The Tailor of Gloucester, by Beatrix Potter
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100 Most Popular Picture Book Authors and Illustrators
Page i 100 Most Popular Picture Book Authors and Illustrators Page ii POPULAR AUTHORS SERIES The 100 Most Popular Young Adult Authors: Biographical Sketches and Bibliographies. Revised First Edition. By Bernard A. Drew. Popular Nonfiction Authors for Children: A Biographical and Thematic Guide. By Flora R. Wyatt, Margaret Coggins, and Jane Hunter Imber. 100 Most Popular Children's Authors: Biographical Sketches and Bibliographies. By Sharron L. McElmeel. 100 Most Popular Picture Book Authors and Illustrators: Biographical Sketches and Bibliographies. By Sharron L. McElmeel. Page iii 100 Most Popular Picture Book Authors and Illustrators Biographical Sketches and Bibliographies Sharron L. McElmeel Page iv Copyright © 2000 Sharron L. McElmeel All Rights Reserved Printed in the United States of America No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Libraries Unlimited, Inc. P.O. Box 6633 Englewood, CO 801556633 18002376124 www.lu.com Library of Congress CataloginginPublication Data McElmeel, Sharron L. 100 most popular picture book authors and illustrators : biographical sketches and bibliographies / Sharron L. McElmeel. p. cm. — (Popular authors series) Includes index. ISBN 1563086476 (cloth : hardbound) 1. Children's literature, American—Biobibliography—Dictionaries. 2. Authors, American—20th century—Biography—Dictionaries. 3. Illustrators—United States—Biography—Dictionaries. 4. Illustration of books—Biobibliography—Dictionaries. 5. Illustrated children's books—Bibliography. 6. Picture books for children—Bibliography. I. Title: One hundred most popular picture book authors and illustrators. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Great Big Treasu Ry of Beatrix Potter Great Big Treasu Ry of Beatrix Potter
Picture here Great Big Treasury of Beatrix Potter By Beatrix Potter (1866-1943) Born in Victorian London on July 28th, 1866, Beatrix Potter created some of the best-loved children’s stories of all time. Starting with Peter Rabbit and moving through the rest of these delightful tales, the Great Big Treasury of Beatrix Potter will warm the hearts both of those who remember her fondly from their childhoods and those who discover for the first time the magic of these timeless stories. (Summary by Chip) Great Big Treasury of Beatrix TreasuryPotter Great Beatrix of Big 01 – The Tale of Peter Rabbit, read by Kara Shallenberg – 00:06:49 02 – The Tailor of Gloucester, read by Marilyn Saklatvala – 00:17:21 03 – The Tale of Squirrel Nutkin, read by Sherry Crowther – 00:08:50 04 – The Tale of Benjamin Bunny, read by Geva – 00:06:33 05 – The Tale of Two Bad Mice, read by Hugh McGuire – 00:07:29 06 – The Tale of Mrs. Tiggy-Winkle, read by Jeremy – 00:09:13 07 – The Pie and the Patty-Pan, read by wedschild – 00:09:27 08 – The Tale of Mr. Jeremy Fisher, read by retswerb – 00:06:11 09 – The Story of a Fierce Bad Rabbit, read by Brad Bush – 00:01:23 10 – The Story of Miss Moppet, read by Betsie Bush – 00:02:06 11 – The Tale of Tom Kitten, read by Neils Clemenson – 00:05:13 12 – The Tale of Jemima Puddle-Duck, read by Brad Bush – 00:07:57 13 – The Roly-Poly Pudding, read by Vlooi – 00:19:19 14 – The Tale of the Flopsy Bunnies, read by Annie Coleman – 00:08:13 15 – The Tale of Mrs. -
Simplified Sewing: Hems
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange SDSU Extension Fact Sheets SDSU Extension 1964 Simplified Sewing: Hems Cooperative Extension South Dakota State University Follow this and additional works at: https://openprairie.sdstate.edu/extension_fact Recommended Citation South Dakota State University, Cooperative Extension, "Simplified Sewing: Hems" (1964). SDSU Extension Fact Sheets. 865. https://openprairie.sdstate.edu/extension_fact/865 This Fact Sheet is brought to you for free and open access by the SDSU Extension at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in SDSU Extension Fact Sheets by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. .. ... -~--- - --v · . --,-.-.- , -. ·. ..•, .. ·'··· .••,.,. - .t:\. --(. ......., • ... ·\•i• ....,.,•-•1•,··...- .,.. "\' ·,- • • • -:\. -: ·):.~\:,..,:}:,:.·,:,..,:;:,:.~:,-:-,:.0:.- ·,~\:,.!;;;; ··:,:.\!.t:,-;..:,t;.,:,:,:.i:1:,:.'.:.•; .-·F_:,~::::_:.~:~~~~~;.:::z~:;:'.·---~-~;:~~L ::·.1~~~~1::.:;.:_;~~: File Copy FS244 THE l-lE~I of your dress can have the "professional - Wearer should stand in a natural position with look" or the "homemade look." In general, the best arms at sides and weight on both feet. hem is the least conspicuous, and every step in making a hem is planned with this in mind There are several methods of marking a hem. You may use any one of these: The professional touch is recognize-cl by the follow- ing characteristics: Various types of chalk markers or pin markers - Inconspicuous from the right side Yardstick - Even distance from the floor Tailor's square. - Wide enough for good proportion and to gi\.re With some of these you can mark enough weight to hang well your own hem; others require a - Even in width help«. -
the Tailor of ;::: Gloucester
r=iii;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;iit .... THE TAILOR OF ;::: GLOUCESTER .. .. .... ... A PLAY FROM THE STORY By BEATRIX POTTER ADAPTED BY E. HARCOURT vVILLIAMS .... tltl . .. FIRST PRODUCED . By JEAN STERLING MACKINLAY .... AT HER .... ANNUAL CHILDREN'S CHRISTMAS MATINEES tlO .,. , · ... FREDERICK WARNE & Co., Ltd. LONDON AND NEW YORK : ::: ::: ::::: :: : : :: : ::: : :::::: :: ::: : :::::: :: :: : : ::: : : ::: ::: :: : ::: : ::: : :::: ::: :: : :: : : :: ::: :::: ::: :: ::: ::: : :: :: : : : ::::: ::: :: :: :: :: :: : : ::: :: . .. ······· .................. ' ... ................................. ... ..... ........................ .. ............. .... ....... ............ ... ...: ........................................................................................................................................: Where no fee for admission is charged, this play may be performed without permission or payment of any fee. If admission to the play is by payment, or by purchase of a programme, the permission of the Publishers must first be obtained and a fee paid. FREDERICK WARNE & CO., LTD., CHANDOS HousE, BEDFORD CouRT, LONDON, W.C.2. Price One Shilling Net. Printed in Great Britain for the Publishers by Glovers, 1Ves/011-s11per-!11arf'. THE TAILOR OF GLOUCESTER A PLAY From the tory b) BEATRIX POTTER Adapted by E . HARCOCRT \VILLIAMS FirfL produced by Jean Sterling Mackinlay al her :\nnual Children's Christmas :Matinees. CAST. The -
Taking Shape DARTS ADD SHAPE TURNING a FLAT PIECE of FABRIC INTO a THREE-DIMENSIONAL FORM to MATCH the CONTOURS of the BODY LINDA TURNER GRIEPENTROG
Techniques Taking Shape DARTS ADD SHAPE TURNING A FLAT PIECE OF FABRIC INTO A THREE-DIMENSIONAL FORM TO MATCH THE CONTOURS OF THE BODY LINDA TURNER GRIEPENTROG ustline, hip, waistline to tummy, elbow and shoulder. Darts can be horizontal, vertical or anywhere in between, straight or curved, but the stitching principles are the same. BThe goal of quality dart stitching is smooth, pucker-free points that don’t call attention to themselves. SHAPING A single-point dart is shaped like a triangle, and when stitched it takes a wedge of fabric out of the garment allowing for controlled fullness at the point. A single dart may be on the lengthwise fabric grain, angled or slightly curved. (1) A double-point or contour dart is diamond or rugby ball shaped, and is used to shape the waistline, leaving fullness at both ends for the bust and hip. (2) A French dart is a curved shape from the garment side seam to the bustline. This dart has cut edges joined like a seam. (3) V9082 Vintage Vogue, 1960. Misses’ A5(6-8-10-12-14) E5(14-16-18-20-22). Sew Rating: Average. Price code Orange. Illustrations: Theresa O’Connell Theresa Illustrations: 1 2 3 26 SEW TODAY May/June 2019 MARKING to anchor the stitches. Stitch (7) and stitch toward the point, Darts are indicated on the along the line, removing the A third technique for dart then repeat for the other pattern tissue by either solid pins as you get to them. Taper point, slightly overlapping or dashed lines and a dot the stitching to the point the beginning stitching lines at the point. -
Cumulative Index 91-100
Cumulative Index to The Beatrix Potter Society Newsletters, Numbers 91 – 100 Compiled by Rowena Godfrey In this index, Beatrix Potter’s name has been abbreviated to BP, apart from the entry Potter, Helen Beatrix. For individual manufacturers of merchandise, see under Merchandise. Adult BP programs 93:15; see also Introducing BP project Akester, Jenny (Committee, Membership; Conference Organiser) 93:2; 94:7, 12, 16 ‘Adopt-a-Potter!’ 98:27 ‘A week in the life of a volunteer’ 100:40 Report on the Eleventh International Study Conference 94:11 ‘Skink!! For dinner? Surely not!’ 95:30 Alderson, Brian (President) 91:27 Review of Cotsen Occasional Press books 98:23 Alderson, Valerie (President’s wife) 94:37; 97:39 Angel, Marie (illustrator) 100:33, 34 Annual General Meetings reports on – 2004 92:Appendix, 5; 2005 96:Appendix, 6; 2006 100:Appendix, 7 ‘Antiques Roadshow’ (BBC television programme) 91:12; 92:20; 96:17 Antiques Trade Gazette (UK trade magazine) 95:31 Appleby (headquarters of the Heelis firm) 95:26 Appley Dapply’s Nursery Rhymes (BP) 98:25 Aris, Ernest A. (artist, writer and illustrator) 94:38 Armitt Trust; see also Exhibitions ‘BP: Gardener’; Lakes Discovery Museum @ the Armitt, The Museum and Library 92:23, 33; 93:2; 94:4; 100:38 Art of BP, The (L. Linder) 92:32; 95:21; 98:4 Art Nouveau 95:10 Arts and Crafts Movement 99:6 Arundel Castle (Sussex) 100:25 Ashyburn Farm (Bertram Potter’s home in Scotland) 94:26 Austin, Mike (Sales Manager and Committee, Treasurer) C.V. 93:3 Austin, Patricia (Sales Manager) ‘Collectors’ Corner’ (with -
Scissors [680
Sales office: +39 015 40 1935 - [email protected] www.tessilmarket.it Scissors TESSILMARKET srl CODE TBFL0110 TBFL0113 DESCRIPTION SEWING SCISSORS SEWING SCISSORS Blades = nickel plated steel with steel handles Blades = nickel plated steel with steel handles FEATURES Lenght = tot. 10 cm. (4”) Lenght = tot. 13 cm. (5”) Blades = 3,5 cm. (1,35”) Blades = 5 cm. (2”) WEIGHT 30 gr. 42 gr. CODE TBFL0115 TBFL0213 DESCRIPTION SEWING SCISSORS DRAPER SCISSORS Blades = nickel plated steel with steel handles Blades = nickel plated steel with pla- stic handles FEATURES Lenght = tot. 15 cm. (6”) Lenght = tot. 13 cm. (5”) Blades = 6 cm. (2,5”) Blades = 5 cm. (2”) WEIGHT 60 gr. 45 gr. CODE TBFL0218 TBFL0315 DESCRIPTION DRAPER SCISSORS DRAPER SCISSORS Blades = nickel plated steel with plastic Blades = inox plated steel ASI420 with handles nylon handles FEATURES Lenght = tot. 18 cm. (7”) Lenght = tot. 15 cm. (6”) Blades = 7,5 cm. (3”) Blades = 6,5 cm. (2,5”) WEIGHT 75 gr. 45 gr. Sales office: +39 015 40 1935 - [email protected] www.tessilmarket.it Scissors TESSILMARKET srl CODE TBFM0110 TBFM0113 DRAPER SCISSORS DESCRIPTION DRAPER SCISSORS Blades = with rounded tips in nickel plated steel with plastic Blades = with rounded tips in nickel plated steel handles and steel handles FEATURES Lenght = tot. 10 cm. (4”) Lenght = tot. 13 cm. (5”) Blades = 4 cm. (1,6”) Blades = 5 cm. (2”) WEIGHT 25 gr. 42 gr. CODE TBFM0216 TBFR0110 DESCRIPTION DRAPER SCISSORS EMBROIDERY SCISSORS Blades = with rounded tips in nickel plated steel with plastic Blades = sharp tips in nickel plated steel handles and steel handles FEATURES Lenght = tot. -
A Few of the Author's Favorite Things: Clothes, Fetishism, and the Tailor Of
A few of the author's favorite things: clothes, fetishism, and the tailor of Gloucester. Article (Published Version) Field, Hannah (2010) A few of the author’s favorite things: clothes, fetishism, and the tailor of Gloucester. The Lion and the Unicorn, 34 (1). pp. 17-33. ISSN 0147-2593 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/56657/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk $)HZRIWKH$XWKRU V)DYRULWH7KLQJV&ORWKHV)HWLVKLVP DQG7KH7DLORURI*ORXFHVWHU +DQQDK)LHOG The Lion and the Unicorn, Volume 34, Number 1, January 2010, pp. -
80739083.Pdf
3-~"'81 8-1355 ~.(O~ All About ... • Pattern Selection • Fabric Selection • Contemporary Techniques • Fusible Interfacings • Finishing Tips CONTENTS Page Pattern Selection. ............................................... .. 3 Fabric Selection ................................................ .. 3 Notions. ....................................................... .. 3 Pressing Points ................................................. .. 4 Inner Fabrics. .................................................. .. 4 Underlining. ................................................. .. 4 Interfacing. .................................................. .. 4 Lining. ..................................................... .. 5 Preparation ............................................ .. 5 Fabric. ...................................................... .. 5 Pattern Fit. .................................................. .. 5 Cutting and Marking. ......................................... .. 5 Comparison of Custom and Contemporary Tailoring Techniques. ...... .. 5 Front and Back Interfacing. ...................................... .. 5 Fusible Method-Front. ...................................... .. 5 onfusible Method-Back Reinforcement. ....................... .. 6 One-Piece Method. ........................................ .. 6 Two-Piece Method ......................................... .. 6 Applying Back Reinforcement .................................. .. 7 Lapel and Roll Line ............................................. .. 7 Marking the Roll Line , 8 Taping the -
Savile-Row-Inside-Out.Pdf
Savile Row: Inside Out 1 Savile Row BeSpoke aSSociation he Savile Row Bespoke Association is dedicated to protecting and promoting Tthe practices and traditions that have made Savile Row the acknowledged home of the best bespoke tailoring and a byword for unequalled quality around the world. The SRBA comprises of fifteen member and associate houses, who work together to protect and champion the understanding of bespoke tailoring and to promote the ingenious craftsmen that comprise the community of Savile Row. The SRBA sets the standards that define a Savile Row bespoke tailor, and all members of the Association must conform to the key agreed definitions of a bespoke suit and much more besides. A Master Cutter must oversee the work of every tailor employed by a member house and all garments must be constructed within a one hundred yard radius of Savile Row. Likewise, every member must offer the customer a choice of at least 2,000 cloths and rigorous technical requirements are expected. For example, jacket foreparts must be entirely hand canvassed, buttonholes sewn, sleeves attached and linings felled all by hand. It takes an average 50 plus hours to produce a suit in our Savile Row cutting rooms and workshops. #savilerowbespoke www.savilerowbespoke.com 2 1 Savile Row: inSide out Savile Row: Inside Out looks inside the extraordinary world of bespoke tailoring; an exclusive opportunity to step behind the scenes and celebrate the tailor’s art, the finest cloth and the unequalled expertise that is British Bespoke. A real cutter will be making a real suit in our pop-up cutting room in front of a collection of the work – both ‘before’ and ‘after’ to show the astonishing level of craftsmanship you can expect to find at Savile Row’s leading houses. -
How It Was Made
To put what text you want here just click HOWand type, to add anIT image WAS click insert > image then drag it here/resize it and delete MADEthis text Scissors Scissors have two arms each with blades at one end and a round hole for the fingers at the other. These arms are pinned together with a screw or rivet which allows them to move and be opened and closed, sliding the blades against each other to cut. They are different from shears or spring scissors which are made from one piece of metal bent in half to make two arms, each with a blade at the end. Diagram of scissor parts The blades and bows of scissors vary enormously depending on their intended use and user. Blades can have one or both points which are: round, square, curved or pointed. Bows can be equal/unequal in size, straight or offset to one side (sidebent), higher than the blades (i.e. have a bent shank) and can be shaped and highly decorated. ‘Scissorsmyths’ or ‘Scissar makers’ and ‘shearsmiths’ were active in Sheffield from the early 1600s (see ‘Tweedale’s Directory of Sheffield Cutlery Manufacturers 1740-2010’ by G. Tweedale, 2010) and by the mid-1600s Sheffield was well known for its manufacture of steel and cutlery – table knives, trade knives, razors and scissors - taking advantage of the availability of water power, skilled labour, and the raw materials needed (see ‘A History of Sheffield’ by David Hey, 2005). In the 1700s and 1800s the cutlery industry grew, particularly after the invention of crucible steel by Benjamin Huntsman in the 1740s with an increase in both domestic and export trade.