A GREAT EXPERIMENT OR HOW NOT TO MAKE A EMBROIDERED PILLOW

                                                                         A&S Champs 2023





 

 

When I set out to start this project I have one thought in mind; I need a footstool with a pillow. While this concept seems easy enough, I quickly learned what does and does not work

 


Crossed stitch stitches have changed slightly over the centuries with the biggest changes in how they are laid to create density on the back of the piece. In the 16th century they used a “spiral” pattern to lay the stitches which creates an even layout and protected back. These pieces would have been used for bed hangings, pillows, and potentially wall hangings. The embroidery was created on canvas then attached to another material like velvet. Compared to weavings that need a loom, the ladies of the court could create these pieces on a portable level as well as individualize the design being created. Printed books and patterns were becoming more and more popular as well as pre printed fabric, however it was still not uncommon to have skilled artists hired or living in house for design purporses

Crossed stitches was a popular form of needlework in the French court and something Mary Queen of Scots attempted to bring with her to the Scottish courts as well; this was also an activity she continued to do when she lived in England. In my research it does not appear to be as popular to be a task completed by the ladies in the court of England, it still was done as can be seen in long pillows and other accessories.  It appears that it was common among the countries to have the same basic concept to start the project. The richer houses would employ others to create a pattern and lay it on the fabric then the court ladies would complete it.

 

 

 

 

METHOD


One of my favorite resources is a book I picked up a few years ago called “here be wyverns”. It is full of different patterns in a grid. Grids are used for several different art forms. Historically, a paid artist or woodcut would be used to create the pattern on fabric. For this projected I attempted to draw the whole design by pencil which had several issues; the printed image didn’t completely line up in the space that was needed as well as the pencil kept fading. In several other projects since I have only marked out the major 4 points on the project and marked off on my pattern what I have completed. This has allowed better outlining for me. They also would have used a pouncing technique historically, which involves pricking holes in the paper pattern, and then using a bag of chalk or other material to mark the pattern on the fabric.

 


I also outlined the pieces first, then filled in the color. Typically it is recommended to start in the center of the project for filling in and work your way out. This helps to prevent spacing and lumpy issues that can occur. I also was attempting to use up any piece of fabric I had and fit many of the design pieces to those. While that was nice to work on smaller pieces, because they were not the same dimensions as the others, it caused issues lining up with the boarder when completing. I should have made sure that all the pieces were the same height at least to prevent this problem.

Once all the pieces were embroidered I washed and blocked them prior to sewing them together. My thought was that if I sewed after washing I would have blocking issues; sadly I was very, very wrong.


 Washing took the stiffness out of the fabric and it was fraying much faster than expected. And because it relaxed I could no longer complete a tent stitch for some reason on the background. Also, because the pattern pieces were different sizes, and I didn’t measure things before, there was large gaps in fabric that I couldn’t really compensate for. I was able to tuck and fold some of it, others I ended up cutting the fabric after sewing it together to get it to lay somewhat nicely. I cannot find documentation on using long arm cross stitch on pillows historically, although I have seen it on samplers. I did use that technique for the background knowing how it lays a nice, even, tight stitch 

 


Figure 5 competed on salmon linen

 

While it may not look overly fancy, this was a great way to learn layout and practice following more advanced patterns. It also allowed me to learn what I need to correct in my technique. To see how if my theories on why it failed were correct, I made a second sampler, this time washing after all the pattern was completed. I did not put the bindings around the edge until after washing, however the stitches held firm. I recommend to put the binding on before washing to prevent aggravation and fraying when trying to complete it after.


Figure 6alternative piece created in cross stitch and basketweave tent stitch

 

MATERIALS

Historically, linen, wool or silk would have been used. I typically work in DMC cotton due because of ease of use as well was the softness of the finished project. While DMC does have a spin to it, it is very minimal which allows the threads to be separated.  I have attempted to work with different types of wool and linen thread, but still find it finicky to work with. As a middle ground I chose to work with spun cotton as a practice on how to deal with more heavily spun fiber. I eventually ran out of the blue so I switched to a color close to the original to complete in DMC floss. I am unable to get more of the blue due to it being a discontinued item.  At the end of the 16th century, beginning of the  17th century cotton was something that would be mentioned in house records, but is still not as easily accessible as it must come from other areas of the world than western Europe.

 

As for the ground fabric, I used even-weave cotton canvas. Historically uneven weave canvas would have been used, but I have not quite gotten the hang of it as well as discovered the best weight to use for its creation. I have not found much detail about it other than “uneven weave canvas” being mentioned.

 

 

 

BIBLIOGRAPHY

 

·        Embroidery Pattern Books 1523 - 1700 - Victoria and Albert Museum (vam.ac.uk)

·        Christian Egenolff | Modelbuch aller Art Nehens vn Stickens | The Metropolitan Museum of Art (metmuseum.org)

·        Exploring Elizabethan embroidery by Dorothy Clarke

·        Here by wyverns by nancy spies

·        “project 404” by me

·        Elizabeth I and her world by Susan Watkns

 

 

 

 

 

 

 

 



 

 


Figure 71535 woodcut pattern

 

 


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