Gingham Chicken Scratch Cat Patterns Free Download Design Your CHICKEN SCRATCH EMBROIDERY Patterns with These 4 Stitches
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Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
"Alphabet 11 - Outline" by Katherine Martin Tripp
"Alphabet 11 - Outline" by Katherine Martin Tripp x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x Copyright Alphabet 11 - Outline at www.better-cross-stitch-patterns.com "Alphabet 11 - Outline" by Katherine Martin Tripp Copyright Alphabet 11 - Outline at www.better-cross-stitch-patterns.com Alphabet 11 - Outline Author: Katherine Martin Tripp Company: Extra Mile Mercantile Copyright: Katherine Martin Tripp Website: www.better-cross-stitch-patterns.com Fabric: Evenweave Grid Size: 112W x 90H Design Area: 7.79" x 6.21" (109 x 87 stitches) Legend: [2] DMC 3834 grape - dk Backstitch Lines: DMC-3834 grape - dk In the Photograph: The "Alphabet 11", as shown in the photograph, is stitched on 14-count Aida using DMC floss. It was originally designed to be stitched in outline, using backstitches alone. However, it can also be filled in with cross stitches. You can see an example in the letters "A" and "B" stitched at the bottom of the chart.. Outline only: • 1 strand for backstitches Filled in: • 2 strands for cross stitches and partial stitches • 1 strand for backstitches Description: Outline Letters, script/italics Characters Included : • Upper Case Letters • Lower Case Letters • Numbers • Punctuation Height: • The upper case letters are 7 stitches high. • The lower case letters without ascenders or descenders (ex: a, c, o) are 5 stitches high. -
Xstitch Pro for Windows Manual
Platinum For Mac OSX Plus edition Copyright D. Peters 2015 Rev. 1.00 ii Platinum For Mac OSX 1 - Introduction.................................................................................1 2 - Running XSPro...........................................................................3 3 - Commands...................................................................................5 4 - Text to Stitches..........................................................................75 5 - Creating Fonts .........................................................................79 6 - Objects......................................................................................83 7 - Motifs........................................................................................87 8 - Printing......................................................................................95 9 - Digitising for Machine............................................................117 10 - Colours....................................................................................121 11 - DP Frame ...............................................................................127 12 - Hardanger Design....................................................................131 13 - Colour Range Editor...............................................................133 14 - Settings....................................................................................139 15 - Technical Support...................................................................141 S1 - Template Format.....................................................................143 -
Folk Art Teddy Bear.Wps
Folk Art Teddy Bear by Missy B a lla n c e o f C r a f t y C a r n iv a l h t t p : / / m issyba lla n c e . c o m © 2007 This pattern is intended only for personal use and not for resale. Please do not sell the items you make from this pattern. Su p p lie s: 2 large scraps of darker mohair (each piece should be about 8” tall by 6” wide small scrap of light mohair (2” x 3”) perle cotton matching the two colors of mohair and black (2) 6mm glass shoe button eyes, or similar (plastic safety eyes for a child’s toy or dog toy) poly-fil stuffing (it’s the best…. never use anything but poly-fil!!) ribbon for trim basic sewing supplies comb sharpie marker optional: hemostats for turning and stuffing. jingle bells Please read all the directions before you get started. print the template for the teddy bear onto heavy duty paper such as cardstock, and cut him out Place your two large scraps of mohair with right sides together. The knap of the hair should be pointing down. Using a sharpie or marker, trace the pattern piece onto the mohair. SEW ON THE LINE leaving an opening at teddy’s side for turning and stuffing. Now that he is all sewn up, trim him out leaving about ¼” seam allowance. Clip the corners and curves. Turn teddy right side out. (I like to use hemostats for this. They are a tool that looks like scissors, but they grab instead of cut) Stuff him full of poly fil stuffing using these hemostats to help get the stuffing into the ears and limbs! As you’re stuffing add small jingle bells to his belly area. -
1811 DOLL CLOTHES Fabrics: Broadcloth, Cotton Types, Gingham
. L.LJ -0::: 11 L.LJ 18 DOLL CLOTHES VETEMENTS POUR POUPEES DE 45.Scm (./) (./) • ~~~~~~~~~~~~~~~~~~~~~- zz u:::: L.LJ • Fabrics: Broadcloth , Cotton Types , Gingham , Linen Types. B Shirt also in Tissus: Popeline, Cotonnades, Vichy, Toile de Lin. B Chemise e,n Jersey ~g 36 PIECES Interlock, Jersey. B Hat in Double Knit, Fleece. B Scarf also in Chiffon. Interlock, Jersey fin. B Chapeau en Jersey Double, Molleton. B Echarpe ~ ~ C Overskirt also in Organza. D Bodice Overlay, Shoulder Straps and Slip en Mousse I ine. C Dessus-de-Jupe en Organza aussi. D Dessus de ~ ~ Ruffle in Novelty Sheers. Corsage, Bretelles et Valant du Jupon en Tissus Transparents. ~ ~ ~~~~~~~~~~~~~~~~~~~~~- 2zmo 11 11 A Jacket- %yd. of 45 or 60 ** A Manteau- 0.40m de 115cm ou 150cm** ~~ 11 11 Pants- ~ yd. of 45 or 60 ** Pantalon- 0.40m de 115cm ou 150cm** ~ ~ Apron- %yd. of 45 11 or 60 11 ** purchase same amount for apron lining Tablier- 0.30m de 115cm ou 150cm** achetez la meme quantite que pour ~ ~ Ar la doublure du tablier ~ 8 (./) 11 11 Hat-~ yd. of 45 or 60 ** Chapeau- 0.40m de 115cm ou 150cm** ~ ~ Notions: One pkg. of piping, three small snaps, six %11 buttons,% yd. of Mercerie: Un paquet de lisere, trois petites pressions, six boutons de lcm, ~ ~ 11 11 1 ~ wide elastic, lYs yd. of ~ wide double fold bias tape, one large iron-on 0.60m delastique de 6mm de large , 1.00m de ruban de biais double de ~~ applique, one small iron-on applique. 6mm de large, un grande application acaller au fer, une petite application ~ g: 0 z A aco Iler au fer. -
Journal 33.Pdf
1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 33 APRIL 30, 2010 / VAISAKHA 2, SAKA 1932 2 INDEX Page S.No. Particulars No. 1. Official Notices 4 2. G.I Application Details 5 3. Public Notice 11 4. Sandur Lambani Embroidery 12 5. Hand Made Carpet of Bhadohi 31 6. Paithani Saree & Fabrics 43 7. Mahabaleshwar Strawberry 65 8. Hyderabad Haleem 71 9. General Information 77 10. Registration Process 81 3 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 33 of the Geographical Indications Journal dated 30th April 2010 / Vaisakha 2, Saka 1932 has been made available to the public from 30th April 2010. 4 G.I. Geographical Indication Class Goods App.No. 1 Darjeeling Tea (word) 30 Agricultural 2 Darjeeling Tea (Logo) 30 Agricultural 3 Aranmula Kannadi 20 Handicraft 24, 25 & 4 Pochampalli Ikat Textile 27 5 Salem Fabric 24 Textile 6 Payyannur Pavithra Ring 14 Handicraft 7 Chanderi Fabric 24 Textile 8 Solapur Chaddar 24 Textile 9 Solapur Terry Towel 24 Textile 10 Kotpad Handloom fabric 24 Textile 24, 25 & 11 Mysore Silk Textile 26 12 Kota Doria 24 & 25 Textile 13 Mysore Agarbathi 3 Manufactured 14 Basmati Rice 30 Agricultural 15 Kancheepuram Silk 24 & 25 Textile 16 Bhavani Jamakkalam 24 Textile 17 Navara - The grain of Kerala 30 Agricultural 18 Mysore Agarbathi "Logo" 3 Manufactured 19 Kullu Shawl 24 Textile 20 Bidriware 6, 21 & 34 Handicraft 21 Madurai Sungudi Saree 24 & 25 -
Stitch Spotlight: Alicia's Lace Variations by Diane Snyder
Stitch Spotlight: Alicia's Lace Variations by Diane Snyder One of my hands-down favorite stitches to use is Alicia's Lace Variations. As its name suggests, it works well for a lacy effect on clothing such as collars and dresses or textiles such as curtains and linens. The basic structure of diamond shapes is very easy to compensate because the diagonal stitches are over only two threads so the compensating stitch will be a single tent stitch in the correct orientation to match the pattern. I find it a very versatile stitch because of all the variations that can be used within the basic diamond shapes. You can leave the open areas as they are; this produces a very light and airy stitch perfect for backgrounds. The weight of the thread or the number of strands determines how much open canvas reads visually in the overall texture. Adding a single upright stitch over two threads in the center of the diamond adds more texture and makes the overall pattern denser; again, the choice of thread weight or strands will determine how dense or open the overall pattern appears. You may choose to fill every diamond shape, every other diamond shape or row in a pattern, or add the uprights randomly throughout. My favorite way to use this stitch is for skies. On an 18-mesh canvas, I like using two strands of a subtly overdyed silk that matches the canvas color. In areas where I want the sky to seem lighter I'll work the diamond shapes with the space between left open; in areas where I want the sky darker I'll add the uprights in the center. -
Twilight Collection 94
WELCOME When selecting a finely made rug, your choice of color and design imparts a unique sense of context to your personal decorating style, transforming any room into an enchanting portrait of elegance. Color and design are important elements, but of equal importance is size. To truly make a statement, the rug should be sized to your living space. With more than three decades of expertise in producing incomparable luxury carpets for the sophisticated home, Nourison brings you their newest program – Fifty to Infinity. A unique offering of high fashion rug collections, each unrivalled for exquisite design, meticulous craftsmanship, and quality… all custom sized to your needs. All of the styles in this book are available in an unprecedented fifty area rug sizes and shapes. Choose from squares, rounds, rectangles, octagons and runners, accent sized to oversized. Need something truly unique? Custom sizes are available as well. Once your selection is made, your rug will be custom cut, serged and finished to your size specifications, all within two weeks of your order. For the discriminating consumer, this book presents an unparalleled design resource for today’s uptrend lifestyle. In these exceptional collections, you will find the perfect pattern and colorway to enrich and enliven any fashion environment. In each distinctive design, you will discover a flawless interplay of select luxury materials and sophisticated production techniques such as sumptuous New Zealand wool for incomparably lavish texture and luminous sheen, custom-spun and dyed yarns to create subtle accents of light and shade, hand carving and sculpting that endow a design with surpassing dimensional appeal and meticulous hand washing to impart the delicate patina that is the signature of the world’s finest carpets. -
Basic Blackwork Class – HL Anja Snihová Camarni
Basic Blackwork Class – HL Anja Snihová Camarni I’m including in this handout a couple of different ways of explaining “how-to” in blackwork, because not every explanation works for every person. Also, please excuse the crass commercial plugs. I didn’t have time to completely re-write, so pretend that this somebody else’s. Which it is! Anja and MaryAnne are not the same person. <grin> MaryAnne Bartlett is a 21st century woman, making a living by writing and researching, designing and selling blackwork designs and products. Anja Snihova’ was born in the late 14th century and due to the potions that her alchemist husband makes, survived into the early 17th century! Beginning Blackwork Blackwork is a counted thread technique made popular in England in the 1500's by Catharine of Aragon, the Spanish first wife of King Henry VIII of England. It was immortalized in the incredibly detailed portraits done by the court painter, Hans Holbein, whose name is give to the stitch used, which is just a running stitch that doubles back on itself at the other end of its "journey". Blackwork can be anything from a simple line drawing to the complex pattern of #10 below, and on to designs so complex no one seems to know how to do them! It was usually done with silk thread on a white even-weave linen, and despite the name of the technique, was done in every colour of the rainbow, although black was the most popular colour, followed by red and blue. The most peculiar thing about this technique is that, done properly, the design repeats on both the right and wrong sides of the fabric, making it perfect for collars, cuffs, veils and ribbons where both sides need to look nice! Blackwork Embroidery Instructions 1. -
Imagine Downloading an Exclusive Quilt
Standard Online Quilt Magazine – Vol. 4 No. 6 Online Quilt Magazine .com Use The Sun Book Review – To Create “How Tea Cosies Beautiful Change d The Fabric World” 8 Tips For PROJECT – Safety With Chicken Rotary Scratch Table Cutters Topper © Online Quilt Magazine.com All Rights Reserved P a g e | 1 Standard Issue Vol.4 No. 6 – June 2013 Standard Online Quilt Magazine – Vol. 4 No. 6 Online Quilt Magazine Table of Contents Did You Know That the Sun Can Create Beautiful Fabric? ….……………………………………………………………..…………….………………...….. Page 4 PROJECT – Chicken Scratch Table Topper ………………….……...…………….…..………………………………………………………….…….……………… Page 7 What’s New from the Fat Quarter Shop ………………………………………………………………………………………………………..……………….……… Page 19 8 Tips For Safety With Rotary Cutters …….…………………………………………………………………………………….…………………………………….…. Page 21 Book Review – “How Tea Cosies Changed The World” by Loani Prior …………………………………..………………………..…….………….……. Page 23 Reader “Show and Tell” ………………………………………………………………………………………………………………………………….………………...….. Page 25 Recipe – Chocolate Self-Saucing Pudding/Dessert ……………………………………………………………………………………………………………....… Page 28 BLOCK OF THE MONTH – Cross 4 Block ……………………….......................................................... ................................................... Page 30 Today's Tips.............................................................................................................................................. ................................... Page 33 YES – We Want To hear From You......................................................................... -
Chicken Scratch Fabric
GENERAL DIRECTIONS FOR CHICKEN SCRATCH FABRIC Chicken Scratch is usually worked on gingham check in order to give it the lacy appearance which has made it so popular. Any of the woven or printed ginghams can be used for working Chicken Scratch. When working with most of the 1/8 inch and 1/16 inch ginghams, all that I have found are rectangles and not squares. Therefore, before starting your work, you must determine the square count per inch of your gingham. If you do not deter- mine the count before you start, you may not cut enough material to Finish the design! With a ruler, count the number of squares in one inch of fabric from side to side, and then from top to bottom. On 1/8 inch checked gingham, you will usually find that you have eight checks from side to side (selvage to selvage) and seven checks from top to bottom. This will vary according to the size of the check of the gingham, and from manufacturer to manufacturer. Always measure to be safe! Once you have determined the number of checks per inch in the height and width of your fabric, then divide by the determined number into the stitch count of the design in order to determine the amount of fabric you need to cut. We generally recommend that you have eight (or sixteen) checks per inch for the width of the design. For example - the stitch count of the design that you want to work is 88 stitches wide and 77 stitches high. -
ALL ABOUT PLAIDS Jane Williamson Clathing Specialist
ALL ABOUT PLAIDS Jane Williamson Clathing Specialist NORTH DAKOTA STATE UNIVERSITY CI RCULARA·492 MAY 196 Plaid, have a~renn;al Ch~~II~h~~~!~~~~'~!~~d~I~~n c clothing. In 1822 King George IV suggested revival of and women for many years. One feels comfortable and tartans and many "original" tartans were invented. at home with most plaids, yet each season brings re freshingly new ways of using them. In the spring the Of the tartans in use today there are three general pastel ginghams seem perky and cool while in the fall, classes, the clan tartan, the dress tartan and the hunt plaid wools are warm looking and bright. ing tartan. The clan tartan is for general use, the dress tartan, in lighter colors, for the ladies and the There are many interesting ways that plaid fabrics can hunting tartan in. colors easily camouflaged. These be used to look their best. Whether buying a ready colorful tartans have come down through the pages of made garment or planning to make one, you will find history as constant favorites on the fashion scene. that there are some important things to consider if you want to have the best looking garment for the money ALL ABOUT CHECKS you spend. Most checks also came from Scotland. The district checks are named for the valleys or mountains in the Plaids come to us from many lands. Two of the most various districts of Scotland. The original pattern was influential areas have been Scotland and India. A look the shepherd check in black and white, and it is older at the history of plaids in these two countries will than the district check patterns, which date from the point up some of the reasons for their continuing popu mid-19th century.