STRIPED COLORS
When patch is striped, it is easiest to start and end color for each row. However, if possible, you may leave yarn hanging at end of row and transfer needle to second color, then pick up first color again when needed.

STEMSTITCH

STEM STITCH-VARIATION

Kalem Stitch-Variation

FERN STITCH

DOUBLE WEAVE STITCH

HORIZONTAL SCOTCH STITCH

DIAGONAL SCOTCH STITCH

CHECKERBOARD STITCH

SCOTCH STITCH VARIATION

DIAGONAL CASHMERE STITCH

HORIZONTAL MOSAIC STITCH

ALTERNATING COLORS Where colors alternate within a row, carry yarn on wrong side from area to area.

DIAGONAL MOSAIC STITCH

LEAF STITCH

BYZANTINE STITCH

KNOTTED STITCH

MILANESE STITCH

When stitched in one color, this stitch has a completely different look,

CROSS STITCH

DOUBLE CROSS STITCH

UPRIGHT CROSS STITCH

DOUBLE STRAIGHT CROSS STITCH

STAR STITCH
When making the star, work in numerical order from outside to center mesh of each star-up at 1, down at CENTER, up at 2, down at CENTER, up at 3, down at CENTER, etc.

BARGELLO STITCH-VARIATION

BARGELLO STITCH-VARIATION

BARGELLO STITCH-VARIATION

BARGELLO STITCH-VARIATION

BARGELLO STITCH-VARIATION

Web Stitch

CANVAS: PENELOPE is the classic canvas which is used in Traditional Needlepoint. It is a double woven fabric with pairs of horizontal and vertical threads which form the mesh. When doing regular needlepoint, the stitches are worked diagonally over two horizontal and two vertical threads. For Petit Point, the double vertical thread is separated and all the meshes are worked. In Traditional Needlepoint the canvas measures 10 meshes to the inch or 20 Petit Point meshes. It is usually Antique Tan in color, but is also available in White and Off-White.
MONOPOINT is a single weave canvas in which every mesh is of equal size. It is not as firm as Penelope and generally is not recommended for furniture pieces or any item that will receive hard wear. Monopoint canvas is usually White and, therefore, is suitable for hand painting. It is made in sizes ranging from 10 to 16 meshes to the inch (and even finer for Petit-Point) but 12 to the inch is the popular choice.
INTERLOCKING canvas (Iino weave) is a monopoint construction made of vertical and horizontal double strands which are woven together at the intersections. The strands are permanently set and cannot be separated as in Penelope. This construction gives more stability than a simple monopoint weave, though it sacrifices something in strength

YARNS AND THREADS: TAPESTRY WOOL is the Traditional yarn for needlepoint. It is made of long fibered, tightly twisted wool, which because of its quality and construction resists fraying and wear while it is being worked. A single strand of tapestry yarn can be used on 10 mesh penelope or 12 mesh monopoint canvas, or it may be split in half for working Petit Point. Tapestry Yarn,  It is permanently mothproofed.
PERSIAN YARN is actually a Crewel Embroidery yarn but it is also used for needlepoint. It is constructed of 3 loosely twisted strands of 2-ply yarn and it is interchangeable with tapestry wool. It is very easily separated into 1 or 2 strands for use on finer mesh canvas. Needlepoint and Crewel Wool, are packaged in 10 or 40 yard skeins and are also available by the strand.
COTTON THREAD is used in working needlepoint for various special effects.  Six Strand Cotton in multiple strands can be worked on regular mesh for highlight areas or on Petit Point canvas as a background for evening bags and purse accessories. It has more gloss than wool, which makes it suitable for dressier items.
METALLIC & RAYON THREADS may be used for highlighting small areas or for complete pieces such as Belts, Jewelry, etc. Spotlight  in Silver or Gold and Rayon are recommended.
ACCESSORY ITEMS: NEEDLES. The blunt tapestry needle is recommended for all needlepoint. For standard Gross Point (10 and 12 mesh canvas) use size 18 or 19 needle; for Petit Point, size 21 or 22.
NEEDLEPOINT FRAMES. Large panels of tapestry can be worked more conveniently on a needlepoint frame. Even for smaller pieces, the use of the frame keeps the canvas in shape so that it requires a minimum of blocking when it is completed. Most frames are of a rotating type and they come in many sizes to be used in the hand or on tables.
TYPES OF NEEDLEPOINT TRADITIONAL NEEDLEPOINT is usually done on 10 mesh to the inch Penelope canvas. The design is pre-worked and only the background needs to be filled in with the color and stitch of your choice to complete the piece.
TINTED NEEDLEPOINT is like painting on canvas. It is screen printed rather than hand painted, though some are retouched by hand. The canvas may be white Monopoint or Antique Penelope. Sometimes these are packaged in kits with yarns and other materials needed to complete the item such as pillow backings.
AMOUNTS OF YARN REQUIRED
The amounts of yarn required may vary considerably depending on how many color changes there are within an area, the mesh count of the canvas and which stitch is being used. The following is given as a rule of thumb:
HALF CROSS STITCH requires approximately 4/5 of a yard of tapestry or persian type yarn for 1 square inch of 10 mesh canvas.
CONTINENTAL STITCH requires approximately 1-1/4 yards for 1 square inch of 10 mesh canvas.
DIAGONAL TENT STITCH (basket weave) requires approximately the same yardage as the Continental Stitch.
For other kinds of stitches or different meshes of canvas, it would be necessary to work a 1 inch square to see how much yarn is required.
TO BEGIN WORKING
Tape the edges of the canvas with masking tape. This prevents raveling and protects the yarn from catching in the raw edges’. Measure and mark the area to be worked. If it is to be a picture, select the frame and work only the part that will show. For a furniture piece, measure the Chair Seat or Foot Stool across the widest part, then plan to work one additional inch on all sides.
Allow 2 inches of unworked canvas all around to facilitate blocking and finishing.
Work with a strand of yarn not over 18″ in length. If a strand is too long, it becomes frayed and does not cover the canvas. To end a strand, run the needle under a previously worked row for about an inch and clip closely. If the yarn becomes too frayed to cover properly, fasten off and begin a new strand.
For best results, work your piece in a needlepoint frame. If you prefer to work it in the hand, use the “Frame” or “Punch” method. This is done by bringing the needle straight up from the back to the front, then straight down from the front to the back in two stitches instead of sewing through in one stitch. This method prevents the yarn from wearing, makes stitches that are even, and keeps the canvas from pulling out of shape. Pull stitches taut but not tight. If the yarn becomes twisted while working, drop the needle and let it unwind. Although there are no set rules, it is usually recommended to work the design first then the background.
Work the stitches in numerical or alphabetical order as given in each illustration. Bring yarn up at the odd numbers and down at the even numbers. If both numbers and letters are used, work numbers first, then letters. Where numbers or letters are upside down or sideways, turn canvas and diagram to correspond and continue work. Some stitches are photographed in several colors. These are shown to illustrate different effects which can be obtained by alternating colors. The same stitches may be worked in one color only for textural effects. When there is not room to work a complete stitch, work as much of the stitch as is necessary to cover the canvas.

BLOCKING
Blocking is necessary for most completed pieces because the diagonal direction of the needlepoint stitch pulls the canvas out of shape. Even when the use of a frame serves to keep the canvas in shape, blocking refreshes the yarn and brightens the colors.
BLOCKING: Do not wet embroidered piece; it needs only to be somewhat dampened so that it can be stretched into shape. Wet a terry towel that is larger than embroidered piece and wring so that it is just damp (not dripping wet). Center piece flat on damp towel and roll up, being sure that towel keeps embroidered piece from touching itself and leave overnight. Remove slightly damp embroidery and stretch into shape by tacking or pinning to a board (wrong side of embroidery up) using rustproof pins or nails. Cover with a slightly damp cloth and let dry COMPLETELY before removing.

When buying your canvas, remember that several different manufacturers produce plastic canvas. Because of this, there are often slight variations in canvas, such as different thicknesses of threads or a small difference in mesh size. Because of these variations, try to buy enough canvas for your entire project at the same time and place. As a general rule, it is always better to buy too much canvas and have leftovers than to run out of canvas before you finish your project. By buying a little extra canvas, you not only allow for mistakes, but have extra canvas for practicing your stitches. Scraps of canvas are also excellent for making magnets and other small projects.

WORKING WITH YARN
Worsted weight yarn has four plies which are twisted together to form one strand. When the instructions indicate 2-ply yarn, separate the strand of yarn and stitch using only two of the four plies. To allow for repairs and practice stitches, purchase extra yardage of each color. If you have yarn left over, remember that scraps of yarn are perfect for small projects such as magnets or when you need just a few inches of a particular color for another
project.
In addition to purchasing an adequate amount of each color of yarn, it is also important to buy all of the yarn you need to complete your project at the same time. Yarn often varies in the amount of dye used to color the yarn. Although the variation may be slight when yarns from two different dye lots are held together, the variation is usually very apparent on a stitched piece.
For projects that show both sides of your work, it is important to keep both sides looking neat. Using longer strands will help avoid excessive yarn ends. Be careful to completely hide yarn ends under previously worked stitches. The lines of the canvas will be referred to as threads. However, they are not actually “threads” since the canvas is nonwoven. To cut plastic canvas pieces accurately, count threads (not holes) as shown in Fig. 1.

Before cutting out your pieces, notice the thread count of each piece on your chart. The thread count is usually located above the piece on the chart. The thread count tells you the number of threads in the width and the height of the canvas piece. Follow the thread count and cut out a rectangle the specified size. Remember to count threads, not holes. If you accidentally count holes, your piece is going to be the wrong size. Follow the chart to trim the rectangle into the desired shape. You may want to mark the outline of the piece on your canvas before cutting it out. Use a China marker, grease pencil, or fine point permanent marker to draw the outline of your shape on the canvas. Before you begin stitching, be sure to remove all markings with a dry tissue. Any remaining markings are likely to rub off on your yarn as you stitch.
WASHING INSTRUCTIONS
If you used acrylic yarn for all of your stitches, you may hand wash plastic canvas projects in warm water with a mild detergent. Do not rub or scrub stitches; this will cause the yarn to fuzz. Allow your stitched piece to air dry. Do not put stitched pieces in a clothes•dryer. The,plastic canvas could melt in the heat of a dryer. Do not dry clean your plastic canvas. The chemicals used in dry cleaning could dissolve the plastic canvas. When piece is dry, you may need to trim the fuzz from your project with a small pair of sharp scissors.

GENERAL INFORMATION
1.Fig.1shows how to count threads accurately. Follow charts to cut out plastic canvas pieces.
2. Backstitch used for detail (Fig.2), French Knots (Fig. 5), and Lazy Daisy Stitches (Fig.7 ) are worked over completed stitches. 3. Overcast Stitch (Fig. 9) is used for covering edges of pieces and for joining.
STITCH DIAGRAMS
Bring threaded needle up at 1 and all odd numbers and down at 2 and all even numbers.
Backstitch: This stitch is worked over completed stitches to outline or define (Fig.2). It is sometimes worked over more than one thread. Backstitch may also be used to cover canvas as shown in Fig.3.

Cross Stitch: This stitch is composed of two stitches (Fig. 4). The top stitch of each cross must always be made in the some direction.
French Knot: Bring needle up through hole wrap yarn once around needle and insert needle in some hole, holding end of yarn with non-stitching fingers (Fig. 5). Tighten knot; then pull needle canvas, holding yarn until it released.
Gobelin Stitch: This basic straight stitch is worked over two or more threads or intersections. The number of threads or intersections may vary according to the chart (Fig. 6).
Lazy Daisy Stitch: Bring needle up at 1, make a loop and go down at 1 again (Fig. 7). Come up at 2, keeping yarn below needle’s point. Pull needle through and secure loop by bringing yarn over loop and going down at 2. Fig. 7
Mosaic Stitch: This three-stitch pattern  forms small squares (Fig. 8).
Overcast Stitch: This stitch covers the edge of the canvas and joins pieces of canvas (Fig. 9). It may be necessary to go through the some hole more than once to get an even coverage on the edge, especially at the corners.

Smyrna Cross Stitch: This stitch is worked over two threads as a decorative stitch. Each stitch is worked completely before going on to the next (Fig. 10).Fig.10
Tent Stitch: This stitch is worked in vertical or horizontal rows over one intersection as shown in Fig. 11. Follow Fig. 12 to work the Reversed Tent Stitch. Sometimes when you are working Tent Stitches, the last stitch on the row will look “pulled” on the front of your piece when you are changing directions. To avoid this problem, leave a loop of yarn on the wrong side of the stitched piece after making the last stitch in the row. When making the first stitch in the next row, run your needle through the loop (Fig. 13). Gently pull yarn until all stitches are even.

Pattern Layout

Cut four front and four back as pattern is fully lined.

join center front of dress and center front of lining

join side sean of dress and side seam of lining

sew dress strap and turn as shown

Tack strap to dress back both side, center back to located strap position
then place dress lining over dress and sew all around leaving bottom and position for the front strap open

clip and turn baste in place. sew and turn knot for the front.

sew knot as shown and front strap in place getting desired length.

Run gather stitch in skirt, gather pin to top and stitch all around leaving back open for a 12’’ to 18 inch zip (this will depend on the size dress you are making).

Pin and sew back zipper, sew and attach front bow as shown.

• ( 1) Pick up an even number of beads. These beads become the first two rows.
• ( 2 ) To begin row 3, pick up a bead, and go through the second bead from the end.(As you stitch, every other bead drops down half a space to form row 1.) Pick up a bead, and go through the fourth bead from the end. Continue across the row. End by going through the first bead picked up.To count peyote rows, count the edge beads in a zigzag pattern.

• ( 3 ) To start row 4 and all other rows, pick up a bead, and go through the last bead added on the previous row. To end a thread, weave through the work in a zigzag path several times to secure the tail. Begin a new thread the same way, exiting the last bead added in the same direction to resume.

Flat, odd-count peyote

• (1) Begin as for flat, evencount peyote, but pick up an odd number of beads. Work row 3 as in even count, stopping before adding the last two beads. Work a figure 8 turn at the end of row 3 as own:String the next-to-the-lastbead (#7), and go through #2, then #1. String the last bead (#8), and go through #2, #3, #7, #2, #1, and #8.This will position you to start row 4.

• ( 2 ) You can work this turn at the end of each oddnumbered row, but this edge will be stiffer than the other. Instead, in subsequent odd-numbered rows, string the last bead of the row, then loop through the edge thread immediately below. Go through the last bead to begin the new row.

• ( 3 ) Stitch the turn at the end of even-numbered rows as shown.

Zipping up or joining flat peyote To join two sections of a flat peyote piece invisibly, match up the two pieces so the edge beads fit together. “Zip up” the pieces by zigzagging through the up-beads on both edges.

Gradual increase

• (1) The gradual increase takes four rows. At the point of the increase, pick up two thinner beads. Go through the next up-bead.

• (2) On the second row of the increase, when you get to the two thinner beads, stitch through them as if they were one bead.

• (3) On the third row, place two regular-sized beads over the two thinner beads.

• (4) On the fourth row, go through the first increase bead, pick up a bead, and go through the second increase bead. Continue across the row.

Gradual decrease

• ( 1) The gradual decrease takes four rows. At the point of the decrease, go through two up-beads.

• ( 2 ) On the second row of the decrease, put two thinner beads in the open space, and go through the next up-bead.

• ( 3 ) On the third row, go through the two thinner beads as if they were one bead.

• ( 4 ) On the fourth row, pick up one bead, and go through the next up-bead.

Rapid increase

• (1) At the point of the increase, pick up two beads instead of one. Go through the next bead.

• ( 2 ) When you reach the two beads on the next row, go through the first bead, add a bead, and go through the second bead.

Rapid decrease

• (1) At the point of the decrease, go through two beads on the previous row.

• (2) On the next row, when you reach the two-bead space, pick up one bead.

Two-drop peyote
Work two-drop peyote stitch the same as basic peyote, but treat pairs of beads as if they were single beads.

• ( 1 ) Start with an even number of beads divisible by four.

• (2) Pick up two beads (stitch 1 of row 3), skip two beads, and go through the next two beads. Repeat across the row.

Tubular or circular
even-count peyote

• (1) Pick up an even number of beads to equal the desired circumference. Knot the thread to form a ring, leaving some slack.

• ( 2 ) Put the ring over a form if desired. Go through the first bead to the left of the knot.Pick up a bead, skip a bead on the previous round, and go through the next bead.Repeat around until you’re back at the start.

• (3 ) Since you started with an even number of beads, you need to step up to be in position to start the next round. Go through the first beads on rounds 2 and 3. Pick up a bead, and go through the second bead on round 3; continue.

• (4 ) If you begin with an odd number of beads, you won’t need to step up. The beads form a continuous spiral.