Does anyone use and recommend the Ultimate Needlework System 4?
sewingsusan
embroidery and have discovered it to be a "crewel addiction" :-). I
did a search and read some past posts on crewel embroidery - for now I
have been learning the ropes with some "vintage" Erica Wilson and Elsa
Williams kits which I got off of Ebay. Since I so love doing this,
and find it to be very relaxing and peaceful, I want to invest in the
right "tools". I have a bit of a windfall coming to me in the next
month or so, and in anticipation I am plotting my splurges :-).
I know the Lowery Workstation is quite popular amongst serious
stitchers, but I ran across the "Ultimate Needlework System 4" while
doing a search on the internet for needlework stands, and it seems to
me to have a few advantages over the Lowery. Here is the link, for
anyone who may be interested:
http://www.stitchers-paradise.com/Stands/System_4.htm
I did a search and someone else asked this question about 5 years ago,
and no one responded. I am hoping there will be a response this time.
:-)
THANK YOU IN ADVANCE
Sewing Susan
Maplewood, MN
kbe...@creighton.edu
quite tippy to me -- most people I know who use a Lowery
need to put a weight on the base to keep it from moving. I've
never had to do that with the System 4. I also like that it
is quite collapsible -- folds up easily and even goes in my suitcase.
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Katherine Becker "As god is my witness
I thought turkeys could fly"
NEVER SEND A FERRET TO DO A WEASEL's JOB --WKRP
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
SBCKeating
out I think. I love it! It is very stable and it is easy to flip it over to
get to the back of the piece. Can't think of anything bad to say about it!
They didn't have the 'travel' version when I ordered mine, but I would like to
get that some day. Mine is portable as is since it does fold up, but the
travel one folds up to a shorter length which would be nice.
Bonnie
>Subject: Re: Does anyone use and recommend the Ultimate Needlework System 4?
>From: kbe...@creighton.edu
>Date: 5/6/2004 9:41 AM Central Standard Time
>Message-id: <Pine.HPX.4.53.04...@Bluejay.creighton.edu>
Pat Porter
has to stand in front of you against the Lowery sitting beside your chair
and it`s ability to just swing away from you with the flick of s screw
lever.
The other thing is that the clamp only opens to 1 and a quarter inches - are
you sure that this is enough?
Pat P
<kbe...@creighton.edu> wrote in message
news:Pine.HPX.4.53.04...@Bluejay.creighton.edu...
sewingsusan
> quite tippy to me -- most people I know who use a Lowery
> need to put a weight on the base to keep it from moving. I've
> never had to do that with the System 4. I also like that it
> is quite collapsible -- folds up easily and even goes in my suitcase.
THANK YOU KATHERINE!!!
This purchase is big bucks in my book, so I really want to do my
research. Of course it should be a lifetime investment.
You mention two of the reason why, according to what I read at the
"stitcher's paradise" website, I am considering the system 4. I would
definitely spring for the collapsible .
I also thought that the feature whereby the joints are somehow
mechanically inclined so that the project stays in place however you
place it, without having to constantly tighten wingnuts was really
"special" - so to speak. Have you had the opportunity to compared
this feature to the Lowery???
Right now I only use a hoop frame, a 1" thick x 10" Hardwick (german
made) hoop on a seat stand which I got on ebay (and really love
because it holds the fabric really tight) but I am constantly
tightening the wingnuts as I flip the hoop up and down and that gets a
little annoying - throws me out of rhythem!
I want to get a square frame, especially for some projects I have
planned using satin jean fabric (which wouldn't work in a hoop frame,
from what I have read.) I have gotten accustommed to two-handed
stitching, so I need a stand for such a frame. I would use the System
with a square frame - either a scroll-style frame with the sides laced
up, or I may spring for an English-style traditional slate frame (as
seen in the "Royal School of Needlework" and at the
"Accomplishments-Shop.com" website). I am currently doing crewel
embroidery and need the fabric to be really tight all the way around.
I want to do the "fish sampler" in the "Royal School of Needlework
Embroidery Techiques" book. My cousin is an advid fisherman and he
has helped me through some tough times, been like a brother to me, I
really want to do that picture for him and I think I need a square
frame because the satin jean fabric it calls can get marks on it from
a hoop frame (according to what I have read.) So that is the first
project I will want to do when I can get the right tools for the job!
Another question - You said that your system 4 doesn't tip - what
style and how heavy of a frame are you using with it???
Also - are you using the light and magnifier attachment?
THANK SO MUCH for responding to my request for an opinion on this
product, I don't have the opportunity to try it out before purchasing
it. Forgive me for asking you to indulge me with a few more answers
to my questions!
Sewing Susan :-)
Dianne Lewandowski
> I want to get a square frame, especially for some projects I have
> planned using satin jean fabric (which wouldn't work in a hoop frame,
> from what I have read.)
That is utter biased nonsense by whomever wrote it. I've done several
Mountmellick pieces - all in a 4-inch or 6-inch hand-held hoop. All on
cotton satin jean. Hoops do absolutely no harm to either the fabric or
the stitches. Not the satin jean from Ireland nor the satin jean sold
in America and made who knows where. I made several tray mats out of
the stuff, as well as drapes for my den. The mats with drawn thread
work . . . in case somebody decides to say you can't do drawn thread on
satin jean.
This fabric would work simply fine in your seat frame.
That doesn't mean you shouldn't purchase another type frame if that is
something you want to do. But your fabric in a hoop, whether tambour,
seat, or hand, once suitably bound and screwed tight, will hold fabric
as tight as you need it until you loosen it up. And it won't cause hoop
marks on satin jean, linen, cotton, blends. It will mark velvet, but
that can normally be steamed back in shape. I've used hoops for velvet
several times.
Not scolding *you* . . . just being emphatic about this myth that just
doesn't want to die a natural death. :-)
Dianne
Lara H
susan...@usfamily.net (sewingsusan) wrote:
...nipped... but I ran across the "Ultimate Needlework System 4" while
> doing a search on the internet for needlework stands, and it seems to
> me to have a few advantages over the Lowery. Here is the link, for
> anyone who may be interested:
I looked at this one seriously before I bought my K's Creation stand. That
one has a ball joint head that allows for any position at all for your
frame and it swings out of the way when you want to get up from your
chair.
I have to stitch with my legs and feet up so a stand that works from the
side was best for me.
It is a bit tippy I have to admit, but I solved that by putting my chair
foot on the stand. No problems now and I simply love this stand!
lara
--
http://groups.yahoo.com/group/needlepoint_etc/
http://www.digitalstoryteller.com/BTV00/hartley/index.shtml
Photographer - editor - writer
sewingsusan
> That is utter biased nonsense by whomever wrote it. I've done several
> Mountmellick pieces - all in a 4-inch or 6-inch hand-held hoop. All on
> cotton satin jean. Hoops do absolutely no harm to either the fabric or
> the stitches. Not the satin jean from Ireland nor the satin jean sold
> in America and made who knows where. I made several tray mats out of
> the stuff, as well as drapes for my den. The mats with drawn thread
> work . . . in case somebody decides to say you can't do drawn thread on
> satin jean.
>
> This fabric would work simply fine in your seat frame.
>
> That doesn't mean you shouldn't purchase another type frame if that is
> something you want to do. But your fabric in a hoop, whether tambour,
> seat, or hand, once suitably bound and screwed tight, will hold fabric
> as tight as you need it until you loosen it up. And it won't cause hoop
> marks on satin jean, linen, cotton, blends. It will mark velvet, but
> that can normally be steamed back in shape. I've used hoops for velvet
> several times.
>
> Not scolding *you* . . . just being emphatic about this myth that just
>
> Dianne
Well Dianne - since I am rather new to all of this and have
self-taught myself with the aid of a 1/2 dozen or so books - I went
back to my sources to see who "wrote" that hoops are bad for satin
fabrics. I looked through every book until I found it in Erica
Wilson's "Crewel Embroidery" from 1962. That was probably my
source... plus the RSN recommends the square frame for the "Fish
Samler" in RSN's Embroidery Techniques... I hope to get that project
done by next Christmas. Still need to buy supplies for it AND,
especially, work on my skills a bit more.
I am still in that steep learning curve... thanks for all the help!
Susan
Dianne Lewandowski
> Well Dianne - since I am rather new to all of this and have
> self-taught myself with the aid of a 1/2 dozen or so books - I went
> back to my sources to see who "wrote" that hoops are bad for satin
> fabrics. I looked through every book until I found it in Erica
> Wilson's "Crewel Embroidery" from 1962.
Yes, and Erica Wilson (If not the primary source, no less the secondary
one) was the one that changed the way Fr. knots are made.
She made a huge contribution to the needlework world and I bless her for
the proliferation of good design and steering a yawning public back to
the artform. The Martha Stewart of her day. :-) (That statement will
surely rile a good bunch of RCTNers.)
One of these days I will get myself a floor frame. Large embroideries
(like robes) are best done on them. You can sit on the floor with them.
Embroidery is like any other artform: the more you learn, the more you
realize what you don't know. There's a lot of myth or generalized
admonitions that don't hold up under scrutiny. Heavens, even in the
painterly world arguments reign supreme over technique. It's just that,
since especially the 1960's when canvas and counted work began to get a
strong foothold, frames became the mantra.
Because of your inquiry, I've been digging out some books on what needle
to use for crewel embroidery. Interestingly, there's those who think
chenille needles work best, those that think you should use crewel
needles. One noted authority cautioned that chenille needles break and
bend easily, so crewels are best. That is the height of the ridiculous.
Crewel needles are much finer than chenilles - which are like tapestry
except they have a point. I've bent many a crewel needle, but never a
tapestry or chenille. That would take a good deal of heat and strength.
In the end, you have to use what works for you and not take seriously
anyone's single-minded thoughts about "musts". As many here have
figured out through time: The only rule is: the thread goes in the eye
of the needle. Actually, there are more rules than that - particularly
if you pick up some esoteric techniques such as Japanese embroidery.
But in the main, that's a good rule of thumb.
Dianne
Diane Hare
> self-taught myself with the aid of a 1/2 dozen or so books - I went
> back to my sources to see who "wrote" that hoops are bad for satin
> fabrics. I looked through every book until I found it in Erica
> Wilson's "Crewel Embroidery" from 1962. That was probably my
> source...
I've never seen pictures of Erica Wilson using a "dressed" hoop. I
believe "dressing" will make a world of difference on more fragile
fabrics. Anyway, there are things we can get away with on cross-stitch
that wont'd work with lush wools or metal-thread embroideries.
I wasn't aware of full-dressing until this year. Half-dressing is
wrapping the inside of a plain (not lip'd) hoop with cotton floss or
yarn, as a cushion and to avoid direction contact with metal or
potential for wood splinters. The hoop's fully dressed if a separate
piece of fabric with a window smaller than the hoop's opening is used
between the working fabric and the larger hoop. The extra piece not
only cushions the fabric but also protects the stressed edge from direct
abrasion and incidental soiling.
Diane Hare
Dianne Lewandowski
> I believe "dressing" will make a world of difference on more fragile
> fabrics. Anyway, there are things we can get away with on
> cross-stitch that wont'd work with lush wools or metal-thread
> embroideries.
Actually, hoops don't destroy stitches previously made - even wool ones.
Nor Brazilian ones, nor heavily padded Mountmellick ones. However, I
wouldn't squish a hoop down on gold work. :-)
> I wasn't aware of full-dressing until this year. Half-dressing is
> wrapping the inside of a plain (not lip'd) hoop with cotton floss or
> yarn, as a cushion and to avoid direction contact with metal or
> potential for wood splinters.
Actually, nice wooden hoops - even cheap ones for that matter - rarely
if ever splinter. But they can stain.
Normally, a hoop is wound with cotton twill. Strips of muslin do just
as well, are cheap and easy to acquire. Polyester twill tape is too
chunky, unwieldy, and attracks dirt like a magnet. It's interesting to
hear about wrapping with yarn. That would take forever. :-) It would
also be prone to moving around a lot, I would think? I've crocheted
enough rings to know how slippery and tedious it is to fill up a ring.
In the U.S., the common method is to wrap the inner hoop. In other
countries, they wrap the outer hoop.
I wrap both on my tambour hoop, the inner on the hand hoops. But I've
wrapped both on those as well.
What wrapping does, essentially, is give you a tight fit - as well as
some protection from whatever material the hoop is made. Metal can
rust, wood can stain.
Another type of "dressing" is usually a large cloth that protects areas
of the embroidery that isn't being worked on. It has a round opening
smaller than the hoop size. You can also just use strips of muslin for
this purpose, but Stefania's pretty cloth is a nice way of doing this.
How fussy you are about your embroidery depends upon the final use,
whether or not it can be washed. One would take greater pains with silk
or metal than you would with ordinary cottons or color-fast wools.
> The extra piece not only cushions the fabric but also protects the
> stressed edge from direct abrasion and incidental soiling.
The only other thing I can add to this discussion is: DO NOT pull on
fabric once the upper hoop has been tightened down. This will distort
finer fabrics. Coarser ones can take the abuse - most times. But you
will permanently ruin finer fabrics by doing this. If you don't have
your embroidery lined up properly, unfasten the upper hoop and start over.
The disadvantages of a hoop are all the fussing required and the
constant moving around - particularly with the smaller hoops. Large
ones are difficult to manage unless they're on some sort of stand. With
a frame, you can set up your cloth and be done with it. But there are
some stitches that don't lend themselves to working in a frame, or at
the least you will have to slacken the fabric for stitches using the
sewing method (chain, stem, bullions, fishbone as examples).
Dianne
Diane Hare
> Diane Hare wrote:
>>there are things we can get away with on
>> cross-stitch that wont'd work with lush wools or metal-thread
>> embroideries.
>
> Actually, hoops don't destroy stitches previously made - even wool ones.
> Nor Brazilian ones, nor heavily padded Mountmellick ones. However, I
> wouldn't squish a hoop down on gold work. :-)
It's not that the stitches would be destroyed, it's that the hoop
couldn't grip evenly over the lumps.
>> I wasn't aware of full-dressing until this year. Half-dressing is
>> wrapping the inside of a plain (not lip'd) hoop with cotton floss or
>> yarn, as a cushion and to avoid direction contact with metal or
>> potential for wood splinters.
>
>
> Actually, nice wooden hoops - even cheap ones for that matter - rarely
> if ever splinter. But they can stain.
$1 hoops have splinters as often as cheap chopsticks. They may be the
poorest possible choice, but they're sometimes all a person has (been
there, glad to have had what I'd had rather than nothing at all).
> Normally, a hoop is wound with cotton twill. Strips of muslin do just
> as well, are cheap and easy to acquire. Polyester twill tape is too
> chunky, unwieldy, and attracks dirt like a magnet. It's interesting to
> hear about wrapping with yarn. That would take forever. :-) It would
> also be prone to moving around a lot, I would think? I've crocheted
> enough rings to know how slippery and tedious it is to fill up a ring.
Wrapping with yarn doesn't take any longer than wrapping with 1/4-inch
twill tape. Either is less intensive than the tedium of wrapping a
lampshade frame. When I'd cited yarn, I'd in mind cotton rug yarn.
> In the U.S., the common method is to wrap the inner hoop. In other
> countries, they wrap the outer hoop.
>
> I wrap both on my tambour hoop, the inner on the hand hoops. But I've
> wrapped both on those as well.
>
> What wrapping does, essentially, is give you a tight fit - as well as
> some protection from whatever material the hoop is made. Metal can
> rust, wood can stain.
>
> Another type of "dressing" is usually a large cloth that protects areas
> of the embroidery that isn't being worked on. It has a round opening
> smaller than the hoop size. You can also just use strips of muslin for
> this purpose, but Stefania's pretty cloth is a nice way of doing this.
>
> How fussy you are about your embroidery depends upon the final use,
> whether or not it can be washed. One would take greater pains with silk
> or metal than you would with ordinary cottons or color-fast wools.
It can also depend on how long the project will take and in what
conditions. Will it be tossed into a bag and toted about? Will it be
done in a week or might it be a year of once/week stitching in diverse
locations and conditions?
>> The extra piece not only cushions the fabric but also protects the
>> stressed edge from direct abrasion and incidental soiling.
>
>
> The only other thing I can add to this discussion is: DO NOT pull on
> fabric once the upper hoop has been tightened down. This will distort
> finer fabrics. Coarser ones can take the abuse - most times. But you
> will permanently ruin finer fabrics by doing this. If you don't have
> your embroidery lined up properly, unfasten the upper hoop and start over.
>
> The disadvantages of a hoop are all the fussing required and the
> constant moving around - particularly with the smaller hoops. Large
> ones are difficult to manage unless they're on some sort of stand. With
> a frame, you can set up your cloth and be done with it. But there are
> some stitches that don't lend themselves to working in a frame, or at
> the least you will have to slacken the fabric for stitches using the
> sewing method (chain, stem, bullions, fishbone as examples).
Or do the in-hand stitches last, after removal from whichever sort of frame.
Diane Hare
Dianne Lewandowski
Diane Hare wrote:
>
> It's not that the stitches would be destroyed, it's that the hoop
> couldn't grip evenly over the lumps.
I haven't noticed that as a problem. A screwdriver is the trick. Paint
the handle purple with a red dot. Keep it with your sewing supplies. :-)
> $1 hoops have splinters as often as cheap chopsticks. They may be the
> poorest possible choice, but they're sometimes all a person has (been
> there, glad to have had what I'd had rather than nothing at all).
Gee, I've used those cheap "made in China" hoops and haven't noticed any
splinters. Maybe that's because I'm in such a habit of wrapping (though
not always), I haven't come across the problem. My problem with the
cheap hoops are that the hinges for the screw snap off, or that the
screw strips and won't tighten sufficiently.
Even the German ones don't always come shipped to me in pristine
condition. Sometimes a layer hasn't quite been hit well enough with the
glue.
I've been trying to find a source for the wider ones - which do seem to
make a more snug fit.
> Wrapping with yarn doesn't take any longer than wrapping with 1/4-inch
> twill tape. Either is less intensive than the tedium of wrapping a
> lampshade frame. When I'd cited yarn, I'd in mind cotton rug yarn.
Actually, twill tape that I've used is at least a half inch. :-) But
it's so difficult to find the 100% cotton these days, so I use one-inch
strips of muslin. Goes fast.
I have never, ever seen a yarn-wrapped hoop. But then, I live in a near
cloistered situation. In my life, I haven't known anyone else (in
person) who embroiders.
Yes, I've wrapped lampshades. Takes forever!
> It can also depend on how long the project will take and in what
> conditions. Will it be tossed into a bag and toted about? Will it be
> done in a week or might it be a year of once/week stitching in diverse
> locations and conditions?
I wonder if I should share my story of the drawn thread curtain that
sat, tightly clamped in a tambour hoop, for over a year? It was filthy.
It wasn't finished. I've never experienced this type of problem, but
I wasn't going to lose this curtain and the work I had done to date.
It's as good as new, already to be fitted back in the hoop and begun again.
Or, the story of the silk thread embroidery that was clamped tight
(screwdriver tight) for months. Padded needlepainting. It, too, is as
good as new.
I don't recommend this treatment. My life has been difficult for some
time, and my projects got neglected. Lots of starts and stops on
different things trying to cope. But I can say with impunity that we
worry too much about this stuff. Embroidery can take a LOT of hard
treatment and bounce back good as new.
> Or do the in-hand stitches last, after removal from whichever sort of
> frame.
That is an option of which I am currently undertaking. But not last -
rather as a set up for drawn fabric. :-) This piece has been in and
out of a hoop numerous times.
Thanks for the lively discussion on an interesting topic.
Dianne
Diane Hare
didn't have spring tension . . . metal with a cork strip. The cork had
lost its oomph and wrapping gave a tighter fit. I've no guess how long
my mom'd had it before she'd shared it with me.
After checking our storage unit last evening and I came home with my
envelopes of Coats & Clarks floss . . . Way back when I'd been so happy
to have finally completed my collection, and then I'd seen a *real* LNS
with DMC & evenweave fabrics (I'd been embroidering on the backs of
pre-stamped 100% linen stuffs) and was overwhelmed. I got myself a
satin-finished wooden hoop then, with a flat spring. I still don't have
a tambour hoop that's both nice _and_ tightens with a screw/bolt.
There was also a 2-yard length of doodle fabric with a needle locked in
one corner. I'm reminded to never, ever, leave the needle in the
fabric. I'm figuring how to use a piece of acid-free card-stock and a
scrap of fabric to make a needle stash to be held to the corner of the
fabric with a couple of stitches, because it is convenient to stall a
needle with an incomplete project.
There's already keep a combination folding pliers/screwdriver/etc under
a flap in my large needlework bag. I don't need to worry about Hubby
snagging it. He has his stuff in the computer jungle area and we both
have more in a kitchen drawer. I grin as I consider the _need_ to make
a case for the all-in-one-tool to match the scissors case, needle case,
eyeglass case, etc.
Yes, I am also enjoying the discussions. They're a good alternative to
more than an hour's stitching on 48-count and to vegging out with DVD's.
Diane Hare
sewingsusan
to the project I want to do which calls for satin jean fabric.
Perhaps I can forgo the expense of a square/slate frame for now, and
the stand, since I did spend money recently on a seat frame with a
deep German 10 inch hoop.
BTW, I got his on ebay and really like it. It has an "articulated"
upright post - meaning the post is in two pieces and is held together
with a screw. You can adjust the stand to put the hoop at the height
and angle you want it. I think this is more versitale than the type
of fanny frame available from England (available from "Royal School of
Needlework" on their website. Early in the week I saw that the couple
who make the stand w/german hoop which I bought on ebay have a listing
with 3 more just like mine available. The seller's name is "Wandaken"
if anyone wants to look it up on ebay. It's listed at $33, but this
is about 1/2 the cost of the English-made seat frame. The hoop is a
top-quality German-made 1" deep and 10" around hoop with a brass screw
- I saw the same one for $16 on a website of needlework products.
If I want to purchase a different sized hoop it would be a simple
thing to drill a small, inset, screw hole into the inner hoop and use
this frame of other projects as well.
I wanted a square frame primarily because I d taking the fabric
out each night and then fussing with getting it in tight again - but I
have gathered that it's not such a big deal to leave your project in
the hoop overnight.
If I decided to put a project aside for awhile I will take it out -
but in that case I am probably using the hoop for whatever I switched
to... :-)
I pulled out my sewing machine and will make a "dress for my hoop this
weekend. Dianne pointed me to the instructions for doing so on the
EmbroideryNow site when I posted on Dianne's discussion board last
week (thanks for pointing me to this list Dianne!)
I looked for cotton twill tape to wrap the inside of my hoop at
Hancocks and only found polyester, so I will have to use muslin
instead (hadn't thought of that until I read this thread.)
I confess that I pull on my fabric to get it tight all the time - but
I am using heavy linen for crewel embroidery - so that's not such a
big deal in my case.
Speaking of new projects - I got the book with Jacobean Iron-On
Transfers today. I have been working kits to learn stitches and get
the feel for crewel embroidery - so using iron-on transfers will be
the next big step in my personal development in this art.
I think the motifs in the Jacobean Iron-On Transfers book are
WONDERFUL but I do not care for the colors in the original piece. I
have gathered from some reading I have done in the archives that many
do not like Jacobean due to the predominate grey and brown colors. I
read somewhere that the pieces we have from centuries ago may actually
be faded or the dyes have not held up...
Regardless, there is no reason why I cannot do a modern color scheme
with these Jacobean motifs. I have Jane Rainbow's "A Beginner's Guide
to Crewel Embroidery" - which is very inspirational in this regard. I
understand Sue Hawkins & Judy Jeroy's books on crewel are also
inspirational in regards to choosing colors for jacobean-style crewel,
but I don't have either book yet. (Boo Hoo)
I think rather than getting a stand and square frame right now I will
concentrate on building my thread and fabric collections (such fun)
and of course my book collection. :-)
THANKS TO ALL
SEWING SUSAN
Minnesota
sewingsusan
Dianne Lewandowski
> I'd been embroiderying for 2.5 decades before I ever had a hoop that
> didn't have spring tension . . . metal with a cork strip. The cork had
> lost its oomph and wrapping gave a tighter fit. I've no guess how long
> my mom'd had it before she'd shared it with me.
Oh, those were my first hoops as a child. I remember them well. The
local store still sells them and I have a few on hand because every once
in awhile someone asks for them and I send them on. :-)
> I got myself a
> satin-finished wooden hoop then, with a flat spring. I still don't have
> a tambour hoop that's both nice _and_ tightens with a screw/bolt.
Mine tightens with a wing-nut/bolt. Got it at Lacis. But I don't think
Lacis sells the wide hoops - only narrower ones, now. A friend asked
about the depth (or maybe that was me that asked) and the answer was:
"It doesn't make any difference, one holds as well as the other."
They're wider than my hand-held German hoop, but not as wide as my
present tambour, which is 1-1/4" and holds like a frame would hold.
> There was also a 2-yard length of doodle fabric with a needle locked in
> one corner. I'm reminded to never, ever, leave the needle in the
> fabric.
Because of possible rust? I'm amused by this because I have loads of
scrap fabric around, all different types, from countable to the finest
lawn, all with needle and thread affixed because I will practise on
them, or use them for "directions" I'm compiling on the scanner. Some
are years old. No problem.
>I'm figuring how to use a piece of acid-free card-stock and a
> scrap of fabric to make a needle stash to be held to the corner of the
> fabric with a couple of stitches, because it is convenient to stall a
> needle with an incomplete project.
That sounds like an interesting device. You'll have to embroider it!
Make it of wool felt!! :-)
> There's already keep a combination folding pliers/screwdriver/etc under
> a flap in my large needlework bag. I don't need to worry about Hubby
> snagging it. He has his stuff in the computer jungle area and we both
> have more in a kitchen drawer. I grin as I consider the _need_ to make
> a case for the all-in-one-tool to match the scissors case, needle case,
> eyeglass case, etc.
Take a look at my needlework case - under shadow embroidery. I made a
"stitcher's necessary" last year (wool embroidery on wool flannel) but
haven't promoted it because so few want projects that must be sewn up.
> Yes, I am also enjoying the discussions. They're a good alternative to
> more than an hour's stitching on 48-count and to vegging out with DVD's.
And what are you stitching on 48-count? As soon as I finish my current
project, I want to design another and do it on 45-count fine linen. A
drawn fabric piece. Then there's the curtain to finish, the padded silk
piece. The stumpwork piece. <sigh>
Dianne
Dianne Lewandowski
> I confess that I pull on my fabric to get it tight all the time - but
> I am using heavy linen for crewel embroidery - so that's not such a
> big deal in my case.
It might be a big deal one day. I've ruined a few projects before I
learned how to do it so this doesn't happen.
Start with the hoop half-way down on the lower hoop. Tighten a little.
Square up the fabric so that it is fairly smooth. Tighten the screw
again (the top hoop may pop off at this juncture, so start again).
THEN: push down the upper hoop. The fabric will stretch itself
perfectly. Now use your screwdriver (if you need it drum tight for long
periods.)
> I think the motifs in the Jacobean Iron-On Transfers book are
> WONDERFUL but I do not care for the colors in the original piece. I
> have gathered from some reading I have done in the archives that many
> do not like Jacobean due to the predominate grey and brown colors. I
> read somewhere that the pieces we have from centuries ago may actually
> be faded or the dyes have not held up...
Actually, I've been doing a bit of reading the last few days on crewel
embroidery, because of questions about what needles to use. So I've
been referencing several different authors and periods of time. Seems
that GREEN was the predominant color, blue came next. If you want more
info on this (the reference comes from England from periodicals dating
from near the turn of the 19th century to about 1950) I'll grab it and
type out more for you.
Have fun.
Dianne
Diane Hare
http://perso.wanadoo.fr/anne-les-petites-croix/surprise/sommairejardin.htm
I'm using dark & medium green, indigo blue, rose & peach silks on
salvaged ( :-) as in was-a-shirt-before ) linen shirting.
Diane Hare
Dianne Lewandowski wrote:
Dianne Lewandowski
Go girl!
Dianne
sewingsusan
I have sparked an interest in crewel embroidery for you, have I?? :-)
I guess the greens in traditional Jacobean account for the "Jacobean
Green" Shade group in the Appleton crewel threads?? :-)
I was sidetracked by another project yesterday (how often does that
happen?) I finally picked up one of the Vogue patterns of
Mission-style embroidered pillows, these were pulled from their
archives and are authentic 1920s designs. (Near the end of the arts &
crafts period.) I started one for my sister immediately, the one with
the butterfly motif - but I am using Appleton Crewel fibers instead of
DMC floss. The stitches are only chain and padded satin, so it's not
all that challenging of a stitching project.
The desire to make pillows from the arts & crafts period is what
sparked my interest in crewel embroidery in the first place.
I am presenting my mother with my first embroidery project as a gift
today.
:-) Ever since starting a family 11 years ago I have not been able to
afford gifts for my family which are as - well, expensive - as what
they give me. Now that I am doing embroidery I feel I can make them
items which are more valuable because of the time I have put into
them.
My sister is going to get the mission-style pillow I started
yesterday. I am working on an Elsa Williams pillow for my mother...
and I still am aiming to make that "Fish Sampler" from the RSN
Embroidery Techniques for my cousin for next Christmas.
I received the needles - thank you. I will email you privately about
them. But I will say here that it seems to me that the John James
brand needles have more "weight" somehow than the DMC needles I was
using. Chenille 22s are fine with Appletons, but I think I could go
to 24. the 20s work well with one strand of Pateryan tapestry, which
I use for some crewelwork since I can get it by the strand at a local
needlepoint store. Jane Rainbow recommends Pateryan in her book "A
Beginner's Guide to Crewel Embroidery", but I think I prefer Appleton
for this type of work.
Blessings,
Susan
Diane Hare
> Well, you're a glutton for punishment. :-) That's pretty fine work! Go
> girl!
> Dianne
In the 1980's I was working on #72 gauze bare-eyed. Now I need glasses
for reading and have a stronger pair for the fine work. I don't believe
I'd choose the #72 for anything but a 1:12 scale display nowadays.
When I picked up the 48-count a few months ago I needed *both* a
magnifying light and glasses. Now I just need a strong pair of glasses
from Dollar Tree and normal room light.
Diane Hare
Dianne Lewandowski
> I have sparked an interest in crewel embroidery for you, have I?? :-)
> I guess the greens in traditional Jacobean account for the "Jacobean
> Green" Shade group in the Appleton crewel threads?? :-)
Appleton has tried to maintain the same shades for eons - in keeping
with what went on long before we got the bug to do crewel.
They are beloved yarns to some . . . disliked by others. Disliked
because they are often "thick/thin". But this is part of their charm,
as well.
> The stitches are only chain and padded satin, so it's not
> all that challenging of a stitching project.
Doing padded satin well is pretty challenging. That's normally not
thought of as "beginner". Kudos to you!!
> The desire to make pillows from the arts & crafts period is what
> sparked my interest in crewel embroidery in the first place.
People keep referring to this period, and I'm not at all sure what is
its style. I'm sure I'd know it if I saw it, but wouldn't know what
it's called. I could look it up, but I'm too busy writing up directions
for a new sampler.
> Ever since starting a family 11 years ago I have not been able to
> afford gifts for my family which are as - well, expensive - as what
> they give me. Now that I am doing embroidery I feel I can make them
> items which are more valuable because of the time I have put into
> them.
This has been discussed often here. Unfortunately, not everyone
appreciates these gifts. You may get a nose in the air - or worse. Be
prepared for that. It will hurt deeply the first time. You learn when
and when not.
> I received the needles . . . I will say here that it seems to me that the John James
> brand needles have more "weight" somehow than the DMC needles I was
> using.
I have some DMC, and yes - they are slightly less hefty. Not sure why .
. . since needle sizes are supposed to be standardized. I just got out
my package of 20's and noticed there was a difference. I hadn't opened it.
> Chenille 22s are fine with Appletons, but I think I could go
> to 24.
I found the eye of a 24 too snug for the Appleton. You may feel
differently. Use what works. :-)
Dianne
sewingsusan
. disliked by others. Disliked
> because they are often "thick/thin". But this is part of their charm,
> as well.
Yes, I have noticed the "thick/thin" aspect of the appletons - perhaps
that is why at times a 24 needle and at other times a 22 chenille
needle would work. I am pretty sure that William Morris, a designer
from the arts & crafts movement, was instrumental in adding certain
colors to the Appletons around the turn of the last century. I think
it was primarily blues for which he developed a dye process. Perhaps
my memory is failing me here, but that what I think I read about Wm
Morris (more on WM Morris' influence below).
I wrote:
> > The stitches are only chain and padded satin, so it's not
> > all that challenging of a stitching project.
Then Dianne wrote:
> Doing padded satin well is pretty challenging. That's normally not
> thought of as "beginner". Kudos to you!!
I meant to say "outline" rather than chain... as for the padded
satin, I have been practicing it on my "doodle cloth" and yes, it's
taken a bit of work to get looking decent, and I am ripping 1/2 the
time yet... BUT it is looking good, sometimes really good now. As I
see it I am not practicing 20 different stitches, I am only perfecting
this one stitch (outline is not at all difficult, I think we would
agree, so the ONLY learning curve work on these pillows is with
regards to the "padded satin stitch". The Vogue Pattern is called
"mission-style pillows", they have 3 such patterns, one with applique
and two with embroidery. I am making the butterfly embroidered pillow
right now.
>
> > The desire to make pillows from the arts & crafts period & studying that period of interior design history is what
> > sparked my interest in crewel embroidery in the first place.
>
> People keep referring to this period, and I'm not at all sure what is
> its style. I'm sure I'd know it if I saw it, but wouldn't know what
> it's called. I could look it up, but I'm too busy writing up directions
> for a new sampler.
OH YES - you would recognize it... since you are busy with your
sampler I will give you a short course of MY UNDERSTANDING of the arts
& crafts period (Note to others - don't blast me if I didn't get every
tidbit right, but please point out my error!)
Thee "arts & crafts period" is from approximately the late 1880s - the
1920s and included designers such as FRANK LLOYD WRIGHT, ROYCROFT,
STICKLEY, GREENE & GREENE, WILLIAM MORRIS & others. While these
designer were diverse - each had their own style, they all had a
common theme of simplicity, nature-inspired designs, respect and
appreciation for furniture pieces which were not "fussy" in design,
but rather had bold & simple lines which highlighted the grain of the
wood (Think "pottery barn") and in general wanted to create spaces
which were functionally and appealed to the inhabitant's spirit &
soul.
The Arts & Crafts style for the most part honored hand-craftmanship
over industrialization (Frank Lloyd Wright was probably the first to
embrace industrialization to some extent).
STickley's mission-style Furniture is just one (perhaps the best
knows) style of this period. I think it's important to remember that
MISSION-STYLE is just one sub-category of the entire arts & crafts
movement.
For example, Frank Lloyd Wright's designs were often inspired by the
praires surrounding his hometown of Chicago, and his influence is
often called "Praire-style".
Items were often designed to be easy for the homeowner to make for
himself. Books and magazines sold plans for furniture and for entire
homes... "The Craftsman" is one such magazine. The simplicity of
design for the furniture in this period also meant that it was also
extremely easy for others to steal the designs, often by making very
small changes. SEARS catalog was soon selling mission-style
furniture.
The arts & crafts era designs will look very familiar to you should
you have the opportunity to flip through a book with arts & crafts era
motifs. They were often very simple and stylized nature-inspired
designs. Pillows were often large and scall and featured a motif,
either embroidered or (often) done in applique pillows. The three
pinecones in the center applique design, with lines radiating out, is
an arts & crafts motif.
William Morris, from England, was a leader in the arts & crafts
movement and introduced the fundamental principals of A&C to the US.
The Arts & Crafts Movement was not just decorating, it was an entire
LIFESTYLE emphasis. The leaders of the arts & crafts movement were
very much into women's sufferage, socialism, ect. William Morris
wrote extensively on topics of politics and philosophy, as did many
other arts & crafts leaders. Mottos were very popular in the arts &
crafts era and were often carved into mantels, on doors, OR
embroidered onto pillows....
This movement was a backlash on the Victorian way of living on all
levels. Home design was a major part of the arts & crafts movement -
especially in the U.S. (less so in Europe where less home building was
taking place). Think of tudor-style and bungalow-style homes. I am
sure your little town in Wisconsin is full of this style! Frank Lloyd
Wright, from Chicago, also influenced much of the Midwestern arts &
crafts movement. Different regions of the country had a little
different twist, different designers influencing them, - but they all
had an overall theme of simplicity and respect for handcraftmanship
and/or nature-inspired themes.
The MANY elements of the arts & crafts movement interior decorating
design include pottery (think "roseworks") stained glass ("tiffany's),
oil paintings of nature scenes, wrought iron .... many "craftsman
guilds" were established - many of these guilds folded with the shift
in economy in the 1930s and now their works are collector's pieces.
William Morris was in England and his style of design for interior
decorating was often more "busy" than the restrained motifs used by
many of the US designers. William Morris included a lot of
medieval/jacobean influence in his designs. He is especially known
for his textiles and wallpaper designs. (Wallpaper he considered to
be the average person's "tapestries".)
GETTING TO WHAT SPARKED MY INTEREST:
William Morris designed crewel embroidery pillows kits, his wife and
daughter would start the design for instructional purposes, and then
(if I got this correctly) they would sell these kits through
magazines. By exalting hand craftmanship in needlearts some of the
arts & crafts movement hoped this would provide for a means of support
for women beyond having to do factory work. Thus needlework was
included in the "guildes" which sprung up in various areas of arts &
crafts (pottery, stained glass, ect.) WILLIAM MORRIS helped found the
"Royal School of Needlework" along this same vein.
I find it fun to keep an eye on the pillows which are genuine
antiques from the arts & crafts era which come up for sale on ebay. I
don't buy them, but keep photos of them on my computer for
inspiration. Books on design motifs from the era. I am rather
confused as to what is still under copyright and what is not. I am
sure that all of Frank Lloyd Wright's material is still under
copyright, as is William Morris'. I am not so sure about other
designeres.
EMBROIDERY was only a small part of the arts & crafts movement... but
an area I would like to explore more in-depth.
> This has been discussed often here. Unfortunately, not everyone
> appreciates these gifts. You may get a nose in the air - or worse. Be
> prepared for that. It will hurt deeply the first time. You learn when
> and when not.
With my family (at least 1/2 of it) I don't ever expect any appreciate
- LOL ... as for the gift I am making for my brother's wedding gift, I
went over patterns with my future SIL - so she picked out something
she liked. I didn't want her to stuff the pillow in the closet until
I came over for a visit!!
I think they often don't understand the amount of work & skill that
goes into handcrafted pieces. My sister looked at something I was
working on and said "that will look pretty good once all the threads
are put in..." I was confused at first "threads are put in"??? I
GUESS that's one way to "put it"! LOL
The latest "Pottery Barn" catalog includes crewel-embroidered pillows
- done by machine of course. But I did think it was interesting that
they are offering these pillows because so much of the "Pottery
Barn's" so-called "trademark" style are actually slightly modernized
arts & crafts era designs.
Many people are renovating their craftsman-style, bungalow or tudor
homes from the early 1900s. For those who seek to re-create authentic
arts & crafts period interiors, they are paying out top dollars for
hand-crafted, embroidered, reproduction pillows.
Blessings,
Sewing Susan
Cheryl Isaak
future reference.
Cheryl
On 5/11/04 12:10 AM, in article
7713a28c.04051...@posting.google.com, "sewingsusan"