Each of the stitchers whose work accompanies this discussion was asked to provide more information about his or her needlepoint. Click on either the name of the piece or the thumbnail picture to see the stitcher's commentary and/or a larger picture. On this page, the stitcher is listed in bold type. The designer or the source of the adaptation is listed below the stitcher.

In the 16th and 17th centuries the men, who were often children, who sharpened needles were called “needle pointers.” Could it be that perhaps we derived the word “needlepoint” from this and then took the term a step further to describe canvas embroidery as needlepoint? Without those brave “needle pointers” we would have a difficult time doing our needlepoint, which has evolved over the years to become a true art. (See editor's note below for further information on the history of needles.)

Needlepoint is a facet of embroidery that dominates because of its broad spectrum of possibilities. We have moved from rigid concepts of completely covering all of the canvas with heavy thread use to more open canvas, the use of negative space as an important part of the design to the use of fewer threads and of course the use of many thread combinations. The texture, depth and multiple stitch combinations are exciting to create and view. Color and design add those last challenges of creativity.

The solace of working a piece in basketweave or Florentine is still valuable, especially when the design offers the opportunity to use color and threads to enhance the design concept. The rhythm and peace of working this type of needlework engages us all. There are wonderful examples offered each year of this facet of needlepoint. The Princess Grace Award rewards the achievement of technical excellence in basketweave.

Each year at seminar I am uplifted by the varied entries that feature concepts that we as needle artists have created. The inspiration accomplished with a needle and thread is evident in the exceptional offerings at this 2004 national exhibit. Both amateurs and professionals participated in a judged show where ribbons were awarded for excellence. Special awards recognized accomplishments in specific techniques and styles.

It is my honor and privilege to select and present to you a group of award-winning entries from the 2004 ANG National Seminar Exhibit. They include exquisite designs from traditional techniques through contemporary art, to painted canvas adaptations and original design concepts.

I’m proud to say I’m part of an organization that encourages experimentation and reward for this endeavor. The gifted volunteers who assemble this exhibit are to be thanked. The hours and hours it takes to assemble all that we enjoy is a gift to us all. Thank you.

(Editor's note: For more information on the history of the needle, readers may wish to consult Jeanette Carmichael's two part article, Needles - Tools of Our Trade, in the March 2004 and June 2004 issues of Apprize. Apprize is a publication of the Embroiderers' Guild of America. It should be noted that there is no known historical connection between the terms "needle pointer" (as related to the manufacture of needles) and "needlepoint." However, as Marnie indicates, it is delightful to ponder the "what if's.")