Shadow work is a very subtle and interesting form of embroidery. The
basic idea is to use sheer fabric where only the barest outline of the
pattern appears on the surface and the crisscrossed threads underneath show
through the sheer fabric. This effect can be used in a variety of
ways with a wide array of designs and themes. It is a technique I use quite often in my
Crazy Quilting, because it makes such effective use of sheer fabrics.
White on white is probably the oldest and most common form of shadow
work, which is why it is often lumped in with White Work, but there are
unlimited color possibilities. Colored threads and variegated fibers really add visual
interest. The sample at the top of this article was stitched with
Needle Necessities Over-Dyed Floss. I also use floche, flower thread and
metallic threads in my Shadow Work designs.
Designs worked in DMC Flower Thread on spark organdy from my wedding dress.
Shadow work is most often done using the herringbone stitch on the
reverse side of the fabric, leaving a clean back stitch outline on the top
side. This is referred to as the "Reverse Herringbone" or "Closed
Herringbone" stitch. The small stitches, usually less than one eighth of an
inch long, are worked evenly along parallel design lines most of the time,
with back stitches filling in lines and oddly shaped places.
There are several variations; the most common is working a backstitch on
the topside of the fabric from one side to the other, which also
creates a herringbone on the reverse. This stitch is called the "Double Back
Stitch" or "Inverse Herringbone" and is the method I use, because it is the
only way I can make sure I am not meandering or missing stitches.
Click here to see this method diagramed in
detail.
Design worked in cotton embroidery floss on spark organdy with silk ribbon
accents.
Any fabric sheer enough to allow the thread to be seen can be used. The
most common types are organza, organdy, voile and batiste. There is a wide range of fabrics with varying degrees of
transparency for you to try. Fabric content is not important, as long as the
thread will show through. It is best to pre-wash your fabric if you use
cotton batiste, since shrinkage could possibly mar the design once stitched.
Any fine needle with an eye big enough to accommodate the thread of your
choice can be used, but I tend to prefer sharps. Just remember, a larger
hole will make it easier to learn the stitch, but a smaller one will give a
better over all appearance to your finished design. This is
not an exact science, experiment with a few needle choices to see which
works best for the technique you prefer.
There is an unlimited supply of design sources for Shadow Work. Since the whole concept is an outlined design,
almost any line drawing can be used. Stencil patterns are a great
alternative, since they require little planning, because the design elements
do not share sides. Many Punchneedle, Red Work and general embroidery
designs can also be utilized with this technique. Some of my
favorites sources are the Dover books for floral designs and monograms.
Stained glass patterns and coloring books are another excellent source.
Just for Crazy Quilters
When piecing sheer fabrics, always use a lining fabric. Simply pin
the two fabrics together and treat them as one while piecing. Having
the two layers will insure that the foundation fabric will not show and
gives you additional camouflage for starting and stopping your work. I
always mark my pattern in pencil and then hoop the whole block, because
there needs to be enough tension to keep the design from skewing. When you
stitch your design, remember that only what you stitch between the sheer
fabric and the lining fabric will show. It takes a little time to get
used to stitching through just the top layer for Shadow Work designs, but
the trade off is that you have more flexibility in working without having
stray threads or knots mar your design.
Design stitched in variegated over-dyed embroidery floss on spark organdy.
Tip and Tricks:
- Try to go back through the same holes to keep your stitches even, but be
careful not to *split* the existing stitch as you are working. Sheer fabrics
tend to spread at the needle hole, so there will be some shifting.
- The smaller your stitches, the better your coverage. Start at about one
eighth of an inch and see how it looks.
- If one side of a design is longer than the other, then you will have to
compensate by using slightly longer stitches on the outside and slightly
shorter stitches on the inside of the curve.
- To do veins in leaves or the lines in pansies, fill in across the whole element with reverse herringbone or
double back stitch, then back stitch the veins.
- Use great care when transferring your design. Remember that if the line
you are using as your stitching guide is not straight, then your stitches
will not be either! I like the organic look of hand drawn designs, so
sometimes my work meanders a little bit. It all depends on the effect you
are trying to achieve.
- Shadow work designs can be worked into crazy quilting by doing the
shadow work then backing the sheer fabric before sewing into place, but
it can also be worked on a pieced block.
Print resources:
Pullen, Martha. Shadow Work, the Easy Way. The Martha Pullen Company. 64
Pages. No ISBN available
Michler, J Marsha. Shadow Work Embroidery: With 108 Iron-on Transfer
Patterns. Dover Press. 52 pages. ISBN: 0486402894
Yedziniak, Deborah. SHADOW-WORK EMBROIDERY. Threads Magazine. June/July
2001, Issue 95. Page 36.
Design possibilities:
Bryant, Claire. Small Floral Iron-On Transfer Patterns. Dover Press.
ISBN: 0486270327.
Grafton, Carol. A Treasury of Art Nouveau Design and Ornament. Dover
Press. 144 pages. ISBN: 0486240010.
Relei, Carolyne. Art Nouveau Windows Stained Glass Pattern Book. Dover
Press. 64 Pages. ISBN: 0486409538
Sibbett, Jr., Ed. Art Nouveau Designs. Dover Press. 48 Pages. ISBN:
0486241793.
Sibbett, Jr., Ed. Art Nouveau Floral Iron-on Transfer Patterns. Dover
Press. 48 Pages. ISBN: 0486246418.
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