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Macstitch/Winstitch Manual by Ursa Software
MacStitch/WinStitch Manual by Ursa Software Revision: January 2017 - !1 Introduction This document explains all the main functions of the application, plus the bundled Thread Editor utility, and Symbol Editor. We hope you enjoy many hours using the program! If you can't find the answer to a query you have within this document, please send us an email using the contact form on our website, or in the help menu of your program. Jeff & Deb Tullin Ursa Software MacStitch Mac, and WinStitch for the PC are designed for making the creation of counted cross stitch charts easy, quick and fun. You draw on screen using the mouse, using your selected colors (taken from the DMC, Anchor, Madeira or several other thread ranges), and build up your design just as you would on graph paper. For the artistically challenged, you can import scanned photos or clipart, and have the program turn them into ready-to-stitch designs in minutes, at just the right size. The printouts are clear and easy to read, especially when you choose to print at the larger symbol sizes. No need run down to the print shop to get the chart enlarged when you can print it yourself! The task of creating a chart involves either designing something based upon an idea you have, and using the computer screen like a sheet of graph paper, or by importing an image from elsewhere (perhaps a photo or piece of clip art) Once the design is on the screen, you can amend it further: perhaps by adding text, removing background stitches, or adding half stitches to smooth curved edges. -
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. -
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. -
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 -
Step 1: Turn on Sewing Machine - Switch on the Right Hand Side
8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 1 Part 1: Sewing Machine (Student Worksheet – Formative Assessment) Name _____________________________________________ Period ________ Score _____________________________________________ Directions: Complete after all parts have been completed, place in designated tray. Step 1: Turn on sewing machine - Switch on the right hand side. Step 2: Identify & Practice Using Assigned Parts Sewing Machine Parts: Part 1 1. Needle Button and Needle - DO NOT USE HANDWHEEL! On / Off Switch 2. Reverse Button – Reverse 3. Presser Foot – Holds down fabric 4. Stop/Start button must be green to sew. This is only done when the presser foot is down. 5. Speed Switch – Regulates your sewing speed. (NOTE: remember we are in a school zone – So sew slowly!!) Speed Switch 6. Stitch Regulator – Regulates stitch sizes (Large, Medium, Small). To make changes click the light at the bottom of the stitch regulator. Then slide the switch to the stitch size required. Most stitching is done with the medium stitch size. Stitch Regulator 8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 2 7. ZigZag Stitching - Press the zigzag button light when using this 4 type of stitch. The up/down button will change the numbers on the screen and will determine what stitch you are making. Check the plastic chart to see what numbers correlate to each design. Since we have the “J” foot on, these are the stitches we will be using. 8. A few more parts: Zig Zag Dials a. Feed Dogs – Grabs fabric smoothly through b. Threading Guides – Helps you thread the machine – all are sequentially labeled. -
A Hole New Story Jumper & Socks Edition
Workshop no.1 A hole new story jumper & socks edition Don’t let your textiles go to waste workshop series Contents 1. Who are we? 3 2. Mending, a story of tradition and care 7 3. Fabrics 101 11 4. Material kit explained 16 5. Visible mending techniques 18 6. Basic sewing skills 23 7. Step-by-step mending techniques 25 2 1. Who are we? 3 TextileLab Amsterdam TextileLab Amsterdam is a group of people that researches, questions and Pictured above (from left to right): speculates how we can help transition the textile and clothing industry towards a more sustainable and value driven approach. From a holistic Cecilia Raspanti approach we look at materials, tools/instruments, processes, culture and Co-founder TextileLab Amsterdam, systems and how these are related. Co-founder Fabricademy: textile academy The research always has a collaborative and value driven nature, where Ista Boszhard findings are shared in a fully open source fashion to create knowledge Co-founder TextileLab Amsterdam, exchange and foster collaboration with a range of diverse stakeholders. Lecturer Amfi Circular economy, sustainable value flows and networks, as well as material Margherita Soldati research and innovation are at the core of the TextileLab operations, going Concept and design TextileLab Amsterdam, hand in hand with exploring informal hands-on alternatives for design, Independent Designer fabrication and production. This wide range of operations and outcomes all feed into education innovation, supporting the change of this field starting Beatriz Sandini from existing educational structures. Concept and design TextileLab Amsterdam, Independent Designer 4 REFLOW Textiles have been a critical and polluting industry since the Industrial Revolution – each year, 14,000 tons of textiles are thrown away in Amsterdam only. -
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. -
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 -
Janome 3160QDC Manual
INSTRUCTION BOOK IMPORTANT SAFETY INSTRUCTIONS This appliance is not intended for use by persons (including children) with reduced physical, sensory or mental capabilities, or lack of experience and knowledge, unless they have been given supervision or instruction concerning use of the appliance by a person responsible for their safety. Children should be supervised to ensure that they do not play with the appliance. When using an electrical appliance, basic safety precautions should always be followed, including the following: This sewing machine is designed and manufactured for household use only. Read all instructions before using this sewing machine. DANGER— To reduce the risk of electric shock: An appliance should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. WARNING— To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children. 2. Use this appliance only for its intended use as described in this owner’s manual. Use only attachments recommended by the manufacturer as contained in this owner’s manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return this sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the appliance with any air opening blocked. Keep ventilation openings of this sewing machine and foot controller free from accumulation of lint, dust and loose cloth. -
4JE-02PO: Let's Learn to Knit with Increase and Decrease
4JE-02PO COOPERATIVE EXTENSION SERVICE UNIVERSITY OF KENTUCKY—COLLEGE OF AGRICULTURE Unit 2 Let’s Learn to Knit with Increase and Decrease Linda Heaton, Textiles and Clothing Specialist 18 U. S. C. 707 Agriculture & Natural Resources • Family & Consumer Sciences • 4-H/Youth Development • Community & Economic Development This publication was originally prepared by Jo Ann S. Hilliker, former state Extension specialist in clothing and textiles. Special appreciation is extended to the committee who inspired this project and who worked long hours to make it a reality. Many thanks to: Thelma Smith, Shelby County Leader Mrs. Glenn Riggs, Fayette County Leader Katherine Hixson, Harrison County Leader Jane Bailey, former Shelby County Extension Agent for Home Economics Karen Hill, former Extension Program Specialist for 4-H Mention or display of a trademark, proprietary product, or firm in text or figures does not constitute an endorsement and does not imply approval to the exclusion of other suitable products or firms. Contents Your Guide for the Project .......................4 Gauge ....................................................12 You Will Learn ..................................................4 Check the Gauge .......................................... 12 Articles You Will Make ....................................4 Care of Synthetic Yarns .........................13 Exhibit Your Work ............................................4 Machine Washing and Drying .................. 13 Add to Your Record Book ...............................5 -
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.