Re-Creating Military Sashes: Reviving the Sprang Technique
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Palmetto Tatters Guild Glossary of Tatting Terms (Not All Inclusive!)
Palmetto Tatters Guild Glossary of Tatting Terms (not all inclusive!) Tat Days Written * or or To denote repeating lines of a pattern. Example: Rep directions or # or § from * 7 times & ( ) Eg. R: 5 + 5 – 5 – 5 (last P of prev R). Modern B Bead (Also see other bead notation below) notation BTS Bare Thread Space B or +B Put bead on picot before joining BBB B or BBB|B Three beads on knotting thread, and one bead on core thread Ch Chain ^ Construction picot or very small picot CTM Continuous Thread Method D Dimple: i.e. 1st Half Double Stitch X4, 2nd Half Double Stitch X4 dds or { } daisy double stitch DNRW DO NOT Reverse Work DS Double Stitch DP Down Picot: 2 of 1st HS, P, 2 of 2nd HS DPB Down Picot with a Bead: 2 of 1st HS, B, 2 of 2nd HS HMSR Half Moon Split Ring: Fold the second half of the Split Ring inward before closing so that the second side and first side arch in the same direction HR Half Ring: A ring which is only partially closed, so it looks like half of a ring 1st HS First Half of Double Stitch 2nd HS Second Half of Double Stitch JK Josephine Knot (Ring made of only the 1st Half of Double Stitch OR only the 2nd Half of Double Stitch) LJ or Sh+ or SLJ Lock Join or Shuttle join or Shuttle Lock Join LPPCh Last Picot of Previous Chain LPPR Last Picot of Previous Ring LS Lock Stitch: First Half of DS is NOT flipped, Second Half is flipped, as usual LCh Make a series of Lock Stitches to form a Lock Chain MP or FP Mock Picot or False Picot MR Maltese Ring Pearl Ch Chain made with pearl tatting technique (picots on both sides of the chain, made using three threads) P or - Picot Page 1 of 4 PLJ or ‘PULLED LOOP’ join or ‘PULLED LOCK’ join since it is actually a lock join made after placing thread under a finished ring and pulling this thread through a picot. -
NEEDLE LACES Battenberg, Point & Reticella Including Princess Lace 3Rd Edition
NEEDLE LACES BATTENBERG, POINT & RETICELLA INCLUDING PRINCESS LACE 3RD EDITION EDITED BY JULES & KAETHE KLIOT LACIS PUBLICATIONS BERKELEY, CA 94703 PREFACE The great and increasing interest felt throughout the country in the subject of LACE MAKING has led to the preparation of the present work. The Editor has drawn freely from all sources of information, and has availed himself of the suggestions of the best lace-makers. The object of this little volume is to afford plain, practical directions by means of which any lady may become possessed of beautiful specimens of Modern Lace Work by a very slight expenditure of time and patience. The moderate cost of materials and the beauty and value of the articles produced are destined to confer on lace making a lasting popularity. from “MANUAL FOR LACE MAKING” 1878 NEEDLE LACES BATTENBERG, POINT & RETICELLA INLUDING PRINCESS LACE True Battenberg lace can be distinguished from the later laces CONTENTS by the buttonholed bars, also called Raleigh bars. The other contemporary forms of tape lace use the Sorrento or twisted thread bar as the connecting element. Renaissance Lace is INTRODUCTION 3 the most common name used to refer to tape lace using these BATTENBERG AND POINT LACE 6 simpler stitches. Stitches 7 Designs 38 The earliest product of machine made lace was tulle or the PRINCESS LACE 44 RETICELLA LACE 46 net which was incorporated in both the appliqued hand BATTENBERG LACE PATTERNS 54 made laces and later the elaborate Leavers laces. It would not be long before the narrow tapes, in fancier versions, would be combined with this tulle to create a popular form INTRODUCTION of tape lace, Princess Lace, which became and remains the present incarnation of Belgian Lace, combining machine This book is a republication of portions of several manuals made tapes and motifs, hand applied to machine made tulle printed between 1878 and 1938 dealing with varieties of and embellished with net embroidery. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-6985 SMITH, Anna Laura, 1915- TWENTIETH CENTURY INTERPRETATIONS of the DON JUAN THEME
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Bobbin Lace You Need a Pattern Known As a Pricking
“Dressing” a Lace Pillow © Jean Leader 2014 pricking pin-cushion this edge should be a selvage if possible — the other edges lace in progress should be hemmed. cover cloth between bobbins and lower part of pricking cover cloth ready to cover pillow when not in use The pillow, a square or round piece of polystyrene (preferably high density) about 40 cm (16 in) across and 5 cm (2 in) thick, should be covered with a firmly woven dark cotton material. Avoid synthetic materials as these will attract dust and fluff. Cut a piece of material so that it is about 8-10 cm (3-4 in) wider than the pillow all round. Make a hem (with an opening) round the edge and thread either tape or elastic through it. Fit the cover over the pillow and pull the tape or elastic tight. (If you’re in a hurry just pin the cover in place.) This cover should be removed and washed occasionally. You will also need at least two cover cloths about 40 cm (16 in) square made of the same sort of material as the cover (they should be hemmed so no bits of thread can catch in the lace). One of these is placed over the lower part of the pricking and the bobbins lie on top of it. The other cloth is placed over the whole pillow when it is not in use so that the lace you’re working on stays clean. Making a Pricking In order to make bobbin lace you need a pattern known as a pricking. -
SWOT Analysis and Related Countermeasures for Croatia To
CIRR XXIII (78) 2017, 169-185 ISSN 1848-5782 UDC 379.8:910.4(497.5:510) Vol.XVIII, No. 66 - 2012 Vol.XVIII, DOI 10.1515/cirr-2017-0012 XXIII (78) - 2017 SWOT Analysis and Related Countermeasures for Croatia to Explore the Chinese Tourist Source Market Wang Qian Abstract Croatia is a land endowed with rich and diversified natural and cultural tourist resources. Traveling around Croatia, I was stunned by its beauty. However, I noticed that there were few Chinese tourists in Croatia. How can we bring more Chinese tourists to Croatia? How can we make them happy and comfortable in Croatia? And, at the same time, how can we avoid polluting this tract of pure land? Based on first-hand research work, I make a SWOT analysis of the Chinese tourist source market of Croatia and put forward related countermeasures from the perspective of a native Chinese. The positioning of tourism in Croatia should be ingeniously packaged. I recommend developing diversified and specialized tourist products, various marketing and promotional activities, simple and flexible visa policies and regulations, and other related measures to further explore the Chinese tourist source market of Croatia. KEY WORDS: SWOT analysis, Croatia, Chinese tourist source market, sustainable tourism, direct flight 169 Introduction Vol.XVIII, No. 66 - 2012 Vol.XVIII, XXIII (78) - 2017 I worked in Zagreb, the capital of Croatia, for three years. During my stay, I walked almost all around Croatia. I travelled in Dalmatia for two weeks, visiting Zadar, Šibenik, Skradin, Trogir, Split, Hvar, Korčula and Dubrovnik. I toured Istria for a week, visiting Opatija, Pula, Rovinj and Poreč. -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
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. -
All About Macramé History of Macramé
August 2019 Newsletter All about Macramé For August we thought we would ring the changes and dedicate this edition of the newsletter to a fibre art that was popular in the 1970’s and 80’s for making wall hangings and potholders but which has recently made a resurgence in fibre art. Some customers have also found that the weaversbazaar cotton and linen warps are ideally suited to macramé. So we have all been having a go. Dianne Miles, one of the weaversbazaar tutors, has extensive experience in Macramé and has designed a one day course to show how the techniques can be incorporated into Tapestry for stunning effect – more details below. So we would like to show you some of the best work going on and introduce you to some of the cross overs with other textile art. History of Macramé The earliest recorded macramé knots appear in decorative carvings of the Babylonians and Assyrians. Macramé was introduced to Europe via Spain during its conquest by the Moors and the word is believed to derive from a 13th century Arabic weavers term meaning fringe as the knots were used to turn excess yarn into decorative edges to finish hand woven fabrics. Probably introduced to England by Queen Mary in the late 17th century it was also practiced by sailors who made decorative objects (such as hammocks, belts etc.) whilst at sea thereby disseminating it even further afield when they sold their work in port. It was also known as McNamara’s Lace. The Victorians loved macramé for “rich trimming” for clothing and household items with a favourite book being “Sylvia’s Book of Macramé Lace” which is still available today. -
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. -
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. -
ABOUT LACE by Anna Haraldsson Cutwork Needle Embroidery
ALL ABOUT LACE by Anna Haraldsson Cutwork Needle Embroidery ( ) Cut inside marked area if not using INSPIRA™ Cutwork Embroider cutwork with Embroider cutwork using Needles INSPIRA™ Cutwork traditional scissor for cut Needles outs in design. 1. 1. Add a new heavy weight water soluble stabilizer underneath the hoop for cutwork embroidery, or add fabric underneath Eylet 4 mm * the hoop for reversed applique. Eylet 4 mm 2. 2. Trim and remove the cut fabric if using INSPIRA™ Cutwork Cut inside marked area Cut inside marked area ( ) if not using INSPIRA™ Needles ( ) if not using INSPIRA™ Cutwork Needles Cutwork Needles 3. 3. Needle #1 Needle #1 Clean the Bobbin Area 4. 4. Needle #2 Needle #2 Add a heavy weight This design cannot be rotated or mirrored Add a heavy weight water soluble stabilizer water soluble stabilizer * underneath the hoop * underneath the hoop 5. 5. INSPIRA™ Cutwork Needle #1 Trim and remove the Trim and remove the cut fabric INSPIRA™ Cutwork Needle #2 cut fabric 6. 6. INSPIRA™ Cutwork Needle #3 Clean the Bobbin Area Clean the Bobbin Area INSPIRA™ Cutwork Needle #4 IMPORTANT RESIZING NOTICE: Embroideries digitized for Cutwork Needles CAN NOT be resized or scaled. Appliqué *✶ Heavyweight water Freestanding Cut Edge soluble stabilizer Embroideries creative™ GRAND ENDLESS HOOP Endless embroideries Design #18-27 All designs in this collection are shown in 50% of real size. All designs are stitched with Robison-Anton 40 wt decorative thread. Gütermann Sulky thread numbers are given below the Robison-Anton numbers. www.pfaff.com, www.myembroideries.com Design #2, 7, 11, 15, 17 The design begins with 4 position stitches for easy matching when creating All Over-embroidered fabric. -
Nottingham City Council Museums & Galleries Service Strategic Plan 2014
Nottingham City Council Museums & Galleries Service Strategic Plan 2014 – 2018 141022plan Page 1 of 96 141022plan Page 2 of 96 PREAMBLE PREAMBLE [i] Preface by Councillor Dave Trimble [ii] Contents [iii] Executive Summary [i] Preface by Councillor Dave Trimble Portfolio Holder for Leisure and Culture It gives me great pleasure to present this Strategic Plan for the Museums and Galleries Service to 2018. This is the first major Strategic Plan developed for our Museums and Galleries Service and the first such comprehensive Plan that I have received as Portfolio Holder for Leisure and Culture. This is a very important time for our Museums and Galleries Service, as we embark on a huge redevelopment of Nottingham Castle until 2020 – a development that is vital not only to secure the future of this world-renowned site, but as a keystone in the future economic prosperity of the City through the creation and support of new employment. However, the Plan encompasses the future of all of our major heritage sites, including Nottingham Castle Museum, Wollaton Hall and Park, Newstead Abbey with its beautiful gardens and grounds and Greens Mill. It includes an ambitious programme for the development of our outstanding collections, with detailed proposals for associated learning, engagement, digital developments, research and scholarship. Partnership working is vital to this enterprise and the role of partners for service delivery, research or as funders is clearly identified. In particular, the developing role of volunteer engagement, which will be vital to the sector as a whole, is a priority for development. The Service already has considerable expertise in this area and this will serve the wider community well as we aim to develop over the next few years.