Twisting Cord, another way: Get a friend to hold the other piece of cord, both of you stand at each end and twist in opposite directions, but before you do this, tie a pencil in the approx. middle of the length of cord then start twisting.

When completed the twist and it is as tight as you want it, then meet in the

middle where the pencil is, one of you take all the thread and it will twist beautifully. I have used this method for making the rugs, but it is a patchwork/needlework technique which we use for making cords for gathered bags etc. where you thread a cord through and gather it up.

Pauline

Twisted cord: This is the same method I use for making cording to finish off upholstery. Years ago there was a wonderful artisan that made custom modern furniture. You would send your fabric and she would first pull some threads from it, then upholster the chair and use the pulled threads in the twisted manner to create the cording around the cushions. This is the most perfect upholstered furniture I have ever seen. She died some years ago I believe. Her name was Sally Hardy as I'm sure many of you remember her.

Fannye in TX

Mounting Board Warning: There have been a couple of mentions lately about using the adhesive mounting board for finishing needlework, and it has slightly bothered me, so I must send this comment. I used to use this adhesive backing all the time to mount my full sized needlework, because it really finished it off nicely. But then an accomplished needle worker whose opinions I really valued, (but whose name I can't recall,) told me not to use this stuff because in time the adhesive on the board has a chemical breakdown which causes it to change it's properties and leach through the fabric of the needlework and cause ugly stains and/or discolorations. Needless to say, I stopped using it immediately, as I put a LOT of time in my work and would hate to see it ruined by something I could have avoided.

But on my miniature needlework, particularly rugs, I am not terribly fastidious about washing the finished product, or worrying about keeping it absolutely clean, as I want the things in my dh to look slightly used & comfortable. Of course, if I was displaying them for sale, that would an entirely different situation. I would want them to be at their best possible appearance, & if the buyer wants them to look slightly dusty & used, that's her choice!

Ann, in California

Mounting Board Warning: Thanks, Ann, for mentioning NOT using the adhesive mounting board for finishing needlework. As a dealer of rare books, I have come across too many books and prints ruined by acidic glues, papers, etc. Also, having made miniatures for over 30 years now, I can see that using some other materials or supplies have caused bad results after a long time.

Every now and then I ask other 'old timers' to pipe up about such things, so newbies won't make the same mistakes and see hard work go down the drain

in the future, or at the very least, mar the good looks of a handmade item. Glues that come through fabrics to make ugly stains, fabrics themselves that 'self-destruct' (such as the velour type blankets that look so lovely but have a foam core) and oil based paints on polymer clays that never truly dried, nail polish coats that yellowed or cracked, 'rubber' dolls ruined by contact with some plastics, and such things are so upsetting when seeing how otherwise nicely an item was made.

Such advice can be ignored, of course, but for those who put a lot of love and time into their creations and intend to keep them forever, I am sure it will be appreciated.

Rose

French knot rugs: Unbleached muslin works fine for French knot rugs. EVERYONE in Joann's should know what that is!

Martha Simpson Nock

Percale: For the younger people out there - every Joann Fabrics has percale – lots and lots of percale. They usually have a whole wall full of prints used for quilts. That's percale. If you're making a French knot rug, you probably want a plain color, not a print. I can't remember what they call it these days, but it's on the same wall as the prints at Joann's. Any cotton the same weight as the percale prints will work.

Nancy Norris

Percale: Percale is a cotton fabric used in sheets, shirts, etc...I use pieces of old sheets for rug backings.

Jo

Percale: Fine cotton broadcloth is a good substitute for percale.

Alice Zinn

Pam Jackson knitting patterns in Canada: Marianne Gallant (new member of SS Digest) is now stocking my knitting patterns, so for those of you in Canada/USA her new handcraft shop is -

The NeverEnding Yarn
#103-3315 30th Ave
Vernon, BC Canada
V1T 2C9

email - m.gallant@home.com

Pam Jackson, Daydream's Window, New Zealand

Cross Stitch/Needlepoint: First, there is no law that you start in the middle.  You may find the center of the design and fabric and use this as a reference point. Many stitchers start in the upper left and work down. Generally, it is easier to put the needle down into a stitch you have already made than to come up through one. For a neater back, have as few thread breaks as possible, BUT don't carry the thread on the back for more than about 5 stitches. I like to use a thread as far as it goes from top to bottom, then start another, either continuing the same color. or going back to the top and starting the next color. Most of the time, it varies with my mood!

I'm sure you already know, just as in needlepoint, that knots are never used. Run the new/ending thread under several stitches. Also, stitches are done in a line. In other words, don't cross each individual stitch as you go along. Do the bottom half on a row, then come back from right to left for the top half. Some stitchers will separate the individual strands of thread then put them back together before threading the needle. They believe it gives better coverage.

What gauge fabric are you stitching? Remember that different gauges call for different numbers of strands of floss. For 14 count, you can use 2 or 3 strands. I prefer 2; to me, the 3 looks chunky. For 18, 1 or 2 strands may be used. Depends on the look you want, again. 22 count almost always means 1 strand. And anything smaller than that demands 1 strand. There are many counts of fabrics out there. Be sure to wash your hands before beginning to work. And remove your hoop when you finish a stitching session, even if you are going back to it in an hour.

Martha Simpson

Needlepoint: I always start in the center of the design and will usually work a full thread of one color before switching to the next color. I find that if the tension of my stitches is even, the back of my work is actually neater than if I were to switch back and forth between colors and have to clip thread every few stitches. I also usually stitch the design first and then fill in the background color. Just to clarify an earlier point, starting your needlepoint in the center is not just for convenience. When I was a pre-teen and my mother was teaching me to needlepoint, this was the first rule that I broke as I liked to learn things the hard way-- still do :) The first time, I started with the border and when I got to the center the canvas was bunched too close together and I

could no longer see the holes to make my stitches. The second time, (I told you I learn the hard way) I started at one side and left too much of the blank canvas at the left margin. When I got to the right side of the design, there was nothing to stitch on! All that work! This is especially important when you are working a kit as you do not know how much extra room the designer has provided on the canvas or silk in the kit. I try to give an extra 1" margin all around in my kits so there is enough working room. I also include full skeins of each color (sometimes two). In my opinion, there is not enough savings to justify my time separating and measuring strands of floss for my kits, so I just make sure there is more than enough. For anyone who needs help getting started in needlepoint, please check out my "Needlepoint Tutorial" page on my site http://sites.netscape.net/orientalsxpressd/. I have included lots of photographs to show a complete work from start to finish with detailed instructions.

Michelle Fox

Cross Stitch: One key that I found for neat stitches and a really professional look is to always remember to have your stitches going the same way ie. all the bottom stitches going \ \ \ \ \ \ and all the top stitches (to form the cross going / / / / / / / / / . Also I never make knots in the back when I finish a color - I run my thread through 4 or 5 stitches in the back and cut it off. I usually get on a roll with one color - but you have to be very careful to COUNT properly otherwise you're wasting your time (because you have to get scissors and cut out what you've done). You don't have to start in the center but I usually do. That way I never come too close to the edge of the cloth. Always, always wash your hands before and periodically take a break and

wash your hands again. Your hands can get a little (or alot) sweaty and makes your work grimy. Washing your project afterwards doesn't always do the trick. 

Vi from Hamilton, Ontario, Canada

Free Cross Stitch Designs: I have a good start on my free miniature Cross Stitch Designs http://homespunminiatures.homestead.com/home.html mostly tea pots right now, my favorite. The page is slow at loading because I wanted to use better files for better printing of the instructions, so please be patient. As I add more, I will be categorizing the different types, so that will make it easier. And remember that the pictures look much bigger than what they will actually turn out. If you stitch on 18 count aida, that's 18 squares per inch and so on! There is 22 count aida sold also, if your eyes can take it, LOL! I love the way the Santa turned out and would be so cute as a door stop.

Laura Busch

X-STITCH: Martha gave some VERY good instructions on stitching. Having been a judge for various organizations, I would change a few things and add some, so here goes:

1. The reason threads are separated at the beginning is to keep the strands from twisting while you stitch. Gives a much flatter appearance and doesn't cause the threads to tangle as much when stitching.

2. She was right about completing a row with //// stitches before you finish the reverse stitch. This does save time when you find a mistake.

3. If you do find a mistake and have finished the complete stitch, do not reuse the thread if at all possible. This thread has become frayed from all the picking out, has become weak, and will lose its sheen.

4. Starting in the center, upper left, or in rows are all appropriate, just stick to your original plan throughout. This keeps the fabric at an even tension and will cause less mis-shaping.

5. Make sure your rows of stitches are all going the same direction. When the stitches are haphazardly done, the light will reflect differently and appear as if you have used different colors where they should be the same.

6. I look very closely at work and when holding it up to the light, if you can see light through it, you are prob pulling your stitches too tight. (hint: never do needlework when you are mad at the DH or kids!).

7. If you are seeing too much Aida cloth when you have stitched an area, you prob aren't using enough strands. Below is a strand list I use as a guide so this won't happen, after all, the point is to cover up the cloth, not just sprinkle color onto it (unless you are making trees in the background, in that case you can use only 1/2 of the stitch like this,/////////////// ).

STRANDS PER COUNT

10 COUNT= 4 STRANDS

14 COUNT= 3 STRANDS

18 COUNT= 2

22 AND UP IS 1 STRAND

Lisa Lynn

Tea Dyeing: I have used tea to dye antique lace, silk and contemporary cotton fabrics, wallpaper, paper doilies, artificial flowers and many other things. I make a pot of tea, as if I planned to drink it (in fact, I usually have a cup while I work). I always use purified water to eliminate chemicals that can change the color. Be sure to let your tea cool before placing your fabric in it. It is wise to test a small piece to get the color the way you want it before placing the entire item in the bath. If the fabric is white, I dilute the tea with water 50/50. I prefer a glass pan, simply because I can watch the color change as it takes place. Add the diluted, cold tea, open the fabric and lay it out across the liquid. Try not to allow wrinkles or folds. This changes the depth of color in the areas of the fold. The fabric will sink to the bottom of the pan as it absorbs the water. You may repeat this process as many times as you wish to reach the desired color. Rinse in cool water, pat out on a towel to dry. Iron as necessary.

Becky

Tea Dyeing: I use the tea dying technique a lot in my patchwork, it tones down some fabrics which are too stark, especially on white background, and have used them in my quilts (big quilts), and it does not wash out. What is a good way to do it, especially if you are dying a small amount of fabric, is to put the tea bags in a bowl, add the water, dunk the fabric and put into the microwave until it boils and bubbles, then remove, let it sit for a while, rinse and press with iron.

Another thing you can do is put the tea dye in a spray bottle and you can age the rag dolls with it, or if you want to age some fabric around the edges, mask areas off with masking tape and spray the rest.

Pauline (Downunder)

Needlework: Susan asked about tiny needlework with a mess of colors tangling on the back. Believe me, I had this problem with the third piece I did in *real* size! The secret seems to be to use several needles with a different color in each. Then start from the center with the a color. If there are just a few stitches, then more not too far away, carry the thread across the back - it will get covered later. If more of the same color is quite a way away, park the needle (stick it in the fabric where the thread will be out of the way) and work another color. When you get to a piece with the first color again, you can run it under some worked stitches to cover the mess. And so on.

Kay in Ottawa

Soluble fabric stabilizer: I have done a lot of sewing, and have used a product called Solvy. It comes in different types, thicknesses, etc. I get mine at Joann's fabrics, and I "think" there is an iron on type. (I could be wrong about that. LOL!) It stabilizes the fabric while you work on it, then disappears when you wet it. I also believe there is a heat sensitive type, that you iron, and it disappears. The main thing is, it holds the fabric stable while you work on it, and then you get rid of the bulk later.

Cindy Cleary

Solvy/Lace: this is wonderful stuff and I've been buying it by the super economy roll for several years for my machine embroidery. Anyhow here is another use some of you may be interested in. You can make your own lace with it. First take one layer and lay it down on a table. Then take little bits of threads - I always save clips from my metallic embroidery for this - you can just pull off some pretty thread from the spool or use bits and pieces from sewing - whatever. Fill it up as much as you like for the look you want to achieve. Less threads for a very sheer look and more for a more dense lace. Then lay another piece of Solvy on top of this, making a sandwich and it helps to either put the whole thing in a hoop or else pin the edges. Then just take it to the sewing machine and randomly sew back and forth and all over the top - - this holds the threads together. When you are satisfied with the look, put the whole thing in a bowl of water and the Solvy melts leaving you with a piece of lace. This would also work for spider webs, cob webs or whatever.

Ronni

Soluble fabric: I know Joanne's has the soluble fabric. It is with the interfacing. They suggested using it when putting button holes in sheer fabric, but it would certainly work for embroidery. They also have what they call "tear away" fabric, which is zillions of tiny holes (it's more like paper to me, but the lady called it fabric, so who am I to argue?) and can be removed easily from seams, but I don't think it would be as good for embroidery.

Dani Rice