Handbook of Lettering

8/13/2019 Handbook of Lettering

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A HANDBOOKOFLeaeringFORSTITCHERS


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About his book:TheAuthor hassetout irl thisbookwith threedistinctaims.Firstly towite a concise istoryofLettering,tracing the developmentrom thesimplestmarkings o the elaborateand decorativemonogtam. Sec-ondly o givan llustated diction-ary of all stitches hat are suitablefor carrlng out any lettering.Finally to display n an illustratedsection hegreatvarietyolletteringdesigns uitable or variousstitchesusing every etter of the alphabetasexamples.The result is a book which witlappeal o all those nterestedn em-broideryand heprofusionofdesignideaswill helpand nspireanybodywho enjoysmonogramming.

A VAN NOSTRAND REINHOLD BOOK


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HANDBOOK OFLetteringFOR STITCHERS


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A HANDBOOK OF

LetteringFOR STITCHERSELSIE SVENNAS

f f i r r l ' , t o . t pa t r D R L I \ H oLD ( o i , 4P A N \l tJlDl \Lw \oRK LlNcltNAl l fo\DoN MtLBoLRNf


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van NostrandRejnhold ompany RegionalOmces:New York Cincinnari Chicago Miilbrae DallasVan NostrandReinhoidCompany nternational lfices:Toronto Melbourne LondonThis book wasorisinallypublishedn Swedishin two volumes, ntitledn4arkbok ndMarkbok 2,by LC.A. Fdrlaget,Vasreras, wedenCopyrishtO ElsieSvennas ndLC.A. Fijrlaget.Vesteras. 966English ranslationO Van NoslrandReinholdConpany Ltd. 1973Library of Consress atalosCard Number: 72 5278rsBN: ,142 8085A1l ights eserved. o part ofthis work covered y thecopyrigh!hereonmay be eproduced r xsed n any ormor by any means graphic, lecro.ic. ornechanical,ncludiig pholocopyinS.ecording.tapingor informalionstorage Dd etrievalsystems withoul writtenpermission ithe publisherThis book sprinred n Great Britainby Jolly andBarberLimited,Rugbyand boundby the FerndaleBook Conpanr.Publ ishedbyVanNostrandeinholdConpany, lnc.450West33rdSt.New York, N.Y. 10001 nd Van NostrandReirhold CompanyLtd.EgginlonHouse,25 28 BuckinghanCate, LondonS.W.l.Published inuhaneouslyn Canada yVan NoslrandReinholdLld.1 6 5 4 3 2 l 1 0 9 8 7 6 5 4 3 2


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M a r k i n g

Evcnduringthe MiddleAgcs, bcforc heart ofwri t ingbecame general. the well-to-do families ol Europeused 1o put a private 'mark' or mark of ownershipon their houses and possessions.h went \,!ith thefarm or the fanily and usually enjoyed legal protect ion. his 'mark'was a sign or somel imcs let lcr,It was made up of straight lines, circles and othefsinple heraldic devices. owing to the fact that thematerial was often stubborn to work in. (This typeof marking is still in use, or ex,rmpte, on timber andcattle.) Textile naterials, on thc othcr hand, wcrceasily worked, and there the mark was replacedat anearly stage by lettets or a manogrcm. which comesfrom the Greek word meaning a singlc leltcr. Theworked monograms had both a praclical and acsthcticlunction and were formed in the style and manner ofthe period. For somc inexplicable reason. however.textile marking has not developed over the past fiftyycars.All too oftcn the letters are still formed in styleswhich we now avoid in other contextssuch as books,newspapen and other typographical products. Oninherited linen we iike to see thc old monogmms.ollen large and highly elaborare perhaps because tgivcs a nostalgic rcminder of the pas1.For the sakeof future generarions,however, we ought to build ontradition, and adapt the shape and size of thc mono-gmm to the tasteand sty leofthe day.

A well-worked monogram is nowadays oftcn thconly decoration on- lor example. a sheet. And torelieve the plainness of other texlile aflicles such astablemats,napkincases.ibs,storagebags.handbags.rndclothesofvarious sorts. a monogmm is a suitabledecoration which at the same time makes the articlemore personal.

The monograms in this book are in many casesassimple as he old idiograph, but thereare also examplesof letters in various kinds oftype as well as fantasticand romanticised forms. Most ol them can beembroidcred in various stitches, some easy, somemore difilcult. Some are intcnded to be worked in'free style' embroidery, that is. following traccd lines,others are 1() be worked in cross stitch and other'counted thread' embroideries.

For a marking to be beautilul it must be well-execuled and take textile properties into conslderarion. Choice of letlers, material and embroiderytcchnique depend of course not only on thc articleto be marked and the time al your disposal, but alsoon yourskill. We aUnnd pleasure n havinga beautifulIinen store. and marking can be an enjoyable andexciting way of expresslng your personal taste andstyle. This book will show you how the wcrk is doneand the many techniques and forms ofletters at yourdisposal.


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C ho i c e o f l e t t e r s , en l a r g i ng and r educ i ng

Nowadaysa'single etter s oftenused or marking.The inen store s, afterall, thepropertyofthe wholefamily,so hat heinitial ofthe amilynameis uitableas a monogram.The shape nd sizedepends n theposilion wherc he monogram s to be placed.alsobearinginmind anypatternon he abdc.To simplifythe choiceof monogram here are several agesnthis book showinga collectionof diferent styles lthe same etter. The lettersare very close ogether,but whenyou havechosenone or two styles, racethem on transparent aper.You will be able o seebetterhow the etter ooksaloneand seewhethert issuitable.Most of the letteG are ntended o standalone,but just a few of the styles ecur on diferentpages nd can be used ogether.If a numberof lettersare o be used ogetheat isbest o choose hem rom an alphabet n which heactual ettersare so shapedhat they balancewelltogether.Placeall the lette^ on the same evel orpreference. his is more up{o-date than standingthem on a slant or entwining hem together.Thedistance etweenhe lettersmust be carefullycon-sidered. xperiment y drawing he etters nseparatepieces fpaper and bringing hemcloser ogether rfufther apart. The lettersneednot be intertwrned.There are examples n this book of a few suchcombinations,but the inexperienced orker will6

ob r f i n c l Le re , u l l . ) no ra l | e r p r ' ngL 'By all means nclude he date. t is interestingohaveboth da1 nd etters n order o checkwearandtear and for the benefitof futuregenerations.t willbe seen rom the earliermonograms eproducednthis book that the dateoften ook up as muchspaceas he etten.Thesize fthe lettersn this book s not alwayshesizeyou will want. Sometimeshe fabric or artrclewill demanda differentscale.Many people ike tohaveall their linen unifonnly markedand then themonogrammustbe worked n different izes.t mustnot ook either oo a rgeor too small.On an ordinaryunpattemed hand towel about I inch high is areasonableize.The figurcson the eft showhow toenlargeor reducewith the help of squaredpapers-This can either be bought n varioussizes r home-made. fyou aregoing o use he monogram lot, itwill save ime if you havephotostatcopiesmade,enlarged r reduced.Theplacingofa monograms also mportant.Findout the most pmctical place and remember hattraditionally a monogramshould be seenand alsodecoratehe article.On a placemat, or example,tmust not b covered y theplateand on tablecloths,napkinsand towels t must be placedso that t willbe seenwhen he article s foldedup.


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Transfer o the mater ia

when the form and sizeof the monogmm has beendecided. draw it on a pieceoflransparent paper witha hard, sharp lead pencil. lfyou are going to work alot of identical monograms il is better to draw it inlndian ink on tracing cloth. To help in placing it onthe material draw a vertical and horizontal line onthe paper. Then select the place for the monogramand tack a cross on the fabric along the line of theweave (rcmember that nowadays monograms areseldom placed obliquely over corners). On applyingthe paper, nt the two sets of lines exactly over thetacked cross. Sometimes lines can be marked bydrawing a pin along the surface nstead oftacking.

The transfer can then be made by any one offourdifferenr methods. Theeasiest s by using r ar6onpaper(dark or light according to the colour of the fabdc).Lay the fabric on a hard, smooth surface and 6x thepaper with the monogram nrmly over it with pins ortape orby lacking it down. Then lay the carbon papercoloured side down between he fabric and the paper.Draw over alllhe lines with a pen, steelknittingneedleorcrochet hook, carcfully liftingtheedge ofthe paperto make sure the impression is clear. You can ifyouwish make carbon paper yourself by colouring theback of the paper on which you have drawn themonogram with soft lead pencil or chalk.

The best results are usually obtained by the more

laborious method of pouncing. Lay the paper ortracing cloth on which the monogram has beendrawn on a soft surfaceand prick along all lhe lineswith a sewingneedle. Fix the pricked monogram overthe fabdc and with a piece ofcotton wool or a twistof wool smear coloured powder all over the mono-gram so that it works through the holes.Thecolouredpowder can be ordinary talcum for dark fabrics andtalcum mixed with blue for light fabrics. Afterremoving the paper you will see he lines as rows ofpricks and can fill them in with pencil or Indian ink.

A simple method applicable in the case of light,thin fabrics is transfer by hgrt. This involves makingthe letter drawn on the paper show lhrough the labricby holding bolh to a light. This can be carried out incomforl by laying a sheet ofglass, for example. overa suitably wide gap between wo tables ofequalheightand placing a srrong lamp undemeath the glass. Adarkened room will facilitate the process.Whlle youare drawing the letter on to the fabric this musl beheld taut with the left hand or be fixed in a frame.

The fourth method is by working small tunnings/il.rer along the outiines through both fabric .rndpaper. The paper is then carefully torn away. Thismethod is excellent on all fabrics, and givesa fresh,unmarked final result. It is almost the only methodpossible for lowelling and similar surfaces.


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Em br o de r v t ec hn i ques

Embroidery lcchniqucs have followed the tides of fashion in thesame \fay as forms of lelters- Many of them have a long historybehind them and have appeared at diffcrent periods in differentmaterials and combinations. The technique used should be adaptedto the quality and style of the article. Soirc of those described onthe following pageshave not genemlly been used for marking. butthe illustrulions of the worked examples show how they can beeppl ied.Cross stitch. The diagram above shows one ofthe most commonly-uscd sritches--the diagonal cross stitch on the lelt hand side. Thebottom siitch ls worked from left to right and the top stitch fromright to left. All the stitches in a piece of \'r'ork should lie in thesamedirect ion.Thethreadshouldalwaysbeattachedinthedirect ionof the stitching, never at right-angles. If you are working on aIoosely-\,r'ovenabric, take carc not to pull the stitches too tight.Thc righr hand diagram shows the straight cross stitch. This canbe worked in diferenl ways: the diagram shows the two stagesofr method in which the whole stitch is completed at once. Straightcross slitch must be worked over an even number of threads. A


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monognm which is designed o be worked straight over the threadsof the fabric can also often be worked obliquely over the threads,bur then it will also stand obliquely on the fabric. The two cross.r i lche. can be combined n le l rer rand de. ign. .Back stitch, four-sided stitch. The stitches shown in the diagramabove, back stitch (left) and four-sided stitch (cenrre and righr),can be used in conjunction with cross stitch and satin stitch forboth simple and more demanding monograms. They may often beappropriately used on tablecloths and place mats in combinationwithso-cal led'black'st i tch mbroidery. hiswasoriginal iyworkedin black silk on white linen. Nowadays the same echnique is oftenused n modern interpretalions, worked in red, pink or blue thread.Brown or greyyarn is also used or markingtablecloths and napkins.Most of the monograms on this page are taken from pages 50-4and worked in one thread of moulin6e yarn. lt is important thatthe thread should be nne. B in the middle ofthe nert page s workedrn two colours. ln lower case(seeunder B and on page 53)_ heseletterscan be used for longer texts. as for example on presentssuch


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Techniques or two-sided embroidery. Marking should alwals bedone very ncal ly. so that even he'wrong's ide looks nicc. Quite anumber of the leltcrs of the alphabet keep their shape urlrangedon thc back. By tracing the inilial on a piece of transparent paperJou can test wheiher the \etler will \ook the same on the back.Thc illusrration on the Left shows the same lctters on the'right'and'wrong'side. ln some cases ombined etters an also be readin lhe correct direction on both sides see E on page l,l).A few cxamples of suhable stitches are shown in the diagrams.A narrow salin stilch will have more body if worked ovel a fewtrammed threads. Stem stitcb and in some casesherringbone stitchbecomes bdck stitch on the wrong side. This can bc worked o\rcrrvith a whlpping thread or otherwisedccorated. Seeexamplesabove.Herringbone stitch can also be worked so that lhc back becomessatinst i lch.

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Raised satin stitch. Raised satin stitch recall! thechefactenstrc sevenieerrrh entury relicf embroidery.oltcn magnificcnil)' executed n gold and sil\'cr thrcad.At the middle of rhe nineleenth cntury coi ton varncame nto gener . r luse and wi th this thc dcl icateeighieenlh century lincn thrcad embfoiderv evolvedinio .r heavier el ief embroiderv.This included heso-calleduohie dnglar. v,ith satin slitch and raisedr r r n . r i r Lh \ r n . e t hen .3 e n e r ' " _ d . r ec_ ( r d l i o rhasused hese cchniques or nrark ing.But you havepfobabl], olien noticed how the material tcars away.rt hc sidcofheavy r . r ised at inst i tchand at thc dccpimpressionsef l on mangled arr icles.The so-cal led'f i l1ingin' raised satin si i tch is conse quentlyusedsparingly owadays . n ihis technique ven hc thinI ines f lhe lc l tcrsarc rvorkedby ovefcasr ing t nghlangles o the under lynrg f i l ling . Raisedsatin st i tchihen. ike 'whippcd outl inc st i tche s. s realh onlysui table or materials uch as dl i l l , b ird s eyeweaveanddamask.Ordina|v sat inst i tchand slemst i tchar cnot sui table n these elf pat tc cd labrics.Satin stitch. Satin stitch is suilable for work on lirm.smooth uf laces.t ! r ,ashc nosl usualsuface-f i l l ingst i lch n thc cighteenth entufy white embroideicsand occurs olh as a sirnight sarin sl i tch, wi lh thcst i lches l r ight angles o thc out l ine.and also vi th

the st i tches lanl ing n ord er to fol low thc shapeofthe pattem belter. lt is important to make sure thatthe stitches all slant the sameway. The outlines roundsatin stitch will be more raised and more even if youfirst work round the outline in back stitch or stemstitch. Another way ofmaking satin stitch more evenat the edge is to work round it aftcrwards in a fineoutline stitch. In many letters the satin stilch maybe allowed to merge graduallv into stem stirch.Outline stitches. Of the outline stitches ,a.,+ riil(l](see page 18) nd stem stitch (see pagc 19) are rhesimplest. Rich embroidcries wirh Renaissance ypcomamentation and letters worked in red and blacksilk in lincs of stem stitch only go back as far as thesixteenthcentury. Thc stitch can beworkedboth righthandcd and left handed. A broader line is sirnplyachievedby working several ows ofstcm stitch closeagainst each other. F'or ncatnessbegin and end eachrow of stem stitoh with a smaller stilch.'l:lthippd outlinc' sritch is a rclief stitch. lr originatcsfrom the outline stitchingin sixtcenlh.rnd seventeenthcentury applique work. In the rich and skilfullyexeculed eighteenth century white embroideries a'whipped outline' sritch was used for ourlining thepierced or lilled grounds charactcristic ofthe period.

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It is suitable or work on closelywoven fabrics,particularlypatternedweaves s t stands ut enoughto make he monogmmconspicuous he stitchcon-sistsofvariousoverstitchedutlinestitches ndcon-sequently ifers in thickness. he hinnest s workedover backstitchor stemstitchand the coarsest verchainstitch.The whipping s done rom right to leftexcept over stem stitch, for which the 'whipping' liesin theopposite irect iono theslem ti tch.Chainst i ! .h s another asi ly orked ut l ini t r tch.common n eighteenth enturymarkings.Worked nfine thread n smallstitchest is suitable or ornateletter folms. It is also used, ike stem stitch, fortramming,Coucrig is used i$tly as an outline stitch,whm asingleor double thread is laid on the fabric andfastened own with smallstitchesn the sameor adifferent olour,secondlyt is usedas a 'filling' withits long trammd threads oversewnwith smallslrrcnes.Knot stirch s a rlief techniqueusuallyworkedbywinding he threada certainnumberof times oundthe needle. n the eighteenth entury white em-broideries heseknots covercdwhole surfaces.nmodem monogmmsknots are used as decorativel 6

stitchesn combinationwith other echniques. heyshouldbe astened ery irmly to the fabric soasnotto be left hanglngon a 'stalk' and on articles o bewashed iequently they are better replacedby small'laztdaisy'stitches. kind ofoutlinestitch, n whichsmall wistedchain stitchesorm the knots, s alsoknown asknot stitch.Tambow stitch, Tambour stitch looks like chainstitchbut is workeddiferently. t gets ts name romthe French word tambout (drtttr.'), and. refersto thefact that it is worked on fine fabric stretchedover aframe.The hread s held n the eft hand as n ordinarycrochet, but it is held ,ndemeath the fabtia, ^nd theloopsaredrawn up with a crochet ook andworkedinto a chain.This s a medievalechnique hichwasvery fashionablen the eighteenth nd nineteenthcenturis.t is excellent or towellingand similarsurfaces here haiflstitchsnormally ecommended.Tambour stitch is quicker to do and unlike chainstitch s easyo undo, f oneshouldwish o changehemonogram.On the wrong side he stitch ooks likeback stitch,which can easilybe madeattractrvebyoverstitching.Split stitch.This canalso n some ircumstancesooklike chainstitch.Most of the thread ieson the right


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side ofthe fabric. The slitch takes its name from thel-ac1 hat one pierces the working th.ead with theneedleon making the stitch. Split stitch is usedbothas an outline stitch and for filling as a sort of'shaded'sUrcn.Shadowstitch. Shadow stitch is on ofthe eighteenthcentury techniques. t is worked on thin fabric with afine thread (sewing cotton is quite suitable) in rhecolour ofthe fabdc. On the right side the work makesoutlines rcsemblingback sti ch, but m ostof the threadlies onthe back as a lilling. It consequently appearsasa shadow against rhe thin fabric. The lilling alsomeans thal the monogram is raised against the

Buttonholestitch. One of the commonest lechniquesv]Jsedn broderie a glaise. It used to be employedfrequently with filling and as an edging to the work.Double buttonhole stitch is most suitable fur mono-grams. lt gives much the same effect as satin stitchoutlined with stem stitch. Feather stitch is an easystitch, closely allied to buttonholc stitch.Shaddstitch. This occu$ in one or two varrauons.It is a medieval technique which reached its highestpeak in the eighteenth century, during which it was

executedwith great skill in silk- lt takes ts name fromthe fact that it was usually worked in a number ofdillerent shades of silk, which gave a softly blendedcolour efect. In modern monograms it is worked inone colour only. On articles to be washed frequentlylhe stitchesshould not be too long nor lie too looselyon the surf-ace fthe fabric.The embroidery techniquesdescribedwill be madeclearer by the following diagrams and photographsof worked monograms, all enlarged for the sake ofclarity. A certain number oftechniques, and possiblevariations not mentioned above are also shown_Thediagrams often show the embroidery executed n twocolours. This is for the sake of clarity and does notnecessarily mean that the work needs contrasting

The most important thing for a good result is,however, accuracy in execution. On loosely wovenfabrics free style embroidery will be most successfulif the work is stretched in a frame. Do not use toocoarse needles. f the thread is coarse, use pointedtapestry needles, otherwise ordinary sewing needles.Do not leave he thread lying in long, loose oops onthe back. Work with reasonably long lenglhs ofthread and lasten ofcarefully.


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Back sri tchand whipped backstrrch Laced back slitch Pekincset i tch


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Whippcd sremst rc Sten stitch worked to righland left and rariat ionol lazy daisy stilch

Cablechain sl i lch Tambour st i tchcrochclcdihrough ihe fabric


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Chrin st i lch Whipped charnsl i tch Varial ion of !vhippedchainst i lc!Chain st i ich over Open chaln sritch { lthst i tchcs n groups


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BuLlonholc st r rch Doublc bul lonholcslrtch

Two rows of butt onholcst i tchwith chain

Slert ing uuonholestrtch tsuttonholet i tch


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Smrl l chrln strtchcsas knots. or doublechain s i r tch

Couchingand( n o L s Darning over ! tarJhrpcd hreadsSmall ree stvlc st i lchcsas ofnamenr nsideoul l ine \t i tch


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Knolted st i tch. lowerin but tonholest i tch Knotted stitch andvariation on twistedchain stilch

Feather stitch Chained feather slitchIy sr i tch


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Straighr arin t i tch.outlincs n running Satin stitch ovcrseun

in back sl i lchSatinsri lchand back st i tch

Sarin ri tchwirhstcn sl i tch ul l ines satin stiich slal1tingto r ight a.d to left


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Satin st i tch Raised satin stitch.stem stitch or backstitch filliDg

Raised atinstitch.split stitchorchain t i rchi l l ingRaised satin sthchrunningst i tch

Looped holes


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Closedher fnrgbonc t ' tch$i1h stemsti ich oulhnc

Shadowslrtch ascdging br c losedhef ingbone sl i tch)

Appl jque work with Trammccl threads overscivnwith stemsti tchTrammed thrcadsoverscwnwith snlal l back st i tch

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D ar n i ng t c h Double darning st i tchon!hreads nid crosswise Shaded trtchwithoulr hippedslcm st i lch Shaded t i rchwithstemst i tchoutl ine Spl i l st i tch n outl inesand filled sufaces


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+++ +++ +*f+ t f i-L* t** +- I t*+f tt " + I - * * I r t+ t

/A |TTL/A rfr\ /mnTnF F E F F F Fqffi ffi ffiH F H - l l F F H - - - E F H b E H E H E l , , F l P H - t r H - - l H Hr Lr Frrl..,Lr -r rrn,i \q F F F E F F YFZ ,q w L.l_4] l_l l_l+# l +#E-E E +#+*# H uHHE-E#

+ + , + + , + + + , + + ,t + . t + + t . . + + +t + . 1 + + t + + + - F - ' t - T + , , + T + , , ++ 1 - + + 1 - f + t+++ ++++++++ ++ ++ + + + + + ++ + + + + + + + + + ++ + + + ++ +++ + +++ + + ++ + + + ++ + + + + ++ + + + ++ + + + ++ + + + +

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++#+


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.]llr# + t+ -i-+FE FF ff iFWWff i f f i f f iE. H.*-Fh+q+e' E ffi 8,-.*H- *+ ft fti, {+cidr'+ H w q -FFlffitr ffift ffi]$ltr##+1rl. i-f+'- -t.lt. +ll+h q# ffi H H- - -r+-r-.'l++, ,----+--- *trlir '.r+,H-tr t r* ,Hff+-++ F+r .qs#ff i f f i f f i f f i, H . H + + d H .R F f f i # # f f i f f i H - H f f i , # f f H + * ,E= F-S F, fi'tq,m HT, F-,H-+r+s .ft F # H #ffi Erb ffi-+ f r r - - r + l ; + ; 1 q f T q F W W H ; t l [ - F ; E E f t H f f i


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ffi -itf ffi +r-++ +++-{-| .# ++r-a-+T . T T t 1 t + + + + + J ITft ffi .H #+ +t -r !-lT T 1 - t f 1 I + + + + + +. H


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T n . . . f f i + - + + - + + + - L l' l T - + . l - f + 1 + + + + ] - + + r . l It'ft -ffi ff +++ *-+ ++-! !_lH H +*+ f+J +-'+J. t l IJ ,T r t r ' l rT r f , 1J rJy ' * t1 - , ,111 , ; t t * f l

fltr H*trH*H #*"4l'H*T+- T"ffi'J+-ffi # #*#ffi tfrft- H -H tr H Hl*JF,*+3, #- J$.h-,-.-trr. H*# '*+r*f-,*tFT'- tFtl Hnl+rj r++"-+\ /"tr++f\ .r-flr]-t \r J f l + r , r r | - J # t r H f f i HlLtT" -f|i f+''*-ii+ fX-ftfr+ j*l +t+T t+f * fi f1 i'1 "fi H }-]Tr.T fr-f .+ .H # +-r-t -l-{-+ J r-l tr-lrTrTr r ' l TrTT r lr1rr l ' t* ' t ' t * ' t r tr t+r*d/


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If you wish to make a thin letter. trace the black line, otherwise trace the grey surface. suitable stitchesare whipped outline stitch. stem sritch,

AE=,KffiGEHImatin stitch, back stitch, chain stitch. two rows ofwhipped outline stitch, outline slitch filled with decorative stitches.J KL6 1


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M can have sloping or vertical sides. Stem stitch wit}l buttonhole stitch (M) and chain stitch (N), whipped outline stitch, feather slitch, satln

l'ffi$*if-ffi

I


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Ifthe round letters ofthe alphabet appear too large, they can be made oval (seebottorr rowl.

@@@ffi@#@@


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ABEDEFGIA/\ ,]OPQRS-[I.-Yt\E@6 M H(CQMO RAIGTNIKL

simplemonograms esemblingdeographs. elowand right, variationson mirror monograms hichcanalsobe urnedupside ownfN,tF/ffi lc lgr$l)KDC\\ @f d RAEeDEFGUJK \A \,1''l0 PQRs- t i _JxY4AAO 2345679064


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AB MFFG-IJKLI\fl!OPOSTLI]IIVWAYIffi0 u; fi =ffmclllEEffifi fief "=1=| |[l,Xllff"& | W. "l* I& 0 c 0 e r g n t J r ( u0pq! -s I r i J ]wxYta"g


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O P O R Stters an either be filled in or left open.

eo#s'%",^,rS ffi%Hultonhole stilch, stem stitch, satin stitch with oulline. iealhcr stitch. filling wirh small stitches.satir stilch.

YZ

rN TD FX I-A TF TF F{ It-Ii:T


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,r,.-tt'Td*,,@@ffi fi'-ffil',i{l'''[email protected]@#TE:-,4STTTI'VWXYZ6 8 ,


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&ffiffiffiffihe central lines of the letters are worked in stem stilch or narrow whipped outline stitch and the leavesas small .lazy daisyl or chain stitches.

M . 1 ,& , V d oV V V " d f VV V V VV# V'h*V*- ruffiffhe leavescan be filled wilh two or threc stitches engthwise. A simpler version of the alphabet can be worked in 1lv stitch.ffiffiry-LJw v" M 9>>}})6cY^ ^\r, o\tadl1- ^\12 0F.Y".Y' ^AFWE "!Losl" ^ll=AZ "W)V ,&-


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These lerters arc most easily worked in outline stitch along the black lines. Slem slitch. chain stitch. or whipped oulline stilch may nlso be used

sutir, "tit"h - .uir"a .udn stitch along the swellingsmarked in grey is morc dimcult and will takc longer'


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The middle row shows a few examples of how these sinuous lette$ can occasionally be linked togcthcr in a natural way. Avoid obscure inter-

twinings. It is better to put the letters side by side on the same evel.


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f f i aceand r vo r ka l ong t heb1ack l i neS i sm or cdem l nd i ng ' T h i sa ] phdbc l i s$o r ked i ns l an t 1ngsa t l n

l i t i t ch * i t ha l l t h " s t i l chess l an t i ng t hesam ew ay ' I t i sbes t t ow or k | hesa t i ns t i t chove f s t cm s t i i chou i ] j nes 'T--ffWXY


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a@bcdefgghrttkilil1@pqrsTLilvwxYThe alphabel above and the figures on the left hand side are worked in the s21me ay as the letters on pagc 72. The remaining figures and thet254s6789023456790alphabets below are worked in a thin thread in very narrow and even $'hippcd outline slitchabcdq7fuillnnDpqnAwv\)xw,lrCtfg tklm,npysurwxy

AAE.Wff


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Uffrtuit[Ll]]J

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About heauthor:Elsie Svennas s a well-knownauthorityon all aspects fstitcheryand embroidery.She s the authorof many bookson the subject, helatest being PATCHCRAFT in


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the Reinhold Craft PaperbnckSeries.

VAN NOSTRAND REINHOLD COMPANYNEW YORK CINCINNATILONDONMELBOURNE


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Handbook of Lettering

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Transcript of Handbook of Lettering