Need x-stitch hints
Judith Ann Reed
and though I love the effect, am finding it somewhat complex. I would love to
hear from experienced x-stitchers, either through email or here, and will
summarize, on good techniques for making it easier. Specifically:
* How do you deal with patterns that need a stitch or three of a color in
widely varied places? Do you try to do all of one color in a fairly diverse
area at one time? Do you use short threads and just do two or three stitches
and then end off? Do you leave long ends of various colors hanging behind
the work so you can continue it?
* Do you work in straight rows across the pattern, in one direction, or do you
follow the design sections, working on various sections as you get to that
color?
* Do you have techniques to make it easier to find your spot on the pattern?
Do you copy and magnify it? Do you recommend magnifying bars, pattern holders,
etc? Do you mark up the pattern as you go?
* Is it possible to clean the face of the work when you finish, as I note it
can sometimes get a bit dirty.
* What kind of needles do your recommend? Do you ever put the fabric in a hoop,
or do you just rely on its stiffness to hold it while you work? Or do you
put it in a frame? What kind of frame, or whatever, do you recommend?
* What treatment do you give the work when it is done, as far as cleaning,
blocking, mounting, etc? Should it be put in a frame with or without glass?
How about mounting works in embroidery hoops and hanging them? Should I
glue it to the hoop to hold it permanently?
* How old is counted x-stitch as a craft? Is it fairly recent? If not, how
did long-ago stitchers do things? What fabrics did they use, what did they
do with their finished pieces, etc? Was it used on clothing and household
items?
* What about using metallic filaments? The piece I am doing calls for extensive
bordering in "Balnik Kreiger" (spelling) metallic filament, and the stuff is
devilish to work with. How should I take off the 3 strands from the spool,
piece them together, thread the needle, keep them smooth? Are there any
substitutes you've found that are sufficiently shiny and easier to work with,
to give similar effects?
* Do you knot the threads on the back, or rely on weaving it in under other
threads?
* What books are good for providing info on techniques, such as in the questions
above?
Thanks for your patience, I'm looking forward to learning more about this
lovely craft!
Liz Stokes
>* How old is counted x-stitch as a craft? Is it fairly recent? If not, how
>did long-ago stitchers do things? What fabrics did they use, what did they
>do with their finished pieces, etc? Was it used on clothing and household
>items?
I don't know exactly how old it is, but it was very popular in the
16th century. _The Needlework of Mary, Queen of Scots_ has lots of plates
of her work and things that are attributed to her, she was extremely fond
of counted cross stitch - in silk on linen canvas. Pictures like we do now
weren't so popular - geometrics and stylized flowers mostly for furnishings
and pillows. The patterns could be highly symbolic though - part rebus and
part iconography - people in the 16th century were very fond of this type
of mind game.
-Liz
--
Liz Stokes | Ilaine's E-Z Garb Workshop
Ilaine de Cameron | We're going to try an experiment now. Instead of using
| a loom, we're going to wind all the yarn into balls
ila...@panix.com | and adopt an infinite number of kittens...
hol...@golden.berkeley.edu
>* How do you deal with patterns that need a stitch or three of a color in
>widely varied places?
I would like to hear some answers for this question, too.
>* Do you work in straight rows across the pattern, in one direction, or do you
>follow the design sections, working on various sections as you get to that
>color?
I start in the middle of the piece and work out from there. I will
usually work in color blocks, rather than in straight rows across the
pattern.
>Do you mark up the pattern as you go?
Yes. I fill in the squares with a light pencil. If I feel that there
might be a chance that I will want to reuse the pattern, I make a copy
before I begin.
>* Is it possible to clean the face of the work when you finish, as I note it
>can sometimes get a bit dirty.
I always dry clean my work. Also, if you put a kleenex over the fabric
before you put it in the hoop, and then just tear out the part that
covers your working area, the rest of the fabric stays cleaner.
>Should it be put in a frame with or without glass?
A frame with glass will keep the piece clean longer. With some types of
embroidery (pieces with texture), glass is detrimental, but with
cross-stitch, I find that it works well.
>* How old is counted x-stitch as a craft? Is it fairly recent? If not, how
>did long-ago stitchers do things? What fabrics did they use, what did they
>do with their finished pieces, etc? Was it used on clothing and household
>items?
I don't know how old cross stitch is, but blackwork (similar to cross
stitch; it is a counted stitch type of embroidery) goes back to the
Renaissance and possibly even earlier than that. They would use
regular, evenly woven fabric and generally wear the pieces as part of
their clothing.
>* Do you knot the threads on the back, or rely on weaving it in under other
>threads?
I always weave the threads under other threads--I find it faster than
knotting.
Hope this helps.
Donna Holsten
hol...@insect.berkeley.edu
Gary Link
Liz Stokes gives a lovely bit of X-stitch history...
The concept of COUNTED cross-stitch is later, mostly in the latter part
of the 17th c, when decorative designs other than blackwork that are
worked on an even ground become popular. The first real major use of
cross-stitch as we know it is in samplers, and the like..some bed
hangings.
The lovely bits that Mary Stuart, the Queen of Scots did while in
captivity in England still exist and can be seen in many books on
cross-stitch, but the cross-stitches that made up the design are not
exactly like what we do today as counted cross-stitch. The biggest
difference is the fact that modern cross-stitch is worked on an even
ground..a fabric woven to be used for cross-stitch with a regular weave,
and a particular number of threads to the inch. Older examples are
worked without a regular grid to maintain the geometric precision that
makes reproducing a charted pattern so easy (figuratively).
Hope this helps.
Susanna Richardson
on her SO's account
e-mail always welcome
gl...@silver.ucs.indiana.edu
Jim Berninger
>widely varied places? Do you try to do all of one color in a fairly diverse
>* Do you work in straight rows across the pattern, in one direction, or do you
>follow the design sections, working on various sections as you get to that
>color?
(related) colors from a section in easy access, as well as a needle for each
of these colors. Then, I just fill in the section as much as I can with
each color (provided the stitches are not too far apart) in the area.
>* Do you have techniques to make it easier to find your spot on the pattern?
>Do you copy and magnify it? Do you recommend magnifying bars, pattern holders,
>etc? Do you mark up the pattern as you go?
My technique makes following the pattern *fairly* clear, and I don't like
marking up the pattern, since I may trade with someone else later. A friend
of mine uses a blue highlighter.
>* Is it possible to clean the face of the work when you finish, as I note it
>can sometimes get a bit dirty.
Handwashing with Ivory Snow is highly recommended to me. I handwash in the
sink with dishwashing liquid, air dry (flat) on a towel, and iron face down,
between dry towels.
>*What kind of needles do your recommend? Do you ever put the fabric in a hoop,
>or do you just rely on its stiffness to hold it while you work? Or do you
>put it in a frame? What kind of frame, or whatever, do you recommend?
I use #24 needles -- I'd like to find some that don't get rusty(?) as I use
them, as they start to stain the fabric and pull the threads more than they
should. I use a hoop (plastic ring, metal base), and the finished product
goes in a frame -- usually custom fit to the work -- sometimes under glass,
depending on who gets it and what looks best.
>
>* What treatment do you give the work when it is done, as far as cleaning,
>blocking, mounting, etc? Should it be put in a frame with or without glass?
>How about mounting works in embroidery hoops and hanging them? Should I
Never permanently mount fabric if it can be helped. You should use a
certified acid-free backing board and mount your work with stainless steel
pins -- start with the center of each side of the board and pin through the
fabric into the edge of the board. Matting, framing, etc. is left to the
discretion of the creator...
>* Do you knot the threads on the back, or rely on weaving it in under other
>threads?
Never knot, always weave under existing stitches if possible. Knotting has
a tendency to pull, and it creates a texture under the fabric that may be
noticeable when you mount. In addition, if you weave and it comes undone,
it can be re-done much more easily and with less damage than with knots.
>* What books are good for providing info on techniques...
Haven't a clue. I got most, if not all, of my information from ladies in
the frame store. The owner showed me how to mount, while she and another
customer showed me the dangers of knotting, and recommended a local show for
me to attend. It's amazing the things you learn....
Speaking of which, I've got to get back to my project -- it's two weeks
behind schedule...
______ Jim Berninger: bern...@cs.purdue.edu|Hate is not a Family Value______
\ \ / Green Lantern Fan, Extraordinaire | Boycott Colorado \ \ /
\/\/ "I don't *wanna* play Leona Helmsley!"| Think twice about Oregon \/\/
\/ -- Elmyra Duff, Tiny Toons Xmas | Watch out for Ohio \/
Deborah Schlow
(lots of good advice deleted)
>
>>*What kind of needles do you recommend?
>
I use #24 needles -- I'd like to find some that don't get rusty(?) as I use
>them, as they start to stain the fabric and pull the threads more than they
>should. I use a hoop (plastic ring, metal base), and the finished product
>goes in a frame -- usually custom fit to the work -- sometimes under glass,
>depending on who gets it and what looks best.
I have been reading a lot of British needlework and cross-stitch
magazines in the past six weeks. A VERY expensive habit that I picked
up over Christmas break. They all advertise 24 carat gold needles,
both #24 and #26. The asking price is usually about 6 pounds sterling
for three. The obvious advantage to these needles is that they would
not rust. Has anyone seen an ad for such needles in American or
Canadian magazines, or have you seen them in your stores? I would like
to get some. I have no objection to ordering them from England, except
that it is kind of a hassle. Any information would be gratefully appreciated.
Deborah
(lots more good stuff deleted)
Dawn Burgess
>
>I have been reading a lot of British needlework and cross-stitch
>magazines in the past six weeks. A VERY expensive habit that I picked
>up over Christmas break. They all advertise 24 carat gold needles,
>both #24 and #26. The asking price is usually about 6 pounds sterling
>for three. The obvious advantage to these needles is that they would
>not rust. Has anyone seen an ad for such needles in American or
>Canadian magazines, or have you seen them in your stores? I would like
>to get some. I have no objection to ordering them from England, except
>that it is kind of a hassle. Any information would be gratefully appreciated.
>
>Deborah
>
I saw an ad in Threads for gold needles a few issues back.
Dawn
VU Science Library
>They all advertise 24 carat gold needles,
>both #24 and #26. The asking price is usually about 6 pounds sterling
>for three.
I don't see how a 24 carat gold needle could hold a point. Are they solid
or plated?
--
Carlin Sappenfield - vu...@athena.cas.vanderbilt.edu
sap...@vuctrvax.bitnet
Mark J Balbes
>* How do you deal with patterns that need a stitch or three of a color in
>widely varied places? Do you try to do all of one color in a fairly diverse
a piece I won't jump more than about 1 cm on the back without tying off,
but later on, when there's more to weave under on the back, I'll go an inch
or so and weave under along the way. Never tie knots, always weave under
other stitches. You can avoid 1/2 of the weaving (if you're stitching with
an even number of threads) by using the folding and threading method to begin
each new piece of floss.
>* Do you have techniques to make it easier to find your spot on the pattern?
I prefer color patterns, so xeroxing doesn't work. Also, if you want
to use it again (or if you make a mistake and have to go back), having
a marked up pattern is bad. I use line-a-timers - colored plastic strips
that stick to the pattern by static electricity; or I put a metal board
behind the pattern and use the line-a-timer magnets. Most cross-stitch
stores have both of these.
>* What kind of needles do your recommend? Do you ever put the fabric in a hoop,
I use a hoop for small pieces, and a scroll frame with giraffe stand for
large ones. I just about use a new needle for each project.
>* What treatment do you give the work when it is done, as far as cleaning,
I hand wash it with dishwashing soap (woolite will bleed the colors),
then roll it up in a towel to get out most of the water, and finish by
ironing it. I frame them with or without glass, in frames, hoops, wheaton
boxes, or whatever seems appropriate. If it's not under glass, USE SCOTCHGARD!
>* What about using metallic filaments?
I read that if you put one piece of regular floss in with the balger,
it's much easier to work with and you don't mess up the effect.
>What books are good...
I haven't found any really good books. Most advanced patterns will
have some instructions with them. And of cource, Practice, Practice, Practice.
Lisa
--
% This came directly from a computer and is not to be doubted or disbeleived. %
Lisa Balbes Osiris Consultants bal...@osiris.rti.org
2229B Hedgerow Rd, Columbus, OH 43220 (614)442-9850 (voice) 614-451-5860(FAX)
Nancy Rehak
>In article <1993Jan26.0...@newstand.syr.edu> jar...@rodan.acs.syr.EDU (Judith Ann Reed) writes:
>
>>* How do you deal with patterns that need a stitch or three of a color in
>>widely varied places?
>
>I would like to hear some answers for this question, too.
I guess my answer to this is that it depends on several things -- how far apart
the stitches are, how much stitching in other colors there is around these
stitches (for anchoring the beginning of the thread or for running the extra
thread under to move from one spot to another), if the final product will be
framed or is an article of clothing and my current mood. In general, I try to
keep all of my stitching localized (no running thread from one spot to another),
but this is not always feasible.
>
>>* Do you work in straight rows across the pattern, in one direction, or do you
>>follow the design sections, working on various sections as you get to that
>>color?
>
>I start in the middle of the piece and work out from there. I will
>usually work in color blocks, rather than in straight rows across the
>pattern.
>
I usually start in the middle of the pattern, but will sometimes start at a
corner if I have extra cloth and don't feel like estimating the size and cutting
off the extra before I start. I always work in color blocks. If I have any
extra threads on the back of the piece, I'm the type that will make a huge
tangled mess!
>>Do you mark up the pattern as you go?
>
>Yes. I fill in the squares with a light pencil. If I feel that there
>might be a chance that I will want to reuse the pattern, I make a copy
>before I begin.
>
I never mark on a pattern unless it's to clarify some stitches. But then I'm
the perfectionist type who doesn't like to mark up anything!
>>* Is it possible to clean the face of the work when you finish, as I note it
>>can sometimes get a bit dirty.
>
>I always dry clean my work. Also, if you put a kleenex over the fabric
>before you put it in the hoop, and then just tear out the part that
>covers your working area, the rest of the fabric stays cleaner.
>
I may be a perfectionist, but I'm also lazy! So I don't do anything helpful
that might be a little more trouble like use the kleenex like mentioned above.
What I do do, however, is make sure I don't hold the front of the fabric when
I'm stitching. I always hold the hoop from the back with a little bit of the
fabric wrapped around the hoop. I haven't had any trouble with the front of
the piece getting dirty using this method, so I don't know how to clean a work
when I'm done.
>>Should it be put in a frame with or without glass?
>
>A frame with glass will keep the piece clean longer. With some types of
>embroidery (pieces with texture), glass is detrimental, but with
>cross-stitch, I find that it works well.
>
I've always used a frame with glass to keep the piece clean as suggested.
However, I was told once by a framer that if you live in a very humid area or
put the piece in a humid room like the bathroom, you may not want to have glass
on the piece because the piece can get wet and the glass won't allow it to try
and then it can mildew. I have never had this problem and I do have a couple
of pieces in a bathroom that's not used much, but it is something to consider
and maybe as the framer about.
>>* Do you knot the threads on the back, or rely on weaving it in under other
>>threads?
>
>I always weave the threads under other threads--I find it faster than
>knotting.
>
I always weave the threads, also. It's fast and it's also less bulky. I would
be afraid that knots would cause bumps under the piece or would show through
the holes.
>Hope this helps.
>
>Donna Holsten
>hol...@insect.berkeley.edu
>
>
Me, too!
Nancy Rehak
re...@ncar.ucar.edu
Leslie S. Perkins
>magazines in the past six weeks. A VERY expensive habit that I picked
>up over Christmas break. They all advertise 24 carat gold needles,
>both #24 and #26. The asking price is usually about 6 pounds sterling
>for three. The obvious advantage to these needles is that they would
>not rust. Has anyone seen an ad for such needles in American or
>Canadian magazines, or have you seen them in your stores? I would like
>to get some. I have no objection to ordering them from England, except
>that it is kind of a hassle. Any information would be gratefully appreciated.
>
>Deborah
>
Sorry to burst your bubble but I have purchased gold needles locally and
all of them have turned. I do not know to what the manufacturers are
plating the 24 karat gold but my needles tend to be "stripped" after about
4 months of constant use. And once these are stripped, the inevitable
rusting sets in.
Has anyone else had luck (or lack thereof) with gold-plated needles?
Leslie
--
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Leslie S. Perkins Iowa State University - Department of Chemistry
402 Wilhelm Hall Ames Laboratory - DOE
ISU per...@iastate.edu
Karen L. Frisa
> color in widely varied places?
If the stitches are far apart, I do each section separately. This
makes for neater backs, which seems to be one of those things people
think is important. ("Oh, how lovely! Let me see the back.") Also
when I work I try to work left to right, top to bottom (which means I
start at the upper left on a piece). In an area where a few colors
are intermingled, I often have each color on a different needle, and
then use whichever is next according to the left to right, top to
bottom scheme. When I'm about to switch from one needle to another, I
will either not cross the last stitch or else pull the needle up at
the start of the next stitch I will do with that color. That means
that the dangling thread will be on the top rather than the bottom,
and is much more likely to stay out of my way.
Lately I've been copying my pattern, but mostly because I don't want
my original (usually in a magazine) to be ratty by the end. On a
black and white pattern, it can be useful to color in different
floss colors with highlighers or colored pencils. Sometimes it's
really hard to discern the different symbols from each other as you
glance at the page, and shading them can make an amazing difference in
how you plan your stitching. (This tip courtesy of Martha Underwood.)
> * What kind of needles do your recommend? Do you ever put the fabric
> in a hoop [...]
I've been using DMC needles and have found them very nice to work
with. Very smooth. I've been using them (a pack of 6) for at least a
year and have had no problems with rusting. I also use a scroll
frame, which doesn't leave ring marks in the fabric the way hoops do.
> How about mounting works in embroidery hoops and hanging them?
> Should I glue it to the hoop to hold it permanently?
I mounted a Christmas ornament in a wooden embroidery hoop and glued
eyelet edging to the back, which I thought would also help to hold the
fabric taut in the hoop.
Someone else mentioned using pins to mount the fabric to a mounting
board. I've been doing this lately, and it looks very good. You use
(acid free) foam core mounting board, and push the pins into the foam
core along the edge of the piece. The pins end up parallel to the
front and back of the picture. I can send you detailed directions if
you like. Someone posted them to the net some time ago.
> * What about using metallic filaments?
I used Balger for a while and was cursing it all the time. I recently
did a piece that called for it, both alone and blended with floss, and
I finally did what it says to do in the instructions: tie the Balger
to the eye of the needle. It made all the difference in the world.
It still wasn't as easy to work with as plain floss, but it was *so*
much easier than it was when I just threaded it through. I was afraid
it would be a pain to remove the Balger from the needle once I was
done, but it wasn't bad at all. You make a lark's head knot: put a
loop of Balger through the eye of the needle, then put the loop over
the point of the needle and pull it tight. There are probably
pictures in your Balger package.
Hope this helps. Happy stitching!
Karen
Nancy C Reynolds
haven't had any of them rust. Same for the needles that started out
silver. Maybe I'm just lucky.
--Nancy Reynolds
Jennifer Shekaran
|>
|> * How do you deal with patterns that need a stitch or three of a color in
|> widely varied places? Do you try to do all of one color in a fairly diverse
|> area at one time? Do you use short threads and just do two or three stitches
|> and then end off? Do you leave long ends of various colors hanging behind
|> the work so you can continue it?
This very much depends on the piece. Most of the time I work adjacent sections and don't
skip around. There are several reasons for this:
1) miscounting can cause BIG time loss is you skip around to fill sections of
the same color and end up not being worth it
2) see my next comment
|>
|> * Do you work in straight rows across the pattern, in one direction, or do you
|> follow the design sections, working on various sections as you get to that
|> color?
This again depends on the piece. I generally work in design sections, starting from
some point and working around it. However, it is important to remember that for
the stitches to lie down the best, it has been found that working from a completed
section down (or towards you) you will be putting your needle down in filled holes
and up in empty holes. You usually have better control not splitting fibers of already
laid stitches if you go down into them rather than up. (This is way algerian eyes are
always worked with the needle always going into the center.) Of course, remember that
you can always flip your fabric and work up the piece and still be working down (or
towards you)!!
For this reason most technique books suggest starting in the upper left corner of a piece.
But getting to the upper most left corner may require a fair amount of counting with
that ever present risk of miscounting. I really try to minimize the distance I must count
to reduce that risk.
Another point on the direction of stitching. I ALWAYS think about how the back of my piece
will look. The back should be mostly up and down parallel stitches with a minimum of
cross-over diagonals or horizontals. Most charts which show how to xstitch show how to
work a row from left to right placing the / diagonal and returning to the starting point
by working back placing the \ diagonal. This will give on the optimum clean back. However,
charts are not all clean rectangular blocks of stitches!!! So I plan my stitching journey
by planning the affect of the order of stitching on both the front and the back.
I think that the key here is that there is no one way to do it. Too much bulk on the back
of apiece do to lots of crisscrossing and burying of threads can affect how your piece looks
when it is finished.
|>
|> * Do you have techniques to make it easier to find your spot on the pattern?
|> Do you copy and magnify it? Do you recommend magnifying bars, pattern holders,
|> etc? Do you mark up the pattern as you go?
|>
I do all of the above, but when working in adjacent sections one tends to focus just on
that area and finding where you are isn't too big of a job.
|> * Is it possible to clean the face of the work when you finish, as I note it
|> can sometimes get a bit dirty.
|>
I always wash my finished work in warm water with Ivory dish soap. This not only cleans
it but it tends to shrink the fabric and makes your stitches stand up nice and pretty. This
makes a world of difference in the look of the finished piece.
|> * What kind of needles do your recommend? Do you ever put the fabric in a hoop,
|> or do you just rely on its stiffness to hold it while you work? Or do you
|> put it in a frame? What kind of frame, or whatever, do you recommend?
|>
I work all ways...sometimes with no hoop, sometimes with a hoop, sometimes with a frame...
this all depends on whether I am doing any hemstitching, laying of threads, etc which
require or benefit having two hands free.
|> * What treatment do you give the work when it is done, as far as cleaning,
|> blocking, mounting, etc? Should it be put in a frame with or without glass?
|> How about mounting works in embroidery hoops and hanging them? Should I
|> glue it to the hoop to hold it permanently?
|>
As mentioned before, I wash my work. I take the wet fabric and iron it face down on a
fluffy towel until it is dry. I let it lie flat for a day or two and then I lace it
onto a mounting board cut to fit the frame. I DO NOT use any metal tacks, etc. to mount
my fabric to the mounting board. Lacing is much better as far as preserving fabric in
tack...I want my stuff appreciated lots of years from now!
Using glass or not using glass in the frame is as near as I can tell a religious thing.
Some people swear by it, others say no way. I decide based on practicality. I stitched
a gift for my sister-in-law who lives in India. Since it is subjected to lots more dust
in the air, etc. I put glass on it. I am making some things for the kitchen...I will use
glass here. However, things that I put into a bedroom, etc. I don't use it.
Where texture in a piece is important I don't use glass and I make sure to hang somewhere
where exposure is minimal if I can.
|> * How old is counted x-stitch as a craft? Is it fairly recent? If not, how
|> did long-ago stitchers do things? What fabrics did they use, what did they
|> do with their finished pieces, etc? Was it used on clothing and household
|> items?
|>
I have no comment here!! Surprised?
|> * What about using metallic filaments? The piece I am doing calls for extensive
|> bordering in "Balnik Kreiger" (spelling) metallic filament, and the stuff is
|> devilish to work with. How should I take off the 3 strands from the spool,
|> piece them together, thread the needle, keep them smooth? Are there any
|> substitutes you've found that are sufficiently shiny and easier to work with,
|> to give similar effects?
|>
I have used a Rainbow Blending Thread which is a metalic thread from Madeira and it's
much easier to use than Balger.
|> * Do you knot the threads on the back, or rely on weaving it in under other
|> threads?
Always weave....never knot.
|>
|> * What books are good for providing info on techniques, such as in the questions
|> above?
|>
|> Thanks for your patience, I'm looking forward to learning more about this
|> lovely craft!
--
**************************************************************
Jennifer Shekaran jshe...@cvbnet.Prime.com
Computervision
Bedford, MA 01730
****************************************************
Dawn Scotting
>I use #24 needles -- I'd like to find some that don't get rusty(?) as I use
>>them, as they start to stain the fabric and pull the threads more than they
it is the acid, sweat from your fingers that makes the needles go black
after awhile. I have this trouble but not as bad as some that I have
spoken to, it seems that using a needle just the once does it for some
people then again I have a friend that has no trouble at all and we all
use the same brand of needle! I thought perhaps someone knew of some
sort of a solution that the needles could be soaked in to remove the
blackness, anyone have any ideas?
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Dawn Scotting
>I prefer color patterns, so xeroxing doesn't work. Also, if you want
are very easy to see (especially if you have eye trouble) and if you
wish you can use a high-lighter to cross it off as you go (I don't make
mistakes, just ask my husband *8-)).
Jim Berninger
>bern...@cs.purdue.edu (Jim Berninger) writes: [corrected]
>>I use #24 needles -- I'd like to find some that don't get rusty(?) as I use
>>them, as they start to stain the fabric and pull the threads more than they
>Are they ACTUALLY going rusty or are they just turning black? I believe
I thought about that, and I think that might be what's going on. Kind of a
shame, because I barely get through one project and a needle becomes
basically useless... (For the record, the needle gets black primarily near
the eye, never by the point -- only where my fingers usually go.)
______ Jim Berninger: bern...@cs.purdue.edu|Hate is not a Family Value ______
\ \ / Green Lantern Fan, Extraordinaire | Boycott Colorado \ \ /
\/\/ "I don't *wanna* play Leona Helmsley!"| Think twice about Oregon \/\/
\/ -- Elmyra Duff, Tiny Toons Xmas |Watch out for OH,ID,MI,ME,FL.\/..
Zein Zeineddine
>
>* Do you knot the threads on the back, or rely on weaving it in under other
>threads?
>
Never ever knot the threads. Just weave them through several stitches.
Here's a trick I learnt a long time ago to minimize weaving at the start:
If the number of threads you need is even (most of time it is or just use even
number of threads :-), select half the thread number and cut twice the length
you want. Now turn your floss in half and thread your needle.
Now you've got the proper thread numbers and you have a very convenient hook
on one end. Use that hook to anchor the thread in the back: Start the first
stitch leaving the end with the hook hanging in the back of your fabric
(a good inch). When you bring the thread to the back again loop through the
hanging hook and pull the first half stitch. Voila .. no knots, no weaving.
Bad diagram follows :-)
---
| |
| |
fabric ----------------1-2----------------------
| |
| |
\ \ /
needle --> \ (/) <--- starting hook
\ /
------
come up through 1
come down through 2 (your first half of a stitch)
go through hook
pull thread to bring hook close to fabric
continue stitching....
Hope this helps,
Zein
--
_____ ze...@isgtec.com _______ **********************************
~ _ * *************************
6509 Airport Rd. ~ |_ | |\ | ****************
Mississauga, ONT ~ |_ | | \| ********
L4V 1S7 /_________________________ Zeineddine ______________***
Zein Zeineddine
Ooops, my diagram was full of tabs (when I say bad, I mean BAAADDDD)!
: Bad diagram follows :-)
:
: ---
: | |
: | |
: fabric ----------------1-2----------------------
: | |
: | |
: \ \ /
: needle --> \ (/) <--- starting hook
: \ /
: ------
:
: come up through 1
: come down through 2 (your first half of a stitch)
: go through hook
: pull thread to bring hook close to fabric
: continue stitching....
Zein
Kathleen Marlowe
you want it.
* When I need only a couple stitches of a color in an area, I try to do
all of the other colors around them, then come back. It's not always easy
to find them, so I leave myself a little note on Sticky Notes on the
pattern, labling the area I didn't complete and the DMC number of the
color. Then I can look at my pattern and compare it to my fabric. But
even if I do miss one or two, it has always been pretty easy for me to
tell. It's amazing how one stitch can leave what looks like a huge hole
in a project!
* I do blocks of color in straight rows across (from right to left, to be
exact, but that is just my stitching pattern). For example, if I'm doing
a square of one color next to the square of another color, I will do the
first color row by row before I start on the next color.
* How do I find my spot? I usually know the general area that I'm
working on, so my eyes go right to that area. Then I look for landmarks,
like a weird color pattern I've done, or a group of a few more stitches
than the rest of the pattern has. You get better as you go along.
Personally, I hate magnets and graphs and bars. Just more clutter.
* Always was your threads in cold water and let them dry before you start
a project. Then you can wash your finished project in cold water to
remove the dirt and the colors won't run. When the project is dry, you
can iron it with steam on the backside and it will look like you did it
professionally. If you are too skittish about a particularly special
project, you can always get the project dry cleaned.
* I like blunt edged needles that are just the same size as the holes in
the material. I've bought a few kits, and they've had some really great
needles. Otherwise, I bought a small box of craft needles, assorted
sizes. They aren't blunt, but they're the right size.
* Sometimes, I use a hoop, but sometimes I don't. I guess it depends on
the size of the project and who it's for. I've never really thought about
it. Of course, technically you should always use a hoop.
* I usually wash and iron them. Then I frame them without glass. Glass
supposedly locks in moisture that can ruin the piece. Most projects are
easy to dust. I have a friend who always uses glass, though. He's never
had a problem, so I really don't know what to say about that.
* Unfortunately, I know nothing of the history of the craft.
* AH! When using metallic filaments, always buy a color of floss that is
very similar to the color of the filament, and use at _least_ one strand
of floss for each strand of filament. Filament breaks easily, so be
careful.
* HOW TO END THE THREAD -- Personal preference. I like to bury the ends,
but I like the back to look as good as the front. My friend knots them.
I alway worry about pulling the knots through or pushing my needle through
them during another stitch. Ya got me.
* I found some old cross-stitch books in a used book store, and I thought
they were pretty good. I think you will learn many of the answers to your
questions after you mess up once or twice. But doesn't that always seem
to be the case?
Good luck. Stick with it; you'll get better and better each time. If you
really want to get good, buy an easy pattern, maybe even one you don't
like, and fiddle. Try different things and see what you like. It's never
boring.
Leaving in stitches,
- Kathleen :)
Gretchen E Schmidt
mba...@magnus.acs.ohio-state.edu, Lisa answered <1993Jan26.0...@newstand.syr.edu> jar...@rodan.acs.syr.EDU (Judith Ann Reed)'s questions:
>>* Do you work in straight rows across the pattern, in one direction, or do you
>I try to follow the color patterns, not straignt lines. When starting
>a piece I won't jump more than about 1 cm on the back without tying off,
>but later on, when there's more to weave under on the back, I'll go an inch
>or so and weave under along the way. Never tie knots, always weave under
>other stitches. You can avoid 1/2 of the weaving (if you're stitching with
>an even number of threads) by using the folding and threading method to begin
>each new piece of floss.
Could you please explain what you mean by avoiding half of the weaving and how you do it? Thanks.
I tend to tie off single stitches.
>>* Do you have techniques to make it easier to find your spot on the pattern?
>I prefer color patterns, so xeroxing doesn't work. Also, if you want
>to use it again (or if you make a mistake and have to go back), having
>a marked up pattern is bad. I use line-a-timers - colored plastic strips
>that stick to the pattern by static electricity; or I put a metal board
>behind the pattern and use the line-a-timer magnets. Most cross-stitch
>stores have both of these.
I have been marking my current project's chart with a yellow highlighter. I figure I can use it again by using a pink highlighter over that next time (and maybe even a blue one after that). That said, I'm not enjoying this project all that much, although it's pretty. I guess I'm easily entertained; I'd prefer big blocks of color to leaves and flowers with at least three colors each. Honestly, I'm just impatient.
>If it's not under glass, USE SCOTCHGARD!
I wish I'd thought of that.
There was a thread last summer about cross stitching without a hoop or frame. Maybe someone could send it to Lisa. I'm going to try it on my next project since the cloth is pretty stiff.
Oh, I miss my project!
Gretchen
cindy davies
>Dawn_S...@kcbbs.gen.nz (Dawn Scotting) writes:
>>bern...@cs.purdue.edu (Jim Berninger) writes: [corrected]
>>>I use #24 needles -- I'd like to find some that don't get rusty(?) as I use
>>>them, as they start to stain the fabric and pull the threads more than they
>>Are they ACTUALLY going rusty or are they just turning black? I believe
>>it is the acid, sweat from your fingers...
>
>I thought about that, and I think that might be what's going on. Kind of a
>shame, because I barely get through one project and a needle becomes
>basically useless... (For the record, the needle gets black primarily near
>the eye, never by the point -- only where my fingers usually go.)
gold needle in just a little time. I like platinum needles. They are
more costly than other needles, but they feel really nice to sew with, and
they last much longer than other needles. I have one I have been using for
almost two years.
--
TNSTAAFD -- There's No Such Thing As A Free Dog.
hol...@kodiak.berkeley.edu
>I can turn a regular needle black in almost no time, and I can kill a
>gold needle in just a little time. I like platinum needles. They are
>more costly than other needles, but they feel really nice to sew with, and
>they last much longer than other needles. I have one I have been using for
>almost two years.
I have been reading everybody's comments on how long they have been
using the same needle, and I think it's just hilarious. :-)
I have a tendency to lose needles; if I make it through a month with the
same needle, I consider myself lucky. I don't think that I have ever
made it through a project with one needle, let alone two years!
mary.rita.otto
DISCLAIMER: This is my answer to Judith's list of questions on counted
cross-stitch. These answers are based on information
obtained at a wonderful seminar on Cross-Stitch Tips at
the National Counted Cross-Stitch Competition and
Exhibition in Arcola, IL., as well as 11 years of personal
experience and shared learning with many, many stitchers.
Your mileage may vary.
>* How do you deal with patterns that need a stitch or three of a color in
>widely varied places? Do you try to do all of one color in a fairly diverse
>area at one time? Do you use short threads and just do two or three stitches
>and then end off? Do you leave long ends of various colors hanging behind
>the work so you can continue it?
The first timesaver is to use the loop method for starting stitches. Thread
your needle with an even number of threads by taking half that number of
threads and folding them in half in the middle. Then thread the non-folded
end of the thread through the needle. From under the fabric, bring the
needle to the surface but keep the loop of threads below by putting your
thumb in the loop. Bring the thread down for your first stitch, and
pass the needle through the loop -- then carefully draw it taut. This
eliminates any need for knots or weaving at the beginning of stitching,
and elimates half the problem with isolated stitches.
If the isolated stitch is surrounded by other colors, do it after the
other colors are stitched, and weave in the tail over the tail of
another color -- this prevents show-thru of dark behind light.
If the isolated stitch is alone against the ground fabric, with no other
stitches nearby, then it depends on how you plan to use the finished
piece. For clothing, anchor the tail using sewing thread in a color
that matches the garment, and whipstitch over the tail lightly catching
the back of the garment fabric. Finish with a fine knot of the
sewing thread -- far less noticeable than several thicknesses of floss.
For a framed piece, realize that it is unlikely that the thread will be
pulled loose, and just whip the tail through the back of the stitch
and then run the tail back through the whipping and clip.
>
>* Do you work in straight rows across the pattern, in one direction, or do you
>follow the design sections, working on various sections as you get to that
>color?
Eileen Bennett, one of the US's top needlework expert told me that
historically, each X was worked in it's entirety before the next one
was started, and that the row of half-stitches across, row of half-stitches
back, with the back of the needlework full of only precise vertical stitches
is the Danish method, and was practiced nowhere else. Also, in sampler
making, the convention was to work each motif (individual design element)
as a single piece - work across a row was not done, except for borders that
ran that way. In short, no matter what you hear, someone will have a
contradicting method. The most important things to remember are:
1. All X's must be made so that the top bar slants in the same direction:
either the / on top or the \ on top for each of them. But which one
is a matter of personal preference -- just be consistent with every
stitch.
2. Use the stitching method that gives you the best results. If you like
the "stick and stab method", where you go up all the way and go down
all the way, then use that. If you prefer the "sewing" method, where
you run the needle through two holes at the same time and keep it
on the top surface all the time, then use that. If you find you
do more consistent work with a hoop or stretcher frame, then use that.
If you find you do your best work holding the fabric in your hands,
then do that. Experiment until you find the method you like best and
which gives you the best result.
3. If you're having fun, you're doing it right.
>
>* Do you have techniques to make it easier to find your spot on the pattern?
Yes. I make sure that when I leave off a piece I have a thread from the
last stitch I did on the top side of the stitching. This leaves the
stopping point marked on the work in progress. As for the pattern, since
I have a thread color to look for based on my thread marker, and the
spot marked on the stitching, there is usually not a problem finding the
section on the pattern. I would suggest, however, that you may want to
work a complicated section in one "sitting" if at all possible. Sometimes,
such as when I was stitching the plaid (yes, plaid!) section of a skirt on
the Marbek Rennaisance Angel, it can be helpful to work two colors at the
same time using two different needles. This technique requires carefullness
to make sure that the threads aren't tangling on the back side, but is
easier than it sounds if you use the sewing method for stitching.
>Do you copy and magnify it? Do you recommend magnifying bars, pattern holders,
>etc? Do you mark up the pattern as you go?
For complicated sections, or anything you are having trouble with, mark up the
pattern. Afterall, if you can't make it come out the first time, you sure
aren't going to use the same pattern to try again, are you?
The first really complicated pattern that I did, I used a soft pencil to
mark off the sections that were done. That can be really helpful. I also
find that if there are symbols that look very similar, then it can be helpful
to color one of them in on the chart to make them look more different.
>* Is it possible to clean the face of the work when you finish, as I note it
>can sometimes get a bit dirty.
Washing the finished work is something that you should do even if it looks
perfectly clean. The small amount of shrinkage that you will get when
you handwash the piece in cold water, then iron over a thickly padded
NON-FUZZY towel will make your stitches stand out and look even more
beautiful. If you have stitched on Aida, then the holes will shrink in
the background, too. If you don't wash it, invisible oils from your skin
will be on the cloth, and will attract dust, leaving marks on the work
later. If you've stitched something less fragile than a "picture" - say
a set of fingertip towels, just throw them in the washing machine. It is
amazing how durable stitching is. I've got ten sets of fingertips for all
occassions, and they've been washed dozens of times each, with never a
thread snagged, ripped, loosened, raveled or faded.
>
>* What kind of needles do your recommend? Do you ever put the fabric in a hoop,
>or do you just rely on its stiffness to hold it while you work? Or do you
>put it in a frame? What kind of frame, or whatever, do you recommend?
Needles -- always use blunt tipped tapestry needles *unless* you are working
on a non-thread count fabric (in which case a chenile needle should be used).
(What did I just say?) If you are stitching on Aida or linen or lugana or
heartland or afghan cloth or any other even weave cloth, use a blunt tipped
tapestry needle. The tapestry needle will slip between the threads of the
fabric and will not pierce them or break them. If you are using Waste Canvas
(a type of even weave mesh) to put a counted design on, say, a sweatshirt,
you need to use a chenile needle to pierce the sweatshirt fabric.
(Waste Canvas is softened with water, and then the threads of the mesh are
removed from the finished piece with tweezers. By placing it over a surface
to be stitched - sweatshirt, blanket, etc - an even design can be stitched
on a non-evenweave fabric.)
Hoops: To hoop or not to hoop - that is the question. It is possible to
do all your cross-stitching without a hoop, but some people prefer a hoop
to put tension on the fabric that they can pull against. I have done
many pieces with hoops, and have found that they are especially helpful
when dealing with very soft fabrics, such as "SoftTouch" (a synthetic
aida-like fabric by Charles Craft, which is terrific for breadclothes
and is perma-press and very washable).
Important trick for Hoops and Strecher Bars/Scroll-Frames: Set your
piece into the hoop/frame in such a way that the fabric is on the
bottom -- the top of the fabric is lower than the top of the frame.
Oh, dear. How to explain it in words.
X_______________X not x------------x (gee, that looks dumb)
Anyway, by having the BACK of the work flush with the bottom of the
hoop/frame, your needle never runs into the hoop/frame when you try to
weave in the ends. And, even better, when you set it down, the BACK is the
only side that gets touched by anything -- the FRONT is recessed and
doesn't rub against things.
I have a couple sets of the Scroll Frames, and a "rocky giraffe" stand
which can clamp them in place so that I can work with both hands. I
find them more useful for what I consider "Heirloom" sampler work than
for "Everyday" stitching. If I am striving for a piece where the stitching
is truly superb (meaning, perfect in every way, under scrutiny of trained
needlework judges for a competition) then I will use the scrolls. If
I am in a creative rather than competitive mode, I tend to hold the
work in my hand and use neither the scrolls nor the hoops. I don't think
that there is any difference in the quality of the stitching directly
attributed to the use of the scrolls -- I think it is an attitude thing.
When I have a piece on the scrolls and in the stand, it is in my best lit
work area and I feel I'm getting down to some serious work. When I'm
working on stuff "in my hand" I'm likely to be in a coach airplane seat
and thinking about the presentation I'm going to give or the meeting
I'll be answering questions at (my job that pays the bills is Systems
Engineering for telephone call answering centers).
>
>* What treatment do you give the work when it is done, as far as cleaning,
>blocking, mounting, etc? Should it be put in a frame with or without glass?
>How about mounting works in embroidery hoops and hanging them? Should I
>glue it to the hoop to hold it permanently?
Personally, I love the texture of stitched (or as I like to call it,
embroidered) work, and almost never put it under glass. As a result,
since (get the smelling salts ready, this one will send some people
reeling) I ENCOURAGE people to TOUCH my samplers, and feel the textures
and fabric, I prefer a non-permanent mounting. This can be a lacing
of the work over an acid-free foamcore board, or, pins into the foam core
(using high-quality rust-proof pins). Depends on how much I like a given
piece.
If you MUST cover your work with glass (whatever reason), please make sure
that you recess the stitching using at least a double mat if not a recessed
frame structure, so the glass doesn't smash the stitches. I always feel
it is sad if I see distorted little French knots hopelessly mashed against
a framers glass.
>
>* How old is counted x-stitch as a craft? Is it fairly recent? If not, how
>did long-ago stitchers do things? What fabrics did they use, what did they
>do with their finished pieces, etc? Was it used on clothing and household
>items?
Counted thread work (the cross-stitch is but one of the stitches, and the
most common currently) dates back thousands of years. Elaborate decoration
was done using the threads of the fabric as guidelines for the placement
of stitches for countless centuries (pun intended). The current
cross-stitching of pictures became popular first late in the 19th century
when the stitching of pictures became more important in the art of sampler
making, and the production of elaborate and complex stitches became less
so. The current popularization of the craft began in the late 1970's
and spread in the 1980's. Prior to that, the predominant embroidery
use of cross-stitch in the 20th century was on stamped goods (pillow cases
and dresser scarves and the like).
and dresser scarves and the like). There were stamped linen samplers, too.
In fact, I first learned to embroider by making one of these with the
encouragement of my grandmother. I discovered, quite by accident, that I
could make nice even stitches if I counted the threads and always stitched
over the same number of them for each stitch (it was something like 8 or
10 threads -- definitely not meant to be a thread-count project). I
did my first counted cross-stitch project in 1983 - a 3 foot by 4 foot
full standing portrait of a bride a groom as a banner to hang on the
altar at church during my wedding. As an experienced embroiderer, I
was not daunted by such a project. At the time, cross-stitch was a well
established craft and a wide range of patterns were available, but it
was nowhere as common as it is ten years later.
There is a wonderful history of embroidery and needle arts in the DMC
Encyclopedia of Needlework. You might enjoy reading it.
>
>* What about using metallic filaments? The piece I am doing calls for extensive
>bordering in "Balnik Kreiger" (spelling) metallic filament, and the stuff is
>devilish to work with. How should I take off the 3 strands from the spool,
>piece them together, thread the needle, keep them smooth? Are there any
>substitutes you've found that are sufficiently shiny and easier to work with,
>to give similar effects?
Metallic filaments are a challenge to work with. You might want to experiment
with some of the 1/16 braids rather than using three strands of filament.
Blending filament -- remember the "blending" part. It should be "blended"
with a matching shade of floss. Keep your threads short <18 inches. Yes,
it is a pain to keep starting and stopping, but less of a pain than dealing
with tangles. Also, you can "tame" it by moistening it by sliding it between
your finger and a damp sponge. You'd be amazed how a little water will take
the fight out of that stuff.
>
>* Do you knot the threads on the back, or rely on weaving it in under other
>threads?
See above.
>* What books are good for providing info on techniques, such as in the questions
>above?
I really like the DMC Encyclopedia for the wide variety of techniques.
Another thing to do is to contact your local needlework shop or craft
store and see about the "Tips and Techniques" classes that are frequently
offered. Classes are great, and give you the chance to meet other stitchers.
>
>Thanks for your patience, I'm looking forward to learning more about this
>lovely craft!
Thanks for the chance to share. I love to teach people about needlearts
and I hope that all the responses to your post will encourage you to
continue on and enjoy the craft. I hope that other readers are encouraged,
too. The preservation of the skilled craft of embroidery and the unique
creative expression possible in that medium are very precious.
There is something truly special about this art form.
Mary Otto
v...@cfcl.com
I've never had a rusted needle either. I was beginning to wonder if I was
alone. How common is this problem? Do people really mean *rust* (you know,
brown iron oxide :-) or just the dark discoloration that needles can get? I
use stainless steel needles. They aren't supposed to rust!
v...@cfcl.com
>* How do you deal with patterns that need a stitch or three of a color in
>widely varied places? Do you try to do all of one color in a fairly diverse
>area at one time? Do you use short threads and just do two or three stitches
>and then end off? Do you leave long ends of various colors hanging behind
>the work so you can continue it?
I just did a small pattern like this (a spotty tiger-striped cat) I did a few
rows with one color, then brought the needle through to the front (important -
if you leave the hanging thread on the back you're asking for tangles) and
"parked" the needle through the cloth at the top of the peice. Then filled in
with the next color, parked it, then the third color. And so on, alternating
colors, never more than about 3 rows at a time. It was easier than trying to
count over the gaps in a complicated pattern.
>* Is it possible to clean the face of the work when you finish, as I note it
>can sometimes get a bit dirty.
A hint to keep the front from getting dirty - if you use a hoop or any sort of
frame, put the piece into rather than on the frame or hoop. That is, when the
cloth is in the hoop, it will have a shape like a drum or shallow bowl. The
working side should be down inside the hoop edges (in the bowl), the back
is stretched across the top of the hoop edges. This way, no matter how you
lay it down, the front of the piece won't contact table, floor, etc. Either
the hoop/frame edges touch or the back of the piece. This also gives a nice
flat surface on the back for weaving in the threads to end-off (Oh, yeah,
I NEVER knot, unless it's French :-)
Anne Chamberlain
tried to use a good metal polish on them? Like Weenol or Pol. These
are European metal polishes that we use at work, but I've seen them
in the hardware stores.
Does anyone know how to keep the eye of the needle from fraying the
thread? When I have a needle that does this quickly, I throw it out.
It is not worth the aggravation of having the frayed thread break.
Otherwise I try not to use too long of a thread. Is there a good brand
of needle that doesn't do this?
Anne
Susan E. Gants
then folding it over (to eliminate weaving the tail), doesn't this
mean that it's running the wrong way? I thought there was a specific
direction that the floss was to be used so that it didn't twist as
much. Something t do with S-twist versus Z-twist.
Has anyone heard of this - or know if it's trus? I've been
experimenting lately with my current project (one of Marilyn ???'s
angels - lavendar & lace company), but I can't see any
difference.
--
--------------------------------------------------------
Susan E. Gants (804) 924-0620
Academic Computing internet: se...@virginia.edu
University of Virginia bitnet: seg3e@virginia
Dawn Scotting
>Could you please explain what you mean by avoiding half of the weaving and ho
Instead of cutting two lengths of thread (this can only be done with
even amounts of thread) cut just one twice as long as you would have cut
two. Fold the thread in half and thread through the needle, push your
needle up the hole you want to start at and then down the next hole
without pulling the thread all the way through, turn work over and now
just thread the needle through the thread loop, pull firm then continue
your x-stitching. This way you have a neat start without any tails of
thread that need to be woven.
Cynthia Sanoy
I used to lose needles, too (and pens, and hair tieing thingys and scissors
and socks.) Then I decided to vacuum the crud from underneath the cushions
on the sofa... voila! half a pack of needles recovered. I'm amazed that no-one
ever got stuck!
I now use a magnetic pincushion/holder, and don't lose very many at all now.
--
-------------------------------------------------------------------------
Cynthia Sanoy | #include <std/disclaimer>
Dept 0367, DCR Development |
Prism Systems Inc | "A train of thought was passing by
132 East Drive, | I caught it
Brampton, Ontario | And spent the day
L6T 3T9 | In wond'rous reverie..."
CANADA | CAS - Sept 4/87
PHONE (416) 452-4923 |
FAX (416) 452-3342 |
-------------------------------------------------------------------------
Judith Ann Reed
attempt a summary when time permits. Now that I'm into the project, my biggest
question is how does one keep from going blind doing this? %;^) I knew I needed
new glasses before (broke others) but now it is a certainty!! Anyway, thanks
for the info!
Judith Reed
jar...@mailbox.syr.edu
Martha Underwood
>Does anyone know how to keep the eye of the needle from fraying the
>thread? When I have a needle that does this quickly, I throw it out.
>It is not worth the aggravation of having the frayed thread break.
>Otherwise I try not to use too long of a thread. Is there a good brand
>of needle that doesn't do this?
I've found that DMC needles work very well as a general needle. The are slick
and don't seem to tarnish. I've never had problems with them fraying the
thread. The only problem is they are getting hard to find as DMC is changing
who manufactures them. Hopefully they will still be as good.
The next step up is a gold/gold plated needle but these can get
pricy for good ones.
Then there are platinum ones.......$4.00 per needle. No thanks.
In general, needles are so cheap that you can just get a new one for
each project.
--
Dream Dancer dan...@drycas.club.cc.cmu.edu
aka dan...@acm.rpi.edu
Martha Underwood Natural Stitches
A Pittsburgh Needlework Shop
hol...@golden.berkeley.edu
>In response to the suggestion of cutting a long piece of floss and
>then folding it over (to eliminate weaving the tail), doesn't this
>mean that it's running the wrong way? I thought there was a specific
>direction that the floss was to be used so that it didn't twist as
>much. Something t do with S-twist versus Z-twist.
This is a really interesting question--if anyone has an "official"
answer, I would like to hear it. I have a guess, though. When spinning
yarn, S- vs. Z- twist is an issue; if yarn that has been spun in
the "S" direction is plied in the S-direction it becomes tighter. If it
is plied in the Z-direction it becomes looser. (Vice/versa for Z-spun
yarn.) When you fold a piece of floss in half, one half will be facing
"S", and the other half will be facing "Z". If, while sewing, you have
a tendency to spin the needle one way consistently, one half of the
floss will become loose, and the other half will get tight. My guess is
that--yes, this is actually occurring, but not on such a scale that it
is noticable.
Donna
Victoria Neff
Errrr, ummmm, actually, you can fold a strand in half, and both will
be the same (S or Z). Try it and look.
Now I can believe you could get yourself in trouble if you consistently
stitched in a way that would counter your twist (whatever it is), but
it won't matter which end of the strand of floss you work from.
This S/Z untwisting thing is significant in handspun yarn for knitters.
I've been told one should always use a ball of yarn in the direction that
makes it twist MORE when used (as opposed to from the other end, from
which it will UNTWIST when used).
Alexandra Raley
difference, so not to use folded-over wool, but that DMC floss really doesn't
have a noticeable nap, so it's ok to use it doubled-over.
I don't have any other sources for this, but I've been doing it for several
years now and haven't noticed any problems.
Hope this helps.
Alexandra
e-mail: raley...@xerox.com
mary.rita.otto
Donna - You're right, it really is interesting. And there is no official
answer.
In 1991 at the National Counted Cross-Stitch Show seminar on "Stitching
Prize Winning Needlework" the instructor (can't remember her name, but
she is the woman whose company sells the really nice stretcher bar sets)
addressed this issue. Her opinion: There is no visible difference.
Her logic: Since you should NEVER allow the threads to twist around
each other, and should ALWAYS use short lengths of thread to prevent
fraying (which results from friction against the thread as it is pulled
through the cloth) it makes no difference.
In 1992 at a sampler stitching class taught by Eileen Bennett, she
said that (her opinion) floss did have a "nap" and shouldn't be folded.
I found this opinion of her's to be strange, since she is open-minded
about the techniques for the making of the "x" stitch and not a firm
advocate of the Danish technique.
chniques
and I have found that there is no visible difference in appearance.
Furthermore, I have found empirically that I have less twisting of the
thread when using the folded thread. That may be due to the halves each
wanting to twist in an opposite direction, which would cause them to
*untwist* from each other. Your information, however, explains why
on of the "tails" tends to unwind and the other doesn't when using the
loop method. Interesting. Again, if you are using short lengths (less
than 24") of floss, any effects should be minimal.
Of course, a simpler solution is to use a single strand of flower thread
in place of two stands of floss. :-)
Mary Otto
>
>
mine...@iscsvax.uni.edu
(Judith Ann Reed) writes:
> ............... Now that I'm into the project, my biggest
> question is how does one keep from going blind doing this? %;^) I knew I needed
> new glasses before (broke others) but now it is a certainty!!
>
Good question! A few years ago I decided to try counted cross stitch -- I'd
done lots of plain cross stitch (pillow cases, table cloths, etc.) in years
past and just knew I'd love this craft. Taking my typical route of choosing
the most complex pattern possible (thereby ensuring that I'll never complete
the project), I bought the P. Buckley Moss pattern with the two young women
quilting in front of the bay window. The pattern, floss, and equipment (I had
to buy a floss container, pattern magnet holder, etc.) came to about $27. Oh,
and I chose to stitch it on 24-count fabric since I JUST KNEW it would be
prettier that way. One thing I neglected to consider was the fact that my
eyesight, even with up-to-date glasses, was not what it had once been. To
date, even after the purchase of a magnifying glass that rests on my breasts, I
have only stitched about 1 1/2 square inch of that project. The ordeal of
getting the project out, figuring out where I was/am, and getting my act
together enough to begin stitching really takes more energy than I can muster
on most occasions, not to mention the fact that it's just not all that much fun
to sit there with all this paraphenalia (fabric, hoop, needle, yarn, scissors,
thimble, magnifier, glasses, etc., etc.) and still squint to work on this
project. I mean, isn't this supposed to be relaxing? It's NOT RELAXING!!!
Oh, well. I'm pretty sure now that I'll never finish that particular project
(my daughter actually recommended I hire someone to do it), but I've got other
projects in the works -- surely I'll finish some of them. :-)
cindy davies
>
>The next step up is a gold/gold plated needle but these can get
>pricy for good ones.
>
>Then there are platinum ones.......$4.00 per needle. No thanks.
>
Two platinum needles from Mary Jane's are $2.95, and I think I can
get them locally a little cheaper. But be careful, they are addictive
Once you have stiched with platinum you'll never feel the same about
cheap needles. <IMHO, of course>
>In general, needles are so cheap that you can just get a new one for
>each project.
>
>
>
>--
>Dream Dancer dan...@drycas.club.cc.cmu.edu
>aka dan...@acm.rpi.edu
>Martha Underwood Natural Stitches
> A Pittsburgh Needlework Shop
Zein Zeineddine
: Donna
Hmmm.. This is interesting. I never paid any attention to the S-twist vs.
Z-twist of the floss. I never even had any problems. And I have made a LOT of
X-stitch projects. This could be because I am a perfectionist by nature :-)
I hate to see a multi-thread cross stich have the thread overlap or
twist when stitched. Now, it comes naturally (and automatically) to me to
untwist the floss or adjust the twist of the needle while I am working -
also aligning the threads to be flat next to each other).
I guess, I am unconsiously adjusting the twist of the floss with every
stitch I make. So I don't see any problems. I can't even tell you if I
do it rarely or often, but I know that I do, especially when I am using
blended metalic thread (why go to all the trouble of blending the threads
if the metalic thread will be covered most of the time. Let it show,
let it show, let it show.. Ooops wrong subject :-)
hol...@golden.berkeley.edu
Neff) writes:
>Errrr, ummmm, actually, you can fold a strand in half, and both will
>be the same (S or Z). Try it and look.
Hey, you're right! (I told you it was just a guess). ;-)
Donna
Amelia J. Scott-Piner
>tried to use a good metal polish on them? Like Weenol or Pol. These
>are European metal polishes that we use at work, but I've seen them
>in the hardware stores.
any residue from the needle staining my stitched fabric.
>
>Does anyone know how to keep the eye of the needle from fraying the
>thread? When I have a needle that does this quickly, I throw it out.
>It is not worth the aggravation of having the frayed thread break.
>Otherwise I try not to use too long of a thread. Is there a good brand
>of needle that doesn't do this?
>
>Anne
Are you buying your needles from a craft shop or a sewing
supply store? I've never had this problem with any of the
needles that I've bought from craft stores that were made
especially for stitchery. (These needles are usually blunt.)
Are you using too much tension on the fabric? I can't see
how you could be doing this since the pulling thread would
distort your stitches.
ji...@super.org
--
-------------------------------------------------------------------
Amelia Jill Scott-Piner | Anything that I say has nothing
ji...@super.org | to do with my company.
Bowie, Maryland USA -----------------------------------
judy smith
> watch. If will CD>turn black. My $3.00 plastic watch from
> K-Mart is fine. A nice watch with CD>any kind of metal back
> yuck... If I wear the same earrings for very long CD>they do
> the same thing. Must be all the Coca-cola.
Well, if it IS the Coca Cola it will explain why so much of my gold
jewelry turns black on me!!! I've always suspected something like
that, but never been able to figure out what it is.
As to needles, I use them for months... (I quilt...) I get them
"broken in" just right and leave them on the quilt at all times... It
helps that the quilt is in a frame.. I've also found magnetic
pincushions a great help for locating missing needles & pins! Have
you seen the one that is shaped like a little wand? It's VERY
nifty...(Saved me from some nasty comments from my husband who used to
get VERY annoyed about pins on the floor and on the bed!)
*#*#*#*#*#*#*#*#*#*#*#*#*#*#*#*#*
* Judy Smith *
* INTERNET: ju...@sytex.com *
* GEnie: JUDY.S *
* PRODIGY: TXXT92A *
*#*#*#*#*#*#*#*#*#*#*#*#*#*#*#*#*
---
* OLX 2.1 TD * I'm in shape ... round's a shape isn't it?
Jennifer Shekaran
Yes, there is a right and a wrong direction to the floss (as well as
yarns, perle cottons, etc). I have experimented with this and I
have found that it definitely makes a difference in how easy or
hard it is to get your threads to lay nicely. I have found that
plying multiple threads all in the same direction and using the
right end it is infinitely easier to generate beautiful stitches
which lay parallel to each other and don't twist. It also
makes a difference in how quickly the fiber degrades when being
pulled thru the fabric. Using the fiber in the right direction
keeps the fiber looking nicer longer.
If you want to know which end is the correct end for floss, here's
how I was taught.
Cut a length of floss. Take one end of the floss, hold it between
the thumb and first finger of one hand (assume the left) and let the
floss dangle down in front of you. With your right hand separate the
end of one ply, pinch the length of floss with your left hand and pull
the one ply straight up with your right hand. The one strand will
pull out causing the remaining strands to bunch up behind the pinch
being held in the left hand. Shake the left hand, shaking the bunched
up thread down. Observe how easily it shakes out and how many little
loops remain in the shaken floss. Set the pulled thread aside
remembering the end that you pulled with.
Now flip the remaining 5 fibers in your left hand and repeat the
process extracting another thread. Again, observe.
The right end of the thread is the one that falls to straight or
almost straight the easiest. This is then the end that should be
threaded into the needle.
The procedure for doing this with yarn or perle cottons is different.
When doing perle cotton or Watercolors, I stroke the strands in each
direction. One direction will feel smoother...the right end is the end
that when stroking from right to wrong is the smoothest.
If you don't do this, you won't necessarily generate bad work. It
all has to do with how easy it is to get good quality needlework.
When doing canvas work or any fancy stitches, using your thread from
the right end makes laying threads infinitely easier.
I have also found that using the thread from the right end helps
in avoiding knotted threads during stitching.
--
**************************************************************
Jennifer Shekaran jshe...@cvbnet.Prime.com
Computervision
Bedford, MA 01730
****************************************************
Deanna J. Deeds
:
: When you fold a piece of floss in half, one half will be facing
: "S", and the other half will be facing "Z".
Unless I misunderstand the above (correct me if I do)...
I don't think so; if I draw the twist of a thread, so... /////////
(this is supposed to represent an S-twist if it's not obvious),
and flip it end to end, I don't get a Z-twist \\\\\\\\\ , I get
an S-twist ///////// back again. If you think about it, an S-twist
is an S-twist, no matter which way you look at it!
The best way to visualize/verify this is to try it and see! :)
--
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Deanna J. Deeds de...@solaria.hac.com
Teri Miller
>
>>* Is it possible to clean the face of the work when you finish, as I note it
>>can sometimes get a bit dirty.
>
>A hint to keep the front from getting dirty - if you use a hoop or any sort of
>frame, put the piece into rather than on the frame or hoop. That is, when the
>cloth is in the hoop, it will have a shape like a drum or shallow bowl. The
>working side should be down inside the hoop edges (in the bowl), the back
>is stretched across the top of the hoop edges. This way, no matter how you
>lay it down, the front of the piece won't contact table, floor, etc. Either
>the hoop/frame edges touch or the back of the piece. This also gives a nice
>flat surface on the back for weaving in the threads to end-off (Oh, yeah,
>I NEVER knot, unless it's French :-)
This is a tip I'd never seen before, but what a great idea!
Another idea I haven't seen posted is to wash your hands, even if they
seem clean, each time you go back to doing the needlework. Even the
best of housekeepers have a certain amount of dust around the house,
and the fingers do exude oils just as the rest of your skin does. After
many times picking up your work, these microscopic amounts of dust and
oil can really make the work dingy.
--
*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*
Teri Miller tmi...@cisco.com -or- sha...@netcom.com
*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*
Anne Chamberlain
talking about normal sewing (buttons, hems, etc), not cross-stitch or
needlepoint. And I don't know when I last bought needles because I
always seem to have old ones around---from my grandmothers, great aunts,
old home-ed classes, etc. If I really can't find one I just squeeze
the pin cushion hard, and there are always a few hiding inside there.
But they would haved been purchased at a sewing store.
By the way, would any of you with the "black needle" problem like to
send me some of the black ones? I'd like to look at them with our microscopes
to see what changes are evident.
Anne