April 25th:

Amy's Answer:

 

 

Holy smokes did you ask the WRONG person about organization! I do save my leftover metallic threads, beads, and beading thread, but most of my leftovers are shared or tossed into the cylindrical file (trash can). Karen has organized and saved loads of my leftovers in the classroom to use for demos and student needs, but if it were left up to me I would pitch them. When I stitch a project, I am working it for a Home Study or stitch guide. I always start with new skeins/card/reels to give me a “current” dye lot. The new skeins also help me keep track of exactly how much thread was used in that project. I save the metallic threads because, quite frequently, I only need a small amount; same with beads and beading thread.

 

This question needs a little input from people more organized than I. The next few Wednesday Wisdom segments will include thread organization suggestions from Candy & Peggy, Eileen & Karen, Judy & Jill. 

 

    

 

May 2nd:

Jill's Answer:

 

 

My stitching is organized on many levels, but for purposes of this article I’ll share how I organize my threads  (we can save canvases, books/guides and projects for another time).  My threads are all sorted and alphabetized by name (i.e. Flair, Neon Rays, Splendor) and then placed in number order within each thread type. 

 

 

 I used to keep all my threads on rings and sorted by color, but I was having difficulty finding threads when a guide called for a specific number and I didn’t know the color.  My threads are also categorized in a Microsoft Excel spreadsheet:

 

  

 

If I’m working from a guide, before I begin the project, I refer to my spreadsheet to see if I have some of the threads called for.  If so, the item is highlighted on my list, pulled from storage and placed in my project bag.  With all the threads I know we all have, we always have to add more to our stash.  After purchasing what I need, they get added to my spreadsheet, highlighted and placed in my project bag.    After I complete my piece (which isn’t often and I’ll explain more about that later),  I take my bag of threads to the computer and log them all back in.  If I’ve used an entire skein/card/reel of thread (I never throw empty packages/reels/bobbins away until after I complete the project), the item is deleted from the list.  The other used threads are placed back in my drawers and ready to be used again.

 

Now, what if I begin another project before completing one and need a thread already being used?  I rarely store threads in bags.  Threads for a particular project are placed on a ring with a label identifying the project and hung in my stitching closet.  If I need to take a thread from one of the rings to use in another project, it is noted on the back of the label.

 

     

A card is also placed in my current project bag noting which thread goes where when I’m finished. 

 

PROS to this system – I rarely have duplicates of any thread.  I can carry my list with me when shopping, so there’s never a question as to whether I need something.  I can usually always find a thread in my stash that I need.

CONS to this system – I rarely have duplicates of any thread (have you ever run out of a thread and needed one or two strands to finish).  Takes some time to set up and maintain.   

 

May 9th:

Candy & Peggy's Answers:

Candy:

I have all my leftover threads organized by color using two different storage containers. In a zippered case with clear plastic sleeves, I keep all spools (Kreinik, etc.), all cards (Rainbow Gallery, etc.), beads and doo dads. In a storage bin with handle, I keep all threads that have been skeined (Silk and Ivory, Burmilana, Impressions, Needlepoint Inc. Silk, etc.). These are stored in mesh bags or Ziplocs. The top of the storage bin has a lift-out tray similar to a tackle box; it is perfect for extra needles, laying tools, scissors, Thread Heaven, and all of the accessories that we accumulate in duplicate and triplicate or more. This system really works for me; if I need a red metallic, I know right where to go!

 

 

Peggy:

Most of my needlepoint projects are kitted with the threads staying with the canvas.  But after the project is done, I put like threads on rings.  I also group some white, red and black threads on an old merchandise rounder I purchased from the shop.  I also store beads and beading thread and other toys there.  I am one of those people who purchases pretty threads that I don’t really have a project for.  I put them on the top of the rounder so I can quickly see if one of them will work for a new project.  I shop at home!

 

 

May 16th:

EIleen & Judy's Answer:

I organize my threads a little different from most people. I organize by thread type because that's how I pull for my canvases.

Judy: 

I am fortunate to have a closet in my needlepoint room that has shelving floor to ceiling. I use DVD size cloth covered boxes that have a hinged lid. The front of each box has a label plate with the thread color. I have each thread in a Floss Away bag.

I have a separate box for each color. I keep beads on a large ring and misc. trims, ribbons and treasures in a letter sized hinged lid box. Two shelves are reserved for current projects - canvases with their thread kit. All kitted projects are kept in project bags until completion. I then determine if there is sufficient thread of each kit item to save in the respective color box.

Bummer!

Plan ahead when you can for this possibility. When you are stitching a canvas, you might try working the largest areas first, leaving smaller areas using the same thread to fill in later. That way you might get lucky and be stitching a different area when you run into the dye lot issue. If that doesn’t happen and you are just stuck with the problem, then DO NOT STITCH TO THE END OF YOUR THREAD SUPPLY!!! First of all, you won’t have to unstitch to have old dye lot  blend with the new dye lot. Even if you are lucky enough to get the same dye lot, I would recommend blending or mixing strands of the old thread with strands of the new thread for the connecting rows of stitching. If possible, mix the new thread in gradually, adding more and more of the new and less and less of the old in the needle as you progress.

 

 

If you are using a single strand of thread and cannot mix in the new dye lot, you can try “spotting” the new thread in. Use the old dye lot to work spotty coverage where you are running out. Use the new dye lot to fill in the spotty coverage and then continue with all of the new. This will only be successful if the dye lots are close and some colors work better than others at blending.

 

This is a problem that we have all faced at one time or another. Be creative, but also watch your supply. Study the amount of thread you start a project with, and save tags or wrappers to keep up with how far they go. If you have not covered half of the area needed but you have used more than half of the thread, go buy more immediately from the same source if possible.

 

Figuring amounts of thread is not an exact science and every person, project, thread, and stitch use thread at different rates. The people who help in your shop of choice are working with an “average” amount and are not always privy to important information, like how long you cut off your tails, your personal tension, what stitch you are going to use, or whether your new puppy likes to steal a skein or two, so take “ownership” of this responsibility and keep track of your thread.

 

    

Variegated thread is usually varying degrees of intensity of the same hue dyed onto natural or bleached-base thread.

 

 

I was wondering when rayon was going to hit the question parade. Rayon has loads of personality; some good and some bad. We love the sheen that rayon hands us on a silver platter but we hate the "diva" attitude that rayon ladles out. Here are a few tips to handle the slippery, shiny, snaggy stuff.

 

NEON RAYS -- Precut your working lengths,  iron them to remove the kinks, then store them in a bag which is not squeezed flat or fold them into a hankie or tissue paper.  If you store them in plastic bags, be aware that rayon almost manufactures static electricity and plastic exacerbates this problem. RibbonFloss packaging prevents the kinks and does not need ironing but is just as slippery as the Neon Rays.

TIP! A travel-sized hair straightening iron is a great tool to use for pressing your Neon Rays and is light and small enough to keep in your stitching tote. It needs to be dedicated to thread only, don't use it on your hair too as the hair products aren't needlepoint-friendly.

 

  

 

MARLITT or DMC SATIN FLOSS -- If you use these in multiple strands, try to steer toward even numbers so that you can "double the thread in your needle."  If the thread is doubled it will prevent one strand loosening while the others tighten (separating), which creates tiny loops on the surface of the canvas and ruins the flat appearance of the stitches.

 

    

 

   

 

ALL RAYON THREADS -- Best advice for all slippery threads is to hold them at the eye of the needle, not the shank of the needle. During the action of pulling the needle through the canvas (up or down) the thread is usually left alone to do as it pleases in the stitching process. If you grip the needle at the eye, you are trapping the thread so that it can't shift or slide. Move the needle frequently on the thread. Rayon is sensitive and frays at the friction of the needles eye. You may waste a little thread at the end but better than stitching the fuzzy parts into your piece. Don't let your rayon threads skitter across the canvas surface while you are stitching. They will snag on the canvas, other stitches, beads, sequins, rough edges, etc…. Use a blunt laying tool to prevent self-inflicted snags. Glass is my favorite for this but your finger, a size 13 Tapestry Needle, or Trolley Needle will work nicely. Wooden tools also work well with rayon but check how sharp the tip is and whether there might be some rough spots on the handle as well.

    

 

FLOATING -- My best guess is that the rayon thread has gathered static electricity. I do not care to moisten my rayon in most circumstances, but stitching with rayon during the Winter in Chicago taught me to hold the rayon gathered in my palm and breath on it through my mouth. The moisture from my breath was just enough to calm down the "Einstein hair" that I was trying to thread into my needle.

 

 

When this happens the biggest problem is the heart attack you have when you realize what you have done. Don't panic, calm down, walk away until your hands stop shaking.

If you cut through a few threads, the easiest fix is to reweave them with a canvas mesh that you unravel from the edge of the canvas. Thread up the unraveled canvas mesh into a tapestry needle of appropriate size.  Follow the over/under pattern of the original canvas to weave through the damaged area for about ½ʺ leaving the tails of the repair mesh on the backside of the canvas. Stitch over the repair mesh and the original damaged mesh as if they were one mesh of canvas; do not separate them.

 

If the cut in the canvas is long or there is a missing area of canvas to be repaired (doggie snack or cigarette burn repair) cut a piece of canvas (same mesh size) a little larger than the repair sight and baste it to the backside of the canvas using a single strand of sewing thread to match the canvas color. Make sure the meshes of the repair canvas line up with the original canvas meshes. Stitch through both canvases where they overlap and over the single thickness of the repair canvas in the missing canvas area. If the missing area of canvas was painted, paint the repair canvas to match the missing area. 

 

If you were planning an open stitch pattern in the repair area…..rethink your plan and select a stitch that will cover completely.

 

This is a question that needs to be addressed by the individual finisher. Always talk to your framer about issues like this before walking out the door expecting the frame job to look exactly as you had envisioned. The average frame molding cut out (called the rabbet, the inner lip of a frame in which the framing materials are held) is approximately ¼ʺ wide and varies in depth to accommodate multiple layers or thick subject matter. The framer cuts a piece of mounting board slightly smaller than the measurement of the frame inside the rabbet. After mounting the needlework, it is dropped into the opening. Now, if your needlework is PERFECTLY straight, the mounting is EXACTLY even, the board and frame are IN TOTAL SYNC, and the canvas wrap measurement is PRECISELY the thickness of the allowance space, all will be well. If any of those factors are off by a hair, then raw canvas will show around the edges of the frame opening or design stitching will be covered on the edges. Matting a project can help, but you still have to take into consideration that the needlepoint needs to be perfectly straight, and it rarely is, even if you use stretcher bars and it has been blocked. One of the reasons why we love our needlework so much is:  it is NOT an exact science … no two pieces are the same.

 

 If you are planning on framing a project, I recommend stitching a very small amount around the outside edges of the project in a color to continue the look of the edges of the design area. You want less than ¼ʺ of width so that it will not lay on the folded edge. The color must continue the edges "look" so that you don't still have a jarring color change for the sliver that "might" show around the frame opening. The stitch and threads chosen need to be less interesting than the design area - - Gobelin or Basketweave work well.

 

 

The above advice applies to FRAMING only, not to 3-D finishing. There are different problems to contend with when sewing needlepoint together. ASK THE FINISHER, not the needlepoint teacher!!! Some finishers want a row of Continental around the edges and some don't. In some cases, extra bulk around the edges can make it impossible for the needlework finishers to do their job correctly.

My preference is to leave glass off of framed needlework, because glass visually flattens the piece even if it isn't actually touching the stitching, which is a major no-no. All the lovely texture you worked so hard to achieve is no longer easily experienced by the viewer. Another good reason for leaving glass out of the frame is if you use glass you can no longer enter your piece for competition. Glass is an immediate disqualification in most competitive exhibitions for needlework of any kind. 

 

I am asked quite frequently about keeping needlepoint clean if it isn't covered by glass. Needlework is typically not affected by dust, temperature, and moisture changes experienced in your home. To rid your less textured needlepoint of dust, just occasionally give it a swat with a dish towel.  Use a hankie if the dish towel seems like overkill. I swat framed pieces (sturdy stitching only) about once every 5-10 months. An option for more delicate stitching is to use compressed air. So as not to displace stitches with the high pressure, don't get too close to the piece. You only want enough pressure to blow off the loose dust. Maybe even just a puff from your own breath would be enough for a light dusting.

 

Temperature changes have more of an affect on framing materials than on your stitching, but you might find that framed items loosen in the summer and tighten in the winter with the change of temperature and humidity. This is usually not a problem except esthetically and would not be helped by glass anyway.  You might think that  a humid climate or an area which has all sorts of little insects would constitute the need for glass, but glass on a framed piece seems to actually create a little hot house for the humidity to grow mold and the bugs to munch away.  Trust my experience on this one, bugs can get into any framed piece and are then protected from any pest control treatments used in your house.

 

 

 

Having said "no glass" I will say there are circumstances when glass is needed. Anyone who has cleaned a kitchen after frying food understands some airborne messes would not do your needlework any good, so cover it with glass in the kitchen.  Another obvious case to plead in favor of glass is mounting needlepoint into a tray. Hello, you have to have glass in a tray. The glass needs to be completely sealed around the edge (where the glass touches the tray) to prevent possible damage to your needlework from condensation or spills.

 

 

 

All needlepoint canvas is even weave. That means there are the same number of strands woven in a linear inch horizontally as there are woven vertically. Canvas is sized by mesh sizes, or thread count per inch. Sizes vary from 7 threads per inch to 24 threads per inch.   The larger the mesh size of the canvas the smaller your stitches will be.