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Hardanger Embroidery
Kathleen M. Dyer
-- <kdyer@dnai.com> Copyright 1994-2001
Kathleen M. Dyer Table of Contents1. Selecting the Fabric - Aida vs. Evenweaves/Linen2. Selecting the Floss/Thread/Fiber 16. Preventing Twists and Knots 16.1 Railroading17. Where Am I? 18. Stitching On Linens and Other Evenweaves 27. Mounting, Matting and Framing 28. Changing Skin and Hair Tones 29. Stitching on Other Backgrounds 29.1 Silk Gauze30. Equipment 30.1 Needles31. The Debates 31.1 Warp and Weft and Why and Why Not32. The Amount of Floss for Cross Stitch A.1 General Comments 1. Selecting the Fabric - Aida vs. Evenweaves/LinenCounted 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.People often learn to do counted cross stitch on aida and later learn to stitch on linen or other evenweaves as they become more experienced. Many 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. Aida is worked with one X over one 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." There is a traditional rule which says to 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. 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 color 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 fiber content and if the fabric requires any special care.
For information on fiber content see the "Needlework
FAQ: Fabric". 2. Selecting the Floss/Thread/FiberCommercial charts suggest which type and color 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. If you are lucky, the chart supplied with the kit lists color 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 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. Write down the numbers of the colors you need on the chart next to the correct symbol. If you can't find a color 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 colors look wrong.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 and there are conversion charts in the "Needlework FAQ: Threads, Fibers, Embellishments".Situation: You created the chart yourself, or you want a different texture or finish. 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 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.While we're on the topic of fibers, here is a definition, just in case you ever see references to "Z-twist" or "S-twist." From: Noeline McCaughan <noeline@styx.equinox.gen.nz>... 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". 3. Selecting the NeedleCounted 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. The needle should be large enough to move the fabric threads out of the way just a tiny bit. This reduces the friction and wear on your stitching fiber. The floss or fiber thickness and number of strands used can also affect the choice 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 can make 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. 4. Setting the Floss ColorFloss is generally colorfast, but some people like to be very cautious when using dark or intense colors in heirloom quality projects. If you choose to be this cautious, do the following.
5. Preparing the FabricThe following suggestions are very conservative and cautious. It is safest to list many things of which a stitcher might want to be aware. You are then free to use or ignore whatever you choose.Trim off any selvage edges, as the tightly woven edge may cause uneven tension in the fabric. Some people recommend stitching on a project so that the warp threads go from top to bottom, with what was the selvage edge 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 warp and weft and why you may want to do so. Make sure the fabric is actually the count you think it is. Mark one inch of fabric using pins or some other method. Count the number of squares or threads. If the count is very different than what you believed, you will need to cut the fabric to match the true count. For example, if your 32 count linen is actually 30 count, the stitches and the project will be larger than expected. A bigger piece of fabric will be needed. Cut the fabric to size for the project. Allow at least an extra 3" to 4" on each edge. Pre-rinse very dark or very red fabrics to make sure the color 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-colorfast dye. If there are folds, make sure they will come out. Dampen and press the fabric. Prepare the edges. Some of the options:
6. Hoop or Hand?There is a traditional rule which says to stitch on aida using a hoop and stitch on linen "in the hand". In actual practice, people do whatever works best for them. Many who like their fabric taut do tend to avoid hoops in favor 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 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":
7. Thread LengthFloss 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 fibers 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. 8. Number of Strands to UseThe number of strands of floss to use is, as with most of counted cross stitch, open to individual choice. Traditionally, a certain amount of the background cloth should be visible. However, some people prefer a full, covered look. Some common choices are two or three strands for 14 stitches per inch, two strands for 18 stitches per inch, and three or four strands for 11 stitches per inch. Try a few stitches on a scrap of the project's fabric to see if the look is what you want.9. Where to Start StitchingYou're finally ready to make that first stitch on a new piece of fabric. What's the right location in which to start? The center of the cloth? The upper left? The lower right?The design should be centered. Find the center of the fabric by folding it in half, then folding it in half the other way. Mark the center with a pin, a stitch, or some other method. While the design itself should be centered, where you start stitching that design is up to you. Here are some different schools of thought.
should start at the upper left corner of the design: 10. How to Start the ThreadAnd now for a strong suggestion--do not knot the thread. An exception might be made for a special case, such as an isolated stitch with no other stitches near it in the design.
Running UnderRun the thread under four or five 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. A variation--if you stitch in a manner that leaves vertical lines on the back, try whip stitching or weaving the thread up (or down) a few of these vertical stitches. This technique makes for a very neat looking back. Loop MethodThe 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 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 gently pull the loop tight. 
Knotless Waste KnotStart 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. Careful placement of the tail before you start will cause the tail on the back to be covered as you stitch. When you have completed some stitches, pull the tail to the back side. Run it under the new stitches if necessary.
Waste KnotThis 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. Start the thread from the top side. Careful placement of the knot will cause the tail on the back to be covered as you stitch. The remaining tail on the back is run under the new stitches if necessary.
Away Waste KnotThis is similar to the waste knot described above. The tail on the front is knotted, to act as an anchor. Start the thread from the top side. It should be placed out of the way so the tail does not get covered while you stitch. At a later time, the knot on the front is cut away and the remaining tail on the back is run under existing stitches. An away waste knot gives you much more control over the tension and the way the first and last stitches appear from the front.
11. Making the XOne of the few rules in counted cross stitch is that all the stitches should go in the same direction. It doesn't matter if the bottom half goes "/" and the top goes "\", or vice versa. Just make sure that every stitch in the project is done the same way. And to be perfectly honest, there are exceptions to this rule such as 3/4 stitches.Stitchers who use the traditional method complete each X as they go: 
Stitchers who use the Danish method do the bottom stitches first, and complete the X's as they return: 
Many people use a mix of the two methods. They may use the Danish method for most stitches, but do the occasional isolated stitch as a complete X. Another school recommends doing rows with the Danish method and columns with the traditional method. This causes the thread on the back to make vertical lines. Apparently, some antique samplers which were done in the traditional method survive today because the X's hold the fabric together, and the thread forming the X's themselves is less stressed. The "one-X-at-a-time" approach works well when stitching over one thread, rather than the usual two, as it helps stop the thread from disappearing behind the fabric. Many people find the Danish method to be faster, and to result in less confusion about current location. Choose a method
which you like, preferably one which results in neat backs. While a
neat back isn't required for a good looking front, it usually
helps. 12. Fractional StitchesFractional stitches (1/4, 1/2 and 3/4) are simply cross stitches with missing arms. They are used to provide a rounded look to a picture (1/4 and 3/4), or an airy look (1/2).
Fractional stitches (1/4 and 3/4) can be much easier to do on linen or other evenweaves. 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 linen, as the needle simply goes between the two threads. A 1/4 stitch is done by coming up from one corner of the square and going down in the center. A 3/4 stitch is most often done by stitching the short arm first, like a quarter stitch. It is completed with a 1/2 stitch to make the other two arms. Note that this is an exception to the rule that all stitches must go in the same direction, as the long arm of the 3/4 stitch may go either "/" or "\". There are some occasions where people choose to do the 1/2 stitch first and anchor it down with the 1/4 stitch in order to achieve a certain effect. Frequently, a 1/4 stitch and a 3/4 stitch share a single square. This means that a decision is left up to the stitcher. Which side is the 1/4 and which the 3/4? As in just about every other area, this is up to you. Here are some different methods. Each provides its own distinct look.
13. Carrying Threads OverYou can carry thread over on the back if there is no stitching between two areas of the design, but only for short distances. This means three or four squares on aida, or four threads on linen.The thread can be carried farther if the region between the two areas has been (or will be) filled in with other stitches. How far? This depends on the relative darkness of the colors. The carried thread should 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 five or six stitches. Try to plan your work so that it isn't necessary to travel very far to do the next stitch. What if a design has individual stitches with no other stitches near by? Imagine a design that represents snowflakes by individual, scattered cross stitches. It calls for each cross stitch to be done with three strands of white floss on a dark fabric. You try traveling from stitch to stitch, but the white floss shows through the fabric. What to do? Try the following. Use one strand of floss, but stitch the first half of the stitch three times. Now you have the first slant done, with three strands of floss showing. Do the same for the second half of the stitch. When you travel to the next stitch, a single strand in the background won't show through as much as three strands. Or, if you want
to get a little more radical, use knots--one of the few cases where
I think using knots is good. Use a single strand to do the stitch as
described above. Then take the two ends and tie a square knot to anchor
the stitch and cut the ends short. A knot made with a single strand
won't be very large and shouldn't create a lump on the front. If you
plan on entering the piece in a contest, don't use knots. 14. How to End the ThreadNot surprisingly, the techniques for ending the thread resemble those for starting the thread.And now for a strong suggestion--do not knot the thread. An exception might be made for a special case, such as an isolated stitch with no other stitches near it in the design. One good method is to run the thread under four or five 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 or weaving up (or down) a few of these vertical stitches. This technique makes for a very neat looking back. 
15. BackstitchingAny backstitching should be done after all the cross stitches in the area are complete. The number of strands to use should be given in the chart instructions. Most often a single strand is used.A common way to start and end the thread is to run it under four or five of the existing cross 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. Backstitching can be done left-to-right, right-to-left, top-to-bottom, bottom-to-top, or even on a diagonal. It all depends on where the outlines need to be. A backstitch from left-to-right would go like this (up on the odd numbers and down on the even): 
To turn a corner without leaving a diagonal on the back side (up on the odd numbers and down on the even): 
Some people prefer the double running stitch (also known as a Holbein 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): 
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. 16. Preventing Twists and KnotsSeparate 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.Run each separated strand of floss over a damp sponge just before using it. This makes the floss lie much smoother and flatter. 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. See section "31.3 The Right End of the Floss" for more information. Let the thread dangle every so often and untwist it. 16.1 RailroadingYou can use a technique called railroading to prevent twisting. On the top half of the cross stitch, 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.The dot in the diagram below represents where the needle is must go to complete the stitch. 
In case the directions above don't make sense, here is another description. From: Martha Beth Lewis <marbeth@ix.netcom.com>... Here is some lovely ascii art to get you started: # x o Bring the needle to the front of the work at o. You'll be going down at x, but don't do anything yet. 16.2 Laying ToolsA laying tool can help keep threads untwisted when you stitch with multiple strands of floss and other fibers. Using it requires an extra hand, so having the needlework in a frame on a stand helps.Many things can be used as laying tools--a very large tapestry needle, a very small knitting needle, a trolley needle, or even a real laying tool. Start your stitch
by pulling the needle and thread through to the front as usual. Lightly
pull the thread away from the direction of the stitch. Use the laying
tool to stroke the thread against the fabric near where the thread emerges
from the fabric. This should make the strands lie flat and parallel.
Complete this part of the stitch by putting the needle into the fabric
and pulling it to the back as usual. As you pull the thread through
to the back, use the laying tool to keep a small amount of tension in
the thread. This will keep those newly stroked strands parallel. 17. Where Am I?There are many approaches to keeping track of location. Find the method that is easiest for you:
Using highlighters, I use yellow to mark the symbols of the color I am going to work with next. I have the symbol count in my pattern info, so I count as I go to make sure I get them all. This allows me to plot the most efficient course of stitches that I can through the chart. As I complete these stitches, I go over the yellow with a pink highlighter. Now when I look at the chart, anything that is orange is done. 18. Stitching On Linens and Other EvenweavesAn 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. Evenweave fabrics may be made of linen, cotton, man-made fibers and blends.Linen may be an evenweave or an unevenweave fabric. Sometimes an unevenweave linen is used when recreating an old sampler. For the purposes of this FAQ, we'll assume we're always discussing evenweave fabrics. For a look at the "aida vs. linen" debate, see section "1. Selecting the Fabric - Aida vs. Evenweaves/Linen". For information on the fiber content of different fabrics, see the "Needlework FAQ: Fabric". There is a traditional rule which says to 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. 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. Experienced stitchers of evenweaves recommend starting next to a vertical thread. This is easier to explain using a picture. If you start your X's like "/", then... 
Come up at 1 and go down at 2 (or vice versa). If you start your X's the other way, like "\", then... 
Reasons for starting next to a vertical thread:
19. Stitching Over OneStitching "over one" refers to stitching a picture on linen or another evenweave over one fabric thread. This is often done with one strand of floss, or "one over one".In the previous section, we found that stitching over two threads of a 28 count linen produces the same size picture as a 14 count aida. But stitching over one thread of a 28 count linen produces a picture only one quarter the area. There can be a problem with stitches rolling or slipping to the wrong side of the fabric. This is much less likely to happen when each X is completed before starting the next. There are additional techniques to prevent the problem. Two are described below. On the diagram below, come up through the fabric on the odd numbers and go down on the even. Each X goes over one thread intersection of the fabric. Each fabric intersection has either a horizontal fabric thread on top or a vertical fabric thread on top. Suppose you make the first half of the first stitch by coming up at 1 and going down at 2. Your stitch is going over a horizontal fabric thread. Because of this, you should go horizontally underneath to find the starting hole for the second half of the cross stitch. So, come up at 3 and go down at 4. Make the first half of the next stitch. Because you just went down at 4, you must come up at 5 and down at 6. Your stitch is going over a vertical fabric thread. Because of this, you should go vertically underneath to find the starting hole for the second half of the cross stitch. So, come up at 7 and go down at 8. 
A second approach
uses the Danish method of doing the bottom stitches first along a row,
and completing the X's on the return trip. But to prevent the stitches
rolling to the wrong side of the fabric a continental stitch is used
rather than a half stitch. This looks like a half-stitch from in front,
but the back is a long diagonal. For these diagrams, come up at the
odd numbers and down at the even. 
20. TweedingTweeding, sometimes called blended needle or blended thread, is the use of two or more colors of thread in the needle at the same time.How the two colors
should lie in relation to each other is up to you. Some people prefer
to have each stitch look the same. Other people will let each color
fall how it may (subject to no twisting) from stitch to stitch. 21. Using Variegated FlossVariegated floss is used to create interesting effects and one-of-a-kind pictures. While you are always free to do as the spirit moves you, there are some more organized approaches. The following is one method, but is by no means the only one. Read DMC's pamphlet #15235 "Cross Stitch with Variegated Floss" for information on another.Remove the floss
from the skein and wind it lengthwise around a yardstick. Those of you
living in countries on the metric system might have to saw a few centimeters
off the end of a meter stick. Carefully cut the floss at the middle
and at each end, to give you four groups of floss. Two groups should
be lighter and two should be darker, overall. Combine the two lighter
groups together and consider them to be one group. Do the same with
the two darker groups. As you stitch the design, complete each X as
you go. 22. French KnotsThis FAQ focuses on counted cross stitch, but there is one other stitch that should be discussed. That is the French Knot. It shows up in many counted cross stitch designs.To make a French Knot:
23. BeadsIt is common for designs to require beads. Beading should be done after the cross stitching and backstitching.The thread may be beading thread, floss that matches the color of the bead, floss that matches the color of the background fabric, quilting thread, or any kind of transparent thread. Each will produce a different effect, with a light-colored thread brightening the bead's color and a dark colored thread deadening the color. The needle may be a beading needle or a #28 tapestry needle. The simplest method to attach a bead is with a half stitch or quarter stitch. One method to keep the beads from drooping or sliding requires two strands of floss. Attach the bead using a half stitch, 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 floss around the bead so one goes on each side, and go back down through the second hole. Another technique, which is said to work well for a row, starts with the beads attached along the row with half stitches. At the end of the row, the thread is run back to the beginning by going through the beads, above the fabric. Yet another method
uses a full cross stitch. Attach the bead using a half stitch, then
complete the cross stitch while going through the bead again. The order
and direction of the two half stitches determines whether the hole in
the bead points side-to-side or top-to-bottom. 24. Signing and DatingShould you sign and date your work? If it is intended to be entered in a competition, possibly not. Find out the rules first. Otherwise, go for it! Be proud of your skill. Signing can make a piece more valuable as the years go by.Samplers usually incorporate the stitcher's initials and the year into the design. All other designs require a little more creativity on the signer's part. Some people use permanent ink and sign on the edge, where it will be hidden by the mat or frame. Personally, why would you want to hide this interesting and valuable information? Some people find a way to stitch their name and the date with teeny letters, over one or two threads. Try out some variations on scrap cloth until you find a look you like. Don't abbreviate the year. Stitch "2000" rather than "'00." Your stitching may survive you by many years, and even though you may think the project is unimportant, later generations may disagree. There are several
things you can do to make a signature visible but unobtrusive. For example,
use a thread color that is only a shade or two darker than the fabric.
Or incorporate the signature into a shadow, using the shadow's color.
Or put it below an object, using the object's color. Or figure out a
way to make it part of the design... 25. Cleaning and StoringObviously, when it comes to cleaning needlework 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 is 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:
I am right handed and usually hold my work with my left hand. To prevent stains, I wear a white cotton glove on my left hand. It works wonders :) I just completed a bell pull (6 months of regular contact) and there were no dark stains lurking anywhere :}
To clean, use something which is pH balanced and has no whitening agents. This means something like 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. Orvus is actually a trade name for sodium lauryl sulfate. Try using one teaspoon per gallon of water. 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 immediately until the water rinses clear. Unroll it 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. CatastropheWhen catastrophe strikes, all the tips listed above should be ignored. Just do what you have to. People on this newsgroup have used detergent, bleach, hydrogen peroxide, Goop and ice to remove soda pop, rust, mold, vomit, catsup and bleeding dyes.Bleeding FlossYou look down at the lovely counted cross stitch picture that took you six months to complete. To your horror, you see that the dye from one of the floss colors has "bled" onto the fabric. What to do?You may be out of luck if the fibers aren't washable. But if they are washable, or if you decide that things are so bad you have nothing to lose, try the following. If the bleeding happens while you are washing the project, don't let it dry. Rinse and soak the project in cold water. Keep rinsing and soaking it until the bleeding is gone and the water rinses clear. The process could take a few minutes or several hours. If you see bleeding on a dry project, put very cold water into your sink or a flat, nonmetallic pan. Have the water just deep enough to cover the project as it lays flat on the bottom of the sink. Pour in a layer of ice. Let everything soak without any scrubbing. Replace the water and ice as needed. The process could takes days. RustFrom melaina, who posted using a friend's account, on treating rust stains:...I had a brand new white cotton sweater that was laid to dry over a chair (dumb I know) but it had about 20 different rust spots on it some were about 1 inch square. Anyway my mom found a remedy in an old stain guide. AND IT WORKED!!!!! First make sure to test it that it does not make the color run or fade. Here it is............. Scorch MarksPeople on the rec.crafts.textiles.needlework newsgroup have suggested the following for the removal of scorch marks. Try these only if you are facing a catastrophe, as they may affect the colors.
PencilFor pencil marks, try an art gum eraser available from most art supplies stores.Miscellaneous StainsMary L. Tod <mtod@umabnet.ab.umd.edu> credits Barbara Knaupf, the owner of The Stitching Post with the following recipe:This is the magic recipe I got from the Stitching Post when I discovered blotchy green stains all over my "Angel of Grace" at the time I took it in for framing. (The stains were a STUPID error caused by my using a brand-new, never been washed, green towel to dry). I just about lost it when I noticed all the spots. The recipe worked like a charm! Piece was saved, and so was my mental health! Here goes:Tyrie J. Grubic <telilah@teleport.com> reported a cleaning method that was discovered at Cross Stitch Corner in Bellevue, Washington, when attempting a last-ditch, nothing-to-lose stain removal:2 Tbsp Ivory SnowMake however many gallons-worth to cover your fabric, and soak overnight, or for as long as it takes! Mine came out in 24 hours. I don't know if this will do the trick for hi-liter, but they don't call it *magic* for nothing! Anyway, it works, does *not* damage the piece at all, does not cause any bleeding of colors, etc...Here's the method:From there, continue as recommended earlier and press between clean, white towels. 26. Soft HandsMany people find that their efforts to keep their hands clean to protect the needlework results in another problem--dry hands.Sometimes a cream or lotion must used. This shouldn't affect your needlework if care is taken. The most important characteristic of any cream you choose to use is that it not be greasy. People on the newsgroup recommend Au Ver a Soie Hand Lotion, Acid Mantle Lotion, and Udder Cream. Udder Cream was developed for use on cows' udders, hence the name. It is available in feed stores and, increasingly, needlework shops. There is sometimes confusion about what is and what is not Udder Cream. It is not the same as Bag Balm. In fact, different products are sold under the name of Udder Cream, and not all are kind to needlework. Excerpted from a posting by Tara R. Scholtz <tara@wam.umd.edu>: ...I've found three! And all have green metal tins!!! The one with the strawberries (?) is the greasy stuff. It's also yellow (the strawberry tin that is). The strawberry tin and its bigger counterpart is marked trademarked by one company (forget which one) and that is only mentioned in *some* publications, I couldn't find that trademark - but the name is used by other companies anyways. Farnham has its own bag balm - the green tin for that also says bag balm. Real confusing.Excerpts from another posting by Tara R. Scholtz <tara@wam.umd.edu>: The white stuff by Redex Industries, Inc. is used as hand lotion. It is greaseless and stainless but does contain lanolin & allantoin (which causes problems for some people)... 27. Mounting, Matting and FramingNot all needlework needs to be framed like a picture. Needlework can be found on pillows, linens, clothing, box lids, jewelry, light switch plates, and so on.While you may not think the twenty little holiday ornaments you finished late last night have great value, this is not your decision to make. Fifty years from now, they may be someone's pride and joy. And you don't want to be the person who messes up someone's priceless collection of early twentyfirst century needlework, do you? If you are going to frame your project, here are some suggestions. They are very conservative and cautious. It is safest to list many things that a stitcher might want to know. You are then free to use or ignore whatever you choose. If you take your work to a shop to get it framed, ask the people there if they do conservation framing. Make sure they are aware of the following issues.
28. Changing Skin and Hair TonesAt times, you may want to change the skin and/or hair colors of a figure in a chart to make it look more like someone you know. Although some charts print alternate floss colors, this is still rare. The type of chart most likely to give multiple colors for hair and skin is one with a wedding theme.Marilyn Leavitt-Imblum, the designer of the Lavender & Lace, Butternut Road, and Told in a Garden designs, has alternative skin colors on some designs. Lists for Asian, African American and Native American are also available from her offices in Maine. Included below, with the very kind permission of Marilyn Leavitt-Imblum, is a quote from a post she made to rec.crafts.textiles.needlework... Keep in mind that you are going from light to dark, this is a color range. Going up or down the scale will lighten or darken the range. DMCAfrican American: Skin...... - 3772 + 632 E 632+898 Lips in 356 and outline features in the 632+898 blend Eyes and brows are outlined in 3371 Hair... Most designs have 4-6 hair shades...the darkest 2-3 shades I make 310 black. Then use 3371 for one or two shades and the lightest symbol with 3031 Native American Skin....light to dark 950 3773 407 3772 632 Hair...light to dark 3781 3031 3371 310By finding the colors asked for on a design and laying them out light to dark you can match the shades you want to replace them with. Make a new legend for your replacement colors. 29. Stitching on Other Backgrounds29.1 Silk GauzeStitching on silk gauze is actually a form of petit point, but a person experienced with either form of needlework should have no trouble stitching on silk gauze (except possibly for vision difficulties).The fabric is a special silk mesh originally made for the medical profession for the treatment of burn victims. Although several mesh sizes are available, the one most commonly used for stitching is 40-count. This means 40 stitches to the inch, or 1600 stitches to the square inch. The gauze is extremely expensive, at over US$300 (yes, three hundred dollars) per yard. Luckily, a little goes a long way. The gauze sold for stitching may come mounted in a cardboard frame, and is sold in sizes such as 5"x7". Keep the gauze in the frame while stitching, and remove it after you are done. The thread used for stitching may be cotton floss or silk. Use one strand of thread. It does not need to be very long--probably 10" or so. The needle should be small and sharp, such as a small crewel needle. The chart may be just about any counted cross stitch chart. Keep in mind that you will not be able to do any quarter stitches. Also, any additions such as beads will be too big. Note that we follow the counted cross stitch tradition rather than the needlepoint when it comes to filling in the background--we do not fill in the background unless the chart calls for it. The gauze is allowed to show. The stitch is a continental stitch rather than a cross stitch. This looks like a half-stitch from in front, but the back is a long diagonal. For this diagram, come up at the odd numbers and down at the even:
Do not carry thread across the back in an area that will not be stitched. It will show through. If you have trouble seeing the work area (and most people will), use a magnifying lamp and hold the gauze over a dark background. 29.2 Waste CanvasThis is a way to do counted stitch needlework on non-evenweave fabrics. Waste canvas is a special type of evenweave fabric which comes in a variety of mesh sizes. The fabric is unusual in that its threads are held in place with starch. The waste canvas is used by basting it onto a non-evenweave fabric, such as the front of a sweatshirt. This provides a grid for doing counted cross stitch or other counted thread stitches. Once the stitching is complete, the waste canvas is removed by dampening the canvas to remove the starch which binds its threads together. These threads are then removed one at a time, with tweezers.30. Equipment30.1 NeedlesHere are some comments from Wombat <wombat@clark.net>...Well, I showed up for a class/meeting with the #10 needle I thought I would need, only to discover I was supposed to have a #10 sharp and I had a #10 crewel. A #28 tapestry did suffice and I then went home and did research. |
