The Textile Artist's Studio Handbook

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:156

152-159_28051.indd 156 3/6/12 8:57 PM

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:157

152-159_28051.indd 157 3/6/12 8:57 PM

(Text)

needleworkThe TexT ile ArT isT 's sTudio hAndbook

156

Crewelwork

Crewelwork is a kind of free embroidery that produces

a varied and intricate surface through the laying down

of stitches side by side. As with other kinds of free

embroidery, the stitches are not dependent on the wo-

ven grid in the ground cloth. The pattern is based on

embroidering stitches in different sizes and directions

to create a continuous color field. By changing the di-

rection of the stitches, the embroiderer changes the

angle at which the light reflects off the thread. That in

turn alters the shade of the color a little bit. This subtle

change can offer a rich and sophisticated feel to the

finished piece without using more than three or four

different stitches. Crewelwork is most effective with

silk thread (as was done traditionally in China), but you

can use wool and cotton yarns as well. To appreciate

the full range of possibilities, you only need master

the most familiar stitches. Most commonly, crewel-

work is comprised of patterning done with the satin

stitch, backstitch, stem stitch, and chain stitch.

Cross Stitch

Cross stitch is named for the “X” stitch formed when

two straight stitches are crossed. This single embroi-

dery stitch has become a particular technique in itself.

If you like the look of traditional Scandinavian textiles

or textiles from the Greek Islands, you will love cross

stitch. It is precise and meticulous work with the pat-

tern often preprinted on woven cotton or linen cloth

(with warp and weft forming a grid) and the colors

blocked off. To make the stitches the same length,

the embroiderer counts the number of threads in the

background fabric. Because of the regularity of the

stitching, both sides of the fabric look the same, mak-

ing the fabric reversible. The stitch itself can morph,

changing the crossing angle to form other stitches

such as the herringbone stitch, but the crossing pat-

tern remains consistent.

Though a very old traditional form of decorative

embroidery, there are contemporary artists such as

Katherine Shaughnessy who have applied the crewel-

work technique to more contemporary work.

Cross stitch is another form of using thread to draw.

In cross stitch, stitches are regular and even, and the fab-

ric is reversible. Shown here is the work of Jamie Chalmers,

aka Mr X Stitch, a very popular UK–based artist.

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(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

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needlework

157

The TexT ile ArT isT 's sTudio hAndbook

Openwork

Sometimes called needle weaving or white work be-

cause it is often done on a white ground with white

thread, openwork refers to all embroidery that looks

like lace but is really stitching on fabric. This kind of

needlework is very old and has a deep history in Scan-

dinavian textile art. This technique requires precision

to remove specific threads from the ground fabric to

form open spaces or holes. Once a regular pattern is

established, the holes are rimmed with embroidery

stitches to create the appearance of lace. Openwork

is traditionally applied to table linens and bedding as

borders, but can be used anywhere to create an open

structure.

Cutwork

If you like the look of open spaces in cloth, you can

also try the technique called cutwork, or broderie an-

gaise. This technique removes more of the ground

cloth than openwork and is often found in decorative

cuffs on clothing and high-end bed- and table linens.

To do cutwork, regular embroidery stitches are

worked in patterns before any cloth is cut away. The

result is a highly intricate and frilly fabric, like the

one often seen in collars and cuffs in the sixteenth-

century Spanish court.

ABOVE Tracy A. Franklin is an excel-

lent example of an artist who uses

many techniques such as open-, cut-,

and drawn-thread work. She is truly a

specialist in the field.

Drawn-Thread Work

If you don’t like the idea of cutting out background

threads, you can experiment with drawn-thread work.

This technique creates open spaces that are lace-

like, but the ground cloth stays intact. The spaces are

achieved through a pulling apart threads and securing

them in a pattern with embroidery stitches. Nothing

is cut, so that the edges of the holes are a little bit

thicker than those in openwork and cutwork.

Beading

Decorative beading is a means of adding sparkle and

texture to fabrics and other accessories. It was tradi-

tionally done with glass, wood, or animal bone beads

and other natural materials, but has greatly expanded

today to include many more materials such as syn-

thetics. Beading can be done through on- and off-

loom weaving, stringing, sewing, gluing, embroidery,

knitting, and crochet. Every form of textile media can

benefit from a sparkle or two.

There is some difference in the appearance of beads

that have been applied to the fiber before it is woven,

knitted, or fully constructed and the look of beads that

are sewn or glued on later. The latter will have a more

pronounced dimensionality and may be more vulner-

able to damage through wear and use of the cloth be-

cause they lie atop the fabric rather than integrated

into the fabric construction.

(RAY)

(Fogra 39) Job:02-28051 Title:RP-Textile Artist Handbook

#175 DTP:225 Page:157

152-159_28051.indd 157 3/6/12 7:33 PM