Читать книгу Embroidery and Tapestry Weaving - Grace Christie - Страница 8

The Difficulties of Pattern Making—A Stock-in-Trade—Some Principles upon which Patterns are Built Up—Spacing-Out—Nature and Convention—Shading—Figure Work—Limitations—Colour.

A beginner sometimes experiences difficulty in preparing her own patterns. A designer needs a wide knowledge of many subjects, which necessitates much time being given to study; also drawing ability is necessary to enable the worker to set down her ideas upon paper. For much simple and pretty work, however, a slight acquaintance with drawing and design is sufficient, and any one who can master the requisite stitches can also acquire some knowledge of these two subjects.

The word design frightens some who do not know quite what it means or entails. Perhaps they do not realise that the design has already been begun when the object to be worked has been settled, and the material, thread, and stitches have been decided upon—the rest comes in much the same way, partly by a system of choice; as it is necessary to know what materials there are which can be used, so must the chief varieties of pattern be known from which choice can be made. All patterns are built up on some fundamental plan, of which the number is comparatively small. The ability to choose, plan, and arrange is in a greater or less degree inherent in every one, so there should be, after all, no great difficulty in the design. The necessary underlying qualities are—a nice taste, freedom from affectation, an eye for colour and form, and, it might be added, a fair share of common sense.

A pattern maker requires some stock-in-trade, and it is wise to collect together a store of some well-classified design material of ascertained value, ready to be drawn upon when required. A good knowledge of plants and flowers is very necessary. This is best acquired by making careful drawings from nature. In choosing flowers for embroidery purposes, the best-known ones, such as the daisy, rose, or carnation, give more pleasure to the observer than rare unrecognisable varieties. Figures, birds, beasts, and such things as inscriptions, monograms, shields of arms and emblems, all demand study and drawing, both from miscellaneous examples and from embroideries.

The treatment of all these should be studied in old work, in order that the curious conventions and all kinds of amusing and interesting ideas that have gradually grown up in the past may still be made use of and added to, instead of being cast aside in a wild endeavour after something original. The student who collects a supply of the foregoing materials will find she has considerably widened her knowledge during the process, and is better prepared to make designs.

In making a pattern the first thing to be decided upon is some main idea, the detail that is to carry it out must then be considered. This latter may be of various types, such as flowers, foliage, figures, animals, geometrical forms, interlacing strapwork, quatrefoils, &c., &c.; perhaps several of these motifs may be combined together in the same design.

Fig. 10.

One of the simplest plans upon which a pattern can be arranged is that of some form recurring at regular intervals over the surface. The principle involved is repetition; an example of it is shown at fig. 10. The form that is used here is a sprig of flower, but the repeating element admits of infinite variation, it may be anything from a dot to an angel.

Fig. 11.

Copes and chasubles, bedspreads and curtains, are often to be seen decorated with some repeating form. Fig. 11 shows in outline a conventional sprig that is repeated in this fashion over the surface of a famous cope in Ely Cathedral. Fig. 12 is an example of a sprig of flower taken from a XVIIth century embroidered curtain; similar bunches, but composed of different flowers, recur at intervals over this hanging.

It may interest the practical worker to know what are the different stitches used upon this figure. The petals of the top flower are in chain stitch in gradated colouring, the centre is an open crossing of chain surrounded by stamens in stem stitch in varied colour, the outermost leaves are outlined in stem stitch with an open filling of little crossed stitches. The petals of the lower flower are worked similarly, and the centre is carried out in chain stitch and French knots. The leaves are filled in with ingenious variations of these stitches.

Fig. 12.

The repeating element is perhaps a symbolical figure, a heraldic shield, or it may be some geometrical form that supplies the motive. Fig. 13 is a conventional sprig of hawthorn that ornaments in this way an altar frontal at Zanthen. It is by no means necessary that the element which repeats should be always identical; so long as it is similar in size, form, and general character it will probably be the more interesting if variety is introduced.

Fig. 13.

The principle of repetition is again found in fig. 14, but with an additional feature; a sprig of flower is used, with the further introduction of diagonal lines, expressed by leaf sprays, which are arranged so as to surround each flower and divide it from the adjoining ones.

Fig. 14.

It is advisable to space out the required surface in some way before commencing to draw out a pattern; for carrying out fig. 14 it would be well to pencil out the surface as in fig. 15; a connection between these two will be perceived at a glance. This spacing-out of the required surface in one way or another is of great assistance, and may even prove suggestive in the planning of the design. It helps the regularity of the work, and order is essential in design as in most other things in life.

Fig. 15.

Another very usual expedient is that of introducing a main central form, with others branching out on either side and symmetrically balancing each other. An example of this is given in fig. 16. The symmetry may be much more free than this; a tree is symmetrical taken as a whole, but the two sides do not exactly repeat each other.

Fig. 16.

A plan very commonly employed is that of radiating main lines all diverging from one central point. Fig. 17 shows a design following this principle; there is infinite variety in the ways in which this may be carried out.

Fig. 17.

Another method would be to plan a continuous flowing line with forms branching out on one side or on both. Figs. 18 and 19 are border designs, for which purpose this arrangement is often used, though it can also well form an all-over pattern; sometimes these lines used over a surface are made to cross each other, tartan wise, by running in two directions, producing an apparently complicated design by very simple means.

Figs. 18 and 19.

Fig. 20.

Designs may be planned on the counterchange principle. This is a system of mass designing that involves the problem of making a pattern out of one shape, continually repeated, and fitting into itself in such a way as to leave no interstices. The simplest example of this is to be found in the chess board, and it will easily be seen that a great number of shapes might be used instead of the square. Fig. 20 is an example of a counterchange design carried out in inlay; for this method of work counterchange is very suitable. On reference to the chapter upon this work another example will be found (page 181). Fig. 21 illustrates the same principle, further complicated by the repetition of the form in three directions instead of in two only.

Fig. 21.

A method of further enriching a straightforward pattern, covering a plain surface, is to work a subsidiary pattern upon the background. This is usually of a monotonous and formal character in order not to clash with the primary decoration, though this relationship may sometimes be found reversed. It has the appearance of being some decoration belonging to the ground rather than to the primary pattern; in its simplest form it appears as a mere repeating dot or a lattice (see fig. 22), but it may be so elaborated as to cover with an intricate design every portion of the exposed ground not decorated with the main pattern.

Many other distinct kinds of work might be mentioned, such as needlework pictures, the story-telling embroideries that can be made so particularly attractive. Embroidered landscapes, formal gardens, mysterious woods, views of towns and palaces, are, if rightly treated, very fine. In order to learn the way to work such subjects we must go to the XVIth and XVIIth century petit point pictures, and to the detail in fine tapestries. The wrong method of going to work is to imitate the effect sought after by the painter.

Fig. 22.

It is a mistake in embroidery design to be too naturalistic. In painting it may be the especial aim to exactly imitate nature, but here are wanted embroidery flowers, animals and figures, possessing the character and likeness of the things represented, but in no way trying to make us believe that they are real. The semblance of a bumble bee crawling upon the tea cloth gives a hardly pleasant sensation and much savours of the practical joke, which is seldom in good taste; the needle, however, adds convention to almost anything, and will usually manage the bee all right unless the worker goes out of the way to add a shadow and a high light. Such things as perspective, light and shade or modelling of form, should all be very much simplified if not avoided, for embroidery conforms to the requirements of decoration and must not falsify the surface that it ornaments. Shading is made use of in order to give more variety to, and exhibit the beauty of, colour by means of gradation, to explain more clearly the design, and so on; it is not employed for the purpose of fixing the lighting of the composition from one point by means of systematically adjusted light and shade, or of making a form stand out so realistically as to almost project from the background.

In avoiding too much resemblance to natural forms it is not necessary to make things ugly; a conventional flower implies no unmeaning straightness or impossible curve, it may keep all its interesting characteristics, but it has to obey other requirements specially necessary in the particular design. Another point to be noted is that, since there is freedom of choice of flowers and other objects, only those perfect and well-formed should be chosen; all accidents of growth and disease may, happily, be omitted; if anything of this kind is put in it helps to give the naturalistic look which is to be avoided. Both sides of a leaf should match, though it may happen in nature, through misfortune, that one is deformed and small.

In figure work, which, though ambitious, is one of the most interesting kinds of embroidery, the figures, like all other things, must be treated with a certain amount of simplicity; very little attempt must be made to obtain flesh tones, roundness of form, perspective, or foreshortening. The work should be just sufficiently near to nature to be a good embroidery rendering of it. However, without overstepping the limits there is a great deal that may be expressed, such things as character, gesture, grace, colour, and so on, matters which are after all of first importance. Detail, if of the right kind, may be filled in, but it is wrong to attempt what is to the craft very laborious to obtain, for this would be misdirected energy, which is great waste. A right use of the figure can be seen in the XIIIth century embroidery pictures, which, covering mediæval church vestments, often display episodes from the lives of the saints. These are some of the masterpieces of the art of embroidery; observation of nature is carried to a marvellous pitch, but the execution never sinks into commonplace realism.

Certain restrictions are always present, in making a design, that must be conformed to, such as, the limit of space, the materials with which the work is to be carried out, the use to which it will be put, and so on. These, instead of being difficulties, can afford help in the way of suggestion and limitation. A bad design may look as if it obeyed them unwillingly—a form is perhaps cramped, perhaps stretched out in order to fit its place, instead of looking as if it naturally fitted it whether the confining lines were there or not. In the early herbals, illustrated with woodcuts, examples can be found over and over again of a flower filling a required space simply and well; fig. 23 is taken from the herbal of Carolus Clusius, printed at Antwerp in 1601 by the great house of Plantin. The draughtsman in this case had to draw a plant to fit a standard-sized engraver's block, and he had a certain number of facts to tell about it; he drew the plant as simply and straightforwardly as possible, making good use of all the available space, the result being a well-planned and balanced piece of work, with no affectation or unnecessary lines about it.

Fig. 23.

Fine colour is a quality appreciated at first sight, though often unconsciously. It is a difficult subject to speak of very definitely; an eye for colour is natural to some, but in any case the faculty can be cultivated and developed. By way of studying the subject, we can go to nature and learn as much as we are capable of appreciating; even such things as butterflies, shells, and birds' eggs are suggestive. Again, embroideries, illuminated manuscripts, pictures, painted decoration, may be studied, and so on; in fact, colour is so universal that it is not possible to get away from it. Unfortunately we are sometimes forced to learn what to avoid as well as what to emulate.

Colour is entirely relative, that is to say it depends upon its immediate surroundings for what it appears to be. Also it has effects varying with the material which it dyes; wool is of an absorbent nature, whereas silk has powers of reflection. It is a safe plan to use true colours, real blue, red or green, not slate, terra cotta, and olive. Gold, silver, white and black, are valuable additions to the colour palette; it should be remembered about the former that precious things must be used with economy or they become cheap and perhaps vulgar.

Fig. 24.

For getting satisfactory colour there is a useful method which can at times be made use of; this is to stitch it down in alternate lines of two different tints, which, seen together at a little distance, give the desired effect. Backgrounds can be covered over with some small geometrical pattern carried out in this way, such as is shown in fig. 24, perhaps using in alternation bright blue and black instead of a single medium tint of blue all over. At a slight distance the tone may be the same in either case, but this method gives a pleasantly varied and refined effect, which avoids muddiness, and shows up the pattern better. This same method is used for expressing form more clearly as well as for colour; waves of hair, for instance, are much more clearly expressed when worked in this way.