Singer instructions for art embroidery

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SINGER Instructions FOR

Art Embroidery

PUBLISHED BY

SINGER SEWING A\ACH1NE COMPANY

Copyright,

191

i,

bv Singer

Sewing Machine Co.

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General Instructions In

using

tlie

Singer Sewing Machine

for

making and embroidery, there are some very important rules that must be followed lace

K,by

all

who

desire to learn

how

to

do

this

most fascinating work. The most important thing is to be able, easily and naturally, to exercise an independent movement of the feet and the hands. The feet must be trained to start, stop and operate the machine very slowly by means of the treadle without any help from the This leaves both hands free for hands. manipulating the embroidery hoops holding the work. The first impulse of a beginner is to move the feet in unison with the hands

No. 27-4, No. 15259 for Machine No. 15-30, and No. 208733 for Machine No. 9W. These cover plates can be obtained by mail or otherwise from any Singer shop.

Do the

not remove the throat plate, nor disturb

feed dog because

should

position

as

whenever the machine

is

essential

that

originally

used

for

its

fi.xed

family

sewing. Place a small iron washer or a spool weight on the spool, to retard the movement of the upper thread. A spool weight ( No. 9537 can )

be obtained at any Singer shop.

Preparation of hoops and placing material therein

as a consequence, short stitches are formed,

and often several stitches in the same place. The fundamental rule is: "Move the feet This is the slozcly and the hands rapidly." hardest thing to acquire, and you will need

is

it

remain

two hoops constituting the embroidery frame and wind them with narrow strips of white muslin, covering them diagonally with one or more layers of the cloth,

Take

the

With

according to the thickness of the material on

however, it will become easy and natural, and you will be able absolutely to control, by means of the treadle alone, every

which the embroidery is to be done, as this must be held stretched firmly between the

to

remember

it

constantly at

first.

practice,

movement

hoops.

of the needle.

In connection with this treadle

movement,

the secret of successful machine embroider}" to know how to control with accuracy the movement of the embroidery hoops between is

gauging the distance to the next where the needle should penetrate to produce the stitch desired. stitches,

point

To prepare

Figure

the machine

To

To

prepare the machine, remove the presserThen and raise the presser-foot bar. push the screw regulating the stitch as high foot

as

it

will

go so as to stop the feed.

i

put the material in the hoops, stretch

it

smoothly over the larger hoop, then press the smaller hoop firmly If

down

the material be not

into the larger one.

firmly

and smoothly

stretched over the frame, tighten

See that the tensions are adjusted so that a perfect stitch will be made upon such materials and with the same silk that you intend to

on the

use for the embroidery work.

the goods, doing the

While not essential, it is suggested that the feed and the throat plate be covered with a plate made for the purpose, using No. 3258g for Machine No. 66-1. No. 8335 for Machine

fully.

in Fig.

liable

I,

it

as

shown

being very careful not to stretch

bias,

but to pull

it

work slowly and

care-

If the material be so delicate that to

standing

it

with the thread of

it

is

be injured by the hoops, notwiththe

muslin

padding,

paper or cotton between them.

place

tissue

Sometimes the material upon which the embroiden- is to be done is smaller than the hoops, or the design is so large that it comes In such cases sew the close to the cloth.

therefore, that the

material firmly to a piece of strong cloth large

holding the hoop.

enough the it

In order to keep

to cover the frame.

work

fresh and avoid disfiguring pinholes,

is

movement

of the right hand

what determines the direction and length of

the stitch.

Do

not change the position of the hands in

forward,

right,

Guide the hoop backward, left,

or

in

without

circles,

removing the hands from the hoop

at

any time.

advisable to sew to the outer rim of the

is

enough to whatever material may project beyond the frame while it is on the machine, and to wrap the entire design in while it is put away. larger hoop a piece of cloth large

permit of rolling

in

it

work

Placing

in

machine

shows how, by raising the needle to the highest possible point, you can ])lace the embroidery frame in position without removFig. 2

Figure 3

Practice slowly and carefully, and when you have learned to govern the movement of the frame, you will find that there is no exercise

more valuable stitches

making drawn on

to a learner than that of

between two

parallel

lines

the cloth about a quarter of an

inch apart.

Persist in this until you can drive the needle

through the center of each this is

the jiarallel lines until Figure

;

although

Alachine the latter that

it

usually

is

Singer Sewing

in the

such a simple operation

is

remove

best to

it,

thus

avoiding the danger of breaking the point or injuring the

work by

of the material.

an extra

It is

tliat

the

changing the

tiny ribbon aj^pliqueed

on the

ready to practice the

first

tensions

to handle the

Take

a piece of

and

oiling

the

hoops

The embroidery hoops should be held in hand and moved in the direction

required, while the left

(See Fig. 3.) the

work

hand

hand in

is

used to press

front of the needle.

hand does and the right

Practically, the left

of a presser foot

acts as a feed.

you will be openwork

unstamped material

the right

down

cloth,

lesson in

Preliminary Practice

advisable to have ready

work.

the goods gently

to

you

embroidery.

machine, to avoid any chance of staining the

How

it

in making the stitches so uniwork has the appearance of a

piece of cloth to be used to try the machine after

When

scratching the surface

hoops containing an ordinary

set of

form

When

you have reduced

about one sixteenth of an inch.

2

have succeeded ing the needle

line at will.

accomplished, decrease the space between

You

will understand.

Figure 4

to prac-

Outline Stitch.

Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.

tice on.

Be sure

it

the hoops, so that

is it

drawn

perfectly tight in

will not

drag but move

and practice until you acquire perfect control of both hands and feet. Rest the arm, freely,

hot, as

entire

arm

to

move with

of the hoop

allowing the

the hand.

easily.

After

frame so

work unworked part of the design in the

this is done, replace the

as to bring the

within the rings. are general rules covering

The foregoing

near the elbow, on the table of the machine.

You can control the movement much easier in this way than by

some materials scorch very

we

all

shall

kinds of embroidery and hereafter take up, step by step, the details with which the beginners must become familiar before

endeavoring to do the more complicated work.

Beginning the Embroidery

When Fig.

4,

stitching

the

work

outline

is

the

in position as

design

twice

Before entering into a description of the

shown

in

with plain

Take hand, make one

and then begin the embroidery.

the upper thread in the left

various

lace

which

illustrations

of the

work

fection that

stitches,

at its

may

we show you

here

demonstrate the simplicity beginning and the high per-

ultimately be reached.

J

Figure

drawing up the under thread, and hold stitches both ends firmly until two or three on done be should This have been taken. stitch,

some spot

in the cloth that is

to be entirely

covered by the embroidery. When you have completed as much of the frame design as can be contained within the side one time, iron it carefully on the wrong covering first iron, with a moderately warm cloth, to remove the embroidery with a damp

at

the

marks made by the

rings.

The

greatest

iron too care should be taken not to have the

5

Fig.

5

shows the hoop embroidery frame

covered with a piece of to practice the

thing else

it

common muslin, on. More than

first stitches

used any-

resembles a child's slate covered

with the irregular marks made during the first lesson in writing: because in machine embroidery, as in writing, the lines tion

It

is

vacilla-

judging dis-

is uncertainty only by persistent practice that

and there

tance.

show

in

one acquires firmness combined with freedom of movement. The cloth in this frame shows the

first efforts

of the apprentice

:

unmeasured

stitches

made while learning to control with movement of the frame limiting

precision the

;

the length of stitch to the distance between

two

parallel lines imtil certainty of action

gained the

;

covering a cord, which

is

is

practically

same exercise on a narrower measure

:

all

repeated until considerable rapidity has been attained,

when

the learner begins to practice

covering a square opening cut

in

the cloth.

m.oving the frame rhythmically in the desired direction and in time with the the machine,

from one

movement

of

side of the square to

the other, so as to catch the edge of the cloth.

shown

In this illustration are ciples

upon which

the general prin-

machine embroidery

all

is

based.

These same without

stitches

made

in

either

certainty

or

when grouped

together

with

the beginning

fixed

the

direction,

precision

gained by practice (after one has learned to control the

and

movement

of the embroidery frame

to follow the design

as are

shown

illustrate

in

)

.

produce results such

the next

two pages, which

twelve unfinished pieces of embroid-

ery as they appear in the embroidery frame.

Figure 6

Figure

7

Shaded Embroidery

(Flowers). Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.

Shaded Embroidery

FLOWERS Under

this lieading

we

offer the following

intelligence

directions to those who, having a taste in that direction and

some

practice in

and natural

We

part of the worker.

how

making machine

the

work

is

give such advice as

and good-will, desire to use this mechanical method of doing shaded embroidery without

in

exceeding the limits of their

own

ability

knowledge of drawing and painting, as obvious that

in

order to

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of the

making an appropri-

cloth,

ate

formed by draw-

only one

towels,

if

this style

is

to be ap-

plied to table-cloths,

hand-

kerchiefs and similar arti-

which the openbands cross each

in

cles,

work

other at

threads

right will

angles,

have

the

be

to

drawn out lengthwise of the

material

as

well

as

crosswise. This also applies in which openwork band is formed of various squares, as shown in the illustra-

to those designs

the

tions in this lesson. In both

when two threads drawn out of the ma-

instances

are

terial,

one running length-

wise and the other crosswise, a small square open-

ing

is

perceptible,

equivalent the Figure

cloth

the open

3

77

to

which

cutting

is

out

and working in But the

space.

method now under consideration and its application is so different from that described the article "First

in it

worthy of a

is

Openwork

Stitches." that

special description.

Examine the work reproduced in Figure 3, which shows a corner of one of a much admired traycloth. and you will at once understand that we are now considering an entirely different kind of work, although there is a strong resemblance between the two and the method of working is almost the same. Your own good sense will prove to you that it would be

useless

having

undertake

to

mastered

first

Openwork

"First

this

the

work without

details

given

in

Stitches."

The work illustrated in Fig. 4 has been so arranged that each stage of the embroidery is This

illustrated in a series of three squares.

you to appreciate the consecutive that have been superimposed thereon

will enable

details

order to bring the work to completion;

in

therefore,

you

if

will

compare one

of

line

these squares with the following one, you will easily

distinguish the proper order in which

the various stitches follow each other.

Let US begin with the squares marked A,

which show the material after the threads have been withdrawn in only one direction, leaving

two

parallel lines of perfect cloth be-

tween the two drawn-work bands, which are of

The cross-threads that have not drawn should be cut along the edge

equal width. yet been

marked B and

at the

corresponding edge on the

other side, leaving at the outer edges two more

bands of perfect material equally distant from each other, so as to form a perfect square. Remove the threads just cut. leaving open squares as shown

in section C.

being ready for work, begin at

The

D

cloth

now

and draw

a

corded thread diagonally across the square to the opposite corner, wdiere the crossbands of cloth have the

formed a tiny

solid square.

thread here with several stitches,

Fasten taken

diagonally from corner to corner. Repeat this

operation in

all

the open squares found within

working diagonand in the same direction. Return over the same ground already covered and repeat this

the embroidery frame, always ally

operation in the

Figure 4 78

two opposite corners of

tiie

them the appearance shown in E. The small linen squares formed b}- the cross-bands should also

squares, giving

be covered with a cross-stitch.

Square F.

— Begin

from

going

stitches,

retaining

the

and

i

point

this

stitches

in

where

center,

to the

straight line

a

at the edge

threads with one or two

the

fasten

should be

re-

peated; then pass on to 2, there form a small knot, taking up half the threads contained in the intersecting bands. Do the same with the balance of the threads, and carry the embroidery thread to the center of the fastening the after square next ;

threads there pass on to

always

3,

re-

the

of

together

tying

the

peating

threads that compose the intersecting bands separating the open squares, as

was done

in 2

:

go on to the center of

the next square until you have reached 4,

and do not forget properly

to place

the retaining stitches at each point in-

At 4

dicated.

of the

start at the

beginning

inside line so as to

first

come

back over the ground just covered, passing over the centers and making the little knots in each half of the

composing

threads

intersecting

the

bands, until the four threads shown in F between the original diagonally placed threads are completed. In order to finish this part of the work, as

shown

in G,

simply repeat the process,

the other sides of the square

filling in

as already explained.

work

In order to complete this

shown

in the

two remaining

as

series of

squares consisting of three squares each, beginning with F, simply

open

follow the instructions for Fig. 5 in the

lesson

Stitches,"

on

as

The embroidery

Openwork

"First is

it

in

the

same

square

H

weaving

stitch described in a

lesson.

Here

five

of

the

design. is

the

former

radiating

gathered in at one time and, center, include the diagonal

lines are in

the

threads

first

placed within the square,

which are covered with the weaving Figure

5

79

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to all

work.

I

A -•*.»*'

Figure 9 82

here

in

applied,

IVim'U/Mri'i

i

insert

showing the

Ifili/I

mwm

Figure lo

Figure

ii

Teneriffe Wheels This lace

household

most appropriate for trimming

is

(such as a centerpiece, a bureau scarf, napery, etc.) but its use has become linen,

so general that

or batiste

many

blouses

ladies use

and even

to trim silk

it

entire

summer

and the Teneriffe wheels are fastened to this, making a border. The wheels are made separately, one at a time, and are afterwards fastened to the scarf with a very fine cord, as

Figure dresses. it

can be

It is

both elegant and economical, as

made with very

little

effort

expense, the time consumed work by machine being much when done bv hand. trifling

the

Figure

You ican

is

in less

at a

doing than

i

The stitches and form of these wheels give name to the lace. Made separately they

the

are afterwards joined in groups, forming rosettes, or in strips, to

an edging.

be used as insertion or

.Sometimes large circles are

made

Figure 3

2

will note in the table

Fig. 4, the greater part

and

in

the case of any other lace.

scarf

shown

taken up with

in

Mex-

drawn-work, which has already been deThe drawn-work forms the foundation

scribed.

84

of the

individual

wheels,

producing a very

effective dress trimming.

Take any ordinary cloth that is (it will not show as it will

dressing

free all

from be cut

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away) and trace a circle on it, using, if possible, a compass in order to insure greater accuracy. Cover the outline of this circle with two or three rows of stitching, then cut

Now

out the cloth.

one of the circle,

drive the needle through

edge of the

lines of stitching at the

and after fastening the thread with sev-

eral stitches,

draw the thread

the circle, fastening

it

straight across

with several stitches at

a point diametrically opposite to point.

Make one

its

starting

towards the

stitch back, or

bunches of four; then pass on to the second third of the division (see Fig. 2)

taking two from each two preceding groups instead of the

as

Now make

the cir-

two threads, one from each of every two preceding groups.

(See Fig.

3.)

The wheels should now be from the latter,

this,

four.

of thread at the point indicating the last third of the original division, taking up only

made

thread and crossing

same

cle

outer circumference of the circle, then bring

first

continu-

ing to take up just four threads each time, but

the thread back across the circular opening,

beside the

still

Do

entirely separated

by ravelling out the so as not to break any of the stitches in the beginning between the cross cloth.

threads, as these

this

form an edge of

tiny loops,

though you were about to make a spider-web. (See Fig. i.) Continue to fill the open circle with threads placed about a thirty-second of an inch apart until the entire circumference

by which the wheels may be fastened together. When this is done place the wheels on the

has been covered, making each thread across the others in the center, and fastening it with

around twice, as you do

two at the edge. The work now to be done makes it necessary that there should be an even number of these threads. In the middle, where the threads cross, make a small closed circle, iising the weaving stitch used for making the solid center in a spider-

put a fine cord around each wheel, covering

a stitch or

web.

Divide the

space

between

this

solid

center and the edge of the circle into three parts,

center,

and beginning

make a

taking up

at the third nearest the

circle

of thread

the cross threads of

formed by the

web

in

material ful

sign

to

:

in

any position you please, being care-

have each wheel smooth cut the cloth

;

then stitch

in outlining the de-

away from

the back and

it, as you have been already instructed. A most elaborate and beautiful border can be

made

of

Tenerilife

wheels,

placed

close

to-

gether and corded, the outside edge can be

away the same as a scallop. By varying the number of threads taken up when making the stitched circles around the cut

wheel and the arrangement of the groups of thread, a variety of patterns out.

may

be worked

Velvet Applique.

Photographic reproduction of actual work done on a Singer Family Sewing Machine without special attachments.

Velvet Applique Having finished the description of the larger number of laces that were thought to be of interest, we will now take up a new series of There are very many of these, known, the

embroidery. but

we

face down, then cloth or satin on top of it, face down, then the crinoline with the stamped design uppermost, on top of all. See that the materials are perfectly smooth and even, and then tack them to the table by driving a pin

shall explain only the best

Figure

through them

most practicable and best adapted to general use. Tkis one is the work known as applique, and we shall describe the easiest way to execute

it

first

materials tight.

marks

crinoline.

will

be

left

on the velvet.

For basting

use a curved needle, Xo. 6 Milliners and No.

stamp the design on Then lav the velvet on a table. is

the various

Baste the materials together,

keeping on the lines of the design so that no

with the invaluable aid of the

operation

each corner and along the

at

sides at equal distances to keep

Singer Sewing Machine.

The

i

to

40 thread. 87

(To curve

needle, heat and bend

Figure

2

with two pairs of pliers while hot.)

now ready

is

the

for

The work

enough

machine, as no em-

to

keep

of muslin

broidery hoops are needed for this work.

it so. It is well to sew a strip around the edge of the work,

all

and put the tacks in the work up until it

Trace the design with two rows of stitching, using No. o needle and No. oo silk, of a color to match the velvet. After the design has

This applicjue

on

satin, satin

is

may

on

tiste,

If these materials are used,

was stamped and traced The tracing must be done stitching, the second row close to

very

the

first

fine

one, but not on

it

;

this

velvet that forms the design cut away.

move

When

is

when

the tracing

is

existing case.

begin to cut the velvet

away from

the

when

When

This work

hangings,

dresses,

is

is

in this

used, the

must be done is

placed

as in

frequently used for

cloaks,

As you

w'ill

sash

spreads,

this

new

selected the

most

notice in taking

series of embroidery,

we have

up

simple and best adapted for the first lesson. This offers the fewest difficulties, although we exist with the

say that practically no

new method

at

difficulties

all

of embroidery once

you have thoroughly mastered the use of the machine itself. As already explained in the other lessons, as soon as you have succeeded

finished, cut the crino-

learning

may

the back, as close to the stitch-

how

in

to cover the cord perfectly you

well say that you have conquered

all

the

Those who have attentively followed the instructions and have, therefore, suc-

ing as possible, but be careful not to cut a

difficulties.

stitch.

Do

absent

is

silk.

may

away from

used

and other household decorations. Fig. 2 shows a handsome cover made of applique of velvet on satin and embroidered in

where you have cut it, covering the cord smoothly and closely with silk of the same shade as the material under the velvet. Use No. o needle and No. oo silk. line

is

the rings.

cotton and cord on the edge of the velvet,

is

velvet

the embroidery frame

curtains

Use manicure scissors with long, sharp points. Be very careful not to cut the material under the velvet and only to cut the velvet away from the spaces. The velvet forms the design. If you cut away any of the design, the work will be spoiled. Do not cut away too much at once. Put the work on the machine, use No. 6 Tetz

After the cording

net.

not necessary

each additional portion of the work

design just a hair's breadth outside the tracing.

•

it is

stitching outlining the design

is

finished re-

the bastings.

Now

nainsook or bolting-cloth applied to

employ the stiff linen, as the embroidery frame may be used, because the difficulty

to hold the

the rest

cloth, or of ba-

to

it

on the crinoline. in

on

also consist of satin

cloth, cloth

bring velvet on top, showing design traced in as plainly as

not take

perfectly dry.

been traced, turn the work over, which will silk,

Do

this muslin.

not use an iron for pressing, but take

ceeded in learning to control the movement of

three thicknesses of muslin, wet them in clean,

the embroidery frame, will appreciate the truth

cold water, and wring out partly, so that they

of these assertions.

Spread then smoothly on a pine table, lay the work on it, velvet side up, draw it tight and perfectly straight and tack it

instructions as to the preparation of the

will not drip.

and the order

in

should be taken up.

89

Everything else

is

simply

work

which the various kinds

Applique on Net.

Net Applique As

and

a sequel to the preceding lesson

order that you

may

Choose the material

in

ference of treatment between appliques of vel-

already

vet

own

ing to your

better learn the slight dif-

which

shown and of other appliques

it

to be put.

is

to be

employed accord-

and

to the object to

taste

When

it

is

to be used

for cording jabots, ladies' gowns, or even neck-

made of that material, we now describe to make net applique on a Singer Sewing Machine. The knowledge of this work will constitute a basis upon which to make combinations of various materials that may serve

wear, very handsome results

not

how

Stamp used

be

on the

'

the

for

net,

The two

may

be obtained.

the design on the material that applique,

then

place

is

to

this

which must have a round mesh.

materials must then be basted care-

^'•SssiJs:-?t-:'

•.»

N-

Figure

groundwork

as a

for applique.

The

i

fully together,

chief dif-

and placed

in

the embroidery

ference between net applique and that of velvet

frame, care being taken to see that both are

manner in which the materials must be prepared for work. When using net, use the hoop embroidery frame, and eliminate the stiff linen which is no longer necessary.

evenly and firmly spanned by the hoops.

consists in the

net

may

stitches,

this

The

itself

to

be embroidered

line

as usual, covering all that part

the frame, then proceed to cut close to the stitching

in beautiful lace

many combinations

that

embraced by

away

the cloth

and outlining the pattern,

leaving the net representing the applique un-

form of the applique lending are

Out-

the design twice with machine stitching

covered as

both

Now

eleeant and beautiful in effect. 91

is

shown

in

A, Fig.

i.

proceed to embroider the lace stitches

These

on the net selecting

same

nia}-

stitches

be varied at w best

adapted

ill

to

by the

employed and best harmonizing with

design

each

those

figure

Of

of that design.

figures

course,

the

must always contain the same

This

the leaves.

will be

you

will consult Fig.

the

work

is

i.

made

plain to

When

this

you

if

part of

finished cord the outline of the

design, using a five-strand cord for the purpose.

If

be not used, the cording and

silk

may

be done with a No. 00 and No. 150 thread. Fig. 2 shows a section of a panel. This elegant and artistic work is made of stitches

needle,

appliques of bolting-cloth on net.

handsome sprays of flowers design

the

are

of

light

that

The form

cream-colored

bolting-cloth adorned with a combination I

lace

artistic

if

which we

stitches

shall

describe later, and appliqueed on white

This produces an effect of charming

net.

elegance and admirable simplicity.

The process

is

the same.

The design

stamped upon bolting-cloth. This is laid smoothly on the net, held in place by a basting stitch and then spanned by the rings, the outline being again followed by the machine stitching. Cut the boltingis

cloth out of those parts of the design to

be

filled in

fill

in the

with the lace

stitches.

Now

open spaces and cut the bolting-

cloth close to the

machine stitching out-

lining the design, leaving the figures of

the

latter

from the

The I

uncovered and standing out

net.

outlines

'>egin this

by

should

first

now

be corded.

cording the stems and

branches, as these usually terminate in the leaves Figure

stitches,

that

is,

all

the

and

flowers.

This enables you

more easily. Here you have a work that

to cover the joining

2

petals

of

unites

beauty and elegance with simplicity, and the

given

must be embroidered in the same Whatever stitch is selected for the stems must be used in all the stems, and that chosen for the leaves must again appear in all

done with the extraor-

flowers

ease with wdiich this

stitches.

dinary Singer Sewing Machine method will

is

enable you to finish scarfs, bed-spreads, and

many

92

other objects quickly and satisfactorily.

Index Page

General Instructions

Shaded Embroidery

3 (

Flowers

9

)

Art Embroidery

11

Raised Embroidery

14

Scallops, Beadstitch.

Cording

18

Venetian Embroidery

20

Seed Stitch

23

English or Eyelet Embroidery

25

Shaded Embroidery on

\'elvet or

Plush

Gold Thread Embroidery First Filet,

Openwork

29

Stitciies

Netting or

27

31

Open Mesh Embroidery

34

Hedebo Embroidery

41

Richelieu Lace

43

Point X'enise

46

Renaissance Lace

49

English

c^2

Point

Duchess Lace

57

Brussels Lace

60

Novelty Lace

65

Point Lace

67

Cluny Lace

70

Hemstitching

72

Mexican Drawn-Work Mexican Drawn-Work

75 (

Second Part

)

yy

Teneriffe Wheels

84

Velvet Applique

87

Net Applique

91

AM

ta i«tt

i^ copy

del, to Cat.

13

19U

Div.

LIBRfiRY OF CONGRESS

001 750 184 7

•