ANG defines needlepoint as "any counted or free stitchery
worked by hand with a threaded needle on a readily countable
ground." Traditionally, needlepoint has been embroidery done
on canvas, using wool to execute the tent stitch. While such
embroideries are needlepoint, needlepointers now have available a
much broader palette of stitches and techniques. For more
information, see What is Needlepoint?
From Mary Thomas's Embroidery Book, via Margaret E. Travis:
By color, by fiber type, or in any way that makes sense to
you. However, if you are organizing a store, make sure to have
maps or conversion charts available.
The best light is natural sunlight, on a bright, but not
blinding, sunny day (a flash may throw dark hard shadows and have
a "flattening" effect.) Use a neutral background, and
take several different shots with different settings, to maximize
your chances of one of them coming out right. You may be able to
pay extra for hand printing, and ask the developer to match the
printed colors to a snippet of thread or fabric. Also read: What
is copyright, and how does it apply to Needlework?
For more information, see Mike McCormick's article on
photographing needlework in the March 1997 issue of Needle
Rozashi goes back to the eighth century in Japan. It is embroidery worked on Ro (a silk gauze/scrim a fabric, woven 37 to 40 threads per inch in the warp direction, and 3 twisted and crossed called the dan in the weft direction. There are approximately 11 of these dan per inch.)
The small hole established by the weave gives a distinct surface design.
Rozashi silk is tightly twisted. It is made especially for this silk scrim. Metal Threads are also used which are special threads to
Rozashi. There are three types of stitches- straight stitches, step and irregular stitches.
Any original work, including a needlework chart, is copyrighted as soon as it
is "fixed in a tangible medium," i.e., written down. The copyright
holder, i.e., the original author, is the ONLY one who may duplicate, reproduce,
or make derivative (or adaptive) works of that piece. When you buy a chart or
painted canvas, you are implicitly granted permission to stitch that project one
time, for your own personal enjoyment, and nothing else. If you want to enlarge
it, publish photos of the completed piece (on paper or on the web), or display
it in any other way, you must write to the copyright holder (designer) and
obtain explicit permission. Most designers will be more than happy to grant
permission for such non-commercial uses. For more information on how copyright
laws apply to needlework see the January 1999 and March 1999 issues of Needle Pointers
and also http//users.datarealm.com/marbeth/needlework_copyright.html .
In regular couching, you lay a (usually thicker) fiber, and place it on top of the canvas, in the area you wish to cover. Anchor the (usually finer) couching thread securely on the back. Come up right next to the laid fiber, go around it and back down through the same hole, or one right next to it. For normal couching, pull until the couching fiber is snug. For underside couching, pull tighter until you hear a small pop, and the laid fiber is actually pulled down through the hole and appears on the back of the canvas. Move a few holes further along the laid thread, and repeat. Continue until the area as the desired coverage.
is written by Monica Ferris (real name Mary Monica Pulver). "Crewel
World" and "Framed In Lace" were published in 1999, a third novel
is called "A Stitch in Time" was published in July 2000.
The protagonist in these books is Betsy, who inherits a small-town needlework
store upon the murder of her sister.
series has been written by Earlene Fowler, about Benni Harper, a folk art museum
curator and quilter. They are:
I put my orts out for the birds or not?
of Neva Pruess
think you should not. Wool, cotton and silk threads incorporated into
a nest can hold excess moisture which then leads to mold and disease.
Rayons and synthetics may also interfere with natural drainage and
glitzy colors can interfere with camouflage making the nest more vulnerable
to predators. The young birds may peck at and ingest metallic threads
in the nest.
there are messy and non-selective nest constructors who will use colored
threads of many types, they are better off using natural materials.
is the effect of light on color?
Courtesy of Mary
There is only one correct light under which one should pick colors
for a project for your home, and that is the type of light under which
it will be seen when it is finished. Suppose you have absolutely perfectly
color-balanced lighting for picking colors but use light bulbs that
emphasize warm colors in your living room. You may be in for a real
surprise when you move that project into the living room. A friend
had this happen when she picked colors under a lamp that emphasized
yellow, then moved to her living room where the lighting was much
more balanced. Her spring green turned out to be closer to aqua.
If you at least
test the colors in the place where the finished project is to go,
any surprises can be corrected before you begin stitching. I recommend
that if you are doing a sofa pillow, for example, you lay out the
threads right on the sofa and spend some time looking at them there.
Turn the lights up, and turn them down. Stare at the threads, the
turn away, and
turn back. Walk past, looking at them out of the corner of your eye,
etc. If the room is used a lot in daylight, view them both in daylight
and artificial light. It's a lot easier to make changes at this stage
than later. The same thing goes for a piece to be hung; prop up the
canvas near where it will go and pin the colors on it, then stand
back and check again the lighting and the wall color.
The actual color
that surrounds the finished piece makes a difference, as well as the
type of lighting. If you had an electric blue sofa and stitched a
pillow with a lot of red it in, you could very well find that the
red shifted toward orange-red when the pillow was placed on the sofa.
This is due to a phenomenon called "afterimage." What happens
is that your eyes get tired after looking at an expanse of a certain
color and show you the complementary color (across from it on the
color wheel) when you look away. Thus, you see orange after having
looked at blue for a while. Once again, having placed the red thread
on the blue sofa before stitching, you may find that you should pick
a red that is shifted ever so slightly toward red-violet to cancel
out the afterimage orange. You can do this at the beginning without
ripping out half the project.
All of this is
very subtle. It occurs more with strong colors than with tints. It
also affects some people much more than others. I know of someone
who sees afterimages very easily, to the point of distraction when
she is stitching. But my advice still holds. Before stitching a piece,
check the colors in place, rather than elsewhere under a perfectly
balanced light and on a white background, as is so often recommended.
So--what do you
do if you are stitching a piece as a surprise for a friend and you
do not want to invade her house with an armful of thread and a canvas,
thereby giving the surprise away? It is, in my experience, very rare
that someone else will notice it as much as you do. You have been
staring at those colors for hours and hours; you know how they should
look. Or, use soft colors rather than strong ones, if at all possible.
Or, try hard to match other colors in her home because you know they
look fine in place. Or--pray a lot!
I sincerely hope
that these suggestions will NOT encourage anyone to say, "See,
I knew I could never pick colors anyway!" Yes, you can! Just,
after picking them, check out how they will look in the place and
under the lighting where the piece will be used. That's very simple
and it works.
do I find a needlework shop in the area that I will be traveling?
National Needlework Association (TNNA) has a free online director
of retail shops, searchable by location. Simply go to http://www.tnna.org
and click on Retail Shops. Many of the shops listed have active web
pages for you to peruse before your travels, to help you decide if
stopping at their shop will be beneficial to you.
Some insurance companies consider needlework as art. Others require you to cover it under a rider. Whether you need to consider it as art or you need a separate rider, here's a quick way to calculate the value of each piece.
Establish the actual out-of-pocket cost of the materials -- painted canvas, chart, threads, finishing costs, etc.
Establish the value of your labor -- estimated at 1 hour per square inch of the design area times the minimum wage in your state (don't forget to re-figure that amount if your state's minimum wage goes up or if you move to a different state)
If your policy is based on actual replacement costs, you'll need to maintain a list of the threads used since the replacement cost will be different from your actual cost some years ago.
Take pictures of each piece! And maintain them with your materials list. If you haven't saved the receipts for finishing (and I suspect most of us haven't), you'll need the pictures to establish the replacement value of the finishing.
Send 1 copy of the pictures via registered mail to your insurance company with a request they keep it with your policy. Keep your copy of the pictures and other documentation, including the signed receipt from the insurance company verifying they received their copy, in your safe deposit box or at the home of a friend or family member. It won't do you any good if it's destroyed along with your pieces.
Contributed by Gini Armstrong
Put a white cloth or lamp underneath the canvas, in addition
to your regular stitching light. Putting a black or red cloth under
a lighter fabric sometimes helps also.
How do I block a canvas that has gotten out
Courtesy of Anna-Marie Winter
Steam Blocking on Canvas
Steam blocking is a quick, easy method to gently reshape and
re-align a canvas back to its original dimensions. The direction
in which the stitch is worked and the stitch tension used by the
embroiderer combine to produce a strain on the canvas threads
causing them to warp. As each stitch and stitcher produces a
different tension, the degree of warping can vary greatly from a
slight puckering to a badly distorted piece of canvas embroidery.
Steam blocking is a relatively safe method to use with most
natural and synthetic fibers, especially delicate fibers such as
silk or fibers with unstable dyes.
The secret to a perfectly blocked piece of embroidery is in
the initial preparation of the canvas prior to stitching. Use
narrow wooden stretcher bars and brass tacks rather than roller
bars to mount the canvas. Attach the canvas securely to the
stretcher bars with the tacks placed no further than 1/2"
apart on all sides, working from the center of each side to the
corners. When attached, the canvas should be taut, true to grain
and ready for stitching.
Keep your embroidery clean as you work, eliminating the need
to have your work cleaned before it is framed or taken to the
finisher. Oil and unseen grime from your hands as well as the
dust and smoke in our everyday environment can easily soil the
canvas and working threads. To protect your canvas and fibers,
secure a piece of tissue paper or clean unbleached muslin over
the canvas, leaving a small opening over the working area.
When to Block
With traditional methods, blocking a canvas embroidery is
usually done once the embroidery has been completed, just before
it is either framed or taken to a finisher. The embroidery is
removed from the frame, dampened, then stretched back into its
original shape on a blocking board and left to dry, usually for
about 24 hours.
Steam blocking is a faster, easier method that does not depend
on dampening or wetting the canvas embroidery prior to blocking.
As in traditional blocking methods, steam blocking is done once
the embroidery has been completed, but it can also be done at any
time while the embroidery is still in progress.
In contemporary canvas embroidery, the combination of
stitches, techniques and/or fibers often cause the canvas threads
to stretch or warp. This is often seen as large ripples on the
surface of the canvas or areas in which the threads along the
margin seem pulled out of alignment. A simple method to combat
this problem is to steam block the canvas after each change in
technique. This will not only re-align the grain of the canvas,
but re-stretch it as well, producing a taut, smooth surface on
which to continue your stitching.
Proper preparation of the canvas prior to stitching is the
secret behind steam blocking. Once the canvas has been properly
attached to the rigid stretcher bars, it remains secure. It may
warp out of shape and be pulled off grain while stitching, but
the tacks still hold the edges of the canvas on grain. Steaming
the canvas while it is still attached to the stretcher bars will
re-align the canvas threads perfectly and return the canvas to
it's original appearance. Do not remove canvas from stretcher
bars prior to blocking.
The method used for steam blocking is as easy as boiling
water. Plug in an electric kettle or put a pot of water on the
stove to boil. Once the water is boiling and steaming, hold the
stretcher bar, with the canvas still secured with tacks,
approximately 6-8" over the steam. Working from the wrong
side, slowly move the canvas over the steam so that it penetrates
the entire area evenly, not just the worked section. The steam
will penetrate the canvas from the bottom and exit from the right
side, through both the canvas and the stitches. A few light
passes is all that is necessary for most pieces, but for those
that may be badly distorted, several light steamings may be
necessary. Lay the stretcher bars on a flat surface, with the
canvas facing right side up, until thoroughly dry - at least one
Some words of caution. Do not over steam, allowing the canvas
threads or the fibers to become overly damp or wet. Test any
questionable fibers for dye stability and/or reaction to steam
before blocking. Boil distilled or bottled water if you live in
an area where the tap water has a high iron content. Avoid using
other appliances such as steam irons or clothes steamers as they
may spit, leaving water or mineral spots.
do I block my needlepoint if it does not need to be washed?
Courtesy of Bidwell C. Drake
Yes, you definitely can block your pieces yourself. It is quite easy, although it does take a little time. Allow an hour for your first piece.
Please note that there is a definite difference between blocking wool and other fibers. We have used the damp method (see below) successfully for canvas pieces stitched with silks, rayons, and metallics. We also have washed and blocked new and partially stitched canvases that were dirty, with excellent results. See the FAQ section on washing needlepoint.
When in doubt as to the colorfastness of a fiber, test it first by wetting it, then squeezing it in a white paper towel. If any color shows, use the damp method. The paint on commercial canvases is very unlikely to bleed. If the canvas was painted by a non-professional the paint may not be colorfast, but the way to correct the problem is noted below.
Needlepoint canvas will ravel if given the slightest opportunity, so the amount of blank canvas needed for blocking varies by the mesh. An inch is adequate for 18-count, but two inches are needed on larger meshes. If the margin is less than this, see the FAQ section on washing needlepoint. Tape the edges with Seams Great, and then proceed with the instructions below.
You will need a clean yardstick, blocking board, large stainless-and-aluminum push pins found at artist's supply shops (one for every inch around the piece plus extras), and an old towel. For non-wool fibers you need an old white sheet rather than the towel. You may also want to wear latex examination gloves when blocking, as the pressure of pulling wet canvas is ruinous to manicures.
Plywood can be used for the blocking board, tightly covered with oilcloth or freezer paper, but it is very hard to push the pins into plywood. Plain wood is much easier, and hollow-core doors are the easiest of all. Some people use ceiling tile, but water dissolves it, so beware.
We use wood boards and hollow-core doors, covered with teal and white plaid oilcloth, which provide straight lines in both directions, and show through the canvas margins. The lines can be rectangles rather than squares, but they do need to be straight, and no more than three inches apart. For round pieces mark circles on the shiny side of freezer paper with a fat paint pen, one-half inch larger than the stitching area, or use the pen to mark a grid on the shiny side of freezer paper. Securely tape or staple the paper to the board. You must rub the lines with a damp paper towel to make sure they are permanent before going any further.
If you do a lot of blocking, you may want to buy a pair of webbing pliers at an upholstery supply shop. The tips flare out to three inches wide, and give great mechanical advantage when pulling the canvas. Clasp the edge of the canvas with the pliers, roll the handles up and pull with both hands, then hold them with one hand while you insert pins with the other.
Do not trim the canvas before blocking, but do clip the selvage every two inches. The selvage is precious - it's the easiest side to block, and doesn't ravel. Hemmed canvases are better than taped, as the hem gives the pins purchase. On large canvases - over three feet long - the hemmed edges may also need to be clipped. Do not trim the canvas until late in the finishing process.
For wool pieces
Unroll and dip the piece in cold water for a minute or two. If any colors bleed, rinse it continuously until they stop, however long that takes, which could mean a day or two in the bathtub.
Do not let the piece dry before blocking. Roll the piece in the towel, squeeze it gently, and head to the blocking board. Spread the needlepoint out wrong side up, but keep the damp towel handy to drape over it if you are interrupted. If raised stitches were used, then block it right side up.
Damp method for other fibers
Dampen the sheet, only as wet as you would dampen a lightweight cotton before ironing it, and securely pin or staple it to the blocking board. If the lines on the board don't show through you can mark the appropriate shape on the sheet with a pencil, one-half inch larger than the canvas, and use it as your guide. For a round piece hold an appropriately sized glass plate or lid over the stitching to check the shape. Block the canvas right side up.
For all fibers
When you unroll the canvas on the blocking board it will be obvious if it has assumed a parallelogram shape, and which two corners need the most stretching. If the canvas is warped, give it a few good tugs at a 45-degree angle to help straighten it out. Put three pins close together at the centers of both long sides, always pinning as close as possible to the edge of the canvas, away from the stitching. If the piece is square or round simply assign "long" sides. Line up the yardstick with the grid lines on the board to make sure the center is straight on the board.
The two long sides of the canvas are pinned first, and the ends last. Work out from the center pins, first pulling and pinning the section that needs the most stretching. For this first phase, the pins should be no more than two inches apart. Use the lines on the blocking board to help you keep the edges straight. Pin just a few inches while stretching the canvas towards the end of the board, then turn the board, and pin opposite the first set of pins, gently pulling the canvas towards the edge of the board.
Repeat the above step on the second section which needs stretching, again working out from the center pins. Lay the yardstick across the piece, line it up with the straight lines on the blocking board and see if you need to re-stretch these two areas before you continue. If it isn't straight, pull out a few pins at a time and re-pin. Then work towards the ends, pinning a few inches at a time, always pinning the side which needs the most stretching first.
When the pins are two inches from the corners start working on the ends. Again, stretch and pin the corner that needs the most stretching first, alternating ends until the entire piece is pinned. Be careful to pull only the half of each end that needs it, and not the half that doesn't.
For a round piece, follow the above pattern, pulling the worst areas towards the edge of the painted circle first, and the sections that need the least stretching last.
Re-measure. Re-check that the designs are straight. Go back around the entire piece, pulling out the scallops and pinning them, so the pins are no more than an inch apart. Pin the four corners of the canvas down too. Leave it to dry 24-48 hours where it will not be disturbed. Don't use a fan, as it will make the canvas buckle.
Some canvases are very resistant to blocking - don't despair, just re-block them. Usually they behave after the second or third blocking, and the tugging gets easier with each blocking.
Hang up the towel to dry, and fix yourself a cup of tea. You earned it!
Copyright BCD Designs, January 2002
How do I start
basketweave in a curved area?
Courtesy of David McCaskill
- Find the furthest right vertical thread in the design
- Find the highest intersection of that vertical thread -
that is your starting point.
- Determine if the top thread of the intersection is a
vertical thread (pole) or a horizontal thread (step)
- Work up the steps and down the poles.
This can be accomplished by using an overdyed/variegated
thread, or by using multiple strands of different colored solids
in a single needle. No matter what stitch you are using,
completing each one as you work will give a gentle transition.
Working half the stitch then finishing it on the return trip will
give a more mixed effect. The stitching should be worked in the
direction that makes sense - sky should be worked in horizontal
rows, tree bark in vertical rows, so the shading will appear
How do I keep the back of my needlepoint
of Bidwell C. Drake
To not have a lumpy back, start your first thread with the big
fat knot on top
of the canvas an inch or more away from the first stitch (in
a straight line North-South or East-West, not on a diagonal).
Then as you stitch, the thread on the back will be buried in the
stitching, and when you get to the knot just pull it towards you
gently and cut it off very short.
You can end threads much the same way -- turn the piece over,
and slide the needle under some stitches, pull very gently, and
cut off the extra thread. After the beginning, you can start new
colors or the next needful by sliding under existing stitching --
How far to slide under the stitching depends. If the stitches
are relatively small and next to each other (like Basketweave) an
inch or so is plenty. If they are open or loose, you need to make
it longer, so it won't pull out.
Then, again to have a clean-looking back, plan your work so
you don't skip around a lot. If you only need to carry the fiber
across a few stitches on the back, you can turn the work over,
and slide under the stitches that are already there. Any farther,
end the thread as above, and start it again in the new area.
There are two ways to do this:
- You can treat it as a charted canvas pattern, and work one stitch for each square on the chart. This will not work for a pattern that depends heavily on partial stitches and backstitching, since you can't do a half-tent stitch. A warning sign is a pattern designed to be stitched over 2 threads -- these normally use a lot of partial stitches. (In this case, you will also have to pay attention to thread count, or you may end up with a piece twice the size you expected.) Depending on the pattern, the finished piece may come out taller and narrower than you expect, since tent stitches are not exactly square.
- Alternatively, you can draw the areas from the chart onto the canvas, then fill in with whatever fibers and stitches you like.
To handle fractional stitches, you can use penelope canvas (the one that has 2 strands), and use a petit point stitch for each partial stitch. Alternatively, you can do the whole stitch in a single color, and experiment with which color to use for which stitch. Another alternative would be to use very fine wool
or floss, and do both colors.
How should I clean my needlework?
Courtesy of Janet Mitchell Fishel (Director of Conservation
and Textiles for a regional collection):
When cleaning any type of needlework, begin with the least
harmful methods. Remember that some things cannot be
"undone," and damage to threads, fabrics and fibers
fall into this category.
Begin by vacuuming the item to remove any dust. To vacuum,
make a "vacuum cloth" from nylon screen (yes, the type
used in screen doors). Be sure the screening is not metal. Sew
wide bias tape around the perimeter of the screen to prevent
fraying and to prevent damage to the piece being cleaned. The
screen will allow you to remove dust while assuring that the
threads will not be disturbed in the process.
Using a hand vacuum with an upholstery-type attachment,
carefully vacuum by slowly moving the vacuum from top to bottom
in long straight sweeps. Overlap the "rows" of
vacuuming. You may wish to cover the intake of your hose with a
small piece of thin cotton fabric to gather the dust that comes
from the piece. By covering the intake, you can see the results
of your work.
Many times the vacuuming will clean the needlework
sufficiently, and no further measures are necessary. By the way,
most museums stop with the vacuuming process, if at all possible.
I use huge amounts of Orvus for everything from fine linens to
special clothing. It has a neutral cleaning agent and is suitable
for many washable fabrics. The key word here is washable.
Disasters can occur when the fabric is washable, but the threads
are not. If the threads are not colorfast, your work will be
Example: A fine batiste christening dress was washed, assuming
that the cotton fabric was washable. The tiny rosebuds and leaves
worked in pink and green, unfortunately were not. The end results
were a clean dress with off-white flowers and leaves. All of the
color washed out of the thread. It was washed in Orvus.
If you plan to wash any old stitched piece of needlework, it
is necessary to assure that the threads are
colorfast. To do this, wet a Q-tip with water (and Orvus, if you
plan to use it). Find threads on the back of the piece or in the
margins that can be tested. Many times older pieces have long
threads that are either "carried" across other stitches
or long ends that have not been clipped. ISOLATE the thread by
lifting it from the fabric or canvas and slipping a flattened dry
Q-tip under it. If the color runs, it will not get on the fabric.
If you see any color on the wet Q-tip or on the
dry one underneath, do not wet the piece. It is
far better to have a "not so clean" treasure than a
do I wash and block old and/or dirty needlepoint?
Courtesy of Bidwell C. Drake
You definitely can wash a canvas or needlepointed piece yourself. However, if it is a very old piece, very delicate, valuable, or damaged, send it to a professional textile conservationist to restore. Do not ever take needlepoint to a dry cleaner because dry cleaners use heavy-duty chemicals, too much heat, and flatten the stitching.
Please note that these instructions are only for wool on cotton or linen canvas, and do not apply to silk or rayon threads. Cotton threads may wash nicely, but they should be tested for colorfastness first. If it is a commercial canvas the paint colors are very unlikely to bleed. If it was painted by a
non-professional the colors may bleed. Instructions on how to deal with any kind of color bleeding are found below. Luckily, most old pieces were worked from charts, so there is no paint to bleed. Old canvases also are easier to block than new work.
To wash it yourself you will need:
- tape measure
- clean yardstick
- blocking board New wooden boards must be tightly covered with oilcloth or vinyl tablecloth
- fabric (available by the yard at fabric shops; see particulars below) or with freezer paper.
- large stainless-and-aluminum push pins (one for every inch around the piece plus extras)
- large old towel
- Ivory or Lux soap flakes/granules or Orvus WA Paste. (Orvus is a pH-balanced horse
shampoo without additives, sold by feed stores. Small containers are also available in
fabric, quilting, and some needlework shops. Three brand names are Treasure Wash,
Ensure Quilt Wash, and Quilt Soap.)
More than likely you will also need:
- small roll of Seams Great (available at fabric shops)
- thread to match the stitched background color
- sewing machine with zigzag stitch
You may also want to wear latex examination gloves when blocking, as the pressure of pulling wet canvas is ruinous to manicures.
Plywood can be used for the blocking board, tightly covered with oilcloth or freezer paper, shiny side up, but it is very hard to push the pins into plywood. Plain wood is much easier, and hollow-core doors are the easiest of all. Some people use ceiling tile, but water dissolves it, so beware. We use wood boards and hollow-core doors.
Our blocking boards are covered with oilcloth printed with a dark teal and white plaid, which gives straight lines in both directions. The white lines are visible through the unstitched areas of the canvas. The lines can form rectangles rather than squares, but they do need to be straight, and no more than three inches apart. For round pieces mark circles on the paper, one-half inch larger in circumference
than the stitching area. A fat paint pen can be used to mark a grid or circle on the shiny side of freezer
paper, but whatever you use to mark the paper, you must rub the lines with a damp paper towel to make sure they are permanent.
First, measure the needlepoint in place, so you can measure it during the blocking process and make it fit. Then remove the needlepoint from whatever it's attached to: chair, stool, frame, velvet, etc.
If the previous finisher clipped off the extra canvas (usually the case) you must stabilize the edges before you can proceed. We use Seams Great by Dritz. It is a fine mesh tape that stretches the long way but not sideways. Set your machine to wide zigzag and short stitches because you want them to penetrate the canvas so it will be sturdy.
With the canvas right side up, slide the end of the Seams Great under the edge of the canvas and stitch it to each side. If there is no extra canvas you will have to attach the Seams Great to the needlepoint
stitching, and machine-stitch over two threads' width of canvas. The tape should stick out past the edge of the canvas, so you can pin the tape, rather than the stitching, to the blocking board.
Tape just to the corners of the canvas, cut the tape off, and turn the canvas to tape the next side. Seams Great is pliable enough to use on a round canvas, as above.
If there are wax spots on the piece, remove them next with the point of a very warm iron and white paper towels.
Then give the piece a bath. Dissolve a good half-cup of the soap in a small amount of hot water in the bathtub or sink. Then add cold water to a depth of two inches. If necessary let it cool down to tepid before you proceed. Immerse the needlepoint and stroke both sides with the pads of your fingers to help loosen the dirt. Do this at least twice on each side. If there are large areas that are really discolored with dirt, you may rub them with a bar of Ivory Soap, but extra rinsing will be needed. If the piece is extremely dirty and the water is shockingly dark, let it out and repeat the above process.
Roll the piece up, squeeze (but don't wring) it to get rid of some of the soap, let the water out, and rinse both sides over and over with cold water until you cannot see any evidence of soap. It is faster if you use a hand-held spray for this step, rather than repeatedly changing out the water.
If the thread or paint colors have bled you must rinse the piece until all bleeding stops, even if the canvas has to spend several days in the bathtub. Do not let the piece dry before all bleeding has
Do not let the piece dry before blocking.
Roll it in the towel, squeeze it gently, and head to the blocking board. Spread the needlepoint out
wrong side up. If raised stitches were used, then it must be blocked right side up. Keep the damp towel handy to drape over it if you are interrupted.
When you unroll the canvas on the blocking board it will be obvious if it has assumed a parallelogram shape, and, if so, which two corners need the most stretching. If the canvas is sturdy, give it a few tugs at a 45-degree angle to help straighten it out. Put three pins close together at the centers of both long sides, always pinning as close as possible to the edge of the canvas or Seams Great, not into the stitching. If the piece is square or round simply assign "long" sides. Lay the yardstick on the center of the piece and line up the yardstick with the grid lines on the board to make sure the center is straight on the board.
The two long sides of the canvas are pinned first, and the ends last. Work out from the center pins, first pulling and pinning one of the two sections which need the most stretching. For this first phase, the pins should be no more than two inches apart. Use the lines on the blocking board to help keep the edges straight. Pin just a few inches, turn the board or walk around to its opposite side, and pin opposite the first pins.
Repeat the above step on the second section which needs stretching, again working out from the
center pins, pinning just a few inches.
Lay the yardstick across the piece, line it up with the straight lines on the blocking board, and see if you need to re-stretch these two areas before you continue. If it isn't straight, pull out a few pins at a time and re-pin. If it is still twisted, re-pull both sides again, a few pins at a time.
Continue to work towards the ends, pinning a few inches at a time, always pinning the side that needs the most stretching first.
Check the length with the yardstick, and see if you're close to the needed size; you may need to really pull the ends. Or you may decide that straight is all that is needed, and it doesn't matter if the piece is slightly smaller than intended. When the pins are two inches from the corners start working on the ends. Again, stretch and pin the worst areas first, alternating ends until the entire piece is stretched and pinned. You must be careful to pull only the half of each end that needs it, and not the half that doesn't.
For a round piece, follow the above pattern, pulling the worst areas towards the edge of the painted circle first, and the sections that need the least stretching last.
Finally, go back around the entire piece, pulling out the scallops and pinning them, so the pins are no more than an inch apart. Leave it to dry 24-48 hours where it will not be disturbed. Don't use a fan, as it will make the canvas buckle.
Hang up the towel to dry, and fix yourself a cup of tea. You earned it!
If there are spots left after blocking, you may well be able to remove them with lighter fluid and a white washcloth. Wrap a single thickness of the washcloth over a finger, put a little fluid on it, and gently rub the spot with the grain of the stitching. Keep moving the washcloth on your finger, so you are always using a clean area. Alternatively, if you have yarn that matches the original color, you can mend out a spot by going over it with fewer plies of yarn.
Copyright BCD Designs, January 2002
Some ideas that have been suggested include a band sampler or
geometric in pastels, stuffed, stand-up animals, plastic canvas
blocks, or a growth chart. For framed pieces, put a pocket on the
back with the history of the piece, who made it, and their
relationship to the child.
What sorts of small things can I make as gifts?
Luggage tags, key chains, bookmark, box top, scissors case/weight, hot pad, name tags, key tassel for on china cabinet (initial or small design mounted on a button form, second button form covered with backing material, a tassel attached between the two halves, and the front and back glued or sewn together),
2" x 3" canvases be put into a Sudberry music box, jewelry box, or presentation box. They could also be finished as a belt buckle, pendant, pin, sachet, gift tag later used as an ornament, tassel fob, just a cool looking mini framed work of art, credit card case, key case, flap for a cell phone case or eyeglass case, get two matching ones (or request on be done in the mirror image and use them as decorative clips on dressy shoes, do a third one as an evening bag clasp (apply it to a black velvet evening bag for the clasp) and a fourth can be made into a
How do I estimate how much fiber to use for a
For large areas, one hand print with fingers slightly spread is approx 5 sq
in, and will take approximately 1 40 yd skein, or an ounce of Paternayan (using
2 strands on 14 mesh).
For small areas, 1 to 1 1/2 yd per sq inch on 14 ct. canvas, a little more
for higher count. A thumb print is approx. 1 sq in.
These estimates are for tent stitch, compound stitches will take more thread.
How do I achieve a transparent/sheer effect? OR
How do I stitch over something, but let the details show through?
Stitch the area with an opaque thread alone, and let the painted detail will show through. Suggested fibers include the smaller size of Prism, Water N' Ice, one ply blending filament.
Use a stitch that lightly covers the canvas - On 13 mesh canvas, try 4 way continental, using 1 ply of lacquer jewels or 1 ply cord from Kreinik. On 18 count try skip tent, or the T stitch or Alicia's Lace.
Appliqué sheer fabric over the stitching.
For more ideas on transparent stitching, see Amy Bunger's article in the September 1999 issue of NeedlePointers.
How do I make a perfect bullion knot?
Most people recommend using a milliners needle for bullions, because the eye and shaft are the same diameter. This helps the bullion keep to the proper shape. You can also use a darning needle, but may want to blunt the tip with a nail file or cement sidewalk first.
Pay attention to the direction you wrap the thread around the needle, as this will affect the look of your knots. If you want rod-like bullions, wrap the thread around the needle in the opposite direction of the thread's own twist. If you want bullions that are narrower on one end, wrap the thread in the same direction as its own twist. In this case, you will be adding twist to the thread, the threads will be getting thinner as you go, and the finishing end of your bullion will be narrower than the beginning end.
As with all stitches, practice, practice, practice......
is the difference between an away knot and a waste knot?
Both are used when
starting stitching in a new area, and there are no existing stitches to run the
thread under. A knot is tied in the end of the thread, and the needle is plunged
into the canvas from the top, a few inches away from where you are going to
start stitching. The difference between the two types of knots comes in where
the knot is put.
An AWAY KNOT is put
in the direction you will not be stitching. After you've stitched awhile, you
can clip the knot off, then slip the end under existing stitches to secure it. A
WASTE KNOT is placed a couple inches away from where you will start stitching,
in the direction that you will be stitching. In this case your first few
stitches go over the loose end and tied it down, and when you reach the knot you
just cut it off, and your thread is already secure.
How do I read a needlepoint chart?
Needlework is charted in two "languages" and it's necessary to
know which you are using and be able to read them both.
Jean Hilton, Orna Willis, Susan Portra, nearly everybody currently producing
designs to be stitched with many different stitches and stitch patterns, do
"needlepoint style" charts in which the lines represent the canvas threads
and each square is a hole in the canvas. Tent stitch areas in these charts
are shown by diagonal lines across an intersection.
Kaffe Fassett and Hugh Ehrman charts use the "cross
stitch style" of charting: each square represents a tent stitch over a canvas
intersection and the color of the square, or the symbol in it, show what
color to use. The squares are the canvas threads, the lines in the chart are
the channels between threads, and the intersections of lines are the holes in
the canvas. There are a lot of older books around with this sort of charting
for designs that were to be stitched with tent stitch. The Jean McIntosh
designs are charted this way.
Sue Lentz uses "cross stitch style" charting but her designs utilize
different stitches; Byzantine, Scotch, Satin, etc. A diagonal stitch over
three threads will be shown as a line drawn diagonally across three squares.
I love her designs but sometimes, being more accustomed to the "needlepoint
style" find the charts hard to follow and I occasionally resort to recharting
in "needlepoint style." Some of the sampler charts designed for linen,
("Just Nan" for example) incorporate different stitches but use the "cross
stitch style" chart. Sometimes these use one square equals TWO threads.
How do I remove pencil marks from a canvas?
Always use a "white" eraser. Erasers with color will deposit the color
on your canvas and create a larger problem than you started with. Art
Gum erasers and Kneaded Rubber erasers are for paper only. Magic Rub, a white eraser available from office supply stores, works fine, as does the eraser sold in fabric stores under various names, but with the designation as a "fabric eraser".
can I do with a rust-stained piece?
Your first step
should be to try to clean the piece. Start with mild detergents, and work up to
harsher ones. Remember that any of these methods may damage colors or fibers, so
use as little as possible. Begin by putting some on a cotton swab, and dabbing
at the affected area, and gradually increase amounts if it appears to be
working. Some of the methods described below are quite drastic, and should only
be tried on pieces that would otherwise be discarded.
"The Stain and Spot Remover Handbook", rust stains on fabric can
sometimes be removed with lemon juice and salt. Apply the mixture directly to
the stain and let it stand for a few minutes. Then pour boiling water through
the fabric until stain is out. If the piece has been worked with colored
threads, either only treat the affected area, or make sure the fibers used are
colorfast to boiling water.
Fabrics that can be
boiled can be treated in a cream of tartar solution, Use 1 tablespoon to 1 qt.
water and boil for 10 minutes or longer. Rinse well.
As a last resort, a
grocery store product called WHINK can be tried. It is very harsh, but is an
alternative to throwing out the piece.
If you can't clean
it, you can always try to patch the work.
- If the rust
spots are evenly spaced, you can use surface stitches to cover them. Good
stitches might be Smyrna cross stitch, satin-stitch heart, queen stitch,
satin stitch lozenges/triangles, palestrina knots, etc. If the spots are not
evenly spaced, balance the design by adding extra stitches between the
- If there's not
enough room to add stitches between the rows of drawn thread work, think
about adding a(nother) row of hemstitching to make a border for that row,
and repeat it on the other side to balance the design.
- Withdraw a
rusted thread from the fabric, and replace it by re-weaving a spare thread
from the hem into its place. Use a blunt tapestry needle so you don't pierce
any threads. Do this one at a time ONLY, and keep it mounted in the frame to
control tension while you do it.
If you remove a
vertical thread, just remove it in the area affected by the rust, between bands.
Anchor the ends of the replacement thread in the closest hemstitched borders
where you started and finished - use a sewing machine thread to match and work
from behind if necessary, then trim the excess away. If you take out a
horizontal thread, anchor replacement at the outside edges of the fabric (you
probably zigzagged the edges before starting).
In either case,
Make sure to match the thickness of the thread you replace to the thickness of
the one you removed.
You can also cut
some threads, then weave the remaining threads with a 1/8" (or wider)
ribbon, to cover the remaining vertical threads. By carefully choosing the over
and under pattern, you can cover the stained threads, and leave unstained ones
can I turn a piece of needlework into a book cover?
Courtesy of Bid
Your lining fabric
should be fairly thin, but sturdy. Cut it the same size as the trimmed
needlepoint (ie, with a half inch seam allowance all the way around). Also cut
one extra piece of lining, five inches wide and the same height as the rest of
the lining. Cut the lining in half vertically so you have two pieces, for the
inside front and inside back covers. Fold over the edges that will be closest to
the spine of the book one inch, and seam these hems. Pin the large pieces of
fabric to the needlepoint, right sides together, with the hemmed edges towards
the center. Pin the extra piece of lining fabric vertically to cover the gap in
the center, right side towards the needlepoint. Stitch all the way around with a
medium-length straight stitch. Clip the corners, just barely.
Then comes the most
difficult part...turn it right side out! You'll need to roll one side to slip it
under the center lining panel first, then turn the ends.
Work the corners
with your fingertips or a chopstick to make the insides lie flat. You can help
it adjust to the fold by pressing just the edges of the needlepointed side,
under a damp pressing cloth, depending on the fibers. If the fibers can't take a
damp pressing cloth, put heavy books on the edges
to flatten them, and
let it rest for 24 hours.
Voila, a book
do I cover a dark outline on a light canvas - the drawn line shows
through the stitched thread?
G suggests using white acrylic paint, either Golden or Liquitex, in
the fluid form. If buying Golden, use the Titanium White not the Zinc
White which is transparent. If all fails, get some white gesso (in
an art store) and dot it on the canvas just over the black outline.
also suggests using a small round brush, size #1 should be fine enough.
Use a Robert Simmons, Gold Takalon or other synthetic brush and keep
it wet and wash it out with soap and water when you are done. If you
let the paint dry on it, it will be there forever. Don't waste money
on a natural hairbrush -- canvas painters use synthetic brushes since
the canvas will destroy the brush with use.
G cautions that white paint of any kind shows on canvas. In fluorescent
light it will take on a yellowish green cast so be careful and only
paint out what is really necessary.
Valentine uses Liquetex concentrate Titanium White found in a jar
(found in art supply stores.) To go over a line she would just dot
it, let dry, then touch up with a few more dots if necessary. For
any correction use as little white paint as possible. If you are going
to be stitching with Persian wool, you still may see a faint gray
line, depending on the light and angle you look at your piece.
Lake offers a non-painting solution. She tries to attack these problems
with stitching, so here are some suggestions for the paint-impaired!
Of course, the size of your design will make a difference, but maybe
one of these will work.
suggestion #1: Distract your 'eye' by stitching with a blend of colors
in your needle for a 'tweedie' look.
suggestion #2: Stitch up to the line in white, then stitch outside
the line in cream, like a shadow (or vice versa.)
suggestion #3: Stitch along the black line in gold (or something)
perhaps in cross stitches or Smyrna cross) to look like an accent
suggestion #4: Change your stitch at the black line: perhaps do tent
stitch inside the line and switch to Scotch outside the line.
All are stranded rayon floss. Marlitt and DMC have good
coverage. Fiesta sometimes doesn't, but only by a hair. Running
it over a damp sponge before stitching can help remove kinks and
make it easier to stitch with, but some people feel this removes
some of the sheen.
Because of environmental regulations, not all threads can be
made colorfast. You can set the colors before you stitch, or plan
to never get your piece wet. For more details, see the article
by Stitcher's Paradise.
Compiled by Denise Beusen, from contributions by David
McCaskill, Bid Drake, Linda Holden, Mary Swinehart, Davie Hyman,
Karen Duggan, Roberta Jessing, Sue Strause, Sharon Garmize, Neva
Pruess, Janet Perry.
Yes, canvas has a grain. Vertical threads (the warp) are first
placed on the loom under tension. As the foundation of the
canvas, they are the stronger threads and support the total
length of the textile.
The horizontal threads (the weft) are the weaker threads, as
all they do is go back and forth and attach only to the side of
the vertical thread. They are not attached under tension as the
vertical threads are. You may see holes in the selvage edge but
these holes are mostly for the rolling of the fabric as it comes
off the loom.
Stitched pieces will retain their shape better if worked on
the true grain of the canvas, with the selvage vertical. The
importance of the lengthwise grain depends on what the finished
object will be and the stresses it will experience. If it is to
be framed, where it is held securely on all sides, it is less
important than a wall hanging, where the selvage should run
lengthwise. This is analogous to garment construction, where
fabric cut crosswise will never hang right.
For tent stitch (basketweave and continental), stitchers
report that the needle goes into the canvas a lot easier when the
design is aligned with the grain. Coverage of the canvas by the
fibers is also reported to be better, with the appearance of the
stitches more uniform. These observations may result from the
fact that working with the grain helps hold the warp threads in
place while stitching.
Sometimes the thread count per inch is not equal in both
directions of the canvas. This can present a serious problem if
two pieces of canvas are to be joined to complete a project. Some
geometric designs, large ones especially, may look different when
stitched in different directions.
Once you've identified the grain of your canvas (see below),
mark the top. Cut the piece you need, with the longest part of
the design in the north/south direction and the narrowest part of
the design on the east/west direction. Once you've bound the
edges of your cut piece, mark the top of this piece so you will
know which are the selvage edges corresponding to the straight of
These approaches work on white canvas only. Take a needle and
run across the ditch (between two vertical or horizontal
threads). There is a distinct noise difference, with the vertical
selvage louder than the horizontal threads. Another method is to
pull a thread from each edge of the canvas. The more tightly
curled thread is the warp (the vertical thread). Or, you can
close your eyes and run your finger tips slowly and lightly up
and down the canvas. With your eyes closed, your fingers seem to
be more sensitive. It should feel smoother with the grain (up and
down) and rougher across. For interlock canvas, there is a single
horizontal (weft) thread. Vertically (the warp) and parallel to
the edge there are two threads twisted around each horizontal
How do I get creases out of old
Courtesy of Janet Mitchell Fishel, (Director of Conservation
and Textiles for a regional collection):
There are some wrinkles, creases and folds that cannot be
removed. The "old" folds that have become soiled on the
crease will never appear flattened, because the soiled line may
remain -- even after cleaning. Folds that have been pressed for
some time, and possible heat-set by being stored in an attic or
non-air-conditioned area, will remain permanent. A canvas that
has been pressed between heavy layers of books (or even other
fabric) may retain a crease.
With these factors in mind, the following is the method
recommended for removing "removable" creases from
unworked canvas and Congress Cloth.
Prepare a heat-proof, hard pressing surface (ironing board,
wood or masonite pressing table) by layering at least
eight layers of clean, washed cotton fabric, ironing each
layer as it is laid. An old cotton sheet is ideal. Congress Cloth
or canvas may then be laid with the crease pointing up on the
sheet surface. Cover the canvas with another four to eight layers
of cotton fabric. The heavier the canvas, the more layers are
required. Congress Cloth can be pressed with four layers, but
heavier canvas will require eight layers. The layers of cotton
fabric should be pressed individually, stacked and then laid over
the canvas as a group. It is important that there be no wrinkles
in the pressing fabric.
Using an iron set on cotton/with medium steam, begin to
carefully press over the entire area containing the canvas. A
stamping motion is better than a "sweeping" motion. Let
the fabric cool thoroughly. Lift the top layers to see if the
crease is "lower." Move the canvas slightly to another
section of the prepared surface. Turn the canvas over so that the
crease is pointing downward. Cover and press again. Do
not press an uncovered canvas. The layers of cotton
cover should always be used.
The amount of steam may be increased, but it is important that
the steam does not produce drops of water that
could circle or watermark the canvas.
Repeat the steps until the crease is removed. This is a
time-consuming task that may require a full day. If, after a
dozen or so steps (turning the canvas and pressing each side 12
times), the crease has not been removed, you may assume that the
crease is permanent. At that point, begin planning smaller
projects that will allow you to use the canvas by cutting on the
To prevent the problem of wrinkles, creases and folds, make a
conscious effort to store canvas flat between layers of cotton
fabric or acid free tissue, or in round mailing tubes.
Silk gauze looks like netting or panty hose with very fine, even mesh. You
can't do pulled stitches on it, and it is not blocked when finished.
Traditionally the background of a silk gauze piece is not stitched, as
unstitched mesh seems to disappear in contrast with the stitched area. Silk
gauze comes in various counts (32, 40, and 48 holes per inch are common),
colors (ecru and black are generally available), and either already mounted in
acid-free mat board or just straight off the bolt. Unmounted is cheaper.
Mounted silk gauze looks like a matted picture, with the gauze in the center.
It is easier to stitch on silk gauze if it is either mounted in a mat or sewn
into the center of a piece of fabric which is then put into a hoop or onto a
scroll frame or stretcher bars. Kreinik's Soie d Alger silk thread,
or one strand
of cotton floss covers beautifully on 40 count.
Except for the #28 size, tapestry needles are too fat for the meshes in silk
gauze. SharonG recommends #15 or #16 beading needles. These are
sharp-pointed, tiny-eyed, and about two inches long, though they can
be hard to use
when the thread length is short. John James Company makes beading
needles half that long.
You can use an emery board to blunt the tips but they'll still be quite sharp.
Only the diamond-shaped wire threaders will work on the beading
needles' tiny eyes.
Reinforcing the place where the wire is threaded into the metal base
with a drop of glue
can help prevent pulling it apart during use.
See also the
May 2000 issue of Needle
Pointers, for an in depth article on stitching on silk gauze
Tools and Supplies
The first place to try is your Local Needlework Store - look
in the yellow pages under "Needlework" or
can also find shops by using your favorite search engine or an on-line
yellow-pages lookup site.
A laying tool is used to help fibers lie straight. There are
many types - anything from a large needle to an expensive
Japanese tekobari can be used to lay threads. Martha Beth Lewis
has an article on what they
are and how to use them.
The most important thing is that the stand you buy works for
- Will this stand hold the types of frames you work on?
- Will this stand fit under or beside the chair you usually
- Do you need to travel with this stand? If so, does it
fold up/disassemble easily?
- If you work on very large pieces, will it be stable?
- How easy is it to get to the back of your work?
- Do you need a place for it to hold a pattern/chart?
The best thing to do is go to your local needlework stores and
try several stands. Take measurements with you - how much
clearance is there under your stitching chair, what height is the
seat, and so on, so you can see how it will work with your
stitching area. If possible, sit at the floor model stands and
stitch for a few minutes, to see how they feel. Find on-line information on
various types and brands of frame stands by using your favorite search engine.
Suggested search terms:
needlework "floor stand"
needlework "frame stand"
Contributed by Teresa/Ladydoc
The "no-line" bifocals are great for most of the
time. But for stitching, if you want to work on higher count
fabrics, you can get a pair of glasses specially made up just for
that. If you get them done correctly, you can use them to stitch
while watching TV etc and still get the best possible vision for
Take your prescription to wherever you have your glasses
fabricated. Tell them you want a "flat-top" or
"straight-top" bifocal. Tell them you want the bifocal
to be 35 mm wide -- if you need to wear a small frame that will
not accommodate a 35mm seg, then you want a 28mm seg. Tell the
person doing the fitting of the glasses to set the bifocal line
at the margin of your lower lid. Also, explain that these are for
fine needlework, and tell them to make the bifocal +0.50 stronger
than your regular glasses in the bifocal.
Viola! Stitching glasses! You will probably
be able to wear these for routine use as the bifocal will be too
high for walking around in comfortably, and too strong for normal
usage. But for your stitching, they will be wonderful.
You should find that the flat top bifocal is not as expensive
a lens as the "no-lines" you have for everyday usage.
If you combine this with a basic frame (since who is going to see
them?), this should not be a particularly expensive pair of
glasses -- and they will really make a difference while you
Most of the "true light" or "day light"
fluorescent light bulbs available today are broad spectrum light
bulbs. These have most, but not all of the color spectrum;
leaving off bits at each end of the color range if you will.
These light bulbs are becoming more and more available through
lighting and hardware stores.
The Ott lights sold in many needlework stores are full
spectrum lights, which cover the entire light spectrum - like
sunlight at noon. There are some incandescent bulbs that give a
full band light spectrum, but these generate more heat than a
fluorescent bulb. The broad spectrum lights sold in office supply
stores are not the same as the full spectrum lights sold through
needlework stores, and there is a significant difference in
Grow light bulbs are not the same thing, they emit more ultra
violet light and may fade fibers, threads, etc.
Classroom Etiquette as expressed by past Seminar attendees
Most people at Seminar are kind and courteous, but in the past, some have been rude. People giggled at classmates of the opposite sex; they audibly disparaged teachers (even while sitting in their classes); their chatter drowned out the teacher. They even (gasp!) threw their orts on the floor. Just one student can ruin a class for the others. Each is responsible for helping to make Seminar the best it can be for everyone.
Please be kind. It is not considered nice to critique other people or organizations, or other people's stitching, with your neighbor or teacher during class. Make arrangements to do this after
class, in private. Be thoughtful: don't touch someone else's stitching or materials. And speaking of damage, needlework was never meant to absorb food or drink, so please arrange to spill only on your own work. So, absolutely no food or drink of any kind in the classrooms!
No smoking, and no scent. All Seminar classes and events are non-smoking. There are ANG members who are severely affected by smoke or scents (asthma attacks, etc.), and this policy protects their health and ANG itself. "No scent" applies to many substances besides "perfume." Allergies can't read labels. It doesn't matter how terrific something
smells; if you can smell it, don't use it.
Be on time. If you are late, take the closest seat that disturbs others least. If you will be late for class or can't attend please tell your teacher, angel or another classmate. If you can't do this yourself, ask someone to do it for you.
Be prepared with all supplies plus pencil and paper for notes. Burrow into your tote bag and set out your essentials as soon as you arrive. Stash all the rest out of the
way under the table is good. If things are piled behind you, the teacher has to climb mountains to see your stitching.
Make sure your frame holder doesn't squeak. Be courteous and thoughtful of those in your class and in others, and keep your occasional murmurs soft and gentle. Recipes, restaurants, mutual funds, kids, the World Series, etc., are good chat subjects for breaks or after class.
A teacher once defined the difference between an intermediate stitcher and an advanced stitcher: the advanced stitcher puts down the needle and listens when the teacher speaks. Be alert; listen to the teacher the first time she or he says something. Questions? Your teacher is eager to hear and answer them. If you ask your neighbor, neither of you can hear the teacher.
Remember, you are sharing the teacher with everyone in the class. Do not hog her or his time. If you want private lessons, ask the teacher after class. Don't use class time to tell the teacher your methods. The other students paid their money to study with him or her, not with you.
Do not bring or show projects from other classes. 'Tain't couth!
Please remember that the classrooms are used for other events, and sometimes there is not time between events for the hotel staff to tidy up. So please place your trash, orts (thread ends) and other leftover bits in the trash bins, not on the floor or the tables.
Overheard at Atlanta: "I can hardly wait to go home and teach this to my Guild!" Class work directions may not be copied or taught without the teacher's permission. You could be zapped by copyright laws. Thus, it is also extremely poor etiquette to put people on the spot by requesting or offering copies.
Cell phones and beepers are disturbing, but not all cell phone calls are mere chats. Some are deadly serious. There are people attending Seminar who must bring their home responsibilities with them. For them, a cell phone is indispensable, the only thing that frees them to leave their homes at all. If you must bring one of these devices to class, please set it on "vibrate" or "single beep" instead of "scream" if possible, and answer it quickly and quietly. If you must talk, leave the room before you continue the conversation. If you anticipate a call, please tell your teacher in advance and sit where you can leave easily. Obviously, it is rude for anyone to place calls during class time.
It was once said of a past Seminar student, "This particular student made class time miserable for many of us. And what's worse, I don't think she ever caught on that she was being so rude." A word to the wise!
These ideas came from many ANG members, both teachers and students.
What are the "usual stitching supplies" that I
should take to
a seminar or class?
This list was originally compiled by the
Gateway Chapter ANG.
These are basically the things you can't stitch without - the
list will vary for each person. Don't be afraid to ask other
members what they have, and if you can try their tools. Finding
the right item is a matter of trial-and-error, but shouldn't
require that you purchase every option to find one suitable for
- a variety of sizes of needles
- 2 pairs of scissors (one for metals, one for other
- laying tool
- stitching stand or clamp or frame weight (to free both
hands for stitching)
- pencil and paper (lined and gridded) for taking notes
- name tag
- if you'll be mounting the canvas at the workshop, you'll
need 1-inch wide, acid-free tape to bind the edges of the
canvas, stretcher bars (if required) in the size
specified by instructor, rust-proof tacks and a small
hammer, or a staple gun and pliers
(Paraphrased from Carole Lake)
Cut a piece of foam core (or cardboard or mat board or
something stiff) to fit inside the interior of the stretcher
bars. Cut two more pieces to the size of the outside of the
stretcher bars. Cover the actual stitchery with a clean white
handkerchief, soft handtowel, something like that. Put the inside
piece of foam core inside the stretcher bars to brace the canvas.
Make a "sandwich" out of the larger pieces. Put rubber
bands around or tie with string. Voila!
This is a notebook you create containing worked examples of
many different stitches. By working a small area (normally
1" to 2" square), you can get a feel for how to do the
stitch, where it might be useful, what threads do and do not
work, etc. It becomes a great reference book to look through when
you're looking for a special stitch to use on a new project.
A good place to start would be by working the stitches from
ANG's Stitch of the Month. You can
use any threads and colors you want, but a light colored canvas
and darker threads will make the stitches easiest to see. Pearl
cotton is a good choice because it does not have to be laid. Many stitches use two, three, or
more different type of thread, but you may be able to use
different colors instead. If you use contrasting threads for
stitches with multiple layers, it's easier to see the pattern
If you like a particular stitch, you can play with different
threads, and changing the size and shape - make it tall and thin,
or short and fat.
You can put your stitched squares into plastic pages designed
for slides, photographs, baseball cards, computer disks, etc.
depending on their size. These pages are available at most office