the silk or cotton as told you, or
or
any
down
we have already
by using a couching cord of gold
color
you
choose
at regular intervals
contrasting shade.
and
with
catching
it
self color or a
Venetian Embroidery This embroidery ular. its
Its
design and
style
other
is
original in every partic-
unusual form, the capriciousness of its
so entirely
showy appearance form a different from that of any
embroidery that one should carefully
consider
how
it is
going to be used before
ing the work, in order to insure plication.
down
We
have seen
it
its
start-
proper ap-
used as an eider-
cover with a handsome, well arranged design in each corner. It is used with quilt
equal distinction and elegance on drawing-room
chair covers, and with spleiichd effect on sofa
In one case a magnificent reception
cushions.
room
suite of furniture
ornamented with
this
covered with satin was embroiderv.
an admirable piece of work,
and
in
effect
This was
artistic in
the combination of colors used.
was
design
The
exquisitely elegant, presenting an
and charming cohowever, was due to the wonderful accuracy with which the work had been executed and to the fact that ensemble
quetry.
full
of
delicate
Its greatest merit,
^'Zx
Venetian Embroidery.
<\
Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
had been done entirely by the daughters of owner. If done by hand, the work would have been interminable. it
its
Having noted the style of this embroidery shown in the accompanying illustration in this lesson, you will readily understand that as
the detail
is
composed of
to be repeated to the end.
It is
and flowers with angular or
stars
undulating petals, joined with stems
slightly
or scrolls ending in the design so as not to
may
It
in parallel lines
the raised embroidery.
well as in
or padded,
filled in,
in relief as
In the
done
is
in
first section, as
those following, great care should
all
be taken to have each stitch begin exactly at the outer edge of the petal. You will not have
graduated shades of color.
in
pattern should be stamped directly on for
work except when it is intended furniture, when the foundation should be kind of
oo needle. Outline the design in ordinary machine stitching as is customary. Use No. oo silk for the upper and under a No.
will notice that the sections into
the petals are divided are always even
which
in
num-
you wish to take these in multiples of three, with the object of embroidering each two or three of these sections in the same tone of silk, according to the size of the petal, you ber.
If
may do
so.
You
should select as
many shades
of the same color as there are groups of two or three sections in each petal.
Endeavor
to
have the shading as gradual as possible, having
mind
that
the artistic
effect
broidery will depend quite as
harmony
existing between the
of
the
much upon
emthe
groundwork and
the shades of the embroidery silks used, as
upon
its
The
fill
up the
As soon
as one section
is
run three
filled,
covering
lines of stitching across the section,
the ends of the perpendicular stitches so as to
form a new
to take
line
of
place
the
the
which has been covered From this superimposed line of
by them.
stitching the stitches that are to
These
section should start.
the second
fill
stitches
must be At
perfectly uniform and run in parallel lines.
thread.
You
to
in
original dividing line
of satin.
Use
covered by the stitches put ne.xt section.
bolting-cloth, the material generally used
precise execution.
parallel lines
forming the sections are less,
according to the size of the petal.
Begin by re-enforcing the stitching at each forms the pointed end,
side of the petal that
bringing the stitches section A,
down
to the first parallel,
making two or three extra
formed by the
to.
Now
place
rows of
three
cover
triangle
and the point used in raised em-
first parallel line
of the petal with the stitches
the
you
will again
crossing the
stitching,
form a substiby the first Continue the work in the same you have filled in the last section
stitches already taken, again to
tute for the dividing line covered
embroidery.
manner
until
or the one nearest the center of the flower.*
Bear
in
mind
that the triple line of stitching
previously referred
to,
which crosses the end
of each section over the stitches
filling in
the
various sections, not only forms a support to those stitches but has a tendency to side
of the
other,
giving an
rested
inclined it
make
that
appear higher than the
section
appearance to the
look as though one section
upon another.
Continue this work until all the petals have been finished, using the same shades of color for each corresponding group of sections, beginning with the lightest shade at the point of the petal and graduating the tone until the darkest one
is
used
in the section
nearest the
stitches
one on top of the other, as is done in the raised embroidery. Stitch once across the parallel referred
the end of this second section,
work and making
one eighth of an inch wide, more or
line
make them stand out
dividing lines of the sections as these will be
The
in
to
of large conventionalized roses, the petals
worked
for
these stitches should not be
to be so careful about the stitches entering the
ends.
of which should be divided off
this
together
close
stitches
and perfectly even. The stitches should begin The at the sides and end at the parallel line. spaces that form the section to be covered with
also con-
show any unattached sist
broidery, keeping the
center of the flower.
Having
finished the embroidery of the petals,
thread the machine with the
appearing
in
darkest
shade
the embroidery, using this silk
for both the upper
and lower threads.
Now
cut out the center of the flower and
fill
it
in
with an elaborate spider-web. as shown in the illustration. The center can be seed stitch.
Now
cover the outline of the petals as well as the lines forming the stems that complete cord chenille couching the pattern with or
thread
gold
with
the
l)etals.
colors
As you
that
harmonizes
employed will note
to
in
fill
in in
It
is,
in
the
the illustration,
this chenille takes the place of the fine
used to outline the designs
tone
cord
other embroidery.
however, much easier to work with the
chenille as
it is
only necessary to guide
hand along the
the left
cover, holding
it
in place
lines
it
is
it
with
intended to
by two or three cord-
ing stitches taken at regular intervals.
The in a
silk
that holds the chenille should be
contrasting shade to
this, lighter
and you should be careful
first
or darker,
to cover the
stem-like lines in the design before working
over the outline of the petals. line
to
be covered
spider-web
way
all
in the
is
that
The
last out-
surrounding the
center of the flower.
In this
the ends of the chenille will be covered.
"*''^=^^>!^=^^
Seed Siitch.
Photographic reproduction of actual work done on a Singer Family vSewing Machine witiiout special attachments.
;
Seed Stitch There can be no better description of seed stitch than its name, but a few words about the
way
it
is
shafle,
leave space enough between the seeds
to put in those of another color
used will not be amiss.
made
daisy centers are
For the centers of flowers, such as wild roses, cosmos and dogwood, there is nothingelse to take its place. Seed stitch is made by
shades of yellow
;
put in the
ing space for the second
seeds are
made on
trasting color,
for instance
two
lot,
first seeds, leav-
but where these
or satin with a con-
silk it
;
close together in
adds very materially to
the beauty of the
work
to leave a little
space between the seeds, as
it
gives the
of shading.
efifect
Seed
stitch
fectively stitches,
in
can also be used most ef-
combination
with
fancy
or in leaves having the center
clearly defined by a vein, as a rose leaf
one side of the leaf can be made in seed stitch and the other in long and short stitch,
shape of the leaf and
the
veining being done
in
outline
or
the
stem
stitch.
Leaving the realm of silk and satin and taking a glance at the sheer and
much used for men and women," as well as
filmy fabrics that are so
our
"little
grown up women, seed
stitch
has a very important part to play.
It is
for real
quite unnecessary to
enumerate the thou-
sand and one dainty things that are
made
not only for underwear but also dresses
and
waists,
where
seed
stitch,
which
takes the place of French knots in hand-
work, will be a delight to the eye. little avail to tell you
would be of Figure
we knew
this unless
i
It all
of a surety that the
Singer Sewing Machine would enable you
and indeed much more than Do you know that on the finest fabrics you can use No. 120 D. M. C. cotton and a No. 000 needle with the best
taking three tiny stitches one over the other,
to accomplish
Do not cut the forming a seed or little dot. one fine stitches ahead thread, but take or two on until all are another seed, and so and make use more than one If you desire to made.
we can
results?
23
tell
it
you.
j^';[^^&BiBISI^«illlUI
IffNMkv>---.^.
'^
/
7 \A
^^'•>
~'-'TVt|'
*^v>v
^?
V'"'
'
[-'
English Embroidery.
English or Eyelet Embroidery The design
selected
for
this
summer
should be rather large and not very heav)', like the one
shown
ing grapes
in illustration Fig. i, represent-
and grape
leaves,
or
plicity
a No.
dresses because of
its
and elegance.
Place the material in the embroidery frame, and after doing the necessary stitching, follow-
any other
subject with large open leaves and flowers.
The machine should have
and ladies' extreme sim-
frocks, christening robes, petticoats
embroider}'
oo needle,
ing the outlines of the pattern, cut out the
0«^ •»•?••
w
Figure
somewhat and the lower one considerably tighter. the upper tension should be
or cotton
may
loose
cloth in each grape (See Fig. i)
Silk,
a spider-web stitch (See A, Fig.
be used for this work, according
the engraving.
made around
on which the embroidery is to be done, and also according to the use to which This emthe finished product is to be put. to the material
broidery
is
Now
and i )
fill
as
in
with
shown
in
cover the stitched outline
the grape with a fine cord formed
of six strands of thread.
The
lines
forming
the stems of the leaves should also be corded,
but for this use only two strands of thread.
appropriate for adorning children's 25
Stamp the design (in linen, use No. 70 D. M. C. cotton and 00 needle, stitcii each eyewhether round or oval three times round, the first stitching on line of stamping, the let
second stitching just inside the
first,
the third
stitching just inside the second; cut out center
of each ring, close to third
row of
stitching
cover the three rows of stitching as
in
and
cording.
supply of embroidery finished and ready for -AH that is necessary is a little practice
use.
and the
The is
it
is
heavier.
so potent and so
ligible
much
is
is
Sewing .Machine is consumed,
time
reduced to a neg-
when considered the work done.
in relation to
2
A
desired to make the eyelets appear No. 12 thread may be used as a fine
less
quantity
the value of
fine
given
example of in
this
method of embroiflery 2. which de-
the illustration. Fig.
picts a child's beautiful frock of batiste covered
cord.
You
do the work.
that the labor involved
Fieure
If
will to
aid lent by the Singer
will notice that
many
with eyelet embroidery combined with raised
of the styles of
needlework herein described are so extremely simple, and can be made so rapidly, that only a few hours' work will give vou a considerable
embroidery.
The design
is
very dainty and
forms a festoon of leaves and flowers, embroidered in No. 100 cotton.
appropriate.
26
It
Shaded Embroidery on Velvet Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
Shaded Embroidery on Velvet or Plush In calling attention to shaded embroidery,
which
is
shall
we
shall give a description of the
shows a section of border for a The design should be stampeil on
work
done on velvet and plush. As this embroidery is generally used for decorating hangings, covers, sash curtains,
etc.,
kind of velvet or plush gen-
erally
chine embroidery reached, for the present at
least,
select the
used for hangings, which gives magnifiThe illustration cent results in this work.
considered the highest type of ma-
curtain. bolting-
cloth,
we
Baste the bolting firmly on 27
right
side
of
velvet ing,
and outline the design twice
in fine stitch-
using No. o needle and No. oo
cut the bolting-cloth
away from
design as you have as you
in
would anything
as
Xe.xt
silk.
much
of the
Embroider Great care must
We
have tried to describe to you, in the and simplest manner, the many embroideries made by machine up to the present clearest
This does not include the
the hoop.
time.
else.
nations that
may
be used in putting the velvet or plush into the
tions of the various kinds of
Duchess hoops No. lo (they have round edges), wind them with as much muslin as the hoops will allow, then take
l)utting
hoop.
Take
a pair of
a piece of white
felt
about i8 inches square,
cut a hole in the center about jYi inches in
them
embroidery, that
all
able this
is
many combi-
be formed by selecting por-
embroidery and
together. Referring to the shaded
we
believe that
we have
explained
essential in this combination to en-
you to know how it should be done with new machine method. Of course, you will
would have
diameter and place the velvet, with the bolting
understand that
basted on, over the outside hoop, lay the white
writing of innumerable articles had
on the velvet, then put the smaller hoop place. Do not try to have the hoops as
felt in
tight as
We
you would for other materials. should remind you and you will
doubtedly remember that
it is
with a the
warm
iron before
embroidery frame.
work should be pressed as velvet applique.
it
is
side
removed from
When in the
wrong
finished
entailed
the
we
en-
deavored fully to cover such an extensive subject and that at best we would have been able only to give you the most elementary knowl-
ini-
absolutely neces-
sary to press the material on the
it
this
same manner
edge of
it.
We
have concerned ourselves with indicating the materials needed and the manner of handling them and to describing the results obtainable as graphically as possible, leaving the rest to your
own
ability
and
talent.
Gold Thread Embroidery.
Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
Gold Thread Embroidery This
is
an imitation of the Philippine em-
Place a Xo.
broidery done in gold and other threads and
which owes
its
perfection and facility of ex-
ecution to the special
i
needle in the machine, and
for the upper thread use gold colored silk as
near the shade of the metallic thread as
mechanism of the Singer
possible,
Sewing Machine. The embroidery should be done on satin, the design being stamped on the wrong side
having the tension
set
is
so that this
thread will adhere to the right side of the material without being either loose or tightly
enough drawn
to
show the
stitches.
The em-
Figure
of the material, this being the upper side
when
broidery will thus appear on the under side
placed in the embroidery frame.
Wind
of the embroidery frame, which
the bobbin of the machine with a very
side of the material.
is
the right
The gold thread extends
fine,
three-strand gold cord, leaving the ten-
along the surface merely held into place by
sion
somewhat
the upper thread.
may
pass through
loose so that metallic thread it
When
without becoming twisted. 29
the embroidery
frame
is
placed in the
machine, take one thread up through with the upper
silk
the ends of the
and draw the gold and holding it make one more stitch tying stitcli tlie
satin,
two threads
Now
in a knot.
begin the embroidery, making short stitches which should be as even as possible. While
doing
this
embroidery bear
instructions
regarding
in
the
The work should
stitches.
mind
the former
direction
he
moved
of
the
in
two
directions only.
When
the thread on
necessitating replacing is
the it,
bobbin
runs out
as well as
when
it
necessary to cut that thread for any reason
whatever, draw the cut end up through the satin together with the end of thread on the
newly wound bobbin, knotting them on the upper or wrong side of the material.
The with
figures in the design should be filled in
gold
the
thread,
keeping
the
stitches as close together as possible
having them overlap.
(See Fig.
the figures are angular in
line
When
i.)
form begin
of
without to
work
from the points, if curved, begin at the centre or whatever place seems easiest to enable you to fill them in evenly without juni])ing from one side to the other, which would affect the symmetry of the outline and interfere with the perfection of the embroidery.
This embroidery done with gold, silver or other metallic thread
is most appropriate for decorating sofa cushions, fire-screens, or the larger folding screens on which it is both
beautiful also
great
and
(See Fig. 2.) It with excellent results and appropriateness to ecclesiastical em-
lends
practicable.
itself
broidery.
Figure
30
2
First
Openwork
As soon as you have obtained some control over the movement of the embroidery frame and understand how to carry it skilfully to the
precise
point
Stitches
through the machine, or from right to If the
work be moved
you may undertake to practice your openwork stitches. Of course one cannot
A
even pretend that the stitches will exactly cor-
respond to the measure of your desire at first. That will come later, without your realizing it. For the present it will be enough to know how to carry the embroidery hoop very close to the spot which the needle should enter. Let us start on our first openwork. To begin with, it will be well to take a large enough space to work in, and thus have less fear of making a mistake.
any other
left.
direction,
the result will be a chain similar to B, Fig.
where the needle should
penetrate, first
in
1
1
B
i.
of the
first
of these divisions (See A. Fig. 2
on the other two sides of
Fig. 2 be repeated
i.
the square, in such a
frame from you, keeping the movement harmonv with that of the machine, and carrying the fine cord formed by the two threads to
set
manner
to fasten the thread, and from there push the in
the opposite
of
side
another of the parts into which
the
tlie
square
or
filet,
cords,
to C, where the stitches to secure the cord are
better
Now
but
them
carry
corner to corner, and you will have the mesh,
is
divided, according to the place from which you have started. Here again make two or three stitches to secure the thread and pass on
repeated.
that the second
ones, then repeat
formed,
already
lines
first
diagonally across the angles of the square from
(B), or to
square
tlie
of cords cross the
shown
in Fig. 3.
This represents a netting in which 4. the open squares have been filled with eight Fig.
which are magnified here that you may appreciate the work done. After making a few stitches in the center, so as to
carry the cord in a straight
If the Hne to D, and so on successively. direction than any other hoops are moved in
move
fasten the cords that cross there,
frame from first
the
the
so that the needle
side to side,
goes in on one side of the cord, and on other side the next time.
In
this
way
cover the original cord so as to increase
its
you have gone half its length, then come back until you reach the center. Now begin to thicken another of the fine cords, and continue this work until you have finished the size until
eight points of the "star"
shown
in the illustra-
tion.
Fig.
This
5.
also
is
small
a
openwork
Figure 4
those indicated
in
passing from
result will be a chain,
stead of a cord.
To
when
crosses the point indicated by C.
frame from
to
B
the
avoid this turn the em-
broidery hoop to the right
the
A
(as in B, Fig. i), in-
the needle
Then move
right to left, which, as
you
Figure 6
square
like
threads
in
frame
the
in a circle,
finally, as the
move
fastening the
repeating the
the
embroidery
movement
until
needle passes around the inmost
center, there will be
shown
After
last.
the center,
found a weblike circle as with stitches that join
in the illustration,
the radiating lines of cord, or star point, with
a long zig-zag and carry Figure
end,
5
where
stitches.
have been
told, is the
other direction that must
If
circle
what has been described
to
you
Now
should be
it
half
way
to the
fastened with two
carry the cord to the middle of
the next radiating cords, and so on until the
be followed. Fig. 5.
it
is
formed.
radiating line,
in
32
\\'here the circle joins each
make
the
little
points that are
shown
in the illustration
with stitches that join
Now
the circle intersecting the radiating lines.
carry the thread along the
make line,
circle, in
order to
the next point on the following radiating
always increasing the size of the cord by it with stitches, as in the lines of
covering
cord
Fig. 4, until the eight rays or points
in
radiating
from the
Fig.
This
obtain circles
6. if
is
circle are
the
you alternate the
webs, points, lines that are to stand out into
completed.
result little
that
you
relief, etc.
will
squares of the
with those of the rays or star points.
This openwork embroidery, although
in the easiest and simmanner, embraces nearly everything that one need know in order to execute the most complicated and difficult needlework. These lines of fine cord are employed in the making of nearly all netting, openwork, embroidery and laces, as well as in the making of spider-
been presented to you
plest
it
has
Having mastered the
full details
of
making
openwork, any one can make innumerable combinations by merely changing the form of this
the design.
Netting
Filet,
or
Open Mesh Embroidery
In the preceding lesson the open
work
it
was
Fasten the end of the cord to the cloth take the cord between the index finger and thumb of the left hand, twisting it evenly and guiding it as
stated that
with two or three stitches
therein described, although
presented in a very simple form, ])ractically
comprised everything necessary for the execution of the most intricate work. The only additional
thing
he
to
considered
is
;
you cord. Place the left hand over the work, resting the thumb on the embroidery
the
design and the inde.x
finger
on the thumb.
Everything else now depends on the precision with which you move the embroidery hoops to make the stitches on each side of the cord. The size of the needle, and (Fig.
Figure
cording.
To make
1.)
i
the cording properly, a
great deal of practice
is
required as well as a
thorough understanding of this new emIjroidery method. It is not enough to know how to move the embroidery frame to a ]ioint near where the stitch should be placed; it is necessary that the needle should pene-
The needle should not pierce the cord nor should it penetrate the cloth at any perceptible distrate accurately the exact spot.
tance stitch
from the cord neither should the be any broader nor any narrower ;
than the thicknesses of the thread or silk used to cover the cord. Care in noting these instructions and a reasonable amount of diligent this
practice
will
enable
Figure
ihe
any one to do
number
2
of the thread should be in exact
relation to the coarseness of the material
cording well.
which the cording 34
is
to be done.
To do
on the
to be described, use No. o needle and No. lOO cotton and have the tensions
lines of cord
both alike.
make
work about
It
should be understood that
tlie
edges of
in
which go from corner to corner marked A, then proceed to
the square the
Fpider-web
away should
the
be outlined
web-like
Bring
any one of
form the netted mesh are placed
squares, using the
in position,
Figure
accordance with description on the preced-
B.
come to mesh of tiny darning stitch shown in
threads
sciuare
until
you
5
the
illustration,
filling
in
three sides of the
square with several rows of stitching. Carry
ing page.
Figure
centre.
In this work a
with stitching before the lines of cord that
in
the
Figure 4
Figure 3
the cloth to be cut
in
the thread of the machine along
2.
Having
made
the
two
the
cross35
thread along one of the nearest lines
to the sciuare
marked
Within
C.
form
this
1)6
forming the in
Figure
fastened to the middle of the side lines the
stitch,
first
square.
remaining
which
Figure
j.
is
squares
known
cover
Continue to fill with this same
This
4.
Make
stitch.
until
it
I
A
cord beginning at
a
B
C and those following. known as the spike
is
is
A
and
whence
reached, from
turn to the starting point
re-
close to the first
cord, each cord to be covered separately so
as the "Spirit Stitch."
This manner
(See Square
s(|uare.
another square the points of which should
of using the darn-
they
will
stand
joined together.
l-"rom
that
out
when they
arc
Figure
ing stitch
is
as follows:
Run
a line of stitch-
ing across the centre of the square is
(
.V),
sides.
Carry other
lines of stitching
coming
which
to be secured at the centre of the
two
A
pass on to C, again
liack to the starting point
A
;
thence
D
and from there start other spikes tlie same as the former ones. After reaching D go up to E again, coming back to finish at A. to
from
half of one side of the square to the divid-
ing line and from this to the other half (B). These stitches will form a triangle with the apex ending in the opposite side of the
Figure
6.
This
is
a
reproduction
beautiful frock for a child. batiste 36
and shows the same
It
is
filet
of
a
made
of
ground-
Figure
work
as
that Fig. 7
lesson.
no opportunity to ajipreciate the dethe work, we insert herein thirtynine filet or open mesh designs selected from a large number of samples, which we believe
preceding
give
represents a tray cloth, also
tails
in
showing
this filet
cloth
made
is
7
Fig.
5
of
the
ground-work. The trayembroidered with
of satin,
of
Figure S silk,
and
is
illustrations
within
the
magnificently effective.
show only limits
of
the the
amount
prove of great assistance to all who desire to study more carefully this beautiful work. (Figs. 8, 9, 10 and 11.)
.\s the
of
filet
engravings,
and
will
may
37
o
^ ^
p
<>
Hedebo Embroidery Hedebo
When
one of the most popular embroideries of the day and ever increasing in favor;
it
It is
is
it is
to the other in a perfectly straight direction,
;
book on embroidery can be considered complete without a word or two about Hedebo. Linen is the material above all others that should be used, D. M. C. cotton No. 70, No. o needle. The tensions medium, not loose. It is the arrangement and shape of the open-
Hedebo work,
and then
it
that
make
it
over to
it
in the
make
so at-
%
consists of lace
When
Where
there are only single lines to define the
and crescents,
stitches are put in.
arrangement, with
well chosen stitches for each.
a good distance
either side.
There are
spaces, the cording
artistic
is
the bars are finished cord on
squares, triangles, ovals, circles, hearts, leaves
an
bars will be required at
inch apart, which
generally.
in
the
;
how many
estimate
broidery. itself
the
;
can be most effectively
bar stitch and cording.
make
same way be particular to have the bars a uniform distance apart for small spaces put them a little nearer than in large spaces. It is wise to measure the length of the lines before you work the first bar and in
say
Hedebo embroidery
heavier like a bar, then
it
next one
combined with both eyelet and raised em-
stitches,
two fine stitches and work back same way that you cover cord
fasten with
a cottage industry.
tractive,
the material
its
No
ings in the
away
Denmark where
grows on one wonderfnlly. the Httle town in
to cut
between the parallel lines, cut only a little at one time, while you are a novice, only about half an inch then run across from one line
a Danish embroidery, indeed takes
name from
you begin
Those various
done as soon as your
is
With
a
little
systematic
and intelligent study of the openwork and lace stitches you will have no diffipractice
shapes are often defined by parallel lines, anywhere from % to ^i of an inch apart, and that is where the bar stitch comes in. Outline the design with two rows of stitching as usual, cut out one figure at a time and put in a suitable stitch do not have too great a variety of stitches in the same article have the same stitch in all the squares, the same one in all the crescents, and so on.
culty in mastering this work.
much this
surprised after a
kind of
work
will
little
You
will be
very
how
easy
while
become. The ease with
which one is able to adjust the tensions on the Singer Machine, is one of the most valuable
;
adjuncts to the perfection of the various kinds
:
of laces and embroideries of which
(See illustration Page 42.)
41
we
speak.
.
-^
^
%vii^^n^. wit*
^-*
Hedebo Embroidery
Richelieu Lace
This kind of in
style,
is
lace, strong,
simple and elegant
cloth
is
When
being used in great profusion to
now ready
for the embroidery frame.
using batiste or similar material, thread
trim underwear as well as household linen.
the machine with No.
When made
D.
with
silk
it
is
splendidly eflfective
for covers, curtains, collars, jabots, etc.
The
engraving
illustrating
the
instructions (Fig. i)
may
is,
as
you
see, a
The
following
thread or No. 70
thing to be done
first
is
medium
to follow the
1
outline of the design with ordinary
yoke for a
be useful to you should you
stitching.
desire to take advantage of the design.
(See Fig.
i,
avoid excessive ravelling
B.)
when
This
is
machine done to
the cloth
is
cut
out later and also to form a foundation for the
Place the batiste or other material to be used for the
no
a No. 00 needle and
tensions.
Figure
chemise and
M. C, use
groundwork
work upon the pattern and stamp its shown on the side marked A. The
stitches.
Cut the cloth from one of the spaces that
outline as
43
are to be
filled
only difference being that no braids are used and the under tension should be considYou have probably noticed erably tightened.
with lace stitches and embroider
therein the various stitches to be used, as
was
done with the Renaissance lace. As soon as is done, cut the goods from the next figure and embroider this in the same way, repeating the operation until there are no open spaces left in the
The
which
centres of the flowers
may
be
filled
it
with
desired, or with
lieu lace is
a spider-web, according to the requirements of the design. Now proceed to cord the edges of
and picot
various
the
Use same
if
stitches,
object of this final step in the
accentuate
the
outline,
throwing
work it
in
a sho]) of the Singer
at
Madrid,
as well as to cover the needle
holes.
This also serves to give the lace the
pretty
uniform appearance it ought to have. The machine is Tighten the under tension. now ready for the cording, and for this .select (See Fig. i. D.) These a four-strand cord. instructions carefully followed will enable you without difficulty to execute the embroidery of the chemise yoke. Always stamp the design on goods, do not Follow the same instructions given trace it. regarding
the
other
laces,
in
Sewing Machine Co.
You
Spain.
will notice in the
reproduction that this bit of panel contains a zig-zag
border,
this
handsome
effect
being obtained by making alternating diagonal
neat,
heretofore
openwork spaces of
2
is
relief,
web
form part of the decorations
into
strong
entirely of the
with a few of the other
Figure 2 illustrates a fragment of one of the rich panels that
Figure
The
composed almost
the flowers.
work.
to
the
is
lace stitches filling in the
composing the pattern. needle and thread for all the
figures
size
made
is
sance, except that no braid is used. The difference between the two laces chiefly consists in the groundwork, or mesh, which in the Riche-
frame.
the simplest of lace stitches
manner in same as the Renais-
that this kind of lace as well as the
this
bands of lace and
worked
in
lace
That is, one band and the other of the
cloth.
stitch
material used for the
groundwork of
the lace,
outlined with a cord.
As an example of the many combinations may be made with the dift'erent kinds of
that
needlework, embracing the various kinds, note Fig.
the
scarf,
44
3,
showing part of of
undeniable
a
beauty,
handsome even
if
table
only
judged by the linen crepe,
This
illustration.
is
trimmed with Richelieu
made with The lace.
pattern consists of a well arranged festoon of leaves, the veining in these is
embroidery.
This pattern
is
done
in eyelet
finished in long.
There is no lace the making of which offers any serious obstacle to the Singer Sewing This mechanical medium, heretoMachine. fore only used for making clothing, will produce within the hoops of an embroidery frame
Figure 3
curved leaves
filled
with lace stitches, which
spring from the main branch.
forming the groundwork white
is
eflfect.
material
embroidered with
silk daisies in satin stitch,
ask-like
The
giving a dam-
the
most exquisite
incredible rapidity.
you of
this
lace
work, and does
We
it
with
propose to convince
by describing the
volving the most subtle artifice
finest laces, inin their
making.
Point Venise We
must agree
that
all
with a very
laces,
chine
is
used for making
how
it.
To
illustrate the
made we use
few exceptions, are exquisitely tasteful and
description of
select the design
supremely elegant, if one only knows how to and to apply the lace in its
one of the Point Venise collars exhibited at a Singer shop. It shows the most beautiful de-
proper place.
sign
Figure
Point Venise designs are very beautiful, the
workmanship very dainty and the wonders in the w^ay of execution is
readily realized
when
a Singer
;
and perfect execution of any
illustrations
reproductions of
all of which Sewing Ma-
In Fig.
I
is
fifths natural
46
there,
and
i
the
lace admits of
this lace is
herewith
are
photographic
it.
shown size,
part of the collar, three-
which
will enable
you
to
appreciate the greater part of the lace stitches
and
otiier
refer
work contained
to this
making of the
Stamp
illustration
in
it,
we
as
and we
sign
A very
describe the
ground
lace.
work
the design on very fine firm material,
necessary
in
lace stitches use
no
begin
with
the
lace
stitches
flowers (or scrolls, as the case
It is
form the
may
be), care-
stitch for the
back-
After this groundhas been put in, a cord must be
on the
right
at the begin-
In basting the cord on, put a stitch over
been basted on, cover with a
fine close stitch,
as you have been previously instructed.
You
Figure
away
and easy
and back on either side of the cord, just close enough to keep it in place. After the cord has
best to
that
its
the picot stitch.
stitch
ning.
For making the
thread.
No. 150 thread.
effective
is
all around the design, two rows of outlining you made
in
together; use No.
will not lose
basted
embroidery frame with the care handling this class of goods. Put needle in the machine. a No. oo Outline the design with two rows of fine stitching, close then put
you have already worked
shape.
shall
will notice that
some of the edges of
2
and flowers are made heavier than
one leaf
the scrolls
only at a time, then the next one and so on.
the others
In cutting the material away, keep as close to
cord for the heavy edges, a 2-strand cord or
fully
cutting
material
the
in
the outlining as possible, without cutting the stitches.
After
put
much
in as
all
is left
or, in other
put in what
is
No. 12 thread for the
of the design as you have in
away
suitable for the spaces
the material that
After the work
words, the background, and
called the
In doing this a very at
use a 4-strand
fine edges.
Use Batten-
is
where they are
to go.
entirely finished stretch
it
and evenly on a wooden frame, tacking close enough together to keep it perfectly smooth and firm. When this is done, rest the four corners of the frame on four flat-irons or blocks to raise it from the table take a
groundwork or founlittle
efifect,
tightly
dation stitch.
must be cut awav
to obtain this
berg rings when required, choosing the sizes
the lace stitches have been
the frame, begin to cut
;
of the material
one time, so that the dc-
;
47
basin of clean cold water with fills
of
gum
arabic thoroughly
two tablespoonmixed with it,'
wet the whole thing, using a clean not remove from the frame until dry, then cut
away
cloth. it
is
Do quite
the material from the out-
side edge of the design, close to the covered
cord. Fig. 2 sho\Vs
an exact reproduction of one we have just described, that
half of the collar
you may copy
it
if
desired.
Shaded En^broiderv (Fruit).
Photographic reproduction of actual work done on a Singer Familv Sewing Machine without special attachments.
Renaissance Lace There
is little
Prepare the machine with No. no thread, a No. o needle, and have both tensions alike
that need be said of this well
known and much used
lace, as
we
are
all
fa-
Figure
and adjusted
trimming for napery, bedsets, curtains and numberless other objects of household use.
miliar with
it
I
as a
the lace
is
to suit the material
to be made,
ga'^lie or tine linen.
49
which
is
upon which
generally or-
The accompanying (Fig.
I
curves being taken in
illustration in this lesson
the braid
shows a conventional wild rose pat-
)
and in order that you may the more easily understand the description we show the be-
Having
finished.
selected the design that
is
the in?ide edge of
to cut
away
the cloth from the
inside of a petal. \\'hen putting in the different
ginning of the work in some of these roses,
shown
when
down.
stitched
Next, begin
tern,
wdiile others are
is
make your foundation warp of the material and
stitches
lines
the
this
your design straight.
to serve
When
run with will
you begin
to
keep
make
the stitches, fasten your thread firmly to the
stamp on the goods the outlines to be covered with the Battenberg braid only. Use No. o needle and Xo. no thread for sewfor the lace,
inside edge of the braid
by taking two or three
small stitches, but do not put any unnecessary
Fiffure 2
ing braid
a
B
on the design, and for making
stitches
and No. 300
Moulin on top of tension. Put material firmly in the hoop, drawing it fectly straight, then proceed to sew on bin
Have
chine.
braid over
To do on
all
a
I'etit
medium
the design that
is
in the
work
ma-
a
cut only a part of the cloth to prevent the
the
work
away
at a time,
getting out of shape.
Use
a Battenberg ring for the center of the roses.
per-
the
It is
making.
hoop.
sew the outside edge of the braid making a fairly long stitch through
this,
first,
edge of the braid as it gives the clumsy appearance. In large spaces,
^titches in the
needle and Xo. 400 Petit Moulin in bob-
not necessary to iron the
As each hoopful
of the
work while work is fin-
ished, the edges of the braid, etc.. should be
gone over with a firm close
the open edge of the braid, the fulness at the
clean finish. 50
stitch,
making
a
Xow cut awa}- the cloth between the roses and fill the space with picot, webs or any other ground stitch, according to the design. Continue until you have finished all of the pattern found within the frame that you can.
The rest of the work, such as thickening tiie making spider-webs, diagonals and knots, etc., should now be done in accordance with
C(jr(l,
the design selected. will
find the
lace stitches
there
is
or can
;
least
It is
not believed that you
difficulty
making these
in
although there are
many
When
of them,
nothing that you do not already know
You will probably succeed in disnew combinations suggested by your
this
cop_\-.
covering
own good The
away
finished
is
it
While on the
purpose.
should
be
made
for
stretcher, brush
wrong side of the lace lightly with a very weak solution of gum arable. Do not iron it. As a finishefl sample of this lace see Fig. 2. the
taste.
cloth should he cut
lace
this
placed upon a stretcher especially
as fast as an
Figure 3
open space space
is
When stitches
is
needed, but not before the
This
last
completely finished.
make
a
ring of
around the center, having
it
as large
a rose
is
finished
is
a magnificent tray cloth, emijroidereil
upon
in silk
nainsook.
flower will permit.
cloth
not
corded.
select
or darning
stitches
worked.
SI
away
The
is
a sijecimen of a
embroidered in Art
lace stitches
used
same ones shown
Openwork
"I'irst
is
cut
lace are the
threads disposed like rays, placed at an equal already described,
is
All the edges of the pattern have been
Stitch.
distance from each other, on which the weaving stitch,
Xo. 3
This panel was embroidered with thread on You should notice that all of the
Cut tlie cloth away for the center of this ring and fill in with a web or star, which, as you will see by the illustration, you already know how These are formed, as you know, of to do. as the size of the
satin.
panel.
in
making
this
in the lesson in
Stitches," therefore you may from those illustrations whatever seem best fitted to your work.
English Point Who
know
does not
this beautiful lace?
have represented
Jn
women,
what center of learning dedicated to from the simplest school to the most fashionable college, is the making of this lace not taught? And what one of you, since earliest childhood,
has
adornment
of
failed skirts,
to
see
it
bodices,
used
in
aprons,
and a thousand other
sonal adornment
Happily
patience nor great fortune
we
struck with
many
it
Xor per-
square yards of this
i
At the present time what most commands artistic good and the beautiful arrangement of the openwork stitches. If
wonderstruck our grandmothers would have been if they could but have seen us wearcapital
needed.
lace,
How
What
is
wonder when we are
our admiration of lace
!
order to possess
however admirably executed. The Singer Sewing Machine has worked the miracle.
the ties.
articles of per-
ing a dress entirely composed of lace.
in
ible
mitted to look upon
?
a prodigy of patience
!
of this lace to-day neither inexhaust-
are
Fissure
collars
gown
a
the
is
taste displayed in the design
What
there
would
lace,
52
remain anything incredible about it is
that there should
still
this
be people will-
!
ing to undertake the execution by hand of a
comparatively
large
it
is
of lace, knowing worn out long before
jiiece
that their patience will be finished.
The tedium
of hand embroidery has been
into a stimulus to begin a
almost before the
last,
and concise and, while helping you to grasp the details, will enable you to appreciate the simplicity and richness of the work. lucid
new method of lace making new piece of work
converted by this
when done by hand, and that it will stand much rougher treatment in the laundry. The seven accompanying illustrations will help to make my description of this lace more
begun but a few days There are some who
Fig.
I
illustrates
a design that
may
serve
even make the \okes of their chemises of
you in making a handsome tie. which you could have ready to wear within a very few
English Point
hours.
before, has been finished.
One lady, before she took up the study of machine embroidery, was positively certain that it would not be possible to e.xecute embroidery by this mechanical process that would compare with hand work either in beauty or strength. She has since learned the Singer Sewing Machine method and become an enthusiast. She now declares that not only is embroidery lace and the machine-made stronger and more exact, but that the wrong side of the
work
is
much
Select a fine, round mesh, double-thread net.
Single-thread,
This work
square mesh net will not do.
may
according to
its
be done with object, but
it
silk, is
if
desired,
better,
and
even more appropriate to work it with thread. Xo. no thread is best for basting braid on
and No. 150 thread for making stitches. Use No. 00 needle and medium tensions. Stamp the design on the net and stitch the braid on
same manner as for Renaissance Lace. Never baste braid on before putting the
in the
better finished than 53
work
in the
hoop, the only correct
the net in the hoop tightly,
is
way
These openwork
to put
for one person to hold
can be shown
smoothly, and firmly over the larger
hoop
in place.
described
Braid should be put on exactly After Renaissance Lace.
as
in
this
lace
edge of the braid should be gone over cording to fasten it firmly on the net.
pattern
designs call for two or
braid, producing a richer effect
like fine
have
more kinds of in some of the
be varied to suit
and much good taste selection. \\'e would,
a
better
make stand out more
filled
in
to
appearance the
figures
clearly.
to
the
in
the
After you
the leaves, flowers,
with
etc..
the lace stitches desired, cut out the net along the outer edge of the braid
might
figures.
Figure
Extreme care should be taken
gives
and tends
stitches in petals (on net) are done, the inside
Some
their
in
may
however, suggest that the closer stitches be made to alternate with the more open ones,
hoop, while another person puts the smaller
as
stitches
the fancy of the worker,
it
to (Iraw the
call
:
this is
what we
the foundation of the various
fisr-
3
ures.
(See Fig.
i.
A.)
This cutting should
net smoothly and evenly over the larger hoop
be done as closely as possible to the stitched
before pressing
edge of the braid.
in
the
smaller one,
because
any attempt to stretch the net into position after the hoops are closed will result in tearing
The open space thus
left
should be crossed with lines of thread forming spider-webs (B) or just a plain star (C),
according to the size of the space to be
it.
filled
The and the requirements of the pattern. lines forming the picot stitch (D D) should
Place the embroidery frame on the machine
and after the braid is put on proceed to embroider the openwork stitches on the net.
be 54
made
coarser bv stitching over them, back-
Do not remove the stiletto you have taken a stitcli or two this is necessary to avoid any danger of the loop becoming entangled with the bobbin. If you desire to finish the edge with a narrow lace, put this on the outside edge of the braid as you proceed with the work, covering it
wards and forwards, in order to make them stronger, and it is while doing this that the
ing the latter work. until
tiny loops characteristic of this stitch should
be formed (B D).
Begin by making a
line
heavier by covering the thread, and at about the middle stitches,
make
three or
as though
four
independent
you were about
to
make
;
Figure 4
another line at right angles from the first. Take a fine embroidery stiletto in the left hand and with it hold back the stitches just made, so as to
form a
loop, while bringing the needle
to the thread
as
you would cord.
This will greatly add to
the beauty and eft'ectiveness of the work. (See Fig.
i,
E.)
back
Besides
you have been covering, continu-
describing 55
the
illustration
how
this lace is
used to assist
made, you
in
will find
herein several other illustrations, reproducing
the
finished pieces of this popular lace.
and the picot
Fig. 2 represents a table-cover of exquisite
shows a very handsome On both of these pieces the emdone with cotton thread on linen.
tray cloth.
broidery Fig. 4
is
;
Xo.
3
forming the groundwork,
stitch,
giving
it
the elegant and
5
ciate in the illustration.
Fig.
5
represents a
section of a panel. Fig. 6
of a
shows a lovely centerpiece.
stitches,
dainty appearance that vou will readilv appre-
Figure
workmanship
filet
is
young
a picture showing the dainty head girl,
embroidered
in colors,
which
Figure 6
You
will note that in this jjiece the English
Point has been happily combined with one of
appears from between a pair of English Point lace curtains;
an odd fancy.
Duchess Lace Duchess Lace
the most modish of all seems it unnecessary to say that the Singer Sewing Machine, once having invatled the territory of embroidery and fine needlework, immediately proceeded to prove that its use was the simplest and most rapid method of making Duchess Lace, as well as
stitches
is
the most rational
way
an
simply sold
Point,
—of
stitches,
around.
consists of large medallions,
now
imitation
Duchess Point beautifully made,
—
showing the net
cribed in the article on Brussels lace.
The
outside edge of the leaves that surround
the medallion, (see B, Fig. i), should be cov-
by
ered with a very fine cord, in imitation of the
a system of small bobbins.
net, the various stitches
flower design should be outlined
with plain stitching and then corded, as des-
a very old pattern of Brussels infinite patience
The
tern.
sold as
heavy thread shown in the real lace. If you wish to obtain a really perfect imitation of this lace, having the finished work
will notice that in the applique of lace braids
it
all
will see in the illustration, the design
ground, on which small sprays of flowers are
You are undoubtedly familiar with this famous lace, or at least with its imitation, and on
then cord
As you
to attain perfection in
made by hand with
means of
like
cut out the net between the braid and put in
thanks to the exquisitely dainty lace braids
now
it
finished,
is
fastened, in imitation of the Brussels lace pat-
]\Iuch of the lace is
going around each leaf or
net,
After center of figure
a cording.
manufacture.
its
on the
flower with No. 12 thread and covering
laces; therefore,
and general design The Duch-
soft
and
pliable,
buying the
closely resembles English Point.
When
finest
use only the best materials,
Duchess braid procurable.
Lace having some modifications tending to increase its beaut)- and richness, may be considered as an English Point brouglit to a high
enough to permit of
state of perfection.
use the straight wide braid, joining the edges
ess
It
requires a
prettily
special
design,
fine
composed of
if
formed flowers and small leaves joined
The
lace
is
made by applying
waved
braid.
possible, but
if
it,
they should be
When
made
of
the leaves are larger,
the design
show a space
in
the center of the leaves, this should be filled
with a cross-stitch, as shown
by delicately curved stems, as shown in Fig. i. upon which we shall base our instructions. net, as described in the lesson
the flowers in the pattern are large
in this lace
simply to use the
lace braids to
in
filet,
The
D.
are very simple, and
it
cross-stitch
is
stitches
advisable
and picot;
the last having tiny, independent loops, as de-
on English Point.
For outlining design and sewing on braid no thread and No. oo needle; for stitches on the net, No. 150 thread is used. I'ut plain braid on first (the design is not outlined where the braid goes go over outside edge like fine cording with No. no thread, then put on the medallion or waved braid and go all around the inside of both braids like a fine cording, this will hold it firmly on the net, then begin on the flowers making stems first, using a very fine cord. .A.fter that, work your
scribed in English Point.
This rich
use No.
^lachine has
lace,
which the Singer Sewing
made
so easy to produce,
is
much
used to trim blouses, bed-spreads, ladies' un-
derwear, collars, christening robes and even
)
gowns. Fig. 2 size,
shows an
article that,
because of
its
represents considerable time and labor.
The work on this spread is the imitation Duchess Lace that has been the subject of this lesson. 57
It
is
made with Battenberg
braid
applied
being
in
in
the
two
sliape
of
different sizes.
medallions,
these
No. 500 cotton
thread was used, the
organdie foundation.
work being done on an
Figure
The
pattern forms a border scalloped on the
inside edge. is
one
the
monogram.
Distributed
along
the
center of the spread, between the border and the
medallion,
are
eight
lace
in
each corner, and one on each
side.
Because of the large size of this piece of lace, and in order to do justice to its exquisite workmanship, we have reproduced here only
In the center of the spread there
a very large medallion, with a plain space
for
2
one corner.
same
bow-knots, 59
The
three other corners are the
as the one shown.
Brussels Lace Here is one of those laces whose fineness and delicacy make it seem incredible that it should have been produced I)y a Singer Sewing Machine. Nevertheless, the instruc-
ship may he executed by this new system of embroidery without worry or difficulty. A
specimen of this beautiful work is shown in Fig. 2. which illustrates part of a Spanish lace
Figure tions that follow will soon convince
you that
i
mantilla.
The
illustration hardly does justice
with the aid of this machine nothing can be
to the exquisite detail in this
more quickly done. Your experience in making this lace will show how this and other fine laces of the most delicate workman-
illustrates
a table-cover
broidered
in cotton, to
easier or
made
work.
Fig.
which we
shall refer in
the brief explanations required by this work. 60
i
of this lace, em-
A fine double-thread, in
making
this lace.
Have
net.
round mesh net
Stamp
is
used
the pattern on the
the tensions on the machine slightly
recommended in the former lessons for lace making where this same material was employed.
Figure
2
Place on the machine Xo.
loose so that neither will draw, and then pro-
ceed to cover every line
in the
design with the
the
openwork
stitches
150 thread for
and a Xo. 00 needle
Figure 3
machine
When you
stitching,
using
No.
no
and have the tensions
thread,
work simply etc. shown
placing the net in the embroidery frame
will
have to observe
all
the precautions 61
slightly
loose.
This
requires that each tiny leaf, stem in
the
design
be
covered
with
machine
small
spaces
be
stitches,
filled
in
or
with
that
short
stitches in the holes of the net.
the
many uses to which this lace may be put, as you have probably seen it innumerable times,
larger
interlaced
These
particularly
stitches
need not be very heavy nor overlap, but they should always
lie
close
together and
tains, etc.
handkerchiefs, sash cur-
fine
in
When
the pattern
is
a very fine lace braid, such as
follow
the direction of each figure, especially in the
making English point
case of scrolls or leaves.
outline
the
flowers,
relatively' large,
employed
is
may
lace,
medallions,
in
be used to etc.
If
this
Figure 4
The
outlines should be finisheil with a
be used, omit the corded edge referred to be-
tin_\-.
one-strand cord, giving firmness to the straight or scalloped edges.
fore.
work
If greater variety be de-
you wish you may embroider openthe
in
flowers using the
shown
finer
which illustrates an unfinished piece of work held by the embroidery hoops.
any band or ribbon motif appearing in the pattern may also be outlined with this
lace stitches, as
sired,
cord. It
If
centres
hardly seems necessary to describe the
is
\\'hen this lace 62
is
in Fig. 4,
finished
it
should be placed
Figure 5
upon a stretcher especially made for this purpose. While on the stretcher brush the wrong side of the lace lightly with a very
tion of
gum
arable and water
;
weak
solu-
allow this to
dry.
The machine-made tions,
being used
When
laces
have acquired con-
design
plicated
is
altar-cloths,
for
used in this
way
a
generally
very
albs, fine,
selected.
etc.
comMan\-
of the hand-made pieces give evidence of inexhaustible patience, only explained by the tenacious
persistence
has kept a
vow
Many of the convents and asylums abroad have grasped this fact and the more skilled nuns have been instructed in this system of embroidery.
importance in ecclesiastical decora-
siderable
Fortunately the tedious phase of this work has been eliminatetl by the rapidity with which it may be done on the Singer Sewing Alachine.
of
at the
some devotee who
cost of her eyesight.
piece of
In
Fig.
illustrated
is
3
work done by one
the
t^r^t
of these nuns after
a few lessons.
In
those
finished
of
pieces
trated in these lessons,
it
sent reproductions of the
is
work
illus-
proposed to pre-
most
select
examples
of machine embroidery. They are marvels of execution, elegant in design and correct in style.
Novelty Lace If This is what they have called it. any of you wish to give it another name you may, in all freedom and without fear of correction. No one knows who named it, but it Novelty Lace without having is still called aroused a protest or claim. It is a combina-
tion
formed of some of the features of English
point and Richelieu with a
modicum
of ap-
and has been very happily
plique on net,
re-
ceived.
This lace
is
but
it
ming
was embroidered on white in yelproducing an elegant and delicate
cream colored
The
effect.
materials used for making this lace are
and a very fine round mesh net. upon the batiste. Then place the net under the batiste, baste them together, and span the two materials with the embroidery hoops. Whenever two materials are used, they silk batiste
Stamp
the design
should be basted smoothly and evenly together, not only around the outside of the goods, but
it is
both exquisite and rich,
considered most attractive as a trim-
for ladies' dresses.
Nothing more mag-
nor handsomer can be imagined if the embroiderer understands how to combine the nificent
shades of
silk,
Used
connection is
lowish
largely used in toilet furnishings,
spreads, eider-down quilt covers, etc. in this
illustration
silk
used
in
the lace so they shall
harmonize with the color of the gown itself. The sample which serves for the accompanying
also here
and there through the center, before
they are put into the hoops.
The machine should be made ready with
a
No. oo needle and with medium tensions. Use No. no thread for tracing design, and No. 150 thread for stitches and cording.
The work should be begun by cord on the stems, making
it
basting the
firm,
and then
proceed to cut away the material, being careful to cover the outlines of the design twice
with an ordinary machine
stitch.
{
See
B
in
the illustration.)
Cut the
batiste
Now
or three of
the petals of the flowers leaving the net on
which some lace stitches should be worked, making them as fine as you possibly can, as shown in C and the other petals of the same
picot
to
in
fill
stitch
groundwork,
the
described
in
English
point.
This
away from two
proceed
using the
should be very open,
stitch
and
in
order to preserve this appearance use an embroidery stiletto to hold the different stitches apart where they cross each other, reinforcing
them
at those points
stitches as in
by taking three or four
making an
eyelet.
shape.
In the centre of the flowers you cut
either
away
stitches fill
may
the batiste and embroider the lace on the remaining net, or if you prefer,
this space
cutting
away
with a spider-web, in that case the net as well as the batiste, as
shown in the different flowers in the sample accompanying these directions. Some of the is
flower petals
work
may
the batiste
simply have
itself.
for
ground-
The stems
of the flowers are
covered with
fine
made of cord The leaves
close stitches.
attached to these stems should be treated the
same
as the petals of the flowers, namely, al-
ternating the
openwork centres with those of
batiste to suit
Having
your
finished
own the
fancy.
work thus
described,
proceed to outline the flowers, leaves
and bor-
ders of the lace with a four or five-strand cord.
Lace
Point This handsome lace
ming
ladies'
seaux and
is
gowns and
much used especially
pattern, in accordance with the oft repeated
for trimfor trous-
rule.
In other words, the outline
is
to be
Stamp the pattern on the batiste; lay this on a piece of ecru net somewhat larger than
the lace does not have any foundation
the pattern
forced.
itself,
gone
over twice with the machine stitching because
layettes.
finished, necessitating
baste materials together care-
Now
cut
all
when
having the edges reinthe cloth
awav from
the
,m >m
Figure fully and span with the embroidery hoops. The machine should be prepared with a No. oo needle, No. 120 thread, and both upper and lower tensions should be medium. When making this lace (See Fig. i two rows of stitching should be used to outline the
design, leaving the net alone.
thread and begin
to cover
Use No. 150
the
net
with a
very fine lace stitch wherever indicated by the pattern.
(See A. Fig.
to the small leaves
)
.After this 67
i.)
This also applies
and petals of the flowers.
work has been done
in
the entire
space
embraced
by
the
embroidery
frame
away the net from what we shall groundwork of the design (B, Fig. I ), soon as it is cut away fill the ground-
begin to cut call
the
and as
work with
a picot stitch as ilescribed in the
English point.
These
now
details
having been carried out
it
is
only necessary to outline the design with
cord, using a six-strand cord for this work.
golden dream,
may
increase their happiness by
adding to their trousseau a
whose
set
of
lingerie
and merit would consist in the fact that it is their own handiwork. All your embroideries may be due to your own labor and intelligence W'ithout any great effort nor the necessity of devoting unlimited time to their making. The bridal set alluded to comprised an underskirt, chemise, nightgown. principle value
Fisrure 2
Iron the work with the greatest care.
The
drawers and corset cover.
design for this lace shown here was copied
some idea of
from a
reproduced
and elegant bridal set of underwear. Apart from its great merit, it is a demonstration of the convenience and utility of this system of machine embroidery, because, with this rapid and efficacious method, rich
the voting ladies
who
I-^ig.
3.
You
in
this
Fig.
In order to give you
work,
the
drawers are
2 and the nightgown in
will notice in the illustrations that
the design consists of medallions of
two
dif-
ferent sizes, joined together with smaller ones. All the pieces of the set are
are about to realize their
made
of nainsook
on which the embroiderv has been done. 68
Figure 3
Cluny Lace As ill
in the
case of Brussels Lace, described
the former lesson, round mesli net should
be selected.
The pattern should be stamped
openwork design should be embroidered on the net itself, using a few stitches to indicate
Around
the central vein in the leaf.
this, at
and the design stitched twice over (See A. Fig. i.l all that is in the hoops. Prepare the machine with a No. oo needle and No. 150 thread, having both tensions slightly
an equal distance from the border, run a row of stitches covering the centre of the leaf with
loose.
tween the
on the
net.
the stitching.
Figure
When
placing
the
net
in
the
embroidery
hoops the same precautions should be observed as in
making other
laces, in
order to obtain the
In other leaves after outlining
the central vein you latter
may
in the
space be-
and the edge of the
leaf with
fill
i
embroidered knots placed in alternating No other embroidery will be necessary in these leaves. Surround the opentiny
holes in the net.
tautness necessary without pulling the design
work centres of
out of shape.
the
Begin by cutting the net away from the and fill the opencentre of a flower (B, Fig. i ing left with a web stitch with four symmetric-
without using cord as a foundation, the ring to be brought out into relief
ally distributed knots.
contains other leaves which instead of being
)
The
small leaves, or petals, surrounding
thi-'
the flowers with a ring like
crocheted ones used in Battenburg, but
from the centre to filled in
with the
its
web
by
stitches carried
outer edge.
stitches are
The
pattern
composed of
from one edge to the are made, a
Imagine the admiration won by an entire costume of this lace which was seen at a ball,
thread should be carried across the centre, which is to be knotted on each bar, thus
worn by a young lady noted for her beauty. That which heightened the interest with which this young lady was regarded, who with at-
small
bars
other
(C).
crossing
After these bars
preserving an equal distance between them.
The rings shown in this design serve as a groundwork or support for its other figures. They are made of cord with a knot in the center, the same as those shown in the netting or
filet
designs, but are smaller in size, as
be seen in the illustration.
may
Finally, outline
the figures in the pattern with a
tractive grace, increased the brilliancy of her
charms by wearing so rich and original a gown, was the fact that the work thereon was all her own, the product of her own hands, and due She was heard to state this to herself alone. several times with great pride
all
who
four-strand
Fieure
cord,
sign
and having finished as much of the dethe embroidery frame will hold at
it
is
scissors.
to her friends,
her with admiration not un-
some cases by
taken a few lessons
in
incredulity.
making
this
She had lace on
Sewing Machine, and credit for the was no doubt partly due to her aptitude for the work and her intelligence and persistent application.
the Singer
successful result
advisable to use a very fine pair of
curved manicure
at
2
tinged in
as
one time, cut the net groundwork out as closely For this purto the corded edge as possible. pose
looked
In order to give
We
you a better idea of the beauty of the collar, part of which is used as an example in Fig. i, You it is reproduced in its entirety in Fig. 2. may thus judge of the handsome effect it would produce in conjunction with a child's
have cited
this case
stimulating to constancy
in
with the object of practice of
embroidery, feeling certain that a reasonable
amount of
satisfactory results.
daintv dress.
71
in
machine
every case
application will ensure
Hemstitching Probably there is nothing more used in ornamental needlework for home use than hem-
on the near side of the needle, the finger on
stitching: in this, as in every other kind of
the
sewing, the Singer machine takes
What
a difference
first
from the old time
the far side
work so Take the
place.
tedious,
back
stitch
with the right hand take hold of
;
that
you can move
first
the
in
stitch
it
as
you wish.
forward, the second
drawn
threads,
(this
is
to
eye-straining process of handwork, in which
hold the threads in place), then one stitch in
our grandmothers took such pride, to the delightful pastime of accomplishing so much in
the hem.
an amazing!}' short space of time on the Singer machine.
member, one
The machine
is
to be
in
stitch
the
hem draw
is
either case the
but the threads arc
hem;
it
should not be too wide, as
the
first
would not stay
turn of the
over exactly on a
hem
line
top of the in that
in place.
case
with the lowest or
it
can
l)e
In
insertion.
Crease
evenly, then fold
:
manner of working is the same, drawn differently for an
threads, six or more, according to the witlth
the threads
elaborate, the stitch
very effective
used as an insertion as well as for a hem.
several
you want the space
to be at the
Re-
forward, one stitch back
hem more
called the zigzag
a plain hemstitched
reach the end of the hem.
the threads, one stitch in hem.
To make
adjusted as previously
described for embroidery.
For
When you
take one or two fine stitches to fasten.
It is
not necessary to count the threads for is more acwarp are apt to
an insertion, measuring the goods
it
curate, as the threads of the
first
thread drawn, baste with rather short stitches
be a
far
enough away from the top of the hem not to be caught by the needle while hemming.
the distance you desire the insertion to be
Have
the hem and draw the first thread, then draw as many threads as you want the insertion to
the tension
medium
tight
;
the
needle
and thread must be chosen to suit the texture of the material. For instance, when hemstitching a sheer material like Persian lawn use No. 200 thread and a Xo. 00 needle. For this work do not use an embroidery hoop, as that requires sewing muslin on the edge of the hem, which would leave a mark. Have the right side of the work uppermost, and place the top of the hem directly under the needle. Picginning at one extreme end, take one or two tiny stitches in the same place to fasten the thread, holding the hem down on the machine perfectly smooth and rather tight with the thumb and forefinger of the left hand, the thumb
little
heavier than the woof.
Pleasure
from
be wide.
Now
suppose you are going to make a very
elaborate doylie with a hemstitched hem, a zig-
zag insertion and embroidery
Draw one thread hem on all four
in
the
center.
mark the width of your sides, draw two threads to to
mark
the width of the insertion, then have }our embroidery design stamped and make If the threads are not drawn first no certainty that the embroidery will be straight. \Mien the embroidery is comjjleted. draw the rest of the threads for the insertion. After the threads are drawn. }dii will find that you have an open square at each
that
there
72
first. is
one of the four corners in,
any
stitch
may
these
;
after the zigzag insertion
is
be
caught and proceed
filled
made, with
border
Before you change your work
which your fancy suggests.
The threads being drawn, span the work in the frame, draw tight and have the drawn threads perfectly straight. To make the zigzag: After the work is placed on the machine take two or three fine stitches to fasten the threads
;
%
begin about
manner
this
in
until the
finished.
is
in the
hoop,
while you are making the border put what-
ever stitch you decide upon in the corner after the zigzag
is
done on either
have made the corner
side.
When
you
cord the two out-
stitch,
side edges of the corner with a very fine cord
of an inch from the
to
make
it
When
material and catch a cluster of threads, about
firm.
the border
is
finished press the
1
work
.1..,,
fC^liii'miijmmn^vyi'r
f(
I
/l.fcUki*»^*-»'^^*'******'*»^**»i*»*H4i».H»*4»»«»»»»i******J**
A«
Linen DoylJe Hemstitching,
fourteen stitches,
of
the
gether
work down
cluster ;
together
fasten
^14),
then
with
first
it at the extreme edges, right side down, on a padded table or board be sure that it is perfectly smooth and tight, then wet ;
fastened to-
bring you ys of an inch from
it
with
three
stitches
threads you are stitches
threads and fasten
(7)
the
to
now
on the seven
7
cluster
work down
on, (
half
)
threads you
with a cloth dipped
Leave
material on the opposite side from which you started; catch seven
Byzantine Lace.
by pinning
three
three stitches on half
of threads
this will
Drawn Work and
dry.
of
it
Do
not iron
it.
threads and scribed
last
73
clean cold water.
When
up, straighten the edges,
three
in
pinned down imtil
—then
it
is
thoroughly
it
is
dry take
draw the
make your hem iron the dovlie.
it
rest of the
as already de-
The making of hemstitched tucks is a Uttle more difficult than that of the hemstitched hem. Xot that the process of hemstitching is more difficult, for it is exacth- the same, but there is much more measuring where there are a number of tucks, and unless the meas-
ing the
made
the effect
is
spoiled.
There in
skirt
shown
in this
page
is
a
good
lace
stitched
is
no end of
tucks,
pleases one's
of Hemstitching:,
said in
effective
combinations
embroidery with hemwell as beading of any
as
Ribbon may be used if it In our illustration we
fancy.
Tucking,
etc.
have shown a simple design of hemstitched
illustration
of this pretty work.
tucks and lace, realizing that those using the
Tucks and spaces must be carefully determined and measured after the threads are
Singer Sewing Machine can easily make more
:
elaborate ones
drawn, follow the instructions in the foregoing article about basting a hem. Use a fine needle and thread for basting
and take short
we
making the
or
insertion,
width desired.
The dainty
Example
as in
hem.
urements are accurate and the basting carefully
work and hemstitching, same as
the beginning, are the
stitches.
The manner of
who owns
if
they so desire.
a Singer
equipped to undertake
work.
hold74
Any one
Sewing Machine all
is
well
varieties of needle-
Mexican Drawn-work KIRST F»ARX This work
is
materials
that
permit
the
threads.
The embroidery
maining
threads,
running
1
is
in
1^'ig.
the
threads
re-
kept
perfectly
way
the
work
is
of
of
the
goods, after the threads running in the op-
have been drawn out.
shall first describe the
strips like
which
usually appears.
it
a
instance,
threads
work done
an insertion, which suitable
wherever we think
work
is
done
it
will
in
it
when
straight
in
The goods must be (])articularly
if
the
being done on a fine linen) and the
the hemstitching use No. no No. o needle and have the tensions the same as described in the article on Filet Embroidery.
In
doing
thread.
for
drawing the advisable
drawn band must be kept
perfectly even with the thread of the goods.
crosswise
select,
i
parallel edges of the
We
the form in
Let us
towelling,
place the insertion, so that
the
is
drawn, great care
mmmamutfrnm mm
Figure
direction
are
embroidery hoops.
kVA*JtAMA.VA*'>A.VA*/A*A
posite
Use Xo. o needle and Xo.
should be taken to place the work properly
drawing out done on the one
2.
10 thread.
Once
when made of
apparel
personal
of
in general.
blouses and other
It is also effective in scarfs,
articles
shown
frequently employed to ailorn
napery and other household linen
By
to
this part of
carefully
examining Fig.
readily see the various
have the appearance
from beginning 75
to end.
2,
you
will
stages of this work,
:
Begin the work by forming tlie lienistitclied shown in the engraving marked B, using from eight to ten threads to form each bar. The greatest care should be taken to have
bars
exactly the same
This
bar.
is
number of threads in each when you begin
particularly so
work along the second margin of the openwork band, when the same group of threads must be fastened together each time, as shown in the illustration.
Start at the middle of the insertion and gather the bars just formed into groups of six bars each, as shown in the section of the illustration
means of form a the
marked
fine twisted
bars,
them firmly by Allow the thread to
C, holding
several stitches.
cord along the center of
connecting the groups of
shown from C
as
six,
Going back to the first group of hemstitch bars, do the work shown in D, drawing together three bars and holding them together with a heavy knot placed about a third of the way between the center of the to D.
bar and the outer edge; then carry the cord along to the next immediate three bars to lie held together in the same manner.
From
this last point pass to the center of
the next group of bars, designated as E, and
there fastening the cord, proceed to the
first
third of the next following group, designated as F, which, as you will note, is connected
with the opposite side of group D. In group F do the same work already done in group D then pass on to group
G
;
thus forming a wav-
ing line of cord to the end of the drawn-work band. Now turn back and repeat this work on the opposite side of the centra! knot.
return to the
first
ation, placing the
margin
the
of
group and repeat
If
we
this oper-
second series of knots nearer the insertion and, always
preserving the undulating lines of the cord, make a raised knot on every two bars instead of separating first,
them
into groups of three as at
we form a raised knot on we shall have alternating shown in F and E. We shall now
and. finally,
if
each separate bar,
groups as
take up the part of the design
G, \vhich
is
a closely
woven
shown
in
group
stitch not unlike
darning, because up to the present the undulating lines have merely been drawn together in
the center of group E.
As we have described
Figure
this design as begin-6
:
with
iiing
line
tliL'
keep them
of two knots in the center
and ending with the Hne of four knots near margin
the
of
work,
the
would
it
well to state here that this method
made immediately in front of the first cord, between the first and second one, between the second and third one and directly after the
be
may
be
reversed so as to begin the design with the four outer knots and
end
with the two
it
and covering them with short
flat,
In order to do this, a stitch must be
stitches.
third one. This
same treatment should be given
the groups of three bars.
center ones.
This finished stitch
most important to keep the groups of bars at an equal distance from each other, to preserve the evenness of the work, so that group F shall not be pulled out of shape, you may readily determine for yourself which side you would better begin the work, in order
which suggests a woven surface, should cover the cords and bars so as to show the original undulating outline. Begin at the center of the figure and work half way up until the eight rays or starlike points have been com-
to judge best the distances.
shows the border of a silk scarf, embroidered in silk thread, from which the foregoing detail was taken, and contains other combinations and narrower bands of openwork, forming a very beautiful ensemble, which commands our admiration because of the elegance and precision of the work.
As
is
it
Group tral
G
:
pleted, as
Fig.
relating to the closely
woven
cen-
part of the design formed on the three
undulating lines of cord that meet there, and the bars,
of three.
which should be combined This woven
stitch
is
in
made by
groups laying
the three cords side bv side, being careful to
shown
in the illustration.
I
SECOND F»ARX as insertions, anti which are
In the First Part of this article attention
was asked only
to those designs
adapted to use
ing out threads
r unning
way
trimming
for
But of drawn-work scarfs, etc.
5 ******'*»>»H»l,,fr«f,T*f,|,Ti«MI»W*»T.fM»T»»|s»|lf,»ll»ti
of the
making an appropri-
cloth,
ate
formed by draw-
only one
towels,
if
this style
is
to be ap-
plied to table-cloths,
hand-
kerchiefs and similar arti-
which the openbands cross each
in
cles,
work
other at
threads
right will
angles,
have
the
be
to
drawn out lengthwise of the
material
as
well
as
crosswise. This also applies in which openwork band is formed of various squares, as shown in the illustra-
to those designs
the
tions in this lesson. In both
when two threads drawn out of the ma-
instances
are
terial,
one running length-
wise and the other crosswise, a small square open-
ing
is
perceptible,
equivalent the Figure
cloth
the open
3
77
to
which
cutting
is
out
and working in But the
space.
method now under consideration and its application is so different from that described the article "First
in it
worthy of a
is
Openwork
Stitches." that
special description.
Examine the work reproduced in Figure 3, which shows a corner of one of a much admired traycloth. and you will at once understand that we are now considering an entirely different kind of work, although there is a strong resemblance between the two and the method of working is almost the same. Your own good sense will prove to you that it would be
useless
having
undertake
to
mastered
first
Openwork
"First
this
the
work without
details
given
in
Stitches."
The work illustrated in Fig. 4 has been so arranged that each stage of the embroidery is This
illustrated in a series of three squares.
you to appreciate the consecutive that have been superimposed thereon
will enable
details
order to bring the work to completion;
in
therefore,
you
if
will
compare one
of
line
these squares with the following one, you will easily
distinguish the proper order in which
the various stitches follow each other.
Let US begin with the squares marked A,
which show the material after the threads have been withdrawn in only one direction, leaving
two
parallel lines of perfect cloth be-
tween the two drawn-work bands, which are of
The cross-threads that have not drawn should be cut along the edge
equal width. yet been
marked B and
at the
corresponding edge on the
other side, leaving at the outer edges two more
bands of perfect material equally distant from each other, so as to form a perfect square. Remove the threads just cut. leaving open squares as shown
in section C.
being ready for work, begin at
The
D
cloth
now
and draw
a
corded thread diagonally across the square to the opposite corner, wdiere the crossbands of cloth have the
formed a tiny
solid square.
thread here with several stitches,
Fasten taken
diagonally from corner to corner. Repeat this
operation in
all
the open squares found within
working diagonand in the same direction. Return over the same ground already covered and repeat this
the embroidery frame, always ally
operation in the
Figure 4 78
two opposite corners of
tiie
them the appearance shown in E. The small linen squares formed b}- the cross-bands should also
squares, giving
be covered with a cross-stitch.
Square F.
— Begin
from
going
stitches,
retaining
the
and
i
point
this
stitches
in
where
center,
to the
straight line
a
at the edge
threads with one or two
the
fasten
should be
re-
peated; then pass on to 2, there form a small knot, taking up half the threads contained in the intersecting bands. Do the same with the balance of the threads, and carry the embroidery thread to the center of the fastening the after square next ;
threads there pass on to
always
3,
re-
the
of
together
tying
the
peating
threads that compose the intersecting bands separating the open squares, as
was done
in 2
:
go on to the center of
the next square until you have reached 4,
and do not forget properly
to place
the retaining stitches at each point in-
At 4
dicated.
of the
start at the
beginning
inside line so as to
first
come
back over the ground just covered, passing over the centers and making the little knots in each half of the
composing
threads
intersecting
the
bands, until the four threads shown in F between the original diagonally placed threads are completed. In order to finish this part of the work, as
shown
in G,
simply repeat the process,
the other sides of the square
filling in
as already explained.
work
In order to complete this
shown
in the
two remaining
as
series of
squares consisting of three squares each, beginning with F, simply
open
follow the instructions for Fig. 5 in the
lesson
Stitches,"
on
as
The embroidery
Openwork
"First is
it
in
the
same
square
H
weaving
stitch described in a
lesson.
Here
five
of
the
design. is
the
former
radiating
gathered in at one time and, center, include the diagonal
lines are in
the
threads
first
placed within the square,
which are covered with the weaving Figure
5
79
,e.|.SiSto.3>D'g.S'Cia<6.o,c,j-6<5.5iO'0*"'0'0'0
-.-.n'rioia-S'S'g-o'OtO'otg'nr
Figure 6 ici>§iaio>oigia<
lOISiatQlSlOtD-
ig>DtO'Cig'6<6< idiDiOiD'O'O'Oi.
itotO'S'?'? •Jio»o
,_,^ , ^
^r -.
^
=
V'?'^***^"«>*f
_ ^ _ _ - 5. _ _-; C.S,o.6.O'fl»«'6'0'6'9'0'Dr0.OI tdia6>o>aatao>a*6>6>6i^>D'Q'6'fi'g'0
._^
Figure
7
stitch for
the
one third of their
lateral
with
tlie
alone
lines
again taken up,
all
weaving
lengtii,
being
live
then freed,
covered,
then
lines
being covered
last
third of their
on the
and one combinations and designs, and may be used to trim any material from which threads can be extracted.
As an example of the results obtainable this work and of its many applications. in Fig. 5 is shown a linen towel embroidered
from
length, as in the beginning.
This drawn-work lends
itself to a
thousand
iiniiiiijiiiiiiiiiiinmuiiiiiiiiiBiim^^^
\mmmmwmm
Figure 8
81
with cotton.
made
Fig. 6 reproduces part of a panel
entirely of
drawn-work done on
drawn
ican
several
linen
many ways
brocade embroidered with
will
silk.
In view of the popularity enjoyed by Me.x-
work to-day, we
pages
and embroidered with cotton thread. Fig. ; shows a beautiful scarf of the same work, in
be
-
of
illustrations,
which the various designs may and have no doubt that they
prove of interest
who
attempt this
fi
I
»^*
»f
« >
to all
work.
I
A -•*.»*'
Figure 9 82
here
in
applied,
IVim'U/Mri'i
i
insert
showing the
Ifili/I
mwm
Figure lo
Figure
ii
Teneriffe Wheels This lace
household
most appropriate for trimming
is
(such as a centerpiece, a bureau scarf, napery, etc.) but its use has become linen,
so general that
or batiste
many
blouses
ladies use
and even
to trim silk
it
entire
summer
and the Teneriffe wheels are fastened to this, making a border. The wheels are made separately, one at a time, and are afterwards fastened to the scarf with a very fine cord, as
Figure dresses. it
can be
It is
both elegant and economical, as
made with very
little
effort
expense, the time consumed work by machine being much when done bv hand. trifling
the
Figure
You ican
is
in less
at a
doing than
i
The stitches and form of these wheels give name to the lace. Made separately they
the
are afterwards joined in groups, forming rosettes, or in strips, to
an edging.
be used as insertion or
.Sometimes large circles are
made
Figure 3
2
will note in the table
Fig. 4, the greater part
and
in
the case of any other lace.
scarf
shown
taken up with
in
Mex-
drawn-work, which has already been deThe drawn-work forms the foundation
scribed.
84
of the
individual
wheels,
producing a very
effective dress trimming.
Take any ordinary cloth that is (it will not show as it will
dressing
free all
from be cut
ii*iw*^«
S'^'^c-aRs*
^0^ !;«•--
s
§
g
§
^
^1
i*
::
'-"wX
JviV
"S# ;:
I
I
^N''^
'"'
y.''.^
^^^i^
fi
i-
^2^
^~***^*?W«!^
i.
I
;C";-rifj!^V«A.^V*VW^Vw*^^^
^^^
away) and trace a circle on it, using, if possible, a compass in order to insure greater accuracy. Cover the outline of this circle with two or three rows of stitching, then cut
Now
out the cloth.
one of the circle,
drive the needle through
edge of the
lines of stitching at the
and after fastening the thread with sev-
eral stitches,
draw the thread
the circle, fastening
it
straight across
with several stitches at
a point diametrically opposite to point.
Make one
its
starting
towards the
stitch back, or
bunches of four; then pass on to the second third of the division (see Fig. 2)
taking two from each two preceding groups instead of the
as
Now make
the cir-
two threads, one from each of every two preceding groups.
(See Fig.
3.)
The wheels should now be from the latter,
this,
four.
of thread at the point indicating the last third of the original division, taking up only
made
thread and crossing
same
cle
outer circumference of the circle, then bring
first
continu-
ing to take up just four threads each time, but
the thread back across the circular opening,
beside the
still
Do
entirely separated
by ravelling out the so as not to break any of the stitches in the beginning between the cross cloth.
threads, as these
this
form an edge of
tiny loops,
though you were about to make a spider-web. (See Fig. i.) Continue to fill the open circle with threads placed about a thirty-second of an inch apart until the entire circumference
by which the wheels may be fastened together. When this is done place the wheels on the
has been covered, making each thread across the others in the center, and fastening it with
around twice, as you do
two at the edge. The work now to be done makes it necessary that there should be an even number of these threads. In the middle, where the threads cross, make a small closed circle, iising the weaving stitch used for making the solid center in a spider-
put a fine cord around each wheel, covering
a stitch or
web.
Divide the
space
between
this
solid
center and the edge of the circle into three parts,
center,
and beginning
make a
taking up
at the third nearest the
circle
of thread
the cross threads of
formed by the
web
in
material ful
sign
to
:
in
any position you please, being care-
have each wheel smooth cut the cloth
;
then stitch
in outlining the de-
away from
the back and
it, as you have been already instructed. A most elaborate and beautiful border can be
made
of
Tenerilife
wheels,
placed
close
to-
gether and corded, the outside edge can be
away the same as a scallop. By varying the number of threads taken up when making the stitched circles around the cut
wheel and the arrangement of the groups of thread, a variety of patterns out.
may
be worked
Velvet Applique.
Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.
Velvet Applique Having finished the description of the larger number of laces that were thought to be of interest, we will now take up a new series of There are very many of these, known, the
embroidery. but
we
face down, then cloth or satin on top of it, face down, then the crinoline with the stamped design uppermost, on top of all. See that the materials are perfectly smooth and even, and then tack them to the table by driving a pin
shall explain only the best
Figure
through them
most practicable and best adapted to general use. Tkis one is the work known as applique, and we shall describe the easiest way to execute
it
first
materials tight.
marks
crinoline.
will
be
left
on the velvet.
For basting
use a curved needle, Xo. 6 Milliners and No.
stamp the design on Then lav the velvet on a table. is
the various
Baste the materials together,
keeping on the lines of the design so that no
with the invaluable aid of the
operation
each corner and along the
at
sides at equal distances to keep
Singer Sewing Machine.
The
i
to
40 thread. 87
(To curve
needle, heat and bend
Figure
2
with two pairs of pliers while hot.)
now ready
is
the
for
The work
enough
machine, as no em-
to
keep
of muslin
broidery hoops are needed for this work.
it so. It is well to sew a strip around the edge of the work,
all
and put the tacks in the work up until it
Trace the design with two rows of stitching, using No. o needle and No. oo silk, of a color to match the velvet. After the design has
This applicjue
on
satin, satin
is
may
on
tiste,
If these materials are used,
was stamped and traced The tracing must be done stitching, the second row close to
very
the
first
fine
one, but not on
it
;
this
velvet that forms the design cut away.
move
When
is
when
the tracing
is
existing case.
begin to cut the velvet
away from
the
when
When
This work
hangings,
dresses,
is
is
in this
used, the
must be done is
placed
as in
frequently used for
cloaks,
As you
w'ill
sash
spreads,
this
new
selected the
most
notice in taking
series of embroidery,
we have
up
simple and best adapted for the first lesson. This offers the fewest difficulties, although we exist with the
say that practically no
new method
at
difficulties
all
of embroidery once
you have thoroughly mastered the use of the machine itself. As already explained in the other lessons, as soon as you have succeeded
finished, cut the crino-
learning
may
the back, as close to the stitch-
how
in
to cover the cord perfectly you
well say that you have conquered
all
the
Those who have attentively followed the instructions and have, therefore, suc-
ing as possible, but be careful not to cut a
difficulties.
stitch.
Do
absent
is
silk.
may
away from
used
and other household decorations. Fig. 2 shows a handsome cover made of applique of velvet on satin and embroidered in
where you have cut it, covering the cord smoothly and closely with silk of the same shade as the material under the velvet. Use No. o needle and No. oo silk. line
is
the rings.
cotton and cord on the edge of the velvet,
is
velvet
the embroidery frame
curtains
Use manicure scissors with long, sharp points. Be very careful not to cut the material under the velvet and only to cut the velvet away from the spaces. The velvet forms the design. If you cut away any of the design, the work will be spoiled. Do not cut away too much at once. Put the work on the machine, use No. 6 Tetz
After the cording
net.
not necessary
each additional portion of the work
design just a hair's breadth outside the tracing.
•
it is
stitching outlining the design
is
finished re-
the bastings.
Now
nainsook or bolting-cloth applied to
employ the stiff linen, as the embroidery frame may be used, because the difficulty
to hold the
the rest
cloth, or of ba-
to
it
on the crinoline. in
on
also consist of satin
cloth, cloth
bring velvet on top, showing design traced in as plainly as
not take
perfectly dry.
been traced, turn the work over, which will silk,
Do
this muslin.
not use an iron for pressing, but take
ceeded in learning to control the movement of
three thicknesses of muslin, wet them in clean,
the embroidery frame, will appreciate the truth
cold water, and wring out partly, so that they
of these assertions.
Spread then smoothly on a pine table, lay the work on it, velvet side up, draw it tight and perfectly straight and tack it
instructions as to the preparation of the
will not drip.
and the order
in
should be taken up.
89
Everything else
is
simply
work
which the various kinds
Applique on Net.
Net Applique As
and
a sequel to the preceding lesson
order that you
may
Choose the material
in
ference of treatment between appliques of vel-
already
vet
own
ing to your
better learn the slight dif-
which
shown and of other appliques
it
to be put.
is
to be
employed accord-
and
to the object to
taste
When
it
is
to be used
for cording jabots, ladies' gowns, or even neck-
made of that material, we now describe to make net applique on a Singer Sewing Machine. The knowledge of this work will constitute a basis upon which to make combinations of various materials that may serve
wear, very handsome results
not
how
Stamp used
be
on the
'
the
for
net,
The two
may
be obtained.
the design on the material that applique,
then
place
is
to
this
which must have a round mesh.
materials must then be basted care-
^'•SssiJs:-?t-:'
•.»
N-
Figure
groundwork
as a
for applique.
The
i
fully together,
chief dif-
and placed
in
the embroidery
ference between net applique and that of velvet
frame, care being taken to see that both are
manner in which the materials must be prepared for work. When using net, use the hoop embroidery frame, and eliminate the stiff linen which is no longer necessary.
evenly and firmly spanned by the hoops.
consists in the
net
may
stitches,
this
The
itself
to
be embroidered
line
as usual, covering all that part
the frame, then proceed to cut close to the stitching
in beautiful lace
many combinations
that
embraced by
away
the cloth
and outlining the pattern,
leaving the net representing the applique un-
form of the applique lending are
Out-
the design twice with machine stitching
covered as
both
Now
eleeant and beautiful in effect. 91
is
shown
in
A, Fig.
i.
proceed to embroider the lace stitches
These
on the net selecting
same
nia}-
stitches
be varied at w best
adapted
ill
to
by the
employed and best harmonizing with
design
each
those
figure
Of
of that design.
figures
course,
the
must always contain the same
This
the leaves.
will be
you
will consult Fig.
the
work
is
i.
made
plain to
When
this
you
if
part of
finished cord the outline of the
design, using a five-strand cord for the purpose.
If
be not used, the cording and
silk
may
be done with a No. 00 and No. 150 thread. Fig. 2 shows a section of a panel. This elegant and artistic work is made of stitches
needle,
appliques of bolting-cloth on net.
handsome sprays of flowers design
the
are
of
light
that
The form
cream-colored
bolting-cloth adorned with a combination I
lace
artistic
if
which we
stitches
shall
describe later, and appliqueed on white
This produces an effect of charming
net.
elegance and admirable simplicity.
The process
is
the same.
The design
stamped upon bolting-cloth. This is laid smoothly on the net, held in place by a basting stitch and then spanned by the rings, the outline being again followed by the machine stitching. Cut the boltingis
cloth out of those parts of the design to
be
filled in
fill
in the
with the lace
stitches.
Now
open spaces and cut the bolting-
cloth close to the
machine stitching out-
lining the design, leaving the figures of
the
latter
from the
The I
uncovered and standing out
net.
outlines
'>egin this
by
should
first
now
be corded.
cording the stems and
branches, as these usually terminate in the leaves Figure
stitches,
that
is,
all
the
and
flowers.
This enables you
more easily. Here you have a work that
to cover the joining
2
petals
of
unites
beauty and elegance with simplicity, and the
given
must be embroidered in the same Whatever stitch is selected for the stems must be used in all the stems, and that chosen for the leaves must again appear in all
done with the extraor-
flowers
ease with wdiich this
stitches.
dinary Singer Sewing Machine method will
is
enable you to finish scarfs, bed-spreads, and
many
92
other objects quickly and satisfactorily.
Index Page
General Instructions
Shaded Embroidery
3 (
Flowers
9
)
Art Embroidery
11
Raised Embroidery
14
Scallops, Beadstitch.
Cording
18
Venetian Embroidery
20
Seed Stitch
23
English or Eyelet Embroidery
25
Shaded Embroidery on
\'elvet or
Plush
Gold Thread Embroidery First Filet,
Openwork
29
Stitciies
Netting or
27
31
Open Mesh Embroidery
34
Hedebo Embroidery
41
Richelieu Lace
43
Point X'enise
46
Renaissance Lace
49
English
c^2
Point
Duchess Lace
57
Brussels Lace
60
Novelty Lace
65
Point Lace
67
Cluny Lace
70
Hemstitching
72
Mexican Drawn-Work Mexican Drawn-Work
75 (
Second Part
)
yy
Teneriffe Wheels
84
Velvet Applique
87
Net Applique
91
AM
ta i«tt
i^ copy
del, to Cat.
13
19U
Div.
LIBRfiRY OF CONGRESS
001 750 184 7
•
