Filed under: ANG Needle Pointer's Article, ANG Needle Pointer's Timeless Treasures From the Archives
In the July/August issue of Needle Pointers in the Timeless Treasures from the Archives article, currently available online, I present hearts from the 1990s, three of the eight heart projects were finished into an octagon, diamond, and rectangle.
In one of the eight projects discussed in the article, you can learn about making thread cards and how to finish a piece into a frame weight, ornament, or needlebook.
I stitched one of the heart shaped designs, Diaper Crazy Heart by Kandace Merric, in one of my favorite monochromatic colorways. I’ll be sending this to support Hearts for Hospice.
Get access to all ANG has to offer for only $60/year (that’s just $10/ issue) plus other free designs exclusively available to members. If you are 35 or younger, ANG offers a 50% discount to new members when they join ANG for online access to all digital issues (no physical magazine is mailed). This is a great opportunity for younger stitchers to join the ANG community of needlepointers! I have alerted ANG that the discounted rate is not mentioned at https://www.needlepoint.org/page/MembershipOverview. Hopefully, once you get past that page, the option to join at that rate becomes apparent. Since I am already a member, I can’t view the registration steps.
Updated August 10, 2025: It was nice to hear from Joan K from Honolulu, HI who loved this heart and wanted to know what threads I used. Although I did not keep track, I was able to go to my stash and look at the photo since I already mailed it to ANG KC chapter. I finished this in May and am 99% sure I used:
Upper right: Vineyard Silk Classic C077 Aruba and C079 Reef Water
Middle right side, bottom left side, upper middle center: Impressions 8014 and 8092 and Treasure Braid TR277
Upper left side: Splendor S880 and S988
Thanks again Joan for reaching out. It’s great to know the articles in Needle Pointers are being read. Hope to see you in Denver next year.
In less than 2 weeks, I will be taking a finishing class with Sue Parsons of Westcoast Finishing at Fireside Stitchery. I just realized that I had finished all my round pieces. So, I went to my very limited (about 12) painted canvases stash. There was ONE round thanks to Linda who gave it to me for my birthday last year. It is a Lani canvas, 3″ diameter, and on 18 count canvas.
Ellen Johnson of Serendipity has a stitch guide formula that first has you identify all the parts of a painted canvas and that’s where I got stuck!! Besides recognizing these as flowers, I had no idea what type of flowers they represent. Also, the flesh colored things and the brown blobs with white veins confused me.
So, I reached out to the Serendipity community and enjoyed seeing the responses come in. I was reminded that if I don’t like the brown blobs, I could change them. Morning Glories with buds took the lead and one woman suggested I ask Lani and supplied her contact information. Within an hour of emailing Lani, stylized Morning Glories was confirmed.
Next, I selected possible threads from my stash.
In case you’re wondering, I laced 2 sides because I didn’t have any 7″ bars.
Now, to select stitches!
Filed under: Brandywine Chapter, Casalguidi Flower by Becky Quine, Embroidery Guild of America, Finishing, General comments
A lovely white lacquered tissue box from The Container Store is perfect for Casalguidi Flower by Becky Quine.
I posted about this design previously at https://melitastitches4fun.com/2024/07/25/roman-ruins-by-joan-rinehart-and-casalguidi-flower-by-becky-quine-for-ega-brandywine-chapter/
Since I have enough coasters, I thought about a tissue box for small designs/stitch samples. I initially bought a clear acrylic one but the tissue box didn’t fit. Crazy! Then, I decided clear wasn’t a good idea anyway. This one is white and 5″ wide x 6″ high, it fits a box of tissues, perfect size for small stitched pieces/samples, and is functional.
I finished it as a flat ornament wrapping the excess fabric on the back over a piece of magazine board and piece of wool felt. It is attached to the box with sticky back velcro.
It’s near other yellow decorations in our bedroom. Love it!!
There are 3 more sides that can be decorated. And, I bought 3 more tissue boxes. Eventually, one will be in our bathroom (blues), extra bedroom (purples), and the other in the living room (whatever goes with brown/beige).
The blackwork actually made a lot more sense this time (first one was stitched in 2013).
I had thought we’d do a small pattern during our June ANG Main Line Stitchers chapter meeting but I figured out that wouldn’t work because it took me 3 trys to get started correctly and over an hour to stitch the sample.
So, at the meeting, I discussed blackwork basics (focusing on reversible blackwork) starting with a double running stitch which means you stitch every other stitch along a line. Come back along the same line, filling in the gaps. When filling in the gaps of your double running stitch, adjust your needle placement: Bring the needle up just below the previous stitch. Take it down just above the same stitch. This technique reduces stitch distortion and helps maintain straight lines (2nd row). Or, use a sharp needle and split the stitches on the return (3rd row). Red indicates the thread below the canvas. The top row always stayed above the thread and appears the waviest.
A few people became interested in learning more about blackwork. That’s what I had hoped to accomplish – exposure to a new form of needlework. Nobody contacted me (yet) saying that they couldn’t do the pattern for the ort box. That’s a good sign. While I learned more as well and itvis pretty, I will not be delving into it more.
There isn’t much to say about the bottom of the Ort Box with Pockets other than it’s pretty too.
Now to construction of the box.
Filed under: Books in My Library, Exploring Pattern in Stitches by Mary Shipp, Needlepoint Books
One of the books in Nanette Costa’s library was from one of my favorite teachers, Mary Shipp. It’s Exploring Pattern in Stitches which is a very interesting topic. I took two of my first three Correspondence Courses from Mary on Color and Design.
Mary grabbed me right from the beginning with her dedication by citing teachers she learned from. No big surprise that I have both the books she references.
In the introduction, Mary says she enjoys the process and does not need the product. That is probably why a number of my projects are completed but not finished. It may also account for why I have multiple projects started.
She provides a variety of patterns but gives tips on modifying them and creating your own. Any threads will work. Any color combination can be employed but color options are discussed including a review of The One-Three-Five Rule.
The coolest thing about the pattern project Mary includes is that beyond the Master Diagram marking off 5 areas, “you are on your own” for choosing patterns and colors. There is lots to read before tackling it (in 2026). Very exciting!!
Filed under: General comments, House of Embroidery (H of E), Needlepoint Shops, Radiance Metallics by The Meredith Collection, Threads, Threads Too Needlepoint
Bill and I met Linda P and Cynthia S from ANG New Jersey Needle Artists at Threads Too Needlepoint in Fair Haven, NJ to get books for redistribution from Nanette Costa’s library. Over half of the 60+ books have been claimed by either members of my EGA Brandywine Guild or ANG Main Line Stitchers Chapter. I will take the rest as an opportunity to visit a couple of other nearby chapters!
Threads Too Needlepoint is a bright colorful store with lots of canvases, finishing accessories, and a variety of threads including couple of unique threads: an overdyed Perle cotton #5 by House of Embroidery (H of E) and Radiance Metallics by The Meredith Collection. I resisted both not having a specific project for them.
It was a HOT day in Philadelphia and a tad cooler at the shore especially in the shade sitting at a favorite Seaside Park bar in the breeze sipping on a cool refreshment (Bill and I). Crabs at our favorite restaurant, Bum Rogers, capped off a lovely day.
Colonial Knot: Hold the thread like a backwards C. Place needle under the thread at the top of the C, wrap thread over the thread and the needle forming a figure 8 and go down nearby (safer not to go down in the same hole because the knot won’t be pulled through the hole accidentally).
French Knot: Pull the thread down towards you, place the needle on top of the thread, wrap the thread once (some say it’s ok to wrap twice others say use a thicker thread) and go down nearby.
The Colonial Knot (left) is naturally bigger than the French Knot (right) because of the different ways they are wrapped.
Mary Corbett’s website has great YouTube videos.
Filed under: Bargello Antics by Dorothy Kaestner, Bargello Books, Books in My Library
Bargello Antics by Dorothy Kaestner, 1979
I especially like several designs for their use of bargello or cross-stitch as the center focal point placed within a satin stitch square or diamond which is surrounded by a wide bargello border. That’s been a thing in several books from this period.
The movement of a pinwheel is always intriguing to me. But there is way too much movement in one pattern in the book or perhaps it’s the asymmetrical aspect of it that really bothers me.
That’s the last of my bargello “books”. I have several project booklets written by Liz Morrow which are fantastic and still available thanks to her forethought, planning, and daughter-in-law. Liz’s amazing designs live on at https://www.lizartneedlepoint.com/bargello-designs.html#/
Filed under: Bargello Books, Books in My Library, Free-Form Bargello by Gigs Stevens
Free-Form Bargello by Gigs Stevens, 1977
31 color plates are included. Very abstract like the cover.
I absolutely the turtle! There is a stitched turtle in the book but not this one. But, it doesn’t look like bargello. The book takes an odd turn. I wonder if Gigs knew about Zentangle because the designs towards the end of the book remind of that style. These seem easily adaptable to embroidery but would work on Congress Cloth because of the extra details you can do as opposed to 18 count monocanvas.
Melitastitches4fun's Blog 
Filed under: General comments, Threads
There may be alot of controversy over AI (Google in Chrome browser) but it’s sure easy and quick to get answers!
While handling Soie d’Alger right after Splendor in a project, I realized that Soie d’Alger is softer. They are both 100% silk. So, why the difference? Here’s what AI Overview provided:
The perception of Soie d’Alger being softer than Splendor is mainly due to differences in their manufacturing processes and fiber characteristics.
Soie d’Alger
Spun Silk: Soie d’Alger is a stranded spun silk made from “strusas,” a high-quality spun silk.
7 Plies: It is composed of seven easily divisible plies.
Softer Twist: Soie d’Alger has a slightly softer twist compared to cotton, which gives it a better “spread” when stitched and makes it feel softer.
Natural Sheen: It possesses a natural, soft sheen, unlike the chemically produced sheen of mercerized cotton.
Versatile: It’s suitable for various embroidery stitches and is known for its beautiful satin stitch and long and short stitch.
Splendor
Spun Silk: Splendor is also a spun silk, with 12 plies, according to Rainbow Gallery.
Tighter Twist: The twist of each individual strand in Splendor is tighter than many other silks, making it easier to handle and potentially less prone to snagging.
Handles like Cotton Floss: Due to its tighter twist, it handles more like cotton floss, which some stitchers find easier to work with.
In essence, Soie d’Alger’s softer twist and inherent softness contribute to its luxurious feel, making it particularly appealing for needlework where a delicate and elegant finish is desired. Splendor, while still a high-quality silk, has a tighter twist that can make it feel slightly firmer to some users.
Very interesting and it called for a test.
Using 4 strands of each, I stitched diagonal stitches over 1, 2, 3, 4, 5, and 6 canvas threads. Coverage is excellent for both but it did seem like Soie d’alger (tan) was more difficult to lay the threads and have them stay there. They have some loft to them that Splendor (blue) does not. Splendor held snug to the canvas with each stitch.
Using 3 strands of each, I found the Soie d’Alger easier to lay, stayed flatter than 4 strands, and coverage was still fantastic. It was a little harder to get the 3 strands of Splendor to cover but I did. The 3 strands of Soie d’Alger laid like 4 strands of Splendor.
Very interesting indeed!