May 2018 Newsletter

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May 2018 Newsletter In this Issue: 1. Hug Me Bags for Mother's Day 2. Upcoming Classes 3. Thread of the Month: Aurora 4. Stitch of the Month: Jelly 5. Cooper Oaks Trunk Show 6. Stephen's Notes on Needlepoint

How About a Hug-Me Bag for Mom on Mother's Day?

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Hug-Me Bags are the perfect gift for the needlepointing mother in your life! Made in America, these durable bags feature upholstery-weight fabrics and are meant to be used and carried -- "Nothing delicate about them" says company owner Amy Yuspeh. And yet these are no plain Jane, utility bags either. Hug Me Bags have style and even more importantly you can give them your own style because every bag comes in every fabric.

Some of their popular bags include the carry-all which is available in three sizes and comes with feet so that the bag is always raised off the ground whenever or wherever it is set down. The snap trays are useful for containing needlepoint-related clutter and the "tool box"-es zip nearly all the way round whilst still being well- padded and best of all there is little migration of stuff from one compartment to another even when traveling.

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Hug Me Bags' commitment to manufacturing in America is strong and it extends to the fabrics that they use of which as many as possible are also manufactured in the USA. Special orders are encouraged! So come in, check out the various styles and select your favorite fabric today.

Check out Michelle Obama. She's been gracing our painting department all this past month.

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Upcoming Classes We are amping up our class offerings at Rittenhouse Needlepoint to take advantage of our new dedicated classroom space. In addition to our weekly free classes (offered Saturdays at 12 and Mondays at 11) we have rolled out our new, more in- depth introduction to needlepoint entitled "Fundamentals of Needlepoint". This class consists of four two-hour sessions held during four consequtive weeks. Of course, you will learn how to do the basketweave stitch - the foundation stitch for needlepoint - but you will also learn many decorative stitches that are a whole lot easier and quicker than basketweave (don't tell anybody). The end result will be a small complete with your customized initial and the confidence to tackle that canvas you've been admiring. New sessions start at the beginning of every month and the class is offered on Wednesdays (12-2) and Saturdays (2-4). Note: The Saturday class is a repeat of the Wednesday class. Call the shop (215-563-4566) to reserve your spot. Space is still available for the May session! The cost is $100 and includes canvas (12" x 12" - 13m, thread (3 skeins -- 1 overdyed, 2 solid), needle, "doodle" canvas & threads for in-class use, handouts, & instruction).

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Another class --"Stitches"-- starts this month. This class aims to introduce participants to the wonderful world of decorative stitches. If you are getting bored with the and think maybe you are ready to spread your wings a bit, then this class is for you. New stitches will be taught each month and the stitches will vary in degree of difficulty. Each stitch will be given a rating from one needle (easiest) to three needles (hardest). The stitches will be posted in advance -- in this newsletter and on the calender. Cost is $20 includes two hours of instruction, a "doodle" canvas, needle, thread and handout. The class will be held twice a month on the second and the fourth Wednesday from 4:00 to 6:00 pm. The stitches for May will be: Medieval (2 needles) , Algerian Eye (2 needles), Montenegrin Cross (3 needles) and Ashley (2 needles).

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We are also proud to announce two upcoming classes. The first will be "78 Stitches, 78 Threads". This class will be taught by nationally-known teacher, Ruth Dilts. Ruth is author of Needlepoint 101 and Needlepoint 202. The class will develop a stitch notebook using threads from Rainbow Gallery so not only will you be learning new stitches but you will also be playing with the many different threads available from Rainbow Gallery and learning how and when to use them. This two-day class is scheduled for July 20 & 21. Price is $495 and includes everything you need to create your own keepsake stitch notebook (see sample page below). Class fee includes instruction, handouts, thread, canvas, needles, stretcher bars, binder, sheet protectors, etc. Class is limited to twelve students.

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And last, but certainly not least, we have the author of the incomparable Needlepoint Book (3rd ed. now available in paperback), Jo Ippolito Christensen, coming to our store in August (15-18) to teach what I think will be an exciting and enlightening course entitled "Canvas Empowerment - The Coveted Formula for Selecting Stitches and Threads". Students will submit a canvas of their own choosing to Jo for review prior to class (the canvas does not need to have been purchased at Rittenhouse Needlepoint however students will be expected to purchase the thread for their project at the shop during the class to take full advantage of Jo's knowledge and input). Each student will receive a customized stitch guide from our needlepoint sensei. During the four-day class students will learn Jo's formula for simplifying the frequently overwhelming choice of threads and stitches. Jo is a strong advocate for applying design principles and color theory to needlepoint. In class, students will learn how to use the different stitch "families" as well as various ways to unify a design. They will also learn how to create perspective and establish primary and secondary focal points. This class will provide you with a firm grounding in art principles which you will then have at-the-ready to use in all your future endeavors. Cost is $795 and includes four days of instruction as well as custom stitch guide by Jo Ippolito Christensen. Who knows -- you might even be able to get her to

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autograph your copy of The Needlepoint Book! Students should be advanced beginner/intermediate (that is, you should be familiar with executing decorative stitches, following a stitch diagram, working on a frame, etc.) Call today to reserve your spot. Canvases must be submitted to Jo by July 1st and this class is limited to 12 students. Call Russell for more information or if you need advice on lodging.

Thread of the Month: Aurora One of our latest additions to the thread offerings at Rittenhouse Needlepoint is Aurora from The Thread Gatherer. This lusciously soft thread consists of , mohair and nylon and features just a hint of sparkle. It comes in 15 yard skeins and is non-divisible. In fact, unlike most threads that include a metallic filament this thread seems to hold together rather well. I experienced no issues with the different fibers seperating out or leaving loosey-goosey threads behind. The card says that "colorfastness is not guaranteed". This is a "good" problem because EPA regulations have prohibited the use of harsh color fixatives that can damage the environment. However, it is always a good idea to make a mental note when a thread manufacturer says this explicitely. It is often based on experience. Your best defense will be to end your thread in the same area you are stitching and you will also want to make sure that the finished piece is NOT wet blocked (always be sure to mention this when dropping off or sending in your finishing as well as any other requests that you may have).

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The Aurora line currently consists of 32 colors but more will be added. As always with Thread Gatherer products the color combinations are amazing. I particularly love "Old " and the line is strong in greens, oranges and straw colors. As for usage guidelines, I would use this thread primarily for straight stitches such as Satin/Gobelin, Brick, Parisian, etc. in order to show off its soft texture and slight halo. Use one strand for both 18m and 13/14m but be sure to use a needle that is larger than you might ordinarily use as this is not a super easy thread to pass through the eye of the needle. On 13/14 mesh I would not pull too tightly either for fear of the canvas showing through and also if one were to pull too tightly it would be a disservice to this thread which wants to show off its loft-ability. As you stitch with Aurora, try to go straight up and down through the canvas and keep the thread away from the canvas surface as much as possible in order to reduce wear on the thread.

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Good uses for this thread would include fur, opulent clothing and wherever a soft texture with a bit of sparkle is desired (think muff or earmuffs, fur collar, etc.). In conclusion, I would say that Aurora has many strengths including the fact that it holds together nicely, has an elegant appearance, tremendous color combinations and a nice hand. It weaknesses are few but significant -- price being the most significant (at $8.65 per skein Aurora doesn't come cheap) and the fact that 2 strands on 13/14 mesh is too difficult to pull and a bit too fat as well. However used appropriately Aurora will make a wonderful contribution to your thread stash.

ed. note -- Being the great marketer that I am, I chose a thread this month that is not yet available online for purchase. Smart, huh? Don't even get Russell started. Anyhow, should you actually want to purchase some Aurora -- come in the store or give us a call and we can talk you through the great color options and send you some today. Thanks for your patience and I apologize for my bonehead error.

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Santa's workshop is ready for the season and very much looking forward to the influx of customer projects!

Stitch of the Month: Jelly

This month's stitch comes to us from the great Dede Ogden. Well, kind of. She didn't call it the "Jelly" Stitch. I did. She calls it a "Parisian Variation" which to my mind is entirely too proper. We need something more fun & lively. The area on the canvas where she called for using this stitch in her publication "That's Not Needlepoint ..." was described as "Eye Cloud Jelly" (don't ask me -- it's an under-the-sea canvas entitled "Green Aquarium Fish #18015" and the stitch is on page 24). So now you can see where the Jelly name comes from. "Eye" stitch I think is already taken, so too is "Cloud" stitch (if not - they should be). But Jelly stitch? Now, come on, I am pretty sure that one is available. But enough silliness.

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The Jelly stitch is indeed a "Parisian Variation" and so logically it starts with a row of but then instead doing a return row of Parisian one does a single (or maybe it's a double row - depends upon how you look at it and how you execute your Brick stitch) return row of Brick stitch. That's it. Row of Parisian stitch seperated by a return row of Brick stitch. Repeat. Simple, right? And it is.

The Parisian stitch is, of course, the familiar "straight up and over two" stitch followed by a "straight up and over four" stitch. Repeated to the bend of the row. Be sure to use your finger on the reverse side of the canvas when getting started to ensure that your thread is catching the anchor thread so your thread will be secured properly and also don't pull too hard on your stitching thread. Let your thread spread

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out a little -- give it some room to breathe. Occasionally, you will want to let your needle drop and allow the thread to untwist and as I am doing this I think to myself that this is a stich that would lend itself to using two threads with different textures or sheens.

After finishing the Parisian unit, you can park your thread off to the side and then thread up with a contrasting fiber and start the "over 2 threads" Brick stitch. The pattern - when executed in all the same thread - is rather non-descript or if we were to be more generous in our description we could say "subtle". But I do like it. It's an easy pattern to remember. It moves quickly. It's relatively small (no part of it being more than over four canvas threads) and so it will definitely become part of my regular thread arsenal.

At first I was working the stitch with but this was not an ideal choice for a pattern-type stitch as the loft on the thread obscured the pattern somewhat and also the dark color, tapestry weight thread that I was using allowed plenty of white canvas "dandruff" to show through.

I tried ribbon but the ribbon I had at my disposal was too fat so I moved on to using stranded thread which seemed like just the sort of thing that would work well especially if I took the time to lay it properly (which I did not). I anchored my thread https://us2.campaign-archive.com/?u=9b9b7549e5c8f818070e0508c&id=a4c0cf7906[6/26/2018 4:29:41 PM] May 2018 Newsletter

using a tuck which I think is always good practice when working with straight stitches (better safe than sorry and all that).

When using two different threads for the two parts of the stitch one can choose which portion one wishes to highlight. If you use a dark thread for the brick stitch and a light thread for the Parisian section, the lighter thread will "win" and your eye may even begin to see a Hungarian-type stitch pattern as mine did. However, if you use a dark thread for the Parisian portion of the stitch and a lighter thread for the Brick stitch, once again your eye will be drawn to the lighter area but this time it begins to appear more zig-zaggy. This would be especially true if the stitch was executed horizontally. Almost like a lightening bolt.

I experimented using an overdyed thread and increasing the number of plys that I was using to avoid the dandruff effect. The increased thread size worked well (I should have remembered to do this in the first place) but the overdyed thread, although a lovely color combination, proved tricky to work with. Overdyes can be a challenge. If you match your solid color to one of the hues in the overdyed thread what happens is that the two threads (the solid and the overdye) will meld together visually in spots and obscure the pattern. So, what one needs to do really is to choose a thread that compliments or works with the overdyed thread but that is not contained within it. And also to choose a thread that is sufficiently different as to be noticeable but not too so different that it is jarring or distracting. Piece of cake, right?

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The other tricky bit in working with overdyed threads when they require the addition of plies is that one is unlikely to find additional plies that match the original pattern of colors precisely so there will be spots where the dye patterns do not line up which is either -- and this depends entirely on your own perspective -- a design feature or a grave annoyance. You choose.

Ok. There. So I've said my fill about the Jelly stitch. Give it a try and tell me what you think. And if somebody knows what the real name of this stitch is I suppose I am willing to hear from you too;(

Cooper Oaks Design Trunk Show

This month's trunk show is Cooper Oaks Design. Cooper Oaks was established in 1996 by Sue Clowes Mayhugh and was named after the dairy ranch in California where Sue grew up. Sue was from a long line of needlepointers including her great- grandmother, grandmother, mother, aunts, and a cousin who designed canvases for

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the family. The next generation has now taken over the family needlepoint legacy. Sue's daughters, identical twins -- Denise and Danielle (who are -- FYI -- just the nicest, most bubbly and fun people you would ever want to meet and who have deligthful and very useful (think furniture moving) sons who accompany them to the trade shows) -- owned a retail shop (Cherry Tree Needlepoint in Denver, CO.) for many years and now both are in the wholesale needlepoint trade. Since 2007, Denise has been the managing partner of Cooper Oaks and Danielle is the owner of Birds of a Feather. Cooper Oaks is located in Wellington, CO.

Cooper Oaks Design features artwork from Susan Wallace Barnes (Nantucket inspired designs), Jane Cather (American country aesthetic), Linda Ragno (French country), Susan Verble Gantner (colorist extraordinaire), Christine Clark (quilt designs), Melissa McLeod (sophisticated naive), Warren Kimble (contemporary folk), Joel Dewberry (fabric inspired designs), and Lowell Herrero (landscapes and more). The high-quality, stitch-painted canvases from Cooper Oaks also include belts from Janet Johnson, a variety of sayings as well as a smattering of delightful original designs. Come in today or shop online to experience the diverse tradition that is Cooper Oaks.

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Thoughts on Needlepoint

Recently I've been stitching a belt for Russell. He often speaks of his many belts and although I have made him several I haven't made him one recently so it seemed like it was time. He picked a really colorful and fun piece by Zecca and I've enjoyed working on it. But as usual I have made a couple of mistakes. I know, I know -- I can hear it now -- "You're too hard on yourself" and yes, yes I am. Oh well. That's just the way I am.

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Anyhow, the first mistake was that I choose this great thread for the background. It was something from my stash that I have often considered buying for the store. A thread called Dimin or it used to be called that. Well, I was so taken by how well what it matched the background color of the canvas and so tickled with the idea of working with that thread again that I decided to jump right in. I was a couple of inches into the piece before I realized that I had not even close to enough to finish the project. So dumb. But I was too far in too pull out. I mean we are talking 18 mesh people. Two strands of fine wool. No thanks. Not going to happen. Plan B. Find the supplier and order more. So I go online. Hours later, I touch base with a very nice guy in Iowa (he's a "Y" person -- if you know what I mean) and he tells me that the people who are now distributing this "" (there it is -- I said it) are in England and can only be reached via Facebook Messenger. Another ugh. So I swallow hard and long and I log onto Facebook and send them a message and hear back .... absolutely nothing. So that's not happening.

Plan C: stitch as far as I can and then start to blend in a new thread. Clearly this is not an ideal solution. Russell has told me he doesn't mind but I of course do mind and now I am thinking seriously of ripping out. But no. Really I'm not thinking about it too seriously because it's wool and it's still fine wool at that I am so far into it now that it's not even funny, oh and did I mention it's eighteen mesh? Come on people, give me a break.

So... more stitching. Which brings me to mistake number two. That green color. Also retrieved from my stash. Vineyard Merino. It's not the thread that is the problem. It's the color of the thread. On my canvas the painted green was this lovely sharp yellow-green. Sort of an acid green but not that intense. The thread that I selected has turned out to be a washed out pale sort of lettuce green. Very boring and just not evincing the appropriate zing. But do I listen to myself? No, I do not. I plod on merrily toward my inevitable rendez-vous with disappointment.

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But let's return to mistake one for a moment because we are not completely through with that mistake yet. I'm thinking now that I might instead of blending in the new thread just sprint with the old thread to a point in the design where the background goes all the way down to single row of background color at the top and at the bottom. If I switch colors there, who's going to notice that the brown has been changed? So, impetuously (some would say unthinkingly), I decide to go for it.

But now, I have invited a new element into my stitching -- it's called the "fear of not enough". Oh how I hate the "fear of not enough". But now here it is -- with me -- constantly. Sitting as big as old Nessie on my shoulder and whispering in my ear (one minute it's - "I think you're going to make it" and then the next minute - "No way are you going to make it"). And so it goes for the next couple of nights ... Yes? No? Yes? No? And finally - No, I don't make it. Not quite. Not completely. But almost. And it's ... sort of ... noticeable. That is, if you know what to look for.

Of course, as Russell says - "Nobody is going to be looking that closely at my waist anyway" which I certainly hope is true! So, I plod on in my indomitable way.

Recently, I moved the piece to a frame (I had been doing it "in my hand" --

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horror of horrors!) but now that it's on a frame I certainly feel more respectable (but I have to say I think I am developing a little tennis elbow from grasping the frame - hah). I like the frame. It's a new product (to us) which does not require that the canvas be basted to the roller bar. Instead it clips the canvas into place and then you roll it up and it does stay firmly in place. The frame itself is not- too-heavy, not-too-light. I am enjoying using it - but we shall see. I am not sure the store needs to invest in another line of frames. We already carry K's Creations and Evertites and Edmunds.

Although it may not sound like it, I've enjoyed my brief sojourn on the basketweave train but now I'm thinking I might just mix things up and do the binding stitch along the edges. Never done that before -- should be fun! After all, what could possibly go wrong?

Other News

Look for Informational Videos on Threads Coming to our YouTube Channel Soon!

Be sure to check out our finishing website!

Social Media Be sure to sign up for our Facebook and Instagram feeds to stay abreast of our thoughts and insights. If you don't sign up you might miss out and with new threads, new canvases and a new dog (you definitely don't want that) so sign up today. We are also planning on

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implementing a Pinterest blog so stay tuned for that!

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