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Pleats, Tucks, & Ruffles
My BERNINA BERNINA ACCESSORIES WORKBOOK PLEATS, TUCKS, & RUFFLES GATHERING PINTUCKS PINTUCKS & STITCHES PLEATING & RUFFLING NARROW TUCKS 48 My BERNINA BERNINA ACCESSORIES WORKBOOK GATHERING Gathering Foot #16 comes in two versions, one for 5.5 mm machines and one for 9 mm machines. They are both called #16 and both have a 5.5 mm needle opening. One is wider than the other and it is designed to fit the wider feed teeth of the larger machines. Supplies & Settings • Three pieces medium weight cotton, one 3” x 6” and two 4” x 12” Gathering Foot #16 • Cotton or polyester thread • Gathering Foot #16 • 80/12 Universal needle • Center needle position • Stitch: Straight Stitch Gathering Attach the gathering foot to the machine, select the Straight Stitch and adjust the stitch length to 5 mm. Swatch #1 1. Place one 12” length of fabric right side up under the foot. 2. Stitch the length of the fabric; it will gather as it goes under the needle. Swatch #2 1. Place the remaining 12” length of fabric right side up under the presser foot. Stitch 2”-3” and stop. Note: There are three things that 2. Insert the 6” length of fabric right side down into affect the amount of gathers: the slot of the foot with the raw edge against the right side of the slot. Fabric Weight—The lighter weight the 3. Continue stitching, carefully guiding both pieces of fabric, the more it gathers. fabric. Guide the fabric being gathered with the left hand and the flat piece of fabric with the right hand. -
Christie's Presents Jewels: the Hong Kong Sale
FOR IMMEDIATE RELEASE October 28, 2008 Contact: Kate Swan Malin +852 2978 9966 [email protected] CHRISTIE’S PRESENTS JEWELS: THE HONG KONG SALE Jewels: The Hong Kong Sale Tuesday, December 2 Christie’s Hong Kong Hong Kong – Christie’s announces the fall sale of magnificent jewellery, Jewels: The Hong Kong Sale, which will take place on December 2 at the Hong Kong Convention and Exhibition Centre. This sale features an exquisite selection of over 300 extraordinary jewels across a spectrum of taste and style, from masterpieces of the Belle Époque to contemporary creations, and from the rarest of white and coloured diamonds to important coloured stones. COLOURLESS DIAMONDS Leading the auction is a rare pair of D colour, Flawless diamonds weighing 16.11 and 16.08 carats (illustrated right, estimate: HK$40,000,000-60,000,000 / US$5,000,000-8,000,000). These marvellous stones are also graded ‘Excellent’ for polish, symmetry and cut grade, making them exceedingly rare for their superb quality. Classified as Type IIa, these diamonds are the most the chemically pure type of diamonds known, with no traces of the colorant nitrogen. The absence of this element, seen in 98% of diamonds, gives these stones a purity of colour and degree of transparency that is observed only in the finest white diamonds. The modern round brilliant cut is the diamond’s most basic and popular shape, as it allows the potential for the highest degree of light return. But more importantly, the round diamond sustains the highest value as its production requires riddance of the greatest amount of diamond rough. -
The Red Diamond
The Red Diamond John Fitzgerald Rob Floyd The Red Diamond Text and image copyright © John Fitzgerald and Rob Floyd 2012 Thalassa by Louis MacNeice is reproduced by kind permission of David Higham literary, film and TV agents. The authors would also like to thank Penguin Books for permission to quote from King Arthur and His Knights of the Round Table by Roger Lancelyn Green, and Colin Wilson for the phrase, ‘Imagination is the Herald of Change’. Contents Welcome The Sulphurous Heart Seekers in the Sunrise Britain is Our Playground Daughters of the Revolution The Arch of Constantine The Lantern Bearer Temenos The Mind and the World The Room of the Golden Dance Glittering Prize Rebel Angels Useful Idiots Panache, Power and Pride Visions and Ruins The God Abandons Antony The Red Diamond The Far Wall Welcome Man is in love with what abandons him. That’s the starting point of every quest. Meister Eckhart ******* Hello, thank you and welcome to The Red Diamond. We hope it stirs your imaginations and that you enjoy it in every way. The Red Diamond is essentially an Art Book, with Rob’s illustrations playing as central a role in the story’s unfolding as does my text. Our intent has not been so much to say, ‘this happened here, that happened there and here’s the picture to prove it’, but rather to allow words and pictures to come together in the hope of creating new contemplative spaces – evocative spaces – spaces of growth, possibility and playful creative change. The text tends therefore to concentrate more on atmosphere and mood than the adoption of a purely realistic approach to the story’s development. -
Compilation of Reported Sapphire Occurrences in Montana
Report of Investigation 23 Compilation of Reported Sapphire Occurrences in Montana Richard B. Berg 2015 Cover photo by Richard Berg. Sapphires (very pale green and colorless) concentrated by panning. The small red grains are garnets, commonly found with sapphires in western Montana, and the black sand is mainly magnetite. Compilation of Reported Sapphire Occurrences, RI 23 Compilation of Reported Sapphire Occurrences in Montana Richard B. Berg Montana Bureau of Mines and Geology MBMG Report of Investigation 23 2015 i Compilation of Reported Sapphire Occurrences, RI 23 TABLE OF CONTENTS Introduction ............................................................................................................................1 Descriptions of Occurrences ..................................................................................................7 Selected Bibliography of Articles on Montana Sapphires ................................................... 75 General Montana ............................................................................................................75 Yogo ................................................................................................................................ 75 Southwestern Montana Alluvial Deposits........................................................................ 76 Specifi cally Rock Creek sapphire district ........................................................................ 76 Specifi cally Dry Cottonwood Creek deposit and the Butte area .................................... -
Bernina Bernina Accessories Workbook Bernina
MYMy BERNINA BERNINA ACCESSORIES WORKBOOK BERNINA MASTERY BOOK SERIES Presser Feet and Accessories BERNINA PRESSER FEET ACCESSORIES WORKBOOK 1 ©2019 BERNINA of America. Permission granted to copy and distribute in original form only. Content may not be altered or used in any other form or under any other branding. 06022019 My BERNINA BERNINA ACCESSORIES WORKBOOK TABLE OF CONTENTS INTRODUCTION ....................................... 4 CORDED EDGE ....................................... 25 FEET INFORMATION ................................ 5 NARROW HEM ....................................... 26 SEAMS ..................................................... 6 TRIMMED EDGE ..................................... 27 PATCHWORK SEAM ................................ 7 SPECIALTY FABRICS .............................. 28 STANDARD SEAM .................................... 8 SEWING JEANS & DENIM ...................... 29 KNIT SEAM ............................................... 9 SEWING LEATHER, VINYL & PLASTIC .... 30 FAGOTED SEAM .................................... 10 APPLIQUÉ & DECORATIVE STITCHES .. 31 HEMSTITCHED SEAM ............................. 11 BLANKET STITCH APPLIQUÉ .................. 32 EDGE JOINING SEAM ............................. 12 INVISIBLE APPLIQUÉ .............................. 33 FLAT FELLED SEAM ................................ 13 DECORATIVE STITCHING ....................... 34 CLOSURES ............................................. 14 QUILTING ............................................... 35 MANUAL BUTTONHOLES ..................... -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
Lab 2 – Mineral Properties and Non-Silicate Minerals
LAB 2: MINERAL PROPERTIES AND NON-SILICATE MINERALS Lab Structure Yes – review concepts from Labs 1 and 2 in preparation Recommended additional work for Test 1 Required materials Mineral ID kit, Mineral Kits 1 and 2, pencil Learning Objectives After reading this chapter, completing the exercises within it, and answering the questions at the end, you should be able to: • Describe mineral lattices and explain how they influence mineral properties. • Categorize minerals into groups based on their compositions. • Describe some of the important techniques for identifying minerals. • Identify and describe the physical properties of a range of non-silicate minerals in hand sample. • Discuss the economic uses of non-silicate minerals. Key Terms • Cation • Phosphate • Anion • Colour • Silicate • Streak • Non-silicate • Lustre • Native element • Hardness • Sulphide • Crystal habit • Oxide • Cleavage • Hydroxide • Fracture • Sulphate • Conchoidal fracture • Carbonate • Specific gravity • Halide Minerals are all around us: the graphite in your pencil, the salt on your table, the plaster on your walls, and the trace amounts of gold in your computer. Minerals can be found in a wide variety of consumer products including paper, medicine, processed foods, cosmetics, electronic devices, and many more. And of course, everything made of metal is also derived from minerals. 49 | Lab 2: Mineral Properties and Non-Silicate Minerals As defined in the introductory chapter, a mineral is a naturally occurring combination of specific elements arranged in a particular repeating three-dimensional structure (Figure I4). “Naturally occurring” implies that minerals are not artificially made. Many minerals (e.g., diamond) can be made in laboratories, but if they can also occur naturally, they still qualify as minerals. -
Yarn Couching
Threads n Scissors Machine Yarn Couching IMPORTANT: PLEASE READ Materials These designs are made to be used with a Freemotion Yarn Stabilizer: Couching Foot. Please check with your dealer regarding this Either two layers of foot for your machine. water soluble OR I own a Bernina Artista and use the #43 foot 1 layer of cutaway The designs are smaller than a regular design. Be sure to use a large hoop for these designs. The Yarn Couching Foot is Freemotion Yarn Couching Foot LARGER than a normal embroidery foot and needs the extra space not to hit into the hoop. 2mm diameter yarn or Before starting any Yarn Couching Design, snap the Yarn cording to be used with foot Couching Foot firmly into place, put your hoop into the ma- chine and LIFT the pressure foot. Check the design or Trace Fabric of choice, I used the design to be sure that the foot won’t hit the embroidery suede type fabric hoop when stitching. When you are sure all is right, you may start stitching your designs. Embroidery thread Follow these Instructions to continue with the stitching of your design. No 80 embroidery needle or needle rec- ommended to be used Hoop either 2 layers of water soluble stabilizer OR 1 layer of cutaway stabilizer with couching foot with your fabric. Using a normal embroidery foot, stitch out the design leaving the last color. Some of the Designs may have the same color used two or three times at the end. Don’t stitch these yet. These are color stops used for the yarn or cording. -
Stitch Setting Chart
STITCH SETTING CHART STITCH SETTING CHART The following chart shows information for each utility stitch concerning applications, stitch lengths, stitch widths, and whether or not the twin needle mode can be used. Stitch width Stitch length Presser foot [mm (inch.)] [mm (inch.)] Twin Stitch Stitch name Applications needle Auto. Manual Auto. Manual Straight stitch General sewing, gather, pintuck, (Left) etc. Reverse stitch is sewn while 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Left) etc. Reinforcement stitch is sewn 0.0 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (0) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reverse stitch is sewn while 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Straight stitch General sewing, gather, pintuck, (Middle) etc. Reinforcement stitch is sewn 3.5 0.0 - 7.0 2.5 0.2 - 5.0 OK while pressing “Reverse/ (1/8) (0 - 1/4) (3/32) (1/64 - 3/16) ( J ) Reinforcement Stitch” button. Triple stretch General sewing for 0.0 0.0 - 7.0 2.5 1.5 - 4.0 OK stitch reinforcement and decorative (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) topstitching Stem stitch Reinforced stitching, sewing and 1.0 1.0 - 3.0 2.5 1.0 - 4.0 OK decorative applications (1/16) (1/16 - 1/8) (3/32) (1/16 - 3/16) ( J ) Decorative Decorative stitching, top 0.0 0.0 - 7.0 2.5 1.0 - 4.0 OK stitch stitching (0) (0 - 1/4) (3/32) (1/16 - 3/16) ( J ) Basting stitch Basting 0.0 0.0 - 7.0 20.0 5.0 - 30.0 NO (0) (0 - 1/4) (3/4) (3/16 - 1-3/16) Zigzag stitch For overcasting, mending. -
Lab 2: Mineralogy
Lab 2: Mineralogy Reading Understanding Earth, Ch. 3, and Appendix 4 Objectives • To learn how minerals are classified • To learn the common properties of mineral groups • To identify common minerals found in the Earth’s crust Introduction The crust of the Earth is made up of a variety of different rocks. Each type of rock is formed from an assemblage of minerals. Minerals are the basic "building blocks" of rocks, and the recognition of common minerals and rocks is an essential part of the study of geology. A mineral is defined as a chemical element or compound that is a naturally-occurring crystalline solid and is formed as a result of inorganic processes. The terms "rock" and "mineral" are often erroneously used interchangeably. It is important, therefore, to emphasize the key differences between these materials. A mineral is a substance formed by nucleation and growth in an “orderly, three dimensional array.” It is relatively continuous and homogeneous, with a set chemical composition or range of compositions. A rock is an aggregate of minerals with possible wide variations in chemical compositions and crystal structures. A mineral can be represented by a chemical formula, while a rock cannot. Figure 2.1 The difference between a mineral and a rock. Left: The mineral garnet. Right: The rock eclogite, made up of garnet and clinopyroxene. Although there are over 3000 minerals that have been discovered, fewer than 30 make up the bulk of the earth's crust. These are called the rock-forming minerals, and are the ones you are most likely to encounter in the rocks around you. -
Silverwork and Sequins
Session 2: Cornucopia II: Silverwork and sequins In this session you will be learning how to couch metallic threads, both Jap Thread and twist. You will also learn how to stitch sequins in place using a bead. Metallic threads add a touch of sparkle to your embroidery designs. They are made by tightly wrapping a flat metallic strip around a core of cotton or silk thread. This produces a shiny thread which can be bought in a range of sizes. There are particular ways of stitching with metallic threads which you will learn in this session. MATERIALS AND EQUIPMENT NEEDED FOR THIS SESSION: • Embroidery hoop or small frame • Embroidery scissors • Needles: o Crewel/embroidery needle size 10/12 o Large-eyed needle such as a chenille or tapestry needle (large enough to take the metallic threads) • The worked embroidery from Session 1: Cornucopia I: Blackwork Infills • Silver Jap Thread • Silver Twist Thread (or DMC silver metallic stranded thread) • Grey sewing cotton • Silver sequins, 3-4 mm, either round or flower-shaped or both: about 5-6 in total • Silver or clear seed beads, one per sequin plus one spare READ ALL OF THE INSTRUCTIONS THROUGH BEFORE YOU START YOUR EMBROIDERY. WORKING THE EMBROIDERY: HORN-OF-PLENTY SECTIONS 1. Place your worked piece from Session 1: Cornucopia I: Blackwork Infills in your hoop or frame (if it isn’t still there!) 2. You are going to use a technique called COUCHING to stitch the silver threads in position on your embroidery. Metallic threads are often too heavy to stitch through the fabric and the outer metallic cover will separate off if you take them through the fabric too often. -
2012 HK Christies Coloured Stones
Christie’s Expert Lecture Sunday 27th May 2012 Colourful Treasures of Nature: Ruby, Sapphire, Emerald & Pearls presented by Dr. Michael S. Krzemnicki Swiss Gemmological Institute SSEF Photos © M.S. Krzemnicki, SSEF, except where indicated otherwise Coloured gemstones are formed during large-scale geological processes which have shaped the world as we know it today...! Foto: Baltoro-Gletscher, Karakorum; Guilhem Vellut via, WikiCommons! 1! Kashmir sapphire Foto: Baltoro-Gletscher, Karakorum; Guilhem Vellut via, WikiCommons! The collision of the Indian plate with the Eurasian continental plate has produced some of the most important sources for coloured gems, such as the sapphires from Kashmir and the sapphires and rubies from Burma, and many more.! 2! Inclusions should not only be considered as imperfections, ! but rather as individual proof and fingerprint of the age and formation conditions of a gemstone!! Garnier et al. 2006! Foto:H.A. Hänni, SSEF! © Swiss Gemmological Institute SSEF Inclusions may also be very characteristic for a specific provenance of a gemstone, thus being a valuable proof for its origin.! Blue colour zone in a ruby from Mong Hsu (Burma)! © Swiss Gemmological Institute SSEF 3! These sources for coloured stones are often known since historic times and their gems have been treasured over centuries for their beauty and rarity.! Bagan, Burma © P. Boegli, Flickr.com! © Swiss Gemmological Institute SSEF Where do the stones come from... © Swiss Gemmological Institute SSEF 4! Mwarasi'ruby'deposit,' Tanzania' © Swiss Gemmological Institute SSEF Near Mahenge, Central Tanzania: spinel & ruby mines © Swiss Gemmological Institute SSEF 5! Matombo (Uluguru Mountains)" Morogoro Province! Foto: W. Balmer, 2009! The Umba valley, Northern Tanzania © Swiss Gemmological Institute SSEF 6! The varieties of Corundum: Ruby, Sapphire, & Fancy sapphires: Trace elements resulting in a wide range of attractive colours including padparadscha © Swiss Gemmological Institute SSEF Sapphire 7! Kashmir sapphire The Kashmir sapphire mines from Tom D.