basting in lines for cross stitch

I learned that lesson the same way -- LOL! Now I will baste both vert. & horiz. CENTER lines of the design in one color and the heavy grid lines according to where they are on the chart! I usually start stitching in the center but even then, having the center lines basted helps a lot when you need to work in an area not close to the dead center of the chart. Oh -- and I use all of the old, ugly colored spools of sewing thread to do my basting. Sewing thread is usually very "clean" -- no fuzzies to speak of. You can even use the really old stuff that you got from your Granny's sewing basket after she went to the Rainbow Bridge! Basting doesn't really put any stress on thread so the really old stuff works OK. You just want to make sure it's still color fast (almost always it's OK) and not so old it is actually disintegrating -- LOLOL! CiaoMeow >^;;^<

PAX, Tia Mary >^;;^< (RCTQ Queen of Kitties) Angels can't show their wings on earth but nothing was ever said about their whiskers! Visit my Photo albums at

It's just a leaf motif- i pulled it out of a chart from a Just Cross Stitch magazine from 1995...it's very small, i know you will laugh, about 55 by

35.... but i wanted it to be as perfect as possible since there is a deadline for finishing it. I don't want to be in the middle and find out that i blew it and have to start over. Being quite slow about things has it's drawbacks!

and when i am done it will get cut off the main piece of fabric and used in a greeting card. The chart was black and white symbols and small, so I enlarged it quite a bit in order to see and started on the lower left end of the leaf. (stem to the right and leaf is horizontally laid out...it;s a very curly leaf.

It's from the JUly August issue from 1995. Would love to get my hands >

If it's the Sept/Oct 1995 issue of JCS you're looking for I'd be happy to send you mine. I have magazines in excess of storage space and this is just one of them. Reply to me at luv2count at aol dot com Just note in the subject Just Cross Stitch mag so I don't inadvertently delete it.

Joan in NY

Joanie, private email done and sent! You are so generous and gracious-thanks so much. Can;t wait to see it. The part of the band sampler that is in that issue is the needlelace band.

ktj

If it's the Sept/Oct 1995 issue of JCS you're looking for I'd be happy to send you mine. I have magazines in excess of storage space and this is just one of them. Reply to me at luv2count at aol dot com Just note in the subject Just Cross Stitch mag so I don't inadvertently delete it.

Joan in NY

That was interesting to me. I totally agree with basting a piece that numerous folks will work on. But, personally, with designs like Mirabilia or MLI, I just start in the middle and work out - so haven't ever had to baste.

I have recently had my students baste an outer border line. For the geometric piece, Twister, which isn't counted - but is a set of 4 blocks that should be the same size (drawn on the congress cloth). After speaking with some others that taught this piece, and what worked for them - I decided to have them count the 145 threades right.left, up, down from the center lines and put in a basting line. They only had to baste the right and left sides - like a long, shallow "C" or in reverse - so that way when sittching each motif they could be sure to end in the right thread line. They could then just stitch the actual design right under the basting thread. Working like a charm, cause you can look and see if you're ending in the right place - so to speak.

FWIW:

When I did EarthDancer, it was an absolute necessity to lay down a grid! The area of the woman that was solidly stitched wasn't the problem, it was that *#$*$&% God's Eye that was a total P.I.T.A. I also needed gridding in the lower right area where the little trees are and the pots or some such. This way, I could quit working on the figure and go work on those trees, etc. as a break. Before I started work on the piece, I got a LOT of input from people who had stitched it and they ALL said that if I did nothing else, I MUST grid the area where the God's Eye would be as it was totally impossible to get that *#$&*#$^$% thing done properly without the grid work!! They were right and I was eternally grateful that I took the time to grid the piece. I like to grid the big stuff because it let's me easily wander my stitching from one area of the chart to another so that I can work with a different color, design element, etc. Without gridding a huge piece like an MLI, it's virtually impossible to meander your stitching area from place to place like that. I'm like you -- I usually just find the center and start there and work out. After working on several large pieces tho', I have learned that I like the freedom to wander my stitching from one segment to another so that I don't get as bored with the piece. CiaoMeow >^;;^<

PAX, Tia Mary >^;;^< (RCTQ Queen of Kitties) Angels can't show their wings on earth but nothing was ever said about their whiskers! Visit my Photo albums at

I totally understand - and agree - I'd probably at least have partially gridded.

I just realized that what you describe is the way I generally work. I just started a piece that has a border all arouind and I started at the upper left hand top and went half way across.

Now I'm ready to do some of the center part, but I think I'll probably only go half way this time too and do the side border as I go along.

.>

ellice wrote:

I don't know if you were around ages ago when I started a humongous flame war -- and I'm probably starting one again :-) -- by saying that plain old cross stitch is BORRRRING and doesn't take a lot of skill. And before some of you get all pissed off, I am NOT denigrating cross stitch design or finished work, etc., some of my best friends do plain ordinary cross stitch (she says with tongue firmly in cheek). Hell's bells -- *I* do loads of plain ordinary old cross stitch! I am simply talking about the skill level needed BY AN ORDINARY PERSON LIKE MOST OF US to stitch one X after another! I realize there are a LOT of folks out there who can only do regular XS because of vision or health problems and I am NOT putting them down because of this!!! I am talking about the actual formation of the stitches -- it's a freeking X for heaven's sake and anyone who has some basic skill with their hands, can pay attention, can see, read & follow directions can learn to make that basic X. There is some skill in keeping the count correct but that also basically paying attention and takes focus, not a lot of talent. I'm not saying that basic XS is bad or people who prefer to do only XS are less skilled, etc. But face it -- when talking about the actual mechanics of forming the stitch -- we aren't talking rocket science here :-). It's way too difficult to describe what makes a skilled piece of XS better but it IS noticeable when put next to a piece that was done by someone without much skill. HMMM -- maybe that's a good topic for another discussion! Of course, changing design elements, like changing fiber colors, fiber type, fabric type or color takes some skill to get everything looking good together. If I am going to do a piece that is XS only, I usually add some sort of fancy fiber like Wisper or blending filament and maybe some beads and French knots if there's a spot for this stuff. I like the texture and interest that this gives to the finished piece. I also like XS only designs that use partial stitches, long stitches (like KITTY WHISKERS), tweeded colors, etc. in addition to the standard X. Getting all these different elements stitched properly takes skill. I am like you, my most favourite designs incorporate elements from all different types of needlework. I think that's why I LOVE band samplers so much. There are so many different stitches requiring all levels of skill in a band sampler and I truly feel I have accomplished something when I finish one. I would REALLY like to see the design you are talking about with the motifs stitched over top of previously stitched areas -- sounds VERY interesting to MOI!! I'm sure there will be some who are just totally pissed off at MOI thinking I am saying they are somehow "less" because they choose to do XS only designs. I'll reiterate -- that is not what I mean and I think XS only designs are perfectly wonderful, totally acceptable and I do a LOT of them myself. But you all gotta admit -- stitching one X after another gets to be pretty boring! CiaoMeow >^;;^<

PAX, Tia Mary >^;;^< (RCTQ Queen of Kitties) Angels can't show their wings on earth but nothing was ever said about their whiskers! Visit my Photo albums at

There's the issue of stitch tension, and complicatedness of chart (lots of confetti vs. big blocks of one color).

Anyone can definitely see the difference between something by The Silver Lining with those incredible shadings and the same subject in a beginner kit using only one or two colors.

But late at night, I'm not going to work on a SL and screw up the confetti counting, so I keep a few of those idiot-proof pieces around.

Some of you will remember that a few years ago, I was on an experimental medication that was so strong it not only did what it was supposed to do really well, but left me totally stoned the whole next day. In order to do some stitching, I had a couple of beginner kits. And when I looked at the end result, it looked like it was stitched by a beginner because my stitch tension was so awful. (But, by golly, I was stitching!)

I do agree and yes, I too do plain, vanilla cross stitch, but I prefer some kind of challenge and I dearly love to try something new.

Even little things like changing the apples to oranges in the little band sampler I recently made for a gift was satisfying.

Lucille

Wow - is this a "great minds think alike...." moment? Not implying greatness on my own part, but having seen all your lovely finished pieces...

Ellice

Thanks much for the nice words.

Question, At first glance, I'm kind of loving the little turtles and can see them sitting on the top of my sewing machine. It very rarely gets opened so they can settle in happily and make friends with the pewter turtle pin cushion that already lives there.

Is this a kit or can I change the color scheme to some kind of blue or dark teal or something in that family? It looked like that wouldn't be a problem but I didn't have a chance to read it through.

Lucille

>

On 7/17/08 2:53 PM, "Tia Mary" wrote:

LOL - I was around, and probably said something. But, you know, I don't jump into all the flame wars ;^)

So, I'm going to respond - not hoping to start one - but with a hopefully, carefully worded POV.

Agreeing. Now here goes. And, lest some of you don't know - and heck, why waste brain cells remembering such trivia about someone else - I "r a rocket scientist" by training, and profession. But, my confused little brain has also had its share of piano lessons since age 5 and painting/art classes since age 9.

I don't think just doing XS is beneath me. I really like some intricate designs that are all XS - and some just wacky things. But, I (engineer thing about striving to be perfect) worked pretty hard to learn a lot of technical aspects of stitching. Also - at times I have a brain like a butterfly - just flitting around. So, if a piece is just XS, it may lack some challenge for me - and I will get bored. But, if the design really calls to me - not a borderline thing - then I'll go for it. Since I've been teaching a lot this past year (doing portfolio stuff for master teacher program) I've really thought about this - what is better/worse. But, at the same time - managing a shop I recognize that some stitchers are perfectly happy with whatever they're doing and don't want to improve/get critiqued/get advice, etc. That's fine. Then there are those who are enthralled with the details - what makes one piece better/worse, prettier, more balanced, hareder/easier, and all the technical stuff of various materials, stitches, etc. When people ask "why take a class" - well - for me, and those classes which I teach - it's not just another project. To me the idea is to share tidbits - the fine notes. Why one XS is better than another - keeping tension even, how different threads flow, 2 strands or 3, why use a frame - what kind - what difference does it make. Why ply your thread as opposed to just pulling 2 strands together. What do you consider when you change colors/threads - light reflection, texture, etc. And, most importantly to me - helping those stitchers to find the best, easiest way for them to enjoy their stitvhing - not having to reinvent the wheel. I've done the first of 2 sessions for this "Beyond Beginning" class - the "Bee Kind" from Elizabeth's Designs. It's very sweet (I'll post a pic soon). The class asked really good questions, and we talked about how you pick the route of travel on a chart, what happens if you cross things up, carrying threads - how far is too far - tension of your stitches - the issues that happen if your fabric is pulled too taut - or it's loose and you haven't gott your own tension consistent, even why ply your thread, and backs. Personally - what I gleaned from judging cert classes, and experience, I tell them no one is really going to look at your back. The XS police aren't likely to make a house call - what's important is that what you do on the back shouldn't detract from the front - so I'm a firm "no knots, bumps, lumps" person. But, there are times when a spot of fray check or similar is called for. I'll teach the non-typical "use an away know" if you're doing a stitch that has nothing to anchor to, then later you go back and weave the threads. All those things, which taken together are the technical, not always so easily seen, but still tangible things that may make a piece of XS better than another - or worse.

I totally agree. I happily take some license to pick fabrics, amend some thread types, etc. OTOH, I think it's important to stay in a design ethic - not go so crazy with changing that you lose the beauty or quality of the design. Recently, someone who had taken a class with me (canvaswork) and done a couple of pieces on her own, brought in a couple of framed pieces which had myself (and Donna) shaking our heads - in private. One of them, a very clean, abstract design by Orna Willis, done in bright colors - the stitcher had just plopped some darkish bronze (largish) beads in several "empty" spaces. Then, on top, dead center, had put a beaded flower - but it was beads strung on thread then kind of knotted into the flower design that we all draw in the 2nd grade - and not well done. So, here's this clean, abstact, modern, bright (yellow/pink/green) piece - all smooth, crisp, lines/curves with this childish poorly beaded, darkish "flower" sitting dead center. A case where in her rush to "personalize" and tell people she'd modified a famous designer's piece - the stitcher totally lost track of the piece. The other one, different piece - she had stitched - done a reasonable job - and then got to the center. This section (the piece is like an aerial view looking down on a box garden, pathways, flower boxes) in the middle has a complicated stitch at each corner - a spider web, some waffle variant, etc. This particular stitcher gets impatient - and with this type of canvaswork patience, technique will show in the actual final look of the stitches. So, she just went ahead and did them - but didn't practice the stitches first - being in a rush for Woodlawn as she's sure she'll get a ribbon. And guess what - she brought it in from the framer en route for us to take to Woodlawn - and the central stitches are horrible - looking like 4 rather large, metallic, lumps of knots. Not even going into the loose threads in the byzantine stitches, and some of the woven or laid stitchses - our take was we wouldn't have even framed the piece - certainly not til that was fixed. This is a really sweet person - but it's really, really hard to have her in a class 'cause she is constantly assuming expertize that isn't there - and "helping" . And doesn't understand why her pieces didn't get ribbons...especially when she and another student put in the same piece, same colorway (the class piece) and the other student did get a ribbon. And, inevitably, she ends up stitching a bunch to be able to show the class how much she's done - and then will have to rip huge parts because it really doesn't look right, or was counted off, etc. So, to me - this is my 3rd category of stitcher - the one who wants to do "fancy stuff" but not really do the work. As in wants lots of oooohs and aaahhhhs but isn't really going to learn to see the technical differences. This is a bit rare to me - IME most stitchers are happy with what they're doing, and will expand their horizons a bit as they wish, or they're all gung ho doing lots of techniques, joining guilds, working on their skills. That in-between - who wants to do something "fancy" but doesn't really care to do it well (out of impatience or lack of ability to see the difference) is pretty rare.

Me, too. Though I've been enjoying finding reproductions and others that aren't in band format. The Ann Barriere sampler - the birds are stitched on top of the grass, and IIRC some of the other elements have overlap. Scroll down at this link. The trees are pretty much free embroidery, and they are done over the fence, as well.

I haven't done that much on linen with overlapped work areas, but have donea bit on canvas. I've been working on redoing the instruction book for myframeweight, and have been plotting a new original piece - which I'm hopingto teach at guild sometime next year. That one is to use layers -incorporating some drawn thread/cutwork techniques with other stitches.

*big nsip*

Assuming you're talking about Ellen Chester's "Quaker Turtles" from With my Needle. It's not a kit, just a chart, and you can easily change the color. IIRC, it's done with 1 or maybe 2 colors, and we had people pick whatever overdye they liked - some did a Silk'n Colors, some did a cotton. Then just chose a fabric to go with. It's really adorable.

Ellice

That's the first thing a lot of people need to learn -- no one's going to cart you away for changing a green dress to a blue one to match your decor.

And, in fact, that's one reason I do CCS, because I get impatient. On blue-line stuff, I can find a zillion shortcuts (more strands for faster coverage, don't pack the satin stitches quite as tightly, etc.), but on CCS, I have to do every last stitch individually. The only shortcut possible is deciding to leave out some of the BS.

Yep. I've met my share of them at SOXS/HOXS. "Look, I have completed

10,000 pieces this year and it's only August!", and you're left shaking your head, this isn't a race of who can finish the most stuff. They're done, but so badly done that I wouldn't want them on my wall.

I once timed myself at 300 stitches per hour over big blocks of color (about half that on Silver Lining confetti). From comparing notes in groups, 300 is fast enough for most people to be impressed. Yet, there was one who insisted that she did 800 per hour. Privately, we questioned what the end result looked like if she was racing through at nearly 3x the speed that causes most people's jaws to drop. I'm sure she's got plenty of missed stitches and spots where she only caught 2 or

3 of the 4 Aida threads. But she's the fastest stitcher in the group, and I guess that's important to some people. (Funny how she was also the one who never wanted to share photos.)

But you see that in all areas of life, the people who want to make $100,000 a year in their first job without working their way up to it. Or think that your job (whatever it may be) sounds so easy that they don't have to waste time getting the background education, they can do it just on innate intelligence. (What do you mean I need physics classes to be a rocket scientist?)

Or that it's infinitely easier to do a complex piece of XS on 6-count than 36-over-1. The holes may be easier to see, you can stitch it without your glasses on, but a row of 14 colors in 16 stitches is still a row of 14 colors in 16 stitches.

With enough magnification, you can make 36 look like 6. With enough practice, you can get the right stitch tension over-one that your stitches don't hide under the ground threads. But, in the long run, you're still doing the same amount of counting and confetti, whether you're doing your Silver Lining on gauze to fit a brooch or on 6-count to make a bedspread.

ellice wrote:

I think I really want this kit. I don't have an LNS anywhere nearby so can you get It together for me?

It will be a perfect fill in while I'm working on a Dimensions Kit that I don't really love but was picked out by a friend for me to do as a special gift to her. It's not as bad as some and has some couching and half cross and straight stich detail, but it's not what I wanted to do now.

I'll write you off line with my proper email address.

Lucille