Filed under: ANG Certification Programs
Did you know Sheila B was the first to complete American Needlepoint Guild’s (ANG’s) Master Needlepointer Program revamped program? Her experience with the first 4 stages is written up in the Sept 2018 issue of Needle Pointers. Briefly, there are 2 phases. The first 4 stages test the stitchers techniques, use of color, and texture. The first 2 pieces require transferring a design provided by ANG and the second 2 pieces require you to select stitches appropriate to a painted canvas (either one you paint or purchase) with a landscape or a seascape. The second phase, Senior Master Needlepointer, requires creating original designs. Judging is twice per year but you can take up to 5 years to complete the first 4 stages.
The other four ANG certification programs are discussed in the following issues:
- Master Needle Artist, Sept 2020; “designed to advance the artistic skills within the Candidate and to develop that ART into an original needlepoint design”.
- Judging Certification, May 2021
- Master Teacher, Sept 2021
- Needle Appraisal, Nov 2021
Brenda has shared her experience with ANG’s Master Needlepointer Program on her blog, Brenda’s Needlepoint Studio. She learned about this program from an article written in ANG’s January 2021 issue of Needle Pointers where a description of the four stages was given. Brenda completed Stage 1 which had to use 8 of 20 stitches including a pulled thread stitch in a monochromatic colorway using DMC floss to demonstrate the usage of the appropriate number of strands. She used basting and pencil to transfer the design to Congress Cloth. Brenda worked within the blue-greens and used a variegated thread from ThreadworX. Brenda passed by receiving 99 out of 100 points. Love her colors. Looking forward to seeing her second stage piece!
For more info go to https://www.needlepoint.org/page/Certoverview
Filed under: Canvas Master Craftsman Program, Embroidery Guild of America, Steps 1-6
One more post about the EGA Master Craftsman Program for Canvas! I decided that I wanted all 6 pieces in one post. I began the EGA program in the fall of 2019 and completed all 6 steps by the spring of 2023.
EGA has eight Master Craftsman Programs. Briefly, the programs “are designed to promote excellence in embroidery by providing the accomplished needleworker the opportunity to demonstrate skills and become certified as a “master” in her or his area of expertise. Each program area consists of six steps that test the ability and workmanship of the candidate.” To obtain further details about each program online, you must be a member of EGA. Judging is usually twice per year but you can take up to 2 years to complete each step.
Step 1 has you demonstrate that you can transfer a design and execute 10 stitches (no more and no less). The fabric type (18 count monocanvas), type of threads (stranded cotton), and color scheme are specified. I used 5 monochromatic values in what DMC calls Golden Yellow. I used lighter colors and smaller stitches to have certain elements recede. I turned the stitch on the right fish’s fin to add movement. I employed thread blending in some manner on all 3 fish. Documentation in an Artist’s Statement must include stitches used, source of stitches used, and threads (including 4” samples of any threads used).
For Step 2, you demonstrate that you can transfer a design, execute 21 stitches (including Turkey Work), and compensate using an analogous (Yellow, Yellow-Green, and Green) colorway. EGA supplied the geometric pattern again. It had to be done in an analogous colorway in cotton floss. I selected Yellow, Yellow-Green, and Green for my analogous colorway (which is 3 adjacent colors on the color wheel including a primary color; tints and shades allowed).
As I did the Turkey Work from bottom to top, the nap of the threads were pressed downward. So, I didn’t notice that the coverage wasn’t as full as I expected when it was fluffed up. I used 2 strands in the left side of the photo and 6 strands (as Mary Corbet suggests in her YouTube video) in the right photo. Much better! At least the stitching was easy to remove from the backside.
Step 3 has you use at least 4 diaper patterns in a split complementary color combination (mine is yellow-orange, blue-green, and blue-violet). Diaper patterns create strong visual diagonals in both directions. After studying the extremely thorough book, Diaper Patterns, by Ann Strite-Kurz, I decided to make this a diaper sampler by incorporating the eight basic pattern networks (square, diamond, brick, half-drop, triangle, hexagon, scale, and ogee) into a design. Networks moving clockwise from top left are: Scale, Brick, Half-drop, Diamond, Square, Hexagon, Brick, Half-drop, Triangle, and Square on the Diagonal with an Ogee in the center.
Step 4 has you incorporate 8 different bargello patterns but not into a “sampler”. However, each pattern must touch another Bargello pattern in the design. Any color combination was allowed. I selected a tetrad that are two sets of complements: yellow-orange (browns), yellow-green, blue-violet, and red-violet.
Step 5 has you place a canvas applique of a smaller size count canvas onto a larger size count canvas (my wings are 24 count placed onto 18 count). Pictured are my 2nd and 3rd practice wings. This is the only step that took me a year (thinking, planning, and practicing). I’d never done applique before. At least one applique has to be an irregular shape and greater than 1” square. I started this piece shortly after seeing the article Tale of Two Stitchers in the Needle Pointers (Mar 2021) regarding the 2 painted canvases of owls “Who Gives a Hoot” although mine doesn’t look like them. At first, I was going to make the round eyes the applique until I realized that a circle is not irregular! So, I switched to making the wings the appliques which actually made better sense since they should be in front of the body anyway. I would have padded it but the instructions didn’t say you could pad it. After my submission, they changed their instructions to clearly state that padding is allowed.
In a nutshell, Step 1 of making a canvas applique is to pull threads out to the stitched piece (in progress in left photo). Step 2 buries some threads on the back of the applique (right photo). The rest of the threads are pulled to the back and buried in the surrounding stitched area. It is time consuming.
Step 6 had to be an original design utilizing previous steps. This was an opportunity to redo a piece I designed years ago after taking First Steps by Nanette Costa. I learned 30+ stitches through my first ANG Correspondence Course and used those stitches in this fireplace. I especially wanted to make the design area taller instead of square and change the candles and background. This has well over 30 different stitches most requiring compensation. Bargello for the flames and a diaper pattern for the background. The rug employed a 21-step thread blending formula to move from light to dark using DMC Floss 842, 841, 840, 839, 838 (5 strands).
At least one of the judges felt the white in the flames was a little strong but that the ThreadworX overdyed was a perfect choice for the sooted walls inside the fireplace. The diaper pattern wallpaper recedes (as it should) and adds just enough texture to add interest. Different values of the bricks and logs add dimension as do the Smyrna cross stitches around the large Jessica. The glow on the rug is lovely and well-executed. I provided the 21-step thread blending formula to move from light to dark using 5 strands of 5 brown DMC Flosses in the Artist’s Statement.
I enjoyed the challenge, highly recommend the program, and thank the panel of three judges who thoughtfully reviewed each piece.
The March issue of the Embroiderers’ Guild of America magazine, Needle Arts has an advertisement for the American Needlepoint Guild (ANG). Look at the cover on the issue – it’s my design, Tahitian Treat – from the Mar/Apr 2021 of ANG’s magazine, Needle Pointers! Very cool.
Filed under: Canvas Master Craftsman Program, Embroidery Guild of America, Step 6
Step 6 of the EGA Master Craftsman program for Canvas had to be an original design. This was an opportunity to redo a piece I designed years ago after taking First Steps by Nanette Costa. I learned 30+ stitches through my first ANG Correspondence Course and used those stitches in this fireplace.
I especially wanted to make the design area taller instead of square and change the candles and background.
The updated piece (pictured below) passed with distinction and all 6 pieces will be going to Boston for the Seminar!
At least one of the judges felt the white in the flames was a little strong but that the ThreadworX overdyed was a perfect choice for the sooted walls inside the fireplace. The diaper pattern wallpaper recedes (as it should) and adds just enough texture to add interest. Different values of the bricks and logs add dimension as do the Smyrna cross stitches around the large Jessica. The glow on the rug is lovely and well-executed. The rug employed a 21-step thread blending formula to move from light to dark using DMC Floss 842, 841, 840, 839, 838 (5 strands).
Thanks so much to the three judges who take the time to review and critique the pieces. It was a challenging experience with some angst occasionally but I enjoyed the process.
Filed under: Crewel Stitches - Judy Jerow, Embroidery Guild of America, Mid-Atlantic Region
The EGA Mid-Atlantic Regional Spring meeting was held Saturday May 6 in Wilkes-Barre, PA. I went up on Friday because the Take Home a Project (THaP) class, Stitching with Crewel Stitches, with Judy Jerow started at 8:30 am. THaPs are geared towards chapter representatives returning to teach it to their chapter members. It’s my 2nd class as a student after teaching Overdyed Spools as a THaP in 2021.
Judy published Creative Crewel Embroidery: Traditions and Innovations. I don’t own the book but wanted to mention it because she is extremely knowledgeable and talented. One student had just gotten a copy of the book (used for a steal at a library sale-lucky lady-Donna!) and got it autographed.
With this design, we learned to use stitches other than long and short to shade a floral design. We learned how Judy makes chain, burden, French Knots, Coral Knots, stem, and outline stitches. She was frank and funny particularly when she said you can show me how you make these stitches but I’m here to show you how I make them. Then, you can do whatever you want!
I bought polyester Twill tape to wrap the inner hoop. There are 3 issues with the hoop (that I can live with for this project but a purist might find troublesome). 1. The hoop is plastic. Wood is preferred because they grip the ground fabric better and apparently don’t distort as easily. 2. The Twill tape is polyester. Natural cotton is preferred. The ground fabric can grab the cotton better keeping it stretched better. 3. The fabric is linen Twill and so wrapping the hoop wasn’t even necessary!
It was a 3-hour class that felt like half that long. The first stitches, chain (right sise in photo) and Coral Knot (left side of photo), weren’t worked on the hoop. And, I didn’t get to stitch the others. So, I didn’t use the hoop! I can’t stitch and listen. As I heard someone in class say, it’s not a race. With that said, this was my progress in class (except for the French Knots that I practiced on a napkin). There is no shading evident. But, there will be.
Cindy, one of my tablemates from Williamsburg, joined me at my table – nice to see her again. Several of the ladies let me know how much they and their chapter members have enjoyed Overdyed Spools.
Class was over in a flash. I learned how to start a thread and Judy even discussed her blocking method. I’m glad I got to get a lesson from her before she retires. She recently celebrated her 64th Wedding Anniversary!
Using 2 stranded wool is required to make it Crewel. This design and techniques are applicable to other threads but then is would be called Surface Embroidery. Good to know. Appleton wool is THE wool to use. And, I don’t care for it. It feels almost rough. We had 2 colorways to select from. One had pinks and the one I selected had yellows. We got 9 needles. Once I start shading, I’ll need them.
On Friday, Kristen and I made a road trip to Edwardian Needle and joined the large turnout who shop, stitch, and gab all afternoon. Very nice time – the whole weekend was great. Kristen is easy to travel with. My purchases will be the subject of a couple of upcoming posts.
On Saturday, we joined the ANG Central Jersey Chapter (CJC) for their meeting/Stitch-in. They are getting started on Crescent Journey and I displayed them as a group again. It’s fun to discus how different each design turned out because of the differences in colors and values. I saw the start of 4 of the 5 colorways and a fifth that incorporates blue instead of black with neutrals.
The chapter will also be stitching my Festive Fireworks published in the July/Aug 2017 issue of Needle Pointers. So I took that along again for them to see and talked about the project briefly.
Since CJC hosted the Autumn 3-Ways Workshop with Toni Gerdes, I took it along for my Saturday stitching project. Before I left for the weekend, I had stitched the veins and stems on the leaves. And I almost finished the 5th border, another padded long-armed cross stitch (that was also the stitch for the first border) during the Stitch-in. I did get that done Saturday night and the beads went onto the 3rd border on Sunday after I got home. The beads are Delica Beads Size 15. According to the instructions, it looked like they were intended to be stitched horizontally between the motifs but I stitched them vertically because the beads are tubular and fit in the space so much better in that orientation. And, my compensation in the corner did not leave room for a bead but that’s ok.
I’m finally getting back to Circles: Theme & Variations by Lois Kershner, the ANG 2008 Stitch of the Month. A few of my ANG Main Line Stitchers chapter members are stitching this too. I expanded the diameter to about 8″ to use as a cover for the white wicker basket I made a few weeks ago.
The next pattern tackled was the 2 Round Bargello units seen on the right. I used 5 strands of the second to lightest of 5 shades of blue from the package Chameleon, Shades of Africa, Two Oceans. I repeated the Smyrna Cross Eyelet Combination used in the Circular Buttonhole. I also used the white ThreadworX again although I removed one ply so it wouldn’t be too overwhelming. There will be lots more of the Round Bargellos.
I did use a slightly lighter blue marker for the upper sections before working from the darkest Round Bargellos up towards the lightest ones. Working them in all one color is easier than switching colors but it makes a nice effect.
The ANG Central Jersey Chapter (CJC) hosted the Autumn 3-Ways Workshop with Toni Gerdes.
I stitched the shading on the middle leaf one day when all was quiet and still could not get the stitch pattern to work for me. I thought I had it right but alas, no! So, it is my variation of Toni’s Oblique Cross Stitch variation. The shading is as Toni suggested. It moves from dark on the outer edges to lighter in the center.
The fourth border, a multi-trip Herringbone, was stitched with 5 colors. I placed the first trip on the canvas at home the night before the Saturday Stitch-in with the Stitchers of Grace at the Grace Evangelical Lutheran Church in Hatfield, PA (a couple of weeks ago). This was the second time I joined them for their annual spring event. A nice group of stitchers. I stitched almost 2 trips in a couple of hours.
The last trips were finished during the following weekend’s Stitch-in with my ANG Main Line Stitchers chapter and later during some March Madness basketball games. This border was like a game with 2 overtimes! It took over a dozen trips – around and around. When I was almost halfway done, I wasn’t thrilled (or maybe just not excited about going around that many more times). Then, once I passed the halfway point, it really started to pop. It’s now my favorite border!
One border, one leaf, and beads left to go.
Filed under: Uncategorized
Because Finnegan’s Mom and Dad, Erin and John, are such big Mickey Fans, I had to stitch a Mickey themed baby announcement for our new great nephew.
The hardest part was finding just the right ears for the letters! I started with an alphabet I found online and modified it to fit my space. I tried 4 cross stitches (way too small), cross stitches combined with Jessicas and/or Rhodes using DMC #8 Pearl. Finally, I went back to 3 strands of DMC Floss and made a larger cross stitch pattern (2, 4, 4, 2) and encircled it with backstitches (bottom left). The one above it is using DMC #8 Pearl – almost the same – so I went with floss. Very happy with it.
I had diagrammed 2002 but luckily saw the error when I pulled up a Facebook photo to check the time and weight. Phew!!! Kids grow up fast but not that fast.
The hearts and letters for Finnegan are DMC Floss black 310, red 321, and yellow 444.
The alphabet is pattern 88 from Alphabets Galore 136. I used 3 strands of DMC Floss green 701, blue 825, violet 552, and orange 970.
The numbers are from Leslie’s Italic Alphabet by Dianne’s Designs from Nametag with Bright Fish, by Leslie Barnes, in July 1999 issue of Needle Pointers magazine. I have a file where I keep pages and booklets of just letters and numbers all together.
The overall design size 8&3/4 wide x 7″ high on 14 count white Aida cloth.
Here is Finnegan and he was actually interested in the piece! His parents really liked it too. It got hung right up!
It took a couple of photos to get him looking at the camera.
So cute!!
Bill and I made it to Woodlawn early this year. The main exhibit has a little over 400 pieces. One lady said they will be placing photos of the pieces in an online exhibit (probably in mid-April) but another thought it was too cost prohibitive based on the number who paid to see it last year and how much the professional photographer charged. Hopefully, they do; and so, I am going to limit the photos I show in hopes you support them online. My photos did not turn out great this year anyway – no close ups allowed (enlarging blurred them) and the light was bright in the windows casting shadows. A good number of them are above eye level making photos long distance anyway.
I found out more about the couch that you can see on Woodlawn’s website. It’s all Nancy B’s original design, and took her 20 years to complete (during the 70-90s). She’s in her 80s now. It must be on Penelope canvas because there is Petite point (small stitches for the motifs) and Gros point (large stitches for the background). It got our vote for the People’s Choice award. Her scenes are amazing front and back! Even the pattern incorporated into the background is interesting (but was impossible to photograph).
Three people (Patti Lynn T, Mary L, and Louise W) stitched and entered my design Overdyed Spools which I taught at the EGA Mid-Atlantic Regional Fall meeting in 2021. It uses an overdyed thread of their choice. Patti Lynn replaced the center spools for a nametag and placed it on a bag. Mary added a black inner border for pop and Louise added beads. I’ve see quite a number of the finished pieces from a variety of EGA chapters and am so glad people are enjoying the piece and making it their own. In fact, I’ll be joining a joint meeting of the EGA chapters Susquehanna/Molly Pitcher Stitchers this coming weekend. Sherri G is teaching it and I will discuss several pieces of mine that manipulated overdyed threads.
The original pieces by other people (which I won’t show without permission) were quite amazing. The surface embroidery of snowflakes captured in negative and positive space by Tina T was stunning. Ekaterina S’s Snowy Evening was stitched on artist’s canvas (docents said she was new to this country and didn’t know what “canvas” meant). Hers was originally placed in the “canvaswork multi-stitch” category but later must have been switched to “surface embroidery” because artist’s canvas is not a countable ground. Her piece titled Autumn is on the same artist’s canvas and is stunning with mist appearing to float up into the hills of green, yellow, and red trees.
I recognized quite a few designs and can name the designer (google will find their websites): Royal Kimono by Toni Gerdes, American Beauty by DebBee’s Design, 3 versions of Stratigraphy by Jennifer Riefenberg (ANG Stitch of the Month 2021), 2 versions of Long Time Gone Stitching by Ann-Marie Anderson-Mayes of Beautiful Stitches), Fibonacci Swirls by Olivia Hartshorn (Needle Pointers Mar/Apr 2022), Star of Stitches (Stitch of the Month 2020), Winter Logs and Serenity by Kathy Rees, Anasazi Dream/Song/Spirit by Carole Lake, Stacked Rectangles by Susan Hoekstra, Gordian Knot by Rachel Atkinson (past ANG Correspondence Course), Pyramids by Wendy Moore, 2 versions of Circles of Life by Lorraine Salt, Woven Ribbons (May/June 1999 Needlepoint Now magazine), Candles Bright by Mary Knapp, Patchwork Evergreen by Janet Casey. There are even a few more I’ve seen but I’m not sure of the designer.
I hope my Main Line Stitchers select Fibonacci Swirls next year. Sue C did a lovely job selecting her own threads.
Linda M of ANG Main Line Stitchers stitched Rainbow Butterflies (a Laurel Burch canvas) for a chapter program discussion of selecting threads for a painted canvas last year and I was thrilled to see it in the exhibit! Congratulations to Linda on a blue ribbon for the Stratigraphy she stitched with threads selected from her stash.
Cecilia, one of the members of ANG Main Line Stitchers, recently contacted me about potential stitches for The Plague Doctor (a full length robed piece). So, I was surprised to see a different version by Stephanie St.C appear at Woodlawn. Cecilia shared the story behind these pieces (wiki it for the details) but that pointed thing is a mask. A Google search reveals its popularity is widespread.
The number of blackwork pieces were more than I remember from last year and they were all amazing. Abigail’s Sampler by Claudia K is impressive because it is reversible and framed on a stand so you can see both sides. The Flower Basket by Michael Ann B is so crisp and bright with the gold outlines. Save the Stitches by Cheryl W is a sampler of all different (130+) patterns intertwined with hints of a rosy-purple adding more interest throughout the piece. It is designed by Liz Almond. And, German Sampler 1661 by Sally P hangs like a large bellpull consisting of band after band of various blackwork patterns. I really am hard pressed to select my favorite in this category but the complexity of the large number of interlocking patterns seen in Save the Stitches edged out the others.
The Japanese Embroidery is beautiful but my favorite is Weeping Cherry by Mary Louise S because of the gentleness of the colors and falling leaves.
Not as much goldwork on exhibit as in past years but a simple and elegant blue ribbon winner of goldwork by Alison K called Queen Anne’s Lace gets my vote for favorite goldwork piece.
Samplers range in variety as usual from traditional to more modern and my featured sampler is by Linda M from NJ Needle Artists who puts a lot of effort into supporting Woodlawn. Congrats to Linda for a Blue Ribbon with Thanksgiving Sampler.
Cross-stitch was not forgotten this year. The geometrics (both designed by Ink Circles), Circular Lights by Jill B and Tangled Fire by C Tobias are beautiful. You can practically smell the Blue Hydrangeas by Lauren B. Bravery by Sumira O is a huge lion head mounted on a shield with a sword piercing his head on a diamond background. But the shading obtained by Tiffany in A Mother’s Love Sepia Elephants (designed by Carolyn Thornton) is lovely and despite being much smaller than the lion, I am partial to elephants.
I wish I could go through all the categories but there is so much diversity, I’d never get back to stitching!
The EGA Constellation chapter and Oatlands chapter celebrated their 50th and 40th anniversaries while the ANG Shenandoah Valley celebrated their 20th anniversary with quite a prolific and diverse collection of needlework. Congratulations to all 3 chapters! I couldn’t tell which pieces were with each chapter but my 3 selections are Asymmetrical Copper by Jeff Kulick (love this colorway; instructions are in the Nov/December 2020 issue of Needle Pointers magazine), Ruby Razzle Dazzle by Ann Strite-Kurz (so intense looking and instructions are in my stash), and a saying that about sums it all up (designer unkown; perhaps a Victorian motto).
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