29¢ A 4 x 5 eo - io a Bie ibs ‘ye a bs > 5 a eo = SS sae B 3 =] ac re ra ea OE OEE AOE EMBROIDERY STITCHES One Lundid COATS & CLARK'SSAAB taste OF contents, GSSS® General Information ... Pages 3 through 6 FLAT STITCHES 7 S LOOPED STICHESwccccccccacas 11 LINKED STITCHES. ...........:ccceseeeees 15 KNOTTED STITCHES: scsscsssissccavercens 19 COMPOSITE STITCHES...........000004 21 Embroidery has always been a deservedly popular hobby. It stimulates the imagination and at the same time pro- vides an island of calm in the midst of a hurly-burly world. COUCHING & FILLING STITCHES 24 DRAWN THREAD EMBROIDERY.... 26 This comprehensive book of one hundred embroidery CANVAS EMBROIDERY ...........5:++: 28 stitches will be useful not only to teachers and students DRAWN FABRIC EMBROIDERY...... 30 but to women of all ages who are interested in embroidery. INSERTION STITCHES. -ecscccsssessees« 33 The stitches have been grouped into families according to their structure, thus making the execution and frequently the final use of each stitch easier to understand. 3 ee ee . ‘ FABRIC, THREAD and NEEDLE CHART We believe you will find this book an invaluable aid to = your successful progress as a fine embroideress, and we Fabric Omar: Thickness _yitiliwards | Note trust it will provide you with as much inspiration as it does i ion. Organdy, muslin, voile, Six Strand Floss 1, 20r3 j For working information fine Ica: law Oe sheer strands Sharp-pointed —_ designs traced silk Crewel Needles or transferred — onto fabric. Medium weight linen, Six Strand Floss 2,3, 40r.6 No. Strands The number of gingham, rayon, silk, strands 8 1 strands of Six etc. 7 2or3 Strand Floss used depends on the 6 4 requirements of Heavy linen, crash, etc. Six Strand Flass 6strands 5 6 each individual design. Huck Toweling Six Strand Floss 6 strands Blunt-tipped Pearl Cotton ea Tapestry Needles For working over No. 22 counted threads in No. 19 or 20 Swedish Weaving, Heavy linen, crash, etc. Pearl Cotton = No, 19 or 20 Cross Stitch, etc. COATS & CLARK'S Zippers * “O.N.T. Threads * "Red Heart’ Yarns 2 Distributed by Coats & Clark’s Sales Corp., 430 Park Ave., New York, N. Y. 10022 3 [2] Copyright 1964, Coats & Clark Inc. Second Edition—465 Printed in U.S.A. [3]Embroidery Threads . . . The choice of threads will depend upon the type of embroidery to be made. Six strand threads may be used on most light-weight fabrics. All embroidery threads should be color fast. Needles... In Free Embroidery, embroi- dery and chenille needles are used; the former for fine and medium weight threads and fabrics, the latter for the heavier threads and fabrics. For Counted Thread Embroidery blunt pointed tapes- try needles are always used. Scissors... These should be sharp with pointed blades and suitable therefore for trimming away the surplus fabric in Cut- Work, Hardanger and Drawn Thread Embroideries, as well as for snipping threads, The effective combination of fabric, thread, de- sign and stitch, all carefully chosen for their suitability in relation to each other, produces work of real beauty. To achieve this, the chart on page 3 will help you to select the correct type and size of needle and thread to be used with a variety of fabrics. Thimble... A thimble is essential for em- broidery to protect the middle finger when pushing the needle through the fabric. Embroidery Frames . . . An embroidery frame is recommended to help keep the work flat and even. There are several types of frames. The hand frame is/most common and comes in round and oval shapes, It consists, usually, of two wooden or metal hoops, fitting closely one within the other. Use a frame about the same size and shape as the area to be embroidered. The section of the embroi- dery to be worked is placed over the smaller of the hoops, the other hoop be- ing pressed down over the fabric on the smaller hoop to hold the work taut and keep it from puckering. How to Apply a COATS & CLARK’S Pin a cloth tightly over ironing board to protect it in case transfer ink pene- trates fabric. Smooth the fabric on iron- ing board. Cut out transfer, allowing enough paper for pinning. Pin transfer in place, face down. With iron between [4] Multi-Transfer Design “Wool” and “Cotton” heat, apply iron gently but firmly for 2 to 3 seconds. If necessary, increase time slightly for addi- tional impressions. Too much heat might scorch fabric and spoil re-use of transfer. Transfers may be used up to 6 times. Tracing Your Own Design If you have created your own design you have to trace it onto the fabric. There are three different methods of doing this. First Method: The simplest method is the use of dressmakers’ carbon paper. Place the carbon paper in position face down on the fabric, then place the design on top. Draw over all the lines with a sharp- pointed pencil. Care must be taken to press only on the lines of the design, otherwise the carbon may smudge the fabric. Second Method: The design can be traced directly onto fine transparent fabric such as organdy, nylon or silk, by placing the design underneath the fabric and tracing over the lines with a soft pencil. Third Method: On very coarse or textured fabric, it is difficult to trace the design. In this case, trace the drawing onto fine tracing paper, baste the paper in position, on the fabric, then carefully mark over all the lines of the design with small Running Stitches. The drawing can be torn away before the embroidery is be- gun. Remove all basting stitches after the completion of the embroidery. Washing Instructions Use warm water and pure soap flakes. Wash by squeezing gently. Rinse thor- oughly in warm water, squeeze by hand and leave until half dry. Iron on the wrong side while still damp, using a moderately hot iron. Stretching of Embroidery and Tapestry There is a need in certain types of em- broidery to stretch the fabric once the work is completed. This is particularly the case in Drawn Fabric Embroidery and in Canvas Embroidery, where the pulling of the stitches tends to draw the fabric out of shape, and also in the case of solid areas of stitching in Free Em- broidery, where the weight of stitching again tends to pull or distort the fabric. Lay a piece of graph paper on a board, then lay the embroidered fabric or can- vas right side up on the paper. Use the lines of the paper to square off the de- sign and gently pull the fabric into shape. Pin in position with rustproof pins. Dampen and leave to dry. TYPES OF EMBROIDERY and TECHNIQUES Free Embroidery The most popular type of embroidery is Free Embroidery, i.e. embroideries which are worked over a traced or hot- iron transfer design or from a stamped linen. Counted Thread Embroidery In contrast to Free Embroidery, Counted Thread Embroidery requires no tracing or transferring and is worked by count- ing the threads of the fabric and embroi- dering each stitch over an exact number of threads. Even-weave fabric or canvas is essential. Use of Stitches Many of the embroidery stitches are used only in Free Embroidery and certain others are used only in Counted Thread Embroidery, In certain cases, stitches may be used in both types. The main groups used in Free Embroidery are Flat, Looped, Linked, Knotted, Composite, Couching and Filling Stitches. Some stitches in the Counted Thread group can also be used over traced or transferred lines; these include Double Cross Stitch, Long-legged Cross Stitch, Star Eyelet, Four-sided and Three-sided Stitches. Continued on page 6 [5]Use of Stitches Continued from page 5 In Counted Thread Embroidery, the main types are Cross Stitch, Assisi, Har- danger, Drawn Thread, Drawn Fabric and Canvas Embroideries. Cross Stitch has the same stitch throughout; Cross Stitch and Holbein Stitch are used in Assisi Embroidery; Hardanger Embroi- dery uses Straight Stitch, Buttonhole Stitch, Star Eyelets, Woven Bars, Over- cast Bars, Spider Web Filling, etc.; the stitches for Drawn Thread, Drawn Fab- ric and Canvas Embroidery are explained in their respective sections. Certain stitches used mainly in Free Embroidery are introduced into Counted Thread Em- broidery, the most important being Run- ning Stitch, Back Stitch, Cable Stitch, Straight Stitch, Satin Stitch, Herringbone Stitch, and of course Cross Stitch and Holbein Stitch. Drawn Thread Embroidery This type of embroidery, as its name implies, is carried out by withdrawing threads from the fabric and embroider- ing over the edges of the space of with- drawn threads. Decorative stitches are also worked over the loose threads which are left when the warp or woof threads are withdrawn. Spider’s Web Filling Stitch is useful to fill the open corners where both warp and woof threads are withdrawn. Canvas Embroidery There are various types of canvas: single thread, double thread, fine and coarse. the type of canvas required will depend upon the design and the thickness of the embroidery thread to be used. ‘The stitch and embroidery thread must completely cover the threads of the canvas. The finer single thread canvas is generally used for designs in Tent Stitch and Gobelin Stitch. Double thread canvas may be used for the other stitches shown in the Canvas Embroidery group. Stitches from the Flat Stitch group which can be used for can- vas designs are Cable Stitch and Cross Stitch, [6] In working Canvas Embroidery, begin by running the embroidery thread over and under a few of the canvas threads, then work the embroidery over the Run- ning Stitches. Finish the ends of the threads by running them through the stitches at the back of the work. It is advisable to use a shorter length of em- broidery thread than usual in Canvas Embroidery, The action of being pulled through the canvas tends to fray the thread. When working a plain back- ground or a large area in one shade, use varying lengths of thread so that the be- ginnings and endings of the threads do not appear in line. If they do, there will be a noticeable ridge at the beginnings and endings. The direction of the stitches at the back of the work should be regu- lar. Work all stitches at an even tension. Drawn Fabric Embroidery This type of embroidery is created by the drawing together into groups of certain threads of the fabric. The actual stitching is not the main feature of this embroi- dery, it is the open pattern formed omthe fabric by the pulling together of the threads of the fabric. The stitches are worked over a regular number of threads of fabric and the embroidery thread is pulled firmly with cach needle move- ment, so that an openwork effect is achieved. No threads are withdrawn from the fabric. In addition to the stitches given in the Drawn Fabric group, many in the other embroidery groups can be used for further ornamentation; to name a few, Cable Stitch, Star Eyelet, Satin Stitch, Straight Stitch, Cross Stitch and Long-legged Cross Stitch, Insertion Stitches (or Faggoting) ‘The general principle of this embroidery is the joining of two pieces of fabric to- gether by an insertion stitch. Method: Turn in the raw edges of both pieces of fabric and press (finished hems can be made if desired). Baste the edges the required distance apart onto a stiff piece of paper, then work the insertion stitch, keeping the tension of the stitches regular. ae CMake eee dol sient Le Stem Stitch Work from left to right, taking regular, slightly slanting stitches along the line of the design. The thread always emerges on the left side of the previous stitch. This stitch is used for flower stems, outlines, etc. It can also be used as a filling, rows of close Stem Stitch being worked around a shape until it is filled in completely. Pekinese Stitch Work Back Stitch (page 8) in the usual way, then interlace with thread to tone or thread of a different color. The stitch is shown open, but the loops should be pulled slightly when working. This stitch can be used as a filling or outline. B Cable Stitch (also known as side to side Stem Stitch) This stitch is worked from left to right. Bring the thread through on the line of the design. Insert the needle a little to the right on the Jine and bring the needle out to the left midway between the length of stitch and with the thread below the needle (A). Work the next stitch in same way but with the thread above the needle (B). Continue working in this way, alter- nating the position of the thread. This stitch may also be worked over counted threads of even-weave fabric or canvas. A B Running Stitch and Laced Running Stitch Pass the needle over and under the fab- ric, making the upper stitches of equal length. Under stitches should also be of equal length, but half the size or less of the upper stitches. As a decorative bor- der, Running Stitch can be whipped (A) or laced (B) with a contrasting color. Use a blunt needle for whipping or lacing and do not pick up any of the fabric. Fern Stitch Fern Stitch consists of three Straight Stitches of equal length radiating from the same central point (A). Bring the thread through at (A) and make a Straight Stitch to (B). Bring the thread through again at (A) and make another Straight Stitch to (C). Repeat this at (D) and bring the thread through at (E) to begin the next three radiating stitches. The center stitch follows the line of the design. L7]Satin Stitch Work Straight Stitches across the shape as shown. If desired, Chain Stitch or Running Stitch may be worked first to form a padding underneath, to give a raised effect. Care must be taken to keep a good edge. Do not make the stitches too long, as then they could be pulled out of position. Satin Stitch can also be worked over counted threads of even- weave fabric. In this case, the stitches are taken over the desired number of threads and are worked one stitch be- tween each two adjacent threads of the fabric. e A . B Back Stitch and Threaded Back Stitch Bring the thread through on the stitch line, then take a small backward stitch through the fabric. Bring the needle through again a little in front of the first stitch, take another backward stitch, pushing the needle in at the point where it first came through. Back Stitch can be threaded with one or two threads of con- trasting color. Bring the first lacing thread through at (A) and pass it under the second Back Stitch without piercing the fabric, then under the next Back Stitch and so on as shown, The second half of the interlacing is achieved by the same method but begins at (B). Use a blunt needle for the interlacing and do not pick up any fabric. [8] Straight Stitch (also known as Single Satin Stitch) SY ly This is shows as single, spaced stitches worked either in a regular or irregular manner. Sometimes the stitches are of varying size. The stitches should be neither too long nor too loose. Long and Short Stitch This form of Satin Stitch is so named as all the stitches are of varying lengths. It is often used to fill a shape which is too large or too irregular to be covered by Satin Stitch. It is also used to achieve a shaded effect, as shown, In the first row the stitches are alternately long and short and closely follow the outline of the shape. In the following rows long and short stitches are worked to give a smooth texture. Flat Stitch Take a small stitch alternately on each side of the shape to be filled, with the point of the needle always emerging on the outside line of the shape, Two lines may be drawn down the center of the shape as a guide for the size of the stitch. The stitches should be close to- gether and overlap one another. Fishbone Stitch ow. This stitch is useful for filling small shapes. Bring the thread through at (A) and make ; small Straight Stitch along the center line of the shape. Bring the thread through again at (B) and make a sloping stitch across the center line at the base of first stitch, Bring the thread through at (C) and make a similar slop- ing stitch to overlap the previous stitch. Continue working alternately on each side until the shape is filled. p : Fishbone Stitch oe aul This stitch can be used to fill any open shape. Bring the thread through at (A) and make a sloping stitch to (B). Bring the thread through again at (C) and make another sloping stitch to (D). Bring the thread through at (E) and repeat this process until the shape is filled. Leaf Stitch uy Bring the thread through at (A) and make a sloping stitch to (B). Bring the thread through at (C) and make a slop- ing stitch to (D). Bring the thread through at (E), then continue working alternate stitches on each side in this way until the shape is lightly filled. When this stitch is used there is usually an outline of Stem Stitch or Chain Stitch worked around the shape. Roumanian Stitch Bring the thread through at the top left of the shape, carry the thread across and take a stitch on the right side of the shape with the thread below the needle (A). Take a stitch at left side, thread above the needle (B). These two move- ments are worked until the shape is filled. Keep the stitches close together. The size of the center crossing stitch can be varied, either to make a longer slanted stitch or a small straight stitch, Herringhone Stitch and Threaded Herringhone Stitch Bring the needle out on the lower line at the left side and insert on the upper line a little to the right, taking a small stitch to the left with the thread below the needle. Next, insert the needle on the lower line a little to the right and take a small stitch to the left with the thread above the needle. These two movements are worked throughout. For the best effect, the stitches lifted by the needle Continued [9]Herringbone Stitch ... Continued and the spaces between the stitches should be of equal size. Herringbone Stitch can be laced with a matching or contrasting thread. Use a blunt needle for lacing and do not pick up any of the fabric. Double Back Stitch (or Shadow Work) This stitch is used for Shadow Work on fine transparent fabric and can be worked on the right side of the fabric as in (A)— a small Back Stitch worked alternately on each side of the traced double lines (dotted lines show the formation of the thread at the back), The color of the thread appears delicately through the fabric. (B) shows the stitch worked on the wrong side of the fabric as a closed Herringbone Stitch with no spaces left between the stitches. Both methods achieve the same result. <== 8 Chevron Stitch Bring the thread through on the lower line on the left side, insert the needle a little to the right on the same line and take a small stitch to the left, emerging at center of the stitch being made. Next, insert the needle on the upper line a little to the right and take a small stitch to the left (A). Insert the needle again on the [10] same line a little to the right and take a small stitch to the left, emerging at center (B). Work in this way alternately on the upper and lower lines. Overcast Stitch (or Trailing) This stitch resembles a fine cord and is useful for embroidering delicate stems and outlines, Bring the laid threads and the working thread through at (A). Hold the laid threads in position on the line of the design with the left thumb, and work small close Satin Stitches over them. The laid threads are taken through tovthe back at the end of the line and secured. Cross Stitch Bring the needle through on the lower right line of the cross and insert at the top of the same line, taking a stitch through the fabric to lower left line (A). Continue to the end of the row in this way; on the return journey, complete the other half of the cross (B). It is important that the top strands of all the stitches point in one direction. Designs in Cross Stitch should be worked over counted threads of canvas or even- weave fabric to have the best result. Holbein Stitch Work the first row of this stitch from right to left similar to Running Stitch, but with all stitches of equal length. On the return journey, work in the same way from left to right, filling in the spaces left by the first row. This stitch is sometimes used as an outline to Cross Stitch de- signs, as in Assisi Embroidery, but a de- sign can be worked entirely in Holbein Stitch. Lt should be worked over counted threads of fabric for the best results. Eyelet Holes Work a row of small Running Stitches around the circle. Pierce the center with a stiletto and fold back the ragged edge. Closely overcast the folded edge and Running Stitches (A). Trim away any ragged edge at the back. (B) shows the appearance of the finished Eyelet Hole. Larger circles or longer Eyelet Holes may be cut across the center both ways and the cut ends folded back, instead of piercing with a stiletto. Portuguese Stem Stitch OD A B Begin as for ordinary Stem Stitch (A). Pull the thread through and pass the needle under the stitch just made without entering the fabric (B). Pass the needle again under the same stitch below the LOOPED STITCHES E F first coil (C). Make another Stem Stitch (D). Pass the needle twice under the stitch just made and also under the pre- vious. stitch (E). A section showing the formation of the stitch (F). PAGES 11 through 15 Blanket Stitch or Buttonhole Stitch Bring the thread out on the lower line, insert the needle in position on the upper line, taking a straight downward stitch with the thread under the needle point. Pull up the stitch to form a loop and re- peat. C12]Closed Buttonhole Stitch D The stitches are made in pairs forming triangles. Bring the thread through at (A), insert the needle at (B) and with the thread under the needle, bring it through at (C). Insert the needle again at (B) and bring it through at (D). } Knotted Buttonhole Stitch Make a loop from right to left over the left thumb. Insert the needle, point up- ward, under the loop (A). Slip the loop onto the needle and with the loop still around the needle, take a stitch into the fabric (B). Before drawing the needle through, tighten the loop around the head of the needle by pulling the working thread. [12] Up and Down Buttonhole Stitch Begin as for ordinary Buttonhole Stitch (A), Pull thread through. Insert the needle on the bottom line and take a straight upward stitch with the thread under the needle point (B). Pull thread through first in an upward movement, then downward to continue. Buttonhole Stitch with Picot Work as for ordinary Buttonhole Stitch until a picot is required, then hold the thread down with the left thumb and wind the thread around the needle three times (A). Still holding the thread se- curely, pull the working thread until the twisted threads are close to the Button- hole Stitch, then make a Buttonhole Stitch into the last loop (B). Buttonhole Stitch Bars and Double Buttonhole Stitch Bars These bars are used in Cut-work and Richelieu Work. Make a row of Running Stitches between the double lines of the design as a padding for the Buttonhole Stitch. Where a single line bar occurs, take a thread across the space and back, securing with a small stitch; Buttonhole Stitch closely over the loose threads with- out picking up any of the fabric (A). Buttonhole Stitch around the shape, keeping the looped edge of the stitch to \ the inside, then cut away the fabric from behind the bar and around the inside of the shape, Where a double line or a broad bar is required between shapes or some- times for stems of flowers, when the fab- ric is to be cut away on each side, make a row of Running Stitches along the cen- ter, then Buttonhole Stitch along one side, spacing the stitches slightly. Button- hole Stitch along the other side into the spaces left by the first row. The fabric is then cut away close to the Buttonhole Stitch, leaving a strong broad bar (B). B N Feather Stitch Bring the needle out at the top center, hold the thread down with the left thumb, insert the needle a little to the right on the same level and take a small stitch down to the center, keeping the thread under the needle point. Next, insert the needle a little to the left on the same level and take a stitch to center (A), keeping the thread under the needle point. Work these two movements alter- nately. (B) shows Double Feather Stitch in which two stitches are taken to the right and left alternately. ' 5 t Closed Feather Stitch This stitch is worked along two parallel lines. Bring the thread through at (A) and with the thread under the needle, take a stitch from (B) to (C). Swing the thread over to the left and with the thread under the needle, take a stitch from (D) to (E). Repeat these two stitches. [13 ]Chained Feather Stitch I Working between two parallel lines, bring the thread through at (A) and make a slanting Chain Stitch, tying down the stitch at (B), Take a second slanting Chain Stitch from the right at (C), tying it down at (D). The tying stitches must form a regular zig-zag pattern. Scroll Stitch ‘This stitch is worked from left to right. The working thread is looped to the right, then back to the left on the fabric. Inside this loop the needle takes a small slant- ing stitch to the left under the line of the design with the thread of the loop under the needle point. The thread is then pulled through. The stitches should be evenly spaced. This stitch could be used as a border, Loop Stitch "€ This stitch is worked from right to left. Bring the thread through at (A) and in- [14] sert the needle at (B). Bring it through again at (C) immediately below (B). With the thread to the left and under the needle, pass the needle under the first stitch without piercing the fabric, B 1 ! I ! A c D E | Vandyke Stitch Bring the thread through at (A). Take a small horizontal stitch at (B) and insert the needle at (C). Bring the thread through at (D). Without piercing the fabric, pass the needle under the crossed. threads at (B) and insert the needle at (E). Do not pull the stitches too tightly, otherwise the regularity of the center braid will be lost. Cretan Stitch Bring the needle through at top center and take a small stitch at the right side. Take a stitch on the left side, needle pointing inward and with the thread under the needle point (A). Take a stitch on right side in the same way (B). Con- fae from side to side until the shape is tied. Open Cretan Stitch Bring the thread through at (A) and with the thread above the needle, insert the needle at (B) and bring it through at (C). With the thread below the needle, insert the needle at (D) and bring it through at (E). All stitches lie at right angles to the guiding lines as shown in the diagram and are spaced at regular intervals, This is a useful stitch for borders. Ladder Stitch This stitch may be used to fill shapes of varying widths, but it is shown worked between parallel lines. Bring the thread through at (A), insert the needle at (B) and bring it out at (C). Insert again at (D) and bring out at (E). Pass the needle under the first stitch at (F) and through the double stitch at (G). Continue in this way, the needle passing under two stitches at each side to form the braided edge. Fly Stitch Bring the thread through at the top left and hold it down with the left thumb. Insert the needle to the right on the same level, a little distance from where the thread first emerged, and take a small stitch downward to the center with the thread below the needle. Pull through and insert the needle again below the stitch at the center (A) and bring it through in position for the next stitch. ‘This stitch may be worked singly or in horizontal rows as in (A) or vertically as in (B). PAGES 15 through 18 Chain Stitch Bring the thread out at top of line and hold down with left thumb. Insert the needle where it last emerged and bring the point out a short distance away. Pull the thread through, keeping the working thread under the needle point. £183Lazy Daisy Stitch (also known as Detached Chain Stitch) Work in the same way as Chain Stitch (A), but fasten each loop at the center with a small stitch (B). This stitch may be worked singly or in groups to form flower petals, Twisted Chain Stitch Begin as for ordinary Chain Stitch, but instead of inserting the needle into the place from where it emerged, insert it close to the last loop and take a small slanting stitch coming out on the line of the design. Pull the thread through. The loops of this stitch should be worked close together to have the correct effect. Open Chain Stitch This stitch is shown worked on two paral- lel lines, but it may be used for shapes [16] which vary in width. Bring the thread through at (A) and, holding the thread down with the left thumb, insert the needle at (B). Bring the needle through at (C), the required depth of the stitch. Leave the loop thus formed slightly loose. Insert the needle at (D) and, with the thread under the needle point, bring it through in readiness for the next stitch. Secure the last loop with a small stitch at each side. Zig-Zag Chain Stitch Bring the thread through at (A) and hold it down with the left thumb. Insert the needle at (A) and bring it through at (B), the required length of the stitch. The second stitch is worked in exactly the same way at right angles to the/\finst stitch, but the needle, as it enters the fabric (C), pierces the end of the first loop, thus insuring that each loop is held in position. Heavy Chain Stitch Bring the thread through at (A) and take a small vertical stitch. Bring the thread through again at (B) and pass the needle under the vertical stitch, without pierc- ing the fabric, and insert it again at (B). Continued * Heavy Chain Stitch... Continued Bring the thread through at (C) and again pass the needle under the vertical stitch and insert it at (C). The third and all following stitches are made in exactly the same way, except that the needle always passes under the two preceding loops. Cable Chain Stitch Bring the thread through at (A) and hold it down with the left thumb, Pass the needle from right to left under the work- ing thread, then twist the needle back ‘éverithe working thread to the right and, still keeping the thread under the thumb, take a stitch of the required length. Pull thread through. Zig-Zag Cable Chain Stitch This stitch is a variation of ordinary Cable Chain Stitch, each stitch being taken at a right angle to the previous stitch. Pull the twisted thread firmly around the needle before drawing the needle through the fabric. Checkered Chain Stitch This stitch is worked in the same way as Chain Stitch, but having two contrasting threads in the needle at the same time. When making the loops, pass one color under the needle point and let the other color lie on top. Pull through both threads. Work the next loop with the other color under the needle point. Rosette Chain Stitch Bring the thread through at the right end of the upper line, pass the thread across to the left side and hold down with left thumb. Insert the needle into the upper line a short distance from where the thread emerged and bring it out just above the lower line, passing the thread under the needle point (A), Draw the needle through and then pass the needle under the top thread (B) without picking up any of the fabric. This stitch can be used for small flowers if worked around in a circle, or for borders when worked straight. [17]Singalese Chain Stitch This stitch is worked in the same way as Open Chain Stitch (page 16), but it is worked over two laid threads of con- trasting color. Bring the laid threads through at the top of the spaced parallel lines, one on each side, and allow them to lie loosely on the fabric along the lines. Open Chain Stitch is now worked over the laid threads, using a contrasting color. Bring the thread out at (A) on the left-hand line a littke below the laid thread, pass the needle from left to right under both laid threads and insert it at (B) on the right-hand line exactly oppo- site. Bring the needle out on the left-hand line, the depth of stitch required; pass the needle under both laid threads and insert on the right-hand line inside the previous loop, bring out on the left-hand line in readiness for the next stitch, The laid threads can be pulled taut before being taken to the back of the work and fast- ened off. [18] Split Stitch A This stitch resembles a fine Chain Stitch. Bring the thread through at (A) and make a small stitch over the line-of the design, piercing the working thread with the needle as shown. Split Stitch can be used as a filling stitch where a fine flat surface is required. A B Wheatear Stitch Work two Straight Stitches at (A) and (B). Bring the thread through below these stitches at (C) and pass the needle under the two Straight Stitches without enter- ing the fabric. Insert the needle at (C) and bring it through at (D). KNOTTED STITCHES PAGES 19 through 21 a G @ A French Knots B oe Bring the thread out at the required posi- tion. Hold the thread down with the left » thumb and wind the thread twice around the needle (A). Still holding the thread firmly, twist the needle back to the start- ing point and insert it close to where the thread first emerged (see arrow). Pull thread through to the back and secure for a single French Knot or pass on to the position of the next stitch (B). Bullion Stitch ‘ Pick up a Back Stitch the size of the Bullion Stitch required, bringing the needle point out where it first emerged; do not pull the needle right through the fabric. Twist the thread around the needle point as many times as required to equal the space of the Back Stitch. Hold the left thumb on the coiled thread and pull the needle through; still holding the coiled thread, turn the needle back to where it was inserted (see arrow) and in- sert in same place (A). Pull thread through until the Bullion Stitch lies flat. Use a needle with a small eye to allow the thread to pass through the coils easily. Coral Stitch Bring the thread out at the right end of the line, lay the thread along the line of the design and hold it down with the left thumb. Take a small stitch under the line and the thread and pull through, bringing the needle over the lower thread as shown. : Zig-Zag Coral Stitch Each left-hand stitch is worked in the same way as Coral Stitch; but for the right-hand stitches the thread has to be looped as shown. The thread is carried to the right, held down with the left thumb and carried back to the left. A small stitch is then taken under the loop with the thread under the needle point. [19]Knot Stitch Edging (also known as Antwerp Stitch Edging) Bring the thread through from the back of the fabric and work a single Button- hole Stitch. Pass the needle behind the loop of the stitch and over the working thread as shown, Space the stitches about \% inch apart. This edging is very useful for handkerchiefs or lingerie. Several rows, using a different color for each row, make a lacy edging. The stitches of the second and following rows are worked over the loops between the stitches of the previous row. Double Knot Stitch Bring the thread through at (A). Take a small stitch across the line at (B). Pass the needle downward under the surface stitch just made, without piercing the fabric, as at (C). With the thread under the needle, pass the needle again under the first stitch at (D). Pull the thread through to form a knot. The knots should be spaced evenly and closely to obtain a beaded effect. Knotted Cable Chain Stitch This stitch is worked from right to left. Bring the thread through at (A) and place it along the line of the design, then, with the thread under the needle take a stitch at (B) which is a Coral Knot. Then pass the needle under the stitch between (A) and (B) without piercing the fabric, as shown at (C). With the thread under the needle, take a slanting stitch across the line at (D), close to the Coral Knot. Pull te Miteee through to form a Chain titch. When you have devoted many hours of loving skill to a piece of embroidery, it is a pity not to sign it upon com- pletion. You will find that those to whom you present the item, or those who will inherit it from you, will value your gift all the more when it bears your name. [20] dlik > Spanish Knotted Feather Stitch A B Bring the thread through and hold down to the left with the left thumb, Take a slanting stitch to the left through the fabric, under the laid thread, and pull through with the needle point over the working thread as shown at (A). Pass the thread over to the right and back to the left to form a loop and hold down, then COMPOSITE STITCHES as} take a slanting stitch to the right under the laid thread and pull through with the needle over the working thread (B). Take a stitch in the same way to the left (C). Repeat (B) and (C) to the end of the line, then fasten off with a small stitch as shown at (D). Interlaced Band Stitch This stitch is composed of two rows of Back Stitch with an interlacing. Work two parallel rows of Back Stitch (Fig. 1), having the rows approximately 14-34 inch apart, with the stitches worked as PAGES 21 through 23 shown, i.e. the end of one stitch is di- rectly in line with the center of the oppo- site stitch. Bring a matching or contrast- ing thread through at (A) and, following Fig. 2, interlace it through every stitch, Interlacing Stitch The foundation of this border stitch is a double row of Herringbone Stitch worked in two journeys, with the stitches inter- twined in a certain way. The first row of Herringbone Stitch is shown in medium tone on the diagram. In working the rows of Herringbone Stitch for the interlacing, there is a slight change in the usual method. In the top stitch the needle is passed under the working thread in each case instead of over, and attention should be paid to the alternate crossing of the threads when working the second row. Continued {21]Interlacing Stitch ,.. Continued Do not work this foundation tightly, as the interlacing thread tends to draw the stitches together. When the rows of Her- ringbone Stitch are worked, bring the thread for the surface interlacing through at (A) and follow the diagram closely. When the end of the row is reached, lace the thread around the last cross in the center and work back ina similar fashion along the lower half of the foundation. The last two crosses on the diagram have been left unlaced so that the construction of the Herringbone Stitch may be seen clearly. Maltese Cross This decorative motif is worked in a way similar to Interlacing Stitch. The inter- twining of the Herringbone Stitch must be worked accurately, otherwise the in- terlacing cannot be achieved. Bring the thread through at (A) and take a stitch from (B) to (C). Carry the thread from (C) to (D) and take a stitch from (D) to (E). Continue in this way, following Fig. 1, until the foundation is complete. Fig. 2 shows the method of interlacing, which begins at (F). Fig. 3 shows the complete motif. Portuguese Border Stitch [22] Work the required number of foundation bars, which are evenly spaced horizontal Straight Stitches. Bring the thread through at (A); with the working thread to the left of the needle, carry it over and under the first two bars, then over the first two bars and under the second bar only, without piercing the fabric.. The thread is now in position at (B) to begin the second pair of stitches, Continue working in the same way to the top of row. Bring a new thread through at (C) and proceed in exactly the same way, but with the working thread to the right of the needle. Do not pull the surface stitches tightly. Raised Chain Band Work the required number of foundation bars, which are fairly closely spaced hori- zontal Straight Stitches. Bring the thread through at (A), then pass the needle upward under the center of the first bar and to the left of (A). With the thread under the needle, pass the needle down- ward to the right of (A) and pull up the chain loop thus formed. Step Stitch Work two parallel lines of Chain Stitch approximately 4% inch apart, making sure that the stitches are exactly in line with cach other, Work Straight Stitches across the space, linking every second pair of Chain Stitches. Bring the thread through the fabric at (A) and, with the thread to the Jeft of the needle and point- ing downward, whip the first Straight Stitch four or five times to the center. In- sert the needle 4% inch above the center of the Straight Stitch and bring it through again just below in position to complete the whipping of the other half of the Straight Stitch, with the needle pointing upward. Bring the thread through at (B) and work the whipping on the second Straight Stitch in the same way to the center. Loop the thread, without piercing the fabric, under the center stitch and continue the whipping. Striped Woven Band Work the required number of foundation bars, which are evenly spaced horizontal Straight Stitches. Thread two needles with contrasting threads and bring them through the fabric to lie side by side at (A), the light thread on the left side. Pass the light thread under the first Straight Stitch and leave it lying. Take the dark thread over the first Straight Stitch and under the second Straight Stitch and also under the light thread. Leave the dark thread lying and pass the light thread over the second Straight Stitch, under the third Straight Stitch and also under the dark thread. Continue to the end of the border. Begin each following row from the top. By altering the sequence of the contrasting threads, various patterns may be achieved. Should you require a very high sheen in certain sections of your embroidery, use COATS & CLARK'S O.N.T. “STRANDSHEEN,” Boilfast® Rayon Embroidery. [23]COUCHING and FILLING STITCHES Couching Lay a thread along the line of the design and with another thread tie it down at even intervals with a small stitch into the fabric. The tying stitch can be of con- trasting color to the laid thread if desired. Bokhara Couching This stitch is useful and ornamental for filling in shapes of leaves and petals of flowers. It is worked in the same way as Roumanian Couching, but the small tying stitches are set at regular intervals to form pattern lines across the shape. The tying stitches should be pulled tight, leaving the laid thread slightly loose between, Roumanian Couching This form of couching is useful for filling - in large spaces in which a flat, indefinite background is required. Bring the thread through on the left, carry it across the space to be filled and take a small stitch on the right with the thread above the needle (A). Take small stitches along the line at intervals as in (B) and (C) to the end of the laid thread, emerging in posi- tion for the next stitch (D). [24] Trellis or Jacobean Couching This stitch makes an attractive filling stitch for the centers of flowers or shapes where an open effect is required. It con- sists of long, evenly spaced stitches (laid threads) taken across the space horizon- tally and vertically (A) or diagonally (B); then the crossed threads are tied down at all intersecting points. The tying or couching stitch can be a small slanting stitch or Cross Stitch. Sheaf Filling Stitch Ea - An attractive filling stitch consisting of three vertical Satin Stitches tied across the center with two horizontal Over- cast Stitches, The Overcast Stitches are worked around the Satin Stitches, the needle only entering the fabric to pass on to the next sheaf. The sheaves may be worked in alternate rows as shown or in - close horizontal rows directly below each lib. other. Seeding RAN This simple filling stitch is composed of small Straight Stitches of equal length placed at random over the surface as shown. Spider Web Filling Stitch Begin with a Fly Stitch to the center of the circle as shown in (A), then work two Straight Stitches, one on each side of the Fly Stitch tail, into the center of the circle. This divides the circle into five equal sections and the ‘spokes’ form the foundation of the web. Weave over and under the spokes until the circle is filled (B). In Drawn Thread embroidery, the ‘spokes’ are not completely covered by the weaving; only half the circle is filled, which gives the filling an open, lacy ap- pearance. Hit “~ This stitch can be used as a filling stitch in free embroidery, that is, over a tracing of squares or spots, or in Drawn Fabric embroidery by working over a specified number of threads for each stitch. A punch needle is used for the traced de- sign to make the holes. A tapestry needle is used for the counted thread work. The stitches are pulled firmly in each case. Bring the thread through and take a stitch directly above, bringing the needle out where the thread first emerged (A), insert the needle into the same hole above and bring out the same distance to the left on the lower line (B). Work along the row in this way, two stitches into the same place in each case (C). Turn the work upside down for each following row and continue in the same way until all vertical rows are complete (D). Turn the work sideways and repeat the process to complete the squares (E). [25]NAS a D EMBROIDERY Hemstitch Withdraw threads from the fabric for the required width. Bring the working thread out near the space of drawn threads at the right-hand side; pass the needle be- hind three loose threads (the number of threads taken together may be varied to suit the fabric or design), then pass the needle behind the same three threads, this time bringing the needle through the fabric in readiness for the next stitch (the folded hem is turned to the edge of the drawn threads and secured with this stitch). The diagram shows Hemstitch worked along both sides of drawn threads; this is called Ladder Hemstitch. Interlaced Hemstitch Ladder Hemstitch is worked in the usual way, then a new thread is fastened at the right-hand side and is interlaced along the center through two groups of threads at a time. The needle is passed over two groups, under the second group and over the first group, then under both groups (shown by the arrow). The thread is pulled taut, but not too tightly or the in- terlaced groups will not lie in position. [26] -_ Pa NY Zig-Zag Hemstitch This variation is worked in the same way as Hemstitch, but there must be an even number of threads in each group of loose threads made in the first row. In the second row the groups are divided in half, so that each group is composed of half the number of threads from one group and half from the adjacent group. —_— NN, SS a Der psa ae ZN W i Z | Hemstitch with Coral Stitch Clusters Ladder Hemstitch is worked first, then a new thread is fastened at the right-hand side. The working thread is held down with the left thumb while the needle is passed under three groups and pulled out through the loop which forms the Coral Stitch cluster. Needleweaving Withdraw the number of threads re- quired for the pattern and weave over and under groups of threads alternately. The diagram shows how a narrow border of two rows of groups can be worked, passing on from the first row to the sec- Continued Needleweaving ... Continued ond row in alternate groups. When using a thick embroidery thread and a fairly heavy fabric, one row of weaving (back and forth) is usually sufficient to replace one drawn thread of fabric, but care should be taken to withdraw only the threads required to fit the pattern. = yy Double (or Italian) Hemstitch Withdraw threads from the fabric for the required width, skip the same number of threads and withdraw another band of the same number of threads. Bring the thread out four (or less) loose threads to the left in the top band of drawn threads; pass the needle behind the four threads, bringing it out where the thread first emerged (A). Pass the needle down over the fabric and under four loose threads in the lower band of drawn threads; pass the needle over the same four threads and under the fabric, bringing it out four threads to the left in the top band of drawn threads (B). These two movements are worked throughout. The free edges of the drawn thread spaces can be Hem- stitched in the usual way. Overcast Bars Overcast Bars and the following Woven Bars are generally used in Hardanger Embroidery, but they can also be used in Drawn Thread Embroidery. To work the Overcast Bars, withdraw the number of threads required from the fabric and separate the loose threads into bars by overcasting firmly over the threads as many times as required to cover the group of threads completely. Woven Bars Withdraw the number of threads re- quired from the fabric and separate the loose threads into bars by weaving over and under an even number of threads until the threads are completely covered. Should you require a “twill” effect in certain sections of your embroidery, use COATS & CLARK'S O.N.T. “PERLESHEEN” No. 8, Boilfast® Embroidery Cotton. [27]Tent Stitch This stitch is worked on single thread canvas and is also known as Petit Point. To begin, bring the thread through at the left-hand side of the canvas on the top part of first stitch; pass the needle down over the crossed canvas threads, then under two canvas threads (A), continue Br: ae rere until the first row is complete, The sec- ond row is worked from right to left, the needle passing the crossed threads up and over, then under two canvas threads (B), Work back and forth in this way, completely covering the canvas. When this stitch is worked correctly, the stitches on the reverse side are long and sloping. Gobelin Stitch This stitch is worked on single thread canvas and is also known as Oblique Gobelin Stitch or Gros Point. To begin, bring the thread through at the left-hand side of the canvas on the top part of the first stitch; pass the needle down over two crossed threads, then upward under Per Pre two crossed threads of the canvas (A); continue until first row is complete. The second row is worked from right to left, the needle being inserted from above downward. (B) shows how the thread is passed from the first row to begin the second row. Work back and forth in this way, completely covering the canvas. Double Cross Stitch ‘The diagram shows this stitch worked on double thread canvas (which is very suitable for working with thick embroi- dery thread), but it can be used also on single thread canvas, or even-weave [28] linen, or worked in free embroidery over a transferred design. The diagram clearly shows the method of working the stitch and all stitches should cross in the same way. ig ae eae ii. Long-legged Cross Stitch (also known as Long-armed Cross Stitch) This stitch differs from ordinary Cross Stitch in that it begins from left to right and one of the crossing stitches is worked over double the number of threads of the other stitch. (A) shows the method of working the stitch. (B) shows three stitches completed. Rice Stitch This stitch is usually worked with a thick embroidery thread for the large Cross Stitch and a fine thread-for the small Straight Stitch. First cover the whole ground with Cross Stitch worked over four threads each way of the canvas (A). Then over the corners of each Cross Stitch work small diagonal stitches at right angles over two threads each way of the canvas, so that these small stitches also form a cross (B). The small stitches are shown black in order to show the construction. Knotted Stitch This stitch is shown on double thread canvas, but can also be worked on single thread canvas. Take a slanting stitch over three (double) horizontal threads and across one (double) vertical thread, bring- ing the needle out two (double) threads down (A). Take a small tying stitch across the center of the first stitch and bring the needle out two (double) threads down and one (double) thread to the left in readiness for the next stitch (B). The rows of stitches overlap each other by one (double) horizontal thread to pro- duce a solid background (C). Embroidery is the earliest form of decoration on woven fabric—going back, to our knowledge, as far as Ancient Egypt. It was done in linen, wool, and silk thread, with gold thread sometimes added. Elabo- rately decorated articles of clothing have come down to us from the most primitive peoples as well as the most cultivated, In many regions, colorful peasant work has remained unchanged for centuries. Probably the richest examples of embroidery, however, are to be found in the mag- nificent church work produced in Western Europe during the Middle Ages. (29)a DRAWN FABRIC EMBROIDERY PAGES 30-32 These illustrations show the formation of drawn fabric stitches but do not show the final open effect of drawn fabric work, Pull each stitch firmly, as it is made, to achieve an open effect. ZA Star Eyelet = EH PAE A Star Eyelet consists of eight stitches worked over a square of fabric, eight threads each way, all stitches being worked into the same central hole. Honeycomb Filling Stitch ‘This filling stitch is worked from the top downward. Bring the thread through at the arrow; insert the needle at (A), four threads to the right, bring it through at (B), four threads down, insert again at (A), bring it through at (B); insert at (C), four threads to the left, bring it through at (D), four threads down; insert again at (C), bring through at (D). Continue in this way for the length required. Turn the fabric around for the second and each following row and work in the same way, Where rows connect, the vertical stitches are worked into the same holes. 130 ] Wave Stitch Filling This stitch is worked from right to left. Bring the thread through at the arrow; insert the needle at (A), four threads above and two threads to the right, bring through at (B), four threads to the left; insert at arrow, bring through at (C), four threads to the left. Continue in this, way, to the end of the row. Turn the fabri¢ around for the second and all other rows, working into the same holes as shown in the diagram to form diamond shapes. Diagonal Raised Band This stitch is worked from lower right to the top left corner. Bring the thread through at the arrow; insert the needle at (A), four threads above, bring it through at (B), two threads down and two threads to the left. Continue in this way to the end of the row. After completing the last stitch, bring the needle through as if to begin another stitch. Insert the needle at (C) and bring it through at (D). Continue to the end of the row. Ringed Back Stitch Filling This filling stitch is worked from right to left. Bring the thread through at the ar- row (Fig, 1); insert the needle at (A), two threads down, bring it through at (B), four threads up and two threads to the left; insert at arrow, bring through at (C), two threads up and four threads to the left, insert at (B), bring through at (D), * two threads down and four threads to the left; insert at (C), bring through at (E), four threads down and two threads to the left. Continue working continuous half rings of Back Stitch for the required length. Turn the fabric around for the second and all other rows and work back in the same way, completing the rings (Fig. 2). All connecting stitches are worked into the same holes. Fig. 1 Mosaic Filling This filling stitch is worked over a fabric square of twelve threads. Work four blocks of Satin Stitch, each stitch over four threads of the fabric. Bring the thread from the last stitch through at the Fig. 3 right-hand corner of the inner square (Fig. 1). Work a Four-sided Stitch on the four threads of the square, bringing the thread out at the starting point (Fig. 2). Work a Cross Stitch in the center (Fig. 3). Pin Stitch This hem edging stitch is mainly a Drawn Fabric stitch, but it can be used in Drawn Thread embroidery and for outlining applique work. For a hem edge, bring the thread through the folded hem, insert the needle under the hem edge and pick up asmall stitch to the left (A), take a stitch into the same place (B), take another stitch into the same place, this time bring- ing the needle out through the folded hem (C). Continue to the end of the row. [31]Three-sided Stitch This stitch is worked from right to left. Bring the thread through at (A) and take two stitches from (A) to (B) over four threads of fabric; bring the needle through at (A) and take two stitches from (A) to (C), four threads up from A and two threads to the right, bring the needle through at (D), four threads to the left and take two stitches from (D) to (C), bringing the needle through at (D). Take two stitches from (D) to (A), bring- ing the needle through at (E), four threads to the left. The diagram shows a corner turning. Four-sided Stitch This stitch is worked from right to left. Bring the thread through at the arrow (Fig. 1); insert the needle at (A), four threads up, bring it through at (B), four threads down and four threads to the left; insert it at the arrow, bring through at (C), four threads to the left of (A); insert again at (A) and bring through at (B). Continue in this way to the end of the row. For a filling stitch (Fig. 2), turn [32] Fig. 2 the fabric around for the second and all following rows and work in the same way. All connecting stitches of the rows are worked into the same holes, INSERTION STITCHES Before working, see notes on Insertion Stitches, page 6. Buttonhole Insertion Stitch This insertion stitch consists of groups of four Buttonhole Stitches worked alter- nately on each piece of fabric to be joined. The upper row is worked as in ordinary Buttonhole Stitch. The diagram shows method of working the groups on the lower row. . Twisted Insertion Stitch A small stitch is taken alternately on each piece of fabric to be joined. The needle always enters the fabric from beneath and is twisted once around the thread before entering the fabric for the op- posite stitch. Knotted Insertion Stitch This stitch is similar to Knot Stitch (or Antwerp Stitch) edging, except that the stitches are made alternately on each piece of fabric to be joined. A small But- tonhole Stitch is worked into the edge of the fabric and a second stitch worked over the loops as shown. Forms of needlework, other than embroidery, that have been practiced a long time are patchwork and quilting. Patchwork was known to the Egyptians and Romans, Quilted garments were worn under the armor of Medieval knights, and in Queen Elizabeth I's day quilted doublets and petticoats were fashion- able. These two arts were used by the pioneer women of the new world to bring warmth and color to their simple homes in the wilderness and to satisfy their love of beauty. [33]INDEX OF STITCHES Back Stitch and Threaded Back Stitch Blanket Stitch or Buttonhole Stitch Bokhara Couching Bullion Stitch .. Buttonhole Si Stitch Bars ... Buttonhole Stitch with t Buttonhole Insertion Stitch .. ch Bars and Double Buttonhole Cable Stitch Cable Chai Chain Stitch Chained Feather Stitch Checkered Chain Stitch .. Chevron Stitch ....... Closed Buttonhole Stitch Closed Feather Stiteh Coral Stitch Couching . Cretan Stite! Cross Stitch Diagonal Raised Band ...... Double Back Stitch (or Shadow Work: Double Cross Stitch ..... Double (or Italian) Hemstite! Double Knot Stitch Eyelet Holes .... Nn Feather Stitch 13 Fern Stitch .. 7 Fishbone Stitch .. 9 Flat Stitch 8 Fly Stitch . 15 Four-sided Stitch 32 French Knots WW Gobelin Stitch .... 28: Heavy Chain Stitch 16 Hemstitch Hemstitch with Coral Stitch Clusters Herringbone Stitch and Threaded He: Stitch .... Holbein Stitch Honeycomb Filling Stitch Interlaced Band Stitch Interlaced Hemstitch .. Interlacing Stitch .... Knotted Stitch ...... Knotted Buttonhole Stitch Knotted Cable Chain Stitch Knot Stitch Edging (or Antwerp Ed. Knotted Insertion Stitch .. Ladder Hemstitch—See Hemstitch Ladder Stitch ..» Lazy Daisy Stitch Leaf Stitch [34] Long-legged Cross Stitch Long and Short Stitch Loop Stitch Maltese Cross . Mosaic Filling ... Needleweaving ..... Open Chain Stitch Open Cretan Stitch Open Fishbone S Overcast Bars Overcast Stitch (or Pekinese Stitch . 7 Pin Stitch .... yn Portuguese Border Stitch 22 Portuguese Stem Stitch . Punch Stitch .... Raised Chain Band Rice Stitch .. Ringed Back Stitch Fi Rosette Chain Stitch Roumanian Stitch 2 Roumanian Couching .. 24 Running Stitch and Laced Running Stitel 7 Satin Stitch 8 Seroll Stitch 4 Seeding ... 25 Sheaf Filling Stitch 25 Singalese Chain Stitch 18 Spanish Knotted Feather Stitch . 21 Spider Web Filling Stitch 25 Split Stitch 18 Star Eyelet 30 Stem Stitch 7 Step Stitch 23 Straight Stitch 8 Striped Woven Band . 23 Tent Stitch .. Three-sided Stitch Trellis (or Jacobean) Coud Twisted Chain Stitch . Twisted Insertion Stitch 33 Up and Down Buttonhele Stitch .... 12 Vandyke Stitch . 14 Wave Stitch Filling Wheatear Stitch Woven Bars ... Zig-Zag Cable Chain Stitch Zig-Zag Chain Stitch . Zig-Zag Coral Stitch .. Zig-Zag Hemstiteh ... ror over 150 years OUR BUSINESS HAS BEEN dlibicom QUALITY We at Coats & CLANK are roll of our repulie tion for Quality ,,, neverthelews, we never slop trying to improve our products, Vor instance, before our sewing thread iy allowed to reach the customer, it must pass through 41 individual quality cheek points which include extensive sampling of all finished thread for strength and appearance, All of our other products—crochet cottons, embroidery threads, hand-knitting yarns and zippers—are subjected to equally stringent qual- ity control checking at cach stage of production. Our reputation for Quality is upheld by thi: constant attention {o the most minute details, by millions of dollars spent on Research and Devel- opment, and most of all, by our earnest endeavor to make only one kind of product—the best! DEPEND ON... COATS & CLARK aa Ld THN (Gyele & CLARK'S BOOK No, 150 29¢ One Slandred | EMBROIDERY STITCHES 6