Nuts about Needlepoint » designer profiles

Lee Meredith of Leethal.net – Designer Profile

Janet Perry — Fri, 06 Jan 2012 15:09:53 +0000

Originally posted 2009-09-08 07:00:00. Republished by Blog Post Promoter

Lee Meredith is a delightful fiber artist living in Portland. She dyes yarns from sweaters she recycles into simply lovely wools, which come in perfect sizes for needlepoint. Her site is leethal.net and you can order here yarns in 10-yard skeins from the site. Today we profile her.

How did you get the idea to recycle sweaters into yarn and how do you decide when a sweater will work?
I first read about the idea of unraveling sweaters to recycle the yarn years ago (2005 I think) on a craft blog or craftster, found a wool sweater in a thrift store, and unraveled it successfully. But, it was so much work (it’s super hard the first time you do it!) so I didn’t do it again, until a couple years later when I started dyeing. I realized if I was going to get really into dyeing, I had to find a cheaper way to get yarn, so I got back into recycling sweaters, getting faster and better the more I did it. There are a ton of factors to be aware of when shopping for sweaters to recycle (I wrote about them in a Craft Stylish tutorial) – including fiber content and weight, the way the sweater is seamed and constructed, and the condition of the fabric. I’ve gotten pretty good at spotting sweaters that might work, the knit fabric jumping out at me from the crowded racks; then I check the label for fiber content, check the seams, and decide if it looks like good enough yarn to be worth the time and effort of unraveling.

I just love the colors you use, they are so unusual (at least in the needlepoint world), how do you come up with your ideas?
Well, I only dye with non-toxic food dyes, and mainly Kool-Aid. This may seem unprofessional to some, but I’ve been dyeing this way for years, having no problems with colorfastness/fading, and I’ve found ways of getting almost any color I want, though I often don’t plan out my yarns completely before dyeing. I’ve always enjoyed experimentation, and I always treat dyeing as experimenting! With a background in visual art (I majored in media arts and minored in studio art), I have been working with color theory for as long as I can remember, and I love playing with unexpected color combinations. So, with dyeing, I’ll often start with one color, see how it’s looking, and decide where to go next – decide if I want to add a contrasting/complimentary color to give the yarn a more dramatic look, or add similar shades, for a more subtle yarn. I don’t really look to anything in the world for color concepts, but I’m sure I’m subconsciously influenced by everything around me when I’m doing anything creative, including dyeing.

What’s the process you use for dyeing the threads?
I use Kool-Aid packets and food coloring (with vinegar), sometimes one or the other, often times a combination of the two. I use different methods – stove top, crock pot, and microwave once in awhile – and different processes depending on the yarn I’m going for. If I want a more solid look, I mix the dye in the stove top dyepot, or the crock pot, and drop the yarn into the dye. More often though, I add the yarn to the water first, let it heat up a bit, then add the dye, to get more color separation. If I’m dyeing a self-striping yarn, I separate the yarn into sections and dye each one at a time; for a variegated yarn, it’s much more experimental, dropping the whole hank in at once, and adding different colors to different sides of the dyepot. Sometimes I mix colors in a cup with water first and pour it in, sometimes I sprinkle/drip the dye straight into the dyepot over the yarn.

Some of your threads are stranded, some single strands. How do you decide when a yarn needs to be stranded?
I don’t decide – the sweater makers do. Many (most?) mass-made sweaters are knit stranded; you can’t really tell by looking at them, but once you start unraveling you realize. It would take a huge amount of time and work to un-strand a stranded yarn from a recycled sweater, so however the yarn is when I unravel it, that’s how my yarn will be. Usually the strands are slightly felted together, so I don’t think it hurts the knitting/crochet/needlepoint process much.

Are you thinking about expanding your line to include other natural fibers and blends, like cotton or silk?
I do make yarns from other recycled fibers sometimes, but I make them into spun recycled yarns, not dyed. It’s a whole other process to dye non-animal fibers like cotton and silk, which is toxic and I would need a dyeing area that’s not also my kitchen if I were to pursue it. So, I take recycled cotton, etc, and I spin it with my spinning wheel, and ply it together with other recycled yarns and/or threads. I don’t do as much of this, but now that I’ve started my Quick Knits Club I’m including this type of yarn in the club each month, and I may start adding more to my shop soon.

Tomorrow’s post will be my review of these delightful threads and using them for needlepoint.

The Princess & Me – Designer Interview

Janet Perry — Mon, 05 Sep 2011 13:56:05 +0000

Originally posted 2003-11-24 05:50:46. Republished by Blog Post Promoter

Linda Anderson and Jennifer Burian are the two delightful ladies behind The Princess & Me. This company specializes in needlepoint ornaments, which are absolutely delightful. They are endlessly inventive and every canvas comes with its own stitch guide. Here’s the text of my recent interview with Jennifer.

How did you get started designing?

>> Linda and her friend, Brenda, had a little shop here in Madison for a few years which closed when Brenda moved to Colorado.ÃŠIt was called the Princess and the Pea.Linda, and her friend Susie Drane, then began The Princess and Me. They started with 12 designs. I was a good shop customer, and began stitching models for Linda and Susie, to send out in trunk shows. Then Susie retired, and Linda approached me about joining her in the business. We have been together about eight years, or so, and have now four trunk shows every month and show at the two large TNNA shows. Linda is the business guru of the two of us! Without her business savvy, we would have gone down the tubes years ago!

What are the things you like best about needlepoint?

>> The thing I like best about needlepoint is that my real job (a labor and delivery nurse) is so fast paced and stressful, that this completely slows me down and supports my creative side.

How would you describe your style and what are your main influences when you design?

>> My style relies on bright colors, and a fairly simple, straightforward design that we can throw wonderful fibers and stitches onto. The main influence is color, and, the current “hot” things in the gift world. I go to as many gift shops and shows, and look through magazines,etc. to see what the current popular thing is for the present year. We also have lots of regional ornaments that shopowners love for stitchers on vacation to buy.

One of the things I like best about Princess & Me canvases is that they always come with stitch guides. Why did you start doing this and how do you get ideas for the stitches?

>> We had always had stitch and fiber guides, and I’m sure it was because Linda was a shopowner before, and knew what a little nightmare it was to pull fibers and make stitch suggestions for folks when the shop was busy.

Which do you prefer stitching or designing?

>> I now prefer designing! I rarely stitch, as when I’m not at the hospital, I’m painting canvases for orders!

Can you describe a bit about how you work?

>> The way I typically work, is sketch, draw, redraw, enlarge, reduce, paint it on a canvas, often repaint it, if the colors just aren’t working, sit in front of my fiber drawers, pull the fibers, and finally, sit at the computer and write out the directions, with the stitches I plan to use. Then off to my favorite stitcher, and her 14 year old daughter who stitches for us, and they stitch all of our models. It’s very labor intensive, but I absolutely love spending a day coming up with a new design and working it through to the finished product.

Beth Kindler Hendzlik of Threadworx Journal – Designer Profile

Janet Perry — Mon, 29 Aug 2011 14:22:16 +0000

Originally posted 2010-02-16 06:59:41. Republished by Blog Post Promoter

Beth Hendzlik & used with permission

I was so excited by the prospect of Threadworx Journal I signed up for it as soon as I heard about it. That was the start of a delightful friendship with Beth Hendzlink, the editor. She’s the endlessly creative talent behind the ezine as well as the designer of their projects.

I’m in awe of Beth and the amazing publication she has put together. Here’s her story.

Her mother was the one who introduced her to needlepoint. It was the 70′s and needlepoint was all Sunset Jiffy kits and Basketweave, but Beth LOVED it. She was designing her own patterns at 8 and still has one of the first ones. Beth loves that the art of needlepoint has grown into so many options for fibers and that needlepointers have taken so many stitches and made them her own.

Beth started designing when she was in college and then became a Creative Director for an ad agency. Many accounts had a magazine focus. After her children were born, she switched to contract work.

She also designed Counted Cross Stitch patterns for Fanci That, owned by herself and partner/mother, Carol Kindler. In the early 90′s she hit on her own style that was a combo of classic, fun, whimsical, and a bit of folk art. Today the whimsical look is still popular, but back then she was one of the only ones with the “look” often referred to as Whimsical today, and her style was definitely her own.

In addition to her own signature style, she also began using over-dyed floss, which was new to the market at the time. Beginning with Gentle Art Floss and soon after designing with Week’s Dye Works, she started using over-dyed floss in a fresh way so the design could be developed without complex color changes. Her methods were a hit and have become a standard way to use these threads. Not far behind, she expanded to include Fanci That designed frames, and the use of over-dyed linen.

When Fanci That was peaking, Beth learned she had thyroid cancer and all designing and shipping for her came to a halt. Her mother continued to design patterns in the Fanci That style to keep the company open. Beth’s cancer battle has been going on for 10 years now and she is grateful that she has been able to watch her kids grow up and credits her faith in Christ for helping her not give up the fight.

But health problems have a way of changing your perspective and Beth could not go back to work in her previous capacity. So she went to work licensing her art and illustrating for a large rubber stamp company and for an embroidery company, as well as working in the graphics and print areas with other companies. The stress of her work began to take a toll on her health once again and she also began to realize she missed textiles, the tactile part of the needle arts, and the people of the Needlework Industry.

Now she works for Threadworx doing everything for which she has a passion — magazine journalism, fibers, and needlepoint design. She says: “Because there are so many wonderful artists for painted canvases already out there, I prefer designing stitch interpretations into books for existing canvases and designing smaller projects.” She is grateful to ThreadworX for her “spot” back in the needle arts industry and thankful to be working with such wonderful, kind people at ThreadworX.

In Good Company – designer profile

Janet Perry — Sun, 26 Jun 2011 14:44:25 +0000

Originally posted 2006-07-18 07:55:31. Republished by Blog Post Promoter

Note: I’ve been stitching In Good Company mini-socks almost as long as they have been
in business. Here’s my interview with Bob Healy, who is the technical whiz behind the
company.

1. Can you tell me a little bit about computer-printed canvas and its advantages to me as
a stitcher?Â

We use a commercial printer and inks designed to produce Fine Art Prints and Posters.
The inks are water-fast and fade-resistant. The advantages to a stitcher would be in the
cost-effectiveness and quality of designs. Needlepoint has always been thought of as a
‘rich woman’s hobby’ with hand painted one-of-a-kind designs. There will always be a
place for these works of art, but why not make good designs available for everyone to be
able to stitch! Needlepoint is a wonderful art form that everyone should be able to enjoy.
That’s the niche that we can provide.

2. In Good Company has been doing this a long time, can you give us some background
about how the technology has changed?

The technology available today allows us to produce a product that when first viewed is
hard to distinguish fromÂ hand painted canvases. When we first introduced computer
painted designs in 1985, there were very few printers that could take needlepoint canvas.
The colors back then were limited and substandard with what is available in today’s
market. We are the first to admit the initial responses were anything but positive. At
present time we have many shops nationwide that are happy with our product (winning
back many of our old customers.)Â

3. Are there things a computer printed canvas can’t do very well?

Well, we can’t guarantee ‘on-line’, due to canvas manufacturing discrepancies. This makes
repetitive patterns difficult to maintain accuracy. That’s why we tryÂ to not include them in our designs.

4. What should I look for when buying a computer-printed canvas, can I just buy them the
way I would any canvas?

The industry is growing and there are more and more designers using this technology.
However, we can only speak for ourselves and what we produce. Look for products
printed by In Good Company! Now that we have that out of our way, we would
recommend, like they say in the diamond industry, Color and Clarity! The colors should
be bright with well defined edges (not blurry.) Look with ‘stitchers eyes’ for easy to follow
details. A good printed canvas may not be ‘on line’ but should be close enough that only
slight adjustments are necessary, without compromising the design.

5. What are some tips for stitching a computer printed canvas?

We are happy to say ‘stitch away’! A good printed canvas is stitched just like any other
needlepoint canvas. That is hard-won advice!

In the Mind of a Needlepoint Designer – Betty Chen Louis

Janet Perry — Fri, 24 Jun 2011 14:14:46 +0000

Originally posted 2010-05-11 07:39:20. Republished by Blog Post Promoter

Betty Chen Louis butterfly from a 2009 EGA Regional Seminar

Betty Chen Louis is, quite simply, a marvelous needlepoint artist. Her work is creative, beautiful, and interesting. And, luckily for us, she shares it with us by being an outstanding teacher as well.

The pictures throughout this article are of many of her pieces, put her to inspire you.

New York Cityscape by Betty Chen Louis from ANG exhibit

Sue Dulles wrote a phenomenal post recently about Betty and what is behind those designs we love so well. We often think that a design springs into being full-formed and ready to go. But that isn’t really the case.

Designing is hard work and requires time, patience, and revisions.

Two Cityscape hearts by Betty Chen Louis taught at 2009 ANG Seminar

My two favorite types of Betty’s pieces are her Cityscapes and her lovely oriental pieces. I love the way she captures the vibrant textures of skyscrapers, with the limited palette, but never making them dull. And her mastery of oriental design is unmatched.

Read about the process, be inspired by her work, and look for her to teach a class. You won’t regret it.

Cleopatra’s Eyes

Janet Perry — Sat, 02 Apr 2011 14:29:34 +0000

I last week’s post about new products, I let you know about this charted needlepoint, Cleopatra’s Eyes. It’s designed by Kurdy Biggs of Threedles and, as you can see, won a first place ribbon at Woodlawn. Another piece of hers, Looking Glass, won an honorable mention.

The Scarlet Thread has Looking Glass available now and will be carrying Cleopatra’s Eyes. They had a delightful interview of Kurdy on their blog earlier this week.

You can also see Kurdy’s charming designs on her own site, Threedles.

Designer Profile – Wawanna of Dazzling Ornaments

Janet Perry — Mon, 20 Dec 2010 14:28:04 +0000

Originally posted 2009-06-25 05:55:57. Republished by Blog Post Promoter

Wawanna is the talented designer behind Dazzling Ornaments, which makes beautiful and useful tools for needleworkers. Throughout the profile, you will see pictures of some of her products.

One of the things which intrigues me about your line is that the idea came from your needs as a stitcher. Can you tell me more about how your items reflect that?

When I first began to create the chatelaines, I had spent several years looking for one which would meet my needs. I looked at the internet, needlework shows, needlework shops, and in needlework magazines. The things that I found were mostly for scissors. In other words the product slipped over the neck, was usually constructed of a cord with a few beads and an attachment for one tool, a pair of scissors.

One day I was casually talking with a non stitching friend, and she suggested that I get some beads and try my hand at making exactly what I wanted, for myself. Great idea, I thought, so that is precisely what I proceeded to do. I constructed several prototypes, using each one for a while and then making the changes to it and proceeding on to the next one with the appropriate changes. After about 6 months, I had exactly what I was looking for. A hand beaded, very pretty, chatelaine with a way to attach five different needlework tools (including scissors)!

After that, I couldn’t stop making them, and gave several to friends, including a shop owner. She went nuts, and requested I make some for her to sell through her shop! That endeavor went quite well! Over the next year I became obsessed with the idea (since they were so beautiful) that I should find a way to make them so that the chatelaine pendant could be detached and the client could wear them as jewelry with their favorite outfits, when not using it for needlework. That is the way in which they are constructed today –which led to making the earrings to match! And now to the chatelaine sets! The products can be custom ordered, with half down as a deposit. I have also created special orders for needlework teachers with special needs and desires to use in their classes. Nonstitchers just want a unique handbeaded necklace or bracelet for themselves or for a gift, and I will create these too.

Now literally every one makes scissor fobs! However no one makes a scissor fob set. My scissor fob set includes a “Little Helper”. The little helper was created because of a great need I had. Let me explain.

I am 65. My eyes are not as good as they once were for needlework. I use readers in front of my bifocals, or sometimes various kinds of magnifying lenses to help see the smaller stitches.

Now I know how to thread the needlework needles! But many times I just can’t get that darn needle to thread easily. (That is why needlethreaders are made, isn’t it?) As a result I have several kinds of needlethreaders on my table next to where I stitch, just in case. But none of us always stitch in the same place, right? We go to classes, stitchins, guild meetings, friend’s houses, even stitch in the car, on a plane or train, and etc. Ant at the time you really need a needlethreader for some reason, you can’t find it.

In addition, perhaps you have to do a little frogging. You are using one of your tapestry needles, and all of a sudden it flies out of your hands, oops!

Now you want to have these little helpers right at your fingertips, so searching is not one of the things you enjoy doing! The little helper, as I call it, has at least two of your favorite needlethreaders for those times when you just can’t seem to get that #26 or #28 needle threaded – or that metallic thread to go through the eye of the needle easily. What a pain!

Perhaps you need to do a quick counting of your ground fabric, or some frogging – the attached needle at one end is a great help! It can even serve as a do-lolly with the aid of a needlethreader for tucking those short threads on the back of your ground fabric. At the opposite end of the little helper is a tiny magnet and a hook. The hook will go through a needlepoint canvas easily, the magnet will cling to a needleminder that one has attached to her work in progress. So there are two ways to keep the little helper handy and right at one’s fingertips (without all that searching)!

You can see how this and the chatelaines were created directly out of my needs as a stitcher! That’s how the little helper was created, and there as well several prototypes were tested and refined.

The laying tools came from an idea whish developed as a result of putting together over 800 laying tools for our local ANG guild which sponsored the seminar at Indian Wells. I volunteered for that assignment, it was right down my alley! As I was putting all those laying tools together I started thinking about how to beautify and make them more durable.

The stitch markers I’ve used in the past always were needles with the beads attached by thread through the eyes. Yours are straight, does this make the hole which is marked easier to find.

I create several types of stitch markers. The ones you see on my web store are made with a stick pin base – which means they will not bend! For purposes of creating them with a chatelaine set, that is the most stable way of constructing the counting pins. This method also leaves adequate room for a groping of beads at the top, which renders a more dazzling look. All other types of counting pin sets are available if desired, including those which have a tapestry needle as their base, or a headpin as a base. The stitch markers with a headpin as a base can bend, so I don’t particularly like to create the counting pins in that manner, though many people do. My goal of course is beauty, but the construction is just as important, it has to be done using the best materials I can afford. Quality, durability, ease of use, longevity are all uppermost in my mind as each new needlework tool is developed, created, and added to the product line.

I love that your collections have names and that all the pieces in a collection use the same colors. How do you pick the colors and the names?

I LOVE color! And the combinations of colors are endless. My ideas come from as many different sources as there are stars in the sky! Nature is of course a great inspiration, but fabrics, quilts, various needlework books, pictures in magazines, color combinations on the net, stitching blogs, designs in needlework; the list just goes on and on! Sometimes when I bring out my beads and am working on a custom order, I see other combinations that I want to try. The ideas seem to just flow! I keep a list of clever names, and add to it whenever something new is triggered. Then I just go to the list and choose a name which seems appropriate to that particular chatelaine (set).

The laying tools are so wonderful. The base for them is wood, right? What kind of painting techniques do you use to get those wonderful finishes?

As I stated above, since the base is either wood or bone, painting them seemed like a great way to add color. Remember color is my thing! So I started doing some research on paints, finishes, different effects and started experimenting. I wanted to use really great products; because if you use cheap, cheap is what you get! It took me about 6 months to come up with the right combinations of technique. Each Laying tool receives approximately 32 steps to completion. I try very hard to give them a nice point, without making them so weak they would snap! First they are sanded and shaped, then 3-4 coats of primer, 3-4 coats of the base color, 2-3 applications for the special effects, and at least 12+ coats of an acrylic sealer- as many as are required until each one is as smooth as glass. There is a lot of sanding with an extremely fine paper that goes on between these various layers. At last the beads are attached. I search for very special beads and bead caps for these. Balance is very important in determining the type of bead I use, its weight, and the number of beads. The Laying Tool must feel balanced in your hand, and they cannot be too heavy! They measure approximately 7 ½ inches for the wood (including beads) and 6 1/2 inches for the bone (including beads). Any length in between can be special ordered, if one is one is willing to wait for about 8 weeks for the construction. The paint has to thoroughly dry between layers.

Again, the sky is the limit on colors, combinations of colors, and special effects. Plus I am always experimenting with new ideas for the special effects. As with all my products, no two are EVER alike! These are artisan tools, and never cookie cutter construction!

How long are the laying tools? Does having the bead on the make them harder to use or are they both beautiful and useful?

I strive, and I mean strive to make all the tools with as quality materials I can afford while keeping them reasonably priced and affordable for everyone. Some balk at the prices, however I make only a very small profit for myself. This is one reason I am very reluctant to sell wholesale! Most of the cost is in the beads, beading wire, and findings. My goal is to make a treasured heirloom, one that is beautiful, user friendly, and high quality. Each design is entered into the Dazzling Ornaments Archives, never to be exactly duplicated! The slightly higher priced chatelaines (sets) are because of the freshwater pearls, Swarovski crystals and Swarovski pearls,(these beads are constantly increasing in price). These are really stunners, and sparkle like the stars at night!

Designer Profile on About.com

Janet Perry — Tue, 12 Oct 2010 14:55:57 +0000

Originally posted 2008-03-04 06:26:12. Republished by Blog Post Promoter

I’ve got a profile on About.com, including pictures of several projects.

You can find it here.

Designer Interviews & New Products

Janet Perry — Mon, 04 Oct 2010 14:07:12 +0000

Some fun reading for you for a Monday morning.

First off, two delightful interviews of needlepoint designers. The Scarlet Thread has an interview of Debbie Rowley of DebBee’s Designs. Then The Point of It All has an interview of Barbara Bergsten.

At the recent St. Charles market, several designers introduced new canvases. Melissa Shirley has added Debbie Mumm‘s popular designs to her line. Leigh Designs has put out the drop-dead elegant Ladies of the Night Collection. Barbara Bergsten has blogged about her new designs. Gail Hendrix has shown off several of her cute Halloween designs, with embellishments included on her Squigeeland blog.

And if you feel like stitching, take a look at Riitenhouse Needlepoint’s newest stitch of the week, Plaited Square, a delightful stitch.

The recent hot weather in California has left me too tired to do much stitching, so I’m going off to read.

Fancy Carole – designer profile

Janet Perry — Sun, 26 Sep 2010 14:08:14 +0000

Originally posted 2003-05-09 06:54:59. Republished by Blog Post Promoter

I love Fancy Carole’s designs, they always make me smile. Carole’s designs are always charming and they stitch up like a dream. One of the best things about them is that they leave space wide open for creativity. If you are new to needlepoint or want to make your first painted canvas, they can be stitched simply. If you’re an experienced stitcher and want to go crazy with threads and stitches, this is the place to do it.

I’ve got a great 3-D Christmas tree of Carole’s which is trimmed with all kinds of threads, a garland (made from a Rainbow Gallery thread) and packages with real bows underneath.

But then another of my favorites is a simple frame which I used as a way to try out Ribbon Floss when it first came out.

Another great thing about Carole’s designs is that many of them come on 14 mesh canvas. This means that if you prefer working on the larger mesh size, you can get great style.

I recently interviewed Carole and here is that interview:

How did you get started designing?

I was working for a very talented lady at a local needlepoint shop stitching samples and selling. She taught me to block and then decided I might as well learn how to paint too. I got hooked on painting and it has become my biggest passion in life other than my two children.

What are the things you like best about needlepoint?

It is so relaxing and creative, challenging at times, and I love thefinished product.

How would you describe your style?

I tend to like perfection and since I’m a little compulsive, I enjoy a well-painted, symmetrical piece of needlepoint to design, as well as to stitch.

What are your main influences when you design?

I love allover designs and love having many holiday items around the house. I have been designing some larger pieces lately and have really enjoyed”branching out” with different shapes. It’s so fun to have a bigger variety of shapes, sizes and finishing possibilities.

What are your goals (if any) when you make up a new design?

When I design my goal is to produce a well-painted canvas that’s fun to stitch. I keep a list of ideas all year long for new things to design and hope I have the time to do them right before markets. Wish I had more time to create!

One of the things I really like about your designs is that
they are creative and easy enough for the beginning stitcher. How
can needlepointers who are just starting out pick a great design to
do and how can they make their painted canvas pieces special?

I would encourage customers to start small and read all of the wonderful”stitches” books they can find and then look at the multitude of fun threads out there. All of the shops seem to have wonderful finishers that can really make projects into something special.

Which do you prefer stitching or designing?

I love both and although I paint more, I love to just sit and stitch as often as possible.

Can you describe a bit about how you work?

Since I work at home, it’s very convenient to work at any time. I have agreat studio so it’s easy to pick up a brush whenever I can. I’m somewhat of a workaholic and usually manage to work all day and most times, in the evenings too. I am so passionate about my work that there’s no such thing as enough for me.

Carole’s designs are currently (2007) distributed by GailVail.