History of embroidery

Embroidery is a decorative sewing work done on fabrics (or various materials) woven
with needles and using different types of threads, varying textures, thicknesses and
colors.

The Romans called this work - Plumarium Opus - given the similarity that some of
these works had with bird feathers. Another name was -Opus Phrygium- since they
sold all types of embroidered garments with the Phrygians, who, in turn, brought
them from the east. The tunics, for example, were called: Tunica, Toga Picta or
Palmata, these being also embroidered and painted and their drawings were similar to
the leaves of palm trees or palmettes.

The threads used over time are very varied, in many cases they were the same ones
used for fabrics such as silk, wool, linen. Their colors were achieved with vegetable
anilines. In addition to gold, silver and copper threads. King Attalus I of Pergamon
(3rd century BC) was the one who incorporated gold threads into embroidery, these
works were called by the Romans –Attalicus Amictus- or –Auriphrygium- many times
various gems were used, rubies, emeralds, pearls, topazes, the richest and most
varied crystals and all types of beads that enriched the embroidery and therefore
demonstrated the majesty or power of whoever wore it.

Today, this ancient craft adapts to all types of garments and in an infinite variety of
styles, materials and techniques that make it accessible to all those consumers who
know how to appreciate the magic achieved with fantasy, good taste, colored needles
and threads: that perfect combination is embroidery.

Embroidery is the art of decorating a fabric with different stitches to enrich it and
enhance its beauty. It can be made on any flexible material from leather to chiffon,
with yarns as different as wool or the finest gold, and embellished with jewels, pearls
and enamels.

The richness of embroidery in the past sometimes led to greedy hands undoing
precious work to appropriate jewels and gold threads.

The threads used in embroidery are the same as those used for weaving, but above
all, silk, wool and linen threads are used, all with varied colors, and silver and gold
threads with the different shapes that are adopted in weaving. Gems, pearls, beads
and metallic sequins are sometimes strung with them.
Old age

There are no embroideries preserved that can be attributed with certainty to the
Ancient Age except those of some Coptic fabrics from the Roman era, but there is no
doubt that there were excellent ones in Asia, Egypt, Greece and Rome, as testified
by true historians and revealed by numerous reliefs and paintings from those times.
The invention and first development of this art must be attributed to the Babylonians
since the most famous embroideries in ancient times came from Mesopotamia, as well
as from Egypt the fine fabrics and high-heel tapestries, Pliny even saying that the
Egyptian loom had defeated the Babylonian needle.

Middle Ages

The motifs that appear in embroidery in the Middle Ages are usually the same as
those in stews (any silk or wool fabric with figure work formed by the fabric), initially
taken from the Persians. Later they mixed with other Christians and they
immediately triumphed since the 12th century. In the 13th century, as a result of the
chivalric movement produced by the Crusades, shields and other chivalric motifs
began to be embroidered on the luxurious pieces and the composition became more
ornate, complicated and more colorful, increasing the variety of colors in the 14th
century. the silks

Modern age

The embroideries of the Modern Age are distinguished by following the Renaissance
style in their figures, similar to other sumptuary arts, and also because they once
again use profusely the gold thread (or bead), which was applied sparingly in recent
years. from middle Ages. In the sacred ornaments, the imagery that in the
aforementioned centuries used to be applied in the central and vertical part of the
chasubles and in the shield on the back and front bands of the capes is disappearing
and only by exception will it be found in pieces from the 17th and 17th centuries.
XVIII. On the other hand, the entire piece is very frequently covered with purely
ornamental embroidery in the case of sacred vestments, something rare in the
centuries before the 16th century.
Basic Embroidery Stitches

Backstitch

It is done from right to left. We stick the needle into the

fabric and make it come out five or six threads ahead, it
goes back in five or six threads back and comes out five or
six in front.

stem point

It is done in a single movement. Introducing the needle into

the fabric, taking four to five threads of it to come out
horizontally at the end of the previous stitch.

Thrown point

It is done from left to right. Inserting the needle obliquely,

from top to bottom, so that the stitches converge in the
center.

Lockstitch

From right to left or from top to bottom, Sticking the

needle horizontally into the fabric and bringing it out six or
seven threads later, holding the thread at the top of the
work with the thumb.

fly point

It is done like the thrown stitch, two stitches that converge

in the center, and a smaller one finishes the previous ones.
Herringbone stitch or vertical fly stitch

Lengthening the ring that finishes the fly stitch, we link some stitches
with others.

daisy point

Made up of loose chain stitches, held

together by a stitch at the head of the ring.
It is done with two movements in the
direction. It is performed with two
movements counterclockwise. The needle is
inserted into the lower center of the petal
and, making a ring, it is secured with a small
stitch, then the needle descends to where
the next petal begins.

Followed daisy stitch or chain feather

Variant of the daisy stitch that consists of lengthening

the connecting thread between one ring and the next.

knot point

To make simple knots, the thread is wrapped around the

needle, wrapping the thread from bottom to top around
the needle, and inserting the needle into the fabric next
to the previous exit point.

For double or triple knots, two or three turns of thread

are made around the needle.
Embroidery classification

To start

They are interlinings that are only needed during embroidery, so they have to be easy
to remove, without deforming the embroidery. Some interlinings are unidirectional, so
they break easily in only one direction, while others are multiaxial. Many times it is
convenient to replace a thick interlining with two thinner ones, which will be easier to
tear off.

You can also use temporary adhesives to fix them to fabrics, although some have a
finish that makes them adhereable by using an iron.

To cut

These interlinings are characterized because they remain in the embroidery once
finished.

They are the best option for knitwear as they prevent the embroidery from
deforming with use and washing. They are also recommended for thin fabrics or those
that, since they are not garments, the presence of the interlining is not problematic.
The higher the density of the embroidery, the thicker the interlining should be. You
can also replace one thick layer with two thinner ones.

To melt

To eliminate the non-woven type, iron it until the interlining turns brown and comes
off in flakes, which are removed with a brush. Avoid using steam irons to do this,
since these interlinings are soluble in water and the steam could cause it to stick
irremediably to the fabric.

to dissolve

These interlinings are designed to dissolve when wet and come in various formats:
plastic film or soluble paper.

Simply spray water on them and after waiting for them to dry they can be removed
by brushing them, avoiding leaving residues that could harden on the fabric. Be sure
to follow the instructions given by the manufacturer: each interlining requires a
different dissolution temperature.
Conclusions

 Embroidery has both a functional and purely decorative purpose.

 The word embroidery derives from the medieval French border.
 The thick or precious threads form different designs, they are secured with
threads simply laid on the background fabric and fastened at intervals by
cross stitches.
 Some embroidery techniques achieve a practically flat surface, while others
create relief designs.
 The embroidery known as 'needle tapestry' is also done on canvas.
 We know from history that in primitive cultures there are manifestations of
embroidery, adorning rustic clothing.
 Embroidery is an art that consists of ornamentation, using textile threads, of
a flexible surface.
 The embroidery corresponds to each part considered in plane and distributing
the surface to be decorated between the border and the motifs or
compositions.
 Embroidery on clothing is one of the most evident and significant elements of
cultural differentiation of the indigenous population of the Cañar Valley.
 Due to the perishable nature of the fabric, the origins of embroidery, like
those of other needlework, are imprecise.
Bibliography

 http://cerato.wordpress.com/2011/01/08/historia-del-bordado/

 http://www.ojoconelarte.cl/?a=990

 http://es.wikipedia.org/wiki/Embroidery#Embroidery_classes

 http://www.brildor.com/bordado/tecnica-y-asesoramiento/entretelas/

321-tipos-de-entretela.html

 http://es.wikipedia.org/wiki/Embroidery

 http://www.guiaparatejerbien.com/2008/07/puntos-bsicos-de-

bordado.html

 http://www.confectionindustrial.com/articulo/787
Introduction

The topic that concerns us today is applications in clothing and embroidery is

precisely one of those that are leading current trends. From the design and creation,
through the cutting of ribbons, to embroidery in all its versions: ribbons, cord,
cornelys, large field embroidery, high quality applications, openwork and a long
etcetera.

This course aims to give you the foundations so that through your imagination you
can do more complete and complex work.

The fabrics we can work with are varied, to start use linens, blankets and quadrilles,
when you have more practice use other fabrics, however prefer open weave ones.

If art sublimates and grants identity to a society, to a certain class or estate, and in
its desire to improve it creates new forms, and is governed by social movements, or
by the concerns of the artist, embroidery, within art , experiences those changes in
mentality, traditions and centuries up to certain levels. Once a limit has been
reached, a line that divides the time of art, it, the embroidery, remains overwhelmed
in this space, and remains pristine, almost primitive.

Our work aims to bring together the different materials and techniques, as well as to
understand the technical evolution from the sketch or design, until the work is
finished. We have not gone into depth in terms of styles, designers, materials,
embroiderers and embroidery, since in the future, we will undertake these sections in
other research projects once we have completed our Art History studies.

INDEX
1. Introduction

2. History of embroidery

3. Basic Embroidery Stitches

4. Embroidery classification

5. Conclusions

6. Bibliography