Special Effects by Leisure Arts (1984) all vintage Tina. Charts included are Blue Heart, Peasant Man in Square, Pink Heart, Peasant Woman in Square, Wreath with Poem (several poems to choose from), Peasant Border, Alphabet Sampler, Peasant Man in Circle, Goose, Sheep, Peasant Woman in Circle, Wreath, Goose and Sheep Sampler, String of Hearts.
A Signature in Time: A Sampler for a Friend, For a Sister, Christmas Dream, For an Infant, A Wedding Festival, A Wedding Sampler.
In Times Past: Goose Woman, Winter Basket Sampler, Silk Ribbons Tied, Thanksgiving Heart, Mother Heart, Irish Luck Heart, July 4 Heart, Love Heart, Joy Heart, Wreath.
A Linen Symphony
A Grand Celebration: Advent Angels, Father Christmas, Bon Bons and Treacles, A Sombrio Melody, Christmas Hearts.
Whispers on the Wind (candlewicking)
Sweet Memories: Heart Card, Heart on Christmas Tree, Les Fleur's Egg, Chick Egg, Heart & Rabbits Egg, Eggs Card, Valentine Book Mark.
Lavendar and Old Lace: Pillow with Initial Band, Love, Neck Roll Pillow, Sachet Bags (3), Rimini Pillow.
A Pink Parfait (later put out as Evening Sampler)
Weatherbee Farm: Windmill Sampler
Folk Tales: Gaggle of Geese, Shaded Meadow, Provincial Sampler, Shepherd's Pillow, Traditional Sampler
Dreamer's Tapestry: Balloon Woman, Goose Border, Folk Sampler
Blueberry Tea: Evening's Children
The Hedgerow Sampler from the Summer 1989 issue of Needlewords
Lavendar Tea
Little Lambs and Ivy: SB designs for knitting
Deborah has added these:
Cross Stitch and Country Crafts May/June 88 issue - "Flock of Briar Root", sampler page 10-11.
The Vanessa Ann Collection annual books for "Holidays in Cross Stitch" both 1987 and 1988 have some of Tina's work.
A Shepherd's Sampler published in 1987 by The Vanessa Ann Collection.
Tips for Framing/Stretching:
Posted by Judy A.
This method also helps ensure that your project is perfectly centered. Of course, use a foam board piece cut to your desired size. Take your project (after washing, ironing, etc.) (remember, overdyed fabric and/or floss should not be washed) and place on top of the foam board. Slightly stretch from side to side and place a straight pin on the fabric where it meets the edge of the foam board on both sides. Do this for the top and bottom also.
Now count the threads from the furthest point where you have stitches to the row you have placed the straight pin. Do this on both sides. Then add or subtract so you havean even amount on both sides. (i.e., if one side is 16 threads and one side is 12 threads, use 14 threads so the sides will be even). Do this for the top and bottom also. Remember to count from the stitch closest to the edge of the project. Mark this row with a pin.
Then take a contrasting thread, regular sewing thread works great, and weave it along the row you have marked, going slightly past the corners. When all four sides are done, you have a line to use when stretching on the foam board. Your project will be perfectly centered and because you have a thread line to go by, the rows will be straight with no waves.
Starting at one of the corners, placed the colored thread along the edge of the foam board and place a pin, do this at each corner. Then place a pin every 1/4 to 1/2 inch along one of the sides. Then do the exact opposite side. Repeat for the remaining 2 sides. Yes, this can be tedious, but is well worth the time when you are finished with a perfectly centered piece.
When pushing the pins into the foam board, try using a metal thimble. That will help save your fingers!
Choosing Glass:
Posted by Angela
You're right about glass being a matter of preference. There are some reasons why the debate changes. Types of glass and other framing components change almost as quickly as everything else!
Back in the days when our parents and grandparents were framing things, glass was used less often because there was less awareness about spacers and mats to keep glass off the art. Glass placed right on anything will encourage mildew and deterioration of the surface. (we've probably all seen pictures that were "stuck" to glass and ended up torn when we tried to remove them from the glass and frame).
In more recent years, the focus has been on protecting artwork from both the elements, and keeping things as acid-free as possible so as to preserve their value. Thus, we have focused on acid-free mats, mounting, etc. Glass helps protect the artwork from harmful pollutants like smoke and dust. It also keeps fingerprints (inc. human oils) from harming or soiling the art. It is still crucial to keep the mat off of the artwork/stitchery, so mats or spacers are vital.
As far as whether to use regular, non-glare, UV, or the newer museum types of glass, it really is a matter of personal preference. Regular glass is the least espensive, but glare drives some people nuts. Non-glare glass is chemically etched to reduce glare, but diffuses the image. This is even more true as you move it further off of the art (with spacers or mats). I frequently hear customers say that someone told them that it contains acid (because of the chemical etching), however, the acidic nature of mats, mounting board, and frames (yes, frames) is caused by a by-product of wood called "lignin". It is not present on glass, even non-glare. Glass does not, by itself, cause acid burns on artwork. If your piece is going to be hung in a spot where glare is a problem, you can safely use non-glare.
There are other museum-types of glass; some are very new. They are more expensive than regular or non-glare but contain features that make them attractive. They can produce a clear, glare-free image without the distortion of non-glare glass. Some have ultraviolet protection so that your project won't fade over time. But, they are not without their own problems. Some require that you use only ammonia to clean them, some produce "out-gassing" when used with suede mats unless the mat is sprayed with a sealer, and they are all fairly expensive.
So, the bottom line is that it depends on your climate, light, budget, concern about preservation, etc. as to which glass is right for you. Whatever your choice, your stitchery will be gorgeous because you did it!
Attaching Beads:
Posted by Judy
Okay, I've found a new way to attach beads to keep them standing up as opposed to going flat after framing!!! Although I usually don't have a problem with this, I know that many do ... so here we go!!
Use two stranding of floss ... I usually use a beading needle and it's nearly impossible to thread two strands through that silly eye, so cut a piece of floss twice as long as you normally would, thread the needle and bring the two ends back together. So you are using two strands!!
Put the bead on with the half cross, as normal ... then put the needle through again, but this time instead of going through the bead, separate the floss so it one thread is on each side of the bead and then go back into the fabric on the other side of the bead.
Got it figured out? Your bead should stay nice and straight now.
Another way to keep long rows of beads in line is to attached to fabric as usual, using the half cross stitch, then when you get to the end of the row, take your needle and pass through each bead all the way to the other end and put needle back through the fabric. (I use one strand to pass back through the row) This keeps your beads all aligned nicely and they won't fall over.
Cutting Your Foam Board:
Posted by Beth - NC
Let's see if I can explain what I do...
My mats are usually 1/2 to 3/4 inch from the edge of the stitching, and at least 2 1/2" wide.
So, I first cut a piece of foam core that is definitely at least an inch BIGGER than my final overall mat size will be. (I've usually purchased mats before mounting, but you can also make a generous guesstimate.)
Then, out of the middle of this piece of foam core, I cut out a piece that is 3" bigger than my finished stitching size. (Be sure to mark the back of both inner and outer pieces, and mark the top of each piece, before taking them apart.) I pop out the middle, leaving me with a solid piece of foam core and a larger "frame" of foam core.
I mount my needlework on the solid piece, and I've got 1 1/2" between my stitching edge and the edge of the foam core. Once it's mounted, I pop it back into the larger "frame" of
foam core, matching up the backs and tops that I marked before, so it fits correctly. The mounting of the needlework makes the center part a little bigger, so you have to press
firmly to get it back into the opening, but the outer "frame" of foam core squishes a little to allow the fit, and the middle piece fits nice and snug.
Because I've left 1 1/2" all around the edge of my needlework, the edge of the mounted piece of foam core -- the line where the inner piece and outer "frame" meet -- will be hidden underneath the finished mats. The whole chunk of foam core is larger than the mats. This can be wrapped up and stored.
When I have the mats, I lay them over top of the whole needlework/foam core assembly, measure, and get them placed just where I want them. Then I trace around the outside edge of the mat with a pencil, marking where the excess foam core needs to be cut away. I remove the mats, and cut away the excess foam core with a metal straight edge and an exacto knife. The entire piece of foam core, with mounted needlework, is now the same size as the mats and is ready to drop into the frame.
I do this with every piece of needlework that I frame with mats, because it allows me to adjust for slightly crooked foam core cuts or off-center mounting.
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