A Stitch Each Week - Scotch Stitch

I love the Scotch Stitch. It gives such a smooth look to needlework, stitches up quickly, and is great with a wide variety of threads.

This sampler row is stitched in the Scotch Stitch and a few variations.



The basic Scotch Stitch is comprised of a set of diagonal Gobelin stitches worked to create a single square motif. This particular Scotch Stitch is over six canvas threads.




When worked in rows, Scotch Stitches can be worked immediately next to each other, or with empty threads between each Scotch Stitch. When the stitches are worked immediately next to each other it gives a solid, dense look to the stitching.


Alternating the direction of each Scotch Stitch forces the reflection of the light to change on the thread and adds the appearance of height.





Stitch each Scotch Stitch in the same direction gives a smoother appearance.





Scotch Stitches can be checkered by alternating the colors of the stitches, or by alternating a Scotch Stitch with a block of tent stitches. Work the tent stitch blocks in basketweave (bottom left block shows numbering) to minimize distortion of your needlework. These tent stitched blocks will appear further in the distance than the Scotch Stitch blocks.



Scotch Stitches can be grouped together to create a larger motif, such as the Scotch Cross Corner, from Stitches to Go, by Suzanne Howren and Beth Robertson.


The first step is to work a set of four Scotch Stitches, each over six threads, in alternating direction.




The next step is to use the same, or a contrasting thread as I did, and cross the corners of each Scotch Stitch with half of a second Scotch Stitch. This second stitch is worked in the opposite direction from the underlying stitch. The center of the motif could also be accented with a bead.





Another variation is to create a falsely shadowed Scotch Stitch. Stitch half of a Scotch Stitch, shown here in four threads, but complete the stitch with a triangle of tent stitches in a darker or contrasting color.





Some ideas for using the Scotch Stitch are as a border on a stitched piece, such as this tulip by Kay Fite, or worked in rows and accented with beads to create a sampler that could be used in ornaments, filling for backgrounds, or sampler rows.









TND "Scotch Stitch in Textural Whitework"

A Stitch Each Week - Cross Stitch

Ah, the cross-stitch. The building block of an entire category of needlework...

Now, I could just put on this one diagram and say "There you go, the cross-stitch!" Stitch one leg, then the other, to create a square. Follow a chart by matching the symbol to the correct thread, and stitch a cross-stitch in each square. Soon what could be called pointillism will create a beautiful design.



If I did that though, would you be satisfied?

Cross-stitch is simple, cross-stitch designs can be simple or complicated. Your time stitching is valuable. DON'T stitch on things you don't truly love. Don't stitch gifts for ungrateful relatives or teachers that won't appreciate them. Don't stitch holiday cards for people unless you know they're going to save them.

DO stitch on things that you love. Do treat every piece of needlework you create as a possible future heirloom.

Now that I'm slipping off my soapbox, let's move on.

I'm asked often how I stitch things so quickly. First I'll say that I am rarely without a piece available to stitch. I stitch at the ballet library, watching the girls at gymnastics or swimming, while watching TV at home, in the car if I'm stuck in traffic, etc. Every stitch you put in is one more towards your goal.

When I stitch, I use longer-than-average lengths of threads. I work with the needle almost half-way down the length, gradually moving the needle towards the end as I use the thread. This means I have to end (and start) a new length less often. For most threads, this is fine. On some of the specialty threads such as Rainbow Gallery Very Velvet or Neon Rays the thread will break or fray if I use the longer lengths so they are the exception.

My actual cross-stitch may be different from yours as well. In my experience it's split almost half way between which direction the stitch is crossed. These directions are for the way I cross-stitches - I think they work better for right-handed stitchers. If you are left handed, try reversing the stitch and see if it works for you.

When I stitch a cross-stitch piece, I "scoop" the needle in the fabric. The needle goes down partway in the fabric, moves over two threads, and comes back up at the next leg of the stitch. I then pull the needle through, and pull through completely. The working thread never drapes over the back of the fabric entirely. This saves time on pulling through as well as poking the needle around to find the correct hole. I move across the row right to left. Of course this does mean that my working hand would be brushing across the top of the stitched threads, but I am careful to not rest my hand on the piece. Working from right to left also means that the needle is going down in the occupied hole and coming up in an unoccupied hole. This pulls excess fiber to the back of the piece, means that you don't split already stitched threads, and gives a smoother appearance.

When I have larger areas of cross-stitch to fill, I work in columns right to left. I make "bottom" legs of the cross-stitches down the entire column and work my way back up. All the previous advantages still apply.

When a square (or several) are skipped, skip right over those areas, still working in columns. An important time-saver for me is to memorize small parts of my chart. I'm not saying I wake up at three a.m. mumbling "need to stitch five, skip two, eleven, skip four". When I'm awake and stitching, that's the stream of conciousness in my head. At guild I will be chatty but once I start stitch, my conversation drops off. I am able to listen, count, and stitch, but I can't add in talking to that!

To explain further: I will look at a chart, counting the upcoming row. In the below example I'll think "Stitch five" then glance over to the next column and see that it has a series of three stitches with two stitches separating it. In my head I'll now be thinking "Stitch five, then one-one-one" and will proceed to stitch that.

A more difficult example would be this. In my head I'll think "Stitch five, two rows of one-one-one, then five."

Most of the Mirabilia patterns have great swaths of color. I'll count once or twice the first row, which may be as many as 25 stitches. I'll stitch the first column for a base. Then the adjacent rows will be counted off that first row. Thoughts will be "Stitch 10, skip five, stitch four, skip one, stitch three. Next column is solid but two up." Two up, meaning that is ends two stitches higher than the previous row.

After the first color is stitched is is much easier to go in an fill a second or third color.

I stitch all of my pieces in this manner, from Teresa Wentlers' to Mirabilias' to my own designs. With time it becomes quick and the tension is smooth.

Now, since we do all love a simple sampler motif, please feel free to stitch this one.

Copyright 2008 Summer Louise Truswell

It is stitched in two colors of Kreinik metallic thread. The cross stitches are over two threads with one strand of metallic. Back stitch is with one strand metallic. The outlaying backstitch outline is backstitched in copper and then brown was used to whipstitch the backstitching, creating the look of a tiny twisted cording. Design count is 22 x 22.

I was inspired to create this design after thumbing through The Sampler Motif Book
by Brenda Keyes. This 122-page book includes dozens (hundreds?) of little sampler motifs perfect to use in your own pieces. There are also some beautiful "ready-to-stitch" projects, including spot and band samplers, a blackwork sampler, needlecases, and a strong Carnation pillow design. I've had this book for a few years and it's one that has stayed in my stash through numerous rounds of decluttering. Every time I thumb through it I see a project that I want to stitch someday, so it goes back on the shelf! Soon I *will* stitch something from it!

A Stitch Each Week - Guilloche Stitch

I was inspired to try this stitch after seeing it in the book Embroidery with Wool: 40 Decorative Designs for the Contemporary Home
by Mary Norden. This book has lots of different projects, all stitched in crewel wool on a variety of ground materials. In the book this stitch was used along the bottom edges of a table runner, and also as parallel curves on a throw pillow.

The Guilloche Stitch is interesting because it may be worked on either a straight or a curved line. The stitch itself can be either very precise or more uneven, as desired. It can be stitched in a single color or two or more colors.

The first step is to work a series of satin stitches. These satin stitches will be the anchors for the weaving stitch. If the satin stitches are closer together the circles will be smaller; if they are further apart the circles will be larger.

Step two is to bring your second thread (which can be the same or secondary color) up underneath the first set of satin stitches. Keeping your working thread on the front of the fabric, weave the thread underneath the satin stitches. Weave to the end of the row. This creates a beautiful scallop pattern and could actually be left this way for a variation stitch.

Step three is to weave the working thread back to the beginning. Take this opportunity to manipulate the thread so that you are happy with the shape of your circles. Move the thread back to the back of the fabric and secure the end.

Step four can be to accent the center of each circle. This can be completed with a french knot, a cross-stitch, or a bead. The example below shows a bead.

To work the Guilloche Stitch on a wave or circle, first trace the pattern onto the fabric. This may be done with dressmakers chalk, a marking pen, or for the cheaters (like me) you can simple trace the desired shape on the *back* of the fabric with a permanent thin pen. I then stitch on the front as normal but life the fabric to the light before I make each stitch to make sure it is following the pattern. If I were being truly picky I would use a ruler to mark points to make sure that my satin stitches are evenly stitched before working them.

Some other ideas for this stitch would be using silk ribbon on the edge of a pillowcase, pearl cotton on the hem or neckline of a shirt, or along the collar of a dress jacket in a matching wool.

A Stitch Each Week - Nobuko

Nobuko

This fun little stitch gives a beautiful smooth woven look to the canvas.



To easily shade the design, the darker areas were worked first. Where the darker stripes jut down into the lighter areas the stitch was worked down into the area. Next the medium areas were worked in horizontal rows while skipping across the back of the darker areas. Occasional stitches were skipped to allow for lighter shading. Lastly the light thread was used to fill in the purposely missed stitches to give that extra shading.



Sample stitched in one strand of Appleton's Wool on 18 count canvas. Design from Amanda Lawford's Royal Santa with stitch guide by GeorgaDee MacLeod. Stitch diagram by Summer Truswell.

A Stitch Each Week - Beaty Variation

Years ago (really, YEARS) I published a weekly column called "A Stitch Each Week". The name has always stuck with me... I still love neat stitches so I'll start it up again.


A new stitch diagram, a stitched sample, and some color ideas. I'll try to do one a week. :-)


Beaty Variation -


This quick stitch is stitched with a row of five diagonal Gobelin stitch over five threads, followed by a column of five tent stitches.







In this sample the "fold" in the cloth is purposely compensated along the line to break up the pattern, as well as being stitched in the extreme shades of purple. When shading, focus on blending the colors in a single pattern rather than compensating the stitches along the color variations.






Sample stitched in one strand of Appleton's Wool on 18 count canvas. Design from Amanda Lawford's Royal Santa with stitch guide by GeorgaDee MacLeod. Stitch diagram by Summer Truswell.