(Linen) Nicol Washing & Storing 2009 8 Swiss Handloom Embroid

Total Page:16

File Type:pdf, Size:1020Kb

(Linen) Nicol Washing & Storing 2009 8 Swiss Handloom Embroid Bear in Mind Newsletter Index Owner or Year Mo Topic Pattern Name Author Specifics on Topic Introduction Fabrics Education Technique History Photos Designer Pattern Children Dolls 2009 6 Heirloom Fabrics (Linen) Nicol Washing & storing x x x x 2009 8 Swiss Handloom Embroideries Nicol Handlooms x x x x 2009 9 Swiss Guipures Nicol Guipures x x x x 2009 10 Laces and Embroideries McAnge Terms & how to use x x x x x 2009 11 French Handsewing - A History Nicol 17th & 18th century x x x Keeping Little Ones Warm in Fall and Toddler Coat & Tips for Swiss flannel & wool challis 2009 11 Winter Bonnet Faylor bonnet x x x x x x Heirloom Sewing - Not Just for 2009 12 Children Nicol White work x x x x 2009 12 Whitework Nicol Terms & techniques Part V x x x Heirloom sewing for adults - more 2009 12 Shop Guidance for Owners Nicol profit for you x 2010 1 Fabric Study - Linen Nicol Linen fabric x x x x x 2010 1 Bishop Overlay Dress Mary Marston Phelps Linen bishop overlay dress x x x x x x x 2010 2 Fabric Study - Voile Nicol Voile fabric x x x x 2010 2 Smocked Dress w Lace Yoke Emma Baumeister Voile yoke dress x x x x x x x 2010 2 Heart Lace & Embroidery Series x x x 2010 3 St. Gallen Switzerland Series Part I Nicol x x x x x x 2010 3 From Playtime to Tea Time Carol Caldwell Play dress to heirloom style x x x x x x 2010 3 Heirloom Baby Blanket Litton Directions & techniques x x x x x 2010 4 Washing heirloom garments Nicol Tips for washing & storing x x 2010 4 St. Gallen Switzerland Series Part II Nicol Embroidery 15th - 19th century x x x x 2010 4 Classic Yoke Dress Davidson Techniques & construction x x x x x x 2010 4 Bullion Button "Rosebud" Gardner Technique & photo directions x x x x 2010 5 St. Gallen Switzerland Series Part III Nicol Embroidery today x x x x 2010 5 Day Gown Mary Ann Pierce, V Pink voile stripe day gown x x x x x x 2010 5 Skirt Plackets - the Easy Way Davidson Easy construction technique x x x x x 2010 6 Directional Beading Nicol Ribbons & embroideries x x x x x x 2010 6 Smocked Detachable Collar Popelka Techniques & construction x x x x x 2010 8 Baby Bow Bonnet Nicol Sizing & constructing x x x x x 2010 8 Diaper Shirt and Panties Mooney Techniques & construction x x x x x x 2010 9 No Knot Button Technique Horne x x x x x 2010 9 Mother of Pearl Buttons - Part 1 Nicol Mollusk & nacre x x x 2010 10 Classic Coat & Dress Pattern Ellis Faylor Techniques for coat, dress, muff x x x x x x 2010 10 Mother of Pearl Buttons - Part 2 Nicol Harvest & manufacture x x x 2010 11 Heirloom Baby Coat Zoey and Zachary Shelton Techniques & construction x x x x x x x 2010 12 Woven Ribbon Christmas Stocking Gardner x x x 2010 12 Hemstitch Technique and Use Dorgan Use with lace, fabrics x x x x x x x 2010 12 Smocking History Part 1 Nicol Terms & methods x x x x 2011 1 Yellow Faille Dress w Inverted Pleats Heather Petryk Use of ribbons,insertions for pleats x x x x x x x Round smock, shirt smock, coat 2011 1 Smocking History Part 2 Nicol smock x x x 2011 2 Red Dotted Swiss Yoke Dress FaulkenberryCutting pattern & ironing guidance x x x x x x x Page 1 of 7 Bear in Mind Newsletter Index Owner or Year Mo Topic Pattern Name Author Specifics on Topic Introduction Fabrics Education Technique History Photos Designer Pattern Children Dolls 16th & 17th century; 19th century 2011 2 Smocking History Part 3 Nicol revival x x x Baby Layette Lace insertion embellishment on 2011 3 Dimity Fabric dress Baumeister hem x x x x x x x x x 2011 3 ORTS Pin Cushion Nicol Using scraps x x x Pillow Case Dress & Hemming with 2011 5 Grow Tucks Lily Smith Techniques & construction x x x x x x 2011 6 Making Tucks Susan Harris Use of tucks in heirloom sewing x x x x x x x 2011 6 Thimbles Nicol History & use x x x x 2011 8 A-Line Day or Christening Gown multiple Pierce, M Puffing strips, techniques x x x x x x x 2011 8 Needles - Part 1 Nicol History prehistoric to 19th century x x x 2011 9 Needles - Part 2 Nicol Types of hand sewing needles x x x Heirloom Christening Gown - Care 2011 10 and Construction Johnson Accent pin tucks, pintucks, x x x x x x x BT Holiday Ribbons, Embroideries, 2011 10 Trims Nicol Holiday ribbons & edgings x 2011 10 Needles - Part 3 Nicol needles in the middle ages x x Organizing French Hand or Machine Sewing skills, organization, 2011 11 Sewing Huggins sketching design x x x x x x 2011 11 Scraps for Embellishment Crane Adult & baby shoes, doll clothes x x x x x x 2011 11 Needles - Part 4 Nicol Use of steel for needles x x 2011 12 Doll Clubs and Recreating Outfits Ulrich Techniques, design, construction x x x x x x x 2011 12 Sewing Doll Clothes Tip #1 Litton Sleeve seams x x x 2011 12 Fabric Study - Batiste Nicol Nelona, Giger, & Bearissima facts x x x x 2012 1 Fabric Study - Lawn Nicol Crease resistant, crisp finish x x x x 2012 1 Shop Guidance for Owners Nicol Profit vs exclusivity x 2012 1 Shop Guidance for Owners Nicol Updated info re more profit for you x Silky Cotton Yoke Dress with dimity 2012 2 insertion Emily Davidson Technique for bodice & sleeves x x x x x x 2012 3 Lace blocks over organza Doan Use on bodice, jacket, collar, sash x x x x x x x x 2012 3 Fabric Study - Organdy v. Organza Nicol Differences & uses x x x x x Construction techniques for serger use on heirloom bonnet with lace 2012 4 Heirloom Bonnet by Serger Schooley band x x x x x x 2012 4 Guipure Nicol Is it lace or embroidery? x x x x x Techniques for lace flourette, satin 2012 5 Ribbons & Bows Coburn hair bows, rosettes x x x x 2012 5 Bow (How to Tie) Litton x x x 2012 5 Fabric Study - Twill Nicol x x x 2012 5 Fabric Study - Gabardine Nicol x x x 2012 6 Chatelaine Sewing Tool Patterson Different styles x x x x x 2012 6 Entredeux Uses Nicol x x Page 2 of 7 Bear in Mind Newsletter Index Owner or Year Mo Topic Pattern Name Author Specifics on Topic Introduction Fabrics Education Technique History Photos Designer Pattern Children Dolls 2012 6 Faggotting Nicol x x 2012 8 Introducing Madeira Nicol The islands of Madeira x x x x 2012 8 Madeira Embroidery McAnge Fabrics, stitches & designs used x x x 2012 8 Bear Threads Fabric Colors Nicol Description of BT fabric colors x x 2012 9 Meet the Designer: Schaum Schaum Heirloom hand sewing x x x x x x 2012 9 Embroideries or Lace Nicol Tulle, embroideries, lace x x 2012 10 Unfinished Objects (UFOs) Ladies Nightgown Fleming Used to create batiste nightgown x x x x x x x 2012 10 Fabrics - Swiss Tulle - Part 1 Nicol History & manufacture in 1800s x x x x x x Maggie's Classic Christmas bishop dress & boys 2012 11 Meet the Designer - Maggie Hillard #301 and #321 Hillard button on suit x x x x x x x 2012 11 Fabrics - Swiss Tulle - Part 2 Nicol Bobbinet tulle x x x x x x 2013 1 Easter Coats Nicol Fabrics & patterns x x x x x x 2013 1 Shop Guidance for Owners Nicol Expanding your market x x Yoke sleeveless dress from casual to Addyson (Trisha's Needles, stitching & gathering 2013 2 dressy Treasures Smith techniques x x x x x x x x 2013 2 Embroidery Hooping Nicol To hoop or not x x x 2013 3 Heirloom Eyeglass Case Nicol Pattern on last page x x x x 2013 3 Helpful Ribbon Hints Nicol Construction & washing tips x x Fabrics - Linen and Linen Blends Part 2013 4 1 Nicol From flax seed to fiber x x x x x Kensington; Construction techniques for outfits Striped Dimity dress, bloomers & Savannah; & with lace & ribbon floral bonnet Toddler Coat & 2013 5 Bonnet Faylor embellishments x x x x x x x Fabrics - Linen and Linen Blends - 2013 5 Part 2 Nicol From fiber to yarn & yarn to fabric x x x 2013 6 Baby Bonnets Christening bonnet Baumeister All over lace, pattern & tips x x x x x x x x Fabrics - Linen and Linen Blends - 2013 6 Part 3 Nicol Linens today; linen blends x x x 2013 6 FYI Removing Blood from Fabric Nicol x x 2013 8 History of Sewing Machine - Part1 Askaroff Before 1840s x x x From the Royal Closet - Dressing Boy day gown & Outfits for boys in blue voile check & 2013 9 Your Little Prince baby bubble Nicol Bearlin x x x x x 2013 9 History of Sewing Machine - Part 2 Askaroff From 1840s x x x FYI French Handsewing v Machine 2013 9 French Sewing Nicol x From the Royal Closet - Dressing Diaper Shirts & Swiss waffle pique & swiss flannel 2013 10 Your Little Prince saques Stone outfits with BT motifs x x x x x 2013 10 Ayrshire Embroidery Ambrose History & samples x x x x x 2013 10 Towels with a personal touch Hand towels Nicol Fabrics to use, supplies, stitches x x x x FYI Ayrshire Embroidery v Swiss How to tell the difference 2013 10 Hand Loomed Embroidery Nicol x x Page 3 of 7 Bear in Mind Newsletter Index Owner or Year Mo Topic Pattern Name Author Specifics on Topic Introduction Fabrics Education Technique History Photos Designer Pattern Children Dolls From the Royal Closet - Dressing Baby Romper & Microcheck with embroidered collar; 2013 11 Your Little Prince Bubble Nicol green check with train insertion x x x x 2013 11 Dotted Swiss Dress Dolly (B&B's) Davidson Sewing & directions x x x x x 2013 11 Fabrics - Velvet v.
Recommended publications
  • First Review - Professional Peers - ITAA Members
    DESIGN EXHIBITION COMMITTEE First Review - Professional Peers - ITAA Members Mounted Gallery Co-Chairs: Melinda Adams, University of the Incarnate Word Laura Kane, Framingham State University Su Koung An, Central Michigan University Ashley Rougeaux-Barnes, Texas Tech University Laurie Apple, University of Arkansas Lynn Blake, Lasell College Lynn Boorady, Buffalo State College Design Awards Committee: Melanie Carrico, University of North Carolina, Greensboro Review Chair: Belinda Orzado, University of Delaware Chanjuan Chen, Kent State University Kelly Cobb, University of Delaware Catalog: Sheri L. Dragoo, Texas Woman’s University Sheri Dragoo, Texas Woman’s University V.P. for Scholarship: Youn Kyung Kim, University of Tennessee Rachel Eike, Baylor University Andrea Eklund, Central Washington University Jennifer Harmon, University of Wyoming First Review Erin Irick, University of Wyoming A total of 107 pieces were accepted through the peer review Ashley Kim, SUNY Oneonta process for display in the 2017 ITAA Design Exhibition with Eundeok Kim, Florida State University a 37% acceptance rate. All jurying employed a double blind Helen Koo, Konkuk University process so the jurors had no indication of whose work they Ashley Kubley, University of Cincinnati were judging. A double-blind jury of textile and apparel peers Jung Eun Lee, Virginia Tech reviewed each submission including design statement and YoungJoo Lee, Georgia Southern University images. Further, a panel of Industry experts reviewed submissions Diane Limbaugh, Oklahoma State University
    [Show full text]
  • The Velveteen Rabbit Study Guide
    STUDY GUIDE T adapted for the stage by Janet Allard from the book by Margery Williams directed by Beth Lopes M AY 2 4 JU N E 9 Prepared by Literary Associate Kat Zukaitis and Literary Intern Marcus Beebe The Velveteen Rabbit • SOUTH COAST REPERTORY •1 TABLE OF CONTENTS PART I: THE PLAY The Characters ........................................................................................................................................................................................ 3 The Story ...................................................................................................................................................................................................... 3 Going by the Book: The Velveteen Rabbit ......................................................................................................................... 4 Meet the Playwright: Janet Allard ........................................................................................................................................... 5 Meet the Author: Margery Williams ....................................................................................................................................... 5 From Page to Stage: Making The Velveteen Rabbit ................................................................................................... 6 PART II: CLASSROOM ACTIVITIES BEFORE THE SHOW Questions for Discussion and Activities ...................................................................................................................
    [Show full text]
  • The Velveteen Rabbit by Margery Williams
    The Velveteen Rabbit By Margery Williams The Velveteen Rabbit by Margery Williams There was once a velveteen rabbit, and in the beginning he was really splendid. He was fat and bunchy, as a rabbit should be; his coat was spotted brown and white, he had real thread whiskers, and his ears were lined with pink sateen. On Christmas morning, when he sat wedged in the top of the Boy's stocking, with a sprig of holly between his paws, the effect was charming. There were other things in the stocking, nuts and oranges and a toy engine, and chocolate almonds and a clockwork mouse, but the Rabbit was quite the best of all. For at least two hours the Boy loved him, and then Aunts and Uncles came to dinner, and there was a great rustling of tissue paper and unwrapping of parcels, and in the excitement of looking at all the new presents the Velveteen Rabbit was forgotten. For a long time he lived in the toy cupboard or on the nursery floor, and no one thought very much about him. He was naturally shy, and being only made of velveteen, some of the more expensive toys quite snubbed him. The mechanical toys were very superior, and looked down upon every one else; they were full of modern ideas, and pretended they were real. The model boat, who had lived through two seasons and lost most of his paint, caught the tone from them and never missed an opportunity of referring to his rigging in technical terms. The Rabbit could not claim to be a model of anything, for he didn't know that real rabbits existed; he thought they were all stuffed with sawdust like himself, and he understood that sawdust was quite out-of-date and should never be mentioned in modern circles.
    [Show full text]
  • NF00-430 Sewing with Velveteen
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Historical Materials from University of Nebraska-Lincoln Extension Extension 2000 NF00-430 Sewing with Velveteen Rose Marie Tondl Follow this and additional works at: https://digitalcommons.unl.edu/extensionhist Part of the Agriculture Commons, and the Curriculum and Instruction Commons Tondl, Rose Marie, "NF00-430 Sewing with Velveteen" (2000). Historical Materials from University of Nebraska-Lincoln Extension. 1179. https://digitalcommons.unl.edu/extensionhist/1179 This Article is brought to you for free and open access by the Extension at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Historical Materials from University of Nebraska-Lincoln Extension by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Nebraska Cooperative Extension NF00-430 Sewing with Velveteen Rose Marie Tondl, Extension Clothing Specialist What is velveteen? Velveteen is made from cotton or a cotton-blend fabric that has a short dense pile. It is woven in a single layer with an extra set of filling yarns that are cut to form the short, closely set pile. Velveteen is available in solid colors and printed with plaid, floral or paisley designs. As a medium weight fabric, it is used whenever a velvet look is desired. It is easier to sew and more durable than velvet. Patterns This fabric is used for dresses, jumpers, vests, children's clothes, jackets, coats, skirts and slacks. Simple styles with few seams are good choices. Preshrink All cotton velveteen will shrink. For finished garments that will be laundered, stitch ends of fabric closed, then wash and tumble dry on delicate cycle.
    [Show full text]
  • Velvet and Velveteen All Sewn up Beverly Rhoades*
    ;j. - 7J1~77 L-1002 Velvet and Velveteen All Sewn Up Beverly Rhoades* For a plush, fashionable look any time of the year, Veh'eteCJl COIlstnlcti()Jl choose velvet or velveteen, the most luxurious of the floats pile fabrics. For centuries, these fabrics have added elegance, femininity and versatility to wardrobes as beautiful dresses, gowns or separates. While these fabrics are similar in appearance, the process used to construct each fabric is quite differ­ warp ends ent. Velvet, the oldest of the pile fabrics (since 2000 B.C.), may be woven or knitted. In woven velvet the pile is formed by the lengthwise warp yams; in velve­ teen the crosswise filling yarns form the pile. In woven velvet, two layers offabric are woven simulta­ neously forming a sandwich with the vertical warp yams as the filling. Layers are then separated with a knife to form the pile. Velveteen, a simulation of true Types of Velvet velvet used since the late 1700's, is woven in a single Velvet was originally made from silk, but today's layer with a floating yarn which is cut to form the pile. velvet is usually all or part synthetic (particularly rayon and acetate), or may be cotton or a cotton Velvet constructiun blend. With vast improvements in weaving, knitting and finishing techniques, today's velvet is easier to work with and care for. It has become a fabric for all double woven velvet before splitting seasons in weights for every type of garment. Lightweight velvets are suitable for dresses, sepa­ cut rates or evening wear, especially in warmer seasons.
    [Show full text]
  • Velvets & Velveteen
    Velvets & Velveteen Traditionally, the grand or house drapes are made of velvet with a generous fullness. Velvet is a beautiful and luxurious fabric, but you must provide extra attention to the care and maintenance of this fabric. Note that Velvet Velour should not be confused with velveteen. Velour is a cotton fabric that has a deeper pile than velveteen, is heavier in weight and is commonly used in draperies. PRG offers a range of velvet, velour and velveteen options. Grand IFR Velvet GRAND IFR VELVET PRG Grand IFR Velvet is our preferred velvet • made of 100% IfR polyesteR for Grand Front Drapes. It has set a new • weIghs 500g/m2 benchmark by being the perfect combination • 137cm wIdth of the opulence of velvet with Inherently • avaIlable in a range of colouRs Flame retardant certification. As a Grand • InheRently Flame RetaRdant (IfR) Front Drape (House Curtain) the velvet can • ceRtIfIcated to ANZ 1530 paRts 2 & 3 be lined with our IFR Royal Velveteen, and can be embellished with fringes and braid, or painted for dramatic effect. Normally available ex stock in a range of popular colours including plumb, royal and black.* SOVEREIGN IFR VELVET Sovereign IFR Velvet is medium weight affordable velvet which can be used as a grand drape as well as stage masking. With less sheen than our other IFR Velvets, the Sovereign is more suitable for black masking where a velvet option is preferred. As a Grand Front Drape (House Curtain) the velvet Sovereign IFR Velvet can be lined with our IFR Royal Velveteen, and can be embellished with fringes and • made of 100% IfR polyesteR braid, or painted for dramatic effect.
    [Show full text]
  • Stitchery Fact Sheets Were Adapted from Creative Craft Techniques and Craft Fun: Unit B Handicraft Project with the Permission of Manitoba of Agriculture
    Stitchery The word "stitchery" is quite new but the techniques are centuries old. Stitchery includes all types of needle-and-yarn/thread fancy stitches done on a fabric background. Embroidery, crewel, teneriffe, Spanish black work, Swedish white work. Hardanger, drawn thread work, huck weaving, and cross stitch are but a few of the many types of stitchery. All types of stitchery make use of similar types of stitches but may be done with different kinds of threads or on different kinds of fabrics. Needlepoint, petitpoint, machinery embroidery, appliqué and smocking are also forms of stitchery but for the sake of clarity, are not included in this fact sheet. 1. Equipment and Materials a) Threads and Yarns Choose threads and yarns with textures which will emphasize the texture of the stitched design. For example, if stitching a daisy, you might consider choosing a smooth firmly twisted, maybe nylon shiny yarn for petal, a nubby yarn for the centre of the flower, and a very fuzzy loosely twisted yarn for stems and leaves. Contrasts in texture and yarn thicknesses are very important. Choose colors which will combine attractively with each other and with the background. Don’t overlook the possibility of using other ‘yarns’ like thread pulled out of burlap, baler twine, kitchen string, turkey cord, satin ribbon - j anything that conveys the message you are trying to put across with your stitchery. b) Needles For use with cotton embroidery thread, and thin yarn, embroidery and crewel needles - about size 6 are easiest to work with. When using wool or synthetic yarns, you’ll likely find a package of yarn needles most helpful.
    [Show full text]
  • The War and Fashion
    F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book.
    [Show full text]
  • European and American Needlework Samplers June 7
    MAKE MUCH OF PRECIOUS TIME WHILE IN YOUR POWER: EUROPEAN AND AMERICAN NEEDLEWORK SAMPLERS JUNE 7- SEPTEMBER 1, 2019 A CATALOGUE OF THE EXHIBIT LYCOMING COUNTY HISTORICAL SOCIETY 858 WEST FOURTH STREET WILLIAMSPORT, PENNSYLVANIA CURATED BY GARY W. PARKS EXECUTIVE DIRECTOR #1: BAND NEEDLEWORK SAMPLER- Sarah RELPH, in her 10th year, [England, or possibly Rhode Island], October 30, 1745 Linen ground with silk thread Known as a band sampler, this was a primary learning tool for a young woman of the 17th through the 19th centuries. Through a basic marking sampler, the young lady would learn to sew and use darning stitches, necessary for her future roles as wife, mother, and housekeeper. As samplers continued to be made, religious verses and maxims were added to guide her toward a purposeful life. Decorative bands of geometrical motifs were copied across the width of the sampler and served as a reference when the young woman wished to embellish an article of clothing or household linen. Inscription: “Make Much of Precious Time While in Your Power/ Be Careful Well to Husband Evry Hour/ for Time Will Come When You Shall Sore Lament/ The Unhappy Minutes That You Have Mispent Collection of Gary W. Parks #2: NEEDLEWORK SAMPLER- Ellen Elizabeth JACKSON, [Norfolk, England], 18[0]6 Linen gauze with reinforced woolen backing ground, applied silk thread Stitches: Cross stitch, crewelwork- satin and stem Description: Ellen Jackson’s sampler belongs to a large body of needlework produced in Norfolk, England. The diamond-shaped inner border is one of the elements tying them together, as well as the bouquets of flowers in each corner.
    [Show full text]
  • Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
    Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8.
    [Show full text]
  • Basic of Textiles
    BASIC OF TEXTILES BFA(F) 202 CC 5 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Fiber Study 5-64 2. Fiber and its Classification 65-175 3. Yarn and its Types 176-213 4. Fabric Manufacturing Techniques 214-260 5. Knitted 261-302 UNIT Fiber Study 1 NOTES FIBER STUDY STRUCTURE 1.1 Learning Objective 1.2 Introduction 1.3 Monomer, Polymer, Degree of polymerization 1.4 Student Activity 1.5 Properties of Fiber: Primary & Secondary 1.6 Summary 1.7 Glossary 1.8 Review Questions 1.1 LEARNING OBJECTIVE After studying this unit you should be able to: ● Describe the Natural Fiber.
    [Show full text]
  • Lining a Jewelry Chest
    Online Extra lining a Jewelry Chest Choose the right fabric to protect fine jewelry and add that extra touch of quality to any jewelry chest. } Fabric glue bonds quickly Building a jewelry chest like the of the fibers to get the look you cushion fine jewelry. You can and won't one in issue No. 197, is a great want. But even more important see the look of a velveteen lining bleed through. way to practice your wood- you’ll want to make sure the fab- in the main photo. working skills, while making a ric won’t have a harmful effect Flannel (either wool or cotton) treasured gift. But the construc- on the jewelry. Many synthetic is also a good choice. Flannel is tion of a jewelry chest doesn’t fabrics, and even some natural usually a little thinner than velvet end with the last coat of finish. products like leather and felt, can but still has enough pile to pro- To really make the project top contain chemicals that will tar- vide a cushion. Take a look at the -notch, you’ll want to line the nish fine jewelry. Natural fabrics sample fabric swatches below to inside of the drawers. like cotton, silk, and wool are the see what I mean. MATERIALS. When you line the best choices because they don’t Satin, made from silk or rayon, drawers , you have some impor- contain any harmful chemicals. works well as a lining, too. It may tant decisions to make. First, Velvet made from silk, rayon, be thin, but its rich, smooth luster you’ll have to pick a suitable or cotton (commonly called adds a luxurious touch.
    [Show full text]