That's a Good Question!: Summer 2020 Q & A

Some of Annake's aids

Ordinarily I do seasonal Question and Answer posts, but I haven't kept to that schedule lately. I apologize for that. Having been through a bad flu epidemic when I was in graduate school many years ago, I got worried when the first news of sickness in China appeared in January. I feared that such a large and populous country with so many connections around the word would not be able to confine the epidemic, so we began making long-range plans immediately. When it became evident that the virus was spreading quickly from country to country, we redoubled our efforts. Because I am high-risk, I have been in self-quarantine for about two weeks longer than most of you. I thought that if isolation is difficult for me — when I work from home all the time —- it must be doubly difficult for those who are unused to it. So J.D. and I decided that, along with our planned posts we would create the EXTRAS section of the blog (see the tab on the menu bar above) and fill it with all sorts of things from photo essays to how-to articles and free patterns to teaching units. We have put up a number of these items and plan to do more until mid-summer. Since most of these questions center on topics in our recent post about easing eye and hand problems for older needleworkers, J.D. suggested that we show some of the devices (shown above) that I personally use.

Do you do quickpoint from charts, or on painted canvas?

Click here to download

Either or both, plus other choices as well. I prefer to work from charts because I make my own. By the time I put symbols on graph paper, I have a pretty clear mental picture of what I hope to accomplish. If you are working from a chart in a needlework book or magazine, there are some things to consider. The chart was probably designed for a specific project with well-defined dimensions. If you are doing quickpoint, which is larger than tent stitch and regular cross-stitch, you will need to count squares carefully to figure out just how large your finished project will be. (I add an extra inch all the way around, just in case.)  Most of the charts I put into these posts are meant to be used for a large variety of sizes and colors. but let me give you one that is a little less variable. Because this is a specific butterfly rather than a generalized one, the colors need to be followed closely. You will still need to count squares as described above for the figure to work on the background you have selected.

If you are working on a painted canvas, start in a corner and work a 10-stitch square of the stitch you plan to use  (be ready to take the stitches out if you need to) to see if you will be able to put in the smaller details of the design. 
I buy painted canvases when I can get a bargain, but I paint out the design and replace it with one of my own, either painted on the canvas or outlined on it. You need to examine the canvas carefully because some, especially ones made for kits,  are just starched cotton and don't hold up well.

Monk's cloth

If you are used to working on even-weave fabric like Aida, you can use several easier alternatives. One is monks' cloth, which has easy-on-the-eyes squares, but it requires a lot of preparation. It needs to be pre-shrunk. Then you need to bind the edges or at least put 2 rows of machine stitching around the edges. When I do use it, I back it with non-woven interfacing, which I work through, and use it for something that doesn't get a lot of wear. On the other hand, if you can find a good quality decorator burlap, you can use it just like Aida and get some lovely surface effects with crewel, tapestry, or novelty yarns.

What is wrong with using printed gingham?

Printed vs. woven gingham

I can show you with the two examples in the picture. The fabric on the left is printed gingham.  It is folded so that both the top surface and the bottom one are showing.  Notice how the design doesn't look the same on the wrong side?  There is no guarantee the cloth was printed so that each square wound up with the same thread count or that your cross-stitches will come out the same size. Now look at the woven gingham on the right. See how the squares are the same on both sides of the fabric? This is true whether you are using baby-check, standard quarter-inch check, or one of the  "jumbo" checks. Your stitches will be the same size and will line up properly both horizontally and vertically. The woven gingham is a little more expensive, but is well worth it.

Love the Bear and the Bee. Does it have a title? And are you going to make any more "Close Encounters" pictures?

The things that fit nicely into my typed scripts don't always fit as nicely when J.D. sets the format for publication. The title was too long for the caption, so he left it off. It is "What Kind of Flower Are You?"  The titles are designed to be said by either one of the pair of animals to the other. I try to do one a year, but — as with everything right now — I am running a bit behind. I am almost ready to do the color cartoon stage of the design. Did you know that the word "cartoon" originally meant the complicated chart for a tapestry weaving? I use the term for the stage when I make a full-sized color rendering to trace permanently on my canvas. I may also graph some of the finer details. Since you know how the titles are chosen, I will give you a hint about the two animals — one a mammal and the other not — coming up next.  The title is "Want to Race?"

You mentioned  'Window Wonders' when you were showing tracing a pattern against a sunny window. What are they and what do you do with them?

Some materials for making Window Wonders

They aren't a form of needlework, but they are pretty and fun to do. I make them for craft shows, usually in three graduated parts, featuring a hummingbird, a butterfly, and a flower, but I have done colorful frogs, dragonflies, small tropical fish, and more. I draw my own pictures, but it is easy to trace them from photographs and drawings. You will need an embroidery hoop (wooden or plastic) with a screw adjustment for each individual picture. I usually make a set of three with a 3-inch, a 4-inch, and a 5-inch hoop, but that varies. I use both circular and oval hoops. You can paint the wooden ones if you like and the plastic ones come in colors. You will need permanent markers in a variety of colors. You will need a transparent or translucent fabric that is stiff when you stretch it across the hoop.  Sheer organdy is ideal.  You will also need a small, sharp pair of embroidery or manicure scissors.

Cut a square of the sheer fabric about an inch larger all around than your drawing.  Center the square over the design and trace the design with permanent markers. (Practice on a scrap first.) When the picture is dry, stretch it over the bottom of the hoop and push the top of the hoop down firmly. Pull the fabric until it is as firm as you can make it.  Turn the hoop over and carefully cut away all excess cloth. Fasten the hoops together as J.D. has shown you here.  I hang the 'wonders' surface-side-out in a sunny window. The design can be seen from outdoors and indoors. If you have a light-colored wall across from the window, you may get still another image on it.  Some people hang the item on screened-in porches or sheltered patios. I showed some outdoors in a 40-mph wind once and all survived beautifully. This is a craft that can be taught to children in elementary school. (For more on 'Window Wonders', see the article in our Extras section.)

You mentioned a kind of pattern-making that you didn't discuss because you said it would probably be hard to get the materials for it right now. My mother-in-law has a lot of materials that she lets me use, so she might have what I need. Would you tell me about that technique?

I'll be glad to — and show you as well. Also, I am so glad that you have a good relationship with your mother-in-law. I had one of the best in the world and I miss her greatly. Cherish that relationship. (And I'll bet she will be a wonderful grandma, too.)

I am going to teach you to make a simple hot-iron transfer. You will need the following materials:
    an ironing board
    an iron, preferably a steam/dry iron
    fabric to transfer the design to (cotton is best for beginners)
    a simple design
    a sheet of tracing paper larger than your design
    a transfer pencil (this is the tough one!)
    a pencil sharpener
    straight pins
    scissors

Click here to download

I do a lot of children's patterns, so I am going to give you a simple one. Or you may substitute a design of your own. Mine faces forward, so you don't have to worry about design reversal. If your design is facing to one side, it will be reversed in the finished pattern. If you are going to put words or names in the design, you will need to reverse them before they are added to the design or leave them out of the design and chart them separately.

Draw or trace your design on the tracing paper with a hot-iron transfer pencil.
These red pencils are made by several companies. I use Aunt Martha's™ (2 to a package for around $3.00.) Each pencil will make many transfers.  Keep the pencil point sharp and go over the lines firmly until they look dark. Set the transfer aside.

Finished blackwork owl - no red marks

Cut you fabric at least an inch larger all around than your paper pattern. Set your iron for the proper temperature for your fabric. Press your fabric. Fold it in half lengthwise and press a strong crease along the fold. Refold it in half crosswise and press another pleat. these should meet in the center of the fabric. At this point i like to stitch a row of bright-colored basting stitches down each pleat that I will pull out once the transfer to the fabric is complete. Stretch the fabric flat. Place the transfer penciled side down on the fabric and lift the center of the transfer up with the center of the fabric. Pin the pattern to the fabric all the way around. Set the iron no higher than cotton and put it on dry (no steam). Press the pattern in to the fabric, pressing hard and go back and forth several times, but don't scorch the paper. It takes at least 5 seconds of hard pressure on each line to get a good transfer. Unpin one corner and lift it carefully. Peek under it to see if your lines have been transferred. If not, re-pin it in the same place iron over it until they do. Turn off the iron and unpin the pattern from the fabric.  I gently pull the basting threads out of the fabric at this point. Work the pattern in any needlework style you choose. The red lines will wash out of the fabric with warm water and a good detergent (I like Dawn® dish detergent) when your project is finished.

I hope these clarifications have answered your questions. Keep creating!

Annake's 24" monitor & soundbar - more help for aging senses

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A Quickpoint Project

Spring daffodils

Our project for today will be another picture in my “Close Encounters” series. I am working on #5 jute canvas, principally with acrylic and novelty yarns. Most of the work is done in continental (tent) stitch, but there are exceptions. I will discuss each of those as we come to it. To cover the canvas, I have used doubled strands of many of the yarns, giving the picture a homespun effect.

When I work on a picture, particularly if landscape is involved, I imagine that this is a real place and that I am am standing nearby observing it. (From behind a telephoto lens in this case, since a bear is involved!) I envision a sunny day in late spring or early summer. The highest mountains have not lost their snow cover, but the lower slopes are snow-free. The mountains slope away downward and toward the left, as do the lower layers in front of them. Although my approach to this picture is impressionistic, I will try not to break the rules of perspective and lighting.

Bear outlined on canvas

You will notice that the canvas is printed with a pattern of 10-by-10 squares. That means that each blue square on the canvas encloses 100 empty squares. This type of canvas is especially good if you are going to do a detailed square-by-square pattern of your design before you begin stitching. This time, however, I am just going to indicate the major areas of my picture by drawing lines on the canvas with a permanent black marker. I go over the marks with a sheet of paper towel to remove any loose color that might come off on the yarn as I stitch. I am using minimal guidelines so that I can make changes as I work.

Canvas lashed to picture frame

Once I am satisfied with my design, J. D. laces the canvas to the top of the frame I plan to use for the finished project. When the canvas is firmly stabilized on the frame, he ties off the lacing and cuts it. I can then hold the frame with one hand and put stitches in firmly with the other. This gives me tension to make my stitches as even as possible. I highly recommend securing your canvas this way. If you do not pull your stitches too tight, you should not have much — if any — blocking to do on the finished canvas. A gentle steam pressing should be enough.

Small balls of yarn stored in egg cartons

Then I choose the colors and weights of the yarns I want to use. Since one of my major themes is saving money, I am going to use just what I have on hand. Some areas will need large amounts of yarn, while others will require only a few inches. I keep small balls of leftover yarn in egg cartons. I run the ends of the yarn through holes in the top of the carton so that I can see at a glance what yarns the carton contains. For each project, I fill one or more cartons with small quantities of the yarns I plan to use as small accents. Blunt-pointed tapestry needles with large eyes and a pair of sharp scissors complete my preparation.

Canvas with mountains stitched in

I prefer to work by natural window light. I decided to stitch over the white knitting worsted tent stitches, but not over the gray ones. This gave the snowy mountains more depth and resolution. I make decisions like these constantly as I work — and so should you. If your work doesn't please you, change it. Take out stitches and re-do them, stitch over them, change colors, blend colors, put in details or leave them out. If you don't make your work match your ideas, you may always be dissatisfied with the piece — no matter how much other people admire it.

...and the sky added

The next step was to stitch the large area of the sky. I continued in tent stitch, graduating the blue colors from a very light blue just above the horizon to a deeper, darker blue at the top of the picture. The light is coming from above and to the left side of the picture, with the sun about ten o'clock high in the sky.

Needlepoint with middle background added

Then I turned to the middle distance. Here I sketched the lower slopes of the mountains, showing slopes of rock, dark green patches of evergreen forest, and lighter green areas of mountain meadows. As I moved down behind the bear's head to the neck and shoulders, I put in a section representing broad-leaved trees along a watercourse that is implied, but not actually seen, in the picture. (The land has leveled off here, although it still moves a little farther into the distance on the left side of the picture than on the right side.) In the shade below these trees, I stitched a few rows of a dark green yarn that has tiny fleck of color in it. Using single strands of Persian tapestry yarn and a small crewel needle to make tiny random stitches on the surface of the dark green yarn, I suggested a variety of plants growing and flowering in the shade.

Beginning to stitch the bear's head

The next step was to begin stitching on the bear's head. I worked from the outer layers inward, beginning with the ears. The bear is standing in sunlight in a field of wild sunflowers. The sun is bringing our the red tones in her coat. (Yes, I said her coat. I decided from the very beginning that my bear would be a young female.) She has just turned her head and is looking almost straight at the viewer because something has attracted her attention. This shows a bit more of her neck, cheek and muzzle on the left side of the picture and a bit more of her shoulder and ruff on the right.

Filling in the face and shoulders

In this step, I completed much of the bear's face, neck and the tops of her shoulders. The eyes, nose, and mouth will not be stitched until much later. The shoulder is more prominent on the right. That shoulder is “bunched”, because it is carrying more of her weight. A dark shadow runs down that side of her body, which is not struck directly by the sun. I sketched three wild sunflower blossoms and a couple of leaves in marker below the bear's head, leaving the guidelines for her upper chest, since some of her body will be visible between the flowers and leaves when they are done. A different color background was used for this photograph so that the faint sketched lines would be more readily visible.

Sunflowers added in the foreground

Now I filled in the flowers, leaves and the bear's shoulders and chest, including the parts of her body that show between the flowers and leaves. Wild sunflowers have much smaller centers than domesticated ones. The number of petals varies, and the petals may be irregular.

More detail added in the near background

I continued to fill in the background. As it grew closer to the foreground, I made larger random stitches for the flowers and gave them increasing size, shape, and definition. Not all of them are facing forward; some are seen from the side or the back. Leaves and stems are suggested. (This kind of surface embroidery can also be done after the picture is removed from the frame.) I emphasized the divisions between the petals of the large flowers in the foreground and added veins to their leaves. Back-stitching — a lot of it — emphasized other features in the picture, such as the rocky cliffs in the mid-ground and the tall trees along the watercourse. I try to be conservative with outlining, but only you can decide when you have done enough on your picture. A good rule to consider, however, is: “Don't put anything in that you are not willing to take out if the effect doesn't work!”

Oh, my goodness! Look at the time! We are doing a Farmers' Market this weekend. I hate to leave you with unfinished business, but I need to be in the greenhouse NOW! I'll be back in a couple of weeks with the completion of this project and much, much more.

In haste,

To be continued - please bear with us...

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Hand-Painted Needlepoint Canvases

Annake toning a canvas

Some time ago (my June 15, 2014 post), I discussed how to paint over designs on commercial needlepoint canvases so that they can be used for new designs. I also described how to paint an entire canvas in a neutral background tone to prepare it for a bargello pattern. At that time, I promised to write about the third –- and most important –- reason for painting your own canvases; that is, to express yourself in a way that is both practical and satisfying. Painting your own canvas makes it into a unique item –- something that would never have existed if you had not created it. Wouldn't that make you feel good about yourself?

Needlepoint canvas for a tiger, done in marker

If you don't feel comfortable using paint and a brush to put your design on canvas, you can do it with permanent markers (see the April 29, 2015 post for suggestions for using markers). Be sure the markers are permanent ones. Rub off any excess ink so that it does not stain your yarn or floss. You can make attractive, colorful canvases with markers, as you can see from this work in progress, but they will lack the subtle gradations in color that you can achieve with paints. You can compensate for this by blending colors or by using several closely-related tones of each color. For example, I have left areas of the tiger's face blank to represent white, but I stitched parts of the muzzle in a dark cream color and the chin in an off-white. I kept the bright white for his teeth. In truth, the tiger's teeth would probably be yellowed, but this is art –- not scientific illustration.

Fruit wreath canvas in the hoop that will frame it

Aside from showcasing your creativity, there are a number of practical reasons for hand-painting canvases. Suppose, for example, that the finished canvas will eventually be placed in a specific mat or frame that is not a standard size or shape. The wreath of lemons and strawberries seen here is a good example of this. After the stitching is completed, this canvas will be trimmed of any excess so that it can be framed in its own hoop. If you stitch a piece like this from a chart and are even slightly inaccurate, the resulting design will appear irregular and/or distorted. This will not happen if the design is painted on the canvas before it is centered in the hoop. You can then stitch with confidence, using the hoop for support.

Canvas, colored for matching yarn

Another advantage to having painted a canvas is that you can take it with you when you purchase the yarn or floss that you plan to use to stitch the design. You can match the colors more exactly and plan the hues that you will need to blend together (see the May 29, 2015 post for information about blending colors and a demonstration of tracing a design on canvas) to get intermediate colors. This will prevent you from buying the wrong colors and help you to estimate the correct quantities you will need of each color –- thus saving money.

Tools and materials for painting needlepoint canvas

I prefer to use white mono canvas for painting. If you plan to use brown penelope canvas, you may want to tone it to white, off-white, ecru or light beige. Let it dry completely and remove any paint that is clogging mesh squares before you begin painting your design. Do not use oil paints or watercolors. You can use either art acrylic paints or craft acrylic paints. Whether you are squeezing paint from tubes, pouring it from bottles, or scooping it from jars, you will need to dilute it with clean, clear water. That means you will need containers to mix the paint and water --- something like my old eight-cup muffin tin. You may also want a china plate to use for a palette. You will need a wide brush for large areas and at least a couple of brushes for smaller areas and finer details. Try to find ones of the smaller brushes that hold a fine point when they are wet.

Painted canvas portrait, prepped and in progress

Mark the outside dimensions of your completed design on the canvas lightly with a pencil, leaving a generous margin for taping the canvas and framing the finished picture. Start with thin washes (coats of paint). I put in colors one at a time, allowing them to dry, unless I want a blended effect. You can darken the colors by adding more washes on top of the first one. (You can also paint out mistakes.) Where colors overlap, you will create additional tones. Unless you are doing a geometric or “hard-edged” design, you will want to take advantage of these intermediate colors by stitching them with separate colors or by blending strands of yarn or floss. If I'm doing a central design that will need a solid-color background, I either leave the background unpainted or paint it first with the background color and let it dry completely before painting the design.

Once my painting satisfies me and is completely dry, I go over it carefully, looking for squares of canvas that are clogged with paint. I clear these with the point of a pin or needle. I then press the canvas lightly, between two layers of paper towel, with a warm iron. Then I tape the edges of the canvas with masking tape. I choose my colors of yarn or floss and I'm ready to start stitching.

Make something that is uniquely yours. Congratulations,

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Window Wonders: Art Transparencies

Orchid transparency, marker on organza

Some of you are stay-at-home parents with small children, home-schooling parents or grandparents, or parents/grandparents who help children with their schoolwork. These attractive transparencies are easy to do, made with inexpensive materials, and something you and the children can do together. Suppose your children are learning about flowers, insects, seashells, or airplanes. As an accompanying activity, why not help a child make a transparency of one of the objects he/she has been studying, to illustrate an oral or written report, and to have something to hang in a window afterward. When the child tires of the picture, it can be replaced by one on another topic.

Hibiscus sketch

Before you a do a project with children, however, you might make a transparency of your own. Then you can guide a child through the project (and impress them with your talent). I prefer to work from my own sketches, like this one of a hibiscus flower. I sketch the picture in pencil, putting in all the shading. Then I outline it in permanent marker to make it easier to trace onto parchment or fabric. If you don't feel comfortable doing that, there are always pictures you can trace. Coloring books are a good source of these. Dover Publications, Inc. has dozens of great coloring books on all kinds of subjects (www.doverpublishing.com). The illustrations are detailed and accurate. There is no charge for using these illustrations, nor do you need to get permission to use them, so long as you don't use more than ten of them in any one project. Or trace calendar, catalog, or magazine pictures.

Orchid samples

Start with a simple outline drawing or tracing. Go over the outline with a black permanent marker (I used a Sharpie®). You will need a piece of white organdy, non-woven interfacing, nylon organza (or silk, if you can find it), woven interfacing like buckram, parchment paper, tracing paper or some other sheer material. (Parchment paper is found where baking supplies are sold; it is rolled, so press it lightly with a warm iron to flatten it.) Make sure that the material you use will accept crayon or marker. (If you use interfacing, get the firm kind that is slightly rough on one side and smooth on the other, not the soft kind that feels fuzzy. Don't use iron-on interfacing.) Press the material with the appropriate iron temperature. (If you have not worked with nylon or silk before, be aware that they are slippery; tape the edges to cardboard before you begin coloring — especially with crayons.) Protect your work surface so no marker comes through to it. (Marker should not come through parchment; however, you will not get brilliant colors with it.) Trace the outline onto the fabric or paper with a black or dark fine-point marker. Color the picture with permanent markers, washable markers, or rather heavy applications of crayon. Once a picture done in marker is dry, it is ready to be framed.

Butterfly transparency on interfacing

A crayon picture, however, requires an additional step. Place a couple of layers of heavy paper or paper towels on top of a pad of newspaper. Put the picture, face-up, on top of this. Place more layers of white paper or paper towel on top of the picture. Press the whole thing with a dry iron at the heat setting for cotton, being especially careful not to scorch nylon or silk. Press until all the wax from the crayons has been absorbed and only the color remains. Keep checking the layers, changing the paper as needed. You should do this step for the children. If you allow them to watch, stress safety. When no wax remains and the fabric has cooled, your transparency is ready to frame.

Hibiscus transparency from sketch, crayon on organdy

I like embroidery hoops for framing. The hoop should be a little larger than your picture, but smaller than the parchment or fabric around the picture. Plastic hoops come in many bright colors. The outer half of a wooden hoop can be stained, varnished or left alone. Be sure that any finish is completely dry before you secure the picture in the hoop. Be particularly careful with parchment or tracing paper.. Center the picture over the bottom half of the hoop. Position the upper half so that the adjusting screw is directly above the center of the picture. Press it down over the fabric and pull it as taut as possible. Turn the hoop over and cut away all the excess with scissors. Secure a hanging thread around the adjusting screw. Hang the picture in the window where the light will shine through it with the colored side facing out. If you use plastic fishing line or clear nylon thread to hang it, the hanger will be nearly invisible and the picture will appear to “float” in the air. If you prefer a picture frame, select a light-weight one without backing or glass. Remove any staples from the back. Cover the back edge of the frame with a white glue (like Elmer's™). Stretch the parchment or cloth, face-down, over the back of the frame and press it against the glue. Let it dry completely. Cut off all excess. Put a screw eye in the top center of the frame.  

Workspace with markers

Older children will probably prefer to work with markers. I use Sharpies®, but Crayola® makes a large variety, including washable ones. You will, at least, need black, brown, dark blue, light blue, yellow, orange, light green, dark green, pink, red, and purple. White areas should not be colored. Protect the working surface. Remind the children to replace the caps on the markers tightly when they are not in use so the pens will not dry out. Make cleaning up and putting away materials an important part of the project.

Workspace with crayons

I encourage young students to peel the paper off the crayons so that they can use sides and blunt ends as well as the points. Crayons are not expensive, but it pays to get good quality, like Crayola®. Parchment paper is not very good for crayon; you would do better to use tracing paper. If it will not mar the work surface, you may want to tape their pieces of paper or fabric down with masking tape before they begin to draw. If they are working on cloth, they will need to press harder to draw lines and to color areas more heavily than they would on paper. They may need some help with this. They may outline parts of their finished pictures with a black or other dark crayon so that it shows clearly. Keep all the crayons — even the broken ones — because we will be doing some crayon batik later this year.

Enjoy the teachable moments,

Hummingbird transparency in a 4" embroidery hoop

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