by Lina Beard
How to Make a Design in Decorative Language.
Suppose our Natural History Society desires an appropriate pin or badge.
First we turn to the floral vocabulary and there find that the magnolia means love of nature. The flower has a good decorative form, its sentiment is exactly appropriate, and we unhesitatingly adopt it.
Fig. 279.
After trying various forms for the shield, we select a very plain one that the effect of the decorative form of the magnolia may not be lessened by too ornate surroundings, and to show the large size of the blossom we must have it occupy the entire field without any divisions. Next, as to color; let us think. White, meaning brightness, purity, etc.? No. Yellow or gold, signifying wealth, ability, or—ah! here we have it—knowledge? Yes, that will do nicely—a love of nature on a field of knowledge; that certainly is appropriate. But the top of the shield being so square and plain gives the device an unfinished appearance. Suppose we try a bar over it, and something not a flower. As we wish this design to remain simple, a leaf of some kind would be best; so we return to the floral vocabulary, and after trying many and almost taking several, finally decide that the oak leaf is just the form needed to give a finish to the top, and its meaning, strength, will be an excellent element in the society. There, our insignia is complete, good in form, attractive in color, and appropriate in its meaning; but some of us prefer having the motto written out in plain English, so we will add a decorative scroll, with the meaning of the design inscribed “True Love of Nature.” (See Fig. 279.)
To familiarize ourselves with the working of the method let us try another experiment, and take the sentiment, “Wealth is the Reward of Industry,” to illustrate.
After deciding on the form of the shield, we turn to the divisions, and running them slowly over for something suitable, stop at Fig. 259, the Fess, meaning cause and effect. That sounds promising. Industry is the means by which the end, wealth, is accomplished. Good so far. We can now see that a floral emblem to represent industry should be placed in the central division, and whatever signifies wealth on the other two spaces. Among our legends of flowers we find industry portrayed by the bee orchid, and wealth and prosperity are symbolized by wheat. That is plain and easy. Now we have only to decide upon appropriate colors for the field to complete the design. Gold would mean wealth, but that we have in the wheat; besides the yellow of the wheat would not show well on the gold background, while on white or silver the contrast is strong and the appearance agreeable. Silver denotes innocence and virtue, which are so necessary that without them wealth would be undesirable. Therefore silver or virtue shall be the groundwork for our wealth, and for industry we will select purple as meaning power. Industry possesses the power to acquire wealth. Thus we complete the emblematical design, as seen in Fig. 280.
The following is a problem given to us for solution: On a gold chevron in a black field is a scarlet lily, to which is added as a crest a sunflower, and under all a blank scroll. On this we must write a motto that will be appropriately symbolized by the design.
Fig. 280.
It would be excellent practice for the student in this new motif in decorative art to try, by application of the foregoing instructions, to decipher the meaning of this design before reading the analysis.
Fig. 281.
SOLUTION OF FIG. 281.—We do not think this is put together as scientifically as the system would admit of, but still it can be deciphered.
The scarlet lily (high-souled aspirations) on a gold (knowledge) chevron, which is aid, assistance, in a field of black (ignorance), surmounted by the sunflower (pure and lofty thoughts), freely translated, might be read: Aspirations after knowledge help to illumine the darkness of ignorance with pure and lofty thoughts. Aspirations (lily) after knowledge (gold) help (chevron) to illumine (the gold chevron and lily brighten up the dulness of the black field) the darkness of ignorance (black) with pure and lofty thoughts (sunflower).
Fig. 282.
For younger girls the plain shield of one color with an appropriate flower had best be used, which they may vary ad infinitum. A simple yet pretty shield can be made by placing a four-leaved clover, symbolical of good-luck, on a shield of one color, silver, meaning purity, innocence, showing that innocence, combined with the language of the clover, expresses good-fortune.
Fig. 283.
Fig. 284.
We might go on forming innumerable designs, each more beautiful than the last, but enough hints have been given to enable the young people to make any style of design in this decorative language which may best suit their purpose. Young girls can decorate menu cards, having each motto exactly suited to every separate guest, the sentiment being indicative of some feeling or quality peculiar to each person. Invitations for parties, also orders of dances or games, may be designed in the same way.
Fig. 285.
Fig. 286.
This beautiful combination of flowers and heraldry is appropriate for ornamental needlework, to be embroidered on chairs, worked on screens, painted on velvet, wrought on scarfs, and adapted in innumerable ways to add to the refinement and attractiveness of home.
The idea can be utilized in stained-glass effects and in china-painting.
The chosen motto may be a decoration in marking personal possessions, such as table china (Figs. 282, 283, 284), fan (Fig. 285), chair-back (Fig. 286), travelling satchel (Fig. 287), tidy (Fig. 288), handkerchief (Fig. 289), and sofa-cushion (Fig. 290).
Fig. 287.
Fig. 288.
Fig. 289.
Fig. 290.
These are only a few examples of the many articles which can be beautified and stamped with your individual mark. Portières offer a good ground for applique or embroidery in decorative language.
Book-Plates
seem to be regaining their popularity and usefulness. These book-plates are tablets in any style, which, when gummed inside on the front covers of books, have been used for many years to designate to whom the books belong.
There is a certain book-plate more interesting to us than all others. To the design on it we are indebted for our national shield and our Stars and Stripes. It was used by the Father of our Country, and we are glad to be able to give a print of the original in Fig. 291.
Fig. 291.
In the decorative language any style of book-plate can be designed, which, when pasted in a favorite book, will add to value of the already treasured volume.
Floral Vocabulary.
Apple-blossom
Preference.
Almond
Hope.
Acanthus
Art.
Arbor vitæ
Unchanging friendship.
Bulrush
Docility.
Balm
Social intercourse.
Balsamine
Impatience.
Blue violet
Faithfulness.
Bay wreath
Glory.
Box
Constancy.
Broom
Humility.
Buttercup
Riches.
Camellia japonica
Unpretending excellence.
Cherry
A good education.
Canterbury-bell
Gratitude.
Chestnut
Do me justice.
China aster
Love of variety.
Cabbage
Profit.
Coreopsis
Always cheerful.
Clover, red
Industry
Cowslip
Winning grace.
Clover, white
I promise.
Daffodil
Uncertainty.
Dahlia
Elegance and dignity.
Dandelion
Coquetry.
Fennel
Strength.
Geranium
Gentility.
Grass
Submission.
Heliotro
pe
Devotion.
House-leek
Domestic economy.
Hollyhock
Ambition.
Ivy
Dependence.
Laurestine
A token
Lichen
Solitude.
Lettuce
Cold-hearted.
Lemon-blossom
Discretion.
Lilac, purple
Fastidiousness.
Lily, white
Purity.
Mullein
Good-nature.
Mignonette
Worth.
May-flower
Welcome.
Nasturtium
Patriotism.
Oats
Music.
Olive
Peace.
Ox-eye
Patience.
Poppy, white
Dreams.
Snowdrop
Consolation.
Straw
United.
Sensitive-plant
Sensitiveness.
Star of Bethlehem
Reconciliation.
Sweetbrier
Simplicity.
Thyme
Thriftiness.
Thorn-apple
Disguise.
Tulip-tree
Fame.
Witch-hazel
A spell.
Winged seeds of all kinds
Messengers.
White violet
Modesty.
White rose
Silence.
CHAPTER XXXIV.
A FEW ITEMS ON OLD-FASHIONED NEEDLE-WORK, WITH SOME NEW AND ORIGINAL PATTERNS.
COME around early this afternoon and bring your fancy-work; we will have a nice, cosey time; all the girls will be there, and we can read that last new book.” Such is the familiar and welcome invitation given and received, from time to time, by most young girls, and they find quiet but real recreation in these informal meetings, where, while listening to a friend read aloud, they believe it much easier to keep their minds on the subject if their hands are employed with dainty needle-work. Then, too, sewing is a real pleasure when one becomes interested in the work, and anyone who thoroughly understands plain sewing can with ease learn fancy stitches of all kinds, for good old-fashioned
Plain Sewing
is the foundation—the A B C—of all the more elaborate drawn work, embroideries, and some of the laces. As a rule we think
OVERHANDING.
comes first on the list of plain stitches; this is exactly the same as sewing over and over. Hold the two edges of the material firmly together between the first finger and thumb of the left hand, while with the right hand you take the stitches very close together and as near the edge as possible, sewing from right to left (Fig. 292). It is well to keep the edge nearest to you a little tighter than the outer edge, to prevent its puckering. Always baste the seam before sewing, and when the seam is finished open it and flatten out the stitches (Fig. 293), so that the edges of the material will not overlap, but just meet together and lie smooth and flat.
Fig. 292.—Overhanding; or Sewing over and over.
Fig. 293—Overhanding. The seam opened with stitches flattened out.
OVERCASTING
is the same as overhanding, except the stitches slant, are farther apart, taken down deeper in the material, and the seam is not opened.
HEMMING.
First turn in the raw edge four or five threads, according to the kind of goods to be hemmed, then turn it down again to the desired width; this done, baste the hem down evenly and neatly—it must be of the same width throughout—hold the sewing over the first finger of your left hand, and have the stitches small, even, and very near the edge of the hem (Fig. 294).
Fig. 294.—Hemming.
RUNNING.
Pass the needle in and out of the material in a straight line (Fig. 295), making all the stitches the same size. We believe the rule is to take up two threads and leave two; but the length of the stitch should be regulated by the kind of material used.
BASTING
is to take long stitches in the same manner as running.
GATHERING
does not differ much from running; the stitches are taken on the needle in the same manner, but in this case two threads are taken up and four left; the line should be kept perfectly straight.
Fig. 295.—Running.
If you wish to gather an apron or a skirt divide it into halves, then into quarters, in order to make the fulness even on each half of the band; mark the four places and gather on the right side; when finished draw the stitches tightly together on the thread and stroke down evenly with a needle. To sew in the gathers, back-stitch each one in separately.
STITCHING.
Take two threads back of the needle and two before, having each stitch meet the last one, as in Fig. 296; keep the stitches even and in a straight line.
Fig. 296.—Stitching.
BACK-STITCHING.
Proceed as in stitching, only make the stitches longer and do not have them meet.
FELLING.
First baste up the seam, allowing the upper edge to extend five threads beyond the lower edge (Fig. 296); then back-stitch or stitch the two edges together; next turn the upper edge down over the lower one and lay open the seam so that the fell will lie down flat like a hem (Fig. 297); then hem it down neatly.
Fig. 297.—Felling.
Button-holes.
Fig. 298 shows how to take the proper stitch. Be careful in cutting button-holes to make the slit even to a thread and cut the outer corner rounded; bar the inner corner by taking two stitches across it, and overcast the button-hole around three or four threads deep from the edge, or if the material is not inclined to ravel run it with thread, either double or single, drawing it a trifle tight; then begin at the left-hand corner to work the button-hole, leaving one thread between each stitch; keep the stitches exactly the same depth and the loop or pearl of the button-hole on the upper edge.
Fig. 298.—Button-hole Stitch.
HERRING-BONE OR CAT’S-TOOTH STITCH
is used to keep the seams in flannel spread open and fastened neatly down. Fig. 299 shows how to take the stitch; make the stitches all even and of the same size.
We have now given all the stitches which properly belong to plain sewing, and our next step will be
Fig. 299.—Herring-bone Stitch.
Darning and Mending.
“A stitch in time saves nine;” this much most of us know from experience, and it is wise to devote a little time on a certain day each week to looking over the wardrobe and making any repairs that may be needed; the little care and time thus bestowed will prove a true economy, and it is a real comfort to have all one’s clothing in perfect order.
TO DARN A JERSEY OR A STOCKING.
With a needle and thread carefully draw out the uneven ravelled edges of the hole, in order to diminish its size as much as possible, and bring the loops and ends back in their proper places; then place under it a wooden egg or anything that will answer the purpose, and using thread of the same texture and shade of color as the garment to be mended, run back and forth across the hole as far as the material is worn thin, leaving a loop at the end of each turn. In crossing the threads, take up every other thread alternately each way (Fig. 300), and make the darn of an irregular shape, as one of an even outline does not wear well; when the weaving or darning is finished the loops can be cut off.
Fig. 300.—Jersey or Stocking Darn.
TO DARN A TEAR.
Fig. 301.—Tear Darn.
Carefully bring the ragged edges together and baste the tear as nearly as possible in its original position; then, if it is delicate muslin or dress material to be mended, use ravellings of the same instead of thread to darn with, and weave it in and out across the edges of the rent, as in Fig. 301; if the darn needs strengthening, baste a piece of the same material under the rent before darning, and catch down th
e edges of the piece on the under side of the goods. In mending broadcloth or like material, darn it on the wrong side, and when the darn is finished, ruff up the nap with the point of the needle at the edges of the tear on the right side to cover the stitches; then dampen the darn, and after laying a thin clean cloth over it, press with a moderately hot flat-iron; this should make the darn almost, if not quite, imperceptible.
How to Patch.
If possible cut the piece intended as a patch of the same goods as the garment to be mended, and if there is a pattern be careful to so cut and place the patch that it will match exactly; baste and hem down the patch on the right side of the worn part of the garment; then cut out the old material on the wrong side, leaving enough edge to form a firm hem; sew this to the patch, taking care that the stitches do not show on the right side.
