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Europaisches Patentamt J European Patent Office © Publication number: 0 218 922 Office europeen des brevets A1 EUROPEAN PATENT APPLICATION © Application number: 86112562.3 © int. ci.4: D05C 1/08 © Date of filing: 11.09.86 © Priority: 16.09.85 US 776759 © Applicant: Katz, Marcella M. 10573 Le Conte Avenue © Date of publication of application: Los Angeles Callfomia(US) 22.04.87 Bulletin 87/17 © Inventor: Katz, Marceila M. © Designated Contracting States: 10573 Le Conte Avenue AT BE CH DE FR GB IT LI NL SE Los Angeies California(US) © Representative: Baillie, lain Cameron et al c/o Ladas & Parry Isartorplatz 5 D-8000 Munchen 2(DE) Flexible non distortable handcraft sheet material and method of applying printed designs thereto. © Flexible non-distortable handcraft sheet materials (78), including needlework fabrics, adaptable for re- ceiving printed designs, patterns, photographs and craft instructional information and the methodology for producing the materials with the deisgns, pat- terns and photographs and instructional information printed thereon. Material alignment and feed features are located along the parallel edges of the materials for moving same through a computer-directed printer (76). In accordance with the methodology visual in- formation in the form of designs, patterns, pho- tographs, flat art work, still objects, live objects, etc. is converted into digital information through a digitizer (68) with the digitized image information thereafter fed to a computer (72) for manipulation and editing by software and keyboard (80) direction •"@and for conversion to visual image information for ^CRT display (74) and for utilization by a computer {^printer as imprinted geographic information. The CM flexible handcraft sheet materials (78) bearing printer 05 feed features include: paper and paper laminates; GO leather, suede, simulated leather, paper-leather and r- plastic-leather laminates; paper-thin woods, wood ve- ^@neers and wood alminates with paper or plastic; ©laminates including non-woven, spun-bonded ran- Qdom fiber plastic sheet; plastic and paper-plastic FI6.6. qj laminates; foil and foil laminates; and like craft ma- terials. Xerox Copy Centre 0 218 922 FLEXIBLE NON-DISTORTABLE HANDCRAFT SHEET MATERIAL AND METHOD OF APPLYING PRINTED DESIGNS THERETO The principal types of needlepoint canvases in BACKGROUND OF THE INVENTION use today are designated "mono-" meaning one thread on each side of each hole or aperture and 1 . Field of the Invention "double" meaning two threads on each side of 5 each major hole or aperture. There are two basic The present invention relates to handcraft forms of mono-canvases, i.e., "mono-floating" and sheet materials. More particularly, the invention re- "mono-interlock." With mono-floating canvas the lates to needlework materials having a uniform pat- warp and weft (woof) threads are merely woven tern of apertures forming a symmetrical gridwork over and under each other whereas with mono- intended to receive needle-directed yarn or thread 10 interlock canvas the warp threads (in fact) comprise for the purpose of creating a stitchery design there- two smaller (weaker) threads that are knotted or on and to other flexible handcraft sheet materials twisted at each over and under crossing of weft including paper, plastics, leather, wood and fabrics. threads. Because of the weaving method, mono- The present invention further relates to materials of floating canvases are subject to greater slippage the type described which are adaptable for receiv- 75 between threads so that the mesh pattern of the ing printed designs, patterns, photographs and in- canvas easily becomes distorted, i.e., the holes or structional information and to methods of printing apertures become of non-uniform size and configu- designs, patterns, photographs and instructional in- ration with repeated folding and needlepoint work- formation thereon. ing of the canvas. 20 Double thread needlepoint canvas (also re- ferred to as "Duo" or "Penelope") is woven with 2. Description of the Prior Art the warp and woof threads that form the principal holes or apertures of the canvas each comprised of a. Needlework a pair of slightly spaced threads which form small 25 apertures. This weave of needlepoint canvas is Embroidery is the art or process of forming useful when it is desired to use half stitches or decorative designs with hand needlework. When an where petit point stitches (small) and gross point open-mesh canvas or apertured sheet material hav- stitches (large) are to be worked on the same ing a uniform gridwork is used to receive the nee- canvas. Other fine woven textiles used in the nee- dlework, the art form is characterized as 30 dlework arts include cloths woven so that the in- "needlepoint" or "canvas embroidery." Need- dividual threads are thicker than the holes between lepoint is distinguished from other forms of embroi- them, "evenweave" cloth and "Congress" cloth. dery, such as crewel embroidery, in that in need- From time to time other forms of needlepoint lepoint the stitches are formed by passing needle- canvas have been manufactured. For example, directed yarn or thread through openings in the 35 molded plastic, large gauge (4-15) mesh sheets, canvas or apertured sheet material in simple even with a surface texture simulating the warp and woof stitches across counted threads or between count- thread configuration of woven needlepoint canvas, ed apertures. or with a smooth surface texture, have been made. Needlepoint canvas, in its simplest form, is Also, perforated paper sheets have been made and comprised of evenly spaced, durable warp and 40 proposed for needlepoint projects of relatively woof threads woven into a textile in which the holes small size where the resulting needlework is to be or apertures between the threads are commonly framed as a decorative item or where a free-form equal to or larger in size than the threads them- craft item is to be created using needlework tech- selves. The canvas threads are usually composed niques, i.e., book markers, greeting cards, etc. of cotton or linen fibers, particularly where the 45 Mono-floating and mono-interlock needlepoint gauge of the canvas (number of threads per inch) canvases have continued to be used for most falls within the popular range of 10 to 18. Fine stitchery applications despite their many shortcom- gauge, needlepoint fabrics normally have 18 to 40 ings and the problems they create for the need- threads per inch and are woven from silk or syn- lepoint artisan. The principal shortcomings and thetic fiber threads in addition to cotton and linen 50 problems include edge raveling, canvas distortion, fiber threads. Textile and fabric materials, manufac- aperture irregularity and roughness, and thread tured for use as needlepoint canvas, are usually shifting. Great care must be taken when cutting sold by their manufacturers in "bolt" (roll) units bolt or yardage canvas into smaller popular use having a minimum of 5-10 yards of material. size canvas pieces to make certain that each cut- 0 218 922 ting course or line follows a single line of canvas There are five principal variables associated holes or apertures, i.e., between warp and woof with each needlework design, i.e., a) stitch types, threads, so that edge raveling is minimized. Edge b) stitch placement, c) canvas grid or mesh size, raveling becomes an even greater problem when d) yarn thickness and e) yarn color. Yarn thickness the ultimate shape of the needlepoint piece is not 5 and canvas mesh size can be readily indicated by rectangular with its edges not in parallel with warp simple directions on the pattern while stitch types, and woof threads. stitch placement and yarn color directions are more Canvas distortion, stretching, sagging, exten- difficult to indicate. sion and creep constitute major problems to per- Where fine embroidery on linen or other fine sons performing needlepoint stitchery. If one close- 10 mesh material is to be performed by the artisan, ly observes needlework canvas as needlepoint the design or pattern may be printed, drawn or stitchery is applied, it becomes obvious that the painted on (or transferred to) the fabric and the vertical and horizontal forces applied to the canvas artisan merely sews over the design or pattern. threads (defining each aperture in the canvas) by With needlepoint designs, stitch type variation is the yarn-guiding needle and the yarn itself (as they 75 usually involved. Further, since the commonly used pass through such apertures) are unequal. Al- canvas types (10 to 18 mesh) are substantially air though canvas manufacturers have attempted to space (apertures greater than canvas thread thick- reduce the distortion problem through the weaving ness), printing of stitch type instructions is not of mono-interlock canvases and by the application feasible since most stitchery is directionally orien- of sizing (stiffening) agents to the canvas threads, 20 tated. Also, the present-day woven canvas materi- the problem remains. Distortion correction, after als are distortable and not perfectly true in mesh or completion of the needlework piece, by straighten- grid structure and when design printing thereon is ing or "blocking" the base canvas (and the needle- attempted, the design frequently does not properly work it bears) must overcome many built-in failure align with the gridwork of the canvas with the result factors. Blocking, a somewhat costly procedure, 25 that stitch type location is faulty. Only thread-by- involves the stretching and straightening of the thread hand painted designs are true and they are needlework to its pre-stretched size and shape. very time consuming and costly to produce. The foregoing problems with needlepoint can- In view of the foregoing state-of-the-art in nee- vas materials have been obviated through my im- dlework stitchery, popularly priced designs are proved flexible, non-distortable composite laminat- 30 most commonly shown on separate charts indicat- ed sheet materials comprised of a primary layer of ing the specific location of stitch types and yarn non-elastic, open-mesh woven needlepoint fabric colors on a line gridwork representing the canvas which has bonded to one of its faces a relative thin, gridwork.

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