DOCSLIB.ORG

Textileartist.Org Stitch Challenge 2020 Workbook Collection

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Textileartist.Org Stitch Challenge 2020 Workbook Collection TextileArtist.org Stitch challenge 2020 Workbook collection Featuring challenges from world-renowned artists: Sue Stone, Cas Holmes, Emily Tull, Richard McVetis, Emily Jo Gibbs, Anne Kelly & Christine Chester A freebie from TextileArtist.org 1 TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Preparing your sample " " 1 20cm / 8 12 15cm / 6 20cm 15cm / 8" / 6" Cut a square of fabric measuring Mark out a square measuring 15cm x 15cm 20cm x 20cm, which is about 8" x 8". or 6" x 6" using a pencil and a ruler. 3 7.5cm / 3" 7.5cm / 3" Divide the square into four equal areas measuring 7.5cm x 7.5cm or 3" x 3". Limitations & goals Choose one hand-stitch only to fill all four areas of the grid. My hand stitch choice is Your goal is to make each area of the grid as distinctive and different as possible using that one hand stitch. TextileArtist.org community stitch challenge 2 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Variants To achieve your goal you can experiment with: Spacing The spacing in between stitches The spacing in between rows of stitches The length of the stitches themselves Vary the way the stitches relate to one another spatially. Which of these variants will I experiment with on my sample? TextileArtist.org community stitch challenge 3 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Variants Thread choice and combinations • Vary the textures of the threads you choose. • Vary the weights of the threads you choose. • Vary the colours of the threads you choose. • Vary the tones of the threads you choose. Which of these variants will I experiment with on my sample? How many different threads will I use to create my sample? What are my thread choices? TextileArtist.org community stitch challenge 4 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Variants Direction of stitch Horizontal stitches Vertical stitches Diagonal stitches Curved stitches Circular stitches Which of these directions of stitch will I use to create my sample? TextileArtist.org community stitch challenge 5 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Challenge examples: Spacing TextileArtist.org community stitch challenge 6 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Challenge examples: Spacing Sample by Emma Seaton Sample by Kerry Souter Sample by Jenny Berman Ross Sample by Hilary Blackburn Sample by Ruth Thompson Sample by Silvia Merletto TextileArtist.org community stitch challenge 7 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Challenge examples: Threads Sample by Majo van der Woude Sample by Nancy Nordquist Sample by Liz Gregory Sample by Liz Gregory Sample by Christa Hülsmann Sample by Anita Yearsley TextileArtist.org community stitch challenge 8 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Challenge examples: Direction Sample by Marie Astier Sample by Nancy Nordquist Sample by Anita Bruce Sample by Anita Bruce Sample by Marie Astier Sample by Liz Gregory TextileArtist.org community stitch challenge 9 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Notes TextileArtist.org community stitch challenge 10 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 1 Week one: Sue Stone workbook Notes TextileArtist.org community stitch challenge 11 Week one: Sue Stone workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Extreme stitching: What we value “My limited use of embroidery stitches provides textural interest to my mixed media cloth pieces. I create collages of layered fabric, paper and stitch as ‘loosening up’ exercises. This is an integral part of my process when working on landscape inspired work which contains a mix of machine and hand stitch. © Cas Holmes During these forthcoming weeks of isolation we will all be drawn to explore the landscape of our homes. The objects we have collected are sometimes decorated with patterns and colours reflected in nature and often carry with them memories of places visited, tea with friends and family. This challenge asks you to use these objects as inspiration for an exploration of cloth and paper as a surface for hand stitching. Following on from Sue Stones’ excellent introduction this week’s challenge will give you an opportunity to apply simple stitches to create a stitched collage sample. I’ll be encouraging you to use variations of straight stitch similar to techniques used to make quilts in the West and as seen in the Japanese arts of Boro and Sashiko and in Indian Kantha.” Cas Holmes TextileArtist.org community stitch challenge 1 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook What you’ll need A range of collected cloth such as parts of clothing, patterned and plain fabric combined with paper, (brown wrapping paper, magazines and tissue) provide the working surfaces. Maybe you also have some dyed and painted cloth in your stash? • A small piece of calico/linen/cotton • Objects for reference or photographs to use as a base (Postcard size) • A piece of good quality watercolour • A selection of threads paper or card • Scissors, pins and needles suitable for your cloth TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook The challenge 1 Select an object or objects from around the home or an image as inspiration for the exercise. 2 Use a small piece of calico, linen or cotton fabric as a base for your collage – around postcard size. 3 Having collected scraps and offcuts of fabric and/or paper, start to pin some of these pieces to your base fabric to create a background collage as a starting point and to provide a background for your object. You can cheat and use a glue stick however, I prefer to feel the cloth and paper for this process. 4 Use simple straight stitches to hold down the pieces of fabric and paper. I often crumple strong paper to give it a textural feel and to make it easier to stitch through. 5 Cut out a simple shape in fabric or paper based on one of the objects you have selected and pin in place. You can cut it freehand or you can trace a shape from a drawing or photograph you have taken of the object and use that as a template. 6 Attach the shape to your collage background with thread and explore how the variation of straight stitch can create a simple textural pattern for the object. 7 Next you could begin to incorporate some other stitches into your piece but remember textile artist Constance Howard’s advice – there is huge potential in a limited range of simple stitches. 8 When you are satisfied with your composition hand stitch your piece to good quality watercolour paper or card. TextileArtist.org community stitch challenge 3 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Tips for exploration Look at stitch as a means of creating line and mark. How can you use it to define shapes? How might you incorporate some of the following techniques? • Running stitch • Cross stitch • Darning • Backstitch • Couching Explore how fabric and paper can be manipulated: • Torn • Rolled • Creased • Cut • Twisted Consider how colour, texture, tone relate to the work and the object of inspiration. How can you work with the following? • Contrasts, neutrals, black and white • Colours: Bold, restful, contrast, warm, cool • Textures: Floral, plaid, plain, textured weave, stitch, lace TextileArtist.org community stitch challenge 4 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Example work TextileArtist.org community stitch challenge 5 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Example work TextileArtist.org community stitch challenge 6 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Example work TextileArtist.org community stitch challenge 7 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Notes TextileArtist.org community stitch challenge 8 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 2 Week two: Cas Holmes workbook Notes TextileArtist.org community stitch challenge 9 Week two: Cas Holmes workbook TextileArtist.org community stitch challenge 3 Week three: Emily Tull workbook Observational skills “This challenge is not just about stitching but also our observational skills, inspired by a school teacher I had at nine years old. I was taught to really observe a subject before drawing it. In that particular school lesson the subject was the eye. In my own artwork the eye is the crucial starting point, whether it is an animal or human. And it all starts with studying the subject up close.” Emily Tull What you’ll need • A mirror, camera/photograph or willing model • A hand sewing needle • An embroidery hoop • Scissors • Pencil, chalk or pen • Black, white and mid grey sewing thread • Cotton/linen fabric in a neutral colour (not white and not too dark) TextileArtist.org community stitch challenge 1 Week three: Emily Tull workbook TextileArtist.org community stitch challenge 3 Week three: Emily Tull workbook The challenge Observing and drawing 1 Spend some time looking at an eye. Use a mirror or take a photograph. Note how big the pupil is, the shape of the eyelid and the length and direction of the eyelashes.
Load more

Recommended publications
  • Convertible Collar Construction
    Convertible Collar Construction Directory Click any image to go to that section Yoke/Facing Options: Intro and Gallery By far the most common set-up for a The purpose of this introductory section is to convertible-collar shirt is that it has front facings feature and compare the range of other options and a yoke, and that these two details don’t touch, also, if less commonly, in use beyond this classic as in the example at right. one, before I proceed to work step-by-step through a handful of useful variants . Many other possible That is, the facings don’t extend far enough combinations, and of course, variations on the towards the shoulders at the neckline that they’ll ones here, are conceiveable and may suit your meet with or join to the fronts of the yoke layers. As project better, so feel free to experiment. a result, the yoke construction steps aren’t integrated into the collar steps and are completed, in front at least, before the collar is begun, so the options for using the yoke as a back facing are eliminated. The steps for this classic arrangement are described below in Variation #5, in the Front Facing Only category. Collar Insertion Options Step-By-Step No Yoke or Facings Required Front facings Only Front and Back Facings, or Yoke Used as Facing Variation 1: Collar Applied as Band Variation 3: Collar’s Back Neckline Edge-Stitched Variation 6: Back Facings 1 3 and Facings Secured at Shoulder Seams 6 Options: Options: 1. Edge-stitched neckline 2.
    [Show full text]
  • Schmetz Needle Guide
    NEEDLE GUIDE Needle Anatomy Butt: The beveled end allows easy insertion in the needle bar. Shank: Household needles have a flat shank, while commercial and industrial needles have round, threaded, notched or other special shanks. Shanks allow perfect positioning of the needle in the sewing machine needle bar. Shoulder: The sloping area transitioning between the shank and blade. Schmetz color codes appear on the shoulder. Blade: Needle size is determined by the blade diameter (i.e., size 75 is .75mm) Groove: The groove cradles and guides thread to the eye. The length and size of the groove vary according to needle type. Scarf: The indentation above the eye that allows the bobbin hook to smoothly grab the thread under the throat plate to create a stitch. The shape and size of the scarf vary according to needle type. Eye: The hole through which thread passes. The shape and size of the eye vary according to needle type. Point and Tip: Length, shape and size vary according to needle types. Change Your Needle 130/705 H Damaged or worn needles result in: Household sewing machines require a needle with a flattened shank. All needles in this system have a flattened shank for perfect needle • Broken or shredded threads positioning in the needle bar in relation to the hook. • Skipped stitches • Puckered fabrics • Damaged fabrics Schmetz Works with All Sewing Machines! • Uneven threads Schmetz needles work with all new, current and older household sewing machines! Replace Your Needle It’s the easiest way to How to Read a Needle Package improve your stitch quality.
    [Show full text]
  • Stitch Guide by Johanna Lindahl
    1 Stitch Guide By Johanna Lindahl In this stitch guide all the uncommon stitches used in my patterns are described. Note that sometimes stitches are made in a different way than in this guide and in that case that specific stitch is described in the pattern. Content, US terms: • Picot • Popcorn (pop) • Puff • Front post slip stitch (FPss) • Front post single crochet (FPsc) • Double crochet 2 together (dc2tog) • Double crochet 3 together (dc3tog) • Front post double crochet (FPdc) • Front post treble (FPtr) • Front post trebles 2 together (FPtr2tog) • Back post slip stitch (BPss) • Back post single crochet (BPsc) • Back post half double crochet (BPhdc) • Back post double crochet (BPdc) • Back post treble (BPtr) • Spike single crochet • Standing single crochet • Standing double crochet • Invisible join Ravelry Store: Johanna Lindahl Designs Blogg: mijocrochet.se | Facebook: Mijo Crochet | Instagram: @mijocrochet Mijo Crochet 2018. Picot 2 Chain one (or more). Then you make a slip stitch through the front loop and the front vertical loop in the single crochet (or dc) just made. Popcorn (pop) Make 4 double crochet in the specified stitch. Drop the loop from your hook and then insert your hook in the first double crochet you made. Grab the dropped loop and pull it through the stitch. Ravelry Store: Johanna Lindahl Designs Blogg: mijocrochet.se | Facebook: Mijo Crochet | Instagram: @mijocrochet Mijo Crochet 2018. Puff 3 Yo, insert the hook into the specified stitch. Pull the yarn through the stitch. [Yo and insert the hook into the same stitch and yo again. Pull the yarn through the stitch] 3 more times.
    [Show full text]
  • 2019 Walking/Racking/Mountain Horse Division
    2019 WALKING/RACKING/MOUNTAIN HORSE DIVISION Contents General Division Rules Walking Horse Division: • Walking Horse Class Descriptions • Walking Horse General Class Rules • Shoeing Requirements • Tack & Attire • Criteria for Judging Walking Horse Classes Racking Horse Division: • Racking Horse Class Descriptions • Racking Horse General Class Rules • Shoeing Requirements • Tack & Attire • Criteria for Judging Racking Horse Classes Mountain Horse Division: • Mountain Horse Class Descriptions • Mountain Horse General Class Rules • Shoeing Requirements • Tack & Attire • Criteria for Judging Mountain Horse Classes Classes open to all Walking, Racking, and Mountain Horses • Showmanship • Standards for Showmanship • W/R/M English Equitation • Standards for W/R/M English Equitation • W/R/M Bareback Equitation • Standards for W/R/M Bareback Equitation • W/R/M Stock Seat Equitation • Standards for W/R/M Stock Seat Equitation WRM-1 Open Invitational Class – Ground Handling - open to all breeds and disciplines. Rules are posted separately. General Division Rules: Horses are to be divided into three divisions: Walking, Racking, and Mountain Horse classes. All horses will show together in Showmanship and in the Equitation Classes. Showmanship is divided according to the age of the 4-H’er. Equitation classes include Jr. & Sr. W/R/M English Equitation, Jr. & Sr. W/R/M Bareback Equitation, and Jr. & Sr. W/R/M Stock Seat Equitation. Smooth gaited mules are allowed in any division and are expected to follow division rules. All 4-H’ers riding or driving horses at 4-H events or activities are required to wear an ASTM-SEI Equestrian Helmet at all times. Cruelty, abuse or inhumane treatment of any horse in the show ring or in the stable area will not be tolerated by the show management, and the offender will be barred from the show area for the duration of the show.
    [Show full text]
  • Faculty Development Grant Report Sumi Lee Professor of Fashion
    Faculty Development Grant Report Sumi Lee Professor of Fashion Design Faculty Development Grant Report Submitted Sep.11th, 2017 Sumi Lee Professor of Fashion Design Project Description: In Fall 2016, I received a Faculty Development Grant to fund a textile art workshop titled “Places, Spaces and Traces” in Les Carroz, France. This workshop focused on creating artistic textile surfaces, while experimenting with found materials, different media, novel techniques, mark-making (i.e., use of stitch as a “line”), and paint methods on fabric (e.g., sun prints with silk dyes). These different approaches to creating textiles are often described as “painting with cloth.” This workshop was instructed by a renowned textile artist from the U.K., Cas Holmes, author of several books and articles including “The Found Object in Textile Art” and “Stitch Stories”. She utilizes a unique “hands-on” approach that showcases her experimental use of found materials and inventive application of textile and mixed media procedures. Significant Activities: According to Cas Holmes, the most important aspect of “creating art” is the process of developing one’s own approach to subject matter in a meaningful way. Specifically, Holmes showed how she makes connections to natural environments in developing her narratives and her personal vision as a textile artist. #1. Stitch- Sketching: Drawing and recording daily observation, and the realization of those ideas in textile is a process. Sketchbook by Cas Holms Sketchbook by Sumi Lee The colors, textures, and changing light over the meadows, fields and landscape can provide a stimulus for the narrative, formal, or abstract quality in textile works.
    [Show full text]
  • Sewing Technique: Lock Stitch (Hem 1”)
    Sewing Technique: Lock Stitch (Hem 1”) The lock stitch is a hand stitch used for hemming purposes. It gives a secure hold with limited view of the thread on the outer side of the garment. STEP 1: Stay stitch ¼-inch from the fabric edge. (A stay stitch is a single line that is used for guidance and to keep the fabric from fraying. It is a normal stitch length and backstitching is a personal preference.) STEP 2: Fold the hem edge back 1-inch. Press fold in order to make a crease in the fabric. Press fabric 1 again ¼-inch. This press will follow the stay stitch seam. STEP 3: Secure thread to the folded edge of fabric on stay stitch line in order to hide the knot. STEP 4: Moving left, make a small stitch (1/2 to ¾ inch). The stitch should first go through the ¼-inch fold; then a small stitch is made that only goes through the outside layer of the garment. Pull thread gently back through to the inside of the garment. Avoid pulling the thread tight as the needle passes back through the loop created from the stitch. 5 3 5 STEP 6: To tighten lock stitch, pull thread to the left. STEP 7: Continue moving left and repeating step 5 until seam is complete. STEP 8: Once finished, secure thread to prevent it from unraveling. NOTE: The lock stitch can be used in place of a catch stitch. 7 6 Industry Standards for a Well-Constructed Hem: • Hem is level • Hem lies flat • No puckers, twists, or extra bulk • Hand stitching is not visible on correct side of garment • Hand stitches are evenly spaced • Topstitching is even and parallel to hemline References: Readers Digest.
    [Show full text]
  • Elegant Table Runner H
    Elegant Table Runner Designed By Patty Peterson Featuring Kreinik Metallic Machine Sewing Threads Finished size 11.5" X 40.75" ave you ever wondered how you can use the decorative stitches on H your sewing machine? Well here’s a quick and easy project where you can combine your machine’s decorative stitches with beautiful metallic threads and make an absolutely elegant table accessory. Whether you make it for your own home or as a gift, this table runner project will help you see the possibilities of those decorative machine stitches in a whole new light! ! SUPPLY LIST: 1.!!! Kreinik Metallic Machine Sewing Threads (34 colors available). This project uses:! Fine Twist threads: 0001 SILVER, 0002 PEWTER, 0003 WHITE GOLD, 0006 ANTIQUE DK GOLD 2.!!! Kreinik Silver Metallized Gimp:! 0030 SILVER, 0032 ANTIQUE GOLD, 0033 BRASSY GOLD! 3.!!! Size 14 Topstitch needle 4.!!! Sewing or embroidery machine/combination 5.!!! Walking foot or dual feed foot to construct table runner 6.!!! Tear-away stabilizer (depending on your hoop size) 7.!!! Bobbin thread 8.!!! Scissors 9.!!! Kreinik Custom Corder!™ 10. !If you plan on embroidering out the stitches in your embroidery hoop you will need 3/4 yard of Kona Bay, Black cotton fabric !! 11. If you are sewing the decorative stitches you will need!1/2 yard Kona Bay, Black cotton fabric 12.! Background fabric 13" x 44" (WOF) width of fabric (our model uses light weight patterned nylon)! 13.! Backing fabric: Kona Bay, Black cotton 13" X 44" (WOF) 14. !Extra fabric to sew test stitches, such as a couple of 6" x 6" squares 15.
    [Show full text]
  • Stitch Setting Chart
    STITCH SETTING CHART STITCH SETTING CHART The following chart shows information for each utility stitch concerning applications, stitch lengths, stitch widths, and whether or not the twin needle mode can be used. Stitch width Stitch length Presser foot [mm (inch.)] [mm (inch.)] Twin Stitch Stitch name Applications needle Auto. Manual Auto. Manual Straight stitch General sewing, gather, pintuck, (Left) etc. Reverse stitch is sewn while 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Left) etc. Reinforcement stitch is sewn 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reverse stitch is sewn while 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reinforcement stitch is sewn 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Triple stretch General sewing for 0.0 0.0 - 7.0 2.5 1.5 - 4.0 OK stitch reinforcement and decorative (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) topstitching Stem stitch Reinforced stitching, sewing and 1.0 1.0 - 3.0 2.5 1.0 - 4.0 OK decorative applications (1/16) (1/16 - 1/8) (3/32) (1/16 - 3/16) ( J ) Decorative Decorative stitching, top 0.0 0.0 - 7.0 2.5 1.0 - 4.0 OK stitch stitching (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) Basting stitch Basting 0.0 0.0 - 7.0 20.0 5.0 - 30.0 NO (0) (0 - 1/4) (3/4) (3/16 - 1-3/16) Zigzag stitch For overcasting, mending.
    [Show full text]
  • Buttermint Hand Towels
    Patterns for the Buttermint Rigid-Heddle Loom Hand Towels Designed by Deborah Jarchow aturated pastels highlight sweet Slines of lace in this set of five hand towels, each a slightly different variation on the same theme. Woven on a solid white warp using an absorbent unmercerized cotton, these towels will wear well even after multiple washings. Packaged with homemade buttermints or a jar of jam, they make a perfect gift! Follow the stripe patterns exactly or design as you go. You will also learn the secrets to maintaining a straight fell line and hemming handwovens. 1 of 4 | Yarnworker | All rights reserved. © 2014 | Version 1, 2-2014 | $6.95 L @yarnworker C Yarnworker b yarnworker.blogspot.com yarnworker.com Directions Project Specs Dress the Loom Using your preferred warping method, warp the loom following the project specs. You will thread 2 warp ends through every slot and hole. Getting Started Wind four shuttles, one with a single strand of each weft color. You will use more Natural than the other colors, so pack its shuttle generously. Weave about 1" of scrap yarn to spread the warp. This creates a firm base to start your towel and creates an even fell line. See Tips & Tricks on page 6 for more information. Beginning Each Towel Each towel will start the same way. Leave a tail 4 times the width of the warp Yarn 8/2 unmercerized cotton from Yarn Barn; 1 and weave 2 ⁄2" in the stripe pattern of your choice. 3,369 yd/lb; 100% cotton; shown in Natural (#0100) Turquoise (#1510), Salmon Secure the beginning of your project using the tail (#1317), and Rust (#1316) and the embroidery stitch over 4 threads, see Tips Tools Rigid-heddle loom with a 15" weaving & Tricks.
    [Show full text]
  • "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.
    [Show full text]
  • 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
    [Show full text]
  • Learn to Sew!
    Fun at Home Learn to Sew When people think of sewing, they think of sewing machines. Sewing machines are wonderful but are still a fairly new invention. What were humans doing before machines? Sewing by hand! Humans started sewing by hand as far back as 40,000 years ago. The original sewing needles, like all tools, were made from bone, antler, and ivory. At Bone needles found at Historic Jamestown this time, humans were making cordage, or twined fibers, to use as thread. The first record of an invention like the sewing machine dates to a man named Thomas Saint in 1790. The first successful machine came in 1830 from a Frenchman named Barthelemy Thimmonnier. On the American front, no one is as well known as Isaac Merrit Singer. Singer worked off the designs of other inventors, including Thimmonnier and American Walter Hunt, to create his Singer Sewing A Singer Sewing Machine, machine. Since its creation, it has allowed for easier Smithsonian Archives and quicker creations. There’s an example of a sewing machine in our 1890s Farm House. There have been improvements since Singer’s original designs. For example, Helen Blanchard has 22 patents for sewing machine related inventions! Even though machines make tasks easier, it’s always a good idea to learn how to do things by hand. Learn two basic stitches to fix and sew some projects of your own! Helen Blanchard Craft: Stitches Here is an outline for two basic stitches. All you need is a needle, thread, and some scrap pieces of fabric. Once you get the hang of these, search for more to master! The Running Stitch 1.
    [Show full text]