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Learn 200 Art Embroidery Stitches!Item Description

This ebay listing is for the sale of one CD ROM Titled: Embroidery Lessons.

This CD ROM contain 2 publications:

1. Instructions for 200 art embroidery stitches2. Jacobean Embroidery

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This CD ROM also include a 1912 reference to Jacobean Embroidery writtenby AF Morris Hands

Below are some sample images from this historical reference:

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More details about this CD Publication:200 pages in PDF file formatFilling stitches play an important part in embroidery. After forming the outline usingchain stitch, back stitch or double running stitch, the in-filling stitches give live anddepth to a design. It can be pretty challenging to come up with a variety of fillingstitches indeed! This is where this little instruction manual on CD ROM comes inhandy!Discover 200 delightful embroidery stitches created M. E. Wilkinson circa1912. There are branching stitch, small straight stitches forming foliage used in therepresentation of branching in natural needlework. There is cricket stitch, a fillingstitch formed by straight stitches worked like cricket stumps, with five horizontalstitches capped with one vertical stitch. And there is dumb-bell stitch, with lines ofvertical straight stitches flanked by individual links of chain stitch or daisy stitch.

What great creativity Wilkinson had when dreaming up some of these stitches!PrefaceIn this collection of embroidery stitches, I have endeavored to place before thoseartists who are interested in needlecraft an exposition of the most useful and artisticstitches that have formed a part of my own work during several years study andpractice of art embroidery. Some of these will be familiar to needle-artists. Otherswill serve to exemplify how, in process of working, fresh stitches may be evolvedfrom old ones, or how, when originality gains ground entirely new stitches becomeapparent and workable.A point somewhat overlooked in art embroidery is the fact that each separate stitchis a design in itself. If this principle be fully recognized, the necessity for careful ad

systematic study of the forms and functions of Embroidery Stitches will immediatelybecome obvious to the student and worker.Every endeavour has been made to ensure simplicity and point in the directions, andwhere possible, suggestions have been given for the application of stitches to usefulpurposes.

About the circa 1912 Jacobean Embroidery reference by Morris Hands.41 pages in PDF file format.ContentsTudor Work.Early 17th Century.

Details of Blue Crewel Work (the late Lady Maria Ponsonby's).The uses of Stem Stitch and other characteristics.Bed Hangings at Hardwicke Hall.Groups of Fillings in which darning plays important part.Bed Hanging from Powis Castle.Characteristic Foliations and Late 17th Century Fillings.Solid Crewel Work 18th Century including the Terra Firmaand different birds andbeasts.

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27 Illustrations:Strip of Tudor Work.

Group of leaves on cushions at Knole Park.Group of light details in early examples.Details from old example, carried out in dark blues, belonged to the late Lady Maria

Ponsonby.Detail of Foxglove design.Colour plateDetail from old Bed Hangings, dated 1696.Detail from old Bed Hangings, dated 1696.Large heavy leaf in work dated 1696.Leaf showing seven different stitches.Bed Hanging at Hardwicke.Set of details (in colour) of Hardwicke design.Set of details of Hardwicke design.Group of Fillings.Design of Bed Hangings at Powis Castle.Characteristic leaf of best period.Late 17th Century Fillings.Fillings from Georgian copy of old example.

INTRODUCTIONTO redeem the monotony of plain surfaces has ever been the aim of all the arts, butespecially that of the needle, which being the oldest expression of decorativeintention, has, from the earliest time, been very dependent on its groundwork for itsultimate results. This is particularly the case in embroideries of the type of what iscommonly known as Jacobean, where the ground fabric is extensively visible, as it is

also in that wondrous achievement, the Bayeux tapestry worked in coarse woolsupon homespun linen and therefore quite miscalled "tapestry."

Inaccuracy in nomenclature is one of the stumbling blocks the student encounters,and the tendency of the day to classify "styles" by the restricted formula ofmonarchical periods is likewise misleading. No style is ever solely distinctive of onereign, or even one century, the law of evolution rules the arts as it does nature, thereis always a correlation between styles in art and circumstances of existence that isproductive of gradual changes of taste, therefore, pronounced evidences in designare, actually, the culminating point in a course of combined influences which havereached the period of individual expression.

Crewel work of the type of Jacobean, was the outcome of that earlier woolembroidery that even in the zenith of fame of the Ecclesiastical broderers still quietlywent on its way.

In the middle ages, furnishing of rooms was scanty, and embroidered hangings,cushion and stool covers provided the necessary notes of colour and comfort; thewall hangings of the 13th century were of coarse canvas decorated with a designexecuted in wools.

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It is curious how in English embroideries there has always been a predilection on thepart of the designers for interlacing stems, and for the inconsequent introduction ofbirds and beasts.