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Cross Stitch Patterns by Scarlet Quince | 22 count aida
Cross Stitch Patterns from Fine Art by Scarlet Quince
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22 count aida

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Joined: 31 Aug 2010
Posts: 45
Location: Carlsbad, NM
22 count aida     Reply with quote  
3:40 pm May 23, 2013

I have never used 22 count. I am planning to buy some for my next scarlet quince pattern.
I will use size 28 needles.

My question is: I usually do small areas at a time following the color symble in this small area.

Is it a real hazzle to do this on 22 ct? Will I HAVE to go row by row, stitch by stich changing my needles every few stitches (confetti)

Can an expert tell that I have followed the color? In order to win at the fairs do you HAVE to go stitch by stitch instead of color by color? I know you will have a lot more threads to bury and start or end. This could make bumps.

Thank you Laraine Harris
Joined: 16 Apr 2004
Posts: 420
Location: Hamilton, Ontario
    Reply with quote  
8:21 am May 24, 2013

Hi Laraine. I don't use 22 ct much, but when I do, I go color by color. I've never entered anything in a fair, but I do know that the back needs to be visible, so the neater the better, however you go about it. Good luck!
Joined: 16 May 2005
Posts: 639
Location: North of Atlanta
    Reply with quote  
11:59 am May 24, 2013

Hi, Laraine! I follow-the-symbol on my 22ct Lady & Unicorn - I do that on all of my projects, regardless of count - no issues.

As for entering into a fair - I have never had to have my backs visible - my entries are all in frames, so viewing the backs is not an option, nor a requirement. I do not actually know of any kind of competition where the finished piece has to have the back visible, though I've never been to anything like a Woodlawn show, so I'm going with my limited knowledge here, based on county fairs and an EGA exhibit put on at the Callaway School of Needlearts that happens here in GA once a year. As much as professional framing costs, it would be a mistake to have to crack open a piece that's been done, just to look at the back - you'd have to do the whole thing over again, making the original framing a complete waste of time & money. So unless you are required to enter a piece NOT framed or finished in some way, your backs should be as neat as possible, of course, for general aesthetic purposes, but won't be open for inspection.

Yes, you CAN'T have lumps & bumps visible from the front side - but consider, if you work the piece the same way all the way through, whatever the back looks like, it should be of consistent depth throughout, so should stretch just fine. The back of my L&U looks like something a cat barfed up - BUT it looks like that over the entire area, so there is no reason it will not be smooth when I finally finish & frame it.

I think you really just have to take a bit more time with pieces like samplers that are not solidly stitched - lumps will show on those more, because there are places that aren't stitched, so when stretched, if there's a wad of thread on the back behind a stitched area, you could have a slightly raised area, and the non-stitched area beside it could then have a sag in it. It would take a keen eye to see it - which, in my experience, your average county fair judge is NOT - and then, it would have to be a pretty substantial difference, IF your framer knows their business. Of course, the main issue with samplers and pieces that aren't solid stitching, I believe, is being able to see thread carries on the backside through the front. Of course, there are tricks to hide those, too, such as NOT using bright white foam core for the mounting Smile There are some instances where thread carries are a must - SNOW, for example Smile Kinda hard to anchor A stitch here, there Smile

Of course, it's also my opinion that a sampler should never be judged the same as a piece like a SQ - they are completely different beasts, and have different techniques and qualities to them. But again, from the fairs I have been to, it's not that technical, it's basically broken up into classes based on fabric count, regardless of technique or subject matter. An actual needlework exhibit would have greater definition, and the judges would therefore have a better understanding of what they were looking at and what was involved. The judging criteria needs to be based on the type of piece being judged, which you would have at an actual needlework-only type of thing (like an EGA-sponsored event) and probably not have at a fair. I applaud those fairs around the country that do a good job with their needlework competitions, I've read of a few that really know what they are talking about, but not many.

I hope this helps a bit - let us know what you enter and how it goes!

Just as a side note - my main reason for entering local fairs and exhibits is not to win anything, but more of an effort to show people who have any kind of interest that there is a LOT more out there than what you find in the "stitch" section of Michaels & Hobby Lobby. I have very eclectic tastes, as do most of my stitching friends, and that is NOT reflected in those sad excuses for stitch supplies; there are enough of us that don't have access to a local needlework shop these days, that I think it's part of my job to expose a would-be stitcher to more possibilities, in whatever way I can - all in an effort to keep this art form alive. I hope that by showing off some of my varying work to an audience that might not ordinarily see some of this stuff, I might inspire at least one person to go looking, as I did years ago, for something bigger, better, more challenging, than what the chain stores think we want or need Smile Embarassed Okay, getting off my soap box now - I didn't actually mean to go on a mission there, I assume I'm "preaching to the choir" here Smile
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