Easier on The Eyes: Needlework for Older Needlecrafters

Original quickpoint by Annake

Are you one of those people who once enjoyed needlework, but now find their eyes and hands do not respond as well as they once did? I belong to that group myself. Please don't give up an activity that you love. Find less physically demanding ways to work. I believe needlepointers and cross-stitchers together form the largest group of people doing stitchery today, so I will start with those pursuits.

Quickpoint is a form of needlework that I recommend to senior needlecrafters who are accustomed to doing counted cross-stitch or needlepoint. It is easy to do and the results are achieved quickly. Almost any kind of design can be adapted to the technique. Quickpoint is large and the canvas mesh is easy to see. The needles are large and have eyes that are easy to thread. The yarns are thick and cover the canvas quickly. Projects can be any size that is easy for you to hold. This wall hanging, "Are You Endangered, Too?", is done in quickpoint. The “point” part of quickpoint implies that it is only done in needlepoint. This is misleading. Although it is done on a canvas background, quickpoint is also lovely done in counted cross-stitch. The picture here is done in a combination of cross-stitch and tent stitch.

#3.75 (left) and #5 (right) rug canvas

Traditional quickpoint canvas has 4.5 stitches to the inch. I do not have a source for this canvas at the moment, so I cannot show it to you. I can, however, show you a larger-mesh and a smaller-mesh canvas, both of which work well for quickpoint. The canvas with the larger squares is #3.75 conventional latch-hook rug canvas. It can be worked in uncut rug yarn or one of many thick craft or novelty yarns. The canvas with the smaller mesh is also a rug canvas, but one which requires a special hook. It is #5 canvas. You can use two strands of knitting worsted yarn or several strands of crewel or tapestry yarn on this canvas. For the best results, do not double the yarn; instead, cut two or more separate strands the same length and thread all of them through the eye of the needle at the same time. Some of these materials can be hard to find. Good places to look for them are thrift stores, charity shops, and yard or garage sales. I know those are not available right now, but they will return.

“Let's Do Lunch”, quickpoint by Annake

Another of the "Close Encounter" series is “Let's Do Lunch”. It also has some star stitches in the more heavily textured areas. A star stitch is made by stitching a + (like a plus sign) over a completed cross-stitch. A conventional cross-stitch occupies four squares of mesh. A star stitch (which has many other names, including Double Cross and St. George and St. Andrew) occupies nine squares of mesh as you can see in the sample. As with cross-stitch, it does not matter which part of the ‘plus’ stitch you do first as long as you are consistent and do the stitch the same way every time.

Star stitch sample

If you are doing a framed picture or a wall hanging that you want to stay rigid and not sag, you need to work on jute canvas. To do a pillow or other soft object, you will need cotton canvas or a nylon mesh. Again, you may have to do some searching to find the appropriate materials.

Detail of cross-stitch butterfly wing

Here is another example of combined quickpoint. The butterfly was done in cross-stitch. The outlining is done in back-stitching with a single strand of crewel yarn, as are the “floating” lines that represent veins in the wings. The background is done in tent stitch. This is easier to see in the enlargement.

Butterfly, cross-stitch on canvas

Here is the completed butterfly framed under glass.  I had planned to go in with a single strand of yarn to cover the little white flecks left by stitches, but it seemed to me that they added some sparkle to the wing, like the butterflies' natural iridescence, so I left them there.

When I am planning a complicated piece with many different shades of color, I often make a detailed graph of the planned design before I begin stitching. On the “Close Encounter" pictures, I charted some features and simply outlined the rest. I did not chart the butterfly, just outlined it.

Original quickpoint by Annake

This quickpoint picture shows a bear in a field of sunflowers with a background of mountains and blue Colorado sky. The last step for the bear's head was to complete her features. The eyes, nose, and mouth were first done in tent stitch. Then some of the stitches were gone over in embroidery floss to give shine to the features. I tried to give the bear a startled expression. Tiny stitches show the reflections in her eyes. I exaggerated the size of the nose just a little because that is where the ‘close encounter’ will occur. I call these pictures “Close Encounters” because each shows a mammal encountering a very different kind of animal (in this case, a bee).

Waste canvas

In order to add the bee to the picture I had to make smaller stitches than the quickpoint canvas would allow. I used a special canvas, called waste canvas. Its threads can easily be removed after the needlepoint (or cross-stitch) is complete. It can be used on fabric as well as on canvas or completed stitches. Let me show you how it is done, starting with a picture of the waste canvas, which can be worked as either mono canvas or penelope canvas. Since I planned to do the bee in tent stitch, I chose the mono option.

Closeup of bear and bee

I had to work out the bee design on graph paper. There are hundreds of species of wild bees in our western mountains. Some of them have bodies as large as as the last joint on my thumb! (This design does not represent any particular wild species.) Since I expected the thickness of the stitches on the bear's nose to present some problems, I first tried the pattern on waste canvas over a piece of heavy felt. I first cut a piece of waste canvas larger all around than the design to be stitched. If the design is very large, it is then pinned or basted to the background. I prefer basting because it is more secure. This one was so small that it didn't need to be basted. Then the stitches were put in just as they would be on regular mono needlepoint canvas. I didn't pull the stitches quite as tight as I would do ordinarily. The next picture shows the finished design with some of both the horizontal and vertical threads pulled out. A pair of small tweezers is useful for this. The last picture shows the design on the felt with all waste canvas removed.

Bee, waste canvas test sequence

Quickpoint can be used for geometric or stylized designs as well. Here is a pillow that I stitched in a pattern meant to represent evergreen trees and a canvas designed to represent our autumn aspens.

Quickpoint pillowtops

Cross-stitch rose on check gingham

When I start a class on counted cross-stitch, Spanish blackwork, or similar techniques, I start with a project on quarter-inch checked gingham because it closely resembles graph paper. This makes it easy for students to follow simple graphs and encourages them to try their own graphs. Graphs are very versatile. It is possible to do the same design in a multitude of sizes, from a covered button to a king-sized quilt. The same chart can be used for many different techniques: afghan stitch, beading, mosaic, latch-hook, piecework, etc. A chart like the one you can download today works for a whole rainbow of color schemes. Charts are easy to file for future reference and, laminated, long-lasting. Another advantage of the quarter-inch checked gingham is that it is easier on both the eyes and the hands than most canvases, Aida cloth, etc.

Let's say you want to do a rose in cross-stitch or needlepoint. Prepare your background, choosing the color carefully so it does not overpower the rose. Fabric should be backed with inter-facing. Canvas, except for plastic, should be taped on the edges. Find the center of your material. Run a row of basting stitches through the center, both vertically and horizontally, using a bold color that does not appear in your version of the rose. Now select the colors of your rose.  This pattern will work for most colors. You will need a range of 7 shades of your main color, plus two greens. Shades of the main color are represented by numbers on the chart, with 1 being the palest one and 7 the darkest one. Capital G represents the darker green and small g the lighter green. Lay your 7 materials out in front of you in light-to-dark order. Tag them with the numbers if you like. (I'll admit I'm greedy when it comes to needles; I used a separate needle for each shade.)

To download, click here

Here is the pattern for you to download. The pattern is a forgiving one. If you place an occasional stitch in the wrong square, it should not spoil your rose. Small differences are to be expected in handmade items. If you run out of a color, continue with the closest match you can find. The vertical and horizontal center rows on the chart are marked. Start stitching at the center and work outward. When the rose is complete, pull out the basting threads.

Patterned stitches such as Spanish blackwork, Russian redwork, Scandinavian whitework, Holbein embroidery and Assisi embroidery also work well on quarter-inch gingham. Be sure the gingham pattern is woven into the cloth, not printed on it. Choose your background color carefully so that it does not overwhelm your design. Here is a simple blackwork butterfly on quarter-inch gingham.

Blackwork butterfly on check gingham

"Heritage Rose", latch hooked rug

Years after I made the rose design, I enlarged and modified it for the center of a latch-hook rug.  Latch-hook is another technique that is easy on the eyes. I once taught the technique to a lady who was legally blind but could still distinguish colors. Latch-hook uses packs of pre-cut rug yarn. what is used in kits works well enough on on #5 canvas, but you may need to use 2 strands of some colors on #3.75 canvas to make good coverage. Commercial rug yarn packets work well on either mesh.

Upright gobelin stitch sample

Another technique that works well on canvas is one of long straight stitches of varying lengths (commonly called French longstitch). You can see these well in the portrait of the bighorn ram below. You can see the stitches used horizontally as well as vertically. There are even a few used diagonally. I did the background in tent stitch, but it could have easily been done in rows of straight up-and-down stitches. Don't leave any blank canvas; the bottom of one stitch shares a square of mesh with the top of the stitch in the next row.

"Bighorn", original needlepoint by Annake

I deliberately ended with the bighorn ram's 'portrait' because it was finished about this time last year. I have done a number of projects since and there are several in various stages of development. I have been doing needlework now for more than seven decades, so I know what I am talking about. I have made many changes and adaptations as I have aged, in order to keep doing the work I love so much; so I hope you will believe me when I say, "And you can do it, too!"

With love,

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

Irises: Nature's Living Rainbows

Iris needlepoint by Annake

This has been a difficult time for Annake’s Garden, outdoors as well with staying indoors because of the pandemic. We have lost a beautiful 50-year old crab-apple tree. The late freezes have destroyed this year's daffodils and hyacinths and we are concerned about our fruit trees, grapevines, berries, rosebushes and other plants.  It is evident that we will not be able to work the Farmers' Markets the way we have done for the past several years. The art and craft shows will likely be canceled. Annake's Garden will definitely be starting over and much of that cannot be done until as late as this time next year. That is why I am so looking forward to the irises. They warm my heart.

Irises, which my mother used to call "poor man's orchids", are my favorite flowers. I would rather have an iris in a vase than an orchid pinned on my shoulder any day. Even my favorite perfume is Iris Noir, or "Black Iris". We have three versions of ‘black' irises here in the garden, one of which is truly black. Some of our favorites will be used to illustrate this post.

Rainbow (Public Domain photo)

In Greek mythology, Iris was the goddess of the rainbow. Her name means rainbow. Her father was a minor sea god and her mother was a cloud nymph. Iris was the messenger of the gods. The rainbow was a bridge that she used to carry messages back and forth. She was portrayed as a pretty girl with golden wings, a messenger's rod (sometimes also winged), and winged slippers. She is sometimes shown with a pitcher, and was believed to refill the clouds with water from the sea. She was always shown as good and helpful. We use her name in the word "iridescent", meaning giving off rainbow reflections, like butterfly wings and hummingbird feathers  — and iris petals.

Iris needlepoint in progress

I use irises frequently in needle arts. Now I am going to show you several examples of irises in those arts, while demonstrating the use of various pattern-making techniques that you can use at home — and you can even design your own patterns. Let's start with a charted pattern, which will probably be the one most familiar to you. You can download it here.

This is a charted iris that can be done in counted cross-stitch on checked gingham, monks' cloth, or Aida cloth in any size you like. It can be done in tent stitch on plastic canvas, conventional needlepoint canvas, quickpoint canvas or rug canvas. If you think of each square as a patchwork square, it could become a quilt. If each square were a ceramic tile, you could make a back-splash for a kitchen or bathroom sink..It is designed to be done as a bi-colored iris, but can also be done in a solid color. In fact, it can be done in any colors you like — even imaginary ones.  If you are doing a bi-colored iris, the standards should be in a light color, the falls in a dark color, the beards in yellow or orange and the stem, of course, in green.

Irises, latch hooked wall hanging

There are some things to remember when you work from a charted pattern. Each square on the chart represents a single stitch. Count the squares horizontally very carefully. The white squares on the pattern represent the background color. if you are going to use one. Do the same thing with the vertical rows. Make sure your canvas or fabric is going to be big enough for the finished picture, plus some space for turning over to hem or turning under around a cardboard spacer for framing, turning under for backing a rug, etc.  It is much better to have to trim off some fabric when you have finished the pattern than to find out at the last minute that you don't have enough background for all your work.

The next possible problem is that of losing your place in the pattern and working the wrong row.  There are a couple of simple techniques and devices to help you with this problem. It is certainly important to keep track of the line in the chart that corresponds with the line of stitches you are working, as well as to keep an accurate count of the number of stitches you have completed. Otherwise, your finished project may not look very much like the chart! It is a good idea to keep the chart on a flat surface where it is easy to see all of it from your working position. I use a clipboard to hold mine in place. I keep a pencil with it. If I'm interrupted or have to be away from my work for any length of time, I make a small pencil mark by my last completed stitch.

If you are primarily losing the horizontal line in the chart and are not concerned with losing count of your stitches, the simplest solution is to place a 12-inch ruler with its top edge just under the chart line you are following. If you need to add weight to the ruler to keep it in place, glue a couple of coins to the underneath side of the ruler, near the ends.

For an easy-to-make tool to mark both the horizontal and the vertical lines of your chart, cut two pieces of stiff cardboard about 2 inches (5 cm) wide and 6 inches (15 cm) long. Staple or glue them together so that they form an L-shape. Place the L on the chart so that the bottom part of the L is directly below the horizontal line of the chart that you are following, and the upright part of the L is just behind the first stitch you are going to count. Mentally remind yourself to move the upright part of the L every 5 or 10 stitches you complete. This takes some practice, but will soon become automatic. Slide the bottom of the L up (if you are working from the bottom of the chart) or down (if you are working from the top) one space at the end of every completed row of stitches.

Tracing pattern on canvas

The next type of pattern is one that you can make for yourself. Draw or trace your pattern on lightweight white paper. Tape it, design side toward you, on a sunny windowpane. Tape you canvas or a thin white fabric on the pane so that it overlaps the drawing.  Trace the design. Carefully re-trace the design onto the canvas or fabric. I use pencil on fabric because it will wash out. If you like, you can color the design lightly later with permanent markers that will not run. A semi-transparent fabric like organdy is excellent for this. Even if you don't embroider the design, you can trim the fabric away from the edges of the hoop and hang it in a sunny window. We call those "Window Wonders".

I use permanent marker on canvas because the stitches will cover it, as you can see in the picture on the right.

I carefully wipe off any excess ink, as you can see me doing in the photo on the left.





The kind of needlework I am going to do on this pattern I call "stained-glass stitchery". I'm going to pause here and show you the steps I used to work the pattern of an iris in this technique.

1) Stitched iris  2) Background 'panes' added  3) All sections backstitched in black

Sweatshirt with needlework

Working an iris design on a dark sweatshirt requires a different technique.  First I draw the parts of my design on tracing paper or a good grade of tissue paper. I pin the pattern in place on the sweatshirt, being careful not to pin the front and back of the shirt together. Then I thread an 18 inch piece of white yarn, floss, or crochet cotton into a sharp-pointed needles. Working from the inside of the sweatshirt, I back-stitch all around the lines in the drawing. You cans see that I have started doing that in the picture below, on the left. The completed design outline is in the middle picture.  When the complete design has been stitched, I pull the paper away gently. A pair of small tweezers is good to have to pick out any tiny pieces of paper caught in the stitches. The embroidery work is shown in progress in the picture on the right. Once all the embroidery has been done, filling in the sections of the design, you can snip out the pieces of white yarn.  Or you can simply work over them as you fill in the sections of the design.

There is another kind of pattern transfer — hot-iron transfer. However, it must be done with a special kind of pencil. With the shops likely to carry such a pencil closed and you readers at home, perhaps it is best to leave that one for another day.

Assisi-style iris on canvas

This iris pattern represents an embroidery style called Assisi embroidery. I did this in needlepoint on canvas for a quick demonstration, but if you are doing authentic Assisi embroidery, you would do the stitches in cross-stitch and leave the iris petals empty so that the background fabric shows through. What appears as background here, along with the features of the iris which are  given are done in cross-stitch. I later filled in the iris with additional needlepoint so it could be framed.

Finished iris needlepoint

Graphing a needle arts chart

If you want to make your own graph patterns like the one we started with at the beginning of this article, you will need quarter-inch graph paper, erasable colored pencils, a small pencil sharpener, a good eraser (kneadable ones are the best), plain paper to draw your design, and a hard surface to work on (a clipboard will do if you don't have table space). Curved outlines will need to be "square off". This is easiest to do with a counted cross-stitch design, so I would recommend that you start with one of those. You can use half cross-stitches, either upper left to lower right corners of the square or upper right to lower left corners. I like to back-stitch around the major parts of a cross-stitch design to make them stand out. If you are doing that on your pattern, indicate it with solid lines.

We are going to leave you with a collection of J.D.'s favorite iris photos.

Enjoy,

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

Wrapping Up the Season: Late Fall Q &A, 2018

Before I begin with recent questions, I want to pass along two items of interest from a benefit show and sale for a local animal shelter that we took part in a few days ago.

A charming couple purchased several of my puppets for their children. They said they planned to fill the bodies and arms of the puppets with "stocking stuffers" like candy, money, miniature toys and games, etc., and sew them shut with an easy-to-pull thread. Then the children would each have a puppet to play with after they had enjoyed their small treats. What a great idea! I learn so much from the people I meet! The same idea would work for birthday parties or sleep-overs. Here J.D. is showing the puppet of a girl elf with some stocking stuffers.

Elf puppet filled with goodies

Two of our puppet pets

The other thing I want to point out refers to our dog and cat puppets, like the Siamese cat and Yorkshire terrier seen here. You will notice that each of our dogs and cats is wearing a "collar" and a "tag".  This is to remind children that their pets should be licensed and wear identification tags for their protection.

Now to our questions.

I like the 4-way bargellos a lot. I understand how the pattern "grows" from the center out. I can follow your examples, but I don't know how to start a new design from the center outward. Can you give me some examples to get me started?

Certainly. I'll be glad to. And I can show you a "short-cut'" that you can use to generate new designs when you run out of inspiration. All you need is quarter-inch graph paper and something to color the squares. I'll show you that trick first. Take a piece of graph paper and mark off several frames around squares that are 6 graph squares wide and 6 graph squares high. Start with the square in the lower right-hand corner. Color it. With the same color or a second color, fill in a random pattern of graph squares in the next row outward. Repeat with a 3rd color in the next rows of graph squares. Continue as long as you like, with as many colors as you like. Repeat colors if you like. Make several of these designs on your sheet until you find one you like more than the others.

Three 6 x 6 designs on graph paper

First design rotated and repeated four times

Now take a clean sheet of graph paper and mark its center both horizontally and vertically. Repeat your desired pattern on top of the horizontal line, starting just to the left of the vertical line. Now repeat your pattern in reverse to the right of the vertical line. Turn the paper upside-down. Repeat what you just did below the horizontal line above the horizontal line now. Now you have a 4-way starting pattern.  Each colored square represents a stitch in your bargello pattern. Empty squares can be worked in white, black, beige, etc. Work the four parts of your design in the center of your canvas, then decide how you want to "grow" your finished pattern. Here is what the first of our small patterns looks like done in this way. This one is done in a single color with a white background.

Second design

Here is the second "starter square"done in the same way.  the more colors that you use, the more complex the design that you create. This one is done in two shades of two colors, plus a white background. Substitute your own choice of colors. Once you have gotten that far, you need to decide if you will continue that design all the way out to the edges or put in new directions of your own making, You may want to practice on graph paper before you start a large project.

Third design

And here is the third "starter square", expanded. Here you have strong diagonals balancing the vertical and horizontal lines. You might choose one over the other to change your design as you work outward from the center. This one also uses four colors, but the contrasts are stronger and the white background is greatly reduced. It is a good all-over design.

But remember these important rules:

1. Each square represents 4* vertical stitches, each over 4 threads.
2. No canvas is left bare; stitches share the squares of mesh.
3. There will be places where there will not be room for an entire square. In that case,work as much of the square as you can.

When you did the 6-way bargello you showed two optical illusions that you and J.D. saw. I liked them and copied them on plastic canvas, but now I don't know how to proceed. You didn't show any shading on the pieces, but it seems to me that shading is what makes the optical illusions work. Can you show those patterns with the correct shading, please?

You are correct that shading enhances optical illusions.  However, there is more than one way to shade a particular illusion, depending on where you decide the light source is.  We will be glad to show you how we would shade the two illusions.  Just be aware that there is more than one "correct" way to do them.

Annake's (left) and J.D.'s (right) illusions with shading

You can use black, white, and grays for your shading or you can use various tones and shades of a single color. If you use different colors, you may achieve an interesting design, but lose much or all of the illusion. I suggest you work the designs out on paper before you select the yarns. Think carefully also about your background and whether or not you are going to outline the sections with back-stitch or some other embroidery stitch.  Good luck.  It should be an interesting project.

You haven't mentioned latch-hook lately. Are you still doing it?

Yes, although it has been curtailed somewhat because of the increase in frequency of shows that we have done this year and the remodeling we have been doing to give me more studio space for drawing and painting.  Here is a rug that I finished at the beginning of summer. When I was doing research for the posts on creating landscapes in needlework, I came across a photograph of a Ming Dynasty scroll that had a beautiful butterfly on it. I wanted to do a rug with a similar butterfly, but in "hot" modern colors.  This is the result.

Latch Hooked Rug, "21st Century Ming Butterfly"

Have a happy holiday season for all the holidays we celebrate around the world.

*This post has been updated on December 15, 2018 to correct an error in content. Our thanks to the reader who brought this to our attention.

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.