DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IDENTITY, CONSUMPTION, AND FREQUENCY OF BEHAVIOR AMONG CONTEMPORY NEEDLEWORKERS DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Catherine Amoroso Leslie, M.S. The Ohio State University 2002 Dissertation Committee: Approved by Professor Sharron J. Lennon, PhD, Co-Adviser Assistant Professor Leslie Stoel, PhD, Co-Adviser (JL^Ccc Co-Advisers Associate Professor David Stebenne, PhD College of Human Ecology Gayle Strege, M.A. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3049068 Copyright 2002 by Leslie, Catherine Amoroso All rights reserved. _ ___ _ ® UMI UMI Microform 3049068 Copyright 2002 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Catherine Amoroso Leslie 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Needlework is an important part o f women’s culture, however it is not well represented in the literature. Recent studies have suggested a link between needlework and identity, but the subject has not been explored with a quantitative paradigm. Using a combination of identity and social identity theories as a theoretical framework, this research reveals links between identity, consumption o f products, and leisure activities. Individuals carry their identities into every situation they encounter. Identity links individual behavior and the larger social structure and aids in predicting behavior. There are many identities included in the self, but they do not all carry equal influence, rather they are arranged in a hierarchy (Stryker, 1968). The position an identity holds in one’s hierarchy is measured in terms of salience and commitment. Identity salience is an individual’s commitment to a specific role and identity commitment is the degree to which people believe that their relationships to others are dependent on fulfilling a specific role. Using survey methodology, 222 respondents (97% women) completed questionnaires designed to assess needleworker identity, consumption of needlework supplies and equipment, and frequency of needlework activity. Respondents had experience with the products and programs of Erica Wilson, “America’s First Lady of Needlework.” Wilson’s long career has included classes and workshops, 25 books, ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. design and production of kits, a television series, numerous magazine and newspaper articles, and successful operation of two needlework shops. This study extends knowledge of identity by demonstrating a link between individual identity (salience) and frequency of individual behavior and social identity (commitment) and frequency of social behavior. The exteasiveness of identity-related social connections and reflected appraisals of identity-related products were significant predictors of the strength of identity commitment. Furthermore, the extent of media connections significantly predicts identity salience. Different from other leisure activities such as aerobics or tennis where products are necessary for participation, but are not directly expended in performance, the activity of needlework requires the consumption of thread, needles, and other materials to create a new product. This research supports the premise that one's connections with media are directly related to the extensiveness of identity-related possessions. The extent of exposure to needlework-related media accounted for one-half of the variance in needlework-related possessions. A positive relationship between reflected appraisals of products and identity commitment supports the premise that the relationship between identity and possessions is mediated by esteem. Implications from this study are pertinent for identity theorists, clothing and textile scholars, and the needlework industry. The model’s ability to significantly predict both identity salience and identity commitment adds to our knowledge of the factors influencing the strength of identity. Suggestions for further research on relationships between identity, consumption, and frequency of behavior are included. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Dedicated to my mentor, Carole J. Makela, PhD of Colorado State University. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS Anyone who has gone through a journey of this kind knows they did not travel alone. I wish to thank my committee: Co-Advisors, Sharron J. Lennon, PhD and Leslie Stoel, PhD who taught me the skills o f good research; David Stebenne, PhD who never doubted that needlework was part o f history; and Gayle Strege, M.A. who listened and offered valuable advice along the way. Their guidance was essential in reaching this goal. I thank the individuals who helped me reach the needleworkers for this study. Pat Callihan at Callaway Gardens School of Needlework; Rick Caron of Solutia, Inc., President of the American Craft Yam Association; Jeane Hutchins, editor of P iecew ork magazine; Debbie Kiefer, Manager Member Services and the Apparel & Textiles and Art & Design Divisions o f the American Association of Family and Consumer Sciences (AAFCS); Rosemary Kostansek, editor o f Needle Arts, published by The Embroiderers Guild o f America (EGA); Chris Ladish (Editor) and Sandy Hutton (Managing Editor) of the ITAA newsletter; Debbie Novak o f the Historic Needlework Guild and Ellen at [email protected]: Janet Perry, editor o f“Nuts and Needlepoint” on www.about.com: Sally Queen, editor o f Region VI Costume Society of America (CSA) online newsletter; Beth Robertson and Suzanne Howren of ANG and The Needlewoman East in Falls Church, VA; Karen Searle, editor o f the Textile Society of America (TSA) Newsletter Lisa Senchyshyn, Public Programs Coordinator at the Peabody Essex Museum; The staff at TNNA Today/ The National Needlework Association; Melodie Sweeney, Curator o f Textiles at The Smithsonian Institution; Cathy Taylor, Managing Editor, CSA News/ Costume Society of America; and Marge Tibbetts, Gloria White, Mary Kier, Mary Scott, and Lina Robinson o f the Flint Ridge and Columbus Area Chapters of EGA and the Creative Hands of Ohio Chapter o f the American Needlepoint Guild (ANG). Much thanks to Erica Wilson and Vladimir Kagan whose great generosity and openness helped me to lay the groundwork for this and future study. Finally, I thank my family for believing in me, especially my mother, Colleen Murphy Hilliard, my grandmother Catherine Murphy, and my sisters Margie, Trish, and Carrie. Most o f all, the greatest admiration is for my husband, James Leslie, who encourages me daily to follow my heart. v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VITA October 11,1961 Bom-Hartford, Connecticut 1983 B. A Speech/Communications and Political Science, Denison University 1999 M.S. Apparel and Textiles, Colorado State University 1997-1999 Graduate Teaching and Research Assistant, Colorado State University 1999-2001 Graduate Teaching and Research Associate, The Ohio State University PUBLICATIONS Research Pubfication 1. Ogle, J., Eckman, M., and Leslie, C. A., “Appearance cues and the shootings at Columbine High: Construction of a social problem in the print media.” Sociological Inquiry (In press). FIELDS OF STUDY Major Field: Human Ecology Minor Field: History vi Reproduced with permission of the copyright owner. Further reproduction
Load more

Recommended publications
  • RSN Annual Review 2018-2019 View
    RSN Annual Review 2018-2019 1 Mission The RSN’s mission is to teach, practise and promote the techniques of hand embroidery, in both historical and contemporary contexts, to keep the art of hand embroidery alive. Vision The RSN’s vision is to be the best school of hand embroidery in the world: a school which celebrates tradition and inspires the new, through its teachers, students, programmes and projects. An organisation that is recognised for its embroidery knowledge and reference resources as much as its teaching. Values The RSN’s core values, which underpin everything we do, are Quality, Tradition and Innovation. Aware of where we have come from, but always looking to the future in new ways and always operating at a high level of performance. Public Benefit The RSN believes that it is important to engage with the Court: Animals in Embroidery and The Embroidered public and does this in a number of ways. During 2018- Home both of which brought in a wide range of visitors 19 these have included: including WIs, Embroiderers’ Guilds, U3A, special interest groups, Arts Society groups and individual * Working with an increasing number of museum visitors from all over the world. partners including, new for this year, the D-Day Story * The CE has lectured nationally and internationally on Museum in Portsmouth which displays the Overlord the RSN’s history, the work of its Studio and especially Embroidery, made by the RSN in the late 1960s-early the work of its students including at Winterthur in the 1970s, and the Victoria and Albert Museum.
    [Show full text]
  • Canadian Embroiderers Guild Guelph LIBRARY August 25, 2016
    Canadian Embroiderers Guild Guelph LIBRARY August 25, 2016 GREEN text indicates an item in one of the Small Books boxes ORANGE text indicates a missing book PURPLE text indicates an oversize book BANNERS and CHURCH EMBROIDERY Aber, Ita THE ART OF JUDIAC NEEDLEWORK Scribners 1979 Banbury & Dewer How to design and make CHURCH KNEELERS ASN Publishing 1987 Beese, Pat EMBROIDERY FOR THE CHURCH Branford 1975 Blair, M & Ryan, Cathleen BANNERS AND FLAGS Harcourt, Brace 1977 Bradfield,Helen; Prigle,Joan & Ridout THE ART OF THE SPIRIT 1992 CEG CHURCH NEEDLEWORK EmbroiderersGuild1975T Christ Church Cathedral IN HIS HOUSE - THE STORY OF THE NEEDLEPOINT Christ Church Cathedral KNEELERS Dean, Beryl EMBROIDERY IN RELIGION AND CEREMONIAL Batsford 1981 Exeter Cathedra THE EXETER RONDELS Penwell Print 1989 Hall, Dorothea CHURCH EMBROIDERY Lyric Books Ltd 1983 Ingram, Elizabeth ed. THREAD OF GOLD (York Minster) Pitken 1987 King, Bucky & Martin, Jude ECCLESSIASTICAL CRAFTS VanNostrand 1978 Liddell, Jill THE PATCHWORK PILGRIMAGE VikingStudioBooks1993 Lugg, Vicky & Willcocks, John HERALDRY FOR EMBROIDERERS Batsford 1990 McNeil, Lucy & Johnson, Margaret CHURCH NEEDLEWORK, SANCTUARY LINENS Roth, Ann NEEDLEPOINT DESIGNS FROM THE MOSAICS OF Scribners 1975 RAVENNA Wolfe, Betty THE BANNER BOOK Moorhouse-Barlow 1974 CANVASWORK and BARGELLO Alford, Jane BEGINNERS GUIDE TO BERLINWORK Awege, Gayna KELIM CANVASWORK Search 1988 T Baker, Muriel: Eyre, Barbara: Wall, Margaret & NEEDLEPOINT: DESIGN YOUR OWN Scribners 1974 Westerfield, Charlotte Bucilla CANVAS EMBROIDERY STITCHES Bucilla T. Fasset, Kaffe GLORIOUS NEEDLEPOINT Century 1987 Feisner,Edith NEEDLEPOINT AND BEYOND Scribners 1980 Felcher, Cecelia THE NEEDLEPOINT WORK BOOK OF TRADITIONAL Prentice-Hall 1979 DESIGNS Field, Peggy & Linsley, June CANVAS EMBROIDERY Midhurst,London 1990 Fischer,P.& Lasker,A.
    [Show full text]
  • Stitches in Time
    Stitches In Time Atwood House Exhibit Highlights Chatham Artist’s Embroidery Work story and photos by Debra Lawless A special exhibit at the Atwood House Museum represents over a quarter of a century of one Chatham artist’s stitch- ing. On display for the first time in “Works Most Artful & Ingenious” are over 30 stun- ning embroidered pieces by Ann Grey. Grey began her needlework over 25 years ago, when her mother was also interested in the craft. For a time, they worked as a team. “She was a real marathon stitcher,” Grey recalled in a telephone interview last week. “I thought it would be helpful if I could paint some canvasses for her.” By canvas, Grey means the canvas mesh onto which the stitching is done. But Grey herself wanted to take things farther along. “I wanted to learn something more advanced,” she says. For Grey, this never- ending learning process has kept her art fresh. Grey sought the help of Barry Barnes, owner of Town-Ho Needleworks on Route 6A in Brewster. Barnes suggested that Grey create a traditional sampler. “That was the first time I realized there were all things.” canvas,” she says. “That’s what makes she says. Nevertheless, she has used Tyvek these stitches you could do,” she recalls. So after that first sampler, Grey turned my work a lot different from what other in many ways in her work: bonded velvet “I had no idea about them before.” Grey’s to Flemish illuminated manuscripts for people do.” Sometimes she might consult onto it, heated it over a gas flame on the 1986 sampler displays a variety of stitches inspiration.
    [Show full text]
  • Attic Sampler Newsletter 10202017
    Just 15 minutes fromWhere the Airport Samplers at the Rule SE CORNER OF DOBSON & GUADALUPE 1837 W. Guadalupe Rd, Suite 109 Mesa, AZ 85202 TELEPHONE (480)898-1838 TOLL-FREE: 1.888.94.ATTIC THE ATTIC 2017 October 20 Issue No. 17-20 www.atticneedlework.com Save 15% when you purchase 2 of the 3 starred parts. October Sampler of the Month * Chart $18 From NeedleWorkPress … Jannet Speirs 1813 * Linen ~ 142 x 286, cost varies depending on count/size/margins * Silks ~ Belle Soie, $67.50 From the Chart: SOME THOUGHTS ABOUT JANNET’S SAMPLER Unique and quirky elements made Jannet Speirs’ sampler a delight to recreate for your stitching pleasure. We really aren’t sure of her age because the second digit is missing. We surmise, though, that she was a pre-teen or early teen based on the quality of workmanship. The house exhibits amazing precision and she was fastidious enough to include the ladies’ feathered hats, yet the lettering in her verse was rather haphazard (so much so that we took liberty to make it legible). She didn’t even finish stitching her alphabet! We call this version of her sampler “an adaptation” because the original was stitched in wool and we opted for silk. We also chose to replace missing stitches with what we thought likely would have been in those spaces, as well as modifying a few pieces of fruit in the baskets. The style of her sampler and spelling of her name, as well as the verse selected, indicate the likelihood of a Scottish origin for this 1813 sampler.
    [Show full text]
  • The Inspired Needle: Embroidery Past & Present a VIRTUAL WINTERTHUR CONFERENCE OCTOBER 2–3, 2020
    16613NeedleworkBrochureFA.qxp_needlework2020 7/29/20 1:20 PM Page 1 The Inspired Needle: Embroidery Past & Present A VIRTUAL WINTERTHUR CONFERENCE OCTOBER 2–3, 2020 Embroidery is both a long-standing tradition and a contemporary craft. It reflects the intellectual endeavors, enlivens the political debates, and empowers the entrepreneurial pursuits of those who dare to pick up a needle. Inspiration abounds during this two-day celebration of needlework—and needleworkers—presented by Winterthur staff, visiting scholars, designers, and artists. Registration opens August 1, 2020. Join us! REGISTER NOW Winterthur Museum, Garden & Library 16613NeedleworkBrochureFA.qxp_needlework2020 7/29/20 1:20 PM Page 2 THE INSPIRED NEEDLE: EMBROIDERY PAST AND PRESENT LECTURES ON DEMAND Watch as many times as you wish during the month of October. Each lecture lasts approximately 45 minutes. Downloading or recording of presentations is prohibited. Patterns and Pieces: Whitework Samplers Mary Linwood and the Business of Embroidery of the 17th Century Heidi Strobel, Professor of Art History, University of Tricia Wilson Nguyen, Owner, Thistle Threads, Arlington, MA Evansville, IN By the end of the 17th century, patterns for several forms of In 1809, embroiderer Mary Linwood (1755–1845) opened a needlework had been published and distributed for more than a gallery in London’s Leicester Square, a neighborhood known hundred years. These early pattern books were kept and used by then and now for its popular entertainment. The first gallery to multiple generations as well as reproduced in multiple editions be run by a woman in London, it featured her full-size and extensively plagiarized. Close study of the patterns and needlework copies of popular paintings after beloved British samplers of the last half of the 17th century can reveal many artists Joshua Reynolds, Thomas Gainsborough, and George answers to the working of popular cut whitework techniques.
    [Show full text]
  • New Canvaswork : Creative Techniques in Needlepoint Ebook
    NEW CANVASWORK : CREATIVE TECHNIQUES IN NEEDLEPOINT PDF, EPUB, EBOOK Jill Carter | 128 pages | 01 Jul 2007 | PAVILION BOOKS | 9780713489750 | English | London, United Kingdom New Canvaswork : Creative Techniques in Needlepoint PDF Book A first needlepoint project, when completed, will most often be slightly warped and a little out of shape. Tapisserie de France 7, rue des Moulins Paris France. Needlepoint by Category. I am looking forward to progressing to Level 3 and beyond. Find out the best yarn and thread types to use in working a beginner needlepoint project. Canvas work looks very similar to tapestry weaving, as it displays a woven appearance and is often confused with the technique. Wooden nativity figure buttons will be added, and Kathy plans to add a Christmas themed border and make into a wall hanging. Towel with roses by Alice Keeley. We have had a previous blog about the Bayeux Tapestry, which you can find here. Shop handpainted needlepoint canvases featuring lions, tigers, and leopards. This weaving technique was first introduced in occidental countries by the Savonnerie French Royal manufacture. Thanks for the review. Shop handpainted needlepoint canvases featuring dogs, cats, hamsters, bunnies, fish, and more pets! Is it Continental? Since origin through renaissance and until XIXth era needleworkers were copying European pictorial tapestry designs onto canvas. What is a good reference book for beginners? Stitches Stitches have been lovingly manufactured by the hand for countless centuries. Of course, Pat came prepared to give us plenty of inspiration in the form of her own sample boxes, plus books and magazines that the Library helpers had kindly found for the class:.
    [Show full text]
  • GENERAL EMBROIDERY Author.Name Copy.Number Copy.Shelfmark Copy.Site Isbn Title
    GENERAL EMBROIDERY author.name copy.number copy.shelfmark copy.site isbn title WANG YARONG 1480 GE/YAR Bolton 500274630 CHINESE FOLK EMBROIDERY SNOOK BARBARA 641 GE/SNO Bolton 600317528 CREATIVE ART OF EMBROIDERY SIMPSON JANE 636 GE/SIM Bolton 070640081X BASIC BOOK OF EMBROIDERY SILVERSTEIN MIRA 635 GE/SIL Bolton 684151693 INTERNATIONAL NEEDLEWORK DESIGNS PYMAN KIT ( EDITOR ) 566 GE/PYM Bolton 085532550X GOLD & SILVER EMBROIDERY PARRY LINDA 717 GE/PAR Bolton 44400519 PRACTICAL GUIDE TO CANVAS WORK : from the Victoria and Albert Collection MCCALLS 459 G/MCC Bolton 080197254X MCCALL'S BIG BOOK OF NEEDLECRAFTS LEMON JANE 324 GE/LEM Bolton 713455772 METAL THREAD EMBROIDERY : tools, materials and techniques KENYON ANNE 378 GE/KEN Bolton 715361899 EMBROIDERY & DESIGN ON PATTERNED FABRIC JONES MARY EIRWEN 161 GE/JON Bolton 688002889 ENGLISH CREWEL DESIGNS ILES JANE 304 GE/ILE Bolton 715388320 OLD ENGLISH ROSES IN NEEDLEWORK HOGARTH MARY 226 GE/HOG Bolton MODERN EMBROIDERY : designs in line & color with complete directions & diagrams HEIN GISELA 257 GE/HEI Bolton 2249280045 LA BRODERIE, AUJOURD'HUI GOSTELOW MARY 274 GE/GOS Bolton 856852368 EMBROIDERY : traditional designs, techniques and patterns from all over the world GOSTELOW MARY 276 GE/GOS Bolton 715376144 COATS BOOK OF EMBROIDERY GOSTELOW MARY 281 GE/GOS Bolton 715378902 MARY GOSTELOW'S BOOK OF EMBROIDERY PROJECTS GOSTELOW MARY 282 GE/GOS Bolton 263061035 EMBROIDERY OF ALL RUSSIA GOSTELOW MARY 283 GE/GOS Bolton 263062325 EMBROIDERY SOUTH AFRICA GOSTELOW MARY 246 GE/GOS Bolton 263056554 A WORLD OF EMBROIDERY FARRELL PEG 177 GE/FAR Bolton 442223757 COUNTED CROSS-STITCH PATCHWORK DESIGN FAIRFIELD HELEN 180 GE/FAI Bolton 713462485 COUNTED THREAD EMBROIDERY ENTHOVEN JACQUELINE 154 GE/ENT York STITCHES OF CREATIVE EMBROIDERY EMBROIDERERS' GUILD 975 GE/EMB Bolton 715399055 EMBROIDERY STUDIO: the ultimate workshop - design, technique, and inspiration DAVIS, MARY KAY & GIAMMATTEI, HELEN 143 GE/DAV Bolton 911104410 NEEDLEPOINT FROM AMERICA'S GREAT QUILT DESIGNS COTTONS C.B.
    [Show full text]
  • Leonida Leatherdale Needle Arts Library
    Leonida Leatherdale Needle Arts Library SUBJECT AUTHOR TITLE PUBLISHER YEAR PRINTED Assissi Canetta, Alfredo (Editor) RICAMI D'ASSISI Mani Di Fata 1973 Assissi DMC Library ASSISSI EMBROIDERIES Editions Th de Dillmant 1974 Assissi Leszner, Eva Maria ASSISI EMBROIDERY B.T.Batsford Ltd 1988 Assissi Ness, Pamela Miller ASSISI EMBROIDERY Dover Publications, Inc 1979 Assissi Zimmerman, Jane D. ASSISI EMBROIDERY Self Published 1977 Banners Achen, Sven Tito SYMBOLS AROUND US Van Nostrad Reinhold 1978 Banners Alexander, Sven Tito FABRIC PICTURES Mills & Boone Limited 1968 Banners Anderson, R. W. BANNERS, BANNERS, BANNERS, ETC Christian Art Associates 1967 Banners Babington, Audrey CREATIVE WALL HANGINGS & PANELS Arco Publishing Inc 1982 Banners Ballarian, Anne FABRIC COLLAGE Davis Publications, Inc 1976 Banners Banks, Dorothy BANNERS Self Published Banners Beaney, Jan FUN WITH COLLAGE Kaye & Ward 1970 Banners Binder, Pearl MAGIC SYMBOLS OF THE WORLD Hamlyn 1973 Banners Blair, Margo BANNERS & FLAGS Harcourt Bruce Jovano 1977 Banners Brooke-Little, J.P. AN HERALDIC ALPHABET Arco Publishing Inc 1973 Banners Embroiderers' Guild of Victoria BANNER JOURNAL Self Published 2012 Banners Kay, Frances STARTING FABRIC COLLAGE Studio Vista 1969 Banners Laliberte, Norman BANNERS AND HANGINGS Reinhold Book Corporation 1966 Banners Lehner, Ernst THE PICTURE BOOK OF SYMBOLS Wm. Penn Publishing Co 1956 Banners Metzig, William HERALDRY FOR THE DESIGNER Van Nostrand Reinhold Banners Post, W. Ellwood SAINTS, SIGN & SYMBOLS Morehouse-Barlow Co 1974 Banners Shepherd,
    [Show full text]
  • Page 1 LEONIDA LEATHERDALE NEEDLE ARTS LIBRARY
    LEONIDA LEATHERDALE NEEDLE ARTS LIBRARY SUBJECT AUTHOR TITLE PUBLISHER YEAR PRINTED ASSISSI Canetta, Alfredo (Editor) RICAMI D'ASSISI Mani Di Fata 1973 DMC Library ASSISSI EMBROIDERIES Editions Th de Dillmant 1974 Leszner, Eva Maria ASSISI EMBROIDERY B.T.Batsford Ltd 1988 Ness, Pamela Miller ASSISI EMBROIDERY Dover Publications, Inc 1979 Zimmerman, Jane D. ASSISI EMBROIDERY Self Published 1977 BANNERS Achen, Sven Tito SYMBOLS AROUND US Van Nostrand Reinhold 1978 Alexander, Eugene FABRIC PICTURES Mills & Boone Limited 1968 Anderson, R. W. BANNERS, BANNERS, BANNERS, ETC Christian Art Associates 1967 Babington, Audrey CREATIVE WALL HANGINGS & Arco Publishing Inc 1982 PANELS Ballarian, Anna FABRIC COLLAGE Davis Publications, Inc 1976 Banks, Dorothy BANNERS Self Published Beaney, Jan FUN WITH COLLAGE Kaye & Ward 1970 Binder, Pearl MAGIC SYMBOLS OF THE WORLD Hamlyn 1973 Blair, Margot BANNERS AND FLAGS Harcourt Brace Jovano 1977 Brooke-Little, J. P. AN HERALDIC ALPHABET Arco Publishing Inc 1973 Embroiderers' Guild of Victoria BANNER JOURNAL Self published 2012 Kay, Frances STARTING FABRIC COLLAGE Studio Vista 1969 Laliberte, Norman BANNERS AND HANGINGS Reinhold Book Corporation 1966 Lehner, Ernst THE PICTURE BOOK OF SYMBOLS Wm. Penn Publishing Co 1956 Metzig, William HERALDRY FOR THE DESIGNER Van Nostrand Reinhold Post, W. Ellwood SAINTS, SIGN & SYMBOLS Morehouse-Barlow Co 1974 Page 1 Shepherd, Walter SHEPHERD'S GLOSSARY OFOF GRAPHIC Dover Publications, Inc 1971 GRAPHIC SIGNS AND SYMBOLS Sherman, Vera WALL HANGINGS OF TODAY Charles T. Branford
    [Show full text]
  • Obscure Textile Techniques
    Rochester Institute of Technology RIT Scholar Works Theses 5-1-1979 Obscure Textile Techniques Nancy Waterhouse Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Waterhouse, Nancy, "Obscure Textile Techniques" (1979). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Nancy E. Waterhouse "Obscure Textile Techniques" Candidate for Master of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology May 19.79 Thesis Proposal for the Masters of Fine Arts Degree College of Fine and Applied Arts Rochester Institute of Technology Title: Obscure Textile Techniques Submitted by: Nancy E. Waterhouse Date: Oct. 4, 1978 Thesis Committee ; Chief Advisor: Donald Bujnowski Associate Advisor: 1. Max L. Lenderman 2. William Keyser Departmental Approval: 1. Donald Bujnowski Date: ID/4/78 Approval, Graduate Representative of Academic Council: Fred Meyer Date: (ollj7 f Final Committee Decision: Date: My thesis will concentrate on the research and execution of various textile techniques which are part of a rich textile history, but presently seldom used. I suggest that a vital aspect of textile conser vation should be to perpetuate techniques through actual use; they should not exist solely on paper or as ancient fragments. The purpose of my thesis work will be to execute a series of functional and non-functional textiles in selected obscure techniques, presenting them in my personal, contemporary treatment .
    [Show full text]
  • Embroidery Thread -.:: GEOCITIES.Ws
    [email protected] http://ttusher.orgfree.com Embroidery thread Embroidery thread is yarn that is manufactured or hand- spun specifically for embroidery and other forms of needlework. Threads for hand embroidery include:[1] • Embroidery floss or stranded cotton is a loosely twisted, slightly glossy 6-strand thread, usually of cotton but also manufactured in silk and rayon. Cotton floss is the standard thread for cross-stitch. Extremely shiny rayon floss is characteristic of Brazilian embroidery. • Perle cotton, pearl cotton, or French coton perlé is an S- twisted, 2-ply thread with high sheen, sold in three sizes or weights (No. 3, 5, and 8, with 3 being the heaviest). • Matte embroidery cotton or French coton à broder is a matte-finish (not glossy) twisted 5-ply thread. • Medici or broder medici is a fine, light-weight wool thread formerly manufactured by DMC Group. • Crewel yarn is a fine 2-ply yarn of wool or, less often, a wool-like acrylic. Embroidery thread, left to right: No. 5 perle cotton (coton perlé), • Persian yarn is a loosely twisted 3-strand yarn of wool or matte cotton embroidery yarn, acrylic, often used for needlepoint. tapestry wool, cotton stranded • Tapestry yarn or tapestry wool is a tightly twisted 4-ply embroidery floss. yarn. Threads for machine embroidery are usually of polyester or rayon (less often cotton or silk). Embroidery Assisi · Bargello · Berlin work · Blackwork · Broderie Anglaise · Broderie perse · Candlewicking · Canvas work · Counted-thread · Crewel · Cross-stitch · Styles: Cutwork · Darning · Drawn
    [Show full text]
  • Winterthur Museum Division of Conservation Textile Laboratory
    Winterthur/University of Delaware Program in Art Conservation Winterthur Museum Division of Conservation Textile Laboratory Conservation Report Accession #/Call #: 2015.47.48 Object: Pillow, embroidered Object Date: 1960-1965 Description/Title: Poppy Round Box Pillow Artist/Author: Erica Wilson Materials: Cotton, linen, wool, stuffing material for pillow (unknown) Current Location: Textile Conservation Lab Reason for Treatment or Examination: WUDPAC Student Documentation Project Examined by: Melissa King Consulted: Joy Gardiner, director of conservation, Winterthur Museum Laura Mina, associate textile conservator, Winterthur Museum Linda Eaton, senior curator of textiles, Winterthur Museum (Figure 1) Before treatment photograph of pillow Anne Hilker, doctoral student at Bard College Dr. Joelle Wickins, preventive conservation team head, Winterthur Museum Report Date: 9-28-2017 Description: This is a round box pillow designed and created by the celebrity needle worker, designer, and entrepreneur, Erica Wilson. It was part of her private collection in her New York home (Hilker, pers. comm.). The top of the pillow is hand embroidered crewelwork1 flowers in a contemporary design. There are undulations along the seams of the pillow, and particularly within the larger embroidery motifs such as the flowers. The undulations in the embroidery is possibly a result of the tension of the thread and also the localized stiffness of the yarn. The embroidery is sewn directly to a coarse plain weave linen. The linen is backed by a weft faced twill cotton and the two circular pieces of fabric were machine sewn to the sides, piping, and base of the pillow, which is a plain-weave orange cut pile fabric. The top of the pillow is machine sewn to piping wrapped in bias strips of the pile fabric with one vertical seam and two diagonal seams, and a strip of pile fabric creating the 1 3/8” siding of the pillow.
    [Show full text]