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August 2021.Indd
Search Press Ltd August 2021 The Complete Book of patchwork, Quilting & Appliqué by Linda Seward www.searchpress.com/trade SEARCH PRESS LIMITED The world’s finest art and craft books ADVANCE INFORMATION Drawing - A Complete Guide: Nature Giovanni Civardi Publication 31st August 2021 Price £12.99 ISBN 9781782218807 Format Paperback 218 x 152 mm Extent 400 pages Illustrations 960 Black & white illustrations Publisher Search Press Classification Drawing & sketching BIC CODE/S AFF, WFA SALES REGIONS WORLD Key Selling Points Giovanni Civardi is a best-selling author and artist who has sold over 600,000 books worldwide No-nonsense advice on the key skills for drawing nature – from understanding perspective to capturing light and shade Subjects include favourites such as country scenes, flowers, fruit, animals and more Perfect book for both beginner and experienced artists looking for an inspirational yet informative introduction to drawing natural subjects This guide is bind-up of seven books from Search Press’s successful Art of Drawing series: Drawing Techniques; Understanding Perspective; Drawing Scenery; Drawing Light & Shade; Flowers, Fruit & Vegetables; Drawing Pets; and Wild Animals. Description Learn to draw the natural world with this inspiring and accessible guide by master-artist Giovanni Civardi. Beginning with the key drawing methods and essential materials you’ll need to start your artistic journey, along with advice on drawing perspective as well as light and shade, learn to sketch country scenes, fruit, vegetables, animals and more. Throughout you’ll find hundreds of helpful and practical illustrations, along with stunning examples of Civardi’s work that exemplify his favourite techniques for capturing the natural world. -
1T3 FUN to SEW Withasewing Machine
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Reference (Ref)
The Quilters’ Guild of the British Isles LIBRARY CATALOGUE – REFERENCE (REF) Shelf Author Title ISBN Copy Mark Number REF/142 (Japanese Publication) QUILTS IN BRITAIN 142 REF/163 A NEEDLECRAFT PRODUCTION QUILTING BY PENELOPE 000N53 REF/81 A NEEDLECRAFT PRODUCTION QUILTING BY PENELOPE book 2 000N52 REF/61 ADLER & BARNARD ASAFO! AFRICAN FLAGS OF THE FANTE 0-500-27684-6 968 REF/42 AGUTTER MARGARET MODERN PATCHWORK PITMANS CRAFT FOR ALL SERIES 1439 REF/140 ALLAN ROSEMARY E QUILTS & COVERLETS: The Beamish Collections 905054113 R140 REF/116 ALLEN ROSEMARY E NORTH COUNTRY QUILTS & COVERLETS FROM BEAMISH MUSEUM 0 905054 03 2 26297 REF/93 ARCHER DR BERNICE PATCHWORK OF INTERNMENT 0953-0174-5-1 000N77 REF/69 BALLARD LINDA ULSTER NEEDLEWORK 0 902588 435 99 REF/101 BALLEY JOY & BRIGHT MEMENTO FOR BRIDGET 26293 CATHERINE REF/109 BASSETT LYNNE Z & LARKIN NORTHERN COMFORT: NEW ENGLAND'S EARLY QUILTS 1780-1850 1-55853-655-8 00N1056 JACK REF/173 BERENSON KATHRYN MARSEILLE - THE CRADLE OF WHITE CORDED QUILTING 9.78E+12 262742 REF/41 BETTERTON SHIELA QUILTS & COVERLETS 950497142 1438 REF/17 BEYER ALICE QUILTING 710 REF/102 BISHOP ROBERT NEW DISCOVERIES IN AMERICAN QUILTS 0-525-16552-5 00N1055 REF/52 BLACKETT-ORD ROSEMARY THE HELBECK COLLECTION . AN EXHIBITION OF ENGLISH PATCHWORK 1629 QUILTS & COVERLET DE TOILES DE JOUE & PATTERN BOOKS REF/95 BOSTON DIANA PATCHWORKS OF LUCY BOSTON 0-905899-21-0 00N629 REF BQSG QUILT STUDIES ISSUE 1 1999 1467-2723 00N154 REF BQSG QUILT STUDIES ISSUE 3 2001 1467-2723 00N158 REF 153 BQSG QUILT STUDIES ISSUE 10 2009 REF 153 -
Sewing Machines and Sergers
Welcome To Janome Institute 2011- Your Education Connection September 3 7, at The Marriott World Center Resort In Orlando i Expand Your Horizons j How about some good news, for a change? The economic recovery has been a mixed bag for the sewing industry. Customers are buying... but they’re also holding onto their purse strings a little more tightly. They’re taking longer to make that big machine purchase. But, we’ve clearly seen, when they’re excited about a machine, they will gladly make the purchase. And that’s good news. Because at Janome Institute 2011 we’re going to unveil a machine that will cause your customers to be very excited. This top-of-the-line machine is going to redefine Janome sewing the way we did with the MC8000, MC10000, and MC11000. And it’s going to cause quite a stir among your customers. Believe me, people you’ve never seen before are going to stop by your store just to see it in person. You better have your demo ready, because you’ll be doing it a lot. (It wouldn’t be a bad idea, either, to order some extra cash register tape.) On Opening Night, Saturday, September 3rd, this machine will be revealed for the first time ever to attendees of Janome Institute 2011 in Orlando. You’re going to want to be one of them. Because starting the next day, you’ll get to try out the new machine and get the sales training and product knowledge you need to become a certified dealer. -
Hand Woven Biscornu Pincushion for MAFA 2015 Side View of 8 Sided
Hand Woven Biscornu Pincushion for MAFA 2015 Side view of 8 sided pincushion (Biscornu) Have Fun! This particular shape is called a biscornu, meaning "irregular, quirky, complicated, bizarre". And quirky it is... Originally, they were made with linen or other embroidered fabrics. The trick to this pincushion is that the two squares are sewn together, not directly on top of each other as usual, but with a relative 45 degrees rotation. That's it! Sounds easy enough, right? Here is a link to see a good video of the sewing process: A simple biscornu cushion for you to sew by Debbie Shore http://youtu.be/l79t_Q1NJiA Instructions: First: Cut 2 squares 4 1/2" x 4 1/2"of handwoven fabric (matching fabric or contrasting fabrics. Be creative!). Stabilize handwoven fabrics with fusible interfacing if necessary. Use 1/4" seam allowances throughout this project. 1. fold each square in half lengthwise and widthwise and finger press, then make a small clip or notch at the edges to mark the half-way point on each edge 2. With right sides together, place one square on top of the other so that the top square’s side edge is positioned 1/4″ to the left of the half-way mark on the top edge of the lower square. Make sure the parallel raw edges are aligned. 3. Using a 1/4″ seam allowance, begin stitching at the half-way point of the lower square, moving towards the corner. Stop 1/4″ before you reach the corner of the lower square. 4. Here comes the tricky part. -
American Quilts
CATALOGUE AMERICAN QUILTS 1819 -- 1948 From the Museum Collection Compiled by Mildred Davison The Art Institute of Chicago, Department of Decorative Arts Exhibition April 20, 1959 - October 19, 1959 AMERICAN QUILTS 1819 - 1948, FROM THE MUSEUM COLLECTION The Art Institute of Chicago, April Z0 1 1959 --October 19, 1959 Although patchwork has been known and practised since ancient times, nowhere has it played such a distinctive and characteristic part as in the bed covers of early America where it added the finishing touches to eighteenth and nineteenth century bed chambers. The term "patchwork" is used indiscriminately to include the pieced and the appliqued quilts. Pieced quilts are generally geometric in pattern being a combination of small patches sewn together with narrow seams. The simplest form of pieced pattern is the eight-pointed star formed of diamond shaped patches. This was known as the Star of Le Moyne, named in honor of Jean Baptiste Le Moyne who founded New Orleans in 1718, and from it was developed numerous others including all of the lily and tulip designs. In applique quilts, pieces were cut to form the pattern and appliqued to a back - ground material with fine hemming or embroidery stitches, a method which gave a wider scope for patterns. By 1850, applique quilts reached such a degree of elaboration that many years were spent in their making and they were often intend ed for use as counterpanes. The most common fabrics for quilts were plain and figured calicoes and chintzes with white muslin..., The source of these materials in early times and pioneer communities was the scrap bag. -
Fons and Porter's Love of Quilting TV Supplies Series 1700 Page 1 Sewing Machine for the Series Was the Baby Lock Symphony
Fons and Porter's Love of Quilting TV Supplies Series 1700 Page 1 Sewing machine for the series was the Baby Lock Symphony. The sewing center is provided by Koala Cabinets. For piecing, we use the 1/4” quilting presser foot or the monogramming presser foot. We use basic sewing supplies such as fabric, rotary cutters, and scissors, plus specific items listed below. We wear a Klutz cut-resistant safety glove when rotary cutting, press with an Oliso Iron, and measure using Omnigrid, and Fons & Porter rulers. Patterns and instructions for quilts featured are in Love of Quilting or Easy Quilts magazine or as listed. We now have DVD's available for our TV shows beginning with the 400 series. SERIES 1700 LOVE OF QUILTING SHOW DESCRIPTIONS Our newest series includes several great techniques including mitered corners, tiny piped binding utility quilting, fabric weaving, paper piecing larger blocks, and how to make a quilter’s caddy to hold your quilting tools. All the episodes have great projects and wonderful techniques. 1701 – Amish Triangles Marianne and Mary share how to change the size of a simple patchwork quilt pattern. They also demonstrate utility quilting for flannel quilts. Quilt instructions featured in Easy Quilts Fall 2010 Quilts on Set: Amish Triangles by Debby Kratovil and quilted by Connie Gallant – this quilt used Gees Bend Hand Dyed Solids Plaid Triangles by Marianne Fons & Hannah Fons Supplies: Fons & Porter Rotary Cutter Fons & Porter Klutz Glove Fons & Porter Glass Head Pins Fons & Porter 8” x 14” Ruler Fons & Porter Mariner’s -
Clothes Without Bodies: Objects, Humans, and the Marketplace in Eighteenth-Century It-Narratives and Trade Cards
&ORWKHVZLWKRXW%RGLHV2EMHFWV+XPDQVDQGWKH0DUNHWSODFH LQ(LJKWHHQWK&HQWXU\,W1DUUDWLYHVDQG7UDGH&DUGV &KORH:LJVWRQ6PLWK Eighteenth-Century Fiction, Volume 23, Number 2, Winter 2010-11, pp. 347-380 (Article) 3XEOLVKHGE\8QLYHUVLW\RI7RURQWR3UHVV DOI: 10.1353/ecf.2010.0020 For additional information about this article http://muse.jhu.edu/journals/ecf/summary/v023/23.2.smith.html Access provided by Virginia Community College System (30 Sep 2015 15:38 GMT) Clothes without Bodies: Objects, Humans, and the Marketplace in Eighteenth-Century It-Narratives and Trade Cards Chloe Wigston Smith abstract While recent studies of the things of literature call attention to the narrative and psychological slippage between people and their posses- sions, this essay argues that rather than representing a loss for human agency, humans and things intermingle to the disadvantage of objects. I show how trade cards and object narratives engage with the same nexus of commercial culture, objects, and humans, and share a mutual resistance to “autonomous garments”—petticoats, shoes, gowns, and other garments depicted independently of the human form. Object narratives, read in tandem with trade cards, suggest that the growth of distance between persons and things, as opposed to their collapse into each other, constitutes a central narrative in the period’s commod- ity culture and fiction. Object narratives, even as they transform coats, waistcoats, petticoats, slippers, and shoes into first-person narrators, actively work against the entanglement of human and material spheres. Together these genres place sartorial commodities under human con- trol, emphasizing the human subject’s agency over those items worn closest to the self. in recent years, things have captured the imagination of eighteenth-century scholars. -
THE POLKA DOT PINCUSHION September - December, 2010
Volume 5, Issue 3 THE POLKA DOT PINCUSHION September - December, 2010 Dear friends, September, 2010 Inside this issue: We certainly have had a long, hot summer. It seems that each day brought either record temps or record humidity. I never had the chance to say, “Well, at least it‟s a dry heat.” That didn‟t happen this News and Views 1 year. Is it just my imagination or did we go directly from April to August without stopping in May, June and Class Listings 2 July? I hope we don‟t go directly to December without stopping at the months in between. They are my Calendar 3 favorites. I love the “start over” feeling in September when all the yellow busses are on the road and I can Calendar 4 hear the marching band practicing at the high school. October always reminds me of the gnarled apple tree in my parents‟ backyard that was just right for climbing. When I got home from school, I would take a book, Class Listings 5 climb the tree, pick an apple and sit. The anticipation of celebrations that begin in November are always Special Notes 6 painted in jewel-toned colors. And of course, December: frantic, fun, sometimes dysfunctional, yet always Special Events 7 memorable. Well, September is here and I love the changes that it will bring. What does this have to do with The Polka Dot Pincushion, you ask? Even if you didn‟t ask, I‟ll tell you. We have lots of changes in At The Polka Dot store. -
Patricia Cox Crews
1 PATRICIA COX CREWS The University of Nebraska-Lincoln Department of Textiles, Merchandising & Fashion Design Lincoln, Nebraska 68583-0802 Office: (402) 472-6342 Home: (402) 488-8371 EDUCATION Degree Programs 1971 B.S., Virginia Tech, Fashion Design and Merchandising. 1973 M.S., Florida State University, Textile Science. 1984 Ph.D., Kansas State University, Textile Science and Conservation. Other Education 1982 Organic Chemistry for Conservation, Smithsonian Institute Certificate of Training (40 hours). 1985 Historic Dyes Identification Workshop, Smithsonian Conservation Analytical Lab, Washington, D.C. 1990 Colorimetry Seminar, Hunter Associates, Kansas City, MO. 1994 Applied Polarized Light Microscopy, McCrone Research Institute, Chicago, IL. 2007 Museum Leadership Institute, Getty Foundation, Los Angeles, CA. PROFESSIONAL EXPERIENCE 1984- University of Nebraska-Lincoln, Willa Cather Professor of Textiles, 2003-present; Founding Director Emeritus, International Quilt Study Center & Museum, 1997- 2013; Professor, 1996-present; Acting Chair, Dept. of Textiles, Clothing & Design, 2000; Chair, Interdisciplinary Museum Studies Program, 1995-1997; Associate Professor, 1989-1996; Assistant Professor, 1984-89. Courses taught: Textile History, Care and Conservation of Textile Collections, Artifact Analysis, Textile Dyeing, and Advanced Textiles. 1982 Summer Internship. Smithsonian Institution, National Museum of American History-Division of Textiles. 1977-84 Kansas State University, Manhattan, Kansas, Instructor of Textiles. 1976-77 Bluefield State College, Bluefield, West Virginia, Instructor of Textiles and Weaving. 1975 Virginia Western Community College, Roanoke, Virginia, Instructor of Textiles and Weaving. 1973-74 Oregon State University, Corvallis, Oregon, Instructor of Textiles. HONORS AND AWARDS 2013 Reappointed to Willa Cather Professorship in recognition of distinguished scholarship. 2009 University of Nebraska, College of Education & Human Sciences Faculty Mentoring Award. -
A Sampling of Uncommon Decoration by Montgomery Artists & Artisans Past & Present
Montgomery Historical Society P.O. Box 47 Montgomery, VT 05470 [email protected] www.montgomeryhistoricalsociety.org Creative Montgomery: A Sampling of Uncommon Decoration by Montgomery Artists & Artisans Past & Present Illumination Titus Livius - History of Rome (circa 1990s) by Carl Tcherny Lion (circa 1980) by Carl Tcherny § Early American Decoration Award Winning Theorem Reproduction by Parma Jewett (2012) Based on a circa 1740s original. Victorian Flower Painting Covered Bridge Mail Box (2006) by Parma Jewett Reverse Glass Painted Game Table (circa 1900) by Savanard Jewett Stenciled Linens (circa 1950) by Marion Towle Theorem Painting Demonstration by Parma Jewett § Sewing & Quilts “Montgomery Flower Garden” (2014) by members of the Franklin County Quilters Guild Nine Patch on Point with Sashing (circa 1890) maker unknown hand pieced and hand quilted. (acquired at Pratt Family Auction in Montgomery) Quilt Block Decorated Covered Bridge Mail Box by Montgomery Quilting Circle (2006) Hand Quilting Demonstration by Sharon Perry The MHS Exhibit A recent national survey ranks Vermont third in the nation with the number people who self - identify as artists. Some would say you can’t drive down a dirt road in Vermont without bumping into one (or more), so it’s no surprise that some pretty interesting stuff can be found in almost every nook and cranny of the State. The Montgomery Historical Society exhibit focuses on decoration, whether by artist, artisan, or Everyman. In choosing our objects we hoped to display memorable things the viewer would not see anywhere else, and one might be surprised to discover coming out of rural Vermont. It includes the centuries old Illumination technique, early American decoration, quilting and contemporary examples of each. -
Diamond Pincushion
Diamond Pincushion You will need two fabrics for this pincushion. The top fabric (Fabric 1) is fussy-cut to create a distinctive pattern on top of the pincushion. This makes it a bit difficult to suggest an exact amount of fabric needed, but a generous approximate has been suggested in the materials list. For the English paper piecing technique, we have tacked (basted) the seam allowance around the edges but you could use paper piece glue instead. Materials • Fabric 1: approximately 8in (20cm) wide x 8½in high (21.5cm) – Flowerleaf Blue (100242) Bon Voyage collection • Fabric 2: 10in (25.5cm) wide x 5½in high (14cm) – Cookie Stripe Blue (130062) Tea Towel collection • Thick photo paper or stiff paper, for example, 150g–250g weight • Hand sewing needle and threads to match fabric • Fiberfill or wool filling for stuffing Making the Pincushion 1 On the pattern sheet, the tall diamond shape is for the fussy-cut top of the pincushion, while the wider, fatter shape with a dotted line is for the base. The dotted line shows where you will need to press the edge later, to give the pincushion its pyramid shape. Using the thick paper, cut out four of each shape. 2 On Fabric 1, place the diamond paper shapes on the wrong side of the fabric, positioning the shapes exactly on the same patterned area of the fabric (see Fig A). For Fabric 2, position the paper patterns as shown. Trace around the shapes and then cut them out with a ¼in (6mm) seam allowance. Fig A 3 Place the paper shape against the wrong side of the fabric shape, fold the seam allowance around the paper edge and tack (baste) through all the layers to attach (Fig B).