Selecting the Fabric - Aida vs. Linen Generally, people first learn to do counted cross stitch on aida and learn to stitch on linen as they become more experienced. Judging by comments in ec.crafts.textiles, most stitchers who know how to work on linen wouldn't go back to aida under any condition. As always though, this is a matter of personal preference. Some very experienced stitchers prefer aida. First, the traditional rule--stitch on Aida using a hoop and stitch on linen "in the hand". In actual practice, people do whatever works best for them. Most who like their fabric taut _do_ tend to avoid hoops in favor of scroll bars or stretcher bars when working on linen, as hoops may damage the fabric or leave marks. Linen isn't as stiff as aida. This can be a plus or minus, depending on your own preferences. The difference in stiffness isn't usually a factor if the fabric is worked in scroll bars or stretcher bars. Aida is worked with one X per square, while linen is generally worked over two threads. This means that a 28 count linen produces the same size picture as a 14 count aida. A chart with many fractional (1/4 and 3/4) stitches can be much easier to do on linen. On aida, the needle needs to punch through the little square in order to complete the stitch. This can made somewhat easier by using a small sized needle (#26). No "punching through" is needed on linen, as the needle simply goes between the two threads. Some people find the holes easier to see on linen while stitching, others find the aida easier. The "look" of the cloth in the background can also be a consideration when selecting a fabric. Both texture and color should be considered. Aida is generally less expensive. Whether you choose to work on aida or on linen, always buy the best quality cloth you can afford. The amount of time invested in a cross stitch project can be quite large, and is far more valuable than a small savings up front. Also make sure to know the fiber content and if the fabric requires any special care. An possible source of high quality but inexpensive linen is at antique shops. You may be able to find cloth with a hand tatted or hand crocheted edge, allowing you to do a joint project with someone who isn't alive today. Types of Evenweaves The following lists of fabrics were originally posted by Dawn Scotting (dawn@pandoras.nacjack.gen.nz) and updated by Jill Scott-Piner (jill@super.org). Cottons & Blends COUNT FABRIC NAME FIBRE CONTENT - Cottons & Blends ----- ----------- -------------------------------- 6 Aida 100% cotton Cottage Huck Towelling 100% cotton Herta 100% cotton North Glen 90% cotton, 10% viscose 7 Goldau 40% cotton, 55% rayon, 5% metallic - patterned Kali 100% cotton Klostern 40% cotton, 60% rayon 8 Aida 100% cotton 10 Copenhagen 100% cotton Nordic Spring 85% cotton, 15% poly Tilla 40% cotton, 55% rayon, 5% metallic - patterned Tivoli 100% cotton 11 Aida 100% cotton Damask Constance - 55% cotton, 45% rayon Obensburg - 55% cotton, 45% rayon Rosemary - 55% cotton, 45% rayon Rosemont - 55% cotton, 45% rayon Schonfels - 55% cotton, 45% rayon Stratford - 55% cotton, 45% rayon Easycount Aida 100% cotton Hardida 100% cotton 12 Arno 100% cotton Saar 100% cotton 14 Aida 100% cotton Ariosa 40% cotton, 60% viscose Carola 100% cotton Damask Aida 55% cotton, 45% viscose Damask Quick Quilt - 48% cotton, 52% rayon Shona - 55% cotton, 45% rayon Easycount Aida 100% cotton Kali 100% cotton Malmoe 100% cotton Rustico Aida 100% cotton Sturbridge 100% cotton Sundal 100% mercerized cotton Wild West 55% cotton, 45% acrylic Yorkshire Aida 96% cotton, 4% poly 16 Aida 100% cotton Congress Cloth 100% cotton 18 Aida 100% cotton Damask Aida 55% cotton, 45% viscose Davos 100% cotton (change of spelling) Easycount Aida 100% cotton North Glen 90% cotton, 10% viscose Rustico Aida 100% cotton 20 Ariosa 60% rayon, 40% cotton Bellana 52% cotton, 48% viscose Jobelan 51% cotton, 49% poly Kali 100% cotton Northland 100% cotton Valerie 52% cotton, 48% rayon 22 Hardanger 100% cotton Hardida 100% cotton Kitchen 100% cotton Oslo Hardanger 100% cotton 24 Congress Cloth 100% cotton 25 Andria 52% cotton, 48% rayon - patterned Lugana 52% cotton, 48% rayon Modena 52% cotton, 48% rayon Rimini 52% cotton, 48% rayon Sondrio 52% cotton, 48% rayon Teramo 52% cotton, 48% rayon 26 Flowerfield 40% cotton, 60% viscose (also called Meran) (Meran) 27 Alice 100% cotton - patterned Gerda 100% cotton Linda 100% cotton 28 Alma Cloth 51% cotton, 49% viscose Annabelle 100% cotton Brittney 52% cotton, 48% rayon Chalet 40% cotton, 60% viscose - patterned Jobelan 51% cotton, 49% poly Jubilee 100% cotton Malmoe 100% cotton 30 Murano 52% cotton, 48% viscose (change of count) 32 Jobelan 51% cotton, 49% polyester Linens & Blends COUNT FABRIC NAME FIBRE CONTENT - Linens & Blends ----- ----------- ------------------------------- 9 Linen Aida cotton, linen 12 Country Canvas 70% polyester, 30% linen 14 Country Cloth 70% poly, 30% linen Fiddler's Cloth 50% cotton, 42% polyester, 8% linen Northwoods 80% acrylic, 20% linen 17 Danish linen 100% linen 18 Fiddler's Cloth 50% cotton, 42% polyester, 8% linen Floba 70% viscose, 30% linen Home Sweet Home 10% linen, 90% polyacrylic - patterned Linen 100% linen Norlin 60% linen, 30% cotton, 10% viscose Unbleached 100% linen 19 Cork linen 100% linen 20 Irish linen 100% linen Northern Cross 100% linen 22 Almeria 50% cotton, 35% polyester, 15% linen Linen 100% linen Linen Hardanger 100% linen 24 Lorna linen 100% linen 25 Dublin linen 100% linen Easycount Linen 100% linen Fine Floba 30% linen, 70% viscose 26 Brussels Linen 100% linen Linen 100% linen Unbleached 100% linen 27 Northern Cross 100% linen 28 Glasgow 100% linen Irish linen 100% linen Montrose 100% linen Pastel Linen 48% linen, 52% cotton (weft is white, the warp is a shade) Quaker Cloth 55% linen, 45% cotton Shenandoah 55% linen, 45% cotton - patterned Unbleached 100% linen Whittenburg 71% linen, 29% flax/cotton 29 Glenshee 100% linen 30 Brussels Linen 100% linen Linen 100% linen Northern Cross 100% linen Melinda Cloth 60% linen, 40% cotton Unbleached 100% linen 32 Belfast linen 100% linen Irish linen 100% linen Unbleached 100% linen 35 Brussels Linen 100% linen Edinburgh 100% linen Linen 100% linen Northern Cross 100% linen Unbleached 100% linen 36 Edinborough 100% linen Irish linen 100% linen 40 Unbleached 100% linen 45 Carrick 55% linen, 45% cotton Zweigart Fine 55% linen, 45% cotton 50 Kingston 100% linen 55 Kingston 100% linen Miscellaneous Blends COUNT FABRIC NAME FIBRE CONTENT - Misc. Blends ----- ----------- --------------------------- 6 Bondeno 100% polyacrylic - patterned 7 Monk's Cloth unknown (by Charles Craft) 10 Jute 100% jute 12 Jute 100% jute 14 Alba 100% polyacrylic - patterned Angelica 100% polyacrylic - patterned Astoria Cloth 50% poly, 50% viscose Christmas Plaid 100% trevira/viscose - patterned Dutch Garden 100% polyacrylic - patterned Florina 100% rayon Gardasee 100 polyacrylic Gloria Cloth 100% polyacrylic Hearthside 100% polyacrylic - patterned Homespun Cloth 100% viscose Hunt Club Afghan polyester/rayon blend - patterned Lady Elizabeth 100% trevira/viscose - patterned (afghan fabric) Monza 100% polyacrylic Novara 100% polyacrylic Proud Pine 100% polyacrylic - patterned Ragusa 100% polyacrylic Royal Classic 50% polyester, 50% rayon Sal--Em 50% poly, 50% rayon Soft Touch 100% dacron w/ stain resistant VISA finish Udine 100% polyacrylic - patterned Valentina 100% polyacrylic - patterned Venezia 100% polyacrylic 16 Wool 100% new wool 18 Abby Cloth 100% polyacrylic - patterned (afghan fabric) Anne Cloth 100% polyacrylic (afghan fabric) Arabella 100% polyacrylic - patterned Astoria Cloth 50% poly, 50% viscose Basic Cloth 100% polyester Diamond Afghan 100% polyacrylic - patterned Heartsong poly blend Polly 100% polyacrylic (imitation wool) Richmond 100% polyacrylic Sal--Em 50% poly, 50% rayon 20 Bergen 100% polyacrylic 24 Heartland 100% modal 26 Heatherfield 100% polyacrylic Sal--Em 50% poly, 50% rayon Selecting the Thread/Fiber Commercial charts suggest which type and color or thread to use. Kits even supply the thread for you. However, there are times when you want to select the thread yourself. Situation: The floss supplied in a kit is of poor quality. If you are lucky, the chart supplied with the kit lists color numbers and an available brand name. This doesn't happen very often, at least with kits that supply ugly floss. If there is no list, try to get a color card for one of the big-name brands of floss such as DMC or Anchor. Look for one which includes thread samples. Match the colors from the kit with the colors on the card as carefully as you can. Do it in natural light, if possible. Write down the numbers of the colors you need on the chart, next to the correct symbol. Buy whatever floss you don't have on hand, and start stitching! If you already started the picture with the old floss, rip it out or get new cloth and START OVER. If you can't find a color card, take the bad floss with you to your local craft store and do the matching there. Be careful, because the fluorescent lighting in most stores can make the colors look wrong. Situation: You created the chart yourself. If you are experienced enough to create your own chart, you are probably experienced enough to select fibers. Consider using the many new types of fibers which are now available, such as metallics and hand painted silks. Always keep in mind the final use of whatever you are stitching. For example, don't use a non-colorfast silk for a baby's bib. Situation: You want to use a different brand of floss than suggested. Some charts supply color number information for two or three manufacturers' floss. If not, try to find a floss conversion chart. Commercial ones are available. Situation: You want a different texture or finish. Consider using the many new types of fibers which are now available, such as metallics and hand painted silks. Always keep in mind the final use of whatever you are stitching. For example, don't use a non-colorfast silk for a baby's bib. Situation: You want to use different colors than suggested. If it is a geometric design or a simple picture with no shading, replace the colors anyway you like. More care must be taken for complex pictures. Compare the values of the old set of colors and the new set to make sure they are the same. You can do this by looking at the threads through red glass or cellophane, or by photocopying them in black-and-white. Fibers to Use Other Than Floss There are many types of fibers available today for counted thread work, with new specialty types appearing on a regular basis from companies such as Kreinik and the Caron Collection. Here is a partial list of what you may find, and what they may be used for. Flower Thread: A matte-finish, 100% cotton thread available in skeins. Available from several fiber manufacturers. DMC has 108 flower thread colors, most of which match their floss numbers. Used for traditional Danish embroidery. Also recommended for linen/evenweaves and for afghans. About 2-3 times thicker than embroidery floss, so you can use a single strand. Medici Wool: A DMC product with a homespun look. Looks especially nice with natural linen. Metallic Blending Filament: One ply thin metallic thread, available on spools. Frequently combined with regular floss to provide extra sparkle. Tips: Use short strands. Metallic Braids and Ribbons: Metallic threads, available on spools. Used alone to provide definition, sparkle and texture. The braids are rounded, and the ribbons are flat. Tips: Slipknot the thread onto the needle. Run the threads over a fabric softener sheet. Use short strands. Perle Cotton: A "mercerized, twisted, non-divisible lustrous cotton thread" available in skeins and balls. Used with many counted thread techniques, such as pulled thread and Hardanger. Available in different weights. Ribbon Floss: A shiny, flat fiber. Can be used with Metallic Ribbon to provide some real sparkle. Silk Thread: Available as solid or hand painted variegated skeins. Beautifully smooth. CAUTION--some silk thread is not colorfast. Tips on Using Silk Floss More & more needleworkers today are asking for finer materials because their time, energy & resources are limited & there are a growing number of beautiful designs on the market. As a result, silk thread is becoming more & more popular, since it is easier to use than cotton (its smooth texture allows it to flow easily through any fabric), has longer-lasting lustre & it's strength is unsurpassed by any other fibre. Different materials often require different stitching techniques. Here are some of the things you should keep in mind when stitching with silk: Purchase enough silk floss of each colour to complete your project in order to obtain the same dye lot for consistent colouration. It is always safest to assume you will need to do some "re-stitching" and that you will actually use more thread than what you estimate is necessary. If your piece becomes soiled, have it dry cleaned to ensure lasting beauty. Do NOT wet block any silk work. If you are using silk for highlights only, do all other areas first, block the work, and then complete the canvas with the silk. This process also applies to highlighting over any other yarns. A frame or hoop is recommended while stitching to allow you to stitch more evenly & prevent excessive misshaping of your piece. Separating plies of silk proves quicker & easier than separating cotton strands. Follow these simple instructions to prevent any snagging, tangling or knotting: 1 Take a length of the cut silk yarn (12" or 18" is recommended, based on stitcher's preference). 2 Hold the end loosely and pull out one ply. 3 Repeat for the number of plies needed. As with any stranded fibre, separate all the strands needed & put them back together again before stitching. 4 Straighten the thread after each ply has been pulled out. 5 Lay all plies parallel to each other & thread your needle (for added lustre, keep threads parallel while stitching). The use of a laying tool is advised to help keep the strands perfectly flat & smoother for the greatest light reflection. Much of the beauty of silk derives from the reflection of light off of its surface. Silk floss has a direction and will flow more easily through your ground with less wear in one direction than in the other. When you pull your first ply out run your fingers in both directions along the strand. Hold it at the top and run your fingers top to bottom, then turn it over and repeat. When you are holding it so the thread feels smoothest, the top end goes in the needle. You will also probably notice that when you separate the plies, pulling from the end that the needle goes on will be easier and cause fewer tangles. Platinum needles are recommended. Stitchers who do not use platinum needles should hold needle close to the end of the length of silk thread or tie thread onto needle using the blending filament threading technique. In spite of silk's strength, it can sometimes show wear at the point where it passes repeatedly through the needle's eye during stitching. The Trials & Triumphs of Stitching with Variegated Floss Variegated floss is seldom used today, but, it can create a beautiful effect. One reason some stitchers hesitate using variegated floss is because no two pieces can be stitched identically; however, this same feature is part of the beauty of v/f since each piece is unique & personal. There are primarily two methods of stitching with v/f which are commonly used. Method A: 1) Firmly wind floss lengthwise around a yardstick so that the middle of the lightest & darkest shade of floss will be at opposite ends of the yardstick. Cut floss at each end of the yardstick & again at the center, creating two shade groups of each floss colour approximately 18" in length. Although there will be some variation, one shade group will be light-to-medium & the other will be medium-to-dark. 2) Group together the strands of each shade group & label with DMC number & shade identification. 3) Stitch design, completing each cross stitch individually. Method B: (recommended by the DMC Corporation) 1) If large areas of your design call for v/f, divide each piece of the design into smaller areas. This technique is referred to as sectioning & the amount of sectioning needed to successfully stitch a design with v/f will depend on the fabric count (more sectioning is needed for lower count fabrics such as 11ct or 14ct; less sectioning is needed for higher counts such as 18ct, 22ct or 25ct fabrics) & the desired effect of the design (sectioning is less important in a sampler style design than when used to shade leaves, trees, brick buildings, etc). 2) Cut lengths of v/f long enough to include one complete shading of the particular colour. Begin stitching with the darkest shade of colour at the end closest to the needle & the lightest shade of colour at the other end. 3) Stitch one section at a time, working across each row with the first half of the cross stitch & then back across that same row with the second half of the cross stitch. Each stitch is not crossed individually. The sections being stitched are generally small enough that an entire row can be worked without a drastic colour change. 4) Once a section has been completed, work the next section of the design in either of the following two ways: a) Use the opposite end of the working thread to begin the adjacent section (ie if the lightest shade was used to begin the first section of stitching, begin the next section with the darkest shade).......OR b) Skip the adjoining sections & begin stitching another section with the same shade which ended the previous section. (For more detailed information regarding Method B, please refer to DMC's No 15235 Cross Stitch with Variegated Floss.) Regardless of the method you prefer, stitching with v/f can open up new vistas & stretch your imagination & creativity to incorporate it into more cross stitch patterns. Cutting the Floss Floss should be cut about 18"-20" long, or twice that if the thread will be doubled for the loop method. Some people like to use one arm length when doubling. Metallics, or any fiber with a very rough surface, should be cut somewhat shorter. It helps prevent fraying. Most people prefer to separate the floss into individual strands, and then recombine them. There is less twisting and knotting, and the stitches lie flatter. To separate a thread from the others, hold onto the top end of the thread between your thumb and forefinger. Pull down on it with the other thumb and forefinger, taking all the other threads with you. It looks like a knot will form, but have faith. Everything comes out just fine. How to Start the Thread And now for a strong suggestion--DO NOT KNOT THE THREAD. An exception _might_be made for cross stitch on clothing, towels and the like. Knots can create lumps and bumps on the front when the picture is mounted. Knots can catch the floss. Knots can lead to uneven thread tension and distorted fabric. Knots can pop through to the front, especially on a loosely woven fabric. Knots are harder to undo if you make a mistake. Knots make the back look messy. A good general rule is that a neat back means a better looking front. So, what is it you _should_ do? There are several methods listed below. Many people use more than one, letting the circumstances determine their selection. Running Under: Run the thread under 4 or 5 of the stitches on the back, if they are right next to where you want to start. You may choose to whip stitch around the second or third stitch as you are running under. This helps to lock the thread in. Sometimes dark colors show through when woven under lighter colors. Check to make sure this isn't happening. Loop Method: The loop method only works for even numbers of strands. For two strands, start with one long strand about 36"-40" long. Fold it in half. Thread the needle so the two ends are the tail, near the needle, and the "loop" is the end farthest from the needle. Start the stitch with the loop end dangling a little bit below the cloth. When the needle comes back down to the underside, run it between the loop and the cloth, and pull tight (gently). Knotless Waste Knot: Start the thread from the top side, an inch or two from where you want to begin stitching. Leave a tail of thread on the top side. When you have completed some stitches, pull the tail to the back side. Run it under the new stitches. Waste Knot: This is similar to the knotless waste knot described above. One difference is that the tail on the front is knotted, to act as an anchor. It should be started farther away from the stitching point, as the tail-and-knot on the front is cut away when the stitches are completed. The remaining tail on the back is run under the new stitches. For both the waste knot and knotless waste knot, careful placement of the "knot" will cause the tail on the back to be covered as you stitch. How to End the Thread Not surprisingly, the techniques for ending the thread resemble those for starting the thread. First, the same strong suggestion--DO NOT KNOT THE THREAD. An exception _might_ be made for cross stitch on clothing, towels and the like. One good method is to run the thread under 4 or 5 of the stitches on the back. You may choose to whip stitch around one of the stitches as you are running under. This helps to lock the thread in. Sometimes dark colors show through when woven under lighter colors. Check to make sure this isn't happening. If you stitch in a manner that leaves vertical lines on the back, try whip stitching up (or down) a few of these vertical stitches. This technique makes for a very neat looking back. How to Keep the Thread From Twisting and Knotting Separate the floss into individual strands, and then recombine them. There is less twisting and knotting, and the stitches lie flatter. To separate a thread from the others, hold onto the top end of the thread between your thumb and forefinger. Pull down on it with the other thumb and forefinger, taking all the other threads with you. It looks like a knot will form, but have faith. Everything comes out just fine. Run each separated strand of floss over a damp sponge just before using it. This makes the floss lie much smoother and flatter. Remember, some fibers, such as silk, should not be dampened. If you know which direction you tend to twist the needle, give it a little bit of a twist the opposite direction after each stitch. Try threading the needle with the "right" end of the floss. Let the thread dangle every so often and untwist it. From KATHLEEN DYER kdyer@llnl.gov If you use the stab method, rather than the sewing method... On the top half of the cross stitch (the lower half is not as likely to twist), pull the needle and thread through to the front to start the stitch in the usual manner. Then put the tip of the needle between the two threads right where they come through the fabric so that the needle is pointing in the direction it needs to go to complete the stitch, and take it over to finish the stitch. Where the needle is going to go to complete the stitch. | | \|/ o // // // <--- first half stitch // // // // // // \ <--- needle tip // \ // \--------- / \ \ / \ | <--- thread | \ | | \ | | \ | | O \ | || \ | || \ \ || \-----------\ ---------------------------\ || || || || || || \\----------------// ---------------- The "Right" End of the Floss You may have read posts which talked about "the right end," "direction of the thread," or "Z-twist and S-twist." First let's talk about what it means, then we'll look at why you should (or shouldn't) care. Just to make things a little clearer -"Z" and "S" are used to describe the twist in a yarn - any yarn regardless of what fibre it is spun from. Just take a piece of thick yarn and hold it up in front of your eyes. If the twist goes from top right to bottom left it is called "Z" (the slant of the twist equaling the slant of the downstroke in the letter). If it slopes from top left to right bottom it is of course an "S". To find the right end for a six-strand length of floss: The end that comes out of the skein is the right end. If the floss is already cut, hold the two ends in one hand, between the thumb and forefinger. Allow about one half inch from each end to stick up. Now tap lightly down onto both ends at once with your other forefinger. The end that spreads more, or "blossoms" is the "right" end. To find the right end for a single strand of floss, hold it up and run it between your thumb and forefinger. The direction that feels smoother is the right direction, and the top is the right end. Some people find it easier to separate a strand when it is removed from the right end. They have less problem with tangling. So, now you know how to find it. Why should you? Unfortunately, this is one of the few topics in counted cross stitch that people tend to get religious about. Even the professionals don't agree. The two main schools of thought: The needle should be threaded with the right end. The stitches lie better, and knots are less likely to happen. It is bad form to stitch without paying attention to thread direction. If it takes a magnifying glass to see the difference in the stitches, keeping track of the right end of the thread is a waste of time. Besides, the loop method of starting stitches (where by definition one strand is the right way and one the wrong) can help keep the back of the picture neat. Backstitching Any backstitching should be done after all the cross stitches in the area are complete. The number of strands is usually given in the chart instructions, with a single strand being by far the most common. To turn a corner without leaving a diagonal on the back side (up on the odd numbers and down on the even): o 7 | | | o 6 8 | | | o-----o-----o 2 1 3 4 5 Some people prefer a double running stitch to a backstitch. This is especially true if the backstitch will leave them stranded in the middle of nowhere. To do a double running stitch, go forward doing every other stitch (up on the odd numbers and down on the even): o-----o o-----o o-----o 1 2 3 4 5 6 Then come back, filling in the gaps: o-----o-----o-----o-----o-----o 11 10 9 8 7 To keep the line from looking staggered, be consistent on the return trip. Always come up on one side of the stitch that is already there, and go down on the other side. For example, come up above on stitch 7 and down below on stitch 8. Tips of X-Stitch Backstitching Around 1/4 & 3/4 Stitches I have recently started using a method for 3/4 stitches I found in one of Jo Verso's cross-stitch books. Pity I can't copy the diagram onto the screen! The "square" I refer to below is the square on your graph that is divided into two colours, usually filled in by a 3/4 stitch and a 1/4 stitch. Basically, the 3/4 stitch is made as follows: make the 1/2 cross, then 1/4 stitch goes OVER the 1/2 cross, so the 1/2 cross is held down. Before, I always had a problem getting the back stitch to lie neatly beside the 1/2 cross. Then, the other half of the square is filled in with another _3/4_ stitch (so I guess you have really done 1+1/2 stitches instead of one), and the backstitch goes between them. This then saves deciding which colour to do the 3/4 stitch and which colour to do the 1/4 stitch. I have just started using this method and am very pleased with the results. First I thought it would be too heavy, but it isn't. I have tried using 3/4-1/4 stitch, and 1/4-1/4 stitch, and prefer this way. I hope this does make sense, it's so hard to explain without a diagram. I suggest you look up the book (the one I have is called something like "The World in Cross-stitch"). DMC backstitch guide A general guide for outlining when predominant colors are: Blues 939 Browns 3371 Greens 500 Reds 902 Combination 310 For softer look Blues 311 Browns 801 Greens 367 Reds 221 Combination 535 (use 1 ply) Carrying Threads Over You can carry thread over if there is no stitching between two areas of the design, but only for short distances. This means 3 or 4 squares on aida, or 4 threads on linen. If the region between the two areas has been (or will be) filled in with other stitches, the thread can be carried farther. How far? Well, this depends on the relative darkness of the colors. The carried thread hould be woven under the existing stitches, but sometimes dark colors show through when woven under lighter colors. Check to make sure this isn't happening. Even under the best conditions, you probably shouldn't carry the thread more than a distance of 5 or 6 stitches. Try to plan your work so that it isn't necessary to travel very far to do the next stitch. Beads It is becoming more common for cross stitch designs to require beads. Beading should be done after the cross stitching and backstitching. A bead is attached with a half stitch. To make the bead stand up, use two strands of thread. Attach the bead as you would expect, coming up through the first hole, through the bead, and down through the second (diagonal) hole. Then, come back up through the first hole, split the two strands of thread around the bead so one goes on each side, and go back down through the second hole. This technique will (most of the time) keep the bead from drooping or sliding. Other Stitching Techniques There are many, many styles or techniques for counted thread work and embroidery. Most are centuries old, and have been in and out of fashion more than once. Blackwork From: Mary Rita Otto I've been researching the history of Blackwork. Actually, it dates back to at least the 1300's. It was mentioned in the Canterbury Tales, in a description of the Miller's wife's nightcap. While the use of black wool (natural, rather than dyed) on white linen is one of the traditional forms, red on white was also extremely popular. Catherine of Aragon was responsible for bringing the darker fashions of Spain to England, and with them came a fashion trend for blackwork in court clothing (as opposed to peasant clothing like the miller's wife was wearing in the 1300's). Only some blackwork is reversible. Reversible work is confined primarily to border patterns. The reversible patterns were worked in double running stitch, sometimes overcast to smooth the lines and hide the holes between the stitches. Other embroidery in the classification of blackwork are repeating "diaper" patterns used as filling stitches, and outlined in chain, split or stem stitch. These were worked on a plain ground fabric, not necessarily an even weave. Interestingly, a technique was developed using starched cheesecloth over the plain fabric to regulate the stitch length, much like the modern use of waste canvas. It was brought to England by Catherine of Aragon, I believe, and came into popularity through the paintings of Hans Holbein (it is also called "Holbein" work) and because lace could not be imported from France because of the war. The blackwork gives the look of lace to a garment's sleeves, collar, and other areas. Hardanger Embroidery Hardanger is a Scandinavian counted thread technique, performed on a special evenweave cloth called (logically) Hardanger. Traditionally, it is done on a 22 count cloth with a matching color cotton thread such as Perle. Hardanger embroidery bears a resemblance to Drawn Thread Work, but it emphasizes box shapes rather than long rows of stitches. Shadow Embroidery This is both a very old form of embroidery and something that is just making a comeback. It was popular in the last century and again in the 1930s and is just beginning to make a dent in the heirloom sewing world... It is embroidery done on a semi-transparent fabric like organdy. The idea is that you can see the threads on the back as a sort of colored pastel shadow. On the front, all you can see is what looks like backstitches outlining the elements of the design -- usually leaves, flowers and big bows. On the back the thread produces a herringbone pattern out of the crossing threads which almost, but not quite, fills in the elements being embroidered. Modern shadow embroidery sometimes has surface embroidery on it as well in the form of french knots for flower centers and bouillon roses. Drawn Thread Work This is a technique which is enjoying a resurgence. It involves the removal of some of the threads from a section of the fabric. One of the more interesting techniques is to remove the horizontal threads and to work twisting patterns (called leno work) in the remaining vertical threads. This creates a lovely lacey effect. Linda Driscoll is a leading designer of Drawn Thread samplers and provides excellent instruction in the techniques in her publications. Drawn Thread Work is traditionally worked in white on white (or ivory on ivory) and is sometimes called "White Work". Such monotone samplers are often displayed by mounting them over a piece of colored linen to highlight the open work areas. Interesting effects can be achieved using color with the technique, though. Needleweaving (one of the techniques) can be used to create, for example, a row of Christmas trees in openwork. Gold threads were used in some historic pieces worked in this technique. Pulled Thread Work Pulled Thread is a very easy technique which creates complicated looking patterns. Probably the hardest thing for a cross stitcher to remember is to PULL HARD. Pulled Thread is one of my favorite techniques. It is, like it says, a technique where the embroidered thread is pulled tightly. This distorts the threads of the fabric, creating holes between the stitches. It makes a nice, light, lacey effect. I find that a border of double backstitch, pulled, makes a lovely accent around a stitched piece. It is simple to work. For someone who would like to experiment with this simplest of pulled thread techniques, I recommend the pattern leaflet from Sal-Em for their table linens which shows the rose design. This was my introduction into the technique. The instructions were very clear, and the stitch is easy to do. I was very pleased with the results of my first effort. (Hey, I went on to make 4 placemats and 4 napkins, so that says something!) Pulled Thread is, apparently, a Danish technique. There are a lot of different patterns for pulled thread, either as a border or a filling stitch. It tends to have a lighter effect than either hardanger or drawn thread, and does not require the cutting of the fabric threads. Assisi Work Assisi Work is a form of embroidery where the background is stitched around an unstitched silouette design, which is outlined in backstitch to further define it. One particularly lovely form employes subtle shading of the background threads -- to me, it looks like a sunrise backlighting the subject. These designs can be particularly lovely. Counted Thread Work This is the descriptive category for stitches worked over a counted number of threads. It includes traditional sampler making stitches such as long-armed cross-stitch, Italian cross-stitch, four sided stitch, Queen stitch, nun's stitch, herringbone, and "countless" others. Cross-stitch is only one of the many counted thread stitches. Eileen Bennett of The Sampler House is a leading authority on this traditional sampler making stitches. Duplicate Stitch Duplicate Stitch is a technique for embroidering on knitted objects so that the resulting design appears to have been knitted in. It is done as a series of V's, to match the V's in a standard stockinette weave. While regular cross stitch patterns may be used, it is important to remember that the resulting design will appear squashed. Cleaning and Storing Obviously, when it comes to cleaning cross stitch on bibs, towels, clothing and napkins, do whatever it takes to get the piece clean. If this means throwing it into the washing machine with detergent and bleach, so be it. However, the heirloom-to-be deserves special treatment or it may become the heirloom-that-never-was. Here are some suggestions that are very conservative and cautious. It seems safest to list many things that a stitcher might want to know. You are then free to use or ignore whatever you choose. While you are stitching: Always wash your hands before stitching, and keep them clean while you work. Don't use hand lotion before stitching. Keep your hands out of your hair, off your face, out of the popcorn, away from the pizza and far from the chocolate bar. No smoking near the project. Watch out for ink from highlighters, and toner from photocopies. Cross stitch projects, especially those in scroll frames, make very nice cat beds. You may choose to view any fur that works its way into the project as part of the design. If not, try using a sticky lint remover or tweezers. Don't store linens or fine fabrics in plastic for the long term. The plastic can trap moisture and, over time, release chemicals. However, storing projects in plastic while they are in progress can help to keep them clean. This is assuming it takes less than 5 years to complete the project :-). If you want to store a project-in-progress for a more than a few days, roll it rather than fold it. Wrap it in cloth, preferably white. If you use a hoop, remove the project after every stitching session. Put your project in the hoop or bars backwards. This prevents the front of the design from touching anything when the bars are set down. It also rovides more room on the back of the project for ending threads. Try not to hold on to the project in a way that leaves your hand touching the front of the fabric. For example, fold any extra fabric forward and hold the project there. Some people like to use a layer of tissue or white flannel on top of the project, with an opening in the center to stitch through. These can be fitted into a hoop, and provide something to hold onto. When you are done stitching: Always launder the project when completed. No matter how often you wash your hands before stitching, there will be skin oils left which may cause stains and damage later on. Avoid anything which cause the project to have long term (many year) exposure to chemicals. For example, don't use Scotch Guard. Do not dry clean, if at all possible. The chemicals can be gritty, and may have long term effects. If the piece is lost at the cleaners, you will only be reimbursed for the cost of the materials. Some fabrics and fibers (wool and silk) may require dry cleaning. If this is the case, go to a very reputable cleaner, and have a long talk about the best way for them to do the cleaning. Hand wash each piece individually in cold or lukewarm water. Use something which is pH balanced and has _no_ whitening agents. This means something like Ivory Snow, Orvus paste (also used for washing horses and cows), Quilt Soap (which is Orvus soap packaged in small containers for people who don't need a gallon of it), Treasure Wash, etc. Do not use Woolite, strong detergents or chlorine bleach as they may make the colors bleed. Let the project soak for several minutes. Rinse thoroughly, but don't scrub or wring. If the colors run, repeat the process until the water rinses clear. Remove the piece from the water and place it on a clean, white, terry cloth towel. Roll it up like a jelly roll, to remove the excess water. While still damp, lay it face down on a couple of towels and iron with a dry iron at the wool or linen setting until it is dry. Try not to move the iron back and forth. You may use a pressing cloth, in fact you _should_ use a pressing cloth if there are metallics. The process of ironing until dry prevents uneven drying and puckering of the cloth and threads. Let the project air dry another 24 hours before framing. When catastrophe strikes, all the tips listed above should be ignored. Just do what you have to. People on rec.crafts.textiles have used detergent, bleach, hydrogen peroxide, Goop and ice to remove soda pop, rust, mold, vomit, catsup and bleeding dyes. Common Question: How Much to Charge to Stitch a Project? >I have no idea what to charge him. >Is there a going rate for stitchers? How do you calculate the price? I spoke with one of the owners of my favorite stitching shop, and she said the going rate is .5 cents per stitch. So, find out how many stitches are in the piece (you can estimate this; if it's an 80x100 piece with about 70% covered with stitches, you could estimate that there are 5600 stitches in the piece, so you would charge $28.) Personally, I think this sounds like slave labor. I imagine I stitch about 150 stitches per hour (depending on complexity of design, of course), which means that at this rate I'm being paid $.75 per hour. I don't know whether I'd *ever* stitch for money at that rate. From: MARTHA UNDERWOOD First off, decide how much per hour you want to make. Minimum wage is a good start. (let's call that $5 for computational ease) Now, figure out how many stitches you work in a minute. Then divide the number of stitches in the whole piece, by how many you can make in a minute. This gives a rough estimate of how many minutes you will take. Then divide by 60 for hours and multiply by wage per hour. Now, this is an unrealistic number, it's too LOW. It does not take into account: special fibers, special stitches, extremely fine work, or extremely course work, mistakes, partial stitches, etc. What I do is take my stitches per minute, divide by 2, and then do the math. Adding in anywhere from 1% to 10% more time for every special thing. For a Teresa Wenzler, for example, I'd add 10% to the total time just for the blended floss, and another 10% for the back stitching, and probably 5% for partial stitches. Coming out with a simple piece taking 100 hours is NOT unrealistic, they really DO take that long, usually stitchers tend to get those 100 hours in bits and pieces. And at Minimum wage, that piece just became $500. Now, if this is for a friend, one whom you really like. Charging a lat fee is perfectly fine too. Something like $25-$50 for a piece. For friends, I say, go with what your heart tells you. From: SUSAN PROFIT Hi. Be aware that this may fall apart at 25+ stitches to the inch. Some of the miniatures I do would sell for a whopping $2.50 at that rate for 1350 stitches. Now -that's- slave labor! At a nickel a stitch that comes out to $67.50, which I'm never going to see in this lifetime for a simple hybird tea rosebud. The gallery owner and I set the price depending on what the market will bear, of which I get a whole 60%. SO although a piece may be priced at $40 (-I'd- never pay it) I will only get $24. It turns out that I get paid $0.0178 per stitch. From: LINDA SHING Hi! perhaps you should charge what most dressmakers charge - the price of the materi...ummm - kit. If you feel that is not appropriate, maybe you could judge the time needed - by the difficulty involved, the size of the piece, the no. of color changes, etc., & set an hourly price agreed upon by both of you. In this case, you should give him an estimate, & try to keep to it as much as possible. I sometimes do custom knitting for people, & depending on the pattern, these are the two methods of rate-setting I use. A straightforward knitted pattern with 1 or 2 colors will go quickly, so the cost of the wool is O.K. A complicated or multicolored pattern is set by hour, costs more, but is more unique & individual to the purchaser, so is usually O.K. too. You get what you pay for. Will you be framing this as well? If so, charge seperately, after he buys all the necessary supplies. From: AMELIA J. SCOTT-PINER Most of the stitchers for the frame shops seem to stitch a piece for about $1 per square inch of stitchery based on 14-count. At least, that's what a few that I have met have said. Approximate a 14-count type size. End of August. Hmmm. How fast do you stitch and how much time do you have to put into it? Remember, if he has it framed at a shop they'll need three weeks to do it, most usually. That means you'd have about a month to finish it. Also, he's paying for the stitching, but not the framing. I used to think that I stitched about 500-600 stitches per hour. I got that figure by calculating one cross-stitch every 5 seconds for an hour = 720 stitches/hour with 100 or so left out for misc. threading, chart mapping, etc. In reality, I usually stitch about 200 stitches per hour. A little quicker if I'm doing an area of the cloth that I don't have to count. I'm not positive why there's such a discrepancy. But, if you're doing 200 stitches per hour (1 sq inch of 14-count = 196 stitches), you'll only make about $1/hour. Plus, if you work full time, these hours are going to be taken most likely after you come home from work. It sometimes takes the fun out of a hobby when you turn it into a job. Just a quick dose of reality. I've made gifts for friends in cross-stitch (never charged though). I never set a deadline for myself, because it takes me years sometimes to finish these pieces. (I do other things, too and I work on about 15 projects at any given time) I'm lazy, though. :-) Make a Cross Stitch Pattern From a Photo - Do It Yourself Suppose you have a favorite photograph which you _know_ would look just as wonderful as a cross stitch picture. It is possible for you to create the chart yourself, with patience, graph paper and a photocopier. There are several variations in the basic technique, but all involve placing a grid onto a copy of the photo. Plastic transparencies with a variety of grid sizes are available from many craft stores under the brand names "TransGraph-X" or "Easy Grid". If you cannot find these transparencies, you may be able to make your own by photocopying graph paper onto the kind of plastic sheets used with overhead projectors. Lay the transparency over a picture or photograph, and photocopy them at the same time. If you can find a place to do a color photocopy, all the better. This gives something that can be used as the start of your chart. You will still need to make decisions as to thread colors. Another method is to trace the picture before putting it on any kind of graph. Below is one person's approach: From: Lisa Balbes I did this on a comic book cover, but the principle will apply for any picture. You'll need to: 1. Start with a rather large copy of the picture, perhaps slightly smaller than you want the finished picture to be. (Blowing it up on a copier is much cheaper than getting a big print - you can use black and white copy if it's high contrast, otherwise blow it up in color. 2. Trace the picture onto graph paper, 20 squares to the inch is a good size. Remember to trace the outlines of all shapes, as well as backstitching lines (where needed to define the shapes). Decide how much shading you will do, and outline regions accordingly. 3. Take the tracing and use it to make a pattern on graph paper (10 squares to the inch for this part). In this stage you will decide which will be 1/4 stitches, what will be 3/4 stitches, etc. You will "square off" all the curves. There are 2 reasons for this step - you get a bigger pattern to work from, and you make all the decisions now, instead of when stitching. 4. Take the _original_ picture to your favorite store with a good display of floss. (You can do this at home if you have a stitcher's card that displays pieces of each color of floss.) Choose the colors, noting not only what is closest to the color of the real thing, but what colors work together. 5. If you now work the piece on 18 count fabric, it will turn out slightly larger than the copy you traced. (I prefer to work over 2 threads on 36 count linen.) Make a Cross Stitch Pattern From a Photo - Mail It Off There are companies which will turn pictures you send them into charts. The floss colors are figured out for you, usually in DMC and Anchor numbers. The cost is $20-$50, on average. You can find companies advertising in most cross stitch magazines. Herrschners, Inc. Hoover Road Stevens Point, WI 54492 Phone: 1-800-441-0838, Graph only - $28.99. Graph plus 15x18" piece of 14-ct. aida fabric - $33.99. Graph, DMC Floss pack and Free 14-ct. Aida fabric - $49.99. ImagiStitch 4839 E. Greenway, #216 Scottsdale, AZ, 85254 Photo Pattern Company Department N1 P.O. Box 1525 Poulbso, WA 98370-0169 , Phone: (206) 779-2437 $21.95 Preferred Services Crafts Division Dept. C24 457 Main Street, Suite #139, Farmingdale, NY 11735 $19.95. Stitch-a-Photo $30 plus $2 S&H in the US. The Spirit of Cross Stitch Festival This four day show is aimed exclusively at counted thread stitchers. It travels to 4 cities in the U.S. each year. Locations and dates for 1994 are: Winston-Salem, NC March 10-13 Buffalo, NY June 9-12 Des Moines, IA September 8-11 Sacramento, CA October 20-23 For class registration information, send a stamped ($.75) self addressed envelope for each city that interests you. Indicate on each envelope which city's information you want. The registration packets are sent out approximately three months before each Festival. The address is: Spirit of Cross Stitch Festival 6000 Market Square Ct., Suite 3 Clemmons, NC 27012 Phone: 919-766-5188 FAX: 919-766-5191 A videotape of the class projects is available from the same address for $6.75 (US). Classes run for four days, from 8 a.m. until 10 p.m. The Merchandise Mall (vendor show) runs for three days. A one day pass to the Mall cost $5 dollars in 1993. A Special Stitcher Pass ($18 in 1993) gives: ~ Unlimited admission to the Merchandise Mall ~ One hour earlier admission time to the Mall ~ One week earlier mailing of class registration packets ~ A canvas tote bag People posted _many_ positive reports to rec.crafts.textiles after attending the 1993 Festival. The Creative Art Festival Advertised as "America's Largest Sewing-Quilting-Needleart and Craft Supply Show and Conference", this traveling show is scheduled to be in 30 cities in 1994. It reaches most areas of the U.S., including Hawaii and Alaska. Produced and Managed by: Roth Exposition Group P.O. Box 9 San Mateo, CA 94401 Phone: 415-340-9767 FAX: 415-340-0296 The Creative Art Festival is advertised in Just Cross Stitch, as well as many quilting and sewing magazines. It is a three day show with classes and a vendor show aimed at stitchers, quilters and sewers. Previous shows received good reports from attendees. Admission is $6.00 (in 1994) with coupons for $1.00 off available at many fabric and craft stores Guilds These non-profit organizations have chapters in the United States and Canada. They are open to all stitchers at all skill levels. They are an excellent source of information and instruction for all styles of needlework. The Embroiderer's Guild of America 335 West Broadway, Suite 100 Louisville, KY 40202 Phone: 502-589-6956 American Needlepoint Guild, Inc. P.O. Box 241208 Memphis, TN 38124-1208 Entering Competitions If you plan on entering a project in competition, the best policy is to find out the specific rules for that competition. But for those cases where you don't decide to enter until the piece is well under way, it can help to keep some commonplace rules in mind. Below is a general list of "what judges look for" in an award winning counted cross stitch picture. All stitches cross in the same direction, unless some special effect is planned. Even tension. Stitches flat, but no distortion of the cloth. Make sure no line of light formed along a row. Stitches not twisted. Full coverage, but not bulky. Airy. No knots. No long carry-overs. No loose tails. Reverse side stitches should be vertical. (This is a subject of some debate.) Clean. No wrinkles. No hoop marks. Overall appearance. Right and wrong end of the floss. (This is _definitely_ a subject of debate.) Not judged on framing. Books and Pamphlets There are books available to help you learn many different counted-thread and embroidery techniques. Not all of the entries have complete address or phone information. Designs for Shadow Work & Fine Embroidery by Donna Krezelak Designs for Shadow Work and Fine Embroidery II by Lane Edwards First Steps in Counted Cross Stitch by Rita Weiss ISBN: 0-88195-157-9 ASN Publishing 1455 Linda Vista Drive San Marcos, CA 92069 Introduction to Counted Cross Stitch Embroidery, Book #15 Graphworks International Inc. P.O. Box 352 400 Old Two Mile Pike Goodlettsville, TN 37072 Phone: 1-800-826-1998 615-859-1201 615-851-7100 FAX Sampler and Antique Needlework: A Year in Stitches, 1994 Symbol of Excellence Publishers 405 Riverhills Business Park Dept. E410E Birmingham AL 35242 Phone: 1-800-768-5878 144 pages. $24.95 plus $3.75 for shipping and handling. Shadow Work: The Easy Way by Martha Pullen Martha Pullen Co., 1989 Huntsville, AL Shadow Work Embroidery: Confectionery Dreams by Wendy Regan Magazines Craft stores (especially those which specialize in needlework) are good places to find cross stitch magazines. Large bookstores with well-stocked magazine sections are also worth checking. Here is an alphabetical list of some of the available magazines. Celebrations P.O. Box 420207 Palm Coast, FL 32142-0207 Phone: 1-800-829-9154 Creative Needle 1 Apollo Road Lookout Mountain, GA 30750 Phone: 706-820-2600 (business) 1-800-443-3127 (subscription) Cross Country Stitching pub. Jeremiah Junction, Inc. P.O. Box 710 Manchester, CT 06045 Phone: 203-646-0665 Cross Stitch & Country Crafts pub. Craftways P.O. Box 56829 Boulder, CO 80322-6829 Phone: 1-800-234-0740 Cross Stitch! Magazine pub. The Needlecraft Shop, Inc. 23 Old Pecan Rd Big Sandy, TX 75755-2218 Variety of topics and levels of difficulty. Cross-Stitch Plus pub. House of White Birches P.O. Box 420235 Palm Coast, FL 32142 Phone: 1-800-829-5865 Nothing too difficult in this magazine, mostly easy patterns. Cross Stitch Sampler pub. NKS Publications Inc. P.O. Box 627 Mt. Morris, IL 61054--0627 Phone: 1-815-734-1111 This magazine is not limited to samplers. They show a variety of techniques, fabrics and fibers. Many heirloom projects. The Cross Stitcher pub. Clapper Publishing Co., Inc. P.O. Box 7521 Red Oak, IA 51591-0521 Phone: 1-800-444-0441 Some quick projects. Many projects per issue. Good design. For Love of Cross Stitch pub. Leisure Arts P.O. Box 420133 Palm Coast, FL 32142-0133 Phone: 1-800-829-9152 They show a variety of techniques, fabrics and fibers. Just Cross Stitch pub. Symbol of Excellence Publishers, Inc. 405 Riverhills Business Park Birmingham, AL 35242 Phone: 1-800-829-9148 1-800-768-5878 (Disney) 205-995-8860 Licensees for Disney patterns. Leisure Arts: The Magazine pub. Leisure Arts P.O. Box 420222 Palm Coast, FL 32142-0222 Phone: 1-800-829-157 Good magazine, not all cross stitch, but always has some good cross stitch designs. Mary Hickmott's New Stitches P.O. Box 663 Carrollton, GA 30117 Creative Crafts Publishing, Ltd. The Old Grain Store Brenley Lane Brenley Faversham Kent ME13 9LY 0227750215 U.K. Nice change-of-style magazine for those used to the U.S. ones. McCalls' Needlework pub. Symbol of Excellence Publishers, Inc. P.O. Box 3218 Harlan, IA 51537 New magazine. Needlecraft, Needlecraft's Cross Stitch Collection pub. Future Publishing Cary Court, Somerton, Somerset, TA11 6TB England Needlecraft has 12 issues a year, for 22 pounds in the U.K. and 53.80 pounds overseas airmail. Each issue comes with a small kit. Needlecraft covers a variety of stitching techniques, including quilting, cross stitch, and embroidery of all types. Needlecraft's Cross Stitch Collection has 4 issues a year, for 15.80 pounds in the UK and 25.40 pounds overseas. It also comes with a kit on each issue. It only deals with cross stitch. The Needlecraft magazines are more expensive but that's because they come with little kits taped to the front cover. Most are for cross stitch cards but there have also been needlework- covered buttons, long-stitch pictures, blackwork, etc. Needlecraft and Needlework magazines cover a wide range of embroidery, while the other magazines are obviously focused on cross stitch. Many of the designs are for beginners, however. Needlework, Needlework Cross Stitch pub. Litharne Ltd, p.o. box 9 Stratford-upon-Avon Warwickshire CV37 8BR England It is possible for foreigners to subscribe to these magazines directly. There is also an American distributor: Margaret Brossart Knitting Machine Center 5442 Cannas Drive Cincinnati, Ohio 45238 Phone: 513-922-7433 Needlework has 12 issues a year for 27 pounds in the U.K. It covers a range of needlework techniques. The Cross Stitch version covers only cross stitch. The magazines have pattern supplements--sections with extra patterns. They also have special offers for kits and books. Americans can pay for their subscriptions to these magazines by printing on a piece of paper: VISA card number, expiration date, signature. VISA figures out the exchange rate and charges you the correct amount. Sampler & Antique Needlework Quarterly back issues 1-10 Symbol of Excellence Publishers 405 Riverhills Business Park Birmingham, AL 35242 Phone: 1-800-829-9148 $5.95 each (inc. s/h) MAY NOT BE AVAILABLE Scarlet Letter PO Box 397 Sullivan WI 53178 Catalog $3.00 reproduction samplers in kit and graph form Simply Cross Stitch pub. The Needlecraft Shop, Inc. 23 Old Pecan Rd. Big Sandy, TX 75755-2218 Easy patterns, simple designs, good for those "need in a hurry" projects. Stoney Creek Cross Stitch Collection pub. Stoney Creek Collection, Inc. 4336 Plainfield NE Grand Rapids, MI 49505-1614 Phone: 1-800-243-1410 Challenging patterns, lots of colors. Have a series of patterns matching a given theme, to be worked on an afghan. CATALOGUES: Nancy's Notions Free Catalogue 333 Beichl Avenue Sewing/Serging/Quilting P. O. Box 683 Books, Patterns, Videos Beaver Dam WI 53916-0683 Fitting, inc. Disabled (800) 833-0690 Mary Jane's Cross N Stitch GREAT mail order catalog 5120 Belmont Road, Suite R decent prices Downers Grove, IL 60515 can get ANYTHING (800) 334-6819 WEBS Brand Name yarns on cones P.O. Box 147 Samples $2 Service Center Rd. Monthly mailers, closeouts Northhampton, MA 01061 (800) FOR-WEBS DOVER, Complete Needlecraft Catalog Dover Publications, Inc. 31 East 2nd Street *GREAT* prices on good books Mineola, New York 11501 Postage/handling reasonable Nordic Needle Specializes in Hardinger 1314 Gateway Dr but fabulous collection of Fargo, ND 58103 x-stitch fabric and floss (800) 433-4321 Cross Stitch & Country Crafts Kits, some leaflets.. better 111 Tenth St, PO Box 11447 than the magazine is these days Des Moines, IA 50336-1447 (800) 678-2694 Willow's End, the Knit Shop Small catalog.. wool yarns, RR1 Box 2025 walnut knitting needles, Edgecomb, ME 04556 some x-stitch, BOOKS!, reasonable (800) 242-9276 shipping charges. The American Needlewoman Yarn, kits, needlepoint, crafts PO Box 6472 Fort Worth, TX 76115 (800) 433-2231 Stitcher's Market Cross stitch kits, some leaflets Symbol of Excellence Publishers (Publishers of Just CrossStitch, 405 Riverhills Business Park the now defunct Samplers & Birmingham, AL 35242 Antique Needlework, McCall's (800) 768-5878 Needlework and others) COMPUTER PROGRAMS: PCQUILT Quilt progam, $35 from Nina Antze, Windows not required 7061 Lynch Rd. reviewed in Jun/Jul '93 Sebastapol, CA 95472 _Threads_ magazine 707-823-8494 THE ELECTRIC QUILT Quilt program, $95 + $5 s/h from Dean Neumann Windows not required and Penny McMorris, reviewed in above mag. 1039 Melrose St. Bowling Green, OH 43402 419-352-1134 STITCH25.ZIP Cross stitch share-ware GIFXST3.ZIP Gif to cross stitch share-ware DMC COLOR LIST The following list contains the known colors in the DMC library of embroidery floss as of 1 January, 1993. This list was found at Wal*Mart. DMC number - color description No number - white No number - ecru 208 - lavender, very dk. 209 - lavender, dk. 210 - lavender, med. 211 - lavender, lt. 221 - shell pink, very dk. 223 - shell pink, lt. 224 - shell pink, very lt. 225 - shell pink, ultra very lt. 300 - mahogany, very dk. 301 - mahogany, med. 304 - Christmas red, med. 307 - lemon 309 - rose, deep 310 - black 311 - navy blue, med. 312 - navy blue, lt. 315 - antique mauve, very dk. 316 - antique mauve, med. 317 - pewter gray 318 - steel gray, lt. 319 - pistachio green, very dk. 320 - pistachio green, med. 321 - Christmas red 322 - navy blue, very lt. 326 - rose, very deep 327 - violet, dark 333 - blue violet, very dark 334 - baby blue, med. 335 - rose 336 - navy blue 340 - blue violet, med. 341 - vlue violet, lt. 347 - salmon, very dk. 349 - coral, dark 350 - coral, med. 351 - coral 352 - coral, lt. 353 - peach flesh 355 - terra cotta, dk. 356 - terra cotta, med. 367 - pistachio green, dk. 368 - pistachio, lt. 369 - pistachio, very lt. 370 - mustard, med. 371 - mustard 372 - mustard, lt. 400 - mahogany, dark 402 - mahogany, very lt. 407 - sportsman flesh, dk. 413 - pewter gray, dark 414 - steel gray, dk. 415 - pearl gray 420 - hazel nut brown, dark 422 - hazel nut brown, lt. 433 - brown, med. 434 - brown, lt. 435 - brown, very lt. 436 - tan 437 - tan, lt. 444 - lemon, dark 445 - lemon, lt. 451 - shell grey, dk. 452 - shell grey, med. 453 - shell grey, lt. 469 - avocado green 470 - avocado green, lt. 471 - avocado green, very lt. 472 - avocado green, ultra lt. 498 - Christmas red, dk. 500 - blue green, very dk. 501 - blue green, dk. 502 - blue green 503 - blue green, med. 504 - blue green, lt. 517 - wedgewood, med. 518 - wedgewood, lt. 519 - sky blue 520 - fern green, dk. 522 - fern green 523 - fern green, lt. 524 - fern green, very lt. 535 - ash grey, very lt. 543 - beige brown, ultra very lt. 550 - violet, very dk. 552 - violet, med. 553 - violet 554 - violet, lt. 561 - jade, very dk. 562 - jade, med. 563 - jade, lt. 564 - jade, very lt. 580 - moss green, dk. 581 - moss green 597 - turquoise 598 - turquoise, lt. 600 - cranberry, very dk. 601 - cranberry, dk. 602 - cranberry, med. 603 - cranberry 604 - cranberry, lt. 605 - cranberry, very lt. 606 - bright orange-red 608 - bright orange 610 - drab brown, very dark 611 - drab brown, dk. 612 - drab brown, med. 613 - drab brown, lt. 632 - negro flesh, med. 640 - beige grey, very dark 642 - beige grey, dark 644 - beige grey, med. 645 - beaver grey, very dark 646 - beaver dark, dk. 647 - beaver grey, med. 648 - beaver grey, lt. 666 - Christmas red, bright 676 - old gold, lt. 677 - old gold, very lt. 680 - old gold, dk. 699 - Christmas green 700 - Christmas green, bright 701 - Christmas green, lt. 702 - kelly green 703 - chartreuse 704 - chartreuse, bright 712 - cream 718 - plum 720 - orange spice, dark 721 - orange spice, med. 722 - orange spice, lt. 725 - topaz 726 - topaz, lt. 727 - topaz, very lt. 729 - old gold, med. 730 - olive green, very dk. 731 - olive green, dk. 732 - olive green 733 - olive green, med. 734 - olive green, lt. 738 - tan, very lt. 739 - tan, ultra very lt. 740 - tangerine 741 - tangerine, med. 742 - tangerine, lt. 743 - yellow, med. 744 - yellow, pale 745 - yellow, lt.pale 746 - off white 747 - sky blue, very lt. 754 - peach flesh, lt. 758 - terra cotta, very lt. 760 - salmon 761 - salmon, lt. 762 - pearl grey, very lt. 772 - yellow green, very lt. 775 - baby blue, very lt. 776 - pink, med. 778 - antique mauve, very lt. 780 - topaz, ultra very dark 781 - topaz, very dark 782 - topaz, dark 783 - topaz, med. 791 - cornflower blue, very dk. 792 - cornflower blue, dk. 793 - cornflower blue, med. 794 - cornflower blue, lt. 796 - royal blue, dark 797 - royal blue 798 - delft, dk. 799 - delft, med. 800 - delft, pale 801 - coffe brown, dark 806 - peacock blue, dark 807 - peacock blue 809 - delft 813 - blue, lt. 814 - garnet, dark 815 - garnet, med. 816 - garnet 817 - coral red, very dk. 818 - baby pink 819 - baby pink, lt. 820 - royal blue, very dark 822 - beige grey, lt. 823 - navy blue, dark 824 - blue, very dk. 825 - blue, dark 826 - blue, med. 827 - blue, very lt. 828 - blue, ultra very lt. 829 - golden olive, very dark 830 - golden olive, dark 831 - golden olive, med. 832 - golden olive 833 - golden olive, lt. 834 - golden olive, very lt. 838 - beige brown, very dark 839 - beige brown, dark 840 - beige brown, med. 841 - beige brown, lt. 842 - beige brown, very lt. 844 - beaver grey, ultra dark 869 - hazel nut brown, very dk. 890 - pistachio green, ultra dark 891 - carnation, dk. 892 - carnation, med. 893 - carnation, lt. 894 - carnation, very lt. 895 - hunter green, very dark 898 - coffee brown, very dark 899 - rose, med. 900 - burnt orange, dark 902 - grnet, very dark 904 - parrot green. very dark 905 - parrot green, dark 906 - parrot green, med. 907 - parrot green, lt. 909 - emerald green, very dark 910 - emerald green, dark 911 - emerald green, med. 912 - emerald green, lt. 913 - nile green, med. 915 - plum, dark 917 - plum, med. 918 - red copper, dark 919 - red copper 920 - copper, med. 921 - copper 922 - copper, lt. 924 - grey green, very dark 926 - grey green, med. 927 - grey green, lt. 928 - grey green, very lt. 930 - antique blue, dark 931 - antique blue, med. 932 - antique blue, lt. 934 - black avocado green 935 - avocado green, dk. 936 - avocado green, very dark 937 - avocado green, med. 938 - coffee brown, ultra dark 939 - navy blue, very dark 943 - aquamarine, med. 945 - flesh, med. 946 - burnt orange, med. 947 - burnt orange 948 - peach flesh, very lt. 950 - sportsman flesh 951 - flesh 954 - nile green 955 - nile green, lt. 956 - geranium 957 - geranium, pale 958 - seagreen, dark 959 - saegreen, med. 961 - dusty rose, dark 962 - dusty rose, med. 963 - dusty rose, ultra very lt. 964 - seagreen, lt. 966 - baby green, med. 970 - pumpkin, lt. 971 - pumpkin 972 - canary, deep 973 - canary, bright 975 - golden brown, dark 976 - golden brown, med. 977 - golden brown, lt. 986 - forest green, very dark 987 - forest green, dark 988 - forest green, med. 989 - forest green 991 - aquamarine, dark 992 - aquamarine 993 - aquamarine, lt. 995 - electric blue, dark 996 - electric blue, med. 3011 - khaki green, dark 3012 - khaki green, med. 3013 - khaki green, lt. 3021 - brown grey, very dark 3022 - brown grey, med. 3023 - brown grey, lt. 3024 - brown grey, very lt. 3031 - mocha brown, very dark 3032 - mocha brown, med. 3033 - mocha brown, very lt. 3041 - antique violet, med. 3042 - antique violet, lt. 3045 - yellow beige, dark 3046 - yellow beige, med. 3047 - yellow beige, lt. 3051 - green grey, dark 3052 - green grey, med. 3053 - green grey 3064 - sportsman flesh, very dark 3072 - beaver grey, very lt. 3078 - golden yellow, very lt. 3325 - baby blue, lt. 3326 - rose, lt. 3328 - salmon, drk 3340 - apricot, med. 3341 - apricot 3345 - hunter green, dark 3346 - hunter green 3347 - yellow green, med. 3348 - yellow green, lt. 3350 - dusty rose, ultra dark 3354 - dusty rose, lt. 3362 - pine green, dark 3363 - pine green, med. 3364 - pine green 3371 - black brown 3607 - plum, lt. 3608 - plum, very lt. 3609 - plum, ultra lt. 3685 - mauve, dark 3687 - mauve 3688 - mauve, med. 3689 - mauve, lt. 3705 - melon, lt. 3706 - melon, med. 3708 - melon, lt. 3712 - salmon, med. 3713 - salmon, very lt. 3716 - dusty rose, very lt. 3721 - shell pink, dark 3722 - shell piunk, med. 3726 - antique mauve, dark 3727 - antique mauve, lt. 3731 - dusty rose, very dark 3733 - dusty rose 3740 - antique violet, dark 3743 - antique violet, very lt. 3746 - blue violet, dark 3747 - blue violet, very lt. 3750 - antique blue, very dark 3752 - antique blue, bery lt. 3753 - antique blue, ultra very lt. 3755 - baby blue 3756 - baby blue, ultra very lt. 3760 - wedgewood 3761 - sky blue, lt. 3765 - peacock blue, very dark 3766 - peacock blue, lt. 3768 - grey green, dark 3770 - flesh, very lt. 3772 - negro flesh 3773 - sportsman flesh, med. 3774 - sportsman flesh, very lt. 3776 - mahogany, lt. 3777 - terra cotta, very dark 3778 - terra cotta, lt. 3779 - terra cotta, ultra very lt. 3781 - mocha brown, dark 3782 - mocha brown, lt. 3787 - brown grey, dark 3790 - beige grey, ultra dark 3799 - pewter grey, very dark