Filed under: ANG New Jersey Needle Artists Chapter, Tumbling Stripes by Marilyn Owen
Last month, Jacqui from New Jersey Needle Artists continued Tumbling Stripes by Marilyn Owen by going over Stripes 1-4 (working from the center out).
Stripe 1 in blue floss (DMC 797) worked fine with 3 strands of floss. Two strands looked skimpy with just enough speckles of white showing through to make me go to 3 strands. Apparently, coverage on 24 count isn’t that much different from 18 count.
Then, I thought I would use the darker blue floss shown (DMC 820) and the Petite Sparkle Rays in Stripe 2. The dark blue 820 looks a lot darker in the photo but sure didn’t when I stitched with 2 and 3 strands up against 797 (no photos). I tried both because 3 was way too heavy, and 2 was still heavy. Then, the Petite Sparkle Rays was way too wide for the stitch on Congress Cloth.
So, I pulled my old favorite Bijoux MMT437 Sapphire (same value) and decided to use 2 strands and go even thinner. And, the Petite Silk Lame Braid SP11 was thin enough to work. So, this stripe may not have the same color contrast as the original, but it definitely contrasts with Stripe 1. I was hopeful that it would work with Stripe 3, and it did.
For Stripe 3, the blue Silk Lame Braid was the right color but was too heavy (For 13 count). So, I pulled out 2 silk and 1 rayon fibers (the same as what Petite Silk Lame Braid comes as). I can’t remember the teacher who told us you can thin down Silk Lame Braid, but it works. I decided that combining them together would too, and it did. I wouldn’t recommend this for larger pieces, though. Also, since I had to repeat the first and third rows in the same DMC floss and Herringbone is worked left to right, I used half of the long floss on the top row while the rest of the thread was parked out of the way.
For the 4th stripe, I stayed with 3 strands of floss and my makeshift Petite Silk Lame Braid.
I’m ready for our next session tonight!
I heard about Adjustable Stretcher Bars by Frank A Edmunds and found a set of 12″ and 16″ online and had to try them – because they exist!
They are easier to put together than Evertite bars (no hammer needed) and square up better. But, some of the bars hang off. With the first arrangement, I could attach my lap stand along the upper left extended bar which which would be good but the lower right extended bar would be cumbersome because I am right handed.
So, I switched orientation.
I can’t make the canvas more taut by shifting the bars because they interlock. Evertites are easy to stretch taut with the turn of a screw.
Once I get stitching on this project, I’ll see what it feels like.
Does anyone else use these?
Updated November 2024: They are going to Ebay. They didn’t keep the canvas tight. And, they easily got bumped out of shape. Not for me.
Filed under: ANG Needle Pointer's Article, ANG Needle Pointer's Timeless Treasures From the Archives
It’s rare for me to have worked on the diagrams for a piece in the ANG Needle Pointers magazine and still have the stitched model (unless it’s my design). But, my Needle Pointers magazine arrived today, and I still have it.
At some point, the stitched piece went from Ginny, the stitch guide writer and stitcher, to Maureen, the editor in Maine, who took it to Seminar in Atlanta, gave it to Kristen who I know flew with it back north to the Philadelphia area, and finally gave it to me. I am waiting for the shipping address to return it to Ginny. I wonder home many miles this has traveled! Hopefully, it will go home before the next Seminar!
As you can see, there is usually plenty of time to get photos, diagram, and put the stitch guide writer’s text into the format for the magazine. Consider:
- volunteering your time to help with articles. Staff does need to rotate periodically.
- offering your painted canvas stitch guide for an upcoming magazine. Keep track of threads and stitches used, and we can turn it into a lovely stitching project like this one.
And, I would be remiss if I didn’t mention the Timeless Treasures From the Archives. I love reading the old issues. This month takes us all over the internet and back to various alphabet diagrams that never go out of style.
Past and present issues are available online to all ANG members (needlepoint.org).
Bill and I will not make it to Woodlawn until the end of the month. But, photos of the special award winners are posted and a list of the just over 400 entries with award winners named are also posted at https://www.woodlawnpopeleighey.org/2024specialawardwinners.
I went through the list and only saw 2 entries for Canvaswork Multi-Stitch (4+), Original design, Adult. My Fireside Sampler got a 3rd Place award and the other by Mercedes B for Porch at the Grand Hotel got 2nd place. I never took a photo of my framed piece before sending it for exhibit! So, that will be in the post when I get it back from the exhibit along with any other comments from having seen the exhibit in person.
There were some Canvaswork Multi-Stitch (4+), Commercial Design pieces that I recognized by name including Pyramids of the Oasis, Swan Song, Razzle Dazzle, Confetti, Medieval City, Raffie, Africana, and Northern Lights which were all from ANG New Jersey Needle Artist Chapter members. There are a couple of pieces called Fibonacci but not sure if they are the Fibonacci Swirls by Olivia Hartshorn (ANG Needle Pointers Mar/Apr 2022), and Anaszi Dream, and Walking on Waters Edge that are name I recognize. There are plenty in the category, close to 100, but I don’t know them by name.
Deborah Merrick-Wilson had 3 original designs in goldwork win awards – always lovely pieces!
And, Norma C won (for the second year in a row) the Director’s Award for her work on The Majesty in the Miniature category which is when the piece is worked on at least 32 count over 1 thread. It does not have anything to do with the size of the piece. She told me her piece is about 15 inches by 7 inches and is worked on 36 count linen over 1 thread. I’m looking forward to seeing her piece in person, too!
Congratulations to all regardless of awards – it is always a great exhibit. It’s running through March except on Tuesdays.
I’m still cleaning up and organizing my needlepoint (fighting a never-ending battle against acquisition, clutter, and letting go). One pile had this experiment with skip tent basketweave and skip tent horizontal that I decided (for a little while) did not have to continue.
Then, I found another 3″ square already stitched. So, I decided to finish this one for a pair of coasters (not that they match). When these get worn, I won’t mind (as much) throwing them away.
I found the repeat of colors on a skein of Watercolours (Painted Desert 093). I made sure colors did not repeat when folded in half. Then, I cut the threads the same length. Each of the 4 areas was stitched differently as follows:
The upper left corner for 19 diagonal rows starting in the upper right corner of that square: Skip tent basketweave, reverse thread to fill in, then skip tent basketweave.
The upper left corner for the next 11 diagonal rows: Basketweave every other stitch up and back down, reverse thread, and repeat. Ok, I admit that I actually made a mistake following my own diagram and wasn’t ripping it out! I can see the middle is different from the two corners.
The upper left corner for the last 15 diagonal rows: Skip tent basketweave, reverse thread to fill in, then skip tent basketweave.
The upper right corner starting in the upper right corner: Skip tent horizontal, reverse thread to fill in, then skip tent horizontal.
The lower left corner starting in the upper right corner of that square: All basketweave.
The lower right corner starting in upper right corner of that square: Skip tent basketweave, reverse thread, then skip tent horizontal.
What did I learn besides what I already knew which was that the stitch path makes a visual impact on the color flow?
The skip tent basketweave may have had the least streaking if I stitched it correctly.
A horizontal effect can be obtained. That was a surprise, probably because I had never stitched skip tent horizontally before.
Basketweave created the most streaks, which are clearly diagonal.
Combining skip tent and skip horizontal resulted in some diagonal streaking and some clumping of colors.
Another overdyed thread probably would have yielded different results. And, where you cut the thread will also change the look.
Melitastitches4fun's Blog 
Filed under: General comments, Woodlawn Needlework Exhibition
Bill and I visited the Woodlawn & Pope Leighey House for the 61st Annual Needlework Show. It was a sunny day yesterday. It was great for driving, but it caused glare issues with the photos. Glass on pieces is allowed at Woodlawn.
If I knew the designers or if they were mentioned in the docent’s notes, I will provide that information.
I already discussed several pieces in my previous post (https://melitastitches4fun.com/2024/03/07/fireside-sampler-at-woodlawns-61st-annual-needlework-exhibit-2024/), and they did not disappoint, especially Deborah Merrick-Wilson’s goldwork (original designs, so I won’t show photos).
It was nice to see my piece framed! I’d forgotten I had selected one with gold and silver to go with the mirror and candles. Mine was slightly below eye level, and you could get a good look at it. It received a ribbon for 3rd place in the original design multi-stitch category.
Many of the canvaswork pieces I enjoyed seeing were either from New Jersey Needle Artists Chapter members or Colonial West Jersey EGA members. I don’t want to leave anyone out, but in August, NJNA will be reviewing all the pieces, and I don’t want to spoil the meeting by showing them all here. I will share 2 photos here.
Diane Burgess knocked it out of the park with her choices for Razzle Dazzle by Ann Strite-Kurz. Ann visited the exhibit, and she enjoyed seeing it in person. I learned that Ann chose the original stained glass colors because the original design was adapted from a scarf pattern in the Smithsonian Christmas catalogue that was inspired by cathedrals.
Bill and I both voted for Ellen Briggs’ (also from NJNA) Swan Song as our People’s Choice. Pam Miller of Edwardian Needle gave stitch suggestions and lace from her own wedding gown. It’s so beautiful and interesting.
Pam also helped Amy Bretan with a Bride and Groom, but the lace came from a dear friend of Amy’s. She akso went very colorful with Pyramids of the Oasis by Wendy Moore.
Too many pieces were up to high. All of Sue Chadwick’s especially Raffie, the adorable giraffe, by Kurdy Biggs were way too high to appreciate the complicated stitches. But, it’s a stunning piece and nicely framed.
Rosy Lunde’s Africana by Lorene Salt and Confetti by Ann-Marie Anderson-Mayes are great and the framing is too. Very colorful designs with deep colored mats and wood would allow displaying these together possible without overwhelming each other.
Barbara Levy (NJNA) has to have stitched the largest kimono I have ever seen! It’s a counted design called Kimono Revisted by John Wadell. Amazing!
Cathryn Curia’s colorway for Northern Lights would look wonderful in our bedroom!
Linda Mosch has a couple of lovely samplers as well as a crewel embroidery piece, Jacobean Fantasy.
Linda Pleyer’s Designer Handbags and Black Party Dress are stunning.
The EGA Colonial West Jersey (CWJ) members had a variety of pieces on display. There were quite a few impressive cross stitch pieces, including Nancyanne Carkeek’s Sunflower Bee.
Here’s a close-up. The shading is amazing.
Louise Wilson is a prolific stitcher also from CWJ. She had 8 pieces, including 3 versions of an EGA Petite Project, Landscape Series by Karen Wojahn. I got photos of her fall and spring version, but not winter. Love them.
Patti Tidemann, current President of CWJ, stitched a wonderful piece by Carole Lake, Anasazi Dream. Carole passed away earlier this year, and it’s wonderful to see one of her lovely pieces here.
There were several other large cross stitch pieces worth mentioning including Barb Meier’s Bathtime (designed by Heaven and Earth), Meghan Benson’s Autumn Trails (designed by Charles White), Kim Smith’s Seashell Wreath designed by Janlynn/Nancy Rossi), Elizabeth ONeal’s Cross Stitch Tiles, and Ronald Walker’s Portrait of a Horse which could have jumped off the canvas. The shading on each piece was incredible.
Several people I run into at the EGA Mid-Atlantic Regional meetings (hopefully, I’ll see them April 6 in King of Prussia), including Judy Herrick and Donna LaBranch who exhibited too. Here is Desert Strands by Judy. That is pulled work. She also did a lovely Ukrainian whitework tray.
Donna always has great pieces on exhibit. My favorites were her Little Red Rooster that was a heavily beaded surface embroidery and original design (so I won’t show a photo). Her Loudoun Sampler Guild Mystery Sampler has lots of interesting motifs.
Christin Louden stitched a lovely Kurdy Biggs Rescent Angel. It makes a perfect stand-up figure.
It looks like the eastcoast stitchers are quite taken with Ann-Marie Anderson-Mayes of Beautiful Stitches (several designs were shown). Here’s Versailles, which will be one of the pieces Ann-Marie will be offering to NJNA members after the ANG 2024 KC Seminar. Sherri Gordon with the EGA Mollies chapter (who have stitched my Overdyed Spools and A Spring Sampler) exhibited hers.
I was really taken by the head of cauliflower done by Marian Smith! It was stitched in shaded wool on cotton homespun and uses wire to hold the shapes of leaves.
My ANG Main Line Stitchers chapter is going to be doing Fibonacci Swirls by Olivia Hartshorn from the ANG Needle Pointers magazine (March-April 2022 issue). Beth Peternell’s color choice is fantastic and beautifully framed.
I saw Pat Mazu’s purse/jewelry roll that she designed for her journeyman level Master Teacher Program and named it Flowers on a Trailing Vine. Pat taught it 3 times, once in the Potomac/Washington DC area. I bought one a couple of years ago and use it for my paper piecing project (that I need to get back to doing). Lovely design! Pat remembers Sandra Erb from several of her classes and is delighted to see another one finished.
A few people in our area have been doing the needle felting projects by Brenda Stofft. Elizabeth Dietz made a great Splendora the Witch. The detail and finishing is mind-boggling on these 3D characters. Cleo of Busy Lizzy helped with the finishing.
An always amazing category is the miniatures (32 count or less). Besides Norma Campbell’s The Majesty which you can see got a Director’s Award and is posted on Woodlawn’s website, there were other notable miniatures including Arlene Cohen’s Summer Rose, Sharon Fullerton’s Cardinal Crystal Jar, and Alison Kearney’s Rose Window (designed by Mary Hickmott).
Haystacks of Giverny by Katheine Diuguid was an online EGA class. It is interesting that Julianne Otto’s is more yellow (top photo) and Regina Thek incorporated more red tones in the Haystack (bottom photo).
This year, Norma Hiller stitched Safari by Terry Dryden and one of Gail Stafford’s lovely landscapes, Fog in the Mountains. I am looking forward to an online landscape class in May with Gail offered through ANG Cyberpointers.
In the non-judged areas, the EGA Washington DC chapter displayed some lovely pieces of all types.
There were antique tools collected by Nelly’s Needlers displayed as well. They did a wonderful job with the displays. All the birds were in the Hall. I like the theme approach. And, they serve as docents keeping a watchful eye and offering comments about some pieces from the notes they have on all the pieces.
Most of the beadwork and mixed media embroidery pieces are original designs and so I won’t show them. There were some really great pieces.
Another nice exhibit, although I wish they had opened one of the two unused rooms upstairs in order to lower many of the pieces. It’s especially great seeing pieces from people I know. There are still a few days to get there!