For example, the user achieving the cross-stitch continuously counts the number of symbols in a line, to generate the next row of stitches. This count information may be added to the visualization, to the position of the mouse click.
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Figure 4, depicts this width and height count information on a typical computer generated pattern. Here the computer is aiding the cross-stitcher in following the pattern. The user may display the image as symbol representations or colour cubes, change the scale and detail of the displayed pattern, take a snapshot of the image or export VRML code.
Interactivity is very important within visualization, and allows additional information to be displayed to the user. It is possible to use the third dimension to represent, for example, the number of threads of the pattern; Figure 5 depicts such a visualization. They do not give exact information and are thus open to interpretation.
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This uncertainty information may be beneficial: as to encourage creativity of design. We present two methods to improve the visualization of a typical pattern: separation and abstraction. Separation as named by Tufte [Tuf83a] or Multiple Viewing [Rob98] enables the in- formation to be separated into different views, rather than overlaying all the information in one view. Abstraction techniques generate visualizations that display generic or the most impor- tant information. Techniques may augment, adapt or simplify the information to display a clearer realisation [Rob95].
In this pattern based information, there is usually a lot of repeated runs of icons; it may be clearer to generate a visualization that displays a reduced number of the symbols together with a count on how many stitches in a particular row. Figure 7 depicts such an abstract visualization.
Here, the numbers represent the total quantity of stitches in the specified row, terminated by the change in icon. This realization provides a simplified view on the data, the user does not need to contin- ually count the number of stitches, as the information is presented in the visualization.
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This realisation may be used both interactively and printed to paper. However, when the visualiza- tion becomes large the font size would become small and may become unreadable, but, the online version would allow the image to be enlarged to view a particular area. We conclude, that the visualization content used within cross-stitch patterns is cur- rently based on the paper based method.
Some interactivity and realistic rendering is being introduced within the computer based products. But, there are many techniques that are cur- rently available and would be useful to an end-user both following a pre-designed pattern on a computer screen and to generating their own designs. It is true that the whole craft of cross-stitching is extremely traditional. Additionally, a cross-stitcher may not be near a computer whilst relaxing and following a pattern.
Within this paper we have analysed the components of cross-stitch, the variables of the visualization space and looked at the visualization content within both the paper and computer based methods. The whole essence of our progression of this evaluation, itself, provides a structured way to evaluate the visualization content within a new area. We have described and implemented some new computer based cross stitch visualiza- tions.
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One of the methods uses a technique of abstraction; this is a very powerful process, and if appropriately used, it achieves an improved visual representation of the viewed information. Top left, represents the backstitch. Top right is the cross-stitch colour. Bottom left shows the number of threads one circle is one thread, two circles two threads, triangle three threads, square four threads, etc.
Bottom right depicts a combined glyph visualization of the same information. Figure 7: The right image shows an abstract visualization of the fish on the left, the numbers represent the extents of the particular cross-stitch. Through our evaluation procedure it is possible to see that there are additional visual- ization methods that may be easily applied to this non-scientific data.
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References [Ber81] Jacques Bertin. Graphics and Graphic Information Processing. Walter de Gruyter, Berlin, N. York, Semiology of Graphics. University of Wisconsin Press, Chuah and Stephen G. New Holland Ltd. Document Number Soft, X-Stitch Designer, Supergold.
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All that glitters Cross Stitch, Future Publishing, pages 44—45, July Samplers: How to create your own designs. The Apple Press, Lon- don, Treasury of Cross-Stitch Samplers. Sterling Publishing Co. Aspects of Abstraction in Scientific Visualization. On Encouraging Multiple Views for Visualization. Which program? Cross Stitcher, Future Publishing, —43, April Thorell and W. You may use English letters, numbers, and underscores in file names.
Avoid using any special marks or foreign letters, in file names, since these character often cause problems later. If everything is ok, move them to the sub-folder they fit the most. By doing this, you will have your patterns sorted in a logical way, and you'll be able to find everything you need, when you need it. It's also possible to transfer many different filesfrom one place to another all at once.
To do this, hold down the "Ctrl" key and mark all of the files you wish to move. From time to time, remember to backup your embroidery patterns, and other important files to CDs! Downloading Cross-Stitch Patterns from the Internet. Unzipping Cross-Stitch Patterns or any other files. Printing Cross-Stitch Patterns. Sign in here.
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Report post. Posted April 10, Share this post Link to post Share on other sites. Donna's crochet Designs. Because of the way a sc is worked you don't get a solid diagnol line. Did I confuse you more?