4-H Textile Science Textile Arts Projects. INSTITUTION Pennsylvania State Univ., Univeriity Park
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Cast on Magazine
FINISHING with Confidence – BUTTONHOLES PART 3 By Arenda Holladay This article will discuss variations on the yarn ribbing but pre-planning is required since the this version of the buttonhole. over (eyelet) buttonholes which create larger buttonhole should be placed above two purl >> buttonholes. Most of the variations require stitches. An ssk decrease should be worked To work this buttonhole: double yarn overs and are worked over several before the yarn overs and a k2tog decrease • Work the knit stitch before the stitch where rows. Several variations, representative of yarn should be worked after the yarn overs. This the buttonhole will be placed. (For K1P1 over buttonholes, are discussed below. ensures that the knit columns continue and the ribbing this should be a purl stitch.) purl stitches are hidden. Illustration 2 shows • Double YO, k2tog, complete the row. Variation 1 this variation of the buttonhole. • Next Row: Work in pattern to the yo, purl* This variation works well with many stitch the first yo and drop the second, complete patterns. Illustration 1 shows this buttonhole To work this buttonhole: row. worked in stockinette stitch. • Work to the knit stitch before the first purl • Next Row: Work in pattern to the buttonhole, stitch where the buttonhole will be placed. knit* into the buttonhole, drop the knit To work this buttonhole: • SSK stitch, complete row. • Work to two stitches before the location for • Double YO • Next Row: Work in pattern to the buttonhole, the buttonhole. • K2tog purl* into the buttonhole, drop the purl • K2tog stitch, complete row. • Double YO On the next row: • Next Row: Work in pattern as established. -
Memoirs Faculty of Engineering
ISSN 0078-6659 MEMOIRS OF THE FACULTY OF ENG THE FACULTY MEMOIRS OF MEMOIRS OF THE FACULTY OF ENGINEERING OSAKA CITY UNIVERSITY INEERING OSAKA CITY UNIVERSITY VOL. 60 DECEMBER 2019 VOL. 60. 2019 PUBLISHED BY THE GRADUATE SCHOOL OF ENGINEERING OSAKA CITY UNIVERSITY 1911-0402大阪市立大学 工学部 工学部英文紀要VOL.60(2019) 1-4 見本 スミ 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 This series of Memoirs is issued annually. Selected original works of the members 㻌 of the Faculty of Engineering are compiled in the first part of the volume. Abstracts of 㻌 㻌 papers presented elsewhere during the current year are compiled in the second part. List 㻌 of conference presentations delivered during the same period is appended in the last part. 㻌 All communications with respect to Memoirs should be addressed to: 㻌 Dean of the Graduate School of Engineering 㻌 Osaka City University 㻌 3-3-138, Sugimoto, Sumiyoshi-ku 㻌 Osaka 558-8585, Japan 㻌 㻌 Editors 㻌 㻌 㻌 Akira TERAI Hayato NAKATANI This is the final print issue of “Memoirs of the Faculty of Engineering, Osaka City Masafumi MURAJI University.” This series of Memoirs has been published for the last decade in print edition as Daisuke MIYAZAKI well as in electronic edition. From the next issue, the Memoirs will be published only Hideki AZUMA electronically. The forthcoming issues will be available at the internet address: Tetsu TOKUONO https://www.eng.osaka-cu.ac.jp/en/about/publication.html. The past and present editors take Toru ENDO this opportunity to express gratitude to the subscribers for all their support and hope them to keep interested in the Memoirs. -
Mechanism and Formation of Woven Selvage Lines
Mechanism and Formation of Woven Selvage Lines By Sei Uchiyama, Member,TMSJ Takatsuki Institute, Toyobo Co., Ltd. Takatsuki, Osaka Pref. Basedon Journalof the TxetileMachinery Society of Japan, Vol.19, No.11, T284-289(1966); Vol.19, No. 12, T309-315 (1966); Vol.20, No. 2, T49-56 (1967) ; Vol.20 , No.2, T57-60 (1967) Abstract This article discussestheoretically the mechanismof a woven selvage line and establishesbasic knowledgeabout, among other things, its dynamic construction, the differencesbetween the selvage and the body of a fabric, the process of stabilizingthe form of a selvage. interlaced to form a selvage is x,=C. This location 1. Introduction is a function of T-,, a force which pulls the selvage- formation point to the left ; and of T+,, a force which This work is an attempt to clarify the weaving pulls that point to the right. mechanism of a selvage as part of a research into the xi=f (T-1, T+1) .........(1) function of weaving. Seldom is the selvage of a fabric Assume that, with the progress of weaving cycles, specially woven. It is a by-product, so to say, of a fabric. xi transforms into, sucessively, x2, x3 and x; and is However, it should not be ignored, because it improves stabilized on reaching xn. xi, an optional point x at that the quality of a fabric, protects its ground and facili- time, is given as a function of xi-1. That is, tates the processing and handling of the fabric. It is xi=~5i-i(xi-,) believed, therefore, that establishing a theoretical basis xi-1=~Si-2(xi-2) for obtaining a uniform selvage is an undertaking of Also, practical value and will help to expand the range of x1~x2C"' "'.xi-1Cxi+1"' "'xn=xn+j reseach into weaving. -
© 2008 by Lynn D.T. Hershberger • [email protected] (If You Have a Larger Bottle Which Measures Appx
© 2008 by Lynn D.T. Hershberger http://ColorJoy.com • [email protected] ¡ ¢ £ ¤ ¥ ¦ § ¨ © © ¢ Sometimes we need to take a bottle of water along on a jaunt, but no hand is available to hold it. A shoulder-strap version is " ne for walking. However, on a bicycle or when pushing a stroller it is better to " nd a hands-free method with a short strap. # i s felted bottle bag " ts a common half-liter bottle (with hints for larger bottles). Here is a kangaroo pouch, easily accessible, for on-the-go folks with style. Intermediate (knitting in the round on DPN’s, stranded colorwork) In the round on 4 double-pointed needles (3 holding, 1 working); begun with stockinette rectangle. Double I-Cord strap with buttonhole. 1 set (of " ve) size 6.5mm / 10-1/2 US double-pointed needles (DPNs). Appx. 16 st / 4 inches stranded stockinette in the round, before felting (mine was 5 st / in stranded before blocking. Gauge is not crucial in this pattern. If you know you habitually knit very snugly or very relaxed, change needle size to adjust appropriately. (1) 100gm skein of MC1 (main color) standard knitting worsted, solid color, with appx. 220 yd to 100gm). (1) 50gm skein of contrasting CC1, with 105yd per 50gm (I actually used under 25gm) Sample in photo used Nashua Creative Focus Worsted wool/alpaca Turquoise CFW3743 (MC), and Di.Ve’ Autunno Grey/Turquoise 48162 (CC). Color Hint: Go for either warm/cool contrast or dark/light contrast. Contrast is key to success! One button (choose a% er felting, to be sure of buttonhole size) and slightly smaller plain backing button. -
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form
Lesson Guide Princess Bodice Draping: Beginner Module 1 – Prepare the Dress Form Step 1 Apply style tape to your dress form to establish the bust level. Tape from the left apex to the side seam on the right side of the dress form. 1 Module 1 – Prepare the Dress Form Step 2 Place style tape along the front princess line from shoulder line to waistline. 2 Module 1 – Prepare the Dress Form Step 3A On the back, measure the neck to the waist and divide that by 4. The top fourth is the shoulder blade level. 3 Module 1 – Prepare the Dress Form Step 3B Style tape the shoulder blade level from center back to the armhole ridge. Be sure that your guidelines lines are parallel to the floor. 4 Module 1 – Prepare the Dress Form Step 4 Place style tape along the back princess line from shoulder to waist. 5 Lesson Guide Princess Bodice Draping: Beginner Module 2 – Extract Measurements Step 1 To find the width of your center front block, measure the widest part of the cross chest, from princess line to centerfront and add 4”. Record that measurement. 6 Module 2 – Extract Measurements Step 2 For your side front block, measure the widest part from apex to side seam and add 4”. 7 Module 2 – Extract Measurements Step 3 For the length of both blocks, measure from the neckband to the middle of the waist tape and add 4”. 8 Module 2 – Extract Measurements Step 4 On the back, measure at the widest part of the center back to princess style line and add 4”. -
Placket Construction Options
Placket Construction Options 1 Type1: Two Separate Bound Edges on a rectangular stitching box The key to this structure is that the bindings are initially stitched only to the seam allowances on each side, and NOT stitched across the end, of the clipped box, which means that they, and the clipped triangle at the bottom, remain loose and can be arranged before the nal nishing to go on either side of the fabric, as well as either over or under the other, after joining them at the sides. The widths and lengths of the bindings and the space between the sides of the clipped box determine all the other options available in this most exible of all the placket types I know of. Variation 1: Both bindings t inside the stitching box If you cut the bindings so the nished, folded widths of both are equal to or smaller than the space between the initial stitching lines, as shown above, you can arrange both ends at the clipped corners to all go on one side of the fabric (right or wrong side), along with the clipped triangle on the garment. You’ll get the best results if the underlapping binding is slightly smaller than the overlapping one. This can be man- aged by taking slightly deeper seam allowances when you join this piece, so they can initially be cut from the same strip. Or, you can place one end on each side with the Both ends on RS One end on RS, Both ends on WS triangle sandwiched in between. -
Info/How to Examine an Antique Painting.Pdf
How to Examine an Antique Painting by Peter Kostoulakos Before we can talk about the examination process, an overview of how to handle an oil painting is necessary to prevent damage to the work and liability for the appraiser. The checklist below is essential for beginning appraisers to form a methodical approach to examining art in the field without heavy, expensive equipment. Although the information may seem elementary for seasoned appraisers, it can be considered a review with a few tips to organize your observational skills. When inspecting an antique painting, as with any antique, a detailed on the spot, examination should take place. A small checklist covering composition, support, paint layers, varnish, and frame is necessary. Also, a few tools such as a UV lamp, magnifiers, camera, soft brush, cotton swabs, and tape measure are needed. A "behind the scenes" investigation can tell you a great deal about the painting. The name of the artist, title of the painting, canvas maker, date of canvas and stretcher, exhibitions and former owners are some of the things that may be revealed upon close examination. Document your examination with notes and plenty of photographs. Handling Art Older paintings should be thought of as delicate babies. We need to think about the consequences before we pick one up. To prevent acidic oil from our skin to be transferred to paintings and frames, we must cover our hands with gloves. Museum workers have told me that they feel insecure using white, cotton gloves because their grip becomes slippery. I tried the ceremonial gloves used in the military to grip rifles while performing. -
Blocking Knits 101 with Faith Hale
Blocking Knits 101 with Faith Hale Chapter 1 - Blocking Knits 101 Overview - Hi there, I'm Faith. I'm a resident knitter here at Creativebug and I have been knitting for over 20 years. And one question you ask any knitter is whether or not they are a blocker. If they block their knitting. And the best ones always say yes. Blocking is one of those steps that can take a bit of time but it really lends polish to your finished garment. If you design your own knitwear, you'll want to block all of your swatches so that you can see how they'll behave when the piece is completed. In this class, we'll cover three different kinds of blocking, wet blocking, steam blocking, and spot blocking. And I'll share with you some tips for working with different kinds of yarns and different kinds of techniques. Blocking can feel a bit tedious, but it's also super meditative. And I love taking my time with it as the final step for knitwear that I'm planning myself or giving to someone else. (upbeat music) Materials - You'll need a blocking surface, which can be as simple as a bed or a piece of cardboard, but I really prefer these blocking mats. They're interlocking, you can get a budget version as kids play mats. They're made out of this foam and I really like that they break down and you can pack them up and put them away. But if you don't have access to these, you can use a guest bed or even your rug covered with a clean towel. -
4-H 168 Sewing for Fun : Leader's Guide
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Nebraska 4-H Clubs: Historical Materials and 4-H Youth Development Publications 1986 4-H 168 Sewing for Fun : Leader's Guide Follow this and additional works at: http://digitalcommons.unl.edu/a4hhistory "4-H 168 Sewing for Fun : Leader's Guide" (1986). Nebraska 4-H Clubs: Historical Materials and Publications. 338. http://digitalcommons.unl.edu/a4hhistory/338 This Article is brought to you for free and open access by the 4-H Youth Development at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Nebraska 4-H Clubs: Historical Materials and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RD2134 40677 Nebraska Cooperative Extension Service 4-H 168 Leader's Guide ~ Issued in furtherance of Cooperative Extension work, Acts of May 8 and June 30, 1 914, in cooperation with the {~\ ...,... U.S. Department of Agriculture. Leo E. Lucas, Director of Cooperative Extension Service, University of Nebraska, : . · ~ Institute of Agriculture and Natural Resources. • • • ........~ The Cooperative Extension Service provides information and educattonal programs to all people wtthout regard to race, color. nattonal or~gtn , sex or hand•cap. Sewing for Fun Introduction Four-H'ers enroll in sewing projects because they Congratulations on assuming the role of a 4-H sewing want to learn to sew. They want articles they can use project leader. Teaching young people to sew is a satis and enjoy. If leaders always expect perfection, members fying activity in which you can take part. Like most 4-H may be discouraged and lose interest. -
HEG88-237 Sewing with Stripes
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 1988 HEG88-237 Sewing With Stripes Rose Marie Tondl University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons Tondl, Rose Marie, "HEG88-237 Sewing With Stripes" (1988). Historical Materials from University of Nebraska-Lincoln Extension. 1401. https://digitalcommons.unl.edu/extensionhist/1401 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. HEG88-237 Sewing With Stripes Sewing with stripes is easier when you know what pitfalls to avoid. This Guide covers pattern selection, yardage requirements, stripe strategies and more. Rose Marie Tondl -- Extension Clothing Specialist z Pattern Selection z Yardage Requirements z Stripe Strategy z The Match Game with Crosswise Stripes z The Match Game with Lengthwise Stripes z Diagonally Striped Fabric z Pleating a Stripe z Sewing Techniques Any way you line them up, stripes make a striking fashion statement. You can be as bold or as subtle as you like with stripes. Nothing gives a garment less appeal than stripes that do not meet and match at seams. Simply defined, a stripe is a band or line which may be wide, narrow or in-between. Stripes can be horizontal vertical or diagonal, even or uneven, and one color, two color or multicolor. -
The Do-Gooder Donation Hat Knitting Pattern This Pattern Is Copyright Little Red Window Design 2016 and Is Intended for Personal Use Only
the do-gooder Donation Hat knitting pattern This pattern is copyright Little Red Window Design 2016 and is intended for personal use only. Please do not distribute, reproduce or sell this pattern or sell items made from this pattern. You can find step by step photos at: littleredwindow.com/knitting-patterns The Do-Gooder Hat Free Knitting Pattern for Donations Sizes: 0-3 months (6 months, 12 -24 months, Child) Gauge: 16 stiches = 4 inches US 10 16" or 12" circular knitting needles US 10 double pointed needles Bulky weight yarn (I used Lion Brand Tonal, but I also love their Baby's First and Homespun yarns) Yarn needle Using a long-tail cast on, cast on 40 (48, 56, 64) stitches on your circular needles. Join to knit in the round and k1, p1 in a rib stitch for 5 rounds. Then knit all rounds until the hat is 4(4 1/2, 5, 5 1/2) inches long. Decrease (distribute stitches among 3 double pointed needles and knit with the 4th): Round 1: (k6, k2tog) and repeat to the end of the round. Round 2: Knit all stitches Round 3: (k5, k2tog) and repeat to the end of the round. Round 4: Knit all stitches Round 5: (k4, k2tog) and repeat to the end of the round. Round 6: Use the fourth double pointed needle to knit all stitches for one round. Round 7: (k3, k2tog) and repeat to the end of the round. Round 8: Knit all stitches to the end of the round Round 9: (k2, k2tog) and repeat to the end of the round. -
WRAP DRESS a DIY Pattern for Use with Alabama Stitch Book, Alabama Studio Style, Alabama Studio Sewing + Design, and Alabama Studio Sewing Patterns
WRAP DRESS A DIY pattern for use with Alabama Stitch Book, Alabama Studio Style, Alabama Studio Sewing + Design, and Alabama Studio Sewing Patterns theschoolofmaking.alabamachanin.com © Alabama Chanin™ 2017 Wrap Dress Instructions 1. Baste Neckline and Armholes To ensure that the neckline and armholes don’t stretch while you’re constructing your garment, use a single strand of all-purpose thread to baste around the neckline and curved edges of each piece. 2. Add Embroidery If you choose to stencil and/or embroider your project, add this to the right side of the cut Wrap Dress top-layer pieces, and let stenciled images dry thoroughly before proceeding. Add embellishment as desired. Use one of our Alabama Studio Series books for inspiration. If you’re adding beading, avoid beading in the 1/4” seam allowance. 3. Prepare for Construction After completing embellishment, choose Inside or Outside Floating or Felled Seams (see our Alabama Studio Book Series) for your garment. You will pin with fabric’s wrong sides together for seams visible on the outside of the garment or with fabric’s right sides together for seams that are finished on the inside of the garment. When pinning knit seams for construction, it is important to follow a method we call “pinning the middle.” With right sides together for inside seams and wrong sides together for outside seams, start by pinning the top of your seam, and follow by pinning the bottom of your seam. After pinning both top and bottom, place one pin in the middle, between the two initial pins.