Master the Art of Decorative Quilting! Software Manual Table of Contents
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DX-4000QVP Func�Ons Control System Computer DX-4000QVP Number of S�Tch Pa�Erns 368 Number of Available Fonts 4 Bu�Onhole Automa�C (Sensor System) with Clamping Plate
List of Main Func�ons / Specifica�ons Name DX-4000QVP Func�ons Control System Computer DX-4000QVP Number of S�tch Pa�erns 368 Number of Available Fonts 4 Bu�onhole Automa�c (Sensor System) with Clamping Plate Green: Ready to start and/or while sewing. Red: Not ready to start. Start / Stop Bu�on Orange: When the lock s�tch bu�on is pressed while the sewing machine is engaged in pa�ern sewing. Maximum S�tch Speed 1,050s�/min Auto Thread Trimming Yes Automa�c Needle Threader Automa�c Needle Threader Thread Tension System Automa�c Automa�c Lock S�tch Automa�c Lock S�tch and Thread Trimming Feed Mechanism Box Feed Mechanism JUKI Smart Feed (Dual Feed Func�on) Yes Presser Foot Pressure Adjustment Stepless Adjustment (Digital) Drop Feed Yes Easy Bobbin Winding Yes Bobbin Thread Winder Bobbin Winder with Independent Motor Quick Bobbin Prepara�on Yes Bobbin Thread Counter No Feel Comfort and Power Bobbin Thread Run-Out Sensor Yes Light 6 LED Lights Func�on to Straight-Line S�tching Straight Throat Plate, Feed Dogs, and Presser Foot Professional Quality Quilting Micro-Li�er Presser Foot Pressure Se�ngs by Dial Free Arm Yes and Sewing Machine Dial System / LCD Numerical Display Change in the Length/Width of S�tches S�tch Width: Max. 7mm S�tch Length: Max. 5mm Number of Needle Posi�on 37 / According to Pa�ern (Straight S�tch/Other Than Straight S�tch) Pa�ern Reverse Up / Down and Le� / Right Twin Needle Sewing Yes (Twin Needle is Op�on) Elonga�on Pa�ern Yes Adjustable Star�ng / Reverse S�tch Speed Yes Needle Up/Down Bu�on Yes Low-Speed Inching Sewing -
Masonic Imagery in Baltimore Album Quilts
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2000 Mysterious Messages: Masonic Imagery in Baltimore Album Quilts Anne Bayne Battaile College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, and the Art and Design Commons Recommended Citation Battaile, Anne Bayne, "Mysterious Messages: Masonic Imagery in Baltimore Album Quilts" (2000). Dissertations, Theses, and Masters Projects. Paper 1539626245. https://dx.doi.org/doi:10.21220/s2-hjy1-7t02 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. MYSTERIOUS MESSAGES: MASONIC IMAGERY IN BALTIMORE ALBUM QUILTS A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Anne Bayne Battaile 2000 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Anne Bayne Battaile Approved April, 2000 Kimbei Barbara Watkinson TABLE OF CONTENTS LIST OF ILLUSTRATIONS iv ACKNOWLEDGEMENTS vi ABSTRACT vii INTRODUCTION 2 CHAPTER I. THE EDUCATED EYE 4 CHAPTER II. WOMEN, RELIGION AND EDUCATION IN BALTIMORE 15 CHAPTER III. -
The Godey Quilt: One Woman’S Dream Becomes a Reality Sandra L
Western Kentucky University TopSCHOLAR® DLSC Faculty Publications Library Special Collections 2016 The Godey Quilt: One Woman’s Dream Becomes a Reality Sandra L. Staebell Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/dlsc_fac_pub Part of the Fiber, Textile, and Weaving Arts Commons Recommended Citation Sandy Staebell, “The Godey Quilt: One Woman’s Dream Becomes a Reality,” Uncoverings 2016, Volume 37, American Quilt Study Group, edited by Lynne Zacek Bassett, copyright 2016, pp. 100-134, Color Plates 8-11 This Article is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in DLSC Faculty Publications by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. The Godey Quilt: One Woman’s Dream Becomes a Reality Sandra Staebell The Godey Quilt is a 1930s appliqué quilt composed of fifteen fabric portraits of men and women clothed in fashionable mid-nineteenth century attire. The dream of Mildred Potter Lissauer (1897−1998) of Louisville, Kentucky, this textile is a largely original design that is not representative of the majority of American quilts made during the early 1930s. Notable for the beauty and quality of its workmanship, the quilt’s crafting was, in part, a response to the competitive spirit that reigned in quiltmaking at the time. Significantly, the survival of the materials that document its conception, design, and construction enhances its significance and can be used to create a timeline of its creation. Reflecting Colonial Revival concepts and imagery, the Godey Quilt is a remarkable physical expression of that era. -
International Journal of Textile Science and Engineering Chowdhary U
International Journal of Textile Science and Engineering Chowdhary U. Int J Text Sci Eng 3: 125. Review Article DOI: 10.29011/IJTSE-125/100025 Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool Usha Chowdhary* Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Mich- igan, USA *Corresponding author: Usha Chowdhary, Department of Human Environmental Studies Fashion Merchandising and Design, Central Michigan University, Mount Pleasant, Michigan, USA. Email: [email protected] Citation: Chowdhary U (2019) Impact of Interfacings and Lining on Breaking Strength, Elongation and Duration of the Test for Knitted Wool. Int J Text Sci Eng 3: 125. DOI: 10.29011/IJTSE-125/100025 Received Date: March 5, 2019; Accepted Date: March 20, 2019; Published Date: March 29, 2019 Abstract The study examined breaking strength, elongation and time at break for 100% medium weight knitted wool with in- terfacings and lining. Several ASTM standards were used to measure structural and performance attributes. Fabric strength, elongation, and time taken to rupture for fabric exclusively and with interfacings and lining attached were measured for eight relationships. Hypotheses were tested using T-test analysis. Confidence level was established at 95%. Results revealed that majority of the hypotheses were accepted. Results for fusible and non-fusible interfacings varied. Adding fusible interfacing did not enhance strength in the lengthwise direction. Fusible and non-fusible interfacings did not differ for elongation. It took longer for fabric to break in lengthwise than the crosswise direction. Future research is needed to confirm the findings of this study for various fabrics, seam types, stitch types, fabric construction and fiber contents. -
Free Motion Quilting by Joanna Marsh of Kustom Kwilts and Designs
Tips and Tools of the Trade for Successful Free Motion Quilting By Joanna Marsh of Kustom Kwilts and Designs Are you looking to add some “pizzazz” to your pieced quilting projects? The quilting on a project can add drama and really make a statement in what might otherwise be an ordinary quilt. Let’s take a look at the basic steps to getting started on your journey into free motion quilting! Supplies you’ll want to invest in (or at least research): • Free motion foot-compatible to your machine • Quality machine quilting thread • Scrap batting (no smaller than 10” x 10”) • Scrap fabrics (no smaller than 10” x 10”) • Spray baste or safety pins • Sketchbook and pens/pencils • Quilting needles • Disappearing ink pen (optional) • Seam ripper • Supreme slider by Pat LaPierre (smaller size) • Stencils • Chalk pounce pad • Chalk for pounce pad • Various rulers for quilting (1/4” thick) • Ruler foot (if applicable) Tools of the Trade: Drawbacks and Benefits Tool Benefit Drawback Spray Baste Fast and more convenient than safety pins. Can gum up your needles. It needs to be More repositionable. sprayed outside. Disappearing Ink Pen Great for marking. The pens that disappear with heat can reappear in extreme cold. Pens that are “air” soluble will have markings that won’t last long the more humid the air is, but can reappear after washing. Quilting Gloves Provide you with an extra grip for easier Personal preference - they can be hot. movement of quilt sandwich. Supreme Slider Allows for super easy movement of quilt layers, Can be expensive. Needs to be replaced over especially helpful on domestic machines/sit time and use and has to be kept clean. -
G Machines BERNINA®/Bernette® Sewing Machines Mastering Your BERNINA® Table of Contents
BERNINA®/bernette® Sewing Machines BERNINA®/bernette® Sewing Machines Mastering Your BERNINA® Table of Contents Class 1 - General Information ..................................................................3 Introduction ...................................................................... ................................. 4 Meet Your Feet .............................................................................. ................... 5 Sewing Machine Needles ........................................................................... ...... 6 Thread ............................................................................ .................................. 8 Stabilizers & Interfacings ...................................................................... ........... 10 Samples............................................................................ ............................... 12 Product Reference List .............................................................................. ...... 30 Class 2 - Practical Stitching ....................................................................31 Seam Samples ........................................................................... ..................... 32 Hem and Edging Samples ........................................................................... .... 40 Product Reference List .............................................................................. ...... 52 Class 3 - More Practical Stitching...........................................................53 Elastic Samples -
Aic Paintings Specialty Group Postprints
1991 AIC PAINTINGS SPECIALTY GROUP POSTPRINTS Papers presented at the Nineteenth Annual Meeting of the American Institute for Conservation of Historic and Artistic Works Albuquerque, New Mexico Saturday, June 8,1991. Compiled by Chris Stavroudis The Post-Prints of the Paintings Specialty Group: 1991 is published by the Paintings Specialty Group (PSG) of the American Institute for Conservation of Historical and Artistic Works (AIC). These papers have not been edited and are published as received. Responsibility for the methods and/or materials described herein rests solely with the contributors and these should not be considered official statements of the Paintings Specialty Group or the American Institute for Conservation. The Paintings Specialty Group is an approved division of the American Institute for Conservation of Historical and Artistic Works (AIC) but does not necessarily represent AIC policies or opinions. The Post-Prints of the Paintings Specialty Group: 1991 is distributed to members of the Paintings Specialty Group. Additional copies may be purchased from the American Institute for Conservation of Historical and Artistic Works; 1400 16th Street N.W., Suite 340; Washington, DC 20036. Volume designed on Macintosh using QuarkXPress 3.0 by Lark London Stavroudis. Text printed on Cross Pointe 60 lb. book, an acid-free, recycled paper (50% recycled content, 10% post-consumer waste). Printing and adhesive binding by the Mennonite Publishing House, Scottdale, Pennsylvania. TABLE OF CONTENT S Erastus Salisbury Field, American Folk Painter: 4 His Changing Style And Changing Techniques Michael L. Heslip and James S. Martin The Use of Infra-red Vidicon and Image Digitizing Software in 4 Examining 20th-century Works of Art James Coddington Paintings On Paper: Collaboration Between Paper 11 and Paintings Conservators Daria Keynan and Carol Weingarten Standard Materials for Analysis of Binding Media and 23 GCI Binding Media Library Dusan C. -
Sewing Machine Needle Tips
Quilters Corner 518 West State Street Ithaca, New York 14850 Authorized PFAFF & Baby Lock sewing machine dealer 607-266-0850 www.e-quilterscorner.com Sewing Machine Needle Tips Did you know that you should change your machine needle every 6-8 hours of sewing? It's true! Changing your needle is one of the best preventative machine maintenance tasks you can do. You want the tip of the needle to be super sharp to go through your fabric without catching the threads. As you stitch, the tip of your needle will get microscopic nicks. The longer you sew on that same old needle, the more your pretty stitches will start to deteriorate. Why spend time sewing crummy stitches? Don't forget while changing your needle to take off your needle plate and brush your machine's teeth (clean around and in between the feed dogs, etc). If you don't do this, eventually you'll have dense pads of lint collecting and building up and it will effect how your fabric feeds. You should also clean around your bobbin area every time you change your bobbin. Just a quick swipe with a little brush will do the trick. What needle should you use? Quilting Needles are made especially for piecing and machine quilting. The special tapered design allows for easier fabric penetra- tion and helps eliminate skipped stitches. If you are having trouble burying your threads while quilting, try a single hole plate. The smaller hole in the plate helps keep the fabric from pulling through to the bobbin and the bobbin thread from pulling to the top. -
Summer Ta Y Bolster Pillow Skill Level: Intermediate
Summer Tay Bolster Pillow Skill Level: Intermediate Designed and Sewn By Susie Layman www.threadsonmysocks.blogspot.com Summer Taffy Bolster Pillows are easy to sew on your machine and one can easily be made in a day. They look great when grouped with pillows of other shapes and sizes and are perfect for a girl’s room or perched on your favorite chairs. Instructions are provided for both ruffled and pleated ends. Finished size - 16” x 4”. Fabrics Needed Fabric A 1 fat quarter Fabric B 1 fat eighth Fabric C* ¼ yard straight cut Fabric D* ¼ yard straight cut *Fabric C can be used for both the inside and outside of the rue or pleat at the end of the pillow. If so, eliminate fabric D and replace with ⁄ yard of fabric C. Materials Needed Pellon® 987F Fusible Fleece ½ yard Pellon® Perfect Loft® Cluster Fiber Fill 1 bag Thread Tools Needed Sewing machine and related supplies Rotary cutter and related supplies www.pellonprojects.com Graphic Artist Alexandra Henry PERMISSION IS GIVEN TO REPRODUCE FOR PERSONAL USE ONLY ©2014 - PCP Group, LLC www.pellonprojects.com Assembly Seam allowance is ½” unless otherwise noted. Step 1. Cutting Instructions. Fabric A Cut one 17” x 16” rectangle for outer pillow body Fabric B Cut two 5” circles using the template found on page 3 Fabric C Cut two 3” x width of fabric strips for outer rue/pleat* Fabric D Cut two 3” x width of fabric strips for inside rue/pleat* Fusible Fleece Cut one 16” x 15” rectangle Cut two 5” circles using the template found on page 3 *If fabric C is used for inside and outer rue, eliminate the cut for fabric D and cut two 5” x width of fabric from fabric C. -
Persian Cloud Collar Research TH Lady Miriam Bat Shimeon Kingdom of Lochac, 2015
Persian Cloud Collar research TH Lady Miriam bat Shimeon Kingdom of Lochac, 2015. A quick word from the researcher During my studies of the Middle East I created my blog, where I posted whatever item that interested me. This included publicising other Scadian’s research and blogs and have made friends and learnt much. In more recent times I had focussed on Mamluk ruled Egypt, which covered the 13th to 16th centuries. There has been much that had kept me busy but no Empire or country can be studied as a single entity. They were as influenced by their times and neighbours as we are today. So I have forayed into researching a little of the Ottoman and Persian Empires. So much information can be found! However, I had become curious about the Persian cloud collar. Having studied how embroidery was used to decorate Egyptian clothes, I could not help but wonder about how the Persian did it too. So I put aside my Egyptian research (not completely!) and started on Persian cloud collars. For this I must thank all other Scadians that have researched before me- your research was my base from which I could start from. Please check out the bibliography at the end for a full listing. I must also thank my husband for drawing up for me what I requested. He has the ability to draw what I struggled with. Having hit upon the hurdle of very few extant pieces, I have studied what I could but started grabbing pictures of cloud collars from Timurid and Safavid Persia. -
M.Sc Costume Design & Fashion
PERIYAR UNIVERSITY PERIYAR PALKALAI NAGAR SALEM – 636011 DEGREE OF MASTER OF SCIENCE CHOICE BASED CREDIT SYSTEM SYLLABUS FOR M.SC. COSTUME DESIGN AND FASHION ( SEMESTER PATTERN ) ( For Candidates admitted in the Colleges affiliated to Periyar University from 2017-2018 onwards ) PERIYAR UNIVERSITY REGULATIONS I. ELIGIBILITY FOR ADMISSION B.Sc - Costume Design and Fashion, B.Sc.-Textile and Fashion Designing, B.Sc- Fashion Technology and B.Sc degree related to textile or fashion. II. DURATION OF THE COURSE The course for the Degree of Master of Costume Design and Fashion shall consist of two academic years divided into four semesters. Each semester consist of 90 working days. III. COURSE OF STUDY The course of study shall comprise instruction in the following subjects according to the syllabus and books prescribed from time to time. IV. EXAMINATIONS The theory examinations will be conducted for 3 Hours by the University in the subjects prescribed for all the semesters in the month of November & April every year. The practical examinations will be conducted for 3 & 4 Hours by the University in all the subjects prescribed in the month of November & April. At the end of the fourth semester project viva-voce will be conducted on the basis of the Dissertation/Project Report submitted by the student. The Viva-voce will be conducted by one Internal and One External Examiner. V. SCHEME OF THE EXAMINATION The scheme of examinations for the course is given in Annexure. All the practical examinations/ Project work shall be conducted & evaluated internally by the institution themselves with internal and external examiners appointed by the University. -
Quilts from Nebraska Collections
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1974 Quilts from Nebraska Collections Norman Geske Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Geske, Norman, "Quilts from Nebraska Collections" (1974). Sheldon Museum of Art Catalogues and Publications. 101. https://digitalcommons.unl.edu/sheldonpubs/101 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. QUILTS FROM NEBRASKA COLLECTIONS An exhibition presented in collaboration with The Lincoln Quilters Guild SHELDON MEMORIAL ART GALLERY UNIVERSITY OF NEBRASKA - LINCOLN September 17 - October 13, 1974 PREFACE In early America most quilts were made for utilitarian purposes. Later, when time and fabrics became more plentiful, quilt making developed into an art form which flourished during the 19th century and continues to do so today. Within the broad definition of "patchwork," three types are rep resented in this exhibition-pieced, applique and crazy. Pieced quilts are made from materials cut in geometric shapes and put to gether in pattern blocks. These blocks are repeated to form the quilt top. The designs were often of political, historical or religious events, but many also were associated with abstract visual ideas and images. "Rocky Road to California" and "Lincoln Quilt" are examples of the first category; "In diana Puzzle" and "Log Cabin" the second; "Star of Bethlehem" and "Jacobs Ladder" the third.