Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar
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Cascade 220® Fingering Lattice Sampler Shawl
FW240 Cascade 220® Fingering Lattice Sampler Shawl Designed by Jennifer Weissman © 2017 Cascade Yarns® - All Rights Reserved. Cascade 220® Fingering Lattice Sampler Shawl Designed By Jennifer Weissman Skill Level: Intermediate Size: 64" wide x 32.5" deep Materials: Cascade Yarns® Cascade 220® Fingering 100% Peruvian Highland Wool 50 g (1.75 oz)/ 273 yds (250 m) 4 skeins color #9593 (Ginseng) US 4 (3.5 mm) knitting needles or size to obtain gauge 3 Stitch markers Yarn needle Pins for blocking Gauge: 20 sts x 40 rows = 4" (10 cm) blocked, in Garter Stitch Abbreviations: BO = Bind Off CO = Cast On K = Knit K2tog = Knit 2 sts together (decrease 1) KFB = Knit into the front and then the back of the next st (increase 1) M = Marker P = Purl PM = Place Marker Sl = Slip st purlwise with yarn in front Sl2-K1-P2SSO = Slip 2 sts knitwise, knit 1, then pass the 2 slipped sts over (decrease 2) SM = Slip Marker SSK = Slip 1 st knitwise, slip 1 st purlwise, insert left needle into front loops of the slipped sts and knit them together (decrease 1) St(s) = Stitch(es) WS = Wrong Side YO = Yarn Over (increase 1) Notes: The Lattice Sampler Shawl is an asymmetric triangular shawl featuring bands of lattice lace in a Garter st field. Each of the lace bands is set off from the Garter st background by ridges of double Garter st. The shawl finishes with a wider band of large lattice lace. This shawl begins with 2 sts. Sts are then added at the beginning of RS rows so that the piece grows into a right triangle. -
The Bayeux Tapestry
The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed -
Silverwork and Sequins
Session 2: Cornucopia II: Silverwork and sequins In this session you will be learning how to couch metallic threads, both Jap Thread and twist. You will also learn how to stitch sequins in place using a bead. Metallic threads add a touch of sparkle to your embroidery designs. They are made by tightly wrapping a flat metallic strip around a core of cotton or silk thread. This produces a shiny thread which can be bought in a range of sizes. There are particular ways of stitching with metallic threads which you will learn in this session. MATERIALS AND EQUIPMENT NEEDED FOR THIS SESSION: • Embroidery hoop or small frame • Embroidery scissors • Needles: o Crewel/embroidery needle size 10/12 o Large-eyed needle such as a chenille or tapestry needle (large enough to take the metallic threads) • The worked embroidery from Session 1: Cornucopia I: Blackwork Infills • Silver Jap Thread • Silver Twist Thread (or DMC silver metallic stranded thread) • Grey sewing cotton • Silver sequins, 3-4 mm, either round or flower-shaped or both: about 5-6 in total • Silver or clear seed beads, one per sequin plus one spare READ ALL OF THE INSTRUCTIONS THROUGH BEFORE YOU START YOUR EMBROIDERY. WORKING THE EMBROIDERY: HORN-OF-PLENTY SECTIONS 1. Place your worked piece from Session 1: Cornucopia I: Blackwork Infills in your hoop or frame (if it isn’t still there!) 2. You are going to use a technique called COUCHING to stitch the silver threads in position on your embroidery. Metallic threads are often too heavy to stitch through the fabric and the outer metallic cover will separate off if you take them through the fabric too often. -
Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109
Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109 Full Design Area: 16.07 x 29.57 inches worked on 14 count AIDA 225 x 414 stitches Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 14 count Aida, white, antique white or cream The sample was worked on Zweigart 14 count Aida, white Over dyed or space dyed fabrics may detract from the design - select carefully! There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown above. Please follow the main chart carefully to place and work the different patterns. The embroidery may differ slightly. Where patterns overlap between the pages do not start the pattern. The part patterns are there to help in the placing of the design. As additional pages are added the part patterns will be complete. Do not add beads to the design until all 12 pages have been worked. The sample was worked in DMC and Anchor floss in four shades including DMC 310 as the base colour. Cross stitch is worked in TWO strands over two threads, back stitch is worked in ONE strand over two threads. Threads used: DMC 310 Black, three skeins Anchor 1206 variegated, or DMC 815 Garnet, three skeins DMC 415 Pearl grey, one skein DMC 414 Steel grey, one skein Metallic threads used: Rainbow Gallery Petite Treasure Braid PB01, one card or DMC Lights Effects E3852 Dark Gold, one skein DMC Lights Effects E317 DMC 996 electric blue is used on the chart to show ONE strand of 415 and ONE strand 414 together to make two strands for pulled thread work stitches. -
S Quill News from Quail Run Needlework
The Quail’’s Quill News From Quail Run Needlework April 2011 From Susan’s Desk Specializing In Welcome to the first issue of our new newsletter! Custom, Innovative Finishing This inaugural issue profiles our beautiful new store. The new location is perfect and our view of the fountain, courtyard and lake is just gorgeous. The wall of windows provides great light for the retail space. Our window displays are gathering much attention and many questions about needlework from people walking by our shop. Mercardo del Lago Center Parking is easy and there are lots of comfortable stools and chairs to sit in while you 8320 N. Hayden Rd look at canvases or catalogues for that special design. There are many special new models to give you great finishing ideas. Come in and see our shop if you have not Suite C112 had the chance! Scottsdale, AZ 85258 This month our new thread is a lovely Chinese silk in 190 colors from City Needleworks. It is 6 meters of 6 ply and works well on 18 mesh canvas. If you have 480-551-1423 not tried the new High Cotton, it is another fine thread we introduced this year. The colors are marvelous , it plies easily and has a slight sheen. I have used it on a new 480-551-1425 (fax) Laurel Burch design as the new colors in this line are perfect for the brilliant colors. 800-635-9750 (toll free) New canvases from market have arrived - the new Leigh pagodas, Sophia’s fans and kimonos, Mindy’s oriental quilts, Debbie Mum’s Halloween, Mary Lake Thompson’s www.quailrun-inc.com bottle bouquets and ribbon candy from Melissa Shirley, Napa wine scene from Susan Roberts and many more. -
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow ABSTRACT Design tools with computational algorithms have been aiding artists for many years, primarily with image manipulation such as rotation, scaling, or applying graphical filters. However, there are many non-digital creative tasks that can benefit from computer- aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose patterns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar guided user input, enumerates expanded pattern possibilities, and compiles patterns into an immediately sewable file format. The grammar is capable of generating published embroidery patterns as well as infinitely possible new patterns, and has future applications in other areas of design and crafts. Introduction “Embroidery” is a broad term that roughly encompasses any embellishment by thread or materials held or strung via thread on nearly any substance, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified [1]. This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to embroidery pattern generation. The objectives of this work include (1) representing counted-stitch embroidery digitally; (2) discovering local properties of stitches to develop into grammar rules capable of generating previously published blackwork embroidery Figure 1: Generated samples by our patterns; (3) offering those stylistically different parametric shape grammar grammar rules as agency to a designer of embroidery patterns; (4) providing instant visualization of enumerated pattern possibilities; and (5) enabling anyone to discover, explore, and enjoy blackwork embroidery or related applications of this grammar. -
European and American Needlework Samplers June 7
MAKE MUCH OF PRECIOUS TIME WHILE IN YOUR POWER: EUROPEAN AND AMERICAN NEEDLEWORK SAMPLERS JUNE 7- SEPTEMBER 1, 2019 A CATALOGUE OF THE EXHIBIT LYCOMING COUNTY HISTORICAL SOCIETY 858 WEST FOURTH STREET WILLIAMSPORT, PENNSYLVANIA CURATED BY GARY W. PARKS EXECUTIVE DIRECTOR #1: BAND NEEDLEWORK SAMPLER- Sarah RELPH, in her 10th year, [England, or possibly Rhode Island], October 30, 1745 Linen ground with silk thread Known as a band sampler, this was a primary learning tool for a young woman of the 17th through the 19th centuries. Through a basic marking sampler, the young lady would learn to sew and use darning stitches, necessary for her future roles as wife, mother, and housekeeper. As samplers continued to be made, religious verses and maxims were added to guide her toward a purposeful life. Decorative bands of geometrical motifs were copied across the width of the sampler and served as a reference when the young woman wished to embellish an article of clothing or household linen. Inscription: “Make Much of Precious Time While in Your Power/ Be Careful Well to Husband Evry Hour/ for Time Will Come When You Shall Sore Lament/ The Unhappy Minutes That You Have Mispent Collection of Gary W. Parks #2: NEEDLEWORK SAMPLER- Ellen Elizabeth JACKSON, [Norfolk, England], 18[0]6 Linen gauze with reinforced woolen backing ground, applied silk thread Stitches: Cross stitch, crewelwork- satin and stem Description: Ellen Jackson’s sampler belongs to a large body of needlework produced in Norfolk, England. The diamond-shaped inner border is one of the elements tying them together, as well as the bouquets of flowers in each corner. -
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. -
1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140
1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140 Full Sampler Design Area: 16.07 x 29.57 inches worked on 28 count evenweave 225 x 414 stitches Material: Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 28 count evenweave, white, antique white or cream Zweigart 25 count Lugana, white or cream There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown below. The evenweave sampler was worked in DMC Coloris floss in six shades plus DMC 310 as the base colour. Evenweave Sampler Threads: DMC 996 electric blue is used on the chart to show DMC Cotton Pérle No.12, ecru. Key- please note the threads can be adapted to suit your requirements. These are a guideline only! Page 11 is worked underneath Page 8. This is the first part of the final row. Instructions for the pulled thread work border will be included in Part 12. To help position the patterns correctly on the fabric and to see how they relate to each other look carefully at the embroidery. If only a small part of a pattern is shown on one page leave it until the following month and work the pattern as a whole. -
Lone Star Library, Alphabetic by Author
7/5/2018 Lone Star Library, Alphabetic by Author 1 Agnew, Patience Needlepoint for Churches 2 Aimee Stitch Your State 3 Alderson, Chottie Stitchin' with Chottie, Bk 1 4 Alderson, Chottie A Rare Delight, Or Nue Project 5 Alderson, Chottie Stitchin' with Chottie, Bk 2 6 Alderson, Chottie Stitchin' with Chottie, Bk 3 7 Alderson, Chottie Stitchin' with Chottie, Bk 4 8 Alderson, Chottie Stitchin' with Chottie, Bk 5, Albuquerque Game 9 Altherr, Ilse Blackwork and Holbein Embroidery 10 Altherr, Ilse Mastering the Art of Pulled Thread Embroidery 11 Ambuter, Carolyn Carolyn Ambuter's Complete Book of Needlepoint 12 Ambuter, Carolyn Carolyn Ambuter's Even More Complete Book of Needlepoint 13 Ambuter, Carolyn The Open Canvas 14 Anchor Mezzopunto e Punti di Tappezzeria 15 ANG A Stitch Book 25th Anniversary of ANG 16 ANG Stitch Book II 17 ANG, Atlanta Chapter A Canvas Christmas II 18 ANG, Masters Teacher Program Teachers' Treasures South Central Area's 2003 ANG Seminar Project: Two-Sided 19 ANG, South Central Area Nativity Set with Stable 20 ARO Designs Historic Houston 21 ARO Designs Houston Skyline Shapes of Needlepoint, Series I, 22 Arthur, Sandra Circles/Squares/Triangles/Rectangles Shapes of Needlepoint, Series II, 23 Arthur, Sandra Diamonds/Hearts/Octagons/Stars Shapes of Needlepoint, Series III, 24 Arthur, Sandra Corners/Hexagons/Ovals/Parallelograms Shapes of Needlepoint, Series IV, 25 Arthur, Sandra Diagonals/Horizontals/Verticals 26 Ashby, D. & Woolsey, J. Creative Embroidery Techniques Using Color Through Gold 27 Ashby, D. & Woolsey, J. Ribbon Embroidery 28 Bahouth, Candace Flowers, Birds, and Unicorns: Medieval Needlepoint 29 Bahouth, Candace Romantic Needlepoint 30 Baird, Carolyn Hedge Favorite Stitches, Revised 31 Baird, Carolyn Hedge Favorite Stitches, Volume 2 32 Baird, Carolyn Hedge Merry Easter Eggs 33 Baird, Carolyn Hedge Merry Needlepoint 34 Baker, Muriel The ABC's of Canvas Embroidery 35 Baker, Muriel The XYZ's of Canvas Embroidery 36 Baker, Muriel Scribner Book of Embroidery Designs 37 Banbury, G. -
Fabrics for Embroidery
Fabrics for Embroidery In previous articles I have examined a number of different items of equipment and techniques, but when it comes to choosing which fabric to use it can be difficult, even for the most experienced embroiderer. Understanding the nature and construction of different fabrics will help you to identify the ones you most enjoy working with, but until you reach that stage I suggest you keep an open mind and experiment with different fabrics. Start by considering any physical limitations you may have, especially your eyesight as not all the fabrics recommended for embroidery are easy to use and whilst lights and lenses will eliminate some of the problems, dark fabrics or ones with a high thread count may prove frustrating. If you are new to counted thread techniques, I suggest you use a fabric where you can see the threads clearly! The technique you intend to use can often determine the most suitable fabric to use, for example, hardanger, requires specialist 22 count fabric. The weight of the fabric is also important. Mountmellick embroidery, which uses heavy cotton threads, requires a firm, close woven fabric to support the weight of the embroidery and if the embroidery has buttons, ribbons or beads added, the fabric must be able to support the embellishments without causing distortion. To avoid distortion, the size of the thread and needle you propose to use needs to be in proportion to the weight of the fabric and pass through the fabric smoothly, without rubbing or damaging either the thread or the fabric. If the embroidery is free style, rather than a counted thread technique such as cross stitch, consider the appearance of the material and the points mentioned above. -
Fall (Band) Sampler
FALL BAND SAMPLER BAND 4: Guillouche Stitch with beads 1. Start at the left hand basting thread 6 fabric threads down from the chevron stitch. 2. Place 3 satin stitches over 3 fabric threads. Skip 3 fabric threads; repeat the satin stitches. Work to end of row, ending 1 fabric thread before the basting, see chart #12.Work a total of 13 sets of satin stitches. Chart #12 ! ! 3. Weave through the satin stitch blocks. Weave in a figure eight fashion. Bring needle up between the 2nd and 3rd stitches of the block and slide the needle under the first two stitches to start the weaving. Go under all stitches following chart #13. DO NOT PIERCE FABRIC AS YOU WEAVE. ! ! ! ! Chart #13 Chart #14 4. At the end of the row continue weaving back to the beginning of the weaving. At the end take the needle to the wrong side between two stitches, green stitches on chart #14. 5. The second row is off set by three stitches. Start the second row 6 fabric threads below the satin stitches of first row and 3 fabric threads from the basting stitch, chart #15. !7 (C) Jane Ellen Balzuweit, 2019 FALL BAND SAMPLER Chart #15 ! ! 6. When weaving is complete place a seed bead in the center as shown on chart #15. Use beading thread and tapestry #26 needle. BAND 5: Eyelets 1. When working an eyelet, always go down in the center and pull to form a hole. 2. Start 10 fabric threads below the satin stitch blocks at the left basting thread.