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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. -
CO Guide to Judging Clothing
Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation. -
Design Iterations Through Fusion of Additive and Subtractive Design
DESIGN ITERATIONS THROUGH FUSION OF ADDITIVE AND SUBTRACTIVE DESIGN A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Gordon Stumpo May 2016 i Thesis written by Gordon Stumpo B.A., Washington State University, 2014 M.A., Kent State University, 2016 Approved by Vince Quevedo, Thesis Supervisor Brian Peters, Committee Member Margarita Benitez, Committee Member Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art Mr. J.R. Campbell, Director, The Fashion School Dr. Christine Havice, Director, The School of Art Dr. John Crawford-Spinelli, Dean, College of the Arts ii TABLE OF CONTENTS Page LIST OF FIGURES ……………………………………………………………………………………….……….…….….vi LIST OF TABLES………………………………………………………………………………………...……….………..xi ACKNOWLEDGMENTS……………………………………………………………………………...………..………..xii CHAPTER I. INTRODUCTION…………………………………………………………………………………………..………….13 Concept……………………………………………………………………………………...................................13 Design Framework…………………………………………………………………………………………..…13 Surface and Structure Frameworks…………………………………………………………….….……14 Additive Design…………………………………………………………………………………………..…..….18 Subtractive Design……………………………………………………….……………………………....….…18 Tension…………….……………………………………………………………………………….…………..…..18 Price Point…………….…………………………….………………………………………………………...…..19 Personal Skills & Background…………….……………………………………………………….…..…..19 Problem Statement & -
Automator Workflow Techniques 3/4/09 8:51 AM
Apple - Pro - Techniques - Automator Workflow Techniques 3/4/09 8:51 AM Search Profiles Techniques Pro Tips Resources Automator Workflow Techniques Creating a Photo Slideshow DVD Automator Workflow Techniques By Ben Waldie Creating a Folder Watching Workflow Creating a photo slideshow DVD is easy enough with iDVD. But Automator can make it even easier. The following steps will walk you through the process of creating an Automator workflow that will scan through a Creating a Scheduled Automator Workflow folder structure of files, extracting any JPEG images, and creating an iDVD slideshow containing those images. Individually Processing Files Through an Automator Workflow Please note that this workflow makes use of an iDVD Automator action called Create Magic DVD. This action is available for free download from Automator.us and must be installed in order to run this workflow. Uploading Aperture Image Previews to an FTP Server Creating a Photo Slideshow DVD Step 1: Launch Automator, located in the When an Automator workflow is saved as an Applications folder, and create a new workflow application, it automatically becomes a drag and window. drop application. To run the workflow, drag and Creating an iWeb Photo Preview Page drop a folder structure of images onto the saved Step 2: Select the Finder category, located in the workflow application. Library list in Automator. Select the Get Folder Contents action in the Action list, and drag it into the workflow area on the right side of the Automator Downloads and Useful Links window. Select the Repeat for each subfolder found checkbox. Download the workflow described here Learn more about Automator Download more Actions and Workflows Learn about AppleScript Download the Create Magic DVD Automator Action TECSoft Automator Workshop Step 3: Locate and select the Filter Finder Items action in the Finder category, and drag it into the The workflow will scan through the dropped folder, workflow area. -
LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017
LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017 Hydrangea Embroidery - digitized by OESD adapted from Hydrangea fabric by Jackie Robinson & Benartex LLC Outer Fabric - 7/8 yd Fusible Woven Interfacing - 1-3/4 yds if 40” wide or 3-1/2 yds if 20” wide Pellon Fleece - 1/2 yd Lining Fabric - 1/2 yd Medium weight Tear-Away, preferably Ultra Clean & Tear from OESD OESD Perfect Press Cloth Begin by measuring your laptop – width, height, and thickness. MacBook is: 14.125 x 9.75 x .75 I wanted a 6” flap, 2” of gusset (it has to include that on top, plus 9.75” height for the back = 17.75” x 14.125. Add 1” to both measurements (1/4” seams plus ease for the included batting) = 18.75” x 15.125” That’s the measurement I trimed to after embroidery. Therefore, begin with a 20” x 17” for the Back & Flap. It’s large, so fuse two layers of woven iron-on interfacing to the wrong side. Double interface all the pieces for strength, as well because of embroidery on the back as well as the flap. Use two layers of stabilizer also. Flap embroidery is 5” x 12”. At the Raw edge of the flap, mark center 2.5” + .5” = 1.125” + 4.125” up from the edge. Strap - Cut fabric at least 7” x 42” Two layers of Interfacing. Place leaves as desired, with two layers of stabilizer. After stitching, trim to 6-1/8” x 36” Cut front 10.75” x 15.125”. Double Interface. -
Apple Xgrid Runs with the Wolves
Search Apple Xgrid runs with the wolves Apple Research & Technology Support Profiles in Success: Swedish University of Agricultural Sciences Programme Overview Research Opportunities ARTS Laureate Winners ARTS Institutions Swedish University of Agricultural Sciences Apple Xgrid runs with the wolves Fast results from Xgrid Cost-effective for future research Using Apple technology, the Grimsö Wildlife Research Station in Sweden is learning important techniques for sustainable management of the wolf population. Based at the Swedish University of Agricultural Sciences (SLU), the station is using an Apple Xgrid cluster system – provided by the Apple Research & Technology Support programme (ARTS) – to understand wolf demography and develop optimal management strategies. Its work will have a deep impact on how mankind interacts with these ancient but troublesome Challenges predators. Develop management strategies to “Wolf populations are expanding through natural return to past habitats in Europe, ensure wolf population viability or through reintroduction by Government agencies in the US”, explains Dr Prevent wolf extinction while Guillaume Chapron, Assistant Professor, Grimsö Wildlife Research Station at SLU. allowing for population control “They are posing problems, however - to hunters or sheep farmers, for example. So Address people and decision maker the urgent question is how we ensure wolf populations can survive, while still concerns regarding the place of allowing for some population control. Wolves have a complex ecology and the Xgrid wolves in Sweden cluster will run simulations faster than any other solution. It is critical to our Provide efficient programming and modelling environment to simulate research”. and understand wolf population ecology SLU is a modern university, designed to confront and explore many of today’s most Provide efficient programming and compelling environmental questions, “whether it is the food we eat, or the animals modelling environment to simulate we husband on our farms or love as pets, or the forests that we wander through”. -
" 47.4% Attorney United States Patent Office
C, A, TURNER. ONE BUTTON UNION SUIT, 1,204,615. APPLICATION FLED NOW, 8, 1915. Patented Nov. 14, 1916. Fig.5 INVENTOR CHARLES A TL/FNER " 47.4% ATTORNEY UNITED STATES PATENT OFFICE. CHARLES A TURNER, OF UTICA, NEW YORK. oNE-BUTTON UNION-suIT. 1,204,615. Specification of Letters Patent. Paterated Nov. 14, f$91 6, , Application filed November 8, 1915. Serial No. 60,215. To all whom, it may concern; will eliminate, the double thickness of cloth Be it known that I, CHARLEs A. TURNER, at the crotch and obviate bulkiness in this a citizen of the United States, residing at section. However, if a double flap should Utica, in the county of Oneida and State of be found desirable, a small gusset can be New York, have invented certain new and readily attached to the corresponding edge 60 useful Improvements in One-Button Union of the garment to obtain this effect. Suits, of which the following is a specifica The flap or gusset, at the back of the gar tion, reference being had therein to the ac ment, is designed to be sewed to one edge of companying drawing. the slit or opening in the rear of the garment 0 My invention relates to one button union and to extend from the top or neckportion 65 suit, and I declare the following to be a full, to the crotch. The flap is cut with a greater clear, 'concise and exact description thereof width in that part opposite the lower per sufficient to enable anyone skilled in the art manent opening of the garment, whereby to to which it appertains to make and use the prevent the accidental opening of the same 15 same, reference being had to the accompany and the consequent exposition of the body. -
Princess & the Pea Pincushions
Princess & the Pea Pincushions Materials Required Granny Square Cushion Selvage String Cushion Fabric: Fabric: • 8 - 1 3/4” squares The Sweetest Thing • Variety of strips between 1” and 1 1/2” to blue & green prints make 4” x 6” string piece • 3 - 3 1/8” squares Bleached Denim solid • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 2” x 21” strip Chevron Blue • 1 - 2” x 21” strip Chevron Blue Notions: Notions: • Sewing Machine • Sewing Machine • Fiberfill Stuffing • Fiberfill Stuffing • Vase Filler or Crushed Walnut Shells • Vase Filler or Crushed Walnut Shells • Hand sewing needle & thread • Hand sewing needle & thread • Scissors or rotary cutter • Scissors or rotary cutter 1 Granny Square Cushion 1. Cut Setting Triangles & Piece Top First, cut the three 3 1/8” squares into four quarter square triangles for setting, you will need 10 triangles for this project, two are leftover as scraps. Next arrange prints as shown and sew together in diagonal rows. Press seams in opposite directions, as shown, to make lining up points easy. Sew the rows together; then add the corner triangles to the piece. 2. Trim & Round Corners Trim the block so that 1/4” of the Bleached Denim fabric extends beyond the prints. Using a circle with a 1” diameter (I used a small spray bottle, but have provided a circle on the printer friendly pattern), draw a rounded corner on each corner triangle. Place the backing piece wrong sides together with the top and cut around the curves through both layers. -
Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company
Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company. All rights reserved. All materials contained herein are additionally protected by United States copyright law and may not be used, disclosed, reproduced, distributed, published or sold without the express written consent of Atlanta Attachment, which consent may be withheld in Atlanta Attachment’s sole discretion. You may not alter or remove any copyright, trademark or other notice from copies of these materials. Atlanta Attachment Company, AAC, Atlanta Parts Depot, “Sudden Service”, Sewing Automation, individually and when used in combination are registered trademarks of Atlanta Attachment Company. 05087011506 Welcome to Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide Equipment Indexed by Category Category Page Corporate . iv - xi Binding . 0 - 3 Border - Foundation . 4 - 11 Border - Mattress . 12 - 25 Embroidery . 26 - 27 Flanging . 28 - 35 Handle Making . 36 - 37 Label . 38 - 41 Packaging . 42 - 43 Panel Cutting / Border Slitting . 44 - 45 Quilting . 46 - 49 Repair . 50 - 51 Ruffler . 52 - 67 Serger . 68 - 73 Springs . 74 - 81 Table . 82 - 83 Tape Edge . 84 - 93 Tufting . 94 - 95 Zipper . 96 - 101 Attachments & Folders . 102 - 103 Climate Control: Cool-Space . 104 Material Handling: ZRack, Mattress Trucks . 105 Plant Information & Control System: Satelite Plus . 106 Serial Bus Control System . 107 Parts . 108 ii Equipment Index by Model Number Model Description Page 1303 . Automatic Pocket Spring Production Line . 74 1304 . Wire Straightening Machine . 76 1305 . Pneumatic Border Bending Machine . 76 1309 . Spring Unbaler . 77 1312 . Automatic Decorative Border Workstation . 12 1313 & 1313M . Automatic Pocket Spring Machine . 78 1314 & 1314M . -
Gusset Plate Stress
GUSSET PLATE STRESS Gusset plates are used in steel buildings to connect bracing members to other structural members in the lateral force resisting system. Figure 1 shows a typical vertical bracing connection at a beam-to-column intersection. Gusset plates are also used to connect diagonal members to the chords and vertical members of trusses. Fig. 1. Vertical brace connection. A large number of research projects have been dedicated to the stresses in gusset plates. The research includes laboratory tests, finite element models, and theoretical studies. Many different failure modes have been identified, and design methods and specification requirements have been formulated based on the research. Design information for gusset plates can be found in the AISC Steel Construction Manual (AISC, 2005); however, the behavior of gusset plates is very complex and cannot be fully defined by the available design procedures. Engineering judgment is critical in the design process; therefore, it is important that engineers understand the background of the guidelines. This paper provides a design-based review of the available information on gusset plates and references for engineers who want to study the topic in-depth. Only the documents relevant to the evolution of the current design procedures are presented; however, additional references are listed in the bibliography. Other aspects of gusset plate design, such as stability, calculation if interface loads, and seismic design will be presented in future papers in this series. This paper is organized into three sections: Effective Width, Normal and Shear Stresses, and Combined Stresses. Connection Design for Steel Structures Chapter 7a, Page 1 of 21 Copyright © 2011 by Bo Dowswell EFFECTIVE WIDTH Existing Literature The first major experimental work on gusset plates was done by Wyss (1923). -
The Well Dress'd Peasant
TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage -
Ideo Appointments Using Health365 and Doxy.Me
HEALTH CARE HOME ideo Appointments Using Health365 and doxy.me Virtual health involves providing clinical health displayed on the home page of the website and services, education and care to patients remotely in Portal appointment information. using emerging and new digital and . Send out a bulk email or TXT/SMS message to telecommunication technologies. The Royal New your patients. Zealand College of General Practitioners (the . Post an article on social media such as Facebook College) supports the use of telehealth and or Twitter. technology-based services where it assists GPs and rural hospital doctors to provide safe, quality 2. Type of video technologies to use and how to health care, improve health equity and increase carry out the appointment service efficiency. There are many different video solutions i.e. A video appointment is where the doctor and Vidyo; Skype for Business*. patient use information and video conferencing . Doxy.me https://doxy.me/ provides an easy, technologies to communicate with each other. secure video technology solution. Visual and audio information are exchanged in real . There are 3 pricing plans to choose from time but the doctor and patient are not physically (including a free plan) with various present in the same consultation room (The New functionalities and customisation. Zealand Medical Council). You can sign up for a trial and practice using it with colleagues or friends. WHAT TO CONSIDER WHEN OFFERING . If you are on one of the paid versions, you can VIDEO APPOINTMENTS? customise your virtual waiting room with your own text and practice logo’s. 1. Promoting the opportunity to patients .