Large cross stitch projects

On 16 Feb 2004 09:01:55 -0800, (Denise B)
wrote:

my husband stitched a piece and apparently got coffee on it and
didn't wash it out. Of course dark spots have since shown up. Somebody
wrote that Orvus was good for cat urine. Maybe it will work on coffee
too.
I'll just bet it would.
Darla
Sacred cows make great hamburgers.

Large Cross Stitch Projects (defined as lots of stitches & finely detailed
graphs & lots of color changes)

Large WIPs =
1. Cross Wings' Flower Power (I think I started it in December of 1997)
http://www.crossedwing.com/charts/28chart.html
2. Angel of Cross Stitch (started in 1998 or 1999) -- from Cross Stitcher
magazine (?)
3. Leisure Arts Mickey Mouse and Friends (started in October of 2002 ?) --
dgn no longer available
4. MLI Angel of Love (started Thanksgiving 2001)
http://www.tiag.com/designs/LL-25.html
5. Arctic Santa Stocking (don't remember when I started it, it may have been
before we moved the last time, 1996??) -- this one is a real pain in the
patootie, I decided to do it on navy blue aida (even tho it came as a kit w/
cream aida) and I thought that all the white snow would really pop if I used
mother of pearl thread (there's lots of snow on something called 'arctic
santa') and there are tons of partial stitches (which I thought I'd just use
my native intelligence and change to full stitches as the 'flow' warranted)

Large Projects-Not-Started (have graphs, fabric, specialty threads) =
1. Marty Bell = Rocky Mountain Christmas
http://www.pegasusor.com/detail.cfm?ID=100
2. more Barbara & Cheryl Charleston series designs than I can count right
now grin http://www.stitching.com/bar-cher/
3. Crossed Wings = Blue Heron http://www.crossedwing.com/charts/34chart.html
& Snowy Egret http://www.crossedwing.com/charts/43chart.html
4. Leisure Arts Mickey & Minnie Mouse -- dgn no longer available

Large Projects Completed =
1. Barbara & Cheryl = Palm Shadows
http://www.stitching.com/bar-cher/palmshad.JPG (64 colors, 230 x 160
stitches) & Under the Oaks http://www.stitching.com/bar-cher/bcl27.jpg (68
colors, 200 x 125 stitches)
2. Crossed Wings = A Crossed Wing Christmas
http://www.crossedwing.com/charts/26chart.html
3. Windswept Santa = this counts as a large project because of the actual
size, the # of colors and the complexity of design

"Linda D." wrote in message
...
I'm sure no one wants to hear about it, but I still have Mirabilia's Fairy
Moon on the go, and haven't touched it in years. It's just so darn big to
deal with. The fabric is 25 inches square and on a floor style roller
frame. I'm tempted to take it off the roller bars, and
try stitching in hand with a hoop.

Linda,
I really wouldn't necessarily consider that idea very long. Any large
projects I would preferably work on scroll rods or in hand if necessary.
When initially starting my larger projects (TW Castle Sampler), I began
working in hoop. My incessant need for proper tension either skewed the
weave of my fabric or pinched the stitches.
I couldn't bear with the thought of that anymore. Just my two cents...

~Connie~

Hi Connie,

I'm sure you are right. I guess I just get fascinated with
people like Jim, who work huge projects in hand and don't have a
problem with tension or distortion. I often wonder if stitching in
hand would make working on a large design more enjoyable for me.

Maybe I'll just have to find a real comfy chair to put in my
sewing room, so that I can work at my floor frame, and not bother to
lug the frame into the living room. The new sofa doesn't accommodate
the frame very well anyway...

Thanks...

take care, Linda



On Tue, 17 Feb 2004 15:57:03 GMT, "~Connie~"
wrote:
Linda,
I really wouldn't necessarily consider that idea very long. Any large
projects I would preferably work on scroll rods or in hand if necessary.
When initially starting my larger projects (TW Castle Sampler), I began
working in hoop. My incessant need for proper tension either skewed the
weave of my fabric or pinched the stitches.
I couldn't bear with the thought of that anymore. Just my two cents...

~Connie~


"Linda D." wrote in message
.. .
I'm sure no one wants to hear about it, but I still have Mirabilia's Fairy
Moon on the go, and haven't touched it in years. It's just so darn big to
deal with. The fabric is 25 inches square and on a floor style roller
frame. I'm tempted to take it off the roller bars, and
try stitching in hand with a hoop.

Linda D. ) writes:
Hi Connie,

I'm sure you are right. I guess I just get fascinated with
people like Jim, who work huge projects in hand and don't have a
problem with tension or distortion. I often wonder if stitching in
hand would make working on a large design more enjoyable for me.
(snip)
Thanks...

take care, Linda

One thing that is really quite obvious, but might be worthwhile
mentioning. That is the way the fabric sort of changes as one does the
stitching, when one has a large project of solid stitching. I start in the
top right hand corner, and work my way down towards the bottom left. Not
that this matters much, except that, to keep the count right, I try and
complete the area being stitched so that there are no holes left. That
way, I always start a new colour from a place where the count is
absolutely solid and correct.
To start off with a brand new project, the fabric is all floppy, and I
find, comparatively difficult to stitch on. I find it awkward to get the
fabric to be stable, so that I can put the needle in the right place.
However, once I have done about 10 or 12 hours of work, things change
completely. The thousand or so stitches that have been completed in just
the one area, make the fabric quite rigid. When you are stitching close to
this finished area, it becomes much easier to hold the fabric, and get the
needle to go to the right place. Further, the more stitching that has
been completed, the more rigid the fabric becomes, and the easier I find it
is to stitch.
As I say, this is something that is quite obvious, but it occurred to
me that some people might have started a large project in hand, and never
got to the stage where the fabric becomes rigid. HTH.
--
Jim Cripwell.
The gods do not subtract from the allotted span of one's life, any
time that is spent in stitching.
Adapted from a sign on The Cobb, Lyme Regis, England.

It's all in what you get used to. Hoops require handling fabric
differently, and many people don't know how to properly place a hoop on
fabric. Further, fabric that is skewed can be "unskewed" with steam and
blocking, just like canvas. But working in a hoop doesn't mean the
fabric will automatically GET skewed.

Working "in hand" requires a different set of problems and solutions,
but much embroidery, including cross stitch, can be done that way.

Working with a frame is "another" set of problems and solutions.

If you've always worked in one way (such as a frame of some sort), then
you've forgotten how your first attempts were less than adequate, and
you've forgotten the learning curve to get to the higher quality work
you do at the present using the means you are using.

So, switching methods will require the same: first attempts a bit
clumsy, and a learning curve will ensue.

Before switching methods in the *middle* of a project, I'd practise the
new method on something else to get the hang of it. If you want to use
a hoop, then learn how to use one correctly.

Dianne



~Connie~ wrote:
"Linda D." wrote in message
...

I'm sure no one wants to hear about it, but I still have Mirabilia's Fairy

Moon on the go, and haven't touched it in years. It's just so darn big to
deal with. The fabric is 25 inches square and on a floor style roller
frame. I'm tempted to take it off the roller bars, and

try stitching in hand with a hoop.


Linda,
I really wouldn't necessarily consider that idea very long. Any large
projects I would preferably work on scroll rods or in hand if necessary.
When initially starting my larger projects (TW Castle Sampler), I began
working in hoop. My incessant need for proper tension either skewed the
weave of my fabric or pinched the stitches.
I couldn't bear with the thought of that anymore. Just my two cents...

~Connie~

I also work my one large WIP by hand. 14 count white Aida 2ft by 3 ft. I
always start my projects in the middle though, unlike Jim for example who
started at the upper right corner and worked downward. Doesn't matter what
the size. On big projects like this though, since multiple pages are
involved, to keep things straight, I just pretend that I am working only on
that page and that this _is_ my WIP. When I finish a page, then I branch
out in one direction and match up the last lines on the current sheet with
the sheet I am next using and then just pick up again as if that were my
only page. That is how I keep track of where I am. Also, since this WIP
sometimes goes for months between work sessions on it, I use a highlighter
on the lines and sections that I have finished [ the pattern for this is
copies of the original so I can mark it up ]. That helps me to remember
where I am sometimes months later ...

Julie

I do understand where you are coming from, and yes, you may be
right. If I know me as well as I think I do (grin) I probably started
using a scroll frame or stretcher bars for a very good reason, which
was probably that I was unhappy with *not* using a frame of some sort.

OTOH, I may also have just wanted to try a new gadget...hehehe
I have several different types of hoops, stretcher bars, scroll
frames, and three different types of floor frames

I do agree there will be a learning curve if I switch methods,
but I guess I will have to consider the pros and cons of each method.
I just hope that sooner or later I will complete Fairy Moon as she is
a beautiful piece and I'm two thirds done Sounds to me like I need
some encouragement and someone to nag me about it. Does anyone know
of any yahoo groups for Fairy Moon?

take care, Linda

P.S. What really gets me is that a friend stitched Fairy Moon in 4
months...let's just say it's been a UFO of mine for at least 4 yrs.


On Tue, 17 Feb 2004 14:04:10 -0600, Dianne Lewandowski
wrote:

It's all in what you get used to. Hoops require handling fabric
differently, and many people don't know how to properly place a hoop on
fabric. Further, fabric that is skewed can be "unskewed" with steam and
blocking, just like canvas. But working in a hoop doesn't mean the
fabric will automatically GET skewed.

Working "in hand" requires a different set of problems and solutions,
but much embroidery, including cross stitch, can be done that way.

Working with a frame is "another" set of problems and solutions.

If you've always worked in one way (such as a frame of some sort), then
you've forgotten how your first attempts were less than adequate, and
you've forgotten the learning curve to get to the higher quality work
you do at the present using the means you are using.

So, switching methods will require the same: first attempts a bit
clumsy, and a learning curve will ensue.

Before switching methods in the *middle* of a project, I'd practise the
new method on something else to get the hang of it. If you want to use
a hoop, then learn how to use one correctly.

Dianne



~Connie~ wrote:
"Linda D." wrote in message
...

I'm sure no one wants to hear about it, but I still have Mirabilia's Fairy

Moon on the go, and haven't touched it in years. It's just so darn big to
deal with. The fabric is 25 inches square and on a floor style roller
frame. I'm tempted to take it off the roller bars, and

try stitching in hand with a hoop.


Linda,
I really wouldn't necessarily consider that idea very long. Any large
projects I would preferably work on scroll rods or in hand if necessary.
When initially starting my larger projects (TW Castle Sampler), I began
working in hoop. My incessant need for proper tension either skewed the
weave of my fabric or pinched the stitches.
I couldn't bear with the thought of that anymore. Just my two cents...

~Connie~

Well, Linda . . . Here's a cheering section for you. 15 stitches a day.
Day by day. Just 15 stitches. g
Dianne

Linda D. wrote:
I do understand where you are coming from, and yes, you may be
right. If I know me as well as I think I do (grin) I probably started
using a scroll frame or stretcher bars for a very good reason, which
was probably that I was unhappy with *not* using a frame of some sort.

OTOH, I may also have just wanted to try a new gadget...hehehe
I have several different types of hoops, stretcher bars, scroll
frames, and three different types of floor frames

I do agree there will be a learning curve if I switch methods,
but I guess I will have to consider the pros and cons of each method.
I just hope that sooner or later I will complete Fairy Moon as she is
a beautiful piece and I'm two thirds done Sounds to me like I need
some encouragement and someone to nag me about it. Does anyone know
of any yahoo groups for Fairy Moon?

take care, Linda

P.S. What really gets me is that a friend stitched Fairy Moon in 4
months...let's just say it's been a UFO of mine for at least 4 yrs.


On Tue, 17 Feb 2004 14:04:10 -0600, Dianne Lewandowski
wrote:


It's all in what you get used to. Hoops require handling fabric
differently, and many people don't know how to properly place a hoop on
fabric. Further, fabric that is skewed can be "unskewed" with steam and
blocking, just like canvas. But working in a hoop doesn't mean the
fabric will automatically GET skewed.

Working "in hand" requires a different set of problems and solutions,
but much embroidery, including cross stitch, can be done that way.

Working with a frame is "another" set of problems and solutions.

If you've always worked in one way (such as a frame of some sort), then
you've forgotten how your first attempts were less than adequate, and
you've forgotten the learning curve to get to the higher quality work
you do at the present using the means you are using.

So, switching methods will require the same: first attempts a bit
clumsy, and a learning curve will ensue.

Before switching methods in the *middle* of a project, I'd practise the
new method on something else to get the hang of it. If you want to use
a hoop, then learn how to use one correctly.

Dianne



~Connie~ wrote:

"Linda D." wrote in message
...


I'm sure no one wants to hear about it, but I still have Mirabilia's Fairy

Moon on the go, and haven't touched it in years. It's just so darn big to
deal with. The fabric is 25 inches square and on a floor style roller
frame. I'm tempted to take it off the roller bars, and


try stitching in hand with a hoop.


Linda,
I really wouldn't necessarily consider that idea very long. Any large
projects I would preferably work on scroll rods or in hand if necessary.
When initially starting my larger projects (TW Castle Sampler), I began
working in hoop. My incessant need for proper tension either skewed the
weave of my fabric or pinched the stitches.
I couldn't bear with the thought of that anymore. Just my two cents...

~Connie~

Do you mean the PORTLAND headlight that is in CAPE ELIZABETH Maine? I think we
are talking about the same one, as it is very famous and very beautiful. Is
there a link where I can view this pattern? Thanks
Kathee in Maine