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Embroidery as a Form of Decorative Stitches in Art

Olujoke Stella AKINRUJOMU (Ph.D)

Department of Fine and Applied Arts, School of Vocational and Technical Education, College of Education,
Ikere-Ekiti, Ekiti State, Nigeria

Received: March 26, 2020 Accepted: May 02, 2020

ABSTRACT: Embroidery is an art associated with beauty. The technique employed in making embroidery
involves working on strands of several colourful threads to weave an attractive clothing material. This paper
engages in a critical analysis of the relevance of embroidery in art, materials for Embroidery, Equipment , for
Embroider and Embroidery in Nigeria. Also, the thread, colour and its importance, background fabric, motifs
and pattern suitable for a successful embroidery design are given adequate consideration in the paper.

Key Words: Embroidery, decorator, stitches, Art

Introduction
Embroidery is the craft of decorating fabric or other materials using a needle to apply thread or
yarn. Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern
days, embroidery is usually seen on caps, hats, coats, overlays, blankets, dress shirts, denim, dresses,
stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn colour (Wikipedia,
online free encyclopedia).
.Presently, embroidered clothing has gained huge recognition far and wide. The unique feature and
elegance of the fabric endears it a lot of people. Embroidered also brings about the significance of thread
with which it is created. Jones (1969) defines embroidery "as the art of producing patterns on textiles or
background leather in threads of wool, linen silk or metal by means of a needle". It is a pattern made on
varieties of cloth, or leather, exhibiting intricate designs. The designs are made of colorful threads of evenly
strands in most cases.
Adigun (2000) defines embroidery "as the ornamentation of fabric for decorative purposes" Either
it is work on fabric or leather, the therapeutic satisfaction in the work remains the name. For an embroidery
work to turn out successfully, plan must be made in such a way that shape, tones, texture and colour are all
in the right places.
Embroidery is commonly used to decorate practical articles like chair seats, dresses, shoes, waist
coats, tray cloths, curtains, aprons, towels boxes and books. This art has existed for so long. However, the
satisfaction the users gained from it makes it difficult to be replaced by any other type of design. Jones
(1969) explains that "embroidery in a primitive form was known in Europe in the Neolithic times". As
civilization advanced so is the art of embroidery, it calls for dexterity in the manipulation of threads with
needle. In this age of civilization as remarked by Anderson (1977) "we are re-discovering a craft that had its
beginnings over a thousand years ago, and we are re-learning how to express creative individualism and
talent". The stitches employed are reasonably simple and involves several practice of different styles. Today
this art is commonly used on textural traditional dresses, on the robes of priests and nobles, on seat and
book covers, clothes and so on. The embroiderer of today is entrusted with the preservation of an art
handed down from one generation to the other thereby enriching its tradition as a form of art.

Materials for Embroidery

Fabrics - Fabrics are made from textile materials. According to Lewis (1974), "textiles are knitted
and woven fabrics made from fibers such as silk, wool and the like". Jones (1969) described textile as a
"continuous manipulation of a single thread, woven simply or woven to create a pattern". In most cases the
simply woven ones are used since the embroidery will still form intricate patterns on the fabric. In making
embroidery, it is worthwhile to use good fabric which need not be costly but should be of best quality.
It must be taken into consideration that to make a delicate work like embroidery, cloth of finer
texture such' as linen or silk can be used for a big bold stitching or a coarse fabric could be chosen. Silk are
not the best for embroidery (Kallem, 1975). Instead of using corded silk that will make the work looks hard,
silk, damask or any other fabric can do better. If satin must be used it should be stretched on a frame
because of its slippery texture although, it is necessary to place all fabrics on frame while working for easy
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handling. Some workers do embroider the outlines of damask and brocade only, they can as well be used
without embroidery because of their good background.

Know Your Fabrics

Brocade - A patterned weave using several colours or metal threads, for dress or furnishing materials; in
cotton, silk, rayon and so on.
Tweed- A rough surfaced, coarse-woven wool often checked.
Damask - A pattern made by dull and shiny threads for household fabrics or for dress. It could be in cotton,
linen or rayon.
Corduroy- Firm weaves with a velvety rib made of cotton.
Chiffon - Sheer, soft silk, nylon or rayon fabric, mostly for blouses and scarves.
Organdie - Sheer, very crisp, dull-surface cotton for blouses.
Satin – Shiny weave in silk or polyester, showing mostly the warp threads. Sateen - Shiny weave in cotton or
rayon showing mostly the weft threads used for linings and cheap dresses.

Types of Thread
Threads are yarns of different sizes which could come in a wide range of colour. Crewel wool is an
example of fine wool for embroidery work. It is a two-ply thread highly spun to a tight twist. Other threads
like two-ply knitting wool can also be used. Applying appropriate thread to a particular design brings great
opportunity for making texture.
Anderson (1977), remarks that "much of the pleasure in embroidery lies in its textural appearance.
Thick areas must alternate the thin for a good effect to be achieved. The overall result must not be thin, it
must go pari passu. Any other thin materials can also be used provided it will not get destroyed or rot. Raffia,
cords, ribbons, strings can work as well as thread. If any item is big for the eye of the down needle, Phillpott
(1976), suggests stitching it down with a thinner thread. There are some other threads available for the
work such as:
Machine thread: - For zigzag machining and very fine handwork.
Button hole twist on a reel: - For bolder machine work and thin lines of hand embroidery.
Crochet threads: - Firmly twisted washable thread which can be dull cotton or creating shiny man-made
fibre.
Raffia: - Shin/ and dull versions available from arts and crafts shop. Very strong and easily used with a large
needle (Knitter's needle).
Knitting wool: - (Plain four— Ply, double - knitting) most of these are as tapestry require wool and much
cheaper, especially in skeins. It is mostly used when doing canvas work for chair and seats. It does not fluff
up so much.
Equipment
There are some equipment needed for embroidery work such as:
Needle: Embroidery needle should have large eyes capable of sliding the thread through the fabric without
tugging. It should be able to take two strands of thread through the fabric. The smaller sizes are shorter and
are easier to handle for working knot. Some have blunt end which is useful where the threads are not taken
back through the fabric.
Frames: There must be tension on the fabric while working, therefore a frame is necessary. If work is done
by mere holding the fabric, the stitches will be less accurate, if the tension is uneven, the most important
lines that should be straight will probably waver (Phillpott 1976). With this, there will be no professional
skill in the work.
Sometimes, rectangular frame, like a picture frame is used by making the outside dimensions the
accurate size of the fabric. The embroidery stays permanently after the completion of the work which
retains its form and tension.
Embroidery Machine: Embroidery could be done with the use of embroidery machine. Despite the
differences in cultures and textile materials, the stitches throughout the world are basically similar either
with the use of machine or hand. First embroidery machine, according to Adigun (2000), came into being in
1828. The emergence of this technology since then has lessing the stress involved in making embroidery. In
Nigeria, for example, the 20U machine Seiko and Tinko are largely used for designing fabrics. It is now
possible for the embroiderers to cover large areas within few hours to make ends meet.
Other Tools: Other equipment such as scissors, pins are also needed. The scissors should have a sharp,
short, strong and pointed edge for the success of the work. Embroiderer should always use steel pins and
rust-proof tacks in order not to leave marks on the fabric.
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Motifs and Stitches

The embroiderer should make appropriate use of her sense of imagination when creating motifs.
The design might take after floral (leaves), fauna (animals) of geometric shapes like triangle, rectangle,
circle etc. If the tone of a motif is in contrast to most of its surrounding motifs, then this shows up first,
regardless of any other factor.
In order to understand stitches, embroiderer must try it by herself. A stitch does not require any
ever length. It could be done as desired and should change as one wants it to make a far or thin line.
Phillpott (1976) said further that stitches fall into three categories:
 linear stitches: those making lines;
 broken stitches: those for textures, e.g. French knots; and
 all' over stitches: those that overlap e.g. buttonhole stitch.
Other example stitches are chain stitches, fly or Y stitches.
Colour and its Importance
Colour is vitally important in the history of embroidery. Colour choice is personal affair which could
be used according to taste. There are no hand and fast rules on how colour must be used, it depends on what
pleases or displeases every individual. A beginner can choose one main colour, gradations of that same
colour and one harmonious colour which will bring solidity to the work, these are mainly in darker shades.
To get a suitable colour, it is very important for the observer to make choice from natural colours.
Arderson (1977) writes "observing changes of green on a tree, various shades of reds and pink so delicately
balanced on a rose, interesting colour like in a flower garden, beautiful shades of rainbow such as red,
orange, yellow, green, blue indigo and violet. Every colour ranges from light to dark, white stitches among
various colour throw light on the design, it conveys purity and innocence, meanwhile a very deep tone will
give strength and enrich it.
Yellow can also represent gold and stands sometimes for sun in design. Black symbolizes sleep and
rest. Dean (1981) is of the opinion that blue represents the feminine principle…. green, the earth... purple is
the royal colour originally associated with queens and crimson red for kings.

Method
After choosing the appropriate background fabric, suitable colours of thread and the best stitches
for the design, the next thing is working up the fabric. There are some stitches that could be simply worked
on the fabric such as stem stitch, overcast shapes stitch, rope stitch, speckling stitch, buttonhole stitch and
the like.
Stem stitch: - This is a line stitch where the needle will be inserted into the fabric in Fauna about one stitch
length to the right to make a slightly slanted stitch. The second stitch will be directly above the-first but
shifted slightly to the left of the first stitch.
Overcast stitch: - This is made up of tiny stitches well arranged in a parallel line textile to make a small neat
line. Overcast stitch may be worked on a padding thread laid along the guideline.
Rope stitch: - Rope stitch can form a thick line or narrow shape by bringing the thread up through the fabric
a little below the guideline and a little above the liner prints then bring the needle to the surface again and
twist the thread once around it. Pull the needle and thread through the twist.
Speckling stitch: - Speckling does not describe a particular stitch but indicates an area covered by tiny
stitches to give a textured effect. It could be arranged randomly or at regular intervals.
Buttonhole stitch: - This is a one-edge stitch mainly for outlining an edge of a form. To work this, the needle
will be brought to the surface of the fabric from the back, insert into the ground above the line and slightly
to the right. Allow the thread to be under the top of the fabric then pull the thread.

Embroidery in Nigeria
Embroidery among other crafts underwent far-reaching changes. For a time, existing shapes and
linear types of embroidery design hand been in vogue until recently when floral motifs are combined with
linear types. The use of geometrical shapes is more pronounced on dress-styles, caps and sometimes at the
edge of dresses. Fauna motifs are mainly used in abstract form such as, cock with a lion's tail, birds, with
excessively big wings butterflies and so on.
It could be worked on fabrics either cheap or such as guinea brocade, locally printed textiles, dye
textiles, lace materials, damasks, woven fabric (Aso oke), African prints Ankara and the like. When lavishly
used, embroidery could turn a simple dress style into an exotic and elegant one; like those worn by
President Olusegun Obasanjo, the President of Nigeria in some years back. Ayanniyi (2000) notes: "when he
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was not in his army uniform, he done full agbada made with ankara prints". She said further his agbada are
always heavily embroidered" be it ankara, ‘adire, aso oke, guinea brocade or whatever.
Embroidery on woven fabrics (Aso Oke) cannot be over emphasized. Clothes are mostly worn
among the Yoruba people to important occasions such as wedding and burial ceremonies. The pattern can
be worked round the neck of dansiki or big flowing agbada, round the trouser mouth or the cap. In most
cases the design around the neck and the cap are the same; this gives uniqueness to the outfit. The same
could be done on sleeve and neck of women blouses.
Moreover, embroidery design is widely used among the Hausa. Apart from its use on dresses, their
caps are heavily embroidered with various colorful threads. The cap design; are mostly geometric shapes
and the form always the same.
Sometimes embroidery pattern may be seen as modern or traditional. Among the Yoruba, there is a
unique traditional design for embroidered agbada. it stays in a slanting position around the neck of the
wearer, whereas the modern type can just be uneven lines with shapes, meanwhile, some people are yet
crazy for the old traditional design. This is why imagination and taste must be a guide in choice making.
Most of the designs as declared by Anderson (1977) both modern and traditional are adaptable for other
pieces one may wish to make.
The Igbo people cherish embroidered wrapper with blouse and sometimes, lightly embroidered
shirt among men. Apart from Igbo chiefs that use staff of office, embroidered and adorned staff are greatly
used as part of their dressing. It commands respect and shows how important the user is.
Other clothing can as well be embroidered. The head and armrests on the sofa, if given a little touch
of embroidery design may look more beautiful. The embroidery thread may pick up a colour from the
curtain or wall of the room to give a harmonious effect. Embroidery had made a great impact on other home
furnishings as table, mats, wall hanging, belt, bed spread, pillow case, hand bag, doll clothing, pocket tidy,
chairs, table cover, trinket box and shoes.

Conclusion
There is no doubt that embroidery work brings joy and satisfaction to whoever engaged in working
it. It makes one feel useful to himself or herself and the society at large. It is important to note that it cannot
be done in odd times when other works are in standstill but if properly done can increase embroiderers
sense of creativity. This can as well influence her future choice of home furnishings.

References
1. Adigun, Y. (2000). "Glamour" Sunday Tribune June 25, 2000 P. 8
2. Anderson, F. (1977). Drewe/ Embroidery London. Octopus Books Limited
3. Ayanniyi, T. (2000). "Glamour" Sunday 7jujune August 6, 2000 Pp. 16 - 17.
4. Bath, V. (1972). Embroidery Masten, vorks. Chicago. Henry Regnery Company.
5. Dean, B. (1981). Embroidery in Religion and Ceremonies, London, Batsford Ltd Goldsworthy, M. (1972).
Knowing Your Sewing Mills London. Boon Ltd.
6. Jones, M.E. (1969). History of Western Embroidery London. Studio Vista Ltd.
7. Kallem, A.E. (1975). G ant Book of Crafts New York Sterling Publishing Co.
8. Lewis, K. (1974). "Te> tiles/Silkworms" African Encyclopedia London Oxford University Press P. 431.
9. Mae, J. (2000). "Glamour" Sunday Tribune June 4, 2000. P. 8.
10. Phillpott, P. (1976). The Craft of Embroidery London Stanley Paul & Co. Ltd.
11. Wikipedia, the free encyclopedia.

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