How to convert a complete pattern between DMC and Anchor

If your pattern is in DMC but you’re working in Anchor (or vice versa), converting the full thread list before you start is the most reliable approach. It keeps palette relationships intact and produces a clean shopping list. The Thread Converter’s batch input handles this in one step.

Before you start

Before you open the converter, take a few minutes to prepare:

• Note the original brand: Check whether your pattern key specifies DMC, Anchor, or another brand. Some patterns list both already.
• Preserve the original key: Keep an unaltered copy of the pattern’s colour chart. You may need to refer back to the designer’s original intent.
• Record symbols alongside codes: Most patterns assign a chart symbol to each colour. Write these down — they are your link between the grid and the thread list.
• Decide if full conversion is needed: If only one or two colours are unavailable, you may not need to convert the whole palette. But for a complete brand swap, converting everything at once gives better results.

Step 1: Prepare a clean code list

Extract just the thread codes from your pattern key, one per line. Strip out symbols, descriptions, and stitch counts — you only need the numbers.

Your list should look something like this:

310
blanc
402
666
712
825
904
3371
3799
3865

The converter accepts plain numbers, brand-prefixed codes (e.g. DMC 310), or number-plus-name formats. Remove any extra punctuation or column headers before pasting.

Step 2: Select your conversion direction

In the Thread Converter, choose your direction:

• DMC → Anchor if your pattern is written in DMC and you want to stitch in Anchor.
• Anchor → DMC if your pattern is written in Anchor and you want to stitch in DMC.

Then select “A whole list” to enable batch input mode.

Step 3: Run the batch conversion

Paste your prepared list into the batch input area and press “Convert all.” The converter will process every code in one pass and return the full results table.

Try it now: open the Thread Converter.

Step 4: Separate strong results from ones that need review

The results table shows a match type for each conversion:

• Cross-referenced matches are sourced from published manufacturer or community conversion tables. These are generally reliable.
• Calculated matches are derived from colour-distance algorithms when no cross-reference exists. They are a good starting point but deserve closer inspection.

Mark calculated alternatives for review rather than accepting them at face value. They may be close enough, but a quick check is worth the effort.

Step 5: Review colours as relationships, not isolated codes

A converted palette can look correct code by code yet feel wrong when stitched, because the spacing between shades has shifted. Check your results as groups:

• Gradient check: List related shades in order from light to dark. Verify that each step remains visually distinct and that the undertone stays consistent across the run.
• Petals and leaves: Floral designs often use three or four closely spaced greens or pinks. Confirm the converted shades still step evenly.
• Flesh tones: Skin-colour gradients are particularly sensitive to undertone shifts. A warm-to-cool drift across the converted shades will be visible in the finished piece.
• Sky and water: Blues and aquas can shift between warm and cool casts across brands. Check the full range together.
• Highlight and shadow pairs: If the pattern uses a light and dark version of the same hue, make sure the converted pair still reads as the same colour family.

For a deeper look at how to evaluate individual matches, see our guide to DMC–Anchor substitution.

Step 6: Handle weak or missing matches

Not every code will have a strong equivalent in the other brand. When a match is weak or missing:

• Check alternatives: The converter may suggest more than one candidate. Compare them side by side in the colour preview.
• Keep the original brand for isolated colours: If a colour appears only once and is not part of a gradient, there is no harm in buying that single skein in the original brand.
• Adjust a whole shade run if needed: If one shade in a gradient converts poorly, consider shifting the entire run to maintain even spacing rather than forcing a single awkward substitution.

Step 7: Build your conversion worksheet

A simple table keeps your decisions organised and gives you a reference while stitching. Use columns like these:

Step 8: Check your stash and build the buying list

Before you head to the shop, check what you already own. The My Stash tool lets you see which threads you have on hand.

Keep in mind that Stash tracks ownership, not quantity — it tells you whether you have a skein of a given colour, but not how many metres are left on it. For large coverage areas, you may still need to buy extra even if the colour is marked as owned.

Step 9: Stitch a test before committing

For colour-critical areas — skin tones, a central floral gradient, a sky that dominates the piece — stitch a small test swatch before working on the main fabric:

• Use the same strand count you plan to use in the finished piece.
• Stitch on the same fabric (or a scrap of it) so the background colour is accurate.
• View the test under the same lighting conditions where the finished piece will hang. Daylight near a north-facing window is ideal for a neutral read.

Frequently Asked Questions