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Machine Embroidery Threads
Machine Embroidery Threads 17.110 Page 1 With all the threads available for machine embroidery, how do you know which one to choose? Consider the thread's size and fiber content as well as color, and for variety and fun, investigate specialty threads from metallic to glow-in-the-dark. Thread Sizes Rayon Rayon was developed as an alternative to Most natural silk. Rayon threads have the soft machine sheen of silk and are available in an embroidery incredible range of colors, usually in size 40 and sewing or 30. Because rayon is made from cellulose, threads are it accepts dyes readily for color brilliance; numbered unfortunately, it is also subject to fading from size with exposure to light or frequent 100 to 12, laundering. Choose rayon for projects with a where elegant appearance is the aim and larger number indicating a smaller thread gentle care is appropriate. Rayon thread is size. Sewing threads used for garment also a good choice for machine construction are usually size 50, while embroidered quilting motifs. embroidery designs are almost always digitized for size 40 thread. This means that Polyester the stitches in most embroidery designs are Polyester fibers are strong and durable. spaced so size 40 thread fills the design Their color range is similar to rayon threads, adequately without gaps or overlapping and they are easily substituted for rayon. threads. Colorfastness and durability make polyester When test-stitching reveals a design with an excellent choice for children's garments stitches so tightly packed it feels stiff, or other items that will be worn hard stitching with a finer size 50 or 60 thread is and/or washed often. -
Thread Yarn and Sew Much More
Thread Yarn and Sew Much More By Marsha Kirsch Supplies: • HUSQVARNA VIKING® Yarn embellishment foot set 920403096 • HUSQVARNA VIKING® 7 hole cord foot with threader 412989945 • HUSQVARNA VIKING ® Clear open toe foot 413031945 • HUSQVARNA VIKING® Clear ¼” piecing foot 412927447 • HUSQVARNA VIKING® Embroidery Collection # 270 Vintage Postcard • HUSQVARNA VIKING® Sensor Q foot 413192045 • HUSQVARNA VIKING® DESIGNER™ Royal Hoop 360X200 412944501 • INSPIRA® Cut away stabilize 141000802 • INSPIRA® Twin needles 2.0 620104696 • INSPIRA® Watercolor bobbins 413198445 • INSPIRA® 90 needle 620099496 © 2014 KSIN Luxembourg ll, S.ar.l. VIKING, INSPIRA, DESIGNER and DESIGNER DIAMOND ROYALE are trademarks of KSIN Luxembourg ll, S.ar.l. HUSQVARNA is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB • Warm and Natural batting • Yarn –color to match • YLI pearl crown cotton (color to match yarn ) • 2 spools of matching Robison Anton 40 wt Rayon thread • Construction thread and bobbin • ½ yard back ground fabric • ½ yard dark fabric for large squares • ¼ yard medium colored fabric for small squares • Basic sewing supplies and 24” ruler and making pen Cut: From background fabric: 14” wide by 21 ½” long From dark fabric: (20) 4 ½’ squares From medium fabric: (40) 2 ½” squares 21” W x 29” L (for backing) From Batting 21” W x 29” L From YLI Pearl Crown Cotton: Cut 2 strands 1 ¾ yds (total 3 ½ yds needed) From yarn: Cut one piece 5 yards © 2014 KSIN Luxembourg ll, S.ar.l. VIKING, INSPIRA, DESIGNER and DESIGNER DIAMOND ROYALE are trademarks of KSIN Luxembourg ll, S.ar.l. HUSQVARNA is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB Directions: 1. -
Our First Two Big-Time Classes
Translate Latest news from Rittenhouse Needlepoint View this email in your browser May 2018 Newsletter In this Issue: 1. Our First Two Big Time Classes 2. News roundup 3. Thread of the Month: Stef Francis 12 Ply Silk 4. Stitch of the Month: Little Wavy 5. Notes on Needlepoint Our First Two Big-Time Classes Why do I say, "Our first two big-time classes?" Well, because this is the first time in the nearly ten years that we have been open that we will be bringing in professional teachers to our store to teach. And boy are we excited! First up is "78 Stitches, 78 Threads" with Ruth Dilts. This wonderful class is a crash-course in all things Rainbow Gallery. You know Rainbow Gallery threads. You've been using them forever. They are those threads that come on cards https://us2.campaign-archive.com/?e=[UNIQID]&u=9b9b7549e5c8f818070e0508c&id=d352853db8[6/26/2018 4:17:38 PM] and are on the ubiquitous spin racks found pretty much wherever needlepoint supplies are sold. True confession here -- I've been in the business for a while now and even I have trouble keeping all the names of their products straight in my mind so I can only imagine what a jumble it must be for people who don't handle them every day. Well, now is your chance to start untangling that confusing web. And best of all with this class you will end up with a permanent reference volume to take home with you so that in the future you need never be confused by the plethora of Rainbow Gallery options ever again. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
African Lace
Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object. -
Product Range Intro
PRODUCT RANGE INTRO The Company Page 5 Gore® Tenara® Page 31 Responsibility Page 7 Serabond Page 32 Service Page 9 N-tech Page 33 AMANN Innovation Lab Page 11 N-tech CS Page 33 A-tech CS Page 34 Nc-tech Page 35 K-tech Page 36 APPLICATION FIELDS Kc-tech Page 36 Silver-tech/Silver-tech+ Page 37 Apparel Page 12 Automotive Page 12 Shoes & Accessoires Page 12 Embroidery Page 13 SPECIAL COLOURS Home Interior Page 13 Techtex Page 13 Multicolour Page 39 Neon Page 39 INDEX AMANN PRODUCTS SPECIAL FINISHINGS Saba Page 14 Sabatex Page 15 Water-repellent (WR/WRe) Page 39 Sabaflex Page 16 Waxed (T90) Page 39 Sabasoft Page 17 For Composites (Comphil) Page 39 Serafil fine Page 18 Bonded Page 39 Rasant Page 19 MercifilGD Page 20 Strongfix Page 21 Meta Page 22 Serafil Page 23 Serabraid Page 24 Onyx Page 25 Strongbond Page 26 Isacord Page 27 Isamet Page 27 Isa Texlight Page 28 Isa/Isabob Page 28 Rasant-Oxella Page 29 Topfil Page 30 Texturan Page 30 3 THE COMPANY Since 1854, AMANN has been one of the leading global producers in the field of high-quality sewing and embroidery threads. Its technical expertise, reliability and flexibility in production and service makes AMANN a strong partner worldwide. In close cooperation with its customers, AMANN develops sewing and embroidery threads, as well as smart yarns for tomorrow's market requirements. More than 2,260 motivated employees in more than 100 countries worldwide make AMANN's success possible. AMANN Group exclusively produces at its own production sites. -
Sheila Machines in Switzerland Are Busy As I Write, Re- Running Some Old Favorites
Bear in Mind An electronic newsletter from Bear Threads Ltd. Volume 10 – Issue 6 June/July 2018 From The Editor – however, is that we will be introducing some gorgeous NEW embroideries in our next issue – “A rainy day in Georgia” indeed as Alberto dumps August. These are beautiful designs and very more rain on our soggy ground. But a great much in line with our two-part feature on Broidere stitching week as well, as we are officially into Anglaise. summer, albeit not by the calendar!!! I gathered supplies for my summer stitching projects before And put the date of Sunday, September 9, 2018 on the Memorial Day weekend, my porches are clean your calendar NOW to make sure you can see us and everything ready for summer sipping and at the Birmingham Creative Sewing Market. I stitching. assure you, it would be tragic not to be one of the first to see the new Swiss Broderie Anglaise Remember that we publish ‘Bear In Mind’ 10 times embroideries, as well as our newest lace set. And a year, combining June and July as well as for icing on the cake we will have certain Maline November and December. So this issue is really laces available for ½ price – guess that your eyes not late, but rather we are stretching the lazy days and ears perked up!!! of summer. We have definitely not been lazy here at the office, as the website now has been updated So for now, enjoy your summer, be saving your with the newsletter index, our newest lace set, and money for September, and all the past newsletters. -
BERNINA Accessories Catalog
BERNINA ACCESSORIES BERNINA ACCESSORIES AT A GLANCE | Machine overview Category A 1 910 1001 1020 1091 2 1630 930 1004 1021 1120 931 1005 1030 1130 932 1006 1031 1230 933 1008 1050 1240 940 1010 1070 1241 950 1011 1080 1260 1000 1015 1090 1530 Category B 1 125 230 2 130 3 165 5 B 530 125 S 230 PE 140 170 B 550 QE 135 240 150 135 S B 325 153 4 430 145 B 330 153 QE 440 QE 145 S B 335 155 B 555 210 B 350 PE 160 B 570 QE B 215 B 380 163 630 220 Category C 1 180 3 435 185 450 B 560 2 200 B 580 730 640 Category D 1 B 710 2 B 750 QE B 780 Category E 7 Series 5 Series 4 Series Ea1 B 700 E Eb1 B 500 E Ec1 B 435 Ea2 B 720 Eb2 B 535 Ec2 B 475 QE B 485 Ea3 B 740 Eb3 B 540 Ec3 B 480 Ea4 B 770 QE Eb4 B 570 QE B 790 B 590 B 790PLUS Category F 1 B 820 QE 2 B 830 B 880 B 880PLUS | The most important machine features 1 PunchWork tool for rotary-, B9 Category Model Stitch width 0mmStitch width 5.5mmStitch width 9mmCB-hook machinesRotary-hook machinesRotary-hook (RL95) machinesB9-hook (RH machines W 107 BERNINA-hookXL) machinesPresser-foot pressureBERNINA Dual FeedBERNINA system Stitch RegulatorSideways (BSR)motionPunchWork tool for andCB-hook BERNINA-hook machinesEmbroidery (CB) machines DesignWorks BERNINA Toolbox Category A A1 1008 Category B B 215 B 325 B 330 B1 B 335 B 350 PE B 380 B 555 m B4 B 570 QE m B 530 m B5 B 550 QE m Category C B 560 m C3 B 580 m Category D D1 B 710 e B 750 QE e D2 B 780 e Category E 1 B 700 E 2 B 720 e 3 B 740 e Ea B 770 QE e 4 B 790 e B 790PLUS e 1 B 500 E 2 B 535 m Eb 3 B 540 m B 570 QE e 4 B 590 e 1 B 435 m B 475 QE m Ec -
Solaris Embroidery Instruction and Reference Guide
HOW TO USE THIS MANUAL The Instruction and Reference Guides for this machine consist of the Instruction and Reference Guide (Sewing) and the Instruction and Reference Guide (Embroidery). Refer to the appropriate Instruction and Reference Guide according to your needs. For basic information about, for example, the included accessories or the settings screen, refer to chapter 1 of the Instruction and Reference Guide (Sewing). In the screens appearing in the step-by-step instructions, the parts referred to in the operations are marked with . Compare the screen in the directions with the actual screen, and carry out the operation. If, while using the machine, you experience something you do not understand, or there is a function you would like to know more about, refer to the index at the back of the Instruction and Reference Guide in conjunction with the table of contents to find the section of the manual you should refer to. 1 CONTENTS CONTENTS HOW TO USE THIS MANUAL ............................. 1 Character Alignment............................................................ 76 Changing Font Type............................................................. 76 Chapter 1 Embroidery Step by Step 5 Changing Letter Size ............................................................ 77 Changing the Configuration of Alphabet Character Patterns... 78 BEFORE EMBROIDERING .................................... 6 Changing Alphabet Character Spacing................................. 79 Using the Machine Setting Mode Key................................... -
Medieval Clothing and Textiles
Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R. -
Madeira Embroidery
Blackwork Journey Inspirations Madeira Embroidery Madeira is an island located in the Atlantic Ocean west and slightly south of Portugal. The capital of Madeira is Funchai on the main island’s south coast and it was to Funchai, the capital that I travelled to explore the history of Madeira embroidery and find some modern examples of this traditional form of whitework embroidery. The hand embroidery of Madeira is generally recognised as being the finest of its kind available in the world. Over the last 150 years, Madeira has collected expertise from the fast disappearing regional centres of hand embroidery across Europe and moulded these various styles into a distinctive form of handwork recognised throughout the world. The Development of Madeira Embroidery The story began in the 1860’s when a wine shipper’s daughter, Elizabeth Phelps turned the rural pastime of simple embroidery into a cottage industry using her skills to motivate, organise and sell the work of the embroiders to Victorian England. In the 1860’s it was estimated that there were 70,000 women embroiderers (bordadeiras) in Madeira working on linen, silk, organdy and cotton to create table linen, clothing, bedding and handkerchiefs. Today there are about 30 companies producing handmade embroideries employing around 4,500 embroiderers. During the 19th century the main exports were to England and Germany. In the 20th century Madeiran Embroidery was exported to many parts of the world. Italy, the United States, South America and Australia became important markets. France, Singapore, Holland, Brazil and other countries also contributed to the trading expansion of and reputation of Madeira Embroidery. -
Thread Production Bulletin Post
Bulletin Post Thread Production Contents Introduction • Raw Materials • Spinning of Polyester and Cotton Fibres • Twisting • Thread Manufacturing • Thread Types • Wet Processing • Finishing • Thread Sizing • Apparel Thread Conversion Table • Contact us about Thread Production • Introduction Sewing thread has a variety of descriptions. We generally refer to it as, "two or more yarns twisted together to form a single strand in a plied or corded construction". However, these days there are other 'Continuous Filament' constructions manufactured using technologies, like intermingling, texturising and air jet texturising which can produce a thread of a single ply construction. Coats produces many different threads and this will be explained within this technical bulletin. Most sewing threads today are based on synthetic materials, such as polyester or nylon, which have, to a large extent replaced the use of natural fibres like cotton and linen that used to be the material of choice. Handicraft threads are still predominantly made out of cotton, especially when the handicraft work is done by hand. However, if the handicraft effect is being created by a machine, (as in the case of embroidery of logos), then synthetic threads are rapidly replacing cotton and rayon threads. Bulletin Post Raw Materials A few important characteristics of the fibres and filaments which are used for sewing threads are: • Elongation at break • Elasticity and recovery • Heat resistance and flammability • Abrasion resistance • Tenacity, the strength for size of the thread Elongation at break Elasticity Heat Resistance and Abrasion resistance Tenacity and Recovery Flammability The finish is ultimately determined by the sewing performance and the lubricants used, but seam strength and seam durability is directly related to the properties mentioned above.