Introduction:
The name Redwork is derived from the red cotton thread that was used to create this charming style of embroidery. Redwork Embroidery is a simple & oldest embroidery style stitched with red floss and stitching on muslin squares using the outline embroidery stitch. The squares can be sewn together to make quilts, pillow or any other imaginative project. The trend started in Europe and from there was brought to America where it was immediately embraced by women everywhere. It was a prevalent form of needlework in the early 19th century.

Redwork embroidery is a form of needlework worked in monochrome, or a single colour thread and quick to stitch. As the name suggests it is normally worked in red thread, as at the time it was first popular (the 1800′s) the dying technique used for red thread was colorfast whereas other colors weren’t. These embroideries were also called “penny squares“. Muslin was the material used for redwork embroidery back in those days. Redwork was also used to embellish tea towels, aprons, pillow covers, splashers and other Victorian decorations.

Redwork is a form of embroidery which uses red floss to trace simple line drawings. Redwork can be done in other colors, changing the name to greenwork or bluework, etc. Redwork done in black is called “Black Redwork” because Blackwork refers to a specific single thread embroidery technique. Similar work, carried out in blue thread is often called “bluework or blue redwork”. It became popular during the Victorian era as women searched for new ways to decorate their homes. The idea of Redwork came to America from Europe, where it was called “Turkey work”. Turkey red was one of the few colorfast colors of the time.

Redwork History:
Redwork Embroidery was very popular from about 1880-1920. Patterns were stitched in red (sometimes blue) on a muslin background. This type of stitching, popularized by the Kensington School for Girls in England during the 1880s, was called the Kensington stitch but we know it today as backstitching or outline stitching. The reason Red was chosen is because it was a sturdy cotton thread that could be counted on not to fade or bleed. This time period was also before DMC floss was available in the United States and other color choices were available only in silks.

Sears & Roebuck and other catalogues of the time period offered “penny squares”–small sheets of muslin with stamped patterns for one penny each. Older women have told us that they can remember going to the local dry goods store as a little girl and picking out a pattern to have stamped for embroidery. They would stitch this design during their free time each week. Many looked forward to the Saturday trips to town to pick out their next design.

Themes on penny squares included historical figures, animals, flowers, household items, fruit and vegetables, children and nursery rhymes. Pictures had different meanings. For instance, horse shoes were a sign of good luck, angels ensured the safe keeping of children, and each flower had a secret meaning. Children were often given penny squares to work on, especially when convalescing from an illness.

Another reason for why so many people were interested in the redwork embroidery patterns is the simplicity of the stitches that are used in the designs. In fact they are so simple that many schools teach this kind of needlework to very young girls at school. These are the most common stitches involved in redwork embroidery:

1. Stem stitch – This is probably the most commonly used stitch in redwork embroidery patterns. Practically all needlework of this type contains the stem stitch.

2. Outline stitch – This is also called the Kensington hemming, named after the exclusive girls’ school where it was invented in the late 19th century.

3. Satin stitch – This stitch is primarily used for creating a solid look to some parts of the needlework by filling up certain areas in the pattern and making it stand out from the rest of the design.

4. Split Stitch – This is more popularly known today as the backstitch. It is usually applied on tight curves in the redwork embroidery patterns.

5. Straight stitch – As the name implies, this stitch is for covering short straight lines in the embroidery design.

6. French knots – From afar, this stitch will appear like tiny dots in the pattern.

7. Feather stitch – This stitch works great for joining together separate pieces of cloth to create a quilted product.

With these very simple stitches, women were able to create several redwork embroidery patterns for their bedspreads, pillow cases and coverlets. Many ladies also decorated their dresses and aprons with their own renditions of redwork embroidery patterns.

Worked on basic white muslin using just one color thread, the cost of redwork embroidery was within reach of the lower classes. As only the outlines were stitched, this type of needlework also used less thread than the more elaborate styles. Because simple stitches were used, even young children were able to attempt it, but it can take quite a bit of skill to get a really good result, so it can provide an adequate challenge to adult stitchers also.

In addition to thousands of patterns available commercially, ready to sew squares known as “Penny Squares” were sold in the early 1900′s. These were normally sewn together to form pillow shams or quilts, sometimes with plain red “sashing” between each block. A popular subject of these squares was a little girl wearing a bonnet that covered her face, who became known as Sunbonnet Sue. A little boy, known as either Overall Sam or Overall Bill, followed on behind. These characters were stitched in redwork, and also appliqued onto quilt blocks.

How to sew Redwork embroidery:
To begin your redwork project, first trace the design lightly on the muslin with a sharp lead pencil or water soluble pen by placing the design under the muslin. A light box makes this easier, but taping your design to a window will work, too. Clover makes a pen that makes a fine white line which can be erased or removed with water. If you prefer, you can trace your design with pencil or pen onto tulle or nylon netting, then lay the tulle over your ground fabric and trace through the tulle using a white pen or chalk.

Whether you use a hoop or not depends on how you stitch. If you stitch with your hand below the fabric, push the needle to the front, then transfer your hand to the top and push the needle to the bottom, you should use a hoop as that type of hand use won’t put as much stress on the tautness of the fabric. If you keep your hand on top of the fabric to make your stitches, then not using a hoop may work best since this places more stress on the fabric’s tautness. If you choose to use a hoop, be sure to remove your project at the end of each session to avoid hoop marks.

Usually you will thread your needle with 2 strands of floss. One strand is used for very delicate outlines while 4 strands gives a bolder coverage. (DMC embroidery floss – number 817 (dk coral red), 498 (dk Christmas red) or 304 (med Christmas red) If you are using Sulky (Cotty) thread, the BayBerry Red is the closest in color to DMC 498, and the 12wt is about two strands of floss.

Thread the newly cut end into the needle, folding the floss end in half and threading that through the eye if you have trouble. (Or use a needle threader.) To keep your embroidery firmly in place, use a simple single wrap knot to secure your endings. To hide your tails, or for a smoother back, begin and end by laying floss along back and taking a few catch stitches over it or weaving the tail through two or three stitches. This is important for redwork which will be used as quilt blocks.

The Palestinian embroidery is more than art or handicraft it is an integral part of the daily life of the Palestinian geographical and cultural landscape.Embroidery is sometimes called the national art of Palestine. The earliest forms of embroidered cross stitch in the Holy Land were around the 11th Century. Traditional folk embroidery was an art, with patterns, colors and types of stitch passed on through generations. Designs and thread were inspired by the natural environment in respective regions as well as rug designs in mosques and gold thread and symbols from the robes of church men. Some colors were derived from dyes from berries and flowers; others were pure silk threads from Lebanon and Syria.As with most important symbols, embroidery art is very important to the identity of the Palestinian culture. Each region has its own unique design and pattern.

The Palestinian folk arts have a rich and fascinating history. Silk thread and embroidery, together with an expanding repertoire of symbols, are known to have made their way from China to the Holy Land along the Silk and Spice Routes before being introduced to Europe by Christian saints, holy men and pilgrims. As clothing was of prime importance, Palestinian women wanted something personal, distinctive and handmade. By adopting the traditional styles and motifs of her area, a woman expressed her wish to identify and be identified with her cultural roots. Samples of late-nineteenth to early-twentieth century Palestinian costumes are considered to be representative of folk art at its best.Leila El Khalidi’s work in identifying and recording the history and motifs in Palestinian embroidery will be of interest both to craftspeople and to students of folk traditions and is an important step in preserving the Palestinian heritage.

The Palestinian girls used to wear the folkloric dress