Brazilian-Style
Embroidery
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Are you looking for something new? Is there a gift you'd like to stitch, but haven't much time? Are you a little bored with the usual needlepoint stitches? Step into the world of Brazilian-Style Embroidery and stitch your way into what may become an obsession. Once encountered, this wonderful world will be visited again and again! Brazilian Embroidery was developed in Brazil in 1960 by Mrs. Elisa Hirsch Maia (known as Madam Maia). As this lovely lady embroidered her household items and clothing, she became dissatisfied with the available flosses and colors. In experimenting with dyeing the native cellulose, Madam Maia developed a new thread; and a new world of stitchery, which became known as Brazilian Embroidery, was created. The new fiber was a rayon which varied from a very fine silk-like thread to a velvet. These threads are available in solid, shaded and variegated colors. The colors may be soft and subtle, or brilliantly vibrant to give visual excitement to the work. A number of fiber weights can be piled and intertwined to create lovely, textured, three-dimensional flowers and leaves. Metallics may also be added for more pizzazz! If we deviate from those splendid rayon fibers, we are not doing true Brazilian. Brazilian embroidery differs from the usual embroidery in three ways. It is three-dimensional, uses special rayon fibers of different weights, and the background around the motif is filled with fine growth lines, branches and small field flowers. In the traditional manner of stitching Brazilian embroidery, the flowers are stitched first, then buds, and leaves. Stems, main branches and the main growth lines are added next. A variety of green tones and shades are used in the stems, leaves and growth lines along with the array of flower colors. Small flowers are stitched last, for depth. The use of millinery needles is of some importance when stitching this embroidery style. A millinery needle is the same diameter the entire length of the needle. The eye is contained within the shaft of the needle and does not cause the needle to bulge at the eye as it does with a tapestry needle. Side by side comparison will readily show this. (Figures 1 and 2) This uniformity of needle diameter allows for the easy flow of fiber through the center of the various coiled stitches. (In a pinch a tapestry needle may be substituted with proper caution taken in the wrapping of coils.) A long doll needle may be used when needing more width and length for making the numerous wraps essential for some flowers. Since we probably will not have all those gloriously vibrant rayon fibers readily at our fingertips, we can utilize some of the fibers from our own medium of needlepoint. Just for openers, there are the wonderful variegated and shaded cotton flosses, silks, some novelty fibers, and for lots of luster, Marlitt, which does happen to be a rayon. With this exchange of fibers, we will be doing Brazilian-Style Embroidery. The work will be lovely but not as glorious! One fact we should take into consideration is the twist of the fibers we plan to use. This is important in the success of the wraps required in some of the stitches. Brazilian rayons and some silks have a counter-clockwise or "Z" twist, while most other yarns, threads and flosses have an "S", twist. (Figures 3 and 4). It is very important to be able to recognize this twist because if the wrap goes against the built-in twist, the fiber components will separate as it is wrapped. One way to identify the twist direction, after ascertaining the grain, is to take the fiber in the left hand between the thumb and index finger. Twist the fiber. If the twist tightens when rolled to the right, it is an "S"- twist. If the twist tightens when rolled to the left, it is a "Z"' twist. Now that the matter of threads has been settled, we are able to move on to the ground material. Almost any of the canvases may be used. For those quick, easy gifts, Congress Cloth is usually best. It lends itself to small dainty projects, just right for working up quickly and looking as if we spent hours toiling over the stitches. The wonderful three-dimensional stitches have been saved until last. Just a few stitches usually associated with Brazilian Embroidery are bullions, cast-on bullion and drizzle (both may also be double cast-on), stem/outline, couching, detached chain, and French Knot. These stitches can be combined with each other to make flowers that have delightful names. For instance, there are Orange and Peach Blossom, Aster, Daisy and Hydrangea to name just a few. In adapting these Brazilian stitches we do have to make changes in the technique, but only minor ones. In embroidery, much of the work is done "in the hand" taking "bites" of the fabric. Needlepoint, for best results, requires stretcher bars. This means we cannot use the sewing motion. Therefore, in adapting, some of the motions are more vertical and the needle will be held on the canvas back when doing various stitches. All illustrations are shown as using canvas tacked to stretcher bars. For clarity, most canvas grid lines are omitted. Let's begin with a stitch we have used before and sort of ease into this gradually. Almost every one has tried a bullion, a very old stitch dating from Biblical times. Don't forget the twist. A right-handed stitcher, using a "Z" twist will wrap toward the body and away from the body if using an "S" twist. The left-handed stitcher will do the opposite. Wrap the fiber around the needle until the wraps cover the distance from A to B. Take care not to let any wraps overlap. Bullions can form loops if there are more wraps than needed to cover the distance between these two points. Bullions will form beautiful flowers and buds. Experiment to see just what can be accomplished with this little "worm."
The name "cast-on bullion" presents a bit of a problem. Some instructions simply call it a "cast-on stitch." Others refer to it as a "cast-on buttonhole." It really belongs to both families, but perhaps more to the bullion family since there is a thread which passes through the core as it does in a bullion. Anywhere a bullion can be used, a "cast-on bullion" can be substituted, but it cannot always be substituted for a buttonhole stitch. The "cast-on bullion" will give a nice little edge to the stitch. It will make lovely, realistic rose petals and buds. This stitch will require a little practice. It is like casting on in knitting. One finger will serve as a knitting needle and the needlepoint needle will cast it on. An "S" twist fiber will require holding the needle with the left hand and casting on with the right. This may feel a bit awkward at first but with a little practice, proficiency will come. It may help to have a slight tilt to the frame while doing this maneuver. This makes it easier to slide the thread from the finger to the needle. The number cast-on will always vary with the distance between points. Another interesting stitch to try is the Drizzle Stitch. It is also a Cast-on Stitch. There is a difference in the needle position. The eye of the needle is on the top of the canvas as the stitches are being cast-on. The thread is brought to the canvas surface. The needle is unthreaded and positioned with the needle eye on the surface of the canvas. The point is held at the back of the canvas. Casting-on is executed exactly the same as the "cast-on bullion." When the required number of wraps have been Cast-On, re-thread the needle with the working fiber and return to the back of the canvas by gently pulling the needle and its thread through the coil. It is better to make the Drizzle Stitch a little longer than needed. It is easily shortened by pulling a bit more on the thread in the coil. The Drizzle Stitch will be free at one end and will spiral when finished. It is a little fragile, so treat it gently. If a longer, thicker drizzle stitch is desired, use a doll needle. A long Drizzle Stitch will make nice free stems for a bouquet, while a very short stitch may be substituted for French Knots in flower center. Outline or Stem Stitch is mainly used for outlining. It will change directions and curves easily. Stitch length can be changed to suit the need of the stitcher. In some older embroidery books, the Outline and Stem Stitch were considered to be two separate stitches. If the working thread was held above the needle, it was considered an Outline Stitch. It became a Stem Stitch if the thread was held below the needle. Today, these are usually considered as variations of one stitch. Consistency is necessary for the best execution of this stitch. Once started in a straight line, do not change the above or below the needle direction of the working fiber. This stitch may be used in place of, or in conjunction with, the couching stitch in the stems, main branches or the fine growth lines. Couching is merely placing either a short or a long thread on the canvas surface and tying it down with a smaller stitch. If a long stitch is placed, it can be maneuvered to bend in any direction as it is tied down. This will give the stem or growth lines a little interest. Do take care with traveling threads in exposed canvas stitching. Detached Chain Stitch is very simple; but, with a change in size, fiber, or in combination with other stitches, the variations are endless. This stitch will make flowers, petals, leaves, and bows. It is a loop stitch whose size is determined by several factors: the area to be filled, thickness of working fiber, and the daintiness of the motif. If a single detached chain is stitched it is called a Lazy Daisy Stitch. This next little stitch, the French Knot, can do and be many things for all types of embroidery. It can be a complete flower, a flower center, used as an accent, as a filler or as a textured area. Only one single twist of fiber should be used. Adding more twists causes loss of control and will only make a sloppy knot. If a larger knot is desired, add more fiber to the needle. This stitch will be used for many of the little field flowers stitched along the stems, branches and growth lines. For a little different appearance, a tail may he added to the French Knot. Keep in mind the twist of the fiber in this stitch and all the others mentioned. Once these technique changes become comfortable and stitches have been mastered, it becomes a case of "Bet you can't stitch just one!" It will become a challenge to see how many stitches can be mastered, or how many variations can be made. The resulting stitched pieces will be dainty, work up with a minimum of effort and are sure to be treasured forever by the recipient. Pennye Kurtela noted in her article in NEEDLE ARTS that this beautiful work has become a "lost art form" in its native country. Embroidery is still being worked, but the stitches are more flat and conventional. The work being stitched here, in our country, is more like the beautiful work stitched in Brazil 20 to 30 years ago. As with everything in the needlework world, changes come about, adaptations occur, and sometimes a traditional technique is lost. We may have to make changes in the choice of fibers due to availability or to suit our needs, but the techniques used need not be lost. We have the freedom to incorporate many styles of needlework into the needlepoint we do. In our stitching we can borrow these three-dimensional techniques and in a small way keep the feel of this art form alive. With these changes our needlework can become more challenging and exciting, technically and visually. Bibliography Aguilar, Zeann, and Frankos, Carma. Dimensional Embroidery, Book One, Utah: Zeann's Home of Gentle Arts, 1978. Chapter, Virginia. Floss Flowers, Oregon: Impact Presentations, 1990 Johnson, Barbara. Brazilian Embroidery Instructions, Utah: Hawkes, 1980. Kurtela, Pennye. 'Brazilian Embroidery,' Needle Arts 20.4 (1989): 20-22. Levine, Janice, and Von Coelin, Patricia. Brazilian Stitchery, New York: American Crewel & Canvas Studio, 1985. Montague, Rosie. Brazilian Three-Dimensional Embroidery, New York: Dover, 1983. |
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