Various - "Stories of Comedy"

Victor Appleton - "Tom Swift and His Motor Cycle"

C. Gasquoine Hartley - "Women's Wild Oats"

Frank Norris - "A Deal in Wheat"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

Encyclopedia of Needlework

T >> Therese de Dillmont >> Encyclopedia of Needlework




In fig. 128, the thread is first carried round one mesh and then on to
the next scallop. In the second scallop, which turns the opposite way,
the thread is carried once more round the last mesh after the pyramid is
completed, and then on, to the next figure.

[Illustration: FIG. 128. NET INSERTION.]

NET PATTERN (fig. 129).--This checked pattern is also worked in
darning stitch. Carry the thread, as in fig. 125, through every second
row of meshes. When the bottom rows are all finished, the upper ones are
worked across them in the same way. Here the stitches may, if preferred,
be distributed more sparingly. But if they are set wider apart, the
spaces between should be filled up in some way. Little dots, made of
Coton a repriser D.M.C, will answer the purpose best.

[Illustration: FIG. 129. NET PATTERN.]

NET INSERTIONS (figs. 130, 131, 132).--These three patterns are
specially suitable, for insertions, neck-tie lappets and the like, in
the place of crochet, pillow, and other kinds of lace. Both design and
stitch are clearly enough represented in the subjoined figure for
further explanation to be unnecessary. All three should be worked with
rather coarse cotton, and Soutache D.M.C[A] (braid) drawn in, produces
an excellent effect.

[Illustration: FIG. 130. NET INSERTION.]

[Illustration: FIG. 131. NET INSERTION.]

[Illustration: FIG. 132. NET INSERTION.]

NET PATTERN (fig. 133).--These delicate little figures can be worked
into a close pattern, or can be strewn singly over the surface. The
closer you set the stitches, the more clear and distinct the stars will
be. The thread must be drawn in to the centre mesh from without, so as
to be invisible if possible, and then back again to the outside when the
stitches are finished.

[Illustration: FIG. 133. NET PATTERN.]

NET PATTERN (fig. 134).--These flowerets have a very pretty effect,
set either singly, or in double or triple rows, and are very useful for
filling up gaps or supplementing rows.

[Illustration: FIG. 134. NET PATTERN.]

NET PATTERN (fig. 135).--These star-shaped figures, their longest
stitch covering three straight bars and two meshes, the shortest, three
diagonal bars and two meshes, may like the above flowerets, be ranged
closely together in rows, so that four stitches, two horizontal and two
vertical ones, meet in one mesh. Cotton of two colours should be used,
in order that the figures may be distinct from each other: white and
unbleached are the best, in cases where bright colours would be
unsuitable.

[Illustration: FIG. 135. NET PATTERN.]

NET INSERTION (fig. 136).--These diamonds make a very pretty grounding
either set separately, or in a continuous pattern. The design is slight,
nevertheless, when it is worked in coarse cotton, the effect is
exceedingly handsome, especially if the inside, in addition to the star
here given, be enriched with ordinary darning-stitches, worked in fine
gold thread, as we have already mentioned.

[Illustration: FIG. 136. NET INSERTION.]

NET TRACERY WITH BORDER (fig. 137).--In order to bring out the pattern
and the colours, use instead of cotton, Soutache D.M.C, or Lacets
surfins D.M.C. Both are to be had in all the colours, given in the list
of colours of the D.M.C threads and cottons. The little border can be
used in conjunction with any of the preceding patterns, but care must
be taken not to let it get twisted in the working. To prevent this,
slip a coarse needle under the last stitch, and draw the braid flat over
it.

[Illustration: FIG. 137. NET TRACERY WITH BRAIDS. MATERIALS: Soutache
D.M.C No. 2 in Bleu-Indigo 334 and Rouge-Turc 321.]

BROAD NET LACE TRACERY (fig. 138).--The pattern of this pretty lace
must first be transferred to stout paper, or oil-cloth. All the leaves
and stalks, and the buttonholing round the open centres of the flowers,
are worked in a pale green, the two bottom flowers in Turkey red, the
star-shaped one in blue, the calyx in which the stalks unite, in dark
red, and the little bells, in the lightest green.

[Illustration: FIG. 138. BROAD NET LACE TRACERY. MATERIALS: Coton a
broder D.M.C No. 30, 35 or 40.--COLOURS: Rouge-Turc 321, Rouge-Cardinal
346, Bleu-Indigo 322, Gris-Tilleul 393 and Vert-Pistache 369.]

NET DARNING.--We conclude with some directions for darning net, a
valuable art, by means of which many a curious piece of old needlework
is preserved. Coarse and fine net are all darned in the same way.

Laying the first thread (fig. 139).--Tack the net which is to be darned,
closely to the defective part, upon either oil-cloth or coloured paper
and cut the edges straight to the thread; Your thread must be of exactly
the same size, as that of which the net is made. It takes three rows of
stitches to imitate the net ground; in the first place, as shown in fig.
139, cross-threads must be laid from side to side, carried as in
darning, a little beyond the edges of the hole and so as to surround
each mesh with a slanting stitch.

[Illustration: FIG. 139. NET DARNING. LAYING THE FIRST THREAD.]

LAYING THE SECOND THREAD (fig. 140).--Secondly, beginning from one
corner, threads are laid diagonally across the first layer. The
cross-threads of the foundation are encircled by a stitch, made from
right to left, the needle is then carried under the next horizontal bar,
and the first layer of threads is overcast with similar stitches.

[Illustration: FIG. 140. NET DARNING. LAYING THE SECOND THREAD.]

LAYING THE THIRD THREAD (fig. 141).--Thirdly, threads are carried
across the second and first layers. They must start, far enough from the
edge, for the second layer of threads to be overcast at the same time,
so that there may be no loose threads left on the wrong side. In this
third journey, every diagonal thread of the foundation is to be
encircled with a stitch, taken upwards from below, the cut edges being
strengthened in the same way. Then, to form the little cross in the
fabric, the thread must be conducted by means of a second stitch, under
the single horizontal thread, outwards, to the next-diagonal thread.

[Illustration: FIG. 141. NET DARNING. LAYING THE THIRD THREAD.]

In places where the net is worn, it can be strengthened in the same
manner, the stitches being made the way of the stuff.

DAMASK STITCHES.--As a rule the pattern is simply outlined with stem
and cord stitch, and the inside spaces are left plain. In spite of the
time this simple tracing takes to do, the effect is rather poor and
scanty. If however, the inside of the leaves and flowers, be filled in
with damask stitch, the result is very handsome.

Not only can the following stitches, which are suitable for any linen
coarse or fine, be used for this kind of embroidery, but most of the net
and lace patterns too, and these combined with buttonholing and flat
stitch produce charming effects.

MATERIALS SUITABLE FOR DAMASK STITCHES.--All the threads and cottons
used for net work can also be used for damask stitches, according to
the material and the kind of work. We will enumerate them once more:
Coton a tricoter D.M.C Nos. 8 to 20, Coton a repriser D.M.C Nos. 25 to
70, Coton a broder D.M.C Nos. 16 to 50, Fil a dentelle D.M.C Nos. 25 to
50, Coton a broder surfin D.M.C Nos. 100, 120, 150.[A]

This kind of embroidery is generally done with a very coarse needle, to
press the threads of the stuff closely together and make the light
spaces between, which appear in many of the following illustrations.

FIRST PATTERN (fig. 142).--Carry the needle in a slanting direction
over three threads and bring it out, from right to left, under three
perpendicular ones, then again slanting, over three threads, from left
to right, and out again underneath three horizontal ones, downwards from
above. Thus the first stitch lies across, from right to left, the
second, lengthways. On the wrong side, the stitch forms a regular
succession of steps.

[Illustration: FIG 142. FIRST PATTERN]

SECOND PATTERN (fig. 143).--This is worked exactly in the same manner
as fig. 142, only that the second row of stitches touches the first, so
that two threads enter and issue from the same hole.

[Illustration: FIG 143. SECOND PATTERN]

THIRD PATTERN (fig. 144).--Though at first sight, this stitch is very
like the Holbein or stroke stitch, it is very different in the
execution. It is worked in two rows, to and fro; in the first, you make
all the vertical stitches side by side in the width of the stuff,
drawing your thread very tightly, in the second, coming back, you make
the horizontal stitches in a straight line, at right angles to the first
stitches. On the wrong side the stitches are crossed; they in thin
stuffs, show through, and quite alter the appearance of the right side.

[Illustration: FIG. 144. THIRD PATTERN.]

FOURTH, PATTERN (fig. 145).--In the first row, the thread is carried
slanting upwards from right to left, over two threads, then downwards
under two. Coming back, the stitches must be set the opposite way, so
that four threads meet in one hole.

[Illustration: FIG. 145. FOURTH PATTERN.]

FIFTH PATTERN (fig. 146).--This is worked like fig. 145, only that the
stitches must cover three threads each way. In the second row, you take
up one thread on the right and two on the left, to form your stitches.

[Illustration: FIG. 146. FIFTH PATTERN.]

SIXTH PATTERN (fig. 147).--Here, the stitches form a chess-board
pattern. You begin with a diagonal stitch over two threads and bring
your needle up again into the same line it started from. The second
stitch covers three threads, the third six, the fourth eight; the next
three decrease, successively in length, in the same proportion.

[Illustration: FIG. 147. SIXTH PATTERN.]

SEVENTH PATTERN (fig. 148).--Two kinds of cotton have to be used for
this pattern, one of them soft and flat, like Colon a repriser D.M.C[A]
(darning cotton) or Coton a tricoter D.M.C (knitting cotton)[A] for the
flat stitches, and the other strongly twisted, like Cordonnet 6 fils
D.M.C No. 8, 10, 12 or 15,[A] for the cross stitches.

[Illustration: FIG. 148. SEVENTH PATTERN.]

The five flat stitches cover three threads in width and six in height,
and lie from right to left and from left to right. In the second row,
which must be two threads distant from the first, the stitches must lie
in the contrary direction. In the lozenge-shaped space between, make
four cross stitches, over four threads in height and two in width.

EIGHTH PATTERN (figs. 149 and 150).--Make five stitches over 8
horizontal threads, miss 6 threads and make another 5 stitches. The
groups of long stitches above and beneath the first row, encroach over
two threads of the first group, so that a space of only four threads
remains between two groups. The stitch between these groups is generally
known as the rococo stitch.

[Illustration: FIG. 149. EIGHTH PATTERN.]

Bring out your needle between the third and fourth of these threads, and
insert it again above, drawing it out afterwards between the second and
third horizontal thread, and securing the first stitch with a back
stitch. Make the three remaining stitches, as explained in fig. 150.

[Illustration: FIG. 150. EXPLANATION OF THE ROCOCO STITCH IN FIG. 149.]

NINTH PATTERN (fig. 151).--This consists of straight bands of flat
stitches, covering three threads each way, with spaces 8 threads wide
between, ornamented with a small pattern in stroke stitch, (see chapter
on Tapestry and Linen embroidery).

[Illustration: FIG 151. NINTH PATTERN.]

DAMASK STITCH FOR FIGS. 103 AND 105 (fig. 152).--The stitches, here
represented on a large scale, form the border to the square in cut
open-work in fig. 105. The long diagonal stitches, on either side, can
be made to look fuller and more distinct, by using a soft, coarse
cotton.

[Illustration: FIG. 152. DAMASK STITCH FOR FIGS. 103 AND 105.]

TENTH AND ELEVENTH PATTERNS (figs. 153 and 154).--The former of these
is used for filling in the short stripe in fig. 105, the second for the
long inside one. Fig. 153 is clear enough to need no explanation; with
reference to fig. 154, it is however as well to point out that the
shortest stitch should cover 4 threads and the longest 12, the rest is
easily learnt from the illustration. This is a very suitable design for
the decoration of large surfaces and combines well with any running
diagonal pattern, when it can be made to form a large star which can be
worked as a separate figure.

[Illustration: FIG. 153. TENTH PATTERN. DAMASK STITCH FOR FIGS. 104 AND
105.]

[Illustration: FIG. 154. ELEVENTH PATTERN. DAMASK STITCH FOR FIG. 105.]

TWELFTH PATTERN (fig. 155).--In cases where this and the following
stitches are to be executed on a light, transparent stuff, it is best to
use a very strongly twisted thread, such as Fil d'Alsace D.M.C ([A]) or,
Fil a dentelle D.M.C ([A]) instead of a softer and looser material. A
stiff thread compresses the threads of the stuff better and the open
spaces, thus made in it, are rendered more visible.

[Illustration: FIG. 155. TWELFTH PATTERN.]

Count 6 threads vertically, put in the needle and draw it through from
right to left, underneath 3 diagonal threads. For the next stitch, carry
it upwards over 6 threads, and back under 3. The second row is worked
back over the first in the same way. Leave 6 threads between each row.

THIRTEENTH PATTERN (fig. 156).--Carry the thread, from right to left
over four vertical threads, and under the same number of horizontal
ones. The second row of stitches touches the first, so that the thread
it is worked with seems to be drawn through under the same threads of
the stuff, as the one the first row was worked with.

[Illustration: FIG. 156. THIRTEENTH PATTERN.]

FOURTEENTH PATTERN (fig. 157).--Here, the stitches, contrary to those
in fig. 147, are set vertically. The first stitch covers 2 threads, the
second 6, the third 10, the fourth 14, the fifth 18. The longest
stitches of two checks always meet in the same hole.

[Illustration: FIG. 157. FOURTEENTH PATTERN.]

FIFTEENTH PATTERN (fig. 158).--Cover the whole expanse with rows of
stitches, such as are described in fig. 155, with intervals of 12
threads between them.

[Illustration: FIG. 158. FIFTEENTH PATTERN.]

These rows are intersected by others, to which the thread is passed,
from between the sixth and seventh of the 12 threads between the first
rows. Where the stitches of the two rows meet, the working thread of the
second row must be drawn through, under that of the first.

SIXTEENTH PATTERN (fig. 159).--Between every two rows of cross-stitch,
leave an interval of 6 threads, counting those on each side of the rows.
Over these 6 threads work 2 rows, as shown in fig. 148, but so, that in
the second, the lower stitch of the first row and the upper one of the
second, cover the same threads.

[Illustration: FIG. 159. SIXTEENTH PATTERN.]

SEVENTEENTH PATTERN (fig. 160).--This consists of stripes, 4 stitches
wide, like those of fig. 155, with 3 threads between, which are overcast
in the ordinary manner.

[Illustration: FIG. 160. SEVENTEENTH PATTERN.]

EIGHTEENTH PATTERN (fig. 161).--Small squares of 7 stitches, inclined
alternately, to the right and left, and so formed, that the longest
stitch of one square is crossed by the first short stitch of the next,
so that a space only 6 threads wide and 4 long, remains uncovered. The
intervening stripes are filled with 3 rows of overcasting stitches,
covering 2 threads each way.

[Illustration: FIG. 161. EIGHTEENTH PATTERN.]

NINETEENTH PATTERN (fig. 162).--The steps formed by this pattern are
11 stitches high, and 11 wide, and each stitch covers 4 threads.

[Illustration: FIG. 162. NINETEENTH PATTERN.]

Eight threads intervene between each row of steps, which are covered at
the bend, by a square of stitches, from the last of which, the thread is
carried on at once, to the four single stitches.

TWENTIETH PATTERN (fig. 163).--The 4 squares set opposite to each
other, with 2 threads between, are edged all round by 3 rows of
overcasting.

[Illustration: FIG. 163. TWENTIETH PATTERN.]

TWENTY-FIRST PATTERN (fig. 164).--Begin by rows of stitches, like
those described in fig. 155, over 4 and 2 threads, with 4 threads
between, not counting those covered with cross-stitch. Between the two
rows of cross-stitch, join 6 threads together by a back-stitch, and
carry your thread over the two last of the 6, to the 2 first of the next
cluster. The narrow diagonal stripes are separated by 24 threads,
exclusive of those covered by the cross-stitches. These spaces are
filled in with squares, 10 threads wide and 10 long, formed by
back-stitches crossed on the wrong side.

[Illustration: FIG. 164. TWENTY-FIRST PATTERN.]

TWENTY-SECOND PATTERN (fig. 165).--In the closer stuffs, of a coarse
texture, the threads of which do not admit of being drawn together, as
you can those, of a loose thin stuff, where, by simply pulling your
thread a little tighter you get open spaces, you must begin by cutting
out every fourth or fifth thread. After which, you overcast all the
rows, first one way, and then the other, with stitches covering 4
threads, each way. On this foundation with strong, loosely-twisted
cotton, Coton a broder D.M.C or Coton a tricoter D.M.C No. 25, 30, 35,
or 40, make long stitches, as indicated in the illustration.

[Illustration: FIG. 165. TWENTY-SECOND PATTERN.]

TWENTY-THIRD PATTERN (fig. 166.)--From the point where the thread
comes out of the stuff, make 16 stitches, four times over, all coming
out of the same hole, over 8, 6, 4 and 6 threads, thus forming a star.
Leave an interval of four threads between the stars, and unite the
intervening threads by cross-stitches one way, and whip-stitches, the
other.

[Illustration: FIG. 166. TWENTY-THIRD PATTERN.]

TWENTY-FOURTH PATTERN (fig. 167).--Make a succession of diagonal
stitches, increasing in length, and advancing one thread at a time,
until the seventh stitch covers seven threads, and completes the
triangle. Then begin a second triangle on the nearest, adjacent thread.

[Illustration: FIG. 167. TWENTY-FOURTH PATTERN.]

TWENTY-FIFTH PATTERN (fig. 168).--Cover your whole surface with
squares of 16 stitches, as in fig. 147, and fill in the intervening
squares with 23 stitches, all radiating from one centre.

[Illustration: FIG. 168. TWENTY-FIFTH PATTERN.]

TWENTY-SIXTH PATTERN (fig. 169).--Diagonal trellised stripes, made as
indicated in fig. 165, and overcast, form the ground. Twelve threads are
to be left between the stripes, upon which, work six-cornered,
lozenge-shaped groups of stitches, set at right angles to each other, in
diagonal rows.

[Illustration: FIG 169. TWENTY-SIXTH PATTERN.]

TWENTY-SEVENTH PATTERN (fig. 170).--We conclude our chapter with a
circular design, which combines a variety of stitches, and introduces
our workers to two new patterns, as well as to an advantageous way of
hiding the junction of several kinds of stitches by semicircles of
button-hole stitching.

[Illustration: FIG. 170. TWENTY-SEVENTH PATTERN.]

FOOTNOTES:

[A] See at the end of the concluding chapter, the table of numbers and
sizes and the list of colours of the D.M.C threads and cottons.





[Illustration: STRIPE IN FLAT AND RAISED SATIN STITCH, AND MADEIRA
EMBROIDERY.]




White Embroidery.


We have retained the familiar term, white embroidery, for this kind of
needlework, for convenience sake, in spite of its inaccuracy, now that
coloured materials are quite as much used for it as white.

It is executed, either on a backing of oil-cloth, or in an embroidery
frame, called "tambour-frame". Only skilful workers can dispense with
these, for an untrained hand can hardly avoid puckering. If you work
without a foundation, the material must be held, quite smoothly over the
forefinger, so that the threads lie perfectly straight, otherwise, the
pattern is very apt to get pulled out of shape in the working. With your
three other fingers you hold the material fast, the thumb resting on the
work itself, beyond the outline of the pattern, which must be turned
towards the worker. It is always the outside line of a pattern that is
drawn in double lines, that should be turned towards the palm of the
hand.

TRACING PATTERNS.--Patterns are generally to be had ready traced, but
as it is often necessary to repeat, enlarge, or reduce them,
descriptions of several modes of doing so, will be found at the end of
the concluding chapter.

MATERIALS.--A loose, soft make of cotton, the looser the better, and
very little twisted, is the best material for embroidery. We recommend
for white embroidery in general, Coton a broder D.M.C Nos. 16 to 150;
for monograms on cambric, Coton a broder surfin D.M.C Nos. 100, 120,
150;[A] and for English or Madeira embroidery, Coton Madeira D.M.C Nos.
40, 50, 60;[A] for padding, or raising the embroidery, all the
different kinds of Coton a repriser D.M.C[A] can be used.

OUTLINING AND PADDING.--The outlining of a pattern is a very important
preliminary. A want of precision in the ultimate effect is often due,
merely to careless outlining. This part of the work should be done with
rather a coarser cotton than the embroidery itself. Fasten in the thread
by a few running stitches, never with a knot, a rule to be observed also
in embroidering, except in very rare cases. Finish off your thread by
drawing it through the tracing stitches, or through some part of the
pattern that is already finished. Fill in the spaces between the lines
with a padding of run threads, run loosely, and so that they lie thickly
and solidly in the centre, and shade off on both sides. The fullness,
and roundness of embroidery, depends on the firmness of this sub-stratum
of threads. The outlining and the padding of the different rounded and
pointed scallops, as well as of other figures that occur in white
embroidery, are illustrated in figs. 181, 182, 183, 184, 185, 187, 189,
190 and 191.

BLANKET, OR BUTTON-HOLE STITCH (fig. 171).--Work from left to right;
run in a foundation line, hold down the working thread below the run
line with the right thumb; insert the needle above and bring it out
below the run line but above the working thread; tighten the loop thus
formed, without drawing up the stuff, and continue in this manner,
setting your stitches closely and regularly, side by side.

[Illustration: FIG. 171. BLANKET, OR BUTTON-HOLE STITCH.]

STRAIGHT STEM STITCH (fig. 172).--Work from left to right. The needle
must always be inserted above the run thread, and brought out underneath
it. In the case of a very delicate pattern, take up only just as much
stuff as the run thread covers.

[Illustration: FIG. 172. STRAIGHT STEM STITCH.]

SLOPING STEM STITCH (fig. 173).--Work without a run thread; insert the
needle from right to left in a slanting direction, under 1 or 2
horizontal threads, and 5 or 6 perpendicular ones; so that each stitch
reaches halfway back to the last.

[Illustration: FIG. 173. SLOPING STEM STITCH.]

This kind of stem stitch is chiefly used for the fine upstrokes of
letters and numbers, and for linen embroidery.

BACK-STITCHING (fig. 174).--Back-stitching, that is small, even
stitches set closely together, is done from right to left, along a
straight line, and is chiefly used for filling in the centres of
letters, leaves and flowers.

[Illustration: FIG. 174. BACK-STITCHING.]

CROSSED BACK-STITCH (figs. 175 and 176).--Used, generally speaking,
only for very transparent materials; it forms a close seam of
cross-stitch, on the wrong side, and two straight rows of back-stitching
on the right. To work, insert the needle as if for an ordinary
back-stitch, pass it under the stuff, sloping it a little towards the
second outline of the pattern, and draw it out almost in front of the
first stitch. After making a back-stitch, pass the needle up again under
the stuff and bring it out at the spot where the next stitch is to be.

[Illustration: FIG. 175. CROSSED BACK-STITCH. RIGHT SIDE.]

[Illustration: FIG. 176. CROSSED BACK-STITCH. WRONG SIDE.]

Fig. 176 shows the interlacing of the stitches on the wrong side, and
the way in which this stitch, when it is used for filling in centres,
can be worked on the right side.

SIMPLE KNOT STITCH (fig. 177). This consists of two back-stitches,
side by side, covering the same threads; it is chiefly used for filling
in leaves, embroidered on very thin materials, or in conjunction with
flat stitch.

[Illustration: FIG. 177. SIMPLE KNOT STITCH.]

TWISTED KNOT STITCH (fig. 178). To work hold the working thread down
with the thumb close to the spot where you first brought it out, twist
it twice round the needle, turn the needle round from left to right,
following the direction indicated by the arrow, pass it through the
fabric at the place which is marked by a dot, and draw it out at the
place where the next stitch is to be.

[Illustration: FIG. 178. TWISTED KNOT STITCH.]

POST STITCH (fig. 179).--Something like knot stitch and much used for
patterns, composed of small flowers and leaves, where it often takes the
place of raised satin stitch. The illustration represents five leaves
finished, and the sixth in process of being worked.

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