International Copyright Law

Photocopying
Under International Copyright Law, it is permissible for you to make copies of the chart/book you have purchased for your own personal use only.
We recommend that you photocopy your chart and work from the photocopy. You can then copy the original again if disaster strikes your working copy or if it becomes very tattered.
For some designs you may need to enlarge the chart to be able to see the symbols clearly.

Displaying your work
If you are displaying your work at, say, an embroidery exhibition, under International Copyright Law the work should be labelled acknowledging the copyright holder eg "Original artwork by Amy Brown. Adapted for cross stitch by Dawn Smith. Stitched by Carole Hawks".

Selling your work for charity etc
Under International Copyright Law, you may not sell any work based on a copyright design without the permission of the original artist.
Use copyright-free designs if you wish to sell your work. Copyright-free designs can be found in most cross stitch magazines or on the internet. They will be clearly marked as copyright-free.

Charts from photographs
You can create unique designs from photographs or artwork through specialist companies or PC software but you must own the copyright i.e. they must be your own photographs or artwork, not from magazines, newspaers or books.

How much material do I need?

Take the stitch count from the chart. Divide the stitch count by the "count" of the material you will be using. This calculates the design size (in inches), then add at least 6 inches (15cm) to both width and height, to allow for a 3 inch (7.5cm) border. This is the size of material you will need.

Example:
Design stitch count = 200 x 150.
Material: 14 count Aida.

How to layout a Multi-page chart

These large charts usually come printed on both sides of heavy duty paper. For layout and working purposes we recommend photocopying all the sheets of the chart. This is legal as long as the photocopies are for your personal use only.

This also has the advantage that if the dog chews up your working sheet, or some other disaster happens to it, you can re-photocopy the page and keep stitching.

I find the best way to start with these large, multi-page charts is to lay them on a large table or bed (or even the floor) and number them up in large numbers in my own system. I then keep them in a polypocket to keep them tidy.

Say we are dealing with design which is 450 stitches wide by 650 stitches high. Depending on the designer, you are probably looking at a layout of 6 pages horizontally and 7 pages vertically.

In the top left corner of each sheet there will be a Page number, the title of the chart and the artist’s name.

At the top right of the page there will be a number in brackets. This refers you to the page to the right of this first page i.e Page 2 to the right of Page 1.

Find pages 1 to 6 and lay them out horizontally, from left to right.

As a check, look at the numbers at the top of the grids. These numbers give you the stitch count for each block of 10 switches. These numbers will run from 10 to 450, if the pages have been laid out correctly.

At the left hand side of page 1 there will be numbers running down the grid, from 10 to 90. This is the vertical stitch count.

At the bottom of the page on the left side will be a number in brackets, which is the page number beneath page 1. In your case it is probably Page 7.

Check again that the numbers across the top of the grid run from 10 to 80.

Find pages 7 to 12 and lay them out horizontally under pages 1 to 6, checking the grid numbers across the tops of both sets of pages to make sure they match.

On pages 7 to 12 the grid numbers running down the left side of the page should run from 100 to 190. Check that they run down consecutively and also match across the row of pages.

At the right hand side of the bottom of each page there will be a number in brackets which refers you to the page below and to the right of the page you are looking at eg (8) at the bottom right of Page 1.

Continue laying out in rows, making sure that the grid numbers make sense and run consecutively across and down until you get to the end of each the row.

So, the layout on your surface will look like this:

            1          2          3          4          5          7

            7          8          9          10        11        12

13        14        15        15        17        18

19        20        21        22        23        24

25        26        27        28        29        30

31        32        33        34        35        36

37        38        39        40        41        42

I mark the centre of each side of each page (in red) with the number of the page adjoining in that direction – with an arrow pointing up, down, left or right, as appropriate. I find this easier to interpret than the numbers in brackets at the corners.

You should be able to see an outline of the design, which will be another check that the sheets are in the correct order. Darker shades of thread are usually represented by darker symbols, making the shape of the design (relatively) clear.

NB: when stitching, please note that there are usually 3 rows or columns of overlap stitches at the edges where pages meet (coloured grey) which should not be stitched.

We recommend starting at the top left of Page 1, completing Page 1 and then moving on to Page 2, completing that Page and then moving on to Page 3 etc.

How many strands of thread/floss should I use?

14 count Aida/28 count evenweave - 2 or 3 strands.

16 and 18 count Aida/32 and 36 count evenweave - 2 strands.

25 count evenweave over 1 thread - 2 strands.

6 count Binca - 6 strands.

8 and 11 count Aida - 4 strands.

Needle sizes

Cross stitch uses blunt ended needles which prevent splitting the threads of the fabric. Sometimes they are called tapestry needles. The larger the number of the needle, the smaller the diameter/size of the needle.

Needle sizes are recommended so that the needle does not distort/stretch the fabric as they pass through it as you stitch.

Thread/floss storage (permanent and for projects)

My stitching time is precious. I do not want to spend time rewinding onto bobbins (which add extra creases to the threads) or with complicated retrieval systems to create a project pack of threads. The only storage/usage system I would use is one based on polythene, re-sealable bags on openable metal rings eg Westex Bag It Bags or Floss-A-Way™ . I have used this system since 1985 and most of the original bags are still providing excellent service.

This provides a fast flexible system. Write the thread/floss number on the panel provide. Pop the full skein into the bag. Find its numerical place on your storage ring and put it into place. When you have a project starting, take the bags you need off the storage ring and put them in numerical order on a project ring.

The bags will hold more than one skein of thread/floss.

As your library of threads grows, you will probably need more than one storage ring.

Stitching hoops & frames

Some experienced stitchers do not use hoops or frames. We recommend using some type of stitching frame unless your piece of work is very small.
Be very careful when putting evenweave or linen into a frame that you do not distort the weave.

If you have chosen a wooden hoop, before using it wrap white or unbleached bias binding or cotton tape around both the inner and outer hoops and stitch the ends. This protects your fabric from any oils in the wood. It also improves the grip of the hoop.

For smaller designs, select a hoop or frame large enough to take the whole design, with a couple of inches all around. It is impossible to stitch right up to the edge of the hoop/frame.

For larger pieces of work a scroll or rotating frame is advisable. Choose one which is at least 2 inches wider than the width of your fabric. No-stitch scroll frames are faster and easier to use than the traditional stitch-the-fabric-to-the-frame variety.

With a scroll frame you can put pieces of white or unbleached thin cotton fabric (sheeting, for example) over the top of Aida or evenweave before you scroll it into place. The pieces of material should be at least 50% of the length of the Aida/evenweave. This gives a layer of protection between each rolled "layer" of the stitched fabric. It also covers the top edge of the fabric which you may well hold while stitching, so helping to keep it clean.

Hand-held hoops & frames - keeping your material clean

Always hold your work/the frame through a piece of white or unbleached thin cotton fabric. Alternatively, wear a white cotton glove on your non-stitching hand. These are available from pharmacies. Protect the lower edge of the Aida/evenweave by folding a piece of white or unbleached thin cotton fabric over the bottom edge and securing in place with very small safety pins.

Securing the edges of the fabric

Evenweave and linen will fray easily, as will some Aida. Secure the edges of your fabric by stitching a small hem or use masking tape to cover the edges. If you use masking tape you will probably need to cut it off when the piece is finished.

How long will it take to complete the piece of work?

How long is a piece of thread?

Seriously, it depends on how much stitching and or unstitched areas there are, the count of the fabric, how many fractional stitches/back-stitches there are, how many hours per week you can give to the work, how many interruptions you have.

However, here are some rough guidelines:

For a completely stitched piece allow about 1 to 1.5 hour per 100 stitches.

For a piece with a lot of unstitched areas, allow about 30 to 45 minutes per 100 stitches.

If you have a deadline (e.g. a birthday, christening, Christmas) allow at least twice as long as you think you will need. There are always unexpected interruptions, delays etc.

Getting Started

Choosing the fabric

The choice of fabric on which you are going to stitch is very personal and depends on the design, how you are going to use the piece, your personal preference etc.

Aida
Because Aida is a "blockweave" fabric, the holes through which you stitch are very apparent which makes stitching faster than on an evenweave.
However, if the design you are stitching does not cover the whole of the fabric, these holes may detract from the finished appearance of the piece, since they are visible. The higher the count of the Aida, the smaller and less apparent are the holes.
Fractional stitches and backstitch are less easy on Aida than on evenweave or linen and you may need to switch to an embroidery or "sharp" needle to make them easier.
Aida may be 100% cotton, a cotton/man-made fibre blend or 100% man-made fibre. The less man-made fibre, the softer the Aida is likely to feel.

Evenweave
The threads of evenweave are spun so that they are the same thickness all along their length. They are also spaced evenly from each other on both warp and weft (vertical and horizontal). You can work over single threads in the fabric, or (more usually over 2 threads.
Working on evenweave is slightly slower than on Aida.
If the design you are stitching does not cover the whole of the fabric, the finished appearance is more attractive to some people because there are no obvious holes and blocks of fabric.
Some people prefer the feel and/or appearance of evenweave.
Fractional stitches and back stitch are easier on evenweave.
Evenweave may be 100% cotton, a cotton/man-made fibre blend or 100% man-made fibre.

Linen
This is an evenweave fabric made from natural linen threads where the threads are spaced evenly from each other but, because of the nature if linen, the threads may vary in thickness along their length. This gives a more rustic or antique look to the finished piece of work.
Working on linen is slightly slower than on Aida.
If the design you are stitching does not cover the whole of the fabric, the finished appearance is more attractive to some people because there are no obvious holes and blocks of fabric. If you are stitching an antique style sampler, it will look more "authentic" on linen.
Some people prefer the feel of linen, which tends to be softer than either Aida or evenweave.
Fractional stitches and back stitch are easier on linen than on Aida
Linen fabric is almost always 100% natural.

In short:
If the design you are stitching completely covers the fabric and does not use fractional stitches or back stitch, then there is little or no advantage in stitching on linen/eveneave (unless you enjoy the feel of the material) - use Aida it will be faster.

Hardanger
This is usually 22 count evenweave. It can be used for cross stitch (stitching over either 1 or 2 thread)s but is mainly used for pulled or drawn thread work eg Hardanger work.
Hardanger may be 100% cotton, a cotton/man-made fibre blend or 100% man-made fibre.

However:

Please note

Some designs are not suitable for Aida.
This is usually because there are lots of fractional stitches or a part of the design (eg a face) may be stitched over one strand of linen or evenweave to provide finer detail.
If a chart recommends linen or evenweave check why before you decide to stitch it on Aida to avoid disappointment when you get to the area which will just not work on Aida.

Stitching on black or other dark fabric
Stitch in a very good light.

Use Daylight bulbs.

Spread a piece of white material on your lap.

Use an illuminated lap tray.

Where do I start?

Traditionally, it is recommended that you start at the centre of the chart (marked by arrows usually) and the centre of your material (found by folding the material in half in both directions). This method means that you will not run out material on any side of the design.
Designers of the large multi-page charts suggest starting at the top left corner of the design, i.e. the top left hand corner of the top left hand page. If you have allowed a 3 inch (15cm) border in your material, measure 3 inches in and 3 inches down (15 cm in and 15 cm down) from the top corner of the material and start stitching with topmost left stitches. Complete each page of the chart and then move on to the next. This method means that your stitched material is scrolled up and away from you, minimising friction damage to your stitched area, especially if you are using a hand-held frame.

Partially stitched designs - we recommend "centre start" only.

Completely stitched designs - either method will work but we recommend the "top left hand corner".

Starting stitching on linen/evenweave.

Start your stitching on the left side of the vertical fabric thread which is lying uppermost on the fabric. This sounds more complicated than it is!

Starting Your Thread

Loop start

If you are using an even number of strands of thread you can make a neat start with a loop start. Cut the thread to twice the length you would normally. Double the thread, bringing the cut ends together. Thread the needle with the cut ends. Bring the needle up through the fabric, leaving the loop on the back. Take the needle down through the fabric to form the first leg of the stitch and pass the needle through the loop. Draw the thread tight.

The loop start is not suitable for variegated thread.

Waste knot start

Make a knot in the end of your threads. Take it down through the fabric from the right side a short distance from your planned first stitch in such a direction that your stitches will cover the "waste" thread on the reverse of the material. This is usually to the right of your planned stitches. Bring your needle up from the wrong side of the material to start making your stitches. Stitch normally. Make sure that the "waste" thread on the reverse is "caught" under the stitches as you make them. When you have finished stitching, cut off the knot on the right side of the material and trim the "waste" thread on the back.

Waste knot starts are not suitable for isolated or confetti stitches. They are also not suitable for areas which are already densely stitched.

Thread "weaving" start

In an area which is already partly stitched you can start your new thread by "weaving" your new thread through the back of the existing stitches. Weave it through the backs of stitches of a darker shade, so that it does not show through on the front of the design.


Finishing off your thread

With the thread on the back of your work, pass or "weave" the needle and thread through a few of the stitches already made. Weave it through the backs of stitches of a darker shade, so that it does not show through on the front of the design.

Confetti stitches

These are isolated stitches of a particular colour. They may be crucial to the design (eg individual stitches of pink and purple to represent blossoms in a distant hedge) or possibly not relevant (eg a seventh shade of blue/green in the background sea). Some patterns are generated by a computer from an electronic scan and may produce confetti stitches which are not essential to the design. It is up to you whether you stitch these confetti stitches. It is your work, after all - whatever you are happy with!

Stitching one thread over one thread on linen/evenweave

Start your stitching on the left side of the vertical fabric thread which is lying uppermost on the fabric. This sounds more complicated than it is!


Each line above represents one thread of the fabric. At the "crossing points" the unbroken line lies on top of the other thread in the cross.

Bring your needle up at point 1 and down at point 2; then up at 3 and down at 4. Then up at point 5 and so on.

Point 1 is where the vertical thread of the fabric is above the horizontal thread of the fabric.

It is vital to start where the vertical thread is on top of the weave of the fabric to anchor the stitch properly, otherwise the stitching thread can slide along the horizontal weave of the fabric.

When stitching over 1 thread of the fabric it is recommended to complete each stitch before moving onto the next, otherwise the stitching thread can "slide" along the threads where the horizontal fabric thread lies on top of the vertical thread.

Trying linen/evenweave for the first time

Try a small design on a piece of evenweave with a larger count than you would normally work in Aida, so that you can see the individual threads more easily. 22 count stitched over 2 threads is the equivalent of 11 count Aida; 28 count is the equivalent of 14 count Aida.

Which Way is Up?

With abstract designs (or in the early stages of any design) it can be easy to re-start stitching with the work upside down.

Backstitch a "T" towards the top of the work and mark the chart clearly with a "top" and "bottom".

Keeping Count

Stitch close to the area you have already stitched. The further away you get, the more likely are you to mis-count.
Stitch in blocks of 10 x 10 stitches. This gives you more reference points to ensure that your counting is accurate.

Tack or baste gridlines (the 10 x 10 boxes on your chart) on your fabric in a contrasting sewing thread colour.
You do not need to do all of the lines at the start but it is probably saves time to do so.
Cut away the gridline threads before you stitch an area. They are very difficult to remove after they have been stitched over. You do not need to take out the whole line, just the part which will be under the area you are about to stitch.
Mark off on your chart your stitches as you make them. Use a highlighter pen for this, thin highlighter pens with narrow felt pads (rather than the large office wedge-type) are available from good stationers.
Use magnetic strips/board (eg LoRan). The magnetic strips can be used to "underline" the line of stitches you are working on, reducing the chances of confusion as to where in the pattern you are. The board also reduces crumpling of the chart.
Use Post-It Notes ™ or similar to mark/outline the area of the chart you are stitching.
You can combine two or more of the above.

Chart symbols too small

Have your chart enlarged (see copyright laws).
Use a line magnifier. There are several types, some attach to the chart, some can be used with a magnetic board (LoRan).

Problems seeing to stitch

There are many magnifiers which you can buy - at all price ranges. They can hang around your neck, be attached to your frame, be floor or table standing, incorporated into a lamp etc. Try some at a craft fair to see which you are most comfortable with.

Going Wrong - To Undo or Not to Undo?

This is a personal decision. Factors to consider: is it in a crucial part of the design, will it annoy you when you look at the finished piece, will anyone notice, are you a perfectionist?

Leaving errors in place is not a crime. It is your piece of work - a truly original interpretation of the design!

Undoing - known as 'Frogging' in the USA

Always undo from the front of the work, so you only remove the offending stitches.

Use sharp scissors with curved blades so that you can lift the stitch away from the material before you cut.

Cut each stitch you wish to remove individually. This way you only cut out the stitches you need to and there is no chance that you will cut the material.

We do not recommend the "quick unpick" types of tool for undoing cross stitch.

Use flat-ended tweezers to pull out any threads which are difficult to remove.

Knots

What's the problem with the occasional knot?

Knots on the back of your work may persist and be visible as lumps from the front when your work is finished and mounted.

The knots are usually simple "loop" knots which may become unknotted when your work is washed or mounted, giving uneven tension to your work or even a loop of thread on the front.

Causes and avoiding

Knots usually form stealthily and un-noticed on the back of your work. Check the back regularly.

Working threads too long. Keep the working threads as short as possible.

Loose ends frayed. Trim the loose ends frequently.

Threads twisted around each other. Untwist the threads frequently by any or all of these: let the needle and thread dangle from the work for a few seconds; as you stitch regularly rotate the needle between finger and thumb to undo the twist; when making a stitch put the needle between the strands just before the needle goes through the fabric.

Dealing with knots

The knots are usually simple loop knots and can be removed easily.

Hold the fabric close to the knot and gently "stroke" the knot towards you between finger & thumb. The knot should unknot after a couple of strokes. If it doesn't, take a needle, put it in the short loop of the knot and give it a short sharp tug towards you. Hold the surrounding stitches to prevent their tension being affected.

You will be left with a loop of thread.

If the knot/loop is only a short way back, undo your stitching until you have reached the loose thread and then start stitching again.

If you have noticed a knot a long way back, you should undo by cutting out the stitches and re-stitching. There is a non-purist method of dealing with this. If you are a purist, look away. The important thing is that the loop from the knot does not loosen the tension of the surrounding stitches. This can be achieved by stretching the loop to its fullest extent across a stitched area of the back of the work. Run a new length of thread through the back of a few stitches at the top of the stretched loop, then through the loop and on through a few more backs of stitches thus anchoring the loop and maintaining tension.

Inadequate coverage

Check that you are using the correct number of strands.

Adjust the number of strands, if you do not like the coverage from the recommended number of strands.

Strands twisted: untwist the threads frequently by any or all of these: let the needle and thread dangle from the work for a few seconds; as you stitch regularly rotate the needle between finger and thumb to undo the twist; when making a stitch put the needle between the strands just before the needle goes through the fabric.

Lower arm of the stitch not lying centrally: before making the upper arm of the stitch, use the needle to gently stroke the lower one into the correct position.
Tension to tight: try to stitch at a lower tension. Increase the number of strands you are using.

Thread too long and becoming thin due to being used for too long. Use shorter lengths of thread.

Saving time/thread when there are frequent colour changes in an area

Stitch-and-park. When the chart calls for several colours in a small area, do not finish off and re-start. Make a few stitches of one colour then take the needle to one side of the material in a direction where the thread will not interfere with your stitching. "Park" the needle in the fabric and wrap the excess thread around the needle so that it is taut across the back of the material. Complete stitches in another one of the colours, as the chart calls for. Take this needle and thread and also "park" them to one side. Complete stitches in the third colour, as the chart calls for. Take this needle and thread and "park" them to one side. Return to colour 1 or 2, take the needle out of the fabric and continue stitching. This works best if the colours are easily distinguishable and there are between 2 and 5 colours.

Needle Organiser eg Pako or LoRan Magnetic Card Needle Organiser. Make the required number of stitches. Finish off as normal. Put the needle into a space in the organiser marked with the symbol of the colour you are using. Next time you need that colour, the needle is already threaded and ready to go.

If using a Pako or other needle organiser, store it carefully and separately as the needles can be easily bent

Pet and other hairs

Even if your cat has not made a bed out of your project or threads, your work will pick up pet & other hairs.

Before you start working, take some sticky tape and dab it over your work (back and front) to remove any hairs.

Think of what you are wearing before you stitch. Springy blue mohair or fluffy red angora fibres will cause as many problems as pet hairs.

If you do find hairs entangled in your work, flat-ended tweezers are useful in taking them out, or use sharp scissors to cut them out.

Storing your project

When not working on your project store in a bag, preferably vertically and in a confined space so pets cannot get at it and scratch/tear the fabric.

It is useful to keep all your project needs together but store your work in a separate bag to prevent anything else in your project pack cutting or staining your work.

Keep your scissors in a soft pouch or bag to protect them and keep them sharp.

Also, store your highlighter pen in a re-sealable waterproof bag, to prevent staining your fabric in case the pen leaks.

If you are using a frame, reduce the tension on your work while it is being stored.

Stitching while travelling

Do not take your precious scissors as hand luggage. They will be confiscated. Think of taking one of the covered blade tools (eg a Clover cutter or Fabric Flair's Thread Cutter & Thread Organizer) instead of scissors.

Carry your work in your hand luggage, if possible, in case your hold luggage goes missing.

Part-stitch before you go

Prepare areas of your work for stitching without counting while you are away:

If there are large areas of the same colour, outline them in half stitches and then "fill-in" while you are on the balcony.

Or, make half stitches over the next area you want to stitch and complete the stitches while you are away. This works best if the colours are easily distinguishable.

Blending/tweeding stranded cotton/floss

This is using strands of differently coloured threads/floss in the same needle to create a varied effect in larger areas of the stitching eg the sky or for a special effect. The chart will show two or more colours of floss against a single symbol.

Backstitch on Aida

Use an appropriately sized embroidery needle to make the backstitches.

French Knots, beads, charms, buttons and embellishments

Stitch/attach these after you have finished stitching, to avoid crushing.

French Knots

These are not as difficult as many people think. They just need a bit of practice on a spare piece of material so that you gain confidence before you put them onto your piece of work.

The key points are:

* maintain the tension on your thread all the time while you are making the stitch
* do not take your needle back through the same hole in the fabric as you used when bringing the thread up from the back
* work slowly and smoothly

French Knots - Evenweave

Bring your needle & thread up from the back of your work in the position where you want your French knot, between 2 of the fabric threads.

Pull the thread all the way through the fabric. Hold the needle in one hand and grasp the stitching thread in the thumb and forefinger of your other hand, close to the fabric - keeping the stitching thread taut but not too tight.

Take the point of the needle so that it is underneath the stitching thread and between your fingers and the fabric. Twist the point of the needle TWICE in a clockwise movement around the thread, keeping the tension on the stitching thread.

The thread is now wrapped around the needle snugly, close to the point of the needle. Maintaining the tension on the thread around the needle, put the point of the needle through the fabric one strand of the fabric away from where the needle came up.

DO NOT USE THE SAME HOLE THAT THE NEEDLE CAME UP THROUGH. This is why some French Knots "disappear" to the back of the fabric.

Push the needle through the fabric SLOWLY, maintaining the tension on the stitching thread all the time until all the thread is on the back of the material, except the French knot, which should be sitting proudly on the top.

French Knots - Aida

It may be easier to use a sharp embroidery needle rather than a blunt tapestry/cross stitch needle, since you will have to stitch through the threads in the Aida blocks.

Bring your needle & thread up from the back of your work in the position where you want your French knot, in the hole between the Aida blocks.

Pull the thread all the way through the fabric. Hold the needle in one hand and grasp the stitching thread in the thumb and forefinger of your other hand, close to the fabric - keeping the stitching thread taut but not too tight.

Take the point of the needle so that it is underneath the stitching thread and between your fingers and the fabric. Twist the point of the needle TWICE in a clockwise movement around the thread, maintaining the tension on the stitching thread.

The thread is now wrapped around the needle snugly, close to the point of the needle. Maintaining the tension on the thread around the needle, put the point of the needle through the Aida block next to where the needle came up.

DO NOT USE THE SAME HOLE THAT THE NEEDLE CAME UP THROUGH. This is why some French Knots "disappear" to the back of the fabric.

Push the needle through the fabric SLOWLY, maintaining the tension on the stitching thread all the time until all the thread is on the back of the material, except the French knot, which should be sitting proudly on the top.

"Fatter" French knots

If you want bigger, more prominent French knots, use more strands of thread in your needle. Do not wrap the thread around your needle more times as this only make it more likely that the French knot will unravel.

Still don't like French knots

Try attaching beads of an appropriate colour instead.

Attaching beads

To attach beads, use a beading needle, preferably a short one.

Do this after you have finished your stitching. Use a stranded cotton, or other thread, which matches the colour of the fabric. Use a cross stitch to attach the bead. Take the first leg of the cross stitch through the bead. Bring the thread up through the fabric for the second leg, split it into its strands and pass the strands around (to each side of) the bead equally before completing the cross stitch.

Store your beads in a bead caddy (LoRan) and a finger-tip bead nabber to pick up the beads for threading.

Metallic charms and embellishments

Due to the manufacturing process, these may mark your fabric. Clean and dry them thoroughly before attaching them. Use a metal-cleaning cloth or liquid and then wash & dry thoroughly with kitchen towel until there are no marks visible on the towel. To be doubly sure, cover the back with clear nail polish.

Running out of thread when stitching a kit

Contact the manufacturer direct, giving the kit name and number and the name/number of the thread you have run out of. The shade of dye lots vary and your local retailer is unlikely to be able to give you the same dye lot. The manufacturers are usually very helpful in these cases.

If for some reason you cannot get more thread from the manufacturer, then buy thread of the colour you need from a retailer/the internet but do not use this close to the thread from the kit. If you are in the middle of a block of that colour, take out the stitches using the thread from the kit and re-stitch using the new thread. Try to start using the new thread at a distance from areas which used thread from the kit, so that the shade variation is not obvious.

DMC and Anchor threads are not interchangeable

The DMC and Anchor colour palettes have equivalent colours but they are not exactly the same and so are not inter-changeable.

Do not change from one to the other part way through a design.

Thread Conversions

Please click on one of the links below to view a conversion chart.
When you have finished, click the back arrow on your browse to return to this page

Kits with "bundles" of threads/wools

Before you start stitching, sort the threads/wools onto some kind of organiser system. The kit instructions will give guidance on how to sort the threads. Do not start to stitch from the bundles. Identifying the threads/wools will soon become impossible unless you sort them before you start.

Project thread organizers

There are many types of thread organizer to buy eg Fabric Flair Thread Organizers, LoRan Project cards or you can make your own.

Take a piece of firm card (from a cereal box, packaging from tights/pantyhose, the "lid" from a tissue box etc) and punch holes along its edges with a small office hole punch.

By each hole, draw the symbol and write the number of the thread.

Alternatively, photocopy the symbol chart, cut out the symbols/numbers and tape or glue them to the card by the holes.

Colour fastness of threads

Most modern threads are colour fast but if you want to check, cut lengths of the darkest colours and the most likely culprits for colour leaking (black, red, blue, green). Take a piece of white cotton fabric. Wet it thoroughly. Put the threads inside a fold of the wet fabric. Either weight down and leave for a few hours or iron the material. If the thread is not colour fast, then it will show on the white material.

Washing & Pressing

However careful you are, it is probable that your work will need washing before you have it framed or use it in some other way.

Most manufacturers will include washing instructions. Dry your piece of work by allowing to drip-dry without any folds - a clip-type skirt hanger in a shower stall works well.

Pressing - put a soft towel folded over as many times as you can on the ironing board. Cover with a thin white cotton fabric. Place the work face down on the cotton fabric. Take another piece of thin white cotton fabric. Wet it thoroughly. Place this on top of your work. Heat your iron to the cotton setting. Use an up and down motion of the iron to press the whole of the stitched area through the pressing cloth. (Do not use a "smoothing-across" action - this can distort the stitches).

Stretching & Mounting and dealing with distorted fabric

Even when we stitch using a hoop or frame, the finished embroidery/needlepoint almost always shows some distortion.

The first thing to do is to press the item.

Gently wash the item using a bleach-free soap or a handwash liquid designed for delicate fabrics. Use lukewarm water. Most manufacturers will include washing instructions. Roll it in a thick white towel to remove most of the moisture. Dry your piece of work by laying it flat, face down on a thick white towel on an ironing board, smoothing it into shape with your hands.

When it is almost dry, put a soft towel folded over as many times as you can on the ironing board. Cover with a thin white cotton fabric. Place the work face down on the cotton fabric on top of the towel. Gently stretch the stitched fabric into shape and pin it to the towel/cotton fabric. Take another piece of thin white cotton fabric. Wet it thoroughly. Place this on top of your work. Heat your iron to the cotton setting. Use an up and down motion of the iron to press the whole of the stitched area through the pressing cloth. (Do not use a "smoothing-across" action - this can distort the stitches).

For the pressing cloth, cotton sheeting or handkerchief type material are good options.

Take out the pins but do not lift the stitched material until it has dried, otherwise moving it can cause distortion again.

If the piece is still puckered you will need to try stretching it.

Are you going to have the piece framed or will you bee using it as, say, a cushion front? The basic method is the same but if it going to be framed, then you may as well stretch it onto a mount board of the correct size for your frame.

If you are going to leave it on the board for framing, use the technique below with the stitched material dry. Cover the front of the mount board with a thin layer of padding - I use the thin quilting wadding. Hold this in place with very small pieces of double sided tape. The padding evens out any "lumpiness" from the back of the work since these small lumps will be pushed into the padding.

If you are not going to have the piece framed, then use the technique below but with the stitched piece slightly damp.

Stretching

NB: I use large glass-headed or quilting pins for this.

Use lightweight foamcore board (from an artists' supply shop). Cut the board allowing the fabric to overlap the board by at least 2 inches (5cm) all around. Centre the work carefully. Start at the centre of two of the facing sides. Pull the fabric tight over the edge of the foamboard and pin in place - putting the pins into the foam centre of the cut edges. Do the same on the other two facing sides. Work around the sides until the whole piece is pinned. I work from the centre out on alternate sides to keep the tension even. Use the grain of the fabric (if it is visible) or a line of Aida holes to ensure that the pins are in a straight line and that the piece is "square" on the board. Once you have all the pins in place you can make small adjustments by taking out the pins and increasing or reducing the tension in any areas where there is still a puckered appearance.

Leaving the pins in place, turn the work over. Carefully trim the fabric so that it is even all around the frame. Fold the fabric over the back of the foamboard and fix its edges firmly in place on the back of the foamboard using either double-sided tape or "lace" it with strong cotton thread. To lace the material, I use either quilting thread or thin crochet cotton. Thread a sharp needle with the strong thread and stitch from side to side of the fabric across the back of the foamboard in a zig-zag pattern, with the stitches about 1cm (quarter of an inch) apart and then from top to bottom in the same way. Make sure that the fabric is taut and will not move when the pins are removed. Keep checking the front of the work, to make sure that the stitching/ double sided tape is not distorting the embroidery. When you are happy with the appearance of the piece and that the back is secured firmly, remove the pins.

If you are going to take off the piece for use as a cushion cover or whatever, then let the stretched piece dry thoroughly before removing the lacing threads (double-sided tape will not work with damp material. Do not leave the pins in the damp material as there is a risk of them marking the fabric.

You can see pictures of this technique on: www.rutholearytextileart.co.uk/articles/stretchingMounting

An alternative to the traditional stretching method above is to use a product called "Grip-n-Frame" or "FabriGrip". This is a flexible, toothed plastic strip which is attached to the edges of your mount board. It can be cut to almost any size and also works on curved mounts. With the FabriGrip in place all around your mount board, allowing the fabric to overlap the board by at least 2 inches (5cm) all around and centre the design face up over the mount board. Centre the work carefully. Start at the centre of two of the facing sides. Pull the fabric tight over the edge of the board and FabriGrip, applying equal pressure on both sides and push the fabric down onto the teeth of the plastic strip. Then do the same on the other two sides. Then work out from the centres to the corners of the mount board, keeping the grain of the fabric straight. The fabric can be lifted from the teeth and repositioned to adjust the tension. When you are happy with the appearance of the piece turn to the back, fold the fabric down and attach it to the board using double sided tape or fabric glue, to make a tidy finish.You could alternatively, "lace" the fabric, as above.

The Fabrigrip strips are a tight fit on the mount board. The first time I used it on mountboard, it took me 3 attempts on the first side to get the knack but then the other 3 sides were easy. I placed the Fabrigrip flanges over the edge of the mount board, slightly flexing the strip in alternate directions, and forced them down slightly. The strip was not fully seated on the edge of the board at this stage. The teeth of the Fabrigrip are sharp, so I used a folded over, clean towel to help me push the strip firmly onto the edges of the mountboard.

Padding using Fabrigrip. If you want to mount your work over padding/wadding/batting to give a raised look, then use a thin grade of wadding. Cut the wadding to slightly smaller then the mount board and attach it using glue dots or double-sided tape. Stretch the fabric over the padded mountboard as above. As you work around the material, the padding may cause the fabric to lift from some of the teeth in areas worked earlier. Do not worry. You can reattach the fabric at any time and ensure it is fully "gripped" just before you finish sticking of stitching on the back of the board.

I have used Fabrigrip to mount a piece of cross stitch which had been washed and dried but not pressed. The fabric was moderately creased. After stretching over the Fabrigrip, the creases were not apparent. I do not think this would work on severely creased/distorted fabric.

This is faster than the traditional method and is gaining in popularity. You can see this product on www.fabricflair.com.

Professional stretchers & mounters

There used to be professional stretching and mounting companies. These were quite expensive and are now very difficult to find. You could try asking your local needlework shop if they know of anyone, or asking one of the garment alterations shops. Old-fashioned picture framers used to offer this stretching service but most modern ones don't. Be wary of taking your embroidery to a modern high street framer. I know from personal experience that they GLUE the edges of the FRONT of the stitched piece to a board! I have had several customers to whom this has happened and the glue started to discolour and become visible through the fabric. Heart-breaking when you have worked so long on a piece of embroidery.

Speciality threads

Blending filament
Usually used with stranded cotton/floss to add sparkle. Not usually used alone because they give insufficient coverage.
They can be stitched in the same needle as the main colour or added later so that they all lie on the top and are more visible. If added separately, just stitch the top arm of the cross stitch.
Keep the blending filament damp while stitching to reduce knotting. Take a cotton wool cosmetic remover pad and dampen it with cold water. Keep the pad in a small dish beside you. Run the thread through a fold in the cotton wool pad either just before or just after threading the needle, and at any time during your stitching.

Kreinik Very Fine #4 Braid - one strand stitches up to the same coverage as 2 strands of DMC/Anchor.

Metallic threads and braids
Use shorter lengths than you would of stranded cotton/floss. This is because the metallic coating can wear off as the thread repeatedly passes through the fabric.
Use a slightly larger needle than for the stranded cotton/floss. This widens the gap in the threads, reducing the wear on the metallic thread. Washing will normally reduce the appearance of these larger holes.
Keep the metallic thread damp while stitching to reduce knotting. Take a cotton wool cosmetic remover and dampen it with cold water. Keep the pad in a small dish beside you. Run the thread through a fold in the cotton wool pad either just before or just after threading the needle, and at any time during your stitching.

Variegated threads
Keep the strands in the same direction, making sure the colour changes match on each strand as they lie together.

Hand-dyed and over-dyed threads are unlikely to be colour-fast.

Blending/tweeding stranded cotton/floss

This is using strands of differently coloured threads/floss in the same needle to create a varied effect in larger areas of the stitching eg the sky or for a special effect.

Deliberately "Fluffy" thread

Can be used to give a great effect on designs of animals, clothing, snow scenes etc. The best effect comes from "blocks" of stitches.

Stitch in the normal way using 2 strands and then use a soft toothbrush, the hook side of a piece of Velcro or Madeira's special Lana Brush to "fluff" up the thread.

Madeira produces a range of this type of thread called "Lana", which is available in about 80 colours. Can be found on www.barnyarns.co.uk, www.thesewsophisticatedstitcher.com , www.silkenstrands.co.uk and other sites.

Speciality stitches

If the pattern calls for these, full instructions will be on the chart. Practice the stitch a few times on a spare piece of fabric until you are confident. Only then put the stitch onto your work.

Can I use a cross stitch chart for needlepoint?

The answer is yes, with some reservations.

The chart should use whole cross stitches only. Fractional stitches do not translate to needlepoint.

If the background of the chart is not stitched, you will need to choose a colour or colours for the background of your needlepoint.

Choose a gauge of canvas on which you can stitch with stranded cotton threads, as listed in the chart. You can adjust the number of strands in your needle to achieve good coverage eg 6 strands on 10 count canvas.

Cross stitch on other fabrics

You can cross stitch a design on most fabrics using either waste canvas or soluble Aida.

Use only whole stitches, since it is almost impossible to remove these materials from fractional stitches, especially with waste canvas.

Both these material use water to remove the template grid, so ensure that both your threads and the fabric you are stitching on are colour-fast before starting.

When pulling out the waste canvas strands with tweezers, change the direction of your pull for each successive strand, to reduce distortion of the stitches.
To make the stitched work more durable, when finished iron some fusible interfacing onto the back of the stitched area, making sure that all threads are covered.

Knitted garments
The knitted stitches are not square so transferring a cross stitch pattern directly on top of knitted stitches rarely gives a satisfactory result.

Assisi Work

This is reverse cross stitch. The subject of the piece is not stitched but the background is. This is probably most effective on evenweave.
Firstly, the outline of the subject is stitched in backstitch. The background is then cross-stitched

Blackwork

The subject of the design is worked first in simple lines of stitching. Parts of the designs are then filled with cross stitch or decorative "filling stitches".
Originally theses designs were stitched entirely in black, hence the name. Modern designs often use coloured or variegated thread and/or metallic threads.
Purists frequently state that the outline stitching should be done in double-running (Holbein) stitch rather than back-stitch. The reason usually given is that double-running stitch gives a reversible design - the back being identical to the front. This argument falls down as soon as cross stitch or filling stitches are added, since these destroy the reversibility of the design. Also, how often do you want a reversible design?
Feel free to use back stitch for the outline, if you want.

Double running stitch requires some careful planning as to the order of stitching - otherwise you will end up having to use back stitch to extricate yourself from a dead-end.

Hardanger

These designs are only suitable for evenweave/linen.
The outline of the pattern is stitched in Kloster blocks (usually in Perle cotton). Work the Kloster blocks in straight stitches of 5 per block. The blocks surround an area to be worked. The blocks must share corner stitches. Threads of the fabric inside the blocks are then cut and pulled out. The gaps between the Kloster blocks are then filled with interweaving and filling stitches, often in stranded cotton.

Felt kits

Available fom our sister site Colray Crafts
Only cut out the felt motifs as you need them/as required by the pattern.
Store your colour-sorted beads and sequins in resealable bead caddies (LoRan) and a finger-tip bead nabber (LoRan) to pick up the beads for threading.

Stitch Stash or Buy It When You See It

Designers and manufacturers discontinue designs with no notice. When you see a designs/kit you like - buy it! It will save heart-ache later when you try to find it and cannot.

Heaven and Earth Designs & Kreinik Very Fine Braid (#4)

We have noticed that the Heaven and Earth Designs charts sometimes seriously underestimate the number of spools of Kreinik Very Fine Braid (#4) required to complete the design. Some of the designs, we estimate, will need more than 20 spools of Very Fine Braid 032.

A cheaper alternative is to use 2 strands of DMC B5200 (bright white) plus 1 strand of Kreinik Blending Filament 032.

The colour codes for Kreinik are the same for Blending Filament and Very Fine Braid (eg. 032 is the same colour for both the Blending Filament and Very Fine Braid).

Another option is to use 3 or 4 strands of the Blending Filament on its own, but I do not find the coverage satisfactory.

If you have purchased a Heaven and Earth Designs chart from us and find that it has Kreinik Very Fine Braid on its floss list and want our estimate of how many spools you will need, please email us and we will do our best to help. Also, some of the Heaven and Earth Designs charts use other colours of Very Fine Braid and we can suggest a DMC colour to use with the appropriate Blending Filament.