Drawn Thread Embroidery

by Moyra McNeill

Overview

Drawn thread embroidery has been practiced and esteemed for centuries, producing the kind of elaborate linen tablecloths, veils, and shawls passed down through generations. You might think it's too complicated, expensive, and time-consuming to do today. But, in fact, it can be done by anyone who is simply handy with a needle; instead of linen you can use many inexpensive modern fabrics; and while there are many meticulous, intricate designs and patterns, this unique book has lots of ideas for quick and easy projects that will lend beauty and drama to your home and wardrobe.

There are separate chapters on all of the well-known drawn thread varieties--needleweaving, reticella, Russian drawn ground, Hedebo, and Hardanger--and even an explanation of how drawn thread techniques can be adapted to the sewing machine.

With over 140 photographs and 97 line drawings, this comprehensive book brings a timeless art into the '90s with as much style as precision.

Product Details

ISBN-13:	9781466881440
Publisher:	Holt, Henry & Company, Inc.
Publication date:	09/16/2014
Sold by:	Macmillan
Format:	eBook
Pages:	144
File size:	47 MB
Note:	This product may take a few minutes to download.

About the Author

Moyra McNeill trained as an embroiderer. Her work is exhibited regularly and she also creates embroidery on commission. Drawn Thread Embroidery is her sixth book.
Moyra McNeill trained as an embroiderer. Her work is exhibited regularly and she also creates embroidery on commission. Drawn Thread Embroidery is her sixth book.

Read an Excerpt

Drawn Thread Embroidery

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By Moyra McNeill

Henry Holt and Company

Copyright © 1989 Moyra McNeill
All rights reserved.
ISBN: 978-1-4668-8144-0

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CHAPTER 1

Fabrics and threads

Embroidery aims to alter a fabric or enhance its surface in selected areas, in order to create design, pattern and texture. Drawn thread embroidery, where threads, warp, weft or both, are withdrawn from the fabric, has a long history. Traditionally, the remaining threads are twisted, tied, grouped or woven into other threads in order to make patterns of holes in the fabric.

Drawn fabric looks fragile and lace-like, and so in the past it was thought that removing threads weakened the material, which seems logical. As, however, there are so many drawn thread articles extant from past centuries, it seems this is not the case. For example, many of us have in our care table linen which is now a hundred years or more old, yet has many threads withdrawn. While it would probably be unwise to wash this linen regularly in a washing machine, it has survived boiling, bleaching and the application of indifferent ironing implements, and so must be considerably sturdier than it looks. The material is invariably linen, sewn with linen or cotton threads, and says a lot for the longevity of these fibres. On the other hand, we do not know how many of today's synthetics will react to ageing: it may be that some of them may also have inbuilt longevity. When our ancestors were embroidering it seems unlikely that they were aiming to create for posterity; they simply made what was fashionable at the time, using those materials which were available. Today we sometimes seem obsessed with how long our work will last. Rather, why not do as past ages did – that is, work embroidery that is of today, using those fabrics and threads that are available, to express our own creativity and to make articles we want to make.

Materials for drawn thread

The main prerequisite for drawn thread is a fabric from which threads may be easily withdrawn. The qualities to look for are:

• a fabric you can see easily without having to resort to use of magnifiers. Very fine fabric can be frustrating to work

• a weave that is not interlocked. If in doubt, experiment by pulling one thread. If it remains fixed and does not pucker up the material, the fabric is not suitable

• a weave that is not too dense: for example, it is possible to withdraw threads from velvet effectively but it needs the boldest kind, with a long pile and thick threads. Look on the reverse to see the thread size

• a plain tabby weave (alternatively one under, one over). Other weaves, for example gaberdine, crêpe and satin, can be withdrawn, but there is an element of experiment

• warp and weft threads that are strong enough to pull out readily. If threads are loosely spun, they tend to part under the pressure of being withdrawn. Some very fine threads sometimes snap easily under pressure. It is, however, possible to withdraw threads that break easily by cutting them every three inches or so, along a border for example, which reduces the amount of pressure

Fibres

Linen is the most obvious fabric fibre to choose, but there are equally successful substitutes. From time to time, depending on fashion trends, dress fabric departments stock 'linen-look' fabrics which are all synthetic, or mixtures of synthetic with natural fibres.

Wool does not seem the most likely of natural fibres to use for drawn thread because its hairy fibres tend to cling to each other, but if a simple tabby weave fabric, such as hopsack or challis, is chosen, it is quite easy to withdraw threads. Even flannel and tweed can be an appropriate choice.

Hessian and sacking, both made of jute, are an excellent base for bold, large-scale work. Colours in hessian can fade comparatively rapidly, so take this into account when making a selection.

Woven silk is available in a range of weights today. Noile has a clear tabby weave, while shantung is much finer and stiffer. Some textured silk fabrics have a very fine warp and a slub weft (threads which have a noticeable thick blob in them from time to time). Withdrawing the warp on these fabrics leaves only the thick threads, while withdrawing the weft leaves only the very fine threads, thus giving a choice of working scale. At the beginning of this century drawn thread was a popular form of dress decoration on silk clothing.

Cotton is also available in a variety of weights, including duck, voile, cheesecloth and poplin, all of which have a tabby weave. Cotton or cotton mixed with synthetic fibres can also be found in heavier weights as furnishing fabrics; some, like hardanger fabric, have a double thread in each direction, but are nonetheless perfectly suitable for drawn thread.

'Synthetics' describes a wide range of filaments, but as a group these lack resilience or 'give' when woven. They are, however, particularly appropriate for an article that is to be laundered frequently.

Besides pure natural fibres and pure synthetics there are many mixtures of the two, which improves laundering qualities. Such fabrics are made in traditional weaves – hopsack, flannel, tweed and gabardine.

Throughout this book the figure captions mention the fabric wherever possible so that the span of choice can be appreciated. As evenweave embroidery fabrics are often expensive and not readily available, the emphasis is placed on suitable alternatives.

Threads

These are as diverse as the fabrics. In general a single thread is easier to work than a stranded one, and it should be in scale with the fabric – a fine thread on a fine material and a bold one on a coarser fabric. There are, however, occasions when a particular textural effect is required which may turn all the rules on their heads!

The following is a selection, rather than a comprehensive list, of threads.

For hand embroidery

Pearl cotton (coton perlé) sizes 3, 5, 8, 12 (thick to fine)
Soft embroidery cotton (Retors à broder)
Coton à broder
Bold thread ordinary sewing threads; they can be
Button thread cotton, synthetic or in the case of
Buttonhole thread buttonhole twist there is a version in pure silk.
Crochet threads (cotton)
Danish flower threads (cotton)
Knitting yarns
Tapestry wools (Rowan, Appleton)

Silk threads

For machine or fine hand embroidery
Machine embroidery cotton 30 or 50
Ordinary sewing threads
Rayon threads (Madeira and Natesh)
Metal threads (Madeira Astro)
DMC Fil d'or
Lace threads

In addition to these, experiment with ribbons, ribbon-like knitting yarns, flat braids and torn strips of fabric. Threads can also be space-dyed, which gives a rainbow effect that can be especially striking in drawn thread work.

CHAPTER 2

Basic techniques

Drawn thread is traditionally a counted thread technique; that is, stitches are worked over counted fabric threads in order to be even. On fine fabrics, blocks of threads may be assessed by eye after some practice, which saves time. On bolder fabrics, once a rhythm has been created there is no need to count every single thread, as even blocks of threads can usually be gauged accurately by eye.

I feel it is best initially to be instructed in a formal procedure, to learn the basis of a technique and to gain confidence. After this, as much licence as possible, by way of free stitching and experiment, can be taken to interpret contemporary design concepts.

Texture is a word used to describe surfaces which can be felt, whether rough, smooth, knobbly, ridged and so on. Embroidering involves building texture, and if we control and think about the textures we are creating, the finished piece is likely to be more effective. Drawn thread involves both texture and pattern; the twisting, tying and knotting of threads in groups creates a raised texture, whereas the holes that are created make a very positive geometric pattern.

Embroidery is always more interesting both to do and to look at if the work is not too mechanical; for example, a ladder hem repeats only one shape and texture, and if used alone could look boring. Examples from the past are attractive because they combine as many as three borders in different widths and use different pattern constructions within each border. Sometimes the borders are contrasted with plain white surface embroidery of floral motifs worked in satin stitch, stem stitch and buttonhole in the centre of the cloth. Quite unconsciously, these embroiderers were adept at controlling texture, thereby creating interesting and lively designs. While the purpose of modern embroidery is changed, it is still possible to learn much from past work in this respect.

Beginning drawn thread borders

The first stage is to withdraw threads from the material. Decide on the area from which they are to be removed and mark the shape outline with either tacking or a water-soluble marker. When a specific number of threads is required, tack a set number, for example four, under and over to make counting easier.

If a border is to go around four sides of a rectangle or square, begin in the centre of each side to ensure the corners match. Find this by counting threads or by folding the fabric in half; mark it clearly. When counting a very long border, put a pin in after every ten or twenty threads for easier counting.

Using a sharp pair of pointed scissors, cut through the threads in the centre of the border. Withdraw the threads to the end (or corner); a tapestry needle is useful for prising them out. Pinch the material at the end of the border between thumb and forefinger of the left hand to make sure the threads do not pull out further than required. These ends now have to be secured. There are a number of ways of doing this:

(a) Buttonhole stitch. Use a pointed needle and a thread slightly finer than one thread of the material. Take the ends through to the wrong side and bend them back on to fabric. Hold them in position by pinching between the thumb and forefinger of the left hand, darn in the thread and buttonhole (close blanket stitch) it on the right side along the edge. Turn on to the wrong side and darn in the thread to finish, then cut off the ends close to the stitching.

(b) Take withdrawn threads through to the wrong side, then thread one at a time into a tapestry needle. Following the weave of the fabric, darn in the ends. To make this as invisible as possible, finish the darned ends at different lengths and cut them off close to fabric. This is a very long-winded method, but gives neat and secure results.

(c) Before removing any threads, satin stitch over a band. Withdraw the threads up to the satin stitch, and cut them off as close to the stitching as possible. The width of the band depends on the scale of the fabric. This is not as secure as the other techniques.

(d) Before removing any threads, machine a band of close zigzag across the end of the border. For extra security, work a second row on top of this, which will make a ridge. Tie off the machine ends on the wrong side. Cut withdrawn threads as close to the stitching as possible (see fig 5a).

(e) Before removing any threads, machine three or four rows of small straight stitching very close together across the end of the border. Tie off machine ends on the wrong side. Withdraw threads and cut them close to the stitching (see fig 5b).

N.B. I find that methods (d) and (e) are neater, quicker and more secure than (a) or (c).

Securing and grouping the threads

It is commonly assumed that hem stitch is the only possible stitch for this purpose, but there are in fact many other stitches which can fulfil this function, and also add decorative texture. The thickness of thread is determined by the effect desired, but to use a thread of about the same thickness as one thread of the ground fabric is a good rule of thumb.

When working traditional or formal borders, first it is necessary to group the threads on either side. Use either a tapestry or ballpoint needle so that the needle passes between the threads rather than splitting them. Begin by darning in on the wrong side parallel with the border; finish by darning back into the stitchery. A back stitch made half-way along the darning-in makes it secure.

With all the stitches described here, it is necessary to pull firmly so that a clear division is made between one group of threads and its neighbour. The stitch should not lie loosely on the surface of the fabric but should be pulled in order to integrate it with the material. Because of the necessity to tension the stitching thread, the material may be more easily controlled in either a square or a round frame. If the work puckers after being worked in the hand, lay it face down on a thick pad or layers of blankets. By judicious pulling and steam ironing, it is usually not too difficult to bring it back to the desired shape.

The following selection of stitches can be used for the initial grouping, but is by no means conclusive.

• Hemstitch. This is worked in two movements and should be pulled firmly to create clear groupings. Figs 9 and 10 show three threads being counted, but the scale must be adapted to the fabric. Work from left to right.

• The reverse, often used as the right side.

• Four-sided stitch. This is a pulled thread stitch in three movements: end, bottom and top stitches in that order. A cross stitch appears on the wrong side. Work from right to left.

• Herringbone extends the border decoration. Pull it tight so that the threads group, rather than being left on the surface as in surface stitchery. Work from left to right.

• Chevron stitch is even more decorative than herringbone when pulled tight. Although it takes four movements to complete, it is rhythmical and pleasing to work. Use an even number of threads in each group. Work from left to right.

• Wave stitch is another pulled thread stitch that can be used to group threads and is quick to do. Work from right to left, pulling tightly. The reverse of this stitch can also be used as the right side.

• A form of stem stitch was used on cloths our grandmothers and great-grandmothers embroidered. This is very much quicker than hem stitch. Thin thread about the thickness of ordinary sewing thread was often used, so that the stitch groups the threads but is more or less invisible. Work from left to right.

• Ladder hem. The hem stitch on either side of the border groups the same threads, forming the ladder rungs. It can be of any width but is most effective as a narrow border up to 1.5 cm (1/2 inch), depending on the scale of the fabric. This is the basis of most other kinds of decorated border when worked considerably wider.

• Zigzag hem. For this border an even number of threads must be grouped initially on one side of the border, that is 2, 4, 6, 8 etc. On the return journey along the other side, make the first stitch over half the number of grouped threads, and thereafter take half the threads from one group and half from its neighbour while hemstitching. This forms the zigzag. This works best as a narrow hem.

N.B. With all these stitches it is necessary to pull firmly so that a clear division is made between one group of threads and its neighbour. The stitch should not lie loosely on top of the fabric, but be pulled tight so that it integrates with the fabric.

It is amusing to look carefully at historical work which is often assumed to be perfect; very wrongly, as it was made by people just like ourselves. It is reassuring to find errors; some drawn thread work can only be described as having cobbled edges! It seems as though the embroiderer wanted to get to the exciting bit quickly – like us! – and so withdrew the threads, bent the ends or edges back, depending on whether it was a border or filling, and then did a quick bit of oversewing in thin thread in a decidedly haphazard manner. Because the centres of the borders are exotically tied, twisted and woven, the eye is drawn to that area and so tends to overlook the uneven workmanship of the edges.

Grouping for borders

To begin, anchor the thread firmly at the end by darning in on the wrong side and taking one, or possibly two, back stitches for security. Make the needle emerge at the centre of the end.

(Continues...)

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Excerpted from Drawn Thread Embroidery by Moyra McNeill. Copyright © 1989 Moyra McNeill. Excerpted by permission of Henry Holt and Company.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Contents

Introduction,
1 Fabrics and threads,
2 Basic techniques,
3 Hedebo,
4 Needleweaving,
5 Reticella,
6 Hardanger,
7 Experimental drawn thread,
8 Machine drawn thread,
Further reading,
Index,