Satin Stitch 평수
The satin stitch is a single stitch, sewn in any length or direction, vertically, horizontally, or diagonally, that is repeated as a means of filling space with color or pattern. Perhaps the earliest technique employed by embroiderers, the satin stitch was used in ancient times to embellish garments with symbolic patterns that identified the wearer while beautifying his or her clothing. It remains the most common and universal embroidery stitch.
(Source: Young Yang Chung, PaintingwithaNeedle,p.46)
(Source: Young Yang Chung, PaintingwithaNeedle,p.46)
Seed Stitch 씨앗수
The seed stitch, a variation of the knot stitch, is created by wrapping the thread tightly around the needle and holding it taut. Insert the needle back into the ground cloth right next to where you came up, hold the needle upright, push the wrapped threads down to the cloth with a finger, then pull the needle through while still holding the threads down so they will be secured properly. The seed stitches of the second row and all subsequent rows fit between the stitches of the previous row so that there are no gaps and no ground fabric shows. These raised, individual stitches can be arranged in a group or scattered across the fabric and are often used for flower seeds, especially on the stamens of flowers (extended seed stitch), and in areas that require texture.
(Source: Young Yang Chung, PaintingwithaNeedle,p.56)
(Source: Young Yang Chung, PaintingwithaNeedle,p.56)
Mat Stitch 자릿수
The mat stitch is a variation of the vertical satin stitch in which each row is connected with the others in an interlocking framework, which can be densely or sparsely applied. The embroiderer can first stitch guidelines in straight stitch directly on the cloth to help in measuring the length of each row of stitches, then stitch the interlocking vertical rows over the guidelines. The texture of the finished mat stitch is determined by the space between the stitches and the interlocking rows. A tightly applied mat stitch, with no space at all between the stitches, is called “packed” in embroiderer’s parlance, and creates a velvety effect. Both European and Asian embroiderers use this stitch to fill up large areas with color and pattern.
(Source: Young Yang Chung, PaintingwithaNeedle,p.63)
(Source: Young Yang Chung, PaintingwithaNeedle,p.63)
Couching Stitch 징금수
Couching refers to the securing of “floating” metallic threads onto the surface of fabric with thin silk threads, called couching threads. Silk or paper cord threads wrapped in gold foil are laid on the surface of the fabric to create a pattern, and then “couched” down or held in place with evenly spaced stitches of silk thread. Pairs of metallic threads are usually couched together, and where the design requires areas of densely packed metallic thread, several pairs are lined up together. The couch stitch was invented to prevent gold- and silver-wrapped threads from fraying – embroiderers found that when pierced through fabric, the metal leaf encasing the silk thread core had a tendency to separate and unravel. It is also more gentle on the delicate silk ground and creates texture. Practiced in China as early at 475 BC, this technique became extremely popular at the court of the Kangxi emperor
(17thcentury) where it symbolized the political and economic stability resulting from his consolidation of the vast Qing empire. Gold couching was also widespread in Europe about the same time, particularly for ecclesiastical and ceremonial robes. Imperial robes, medallions, and costume accessories worn at the Chinese court were almost in variably embellished with patterns composed of costly gold threads, particularly during the late Qing.
(Source: Young Yang Chung, PaintingwithaNeedle,p.66)
(17thcentury) where it symbolized the political and economic stability resulting from his consolidation of the vast Qing empire. Gold couching was also widespread in Europe about the same time, particularly for ecclesiastical and ceremonial robes. Imperial robes, medallions, and costume accessories worn at the Chinese court were almost in variably embellished with patterns composed of costly gold threads, particularly during the late Qing.
(Source: Young Yang Chung, PaintingwithaNeedle,p.66)
Water Weed Stitch 솔잎수
Each element of the feathery water weed is composed of a series of outline stitches, or a variation of the outline stitch, in which wispy “tails” are created for a realistic effect. A center vein can be created with the outline stitch from shich the tails emanate, and each tail itself consists of a series of outline stitches stitched in a curving pattern. The tails can also be stitched without the center vein.
(Source: Young Yang Chung, Painting with a Needle, p.74)
(Source: Young Yang Chung, Painting with a Needle, p.74)
Chain Stitch 사슬수
The chain stitch is a technique that connects individual loops to create a line or fill a pattern. Several variants of the chain stitch are practiced worldwide. Examples of chain stitch have been discovered in various tombs in Siberia and East Asia dating to as early as the fourth century BC. Identical chain-stitch techniques can also be found on ancient South American and ancient Egyptian textiles. The chain stitch provides the most convenient method for creating and filling curvilinear patterns. To cover curved contours smoothly, an even line can be obtained by pulling the needle at a right angle. The twisted chain stitch is textured and raised higher than the other chain stitch technique.
(Source: Young Yang Chung, PaintingwithaNeedle,p.74)
(Source: Young Yang Chung, PaintingwithaNeedle,p.74)
Counted Stitch 납사수
The counted-stitch technique involves the embroidery of short stitches on to an open-weave fabric. Counting the warps (vertical threads in fabric) and securing the stitches onto the warp in a diagonal direction is known as the tent stitch, while affixing stitches to the wefts (horizontal threads in fabric) in a straight (upright) direction is known as the brick stitch. The length of the stitch and the direction in which it is carried determine the character of the pattern.
(Source: Young Yang Chung, PaintingwithaNeedle,p.77)
(Source: Young Yang Chung, PaintingwithaNeedle,p.77)
Long and Short Stitch 자련수
While the simple satin stitch covers a space or pattern with a solid block of color, the long and short stitch is used primarily for blending colors within a single motif to heighten its realism. The long and short stitch represents a variation of the satin stitch in which rows of individual stitches alternate in length between long and short in order to modulate color tones and thus achieve shading effects, gradations of color are created when short stitches of one color from the first row meet long stitches of another color in the next row, and vice versa. The meeting points of the long and short stitches are sewn in the “hidden stitch” technique, in which the next row of stitches is formed by inserting the needle beneath the stitches of the previous row so that the two rows become meshed or interlocked. A flush meeting of the long and short stitches creates a more harsh transition between colors.
(Source: Young Yang Chung, PaintingwithaNeedle,p.53)
(Source: Young Yang Chung, PaintingwithaNeedle,p.53)