A couple weeks ago, I took my Mom to a small cross stitch shop here in Kansas. She was looking for some kind of magnetic something-or-other to mark her filet lace crochet patterns, and I was happy to oblige her with the journey - I'm always in the mood for a needlework shop, after all! While we were there, I came across an interesting "tool" that captured my interest, so I bought it, thinking (if it does what it says) it would be an interesting tool to share with you.

But as it turns out, I am majorly perplexed by this needlework tool. Maybe someone out there can enlighten me on its value!



This is what it is: "thread straightener" rods, for silk or synthetic threads that are kinky, curly, etc.

Now, in concept, I am not opposed to a tool that would easily assist in relaxing the kinks out of silk threads. I, too, have been befuddled and frustrated by silk threads that are so boingy that they are a pain to use.

So I was more than willing to give this little miracle tool set a try.



These are two four-inch plexi-glass or pastic dowels, with a purple rubbery foam cushion hugging the middle of the dowels. The purple stuff feels a lot like the stuff that's used on the outside of drink bottles to insulate them.



According to the directions, you're supposed to wrap the cut ends of each thread around the purple foam center, and gently pull until you feel the thread relax. This is supposed to remove kinks, curls, etc.

For my first attempt, I took out some curly silk that was wound on a small, narrow spool, so it was a bit out the curly-bouncy side. I wrapped only the cut ends (about an inch or an inch and a half) around the purple stuff, one end to each dowel. And I pulled gently.

What I felt was the cut ends sinking into the foam center on the dowels. I didn't "feel" the thread relax. ??!! And the thread didn't look any different when I removed the ends from the dowels, except that the ends were a bit staticky.

Then I looked at the instructions again, and I thought that perhaps they really meant that, starting from each cut end of the thread, I was to wrap the thread all the way around the purple foam, into the center of the thread, so that the thread was wound onto the dowels, and then I was supposed to pull gently, pulling the thread off the dowels.



So I tried that, too, and ended up with a staticky mess of curly silk thread. I'm assuming my second interpretation of the directions was entirely incorrect - curly-boingy thread is one thing. Staticky-curly-boingy thread is another matter entirely, and practically impossible to stitch with.

Yes, I'm stumped. This isn't exactly my idea of a useful needlework tool. But perhaps I've got the whole thing figured wrong, and there's some way to make this $5 set of 4-inch plastic sticks useful? Any clues?

A tried and true method for relaxing kinked, curly, or bouncy silk thread: Take the whole bundle (assuming it's coming off a skein) and cut it to your preferred length for stitching. Then put the tea kettle on. Once it starts whistling, hold your bundle of threads in both hands, and pull gently on it while running it through the steam from the kettle. In this way, you've relaxed your whole bundle of threads in one go. Then fix yourself a cup of tea and let your threads dry out. You can also use Thread Heaven on particularly cantankerous threads, to good effect.

Labels: needlework tools, pictures, silk, threads

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Posted By: Mary Corbet on Monday, October 05, 2009
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Gold embroidery needles! A somewhat exciting concept, don't you think? The richness of gold, coating the outside of the needle for a beautiful and smooth finish - to make the needle better for stitching. This is the concept, anyway, but does it hold true?

Some embroiderers have told me that they stitch exclusively with gold needles because of allergies. They find that other needles tarnish quickly in their hands, or bother their skin. In these cases, they've found that gold needles are a good solution for them. But if you don't have skin allergies or reactions to regular steel needles, what is the advantage of stitching with a gold needle?

Most needles today are made out of high carbon steel that is stretched to the correct size, cut, sharpened, punched, and plated with nickel. Hence, folks with nickel allergies usually look for specialty needles that are plated with something else. That something else can be gold or platinum. Here, we're looking specifically at gold-plated needles.

According to various descriptions of gold needles (in retail shops, manufacturers websites, etc.), gold needles are superior to other needles and are resistant to corrosion from humidy and body oils. According to one website, "gold needles cost a little more than steel but they impart a real sense of quality to your needlework."

Available here in the US, the most common gold needles are made by DMC, which offers 18k gold plated embroidery and tapestry needles in various sizes. John James (made in England, but widely available in the US) also makes a line of gold needles, though I am uncertain of the range of gold needles they produce. I know they produce gold tapestry needles in sizes sizes 20 - 28, and petite tapestry needles in sizes 22 - 28. If you have a popular needle company in your own country and are interested in gold-plated needles, you might want to check to see if they produce any gold plated embroidery needles.

Now, about the needles specifically. Are they really "better"? Do they really "impart a sense of quality to your needlework"? (Um - logically speaking, I don't think that claim flies, but anyway...) They cost more, certainly. For about a dollare more than a package of six John James regular tapestry needles, you can purchase three John James gold plated needles. So they cost more than twice as much as regular needles. Incidentally, John James platinum coated needles cost about $2.50 more per package, and you get... 2.



In the photo above, the needle on the left is a size 26 gold-plates tapestry needle (by John James). The needle on the right is a regular steel needle plated with nickel, John James, tapestry #26.

I started using the gold-plated needle because I was looking for a #26 needle, and I had a package of gold plated ones close at hand, so I grabbed 'em. I used this particular gold-plated needle in the photo above for several hours of stitching - probably six hours all told.

When I first started stitching with it, I did notice a different "feel" to the needle. Really! It feels different as it passes through the fabric. It is pleasantly smooth, and it almost seems "squeaky" smooth as it goes through the fabric. There's no resistence or anything, but there is definitely a different feel to it. It glides in a squeaky clean kind of way. (How do you describe how a needle feels??!)

So, away I stitched.



I really hadn't thought too hard about gold-plated needles before this particular incident of stitching. I have a few gold needles, but have never used them any length of time.



In the photo above, the needle on the left is the one I used for about six hours. The needle on the right is new from the package.



But, this is the thing - and I realize it may just be an individual difference in skin and body chemistry, so you can't take this as an absolutely "objective" review of gold-plated needles. After about six hours of stitching with the gold-plated needle, it started to feel "sticky" as it passed through the fabric, rather than smooth and squeaky. I had to push it through - it had stopped gliding smoothly.

On closer inspection, the wear on the coating was obvious. On the shaft of the needle, there were darker areas of wear, and, as you can see in the photo above, the shaft is dull rather than softly shiny.

I still like the initial feel of the gold needles, and I am going to use the other two. I'll try cleaning my hands a different way to see if that helps allay the corrosion of the gold finish.

But I have to admit, since I haven't experienced any allergy problems with nickel, or any corrosion problems with the standard list of needles that I use - John James, Richard Hemming (not my absolute faves, but they're ok), Bohin, and some Wendy Schoen needles - I probably won't make a habit of paying extra for gold coating.

That being said, I really do think I need to try platinum! Just for curiosity's sake!

What are your experiences with gold plated needles? Do you use them? Have you ever had corrosion issues? How about with regular nickel-plated needles? Any insights!

Have a terrific Friday!

Labels: needles, needlework tools, pictures

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Posted By: Mary Corbet on Friday, September 11, 2009
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Do you ever get to that point in your stitching where you have just a couple more stitches, but ooooooh - your thread is running out and you're pretty sure your needle isn't going to let you go any further? I experienced that a couple times last week. What's the solution? Petites.

Tapestry petites are little needles - a full quarter inch smaller than a regular sized tapestry needle - and they are ideal for getting the most out of your thread.



These needles, stuck in the needle felt block I keep my Japanese hand-made needles in, are both size 28 tapestry needles. Tapestry needles have a long eye and a blunt tip and are the ideal needle for counted thread work, needlepoint, petit point, and other techniques where you need a blunt tip that will help you avoid splitting fabric threads.

The needle on the left in the photo above is the tapestry petite.

You would not think that a quarter of an inch on a needle would make all that much difference, but it really does! The short needle allows you to work closer to the end of your thread, getting the most stitch coverage out of it, while still being able to manipulate the needle underneath the threads on the back when you're ready to tie off.

Tapestry petites do require some getting used to! That little needle, especially in a size 28 (which is relatively small for tapestry needles) is much more delicate, so your fingers have to get used to finding it. But once you're used to the smaller needle, you'll find it's a great tool for your stitching needs.



Tapestry petites come in different brands, but the local needlework shop where I bought my last bunch of needles only carries John James. That's quite ok - these are pretty good needles. I've never had a problem with them, even after long-term use.

One online source that I really like for needles, especially if I'm buying in bulk, is Colonial Needle. They have just about every type of needle you'd want for regular handwork, and their prices, shipping, and customer service are hard to beat.

So, if you're looking to get a bit more out of your thread, next time you buy needles, consider picking up some tapestry petites. I think you'll like them!

How about you? Do you use petites? Do you like them? What's your Favorite Needle?

Labels: needles, needlework tools, pictures

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Posted By: Mary Corbet on Tuesday, September 08, 2009
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After speaking with Joey about Luzine's Schwalm Whitework embroidery project I'm getting ready to start, I decided to try out a different method of transferring a design: using watercolor color pencils to trace. Now, we already know about regular dressmaker pencils that have "water soluble" blue chalk in them - but what I'm looking at today is not found in the sewing notions section of your local store. You'll find watercolor pencils in the art section of hobby stores or art stores. In this little test piece, I went a little overboard (actually, I went a lot overboard!) with Faber Castell watercolor pencils - but I learned something at the same time.

Watercolor pencils are normally used to mimic the effects of watercolor painting, by drawing or coloring first with the pencil, then dabbing it with water to blend the pencil marks into a watercolor finish. They're fun to play with, on the art side, and they're equally as fun to play with on the embroidery side...



For this article, I used Faber Castell watercolor pencils. Other brands exist: Prismacolor, Caran d'Ache, Derwent, etc., and I intend to test Derwent and Prismacolor as well (eventually). I selected four colors of blue. Since I'm working a whitework project, blue is a good color for a design transfer. White "absorbs" blue, so even if there is a little residue, it generally only makes the white look a bit whiter (unless there's a lot of residue... then it looks... well. Blue.) I tried all four colors on the little piece I worked.



In fact, I went a bit overboard on the color - I drew the design darker than it needed to be. After all... I was testing to see if it would disappear, so why not go dark - because then we would really know, right?



You can see the four colors here on my fishy friend, and you can see that they are all pretty clearly drawn on the linen. No problem seeing the lines, that's for sure!



On the front part of the swashy tail, I used the darkest pencil. I drew with a heavy hand. (I know you're waiting with Baited - oh, no pun intended! - Breath to see if this has a happy ending!)



I stitched the fish in white coton a broder, size 25, using a variety of stitches - pretty much anything that popped into my head.



You can definitely see the blue lines on the front of the swashy tail.



And, in fact, you can see blue on the head, too.



I wasn't sure if I had drawn quite enough blue, so I penciled in a little more, for good measure.



Then I decided that testing with white threads only was a little restrictive - so I started adding some colored bubbles. And I drew some Very Dark Circles for the bubbles. (Well, why not? This is a test, this is only a test...) Since yellow and pink would definitely turn if blue soaked in, I chose yellow...



... and a wee bit of pink. I also left a few bubbles blank - it would be interesting to see if traces of them were left on the fabric.



I decided there wasn't quite enough blue around the yellow, so I colored in a bubble.



Then, on a whim, I went back to the swashy tail because I couldn't leave well enough alone. I added more blue around the tail.



Then, the fish was introduced to water. I dribbled a bit on at first, just to see what would happen. Would the blue run? Noooo. It didn't really do much of anything. So I soaked the thing. And soaked it. And soaked it a bit longer. (In fact, I got busy doing something else, forgot about it, and came back to it the next day!)



I removed the fish from the water and committed a Grave Error - but one I felt necessary for the sake of photographing the thing - and I ironed it before all the transfer color was removed. Actually, I figured if the color weren't gone after 16 hours of neglected soaking, would it really ever leave?



Much of the blue did indeed leave - but not all. Considering the heavy dose around the tail, this actually isn't that bad when it comes to residue. Still, it's more than I'd want on a finished piece of whitework.



There's a faint bit of blue around the fishbone fish fins. From farther away, this is, in fact, not too noticeable.



The buttonhole back of the swashy tail actually came out terrific - nary a hint of blue, or if there is, it is ever-so-faint.



The bubbles are a bit of a different story. I drew them with all four blues at first, but then I went back over them (in my frenzy to add Enough Blue) with the darkest blue. I don't really like the removal results here. The unstitched bubbles are still quite visible, as is the blue inside the yellow bubble, and faint circles of blue around all the rest of the bubbles.



The lighter of the four blues - 140 & 147 of the Faber Castell pencils - worked best as far as removal went. Would I use these again? Well, yes. In fact, I did - to transfer my Schwalm design.

I would not use the two darker blues again, even with a light hand.

My conclusions on the Faber Castell watercolor pencils: the lighter ones work ok, but go easy in applying the marks.

You may wonder why I would try the watercolor pencils at all, when "water soluble" dressmaker pencils are widely available. The fact is, I've never had good luck getting ALL the blue out, after using a dressmaker's transfer pencil. I am hoping to find the "perfect" tool for tracing an embroidery design - the pencil that leaves No Trace Behind!

I'll be trying Prismacolor watercolor pencils next, as soon as I have a chance. Joey has used Prismacolors with very good results. The Faber Castell pencils (which are called Albrecht Durer watercolor pencils) have the highest amount of pigment in them, according to the description. There may be a significant difference between the two types of pencils, so I'm looking forward to giving the Prismacolors a try.

Incidentally, I didn't wait to buy a Prismacolor watercolor pencil before transferring the Schwalm design...

Perhaps I should have!

Labels: embroidery tips and tricks, needlework tools

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Posted By: Mary Corbet on Wednesday, August 12, 2009
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Following up on yesterday's post about selecting a good hand embroidery hoop, here's a little tutorial on how to bind the inside ring of your hoop in order to maintain better tension for a longer period of time.

Binding a hoop isn't absolutely essential in embroidery, but it does have its advantages. When you bind at least one ring (I bind the inside ring), you supply a little extra friction to keep your fabric tighter, longer. Also, the binding adds a bit of protective "padding" that will make the hoop a bit easier on your fabric. And though binding seems as if it would be a time-waster or a pain in the neck, really, it's very simple, and once it's done, you don't normally have to do it again. I have four hoops with the inner ring bound that I've been using for three or four years, and the binding job is just as good now as it was when I first did it. They work great! I'm glad I took the time to bind them.

That being said, not all my hoops are bound; I often work with hoops that aren't. If you want to bind the inside ring of one of your hoops, here's a little tutorial to show you how. Keep in mind that the tutorial focuses on the inside ring of the hoop. If you decide to bind the outside ring of the hoop, you'll need to begin and end your twill tape on the outside of the outside ring. Binding doesn't really work well on the plastic Susan Bates-style hoops that have a lip.



First, gather your supplies. I'm using the same Hardwicke Manor Hoop I spoke about yesterday (7" round x 5/8" deep). (By the way, it's HardwickE Manor Hoop, with an "E" - seems I spelled it wrong ...)

I'm using 1" twill tape, the kind you buy in the notions section at a sewing store. It's polyester. For better friction, I'd suggest cotton twill tape, but I didn't have any on hand. Cotton twill tape is easier to bind the hoop with, too, as it's not as slippery as polyester and it has a little more body to it. You can also use narrower twill tape, but the 1" works well on the 5/8" hoops. On smaller hoops - the 5/16" ones - I use narrower twill tape.

Twill tape vs bias tape: I like twill tape better. You can use bias tape, but the folded bias tape has a noticeable edge where the fold ends, so you don't get smooth coverage. Any overlapping or any spots of bulging thickness reduce the effectiveness of binding the hoop.

You'll definitely want some clothespins to help you out, unless you have four hands. I've always wanted four hands, but since I haven't managed growing extras, I just use clothespins.

You'll also need scissor, sewing thread, and a sewing needle.



Begin by laying your twill tape at an angle across the inside of your inside embroidery ring. You want the beginning and the end of the length of twill tape to meet on the inside of the ring, because that's where you'll stitch them together, avoiding a bulge from your stitching on the outside of the ring, where it meets the inside of the outer ring of the hoop. (Wow.... confusing...!)



Wrap the twill tape around the hoop once to establish the angle needed for the tape to lay perfectly parallel to the wrap before, and then use a clothespin to hold the edge.



Continue to wrap the twill tape around the hoop, lining up the edges of the tape so that they are parallel and not overlapping. Pull the tape tight, and work with it to reduce any bulging or buckling. You want it to hug the hoop.



When you get to about the halfway point, if everything is looking good, go ahead and clamp another clothespin on to secure the tape at that point. This way, if you mess up a bit on the second half, you don't have to re-wrap the whole ring.



When you arrive back at the beginning of your twill tape, fix the end with another clothespin. You may have more space than you want between the wraps, or you may need to adjust to fit the last wrap in just right. Clamp the end with another clothespin, then work the twill tape around with your hands, running the hoop through your hands and shifting the tape around as you need to. You might have to tug a bit here and there, or twist the hoop in your hands a bit, adjusting until you line up the edges of the wraps as close as possible to each other and until wraps of the twill tape are hugging the hoop all around.



Undo the clothespin on the beginning of the wrap, and cut the extra off, so that the twill ends at the farther edge of the ring.



Then, take the end of the twill tape (it'll be the end with the long tail) and finish wrapping it so that it overlaps the beginning of the tape. Don't trim it just yet. Stick a clothespin on to hold both ends in the right place.

Then, take your needle and thread (with a knot in the end of the thread), and begin stitching over the overlap. I just use a whip stitch, and I stitch down the edge of the inside of the ring, through both pieces of twill, and then back again over the same path.



I also stitch down one side of the twill wraps, stitching two edges of the wrap together. Then, clip off the extra twill tape...



... and the inner ring of your hoop is now bound!

Try binding one hoop - I think you'll like it!

Tomorrow, stay tuned for the first "action" installment of the Long and Short Stitch lessons. I'll discuss materials, talk about transferring the pattern, give you the design to transfer, and show you my transfer and set-up process.

Incidentally, I've had a jolly awful time editing the first video, soooo... I gave up and will try again this weekend. I bit the bullet and invested in a new camcorder today, so you should be getting a better quality video, at any rate. But yikes! After hours in front of the computer yesterday, and practically all day today, I was ready to pull out my hair.

Instead, I shopped! My Mom always says, "Get your hair done and go shopping - you'll feel better." Her solution to every gal's problems! And... she's right! It worked! I can't wait to get back to the whole video process!!

See you tomorrow!

Labels: embroidery tips and tricks, needlework tools, needlework tutorials, pictures

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Posted By: Mary Corbet on Thursday, July 30, 2009
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What makes an embroidery hoop good? Below are my criteria for a good hoop, and later on, I'll show you how to make a good hoop even better.

The purpose of an embroidery hoop is to hold taut the fabric that's in it. For most embroidery (though not all - depends on the type of stitch), I like my fabric to be drum tight - that is, if I flick it with my fingers, it sounds a bit like a drum. There are different ways to achieve drum-tight fabric for stitching: a slate frame, stretcher bar frames, or a hoop. Now, for a hoop to achieve drum-tightness and maintain it for a reasonable amount of time, a good hoop is essential.

So... my question: what makes a hoop good? This (below) is a good hoop:



This is a 7" round hoop that's 5/8" deep. It has all-brass hardware, and the outer ring fits the inner ring very well, without any warping.



The hoop is made from birch wood and is strong and solid - unless you're super-duper ridiculously strong (like Captain Caveman strong), I don't think you could bend it out of shape with your hands! It's got a natural finish and is smoothly polished, so there are no splintery bits that can snag your threads or your hands.



When the rings are together and the outer ring is tightened, there are no gaps between the outer ring and the inner. They're a perfect match. (Awwwww...)



The hardware, again, is all brass. The brass brackets are not flimsy - they're strong and durable, and they don't bend, no matter how much you tighten the screw. The screw has outer ridges that serve as grips for tightening, and it also has a slash in it for a screwdriver, so that you can Really tighten the thing up.

This is a good hoop. The 5/8" depth is perfect for medium weight fabrics, though I also use it on some finer weight fabrics as well. Muslin, shadow weight linen, dower quality linen - this hoop works with all of them. For heavier weight fabric, like linen twill, I'm more inclined to use a 7/8" deep hoop, but this hoop actually works fine with twill, too. It's a good all-purpose hoop in an all-purpose size. The 7" diameter ring is an easy fit for my hands. Anything larger, actually, becomes cumbersome when it comes to working on the fabric in the middle. I generally like 6" and 7" hoops best.

When you buy a hoop, you want to look for one that fits well in your hands. You should be able to hold the edge of your hoop in your palm, secured by your thumb, and stretch your fingers easily to the center of the hoop. Larger hoops (10" and larger, especially) are generally best managed with some kind of stand to support them (or at least the lip of a table), so that, when necessary, you have both hands free to reach the center of the fabric in the hoop.

The hoop featured above is a Hardwick Manor hoop, made in Germany and imported into the States by Access Commodities. You can find these hoops through many fine online needlework shops. I usually get mine through Needle in a Haystack.

A hoop pointer: Always take your fabric out of your hoop when you finish a stitching session. Doing so reduces the chance of permanent hoop marks or dirt rings. Plastic hoops with a lip are more prone to dirt rings than good wooden hoops are, though, because the lip tends to catch dust and dirt.

Coming up later: I'll show you how to bind a hoop easily, to achieve better long-lasting tension and to eliminate stress on your fabric. I don't bind all my hoops, but I do bind some, and I like them bound. I'll show you how!

Labels: embroidery tips and tricks, needlework tools

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Posted By: Mary Corbet on Wednesday, July 29, 2009
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My favorite needlework stand for holding my hoops or frames is the Needlework System 4 stand, with the frame clamp. I love this piece of equipment! I've written already an in-depth review of the Needlework System 4 stand, including a short video that demonstrates how it turns easily, but today I'm going to show you a new piece I bought for it...

This piece is an extension that fits on the Needlework System 4 stand, between the top of the stand and the clamp (or other devises - like scroll frame connector, etc.). It's an arched piece of metal, with the same end fittings as the other pieces, so that they all fit together.



At first, I wondered about the purpose of the extension when I heard that there was one available. I usually use my stand from the front position of wherever I'm sitting, so that the frame clamp is at the top of my work directly in front of me, and I hadn't seen the need for an extension.

However, one day I was working on a larger frame, and I was thinking it would be nice if I could put the floor stand easily to the side, over the arm of the couch, so that I didn't have the stand sitting way out in the middle of the floor, since the frame it was holding was over 20" deep....

... and that's when I realized that the extension would be pretty nice to have.



The arch of the extension allows you to put the frame easily to the side, over the arm of a chair or couch. You can adjust the extension bar to point up or down, or leave it "horizontal" (insofar as an arch can be horizontal!), and then you can further adjust the frame clamp into whatever position you want.

Besides being handy for the side-position arrangement of the stand, the extension also makes it easier to get your work right where you want it, if the stand is directly in front of you. The extension gives the stand one more option for adjustment. Also, basically, it just gets your work closer (by about 10") and from any direction.

The extension is made out of metal, and matches the rest of the stand in quality construction. It's made to last!

I really do love the Needlework System 4! It's by far the best embroidery stand I've ever used (and I think I've used pretty much every stand out there). I've only had one minor problem with the frame clamp. After using it a ton - as in, every day, day in day out, for a year, and turning it too many times to count while using it - the turning mechanism loosened up quite a bit. When I contact the Needlework System 4 company, they wrote back and told me to ship it in, and they'd fix it or replace it (no charge!) There's a lifetime warranty on the stand, but I doubt it would be much needed. And, actually, I found a better fix for the turning mechanism on the frame clamp (I didn't want to be without it for too long!). I used a wrench to tighten things up - and... voila! Back to normal.

If you're looking for a good embroidery stand, you won't be disappointed with this one. If you don't use stretcher bar frames, they have several other options for the stand: scroll bars and a Q-snap holder (though I admit, I use my frame clamp to hold Q-snaps, and it works "ok"). If you're solely a hoop person, the frame clamp holds hoops pretty well, too.

I'm totally unaffiliated with the company or any of its distributors, so there's no "sell job" going on here. Just a hearty recommendation for a really good embroidery stand!

If you've already got the Needlework System 4, consider adding the extension. It's nice. I'm glad I bought it!

So far, the best place I've found to purchase the stand is through Threadneedle Street in Issaquah, WA, which I just recently visited. They have the best prices that I've seen on the stand, plus they stock it and the accessories in the store, so you don't normally have to wait as long for delivery. The only difficulty is that their web page is kind of a pain to shop through, but it still works. You can also call them and place an order over the phone, if you don't like their online order form.

I haven't tried the scroll frame or Q-snap holder for the Needlework System 4. Each element of the system is indeed rather pricey, so I've stuck so far with just the frame clamp. But I'm considering the future purchase of the standard scroll frame attachment and the regular Q-snap attachment. I'm just not quite sure yet if I want to take the plunge. If you've got either of those - the scroll frame or the Q-snap holder - I'd love to hear what you think of them!

Labels: embroidery resources, needlework tools, pictures

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Posted By: Mary Corbet on Tuesday, July 21, 2009
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Posted By: Mary Corbet on Tuesday, June 02, 2009
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When I was embroidering that spring garden corner on the flour sack towel before Easter, I mentioned that I was using Q-Snaps. In the comments, a reader asked, "What are Q-Snaps?" I postponed answering (sorry!) until I could explain and show you what they are.

Q-Snaps = Embroidery Hoop, only different. Q-Snaps are frames made out of round plastic tubes, over which fit half-circular "snaps" of PVC-like plastic. The inside of the snaps have ridges that are supposed to grip the fabric.



Q-Snaps are square. The inside of the frame is made up of corner pieces (somewhat rounded) that attach to straight pieces, to make up the square.



On each of the four sides, a long, tight-fitting, half-circlular "cuff" of plastic, ridged on the inside, snaps into place. These are the "snaps." You can see in the photo above, the four snaps alongside the plastic frame.



To put the snaps on the frame, you just push them on. They hug the frame. In the photo above, the snap is not pushed all the way on yet - so you can see the ridges, and how they fit onto the frame.



You mount your fabric on the Q-Snap frame about the same way you do a hoop - laying the inside frame part down first, placing your fabric over it, and then snapping the outside half-circle plastic snaps over the fabric.

Then, you "roll" the snaps outwards, to establish the amount of tension you want on your fabric.



Here, I've mounted a cotton kitchen towel on the Q-Snap frame, and rolled the snaps outwards to make the fabric flush with the top of the frame and to tighten the tension on the fabric.



That's a corner up close...

So, that's a Q-Snap frame.

After using this 11" square Q-Snap frame for the spring garden towel, I tried it on various weights of linen and cotton to see how it worked, and decided that, although I like it for the flour sack towels, I'll probably stick with a hoop or stretcher bars for other fabrics.

What about you? Have you tried Q-Snaps? What is your experience with them? Do you have any tips or tricks for using them?

Labels: needlework tools, pictures

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Posted By: Mary Corbet on Wednesday, April 22, 2009
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I've received lots of questions lately about the Bohn Ceramic Pencil that I wrote about a year ago last February! I think someone must be recommending them for certain projects (besides me!) and so people are looking for them!

I use the Bohn Ceramic Pencil to transfer embroidery designs on darker fabrics, and even on white fabrics such as silk. The chalk, though white, is matte, and it shows up quite well on shiny white silk.



The pencil is pictured there on the right. It's a mechanical pencil, and fine enough for good lines for stitching over. I like it very much!

But, it is hard to come by! I don't know of any online sources for it, though Erica's does carry the yellow ceramic refils (but strangely enough, no pencil!).

I bought my pencil at Sarah's Fabrics in Lawrence, Kansas. While they don't sell notions on their website, I have heard from another reader that they were very gracious about selling it over the phone and mailing it to her. Their website is mostly in Flash, so I didn't link you directly to their contact information. You can find it by entering past the introduction.

I think the pencils are a nice tool and worth having in your toolbox. If you come across them anywhere while you're out shopping, pick one up! You'll be glad you did!

Hope that helps, Robbie, Kassandra, and Julie! And of course, everyone else looking for a good white transfer pencil!

Labels: embroidery resources, needlework tools

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Posted By: Mary Corbet on Tuesday, April 21, 2009
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I really appreciate all the input from the comments on the first post introducing the embroiderer's workstation / trestles from a couple weeks ago! Brian kept an eye on the comments and took them into consideration, and is working on some tweaking. In the meantime, I wanted to show you some other pictures of trestles after I moved them out to the studio....

One of our bigger concerns about the trestle stand is the manner in which the frame is attached to the trestles. Anything too "permanent" (such as lashing, which was often used on old convent embroidery workstations) impedes the flipping of the frame. So we've tried a couple things, and the one that has worked best so far is a ratchet clamp.



Here, I've got the trestles set at a pretty good slant, and I've used a ratchet clamp to attach a Q-snap frame to it. The point is, you can attach anything this way - hoop, frames, even heavy slate frames. Ratchet clamps are easy to use - they release with the flick of the lever, and they don't require any heavy squeezing to tighten them. But... still... it's not "ideal." If you're working with a large frame, that reach to the back to undo the clamp if you want to flip things is a bit inconvenient.

This question of securing the frame is the main element of the workstation that has Brian going back to the drawing board, and I think he's come up with a solution! Haven't seen it yet, but when I do, I'll show you what it is!

In the meantime, though, I have to admit, for regular sized project, I like the ratchet clamps. Maybe it's just because they're tools, and I feel so universally capable when I use tools with names like "ratchet clamp"! But seriously, I think it's just because they really hold things on well. I don't know why I never thought of this kind of clamp for other needlework applications. (Actually, I wasn't aware of the existence of these until now...)



This is the other little table for the trestles, and in fact, the whole workstation can be populated with these, as they fit in a variety of places.

Brian and I discussed the lip on the table suggestion... I see his reasoning on this: it is easier to pick something up off a table or to brush something off into your hand (and even, if it falls on the floor, to pick it up) than it is to try to work something out of a lipped corner on a piece of furniture (something like a needle or a bead or something small...) He is right about that! But the idea is still there, stewing. So we'll see where that goes.

Rounded corners on things (like the tables and feet) were suggested... good idea...



This is the whole thing on a slant, from the side. The present adjustments being made would actually eliminate some of the bulk from the slanted supports there, where the dowels fit. In fact, the dowels probably won't be used for the actual frame support. I like the dowels because they're universal - if you wanted to add another support, you just run to the hardware store and pick up a 1" dowel. Besides wanting another way for the frame to stay on the stand without a clamp is the whole question of rolling dowels. Should you clamp something heavy to the dowels (like a light), the dowel tends to roll, unless the item being clamped is perfectly balanced - and a bump can upset the balance pretty easily. So Brian's frame-holding solution should also solve the rolling dowels. It'll also streamline the look of the sides there.



This is the workstation, on a slant, with a larger piece being held by one clamp. It works great, and the clamp is within easy reach.



And this is the workstation horizontal. And this is my favorite position! It is so nice to work sitting there, with the piece resting horizontal, perfectly secure, no bouncing, no feeling of unstable support - it's as if your embroidery work has become your table. You have perfect access underneath, can easily flip the needlework, and it's actually a very comfortable way to sit and stitch!

I've sat at a frame propped between to tables before, lying horizontal. It was "ok" but not very comfortable because the tables were regular-height tables. The frame was just too high to work on comfortably, but I didn't realize that was the problem until I set this up horizontally. It's slightly lower - not low enough to have to bend over, but low enough to be easily on top of the work. It's perfect!



Now I understand the horizontal workroom situations of old! And, when horizontal, another advantage is that a second stitcher can sit on the other side...

So, we're still open for suggestions or questions or anything. Any thoughts on this set-up? Any points of improvement that may have occurred to you since introducing the workstation? We're all ears!

Labels: hobby room, needlework tools, pictures, trestles

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Posted By: Mary Corbet on Tuesday, March 31, 2009
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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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Posted By: Mary Corbet on Friday, March 06, 2009
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If you take hand embroidery remotely seriously as a hobby, one of the first tools you should invest in is a decent pair of embroidery scissors. Now, please don't get me wrong - I'm not a scissor snob! I realize that a $5 pair of scissors from your local craft store will still cut thread. Still, do indulge me, while I talk a bit and rave a little about good scissors!

There are scissors for embroidery... and then there are Scissors for embroidery!

What are the most basic criteria for embroidery scissors? That they be small and sharp. Beyond that, people have different preferences in scissors: different styles they look for, different price ranges they can afford, and so forth.

I like scissors that reflect quality workmanship, that perform well (the blades fit together, the mechanical opening and closing is smooth and easy), that are comfortable, and that will stand up to the ravages of time and hard work.

I've not spent a real fortune on scissors, though I have collected a few over the years. You can purchase good quality scissors, actually, without spending a fortune. A decent pair of Gingher (made in Germany and very widely available) embroidery scissors run from $15 - $30, depending on the type and where you find them.

I have a total of 6 embroidery scissors, three of which are used for goldwork and three for threads. I also have a pair of sewing shears and a pair of applique scissors, which are handy for cutwork. All except one pair are Gingher - this isn't so much due to preference as it is to affordability and availability. Most of my scissors, I bought on sale at local needlework shops or sewing shops.



However, I don't use them all most of the time! Here's the array of scissors presently inhabiting my tool box. They're all Gingher, except for the greyish pewter looking pair, which I'll talk about in a second.



These two scissors are my favorites. Notice that they are both the same size as far as length goes. The shiny pair is by Gingher and the pewter-looking pair is by Dovo. They both have decent-sized finger holes. I've never had big hands (they're more like... paws), but I can't stand forcing my phalanges into small-holed scissors, especially the ones that have decorative nobby lumps all over them!



Of the two scissors, the Dovo scissors are by far my favorite scissors ever! They are finer than the Gingher scissors, they are light and comfortable, sturdy, the movement of the blades is smooth and exact, the tips are perfectly pointed, and the blades are quite thin.



When the two are stacked on top of each other, it's obvious that they are the same length, but notice that the blades on the Dovo scissors are smaller. I always feel as if I have more control with the Dovo scissors and can be more precise, and I think this has to do with the size of the blades. (And it might just be because I'm infatuated with these scissors, so I imagine every good thing about them!)



Here's a close-up on the blades, with the Dovo on the left. If you compare the thickness of the blades, you can see that they are close, but the Dovo scissors are just a bit finer than the Gingher.



Strangely enough, if you take the ever-popular gold-handled stork embroidery scissors by Gingher (among their smallest scissors) - pictured on the left - and compare their blades to the Dovo blades (on the right), you can see that the Dovo blades are significantly finer than the Gingher stork's blades. (My stork scissors have been through it! They need to be sharpened!)

I love Dovo scissors, and this pair especially. They are excellent for small detail work. They're perfect when cutting out stitching (oh, yeah - I do that!). I love them for any kind of work where one or two threads in the fabric must be cut (for drawn thread work, for example), and they're great for cutwork and needle lace.

The Dovo scissors are a bit more expensive than Gingher, though, and hence, I only have one pair! This pair runs around $40 - $45, depending on where you find them.

I'm convinced, though, that if you are going to spend time and effort and money on a hobby, then you should have the right tools. At least one good pair of embroidery scissors is really essential! And they don't have to be Dovo, necessarily! Your budget will most likely dictate your options. But, here's an idea! If you have a birthday coming up, or some other occasion to receive a gift (um.... I wouldn't necessarily want scissors as a Valentine gift or a wedding anniversary present - the message could be wildly misconstrued!), consider dropping a subtle hint for good scissors if you don't already own a pair.

So what's your favorite brand of scissors? Do you have a faithful, favorite pair that you would be loathe to lose? If you were recommending scissors to another stitcher, which would you recommend, and why? Please tell us! C'mon - there's nothing quite as fun as talking about tools!

Labels: embroidery resources, needlework tools, pictures

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Posted By: Mary Corbet on Wednesday, January 21, 2009
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A few queries came in this week about the tools required to get started in goldwork or any other metal thread embroidery (one reader is particularly keen to work with copper threads...) To answer the question, I thought I'd show you my goldwork "tools" - they aren't all tools, and there aren't that many!

I only have one "specialty" tool for metal thread embroidery. I think the experts must have other tools that they use, but perhaps not. Most books I've seen don't have too many items beyond these. And again, they're not all tools, technically...



The background of this photo is a velvet board - a thin piece of mat board with velvet mounted on it, used for cutting metal threads and keeping them in place while they're being cut and while you're using them. I've heard that beading boards work ok, too - they apparently have some kind of nappish surface of sorts, I suppose. It's the velvet nap that keeps the metal threads in place, and keeping them in place is a good thing, especially when you pre-cut several pieces of purl for chipwork.

I have two things I use for cutting and holding the metal threads, actually - this red board and a piece of black velvet as well. The black velvet is not mounted on a board, and while I don't use it for cutting, I've found it's handy for resting the cut threads on, especially when I may have to pack up a project while it's still underway. With the loose black velvet, I can fold it up carefully over the pre-cut threads and put it in a box. When I unfold it, the threads are still there...

From left to right, the rest of the tools, most of which many stitchers probably have in their needlework basket:

1. A decent pair of tweezers

2. A sterling silver mellore - This tool is used specifically for goldwork. Its main purpose is to help with manipulating gold threads without damaging them. It can also be used as an awl, to widen the plunging holes for the metal threads. You can find mellores made from other material besides sterling, and, incidentally, the mellore is not absolutely essential to goldwork. I've manipulated threads with the back of my tweezers....

3. Beeswax, used to strengthen couching thread

4. A plunging needle or plunging lasso - This is just a large eyed needle that you can either thread your metal threads into, to pull the ends to the back of the fabric, or you can string a piece of cord through the large eye and use that as a lasso to pull the metal threads to the back of the fabric. This is a #22 chenille needle, which seems to work ok in most cases.

5. A pair of scissors specifically for goldwork. I have three pairs of scissors specifically for goldwork, actually - and the other two I like much better than this pair! The scissors should be small and very sharp, and nice pointed tip is helpful. It's good to have a pair that is specifically for goldwork and that can be distinguished from your regular embroidery scissors. One of these days, I may invest in a pair with a fine serrated edge, but so far, the scissors I have (which are all typical embroidery scissors by gingher) have served me well.

6. A selection of couching threads, which I already explained when discussing where to find silk couching threads.

So that's it! Nothing really out of the ordinary is essential for goldwork, except the metal threads themselves. I like the fact, by the way, that Tanja Berlin gives the option on her website of ordering sample sizes of all her gold threads. The sample sizes are 9" each, and they vary in price according to the type of thread. But 9" is a good size to play with, and will go a fairly long way with most of the metal threads, except maybe passing thread. Remember as well that gilt metal threads are less expensive than the 2% threads, so if you're planning to play and practice, choose gilt.

Enjoy!

Labels: embroidery resources, embroidery tips and tricks, goldwork, needlework tools, pictures

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Posted By: Mary Corbet on Friday, January 16, 2009
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The article on the needle roll made out of felt sparked a couple questions about what I keep in my needlework toolbox. I never really considered carefully what should be kept in a needlework toolbox; instead, my collection of tools has grown pretty much out of need. It's an eclectic bunch of little things, all of which I have found use for in varying degrees of frequency. No doubt, the ideal contents of a toolbox will vary among embroiderers.

This is my stash of tools that I keep encased in a box in my embroidery basket.



Upon first opening the box, this is what you see - a more or less generally cluttered disarray of stuff.



There are, of course, scissors. I have eight pairs of scissors, but only three that I use regularly. One is used exclusively for goldwork, and the other two are used interchangeably for snipping threads and bits of fabric.



There are three measuring instruments: a small retractable tape measure (courtesy of Hedgehog Handworks), a 6" x 1" quilter's ruler, and a hem measurer (for lack of the correct name of that thing). I use them all pretty frequently, but probably the hem measurer and quilter's ruler most often.



You'll also find some... well, tools, for lack of a better categorical name. From top to bottom: tweezers, a laying tool, a tiny crochet hook, and a mellore all get used pretty frequently. I use tweezers to manipulate goldwork thread, to pick up tiny things, to pull out thread bits, and so forth. The laying tool (with a sharp tip that can be used as an awl) is used to keep threads in line. The crochet hook comes in handy for pulling threads through in tight spots. And the silver mellore is used to manipulate metal threads.



I keep some very large needles on hand - these are upholstery needles. I don't use them much, but they come in handy for lacing up fabric and so forth. The needlethreader is rarely used, but I do admit that in a tight spot, for teeny tiny needles (minute beading needles and sometimes a #12 crewel), I use it if I need to. And you can also see a bunch of cotter pins that anchor the slats on my slate frame.



This is a leather thimble. I never use a thimble, normally, but sometimes, if I'm working on something that's tough to get a needle through, I do slip this on for extra protection on my middle finger, which is the finger I generally use for pushing my needle. I have a permanent callus on that finger from my needles, but if I'm using a smaller needle, it often has the uncanny ability to find the one weak spot in the calloused area, where it decides to slip eye-first into my finger. That can be painful. So now and then, and leather thimble can be helpful.



I keep three types of pencils and pens in my toolbox: two are micron art pens, one is a mechanical pencil, and the other is a white chalk pencil for marking on darker fabric. You just never know when you might need to make an adjustment in a pattern or draw something on a piece of fabric. I use all three of these fairly often.



This is a spool of silk couching thread that I use for goldwork. I don't know why I keep it in the box, but I do. I think it's just so that I have some thread in there.



This is a magnetic needleminder. All my metal tools in the box find it at one point or another. I use this on larger projects where I might have several threaded needles going at once. Right now, I'm not working on any large projects, so it's in the box!



This is a brick of beeswax for waxing threads, especially for goldwork. You never know when the urge to wax your thread might strike! But when you're working with metal threads, most of your couching thread will need a nice coat of wax on it. I love beeswax. I like the smell of it!



This beautiful tool was treat. I bought it when Twining Thread was still in business. I miss Twining Thread! This is called a Soldier's Friend. It's made out of the slickest, smoothest, prettiest wood. Around the notches, you can wind extra lengths of thread, and the end comes off the handle to provide a storage place for needles. I don't "use" it a lot, but until the other day, I did have thread wound on it. Isn't it pretty? It's probably the most decorative of my tools, and the least used. But I do like it, and I have used it, so it's not really just a decorative, non-functional tool.



This is a mother of pearl thread ring. I usually have six or so of these floating in the bottom of the box, either in the large size or the small size. But right now, I've got the rest of them trussed up with thread.



And, finally (you might find this odd!), I keep fingernail clippers and an emery board in there, too, for smoothing or clipping fingernails when they become snaggy. I don't like sitting down to embroider, only to discover a chipped nail before I start, and then having to go find these two items! So I bought a set specifically for my tool box, and you'd be surprised how often I actually DO use them! They're great to have right on hand!



Along with all this is my needle roll, and it all tucks very nicely into this box with a little silk ribbon embroidery on the lid. The box has a pretty firm magnet seal. It holds the lid closed even upside-down with all that stuff in it, so if it tips over or is knocked off the couch, or whatever, it usually stays tightly closed.

I have other tools that aren't kept in this box. In fact, I have two more similar boxes, but I don't use them much, and the tools I have in them aren't as serviceable as those shown here.

So that, my friends, is what I keep in my box. What do you keep in yours? Is there any item you're surprised I don't have? Or anything here you think particularly odd? Out with it! Let's talk tools!

Labels: embroidery tips and tricks, needles, needlework tools, pictures, readers questions

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Posted By: Mary Corbet on Saturday, December 20, 2008
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It's that time of year again when gift suggestions for embroiderers might come in handy for those of you who are looking for ... well, gift suggestions for embroiderers. One fun thing about needlework as a hobby is that you can accessorize, and golly, today, there are lots of options for needlework accessories. There are storage options, organizational options, materials options, and - my favorite - tools options. I have some "accessorized" tools that I'd like to show you, and that you might find to be fun gifts for avid stitchers.

Now, by "accessorized" embroidery tools, I'm talking about those kinds of tools that serve a utilitarian purpose while at the same time being unique, attractive, or just fun. Can you embroider without these tools? Certainly. Can you enjoy your needlework with out them? Of course! But are they nice to have? Definitely! "Accessorized" needlework tools are for the embroiderer who has the basics but is avid enough about stitching to go beyond the basics in outfitting a work basket.

Dazzling Ornaments is a small individually-owned business that specializes in tools and accessories for the stitcher, and having had the opportunity to look at some of these accessories up-close, I think they would make great gifts for the stitchers in your life (or for you, if you don't have any other stitchers around!). They'd make great little additions to guild ornament swaps or holiday gift swaps, and they'd be perfect as stocking stuffers.

The tools I've seen up close are the scissor fob sets (with the "Little Helper" tool string) and the laying tools.



The scissor fob set includes a scissor fob and a little tool chain. The tool chain includes two different needle threaders, a tapestry needle strung on the end (perfect for moving thread aside, counting beads or threads, etc.), and a small, very strong magnet on the end, to mount needles on while stitching, or to mount to your own needle-minder - or to help you find needles (it found one on my living room carpet!)



There's a hook (like a French wire earing hook) on one end of the chain, too. The hook is perfect for hanging the tool string on canvas, as it loops easily over stretched canvas so that you can have the string right on hand. Even on linen, though, I can hang it right on the edge of my work, by catching the hook in the edge of my fabric. That way, when I need a tool like a needle threader, it's right there, within easy reach.



The scissor fob itself has a metallic elastic loop on one end for attaching your scissors. The elastic loop was developed in answer to lobster claw hooks that can scratch the finish on the handles of fine scissors.



On the other end, the fob has three little off-shoots, where you can connect more tools if you want, or you can use one of them to attach your scissor fob to a chatelain, which are also offered at Dazzling Ornaments. The chatelains, in fact, are quite beautiful. I've never used one, but these are created for the modern needleworker - they don't attach to your clothes as they used to in the past. Instead, they hang around the neck, so you can keep your tools right with you while stitching. This is a great concept, I think, for the traveling stitcher - in the car, or on the plane (depending on the tool), or even when you go to needlework gatherings where you're working in a group - a great way to keep your tools handy, without having to lay them down and risk losing them.



Dazzling Ornaments also makes laying tools. These tools are carved from either bone or wood, and then finished with layers of acrylic, then polished and buffed to get the smooth surface necessary for the laying tool. The top of each tool is finished with a bead display. They have a whole line of different laying tools, each one unique.



With the tool I handled, I liked the overall feel of it, and the ornamental top was firmly attached. The only thing I would be sort of wary about was the glitter finish. There were a couple tiny spots towards the top where I could feel the glitter through the clear acrylic outer layer.... and, if I were working with flat silk, that could be disastrous. With regular stranded thread, though, it didn't pose a problem. If you work with flat silk, you could forego the glitter finish for one of the other finishes. If you don't work with flat silk, I don't think any slight (very minor) imperfections in this area would cause any difficulties.

The laying tools are actually a wonder. I was perusing the Dazzling Ornaments blog, and I thought the color selections were amazing and the amount of work that goes into creating the tools is really quite incredible!

I think the concept behind this company is really neat! For the stitcher who has everything, these types of tools are a fun addition to the work basket. They may not be used all the time, but at stitch outings and so forth, it's nice to have a tool display that is unique. Plus, I like the idea of supporting small businesses that make unique tools for the stitcher.

So if you've got stitchers on your gift-giving list this year, do take a look at the Dazzling Ornaments website to see what unique accessorized tools are available!

Labels: gift ideas, needlework tools, pictures

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Posted By: Mary Corbet on Wednesday, October 29, 2008
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Last night, I had the opportunity to work with these really interesting new needles on the market called Spiral Eye Needles. The point behind them (no pun intended!) is that you don't have to "thread" them the same way you do regular needles. So let's take a look at the Spiral Eye needle and see what it's all about.

There are two sizes of Spiral Eye needles - SE1 and SE2. SE1 is apparently suited for hand sewing and is similar to a sharp, size 4, and shaft-wise, equivalent to about a size 22 tapestry needle. SE2 is similar to a size 6 embroidery (or crewel) needle.



From left to right, you can see the SE1 (sharp, size 4), the SE2 (embroidery, size 6) and a regular size 7 crewel needle (Richard Hemming, I believe...)

The Spiral Eye needles are significantly larger, overall, than a regular embroidery needle:



You can see there the size of the needle shafts. The shafts are made from surgical quality stainless steel, unplated. The advantage to the unplated stainless steel is that you can sharpen them and they clean up well, so you don't have to pitch them when they've been over-used! Also, on the website for the Sprial Eye needle, they point out that most needles are coated with nickel, which some people are allergic to, so the stainless steel needle eliminates the question of nickel allergies.



This is the SE2, upclose. I didn't experiment with this particular needle. I notice that they are not presently available through the Spiral Eye website. I'm hoping they're working out some kinks in this needle. I like the size of it - it's not too big - but on both SE2s that I had, minor problems popped up. On one, the problem was threading and on the other, there was a burr in the eye - something you definitely don't want when you pay $5 for a needle! So I think perhaps the makers are working out those problems right now.

I tested and worked with the SE1 quite a bit, though.



It holds up to three strands of DMC cotton. It's super-easy to thread the needle - you just pinch the thread and slide it up the shaft and it pops right into the eye. If you're working with several strands of stranded cotton at a time, you have to thread each strand individually. All three together are too thick for the side opening on the needle. It doesn't take any time at all, really. They just slide right in.



This is a stitch in process here. I half-way expected the needle to catch on the fabric on the way back up, but it doesn't. It passes through the fabric very easily.



It occurred to me that an needle with an opening on the side might cause some difficulty with stitches like French knots, so I set about testing it with some of those.



It pulled through easily, without any hang-ups...



...resulting in nice French knots.



So I put the needle to work on a little piece of felt, anywhere I used stranded cotton. And it worked just fine!

Spiral Eye Needles in Summary

1. The little difficulties I experienced with both SE2 needles probably need to be straightened out before they are marketed too widely!

2. The SE1 is great for stitching with stranded cotton, up to three strands.

3. They really are easy to thread, and the thread does not come unthreaded like the calyx eye (top threading) needles do.

4. But, if you're using more than one strand of floss, you have to thread each strand individually.

5. But it doesn't take any time to do so - and if your strip your floss, anyway, I don't think this is any big deal.

6. The real advantage to these needles, I think, is for people who have a hard time threading regular needles because of eye sight problems or arthritis. The website suggests their use for children, which I suppose could be true, too, but I find, with teaching children, that heavier threads are better to use, and these needles won't accommodate heavier threads.

7. No, they won't work for heavier threads, such as crewel wool or even pearl cotton #12. They're great with any sewing or even heavy quilting thread, and they work great with one strand of DMC threaded at a time. But the heavier threads won't fit in the side opening. So, in this sense, they have a limited use.

I like the feel of the needles - they're smooth and tough. They're absolutely strong - bending them with your fingers is almost out of the question. It's quite obvious that they're made out of high quality material, with attention to detail, and made to last.

If you're looking for a Spiral Eye needle - a needle that's easy to thread and well-made - check out the Spiral Eye Needles website, where you can get the low-down on the company and their products.

While you're there, note their little motto: "A stitch in time saves nine ... but you still have to thread the needle!" Funny!

If you've tried these needles - or other "non-threading" needles (like the calyx needles) - please do let the rest of us know your thoughts about them! I'd like to hear what others have to say.

Labels: embroidery resources, gift ideas, needles, needlework tools, pictures

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Posted By: Mary Corbet on Saturday, October 25, 2008
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For most people, Mondays are met like the plague, but I like Mondays, and I LOVE Mondays with mail. I don't get a lot of mail, so when I do, it's rather exciting. Today, I received two little packages - one with thread, and the other with needles. What else in the world could be more appropriate, I ask you! Would you like to see?....

New Embroidery Threads to Try!

The first little package contained two types of embroidery thread, Soy Luster and Baroque Silk, from The Pure Palette.



They're Really Pretty Threads! The two purples are Soy Luster, made from (right!) soy. One is solid and the other variegated. The red is Baroque silk, which is 100% silk. It's so pretty. The picture can't do it justice!

I haven't used either thread yet, but I'm going to, and I'll write up a comparison so you can see what they're like lined up to other familiar threads. I'll also give you the low-down on the threads, where you can find them, and so forth. I can't wait to try this stuff out!

And New Needles, Too!

Now, the needles are funny. Not ha-ha funny, but peculiar funny. They're called "Spiral Eye" needles, and they're made for easy threading, because you don't have to "thread" it in the same way. I haven't tried stitching with one of them yet - or even threading them! - but I will, and when I do, I'll tell you all about them and what I think of this nifty invention. They aren't calyx needles, in case you're wondering. Here's what the Spiral Eye needle looks like:



The needle is actually very small. Close-up photos always make things look much larger than reality! I'm eager to try this and to let you know what it's like. It looks like it will be a great option for those who have a hard time keeping their needles threaded.

So that was my Monday mail! And both packages have given me plenty to do! I like testing threads and tools...

Coming Up This Week on Needle 'n Thread

Coming up this week, I'll continue with information for the very beginning beginners on beginning and ending threads. Actually, I think this kind of information is also good for those of us who have been stitching for a while. I love hearing how other people do the basics, just in case there's a better way!

I've also got a book review coming up on a unique ecclesiastical embroidery book. And speaking of books, I'm going to do a book giveaway on a nice book called Heirloom Embroidery.

I've started couching the gold around the outside of my Christmas ornament, so I'm sure I'll be able to share that with you before the end of this week! I also helped my niece set up a needlebook that she's going to embroider for her Home Ec class assignment, and it's kind of cute - bulky, but cute. She's coming over Wednesday for studio time, so I'll get photos of it then. (Hopefully, she's made progress on it!)

I have a gorgeous reader's embroidery to post for you, too, and who knows what else?

This coming weekend, I'll be helping out with my family at a local international cultural festival, so I'll be pre-writing several posts in order to fit in all the weekend events. We're doing a Welsh exhibit, and cooking for... oh.... 1,500 or so. Should be fun!

Busy week! I'm looking forward to it, and I hope you are, too!

Labels: needles, needlework tools, pictures, threads, website news

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Posted By: Mary Corbet on Monday, October 20, 2008
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Posted By: Mary Corbet on Tuesday, September 09, 2008
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The importance of good lighting while you're doing your needlework just can't be underestimated. For the avid needleworker, your eyes are probably your most important tool! And to save them - to make your work easy on the eyes and to reduce eye strain - good lighting is essential. There's nothing I like better than a Good Light. I got a "deal" on one last week. So I thought I'd tell you about it...

I have a couple lights I use for needlework - one is an Ott Light Plus, that can either sit in a heavy base on the table or can clamp to a table. It was my first needlework light purchase, and I've used it too many hours to count. I keep it in the 'garage-gone-studio' in the back of the house.

I also have in the living room one of the "decorative" variety of Ott lights that looks ok (when it's off). I'm not particularly keen on the blue-ish-bright glow that comes from Ott lights, as they aren't very "decorative" or warm looking when they're on. From outside looking in, they make the room look kind of cold. But still - for stitching under, the decorative ones like this are ok. They don't have the same "light coverage" as the long, wide, functional ones, though. The light shines in a pretty direct circle right where it's pointed, and that's it. Still, it's ok!

Now, for a good light, you're bound to spend quite a few bucks, right? Those links are all to Ott lights at Joann Fabric and Craft stores. When they're on sale for 40% off, you can get an ok deal on them.

But check out this light:



Though it looks like the Ott Light with the flexible arm, this is actually an Ultralux 55W floor lamp, by Full Spectrum Lighting. It differs from an Ott light in a couple ways, but the most notable way in my mind is that it has a dimmer. With Ott lights, you can either turn them on, or turn them off. With this Ultralux, you can adjust the range of brightness.



Now, the Ultralux floor lamp is rather expensive, too - this unit sells for around $180. The replacement bulbs are about $30.

It just so happens that a friend of mine was ducking into thrift stores last week, though, and she came across this Ultralux floor lamp... for a whopping whole $2. It didn't work but she bought it, thinking I might interested in it (thanks, Irene!), and realizing it could just be the matter of the bulb.

At first, when I realized the replacement bulb (it's that 4-tube bulb in the picture up there) was $30, I hesitated about buying one. After all, what if it wasn't the bulb? What if it was the lamp? I found a place with a good return policy, and decided to take the risk. To invest a little bit in shipping would be worth it, after all, if the light works.

Guess what?

It does!! And it's wonderful!

The moral of the story, then, is this: shop around! If you're looking for a good light for stitching, drop in regularly at well-stocked, well-frequented second-hand stores. You never know what you'll find!

And that brings me to the final question: What kind of lighting do you use for stitching, and why do you like it? I'd love to hear some reader resonse on this subject!

A little note on this week's book give-away: I'll be posting that later next week, combined with the August Monthly Stash Contest. I'm going to give away the A-Z of Embroidery Stitches 2, plus some threads and such. So keep an eye out for that!

And now, finally, after a busy week and a busy Saturday - I'm going to go spend some time with my needle 'n thread!

Have a great weekend!

Labels: embroidery resources, lighting, needlework tools, pictures

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Posted By: Mary Corbet on Saturday, August 16, 2008
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I had my Gilt Sylke Twist Strawberry piece out during embroidery class the other day for a "show and tell" sort of session. I like to drag out different needlework projects or samplers to show the kids, hoping maybe to fuel a real desire to pursue needlework beyond dishtowels. Well, this piece has just been sitting around, waiting for me to do something with it (or not...).

There I sat, after class, prior to clean-up, absorbing the silence for a moment and staring at the scraps of embroidery threads, the snippets of fabric and felt, the thread boxes that had been foraged through by some kid, the stack of ironed towels equally burrowed through.... and getting ready for the inevitable clean-up that comes from two large classes in a row on the same day.

But still, I just sat there.

My eyes rested on my GST strawberry. I really enjoyed doing that project, and I found myself thinking, "It's really a shame I don't do something with that."

Absently, my brain wandered to the next item in sight.

It was a box - one of those boxes just like the quick silk ribbon embroidery box project I did a few weekends ago - except it was gold and cream instead of purple and white, and it was unfinished.

And I picked up my GST Strawberry, and I thought:


Hmmmmmmmmmmmm.....

And then I opened the purple box, and I thought:


Ahhh..... Toooooools..... I love toooools.

And then I put both boxes together, and this is what I thought:


Uhhh...? Hm. Ugh. Oh, maybe.

And then I put them next to my basket, and this is what I thought:


They fit nicely in there...

And now, I'm sitting here thinking to myself:

Do I, or don't I? Not just tools and accessories, but tools and accessories in a pretty box....

But then there's this other side of me, grumbling that it might be a shoddy way to finish that piece...

But then there's this other side of me, answering the grumbling side, insisting that at least it would be finished....

And then there's this other side of me whining about .... dirt.

What think you?

Labels: finish work, Gilt Sylke Twist, needlework tools, pictures

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Posted By: Mary Corbet on Friday, July 18, 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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Posted By: Mary Corbet on Thursday, March 27, 2008
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Why would anyone want a hand-made needle? Surely, a hand-made needle must be some roughly hewn large thing unbefitting to fine embroidery work!! Well, you might think that, but the fact is, whether you pursue Japense embroidery or not, having a few hand-made needles among your embroidery tools is a good idea!

Although I have several books on Japanese embroidery, I have never formally studied the techniques, so my hand-made needles aren't actually used in Japanese embroidery. These unique needles come in handy for working with real metal threads, with any smaller cord-like threads, and even just with your regular embroidery floss.

The advantage of hand-made needles is all in the eye. Because they are hand bored and not punched out by a machine, there is no "crimp" or ridge on the inside of the needle. The holes are nice and smooth.

This smooth round hole helps reduce the wear and tear on threads from the eyes of regular needles. With goldwork, this is important. You see, if you use a regular needle in goldwork (especially with gold-wrapped threads that you are planning to pass through the ground fabric), the ridge inside the edge of a regular needle can cut through the outside wrapping of gold on the core thread. When you pull the needle through the ground fabric, if your gold has split from the core, you risk the gold bunching up as you pull the thread through. Hand bored needles help you avoid this dilemma.

As for hand made needles being bulky or large, it depends on the size. The tiny #3 hand-made Japanese needle is so small that you can't stitch one strand of DMC with it. If you split your strand of DMC in half (single strands of DMC are made up of a two-ply twisted thread), you can manage one ply (half the strand) in the eye, if you can see it to thread it! In other words, the #3 is a pretty small needle. So the hand made needles can be very tiny, but they can also be pretty large - able to accommodate gold passing thread easily.



Here, you can see the sizes of the hand-made needles I own. They are laid out on 8-square-per-inch graph paper. The #13 is large and has a bulky look to it. (It's the one on the far right, with the number cut off.) The #3 on the left is pretty darned tiny!



This is the #7 needle, threaded with Gilt Sylke Twist. A #5 is too small for this thread, and I don't have a #6 to try. I haven't tried the thread yet with this needle, so I can't say exactly how well it works! Once I get caught up with my regular work, I'm going to be testing different techniques with the GST. I figure the #7 needle will work fine for it. The #10 seems too big - as if there would be too large a whole left in the fabric after the needle and thread passed through. We shall see!!



Good things come in small packages! This is the dark green GST here - the "dusty" look on it is actually the sparke from the gold. Very nice color! And amazingly fine stuff!

You can find hand-made Japanese needles through the Japanese Embroidery Center in Atlanta. They are a valuable and reliable resource, and, if you do order from them, I think you'll be pleased both with the products and the service.

I'm looking forward to playing with these needles and thread soon and posting the results for you! If you have any questions or any suggestions about any testing you'd like to see with the GST ("What kind of embroidery can you do with this thread?") just let me know! I'll be happy to see if I can accommodate any specific requests for trials.

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Posted By: Mary Corbet on Tuesday, March 25, 2008
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Once you have an embroidery project set up and ready to go - fabric selected, design transferred, threads lined up - perhaps the most important thing to consider is what embroidery needle to use. There are all kinds of different types of embroidery needles - which one to use depends on your fabric and thread. The thing is, within the "types" of needles, you also have the consideration of quality. Here, I'm looking at embroidery needles from a company called Pony.

Normally, I use "fine English needles" for my embroidery projects. Richard Hemming, John James, Mary Arden, and S. Thomas & Sons are pretty much the brands I've stuck with over the years. They're reliable and fairly easy to come by. You sometimes can find them in hobby and craft stores (in a very limited range), but you will find a better range at your local needlework shop. You can also find them online through almost any needlework or fabric shop, or through one of my favorite needle sources, Colonial Needle. I also have a marvelous selection of very fine needles from Wendy Schoen Designs, but I don't use them as often because they're wrapped up and my supply is limited. (But I do love those needles!) So that's my plug for the needles I typically use.

Recently, though, Michael Cook of Wormspit.com e-mailed me about some needles that he had come upon and finally tracked down. The manufacturer is Pony, from India, and the needles are used by the Chinese in their fine and detailed hand embroidery. After some contact with the company, he received a shipment of the needles to try. He kindly sent me a selection of #10, #11, and #12 - three each with gold eyes, plus one fully gilded needle in each size.

It was a while before I could work with the needles, but finally, yesterday I took out a small project and used the needles on it. It's a thread painting project, worked in one strand of DMC in a high count cotton muslin.

I generally use a #10 needle on these projects, but mostly because I'm too lazy to go through my supplies and get other needles out. I always have #10 on hand!

Instead, I decided to try the #11 Pony, and they were perfect. They made those meticulously placed little stitches easy, and they are slightly finer than #10, which seemed to make a difference on the split stitching in the long and short stitch in tiny, detailed areas. In short, I liked the #11! I had all four threaded and working on the project at once. There is a slightly different feel to the fully guilded needle, but I can't really place or describe what's different about it. It passes through the threads and the fabric easily, but it "feels" as if there's a coating on it, because there is. It's not a bad feeling, and in fact, I like working with the needle. But there is a slightly different "something" about it.



Here are the needles, two of each, one of which is the gilded one. I've laid them on 8-square-per-inch graph paper so you can get an idea of the size.



Here they are again, with a #10 Richard Hemming needle (left). The #10 Pony and the #10 Richard Hemming are the same length, as far as I can tell, even though the Pony looks longer (it's the placement on the paper).

I threaded both #10s (R.H. and Pony) with one strand of DCM and stitched with them, one needle right after the other, to see if I could tell a difference in size or feel. The Pony needle feels slightly finer than the Richard Hemming, which is what Michael found as well.



One strand of DMC also fits well in the #12 Pony - BUT... it doesn't work well on tightly woven or high count fabric, as it takes a pit of a tug to get it through. It works fine on something a little looser, though.

Michael has some photos of the Pony needles really close up, so you can get a good look at the eyes.

The long and short of it:

I like the Pony needles. I'm going to keep using them on my present project to see how they stand up. They bend slightly - I don't know how they will wear over a little more use - but I don't mind a needle that bends. In fact, I like it! It gets "comfortable."

The #10 Pony seems slightly finer than the #10 Richard Hemming.

The #11 Pony works well with 1 strand of DMC on a high count quality muslin.

Most people will probably need a needle threader for the #12 with a strand of DMC.

To find Pony needles, contact Hedgehog Handworks. Michael spoke to Joady about carrying them, and they will be apparently getting in the gold-eye variety.

One Final Note: On Threading Needles!!

Don't lick your thread or wet your needle eye to thread your needles! Ok, if you have an endless supply of needles and you don't mind switching out, fine - lick away. I've heard lots of reasons why "you shouldn't lick your embroidery thread" - the ones are important and cause for concern are:

1. The Main Reason: Wet thread through the eye of a needle can cause the needle to "rust" (in a very tiny way) right inside the eye of the needle, which can cause little burrs that are hard on your threads, cause waste of thread, and can even cause damage to your project without your really realizing what is happening.

2. The habit of wetting thread can work against you the one time you're playing with a thread that has been unfortunate enough not to hold on to its dye. In these days of hand over-dyed thread, risking a mark on clean fabric is not really worth it.

3. If you work with silk embroidery threads, I'm pretty sure that licking silk is something akin to sacreligious. Silk also weakens when it's wet.

Tomorrow, I'll show you some photos of hand-made Japanese needles. And to top off the whole needle discussion, I'd love to hear how all you non-lickers out there thread your needles! I'll cover how I do it, too.

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Posted By: Mary Corbet on Monday, March 24, 2008
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Do you leave embroidery thread trails all around your house? I do! I usually sit on the sofa in the living room for "casual" embroidery projects, and when I snip threads, those orts (the thread scraps) end up on the arm of the sofa. I bet you know what I'm talking about!

Building into a good-sized, loose ball by the end of an evening, my embroidery thread left-overs will inevitably cling to the arms of my clothes. From there, they trickle off onto the floor... the living room floor, the kitchen floor, the bathroom floor. I'm forever leaving little trails.

When I think about it, I put a zip-lock bag in my sewing basket, but it's too much bother to dig for it when I'm engrossed in stitchery! Besides, once it's full, I toss it - and then I forget to add another to the basket... until I've got another thread ball building on the sofa.

Well, I finally decided it was time to do something about this! And so this is what I did:

About a month ago, I mentioned that I bought a couple placemats on clearance. I had this particular project in mind at the time, but just now had the chance to see my plan fulfilled:

A Couch Caddy!!!

I'm so excited about it. It isn't pristinely done, but I like it! I'm the first to admit I'm not an expert on the sewing machine! Patterns just aren't my thing, so this project was really perfect. It took me a whole 30 minutes. I had no plan - I just cut some rectangles from one placemat and its liner, and I sewed the stuff together.

Here 'tis:



[Oh dear. Pictures never lie.]

The first thing I did was take one placemat (less than $2 at Target on clearance) and separate the top fabric from the liner using a seam ripper.

Then, with the top fabric on the table just like you'd place a placemat, I cut it in half straight up from bottom to top. I took one half, folded from bottom to top, right sides together, and sewed up the sides. Then I measured 1.5 inches from the corner at the fold, and sewed a little triangle, so that the bag rounded out a bit, instead of laying flat like an envelope. Then I did the same thing with the liner, only backwards, and stuck the liner inside, and top stitched around the edge.



I still had half a placemat, so I cut out another rectangle and made a longer, narrower tube to put scissors and pencils in.



I still had a quarter of the placemat left, so I cut out tabs to attach the two pockets to the base, which was an in-tact placemat.

I didn't line the narrower tube, except by leaving the interfacing that was inside the placemat. In fact, that one came out rather sloppy - functional, but sloppy!



I made sure I sewed the tabs well into the outside half of the base so that I would have plenty of placemat on the inside arm of the couch to weight the thing properly and keep it from sliding.

I still have a little bit of the placemat left - I'm thinking about looking for a heavy-duty magnet I can cover with fabric and put on the top for needles and my embroidery scissors.

The whole thing worked rather well, took me about 30 minutes, cost me less than $4.00, and now I have somewhere to put those stray threads!

Labels: needlework tools, organization, pictures

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Posted By: Mary Corbet on Monday, March 10, 2008
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A while ago, I posted the beginnings of my excursion into canvas work (or needlepoint). My plan was to make a little sampler, just to play with some stitches and threads. I haven't made a lot of progress on it, but the little I've done has been a lot of fun and a good learning experience.

I'm work on 24 count soft congress cloth, and using a variety of threads - really, anything I pull out of my stash that looks remotely like it might belong to a general color scheme! I've been playing with all kinds of stitches, but nothing too magnificent. There are quite a few more stitches and combinations that I'm looking forward to trying!



As you can see, there are lots of blank spaces to fill in, and a bit more growing room on the top. I'm not quite fond of that curl on the top right. I was trying to play with shading, but I'm not too keen on the results!

The paisley-looking thing in the middle is not very well or precisely done! I drew it straight onto the fabric with a pen, then stitched the outline first in stem stitch in several strands of floss, then filled in with tent stitch. I think that might be cheating!



That zig-zag area is not quite true to color. I should have played with the photo a bit to get it more realistic. The greens are more yellow and less blue. Anyway, the fun thing about that area: I worked it in Eterna stranded silk, which is an almost-flat Chinese silk with a nice sheen. It can be a grouchy thread to work with in regular surface embroidery. I thought it would be a bear in canvas work, but I was pleasantly surprised! I like it!



The background bluish-purple in the squares is worked with Soie d'Alger, and I think it is, so far, my favorite thread to work with on this canvas. I may very well be using too many strands (4, I think - but it may have only been 3!) on 24 count, but it was still really buttery-soft and easy to work with. The gold crossing over the purple is also Soie d'Alger. The camera doesn't catch the soft sheen of the floss, but it does shine (not as much as the flat silk, but with a soft kind of glow).

The gold underneath the brighter green zig-zag is rayon ribbon floss. Interesting stuff to work with.



I like to look at things from an angle.



This photo shows the Rhodes stitch and tent stitch strip. The Rhodes stitch squares were rather randomly placed - I didn't count them out or mark them first. You can also see, in the front leaf of the paisley-thing, how messy the bottom rows look. I think two things were happening: my thread was wearing out, and I changed direction in my stitching.

So, that's the sampler so far. I am looking forward to hopefully a weeeeee bit of stitching time for it this weekend.... if the planets line up in my favor, anyway!

Labels: canvas stitches, needlework pictures, needlework tools

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Posted By: Mary Corbet on Saturday, February 09, 2008
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Ahhhh. My search for the nonpareil of floor stands for embroidery frames and hoops has come to a stand still. I am a happy and comfy two-hander once again! I saved until I could afford the Needlework System 4 floor stand, hoping that I had finally found the "perfect" embroidery stand, the cadillac of hoop holders, the dream tool for two-handed stitchers. Finally, after several months of tucking away the funds, I could justify the purchase. So here's my review of it, and a few photos...

The Needlework System 4 is everything I hoped it would be: it's uncomplicated, durable, easy to use, versatile, and provides firm "hold" on my embroidery frames.

When I began to consider a new floor stand, I asked myself some questions:

1. Where do I plan to use it?
2. What do I want it to do?
3. How long do I expect it to last?

#1 - Where do I plan to use it?

If I'm going to invest in a floor stand, I want to be able to use it ANYWHERE (with the exception of the car!) For in-home use (or to take to guild meetings and so forth), a floor stand should be portable and versitile - I should be able to use it wherever I would want to stitch: a living room chair, an upright table chair, or even comfy on the couch - depending on the project, these are the places I stitch.



It fits easily up a living room chair. The height is adjusted by moving the main length of the stand forward. After adjusting the height, it is just a matter of adjusting the slope of the frame in the clamp.



It works just as easily at a regular upright kitchen chair. When I sit in an upright chair to stitch (for those "intense" projects where I need a good-sized table close at hand), I put the main bar of the stand straight up at a 90 degree angle to the floor. The frame and clamp can be adjusted for slope, or left flat (parallel to the floor).



And at the couch, it's great. I can pull the stand forward, with the long front foot of it under the couch (the front foot is long - only about half of it showing there - and just over an inch high - so there's good balance, and it can fit under just about any furniture).



So, yep, the stand works wherever I would sit to stitch.

#2. What do I want the stand to do?

When I embroider, I use stretcher bars for the most part, so I want the stand to hold my stretcher bar frame firmly, without any instability, and without constant shifting in position while I stitch. I do not want to have to adjust the slope of the frame continually, or re-tighten the clamp on the stretcher bars! The Needlework System 4 stand is the only floor stand I've ever tried (out of many!) where, once everything is set and tightened, I don't have to readjust, even after a long time of stitching, moving, turning the frame, and so forth.





The clamp is a simple vice set-up, made out of thick plastic, with a large screw on the top. The stretcher bars fit between the two layers of thick plastic, and, to tighten, you just turn the large screw on top.



On the neck of the clamp, there's an place to adjust the slope of your frame. There are metal teeth in this adjustable joint, so that, once you tighten the clamp in the position you want, it doesn't move. In the photo, the joint where the teeth are is unscrewed, so that's why it looks uneven where the teeth meet. When the joint is screwed tight, the teeth fit together evenly.



I also want to be able to turn my work while it's on the stand, without having to readjust screws or anything like that. I can!! I can turn my work 360 degrees, without any part of the stand impeding the turn. I can even turn it one-handed, while holding a camera, as you can see in this video:



The turning mechanism doesn't loosen up, either, so wherever you position your frame horizontally along that turn, it's going to stay there!

#3. How long do I expect it to last?

Well, if I'm going to invest $300 in the two components - the floor stand and the frame clamp - it better last a LOOOOOONG time! The Needlework System 4 has a lifetime guarantee. I spoke to three shop owners before selecting one to purchase from. Out of the three, all of whom have sold many of these stands, only one had a return for paint rubbing off. The company apparently replaced the stand.

Other features I like:

There's a scroll frame component available (I don't use scroll frames often, but...)

You can use the stand sideways, slipping the front foot under the side of a chair or couch, and clamping your work on the side rather than the top.

It's super-duper light, and, by unscrewing one screw, it disassembles into an easily carried package. (They also make a travel stand, which folds into a smaller package and fits in carry-on luggage).



You could buy two stands for Really Big Projects, and clamp one stand to one end of the project and the other stand to the other. But....! Well, you can use sawhorses or tressles for the same effect, and a bit cheaper!

So that's the stand. I do like it! It's been a pleasure to use, every single time I've used it. I haven't had one instance of it feeling insecure or unstable. I haven't had any problems getting it to adjust to "just the right place."

All that being said, it is a rather hefty investment as needlework stands go, but if it lasts through my stitching days, I know I'll be glad I got it!

If you have a NWS4, drop a comment and let me know if you have had equal success with it, or not! If you have a different type of floor stand, why did you select it and what do you like best about it?

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Posted By: Mary Corbet on Wednesday, January 16, 2008
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A laying tool is a smooth, usually sharp tool used in embroidery to help you lay the threads so that they are smooth and parallel to each other, without twisting. It's a handy tool for any type of embroidery, but I think it's especially necessary when working with flat silk.

A laying tool can be used, though, with any kind of embroidery thread - even your every-day stranded cotton. If you're using more than one thread of stranded cotton, the laying tool will help ensure that you get smooth coverage and no "overlapping."

I've tried several different types of laying tools - and they do come in all kinds! My favorite one is Shay Pendrays "Best Laying Tool."



There are two things I like about it: it's perfect smoothness and it's sharp point. It doubles as a great little stiletto to enlarge holes while doing goldwork (for plunging your threads) or while doing whitework (for creating nice little eyelets). The square end of the BLT helps you maintain a firm hold on it so it doesn't turn in your fingers as you're using it - or so you can control the turning better, if you like to turn your laying tool when you use it.

Here's an article on how to use a laying tool. Included are photos of stitches made with one and without one so that you can see the difference between using one and not using one! It does take extra time to use one, and, to be quite frank, I don't use one often - but when I need to ensure that my threads are perfectly flat, it's the best way to accomplish that.

You can find the Best Laying Tool at Nordic Needle, if they don't sell them in your local embroidery shop. They run about $17.00.

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Posted By: Mary Corbet on Monday, September 17, 2007
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If you're relatively serious about embroidery, you probably have a good selection of favorite tools on hand - those things beyond needle, scissors, and hoop. Here's one of my favorite tool investments - and it doesn't cost much!

The EZ Tack-It kit is quite handy to have - so much so, that I have two kits! I came across another one while I was shopping a few months ago, and bought it to keep on hand for our guild.



The EZ Tack-It is used to assist you in setting up embroidery projects on stretcher bar frames. Unlike scroll frames and slate frames, on stretcher bar frames, you tack your fabric all around the edges. Stretcher bars provide excellent tension, and, in my opinion, are quicker to set up than a slate frame.

So this is how it works: you assemble the four sides of your stretcher bar frame. If you aren't familiar with these things, they come in packs of two sides in a given length, and you can assemble a four-sided frame by buying two packs that will accommodate the dimensions of your project. You can find them in Michael's in the needlework section, and you can also buy them at many specialty needlework shops. Online, you can find them at different embroidery shops, like Needle in a Haystack. They're pretty inexpensive ($2.00 - 3.00 / pair). Don't confuse them with canvas stretcher frames, which are much wider than these! But - well, to be honest, I've used the canvas stretchers, too. You can find those in the art department of hobby stores. They aren't as nice as the embroidery stretcher bars, and you do end up "wasting" a bit of room on your fabric, because the frame itself is a good inch or so wider than the embroidery stretcher bar frames.

Anyway, back to the Tack-It. You've got your frame assembled, and you've got the fabric for your project ready. I always suggest pre-shrinking if you need to. You want to know where the middle of the top (horizontal) side of your fabric is, and this is where you start tacking - in the middle of the top edge of your fabric. You pick up a tack with the magnetic tack pusher (that's the big round red thing in the kit), and you insert it into your frame in the middle of the top bar. You can insert the tacks either on the back of the bar, or the very top of the bar. It's better not to insert them on the side of the bar facing you (if you've got your frame laying on a table, I'm talking about the side of the bar facing the ceiling), because you may get frustrated by threads catching on the tacks as you embroider. I prefer the side of the bar "around the corner" from this - the outside edge of the frame.

So you tack your fabric from the center to the outside, then you go back to the center and continue across your fabric to the other outside edge of the frame. Each of the tacks should be placed about half an inch to an inch apart on the frame. Then you move to the opposite side of the frame, doing the same thing. You want to pull the fabric taut as you tack the second side, but you're not going to get drum-tight tension, since you're only working on the second side. Then you move to the third side and repeate the process, pulling your fabric to keep it taut and even. Be careful, though! You don't want to warp your fabric. Just pull tight enough to establish good tension.

When you do the fourth side, you end up with drum-tight tension. A frame mounted like this will keep good tension for a long time. I've been working on my silk work sampler, for example, for almost four months, and the tension is still perfect. When I worked the Agnus Dei piece, I never had to readjust or fix the tension of the fabric.

The Tack-It kit makes it really easy to push the tacks into the frame. The handle of the magnetic tack pusher fits in the palm of your hand, to give you good, even distribution when pushing the tacks in. The magnetic tip keeps the tacks in place while you're working with them. And the extractor makes it easy to pull out tacks if you need to. Best of all, because your tension is good, you are not likely to end up with puckers in your fabric when you remove it from the frame.

I store my Tack-It kit in a jar, with an abundance of extra tacks. The kit comes with 60 steel-topped tacks, which is enough for at least one large-ish project. Since I generally will have more than one project going at a time, I have extra tacks - I just bought regular "brass" thumb tacks from the hardware store. They work fine.

You can find the EZ Tack-It kit online at several places, Lacis being one (in California). In Canada, Tanja Berlin carries them. In the States, they run $10 for the kit.

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Posted By: Mary Corbet on Sunday, September 09, 2007
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Posted By: Mary Corbet on Friday, September 07, 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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Embroidery hoops and frames are generally thought of as necessary equipment. I recently got into a discussion with a lady on this. She's been embroidering for all her life, and she works especially on vestments and altar linens for her church. So we're talking advanced embroidery. She never uses a hoop or frame! She said she never learned on one, and never finds she needs one! Well, for the rest of us mortals in the field, most of us probably do use a hoop or frame. And there are lots to choose from on the market...

The most commonly available hoops are probably the Susan Bates hoops found in most craft and hobby stores. These are plastic hoops with a "Super Grip Lip" on the inside ring, which is supposed to keep your fabric taut. These are very useful hoops - they are great for beginners and I use them all the time with the kids that I teach. They come in bright colors, so the kids really like them. Also, they're affordable. If you aren't sure you want to invest in this kind of hobby, you wouldn't be putting out much in purchasing this hoop. They come in a variety of sizes, from I think 3 inches to about 8 inches.

Better hoops: If you're sold on embroidery, and you like using a hoop, you might want to invest in some really good hoops. Hardwicke Manor hoops are made in Germany of birch wood, with brass hardware. The wood is polished super-smooth - no snags, no splinters. They come in three "depths" - thin (5/16"), medium (5/8") and thick (7/8"). The medium and thick hoops are perfect for heavier fabrics such as linen twill, Mountmellick fabric, and whatnot. The thin hoops are great for fine linen, cotton, etc. I have a variety of these hoops. The first thing I do when I get a new size is wrap the inner ring with twill tape (found in the same section as the bias tape at your local fabric store). Once this rather tedious task is done, my hoops are ready for any project that might come along. Another perk - the hardware on these hoops is really sturdy, and has a screw eye on the bolt, so you can adjust it as tight as you want with a screw driver. These are undoubtedly the best hoops on the market. You can order them at a rather reasonable price through the Twining Thread, where the service is quick and good.

Frames and Scroll Frames: I can't find a good source for slate frames!! If you know of one, will you share it? I tried through Accomplishments, which has moved from Ohio to the East Coast, but I never got a reply on whether or not they still stock them.

I have several other frames, though. The frames by K's Creations are nice, and pretty widely available. You can look at their official website here, where you'll find all their products, but you have to order them through retail shops - or pick them up in your favorite needlework shop. Unfortunately, I live in the boonies and there are no decent needlework shops around, so I order online from Twining Thread and others. I have a lap frame from K's Creations, with several sizes of bars for different projects.

Lacis also sells a good frame, and an excellent floor stand which is more affordable than the K's Creations, although Lacis doesn't have the same variety of designs, sizes, etc. But the floor stand at Lacis is not only affordable (around $80 for the stand - frame or hoop separate), but it is a really well-made, beautiful piece of work, and the wood is smooth as glass. I love mine!

Since I can't seem to find a source for slate frames, I am determined to find someone to build me some slate frames that are decent. I have one, but I would like a variety of sizes for group work. Slate frames are really the best way to set up a serious embroidery project. They provide the best uniform tension without the chance of damaging the fabric in any way. The drawback to a slate frame is that, if you're eager to get on to your stitching, you might not like the set-up time. It can take an hour or two to properly set up a project on a slate frame. On the bright side - once it's done, it's done!

If you've got recommendations for hoops or frames, share them with the rest of us, please!! Also, if you know of a source for slate frames, I'm all ears!

Labels: embroidery resources, needlework tools

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Posted By: Mary Corbet on Wednesday, August 09, 2006
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Posted By: Mary Corbet on Sunday, July 16, 2006
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