Finding slate frames for hand embroidery is no easy task. In the past, I introduced readers to Evan Burroughs, who made my large slate frame. I don't know if Evan is still producing the frames, though. I have tried to contact him, but with no luck. (Evan, if you're out there, please contact me!)

So, here I am again, looking for a good source for frames, and realizing that it might be necessary to find someone again who can make them! In the meantime, though, I want to talk to you about another aspect of the slate frame - trestles.

There are few professional embroiderers who don't agree that the best possible way of achieving tension for hand embroidery - and especially for more complex techniques such as goldwork - is to use a slate frame. In days of yore, the slate frame was widely used, and it was used in a variety of sizes - from small to really quite large. In some books, you can find illustrations of slate frames with more than one person at the frame.

In 18th Century Embroidery Techniques (see my review), Gail Marsh shows a massive slate frame supported across the back with a stabilizing bar, on which frame the embroiderer could lay out a large project - like several pattern pieces for a jacket - on one stretched ground fabric.

In several of the old books on ecclesiastical embroidery, the guild workplace is shown with large frames on which whole banners, chasubles, etc., are stretched. Large works, indeed! At the beginning of Church Embroidery and Church Vestments (PDF - scroll to page 12), you can see a photo of ladies in the guild room, two of whom are sitting up to one slate frame, working.

Today, the slate frame is still used - it is not defunct! Despite the convenience of hoops, of stretcher bar frames, of plastic Q-snaps, and so forth, the slate frame is still employed by serious stitchers. Its revival in popularity is certain to continue growing, as more people take interest in historical needlework, and as the interest in techniques such as goldwork also continues to grow.

I've used a slate frame. I have a large one, so I don't use it as often as I would like! I would like a medium-sized slate frame and a small one, but there will be time for that in the future - if I can find a supplier! There is nothing so nice as the perfect tension one can achieve with the slate frame, and the unpuckered, immaculate results when the piece is removed from the frame. It's wonderful!

The most difficult thing I've found about a slate frame is how to support the thing. Especially if you are working on a medium or large-sized frame, it is impossible to support the frame with one hand while stitching. At the same time, the slate frame tends to be heavier than other frames (stretcher bars, for example), and so commercial stands cannot support large frames, and cannot always support medium frames - or can "just" support them. Of course, there's always the two-table set-up, where the frame is rested horizontal, between the edges of two tables. But that has its drawbacks, I assure you!

In the past, the slate frame was generally supported by a pair of trestles. Originally, these were saw-horse type trestles, so that the frame rested perfectly horizontal, parallel to the floor, like a table, and the needlework sat up to the frame on a stool, and worked in that manner. Then, trestles began to develop a bit. You can see in the turn of the century book Church Vestments, mentioned above, that the "trestle" is actually an adjustable support, where the frame is placed between the body of the trestle and a top board, which is tightened down on top of it.

I've seen other set-ups of trestles, specifically some left over from convents that used to make embroidered vestments. These trestles were even a little more complex, and their adjustability allowed for the frame to be supported completely vertically (as is seen on the front of the book, Embroiderers from the Medieval Craftsmen series), at various angles, or flat.

While I was considering the whole dilemma of the elusive slate frame and pondering the notion of trestles, it so happened that a friend's dad volunteered to do some designing and building of a set of trestles - an embroiderer's workstation, actually, which could accommodate a slate frame (from small to very large), stretcher bars, and even hoops.

The concept developed by considering different types of trestle set-ups of the past (especially those found in convents before the 1960's), and understanding what the embroiderer today would want in a workstation.

Last week, the protype trestle workstation arrived. I want to show it to you and ask for your feedback.



They arrived in a box custom-made for shipping them.



Everything needed was included in the box. The carpenter (Brian) was very meticulous in the packing of the crate and in the assembly of all the pieces of hardware.



The prototype is made out of rough wood - not cleaned up or "beautified" yet. It's for testing purposes. Still, for being "rough," it's really nice. All the pieces were sanded and clean, easy to handle for assembly. The whole assembly process required me to use only a phillips head screwdriver to place 20 screws in the correct (pre-drilled) holes. (Good thing - I'm not so great with larger tools!)



Those are all the pieces, leaning up against the furniture. It looks complicated, but every piece went right together as the instructions indicated. It took me less than twenty minutes to put the whole workstation together for the first time.



These are the main pieces, though the leg braces are not attached yet.



This is a shelf support.



This is the whole set-up, almost completely extended. On the sides, you can see that there are, front and back, adjustable vertical bars. Into those vertical bars are placed the supports for the dowels, which in turn support the frame. The dowel supports can be angled a variety of ways. I'll show this in more detail later, after I have played with the set-up a bit more.



Here's the set-up with a stretcher bar frame resting on it. The trestles have been moved closer together than they are in the previous photo.



This is an attached table, and the workstation actually has a variety of options for attached supply tables, clamped lighting and magnification, etc.

So here is the initial introduction to the trestle workstation. I'll be taking more detailed pictures of it this weekend, in "action." I've since moved it out to my studio, where I will be able to work better with it. I have a very small living room (smaller, I think, than most people's closets...) so the workstation tends to look larger than it is in the photos above (I'll measure it for an accurate "footprint"). When the dowels are removed, the two trestles can nest together to conserve space.

What I've learned about it so far: it is sturdy. It's like sitting down to a piece of furniture. This is the real thing! It goes together very easily. In concept and design, it makes good sense. There's a myriad of possibilities for extension and accesorization, but more on that later.

Brian, you are a wood-working wonder! Thank you!

Now, dear readers, do you have any thoughts on this? Do you see any glitches right off the bat? Does it raise any questions in your mind? Do you have any ideas that you think would make sense concerning the workstation?

I would really appreciate your input on this! You are, after all, embroiderers. You know what you would like, or what you think would make sense, in this type of equipment. How can this become the ultimate embroiderer's workstation?

I'll be sharing more details on this as I work with it, and let you know more detailed discoveries.

Thanks for taking the time to read and to respond, if you want!

Labels: historical needlework, needlework products, needlework tools, pictures, slate frames, trestles

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Posted By: Mary Corbet on Friday, March 20, 2009
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I don't usually gush on about good days, bad days, and the like. Pretty much, I have relatively even days - but today was a banner day, for a number of reasons, and I'd like to tell you about one reason and show you the other!

First, the telling:

You know my embroidery stash contests and book give-aways? Well, I recently fell behind on mailing. So, if you are waiting for something in the mail from Needle 'n Thread, guess what? It's finally on its way! Our post office has strange hours. It is never open when I'm not at work. But today I was off early, so ... I finally made it! I was one of those last-ten-minutes-of-the-day customers with-lots-of-packages-to-mail, all of which had to be fit-into-the-right-sized-mailer and then addressed-at-the-counter, after which I had to fill out customs forms. Oh boy. I kind of felt bad. But if they would change their hours.....!!!!! However, in a spirit of great congeniality, I chatted with the lady behind the counter, and all got safely posted. I feel as if the burden of the world has been lifted from my shoulders (a slight exaggeration, but it is nice to have that off my mind!)

And the showing:

The day after I went thread shopping for the first time in eons, I placed an order for some threads, and today, they arrived! Now, you may be thinking that's a heck of a long time to await an order, but in all fairness, most of the order was made up of special orders. So once they were all in, Needle in a Haystack sent the order out in good time, and here is what will be my Last Purchase of Embroidery Goods for a Very Long Time.

And because of that, I shall revel and rejoice and enjoy my socks off with this shipment of goods. So let me show you what came today that has me all Giddy with Excitement.



This is the whole shipment. Ok, ok. So it doesn't look that thrilling. Well, let's look individually at the items, and see what they all mean.



This is a heap of white thread. Cordonnet and Cebelia in a vast variety of sizes, along with several sizes of coton a broder. For whitework? Well, some of it, yes. For needlelace? Well, yes, some of it. For filet lace? Oh, yes. That's the exciting part. I'm going to rope my dear mother into following through on her initial interest in "perhaps trying" filet guipure. And since I have the threads - and I have a goodly supply of netting of the knotted and unknotted variety - she will just have to succumb.

Needlework in the company of others is always fun, I think, don't you? So I'm looking forward to that. We'll probably argue quite a bit. I can't wait!!



Then there are these few new threads to try, which I will tell you more about later, after I try them. I don't want to horn-honk on any thread until I try it, but I sure do like the colors! Behind the thread, you see - yes - Q-snaps. I have succumbed to peer pressure here. Generally, I like wood. I know people out there may think that's really rather narrow-minded, but I like wood frames, wood hoops (the good ones), wood slate frames, wood stretcher bars, wood scroll frames... wood. Using plastic for tension does not tickle me. BUT - peer pressure won. So many people have recommended and raved over Q-snaps that I decided to give a set a try. I'll try them and let you know what I think of them. I don't want to offend anyone, but the truth is, if I don't like them... I'll probably say so! But that sounds so negative. As Alfred P. Doolittle would say, I'm willing to try them. I'm wanting to try them. I'm waiting to try them.



And then... aaaaaah.... see that pile of blue? That, my friends, is a pile of blue Impressions, for the background of the Pelican. I ordered larger hanks, all the same dye lot. And once my current goldwork project is finished, I launch into the Pelican for a good bit. Joey - if you're reading - no, I haven't tried them yet, but I will soon!



And finally, this is the Needle in a Haystack Stitching Has Its Rewards card. Oh, golly. How long have I been ordering from them, and I never knew about this? I finally started reading their newsletters and blog, and low and behold... I got a card. This means that I can build up rewards points that equal cash off my next order. Unfortunately, I won't be placing another order for a while. But hey. Some day I will. And gosh, I just feel really good about being an official card-carrying stitcher.

So that was my banner day.

It was un-banner day in the fact that I didn't get a post published this morning (sorry), and I didn't get the write-up finished about my concept of long-and-short stitch lessons, and I didn't get the face transferred. But I did dig out this:



It's my flesh tone package of Soie d'Alger. Did you know you can order a whole set of only-flesh-tones of Soie d'Alger? I've had these for two years. I'm finally going to use them!

Thank you all for your good advice on the face. I will take each bit of advice and try it out, and let you know what actually ended up working out best!

I hope your Monday was a banner day, too! See you tomorrow!

Labels: embroidery resources, needlework products, pictures, supplies, threads

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Posted By: Mary Corbet on Monday, September 22, 2008
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When I set up for filming some embroidery stitch videos this week, I had the opportunity to try out a set of Evertite Stretcher Bar frames. So here are some photos and a bit of a review...

First of all, it helps to know what stretcher bars are and how they are used. Essentially, they're just four sides of a wooden embroidery frame that have interlocking corner joints, kind of like straight dove-tail joints (if you'll excuse the oxymoron!). They're sold in pairs, so that you can mix and match the sides to suit the size of your project. For example, if you have a project that's 12 x 14 inches, you would buy one pair of 12" stretcher bars and one pair of 14" stretcher bars.

Stretcher bars, in general, are great! They give you the taut surface necessary for certain techniques - or for embroidery in general - without the fuss of setting up anything more complicated. It takes about 20 minutes to set up a project on a stretcher bar frame.

Stretcher bars come from a variety of manufacturers, apparently, reflecting different quality of workmanship. The stretcher bars you find, for example, at chain craft stores like Michael's - while they work ok in a pinch - are not my favorites at all. For one thing, the edges of the frame are sharply square, as opposed to rounded. The wood itself is not finished in any way, and can often be splintery. The corner joints are not always reliable - I've bought some at Michael's that had mis-cut joint notches, so that the corners slipped out and wouldn't stay together. And, lastly, the wood is rather hard, with streaks of "really hard" that run through it, making it difficult to sink the tacks. The quality of the workmanship is reflected in the price of these frames - the longest length pairs are no more than $3 / pair.

Then there are the nicer stretcher bar frames that you'll find at your local needlework shop. They're slightly more expensive (but still not that expensive), they're made of a softer wood (which takes the tacks better), and they have rounded corners. They're sanded smooth. These are nice frames. I've seen them run anywhere from $3 / pair for the smaller sizes up to $6 / pair for the longer length sides. And sometimes, you can find them on sale.

And then... then there are Evertite Stretcher Bars - technically called Slimline Tension Adjusting Stretcher Bars.

My first impression is that they are "meaty" frames - slightly thicker than even the nice stretcher bars. They are smoooooothly sanded, with rounded edges.



The Evertite frames have a few unique features:

First, they're marked with center points on each bar (this is where you begin tacking your fabric).



The bars fit together snuggly. They take a bit of pushing and working, in fact, to get them together - which can be better done with a small mallet. But I managed without one, so it's not too difficult.



On each end of each side of the frame, you'll see the little apparatus that makes Evertite frames so unique. There's this little bolt thing set into the frame, and this bolt can be loosened or tightened, according to the needs of the stitcher. When it's tightened, the head of the little bolt pushes against the inside of the other bar, forcing the frame apart and making the fabric mounted on it tighten up. When it's loosened, a space develops between the head of the bolt and the adjoining bar, so that the frame pieces can be pushed together slightly, loosening up the fabric.



This handy-dandy little tool makes loosening and tightening the bolts a cinch. I'm not sure what this kind of tool is called - I call it the Yellow-handled Tool Thing, which seems to suffice. You can buy the Yellow-handled Tool Thing separately when you purchase your Evertite frames.

Now, how do you set up one of these things, and what are the advantages of using them?

First, the set-up. Gather your tools and supplies.



For me, this consists of my piece of fabric and my tack stuff, which I store in a glass jar. I have one of those E-Z Tack-it kits, with the magnetic pusher and the little matching tack remover - and these, along with all my tacks, reside in an old Hershey's chocolate sauce jar.



A note about tacks: when your E-Z Tack-it tacks start to break up (and they will - the heads come off fairly easily), I recommend picking up regular brass tacks from your local hardware store. I think they work better, and why wait around to special order something as common as brass tacks?? In the photo above, the E-Z Tack-it tacks are on the left, the everyday brass tacks from the hardware store are on the right. They're not that different - the EZ tacks have a perfectly flat head, while the hardware store tacks are slightly rounded. That's it.



Mark the center point of your fabric, and line it up with the center mark on the frame.

With needlepoint canvases, you would probably tack your project onto the top of the frame bars. I tack my fabric on the sides, for three reasons: One, it gives me more finishing room around my project - a good inch more on all sides. Two, I don't like having my fabric edges on top of the frame, where my thread can catch on them. Three, I use the Needlework System 4 floor stand with the stretcher bar clamp, and having the tacks on top reduces the efficient functionality of the stand. It just doesn't grip as well when the tack heads are running interference.

Ok, so, you've lined up your fabric. Tack the center point of one side of the fabric onto the frame.



Moving out from the middle, tack across to one side, then go back to the middle, and tack across to the other.

Here's a very nice point about the Evertite frames - you don't need the magnetic tack pusher, unless you have problems with your hands or fingers (arthritis, etc.). I used my thumb and pushed the tacks into the frame with relative ease, and that saved time.



When tacking, keep in mind that you need to leave the corner joints accessible. Normally, I'd fold down these edges and secure them, to keep them out of my way, but I have to be able to get to the bolts, so I'll leave the corners like this.

After tacking the first side, tack the side opposite it. Then tack the other two sides in the same manner as the first. It's when you're tacking the second and fourth sides that you apply a bit of tension to the fabric or canvas - but you don't have to pull it hard - just tight enough, without any warping to the fabric.



So the four sides are done, and the fabric is open for the Yellow-handled tool thing.

And this is where the fun part comes - tighten the bolts. Your fabric will get downright hard with the tension. Then, if you want to loosen the fabric up, you loosen the bolts and push the frames in.

It's easier to tighten your fabric than to loosen it, I thought.

Overall, what do I like about the Evertite frames?

1. They do what they say they do - provide a stretcher-bar frame that can be tightened and loosened without having to remove your work from it or reposition the tacks.

2. The quality of workmanship - every detail is thought of, from the smooth edges to the center markings on the sides, to the length of each bar being "branded" on the end, so you know at a glance what size bar you're grabbing.

3. They provide a (relatively) affordable, effective, and easy option for framing up a piece of embroidery, canvaswork, or goldwork. Especially if you're going to do goldwork, you want the kind of surface these frames supply - taut and level. (Slate frames provide the same kind of surface, but are a heck of a lot more labor-intensive!)

4. They are re-usable, and you can mix and match the sizes of pairs, relatively affordably.

5. Relative affordability - they aren't as expensive as a slate frame or as most roller bar frames, etc. They are more expensive, though, than other stretcher bar frames.

What are the cons to the Evertite frames?

1. Availability - they don't carry them at any local needlework shops around here... BUT they are available online... Here are some sources:

Needle in a Haystack - (scroll down the page) Recommended - absolutely reliable shop, thought slightly more expensive than many others. I think this comes from having a brick and mortar store on the west coast...! Higher overhead...

Stitcher's Paradise - where they run approximately $1 less all around, compared to Needle in a Haystack - and if you have any questions about anything you want to order, they do have contact information at the bottom of their home page. [I apologize for this oversight - I had mentioned previously that they don't.] I heard from Peter and Janet, the purveyors, and they were very kind and interested in making it clear that they do value their customers and strive to provide them with excellent service. You'll also find heaps of other goodies on their website, so if you haven't seen it before, do take a look at it.

In Canada, Traditional Stitches carries them - I've never ordered from them, but at least they have contact information and the site looks friendly and the shopping set-up is convenient.

Tristan Brooks (in the States) also carries them. Althought their shopping set-up is not so convenient, I've always received very good response from them when I've contacted them. So they've got it at the customer service end...

Homestead Needlearts - I've never ordered from them, but there they are, nonetheless. Their prices are about $1 less than Tristan Brooks and Needle in a Haystack, and they're located in Michigan, which is a bit more central, so shipping could be faster, if they're efficient in filling their online orders.

2. They are more expensive than regular stretcher bars (even the nicer stretcher bars). Example: regular stretcher bars that are 15" long cost around $3 - $3.50/ pair. The 15" Evertites cost around $16 - $17 / pair. NOW - that being said - you're paying for two things: one, the ability to tighten and loosen your fabric without removing it from the frame; two, hand craftsmanship. Is that price difference worth it? I think it depends on your individual circumstances. By the time you buy the whole frame, you're looking at about a $30 price difference.

My personal opinion on the price difference? I like the Evertite frames, and I think the tension feature is worth it, for the right kind of project. I wouldn't buy them for play stitching, but for the right kind of project, yes, it would be nice to have a few sets on hand! And finally, I'm a fan of hand craftsmanship. I like supporting local folks who work with their hands to produce a quality product. So when I have the opportunity to do so, I do so.

Evertites are produced by Evan Burroughs, the same fellow who made the slate frame I reviewed. If you're interested in contacting him, or if you want to read more information on the Evertite frames, visit the Evertite webpage.

I've got some larger sets of the Evertite frames written into my hobby budget... and once I achieve them, I know exactly what projects I'm going to set up on them!

If you've used the Evertite frames, what's your experience with them? Do you like them? Are they worth the price difference? Would you recommend them to other stitchers?

Labels: embroidery tips and tricks, needlework products, needlework tools, pictures, slate frames

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Posted By: Mary Corbet on Saturday, July 12, 2008
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When you get beyond the beginner stage of hand embroidery and move into more complex forms, you may find that you wish to expand your collection of tools. An indispensible tool for the serious embroiderer - especially if you get into goldwork, silk shading, and other complex techniques - is the slate frame. I've found a source in the US who provides hand-made slate frames that are sturdy, beautiful, and in all regards, as far as I can tell, really perfect. I spent a good part of today (July 4th) playing with mine, dressing it in a nice piece of linen. The finished product was worth the effort!

Before I launch into this, I also have a tutorial on how to dress a slate frame for hand embroidery - if that's what you're looking for, rather than a source.

On with the news!

Mr. Evan Burroughs, located in Salem, Oregon, makes slate frames for the hand embroiderer! This was such an exciting piece of news for me, because, for the longest time, I couldn't find a source in the US. Sure, slate frames can be ordered from Britain, but - combine the exchange rate and the shipping, and they are expensive!

When Evan fell out of the sky into my e-mail account one day, I was really thrilled and eager to try his frames.

He makes three sizes of frames. The smallest frame accommodates a piece of embroidery about 10" x 10", without having to roll the work. The medium size accommodates a piece from 16" - 20" wide, with stretchers that will accommodate a piece about 16" long before having to roll the work. And the largest size accommodates a piece about 24" wide by about 28" long, before you'd have to roll it.

The frames are made out of beech, which is strong wood. The pins are stainless steel cotter pins (rather than the traditional wooden pegs), which allows the pegs on the side stretchers to be placed in 1/4" increments, giving you really good control on the stretching.



If there were some way to allow you to feel what you're looking at in that photo, you would understand my infatuation with slate frames! The fabric is perfectly smooth, perfectly taut all around, and oh-so-ready for my next project! Isn't it just beautiful??

The frames run $59 (small), $69 (medium), and $89 (large). Remember, they are hand made, and they will last you a life time - and then some! As far as the workmanship goes, my experience with mine is this:

I LOVE IT. The wood is smooth as glass, the frame feels in all respects sturdy, everything fits together really well, and... wow. It's just really nice! When you're working with it, you know it's "real" - it's not cheaply made, plastic, or flimsy. I think it's a work of art!

Evan is also the fellow behind the Evertite Slimline Tension Adjusting Stretcher Bar frames - which I hope to try soon. I've got one set that I want to mount a bird project on; as soon as I do, I'll let you know what I think of the Evertite frames.

If you want to take your stitching to the next level and invest in a slate frame - or if you're like me, and you've been looking high and low for ages for a source for slate frames - do contact Evan. You can visit his Evertite webpage, where he has his contact information listed. When I arranged for my frame, he said he generally has a few sets of each size of slate frame on hand; if not, his production time runs about a month. It's worth the wait!

Now, after all the gushing, I have to add a little glimpse of reality for you. A slate frame is not an "easy" option for the embroiderer. It takes much time to dress a frame, and it's hard work. The end results are worth it, no doubt, but before you delve into a slate frame, do understand that it takes some effort to set up the frame. (I'm typing with sore thumbs...)

That having been said, I think it's the best way to set up a large project, especially one that will take you some time. The tension lasts forever, and can be adjusted repeatedly without having to take the frame apart. Read "Dressing a Slate Frame" to see how the whole process of setting up a slate frame works.

And finally, just so you know, Evan Burroughs and I are not affiliated - I'm just a very, very happy customer who is so pleased to be able to tell you about his handiwork! Do check him out - and tell him I sent you!

Labels: embroidery resources, goldwork, needlework products, slate frames

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Posted By: Mary Corbet on Friday, July 04, 2008
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When it comes to hand embroidery, you've probably already realized I'm a bit obsessed. I often wonder if I'm going to 'stick with' embroidery all my life, or if I'm ever going to lose interest in it - you know, like outgrowing certain kinds of household decorations or fashion preferences, or even hair styles! But I guess it's not the same - and one thing that keeps me delighted in embroidery, besides the creative process, is the variety of stuff out there that makes the work prettier, easier, more organized... I like the accessories!

While squizzing about the internet, I came upon another embroiderer's blog, and on it, I saw an accessory I had never seen before: thread rings. These are little rings of mother-of-pearl that you hook your threads through to keep them organized. I suppose any smooth rings would work, but these are apparently made just for thread.



The Happy Stitcher worked up a beautiful little thread roll, inside of which she lined up these thread rings, hung on ribbon, to keep thread for a project organized. Incidentally, speaking of accessories, the Happy Stitcher also makes and sells pretty little scissor and zipper fobs. And, while you're looking around her site, you might be interested in her "finishing school," where she gives step-by-step photo instructions on finishing different types of needlework projects.

Back to the thread rings.... When I saw this delightful little stitching accessory, I wanted to know what the rings were... and so I searched around for "thread rings" and came up with this:



Stitching Bits and Bobs is an extremely colorful website devoted to supplies for embroidery, and especially for needlepoint and counted thread designs. It is, in fact, the site where you can find Giulia Punti Antichi's embroidery designs. She's the lady who designed the little free Assisi work etui pattern I posted a while ago. You can find Giulia's patterns at Stitching Bits and Bobs, so if you want some nice designs to browse or purchase, you might take a look at them!

Back to the thread rings: I think they're a great idea. They don't have to be used in a thread roll like the happy stitcher did, but if they are, I think they would be very effective. I was also thinking they would be nice, just strung on a ribbon or on a bigger ring, while working a project. I suppose you could slip your thread in them and carry them loose, too.

There's also another cool little accessory at Bits and Bobs called a "thread keep." It's mother-of-pearl as well, and it holds six groups of floss:



I don't have any of the above accessories, but they look like great ideas, and someday, I might even invest in some of them! Would they keep me more organized? Hmmm. I can't guarantee it! One of these days, I'll have a little etui roll - I'll roll it up and put it in my nantucket basket, and love the fact that everything tucks prettily away. But I reckon I'll have to make it first - so I may be waiting a while! In the meantime, I guess I'll let my plastic box continue rattling inside my basket!

Oh - by the way - with Christmas in the not-too-distant future, I think all these accessories - the thread rings and keeps, or the scissor and zipper fobs - would make marvelous stocking stuffers for stitchers!!

Labels: embroidery resources, gift ideas, needlework products

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Posted By: Mary Corbet on Friday, October 12, 2007
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Have you noticed that there's a proliferation of embroidery kits and designs around that make use of little embellishments? Those special little touches that add "something" to the work - sometimes that something is zing, sometimes it's elegance, sometimes it's just a splash of fun - are pretty popular! I try not to be too narrow-minded in my view of embroidery, but I must be, because I never noticed the abundance of embellishments in the embroidery world until just this past summer.

But now I'm hooked. Really. I like these little extra baubles and buttons, beads and charms. Oh, they've been around a while - goldwork, sequins, beaded embroidery, charms, buttons... they're nothing new! But it seems to me that they are enjoying a resurgence in popularity.

This is what sold me on the fun of these little items and that opened up my eyes to noticing them around more and more:



It was these little Sweetheart Tree kits. They're small kits - counted thread techniques - with little extra embellishments to the kits. I don't generally work counted thread techniques, except in dabbling in a bit o' blackwork here and there, and - very rarely - some canvas work... and hardanger now and then, too. Ok, fine - I take it back, I do "do" counted thread stuff - but it's not usually cross stitch.

Normally, these would not be something that would catch my eye. But they did. Why? I think it's the little embellishments! Both kits make use of little tiny beads and one has little heart-shaped white buttons in it. I like them! It takes them "above ordinary."

I admit I'm SLOW - I'm sure little embellishments have been prevailant for a while in needlework - or perhaps they never lost their charm! Maybe I just haven't noticed them....

But NOW... check this out:



I do believe I could become an embroidery embellishment junkie!



Here's a sweet little seashell made by Susan Clarke Originals.



And a pretty little iris by the same company... Irises are among my favorite flowers, and I'm in the middle of embroidering one right now. So I just love this little thing!



A very pretty snowflake - perfect for.... well, earrings came to mind at first, but this is about embroidery, so I chased that thought away, and voila! a better one crept in - what about building a simple embroidered card around this for a Christmas card?



This is largish - quite large, compared to the other pieces here. At first, I thought "What in the world would I ever.....?!" and then the same thing happened. In crept a little thought. A "formal" garden border - maybe even in blackwork or a similar style - built around it. Why not? For a framed piece... I could see it!



Cherries! Who doesn't like cherries?! They remind me of summer - and this is another perfect little something for a crazy quilt square, for the center of an embroidered motif, or for the center of an embroidered card.



And here's a whole little group of "under the sea" embellishments.

OH - so many ideas, so little time!

This bunch of stuff above came in the embellishments Treasure Box I ordered last week from Twining Thread, as part of their close-out. Along with them came ribbons - glorious, beautiful ribbons - and all kinds of neat stuff. What a deal!

Well, if YOU have any ideas for my new embellishment stash, I'm all ears!

In the meantime, I need to go find some storage space....

PS - I'm going to full feeds for a bit on Feedburner. What think you? Do you prefer partial or full feeds?

Labels: embellishments, needlework products, pictures

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Posted By: Mary Corbet on Thursday, September 27, 2007
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I'm a huge fan of using a stand for needlework - whether it's a lap stand or a floor stand, for needlework projects larger than 10 inches in any direction, I think the stand is a necessary tool for the embroiderer. So I've been on a quest, searching for a good one.

My current embroidery stand is a wooden one from Lacis. You can see it on their main catalog page. It's the floor stand on the right in the photo below.



When I first got it, I liked it well enough. It was nice to have a floor stand that adjusted in height. I soon found one noteable drawback: it doesn't adjust in position, so when I use it while sitting in the living room on the couch or in a comfortable chair, I have to pull it towards me and balance it on two of its legs. That's not so convenient. After a few years of use, of having to tighten and loosen the wooden ends every time I wanted to turn my work over, it has lost its appeal. The accessory for holding a hoop or a stretcher bar frame is actually a pain in the neck.

So the search was on for a good needlework stand, and to that end, I went to Kansas City, where there are a couple needlework shops that carry different lines of stands and frames. K's Creations is probably the most common line in most needlework shops. I checked out their stainless steel stand, which is featured on their website:



There are things I like about it and things I don't. The base, for example, while heavy, is not proportioned for larger needlework projects. If you accessorized with everything they offer, including the optional light attachment, the stand would be top heavy. Add a larger project to it, and it seems to me the whole set-up would be prone to toppling if someone brushed against it in passing. You can hold your foot on the base to stabilize it, but I often leave a project up when I'm not sitting at it, and I wouldn't want to risk the whole thing falling over.

Then I checked out the Lowry stand, which is a stainless steel stand much like K's Creations. The base seemed heavier, but really, they were very similar, and I figured the same thing would happen with the Lowry stand if it were loaded with a larger project. What I did like on both of these is that the clamp for stretcher bar frames is also stainless steel, as opposed to plastic or wood.

I tried the Mark 2 Needlework Stand (here's a picture of the Mark 2 Needlework Stand, if you scroll down the page), and, while I like the sturdiness of having the project mounted on both sides, I don't like the largeness of the thing in general. My workspace simply isn't big enough! On this one, though, you can rotate your work without adjusting the wooden knobs, which is a plus. However, if you want to adjust the stand to a new position, you have to adjust knobs on both legs of the stand. And then if the position isn't quite right, you have to do it again...! And all this makes for eventual wear on the wood.

I saw other stands and frames as well - American Dream products, which were wood and, while sturdy at first, prone to that same loosening and wear that I've experienced on my Lacis stand. I wasn't really impressed with these products - at least, not if I am going to make an investment in a piece of equipment that I want to last!

And then... I found it. It's the Rolls Royce of Needlework Stands. Oh golly, I want one. I tested and tried it and liked it, and I tested and tried it and liked it again. It's called the Needlework System 4.



It's somewhat strange looking, but it works! It slants down towards you if you're sitting in a lounge-type chair or on a couch, or you can position it straight up and down. You can clamp your work on the top, or on the side. The clamp (disadvantage) seems to be made of plastic, but it's very sturdy and seems really durable. (It has a lifetime warranty, which is great!) I mounted a large project on it to see how it would hold, and it does! I'm don't usually like the idea of top-mounting my needlework, because I don't like "straddling" the stand, but it was comfortable, and I even had a skirt on and it didn't bother me.

The front leg is long, but it is not very high, so it slides underneath furniture well. The long leg compensates for a larger or heavier needlework project, or any accessories such as lights that you might add to the stand. No wobbly feeling on this stand! And although the work is mounted only on one side, the frame I tested it with didn't feel wobbly or insecure, either.

And the whole construction of the stand part is steel - no wood rubbing down, etc.

Oh, yes. I like it. But the price! Holy Cow! To get the stand and the clamp attachment, you're looking right away at anywhere from $250 - $300. On the bright side, you'd never have to replace it! But the front-end investment is a bit steep.

If you want to use scross frames, by the way, you can. But you have to buy at least one of theirs, so that the sides will mount on the frame. You can use other dowels, as long as you have the side mounts.

I was pretty impressed with the System 4 Rug Floor Stand for Really Big Needlework Projects!! But that one doubles the price, since you need two of the floor stands to set it up!

Anyway, there it is. I didn't buy one. But perhaps someday....!

Labels: embroidery resources, needlework products, needlework tools

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Posted By: Mary Corbet on Saturday, August 11, 2007
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If you embroider - whether you're a beginner or have been at it for some time - you probably have already developed a liking for a certain something that you use faithfully when you sit down to embroider... a certain something beyond your needle, thread, and fabric.

As I was plugging away through a major embroidery project this past weekend (which you can see the beginnings of here), I started contemplating the variety of tools and accessories in the world of embroidery. Think about it! Someone had to come up with all those ideas for this little accessory or that little necessity, and they market them somehow, and we, the faithful (perhaps a little "addicted") embroidery consumers decide "Wow. That's a good idea! I think I'll try that out!" And... we buy it. The Inventors of Embroidery Accessories and Necessities love us for it!

Admittedly, there are some things you generally can't get by without when you embroider: a needle, fabric, thread, and at least a basic pair of scissors. But what else do you use, what's it used for, where did you get it, and why can't you live without it?

I'll give you an example:



I like this thing. It's called "Judy's Boo Boo Stick." It's great for removing mistakes. You just gently brush or roll over the place where you've snipped some threads, and they lift right off, without having to pinch them. I especially like it in areas where I've removed threads that leave a fuzzy residue. You can find it at needlework shops, and I think I've even seen them at Hobby Lobby, though I could be wrong about that. They run anywhere from $6.50 in a store to the whopping ridiculous price of $12.95 at one online store. (Look around before you shop!) You can find them at Nordic Needle for $7.95.

So that's one of the little "necessories" I've picked up over the years.

So what accessory or necessity do YOU like having with you when you embroider? Give us all the details, and I'll share them with readers - and perhaps you'll be helping others enjoy their embroidery experiences even more! If you have anything you'd like to share, feel free to reply here or e-mail me at mary [at] needlenthread.com (it's the normal format for an e-mail address, only spelled out). You can even send a photo if you want!

Labels: embroidery resources, needlework products

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Posted By: Mary Corbet on Tuesday, February 20, 2007
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Here's the latest major embroidery project I've got underway. I thought I'd share it with you while I work against a six-week deadline. All other embroidery endeavors will most likely cease in the next six weeks, as this one is rather time consuming!

This project is for the back of a vestment, so it would fall under the category of "church embroidery" or ecclesiastical embroidery. The image is the Agnus Dei, or Lamb of God. Traditionally, the Lamb, as a symbol of Christ, is portrayed with a white banner with a red cross on it, standing on a hill or grass, generally with some flowers at the feet. The background is the sky at morning, although the motif is sometimes worked on a gold background, or simply on blue fabric. There is often a "fountain" of blood, symbolizing the slain Lamb shedding his blood for the salvation of the world.

So my first step in this project was to work up the design. I did this first in a sketch book, then on graph paper, finally transferring it to tracing paper several times until I got it where I wanted it. Then I layed in some color to get a color scheme. The design is placed within a quatrefoil shape.

Once I had my design where I wanted it, I pricked along all the lines with a handy piercing tool (you can find these at Nordic Needle). An alternative is a needle stuck in a cork (which makes it easier to hold). Then I prepared my fabric and mounted it on stretcher bars:



This is the "next best" option for setting up a project (the best being a slate frame, which is virtually impossible to be found in the US right now). The concept is that you stretch your fabric and pin it with tacks. This is easily done with the right tools, like the EZ Tack It kit from Lacis. Once the fabric was mounted, I pounced the design on with a pouncing tool and pounce powder. I should have taken pictures of the process, but I forgot - next time!

After pouncing, "connected the dots" of the pounce with watercolors, using a very fine paint brush.



So here it is, on the frame which is mounted on a stand. The design is 11" x 11" at the farthest points of the quatrefoil.



Here's a close up. I have a few adjustments to make in the design as I go - for example, the banner's not quite right on the top line. It needs to curve in more. I'll adjust that when I do the sky.



This is the grass going in. I'm using stem stitch, not long and short stitch. Since I'm working horizontally in many patches of different greens, it makes more sense to use stem stitch.



You can see the variations in color here. For thread, I'm using silk - Au Ver a Soie, Soie d'Alger, one strand. I ordered it from Twining Thread, where they carry the whole range of colors and the service is great, and the prices either the same or about 5 cents less per skein than other places.



You can see the patches of color being worked.



Once the background grass is finished, I'll work in tufts of grass in different greens, as well as clusters of flowers. (That'll be the fun part!)

The next step after the grass is the sky, which will be worked in long strands of flat silk in different blues, and then couched over with gold, in the old "Italian Stitch" style. You can see what that looks like here.

For fabric on this project, I'm using Legacy Linen - Alba Maxima, which is a relatively high count, evenweave linen, with about 40 threads per inch. It's great stuff! I purchased it through Twining Thread as well.

So, this is what's keeping me occupied for the next six weeks! I'll keep you posted with pictures, etc., as I progress.

Labels: ecclesiastical embroidery, needlepainting, needlework products, pictures, silk

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Posted By: Mary Corbet on Saturday, February 17, 2007
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Posted By: Mary Corbet on Monday, February 05, 2007
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