Appliqué Techniques

The Art of Appliqué -
The word appliqué usually strikes enough terror into the hearts of many costumers that they never try this versatile and extremely period embellishment technique. Somehow, appliqué got the reputation of being advanced or difficult to master. It does require the mastery of a set of hand stitches but that's about it. If you can sew, you can appliqué. Read on, intrepid textile adventurer!
History
Appliqué comes from the French word 'appliqué' (pronounced 'ap-lee-kay'), which means “to put on or lay on" or to "apply". Essentially, to place a cutout decoration onto another larger piece of material and affix it to that material. There are many period appliqué techniques and modern equivalents that make appliqué a joy to work.
Historically, appliqué is often worked first and then used as a ground for embroidery and other types of embellishment. It is thought to have originated as both a means to artistically patch holes and as a means to use up scraps of precious fabric so that nothing went to waste.

Appliquéd and embroidered Rus gryphon, wool on wool and silk.

The Elizabethans used the appliqué technique extensively both by itself and in conjunction with quilting. In Patterns of Fashion, by Janet Arnold, there is a beautiful example of a pink satin doublet with an all-over appliqué of 'gilly' flowers in cream leather. Other examples, especially from fine leather, abound.
In Eastern Europe and Central Asia, examples such as the gryphon above, as well as clothing, door hangings, saddles, rugs, bags and other household items all show heavy use of appliqué as a means of embellishment.
Techniques
The technique used depends on the textile used and the use of the finished product.
Wool, leather, and other non-raveling materials
Once woven wool is fulled, it usually does not unravel at the cut edge. Like wool felt, the fibers have matted together. This means that you don't have to turn the cut edges under when tacking them down. Likewise with leather.
Since you don't have to worry about the edge, you can simply cut out your shape and tack it to the ground fabric using whatever stitch suits you.
Silks, Linens, Cottons and other raveling materials
Any woven fabric except wool will need to have its edges treated in some fashion when used as appliqué material. You can approach this in one of two ways. First, you can leave the edge raw, tack the shape down and apply cording on top of the edge to hide it and prevent it from further fraying. This is a good method and a period one, provided you make sure your raw edge is tacked very securely down and won't slip out from under the cording applied on top of it.
The other way of approaching the edge is to roll it under as you are tacking it down. This is a good method if the article is going to be washed quite a bit. Depending on how small the appliqué piece is, you might even be able to iron the edges over prior to stitching down, which will make things much easier. One problem you will face with this method is when you come to tight interior corners. You will need to clip your seam allowance to allow the fabric to fold around the curve without too much fuss.
If the fabric chosen wants to unravel the second you cut it, you might consider using an alternative fabric for appliqué. You will have a devil of a time working with it unless you use Fraycheck (a edge bonding agent) or the period equivalent of Fraycheck, Gum Arabic. There is ample evidence in period that Gum Arabic was used not only as a deterrent to ravel prone edges but also as a sizing bath. Fabrics such as velvet, velveteen and other slick or napped fabrics respond very well to Fraycheck. Fraycheck makes it possible to not have to roll the edges under which makes working with velvet/velveteen much easier.
Types of stitches

Common tacking stitch	Running stitch	Blanket or Buttonhole stitch

The above three types of stitches are the ones most commonly used in period appliqué. The common tacking stitch is best used on a turned edge rather than a raw edge. The running stitch is good for both raw edges and turned edges. The blanket or button hole stitch, if worked very closely together is great for covering a raw edges. If worked loosely as above, it makes a nice embellishing stitch especially when done in a heavy thread.
Fun with modern tools
In period, a piece of appliqué was usually held to the ground by some method during the stitch process. Various methods included simple pinning and actual use of weak glue. With this in mind, I use a product called Heat 'n' Bond Lite Low Temp at Jo-Ann's Fabric Store. It comes in sheets and rolls. Essentially it is a waxed paper coated on one side with a heat activated bonding agent. The 'Lite' denotes that it is for light weight fabrics - I use this even when working with wool, however. The 'low temp' is exactly that. It was developed for fabrics that couldn't take an extremely hot iron.

The first step is to develop the design. Once that is done, it can then be traced on to the Heat 'n' Bond paper (it's fairly transparent).	Place the design, 'sticky' side down on the wrong side of the fabric and iron it on. Note that this will give you a mirror image of your design.
Cut the design out of the fabric/Heat 'n' Bond sandwich.	Remove the paper backing. The design is now ready to be placed on the ground and ironed down.

If you are working with a fabric that needs to have its edges turned over, you can lightly tack the edges over using the tip of your iron and then iron in place as above.
Below are some of the different types of projects I've done in the past using appliqué techniques and various embellishment methods. Click on a picture for a larger view.

Appliqué and embroidery using wool and perl cotton.	Appliqué, embroidery and bead embellishment using wool felt and perl cotton.	Appliqué, couched cord and pearls using an edge treated velveteen.
Appliqué and quilting using wool and pearl cotton.	Appliqué and embroidery using wool and perl cotton.	Appliqué and embroidery using wool and perl cotton.
Appliqué, embroidery and beads using wool and perl cotton.	Appliqué and embroidery using cotton with the edges turned under and perl cotton.

Five Cross Cultural Embroidery Stitches

Stitches that Work for Every Culture -

History
Embroidery and most other fiber and needlework arts are believed to originate in Asia and the Middle East. Embroidery and the embellishment of clothing is certainly a time consuming practice which necessitates that there be actual time to do it. For groups of humans living in marginal areas, subsistence would take precedence over leisure activities. For humans living in areas in which subsistence was much easier, there was time to develop the art. Initially, it may have all started as a way to enhance and, at the same time strengthen seams.

In 1964, a Cro-Magnon hunter's fossilized remains were found at a dig in Sungir near Vladimir, Russia, dating to 30,000 B.C. His fur clothing, boots and hat were heavily decorated with hand stitched horizontal rows of ivory beads. This example would seem to indicate that the idea of couching; whether it was bits of something or a cord of some type, has been around for at least as long as embroidery itself.

Chinese bead embroidery in Siberia, dating from between 5000 and 6000 B.C., include elaborately drilled shells stitched with decorative designs onto animal hides. Mosaics of Byzantium, 500 A.D., depict embroidery of clothing with silk thread, precious stones and pearls. It is possible the Chinese thread embroidery from 3500 B.C. was the origin of thread embroidery, as we know it today. Historical documents record the use of embroidery in China as early as 2255 B.C.

Recorded history, sculptures, paintings and vases depicting inhabitants of various ancient civilizations wearing thread embroidered clothing date back over 3,000 years including those found in Greece 400 B.C., and Babylon and Syria, 700 A.D. Archeological excavations in Ur, 1544, revealed high standards of thread embroidery from ancient times such as a pure gold thread embroidered and woven shroud in the tomb of Empress Honorius dating 400 A.D. The gold threads were melted down and weighed 36 pounds in pure metal. By 1500 A.D., embroideries had become more lavish in Europe, as well as other areas of the world. From this period through the 1700's, elaborate thread and bead embroidery gained popularity.

Through out the beginnings and establishment of embroidery as a craft, there has been a set of basic stitches that developed everywhere in the world. Each basic stitch is the basis for an entire family of stitches that share the same characteristics as the mother stitch but are executed in slightly varying ways.

The Secrets of Good Embroidery
There are only three secrets to embroidery success. The first is size. The difference in good embroidery and not so good embroidery is the size of the stitches in relation to the thread being used and the design being worked. The second secret is consistency. Each and every stitch should be the same size as the rest of its fellows. This particular secret is really just a mark of practice and patience. The third secret is a healthy respect for the materials being used. Thin material simply will not support heavy threads. Consider either backing the material or using a smaller thread size.

To Hoop or Not to Hoop
I've done it both ways and have not formed a preference for either method. Both methods require that you be very careful with tension and this also seems to be a mark of experience and patience.

The Big Five

Running Stitch
Running stitch is the simplest and most basic of all stitches and probably the oldest. Running stitch is often the foundation for more complex stitches and it is also used for hand quilting. Included in this family of stitches are: Cross stitch and Couch work. Most often used either by itself, as a foundation or as an outline stitch.
The needle simply "runs" along the material, making stitches of equal length. It can be used for outlining as well.

Back Stitch
Backstitch is also known as point de sable. Backstitch is an old and very adaptable stitch, which can be used as a delicate outline or as a foundation in composite stitches. This stitch follows intricate curves well if the stitches are worked in a small and even manner in order to follow the flow of the curve. Included in this family of stitches are: Stem, Split, and Herringbone. Similar in appearance to Running, it is most often used in the same manner.
Working from right to left, the needle is brought out a short distance from the beginning of the line to be covered. It is inserted again at the beginning of the line, thus taking a step "back", and emerges an equal distance beyond the point where it first started. This stitch can be used for lines and outlines.
If you turn over your work at this point, you will notice that the back of the backstitch looks like stem stitch. If you want your backstitches to look good both back and front, I find it easier to do a stem stitch and let the backside of the stem stitch function as the front side of the backstitch.

Back stitch as described above.	Stem stitch: beginning.	Stem stitch: Always keep the thread to one side or the other of the needle.	Stem stitch: This stitch looks like cording and is popular for outlining.

Satin Stitch or Fill Stitch
Satin stitch is also known as damask stitch. One of the oldest embroidery stitches to be found, satin stitch is worked on traditional embroideries in practically every country. Included in this family of stitches are: Couched Satin or Bokhara work, also known as laid work as well as Long and Short Stitch. Most often used as a fill stitch.
Although it appears to be simple, it is actually a bit difficult to work. The basic stitch consists of carrying the thread across the space to be filled and returning underneath the material to the starting point again. The whole art lies in making the stitches lie evenly and closely together and preserving a neat firm edge to the shape which is being filled. The longer the stitch, the more it will catch on things so it is best to either break up large spaces to be filled into smaller spaces or to use techniques such as Bokhara work (where the stitch is couched down either with itself or with a second thread).

Chain Stitch
Chain stitch is also known as tambour stitch and point de chainette. Chain stitch is one of the oldest of the decorative stitches and is the basis of a large group of stitches. Its use has a long history and is widespread throughout the world. It is believed to have originated in Persia and India. Included in this family of stitches are: Basque, Feather, and Wheatear (which is actually a cross between Chain and Buttonhole). Used for any number of techniques such as fill, outline and by itself. The most widely used stitch. Members of this family as well as the closely related Buttonhole family are most often used for seam strengthening and embellishment.
Three stitches are shown below. The regular chain stitch, the open chain stitch and a "Viking" variant of chain stitch:

Chain stitch 1: the thread is brought out at the top of the line and held down and to the left. The needle is then inserted in the spot where the thread first emerged and brought out again a short distance away.	Chain stitch 2: The thread is then drawn through over the loop of working thread. If working without a hoop, it's best to pull the thread parallel with the fabric rather than away.	Chain stitch 3: the process of loops and stitches is repeated over and over. For corners, tack the last thread in line down with a plain stitch and then begin the next line with a new chain stitch in the same space.	Open chain stitch 1: The thread is brought out and the needle reinserted a little distance away from the emerging thread.	Open chain stitch 2: The loop is caught with the emerging thread as with regular chain but the loop is open due to the distance between start and finish.	Open chain stitch 3: the thread is then reinserted in the same spot as the first part of the loop and another open loop is made.
Open chain stitch 4: The thread is inserted in the same spot as the last emerging thread and another open loop is made.	Open chain stitch 5: a succession of open loops are made. This stitch requires a looser tension than regular chain stitch.	"Viking" chain 1: a small tacking stitch is made at the beginning and the thread emerges down and a little to the left of the first stitch.	"Viking" chain 2: the thread is then inserted through the tacking stitch and crossed over itself and the needle inserted to emerge just under the first part of the loop.	"Viking" chain 3: one more loop like the first is made in the tacking stitch.	"Viking" chain 4: the third loop is made by inserting the needle under the first two loops, brining it through as for the first two loops and crossing it over...
"Viking" chain 5: the needle is then reinserted in preparation for the next loop stitch.	"Viking" chain 6: the needle is always inserted under the two loops above the stitch being made.	"Viking" chain 7: this particular stitch gives a nice, raised and corded affect.

Buttonhole
Buttonhole stitch is often used as an edging stitch and is the basis for a large group of stitches. Included in this family of stitches are: Barb and Cretan as well as Shisha. Also used as a fill stitch and as a couching stitch. Very closely related to Chain.

Buttonhole stitch 1: The thread emerges on the lower line and the needle is inserted and brought out again as shown.	Buttonhole stitch 2: The thread is then pulled through over the working thread.

Projects Using These Stitches -
Click on the thumbnail for a larger view.

Appliquéd Celtic dogs using chain, open chain and buttonhole stitches.	Embroidered fleur-de-lys using stem and satin stitches. The back of the embroidery can be seen on the right side of the picture.	Embroidered fleur-de-lys using a modified Bokhara stitch, satin and stem stitches. Click here for a look at the back of the embroidery.
Appliquéd Scythian stag using button hole, stem, chain and back stitches.	Embroidered Elizabethan smock using chain, stem and satin stitches.	Appliquéd pouch motif using chain, open chain and buttonhole stitches.
Cuffs for an Eastern European shirt using chain, stem and running stitches.

Combination of embroidery and applique on a recreated 15th century coin or salt bag.	Embroidery and applique close-up.
Central Asian items are almost invariably decorated, usually with tribal emblems.	Back of tent bag. Bags such as this were used for storage of personal items.