E-Broidery: Design and Fabrication of Textile-Based Computing
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This Tutorial Will Explain What a Balanced Plied Yarn Is, and H
An HJS Studio Tutorial: To Chose or Not to Choose an Electric Spinner Introduction I've been spinning since March 1986, when I got started with a homemade drop spindle, some very coarse and ugly carded wool, and a little booklet about drop spinning—almost as low-tech as you can get. Today I'm the happy owner of an electric spinner, which I use almost exclusively. I still drop spin, especially with very fine, short fibers, and still use my Ashford Traveller when I won't be around electricity, but the espinner is my prime choice for all other spinning. This page is for those who are contemplating purchasing an espinner, those who can't understand why someone would use an espinner, and production spinners with speed on their minds. I wel- come specific questions; contact me any time if you think I can help. Reasons to get an espinner seem to fall into two main categories: Speed, and physical need. Speed I approached the purchase of an espinner from the speed point of view, and have learned a lot along the way about what speed really is on any spinning device. A brief diversion to explain what the ratio on a wheel is. It's essentially the number of times the flyer turns each time the drive wheel is turned one time. It's expressed so: 30:1 (read as "thirty to one") which means your flyer turned 30 times for one full turn of the drive wheel. Each turn of the flyer puts one twist into your fiber. -
Draperies Make Your Own
RSlTV Of CULTURE DRAPERIES MAKE YOUR OWN . ARE DRAPERIES ON THE AGENDA for your next 15 stitches per inch; for medium-weight fabrics, 10 home furnishings project? By making your to 12 stitches per inch will give good results. For all own, you can save money and enjoy a sense of ac- stitching on draperies use a loose tension to avoid complishment. This booklet will help you sew drap- puckers on seams and hemlines. eries with a custom-made look in any color, texture, and design you choose. Measuring Length and Width The length of your draperies is a matter of per- SEWING PREPARATIONS sonal taste, as there are several generally accepted Select the appropriate thread and sewing machine lengths. In casual decorating, draperies may go needles for the fabric you choose. The thread should down to the sill or to the apron ; more formal drap- be about the same color and weight as the drapery eries go to the floor. Also, draperies may be hung fabric: for cotton or linen draperies, use mercerized from any of a number of places — from the top of thread; for synthetic fabrics, use synthetic thread. the window frame, at ceiling height, or from any If you use mercerized thread, use a number 14 point on the wall between the ceiling and the window needle; for synthetic thread, a number 11 needle is frame ( see Fig. 1 ) recommended. The width of the draperies depends on how much Cut a small swatch of the drapery fabric and test window you want exposed when the draperies are your sewing machine's stitch and tension. -
I Was Tempted by a Pretty Coloured Muslin
“I was tempted by a pretty y y coloured muslin”: Jane Austen and the Art of Being Fashionable MARY HAFNER-LANEY Mary Hafner-Laney is an historic costumer. Using her thirty-plus years of trial-and-error experience, she has given presentations and workshops on how women of the past dressed to historical societies, literary groups, and costuming and re-enactment organizations. She is retired from the State of Washington . E E plucked that first leaf o ff the fig tree in the Garden of Eden and decided green was her color, women of all times and all places have been interested in fashion and in being fashionable. Jane Austen herself wrote , “I beleive Finery must have it” (23 September 1813) , and in Northanger Abbey we read that Mrs. Allen cannot begin to enjoy the delights of Bath until she “was provided with a dress of the newest fashion” (20). Whether a woman was like Jane and “so tired & ashamed of half my present stock that I even blush at the sight of the wardrobe which contains them ” (25 December 1798) or like the two Miss Beauforts in Sanditon , who required “six new Dresses each for a three days visit” (Minor Works 421), dress was a problem to be solved. There were no big-name designers with models to show o ff their creations. There was no Project Runway . There were no department stores or clothing empori - ums where one could browse for and purchase garments of the latest fashion. How did a woman achieve a stylish appearance? Just as we have Vogue , Elle and In Style magazines to keep us up to date on the most current styles, women of the Regency era had The Ladies Magazine , La Belle Assemblée , Le Beau Monde , The Gallery of Fashion , and a host of other publications (Decker) . -
Leather, Wool & Wood Foldover Clutch
LEATHER, WOOL & WOOD FOLDOVER CLUTCH Designed by Brett Bara Come with me on a journey into the world of mixed media crafting! This bag design combines chunky hand-knit panels with sections of supple leather, joined together on a sewing machine and embellished with wooden macrame flair -- all in a foldover clutch shape that’s super hot this year. Yes, it’s a mouthful (!), but the result is a textural treat that’s a perfect piece to complete your fall boho vibe. So break out your knitting needles and sewing machine and do not be afraid -- I promise this project isn’t difficult, and you’ll learn a ton! Brooklyn Craft Company | www.brooklycraftcompany.com Follow & tag us! @brooklyncraftcompany #brooklyncraftcompany (Psst: If you’re feeling daunted by the variety of materials used here, don’t worry – we got you! You can snag a one-stop-shopping kit for all the supplies needed to make this bag. See the link below.) FINISHED SIZE Approximately 12” x 9” when folded (12” x 15” when opened) MATERIALS Note: All the materials to make this bag can be purchased as a kit here: https://www.brooklyncraftcompany.com/products/leather-wool-wood-foldover- clutch-kit • Malabrigo Rasta in Archangel (100% Merino Wool, 90 yards, 150 grams) - 1 skein • Size US13/9mm Knitting Needles • Medium-Weight Leather: enough to cut two pieces measuring 13” x 9 ½” and one piece measuring 1” x 6” • 2 ½” Wooden Macrame Ring Brooklyn Craft Company | www.brooklycraftcompany.com Follow & tag us! @brooklyncraftcompany #brooklyncraftcompany • 2” Oblong Wooden Macrame Bead • Double-sided tape • Sewing machine equipped with walking foot and leather needle • All-purpose sewing thread to match yarn and/or leather • 8” scrap piece of craft wire GAUGE 2.5 stitches per inch on size US13/9mm needles THE KNITTING PART Bag Body Panels (Make two) Cast on 32 sts. -
LACE SUMMER CARDIGAN Pattern Number: M20324 NUB
Free Crochet Pattern LION BRAND® NUBOO LACE SUMMER CARDIGAN Pattern Number: M20324 NUB ©2021 Lion Brand Yarn Company, all rights reserved. LION BRAND® NUBOO LACE SUMMER CARDIGAN Pattern Number: M20324 NUB SKILL LEVEL – EASY SIZES XS (S, M, L, 1X, 2X, 3X, 4X, 5X) Finished Bust About 36 (39, 42, 46, 52, 55, 58, 62, 68) in. (91.5 (99, 106.5, 117, 132, 139.5, 147.5, 157.5, 172.5) cm) Finished Length About 29 1/2 in. (75 cm) Note: Pattern is written for smallest size with changes for larger sizes in parentheses. When only one number is given, it applies to all sizes. To follow pattern more easily, circle all numbers pertaining to your size before beginning. MATERIALS • LION BRAND® NUBOO (Art. #838) #187 Goldenrod 5 (5, 6, 6, 7, 7, 8, 8, 9) balls • LION BRAND® large-eyed blunt needle ADDITIONAL MATERIALS Crochet hook size 7 (4.5 mm) GAUGE 20 sts + 10 rows = about 4 in. (10 cm) over pattern in Rows 2-5 of Back. BE SURE TO CHECK YOUR GAUGE. NOTES 1. Body of Cardigan is worked in one piece back and forth in rows. 2. Body is worked from lower back edge up to shoulders. Then piece is divided for back neck and fronts are worked separately from the shoulders down to the lower front edges. 3. Body is folded and side seams sewn, leaving openings for armholes 4. Sleeves are worked in joined rnds directly into the armholes. BODY Back Ch 91 (99, 107, 115, 131, 139, 147, 155, 171). -
SPIN Sewing Curriculum.Pdf
Debra Proctor, USU Extension Associate Professor, FCS/4-H, Wasatch County Susan Haws, USU Extension Assistant Professor, FCS/4-H, Summit County Stacey Mac Arthur, USU Extension Assistant Professor, 4-H, State Office Description The Discover 4-H Clubs series guides new 4-H volunteer leaders through the process of starting a 4-H club or provides a guideline for seasoned volunteer leaders to try a new project area. Each guide outlines everything needed to organize a club and hold the first six club meetings related to a specific project area. Purpose The purpose is to create an environment for families to come together and participate in learning activities that can engage the whole family, while spending time together as a multi-family club. Members will experiment with new 4-H project areas. What is 4-H? 4-H is one of the largest youth development organizations in the United States. 4-H is found in almost every county across the nation and enjoys a partnership between the U. S. Department of Agriculture (USDA), the state land-grant universities (e.g., Utah State University), and local county governments. 4-H is about youth and adults working together as partners in designing and implementing club and individual plans for activities and events. Positive youth development is the primary goal of 4-H. The project area serves as the vehicle for members to learn and master project-specific skills while developing basic life skills. All projects support the ultimate goal for the 4-H member to develop positive personal assets needed to live successfully in a diverse and changing world. -
INSTRUCTIONS: Tipi Back Yard Play Tent
INSTRUCTIONS: Tipi Back Yard Play Tent This six-sided tipi is large enough for a few kids to really enjoy in the back yard! Don’t be afraid to jump into this, I made it in one long weekend, including picking up supplies. OK, add Monday evening! SUPPLIES: • 6 - nine foot 1" x 2" x 8' pieces of pine. Round poles don’t come this large, but 8' may work. We used 3/4" x 1.5" but a little larger might be smarter. Check out the Home Depot near Cadence at 745 S Val Vista, Gilbert, AZ 85296. • 1 - 9' x 12' canvas drop cloth • 2-3 yards of heavy cotton fabric for the tipi door side lining • 2-3 yards of heavy cotton fabric for the pole pockets • 1/4" width strong twine, leather, cord or rope to tie poles at top. About a yard or two. • Large, clean, flat area to lay out canvas for cutting. • Sewing machine, scissors, rule, T-square or similar, pen, pins, iron, etc. • Basic, solid sewing skills PREPARE POLES: Drill each of your six poles at the one foot mark so you may run your twine through all six and secure. Make sure to securely tie all six together with the twine. There is no need for it to look pretty. CUT AND SEW TENT: Five Panels: Lay out your 9' x 12' drop cloth flat. You will cut 5 triangles 36" wide at the bottom, 4" wide at the top with a height of 80”. Here is the easy way: Measure 36" at the bottom. -
Workloads and Standard Time Norms in Garment Engineering
Volume 2, Issue 2, Spring 2002 REVISED: July 15, 2002 Workloads and Standard Time Norms in Garment Engineering Zvonko Dragcevic*, Daniela Zavec**, Dubravko Rogale*, Jelka Geršak** *Department of Clothing Technology, Faculty of Textile Technology, University of Zagreb, Croatia **Textile and Garment Manufacture Institute, Faculty of Mechanical Engineering, University of Maribor, Slovenia E-mail: zvonko.dragcevic @zagreb.tekstil.hr ; [email protected] [email protected], [email protected] ABSTRACT Possibilities of new methods for measuring loading and standard time norms are presented, as applied in the field of garment engineering. Measurements described are performed on modern measuring equipment designed to measure and perform computer analysis of temporal values of processing parameters in sewing operation and simultaneously record in two planes using a video system. The measuring system described was used to investigate sewing operation for the front seam on a ladies’ fashion suit, 52 cm long. For the operation investigated, method of work employing the MTM (Methods Time Measurement) system with analysis of basic movements was selected. The MTM system used shows that normal time for the operation in question is around 429.3 TMU (15.5 s). Investigations of workload imposed on the worker according to the OADM method were done simultaneously, and total ergonomic loading coefficient of Ker=0.082 was established, thus determining the time necessary to organise the process of work as 464.5 TMU (16.7 s). Simultaneous measurements of time and dynamic changes of processing parameters, as well as logical sets of movements, are important for defining favourable operation structures, time norms, ergonomically designed systems of work and workplaces in garment engineering, as early as in the phase of designing operations. -
Stitched Textile Technology in Womenswear Design
2nd International Conference on Advances in Social Science, Humanities, and Management (ASSHM 2014) The stitched textile technology and its emotional consideration property in fashion design Yushan Zou; Desheng Zhang (College of textiles and garments, Southwest University, Chongqing China, 400715) Abstract fashion design. By stitching, textured fabric would well decorate design. In the modern world, fashion designers have kept In the field of product development, fashion exploring more skills on fabric in the field of product designers start to explore more on fabric. As Hedley development. The stitched textile technology attracted (2010) agreed that line has great versatility, which is a increasing attention due to its characteristics of emotion basic element in fashion design; it could be used to create expressing, easy-sculpting and color-matching. The texture, mark and form. Stitched textiles combines fabric present paper introduced this textile redesign skill and a painting and printing, applied fabrics and hand and fashion artist named Gwen Hedley who did an excellent machine stitchery. I have paid great attention to the stitch job in stitched textile application. Additionally, a vivid artist named Gwen Hedley. She is an English textile artist case of this technique adopted by us in womenswear who is strong recognized in textile. She can use stitching design was shared in this paper. We conclude that well on fabric. What she did is fabrics redo by using the stitched textile can help to enhance the uniformity of techniques of stitching and hand sewing and most whole collection and emotion consideration in fashion inspired for textured nature. design. 2 The technology of stitched textile and its properties Keywords: stitched textile , womenswear , fashion designing, emotional consideration 2.1 The technology and emotional expression of stitched textile 1 Introduction In textile arts, stitching is a basic element of sewing, With the public aesthetic promotion, common embroidery and crochets no matter by hand or machine. -
A Pair of Scissors Wool a Sewing Needle Small Knitting
Easy peasy (well, it is if you take a look at the champion ‘how to knit’ guide at www.learn2knit.co.uk which will give you everything you need.) But if you’ve 1. Pop your feet up with a cup of tea. done a bit in the past, here’s a reminder of the main stitch. 2. Using double knitting yarn and some small needles, cast on 28 stitches. You’ll need this stuff: 3. Knit 2 rows. Then, starting with a knit row, work in stocking stitch (knit 1 row, purl 1 row, knit 1 row etc) for 12 more rows. small knitting 4. For the next row, knit 2 together to the end (14 a sewing a pair perhaps wool needles stitches). And for the row after that, purl 2 together needle of scissors some bobbles (31/4 mm - 4mm) to the end (7 stitches). 5. When you’ve finished, cut the yarn leaving about 25 cm. Thread the cut end of the yarn through a sewing needle, then run it through the loops and 1. Insert the tip of the right needle through the first loop remove the knitting needle (fig. A). on the left needle, from front to back. Then wrap the working yarn around the tip of the right needle. 6. Tighten the yarn (fig. B) and sew the little hat together at the side (fig. C). Once finished, turn it right-side out so that the seam you've just sewn runs up the inside. 7. Just to check you’re on the right track we reckon 2. -
LION BRAND MICROSPUN Knitted Little Black Purse
LION BRAND® MICROSPUN Knitted Little Black Purse Bright and fun – knitted flowers liven up this bag for the look of the season! Page 1 Pattern from Lion Brand Yarn Page 2 LION BRAND® MICROSPUN Knitted Little Black Purse SIZE 11” x 11” [28 x 28 cm], excluding corded edge MATERIALS • LION BRAND Microspun 5 balls #153 Ebony (MC) 1 ball #194 Lime (CC1) 1 ball #103 Coral (CC2) 1 ball #113 Cherry Red (CC3) 1 ball #158 Buttercup (CC4) 1 ball #147 Purple (CC5) 1 ball #146 Fuchsia (CC6) or colors of your choice • LION BRAND size 10 [6 mm] knitting needles OR SIZE TO OBTAIN GAUGE • LION BRAND size 6 [4 mm] double-pointed needles • One 1” [25 mm] button • Lining and bead embellishments (optional) • LION BRAND large-eyed, blunt needle GAUGE 39 sts = 11” [28 cm] in Pattern st with 2 strands of MC held tog on larger needles. 20 sts + 26 rows = 4” [10 cm] in Stockinette st (k on RS, p on WS) with 1 strand of MC on smaller needles. BE SURE TO CHECK YOUR GAUGE. STITCH EXPLANATIONS M1 (make 1 st) An increase worked by lifting the horizontal thread lying between the needles and placing it onto the left needle. Work this new stitch through the back loop. ssk (slip, slip, knit) Slip next 2 sts as if to knit, one at a time, to right needle; insert left needle into fronts of these 2 sts and k them tog. PATTERN STITCH Row 1 (RS) Knit. Row 2 K 1, *p 1, k 1; repeat from * across. -
Spinning Yarns, Telling Tales About Textiles
News for Schools from the Smithsonian Institution, Office of Elementary and Secondary Education, Washington, D.C. 20560 SEPTEMBER 1980 Spinning Yarns, Telling Tales about Textiles Textiles Tell Stories: The "Age of Homespun" and in regard to spinning, weaving, and other aspects of Other Tales textile making. This exchange of ideas led to a great Consider, for example, the piece of cloth shown in many improvements and innovations in all the various figure 1. This piece of hand-loomed, plaid linen is aspects of textile making over time. Some of the most from the Age of Homespun-a period of American important of these developments are explained in the history lasting from colonial times up until the Civil next section of this article. Bull mummy-wrapping (from Egypt) War. During the Age of Homespun many of the necessi ties of life-including textiles-were made in the Textiles From Scratch: Fiber to Cloth home. This was especially true in remote rural areas, Traditionally the making of a piece of cloth involved .7l",;;;,;i1_ where practically every farm had its own plot of flax first the selection of an appropriate natural fiber. (For i.liIi!i,~;':;\';_-- a discussion of natural fibers, see the article on page (as well as its own flock of sheep) and there was a m1i'<!Si~ 4.) The fiber was then harvested and made ready for 1\ wool wheel and a flax wheel in every kitchen. -iW:Mii\ii\_ spinning into thread or yarn. After spinning, the yarn en@! The making of cloth for clothing and bedding de manded an enormous amount of time and energy was usually either knitted or woven into cloth.