Do you know about Mary Rhodes’ contribution to needlepoint?

I always find it interesting to look back at the history of needlework and learn just how we got to where we are today.  And in that vain: Are you familiar with the work of Mary Rhodes?  Mary is known for more than just the Rhodes Stitch, which is one of her creative stitches that is given her name.  

Mary worked under the tutelage of Constance Howard in England, the same woman who helped shape the trajectory of work by Jan Beaney and Jean Littlejohn.  She taught needlepoint from the 1960’s to the 1980’s and it was Mary’s students who brought contemporary needlepoint to the United States, along with her many books written on the subject.  Mary confronted and spoke against poor choices, misconceptions and bad techniques that created substandard needlepoint and consequently shaped the way people stitch today.  She complained that a book written around 1900 caused many needlepointers to drop the use of the tent stitch in favor of the dreaded “square stitch” - the cross stitch over two canvas threads and its many variations.  Compensation was not widely employed at that time, which led to designs that were interpreted in a rigid and angular manner.  Mary advocated that the square stitch should not be used in working linear designs where curves abound, instead, the tent stitch should be used.  

She was also concerned that needlepointers tended to use stitch variety for the sake of variety, rather than for the sake of the design, which produced “ludicrous effects” because of the indiscriminate mixture of texture.  She explained that stitchers often mixed many different stitches in a single piece of needlepoint, then described this mixture’s potential to destroy the balance and unity of the design.

Mary focused on stitches - she explored and gained knowledge of how different stitches worked together and the textures they produced.  She demonstrated and pushed for the resurgence of the use of the tent stitch in a skillful manner.  A rich texture could be achieved by combining tent stitches with other canvas stitches and by using effective variations in color and tone.  Mary felt that the knowledge of how stitches were best used in conjunction with one another to interpret a design was much more important than the simple knowledge of how to work individual stitches.

The use of textural effects is one of needlepoints most important features.  Now you understand why she created the stitch named after her - the texture!

Here is one of her needlepoint pieces:

Mary Rhodes
Lute, unknown date

Lute, by Mary Rhodes, is a wonderful example of an abstract design based on line and shape.  The shape of the lute is created with the tent stitch, the background is rice stitch and the couched lines represent the strings of the lute.  These simple stitches allow the emphasis to be placed upon the beauty of the design.  The colors are deep and rich, which enhance the impact of the central area of brilliance.  Both large and small sequins are used with silver metallic thread couched down to provide a spectacular sweeping curve from top to bottom.  Three large sequins are placed at the convergence point of the multitude of lines.

I never had the opportunity to take a class from Mary, and unfortunately, she died many years ago.  However, more can be learned about this remarkable woman and the history of needlework by reading one of her books, especially the last three books in the list.

Rhodes, Mary. Dictionary of Canvas Work Stitches. London: B. T. Batsford Ltd., 1989.

---. Ideas for Canvas Work. London: B. T. Batsford Ltd., 1970.

---. Needlepoint The Art of Canvas Embroidery. London: Octopus Books, 1975.

---. The Batsford Book of Canvas Work. London: B. T. Batsford Ltd., 1983.

Rhodes Stitch Compensation

I was just reading Jo Ippolito Christensen’s book The Needlepoint Book and looking up what she has to say about the Rhodes Stitch.  I quote: “Compensating stitches are pretty much impossible.”  Is this true?

Well, let’s take a look at the stitch:

Rhodes Stitch

This is just one example of the Rhodes Stitch, the size and shape can be changed easily, making it a very versatile stitch.  A lot of people like to use Rhodes stitches in their work because it offers a great deal of texture.

Let’s try to compensate this stitch:

First Step in Compensation

The first step is to try to block out the area that is not to be stitched - I am blocking out the upper right hand corner of the stitch.  I then pull back those affected lines (lines 1-2, 3-4, 17-18 and 19-20) to determine what holes they should go through instead, as shown below.

Compensated Rhodes Stitch

Will this work?  We won’t know how really successful this compensation is until we stitch it. 

Here is a sample of the original stitch and a sample of a compensated stitch:

Side by Side Comparison - Rhodes Stitch and Compensated Rhodes Stitch

Looks pretty good, right?

Remember what we need to look at: the angle of the stitched lines.  I’ve pointed out two lines for you to look at and I’ve also placed a rectangle over the top of the full Rhodes stitch to highlight where the compensation took place.

Compare the Two Stitches

The comparison at the top of the stitch looks at where #6 from the diagram is in the regular Rhodes and in the compensated Rhodes.  There is a different angle for this stitch due to the pull that stitches 17-18 and 19-20 places on the stitch 5-6.  Do you see the extra bit of canvas showing between the 5-6 and 7-8 stitches?

The comparison at the bottom looks at the angle of the last two stitches.  The compensated stitch shows both stitches, 17-18 and 19-20 side by side, while in the original Rhodes stitch they are not side by side, but 17-18 is nearly covered by 19-20.

So, for this square Rhodes stitch, I’d say Jo Ippolito Christensen is correct, compensation is problematic.  

Book Review - Chinese Lattice Designs CD-ROM & Book by Dover Publications, Inc.

Chinese Lattice Designs CD-ROM & Book by Dover Publications, Inc.

Softcover 2008.  $16.95

ISBN-13:978-0-486-99885-5

Chinese Lattice Designs is a compilation of 191 royalty-free images of centuries old Chinese window grids.  While some patterns have a distinct oriental feel to them, others do not.  Many of these patterns may be seen today in stained glass windows, architectural ornamentation, mosaic tiles and in textiles of all kinds.  The needleworker may look to these intricate and harmonious patterns to provide inspiration for embroidery.

In 1909, Daniel Sheets Dye traveled to China in order to establish a medical school.  In his spare time, Dye traveled throughout western China and recorded the geometric shapes he saw in the windows of Chinese homes, temples and businesses.  Dye spent more than two decades collecting over 1000 designs from windows constructed between 1000 BC and 1900 AD.  These windows, made from a decorative wooden lattice with a sheet of rice paper glued to the inside, let in light, but not the sights - there were no glass windows.  Carpenters created these lattice windows from folk designs passed down through generations, and as such they were not considered art.  However, these windows testified to a Chinese craft design which excelled in creating a balanced geometric space.  

Dye’s ability to see the beauty in the abstract shapes in Chinese windows and his passion to record the designs provides us today with a wealth of inspiration as needleworkers.  Many of the designs may be directly translated into a stitch pattern.  The lines may represent vertical or horizontal stitches, as well as diagonal stitches.  Other patterns may provide a whole design area that needs to be filled with stitches.  From simple to complex, the needleworker may use these lattice designs to create a stitch pattern or a whole design with an oriental style. 

Dover Publications has a wealth of books with patterns and designs in many different styles.  Needleworkers may peruse their large list of books as a kick start to creativity.  It is interesting to note that similar patterns are viewed as folk designs in many different cultures, perhaps springing up independent of each other.  For instance, the interlace pattern found in old Celtic artwork is similar to the Chinese interlace designs.  Did one culture influence the other, or were they created without interaction between the two peoples?  These answers may never be known, but is an interesting conundrum to consider.

Stitch Compensation Cautions

This post is a small departure from the discussion of compensation of specific stitches and is more of a caution than anything else.

Here is the background:

I’m trying to design a needlepoint piece using Frank Lloyd Wright patterns found in stained glass windows - for ANG’s seminar in Chicago in 2014.  Here is one of the patterns:

Looking at Compensation of Cross Stitch Variation

The red arrow points to the first Cross Stitch Variation, the blue arrow points to where a compensated version of this stitch needs to be placed.  

Here is the stitch diagram:

Cross Stitch Variation

The compensated stitch would only be two threads wide, not the six threads that make up the whole stitch.  I tried every trick I knew to determine where to place the threads and it would not work.  UGH!!!

So what did I do?  I put this piece aside for now.  It will have to be rethought and redesigned and will not make the Chicago seminar.  

Compensation can be very difficult and may not always work out - which is my caution for today.

Herringbone Stitch Compensation

For this blog posting I am going to concentrate on the Herringbone Stitch.  There are many variations of this stitch, depending on the slant of the stitch, the width and the height of the stitch, as well as the numbers of threads in the separation of each “v” of the stitch.  Compensation must take into account all of these variations, there is not one way to do it for every variation of the stitch.

Let’s look at the Herringbone Stitch that is two threads high and two threads wide:

Herringbone Stitch - 2 wide x 2 high

The red lines show the compensating stitches.  Since this stitch follows the 45 degree diagonal of the square grid, the compensation is straight forward and no guessing is needed.

Here is a stitched sample:

Herringbone Stitch - 2 wide x 2 high

Looking at the back of the canvas:

Herringbone Stitch - back of canvas

There is not much thread on the back of the canvas to weave in ending threads.  In fact the stitches on the back of the canvas are over one thread. 

Let’s look at two difficulty issues that the Herringbone Stitch may cause:

1. It is hard to end threads on the back of the canvas.
2. The step back stitch (as in going from 2 to 3), the thread goes back one canvas thread and many times it can be pulled under the thread that is supposed to separate where the needle went into the canvas (at point 2) and where it is brought out of the canvas (at point 3.)

For Point 1:

The first piece of advice that I can give about weaving in ending threads is :  get a sharp needle - a crewel needle or an embroidery sharp needle is better than a sewing needle, but that will work too.  The embroidery sharp needle is the easiest to use because the eye of the needle is as large as a tapestry needle.

Let’s look at a stitched Herringbone Stitch sample:

Herringbone Stitch ending threads showing through to front of canvas

The arrows are pointing to ending threads showing through to the front of the canvas.  Let’s look at the back:

Red arrow - ending threads diagonally on the back of canvas

Blue arrow - ending threads horizontally on the back of the canvas

This is the back of the sample and you will notice that you do not see the ending threads on the left side of the stitching where the ending threads are woven into the stitches on the back (and I had to use a sharp needle because there is not much thread on the back of the canvas.)  Notice that ending the threads horizontally means that the ending threads show through to the front.  It is much better to end the threads on a diagonal on the back, meaning you have to weave through a top stitch, then a bottom stitch, then a top stitch, etc.

Other options for ending threads - weave them into stitches next to the Herringbone Stitches.  This is an option, but unless I absolutely have to (like for darning stitches) I always try to end threads behind the stitches that the thread was used to stitch them.  Why?

First, I don’t have to worry about thread shadows showing through stitches with lighter colored threads.  Second, if I have to rip out stitches, I don’t want to disturb stitches in surrounding areas - this just makes it easier for me.  If you’ve ever ripped out stitches and had all these ending threads in them from other areas you’ll know that this can really be a problem.  Maintaining stitch tension on those stitches from surrounding areas is nigh impossible.

Now for Point 2:

Having threads slide under the intersection of the canvas thread is a pain.  Let’s look at the canvas:

Canvas thread on top is vertical

When the top thread is vertical, any stitch over one horizontal canvas thread (as in the Herringbone example above) may slip under that vertical canvas thread.  This usually happens when the area you are stitching in has been disturbed (as in ripping out stitches and stitching over the area again.)  Canvas has some starch in it and that makes the canvas threads “stitck” a bit to each other when you first stitch on the canvas.  However, if you break this bond, then threads can easily slip around, as well as disforming the canvas threads with tight stitching tension.

This is a problem with a linen ground fabric also.  People who work on linen have to take more care in their stitching tension than canvas stitchers.  So watch your tension.

Try not to start a horizontal run of Herringbone Stitch that has an over one canvas thread stitch across the back of the canvas with a vertical stitch on the top.

If you are stitching Herringbone vertically, the opposite is true, don’t have the top canvas thread be a horizontal thread if you have an over one stitch on the back of the canvas.

Canvas thread on top is horizontal

Now let’s look at a variation of the Herringbone Stitch that is not square.  

Herringbone Stitch - 3 high x 4 wide

The important issue with respect to any stitch that is not a a true diagonal - the compensated stitches must have a slant as close to the slant of the original stitches.  I drew the compensating stitches in the diagram in red using the same angle as the original stitches to find where they would enter the canvas.  Let’s look at a stitched sample to determine if the slant is correct.

Herringbone Stitch - 4 wide x 3 high - Arrows pointing to compensated stitches

The compensated stitches are executed with white thread so that they stand out.  I will look at the slant of these stitches to determine if they are correct.  With this sample, I am happy with the slant - that is the only way to know if a compensated stitch will work - look at the slant of the stitch and compare it to a previous whole stitch. 

Van Dyke Stitch - Beginning Compensation

A reader asked about compensating the Van Dyke Stitch at the beginning of the column.  Yes, it needs to be compensated there also.  Here is a diagram of that compensation:

Compensating Van Dyke Stitch, Beginning of Column

I've shown the compensating stitch in blue and the first regular stitch in red.

Stitch Compensation - The Elongated Cross Stitch

Let’s look at the Elongated Cross Stitch.  I was actually stitching the Van Dyke Stitch, which is a column of overlapping Elongated Cross Stitches when I had to compensate the stitch at the bottom of the column.  The Van Dyke Stitch looks like this:

Van Dyke Stitch

You may wonder about my unorthodox numbering system for each of the Elongated Cross Stitches - well I want to create a backing that is easy to start and stop threads in.  As long as I am consistent in my execution, it does not matter how the cross stitch is executed.

Anyway, let’s say the next stitch in the sequence is compensated, just how do I do that?  Have you heard someone say that you just place something, like a piece of paper, over the stitch diagram where the stitch ends and that will show you how to place the compensating stitch?

OK, let’s try that:

Compensated Van Dyke #1

I’ve indicated the compensated stitch with blue color.  But what if I placed my piece of paper in the middle of the last row of the diagram and not at the end of the row?  Well, then the compensation would look like this:

Compensated Van Dyke #2

Which one is correct?  

You know what?  I don’t know off the top of my head, I have to stitch both to see which one looks better.  Does that surprise you?

Comparison of Compensated Van Dyke Stitches

#1                                                       #2   

The above picture shows both types of compensation, #1 on the left and #2 on the right.  To determine which is the best way to compensate the stitch I have placed an arrow at the top stitch of the compensated stitch.  I am going to compare the slant of this stitch with the slant of the same stitch above it, which was not compensated.  It looks to me that #1 has a better slant to it than #2.

I am not done though.  There is one more stitch to compensate.  Again let’s look at the diagram:

Comparison of Second Stitch Compensation

#1                                                      #2

The second compensated stitch is in green.  Again, I am going to look at a sample of the stitched compensation to make my choice.

Comparison of Second Stitch Compensation

#1                                                              #2

Look at the slant of the stitch where the arrow is pointing, and compare it to the slant of the stitch above it.  In this instance, #2 looks better with respect to the stitch slant.

Many people would have liked #1 because it closes up the bottom of the column of stitches.  I understand that issue, but once you have all the other stitching done around the Van Dyke stitch, and you thought the bottom needed to be closed up more for example #2, then you could backstitch across the bottom with a strand or two of cotton floss in the same color as the thread for the Van Dyke stitches.  

However, remember that a cross stitch, even an elongated cross stitch, it not completely closed at the top or the bottom.

So my advice about compensating any stitch, when it doubt, stitch it each way and look at how the compensated stitch lies compared to a whole stitch.  Non-symmetrical stitches can be a little tricky to compensate because the canvas grid is a square while the stitch is not.