Needlework FAQ: Counted Cross Stitch Tutorial
Kathleen M. Dyer
Needlework FAQ: Counted Cross Stitch Tutorial
_________________________________________________________________
Kathleen M. Dyer -- <kd...@dnai.com>
For rec.crafts.textiles.needlework
October 15, 1999
Copyright 1994-1999 Kathleen M. Dyer
All Rights Reserved.
Permission is granted to redistribute this article in its entirety for
noncommercial use provided that this copyright notice is not removed
or altered and that no portion of this work is sold either by itself
or as part of a larger work without the express written permission of
the author.
_________________________________________________________________
Table of Contents
1. Selecting the Fabric - Aida vs. Evenweaves/Linen
2. Selecting the Thread/Fiber
3. Preparing the Fabric
4. Setting the Floss Color
5. Hoop or Hand?
6. Where to Start Stitching
7. Number of Strands
8. Floss Length
9. How to Start the Thread
10. Making the X
11. Fractional Stitches
12. How to End the Thread
13. Backstitching
14. Carrying Threads Over
15. Preventing Twists and Knots
16. Railroading
17. Where Am I?
18. Beads
19. Stitching On Linens and Other Evenweaves
20. Stitching Over One
21. Tweeding
22. Changing Skin and Hair Tones
23. Using Variegated Floss
24. Signing and Dating
25. Cleaning and Storing
26. Soft Hands
27. Mounting, Matting and Framing
28. Stitching on Other Backgrounds
28.1 Silk Gauze
28.2 Waste Canvas
29. Equipment
29.1 Needles
29.2 Needle Control
29.3 Hoops, Scroll Bars and Such
29.4 Magnifiers and Lamps
30. Warp and Weft and Why and Why Not
31. The Right Side of the Linen
32. The Right End of the Floss
33. Z-twist and S-twist
34. The Amount of Floss for Cross Stitch
A. About the Needlework FAQs
A.1 General Comments
A.2 Document History
A.3 How to Find the FAQs
_________________________________________________________________
1. Selecting the Fabric - Aida vs. Evenweaves/Linen
Counted cross stitch has few rules. The main one is to enjoy yourself.
You may follow or ignore any of the tips listed in this FAQ and still
be a "real" cross stitcher.
Generally, people first learn to do counted cross stitch on aida and
learn to stitch on linen or other evenweaves as they become more
experienced. Judging by comments in this news group, most stitchers
who know how to work on linen prefer it to aida. As always though,
this is a matter of personal choice. Some very experienced stitchers
prefer aida.
An evenweave is any fabric which has the same number of threads per
inch in both the vertical and horizontal directions. The individual
threads might not all be the same thickness--you can see this in
linen--but the number of threads is the same.
First, the traditional rule--stitch on aida using a hoop and stitch on
linen "in the hand". In actual practice, people do whatever works best
for them. See section "5. Hoop or Hand?" for a discussion of the
"in-the-hand vs. in-a-hoop" debate. See section "29.3 Hoops, Scroll
Bars and Such" for more information on the equipment itself.
Most evenweaves aren't as stiff as most aida. This can be a plus or
minus, depending on your own preferences. The difference in stiffness
isn't usually a factor if the fabric is worked in scroll bars or
stretcher bars.
Aida is worked with one X per square, while linen and other evenweaves
are generally worked over two threads. This means that a 28 count (28
threads per inch) linen produces the same size picture as a 14 count
(14 squares per inch) aida. See section "19. Stitching On Linens and
Other Evenweaves" for a more detailed explanation of stitching "over
two."
Fractional stitches (1/4 and 3/4) can be much easier to do on an
evenweave material. On aida,the needle needs to punch through the
middle of the little square in order to complete the stitch. This can
made somewhat easier by using a small sized needle (#26 or #28). No
"punching through" is needed on an evenweave, as the needle simply
goes between the two threads. See section "11. Fractional Stitches"
for a more detailed explanation of fractional stitches.
Some people find it easier to see the holes on linen and other
evenweaves while stitching, others find the aida easier.
The "look" of the cloth in the background can also be a consideration
when selecting a fabric. Both texture and color should be considered.
Aida is generally less expensive. Whateve fabric you choose to work
on, always buy the best quality you can afford. The amount of time
invested in a project can be quite large and is far more valuable than
a small savings up front.
Also make sure to know the fiber content and if the fabric requires
any special care. For information on fiber content see the "Needlework
FAQ: Fabric".
_________________________________________________________________
2. Selecting the Thread/Fiber
Commercial charts suggest which type and color of thread to use. Kits
even supply the thread for you. However, there are times when you want
to select the thread yourself.
Situation: The floss supplied in a kit is of poor quality.
If you are lucky, the chart supplied with the kit lists color
numbers and a brand name. This doesn't happen very often, at least
with kits that supply ugly floss. If there is no list, try to get a
color card for one of the big-name brands of floss such as DMC or
Anchor. Look for one which includes thread samples. Match the
colors from the kit with the colors on the card as carefully as you
can. Do it in natural light, if possible. Write down the numbers of
the colors you need on the chart next to the correct symbol. Buy
whatever floss you don't have on hand and start stitching! If you
can't find a color card, take the bad floss with you to your local
craft store and do the matching there. Be careful, because the
lighting in most stores can make the colors look wrong.
Situation: You created the chart yourself.
If you are experienced enough to create your own chart, you are
probably experienced enough to select fibers. Consider using the
many new types of fibers which are now available, such as metallics
and hand painted silks. See the "Needlework FAQ: Threads, Fibers,
Embellishments" for some hints. Always keep in mind the final use
of whatever you are stitching. For example, don't use a
non-colorfast silk for a baby's bib.
Situation: You want to use a different brand of floss than suggested.
Some charts supply color number information for two or three
manufacturers' floss. If not, try to find a floss conversion chart.
Commercial ones are available and there are conversion charts in
the "Needlework FAQ: Threads, Fibers, Embellishments".
Situation: You want a different texture or finish.
Consider using the many new types of fibers which are now
available, such as metallics and hand painted silks. See the
"Needlework FAQ: Threads, Fibers, Embellishments" for some hints.
Always keep in mind the final use of whatever you are stitching.
For example, don't use a non-colorfast silk for a baby's bib.
Situation: You want to use different colors than suggested.
If it is a geometric design or a simple picture with no shading,
replace the colors anyway you like. More care must be taken for
complex pictures. Compare the values of the old set of colors and
the new set to make sure they are the same. You can do this by
looking at the threads through red glass or cellophane, or by
photocopying them in black-and-white.
_________________________________________________________________
3. Preparing the Fabric
The following suggestions are quite conservative and cautious. It
seems safest to list many things that a stitcher might want to be
aware of. You are then free to use or ignore whatever you choose.
Trim off any selvage edges. Some people recommend stitching on a
project so that the warp threads go from top to bottom, with the
selvage at the side. See section "30. Warp and Weft and Why and Why
Not" for a more detailed explanation of how you determine the selvage,
and why you may want to do so.
Cut the fabric to size for the project. Allow an extra 3" to 4" on
each edge.
Pre-rinse very dark or very red fabrics to make sure the color will
not run. Rinse until the water is clear. Obviously, you should not do
this if you already know the fabric was dyed with a non-colorfast dye.
If there are folds, make sure they will come out. Rinse and/or press
the fabric.
Prepare the edges to keep them from fraying. Some of the options:
* Use a sewing machine to do a zigzag stitch.
* Use a serger to serge the edges.
* Fold the edge of the cloth over and baste it by hand.
* Do a whipstitch by hand, to overcast the edges.
* Use Fraycheck or masking tape, but then allow another half inch
(1/2") all the way around so you can cut off the chemically
tainted fabric when you are through stitching. Chemicals of any
sort may cause deterioration years later.
* Let them fray. Many fabrics will only fray a small amount. If the
fraying doesn't bother you, just let it happen.
_________________________________________________________________
4. Setting the Floss Color
Floss is much more colorfast than it used to be, but some people
prefer to be very cautious when using black or dark colors in heirloom
quality projects. If you choose to be very cautious with dark or
intense colors, do the following.
Remove the floss from the paper wrapper. Place each skein of floss in
a separate glass container containing cool or room temperature
distilled water. Some people recommend adding vinegar or salt to the
water, but the usefulness of the vinegar/salt varies with the type of
dye and may even cause damage. Rinse the floss in the distilled water.
If the water does not remain clear, replace the water and rinse again.
Repeat until the water stays clear. Place the wet floss on a white
paper towel to dry. The floss color should not bleed onto the white
towel. If it does, rinse the floss again.
Obviously, you should not do this if you already know the floss was
dyed with a non-colorfast dye.
_________________________________________________________________
5. Hoop or Hand?
First, the traditional rule--stitch on aida using a hoop and stitch on
linen "in the hand". In actual practice, people do whatever works best
for them. Most who like their fabric taut do tend to avoid hoops in
favor of scroll bars or stretcher bars when working on linen or other
evenweaves, as hoops may damage the fabric or leave marks. See section
"29.3 Hoops, Scroll Bars and Such" for more information on the
equipment itself. See section "19. Stitching On Linens and Other
Evenweaves" for a more detailed explanation stitching on linen.
For the purpose of this discussion, let's use the word "bars" to refer
to all those things which can be used to hold the fabric taut--hoops,
stretcher bars, scroll bars and Q-Snaps.
Some people find it easier to control the tension of their thread with
one method, some find it easier with the other. The most important
thing to remember is to use what works best for you.
Advantages of "in the hand":
* Stitching can be done with the sewing method, which requires less
motion on the part of the stitcher than the stab method. The
sewing method can be much faster.
* No worries about squashing existing stitches or leaving hoop
marks.
* The project is much easier to transport without the weight and
bulk of bars.
* Some people like the feel of the fabric in their hand. It's part
of the enjoyment.
Advantages of bars:
* Can keep the fabric taut, for those who prefer this. They can be
used with the fabric loose, for those who like the sewing method.
* More of the fabric is immediately visible than if it were draped
over a hand.
* Most bars can be used with lap stands or floor stands. The stands
allow "two handed stitching", where one hand is kept above and one
hand below the project. Good quality stands are like fine
furniture, and keep the current project on display.
* People who have trouble holding projects for long periods of time
also may find stands useful--they help avoid or reduce effects
from tendonitis, arthritis and cramping.
_________________________________________________________________
6. Where to Start Stitching
You're finally ready to make that first stitch on a new piece of
fabric. What's the right location in which to start? The center of the
cloth? The upper left? The lower right?
While the design itself should be centered, where you start stitching
that design is up to you. Here are some different schools of thought.
* Let the design itself determine the starting location. Each design
has its own best place to start.
* Start in the middle. It makes it easy to be sure everything is
centered. The center of the design is often more interesting to
work on.
* The starting location depends on the direction you stitch. Try to
have your needle come up through the hole with the fewest existing
stitches and down through the hole with the most. For example,
someone who stitches like this:
//////XXXX
should start at the upper left corner of the design:
XXXXXXXXXX
//////XXXX
_________________________________________________________________
7. Number of Strands
The number of strands of floss to use is, as with most of counted
cross stitch, open to individual interpretation. Traditionally, a
certain amount of the background cloth should be visible. However,
some people prefer a full, covered look. Some common choices are two
or three strands for 14 stitches per inch, two strands for 18 stitches
per inch, and three or four strands for 11 stitches per inch. If in
doubt, try a few stitches on a scrap of the fabric you want to use to
see if the look is what you want.
_________________________________________________________________
8. Floss Length
Floss should be cut about 18"-20" long, or twice that if the thread
will be doubled for the loop method. Some people like to use one arm
length when doubling. See section "9. How to Start the Thread" for
more information about the loop method.
Metallics, or any fiber with a very rough surface, should be cut
somewhat shorter. It helps prevent fraying.
Most people prefer to separate the floss into individual strands and
then recombine them. This is known as "stripping" the floss. There is
less twisting and knotting, and the stitches lie flatter. To separate
a thread from the others, hold onto the top end of the thread between
your thumb and forefinger. Pull down on it with the other thumb and
forefinger, taking all the other threads with you. It looks like a
knot will form. Have faith. Everything comes out just fine.
_________________________________________________________________
9. How to Start the Thread
And now for a strong suggestion--DO NOT KNOT THE THREAD. An exception
might be made for a special case, such as an isolated stitch with no
other stitches near it in the design.
* Knots can create lumps and bumps on the front when the picture is
mounted.
* Knots can catch the floss.
* Knots can lead to uneven thread tension and distorted fabric.
* Knots can pop through to the front, especially on a loosely woven
fabric.
* Knots are harder to undo if you make a mistake.
* Knots make the back look messy. A good general rule is that a neat
back means a better looking front.
So, what is it you should do? There are several methods listed below.
Many people use more than one, letting the circumstances determine
their selection.
As a side note, see the section "29.1 Needles" for information on what
size and type of needle to use.
Running Under
Run the thread under 4 or 5 of the stitches on the back, if they are
right next to where you want to start. You may choose to whip stitch
around the second or third stitch as you are running under. This helps
to lock the thread in.
Sometimes dark colors show through when woven under lighter colors.
Check to make sure this isn't happening.
A variation--if you stitch in a manner that leaves vertical lines on
the back, try whip stitching or weaving up (or down) a few of these
vertical stitches. This technique makes for a very neat looking back.
Loop Method
The loop method only works for even numbers of strands.
For two strands, start with one long strand about 36"-40" long. Fold
it in half. Thread the needle so the two ends are the tail, near the
needle, and the "loop" is the end farthest from the needle. Start the
stitch with the loop end dangling a little bit below the cloth. When
the needle comes back down to the underside, run it between the loop
and the cloth, and pull tight (gently).
Knotless Waste Knot
Start the thread from the top side, an inch or two from where you want
to begin stitching. Leave a tail of thread on the top side. Careful
placement of the tail before you start will cause the tail on the back
to be covered as you stitch. When you have completed some stitches,
pull the tail to the back side. Run it under the new stitches, if
necessary.
Waste Knot
This is similar to the knotless waste knot described above. One
difference is that the tail on the front is knotted, to act as an
anchor. Start the thread from the top side. It should be started
farther away from the stitching point than a knotless waste knot, as
the tail-and-knot on the front is cut away when the stitches are
completed. Careful placement of the knot will cause the tail on the
back to be covered as you stitch. The remaining tail on the back is
run under the new stitches, if necessary.
Away Waste Knot
This is similar to the waste knot described above. The tail on the
front is knotted, to act as an anchor. Start the thread from the top
side. It should be placed out of the way, so the tail does not get
covered while you stitch. At a later time, the knot on the front is
cut away and the remaining tail on the back is run under existing
stitches. An away waste knot gives you much more control over the
tension and the way the first and last stitches appear from the front.
_________________________________________________________________
10. Making the X
One of the few rules in counted cross stitch is that all the stitches
should go in the same direction. It doesn't matter if the bottom half
goes "/" and the top goes "\", or vice versa. Just make sure that
every stitch in the project is done the same way. (And to be perfectly
honest, there are exceptions to this rule, such as 3/4 stitches.)
The direction a person first learns to stitch seems to be a regional
thing. The only reason it might be of importance is if you choose to
do a very complex chart from another country. Some complex charts with
many fractional stitches or other embroidery stitches exhibit a subtle
bias, assuming that the X's will be done a particular direction.
Stitchers who use the traditional method complete each X as they go:
XXXXXXXX
Stitchers who use the Danish method do the bottom stitches first, and
complete the X's as they return:
/////XXX
Many people use a mix of the two methods. They may use the Danish
method for most stitches, but do the occasional isolated stitch as a
complete X. Another school recommends doing rows with the Danish
method and columns with the traditional method. This causes the thread
on the back to make vertical lines.
Apparently, some antique samplers which were done in the traditional
method survive today because the X's hold the fabric together, and the
fiber forming the X's themselves is less stressed. The
"one-X-at-a-time" approach works well when stitching over one thread,
rather than the usual two, as it helps stop the thread from
disappearing behind the fabric.
Many people find the Danish method to be faster, and to result in less
confusion about current location.
Choose a method which you like, preferably one which results in neat
backs. While a neat back isn't required for a good looking front, it
usually helps.
_________________________________________________________________
11. Fractional Stitches
Fractional stitches (1/4, 1/2 and 3/4) are simply cross stitches with
missing arms. They are used to provide a rounded look to a picture
(1/4 and 3/4), or an airy look (1/2).
Fractional stitches (1/4 and 3/4) can be much easier to do on linen or
other evenweaves. On aida, the needle needs to punch through the
middle of the little square in order to complete the stitch. This can
made somewhat easier by using a small sized needle (#26 or #28). No
"punching through" is needed on linen, as the needle simply goes
between the two threads.
A 1/4 stitch is done by coming up from one corner of the square and
going down in the center.
A 3/4 stitch is most often done by stitching the short arm first, like
a quarter stitch. It is completed with a 1/2 stitch to make the other
two arms. Note that this is an exception to the rule that all stitches
must go in the same direction, as the long arm of the 3/4 stitch may
go either "/" or "\". There are some occasions where people choose to
do the 1/2 stitch first and anchor it down with the 1/4 stitch, in
order to achieve a certain effect.
Frequently, a 1/4 stitch and a 3/4 stitch share a single square. This
means that a decision is left up to the stitcher. Which side is the
1/4 and which the 3/4?
As in just about every other area, this is up to you. Here are some
different methods. Each provides its own distinct look.
* If there is a backstitch dividing the two sides, stitch two 1/4
stitches and let the backstitch divide them.
* Determine which side is in the foreground of the picture, and make
that side the 3/4 stitch. (An exception might be made for very
small details.) The backstitch, if any, can lie on top of or
outside of the long arm.
* If neither side is in the foreground, make the 1/4 stitch in
whichever of the two colors "gets there" first. Fill in the 3/4
stitch as you come by with the second color.
* Make two 3/4 stitches.
Sometimes a pattern calls for an entire area to be filled with 1/2
stitches rather than full cross stitches. If there are no definite
instructions, it is up to you to decide which direction the 1/2
stitches should go--the same as the bottom half of a full cross stitch
or the same as the top half. "Bottom" half stitches are more intuitive
for some people. "Top" half stitches tend to blend into the background
more, which might be the effect you want. Sometimes the picture itself
makes a direction obvious. For example, 1/2 stitches used to represent
feathers in a wing should probably slant the way the feathers
themselves would.
_________________________________________________________________
12. How to End the Thread
Not surprisingly, the techniques for ending the thread resemble those
for starting the thread.
And now for a strong suggestion--DO NOT KNOT THE THREAD. An exception
might be made for a special case, such as an isolated stitch with no
other stitches near it in the design.
One good method is to run the thread under 4 or 5 of the stitches on
the back. You may choose to whip stitch around one of the stitches as
you are running under. This helps to lock the thread in.
Sometimes dark colors show through when woven under lighter colors.
Check to make sure this isn't happening.
If you stitch in a manner that leaves vertical lines on the back, try
whip stitching or weaving up (or down) a few of these vertical
stitches. This technique makes for a very neat looking back.
_________________________________________________________________
13. Backstitching
Any backstitching should be done after all the cross stitches in the
area are complete. The number of strands is usually given in the chart
instructions, with a single strand being by far the most common.
The most common way to start and end the thread is to run it under 4
or 5 of the existing cross stitches on the back, if they are right
next to where you want to start. You may choose to whip stitch around
the second or third stitch as you are running under. This helps to
lock the thread in.
Backstitching can be done left-to-right, right-to-left, top-to-bottom,
bottom-to-top, or even on a diagonal. It all depends on where the
outlines need to be. A backstitch from left-to-right would go like
this (up on the odd numbers and down on the even):
o-----o-----o-----o-----o
2 1 3 5 7
4 6 8
To turn a corner without leaving a diagonal on the back side (up on
the odd numbers and down on the even):
o 7
|
|
|
o 6 8
|
|
|
o-----o-----o
2 1 3
4 5
Some people prefer the double running stitch (also known as a Holbein
stitch) to a backstitch. This is especially true if the backstitch
will leave them stranded in the middle of nowhere. To do a double
running stitch, go forward doing every other stitch (up on the odd
numbers and down on the even):
o-----o o-----o o-----o
1 2 3 4 5 6
Then come back, filling in the gaps:
o-----o-----o-----o-----o-----o
11 10 9 8 7
To keep the line from looking staggered, be consistent on the return
trip. Always come up on one side of the stitch that is already there,
and go down on the other side. For example, come up above on stitch 7
and down below on stitch 8.
_________________________________________________________________
14. Carrying Threads Over
You can carry thread over if there is no stitching between two areas
of the design, but only for short distances. This means 3 or 4 squares
on aida, or 4 threads on linen.
The thread can be carried farther if the region between the two areas
has been (or will be) filled in with other stitches. How far? This
depends on the relative darkness of the colors. The carried thread
should be woven under the existing stitches, but sometimes dark colors
show through when woven under lighter colors. Check to make sure this
isn't happening. Even under the best conditions, you probably
shouldn't carry the thread more than a distance of 5 or 6 stitches.
Try to plan your work so that it isn't necessary to travel very far to
do the next stitch.
_________________________________________________________________
15. Preventing Twists and Knots
Strip your threads. This means separate the floss into individual
strands and then recombine them. There is less twisting and knotting,
and the stitches lie flatter. To separate a thread from the others,
hold onto the top end of the thread between your thumb and forefinger.
Pull down on it with the other thumb and forefinger, taking all the
other threads with you. It looks like a knot will form. Have faith.
Everything comes out just fine.
Run each separated strand of floss over a damp sponge just before
using it. This makes the floss lie much smoother and flatter.
Remember, some fibers, such as silk, should not be dampened.
If you know which direction you tend to twist the needle, give it a
little bit of a twist the opposite direction after each stitch.
Try threading the needle with the "right" end of the floss. See
section " 32. The Right End of the Floss " for more information.
Let the thread dangle every so often and untwist it.
_________________________________________________________________
16. Railroading
If you stitch with the stab method rather than the sewing method, you
can use a technique called railroading to prevent twisting. On the top
half of the cross stitch, pull the needle and thread through to the
front to start the stitch in the usual manner. Then put the tip of the
needle between the two threads right where they come through the
fabric so that the needle is pointing in the direction it needs to go
to complete the stitch, and take it over to finish the stitch.
Where the needle is going to go to complete the stitch.
|
|
\|/
o //
//
// <--- first half stitch
//
//
//
//
//
// \ <--- needle tip
// \
// \---------
/ \ \
/ \ | <--- thread
| \ |
| \ |
| \ |
| O \
| || \
| || \
\ || \-----------\
---------------------------\
|| ||
|| ||
|| ||
\\----------------//
----------------
In case the directions above don't make sense, here is another
description.
From: Martha Beth Lewis <mar...@ix.netcom.com>...
Here is some lovely ascii art to get you started:
#
x
o
Bring the needle to the front of the work at o. You'll be going
down at x, but don't do anything yet.
Take the thread coming out of o and lay it -on the surface- of the
work. Put your finger at # on the two threads and hold them to the
surface of the work. The threads should be lying from o to #,
crossing x. Imagine they are two golf clubs lying parallel to each
other on either side of the cup (the "cup" in this analogy is x).
Keeping your finger at #, put the needle in at x -between- the two
threads. Lift your finger from #.
Now pull the thread all the way to the back. You will see that your
two threads are lying perfectly parallel.
What railroading does is eliminate the twist in the thread, causing
the stitch to lie beautifully bcs the two strands are completely
parallel. The twist in the thread is actually transferred futher up
the tail of the thread, so you'll have to untwist a little more
often than if you are not railroading your sts. By this I mean let
the needle dangle from the underside of your work.
Railroading also makes the surface of the work flatter, improves
floss coverage, and (some say) maximizes light reflected by the
floss.
Railroading adds time to each stitch. Those who stitch in
competitions railroad all the time. Judges can tell the difference.
A short cut is to railroad only the half of the stitch that lies on
top, as this is the one that is seen most clearly, although some
stitchers say that they can see the bottom leg of the stitch
clearly, too.
Try an experiment. Do a row or two of "unrailroaded" and some of
"full railroaded." You'll see a definite difference. Now do a row
of "half railroaded." What do you think? Is there enough of a
difference to merit the extra time?
You get used to railroading and it becomes second nature, but it
does add a lot of time to finishing the project. It's up to you
whether you think the result is worth the extra time. As I
mentioned above, judges seem to know the difference!
_________________________________________________________________
17. Where Am I?
There are many approaches to keeping track of location. Find the
method that is easiest for you:
* Photocopy the original pattern. Mark off the parts as you finish
them with a highlighter or pencil.
* Some people like to see the shapes of the different areas. For
this method, photocopy the pattern if the original isn't in color.
Color in the entire picture before starting to stitch, using
distinctive colors for each symbol. The colors don't need to be
close to the thread colors.
* Laminate the chart with clear contact paper. Mark off the parts as
you finish them with a fine tip dry erase pen. The chart can be
wiped clean with a paper towel when you are through. Works on
color and B&W charts.
* Put the chart on a metal board, and use a magnetic straight edge
that can be moved along the chart as you stitch. A variation on
this is to use non-magnetic plastic strips on a non-metal board.
* Use Post-It notes. They are easy to move, and very portable.
* Baste a grid onto the fabric. Some people like a 10x10 stitch
grid. Others just use one horizontal and one vertical line through
the center. A variation is to baste a small "ruler" near the edge
of the fabric, outside the area of the picture. Be careful to use
a thread color that doesn't show too strongly against the fabric,
just in case the basting thread leaves little fuzzy remnants
behind. Use a thread that can't be pierced with your needle so
that the thread can be pulled out easily when you are finished.
Some people find that monofilament and quilting threads work well.
You can pull the thread out as you reach it, or stitch over it and
pull it out later. Experiment to find out which method works best
for you.
* Count twice. Count from two different locations.
_________________________________________________________________
18. Beads
It is becoming more common for designs to require beads. Beading
should be done after the cross stitching and backstitching.
The thread may be beading thread, floss that matches the color of the
bead, floss that matches the color of the background fabric, quilting
thread, or any kind of transparent thread. Each will produce a
different effect, with a light-colored thread brightening the bead's
color and a dark colored thread deadening the color.
The needle may be a beading needle or a #28 tapestry needle.
The simplest method to attach a bead is with a half stitch or quarter
stitch.
One method to keep the beads from drooping or sliding requires two
strands of thread. Attach the bead using a half stitch, coming up
through the first hole, through the bead, and down through the second
(diagonal) hole. Then, come back up through the first hole, split the
two strands of thread around the bead so one goes on each side, and go
back down through the second hole.
Another technique, which is said to work well for a row, starts with
the beads attached along the row with half stitches. At the end of the
row, the thread is run back to the beginning by going through the
beads, above the fabric.
Yet another method uses a full cross stich. Attach the bead using a
half stitch, then complete the cross stitch while going through the
bead again. The order and direction of the two half stitches
determines whether the hole in the bead points side-to-side or
top-to-bottom.
_________________________________________________________________
19. Stitching On Linens and Other Evenweaves
Linen may be an evenweave or an unevenweave fabric. Sometimes an
unevenweave linen is used when recreating old samplers. For the
purposes of this FAQ, we'll assume we're always discussing evenweave
linens. Other evenweave fabrics are composed of cotton, man-made
fibers and blends.
For a look at the "aida vs. linen" debate, see section "1. Selecting
the Fabric - Aida vs. Evenweaves/Linen". For information on the fiber
content of different fabrics, see the "Needlework FAQ: Fabric".
First, the traditional rule--stitch on aida using a hoop and stitch on
linen and other evenweaves "in the hand". In actual practice, people
do whatever works best for them. See section "5. Hoop or Hand?" for a
discussion of the "in-the-hand vs. in-a-hoop" debate. See section
"29.3 Hoops, Scroll Bars and Such" for more information on the
equipment itself.
Evenweaves are generally worked "over two" threads. This means that a
28 count (28 threads per inch) linen produces the same size picture as
a 14 count (14 squares per inch) aida.
Experienced stitchers of evenweaves recommend starting next to a
vertical thread. This is easier to explain using a picture.
If you start your X's like "/", then...
| | | | Y
--------------| |---
--------------| |---
| | | |
| | | |
| | | | Where X means start here!
| | | |
| | | |
-----| |------------
-----| |------------
X | | | |
| | | |
(ASCII art adapted from a post by
Janice Liedl <jli...@nickel.laurentian.ca>)
Come up at X and go down at Y (or vice versa). If you start your X's
the other way, like "\", then...
X | | | |
-----| |------------
-----| |------------
| | | |
| | | |
| | | |
| | | |
| | | |
--------------| |---
--------------| |---
| | | | Y
| | | |
Reasons for starting next to a vertical thread:
* Stitches started next to horizontal threads sometimes don't look
as nice, and can roll under.
* Starting next to a vertical thread makes it easy to tell when you
have mistakenly gone over 1 or 3 threads.
Many people on this news group have recommended 32-count Belfast linen
as a good fabric for a beginner. It has a nice weave density.
_________________________________________________________________
20. Stitching Over One
Stitching "over one" refers to stitching a picture on linen or another
evenweave over one fabric thread. This is often done with one strand
of floss or fiber, or "one over one".
In the previous section, we found that stitching over two threads of a
28 count linen produces the same size picture as a 14 count aida. But
stitching over one thread of a 28 count linen produces a picture only
one quarter the area.
There can be a problem with stitches rolling or slipping to the wrong
side of the fabric. This is much less likely to happen when each X is
completed before starting the next. There are additional techniques to
prevent the problem. Two are described below.
On the diagram below, come up through the fabric on the odd numbers
and go down on the even.
Each X goes over one thread intersection of the fabric. Each fabric
intersection has either a horizontal fabric thread on top or a
vertical fabric thread on top.
Suppose you make the first half of the first stitch by coming up at 1
and going down at 2. Your stitch is going over a horizontal fabric
thread. Because of this, you should go horizontally underneath to find
the starting hole for the second half of the cross stitch. So, come up
at 3 and go down at 4.
Make the first half of the next stitch. Because you just went down at
4, you must come up at 5 and down at 6. Your stitch is going over a
vertical fabric thread. Because of this, you should go vertically
underneath to find the starting hole for the second half of the cross
stitch. So, come up at 7 and go down at 8.
| | | | | | | | | |
| | | | | | | | | |
---------------| |-----------------| |-----------------
---------------| |-----------------| |-----------------
| | | | | | | | | |
| | | | | | | | | |
| | 3 | | 2/7 | | 5/12 | | 9/16 | | 14
| | | | | | | | | |
| | | | | | | | | |
-----| |-----------------| |-----------------| |-------
-----| |-----------------| |-----------------| |-------
| | | | | | | | | |
| | | | | | | | | |
| | 1 | | 4/6 | | 8/10 | | 11/13 | | 15
| | | | | | | | | |
| | | | | | | | | |
---------------| |-----------------| |-----------------
---------------| |-----------------| |-----------------
| | | | | | | | | |
| | | | | | | | | |
A second approach uses the Danish method of doing the bottom stitches
first along a row, and completing the X's on the return trip. But to
prevent the stitches rolling to the wrong side of the fabric a
continental stitch is used rather than a half stitch. This looks like
a half-stitch from in front, but the back is a long diagonal. For
these diagrams, come up at the odd numbers and down at the even.
On the outward trip:
1 3 5
/ / /
/ / /
/ / /
/ / /
/ / /
2 4 6
On the return trip, to complete the X:
5 3 1
\ \ \
\ \ \
\ \ \
\ \ \
\ \ \
6 4 2
_________________________________________________________________
21. Tweeding
Tweeding, sometimes called blended needle or blended thread, is the
use of two or more colors of thread in the needle at the same time.
How the two colors should lie in relation to each other is up to you.
Some people prefer to have each stitch look the same. Other people
will let each color fall how it may (subject to no twisting) from
stitch to stitch.
_________________________________________________________________
22. Changing Skin and Hair Tones
At times, you may want to change the skin and/or hair colors of a
figure in a chart to make it look more like a particular individual.
Although some charts print alternate floss colors, this is still rare.
The type of chart most likely to give multiple colors for hair and
skin is one with a wedding theme.
Marilyn Leavitt-Imblum, the designer of the Lavender & Lace, Butternut
Road, and Told in a Garden designs, has alternative skin colors on
some designs. Lists for Asian, African American and Native American
are also available from her offices in Maine.
Included below, with the very kind permission of Marilyn
Leavitt-Imblum, is a quote from a post she made to
rec.crafts.textiles.needlework...
Keep in mind that you are going from light to dark, this is a color
range. Going up or down the scale will lighten or darken the range.
DMC
African American:
Skin...... - 3772
+ 632
E 632+898
Lips in 356 and outline features in the 632+898 blend
Eyes and brows are outlined in 3371
Hair... Most designs have 4-6 hair shades...the darkest 2-3 shades
I make 310 black. Then use 3371 for one or two shades and
the lightest symbol with 3031
Native American
Skin....light to dark
950
3773
407
3772
632
Hair...light to dark
3781
3031
3371
310
By finding the colors asked for on a design and laying them out
light to dark you can match the shades you want to replace them
with. Make a new legend for your replacement colors.
_________________________________________________________________
23. Using Variegated Floss
Variegated floss is used to create interesting effects and
one-of-a-kind pictures. While you are always free to do as the spirit
takes you, there are some more organized approaches. The following is
one method, but is by no means the only one. For information on
another, read DMC's pamphlet #15235 "Cross Stitch with Variegated
Floss".
Remove the floss from the skein and wind it lengthwise around a
yardstick. Those of you living in countries on the metric system might
have to saw a few centimeters off the end of a meter stick. Carefully
cut the floss at the middle and at each end, to give you four groups
of floss. Two groups should be lighter and two should be darker,
overall. Combine the two lighter groups together and consider them to
be one group. Do the same with the two darker groups. As you stitch
the design, complete each X as you go. Do not use the Danish method.
_________________________________________________________________
24. Signing and Dating
Should you sign and date your work? If it is intended to be entered in
a competition, possibly not. Find out the rules first. Otherwise, go
for it! Be proud of your skill. Signing can make a piece more
valuable, as the years go by.
Samplers usually incorporate the stitcher's initials and the year into
the design. All other designs require a little more creativity on the
signer's part.
Some people use permanent ink and sign on the edge, where it will be
hidden by the mat or frame. Personally, why would you want to hide
this interesting and valuable information?
Most people find a way to stitch their name/date with teeny letters,
over one or two threads. Try out some variations on scrap cloth, until
you find a look you like.
Note--A teacher once recommended that one not abbreviate the year.
Stitch "1994" rather than "'94." She said this was particularly
important as we approach a new century. Remember, all those things
stitched in the 1990's will be from the previous century in 2001.
There are several things you can do to make a signature visible but
unobtrusive. For example, use a thread color that is only a shade or
two darker than the fabric. Or incorporate the signature into a
shadow, using the shadow's color. Or put it below an object, using the
object's color. Or figure out a way to make it part of the design...
_________________________________________________________________
25. Cleaning and Storing
Obviously, when it comes to cleaning needlework on bibs, towels,
clothing and napkins, do whatever it takes to get the piece clean. If
this means throwing it into the washing machine with detergent and
bleach, so be it.
However, the heirloom-to-be deserves special treatment or it may
become the heirloom-that-never-was. Here are some suggestions that are
very conservative and cautious. It seems safest to list many things
that a stitcher might want to know. You are then free to use or ignore
whatever you choose.
While you are stitching:
* Always wash your hands before stitching, and keep them clean while
you work. Don't use hand lotion before stitching. Keep your hands
out of your hair, off your face, out of the popcorn, away from the
pizza and far from the chocolate bar. See section " 26. Soft Hands
" for information on how to overcome the effects of all that
washing.
* No smoking near the project.
* Watch out for ink from highlighters, and toner from photocopies.
* Needlework projects, especially those in scroll frames, make very
nice cat beds. You may choose to view any fur that works its way
into the project as part of the design. If not, try using a sticky
lint remover or tweezers.
* Don't store linens or fine fabrics in plastic for the long term.
The plastic can trap moisture and, over time, release chemicals.
However, storing projects in plastic while they are in progress
can help to keep them clean. This is assuming it takes less than 5
years to complete the project :-).
* If you want to store a project-in-progress for a more than a few
days, roll it rather than fold it. Wrap it in cloth, preferably
white.
* If you use a hoop, remove the project after every stitching
session.
* Put your project in the hoop or bars backwards. This prevents the
front of the design from touching anything when the bars are set
down. It also provides more room on the back of the project for
ending threads.
* Try not to hold on to the project in a way that leaves your hand
touching the front of the fabric. For example, fold any extra
fabric forward and hold the project there. Some people like to use
a layer of tissue, white flannel or plastic wrap on top of the
project, with an opening in the center to stitch through. These
can be fitted into a hoop, and provide something to hold onto.
Pam Holmes <hol...@erols.com> suggested...
I am right handed and usually hold my work with my left hand. To
prevent stains, I wear a white cotton glove on my left hand. It
works wonders :) I just completed a bell pull (6 months of regular
contact) and there were no dark stains lurking anywhere :}
When you are done stitching:
* Launder the project when completed, unless you used non-colorfast
fabric or fibers. No matter how often you wash your hands before
stitching there will be skin oils left which may cause stains and
damage later on.
* Avoid anything which cause the project to have long term (many
year) exposure to chemicals. For example, don't use Scotch Guard.
* Do not dry clean, if at all possible. The chemicals can be gritty
and may have long term effects. If the piece is lost at the
cleaners, you will only be reimbursed for the cost of the
materials. Some fabrics and fibers (wool and silk) may require dry
cleaning. If this is the case, go to a very reputable cleaner, and
have a long talk about the best way for them to do the cleaning.
* Hand wash each piece individually in cold or lukewarm water. For
extremely delicate objects, use room temperature distilled water.
To clean, use something which is pH balanced and has no whitening
agents. This means something like Orvus paste (also used for
washing horses and cows), Quilt Soap (which is Orvus soap packaged
in small containers for people who don't need a gallon of it),
Treasure Wash, etc. Orvus is actually a trade name for sodium
lauryl sulfate. Try using one teaspoon per gallon of water. Do not
use Woolite, strong detergents or chlorine bleach as they may make
the colors bleed. Let the project soak for several minutes. Rinse
thoroughly, but don't scrub or wring. If the colors run, repeat
the process immediately until the water rinses clear. Some people
include vinegar in the water when handwashing, to help prevent the
colors from running.
* Remove the piece from the water and place it on a clean, white,
terry cloth towel. Roll it up like a jelly roll, to remove the
excess water. While still damp, lay it face down on a couple of
towels and iron with a dry iron at the wool or linen setting until
it is dry. Try not to move the iron back and forth. You may use a
pressing cloth, in fact you should use a pressing cloth if there
are metallics. The process of ironing until dry prevents uneven
drying and puckering of the cloth and threads. Let the project air
dry another 24 hours before framing.
Catastrophe
When catastrophe strikes, all the tips listed above should be ignored.
Just do what you have to. People on this news group have used
detergent, bleach, hydrogen peroxide, Goop and ice to remove soda pop,
rust, mold, vomit, catsup and bleeding dyes.
Tyrie J. Grubic <tel...@teleport.com> reported a cleaning method that
was discovered at Cross Stitch Corner in Bellevue, Washington, when
attempting a last-ditch, nothing-to-lose stain removal:
Anyway, it works, does *not* damage the piece at all, does not
cause any bleeding of colors, etc...Here's the method:
First of all, store the Goop in the fridge. Goop kept at room
temperature after being opened will break down in a few months and
be useless. Do *not* use this broken-down version on your piece.
On a clean, flat surface, spread out the piece, backside up. Cover
it in Goop. Lather it on. On any especially dirty places, or any
places where the stitching is dense, place it on the front side as
well. Leave it for 30 minutes. If you won't be able to get it back
in 30 minutes, put it in a plastic bag, but leave it open, or it
will get moldy. Do not leave it in the bag very long.
Using cold water and a mild liquid soap...rinse the goop out.
Continue rinsing in clear, cold water until the water is clear.
From there, continue as recommended earlier and press between clean,
white towels.
Mary L. Tod <mt...@umabnet.ab.umd.edu> credits Barbara Knaupf, the
owner of The Stitching Post with the following recipe:
This is the magic recipe I got from the Stitching Post when I
discovered blotchy green stains all over my "Angel of Grace" at the
time I took it in for framing. (The stains were a STUPID error
caused by my using a brand-new, never been washed, green towel to
dry). I just about lost it when I noticed all the spots. The recipe
worked like a charm! Piece was saved, and so was my mental health!
Here goes:
2 Tbsp Ivory Snow
1 Tbsp Snowy Bleach
1 gal warm water
Make however many gallons-worth to cover your fabric, and soak
overnight, or for as long as it takes! Mine came out in 24 hours. I
don't know if this will do the trick for hi-liter, but they don't
call it *magic* for nothing!
From melaina, who posted using a friend's account, on treating rust
stains:
...I had a brand new white cotton sweater that was laid to dry over
a chair (dumb I know) but it had about 20 different rust spots on
it some were about 1 inch square. Anyway my mom found a remedy in
an old stain guide. AND IT WORKED!!!!! First make sure to test it
that it does not make the color run or fade. Here it
is.............
MIX 1 TEASPOON OXALIC ACID IN ONE CUP HOT WATER
I just dabbed the stains with a clean cloth soaked in the solution
and then they faded away to brand new white again. After it dried I
washed it and all was fine. I have washed the sweater a few times
and the stains have not reappeared. I do not know what this will do
to needlework cloths or if it will cause any premature
discoloration or breakdown of the fabric though in some cases it
may be worth a try,huh.
oh yeah, you can buy the oxalic acid at a pharmacy, or a chemical
place. It was really inexpensive ($0.79 canadian for 25 grams).
For pencil marks, try an art gum eraser available from most art
supplies stores.
_________________________________________________________________
26. Soft Hands
Many people find that their efforts to keep their hands clean to
protect the needlework results in another problem--dry hands.
Sometimes a cream or lotion must used. If care is taken, this
shouldn't affect your needlework. The most important characteristic of
any cream you choose to use is that it not be greasy.
People on the newsgroup recommend Au Ver a Soie Hand Lotion, Acid
Mantle Lotion, and Udder Cream.
Udder Cream was developed for use on cows' udders, hence the name. It
is available in feed stores and, increasingly, needlework shops.
There is sometimes confusion about what is and what is not Udder
Cream. It is not the same as Bag Balm. In fact, different products are
sold under the name of Udder Cream, and not all are kind to
needlework.
Excerpted from a posting by Tara R. Scholtz <ta...@wam.umd.edu>:
...I've found three! And all have green metal tins!!! The one with
the strawberries (?) is the greasy stuff. It's also yellow (the
strawberry tin that is). The strawberry tin and its bigger
counterpart is marked trademarked by one company (forget which one)
and that is only mentioned in *some* publications, I couldn't find
that trademark - but the name is used by other companies anyways.
Farnham has its own bag balm - the green tin for that also says bag
balm. Real confusing.
...Not always - the blue Udder Cream (same name, different company)
is *very* greasy. In my horse & livestock catalogues and stores I
have so far found about 5 different concoctions of "Udder Cream."
If you want the non-greasy stuff (and want to make *sure* it is the
non-greasy stuff before buying several pounds of it), just stick to
the little cow-decorated jars found in stitchery stores.
...Horse products don't seem to undergo *any* sort of regulation
(ya'll gotta go see the horse shampoos and conditioners, they're
almost outnumbering the drug stores! I about *died* when Jeri
Redding jumped in on the bandwagon & produced his own line of
equine shampoo, etc.). Many items are not trademarked and are
considered fair game by other companies when it comes to naming a
product. Hence, livestock supply catalogues list the manufacturer
as well as the product name. (Which is why I spent a fortune trying
to find "Udder Cream" - only to find I can only get the one
produced by Redex at the stitchery stores near me.)
...If you want Bag Balm, watch out for the YELLOW stuff - that's
greasy and no good for stitching. Still great for hands though.
If you want Udder Cream - get Redex Industries. It SHOULD be WHITE.
AVOID BLUE & YELLOW.
Excerpts from another posting by Tara R. Scholtz <ta...@wam.umd.edu>:
The white stuff by Redex Industries, Inc. is used as hand lotion.
It is greaseless and stainless but does contain lanolin & allantoin
(which causes problems for some people)...
There are other hand lotions available in the needlework market
which are also touted as greaseless and stainless but does NOT
contain lanolin. One is called "Creative Hands" (with aloe vera)...
_________________________________________________________________
27. Mounting, Matting and Framing
Not all needlework needs to be framed like a picture. Needlework can
be found on pillows, linens, clothing, box lids, jewelry, light switch
plates, and so on.
While you may not think the twenty little holiday ornaments you
finished late last night have great value, this is not your decision
to make. Fifty years from now, they may be someone's pride and joy.
And you don't want to be the person who messes up someone's priceless
collection of late twentieth century needlework, do you?
If you are going to frame your project, here are some suggestions.
They are very conservative and cautious. It seems safest to list many
things that a stitcher might want to know. You are then free to use or
ignore whatever you choose. If you take your work to a shop to get it
framed, ask the people there if they do conservation framing. Make
sure they are aware of the following issues.
* Don't do anything which cannot be undone several years later.
* Avoid anything which cause the project to have long term exposure
to chemicals, metal or acid.
* Cut any selvage edge before framing.
* Zig-zag each edge, or stitch unbleached muslin to each edge.
* Use acid free foam core or acid-free white mat board as a backing.
These are available in framing stores, art supply stores and
office supply stores. Have it cut at the store, or use an X-acto
knife at home. Make it 1/8 inch smaller than the frame you will be
using. Avoid normal cardboard and paper, as they have high acid
contents. The acid can damage fabric over time. Do not use sticky
board. The chemicals can damage your fabric, and the glue can
provide lunch for bugs.
* Center the piece on the backing. Fold the extra fabric to the back
and tuck in the corners. The fabric on the front should be taut
but not stretched. You may want to use straight pins pushed into
the edge of the backing to temporarily hold the fabric in place.
Use unwaxed dental floss, quilting thread or some other strong
thread to lace the fabric to the backing. Lace the long edges
first, sewing from the left to the right and back to the left,
somewhat like lacing a shoe with only one end of the shoe lace.
Keep the stitches about an inch apart. Make sure the thread is
evenly tight. Repeat the lacing for the short edges. Remove the
pins, as even rust-free pins will rust over time.
* If you use matting, make sure it is acid-free rag matting.
Consider using acid-free rag matting even for double and triple
matted pieces, where not all of the matting is touching the
fabric. The regular matting ages much faster, and it releases
fumes.
* Should you use glass? As with everything else, it's up to you. On
the one hand, glass can protect against dust and pollution. On the
other hand, it may trap moisture and cause mildew. If you use
glass, make sure it does not touch the needlework. Spacers or
matting are good for this. Regular glass is O.K. Standard
non-glare glass is bad, as it actually lets more ultraviolet light
in, and may release chemicals. Conservation glass or UV glass is
very good, but expensive. Figure out how much the project is worth
to you, and be willing to pay accordingly.
_________________________________________________________________
28. Stitching on Other Backgrounds
28.1 Silk Gauze
Stitching on silk gauze has similarities to both needlepoint and
counted cross stitch, but a person experienced with either form of
needlework should have no trouble stitching on silk gauze (except
possibly for vision difficulties). It is actually a form of petit
point.
The fabric is a special silk mesh originally made for the medical
profession for the treatment of burn victims. Although several mesh
sizes are available, the one most commonly used for stitching is
40-count. This means 40 stitches to the inch, or 1600 stitches to the
square inch. The gauze is extremely expensive, at over US$300 (yes,
three hundred dollars) per yard. Luckily, a little goes a long way.
The gauze sold for stitching generally comes mounted in a cardboard
frame, and is sold in sizes such as 5"x7". Keep the gauze in the frame
while stitching, and remove it after you are done.
The thread is usually silk thread, although cotton floss may be
substituted. Sometimes this is necessary if the correct color cannot
be found in silk. Use one strand of thread. It does not need to be
very long--probably 10" or so.
The needle should be small and sharp, such as a small crewel needle.
The chart may be just about any counted cross stitch chart. Keep in
mind that you will not be able to do any quarter stitches. Also, any
additions such as beads will be too big. Note that we follow the
counted cross stitch tradition rather than the needlepoint when it
comes to filling in the background--we do not fill in the background
unless the chart calls for it. The gauze is allowed to show.
The stitch is a continental stitch rather than a cross stitch. This
looks like a half-stitch from in front, but the back is a long
diagonal. For this diagram, come up at the odd numbers and down at the
even:
Continental Stitch
1 3 5
/ / /
/ / /
/ / /
/ / /
/ / /
2 4 6
Do not carry thread across the back in an area that will not be
stitched. It will show through.
If you have trouble seeing the work area (and most people will), use a
magnifying lamp and hold the gauze over a dark background.
28.2 Waste Canvas
This is a way to do counted stitch needlework on non-evenweave
fabrics. Waste canvas is a special type of evenweave fabric which
comes in a variety of mesh sizes. The fabric is unusual in that its
threads are held in place with starch. The waste canvas is used by
basting it onto a non-evenweave fabric, such as the front of a
sweatshirt. This provides a grid for doing counted cross stitch or
other counted thread stitches. Once the stitching is complete, the
waste canvas is removed by dampening the canvas to remove the starch
which binds its threads together. These threads are then removed one
at a time, with tweezers.
_________________________________________________________________
29. Equipment
29.1 Needles
Needle Size
Most counted thread stitching should be done with tapestry needles.
They have blunt points and much larger eyes than sewing needles. The
larger the size number, the smaller the needle. One traditional rule
says you should use a #22 needle if the fabric is 14 count (14 threads
per inch) or less, a #24 or #26 needle if the fabric count is 16-18,
and a #26 needle if the fabric is finer than 18. Most people ignore
this and use whatever they like best.
An even smaller size tapestry needle has become available recently, a
#28. This works very nicely on such fabrics as 40 count linen.
The size/amount of thread used can also determine the best needle
size.
The usual "rule" holds--find a size (or sizes) you like.
Here are some comments from Wombat <wom...@clark.net>...
Well, I showed up for a class/meeting with the #10 needle I thought
I would need, only to discover I was supposed to have a #10 sharp
and I had a #10 crewel. A #28 tapestry did suffice and I then went
home and did research.
Eyes. The choices run from round to oval to long or short oval.
Round eyes are the smallest and long oval the largest. Short ovals
are a lot like a round, but much bulgier. The larger the eye, the
less it rubs on the fiber you are using. Perle cotton needs an oval
eye, as does crewel wool. Sewing thread does just fine in a round
eye. Larger needles have larger eyes, but the basic shape does not
change.
Diameters. This is what makes one needle a different size from
another. The fatter the needle the smaller the size number. There
are two different size ranges, one goes from 1-15 and the other
from 13-28. In either range a big number means a small needle. As
needles get smaller, they also get shorter. A lower number means a
longer, fatter needle with a bigger eye.
Points. Tapestry needles are blunt, all the other needles have a
sharp point. A glovers or leather needle has a triangular piont
with teeny cutting edges to cut a triangular hole in the leather as
you use it. Some sailmaking needles have this, too. Even beading
needles are usually sharp, but they are often so tiny that it's
hard to tell.
Shape. Well, they are all long and skinny, but the eye creates a
bulge or no bulge that will make a difference if you are doing
bullion or french knots. For easier bullion knots, you want a
smooth needle. A needle with a round eye has the least bulge. A
needle with an oval eye has the biggest bulge. Rug needles and
upholstery needles have curves in them, to do a 'scoop' stitch on
fabric that you can't get to the back of.
Length. Some needles are supposed to be very long, like beading or
milliners or doll making needles. Some are about as short as you
would ever want to think about, like betweens that measure less
than one inch. The length varies with the purpose, but the larger
diameter needles are also longer than the same type of needle in a
smaller size. So a size 18 tapestry is going to be longer and
fatter than a size 24 tapestry.
So, lets put this all together and list what characteristics go
with which type of needle.
Tapestry. Oval eye (smallest sizes have long oval), medium length,
blunt. Sizes from 13-28. Common uses; cross stitch, needlepoint,
counted thread work.
Embroidery/Crewel. Oval eye, medium length, sharp. Sizes from 1-13.
Common uses; crewel work, ribbon embroidery, wool embroidery,
smocking with specialty fibers.
Sharps. Round eye, medium length, sharp. Sizes from 1-13. Common
uses; hand sewing, bullion knots or french knots in counted work,
smocking.
Betweens. Round eye, short length, sharp. Sizes from 1-13, not
often found larger than 7. Common uses; hand quilting, fine
needlework such as shadow work embroidery or some French hand
sewing.
Beading. Round eye, very long length, sharp. Sizes from 10-15 in
the 13-28 size range. Common uses; beading, applying sequins.
Different manufacturers make needles a bit larger eyed, or fatter
or longer or with different metals and finishes. This is just a
general list of characteristics for some of the more usual types of
needles.
Wombat
(Thanks to Joan, the manager of G-Street Fabrics Notions department
and to Barbara, manager of the Bernina department, for pointing me
to the most useful articles.)
Needle Finish
Some people tend to lose the finish on their needles. Besides being
ugly, this makes the needle more difficult to use. Special finishes,
such as gold and platinum, are available. They cost more but tend to
last much longer. For the ultimate in stitching luxury, you can buy a
solid gold needle for around US$40. Keep trying different finishes
until you find the one that works best for you.
Platinum needles will be harder to find in the near future. At least
one supplier is known to be discontinuing the manufacture of platinum
needles, as the process was too harmful to the environment.
29.2 Needle Control
Even though chair arms are very convenient for holding needles, such
use can cause other members of the household to acquire a more inimate
acquaintance with the tools of your craft than either they or you
desire.
A pin cushion is an obvious solution. Needle safes also work well.
These are small, flat cases lined on the inside faces with magnets.
Needle safes can cost from US$5 for a small plastic one to more than
US$30 for a good, handcrafted, wood-and-brass box. People have also
had good results with magnetic paperclip holders, which are available
in any place that sells office supplies.
29.3 Hoops, Scroll Bars and Such
First, the traditional rule--stitch on aida using a hoop and stitch on
linen "in the hand".
In actual practice, people do whatever works best for them. Most who
like their fabric taut do tend to avoid hoops in favor of scroll bars
or stretcher bars when working on linen, as hoops may damage the
fabric.
See section " 5. Hoop or Hand? " for the "in-a-hoop vs. in-the-hand"
debate. The discussion in this section assumes that you have decided
to use a hoop or the like.
Tip--Put your project in the hoop or bars backwards. This prevents the
front of the design from touching anything when the bars are set down.
It also provides more room on the back of the project for ending
threads.
Stands
Most of the following items may be used with a stand. Some people like
the stands, as they can then do "two handed" stitching. This is a
method where one hand is always above the cloth and the other is
always below. People who have trouble holding projects for long
periods of time also may find stands useful--they help avoid or reduce
effects from tendonitis, arthritis and cramping.
There are lap stands which either straddle the lap of the stitcher or
are anchored on one side and have a part to sit on. The bigger stands
are floor models and may take up a great deal of space. Some of them
come with chart holders, lamp holders and even magazine racks.
One side benefit is that stands are usually in plain view with the
current project highly visible, ready to be complimented and begging
to be worked on. People with cats may find that felines appreciate
stands too, to the sorrow of the stitcher.
Hoops
Standard hoops are made of wood or plastic. They are inexpensive and
widely available. While most are circular, there are some oval shaped
ones. A variation on the hoop consists of a plastic outer ring and a
metal inner spring/ring.
Common complaints about hoops:
* Having to move the hoop as stitching progresses can be a nuisance.
* A hoop placed over existing stitches may distort them.
* Marks, stains or creases may be left in the fabric.
Make sure your hoops are clean. Plastic hoops can be washed in the
dishwasher.
Remove the hoop when you are not working.
Scroll Bars
A set of scroll bars consists of two wooden scroll bars and two
spacers. The fabric is attached to the scroll bars (which look like
dowel rods). The spacers hold the scroll bars apart. They may be
attached with wing nuts (cheaper) or with wooden knobs (more
expensive).
There are several methods for attaching the fabric. A bar may have a
strip of heavy-duty material stapled to it. The fabric for the project
is then basted on, using a strong thread such as quilting or carpet
thread. Another style has a slit in the bar into which the edge of the
fabric is placed. A third style uses a groove in the bar and a tube or
rod to hold the fabric in the groove.
Scroll rods and spacer bars are available in many sizes. Select a
scroll rod size that is slightly wider than your fabric. Any fabric
longer than the spacer bars is rolled up onto the scroll rods.
Much more of the project is "in-range" than with a hoop. Tension is
not even in the horizontal and vertical directions, but this isn't too
noticeable if the scroll tension is kept very tight.
It is possible to purchase a basic set of scroll bars quite cheaply,
so you can experiment and see if you like them.
Suggestions--Mark the center of the scroll rod, to make it easier to
center the fabric. When attaching the fabric to the scroll rod, work
from the center and work out to the edges.
Q-Snaps
Q-Snaps are a recent development. They consist of four pieces of white
PVC plastic pipe, about 1" in diameter, which are joined at the
corners to form a square or rectangle. The fabric is held onto each
side by a shell of PVC plastic which snaps down over the pipe.
Q-Snaps are sold in packages of four sides, in lengths of 8 inches, 11
inches and 17 inches. They are then assembled by the user to form, for
example, an 8x11 inch rectangle.
People who use them like their versatility. The fabric creases caused
by hoops doesn't seem to occur. The tension is even in both the
vertical and horizontal directions, unlike scroll bars.
Stretcher Bars
Stretcher bars are made of wood. They are sold in packages of two
sides. I have seen them in lengths from 4"-40". The sides are
assembled to form a square or rectangle.
With stretcher bars, the entire project area is visible at all times.
Some people prefer to use stretcher bars only with stiffer fabrics,
such as canvas, but other stitchers like them even for soft
linens/evenweaves.
The edges of the fabric should be prepared in some way to make them
stronger and to stop them from fraying. Basting, hemming or binding
tape are recommended by different people. The fabric is then attached
to the frame with quilting tacks or staples. Start at the center of
each side and work out to the edges. The fabric should be taut, but
not distorted. The tension is even in both the vertical and horizontal
directions, unlike scroll bars.
29.4 Magnifiers and Lamps
Good lighting, of the proper strength and color, can make a world of
difference in the ease with which you can sort thread colors or see
those teeny holes in the fabric. While natural lighting is the best,
most of us don't want to limit our stitching time to daylight hours.
Below are some extracts from postings about this topic.
From: Gillian Cannon <gillian...@solar.org>...
Fluorescent lamps (tubes) come in different colors, just as do
incandescent lamps. Designer Warm White in a fluorescent lamp will
give you true "daylight" colors. If you do not get the correct
color of incandescent lamp (and they are harder to get true colors
from) you will have major color changes. This is information from
my daughter, the interior designer, and her technical notes on
lighting...
Also, as I originally mentioned, the heat is a large factor from
incandescent lamps as well as the focused light which, in
conjunction with a magnifier, can cause fires.
From: Gillian Cannon <gillian...@solar.org>...
There has been some discussion on several conferences about light
bulbs (technically called lamps) for use with cross stitch or other
work that requires "true" colors.
After consulting with a lighting expert here are his suggestions:
Fluorescents can give the closest to "natural light" of any
artificial source.
For circular fluorescents (e.g., for use in Dazors), the Design 50
has 5000 Kelvins and is closest to natural daylight. The Designer
Cool White is also close to natural light but is not available in
circular form.
The second best artificial light is halogen, with the Daylight
lamp, which is 6500 Kelvins.
The poorest form of commonly used artificial light is the
incandescent lamp, but you can get "color corrected daylight" bulbs
at a lighting specialty store.
Magnifiers can also be a big help. There are inexpensive types which
clip onto glasses. Another kind hangs around the user's neck and is
braced against the chest.
An important safety note for any type of magnifier--keep the lens out
of direct sunlight when not in use. The magnifier can concentrate the
sunlight and start a fire. Placing a storage cover of fabric on the
magnifier is sufficient to prevent this from happening.
"Around the neck" pluses:
* Inexpensive
* Portable
"Around the neck" minuses:
* Can be uncomfortable or in a bad position if you have a chest that
is rather large or rather small.
* Your light source may reflect back off of the magnifier. This
seems to be a problem only with artificial lighting.
* Little control over the distance from your eyes to the lens.
There are lamps with magnifiers incorporated. One well known brand is
Dazor.
Magnifying lamp pluses:
* Different lenses for different magnification levels.
* Choice of fluorescent or incandescent bulbs.
* Floor models have weighted bases, so the arm can be extended
without tipping the lamp over.
* Bases come with wheels (optionally).
* There are models (without bases) which can be clamped onto scroll
stands.
Magnifying lamp minuses:
* Very expensive
* Very heavy
_________________________________________________________________
30. Warp and Weft and Why and Why Not
In weaving, warp threads run up-and-down while weft threads run
side-to-side. The selvage runs up-and-down, in the same direction as
the warp threads.
If you want to determine the warp and weft on a piece of linen that
has no selvage:
* Remove a thread from each direction. The warp thread will be
straighter and the weft thread will be wavier.
* If the fabric is square, remove a thread from each direction. The
shorter thread is the warp and the longer thread is the weft.
* Lightly stretch the fabric. The warp threads won't stretch as much
as the weft threads.
Some people recommend stitching on a project so that the warp threads
go from top to bottom, with the selvage at the side. If a finished
project is to be suspended from the top, such as a bell pull, it could
make a difference.
Do the warp and weft directions generally affect counted cross stitch?
There are strong opinions on both sides of the issue. If you notice a
difference, then do what works best.
_________________________________________________________________
31. The Right Side of the Linen
Does linen have a front side and a back side? If it does, should you
care? Unfortunately, this is one of those topics in counted cross
stitch that people tend to get religious about. Even the professionals
don't agree.
The "linen has a front" camp:
* Pull lightly on the bias. The corners of the fabric will curl
towards the front.
* Over time, stitches done on the wrong side may become distorted.
The "linen does not have a front" and "linen has a front but it does
not matter" camps:
* Some linen has a shinier side, but that is due to processing after
the weaving is done.
* If an expert has trouble telling the difference, it must not
matter very much.
* Weavers for one of the big stitching fabric companies say the two
sides are identical.
_________________________________________________________________
32. The Right End of the Floss
You may have read posts which talked about "the right end," or
"direction of the thread." Let's talk about what it means and why you
should (or shouldn't) care. Yes, this is another of those religious
issues where the professionals disagree.
Here are condensed comments from the different schools of thought.
School 1 - floss has a right end, and the end matters:
* The end that comes out of the skein first is the right end.
* If the floss is already cut, hold the two ends in one hand,
between the thumb and forefinger. Allow about one half inch from
each end to stick up. Now tap lightly down onto both ends at once
with your other forefinger. The end that spreads more, or
"blossoms" is the "right" end.
* To find the right end for a single strand of floss, hold it up and
run it between your thumb and forefinger. The direction that feels
smoother is the right direction, and the top is the right end.
* Some people find it easier to separate a strand when it is removed
from the right end. They have less problem with tangling.
* The needle should be threaded with the right end. The stitches lie
better, and knots are less likely to happen.
* It is bad form to stitch without paying attention to thread
direction.
School 2 - floss has a right end, and the end doesn't matter:
* If it takes a magnifying glass to see the difference in the
stitches, keeping track of the right end of the thread is a waste
of time.
* The loop method of starting stitches (where by definition one
strand is the right way and one the wrong) can help keep the back
of the picture neat.
School 3 - floss does not have a right end:
* The big floss manufacturers claim that their floss does not have a
nap, and therefore does not have a right end.
* Modern processing methods result in flosses and yarns which do not
have a right end.
_________________________________________________________________
33. Z-twist and S-twist
Here is a definition, just in case you ever see references to
"Z-twist" or "S-twist."
From: Noeline McCaughan <noe...@styx.equinox.gen.nz>...
Just to make things a little clearer -"Z" and "S" are used to
describe the twist in a yarn - any yarn regardless of what fibre it
is spun from. Just take a piece of thick yarn and hold it up in
front of your eyes. If the twist goes from top right to bottom left
it is called "Z" (the slant of the twist equaling the slant of the
downstroke in the letter). If it slopes from top left to right
bottom it is of course an "S".
_________________________________________________________________
34. The Amount of Floss for Cross Stitch
The amount of floss needed for any project can vary among stitchers.
The chart below should be used as a general guide only. You may get
fewer stitches per skein if you are doing a very complex project or if
you have loose stitches.
The equation used to derive this chart is described at the end.
Find the count (number of stitches per inch) in the left-hand column
and go across. Find the number of strands of floss used at the top of
the chart and go down. The number of stitches per skein of floss is
where these two intersect.
Strands of floss
1 2 3 4 5 6
------------------------------------------------
C 6 | 1530 765 510 382 306 255
o 7 | 1785 892 595 446 357 297
u 8 | 2040 1020 680 510 408 340
n 9 | 2295 1147 765 573 459 382
t 10 | 2550 1275 850 637 510 425
11 | 2805 1402 935 701 561 467
12 | 3060 1530 1020 765 612 510
13 | 3315 1657 1105 828 663 552
14 | 3570 1785 1190 892 714 595
15 | 3825 1912 1275 956 765 637
16 | 4080 2040 1360 1020 816 680
17 | 4335 2167 1445 1083 867 722
18 | 4590 2295 1530 1147 918 765
19 | 4845 2422 1615 1211 969 807
20 | 5100 2550 1700 1275 1020 850
21 | 5355 2677 1785 1338 1071 892
22 | 5610 2805 1870 1402 1122 935
23 | 5865 2932 1955 1466 1173 977
24 | 6120 3060 2040 1530 1224 1020
25 | 6375 3187 2125 1593 1275 1062
26 | 6630 3315 2210 1657 1326 1105
27 | 6885 3442 2295 1721 1377 1147
28 | 7140 3570 2380 1785 1428 1190
29 | 7395 3697 2465 1848 1479 1232
30 | 7650 3825 2550 1912 1530 1275
31 | 7905 3952 2635 1976 1581 1317
32 | 8160 4080 2720 2040 1632 1360
33 | 8415 4207 2805 2103 1683 1402
34 | 8670 4335 2890 2167 1734 1445
35 | 8925 4462 2975 2231 1785 1487
36 | 9180 4590 3060 2295 1836 1530
37 | 9435 4717 3145 2358 1887 1572
38 | 9690 4845 3230 2422 1938 1615
39 | 9945 4972 3315 2486 1989 1657
40 | 10200 5100 3400 2550 2040 1700
41 | 10455 5227 3485 2613 2091 1742
42 | 10710 5355 3570 2677 2142 1785
43 | 10965 5482 3655 2741 2193 1827
44 | 11220 5610 3740 2805 2244 1870
45 | 11475 5737 3825 2868 2295 1912
46 | 11730 5865 3910 2932 2346 1955
47 | 11985 5992 3995 2996 2397 1997
48 | 12240 6120 4080 3060 2448 2040
49 | 12495 6247 4165 3123 2499 2082
50 | 12750 6375 4250 3187 2550 2125
51 | 13005 6502 4335 3251 2601 2167
52 | 13260 6630 4420 3315 2652 2210
53 | 13515 6757 4505 3378 2703 2252
54 | 13770 6885 4590 3442 2754 2295
55 | 14025 7012 4675 3506 2805 2337
For you folks who like to know the details, here is how the chart was
derived. As you will see, there was a fair amount of approximation
going on.
A skein of floss is approximately 8-1/2 yards long. Assume most people
stitch with an 18" length of floss. This gives 17 segments of 18" each
per skein.
Most of the time, people stitch with more than one strand. There are 6
strands of floss per skein. So 6/strands_used is the number of pieces
per segment.
Allow 3" per 18" length for securing the beginning and ending, and for
general waste. This gives 15" of usable thread per 18" piece.
Now, how many inches of floss does each X take? Using the Pythagorean
Theorem to calculate the length of each half stitch on 14 count
fabric, and allowing for the vertical lengths on the back, and
allowing a little for slop, we get 6/count (where count is the number
of stitches per inch). Remember, I said there was a fair amount of
approximation going on.
So the final equation is:
stitches_per_skein = 17 * (15 / (6/count)) * (6/strands_used)
I used this equation in a perl script to produce the chart above.
_________________________________________________________________
A. About the Needlework FAQs
A.1 General Comments
Welcome. This is one of several Needlework Frequently Asked Questions
(Needlework FAQs) documents for the rec.crafts.textiles.needlework
Usenet newsgroup on the Internet.
The FAQs are a collection of information that should be of use to
people who do many kinds of needlework. They include lists of
magazines, mail order companies, guilds, events--even conversion
tables. The hints and tips contained here have been collected from
many people who have been kind enough to share their wisdom with
rec.crafts.textiles.needlework.
Although efforts are made to make sure that the information in this
FAQ is correct, this document is provided as is, with no warranties or
guarantees of any kind either expressed or implied. Any commercial
products or services are listed as a courtesy to the reader. No
endorsement or value judgement is expressed or implied.
Please send comments and corrections to me.
Kathleen M. Dyer
<kd...@dnai.com>
A.2 Document History
This document is one of the successors to the original "Counted Cross
Stitch FAQ", first posted to the old rec.crafts.textiles newsgroup on
April 20, 1994. The CCS FAQ moved to rec.crafts.textiles.needlework on
September 17, 1994, when the newsgroup was created.
In June, 1995, the contents of the "Counted Cross Stitch FAQ" were
split into two new FAQs--the "General Needlework Information FAQ" and
the "Counted Cross Stitch and Counted Thread FAQ". In February, 1996,
the two FAQs were split into a collection of Needlework FAQs.
Thanks to the people who have given permission for their messages and
postings to be quoted directly. The names are given where quoted.
Special thanks to those people who read the draft of the original
"Counted Cross Stitch FAQ" for their time, care and suggestions.
A.3 How to Find the FAQs
The Needlework FAQs are posted regularly to the
rec.crafts.textiles.needlework newsgroup.
Author/Editor: Kathleen Dyer <kd...@dnai.com>
Posting frequency: Monthly, first weekend after the 15th.
Web and plain text versions at: <http://www.dnai.com/~kdyer/faq.html>
Needlework FAQ: Activities and Events
Online activities and real world consumer shows and classes.
Needlework FAQ: Competitions, Selling Designs or Needlework
Tips for entering competitions, selling finished products, and
selling designs.
Needlework FAQ: Computer Software
Information about nearly two dozen computer software companies and
their products for designing charts and maintaining databases.
Needlework FAQ: Counted Cross Stitch Tutorial
Discusses everything from selecting the fabric to framing the
picture (and most things in between).
Needlework FAQ: Creating Cross Stitch Charts
Different ways to create your own cross stitch charts.
Needlework FAQ: Designers and Design Companies
Needlework designers from around the world.
Needlework FAQ: Fabric
Information about evenweave fabrics from 6-count to 45-count,
including fiber content.
Needlework FAQ: Threads, Fibers, Embellishments
Color names or conversion charts for DMC, Anchor, J&P Coates,
Marlette, Medicis, Madeira, Au Ver A Soie, Mill Hill beads, Danish
Flower Thread, DMC Flower Thread, Ginny Thompson Flower Thread,
Kreinik Metallics.
Needlework FAQ: Magazines
Information about needlework magazines from North America, Europe
and Australia.
Needlework FAQ: Manufacturers and Distributors
Contact information for manufacturers and distributors from the
small, specialty companies to the big name brands.
Needlework FAQ: Organizations
Needlework guilds and organizations in North America, Europe and
Australia.
Needlework FAQ: Retailers
Needlework stores and retailers from Singapore to Texas (and places
between).
Needlework FAQ: Stitching and Embroidery Techniques
Short descriptions of different embroidery techniques.
Author/Editor: Kathleen Dyer <kd...@dnai.com>
Posting frequency: Weekly
Plain text versions at: <http://www.dnai.com/~kdyer/faq.html>
Needlework FAQs and Periodic Postings
List of many of the regular RCTN posts.
Rec.crafts.textiles.needlework Mini-FAQ
Very short list of tips about Usenet and RCTN.
Welcome to rec.crafts.textiles.needlework
Tips about Usenet and RCTN.
_________________________________________________________________
Copyright 1994-1999 Kathleen M. Dyer
All Rights Reserved.
Last modified: October 15, 1999