Floss should be cut about 18"-20" long, or twice that if the thread will be doubled for the loop method. Some people like to use one arm length when doubling. See section "10. How to Start the Thread" for more information about the loop method.
Metallics or any fibres with rough surfaces should be cut somewhat shorter to help prevent fraying.
Separate the floss into individual strands and then recombine them. This is known as "stripping" the floss. There is less twisting and knotting, and the stitches lie flatter. To separate a thread from the others, hold onto the top end of the thread between your thumb and forefinger. Pull down on it with the other thumb and forefinger, taking all the other threads with you. It looks like a knot will form. Have faith. Everything comes out just fine.
source : www.mismatch.co.uk
Thursday, July 10, 2008
6. Hoop or Hand?
First, the traditional rule--stitch on Aida using a hoop and stitch on linen "in the hand". In actual practice, people do whatever works best for them. Most who like their fabric taut do tend to avoid hoops in favour of scroll bars or Q-Snaps when working on linen or other evenweaves, as hoops may damage the fabric or leave marks. See section "30.2 Hoops, Scroll Bars and Such" for more information on the equipment itself. See section "18. Stitching On Linens and Other Evenweaves" for a more detailed explanation stitching on linen.
Some people find it easier to control the tension of their thread with one method, some find it easier with the other. The most important thing to remember is to use what works best for you.
For the purpose of this discussion, let's use the word "bars" to refer to all those things which can be used to hold the fabric taut--hoops, stretcher bars, scroll bars and Q-Snaps.
Advantages of "in the hand":
Advantages of bars:
source : www.mismatch.co.uk
Some people find it easier to control the tension of their thread with one method, some find it easier with the other. The most important thing to remember is to use what works best for you.
For the purpose of this discussion, let's use the word "bars" to refer to all those things which can be used to hold the fabric taut--hoops, stretcher bars, scroll bars and Q-Snaps.
Advantages of "in the hand":
- Stitching can be done with the sewing method, which requires less motion on the part of the stitcher than the stab method. The sewing method can be much faster.
- There are no worries about squashing existing stitches or leaving hoop marks.
- The project is much easier to transport without the weight and bulk of bars.
- Some people like the feel of the fabric in their hand. It's part of the enjoyment of stitching.
Advantages of bars:
- They can keep the fabric taut, for those who prefer this. They can be used with the fabric loose, for those who like the sewing method.
- More of the fabric is immediately visible than if it were draped over a hand.
- Most bars can be used with lap stands or floor stands. The stands allow "two handed stitching", where one hand is kept above and one hand below the project. Good quality stands are like fine furniture, and keep the current project on display.
- People who have trouble holding projects for long periods of time also may find stands useful--they help avoid or reduce effects from tendonitis, arthritis and cramping.
source : www.mismatch.co.uk
Sunday, July 6, 2008
5. Preparing the Fabric
The following suggestions are very conservative and cautious. It seems safest to list many things that a stitcher might want to be aware of. You are then free to use or ignore whatever you choose.
Trim off any selvage edges. Some people recommend stitching on a project so that the warp threads go from top to bottom, with the selvage at the side. See section "31.1 Warp and Weft and Why and Why Not" for a more detailed explanation of how you determine the selvage, and why you may want to do so.
Cut the fabric to size for the project. Allow an extra 3" to 4" on each edge.
Pre-rinse very dark or very red fabrics to make sure the colour will not run. Rinse until the water is clear. Obviously, you should not do this if you know the fabric was dyed with a non-colourfast dye.
If there are folds, make sure they will come out. Rinse and/or press the fabric.
Prepare the edges to keep them from fraying. Some of the options:
souce : www.mismatch.co.uk
Trim off any selvage edges. Some people recommend stitching on a project so that the warp threads go from top to bottom, with the selvage at the side. See section "31.1 Warp and Weft and Why and Why Not" for a more detailed explanation of how you determine the selvage, and why you may want to do so.
Cut the fabric to size for the project. Allow an extra 3" to 4" on each edge.
Pre-rinse very dark or very red fabrics to make sure the colour will not run. Rinse until the water is clear. Obviously, you should not do this if you know the fabric was dyed with a non-colourfast dye.
If there are folds, make sure they will come out. Rinse and/or press the fabric.
Prepare the edges to keep them from fraying. Some of the options:
- Use a sewing machine to do a zigzag stitch.
- Use a serger to serge the edges.
- Fold the edge of the cloth over and baste it by hand.
- Do a whipstitch by hand, to overcast the edges.
- Use Fraycheck or masking tape, but then allow another half inch (1/2") all the way around so you can cut off the chemically tainted fabric when you are through stitching. Chemicals of any sort may cause deterioration years later.
- Let them fray. Many fabrics will only fray a small amount. If the fraying doesn't bother you, just let it happen.
souce : www.mismatch.co.uk
4. Setting the Floss Colour
Floss is generally colourfast, but some people like to be very cautious when using dark or intense colours in heirloom quality projects. If you choose to be this cautious, do the following.
source : www.mismatch.co.uk
- Remove the floss from the paper wrapper.
- Place each skein of floss in a separate glass container containing cool or room temperature distilled water. Some people recommend adding vinegar or salt to the water, but the usefulness of the vinegar or salt varies with the type of dye and may even cause damage.
- Rinse the floss in the distilled water.
- If the water does not remain clear, replace the water and rinse again.
- Repeat until the water stays clear.
- Place the wet floss on a white paper towel to dry. The floss colour should not bleed onto the white towel. If it does, rinse the floss again.
source : www.mismatch.co.uk
3. Selecting the Needle
Counted thread stitch should be done with a tapestry needle. Tapestry needles have blunt points and much larger eyes than sewing needles. The blunt points prevent the needles from piercing fabric threads.
Tapestry needles come in a variety of sizes. A larger size number means a smaller needle. Cross stitching usually requires a #22, #24, #26 or #28 needle.
One traditional rule says you should use a #22 needle if the fabric is 14 count (14 threads per inch) or less, a #24 or #26 needle if the fabric count is 16-18 count, and a #26 needle if the fabric is finer than 18. Most people ignore this and use whatever they like best.
The thread thickness and number of strands used can also affect the best needle size.
The usual "rule" holds--find a size (or sizes) you like.
Some people lose the finish on their needles over time. Besides being ugly, this makes the needle more difficult to use. Special finishes, such as gold and platinum, are available. They cost more but some stitchers find they last longer. Try different finishes until you find the one that works best for you.
Chair arms are very convenient for holding needles, but such use can cause other members of the household to acquire a more intimate acquaintance with the tools of your craft than either they or you desire. A pin cushion is an obvious solution. Needle safes also work well. These are small, flat cases lined on the inside faces with magnets. Needle safes can cost from US$5 for a small plastic one to more than US$30 for a good, handcrafted, wood-and-brass box. People have also had good results with magnetic paperclip holders, available in any place that sells office supplies.
source : www.mismatch.co.uk
Tapestry needles come in a variety of sizes. A larger size number means a smaller needle. Cross stitching usually requires a #22, #24, #26 or #28 needle.
One traditional rule says you should use a #22 needle if the fabric is 14 count (14 threads per inch) or less, a #24 or #26 needle if the fabric count is 16-18 count, and a #26 needle if the fabric is finer than 18. Most people ignore this and use whatever they like best.
The thread thickness and number of strands used can also affect the best needle size.
The usual "rule" holds--find a size (or sizes) you like.
Some people lose the finish on their needles over time. Besides being ugly, this makes the needle more difficult to use. Special finishes, such as gold and platinum, are available. They cost more but some stitchers find they last longer. Try different finishes until you find the one that works best for you.
Chair arms are very convenient for holding needles, but such use can cause other members of the household to acquire a more intimate acquaintance with the tools of your craft than either they or you desire. A pin cushion is an obvious solution. Needle safes also work well. These are small, flat cases lined on the inside faces with magnets. Needle safes can cost from US$5 for a small plastic one to more than US$30 for a good, handcrafted, wood-and-brass box. People have also had good results with magnetic paperclip holders, available in any place that sells office supplies.
source : www.mismatch.co.uk
2. Selecting the Floss/Thread/Fibber
Commercial charts suggest which type and colour of thread to use. Kits even supply the thread for you. However, there are times when you want to select the thread yourself.
Situation: The floss supplied in a kit is of poor quality.
Situation: You created the chart yourself.
Situation: You want to use a different brand of floss than suggested.
Situation: You want a different texture or finish.
Situation: You want to use different colours than suggested.
While we're on the topic of fibres, here is a definition, just in case you ever see references to "Z-twist" or "S-twist."
From: Noeline McCaughan...
source : www.mismatch.co.uk/
Situation: The floss supplied in a kit is of poor quality.
If you are lucky, the chart supplied with the kit lists colour numbers and a brand name. This doesn't happen very often, at least with kits that supply ugly floss. If there is no list, try to get a colour card for one of the big-name brands of floss such as DMC or Anchor. Look for one which includes thread samples. Match the colours from the kit with the colours on the card as carefully as you can. Do it in natural light. Write down the numbers of the colours you need on the chart next to the correct symbol. If you can't find a colour card, take the bad floss with you to your local needlework store and do the matching there. Be careful, because the lighting in some stores can make the colours 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 fibres. Consider using the many new types of fibres 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-colourfast silk for a baby's bib.
Situation: You want to use a different brand of floss than suggested.
Some charts supply colour number information for two or three manufacturers' floss. If not, try to find a floss conversion chart. Commercial ones are available and there are conversion charts in the "Needlework FAQ: Threads, Fibres, Embellishments".
Situation: You want a different texture or finish.
Consider using the many new types of fibres 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-colourfast silk for a baby's bib.
Situation: You want to use different colours than suggested.
If it is a geometric design or a simple picture with no shading, replace the colours anyway you like. More care must be taken for complex pictures. Compare the values of the old set of colours 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.
While we're on the topic of fibres, here is a definition, just in case you ever see references to "Z-twist" or "S-twist."
From: Noeline McCaughan
Just to make things a little clearer -"Z" and "S" are used to describe the twist in a yarn - any yarn regardless of what fibre it is spun from. Just take a piece of thick yarn and hold it up in front of your eyes. If the twist goes from top right to bottom left it is called "Z" (the slant of the twist equalling the slant of the downstroke in the letter). If it slopes from top left to right bottom it is of course an "S".
source : www.mismatch.co.uk/
1. Selecting the Fabric - Aida vs. Evenweaves/Linen
Counted cross stitch has few rules. The main one is to enjoy yourself. You may follow or ignore any of the tips listed in this FAQ and still be a "real" cross stitcher.
Generally, people first learn to do counted cross stitch on Aida and learn to stitch on linen or other evenweaves as they become more experienced. Judging by comments in this newsgroup, most stitchers who know how to work on linen prefer it to Aida. As always though, this is a matter of personal choice. Some very experienced stitchers prefer Aida.
An evenweave is any fabric which has the same number of threads per inch in both the vertical and horizontal directions. The individual threads might not all be the same thickness--you can see this in linen--but the number of threads is the same.
First, the traditional rule--stitch on Aida using a hoop and stitch on linen "in the hand". In actual practice, people do whatever works best for them. See section "6. Hoop or Hand?" for a discussion of the "in-the-hand vs. in-a-hoop" debate. See section "30.2 Hoops, Scroll Bars and Such" for more information on the equipment itself.
Most evenweaves aren't as stiff as most 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 a hoop or in scroll bars.
Aida is worked with one X per square, while linen and other evenweaves are generally worked over two threads. This means that a 28 count (28 threads per inch) linen produces the same size picture as a 14 count (14 squares per inch) Aida. See section "18. Stitching On Linens and Other Evenweaves" for a more detailed explanation of stitching "over two."
Fractional stitches (1/4 stitches and 3/4 stitches ) can be much easier to do on an evenweave material. On Aida,the needle needs to punch through the middle of the little square in order to complete the stitch. This can made somewhat easier by using a small sized needle (#26 or #28). No "punching through" is needed on an evenweave, as the needle simply goes between the two threads. See section "12. Fractional Stitches" for a more detailed explanation of fractional stitches.
Some people find it easier to see the holes on linen and other evenweaves, others find the Aida easier.
The look of the cloth in the background is also important when selecting a fabric. Both texture and colour should be considered.
Aida is generally less expensive. Whatever fabric you choose to work on, always buy the best quality you can afford. The amount of time invested in a project can be quite large and is far more valuable than a small savings up front.
Also make sure to know the fibre content and if the fabric requires any special care. For information on fibber content see the "Needlework FAQ: Fabric".
Source : www.mismatch.co.uk
Generally, people first learn to do counted cross stitch on Aida and learn to stitch on linen or other evenweaves as they become more experienced. Judging by comments in this newsgroup, most stitchers who know how to work on linen prefer it to Aida. As always though, this is a matter of personal choice. Some very experienced stitchers prefer Aida.
An evenweave is any fabric which has the same number of threads per inch in both the vertical and horizontal directions. The individual threads might not all be the same thickness--you can see this in linen--but the number of threads is the same.
First, the traditional rule--stitch on Aida using a hoop and stitch on linen "in the hand". In actual practice, people do whatever works best for them. See section "6. Hoop or Hand?" for a discussion of the "in-the-hand vs. in-a-hoop" debate. See section "30.2 Hoops, Scroll Bars and Such" for more information on the equipment itself.
Most evenweaves aren't as stiff as most 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 a hoop or in scroll bars.
Aida is worked with one X per square, while linen and other evenweaves are generally worked over two threads. This means that a 28 count (28 threads per inch) linen produces the same size picture as a 14 count (14 squares per inch) Aida. See section "18. Stitching On Linens and Other Evenweaves" for a more detailed explanation of stitching "over two."
Fractional stitches (1/4 stitches and 3/4 stitches ) can be much easier to do on an evenweave material. On Aida,the needle needs to punch through the middle of the little square in order to complete the stitch. This can made somewhat easier by using a small sized needle (#26 or #28). No "punching through" is needed on an evenweave, as the needle simply goes between the two threads. See section "12. Fractional Stitches" for a more detailed explanation of fractional stitches.
Some people find it easier to see the holes on linen and other evenweaves, others find the Aida easier.
The look of the cloth in the background is also important when selecting a fabric. Both texture and colour should be considered.
Aida is generally less expensive. Whatever fabric you choose to work on, always buy the best quality you can afford. The amount of time invested in a project can be quite large and is far more valuable than a small savings up front.
Also make sure to know the fibre content and if the fabric requires any special care. For information on fibber content see the "Needlework FAQ: Fabric".
Source : www.mismatch.co.uk
Subscribe to:
Posts (Atom)