C a N D Y H E a R

Total Page:16

File Type:pdf, Size:1020Kb

C a N D Y H E a R Candy Hearts ® CUTTING - - materials required embroidery instructions • /8 • • • • • ® / • 2 ® - • embroidery files - 1.5” SEAM ALLOWANCES U SEW 3 All seam allowances are /8” unless otherwise noted. FINE COLOR KEY ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. embroidery alternatives /8 • • • • sewing instructions FINISHED! U SEW FINE @husqvarnaviking #sewhusqvarnaviking U SEW FINE ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. ASSEMBLY INSTRUCTIONS: 1. Print pattern pieces with the scale set at 100%. [Check your print scale by measuring the box on this page.] 2. Cut out all pieces. You should six segments - two will form the gusset and four will form the heart. 3. Align and tape together edges with circles. This square should measure 2” across 4. Align and tape together edge with squares. when printed. Candy Heart cut 2 ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. e grainlin ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. FOLD Candy Heart Gusset cut 1 on fold ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB. ©2015 KSIN Luxembourg ll, S.ar.I. INSPIRA® is a trademark of KSIN Luxembourg ll, S.ar.I. HUSQVARNA® is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB..
Recommended publications
  • 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.
    [Show full text]
  • Historic Costuming Presented by Jill Harrison
    Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs.
    [Show full text]
  • CO Guide to Judging Clothing
    Colorado 4-H Guide for Clothing Judges Standards of Quality Clothing Construction Introduction One of our basic tasks in evaluating or judging is to be able to recognize and identify the standards that give a garment a finished, professional look. There are many techniques that can be used to accomplish the same end product. Each of us has techniques that we like and techniques that we dislike. In an objective evaluation it is essential to play down our personal preferences and to build upon identified and accepted standards. In general, there are some standards that apply to almost all techniques. Almost all construction techniques should result in an area, finish or detail that is: • Inconspicuous o Flat and smooth o Free from bulk o Stitching a uniform distance from an edge or fold • Functional • Durable –stitching uniform and secure Specific standards that can be expected in good construction are listed on the following pages. They are organized by techniques and/or areas, and the techniques are presented in alphabetical order. Overall Appearance Be objective when considering the overall appearance and appeal of a garment. It may be helpful to think about there being at least one especially pleasing feature about this garment, reflecting the many hours of though, effort and creativity that went into its construction. It may be the design, fabric, use of unusual technique or detail. Particularly neat and well-done machine or handstitching, etc. o Overall neatness and cleanliness o Plaids, stripes, checks and other designs matched at seams o Fabric with a direction in design or nap issued in garment in one direction unless garment design requires variation.
    [Show full text]
  • Design Iterations Through Fusion of Additive and Subtractive Design
    DESIGN ITERATIONS THROUGH FUSION OF ADDITIVE AND SUBTRACTIVE DESIGN A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Gordon Stumpo May 2016 i Thesis written by Gordon Stumpo B.A., Washington State University, 2014 M.A., Kent State University, 2016 Approved by Vince Quevedo, Thesis Supervisor Brian Peters, Committee Member Margarita Benitez, Committee Member Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art Mr. J.R. Campbell, Director, The Fashion School Dr. Christine Havice, Director, The School of Art Dr. John Crawford-Spinelli, Dean, College of the Arts ii TABLE OF CONTENTS Page LIST OF FIGURES ……………………………………………………………………………………….……….…….….vi LIST OF TABLES………………………………………………………………………………………...……….………..xi ACKNOWLEDGMENTS……………………………………………………………………………...………..………..xii CHAPTER I. INTRODUCTION…………………………………………………………………………………………..………….13 Concept……………………………………………………………………………………...................................13 Design Framework…………………………………………………………………………………………..…13 Surface and Structure Frameworks…………………………………………………………….….……14 Additive Design…………………………………………………………………………………………..…..….18 Subtractive Design……………………………………………………….……………………………....….…18 Tension…………….……………………………………………………………………………….…………..…..18 Price Point…………….…………………………….………………………………………………………...…..19 Personal Skills & Background…………….……………………………………………………….…..…..19 Problem Statement &
    [Show full text]
  • LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017
    LAPTOP SHOULDER BAG by Jackie Robinson, Animas Quilts - 2017 Hydrangea Embroidery - digitized by OESD adapted from Hydrangea fabric by Jackie Robinson & Benartex LLC Outer Fabric - 7/8 yd Fusible Woven Interfacing - 1-3/4 yds if 40” wide or 3-1/2 yds if 20” wide Pellon Fleece - 1/2 yd Lining Fabric - 1/2 yd Medium weight Tear-Away, preferably Ultra Clean & Tear from OESD OESD Perfect Press Cloth Begin by measuring your laptop – width, height, and thickness. MacBook is: 14.125 x 9.75 x .75 I wanted a 6” flap, 2” of gusset (it has to include that on top, plus 9.75” height for the back = 17.75” x 14.125. Add 1” to both measurements (1/4” seams plus ease for the included batting) = 18.75” x 15.125” That’s the measurement I trimed to after embroidery. Therefore, begin with a 20” x 17” for the Back & Flap. It’s large, so fuse two layers of woven iron-on interfacing to the wrong side. Double interface all the pieces for strength, as well because of embroidery on the back as well as the flap. Use two layers of stabilizer also. Flap embroidery is 5” x 12”. At the Raw edge of the flap, mark center 2.5” + .5” = 1.125” + 4.125” up from the edge. Strap - Cut fabric at least 7” x 42” Two layers of Interfacing. Place leaves as desired, with two layers of stabilizer. After stitching, trim to 6-1/8” x 36” Cut front 10.75” x 15.125”. Double Interface.
    [Show full text]
  • " 47.4% Attorney United States Patent Office
    C, A, TURNER. ONE BUTTON UNION SUIT, 1,204,615. APPLICATION FLED NOW, 8, 1915. Patented Nov. 14, 1916. Fig.5 INVENTOR CHARLES A TL/FNER " 47.4% ATTORNEY UNITED STATES PATENT OFFICE. CHARLES A TURNER, OF UTICA, NEW YORK. oNE-BUTTON UNION-suIT. 1,204,615. Specification of Letters Patent. Paterated Nov. 14, f$91 6, , Application filed November 8, 1915. Serial No. 60,215. To all whom, it may concern; will eliminate, the double thickness of cloth Be it known that I, CHARLEs A. TURNER, at the crotch and obviate bulkiness in this a citizen of the United States, residing at section. However, if a double flap should Utica, in the county of Oneida and State of be found desirable, a small gusset can be New York, have invented certain new and readily attached to the corresponding edge 60 useful Improvements in One-Button Union of the garment to obtain this effect. Suits, of which the following is a specifica The flap or gusset, at the back of the gar tion, reference being had therein to the ac ment, is designed to be sewed to one edge of companying drawing. the slit or opening in the rear of the garment 0 My invention relates to one button union and to extend from the top or neckportion 65 suit, and I declare the following to be a full, to the crotch. The flap is cut with a greater clear, 'concise and exact description thereof width in that part opposite the lower per sufficient to enable anyone skilled in the art manent opening of the garment, whereby to to which it appertains to make and use the prevent the accidental opening of the same 15 same, reference being had to the accompany and the consequent exposition of the body.
    [Show full text]
  • Princess & the Pea Pincushions
    Princess & the Pea Pincushions Materials Required Granny Square Cushion Selvage String Cushion Fabric: Fabric: • 8 - 1 3/4” squares The Sweetest Thing • Variety of strips between 1” and 1 1/2” to blue & green prints make 4” x 6” string piece • 3 - 3 1/8” squares Bleached Denim solid • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 4” x 6” rectangle Main Flower Blue • 1 - 2” x 21” strip Chevron Blue • 1 - 2” x 21” strip Chevron Blue Notions: Notions: • Sewing Machine • Sewing Machine • Fiberfill Stuffing • Fiberfill Stuffing • Vase Filler or Crushed Walnut Shells • Vase Filler or Crushed Walnut Shells • Hand sewing needle & thread • Hand sewing needle & thread • Scissors or rotary cutter • Scissors or rotary cutter 1 Granny Square Cushion 1. Cut Setting Triangles & Piece Top First, cut the three 3 1/8” squares into four quarter square triangles for setting, you will need 10 triangles for this project, two are leftover as scraps. Next arrange prints as shown and sew together in diagonal rows. Press seams in opposite directions, as shown, to make lining up points easy. Sew the rows together; then add the corner triangles to the piece. 2. Trim & Round Corners Trim the block so that 1/4” of the Bleached Denim fabric extends beyond the prints. Using a circle with a 1” diameter (I used a small spray bottle, but have provided a circle on the printer friendly pattern), draw a rounded corner on each corner triangle. Place the backing piece wrong sides together with the top and cut around the curves through both layers.
    [Show full text]
  • Master Th E Basics
    Master The Basics Master The LIMITED EDITION Top features • A, B, Transparent B, C, D, E, H, J, P, • R (Buttonhole foot) BUILT-IN NEEDLE THREADER • 22 Stitches • Threads the needle instantly • Limited Edition Presser Foot Kit • Makes threading easy and reduces eye strain ONE STEP BUTTONHOLE Quick and easy to sew buttonholes the perfect size. SEWING GUIDE REFERENCE CHART Refer to your built-in Sewing Guide Reference Chart for recommendations on presser foot, stitch A LIMITED EDITION length, stitch width, thread tension, and presser PRESSER FOOT KIT INCLUDED! foot pressure for your fabric type and sewing technique. The Presser Foot Kit contains three optional SNAP ON PRESSER FEET presserfeet for Makes it easy to move from one special sewing specialty sewing: technique to the next. Gathering Foot LIMITED EDITION WITH AN EDEN ROSE™ CLEAR PIPING Foot PRESSER Foot KIT BRAIDING Foot The EDEN ROSE™ Presser Foot kit is included as an extra value with your purchase. HUSQVARNA VIKING® is known for developing innovative new presser feet that define and evolve with current sewing trends. This kit helps you to develop your creative sewing skills for all kinds of projects. Feature Technique Benefit SEwS FABRICS: woven Medium chino and Stretch • When you select a stitch, you are ready ON All TyPES light Tricot to sew. & wEIGHTS SElECT: Straight stitch (1) on stitch selection • Your HUSQVARNA VIKING® EDEN ROSE™ dial. Stitch length 2.5. Stitch width 5. 250M will sew all different types of fabrics, without having to change the tensions. USE: Presser Foot A • The built-in Sewing Guide Reference Chart SHOw: Sewing Guide Reference Chart.
    [Show full text]
  • Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company
    Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide © 2006 Atlanta Attachment Company. All rights reserved. All materials contained herein are additionally protected by United States copyright law and may not be used, disclosed, reproduced, distributed, published or sold without the express written consent of Atlanta Attachment, which consent may be withheld in Atlanta Attachment’s sole discretion. You may not alter or remove any copyright, trademark or other notice from copies of these materials. Atlanta Attachment Company, AAC, Atlanta Parts Depot, “Sudden Service”, Sewing Automation, individually and when used in combination are registered trademarks of Atlanta Attachment Company. 05087011506 Welcome to Atlanta Attachment Company Innovative Technology for the Sewn Products Industry Worldwide Equipment Indexed by Category Category Page Corporate . iv - xi Binding . 0 - 3 Border - Foundation . 4 - 11 Border - Mattress . 12 - 25 Embroidery . 26 - 27 Flanging . 28 - 35 Handle Making . 36 - 37 Label . 38 - 41 Packaging . 42 - 43 Panel Cutting / Border Slitting . 44 - 45 Quilting . 46 - 49 Repair . 50 - 51 Ruffler . 52 - 67 Serger . 68 - 73 Springs . 74 - 81 Table . 82 - 83 Tape Edge . 84 - 93 Tufting . 94 - 95 Zipper . 96 - 101 Attachments & Folders . 102 - 103 Climate Control: Cool-Space . 104 Material Handling: ZRack, Mattress Trucks . 105 Plant Information & Control System: Satelite Plus . 106 Serial Bus Control System . 107 Parts . 108 ii Equipment Index by Model Number Model Description Page 1303 . Automatic Pocket Spring Production Line . 74 1304 . Wire Straightening Machine . 76 1305 . Pneumatic Border Bending Machine . 76 1309 . Spring Unbaler . 77 1312 . Automatic Decorative Border Workstation . 12 1313 & 1313M . Automatic Pocket Spring Machine . 78 1314 & 1314M .
    [Show full text]
  • OHIO DEPARTMENT of DEVELOPMENT Office of Strategic Research INTERNATIONAL CORPORATE INVESTMENT in OHIO OPERATIONS
    OHIO DEPARTMENT OF DEVELOPMENT Office of Strategic Research INTERNATIONAL CORPORATE INVESTMENT IN OHIO OPERATIONS June 2006 A State Affiliate of the U.S. Census Bureau Bob Taft, Governor Bruce Johnson, Director International Corporate Investment in Ohio Operations July 2006 This Directory identifies 963 companies based in Ohio having some type of International Corporate Investment. The address, employment, function, and country of foreign origin creates the database published by the Ohio Department of Development. The Directory of International Corporate Investment in Ohio Operations is a detailed listing of foreign based enterprises that have investment or managerial interests in business operations based in Ohio. The report provides a summary by Country, Distribution Maps and data lists sorted by alphabetical listing, country of foreign origin, and the county location of the Ohio investment. The enterprises listed in the directory have ten or more employees at the Ohio site. The information was collected through mail survey, phone contact, web searches and news reports. International investment is defined as ten percent or greater of corporate shares / capital owned by others domiciled outside the United States. There are no mandatory state filing of international status, thus this report was made possible through the voluntary cooperation of the companies listed. Employment counts may differ with other published reports due to the timing or aggregation of the data. While every attempt has been made to make this Directory complete and accurate as possible, global trade and commerce creates a constant state of change. Updates and new listings are always welcome and will be incorporated into later editions. All information listed should be considered current as of April 2005.
    [Show full text]
  • Gusset Plate Stress
    GUSSET PLATE STRESS Gusset plates are used in steel buildings to connect bracing members to other structural members in the lateral force resisting system. Figure 1 shows a typical vertical bracing connection at a beam-to-column intersection. Gusset plates are also used to connect diagonal members to the chords and vertical members of trusses. Fig. 1. Vertical brace connection. A large number of research projects have been dedicated to the stresses in gusset plates. The research includes laboratory tests, finite element models, and theoretical studies. Many different failure modes have been identified, and design methods and specification requirements have been formulated based on the research. Design information for gusset plates can be found in the AISC Steel Construction Manual (AISC, 2005); however, the behavior of gusset plates is very complex and cannot be fully defined by the available design procedures. Engineering judgment is critical in the design process; therefore, it is important that engineers understand the background of the guidelines. This paper provides a design-based review of the available information on gusset plates and references for engineers who want to study the topic in-depth. Only the documents relevant to the evolution of the current design procedures are presented; however, additional references are listed in the bibliography. Other aspects of gusset plate design, such as stability, calculation if interface loads, and seismic design will be presented in future papers in this series. This paper is organized into three sections: Effective Width, Normal and Shear Stresses, and Combined Stresses. Connection Design for Steel Structures Chapter 7a, Page 1 of 21 Copyright © 2011 by Bo Dowswell EFFECTIVE WIDTH Existing Literature The first major experimental work on gusset plates was done by Wyss (1923).
    [Show full text]
  • The Well Dress'd Peasant
    TheThe WWellell DrDress’dess’d Peasant:Peasant: 1616thth CenturCenturyy FlemishFlemish WWorkingwomen’orkingwomen’ss ClothingClothing by Drea Leed The Well-Dress’d Peasant: 16th Century Flemish Workingwoman’s Dress By Drea Leed Costume & Dressmaker Press Trinidad, Colorado ACKNOWLEDGEMENTS The author and publisher wish to thank the following institutions for their help with the color images for the cover and interior color plates. Copyright for these images is retained by them, in accordance with international copyright laws. The images are used with permission. Cover A Marketwoman and Vegetable Stand, by Pieter Aertsen © Bildarchiv Preüssuscher Kulturbesitz Märkishes Ufer 16-18 D-10179 Berlin Germany Inside front cover Harvest Time by Pieter Aertsen and Plates 1, 3 The Pancake Bakery by Pieter Aertsen Harvest Time (A Vegetable and Fruit Stall) by Pieter Aertsen © Museum Boijmans van Beuningen Museumpark 18-20 CX Rotterdam The Netherlands Plate 2 (Centerfold) The Meal Scene (Allegorie van de onvoorzichtigheid) by Joachim Beuckelaer © Koninklijk Museum voor Schone Kunsten Plaatsnijderstraat2, B-2000 Antwerp Belgium © November 2000 by Drea Leed © November 2000 by Costume & Dressmaker Press Published by Costume & Dressmaker Press 606 West Baca Street Trinidad Colorado 81082 USA http://www.costumemag.com All rights reserved. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means - graphic, electronic or mechanical, including scanning, photocopying, recording, taping or information storage
    [Show full text]