Counted Cross Stitch FAQ (Part 1 of 4)
Kathleen M. Dyer
Posting-Frequency: monthly
Part 1 of 4 - Counted Cross Stitch Frequently Asked Questions version 1.06
My continuing thanks to all who send information to me for the FAQ. It can
only stay up-to-date through the efforts of a large number of people.
Changes from version 1.05 to version 1.06:
PART 1
~ MAJOR changes to the information about where to find the FAQ.
~ Small changes to table of contents.
~ Changed contact address from netcom.com to crl.com.
~ Changed references from "rec.crafts.textiles" to r.c.t.needlework.
PART 2
~ Changed references from "rec.crafts.textiles" to r.c.t.needlework.
PART 3
~ Added/updated entries in "Ordering Supplies By Mail and Phone" section.
~ Added/updated entries in "Magazines" section.
~ Added/updated entries in "Computer Software For Cross Stitch" section.
~ New Fibernet nodes.
~ Small changes to the International Round Robin instructions.
~ Changed references from "rec.crafts.textiles" to r.c.t.needlework.
PART 4
~ Added section "B.3 Calculating the Amount of Floss"
Kathy
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
COUNTED CROSS STITCH
Frequently Asked Questions
For the Internet's
Usenet News Group
rec.crafts.textiles.needlework
Version 1.06
October 15, 1994
Kathleen M. Dyer
kd...@crl.com
Copyright (c) 1994 Kathleen M. Dyer.
Permission is granted to duplicate and distribute
this article freely, provided no fees are charged
and this copyright notice is included intact.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
PART 1
------
About This FAQ
1. Introduction
2. A Cross Stitch Project From Start to Finish
2.1 Selecting the Fabric - Aida vs. Linen
2.2 Selecting the Thread/Fiber
2.3 Preparing the Fabric
2.4 Setting the Floss Color
2.5 Hoop or Hand?
2.6 Making the X
2.7 Fractional Stitches
2.8 Stitching On Linens and Evenweaves
2.9 Where to Start Stitching
2.10 Number of Strands
2.11 The "Right" End of the Floss
2.12 Cutting the Floss
2.13 How to Start the Thread
Running Under
Loop Method
Knotless Waste Knot
Waste Knot
2.14 Carrying Threads Over
2.15 How to Keep the Thread From Twisting and Knotting
2.16 How to End the Thread
2.17 Using Variegated Floss
2.18 Where Am I?
2.19 Backstitching
2.20 Beads
2.21 Signing and Dating
2.22 Cleaning and Storing
2.23 Mounting, Matting and Framing
PART 2
-------
3. Equipment
3.1 Needles
Needle Size
Needle Finish
3.2 Needle Control
3.3 Hoops, Scroll Bars and Such
Stands
Hoops
Scroll Bars
Q-Snaps
Stretcher Bars
3.4 Magnifiers and Lamps
4. Selling Your Work
4.1 General Comments
4.2 Craft Business Mailing List
5. Entering Competitions
6. Other Stitching Techniques
6.1 Assisi Work
6.2 Blackwork
6.3 Counted Thread Work
6.4 Drawn Thread Work
6.5 Duplicate Stitch
6.6 Hardanger Embroidery
6.7 Pulled Thread Work
6.8 Shadow Embroidery
6.9 Waste Canvas
PART 3
-------
7. Finding Supplies
7.1 Ordering Supplies By Mail and Phone
7.2 Crafts Information Service
7.3 Needlework Stores
7.4 Finding Charts
8. Books, Magazines and Videotapes
8.1 Magazines
8.2 Magazine Index
8.3 Books and Pamphlets
8.4 Videotapes
9. Creating Your Own Charts
9.1 From a Photo - Do It Yourself
9.2 From a Photo - Mail It Off
9.3 Use a Computer - Original Design or From a Photo
10. Computers and Cross Stitch
10.1 Discussion Groups and BBS's
10.2 Computer Software For Cross Stitch
11. Activities and Events
11.1 Competitions and Exhibitions
11.2 International Cross Stitch Round Robin
11.3 The Spirit of Cross Stitch Festival
11.4 The Creative Festival
11.5 I Love Needlework Fair
11.6 EGA - The Embroiderer's Guild of America
11.7 Pomegranate Guild of Judaic Needlework
PART 4 - Appendices
--------------------
A. Fabrics
A.1 Silk Gauze
A.2 Types of Evenweaves
Cottons & Blends
Linens & Blends
Miscellaneous Blends
B. Floss and Fibers
B.1 Fibers to Use Other Than Floss
B.2 Floss Color Names and Conversion Chart
B.3 Calculating the Amount of Floss
==============================================================================
About This FAQ
==============================================================================
Welcome to the "Counted Cross Stitch Frequently Asked Questions" document for
the Usenet news group rec.crafts.textiles.needlework on the Internet.
Although this document is focused on counted cross stitch, people who do other
forms of needlework may still find some useful information in it. The lists
of suppliers and magazines include several that deal with many types of
embroidery.
The hints and tips contained here have been collected from the many people who
have been kind enough to share their wisdom with the net. In fact, this is
an attempt to represent the collective wisdom of the stitchers who post to
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. No endorsement or value judgement is
expressed or implied.
Please send comments and corrections to me.
Kathleen M. Dyer
kd...@crl.com (home, preferred address)
kd...@llnl.gov (work, if the other address bounces)
----------------------
Where to Find the FAQ
----------------------
The Counted Cross Stitch FAQ is posted monthly to the newsgroup
rec.crafts.textiles.needlework around the 15th of each month.
It has been archived and is available by:
WWW (Mosaic) - Counted Cross Stitch WWW Home Page
(ftp://ftp.crl.com/users/ro/kdyer/xstitch.html)
Anonymous ftp - At ftp.crl.com in the directory /users/ro/kdyer/faq as the
files xstitch_faq.1, xstitch_faq.2, xstitch_faq.3 and
xstitch_faq.4
(ftp://ftp.crl.com/users/ro/kdyer/faq/xstitch_faq.1)
(ftp://ftp.crl.com/users/ro/kdyer/faq/xstitch_faq.2)
(ftp://ftp.crl.com/users/ro/kdyer/faq/xstitch_faq.3)
(ftp://ftp.crl.com/users/ro/kdyer/faq/xstitch_faq.4)
Please note that the ftp server which allows you to access both the Counted
Cross Stitch WWW Home Page and the archive can become quite busy. If you
have trouble connecting, try again in a few minutes.
This FAQ has been submitted for posting to the news.answers and rec.answers
newsgroups and is awaiting approval by the moderators. Once approved, the
FAQ will also be archived at rtfm.mit.edu [18.181.0.24]. It will most likely
be located in the /pub/usenet/rec.answers/crafts subdirectory. If you do not
have anonymous ftp access, you can access the rtfm.mit.edu archives by mail.
Send an e-mail message to mail-...@rtfm.mit.edu with "help" and "index" in
the body on separate lines for more information.
If all other avenues fail, I am perfectly happy to email the FAQ to anyone who
requests it. It will be sent in four sections totaling over 50 pages. Just
send email to me (kd...@crl.com) requesting a copy.
----------
Thank You
----------
Thanks to the folks 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 this document for their
time, care and suggestions--
bal...@osiris.rti.org (Lisa Balbes)
ca...@engin.umich.edu (Caren B Pelletier)
G390...@EXODUS.VALPO.EDU (Heather Keal)
gil...@kaiwan.com (Gillian Cannon)
ji...@super.org (Amelia J. Scott-Piner)
jli...@nickel.laurentian.ca (Janice Liedl)
lb...@perfmap.austin.ibm.com (Liz Bell)
Mary.Ri...@att.com (Mary Otto)
pand...@silver.sdsmt.edu (Patty Andersen)
quil...@marny.Corp.Sun.COM (Marina Salume)
ran...@verifone.com (Randy Freeman)
stella...@solar.org (Stella Nemeth)
==============================================================================
1. Introduction
==============================================================================
Counted cross stitch has few, if any, 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.
The first part of this document is a tutorial. The rest is essentially a
collection of lists--catalogs, events, floss conversion, etc.
Any commercial products or services are listed as a courtesy to the reader.
No endorsement or value judgement is expressed or implied.
==============================================================================
2. A Cross Stitch Project From Start to Finish
==============================================================================
-------------------------------------------
2.1 Selecting the Fabric - Aida vs. Linen
-------------------------------------------
Generally, people first learn to do counted cross stitch on aida and learn to
stitch on linen as they become more experienced. Judging by comments in
this news group, most stitchers who know how to work on linen wouldn't go back
to aida under any condition. As always though, this is a matter of personal
preference. Some very experienced stitchers prefer aida.
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 "2.5 Hoop or Hand?" for a discussion of the "in-the-hand vs.
in-a-hoop" debate. See section "3.3 Hoops, Scroll Bars and Such" for more
information on the equipment itself.
Linen isn't as stiff as 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 is generally worked over two
threads. This means that a 28 count linen produces the same size picture as a
14 count aida. See section "2.8 Stitching On Linens and Evenweaves" for a
more detailed explanation of stitching on linen.
Fractional stitches (1/4 and 3/4) can be much easier to do on linen. 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). No "punching through" is needed on linen, as the needle simply
goes between the two threads. See section "2.7 Fractional Stitches" for a
more detailed explanation of fractional stitches.
Some people find it easier to see the holes on linen 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. Whether you choose to work on aida or on
linen, always buy the best quality cloth you can afford. The amount of time
invested in a cross stitch 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. See section "A.2 Types
of Evenweaves" for information on fiber content.
A possible source of high quality but inexpensive linen is at antique shops.
You may be able to find cloth with a hand tatted or hand crocheted edge,
allowing you to do a joint project with someone who isn't alive today.
--------------------------------
2.2 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 already started the picture with the old floss, rip it
out or get new cloth and START OVER. 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 section "B.1 Fibers to Use Other Than Floss" 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. Even better, there is a "DMC-Anchor-J&P Coats" conversion chart
in this FAQ. Look for section "B.2 Floss Conversion Chart."
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 section "B.1 Fibers to Use Other
Than Floss" 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.
--------------------------
2.3 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.
Cut the fabric to size for the project. Allow an extra 3"-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.
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.
-----------------------------
2.4 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.
Below are a couple of postings about the topic.
From: gillian...@solar.org (Gillian Cannon)...
I take my blacks and dark reds, purples, etc., and put rubber bands where
the paper bands are, and shake the skein in a glass of water that I've put
a quarter of a teaspoon of white vinegar or salt in so I can set the
colors. Rinse in clear water after shaking in the mixture until it runs
clear, then I lay the skein (still in the rubber band wrapping) on top of a
thick terry towel, then roll and press to remove the extra water. I then
just lay it on a surface until it dries. It's really easy and eliminates a
lot of problems.
From: mo...@cbnewsf.cb.att.com (mary.rita.otto)...
...You want to set the color on the floss before you start the piece. This
is only necessary for some of the colors - most will not bleed. But here is
the procedure.
Take the floss out of the skein wrappers. Wet it with cool water. Lay it
on a white paper towel to dry. If it is going to bleed/run that will be
evident on the paper towel. If it does show signs of running, then rinse
it with cool running water until the running stops and the paper towel it
is set on shows no further signs of color.
Soak the rinsed floss in 1 QT cool water and 1/4 cup white vinegar. Let it
soak for about 20 minutes. Rinse again with cool water and dry on a paper
towel.
If you have a finished piece you should exercise caution when first washing
the piece. Rinse the piece with clear water and watch for signs of
running. If a color does run, continue to rinse the piece in cool running
water until the bleeding stops and the water runs clear.
In most cases, it is not necessary to use the vinegar water soak. I
consulted several expert stitchers and teachers on this, and they all
admitted that they think the soaking is a waste of time, and just deal with
the bleeding with the cool water rinse at wash time. The quality of dyes
used currently is very good, and colors running is very uncommon.
I only do a rinse and soak for heirloom quality work using intense red
colors (like DMC 666). I've never had a problem with other colors, or a
serious problem with the red, either. But that may vary with the quality
of the local water supply.
-------------------
2.5 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, as hoops may damage the fabric
or leave marks. See section "3.3 Hoops, Scroll Bars and Such" for more
information on the equipment itself. See section "2.8 Stitching On Linens and
Evenweaves" for a more detailed explanation of 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 do what works best for you.
Advantages and Disadvantages 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.
~ Some people have trouble controlling fabric and floss without bars.
Advantages and Disadvantages 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.
~ Hoops can distort existing stitches and leave marks on the fabric. These
problems can be avoided by using stretcher bars, scroll bars and Q-Snaps.
------------------
2.6 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. 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.
-------------------------
2.7 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. 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). 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.
----------------------------------------
2.8 Stitching on Linens and Evenweaves
----------------------------------------
People tend to use the terms "linen" and "evenweave" interchangeably in casual
discussions. Evenweave fabrics are composed of linen, cotton, man-made fibers
and blends. To save typing, I'll use "linen" below to mean both linen and
evenweave.
For a look at the "aida vs. linen" debate, see section "2.1 Selecting the
Fabric - Aida vs. Linen." For information on the fiber content of
different fabrics, see section "A.2 Types of Evenweaves."
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 "2.5 Hoop or Hand?" for a discussion of the "in-the-hand vs.
in-a-hoop" debate. See section "3.3 Hoops, Scroll Bars and Such" for more
information on the equipment itself.
Linen is generally worked "over two" threads. This means that a 28 count
linen produces the same size picture as a 14 count aida.
Experienced stitchers of linen 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
jli...@nickel.laurentian.ca (Janice Liedl))
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:
~ Starting next to a vertical thread makes it easy to tell when you have
mistakenly gone over 1 or 3 threads.
~ The hole next to a vertical thread is slightly larger.
~ Stitches started next to horizontal threads sometimes don't look as nice,
and can roll under.
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.
------------------------------
2.9 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?
It's 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
------------------------
2.10 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. A very common choice is to use two strands when working on 14
or 18 count cloth. 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.
-----------------------------------
2.11 The "Right" End of the Floss
-----------------------------------
You may have read posts which talked about "the right end," "direction of the
thread," or "Z-twist and S-twist." First let's talk about what it means, then
we'll look at why you should (or shouldn't) care.
From: noe...@styx.equinox.gen.nz (Noeline McCaughan)...
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".
To find the right end for a six-strand length of floss:
~ The end that comes out of the skein 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.
So, now you know how to find it. Why should you? Unfortunately, this is one
of the few topics in counted cross stitch that people tend to get religious
about. Even the professionals don't agree.
The two main schools of thought:
~ 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.
~ 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.
Besides, 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.
------------------------
2.12 Cutting the Floss
------------------------
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 "2.13 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. 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.
------------------------------
2.13 How to Start the Thread
------------------------------
And now for a strong suggestion--DO NOT KNOT THE THREAD. An exception _might_
be made for cross stitch on clothing, towels and the like.
~ 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 "3.1 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. When you have
completed some stitches, pull the tail to the back side. Run it under the new
stitches.
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. It should be
started farther away from the stitching point, as the tail-and-knot on the
front is cut away when the stitches are completed. The remaining tail on the
back is run under the new stitches.
For both the waste knot and knotless waste knot, careful placement of the
"knot" will cause the tail on the back to be covered as you stitch.
----------------------------
2.14 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.
--------------------------------------------------------
2.15 How to Keep the Thread From Twisting and Knotting
--------------------------------------------------------
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 "2.11
The Right End of the Floss" for more information.
Let the thread dangle every so often and untwist it.
If you use the stab method, rather than the sewing method...
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 \
| || \
| || \
\ || \-----------\
---------------------------\
|| ||
|| ||
|| ||
\\----------------//
----------------
----------------------------
2.16 How to End the Thread
----------------------------
Not surprisingly, the techniques for ending the thread resemble those for
starting the thread.
First, the same strong suggestion--DO NOT KNOT THE THREAD. An exception
_might_ be made for cross stitch on clothing, towels and the like.
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.
-----------------------------
2.17 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.
------------------
2.18 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. 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.
--------------------
2.19 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.
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 a double running 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.
------------
2.20 Beads
------------
It is becoming more common for designs to require beads. Beading should be
done after the cross stitching and backstitching. You may use beading thread,
floss that matches the color of the bead, or floss that matches the color of
the background fabric. A bead is attached 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 as you would expect, 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.
-------------------------
2.21 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 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...
---------------------------
2.22 Cleaning and Storing
---------------------------
Obviously, when it comes to cleaning cross stitch 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.
~ No smoking near the project.
~ Watch out for ink from highlighters, and toner from photocopies.
~ Cross stitch 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 or
white flannel 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.
When you are done stitching:
~ Always launder the project when completed. 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. Use
something which is pH balanced and has _no_ whitening agents. This means
something like Ivory Snow, 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. 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 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.
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.
------------------------------------
2.23 Mounting, Matting and Framing
------------------------------------
Not all cross stitch needs to be framed like a picture. Cross stitch 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. 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? Like 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.
Kathleen M. Dyer
Posting-Frequency: monthly
Part 2 of 4 - Counted Cross Stitch Frequently Asked Questions version 1.06
Copyright (c) 1994 Kathleen M. Dyer. Permission is granted to duplicate and
distribute this article freely, provided no fees are charged and this
copyright notice is included intact.
==============================================================================
3. Equipment
==============================================================================
-------------
3.1 Needles
-------------
Needle Size
-----------
Counted cross stitch 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 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.
The size/amount of thread used can also determine the best needle size.
The usual "rule" holds--find a size (or sizes) _you_ like.
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 luxery, 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.
--------------------
3.2 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.
---------------------------------
3.3 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 "2.5 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 frames which straddle the lap of the stitcher. 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 (also called Q-frames) 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.
--------------------------
3.4 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...@solar.org (Gillian Cannon)...
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...@solar.org (Gillian Cannon)...
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.
"Around the neck" pluses:
~ Inexpensive
~ Portable
"Around the neck" minuses:
~ Can be uncomfortable if you have a chest that is (ahem...) not very flat.
~ 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.
Dazor brand lamps are lamps with magnifiers incorporated. They are generally
considered the top of the line in magnifiers for crafters. The lamps come in
white, black and cream.
Dazor 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.
Dazor minuses:
~ Very expensive
~ Very heavy
==============================================================================
4. Selling Your Work
==============================================================================
----------------------
4.1 General Comments
----------------------
The consensus in this new group is that it is difficult to sell good quality,
handmade items at a price that reflects the time spent making them. Most
stitchers view their work as a labor of love, and distribute their items as
gifts. A few people stitch models for craft stores in exchange for a small
amount of money and/or a discount on supplies from the store. An even smaller
number of people manage to establish themselves as artists, designing their
own patterns and displaying the models in galleries or special niche market
auctions.
Below are some extracts from postings about this topic.
From: quil...@marny.Corp.Sun.COM (Marina Salume)...
...In general, there is no market for needlework like this, unless you can
establish yourself as an "artist", which means you'd have to design your
own patterns and make them in very limited editions. You'd either get a
gallery to represent you or make things on commission. Take a look at
magazines like FiberArts and Ornament, they show lots of this type of work,
altho not many people are working exclusively in cross stitch. (i've seen
things done in millions of French knots tho, which seems similar).
There is probably a market for reproductions of antique samplers, tho.
Since the real antique ones sell for hundreds of dollars, if you can make
good copies you can probably sell them in antique shops.
Quick ornaments are sold everywhere, here you are competing with things
made in mass quantities in the Orient by women who work for pennies a day.
However you can probably sell these at craft shows or shops.
From: lvr...@world.std.com (Louise Vrande)...
I tried selling cross stitch pieces--I designed them, worked them, finished
them, and went to crafts shows (small ones) to sell them. No one was very
interested. At least, not in paying for the work. They admired it, as if
it were a museum display. Others said, well, I do cross stitch myself.
Never mind they didn't have and couldn't get these designs!
At one show I did, a "customer" pulled her younger companion away from my
booth, saying "No, that stuff is handmade. It's too expensive." Isn't
handmade the point? And, given the hours that went into producing each
piece, it was not expensive.
From: gillian...@solar.org (Gillian Cannon)...
I have a friend who is a professional stitcher--she stitches both cross
stitch and needlepoint on commission for clients. She charges $1 per
square inch (the client provides the materials). Right now she is working
on a large needlepoint canvas that's 18 count or so. It will take her
about 3 months to do (I don't think she will be working on it full time
however. She rotates her stuff so she doesn't get stale on any one.) When
she is done she'll get about $400, which is slave wages.
I stitch as a labor of love--for my family and friends (and I'm finally
gonna sit down and do something for myself--an enormous Cross Wing chart of
wildflowers that will be about 38" x 23" on 30 count linen). Somehow, if I
get paid for something it all of a sudden becomes "work" instead of "fun"
and is a pain to complete.
Quick ornament types usually take at least several hours to complete. If
you can get $5 for the finished item, you will be lucky. However, I do not
know what your financial situation is or how you value your time. All I
can say is that you can make a whole lot more (and at home as well) doing
computer input, etc.
From: Mary.Ri...@att.com (Mary Rita Otto)
I created original designs for a niche market, and sold them through art
auctions. I designed things for techie-types, and sold them at Science
Fiction convention art shows. They sold very well. I made what I consider
to be good money -- that is, more than double the cost of the materials on
pieces which didn't take a lot of work. It was a ego stroke to know that
people were willing to bid against each other to get my stuff. On the
other hand, I was sorry to see some of them go. I guess art is like that.
---------------------------------
4.2 Craft Business Mailing List
---------------------------------
A craft business mailing list was created by Teri Miller early in January,
1994. If you would like to be on the list, send email to
"crafts-busi...@hustle.rahul.net". To post an article, send email to
"crafts-...@hustle.rahul.net" and (if appropriate) it will be forwarded
to the list.
From the article announcing the formation of the list:
I'm hoping that the list will host discussions of crafts businesses,
including starting one's own business, referrals of businesses that are
especially good or interesting, pointers to more information: basically,
anything that could be considered a pointer to a business or info on
starting one is great. Do you have a business and want to post an ad? If
it's not excessively long or too frequently submitted, I'll forward those
along, too. My impression is that at least some of the respondents were
interested in talking with people who already have businesses, and mailing
out their ads is a good way to make them known.
==============================================================================
5. Entering Competitions
==============================================================================
If you plan on entering a project in competition, the best policy is to find
out the specific rules for that competition. But for those cases where you
don't decide to enter until the piece is well under way, it can help to keep
some commonplace rules in mind. Below is a general list of "what judges look
for" in an award winning counted cross stitch picture.
~ All stitches cross in the same direction, unless some special effect is
planned.
~ Even tension. Stitches flat, but no distortion of the cloth. Make sure
no line of light formed along a row.
~ Stitches not twisted.
~ Full coverage, but not bulky. Airy.
~ No knots.
~ No long carry-overs.
~ No loose tails.
~ Reverse side stitches should be vertical. (This is a subject of some
debate.)
~ Clean. No wrinkles. No hoop marks.
~ Overall appearance.
~ Right and wrong end of the floss. (This is _definitely_ a subject of
debate.)
~ Not judged on framing.
==============================================================================
6. Other Stitching Techniques
==============================================================================
There are many, many styles or techniques for counted thread work and
embroidery. Most are centuries old, and have been in and out of fashion more
than once.
Any additions to this list or to the descriptions are welcome.
-----------------
6.1 Assisi Work
-----------------
From: Mary.Ri...@att.com (Mary Rita Otto)...
Assisi Work is a form of embroidery where the background is stitched around
an unstitched silouette design, which is outlined in backstitch to further
define it. One particularly lovely form employes subtle shading of the
background threads -- to me, it looks like a sunrise backlighting the
subject. These designs can be particularly lovely.
---------------
6.2 Blackwork
---------------
From: Mary.Ri...@att.com (Mary Rita Otto)...
I've been researching the history of Blackwork. Actually, it dates back to
at least the 1300's. It was mentioned in the Canterbury Tales, in a
description of the Miller's wife's nightcap. While the use of black wool
(natural, rather than dyed) on white linen is one of the traditional forms,
red on white was also extremely popular. Catherine of Aragon was
responsible for bringing the darker fashions of Spain to England, and with
them came a fashion trend for blackwork in court clothing (as opposed to
peasant clothing like the miller's wife was wearing in the 1300's).
Only some blackwork is reversible. Reversible work is confined primarily
to border patterns. The reversible patterns were worked in double running
stitch, sometimes overcast to smooth the lines and hide the holes between
the stitches. Other embroidery in the classification of blackwork are
repeating "diaper" patterns used as filling stitches, and outlined in
chain, split or stem stitch. These were worked on a plain ground fabric,
not necessarily an even weave. Interestingly, a technique was developed
using starched cheesecloth over the plain fabric to regulate the stitch
length, much like the modern use of waste canvas.
From: gillian...@solar.org (Gillian Cannon)...
...It was brought to England by Catherine of Aragon, I believe, and came
into popularity through the paintings of Hans Holbein (it is also called
"Holbein" work) and because lace could not be imported from France because
of the war. The blackwork gives the look of lace to a garment's sleeves,
collar, and other areas.
-------------------------
6.3 Counted Thread Work
-------------------------
From: Mary.Ri...@att.com (Mary Rita Otto)...
This is the descriptive category for stitches worked over a counted number
of threads. It includes traditional sampler making stitches such as
long-armed cross-stitch, Italian cross-stitch, four sided stitch, Queen
stitch, nun's stitch, herringbone, and "countless" ;^) others.
Cross-stitch is only one of the many counted thread stitches. Eileen
Bennett of The Sampler House is a leading authority on this traditional
sampler making stitches.
-----------------------
6.4 Drawn Thread Work
-----------------------
From: Mary.Ri...@att.com (Mary Rita Otto)...
This is a technique which is enjoying a resurgence. It involves the
removal of some of the threads from a section of the fabric. One of the
more interesting techniques is to remove the horizontal threads and to work
twisting patterns (called leno work) in the remaining vertical threads.
This creates a lovely lacey effect. Linda Driscoll is a leading designer
of Drawn Thread samplers and provides excellent instruction in the
techniques in her publications.
Drawn Thread Work is traditionally worked in white on white (or ivory on
ivory) and is sometimes called "White Work". Such monotone samplers are
often displayed by mounting them over a piece of colored linen to highlight
the open work areas. Interesting effects can be achieved using color with
the technique, though. Needleweaving (one of the techniques) can be used
to create, for example, a row of Christmas trees in openwork. Gold threads
were used in some historic pieces worked in this technique.
----------------------
6.5 Duplicate Stitch
----------------------
Duplicate Stitch is a technique for embroidering on knitted objects so that
the resulting design appears to have been knitted in. It is done as a
series of V's, to match the V's in a standard stockinette weave. While
regular cross stitch patterns may be used, it is important to remember that
the resulting design will appear squashed.
--------------------------
6.6 Hardanger Embroidery
--------------------------
Hardanger is a Scandinavian counted thread technique, performed on a special
evenweave cloth called (logically) Hardanger. Traditionally, it is done on
a 22 count cloth with a matching color cotton thread such as Perle. Hardanger
embroidery bears a resemblance to Drawn Thread Work, but it emphasizes box
shapes rather than long rows of stitches.
------------------------
6.7 Pulled Thread Work
------------------------
Pulled Thread is a very easy technique which creates complicated looking
patterns. Probably the hardest thing for a cross stitcher to remember is to
PULL HARD.
From: Mary.Ri...@att.com (Mary Rita Otto)...
Pulled Thread is one of my favorite techniques. It is, like it says, a
technique where the embroidered thread is pulled tightly. This distorts
the threads of the fabric, creating holes between the stitches. It makes a
nice, light, lacey effect. I find that a border of double backstitch,
pulled, makes a lovely accent around a stitched piece. It is simple to
work. For someone who would like to experiment with this simplest of
pulled thread techniques, I recommend the pattern leaflet from Sal-Em for
their table linens which shows the rose design. This was my introduction
into the technique. The instructions were very clear, and the stitch is
easy to do. I was very pleased with the results of my first effort.
(Hey, I went on to make 4 placemats and 4 napkins, so that says something!)
Pulled Thread is, apparently, a Danish technique. There are a lot of
different patterns for pulled thread, either as a border or a filling
stitch. It tends to have a lighter effect than either hardanger or drawn
thread, and does not require the cutting of the fabric threads.
-----------------------
6.8 Shadow Embroidery
-----------------------
From: stella...@solar.org (Stella Nemeth)...
...This is both a very old form of embroidery and something that is just
making a comeback. It was popular in the last century and again in the
1930s and is just beginning to make a dent in the heirloom sewing world...
It is embroidery done on a semi-transparent fabric like organdy. The idea
is that you can see the threads on the back as a sort of colored pastel
shadow. On the front, all you can see is what looks like backstitches
outlining the elements of the design -- usually leaves, flowers and big
bows. On the back the thread produces a herringbone pattern out of the
crossing threads which almost, but not quite, fills in the elements being
embroidered.
Modern shadow embroidery sometimes has surface embroidery on it as well in
the form of french knots for flower centers and bouillon roses.
------------------
6.9 Waste Canvas
------------------
This is not so much a different stitching technique as it is a way to do
counted cross stitch 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.
Kathleen M. Dyer
Posting-Frequency: monthly
Part 3 of 4 - Counted Cross Stitch Frequently Asked Questions version 1.06
Copyright (c) 1994 Kathleen M. Dyer. Permission is granted to duplicate and
distribute this article freely, provided no fees are charged and this
copyright notice is included intact.
==============================================================================
7. Finding Supplies
==============================================================================
-----------------------------------------
7.1 Ordering Supplies By Mail and Phone
-----------------------------------------
If you are having trouble finding that special chart or fabric, try contacting
one of the following businesses. All have been mentioned at one time or
another by someone in rec.crafts.textiles.needlework or in its predecessor
rec.crafts.textiles.
Please let me know if you have any corrections or additions.
Accents in Stitches
3712 Williams Blvd
Kenner LA 70065
Phone: 504-469-0981
Source for some simple Judaic designs by Annette Dicken.
The American Needlewoman
PO Box 6472
Fort Worth TX 76115
Phone: 1-800-433-2231
Anne Powell Ltd
PO Box 3060
Stuart, FL 34995-3060
Phone: 407-287-3007
1-800-622-2646 (For orders only)
Fax: 407-287-3007
Sterling silver & gold needle tools, English hand-painted enamels from
Crummles, Glenshee evenweave linen & Egyptian cotton, nostalgic "victorian"
sampler patterns for counted thread, teddy bears, dolls, antique sewing
tools and gifts. Catalogue available.
Bucilla Corporation
1 Oak Ridge Road
Hazelton PA 18201-9764
Kits. Of special note--kits entitled "Made by me, Beginnings" for
children.
California Stitchery
Phone: 1-800-345-3332
818-781-9515
Good source for Judaic designs. Also many secular designs. Kits for
needlepoint, embroidery, crochet, counted cross stitch, and stamped cross
stitch. Free catalog.
Canadiana Needlecrafts Limited
Phone: 1-800-667-5841
Color Charts
3808 Waples Street
San Diego CA 92121
Cross Stitch & Country Crafts
Cross Stitch Catalog
1617 Locust Street
Des Moines IA 50309
The catalog, not the magazine. Kits, supplies, frames, scroll stands,
books. Adapters to allow Q-Snaps to attach to scroll stand.
Cross Stitch Plus
2267 NW Military Hwy
San Antonio TX 78213
Phone: 210-342-8252
This shop has a catalog for US$5, refundable with $25 mail order. For
additional postage, they will ship international.
Designs by Gloria and Pat, Inc.
PO Box 2318
Sumter S.C. 29151-2318
Source of many popular designs.
Down Under Designs
P.O. Box 876
McMurray PA 15317
Phone: 412-941-5031 (phone and fax)
Australian and British patterns, imported to the U.S. Castles, cottages,
landscapes, animals, flowers, etc.
Estelle Designs And Sales Limited
Phone: 1-800-387-5167
Fiber Farm
Phone: 1-800-527-3634
Garden Fairies Trading Company
PO Box 2035
Sebastopol CA 95472
Phone: 1-800-925-9919
Store and catalog (US$4). Heirloom sewing supplies, fine fabrics, laces,
ribbons, and patterns. Swatches for US$7.
Gare Crafts
Phone: 1-800-833-1008
Gemini III
Phone: 1-800-265-8389
Gripit
125 50th St. NW
Albuquerque NM 87105
Phone: 505-836-7239
Makers of the "Gripit" scroll stands.
The Heart's Content
Maureen P Appleton
4440 Indian Trail
Green Bay WI 54313
Phone: 414-494-9434
Colonial Samplers, original designs of unique detail & heirloom quality,
available in complete kit form with linen and DMC floss, and silk gauze and
Au Ver A Soie silks. Anne Brinkley miniature box kits. Firescreens,
candlescreens and chests. Catalogue available.
Hedgehog Handworks
8406 Flight Avenue
Los Angeles, CA 90045
Phone: 310-670-6040
Costs US$1. Concentrates on historical needlework and costuming. Fancy
specialty fibers, needlework tools, books, fantasy charts, costuming
supplies.
Herrschners
Hoover Road
Stevens Point WI 54492
Phone: 1-800-441-0838
Supplies for cross-stitch, knitting, crocheting, rug hooking, etc.
Charts available mostly in kits. Some supplies such as fabric and thread.
Jean Mcintosh Limited
Phone: 1-800-665-1361
Lynn's Treasures
17 E. Main St.
Lock Haven PA 17745
Phone: 1-800-972-3852
717-748-2667
Accessories made from floral prints, with 14 count aida inserts or
medallions. Purses, book covers, all sorts of bags and packs.
Marilyn's
4336 Plainfield NE
Grand Rapids MI 49505
Phone: 616-364-8411
Bound book. Good source for Stoney Creek patterns, fabrics, kits, threads,
books.
Mary Jane's Cross 'n Stitch
5120 Belmont Road Suite R
Downers Grove IL 60515-4334
Phone: 1-800-334-6819
708-963-9678
Fax: 708 963-9679
3-ring binder, approximate US$7.50 cost, refund when you order. Periodic
updates. Unusual fabrics, good collection of samplers. Belfast linen.
Mary Maxim
USA address:
2001 Holland Ave.
PO Box 5019
Port Huron, MI 48061-5019
Phone: 1-800-962-9504
Fax: 810-987-5056
Canada address:
75 Scott Avenue
Paris, Ontario
N3L 3Y2
Phone: 1-519-442-2266
A needlework and crafts catalog. Cross stitch, embroidery, needlepoint,
crochet, rug hooking, etc. Mostly kits, with some individual supplies.
They have a store at the Port Huron address. I don't know if there is a
store at the Paris, Ontario location.
Mill Hill Publications
P.O. Box 1060
Janesville WI 53547
Phone: 1-800-447-1332
_The_ source for Mill Hill glass beads. Color card listing color names and
types of beads available for about US$1. Packages available containing
collections of all beads of a given type.
Minnie Wisdom Needlework Collection
419 Correas Street
Half Moon Bay CA 94019
The US$2.00 catalog includes European designs. Samplers, Camelot Castle,
English cottages. Charts and some kits.
Needle Arts
PO Box 417
Kennebunk ME 04043
Phone: 1-800-643-9276
The Lavender & Lace, Butternut Road, and Told in a Garden designs by
Marilyn Leavitt-Imblum.
Needle Arts, Inc.
2211 Monroe
Dearborn MI 48124
Phone: 313-278-6266
A store specializing in Japanese embroidery. Washable Zwicky silk thread.
_Very_ unusual fibers.
New Creation House
Phone: 1-800-561-0592
Nordic Needle
1314 Gateway Drive
Fargo ND 58103
Phone: 1-800-433-4321
701-235-5231
Fantastic source for hardanger supplies. Very good selection of
fabrics and fibers for cross stitching as well. Good selection of
samplers. Color cards for Kreinik, DMC, Marlitt, etc. Dazor lamps, boxes,
charms. More kinds of embroidery scissors than I knew existed.
Peters And Sons Limited
Phone: 1-800-563-3100
Printers Inc.
301 Castro Street
Mountain View, CA 94041
Phone: 415-961-8500
This is a bookstore, not a needlework place. But they carry many foreign
needlework magazines and will ship via UPS.
S & S Arts and Crafts
Phone: 1-800-243-9232
S.R. Kertzer Limited
Phone: 1-800-263-2354
Sarah May Designs
2 Hampton Street
Warwick
CV34 6HS
UK
Phone: 01926 499008
A source for designs by the British designer Sarah May. Mythological and
wildlife designs.
Serendipity Designs, Inc.
10901 Trade Road
Richmond VA 23236
Marbek angels
So Facile
Phone: 1-800-363-3090
Spinning Jenny
Bradley Nr. Keighly
West Yorkshire BD20 9DD
England
Phone: (535) 632469
Fax: (535) 636431
A shop in West Yorkshire, accepts international phone, fax, and mail order.
Carries most European kits. Designs from Lanarte, Permin, and Thea
Gouveneur. Charts available also. Catalogs cost 1#.
The Stitchery
Department S225-1
120 N. Meadows Road
Medfield MA 02052-1592
Phone: 1-800-688-8051 (customer service)
1-800-388-9662 (orders)
Wide variety of kits.
Threads Through Time
450 Bedford Ct
Naperville IL 60540-7001
Phone: 708-778-1037
Kit reproductions of antique American samplers. Large and small, linen and
silk gauze. Some books. Publisher asks for a US$2 donation.
Tomorrow's Treasures
19722 144th Ave. N.E.
Woodinville WA 98072
Phone: 1-800-882-8932
206-487-2636
FAX: 206-487-2513
The suppliers of the "E-Z Stitch" needlework frames and scroll stands.
Also have Dazor lights/magnifiers.
Walt Disney World Mail Order
Phone: 1-800-272-6201
The Way of the Cross
PO Box 10304
Peoria IL 61612
Phone: 1-800-I-LOVE-XS (orders only)
(309) 692-DEBS (for chatting or researching)
3-ring binder, US $25.00. Good variety, large selection.
Ye Olde Cross Stitchery
119 Pond St
Bristol, PA
Phone: 215-785-0870
A store and a mail order business. Cross stitch and Hardanger supplies.
--------------------------------
7.2 Crafts Information Service
--------------------------------
The Crafts Information Service is a database of over 5,000 suppliers for all
types of crafts media. It is maintained by the PEI Crafts Council in
Charlottetown, Prince Edward Island, Canada. They enter a comprehensive index
for every catalogue and supply list they can get their hands on. This allows
for very detailed queries.
There is a FAQ available by anonymous ftp at gus.crafts-council.pe.ca as
/pub/craftsinfo.FAQ. Access to the database itself, as well as other crafts
related topics, is available by the PEI Crafts Council Gopher (URL:
//gopher.crafts-council.pe.ca:70/). Most of the same information is also
accessible by World Wide Web from the PEI Crafts Council WWW Home Page (http:
//www.crafts-council.pe.ca/Welcome.html).
This is a non-profit organization. Services are provided on a pay-what-you-
think-it's-worth basis. Users are informed what it cost to query the database
and send the information. If they find the information useful, a donation may
be sent.
For more information about the Crafts Information Service, send email to
in...@crafts-council.pe.ca
-----------------------
7.3 Needlework Stores
-----------------------
A conscious decision was made not to list needlework stores in this FAQ.
There are so very many of them out there, and the contact information changes
rapidly. But all is not lost...
The International Needleart Retailer's Guild has a free booklet with the names
and addresses of more than 300 needlework specialty shops. They mention the
U.S, Canada, England, Australia, and "even Portugal."
Send a long Self-Addressed-Stamped-Envelope to:
INRG
PO Box 188
Department CSSAM
Pine Mountain GA 31822
--------------------
7.4 Finding Charts
--------------------
If you cannot find a particular chart from the obvious sources--stores,
friends, catalogs--don't give up. Some magazines have a chart finder or
chart swapping section. There are also businesses that specialize in this
area. Details for the one that has been mentioned in the news group are
given below.
Chart Connection
PO Box 575749
Murray UT 84157
Phone: 801-977-9048
Bi-monthly newsletter for people interested in buying and selling used
charts. Subscribers receive a 40-word listing per issue. US$16 per year
or US$4 per issue (applicable toward subscription). Send name, address
and first 40 word "Charts Wanted" or "For Sale" listing with payment.
==============================================================================
8. Books, Magazines and Videotapes
==============================================================================
---------------
8.1 Magazines
---------------
Craft stores (especially those which specialize in needlework) are good places
to find cross stitch magazines. Large bookstores with well-stocked magazine
sections are also worth checking.
Here is an alphabetical list of some of the available magazines. Not all of
the entries have complete address or phone information. Please let me know if
you have any corrections or additions. Descriptions are necessarily brief,
and are just intended to give a feel for the types of needlework included.
Anna
Germany
There is a U.S. distributor:
GLP International
PO Box 9868
Englewood NJ 07631-1123
Phone: (212) 736-7455
(201) 871-1010
A monthly needlework and crafts magazine published by Burda. The U.S.
version, in English, is US$40 a year. It has counted cross stitch,
embroidery, knitting, crocheting, and other crafts.
Australian Smocking & Embroidery:
Country Bumpkin Publications
Box 194
Kent Town
South Australia 5071
Phone: (08) 364 1075
Fax: (08) 364 0479
Quarterly publication with full size patterns. From the same folks who
publish "Inspirations
If ordering direct from the publisher, the costs are as follows:
Within Australia--A$34 for one year, A$68 for two years.
New Zealand and Pacific--A$54 for one year, A$108 for two years.
Other overseas--A$66 for one year, A$132 for two years.
Subscriptions may be paid by credit card. Send your name, account number,
expiration date and signature to the above address.
Celebrations
P.O. Box 420207
Palm Coast FL 32142-0207
Phone: 1-800-829-9154
Classic Stitches
Subscribers Dept
80 Kingsway East
Dundee DD4 8SL
Scotland
Phone: 0382 23131 Ext. 3241 (for credit card subscriptions)
Office address:
D C Thomson & Co Ltd
Albert Square
Dundee DD1 9QJ
Scotland
Six issues a year for 13 pounds 25p (U.K.). At the time of this posting,
a special offer was in effect--six issues for the price of five,
postage-free delivery anywhere in the world, and a gift of 10 Madeira
threads. Subscriptions may be paid by Visa or Mastercard.
Many types of needlework. Wide variety of articles. Iron-on transfers.
Creative Needle
1 Apollo Road
Lookout Mountain GA 30750
Phone: 706-820-2600 (business)
1-800-443-3127 (subscription)
Cross Country Stitching
pub. Jeremiah Junction, Inc.
P.O. Box 710
Manchester CT 06045
Phone: 203-646-0665
Cross Stitch & Country Crafts
pub. Craftways
P.O. Box 56829
Boulder CO 80322-6829
Phone: 1-800-234-0740
Cross Stitch Australia
see listing for "Jill Oxton's Cross Stitch Australia"
Cross Stitch! Magazine
pub. The Needlecraft Shop, Inc.
23 Old Pecan Rd
Big Sandy TX 75755-2218
Variety of topics and levels of difficulty.
Cross-Stitch Plus
pub. House of White Birches
P.O. Box 420235
Palm Coast FL 32142
Phone: 1-800-829-5865
Nothing too difficult in this magazine, mostly easy patterns.
Cross Stitch Sampler
pub. NKS Publications Inc.
P.O. Box 627
Mt. Morris IL 61054--0627
Phone: 1-815-734-1111
This magazine is not limited to samplers. They show a variety of
techniques, fabrics and fibers. Many heirloom projects.
The Cross Stitcher
pub. Clapper Publishing Co., Inc.
P.O. Box 7521
Red Oak IA 51591-0521
Phone: 1-800-444-0441
Some quick projects. Many projects per issue. Good design.
For Love of Cross Stitch
pub. Leisure Arts
P.O. Box 420133
Palm Coast FL 32142-0133
Phone: 1-800-829-9152
They show a variety of techniques, fabrics and fibers.
Inspirations Magazine
Country Bumpkin Publications
Box 194
Kent Town
South Australia 5071
Phone: (08) 364 1075
Fax: (08) 364 0479
Quarterly publication with stunning photography, fold out patterns and
detailed instructions. Projects for beginning and advanced stitchers.
Iron-on patterns. Many types of embroidery.
If ordering direct from the publisher, the costs are as follows:
Within Australia--A$30 for one year, A$60 for two years.
New Zealand and Pacific--A$50 for one year, A$100 for two years.
Other overseas--A$62 for one year, A$124 for two years.
Subscriptions may be paid by credit card. Send your name, account number,
expiration date and signature to the above address. (Note--It took one
week from the day I phoned them in Australia and gave them my credit card
number to the day the magazine arrived in my mail in California.)
The distributor in Canada is:
Transmedia Group Ltd.
202B Sammon Ave
Toronto, Ontario
M4J 1Z2
Phone: 1-800-461-1640
The cost is C$63.50 for six issues, shipping and taxes included. Back
issues are available for C$9.45. Orders must be placed in writing.
Available at some U.S. shops for US$15.50 per issue. Known sightings--
Sweet Child of Mine (Sunnyvale, CA), Garden Fairies Trading Company
(Sebastopol, CA, 1-800-925-9919).
Please note that Country Bumpkin Publications also publishes "Australian
Smocking & Embroidery".
Jill Oxton's Cross Stitch Australia
Jill Oxton Publications PTY. Ltd.
A.C.N. 054 893 926
P.O. Box 283
Park Holme, South Australia 5043
Phone: (08) 276 2722
Marketed as "Cross Stitch Australia" in Australia and "Jill Oxton's Cross
Stitch" in the U.K.
Six issues per year. Occasional specials give one seven issues for the
price of six. A special volume is issued once a year, for an additional
fee, which is usually centered on one theme.
Subscription rate within Australia is A$63. Subscription
from Australia to the U.S. is A$78 by economy air.
Designs range from simple to complex. A mix between Australian (flora,
fauna, places) and more general pictures.
Just Cross Stitch
pub. Symbol of Excellence Publishers, Inc.
405 Riverhills Business Park
Birmingham AL 35242
Phone: 1-800-829-9148
1-800-768-5878 (Disney)
205-995-8860
The name is misleading. Techniques other than cross stitch are included.
They sell their own kits, and have a lot of Theresa Wentzler designs.
Six issues a year for US$16.98. Canada and Mexico add $6 postage. All
other countries add $12.
Licensees for Disney patterns.
Leisure Arts: The Magazine
pub. Leisure Arts
P.O. Box 420222
Palm Coast FL 32142-0222
Phone: 1-800-829-9152
Good magazine, not all cross stitch, but always has some good cross stitch
designs.
Mary Hickmott's New Stitches
P.O. Box 663
Carrollton GA 30117
Creative Crafts Publishing, Ltd.
The Old Grain Store
Brenley Lane
Brenley
Faversham
Kent ME13 9LY
0227750215
U.K.
Nice change-of-style magazine for those used to the U.S. ones.
From: quil...@marny.Corp.Sun.COM (Marina Salume)...
Most of the designs are not very intricate however, they are aimed at
beginning to intermediate stitchers. She does include lessons in how to
design pictorial scenes in each issue which might be helpful even for
advanced stitchers.
It seems to be fairly easy to find Mary Hickmott's magazine in the U.S.,
I've seen it at fabric stores as well as on newsstands.
McCalls' Needlework
pub. Symbol of Excellence Publishers, Inc.
P.O. Box 3218
Harlan IA 51537
New magazine.
Needlecraft, Needlecraft's Cross Stitch Collection
Subscription department:
Future Publishing
Cary Court, Somerton,
Somerset, TA11 6TB
England
Editorial department:
Beauford Court
30 Monmouth St
Bath
Avon
BA1 2BW
England
Phone: 225 442244
Needlecraft has 12 issues a year, for 22 pounds in the U.K. and 53.80
pounds overseas airmail. Each issue comes with a small kit. Needlecraft
covers a variety of stitching techniques, including quilting, cross stitch,
and embroidery of all types.
Needlecraft's Cross Stitch Collection has 4 issues a year, for 15.80 pounds
in the UK and 25.40 pounds overseas. It also comes with a kit on each
issue. It only deals with cross stitch.
From: quil...@marny.Corp.Sun.COM (Marina Salume)...
The Needlecraft magazines are more expensive but that is because they
come with little kits taped to the front cover. Most are for cross
stitch cards but there have also been needlework-covered buttons, long-
stitch pictures, blackwork, etc. Needlecraft and Needlework magazines
cover a wide range of embroidery, while the other magazines are
obviously focused on cross stitch. I love them all! Many of the designs
are for beginners, however.
Needlework, Needlework Cross Stitch, Needlework Embroidery
pub. Litharne Ltd,
P.O. Box 9
Stratford-upon-Avon
Warwickshire
CV37 8BR
England
It is possible for foreigners to subscribe to these magazines directly.
There is also a U.S. distributor:
Needlework Magazine
PO Box 389038
Cincinnati OH 45238-9038
Phone: 513-922-4403
Fax: 513-922-9390
South Africa distibutor:
Intermag
CNA Building
12 Laub Street
New Centre
Johannesburg SA
Phone: (011) 493-3200
Needlework has 12 issues a year for 27 pounds in the U.K. It covers a
range of needlework techniques. The Cross Stitch version covers only cross
stitch.
The magazines have pattern supplements--sections with extra patterns. They
also have special offers for kits and books.
The Needleworker
6680 Alhambra Ave #202
Martinez, CA. 94553
More a newsletter than a magazine, it's brought to you by some of the
former staff of Cross Stitch and Country Crafts. Reports say that it has
a lot of good designs packed into its short length.
Four issues for US$14.95, CA$16.95. Send a check or money order payable in
US dollars to the address given above. Include name, address, city, state
or province, zip or postal code, and phone number.
Simply Cross Stitch
pub. The Needlecraft Shop, Inc.
23 Old Pecan Rd.
Big Sandy TX 75755-2218
Easy patterns, simple designs, good for those "need in a hurry" projects.
Stoney Creek Cross Stitch Collection
pub. Stoney Creek Collection, Inc.
4336 Plainfield NE
Grand Rapids MI 49505-1614
Phone: 1-800-243-1410
Challenging patterns, lots of colors. Have a series of patterns matching
a given theme, to be worked on an afghan.
--------------------
8.2 Magazine Index
--------------------
Now you have subscriptions to half-a-dozen of the magazines listed above, and
you can't remember _where_ you saw that cute pattern that would be just
perfect for your best friend's new baby. Never fear. An index of cross
stitch magazines and their patterns is available.
The Cross-Stitch Index
The Sewing Room
P.O. Box 424
Fulton MD 20759
Phone: 301-776-5540
It is an 11"x8.5" paperback book which contains a 10 year index of the
magazines listed below. The cost at the time of posting was US$12.95 plus
US$3.00 shipping. Supplements are provided semiannually (US$5.95 plus
US$2.00 shipping) or annually (US$7.95 plus US$2.00 shipping).
Magazines in the index:
Celebrations
Christmas
Classic Cross-Stitch
Counted Cross-Stitch
Country Stitch
Country Stitch Monthly
Cross Quick
Cross Stitch & Country Crafts
Cross Stitch Quick and Easy
Cross Stitch Sampler
Cross Stitch!
Cross Stitcher (The)
Cross-Country Stitching
Cross-Stitch Plus
For The Love of Cross Stitch
Just Cross Stitch
Leisure Arts
Needlwords
Sampler & Antique Needlework Quarterly
Stoney Creek
Comments...
From: pand...@silver.sdsmt.edu (Patty Andersen)...
This particular volume is divided into "themes", for example, Amish,
Colonial, Insects, Jewish, Love, etc. Fascinating and fairly easy to work
with. The only thing I don't like is that they bound it as an 8 1/2 X 11
book, but the pages are printed as 11 X 8 1/2. It's annoying to have to
turn the book sideways to read it. Minor complaint, but you know how it
goes.
-------------------------
8.3 Books and Pamphlets
-------------------------
There are many, many books available to help you learn different counted
thread and embroidery techniques. It is beyond the scope of this FAQ to list
them all, but here are some of the books or book sellers which have
been mentioned in rec.crafts.textiles.needlework or in its predecessor
rec.crafts.textiles. Not all of the entries have complete address or phone
information.
Art of Blackwork Embroidery
by R. Drysdale
Blackwork
by M. Gostelow
Blackwork and Holbein Embroidery
by I. Alturrs
Charted Folk Designs for Cross Stitch
by M. Foris
Charted Peasant Designs from Saxon Transylvania
by H. Kiewe
Designs for Shadow Work & Fine Embroidery
by Donna Krezelak
Designs for Shadow Work and Fine Embroidery II
by Lane Edwards
Dover Publications Inc.
180 Varick Street
New York NY 10014
General Publishing Company Ltd.
30 Lesmill Road, Don Mills
Toronto Ontario
Constable and Company Ltd.
10 Orange Street
London WC2H 7EG.
Ask for their catalog of needlework publications. Some of the entries are:
Needlework Alphabets
Blackwork Embroidery by E. Geddes and M. McNeill, ISBN 0-486-23245-X
Danish Floral Charted Designs by Gerda Bengtsson
Annie Orr's Charted Designs on the title
First Steps in Counted Cross Stitch
by Rita Weiss
ISBN: 0-88195-157-9
ASN Publishing
1455 Linda Vista Drive
San Marcos CA 92069
Gestickte Bilderbogen: Alte Mustertuecher aus Museen und Privatbesitz
(in German)
(Stitched Samplers: Old Samplers from Museums and Private Property)
by Irmgard Gierl
Weltbild Verlag GmbH, Augsburg 1991,
published with license from: Sueddeutscher Verlag GmbH, Muenchen
ISBN 3-89350-391-9
Historic samplers from around the world, with color photographs and charts.
Dates from around 1800.
Hard-To-Find Needlework Books
Bette Feinstein
96 Roundwood Rd.
Newton MA 02164
Phone: 617-969-0942
Email: fein...@umbsky.cc.umb.edu
Hardanger - Basics and Beyond, Hardanger - Fundamentals Made Fancy
by Janice Love
Love'n'Stitches,
145 Whippoorwhil Circle
Athens GA 30605
Phone: 706-549-1351
Introduction to Counted Cross Stitch Embroidery, Book #15
Graphworks International Inc.
P.O. Box 352
400 Old Two Mile Pike
Goodlettsville TN 37072
Phone: 1-800-826-1998
615-859-1201
FAX: 615-851-7100
Die schoensten Stickmuster aus alter Zeit
(in German)
(The Most Beautiful Stitch-Patterns from Older Times)
Assortment: Reiher: rosenheimer Raritaeten.
Publisher: rosenheimer Verlag
ISBN 3-475-52769-3
Historic samplers, few photos. Charts for parts of samplers, such as
borders and alphabets. Useful for creating your own sampler in an antique
style.
Reversible Blackwork.
I. Alturrs
Sampler and Antique Needlework: A Year in Stitches, 1994
Symbol of Excellence Publishers
405 Riverhills Business Park
Dept. E410E
Birmingham AL 35242
Phone: 1-800-768-5878
144 pages. US$24.95 plus US$3.75 for shipping and handling.
Shadow Work: The Easy Way
by Martha Pullen
Martha Pullen Co., 1989
Huntsville AL
Shadow Work Embroidery: Confectionery Dreams
by Wendy Regan
A Treasury of Jewish Cross Stitch: A Collection for Holidays and Celebrations
by Barbara Ann Richter
Graphworks Inc.
400 Two Mile Pike
Goodlettsville TN 37072
Phone: 1-800-826-1998
615-859-1201
25 pages. Large and small patterns.
----------------
8.4 Videotapes
----------------
Call 1-800-342-9572 and ask for the free catalog of all the
Embroidery Studio products (videos and books). If you have
specific questions about the videos, I will be happy to answer
them if I can. I am not affiliated with this company.
There is no non-800 number listed, but the address is:
The Embroidery Studio,
WKPC-TV
P.O. Box 37380
Louisville, Kentucky 40233-7380
Embroidery Studio
WKPC-TV
PO Box 37380
Louisville KY 40233-7380
Phone: 1-800-342-9572
Originally brodcast on PBS in the U.S., these lessons are sold in sets of
13 lessons for US$60 plus shipping and handling. The lessons are fit onto
three or four videotapes per set. All lessons are taught by Shay Pendray.
Instructional books, leaflets and kits are available individually. Call
the company for more information.
Spirit of Cross Stitch Video Library
6000 Market Square Ct., Suite 3
Clemmons NC 27012
From the same people who bring you the Spirit of Cross Stitch Festival. A
video library of stitching techniques, sent one a month for an annual cost
of US$179.40 or a quarterly cost of US$53.85. Topics include (but are not
limited to) Hardanger, Duplicate Stitch, Drawn Thread, Ruskin Lace,
Blackwork, Whitework, Pulled Thread and Stitching on Silk. A Sneak Preview
tape is available for US$5.
Tomorrow's Treasures
19722 144th Ave. N.E.
Woodinville WA 98072
Phone: 1-800-882-8932
206-487-2636
FAX: 206-487-2513
The video "Everything You Ever Wanted to Know About Cross Stitch" is a
taped version of the class these folks give at the Spirit of Cross Stitch
Festival and the Creative Festival. Good for beginners and for people who
want to produce frighteningly neat backs.
==============================================================================
9. Creating Your Own Charts
==============================================================================
-----------------------------------
9.1 From a Photo - Do It Yourself
-----------------------------------
Suppose you have a favorite photograph which you _know_ would look just as
wonderful as a cross stitch picture. It is possible for you to create the
chart yourself, with patience, graph paper and a photocopier. There are
several variations in the basic technique, but all involve placing a grid onto
a copy of the photo.
Plastic transparencies with a variety of grid sizes are available from many
craft stores under the brand names "TransGraph-X" or "Easy Grid". If you
cannot find these transparencies, you may be able to make your own by
photocopying graph paper onto the kind of plastic sheets used with overhead
projectors.
Lay the transparency over a picture or photograph, and photocopy them at the
same time. If you can find a place to do a color photocopy, all the better.
This gives something that can be used as the start of your chart. You will
still need to make decisions as to thread colors.
Another method is to trace the picture before putting it on any kind of graph.
Below is one person's approach:
From: bal...@osiris.rti.org (Lisa Balbes)...
I did this on a comic book cover, but the principle will apply for any
picture. You'll need to:
1. Start with a rather large copy of the picture, perhaps slightly smaller
than you want the finished picture to be. (Blowing it up on a copier is
much cheaper than getting a big print - you can use black and white copy
if it's high contrast, otherwise blow it up in color.
2. Trace the picture onto graph paper, 20 squares to the inch is a good
size. Remember to trace the outlines of all shapes, as well as
backstitching lines (where needed to define the shapes). Decide how
much shading you will do, and outline regions accordingly.
3. Take the tracing and use it to make a pattern on graph paper (10
squares to the inch for this part). In this stage you will decide which
will be 1/4 stitches, what will be 3/4 stitches, etc. You will "square
off" all the curves. There are 2 reasons for this step - you get a
bigger pattern to work from, and you make all the decisions now, instead
of when stitching.
4. Take the _original_ picture to your favorite store with a good display
of floss. (You can do this at home if you have a stitcher's card that
displays pieces of each color of floss.) Choose the colors, noting not
only what is closest to the color of the real thing, but what colors
work together.
5. If you now work the piece on 18 count fabric, it will turn out slightly
larger than the copy you traced. (I prefer to work over 2 threads on 36
count linen.)
--------------------------------
9.2 From a Photo - Mail It Off
--------------------------------
There are companies which will turn pictures you send them into charts. The
floss colors are figured out for you, usually in DMC and Anchor numbers. The
cost is US$20-US$50, on average. You can find companies advertising in most
cross stitch magazines.
Herrschners, Inc.
Hoover Road
Stevens Point WI 54492
Phone: 1-800-441-0838
Graph only - US$28.99. Graph plus 15x18" piece of 14-ct. aida fabric -
US$33.99. Graph, DMC Floss pack and Free 14-ct. aida fabric - US$49.99.
ImagiStitch
4839 E. Greenway, #216
Scottsdale AZ 85254
MagiKraft
Dept. I
P.O. Box 357
Downers Grove IL 60559
Phone: 708-960-9010
US$25 for pattern only, US$45 for a full kit (pattern, fabric, needle,
thread), US$5 additional to remove backgrounds. You specify final project
size and thread count (fabric type). DMC thread.
PhotoStitch Ltd.
West One House, 23 St. Georges Road,
Cheltenham, Gloucestershire, GL50 4Dt
U.K.
Phone: (0242) 226651
Photo Pattern Company
Department M
P.O. Box 1525
Poulbso WA 98370-0169
Phone: 206-779-2437
US$19.95 plus $2 shipping and handling. Cross stitch, needlepoint or
latch hook. Stitch count of 150x120.
Preferred Services
Crafts Division
Dept. C24
457 Main Street, Suite #139
Farmingdale NY 11735
US$19.95.
Stitch-a-Photo
US$30 plus $2 S&H in the US.
------------------------------------------------------
9.3 Use a Computer - Original Design or From a Photo
------------------------------------------------------
The high tech way to make your own charts is with a computer. There are
programs available which can help convert a scanned image into a chart.
Others let you create your own design.
In the interest of saving space, the "charting" software is grouped with other
cross stitch related software in another section of this FAQ--"10.2 Computer
Software For Cross Stitch".
==============================================================================
10. Computers and Cross Stitch
==============================================================================
----------------------------------
10.1 Discussion Groups and BBS's
----------------------------------
Since this is the Counted Cross Stitch FAQ for rec.crafts.textiles.needlework,
and you are reading it, I'm going to assume that you know how to access the
Internet and its news groups.
There are other discussion groups and BBS's available to you. Some are from
the big commercial services, such as CompuServe and Delphi. Others are more
of a mom-and-pop operation. Both kinds can be wonderful sources of
information and software.
CompuServe
----------
Go hang out in the Crafts Forum.
The Crafts Board
----------------
From a posting on 1 Mar 1994 by holla...@aol.com (HollandCom)...
The Crafts Board-
Over 50 downloadable craft files, 30 different craft related forums, online
experts like Gail Brown, online and downloadable craft magazines, Online
Crafts Shopping Mall with 1000's of craft products(under construction
opening in late March), Online Arts&Crafts Show database with over 2000
listings Real time chat line, ANSI and Rip compatible and much more.
BBS number (205)339-0722
voice/fax (205)333-8045
Internet connection coming soon!
A service of Holland Communications
Delphi
-------
The Textile Arts Forum (Custom Forum 135) is for people interested in all the
textile arts, including needlework. Live conferences. Database of shareware,
gifs and text files. Contact the host, Susan Druding (drud...@delphi.com),
for more info.
Fibernet
---------
A BBS operated dedicated to the fiber arts, crafts, and technology. Operated
by Ron Parker. Dial 218-583-4337 from a modem, at 8N1, 1200-28800 bps. From
a January, 1993 message by Ron:
You are asked to leave a message introducing yourself before I validate you
for full downloading privs. If you are unfamiliar with BBS use, send me a
long SASE at Fibernet, Rt. 1 Box 153, Henning, MN 56551. Fibernet is free
by the way - except for your phone call...
Fibernet nodes:
The Alaska Pirate Society BBS, Anchorage, AK at 907-562-9364 and 9365
The Funny Farm BBS, Lake Villa, IL at 708-548-2576
The Kitchen Table BBS, San Francisco Bay area at 510-547-7747
Some Sunny Day BBS, Connersville, IN at 317-825-5044
-----------------------------------------
10.2 Computer Software For Cross Stitch
-----------------------------------------
There are many commercial and shareware computer programs available to help
you create charts or inventory your supplies. A list of those which have been
mentioned in rec.crafts.textiles.needlework or in its predecessor
rec.crafts.textiles is given below. Check your favorite cross stitch magazine
for advertisements of commercial products. These have the most up-to-date
information.
This list is for informational purposes only, and is not meant as a
recommendation. This document is provided as is, with no warranties or
guarantees of any kind either expressed or implied. No endorsement or value
judgement is expressed or implied.
Version numbers and file locations change rapidly. Some of this information
may be out of date or incomplete. Please notify me if you have any additions
or corrections.
Finding the software:
Commercial - Addresses are given for commercial products.
Internet - I chose not to list Internet archive locations for the
shareware, as there are so many archives out there. Some
sites that contain one or more programs are:
ftp.wustl.edu
oak.oakland.edu /msdos/gif/
/pub/msdos/windows3
doc.ic.ac.uk /recreation/crafts/fido-cfdn
ftp.uwp.edu /pub/msdos/fido
CompuServe - Library 5 of the Crafts Forum.
Delphi - Textile Arts Forum
Fibernet - See previous section for information on how to reach Fibernet.
STCUG - Seattle Textile Computer User's Group (STCUG). STCUG has
several disks for IBM and Mac (US$4 each) and the FIBERbits
newsletter (US$18). Contact them at P.O. Box 17506, Seattle
WA 98107.
And finally, here is the list...
ColorKnit (Mac)
-----------
Type/Cost: Shareware, US$15
Version: 3.0
Where to Find: Paul Duffy, 71 Oxford Street, Somerville MA 02143
Delphi (COLKNT.SEA)
A color, grid-based program. Even though this program is intended for
knitting patterns, it can easily be adapted for counted cross stitch or
any craft that relies on grids.
CompuStitch (PC DOS)
-----------
Type/Cost: Shareware, US$20
Version: 3.1
Where to Find: CompuServe (CSTCGA.EXE, CSTVGA.EXE), Fibernet (CSTCGA.EXE,
CSTVGA.EXE), STCUG
Design cross-stitch patterns up to 180x180. The VGA version can use up to
142 colors, the CGA/EGA version can use 3 colors. Both support whole
stitches, 1/4 stitches, back stitches and french knots. The VGA version
supplies DMC numbers and prints a color list.
Cross Stitch (?) (PC Windows)
----------------
Type/Cost: Commercial, Cost unknown
Version:
Where to Find: U.K.
CompuServe (demo - XSDEMO.ZIP)
Design cross stitch patterns. Full stitch, back stitch. Sixteen colors.
Pattern size calculator. Scalable printing. Animated colors.
Cross Stitch (?) (Mac)
----------------
Type/Cost: Shareware, Cost unknown
Version:
Where to Find: Delphi (CROSSSTITCH FOR MAC)
Cross Stitch viewer for MacIntosh. Used to view color versions of cross
stitch designs. For best results use on machines with 16 bit color.
Required: 32 bit QuickDraw.
Cross-Stitch Designer (PC Windows)
---------------------
Type/Cost: Shareware, US$30
Version: 2.1c
Where to Find: R. Scott Horton, HobbyWare, 9686 Spruce Lane, Fishers IN
46038
or
CompuServe (xstit21c.zip), Fibernet (xstit21c.zip)
Not the same as the MasterStitch CrossStitch Designer mentioned below.
Design cross stitch patterns. Full, half, quarter and back stitches. Grid
size up to 999x999, with 30 colors. DMC thread list. Bitmap importing.
View and edit in stitch, symbolic, and solid display modes.
CrossStitch Designer (PC DOS)
--------------------
Type/Cost: Commercial, US$149.95
Version:
Where to Find: MasterStitch Designs, Inc., PO Box 6283, Kent WA 98064-6283.
206-413-1054 or 206-850-3302
Canadian Distributor: Tai-pan Video & Computer, RR#2 Box 2590
Clearwater, B.C. V0E 1N0. 604-674-2442
or
CompuServe (demo - MSCSD.EXE, description - MSCSD.TXT)
Not the same as the HobbyWare Cross-Stitch Designer mentioned above.
Paint style design program. Select up to 120 DMC colors from the 360
available. Grid size up to 200x190. Print picture chart and color/symbol
chart.
Companion product Color ImageImport (US$49.95) converts any 320x200x256 PCX
or GIF image into DMC colors.
CrossMagic (PC DOS)
----------
Type/Cost: Shareware, US$30
Version: 2.02
Where to Find: See instructions below
Info from the author, Murray_...@kcbbs.gen.nz (Murray Moffatt)...
CrossMagic allows you to enter and maintain details on all your threads and
charts. It'll print reports on what threads you've run out of and need to
buy again, which charts you can make with your existing stock of floss,
what floss you need to buy to make a particular chart, inventory lists,
it'll even let you enter a search text and will list all the charts you own
that pertain to that subject. Comes with a complete catalogue of DMC &
Anchor Embroidery Floss, Balger/Krenik Filament, DMC Flower Thread, Balger
Ribbon. Evenweave conversion is catered for, and there is comprehensive
on-line help for all options.
A fully registered version of CrossMagic is available directly from the
author at the following address:
Model Systems
P.O. Box 40-047
Glenfield
Auckland 1310
NEW ZEALAND
An evaluation copy of CrossMagic is available for downloading from
CompuServe in the CRAFTS forum (library 5, XMAGIC.ZIP) or directly from us
for the price of US$6.00 (this is to cover the cost of the disk and
postage and handling).
The registration is US$30.00, and includes the program, a professionally
printed manual, postage and handling, and by special arrangement with two
other shareware authors we have been granted permission to include two
cross-stitch charting programs; GIFXTS for DOS, and Cross-Stitch Designer
for Windows (these two additional programs are provided for you to evaluate
and must be registered with their original authors if you decide to use
them after the evaluation period).
In addition to the above package, we have a library of charts that are
compatible with Cross-Stitch Designer. This collection of 222 charts (2.5
megabytes worth) covers many different subjects. The library is available
for only US$20.00, or if you order CrossMagic at the same time then you can
purchase the library for only US$10.00!
If you are a CompuServe user then you may pay for CrossMagic via the CIS
Shareware Registration Service. Simply GO SWREG and follow the prompts.
CrossMagic's registration ID is 1847. The registration fee of US$30.00
will be added to your next CIS account. If paying by this option then
please allow 60 days for delivery of your manual and software.
If you live in New Zealand then you may pay us directly by mailing your
registration to:
Model Systems
P.O. Box 40047
Glenfield
Auckland 1310
NEW ZEALAND
New Zealand users must pay by cheque only (we don't accept credit
cards).
If you live in the United States of America or anywhere else in the world,
then you can pay by credit card. You can order with MC, Visa, Amex, or
Discover from Public (software) Library by calling 800-2424-PsL or
713-524-6394 or by FAX to 713-524-6398. You can also mail credit card
orders to PsL at P.O.Box 35705, Houston, TX 77235-5705. CrossMagic is
PsL item #11420.
*** THE ABOVE NUMBERS ARE FOR ORDERS ONLY ***
Any questions about the status of the shipment of the order, refunds,
registration options, product details, technical support, volume discounts,
dealer pricing, site licenses, etc, must be directed to Model Systems.
To insure that you get the latest version, PsL will notify us the day of
your order and we will ship the product directly to you.
If you have further inquiries, please direct them to:
Internet: Mur...@kcbbs.gen.nz
CompuServe: Murray Moffatt [100240,1477]
Crstitch (PC Windows)
--------
Type/Cost: Shareware, cost unknown
Version:
Where to Find: Hank Hagquist (han...@delphi.com)
Imports BMP and PCX format pictures. Converts the colors to DMC numbers.
Allows you to select the mesh size, and helps to fit the picture to it.
Can be printed out in color or with DMC color codes.
DMC Database Management System (PC DOS)
------------------------------
Type/Cost: Shareware, US$10.00
Version: 1.0
Where to Find: CompuServe (DMC.ZIP), Fibernet (DMC.ZIP), STCUG
Database for supplies, patterns and DMC floss. Helps keep track of what
you have and what you need. Prints labels of floss colors.
DMC Inventory Program (PC DOS)
---------------------
Type/Cost: Shareware, cost unknown
Version:
Where to Find: CompuServe (DMCINV.ZIP), Fibernet (DMCINV.ZIP)
Inventory DMC colors and supplies.
EasyGrapher Backstitch, EasyGrapher Specialty , EasyGrapher Deluxe (PC)
------------------------------------------------------------------
Type/Cost: Commercial, cost varies with program
Version:
Where to Find: Easy Grapher, Davis Computer Services, Inc., P.O. Box 70175,
New Orleans, LA 70175. 800-231-3480, 504-899-9706
CompuServe (demos - EGBZIP.EXE, EGSZIP.EXE, EGXZIP.EXE,
EGZIP.EXE)
STCUG (demos)
Design needlework graphs. Programmed tutorial available as EGZIP.EXE.
EasyGrapher Specialty is for Bargello, Hardanger, plastic canvas, drawn
thread work, etc. EasyGrapher Deluxe is for cross stitch. Up to 11,900
backstitch lines can be added with EasyGrapher Backstitch.
GIF2XTS (PC DOS)
-------
Type/Cost: Shareware, US$40.00
Version: 5.0
Where to Find: Chris O'Donnell (chr...@delphi.com on Internet, CHRISOD on
Delphi, 70431,1427 on Compuserve)
PO Box 113, Middlebury CT 06762
CompuServe (GIFXTS.ZIP, GIFXTS.TXT),
Delphi
Fibernet (gifxts*.zip),
STCUG
Internet (OAK.Oakland.Edu /msdos/gif/gifxts50.*)
Formerly GIFXTS. Create cross stitch charts from GIF files.
The default setup of gif2xts is a maximum image size of 640x480. The
default screen resolution is dependent on the monitor: EGA will be 640x350,
16 colors; non-sVGA will be 640x480, 16 colors; sVGA will be 640x480 256
colors. The graphcis resolution can be changed to run as high as 1024x768
with 256 colors, provided your monitor can support the different
resolutions. The maximum image size can also be changed. The largest
possible image size is dependent on the amount of free XMS, EMS or virutal
memory.
When GIF2XTS loads a GIF image each of the pixel colors will be translated
into a symbol. Regardless of the maximum number of colors the monitor can
support, GIF2XTS can handle 256 different colors/symbols.
Symbols can be added to or deleted from the grid. The size of the image
can be changed. Rows and/or columns can be added to the edge of the image,
inserted into the the image, or deleted from the image. The image can also
be "clipped", scaled, and printed.
This version has the ability to assign DMC names and numbers to the
different symbols. Since the program reads GIF images, there are over 16
million possible colors that could be used. Rather than select 360 of these
colors, a program is available to registered users that allows the user to
associate palette colors with DMC colors.
Registered users recieve a copy of the program without a reminder to
register, minor upgrades automatically mailed, major upgrades available via
mail (for US$5) and a printed copy of the manual. In addition, registered
users will recieve, with the program, a library of ABC's and 123's, all 360
DMC colors mapped to RGB values, a conversion program to convert from BMP,
PCX, IFF, LBM or TIF to GIF, and a program to create their own RGB-to-DMC
mapping.
Macintosh Color CrossStitch Viewing (Macintosh)
-----------------------------------
Type/Cost: Non-commercial, cost unknown
Version:
Where to Find: CompuServe (CROSSS.SEA),
Used to view a color version of a cross-stitch. Works best on machines with
thousands or millions of colors.
Needlework (Macintosh)
----------
Type/Cost: Shareware, US$20
Version:
Where to Find: EduCorp catalog - 800-843-9497
From a 1993 posting by v...@Apple.COM (Vicki Brown)...
There is a shareware program called Needlework, for the Macintosh. The
graphing area is 90x90 with a choice of 28 symbols. Each symbol can
have a color attached, to be printed as a key. You can also draw lines
for backstitching and enter instructions. The version I have (2.2)
won't read in an existing picture and chart it, and it is b&w only.
Maybe the author will improve it. If you send the author $20 you'll get
the newest version personalized for you.
Needlework Pattern Design Program (PC DOS)
---------------------------------
Type/Cost: Shareware, US$39
Version: 2.3
Where to Find: CompuServe (XSZIP.EXE), Fibernet (XSZIP.EXE), STCUG
Design cross-stitch patterns. GIF import and export. Half stitches and
french knots. Symbols.
PC-Stitch (PC DOS)
---------
Type/Cost: Commercial, US$45
Version:
Where to Find: M & R Enterprises, P.O. Box 9403, Wright Bros. Branch, Dayton
OH 45409. 800-800-8517
CompuServe (demos - XSCGA.EXE, XSEGA.EXE, XSHERC.EXE),
Fibernet (demos - XSDEMO.EXE), STCUG (demos)
Create needlecraft patterns. Graph size up to 200x140. Versions for CGA,
EGA/VGA and Hercules. Colors or symbols. Up to 16 colors (EGA/VGA).
PC-Stitch Graphics File Import (PC DOS)
------------------------------
Type/Cost: Commercial, cost depends on upgrade path
Version:
Where to Find: M & R Enterprises, P.O. Box 9403, Wright Bros. Branch, Dayton
OH 45409. 800-800-8517
CompuServe (demo - IMPRT.EXE)
Companion program for PC-Stitch. Converts .BMP, .GIF, .PCX, .TIF, .WPG,
WMF, and .TGA files to PC-Stitch pattern files.
Stitch Crafts (Macintosh)
Stitch Grapher (IBM PC, Apple II)
--------------
Type/Cost: Commercial, US$150 (Mac), US$90 (PC)
Version:
Where to Find: Compucrafts, PO Box 326, Lincoln Center MA 01773
508-263-8007
Design needlecraft charts. "Change symbols, copy, rotate, choose from 360
color DMC palette, up to 50 symbols (Mac) or 30 symbols (PC)." Create
charts and legends from color pictures.
Stitch-It II (PC Windows, Macintosh)
------------
Type/Cost: Commercial, cost unknown
Version:
Where to Find: Sheridan Software, address unknown
Fibernet (demos - stitchit.cpt (Mac), stitchit.zip (Windows))
The PC version requires Windows 3.0 or 3.1.
Stitch Painter (Macintosh, IBM Windows, Amiga)
--------------
Type/Cost: Commercial, US$165
Version:
Where to Find: Cochenille Design Studio, P.O. Box 4276, Encinitas CA 92023
CompuServe (demos - SPDEMO.ZIP, STCHPA.SEA, IBMSTI.TXT)
Design cross stitch and knits. Demo disk available.
STITCHERY (Amiga)
---------
Type/Cost: Shareware, cost unknown
Version:
Where to Find: CompuServe (STITCH.LZH), Fibernet (STITCH.LZH)
Converts an IFF file into color coded diagrams. May be used for cross
stitch, needlepoint, knitting...
This program will only work with Amiga operating system version 1.3.
XSGIF (PC DOS)
-----
Type/Cost: Shareware, cost unknown
Version:
Where to Find: CompuServe (demo - XGDEMO.EXE), Fibernet (demo - XGZIP.EXE)
Convert GIF files to "XStitch" patterns. Must be a registered user of
"XStitch" to get a working version of this program.
X-Stitch, X-Stitch Designer (PC DOS)
---------------------------
Type/Cost: Commercial, cost unknown
Version:
Where to Find: Oxford Crafts, PO Box 208, Bonsall CA 92003
619-723-0141
or
IL-Soft Buttercross House, 16 Langdale Gate, Witney,
Oxfordshire UK
(0993) 779274 voice or (0993) 702048 fax
CompuServe (demo - XSTCH.ZIP)
X-Stitch Pro (PC DOS)
------------
Type/Cost: Commercial, US$39
Version: 1.5
Where to Find: Oxford Crafts, PO Box 208, Bonsall CA 92003
619-723-0141
or
IL-Soft Buttercross House, 16 Langdale Gate, Witney,
Oxfordshire UK
(0993) 779274 voice or (0993) 702048 fax
CompuServe (demo - XSPRO.EXE)
Supports backstitches and half stitches. Can combine several pictures
together. Import/export PCX and GIF. Color only, symbol only, or color and
symbol. Supports 360 DMC colors plus custom colors, prints the symbol
chart, calculates the fabric and floss needed. Allows the picture to be
manipulated in several ways.
Similar to X-Stitch V2.0. For SuperVGA.
==============================================================================
11. Activities and Events
==============================================================================
-----------------------------------
11.1 Competitions and Exhibitions
-----------------------------------
There are juried shows and exhibitions throughout the year. For the most
accurate information, check the cross stitch and embroidery magazines. Shows
which have been mentioned in the newsgroup include the following:
Golden Swan Needlework Exhibition
---------------------------------
Show and competition sponsored by the Women's Educational and Industrial
Union in Boston. Catagories include canvas work, cross stitch, multimedia,
surface embroidery, counted thread, juvenile, and garden themes.
For entry forms, contact the Needlework Shop of the Women's Union at
617-536-5651 x133. Deadline for entries is Oct. 15, 1994. The show is
November 12-20,1994.
National Counted Cross Stitch Show
----------------------------------
Show and competition held at Rockome Gardens in Arcola/Arthur, Illinois.
Write to them to be placed on the mailing list for next year's show. In
1994 the show was held in June.
c/o Jeanne Lambeth
Rockome Gardens
RR 2, Box 600
Arcola IL 61910
Phone: 217-268-4106
---------------------------------------------
11.2 International Cross Stitch Round Robin
---------------------------------------------
Dawn Scotting (da...@pandoras.nacjack.gen.nz or pan...@kcbbs.gen.nz) organizes
international round robin groups for counted cross stitch samplers. The
following information is from her:
There are three different groups, all counted x-stitch, basically the same
rules apply to each. You can choose from either:
1) A 'Pot Luck' 9 person group, where any sort of fabric for your sampler
may be chosen.
2) A 'Pot Luck' beginner's 4 person group, sampler fabric same as #1.
This group is for xstitch learners only, it does NOT mean if you are new
to round robins.
3) A 'Linen/Evenweave only' 9 person group, where the name says it all,
absolutely NO aida allowed!
Each person chooses their fabric, colour, theme & size for their own
sampler. Monthly, each sampler is sent around the chain for each person in
a group to work a segment in the theme of that sampler. Segments should be
kept to within about a 50-80 stitches (either way) size limit, less than 50
and it's hard to find a pattern, more then 80 could mean you'd be in a
hurry to finish it within a month. However, long & narrow segments i.e.
100x20 are okay. The only extra cost to you is the price of airmail postage
each month, please be prepared to post out of your own country although
this may not be the case.
A leader will be appointed to send a list of themes to everyone in their
group. FULL instructions will be posted to each person when their group
starts.
If you wish to join please email me with:
1) Your snail mail address
2) A RELIABLE email address
3) Your home phone number
4) Which group you wish to join
5) If you are prepared to be the leader of your group
Your name will be added to the next list, this may take a month or more to
fill, so please be patient. Please do not join unless you are prepared to
keep to the monthly deadline/mailing of each sampler.
Every application will be acknowledged.
------------------------------------------
11.3 The Spirit of Cross Stitch Festival
------------------------------------------
This five day show is aimed exclusively at counted thread stitchers. It
travels to four cities in the U.S. in 1994 and five in 1995.
Locations and dates for 1994 are:
Winston-Salem, NC March 10-13
Buffalo, NY June 9-12
Des Moines, IA September 8-11
Sacramento, CA October 20-23
Locations and dates for 1995 are:
Winston-Salem, NC March 1-5
Valley Forge, PA June 21-26 (This was originally scheduled for
Buffalo, NY June 7-11)
Austin, TX August 16-20
Des Moines, IA September 6-10
Sacramento, CA September 27-October 1
For class registration information, send a stamped (US$.75) self addressed
envelope for each city that interests you. Indicate on each envelope which
city's information you want. The registration packets are sent out
approximately three months before each Festival.
The address is:
Spirit of Cross Stitch Festival
6000 Market Square Ct., Suite 3
Clemmons NC 27012
Phone: 919-766-5188
FAX: 919-766-5191
A videotape of the class projects is available from the same address for
US$6.75.
Classes run on all days. The Merchandise Mall (vendor show) runs for three
days. A one day pass to the Mall cost US$5 in 1994.
A Special Stitcher Pass (US$18 in 1994) gives:
~ Unlimited admission to the Merchandise Mall
~ One hour earlier admission time to the Mall
~ One week earlier mailing of class registration packets
~ A canvas tote bag
----------------------------
11.4 The Creative Festival
----------------------------
Advertised as "America's Largest Sewing-Quilting-Needleart and Craft Supply
Show and Conference", this traveling show is scheduled to be in 30 cities in
1994. It reaches most areas of the U.S., including Hawaii and Alaska.
Produced and Managed by:
Roth Exposition Group
P.O. Box 9
San Mateo CA 94401
Phone: 415-340-9767
FAX: 415-340-0296
The Creative Art Festival is advertised in Just Cross Stitch, as well as many
quilting and sewing magazines.
It is a three day show with classes and a vendor show aimed at stitchers,
quilters and sewers.
Admission is US$6.00 (in 1994) with coupons for $1 off available at many
fabric and craft stores
-----------------------------
11.5 I Love Needlework Fair
-----------------------------
This is a four day show, new in 1994. It is aimed at stitchers, quilters,
knitters and toy makers.
The only dates and locations for 1994 known at the time of this posting :
Milwaukee, WI May 19-22
Anaheim, CA October 13-16
Classes run for all four days. The Needlework Lover's Marketplace is open
Friday through Sunday. Admission to the Marketplace is US$5.
The Fair is co-sponsored by Joan Cravens & Friends, including Zweigart
Fabrics, Stoney Creek collection, ASN Publishing, The Embroidery Studio,
Cross Stitch Sampler magazine and Piecework magazine.
For registration information, send a stamped (US$.52) self addressed
envelope to:
I Love Needlework Fair
836 B Southhampton Road, #285
Benicia CA 94510
Phone: 1-800-525-6338
-----------------------------------------------
11.6 EGA - The Embroiderer's Guild of America
-----------------------------------------------
This non-profit organization has chapters in the United States and Canada. It
is open to all stitchers at all skill levels. They are an excellent source of
information and instruction for all styles of needlework.
The Embroiderer's Guild of America
335 West Broadway, Suite 100
Louisville KY 40202
Phone: 502-589-6956
---------------------------------------------
11.7 Pomegranate Guild of Judaic Needlework
---------------------------------------------
An organization similar to the EGA, with chapters in some synagogues. Good
source of encouragement for people interested in the traditions of Judaic
religious ornamentation. They also do reviews of companies that do Judaic
designs.
Pomegranate Guild of Judaic Needlework
PO Box 260964
Encino CA 91426
Kathleen M. Dyer
Posting-Frequency: monthly
Part 4 of 4 - Counted Cross Stitch Frequently Asked Questions version 1.06
Copyright (c) 1994 Kathleen M. Dyer. Permission is granted to duplicate and
distribute this article freely, provided no fees are charged and this
copyright notice is included intact.
==============================================================================
Appendix A.
Fabrics
==============================================================================
----------------
A.1 Silk Gauze
----------------
From: ji...@super.org (Amelia J. Scott-Piner)...
You can stitch any pattern composed only of full cross-stitches on 40-ct
silk gauze. The reason that only full stitches can be used is that the
stitching on the silk gauze is actually a half of a cross- stitch (also
known as the basic needlepoint "tent" stitch). Silk gauze petit-point is
usually stitched with one strand of silk floss on 40-ct (or higher counts)
silk gauze which is firmly tacked or glued into a frame so that the gauze
is under firm tension and perfectly straight. The most common frame for
silk gauze are two pieces of mat board that have identical openings that
are exactly one inch larger than the actual design size. The gauze is
sandwiched between the two, glued into place, and then stitched.
Sight problems can be alleviated through the use of magnification. It
also helps to have a piece of dark felt or fabric on your lap while
stitching as fine holes are easier to see against a dark background.
-------------------------
A.2 Types of Evenweaves
-------------------------
The following lists of fabrics were originally posted by Dawn Scotting and
updated by Jill Scott-Piner.
Cottons & Blends
----------------
COUNT FABRIC NAME FIBRE CONTENT - Cottons & Blends
----- ----------- --------------------------------
6 Aida 100% cotton
Cottage Huck
Towelling 100% cotton
Herta 100% cotton
North Glen 90% cotton, 10% viscose
7 Goldau 40% cotton, 55% rayon, 5% metallic - patterned
Kali 100% cotton
Klostern 40% cotton, 60% rayon
8 Aida 100% cotton
10 Copenhagen 100% cotton
Nordic Spring 85% cotton, 15% poly
Tilla 40% cotton, 55% rayon, 5% metallic - patterned
Tivoli 100% cotton
11 Aida 100% cotton
Damask Constance - 55% cotton, 45% rayon
Obensburg - 55% cotton, 45% rayon
Rosemary - 55% cotton, 45% rayon
Rosemont - 55% cotton, 45% rayon
Schonfels - 55% cotton, 45% rayon
Stratford - 55% cotton, 45% rayon
Easycount Aida 100% cotton
Hardida 100% cotton
12 Arno 100% cotton
Saar 100% cotton
14 Aida 100% cotton
Ariosa 40% cotton, 60% viscose
Carola 100% cotton
Damask Aida 55% cotton, 45% viscose
Damask Quick Quilt - 48% cotton, 52% rayon
Shona - 55% cotton, 45% rayon
Easycount Aida 100% cotton
Kali 100% cotton
Malmoe 100% cotton
Rustico Aida 100% cotton
Sturbridge 100% cotton
Sundal 100% mercerized cotton
Wild West 55% cotton, 45% acrylic
Yorkshire Aida 96% cotton, 4% poly
16 Aida 100% cotton
Congress Cloth 100% cotton
18 Aida 100% cotton
Damask Aida 55% cotton, 45% viscose
Davos 100% cotton (change of spelling)
Easycount Aida 100% cotton
North Glen 90% cotton, 10% viscose
Rustico Aida 100% cotton
20 Ariosa 60% rayon, 40% cotton
Bellana 52% cotton, 48% viscose
Jobelan 51% cotton, 49% poly
Kali 100% cotton
Northland 100% cotton
Valerie 52% cotton, 48% rayon
22 Hardanger 100% cotton
Hardida 100% cotton
Kitchen 100% cotton
Oslo Hardanger 100% cotton
24 Congress Cloth 100% cotton
25 Andria 52% cotton, 48% rayon - patterned
Lugana 52% cotton, 48% rayon
Modena 52% cotton, 48% rayon
Rimini 52% cotton, 48% rayon
Sondrio 52% cotton, 48% rayon
Teramo 52% cotton, 48% rayon
26 Flowerfield 40% cotton, 60% viscose (also called Meran)
(Meran)
27 Alice 100% cotton - patterned
Gerda 100% cotton
Linda 100% cotton
28 Alma Cloth 51% cotton, 49% viscose
Annabelle 100% cotton
Brittney 52% cotton, 48% rayon
Chalet 40% cotton, 60% viscose - patterned
Jobelan 51% cotton, 49% poly
Jubilee 100% cotton
Malmoe 100% cotton
30 Murano 52% cotton, 48% viscose (change of count)
32 Jobelan 51% cotton, 49% polyester
Linens & Blends
---------------
COUNT FABRIC NAME FIBRE CONTENT - Linens & Blends
----- ----------- -------------------------------
9 Linen Aida cotton, linen
12 Country Canvas 70% polyester, 30% linen
14 Country Cloth 70% poly, 30% linen
Fiddler's Cloth 50% cotton, 42% polyester, 8% linen
Northwoods 80% acrylic, 20% linen
17 Danish linen 100% linen
18 Fiddler's Cloth 50% cotton, 42% polyester, 8% linen
Floba 70% viscose, 30% linen
Home Sweet Home 10% linen, 90% polyacrylic - patterned
Linen 100% linen
Norlin 60% linen, 30% cotton, 10% viscose
Unbleached 100% linen
19 Cork linen 100% linen
20 Irish linen 100% linen
Northern Cross 100% linen
22 Almeria 50% cotton, 35% polyester, 15% linen
Linen 100% linen
Linen Hardanger 100% linen
24 Lorna linen 100% linen
25 Dublin linen 100% linen
Easycount Linen 100% linen
Fine Floba 30% linen, 70% viscose
26 Brussels Linen 100% linen
Linen 100% linen
Unbleached 100% linen
27 Northern Cross 100% linen
28 Glasgow 100% linen
Irish linen 100% linen
Montrose 100% linen
Pastel Linen 48% linen, 52% cotton (weft is white, the
warp is a shade)
Quaker Cloth 55% linen, 45% cotton
Shenandoah 55% linen, 45% cotton - patterned
Unbleached 100% linen
Whittenburg 71% linen, 29% flax/cotton
29 Glenshee 100% linen
30 Brussels Linen 100% linen
Linen 100% linen
Northern Cross 100% linen
Melinda Cloth 60% linen, 40% cotton
Unbleached 100% linen
32 Belfast linen 100% linen
Irish linen 100% linen
Unbleached 100% linen
35 Brussels Linen 100% linen
Edinburgh 100% linen
Linen 100% linen
Northern Cross 100% linen
Unbleached 100% linen
36 Edinborough 100% linen
Irish linen 100% linen
40 Unbleached 100% linen
45 Carrick 55% linen, 45% cotton
Zweigart Fine 55% linen, 45% cotton
50 Kingston 100% linen
55 Kingston 100% linen
Miscellaneous Blends
--------------------
COUNT FABRIC NAME FIBRE CONTENT - Misc. Blends
----- ----------- ---------------------------
6 Bondeno 100% polyacrylic - patterned
7 Monk's Cloth unknown (by Charles Craft)
10 Jute 100% jute
12 Jute 100% jute
14 Alba 100% polyacrylic - patterned
Angelica 100% polyacrylic - patterned
Astoria Cloth 50% poly, 50% viscose
Christmas Plaid 100% trevira/viscose - patterned
Dutch Garden 100% polyacrylic - patterned
Florina 100% rayon
Gardasee 100 polyacrylic
Gloria Cloth 100% polyacrylic
Hearthside 100% polyacrylic - patterned
Homespun Cloth 100% viscose
Hunt Club Afghan polyester/rayon blend - patterned
Lady Elizabeth 100% trevira/viscose - patterned (afghan fabric)
Monza 100% polyacrylic
Novara 100% polyacrylic
Proud Pine 100% polyacrylic - patterned
Ragusa 100% polyacrylic
Royal Classic 50% polyester, 50% rayon
Sal--Em 50% poly, 50% rayon
Soft Touch 100% dacron w/ stain resistant VISA finish
Udine 100% polyacrylic - patterned
Valentina 100% polyacrylic - patterned
Venezia 100% polyacrylic
16 Wool 100% new wool
18 Abby Cloth 100% polyacrylic - patterned (afghan fabric)
Anne Cloth 100% polyacrylic (afghan fabric)
Arabella 100% polyacrylic - patterned
Astoria Cloth 50% poly, 50% viscose
Basic Cloth 100% polyester
Diamond Afghan 100% polyacrylic - patterned
Heartsong poly blend
Polly 100% polyacrylic (imitation wool)
Richmond 100% polyacrylic
Sal--Em 50% poly, 50% rayon
20 Bergen 100% polyacrylic
24 Heartland 100% modal
26 Heatherfield 100% polyacrylic
Sal--Em 50% poly, 50% rayon
==============================================================================
Appendix B.
Floss and Fibers
==============================================================================
------------------------------------
B.1 Fibers to Use Other Than Floss
------------------------------------
There are many types of fibers available today for counted thread work, with
new specialty types appearing on a regular basis from companies such as
Kreinik and the Caron Collection. Here is a partial list of what you may
find, and what they may be used for.
Flower Thread
A matte-finish, 100% cotton thread available in skeins. Available from
several fiber manufacturers. The original is Danish Flower Thread. DMC
has 108 flower thread colors, most of which match their floss numbers.
Used for traditional Danish embroidery. Also recommended for
linen/evenweaves and for afghans. Equal to about two or three strands of
embroidery floss.
Medici Wool
A DMC product with a homespun look. Looks especially nice with natural
linen.
Metallic Blending Filament
One ply thin metallic thread, available on spools. Frequently combined
with regular floss to provide extra sparkle.
Tips:
Use short strands.
Metallic Braids and Ribbons
Metallic threads, available on spools. Used alone to provide definition,
sparkle and texture. The braids are rounded, and the ribbons are flat.
Tips:
Slipknot the thread onto the needle.
Run the threads over a fabric softener sheet.
Use short strands.
Perle Cotton
A "mercerized, twisted, non-divisible lustrous cotton thread" available in
skeins and balls. Used with many counted thread techniques, such as pulled
thread and Hardanger. Available in different weights--#5 equal to about
four strands of embroidery floss, and #3 equal to about six strands.
Ribbon Floss
A shiny, flat fiber. Can be used with Metallic Ribbon to provide some
real sparkle.
Silk Thread
Available as solid or hand painted variegated skeins. Beautifully smooth.
CAUTION--some silk thread is not colorfast.
--------------------------------------------
B.2 Floss Color Names and Conversion Chart
--------------------------------------------
Thanks to Dawn Scotting for originally posting the floss color conversion
chart, to Chris O'Donnell for posting the color name chart, and to Wanda Wolfe
for thinking to combine the two.
Use the floss conversion chart as a guide only. It is difficult to give exact
alternatives between different brands of embroidery floss.
Similarly, use the color name chart as a guide only. DMC does _not_ name its
colors, and designers are free to use whatever names they choose.
J&P
DMC color shade Coats Anchor
----- ---------------- ---------------- ----- ------
white white 1001 2
819 baby pink lt 3280 271
818 baby pink 3281 23
776 pink med 3281 24
3326 rose lt 3126 36
899 rose med 3282 55
335 rose 3283 38
309 rose deep 3284 42
326 rose vy deep 3401
3708 melon lt 3127 31
3706 melon med 3127 33
3705 melon dk 3012 35
957 geranium pale 3125 52
956 geranium 3127 54
894 carnation vy lt 3127 26
893 carnation lt 3152 27
892 carnation med 3152 28
891 carnation dk 29
3689 mauve lt 3086 49
3688 mauve med 3087 60
3687 mauve 3088 68
3685 mauve dk 3089 70
963 dusty rose ultra vy lt 3280 73
3716 dusty rose vy lt 25
3354 dusty rose lt 3003 74
3733 dusty rose 75
962 dusty rose med 3151 40
961 dusty rose dk 3176 76
3731 dusty rose vy dk 77
3350 dusty rose ultra dk 3004 59
605 cranberry vy lt 50
604 cranberry lt 3001 66
603 cranberry 3001 62
602 cranberry med 3063 63
601 cranberry dk 3128 57
600 cranberry vy dk 3056
225 shell pink ultra vy lt 3239 892
224 shell pink vy lt 3240 893
223 shell pink lt 3241 895
3722 shell pink med 896
3721 shell pink dk
221 shell pink vy dk 3242 897
745 yellow lt pale 2296 300
744 yellow pale 2293 301
743 yellow med 2302 302
742 tangerine lt 2303 303
741 tangerine med 2314 314
740 tangerine 2099 316
3341 apricot 328
3340 apricot med 329
722 orange spice lt 2323 323
721 orange spice med 2324 324
720 orange spice dk 2322 326
970 pumpkin bright 2327
971 pumpkin 2099
608 orange bright 2332
606 orange-red bright 2334 335
947 burnt orange 2327 330
946 burnt orange med 2330 332
900 burnt orange dk 2329
746 off white 2275 275
3078 golden yellow vy lt 2292 292
3047 yellow beige lt 2300
3046 yellow beige med 2410 887
3045 yellow beige dk 2412 888
677 old gold vy lt 886
676 old gold lt 2874 891
729 old gold med 2875 874
680 old gold dk 2876 907
834 golden olive vy lt 945
833 golden olive lt
832 golden olive
831 golden olive med
830 golden olive dk 277
829 golden olive vy dk 906
3770 flesh dk 3334
951 flesh 3335 880
945 flesh med 3335 881
3774 sportsman flesh vy lt 778
950 sportsman flesh 2336
3773 sportsman flesh med 882
407 sportsman flesh dk 914
3064 sportsman flesh vy dk 3883 883
3772 flesh dk 5579 379
632 flesh vy dk 5936 936
948 peach flesh vy lt 2331
754 peach flesh lt 2331 6
353 peach flesh 3006 8
352 coral lt 3008 9
351 coral 3011 10
350 coral med 3111 11
349 coral dk 2335 13
817 coral red vy dk 2335
3713 salmon vy lt 968
761 salmon lt 3068
760 salmon 3069
3712 salmon med
3328 salmon dk 3071
347 salmon vy dk 3013
3779 terra cotta ultra vy lt 4146
758 terra cotta vy lt 3868 868
3778 terra cotta lt 9575
356 terra cotta med 2338 5975
355 terra cotta dk 2339
3777 terra cotta vy dk
666 Christmas red bright 3046 46
321 Christmas red 3500 47
304 Christmas red med 3401 19
498 Christmas red dk 3410 43
816 garnet 3410 20
815 garnet med 3000 44
814 garnet dk 3044 45
902 garnet vy dk 3083 72
3609 plum ultra lt 4085 85
3608 plum vy lt 4086 86
3607 plum lt 4087 87
718 plum 88
917 plum med 4089 89
915 plum dk 65
211 lavender lt 4303 342
210 lavender med 4303 108
208 lavender med 4301 110
209 lavender dk 4302 109
554 violet lt 4104 96
553 violet 4097 98
552 violet med 4092 112
327 violet dk 4101 100
550 violet vy dk 4107 101
3747 blue violet vy lt 7004 120
341 blue violet lt 7005 117
340 blue violet med 7110 118
3746 blue violet dk
333 blue violet vy dk 119
3743 antique violet vy lt
3042 antique violet lt 4221 870
3041 antique violet med 4222 871
3740 antique violet dk 872
778 antique mauve vy lt 3060
3727 antique mauve lt 969
316 antique mauve med 3081
3726 antique mauve dk 3084 970
315 antique mauve vy dk 3082 972
445 lemon lt 2288 288
307 lemon 2290 289
444 lemon dk 2298 290
973 canary bright 2290 297
972 canary deep 2307 355
727 topaz vy lt 2289 293
726 topaz lt 2295 295
725 topaz 2298 305
783 topaz med 5307 307
782 topaz dk 5308 308
781 topaz vy dk 5309
780 topaz ultra vy dk 365
712 cream 5387 926
ecru ecru/off-white 1002 387
822 beige grey lt 5830 830
644 beige grey med 5831 899
642 beige grey dk 5832 832
640 beige grey vy dk 5393
3790 beige grey ultra dk
3024 brown grey vy lt 8390
3023 brown grey lt
3022 brown grey med
3787 brown grey dk 393
3021 brown grey vy dk 5395 905
543 beige brown ultra vy lt 5533 933
842 beige brown vy lt 5933 388
841 beige brown lt 5376 378
840 beige brown med 5379
839 beige brown dk 5360
838 beige brown vy dk 5381 380
739 tan ultra vy lt 5369 885
738 tan vy lt 5375 372
437 tan lt 5942 362
436 tan 5943 890
435 brown vy lt 5371 901
434 brown lt 5000 370
433 brown med 5471 310
801 coffee brown dk 5475 359
898 coffee brown vy dk 5476 360
938 coffee brown ultra dk 5477 381
3371 black brown 5478 382
3033 mocha brown vy lt 5388 391
3782 mocha brown lt 831
3032 mocha brown med 5393 903
3781 mocha brown dk
3031 mocha brown vy dk 5472
613 drab brown lt 956
612 drab brown med 853
611 drab brown dk 5898 898
610 drab brown vy dk 5889 889
372 mustard lt 854
371 mustard 855
370 mustard med 856
422 hazelnut brown lt 5372 943
420 hazelnut brown dk 5374 374
869 hazelnut brown vy dk 944
922 copper lt 3336 337
921 copper 338
920 copper med 3337 339
919 red copper 2326 340
918 red copper dk 3340 341
402 mahogany vy lt 347
3776 mahogany lt 349
301 mahogany med 884
400 mahogany dk 351
300 mahogany vy dk 352
977 golden brown lt 2306 313
976 golden brown med 2308 309
975 golden brown dk 5349 355
369 pistachio green vy lt 6015 259
368 pistachio green lt 6016 214
320 pistachio green med 6017 215
367 pistachio green dk 6018 217
319 pistachio green vy dk 6246 218
890 pistachio green ultra dk 6021
989 forest green 6266 242
988 forest green med 6258 243
987 forest green dk 6258 244
986 forest green vy dk 6021 246
907 parrot green lt 6001 255
906 parrot green med 6256 256
905 parrot green dk 6267 258
904 parrot green vy dk 6258
564 jade vy lt 6209 206
563 jade lt 6210 208
562 jade med 6213 210
561 jade vy dk 6211 212
966 baby green med 6030 240
955 nile green lt 6030
954 nile green 6020 203
913 nile green med 6225 204
912 emerald green lt 6205 205
911 emerald green med 6205
910 emerald green dk 6031 229
909 emerald green vy dk 6228 230
704 chartreuse bright 6238
703 chartreuse 6238
702 kelly green 6239 239
701 christmas green lt 6226 227
700 christmas green bright 6227 228
699 christmas green 6228 923
772 yellow green vy lt 6250 260
3348 yellow green lt 6266 254
3347 yellow green med 6266 266
3346 hunter green 6258
3345 hunter green dk 6258
895 hunter green vy dk 6021
472 avocado green ultra lt 6253 264
471 avocado green vy lt 6010 267
470 avocado green lt 6010 267
469 avocado green 6261 267
937 avocado green med 6268 268
935 avocado green dk
936 avocado green vy dk
934 black avocado green
581 moss green 6256
580 moss green dk 6267
734 olive green lt 279
733 olive green med 280
732 olive green 281
731 olive green dk 6844 844
730 olive green vy dk 924
3364 pine green 6010
3363 pine green med 6317
3362 pine green dk 6318 263
3013 khaki green lt 6842 842
3012 khaki green med 6843 843
3011 khaki green dk 6845 845
3053 green grey 6315
3052 green grey med 6316
3051 green grey dk 6317 846
524 fern green vy lt 6315 858
523 fern green lt 6316 859
522 fern green 6316 860
520 fern green dk 6318 862
504 blue green lt 6875 213
503 blue green med 6879 875
502 blue green 6876 877
501 blue green dk 6878 878
500 blue green vy dk 6880 879
993 aquamarine lt 6185
992 aquamarine 6186
943 aquamarine med 6187 188
991 aquamarine dk 6212 189
964 seagreen lt 6185 185
959 seagreen med
958 seagreen dk 6186 186
598 turquoise lt 7167 167
597 turquoise 7168
3766 peacock blue lt
807 peacock blue 7168 168
806 peacock blue dk 7169 169
3765 peacock blue vy dk 170
747 sky blue vy lt 7053 928
3761 sky blue lt 9159
519 sky blue
518 wedgewood lt
3760 wedgewood 7975
517 wedgewood med 7162
3756 baby blue ultra vy lt 274
775 baby blue vy lt 7031 975
3325 baby blue lt 7976 144
3755 baby blue 145
334 baby blue med 7977 977
322 navy blue vy lt 7978 978
312 navy blue lt 7979 979
311 navy blue med 7980 148
336 navy blue 7981 150
823 navy blue dk 7982 164
939 navy blue vy dk 7160 152
3753 antique blue ultra vy lt 128
3752 antique blue vy lt 7876 976
932 antique blue lt 6270 861
931 antique blue med 7051 921
930 antique blue dk 7052 922
3750 antique blue vy dk
828 blue ultra vy lt 7053 158
827 blue vy lt 7159 159
813 blue lt 7161 160
826 blue med 7180 161
825 blue dk 7181 162
824 blue vy dk
800 delft pale 7021 129
809 delft 7021 130
799 delft med
798 delft dk
797 royal blue
796 royal blue dk
820 royal blue vy dk 7024 134
996 electric blue med 7001 433
995 electric blue dk 7010 410
794 cornflower blue lt 175
793 cornflower blue med 176
792 cornflower blue dk 7150 177
791 cornflower blue vy dk 7024 178
762 pearl grey vy lt 8510 397
415 pearl grey 8398 398
318 steel grey lt 8511 399
414 steel grey dk 8513 235
317 pewter grey 8512 400
413 pewter grey dk 8514 401
3799 pewter grey vy dk 8999 236
535 ash grey vy lt 8400
928 grey green vy lt 7225 848
927 grey green lt 6006 849
926 grey green med 6007 850
3768 grey green dk 779
924 grey green vy dk 6008 851
453 shell grey lt 8231 231
452 shell grey med 8232 232
451 shell grey dk 8233 233
3072 beaver grey vy lt 6005 234
648 beaver grey lt 8390 900
647 beaver grey med 8900 8581
646 beaver grey dk 8500
645 beaver grey vy dk 8500 273
844 beaver grey ultra dk 8501
310 black 8403 403
93 shaded blues 210
113 shaded blues 210
121 shaded blues 210 1210
52 shaded purples 212 1208
95 shaded purples 212
126 shaded purples 212 1209
48 shaded roses 201 1201
62 shaded roses 201 1200
107 shaded reds bright 204 1204
90 shaded yellows 219
108 shaded yellows 219 1219
92 shaded greens 214 1216
101 shaded greens bright 221 1214
114 shaded greens bright 221 1215
61 shaded browns 209
105 shaded browns 209 1204
pastels 225
citrus lt 2350
citrus vy lt 2386
brick dk 2975
rose vy deep 3019
red 3047
cranberry vy dk 3065
baby pink 3067
Christmas red dk 3021
Christmas red med 3072
garnet med 3072
raspberry vy dk 3090
flesh lt 3146
dusty rose vy lt 3150
antique rose lt 3173
shell pink dk 3243
antique violet vy lt 4220
antique violet dk 4224
lavender vy dk 4300
old gold lt 5363
fawn lt 5576
fawn med 5578
royal blue med 7143
steel grey lt 8399
steel grey 8401
-------------------------------------
B.3 Calculating the Amount of Floss
-------------------------------------
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 that 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.