needlepoint/art needlework
geo...@deltanet.com
Anyone out there interested in art needlework? You maybe go crazy
waiting for the next issue of Ornament, American Craft, American
Style, Fiber Arts? What are your inspirations?
Janet M. Perry
Yes, I read Ornament. I also make jewelry from time to time and am
currently working on an all heart charm bracelet. my next project (thanks
to Bead & Button) will be to do one of those "Tin Cup" necklaces in pink
freshwater pearls with small round garnets and burgundy silk thread. Now
all I need is time off from stitching.
My main sources of inspriation for my needlepoint are mostly from the Arts
& Crafts period. But sometimes they come from anywhere. I consistently
find inspriation from antique Amish quilts, but you can't do that all the
time.
Right now, I am thinking about designing a smapler based on Fair Isle
Knitting patterns. the inspriation for this came from a sweater my oldest
daughter bought. Some blackwork designs based on knitting patterns (but I
haven't decided what to do with them. I textured stitch sample using a
design by David Goines. And something based on Vorsey's Arts & Crafts
tiles.
And then I am always thinking about Bargello and things to do with it.
And of course, put me anywhere near a store and I go buy new threads, just
to dream over.
Now I need 48 hour days.
--
Keep Stitching,
Janet Perry
needlepo...@miningco.com
http://needlepoint.miningco.com
This Week's Feature -- Pulled Work Sampler Part 1
Kamscott
>Anyone out there interested in art needlework? You maybe go crazy
>waiting for the next issue of Ornament, American Craft, American
>Style, Fiber Arts? What are your inspirations?
>
>
I wait for PieceWork magazine to come out. While it may not cover very much
modern textile art, which I admire very much, it covers genuine folk art,
such as Panamanian molas and poetry mittens from Norway. Moola is limited
and I get an enormous amount of satisfaction out of this magazine. I
highly recommend it.
Once in Santa Fe, NM, I saw an art piece for sale that was a landscape scene
depicted entirely in french knots. About 5" by 5" with teeny-tiny knots,
I marveled
at how wonderfully textured and alive it was.
Last tidbit... I have a book called Embroidery Studio, put together by the
Embroiderer's Guild (UK) and I hope, wish, dream and wonder about the time
when I can take my own creative stirrings and set them to needle and canvas
like these artists do.
-Kristin
Lula
geosand wrote:
>
> Anyone out there interested in art needlework? You maybe go crazy
> waiting for the next issue of Ornament, American Craft, American
> Style, Fiber Arts? What are your inspirations?
I have been reading Fiberarts, Ornament and other publications about
art, antique and related publications for many years.
They're all good for inspiration, learning and keeping up with what's
new/old on the arts scene.
My fine arts and textile design background has always given me an
interest to express my ideas using fabric and threads.
I like the idea of translating a two dimensional art work or design on
paper/artist's canvas into a more tactile or 3 dimensional object.
Needlework materials have their limits but that is where the challenge
is to be able to work within those parameters and create art.
I look at the threads, fabric grounds, the textures, colors and use them
as is or experiment with them in different stitches or whatever way I
can manipulate the threads to convey my idea of for example --- what the
wind might look like swirling in a night sky or how an imaginative
undersea garden might look with an interesting arrangement/composition
of colors, texture, pattern and line.
The creativity behind this is the same but the materials and use of such
materials is what makes this a unique art form on its own. To be judged
on its own merits as piece of textile art rather than compared to other
disciplines which have their own standards.
Drawing with a needle is very satisfying, watching my drawing come to
life in 3 dimensions.
---
Lula from Wooly Dreams Design
http://home.earthlink.net/~woolydream/
Jeanne
I am an avid needlepointer. I occasionally paint canvases for a local
shop, and love most of the new fibers available.
Jeanne
geo...@deltanet.com
When I was drawing and painting *years* ago, I was essentially a
colorist in in the fauve or nabi aesthetic. But, then, I spent years
as a jewelry designer and manufacturer working mostly without color in
three-, instead of two-dimensions. Then I went back to school so I
could get a 'regularly-paying' job and have been doing almost no art
work for about 10-12 years except some needlepoint in evenings etc.
during the last two years. I dedicated this summer break to feeding
the mental furnaces again, so most of my design work right now is in
my head instead of on canvas or paper yet. My assignment to myself is
learn to understand color tonalities and relationships well enough to
accomplish the modeling and making a design dynamic primarily through
use of the juxtaposition of warm and cool color tones. I go nuts over
some of the tapestry design and color work, poly-clay
stuff--especially Cynthia Toops micromosaic work (looks like stitching
to me!). Lots of the new ceramics and glass work makes me want to just
gobble it down all at once. It is hard to do just one thing and
one-step-at-a-time, so I have a pile of books and stash and can't stop
long enough to get anything accomplished yet! ( - :
Meanwhile, there is this $100 art book on Roman mosaics in Tunisia
that I'm going to have to get myself for Christmas. Hm-m-m, how to
make needlepoint look like marble (semi-translucent) tesserae. . . .
Vicki
On Wed, 15 Oct 1997 04:38:09 -0400, Lula <wooly...@earthlink.net>
wrote:
>geosand wrote:
>>
>> Anyone out there interested in art needlework? You maybe go crazy
>> waiting for the next issue of Ornament, American Craft, American
>> Style, Fiber Arts? What are your inspirations?
>
Lula
Vicki--
Why don't you just let yourself "go" and experiment with your colors
now?
Sometimes doing is better than studying artistic theory....although it
doesn't hurt to know more but don't put off your creative urge that you
feel now.....
There's a book on needlepoint mosaics I bought a long time ago in a used
book shop---think it was called Needlepoint Designs from Ravenna or some
such title.
I buy a lot of esoteric art books because I enjoy reading them and
learning why, where, what and how, the historical backgrounds and so
on---I remember taking graduate courses in Archaic Greek Art (among
others) just because I was curious. Turned out to be a very enjoyable
class and non boring because our professor was an archeologist! Not only
that---the class was held in the Univ Museum--I always sat next to the
mummy cases!
Needlepointing mosaic designs with the newer threads available would
allow you to capture some of the semi-transluscent quality of the
marbles.
Rainbow Gallery's Frosty Rays come to mind along with Caron's Rachel and
Double Dipped Rachel---then there are the overdyes and more.....so many
ways to create effects in needlepoint.
The most interesting part is experimenting with these threads, trying
them in different ways, mixing, tweeding, whatever way possible to catch
that elusive feeling we feel inside and try to make it physically
possible to see in the needlepoint stitching.
I personally love the color effects in art glass and enamels....think
I'm going to experiment and try to capture that in needlepoint........
---
Lula from Wooly Dreams Design
http://home.earthlink.net/~woolydream/
Marina Salume
>Anyone out there interested in art needlework? You maybe go crazy
>waiting for the next issue of Ornament, American Craft, American
>Style, Fiber Arts? What are your inspirations?
Yes! I use a bit of art needlework on my quilts, which start with
a piece of fabric that I paint. Then I layer bits of other fabrics
on top and attach them with hand stitching using pearl cotton.
Usually it's very simple running stitch (inspired by Japanese
sashiko stitching). I haven't gotten into a lot more embellishment
although on some quilts I have hung a Japanese coin from a cord, etc.
I read Fiber Art and American Craft magazines. I also get the
occasional Japanese sashiko book that shows more modern uses of
the stitch. I also have the wonderful book that was mentioned, "Embroidery
Studio," and a couple of others from England--it seems they have
more art embroidery going on there than in the US right now.
A good place to find books on embellishment is quilt shops, a lot of
quilters are using these techniques. There is a series by Sulky (a
thread company) that shows a lot of machine embroidery techniques. What
kind of art needlework do you do?
--marina
PBSievert
E-mail me and I can explain how to develop marble out of needlepoint and
it's glory to you!
Barbara
Is the book by Deveson? I have one of those////
Lula
PBSievert wrote:
>
> Where do you find "Embroidery Studio"? I haven't seen it! I use
> museums for inspiration--take lots of pictures!!!! I like detail on
> medieval pieces while in Europe--or doors which are neat!!! I produced
> a Roman bust recently from a photo shoot I took in Trier Germany. Lots
> of Roman antiquities there. So I guess the best is to travel , but if
> you can't, then art history books do it for you!!! Bye kindred spirits!
> Barbara
I'm one of those that buy a lot of art books and only have traveled in
North America---maybe later I'll fly overseas and see all the things
I've spent years studying! In the meantime I've used much of this
knowledege to inspire my imagination in creating designs.
Embroidery Studio was published in 1993 by David & Charles and is a
wonderful book of inspiration for the needleworker under the umbrella of
the Embroider's Guild. (ISBN 0-7153-9905-5)
I like the factual information presented and how the individual
needlework was designed or adapted using methods, ideas or techniques
from the original historical and ethnic sources.
Try http://www.amazon.com , Bette Feinstein's Hard To Find Needlework
Books site, perhaps your local shop may carry it or special order it for
you. Lydia of http://www.wyndhamneedleworks.com may also carry it.
My favorite museum for inspiration is the Metropolitan Museum of Art in
NYC. One of my interests on the subject of Medieval art are the
polychromed wood carvings.
I find Medieval sculpture extremely expressive and worldly even though
most of it was created for religious purposes.
Just bought an interesting paperback book---Stories In Stone--The
Medieval Roof Carvings of Norwich Cathedral by Martial Rose and Julia
Hedgecoe---ISBN 0-500-27937-3, pub--Thames and Hudson 1996
Very informative text and descriptions of these very folk art carvings.
Speaking Roman antiquities---have you seen the book The Mysterious
Fayum Portraits? I bought this book in 1995 and have been mesmerized by
the idealized portraits from the mummies of Greco-Roman Egypt.
These portraits could be adapted to create a group of striking
needlepoint designs.
PBSievert
Where do you find "Embroidery Studio"? I haven't seen it! I use
museums for inspiration--take lots of pictures!!!! I like detail on
medieval pieces while in Europe--or doors which are neat!!! I produced
a Roman bust recently from a photo shoot I took in Trier Germany. Lots
of Roman antiquities there. So I guess the best is to travel , but if
you can't, then art history books do it for you!!! Bye kindred spirits!
Barbara
Lula
Was just thinking about some of the discussion we've had on this thread
about art needlework as related to needlepoint especially about the part
of recreating the transluscent effects of glass into stitching and
creating watery, shimmery or glistening effects of art enamels and
glassware.
One of the things I like using are beads---plan to bead up areas on some
designs by using a variety of petite glass beads from Mill Hill. Would
be an interesting effect to be able to use close colors if possible,
that's one way to create a shimmery look for some effects.
Think of those antique beaded purses!
Now I wonder how interesting it might be to stitch a small piece of
needlepoint based on a mosaic design using tiny glass seed beads!
I recall seeing the use of paillettes or sequins (different sizes) in
some stitcheries---would look lovely stitching up a mermaid or dragon
among other fanciful designs.
An important consideration to think of is how light will affect the
finished stitching---how it will strike and help create and add to the
look I'm trying to convey after the needlepoint is all done and how I
will display it.
The way I angle my stitches should I use specialty stitches and the
types of thread used will be important.
For plainer stitching--using close color gradations will create the
effect of rippling color and movement.
Really takes a good eye for color and balance to convey these feelings.
This may be similar to painting but it's different since it uses
different materials which have their own unique limits and qualities to
consider and work with.
A good example is looking at the art quilting being done today---amazing
painterly qualities created using fabrics.
Deborah Hogsden
kams...@aol.com (Kamscott) wrote:
>In article <344066f7....@news.deltanet.com>, geo...@deltanet.com writes:
>>Anyone out there interested in art needlework? You maybe go crazy
>>waiting for the next issue of Ornament, American Craft, American
>>Style, Fiber Arts? What are your inspirations?
>>
>>
I am just beginning to appreciate art needlework, what really
converted me was a book I posted about last week,
Annemieke Mein
Wildlife in Textiles
Title might be a little different as I had to give the book back to
mum so don't have it with me, Absolutely stunning pieces,
Deb in NZ
Nan
Kamscott wrote:
>
> PBSievert wrote:
> >> Where do you find "Embroidery Studio"?
>
> >Embroidery Studio was published in 1993 by David & Charles and is a
> >wonderful book of inspiration for the needleworker under the umbrella of
> >the Embroider's Guild. (ISBN 0-7153-9905-5)
>
> Someone will have to supply the 800 number and address because my
> catalog is with someone else right now.
<snip>
> -Kristin
The phone for Lark Books is 800-284-3388.
Nan
geo...@deltanet.com
Lark Books also have a website:
http://www.larkbooks.com/homepage.html
On 20 Oct 1997 12:13:46 GMT, kams...@aol.com (Kamscott) wrote:
snip
>
>Another great place for a menagerie of books on crafts is Larks Books.
>Someone will have to supply the 800 number and address because my
>catalog is with someone else right now.
>
>I found my copy at a used book store, by chance, for $10.00
>I just keep haunting particular stores to see what they have
>that's "new" -- pardon the pun.
>
>-Kristin
zelda
Lula wrote:
> An important consideration to think of is how light will affect the
> finished stitching---how it will strike and help create and add to the
> look I'm trying to convey after the needlepoint is all done and how I
> will display it.
> The way I angle my stitches should I use specialty stitches and the
> types of thread used will be important.
>
> For plainer stitching--using close color gradations will create the
> effect of rippling color and movement.
> Really takes a good eye for color and balance to convey these feelings.
> This may be similar to painting but it's different since it uses
> different materials which have their own unique limits and qualities to
> consider and work with.
> A good example is looking at the art quilting being done today---amazing
> painterly qualities created using fabrics.
> ---
> Lula from Wooly Dreams Design
> http://home.earthlink.net/~woolydream/
I've been interested in this thread, although I don't do art needlework.
I'd like to become that proficient. I subscribe to Fiber Arts also and am
amazed by what these artists do with fibers.
I work at a small community art center and a couple of weeks ago, we were
choosing exhibitions for 1998. One of the entrants sent slides of her art
quilts and they are gorgeous! One of the committee/board members asked if
this was really art. I told her she didn't want to have this discussion and
the conversation ended there. But I was ready to do battle for those
quilts. I don't understand why some people can't accept textiles as art.
Is it because of the medium? I think fabric and thread, etc., have as much
value as any other medium, certainly at least as much as "found" art (if not
more). Is it that there is a perception of lack of formal training for
fiber artists? I know that most fiber artists have as much training as
"fine" artists. Is it because objects made of textiles are often useful?
In the case of the quilts, they could be utilitarian, but they were made for
display. No one uses them to wrap up in or sleep in. What other
possibilities have I not considered?
It was a little ironic because the woman who objected is a pretty good
cross-stitcher. In the end, though, the quilts got the highest score and
barring any schedule conflicts, they will be on exhibit in 1998.
Zelda
geo...@deltanet.com
On Sat, 25 Oct 1997 10:16:08 -0700, zelda <ze...@mail.aros.net> wrote:
>Lula wrote:
>
>> An important consideration to think of is how light will affect the
>> finished stitching---how it will strike and help create and add to the
>> look I'm trying to convey after the needlepoint is all done and how I
>> will display it.
snipped most of Lula's post
>> A good example is looking at the art quilting being done today---amazing
>> painterly qualities created using fabrics.
>> ---
>> Lula from Wooly Dreams Design
>> http://home.earthlink.net/~woolydream/
>
> I've been interested in this thread, although I don't do art needlework.
>I'd like to become that proficient. I subscribe to Fiber Arts also and am
>amazed by what these artists do with fibers.
>
>I work at a small community art center and a couple of weeks ago, we were
>choosing exhibitions for 1998. One of the entrants sent slides of her art
>quilts and they are gorgeous! One of the committee/board members asked if
>this was really art. I told her she didn't want to have this discussion and
>the conversation ended there. But I was ready to do battle for those
>quilts. I don't understand why some people can't accept textiles as art.
>Is it because of the medium?
I do think that is part of the answer. What follows is what I have
inferred from previous art training and reading between the lines in
various craft publications. In this country, only things like painting
and sculpture were considered 'serious' (capital A)rt. In the 1950's
there was a craft movement when artists, with serious art training,
began working in things like ceramics (Peter Voulkos) and fiber (I
believe Jack Lenor Larson was involved here) began to make craft
mediums acceptable for expression. When I took art classes in the late
1960s there was still a division between Art and craft. These days I
see more Art in crafts than I do in the more traditinal mediums. [I
think conceptual art became so conceptual that there was no object
left to contemplate anymore---strictly personal opinion]
I think that the other part of the difficulty only beginning to be
overcome by textiles is that needlework was something that women did
and do. Even when women painted, and painted better than their
well-known male contemporaries, their work was not taken
seriously--see any text on the subject. A good deal of textiles,
needlework and weavinng, etc. is still done as hobby, largely by
women. There is no problem with that. However, many (including
ourselves) still place all of it in the craft/hobby category and don't
take it seriously.
For me, decisions these days about whether something is Art or Craft
(or craft) kind of go along these lines: 'Art' is in the content (be
it abstract or narrative)--does it make us see anew? That is,
re-envision (rather than sentimentalize it) the familiar. [There being
nothing wrong, per se, with the sentimental, it just serves another
purpose.] And 'craft' is a verb and is what goes into the execution
of both Art and Craft object. In the case of art quilts, minimally,
they make us re-envision a formerly mundane object that is now
abstracted from its household environment. These definitions have been
influenced by reading sections of Vera John-Steiner's "Notebooks of
the Mind" and Jeanette Wilkerson's "Art Objects" ('objects' is used as
a verb here).
>I think fabric and thread, etc., have as much
>value as any other medium, certainly at least as much as "found" art (if not
>more). Is it that there is a perception of lack of formal training for
>fiber artists? I know that most fiber artists have as much training as
>"fine" artists. Is it because objects made of textiles are often useful?
>In the case of the quilts, they could be utilitarian, but they were made for
>display. No one uses them to wrap up in or sleep in. What other
>possibilities have I not considered?
>
>It was a little ironic because the woman who objected is a pretty good
>cross-stitcher. In the end, though, the quilts got the highest score and
>barring any schedule conflicts, they will be on exhibit in 1998.
>
>Zelda
>
Let us know how it goes.
Vicki
BKaplan104
I've been interested in astronomy for 8 years, but did
my first one astron. needlepoint right when I began nee-
dlepoint - a big stars & planets, shooting stars & comet
picture, before I knew *anything* about it, and was in-
venting stitches so I wouldn't stark raving bonkers just
doing continental stitch. I've done two others since, like-
wise long before I knew anything about it. But I've been
needlepointing for about 26 years. Am just beginning to
explore textures, really. Have saved most of the messag-
es in this thread, and will ask my sister (who is a part-
time weaver) to keep her fiber arts magazines for me to
look through - and maybe keep. Because ideas I come up
with don't always find fruition immediately; I often have
to mentally work out the logistics first so I don't have to
give up a project because of some unforeseen problem. Had to do that once, and
was very upset over it.
Lula
Fiber Arts magazine was a beginning inspiration for me while I was in
college. I was fascinated by the possibilites of fiber arts.
Spent some time weaving on small looms as part of my textile design
courses and found I wanted to do tapestry weaving.
Time became a factor and needlepoint fit the creative bill for me not to
mention being more portable for all the traveling I ended up doing.
Needlepoint combined the best of everything for me because it gave me a
chance to create my own fabric designs and get a feel of tapestry
weaving.
I've found needlepoint can be extremely creative and one can take it a
long ways into textile art by just letting the imagination go.....
Like you I keep a notebook of written ideas....sometimes it does take a
long while to get to them because having the idea without the
inspiration to do it doesn't always work out.....
---
Lula from Wooly Dreams Design
http://home.earthlink.net/~woolydream/
sha...@epix.net
SallyF wrote:
>
> I LOVE using different fibers, and stitches in needlepoint. It gives such rich
> texture and visual stimulation to a piece. At the needlepoint store I
> frequent in Northfield Illinois they offer classes every Monday morning on
> canvas embellishment. The teacher, Linda Coriorsi, (not sure if it's spelled
> quite right) gives all the members of the class ideas on how to embellish
> their canvases. We all bring different canvases. It's great fun to see the
> different things people do. And Linda has terrific ideas. (She just
> published a book by the way, on decorative stitches) I'll get the name of the
> book and post it. She did a really good job.
Sally,
I just love this kind of class. It is my favorite way to teach. Not only
do you have the chance to learn from your own canvas, but you will also
learn for the other student's canvases. And the teacher gets to learn
from the students too.
From the teacher's viewpoint, teaching this type of class is not for the
faint hearted. You never know what you are going to get! Sometimes I
like to be prepared with a list of the canvases in advance, but other
times I prefer to see them for the first time in class. I am able to
think fast on my feet and we always come up with a great stitch guide.
Looking forward to seeing Linda's book. Please post the info.
What is your favorite canvas mesh to stitch? I prefer 18 count.
Sharon G
Nan
sha...@epix.net wrote:
<snip>
> What is your favorite canvas mesh to stitch? I prefer 18 count.
>
> Sharon G
Sharon,
Please tell us why you like 18 count canvas. And will you also please
tell us what types of canvas you prefer, and why? And (no, sorry, no
time for you to do an real work today, just answer the questions) if you
have any suggestions or recommendations for different uses for various
sizes and types of canvas I'd be very interested in learning that, too.
Lula and all other NPers, please join right in!
Nan
Rotaub
Nan,
I have grown to like 18 count mono very much. I have just started using
it in the past year, but I like the way it covers and that the open mesh is
smaller and can be left with some areas uncovered or only lightly covered.
Rosemary
geo...@deltanet.com
Gawrsh, I like 12 count because it is large enough that you can get a
loose and painterly effect. For myself, I'm too tight to get as loose
as Kaffe Fasset and Candace Bahouth with 10 count although I like
their effects. I have worked on it, but I just can't 'think' that
loose myself yet. 12 count also stitches up nice and fast so you can
finish a buncha stuff in relatively short order.
I have also done about 4 pieces on 14 count and am working on some 18
count right now. I have some silk and wool mix fibers to experiment
with as soon as I get a chance to have a few brain cells free enough
that I can 'think' on canvas to get some basic outlines placed.
However, on 18 count, I'm sure the pieces will stay small and probably
much in the same proportion, detail-wise, as the 12 count.
Vicki
Kotchka
I prefer 18 mono, especially as I tend to use lots of decorative stitches
and really like the effect at that scale.
I find it to be a really great all purpose size.
Kotchka
--
*We* are the music makers
And
We are the dreamers of dreams
Nan <han...@coastside.net> wrote in article <345EDA...@coastside.net>...
Janet M. Perry
> sha...@epix.net wrote:
>
> <snip>
>
> > What is your favorite canvas mesh to stitch? I prefer 18 count.
> >
> > Sharon G
>
> Sharon,
>
> Please tell us why you like 18 count canvas. And will you also please
> tell us what types of canvas you prefer, and why? And (no, sorry, no
> time for you to do an real work today, just answer the questions) if you
> have any suggestions or recommendations for different uses for various
> sizes and types of canvas I'd be very interested in learning that, too.
>
> Lula and all other NPers, please join right in!
I agree with Sharon, I like 18 mesh mono canvas best. I like mono because
I never feel as if I'm getting the needle in the right place with
Penelope. And I don't often use interlock because it feels flimsy somehow
(though for some stuff it's great).
I think I got addicted to 18 mesh when I starting making Christmas
ornaments about 15 years ago. I like to make smallish things, which are
easy to cart around, and with 18 you can get alot of detail in a small
space.
Now, I'm not sure what possesed me (sure I do it was 2/3 off), but I
bought a large (over 12") angel canvas in 18. This is ALOT of stitching.
But over the weekend I decided to put it on my floow stand, so I have some
faint hope of finishing it before doomsday.
Then I'll start on some nice, easy to see, Ehrman canvases I bought early
this year.
--
Keep Stitching,
Janet Perry
needlepo...@miningco.com
http://needlepoint.miningco.com
This Week's Feature --Needlepoint as Business
SallyF
Boy do I have admiration for y'all that stitch on 48, and up. I've never
tried it. I am intrigued though....where can I find it? I was told my eyes
would change when I turned forty, and I think they must have had an alarm
clock on them. I turned forty and now have to have bifocals all over the
house. I also prefer 18 count. I love the detail, and think the canvases are
often beatiful even before I stitch them.
Lula
I paint a lot of designs on 18 mesh mono because it's the most popular
count many needlepointers prefer for detail work.
Since I've started painting designs on 13 mesh, I find I can paint quite
a bit of detail on this mesh size.
Often, I will get requests for translating my designs from 18 to 13 mesh
canvas. In this case, the original design on 18 mesh will often be a lot
bigger on 13 mesh if all the details are to be preserved or else there
will be a loss of details and the design won't look the same.
Then there is the reverse request of doing 13 mesh designs into 18!
The main thing to remember is the scale and balance of the original
design.
I've received more requests for 13 mesh designs in the last few years
from shops because many stitchers eyes are changing and 13 mesh is
easier to see and stitch on.
Lately, I'm designing on 13 mesh because of the quickness in stitching
up and the use of many "new" threads I've discovered that work so well
on this size canvas.
For myself, I don't favor any particular size canvas---it depends on the
design and threads I want to use.
The basic rule of what mesh canvas I design and paint on is determined
by the design I have in mind and often what the end use will be as in
rugs, Christmas stockings, ornaments, cushions, etc.