Cross Stitch F-10

0 views

Skip to first unread message

Normando Chapman

unread,

Aug 3, 2024, 6:02:07 PM8/3/24

to naberkaiveg

Caterpillar Cross Stitch was launched by award-winning designer Sally Wilson in 2015 after she spent 9 months of pregnancy trying unsuccessfully to find a modern cross stitch kit for her new baby's modern neutral nursery.

The name Caterpillar Cross Stitch was chosen because the process of stitching isn't exactly quick. You need patience that slowly, the end piece will take shape as a beautiful, bright piece of art to keep for generations to come.

We're going big! This is the largest in-person event we have ever hosted - expect undisturbed cross stitching time, crafty small business shopping, a quiz, brag table, charity raffle, smalls exchange, and the chance to design your own cross stitch pattern (with experts on hand to help).

Happy Haunting contains everything needed to create a colourful Halloween-themed cross stitch project. You'll also receive 3 other spellbinding goodies - subscribers will be treated to an exclusive witch needle minder, themed ribbon, and a delicious lollipop.

Subversive Cross Stitch: 50 F*cking Clever Designs For Your Sassy Side invites stitchers of all levels to fully express their bad-ass crafty selves, whether they need to release their inner curmudgeon or let fly with a witty insult. With alphabet charts and easy-to-follow instructions for every design, Subversive Cross Stitch: 50 F*cking Clever Designs For Your Sassy Side includes everything you need to get your craft on from the original instigator of subversive stitching.

In 2003, Julie Jackson created Subversive Cross Stitch, a bedrock of the modern craft movement that pairs old-fashioned samplers with snarky sentiments. Along with this, her second book, kits, cards, and other gift items bearing Subversive designs can be found online and in retail stores around the world. Kits, supplies, advice, and hundreds of PDF patterns can be found on her site, subversivecrossstitch.com. Julie currently lives in Dallas with her husband and a menagerie of outstanding honor roll pets.

If you have spent any time looking at cross stitch patterns and kits, you have no doubt run across the phrase fabric count, as in "stitched on 14 count fabric." But what does 14-count mean when it comes to cross stitch?

Cross stitch fabric like Aida and linen are woven with the same number of threads in each direction to create evenly sized squares. Appropriately called evenweave fabrics, they are perfect for cross stitch because they produce evenly-sized stitches.

The number of squares per inch determines the count of the fabric. For example, 14-count Aida has 14 squares per inch, which means stitching on it will give you 14 stitches per inch. Squares per inch and stitches per inch are interchangeable in this example.

The count of the fabric determines the final size of your piece. For example if you are stitching a motif that is 42 stitches high by 42 stitches wide on 14-count fabric, the finished design will be 3 inches square (42 stitches / 14 stitches per inch = 3 inches). On 16-count fabric the piece will be 2.6 inches square, and on 18-count fabric it will be 2.3 inches square.

Take a look at the picture below. The same apple motif was stitched on three different fabric counts, with very different results. The largest apple was stitched on 6-count fabric (6 stitches per inch), the medium on 11-count fabric (11 stitches per inch), and the smallest on 16-count fabric (16 stitches per inch).

Fabric count also determines the size needle you use. With lower count fabrics you should use a bigger needle, and with higher count fabrics a smaller one. Check out our post on which size needle to use for cross stitch for more information.

Linen works the same way as Aida, but the fabric counts are higher, typically anywhere from 22 stitches per inch to 40 stitches per inch. The difference is that linen is typically stitched over 2. That means, for example, 28-count linen will have 14 stitches per inch when stitched over 2.

More on stitching on linen in a future post, but in general you can substitute 28-count linen for 14-count Aida, and vice versa, without changing the size of the final design. Similarly, you can swap out 32-count linen for 16-count Aida.

The site is secure.
The ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.

Purpose/hypothesis: To biomechanically compare vertical mattress and cross-stitch suture techniques, in single- and double-row configurations, in their ability to restore native knee kinematics in a bucket-handle medial meniscal tear model. The hypothesis was that there would be no difference between the vertical mattress and cross-stitch double-row suture techniques but that the double-row technique would provide significantly improved biomechanical parameters versus the single-row technique.

Results: Intact state contact area was not restored at 0 ( P = .027) for the vertical double-row configuration and at 0 ( P = .032), 60 ( P < .001), and 90 ( P = .007) of flexion for the cross-stitch double-row configuration. No significant differences were found in the average contact pressure and peak contact pressure between the intact state and the vertical mattress and cross-stitch repairs with single- and double-row configurations at any flexion angles. When the vertical and cross-stich repairs were compared across all flexion angles, no significant differences were observed in single-row configurations, but in double-row configurations, cross-stitch repair resulted in a significantly decreased contact area, average contact pressure, and peak contact pressure (all P < .001).

Conclusion: Single- and double-row configurations of the vertical mattress and cross-stitch inside-out meniscal repair techniques restored native tibiofemoral pressure after a medial meniscal bucket-handle tear at all assessed knee flexion angles. Despite decreased contact area with a double-row configuration, mainly related to the cross-stitch repair, in comparison with the intact state, the cross-stitch double-row repair led to decreased pressure as compared with the vertical double-row repair. These findings are applicable only at the time of the surgery, as the biological effects of healing were not considered.

Julie Jackson is the mastermind behind the popular "subversive cross stitch movement." You may have seen her book Subversive Cross Stitch (2006), thumbed through it and thought "yup" to make of the designs (check out her website here for kits and other goodies). Julie has a new book coming out TODAY and it's even better than her first! She was kind enough to sit down with me on her book release day and answer a few of my questions and share a few previews of her new book for you, dear readers...

Julie Jackson (JJ): If I'm lucky, they glance and dismiss the genre, but once they realize what the words are saying -- classic double-take and laughter. I'm the youngest of seven kids, so I've been working my whole life to get a laugh! It gets pretty competitive with so many funny siblings, so it's good practice. Also, my 90-year-old mom once said, "I love your book, I keep it under my mattress!"

JJ: Both. I get so many suggestions I can't use, there are so many things I won't touch. It's hard to get it just right, you never know. Sometimes I create a design from a phrase I really love and it's just a dud. I have a book of phrases scribbled down, so I just try again. I'm hoping to get a lot more PDF patterns up this year. They're less of a time investment for me than the kits, and I can experiment with those more to see what people like.

JJ: Well, a fabulous woman named Sharyn Rosart was the book packager with my first book which they sold to Chronicle. I've had chances to do a second book, but I really didn't want to work with a craft title publisher since my stuff appeals to a base beyond the craft world. Sharyn started working for powerHouse and had the idea for a second book, but they mostly do art and photography books. We waited a few years for the time to be right, for them take a chance on something they hadn't done before. I kept hanging on because I really felt I'd found the right publisher. They've been great to work with and kind of let me do my own thing, which I love because so many publishers would put limitations on what I do or put their own spin on it. I hired a few stitchers and upgraded our initial agreement so that there would be a total of 50 patterns. Then I rewrote most of it, upgraded the way the patterns are printed, added stitch counts and a couple more alphabet charts, and a great photo of my mom in the back. It's bigger than the last book and I think it's a helluva deal for the price, I tried to make it a valuable reference tool since so many people have told me they picked up cross stitch because of my first book and still keep it on their shelves.

JJ: I'm in love with so many of the vintage frames I found -- especially the frame for "Because F*** You, That's Why" . It works so well with the piece, it's almost distractingly glamorous. I think the combination of glam and shock makes that one my favorite.

JJ: I started working at home as a freelance copywriter in 1996, I had just HAD IT with working for other people. I took one last job after that, and it drove me to start stitching the "F word." It was definitely art therapy and a way to stay enthused as I was kind of forging a new meme.

JJ: Buy the book and try it--it's so easy and surprisingly therapeutic. Plus, once you do a few of mine you might want to branch out and create your own pieces. I really encourage people to make it their own, no two stitchers are alike in their ideas and execution.

JJ: I took a wedding sampler from a craft store and stitched the word "f***" very small right in the center of an ornate floral border. Traditional wedding samplers usually come with font charts so you can stitch in the couples' names. This was just a bunch of detailed flowers and a tiny f-bomb. It delighted me to no end.