Master Craftsman Programs

Beading

Chair: Peggy Huffine

Step 1:  Bead embroidery with three different methods in a single piece, using appropriate beads and embroidery techniques.

Step 2:  A provided design for an amulet bag using peyote stitch with emphasis on stitch techniques, color usage, and fringe techniques.

Step 3:  Square stitch and/or bead weaving on a loom used to create a wall hanging of specific dimensions. Beader must demonstrate stitch technique, increasing/decreasing, color/shading usage, and appropriate finishing.

Step 4:  An original design using Ndebele (herringbone) to create a dimensional work with size limitations. Flat and tubular Ndebele, plus increasing and decreasing, must be demonstrated.

Step 5:  An original dimensional piece using right-angle weave, with minimum size limitations. Appropriate use of materials and stitch techniques is emphasized.

Step 6: The final piece must demonstrate Master Craftsman ability in a piece of original design using at least three of the previous techniques. It should be three-dimensional, showing good color and stitch usage with appropriate bead and stitch techniques

Judging: May and November

Judging Criteria: Workmanship, selection of appropriate materials, mastery of beading techniques, color, and ability to follow directions.
 

Canvas Embroidery

Chair: Mimi Selick

Step 1:  Choice of ten stitches used in one of three provided designs with a monochromatic color scheme.

Step 2:  Twenty one different stitches used in a provided design with an analogous color scheme.

Step 3:  An original design or one of the stitcher’s choice using four diaper patterns and worked in a split-complementary color scheme.

Step 4:  Eight Florentine patterns used in an original design or one of the stitcher’s choosing.

Step 5:  Two appliquésof one size canvas to another, one irregularly shaped, used in an original design or one of the stitcher’s choosing.

Step 6:  This piece must demonstrate Master Craftsman ability. It requires an original design incorporating a variety of threads, stitches, and techniques.

Judging:  April and October

Judging Criteria: Technique, canvas coverage, color, design, overall appearance, and ability to follow directions.
 

Color for Needlework

Chair: Laura Smith

Step 1:  Color symbolism: An essay on color symbolism in various cultures and two stitched pieces demonstrating traditional and nontraditional color harmony.

Step 2:  Value and intensity: An essay on value and intensity and two stitched examples using a common design and the same hues, thread types, and stitches, but different value keys.

Step 3: Contrast: An essay on different types of contrast, and a single stitched piece illustrating at least two types of contrast.

Step 4: Space: An essay describing how color can illustrate space, accompanied by a stitched piece to illustrate space.

Step 5:  Illusions: An essay on how five illusions (transparency, iridescence, luster, luminosity, and optical mixing) can be suggested by using color. One stitched piece representing optical mixing and another demonstrating one of the other illusions.

Step 6:  Unity: An essay on color unity and a stitched piece demonstrating mastery of color and its usage.

Judging: February and August

Judging Criteria: The Color for Needlework program differs from other Master Craftsman categories by its very nature. Rather than demonstrating knowledge of a specific needlework technique, the candidate uses the needlework medium to demonstrate knowledge of the color principle or principles being explored.
 

Counted Thread Embroidery

Chair: Rachel Atkinson

Step 1:  An original design or an adaptation for a family or historical cross stitch embroidery.

Step 2:  An original design or an adaptation for an Assisi embroidery.

Step 3: An original, adapted or provided design for blackwork with specific stitch pattern requirements.

Step 4:  An original, adapted, or provided design for pulled thread embroidery with specific stitch requirements.

Step 5:  An original design or adaptation for a Hardanger embroidery, along with samples of finishing techniques.

Step 6:  An original design demonstrating Master Craftsman ability and incorporating a specified combination of counted thread techniques.

Judging: March and September

Judging Criteria: Workmanship, design and color, shading, and stitch selection.
 

Crewel Embroidery

Chair: Judy Jeroy

Step 1:  A provided design with emphasis on basic skills in stitch execution and color usage.

Step 2:  A provided design with required and elective stitches and color choices based on research of eighteenth century New England crewel embroidery.

Step 3:  An original design, developed from specific motifs, to be worked on a patterned fabric in an analogous color scheme.

Step 4:  One of three provided designs, demonstrating skill in shading techniques.

Step 5:  An adaptation of a Jacobean or Elizabethan crewel design based on research into the period.

Step 6:  An original design, entirely in crewel wool, demonstrating mastery of stitching, color, and design.

Judging: April and October

Judging Criteria: Workmanship, selection of appropriate materials, color, and ability to follow directions.
 

Design for Needlework

Chair: Carole H Lake

Step 1:  Rhythm and balance: a stitched piece created by developing a motif into repeat composition.

Step 2: Proportion and scale: a piece reflecting the principle that proportion equals the correct and perfect relationship of all parts within a whole.

Step 3:  Emphasis and harmony: a composition based on an historical or ethnic theme, with three different related stitch charts, one of which is stitched.

Step 4: Space, motion, and line: a stitched piece consisting of vertical or horizontal lines to demonstrate these themes.

Step 5: Form, shape, light, and texture: a composition based on object rubbings, with an accompanying stitched piece.

Step 6:  A composition demonstrating mastery of the principles and elements of design.

Judging: May and November

Judging Criteria: This program differs from other Master Craftsman categories by its very nature. Rather than demonstrating knowledge of a specified technique, candidates us their chosen needlework medium to demonstrate knowledge of design principles and elements.
 

Plain and Fancy Needlework

Chair: Roberta Chase

Step 1: Shadow Work: a design including complementary techniques such as shadow appliqué and pin stitching.

Step 2: Fine hand sewing: a stitched piece that includes fabric manipulation, finishing and construction techniques, joinings, and surface decorations.

Step 3: Monogramming: a stitched piece that incorporates techniques of padded sating stitch, seeding, and trailing stitches.

Step 4:  Cut work I: a stitched piece incorporating Renaissance and Richelieu cut work.

Step 5: Cut work II: a stitched piece incorporating broderie Anglaise and Ayrshire embroidery.

Step 6: A masterpiece incorporating techniques from three of the previous steps.

Judging: March and September

Judging Criteria: Selection of appropriate designs and materials, mastery of finishing techniques, and ability to follow directions. A finished article using a design of candidate’s choice will be stitched for each step.
 

Quilting

Chair: Eunice Porvaznik

Step 1:  A traditional pattern is enlarged to a 17 inch block and a specified portion is quilted.

Step 2:  Construction of a quilted work, designed to hang and view upright. Reverse or shadow appliqué and specific curves are incorporated.

Step 3: A functional work, other than quilt, including cording and stuffing with specialty techniques such as strip piecing, crazy quilting, etc.

Step 4: Curved piecing and two or more of the provided geometric shapes, with borders and edge finishings.

Step 5: A mariner’s compass with a minimum of three points.

Step 6:  A completed small quilt with an original design, constructed with some or all of the techniques in the program and demonstrating Master Craftsman ability.

Judging: May and November

Judging Criteria: Pattern drafting, color, design, fabric selection, piecing, appliqué, quilting techniques, and finishing. The techniques in this program are to be executed primarily by hand, not machine.
 

Silk and Metal Thread Embroidery

Chair: Margaret Kinsey

Step 1:  An embroidery using the provided, original, or adapted design, exhibiting expertise in the use of specific metal threads, plus metallic kid appliqué. The use of padding is optional.

Step 2: An embroidery using a provided design exhibiting expertise in the handling of silk and metal threads for both filling stitches/patterns, including the technique of or nue. The us of padding is optional.

Step 3:  An embroidery using the candidate’s original or adapted design exhibiting expertise in the use of silk threads applied to specific surface embroidery stitches, some over padding. This embroidery may be worked on a countable ground.

Step 4: An embroidery using an original or adapted design exhibiting expertise in the handling of Japanese metal or passing thread in a variety of specific techniques, some over padding.

Step 5:  An embroidery using one of three provided designs to exhibit expertise in the technique of soft shading, from a given light source, using only silk threads.

Step 6: A final embroidery which must demonstrate mastery of the various silk and metal threads exhibited in a variety of techniques, their proper applications, as well as skill in color and design to produce a coherent original design. Every aspect of this presentation will be judged.

Judging: May and October

Judging Criteria: Everything, including the selection of the fabric, threads, and stitches as to appropriateness for design. Also application technique, colors chosen, and design itself (if not provided), plus ability to follow instructions.
 

Smocking

Chair: Kim Sanders

Step 1: Drop-yoke dress, blouse, or nightgown embellished with a design that shows competence in the basic stitches and dress construction.

Step 2:  An inset panel featuring an original landscape or other natural scene mounted on a tote bag, purse, pillow, apron front, or dress pinafore. The article must demonstrate mastery of stacked cables/picture smocking.

Step 3: Smocking shaped into a three-dimensional object, such as a hat, box covering, stuffed animal, lampshade, or holiday ornament. The design must incorporate lattice smocking with decorative embroidery stitches overlaid.

Step 4:  Reproduction of a traditional English smock, including Dorset feather stitching and handmade buttons.

Step 5: A bishop dress, blouse or nightgown with smocking design incorporating ribbon, beads, and bullion knot flowers.

Step 6:  An original design that demonstrates flawless control of a variety of stitches used in smocking, garment construction techniques, and knowledge of color and design.

Judging: April and October

Judging Criteria: Stitching techniques, construction techniques, selection of appropriate materials, use of color and design, and ability to follow directions.
 

Surface Embroidery

Chair: Dianne Lewandowski

Step 1: Silk ribbon embroidery: an original, adaptation, or combination of motifs creating a bouquet or floral arrangement and an appropriate border.

Step 2: Raised work embroidery: an original, adaptation, or provided design in raised work embroidery as exemplified in seventeenth century and contemporary stumpwork eras.

Step 3:  Silk shading: an exact replica of the provided design, an adaptation or an original work, which includes block and directional shading.

Step 4: Brazilian embroidery: an original, adaptation, or provided design which includes at least nine different Brazilian embroidery stitches.

Step 5:  Ethnic embroidery: a project created with Chikan, colcha, shisha, Mountmellick, Schwalm, or Casalguidi embroidery with authentic stitches, colors, threads, and fabric. Other ethnic embroideries may be used with permission.

Step 6:  A unified, cohesive work incorporating at least three of the first five steps, with other techniques as appropriate.

Judging: March and September

Judging Criteria: Design, color, stitching expertise, suitability of materials, and adherence to specific requirements.