Filed under: ANG New Jersey Needle Artists Chapter, Embroidery Guild of America, General comments, Ruby Razzle Dazzle by Ann Strite-Kurz, Seminar 2023 - Boston, Threads, Understanding Color Relationships: Luster and Luminosity with Patricia Goaley
I’ve got a lot of small stuff to finish. I decided to get back into the swing of it with new coasters for us.
For Bill’s coaster (on the left), I folded over along the edges and tacked them into place with invisible thread. Details on how I stitched the 4 corners differently are at: https://melitastitches4fun.com/2024/03/02/manipulating-overdyed-threads/
For mine (on the right), I folded over along the edges and practiced the buttonhole stitch. I used black DMC Perle #8 and could have used #5 because some canvas is showing through. The design is from a class on Color and Luminosity with Pat Goaley during the EGA Seminar in Boston (more on that at https://melitastitches4fun.com/2023/09/03/ega-seminar-class-2-understanding-color-relationships-luster-and-luminosity-with-patricia-goaley/).
For both, I glued black ultrasuede on the bottom using Aleene’s Fabric Adhesive.
Next up is a blue sample from Razzle Dazzle by Ann Strite-Kurz that I made into a bookmark. More on this at: https://melitastitches4fun.com/2024/02/16/ruby-razzle-dazzle-by-ann-strite-kurz/
I used black DMC Perle #5 this time to make the buttonhole edging across 3 canvas threads. It has less white showing. I didn’t fold back the edges to make it a thinner, lighter finished piece (compared to the coasters that have the edges folded over). Then, I cut very slowly, carefully, and close to the stitching without cutting the threads. Here’s the back before covering it with a dark blue ultrasuede.
Again, I glued a piece of ultrasuede to the back (Aleene’s). I placed the glue all along the edges so that the glue touched only the DMC Perle buttonhole stitching. The width of three canvas threads accommodated a nice amount of glue.
It’s thin enough for a bookmark. A pretty one too!
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!
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.
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.
Filed under: ANG Central Jersey Chapter, General comments, Needles, Sashiko Mini Sampler Kit by Miniature Rhino
Before I started a new project, I decided to put away all the threads that I had been throwing in a grocery store bag for quite some time! I’m very glad that’s done. There is more stuff to clean up (and will probably wind up with more threads to put away), but I am making progress.
One of the items that I came across was this Sashiko Mini Sampler Kit by Miniature Rhino. It was in the welcome gift bag from the Central Jersey Chapter (CJC). It’s a recent addition to my stash, but it looked like it’d work up quickly once I get started and rather than find a place to store it, I decided to stitch it. There were no instructions. So, I watched a couple of YouTube videos on Sashiko. There are books too.
The thread gets used as supplied. I tried to separate it into 3 strands because it looked too thick, but it shred. Then, I checked with Jacqui C, who had taught an EGA online course a couple of years ago. It’s the right thread and is to be used as supplied. Jacqui thought DMC Perle #12 might work better for this fabric. The ANG NJNA and CJC Chapters are lucky to have Jacqui in both chapters.
The needles are sharp with a decent size eye. I am excited to use another type of needle. These are longer with a sharp point because Sashiko is done in hand, and generally speaking, you try and scoop a few stitches at a time. I don’t have a palm pad or thimble making multiple stitches difficult. So, I scooped one stitch at a time, mostly keeping the needle on the top as I stitched. The other option is to go with the poke and stab method. This is not a forgiving fabric. So, be sure of where your needle goes.
I decided to try both threads, the supplied thread, and DMC Perle #12. The #12 Perle was thinner, and I could scoop 3 stitches. But, the poke and stab method is more accurate. It probably takes practice to get accurate with the scoop method.
This will make a good Show and Tell piece for the February 13th meeting of the Needlework and Textile Guild of Media. It is from 7-8:30 pm at the Media Arts Council in Media, PA. I did a little reading on its origin. According to wiki, “Sashiko (刺し子, lit. ‘little stabs’) is a type of traditional Japanese embroidery or stitching used for the decorative and/or functional reinforcement of cloth and clothing.”
I have no functional use for this piece, so I need to find a decorative use. According to the meaning of Japanese patterns at Polina Couture (.com), “Literally, Asanoha (麻の葉) means “hemp leaves”. This star or hexagon motif evokes this hardy plant, which grows straight and fast. And so it symbolizes a good growth, vigor and resistance. And by extension, it augurs prosperity.” I went down a rabbit hole online and learned, “Hemp is defined as any part of the cannabis sativa plant with no more than 0.3% of tetrahydrocannabinol (THC), the mind-altering substance in marijuana.”
None of that helped me decide what to do with this. Hopefully, a use will reveal itself!
Filed under: ANG Central Jersey Chapter, General comments, Name Tag Lee Canvas, Tools
I decided to add a blue “mat” by stitching 3 rows of tent stitch using the same dark blue Impressions 6040 used to frame the name.
I cut 4 tabs on each side, folded them back, steamed the canvas, added a piece of magazine board, placed a piece of double stick fusible web on the canvas (about 1/2″ smaller than the canvas), placed a piece of blue Ultrasuede on top and pressed it into place with my iron. I used my ironing cloth to protect the Ultrasuede since I had and still have no idea if applying an iron with or without steam to Ultrasuede is a good idea or not! It is sufficiently stiff and not too thick. I had left about 1/2″ around the edge so I could glue the edges to the white canvas tabs on the back. Glue could not reach the front because of the magazine board. If it did, it would only be on the blue “mat.”
I should have attached the pinback to the Ultrasuede first but my curved needles allowed me to attach it relatively easily. The pinback measures 1.5″ end to end but the center part is 1″.
Have I mentioned that I don’t like necklaces? Well, I don’t! So, I’ve come up with a way to display these.
I started using my Smasta in 2022 as a travel tool kit. Here is the inside. Note the pointed metal arch at the top.
Here is the outside. Note the clear plastic oval. It has 2 magnets that are paired with the pointed metal arch on the inside (originally purchased at Barnes and Noble to hold glasses, but I never used it for that). It was in my travel tote as an extra needle minder if needed at a class.
By placing it where it is now, I can use it to display my name tags as I stitch! My Brandywine Chapter name tag already had a pinback. So, I knew this would work.
I added one to the back of my Main Line Stitchers Chapter name tag just in time for our Saturday Stitch-in tomorrow.
And, the newest name tag . . .
All 3 look great with the blue Smasta!
I believe I got this name tag holder at an EGA Mid-Atlantic Regional meeting. It holds all 3 name tags! The newest one just fit in the center zipper pocket.
That leaves New Jersey Needle Artists as the odd man out. I do have instructions for theirs. Maybe someday.
Filed under: General comments
Thanks once again for your interest in my needlepoint. It’s always fun to look back at what I stitched and framed or finished myself, what classes I took, and what road trips I took. As I look back over 2023, I surpassed 1,000 posts since I started in 2010.
My main accomplishments this past year included:
- finishing the six steps of the EGA Master Craftsman in Canvas (Step 5, Night Owl, was awarded 2nd Place at Woodlawn; Step 6, Fireside Sampler will go there in March 2024)
- beginning a series of articles dubbed Timeless Treasures from the Archives in Needle Pointers (started with the July/Aug 2023 issue). I am really enjoying going back through old issues of Needle Pointers looking for interesting articles that remain relevant today.
I’ve enjoyed my classes and amazing teachers including:
- Learn to Weave with Daryl Lancaster (sponsored by Jockey Hollow Weavers Guild)
- Finishing with Kelly Starke (sponsored by ANG NJNA)
- Pomegranate Heart with Melissa Sebring (EGA Seminar)
- Draw & Paint with Laura Smith (EGA Correspondence Course)
- Shading with Crewel with Judy Jerow (EGA Mid-Atlantic Region THaP)
The pieces that I finished and framed (either by myself, Frames Plus, or Repenning Fine Arts) were:
- Dawn by Textured Treasures
- Autumn 3-Ways by Toni Gerdes
- Finnegan by Melita
- Lady Sybil by Melita (won a 2nd place at EGA Seminar)
I finished stitching these in 2022 but the finishing was done in 2023:
- Blue Hills by Dawn Donnelly (framed)
- Mesa Triangle by Kath Rees (framed)
- JP canvases, Bird of Paradise with Bamboo and Orchid with Bamboo (pillows)
This year I embraced “finishing” in a big way by doing these (I got my finishing supplies organized, improved efficiency, and no longer dread it):
- 24 bulbs for a Christmas Lights Garland
- 4 Gold n Cross Stitch ornaments (no actual finishing required)
- 3 Or Nue Flag Magnets (I designed it for the Needlework and Fiber Guild of Media but the ANG Central Jersey Chapter also enjoyed doing it.)
- 2 Chottie’s Plaid bookmarks
- 2 Bargello Flag ornaments (published in the July/August 2023 issue of Needle Pointers)
- 1 each of these into ornaments (except the last one):
- Amadeus motif (from 2011 SOTM)
- Chilly Hollow motif (from 2011 SOTM)
- Waffle motif (from 2011 SOTM)
- Bells of Scotch (I designed this – watch for it coming to Needle Pointers in 2024)
- 50th Anniversary Round (from Sundance Beads)
- Dawn motif (from Textured Treasures)
- Crewel Wreath (from EGA Petite Projects)
- Circles (made into a basket lid; from 2008 SOTM)
Next year, new projects I have plans to stitch include:
- Landscape Features with Gail Stafford (ANG Cyberpointers Workshop)
- Byzantium with Lorene Salt and Treasures from the Great Lakes with Dawn Donnelly (at ANG’s Seminar in Kansas City, MO; registration opens March 4 for ANG members, March 18 for non-members, and closes May 17, 2024; Seminar runs from August 30 – September 6, 2024)
- Rainbow Butterfly, a Laurel Burch design by Danji (with Kristen for ANG Main Line Stitchers)
- Fibonaci by Olivia Hartshorn (March/April 2022 issue of Needle Pointers with ANG Main Line Stitchers)
- Ort Box with a Twist by Marilyn Owen (with ANG Main Line Stitchers)
The current projects that I will continue to work on include:
- Imperial Topaz by Sue Reed
- Amanda Lawford’s Christmas Angel
- A Spring Sampler in Cinnamon
- Medusa Sea Jelly
- Mary Maxim Quilt Magic Kit of a Poinsettia
The oldest 2 projects that I have high hopes of finishing include:
- Stitches in Sterling by Nancy Cucci (began in Oct 2011)
- Tar River Trail by Gail Stafford (began in Aug 2012; hoping more years of experience and the Landscape Features Workshop will allow me to finish it)
Last but not least, I look forward to leading A Stash Sampler for the ANG Cyberpointers May 2-6, 2024 meeting program (registration is April 15 – May 6).
Read all about it at: Cyberpointers & A Stash Sampler.
Hope everyone has a healthy and happy New Year!
Filed under: General comments
The Wayne Art Center in Wayne, PA, has a wood show and juried craft exhibit that was quite interesting. Linda and I enjoyed seeing the creativity of people.
My favorite ones are in the Fiber category, which you can see at https://craftforms.org/craftforms-2023-online-exhibition/craftforms-2023-fiber/
How do people come up with some of the pieces? They are divided by category, and all can be seen at https://craftforms.org/craftforms-2023-online-exhibition/
The Bowl Me Over bag that Linda made for me could have been exhibited – it is flawless! It does remind me of a bowling bag and has got a magnetic snap flap, zippered pockets, a mesh pocket inside, and 3 slip pockets inside. Her fabric choices are fantastic.
Melitastitches4fun's Blog 
Filed under: General comments, Organization, Tools
I’m using my new mug, Taking it one STITCH at a time, from Linda to help me get organized. This is only one of a few gifts for my birthday, which is one of the big ones as far as birthdays go! Thanks to Linda for thinking of me and for the fun new projects (subjects of future posts).
The mug clears up some table space next to where I stitch. The tall wooden holder outgrew my needs and would periodically tip over. But it’s great for holding my skinny tools and scissors. So, I put the wooden holder inside the mug and added the stuff that had been laying flat.
One of my goals is to get organized. It’s tough to get my mind around this, but taking one area at a time is like taking one stitch at a time – right!?! The rest of the table space still needs to be organized, so I am posting only the mug! But, I am going back to my table space now.