I will demonstrate by stitching a border pattern.

Fabric and thread -
		I have chosen aida (11 count) fabric for the project. I used wool so that the pattern gets a good coverage.
Planning the pattern-
In order to acheive a reversible pattern, I have two things to keep in mind:–Stitch the pattern horizontally. This will keep the top and bottom of the edges neat. –Start each new row with a new thread. This will avoid me from finishing out with the thread mid way, thus keeping the reverse side neat.
Making the pattern workable -
The horizontal graph image of my pattern will look like this. But, I face a problem of having long stitches. Those areas are marked in red in Fig 2. So, I will make some minor changes to keep the stitches within the 5 square limit:–On either edges, I have made an addition to the pattern to break down the long stitches that would have occured in the rows on the reverse side. –I have also made a gap in between the diamond so as to break the long stitch in the front side into two smaller stitches.
Beginning and ending-
		I now begin to stitch on the fabric using the wool. Each intersection of the graph line would be each stitch point. I take each row at a time. I start each new row with a new thread, so the ends would look like this.
The finished pattern
- the front and the reverse.

Stitch to know:
darning stitch

Fabric and threads:
1. Even weave fabric are the best to do pattern darning, as it makes the counting of each row easy and helps to bring out perfect geometrical designs though this is not at all a must. To avoid frustrations, try to choose a fabric that is not too tightly woven and has enough space for the needle to pass through.

2. Use threads that are not too slippery or light weight, so that it does not sag after the stitch is done. It is best to use a bit thicker thread than the background thread to give the pattern a good ‘coverage’. Else, use a thread of the same thickness as that of the background.

Deciding on a horizontal or vertical pattern-
A pattern can be done either horizontally or vertically.

In pattern darning, threads show up substantially on either sides of the fabric. So, we have to look at the back side of the fabric with the same importance as the front. Longer stitches (more than five or six squares) should be avoided, on either sides. Longer stitches can cause a nuisance and catch on things. They also tend to loosen easily, spoiling the even tension in the design.

While looking to chose a pattern, see if any long stitch occurs while doing it vertically or horizontally. This will help you to decide on how to work a pattern.

Making patterns ‘workable’
For patterns that might be impossible to work on, a minor change could do the trick. For example, a diamond shaped motif  can be too wide and cause long stitches. This can be corrected by interrupting it in the middle with a small dot. So, one long stitch can be broken into two shorter stitches with a short gap in between.

Pattern darning can be done with an intention to make it reversible too. This means that the back of the design will look as good as the front, but not exactly the same. This applies to fabric which might be used either ways, like a towel.  To make a design appropriate for a reversible effect, we can add a minor change to the entire design.

Technique  of sewing
1. Darning stitch is the only stitch that we use in this embroidery. We can go either horizontally or vertically to do the patterns. The stitches are done row by row. Usually the back and forth method is used. In others, where the design runs from end to end of a fabric, it is preferred to start new rows from the same side of the fabric and end at the same side. This minimises the chance of running out of working thread in between the design.

2. While doing the running stitch, we tend to ’sew’ or run the needle through the fabric several times before pulling it out. Though this is fair to speeden the process, it might distort the fabric too much when it comes to pattern darning. So, it is best to ’stab’ and not ’sew’. Take each stitch at a time and pull the needle out completely for each time it passes through the fabric.

3. Take each row at a time, be it horizonatal or vertical. Do not think of how each stitch falls on the entire design.

4. Try not to pull the thread too tight or keep  too loose. Keep an even tension so that the thread falls smoothly over the fabric.You can try to pull the fabric slightly after the compeltion of each row, so as to loosen the tension of the stitch in that row.

 
How to begin and end
There are a few ways to hide the ends of the stitch so as to keep the back side of the fabric neat and reversible. You may use whichever suits you the best.

1. Tie a knot to the end of the working thread and push it through the fabric at a small distance away from the area of the design. Now start working on the design. Be sure that neither the knot, nor the thread from the knot to design is covered by the design. Once the design is completely done, cut off the knot. Take the remaining thread through a needle and weave it into the back of the pattern. This method is especially good for single motifs or self contained spots and patterns.

2. Another way of hiding the ends under the worked thread is the one used in ‘blackwork’ embroidery style. Here,  three or four smaller running stitches are made over which the longer stitch is made.

3. If you are working the thread from one end of the fabric to the other, you can start and end the stitch at the edges, where it is possible to hide it under the hems or seams. This method will also allow you to work each row with a new thread.
 

How to turn
1.When we work back and forth a design, it will be useful to pay attention to the way the turn is taken. If we have to turn by going down the fabric and coming up again with a single fabric thread away, it tends to pull out and look unattractive. However, patterns with diagonal, zig zag or irregular edges can be manged to be worked on back and forth easily as the working thread will pass under atleast two fabric threads between the end of one row and the beginning of the next.

2. Make sure not to pull the threads too tightly while starting a new row. A hint would be to pull the fabric slightly after finishing each row to loosen the tension in the stitch.

3. To overcome the problem of turning in designs with straight vertical edges, we can get a bit tricky. Try working every alternate row of the pattern. This way, we can pass the working thread under atleast two fabric threads before beginning with a new row. Then, we go back and work on every row we skipped. The difference will be shown only at the edges, but that is not too bad to bear.

 
embroidery sample: pattern darning

About Pattern darning
The darning stitch is used in an embroidery technique called ‘Pattern darning’. Using rows of straight running stitches of long and short length, patterns are created. This embroidery type is one of the oldest and has been found to be used across cultures from Egypt, Iceland, Japan, India, and the mediterranean regions. It is a very easy technique to follow, especially if done over an even weave cloth.

The visual effect of pattern darning is that of satin stitch, but it differs in its stitch technique. While satin stitch concentrates on each motif or pattern at a time, pattern darning involves carrying the thread for the entire width or length of the design at a time. The lessons will make this point clear.

History
In Egypt, some 12th century textile examples prove the use of such embroidery. The Mamluk period (1250-1517) shows the extensive use of pattern darning over clothing of various sorts. Silk was a more popularly used thread than cotton or linen.

In Iceland, pattern darning is known as ’skakkaglit’. It was used to work on many church embroideries and have been used during the early 14th century. Textiles from 15th century to the 17th depict the use of this embroidery style as well. Wool was the prefered thread over linen.

In Japan, this embrodiery style is known as ‘Kogin’. It was found to be done with white cotton thread over indigo hemp or linen fabric. Kogin originated during the feudal period of 16th to 19th century. Kogin is used even today for embroidering quilts.

Interstingly, a 15th century towel from Germany depicts the use of pattern darning as an effort to imitate the popular Italian Perugian towels where the patterns were woven into the towel. The pattern on the german towel were similar to the egyptian pattern darning patterns.

Patterns used
The patterns used are geometrical patterns. Yet, there have been examples where stylised and geometrically inclined figures of birds, animals and humans have been used.

Stitch used
Darning stitch

Lessons
Pattern darning : non reversible 
Pattern darning: reversible
Pattern darning: reference

Acknowledgements
Carol Hanson,www.dragonbear.com 
Filum Aureum, Newsletter of the Needleworkers Guild 

Marine Life & Colors under splashing waves @ Gallipoli, Puglia, Italy

… along came a jellyfish

We were in the sea while this jellyfish floated by, along with some non-aquatic plants. We were amazed by the beautiful red floral like patterns on its umbrella. The externally visible patterns match to the Pelagia noctiluca, a toxic, stinging jellyfish, commonly known as the mauve stinger in the Mediterranean. The mauve stinger has the ability to glow in the dark [nocti = night, luca = light]. However, we didn’t find any protruding tentacles on its body and we are not sure if it is the mauve stinger itself.

A closeup of the floral patterns on the mediterranean jellyfish. Jellyfish are known as medusa in Italian, attributing to the greek mythical sea nymph of the same name.

coral like formation on the rocky shores, with white ‘flower’ crests

hide and seek… a mediterranean crab cozily camoflagued in its rocky surroundings

— More of what we captured @ Gallipoli —

Gallipoli is a small town in Salento, southern Italy, in the Puglia region. It is located by the Ionian Sea, an arm of the Mediterranean. Less than 1 hour by train, from Lecce, capital of Puglia.

The beaches of Salento are marvellous, with white sandy beaches and intermittent rocky shores like these. Portrayed in the local dialect, Lu Salentu, lu sule lu mare lu ientu [Salento, the sun, the sea, the wind].