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VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 P.M
VOGU Eknitting CHICAGO THE ULTIMATE KNITTING EVENT OCTOBER 24 –26 ,2014 • PALMER HOUSE HILTON HOTEL PRINTABLE BROCHURE NEW& INSPIRATIONAL KNITWORTHY HAND KNITTING PRODUCTS CLASSES & LECTURES! VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 p.m. –7 p.m. OF EVENTS Classroom Hours: 6 p.m. –9 p.m. Friday, October 24 VOGUEknitting Registration: 8 a.m. –7:30 p.m. 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. 2-hour Classroom Hours: 9 a.m.–11 a.m., 2 p.m.–4 p.m. Marketplace: 5:00 p.m. –8:30 p.m. Please refer to VogueknittingLIVE.com for complete details. Saturday, October 25 HOTEL INFORMATION Registration: 8 a.m. –6:30 p.m. Vogue Knitting LIVE will be held in 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. downtown Chicago at the luxurious 2-hour Classroom Hours: Palmer House Hilton Hotel, located 9 a.m.–11 a.m., 2 p.m.–4 p.m. near Millennium Park in the heart of Marketplace: 10 a.m. –6:30 p.m. the theater, financial, and shopping districts of downtown Chicago. The Palmer House Hilton Hotel is within walking distance of the Windy City’s Sunday, October 26 most famous museums, shopping,a government, and corporate buildings. Registration: 8 a.m. –3 p.m. 3-hour Classroom Hours: The Palmer House Hilton Hotel 9 a.m.–12 p.m., 2 p.m.–5 p.m. -
Vogue Knitting LIVE Launches in New York City in January
NEW YORK, NEW YORK 6,000 Knitters and Industry “Knitterati” to Gather for New Event Vogue Knitting LIVE Launches in New York City in January. Popular Classes Already Sold Out More than 53 million people know how to knit or crochet—and the number is growing. Following the successful premier of Vogue Knitting LIVE in Los Angeles last year, Vogue Knitting magazine announces a new event at the Hilton New York January 14–16, 2012 . Knitting, an ages-old craft, is taking the world by storm. Professionals, Hollywood A-listers, and rock stars have all joined the ranks of knitters, and Ravelry, a popular social media site for stitchers, boasts close to 2 million members. Its benefits are renown: A Harvard study from 2007 concluded that knitting may be as effective as medication in reducing stress. “We know that knitters love getting together at yarn stores to learn new techniques, compare projects, and hear from top designers. We’ve simply taken that to the next level by creating the largest live gathering of knitters in New York,” says Trisha Malcolm, editor of Vogue Knitting and originator of Vogue Knitting LIVE. Vogue Knitting LIVE caters to knitters at all levels—from the knit-curious to experienced designers and crafters. In 2012, knitters can expect: • More than 75 how-to sessions, some of which are already sold out. Topics like “An Overture to Estonian Lace” and “Working with Antique and Vintage Knitting Patterns” bring 200-year old techniques to new generations. Other sessions such as “Happy Hat Knitting” and “Sock Innovation” focus on specific types of projects. -
KNITTING Definition Statement Relationship Between Large Subject
D04B KNITTING Definition statement This subclass/group covers: weft knitting machines are covered by D04B 7/00 to D04B 13/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 15/00 and articles made by such machines are covered by D04B 1/00 warp knitting machines are covered by D04B 23/00 to D04B 25/00, details of, or auxiliary devices incorporated in such machines are covered by D04B 27/00 and articles made by such machines are covered by D04B 21/00 details of, or auxiliary devices incorporated in knitting machines not limited to a specific kind of knitting machine are covered by D04B 35/00 miscellaneous knitting machines and articles made by such machines are covered by D04B 39/00 hand knitting equipment is covered by D04B 3/00, D04B 5/00 and D04B 33/00 auxiliary apparatuses or devices for use with knitting machines are covered by D04B 37/00 or for hand knitting equipment are covered by D04B 17/00, D04B 19/00 and D04B 31/00 Relationship between large subject matter areas The difference between the subclass D04B and B32B5 is as follows:layered products including knitted products as such should be classified in B32B5 only; layered products formed by a knitting process featuring specified patterns or information on the composition of the knit article should be classified in D04B. Note that such products may comprise additional coated faces. References relevant to classification in this subclass This subclass/group does not cover: Layered products (i.e. laminates) B32B 5/00 including knitted articles 1 Knitted products of unspecified A41A61F structure or composition, e.g. -
Textile Design: a Suggested Program Guide
DOCUMENT RESUME CI 003 141 ED 102 409 95 Program Guide.Fashion TITLE Textile Design: A Suggested Industry Series No. 3. Fashion Inst. of Tech.,New York, N.T. INSTITUTION Education SPONS AGENCY Bureau of Adult,Vocational, and Technictl (DREW /OE), Washington,D.C. PUB DATE 73 in Fashion Industry NOTE 121p.; For other documents Series, see CB 003139-142 and CB 003 621 Printing AVAILABLE FROM Superintendent of Documents,U.S. Government Office, Washington, D.C.20402 EDRS PRICE NP -$0.76 HC-$5.70 PLUS POSTAGE Behavioral Objectives; DESCRIPTORS Adult, Vocational Education; Career Ladders; *CurriculumGuides; *Design; Design Crafts; EducationalEquipment; Employment Opportunities; InstructionalMaterials; *Job Training; Needle Trades;*Occupational Rome Economics; OccupationalInformation; Program Development; ResourceGuides; Resource Units; Secondary Education;Skill Development;*Textiles Instruction IDENTIFIERS *Fashion Industry ABSTRACT The textile designguide is the third of aseries of resource guidesencompassing the various five interrelated program guide is disensions of the fashionindustry. The job-preparatory conceived to provide youthand adults withintensive preparation for and also with careeradvancement initial entry esploysent jobs within the textile opportunities withinspecific categories of provides an overviewof the textiledesign field, industry. The guide required of workers. It occupational opportunities,and cospetencies contains outlines of areasof instruction whichinclude objectives to suggestions for learning be achieved,teaching -
View Resume/Vita
Email: [email protected] LinkedIn : https://www.linkedin.com/in/eulandasanders EDUCATION: 1997 Doctorate of Philosophy Human Resources and Family Sciences, University of Nebraska-Lincoln Dissertation Title: African American Appearance: Cultural Analysis of Slave Women’s Narratives Advisor: Joan Laughlin, Ph.D. 1994 Masters of Arts Design, Merchandising and Consumer Sciences, Colorado State University Thesis Title: AutoCAD for Hand-Knitted Garment Production: Art Deco Design Advisor: Diane Sparks, Ed.D. 1990 Bachelor of Science Apparel and Merchandising, Colorado State University Honors: Cum Laude 1987 Associate of Arts Liberal Arts, Lamar Community College Honors: President’s List and Graduation Student Speaker ACADEMIC POSITIONS: August 2012 - forward Professor and Donna R. Danielson Endowed Professorship in Textiles and Clothing, Department of Apparel, Events and Hospitality Management (AESHM), College of Human Sciences, Iowa State University Current: Teaching 60%, Research/Creative Scholarship 20%, Service 20% Lead the development of the apparel design and product development programs Mentor tenure-track and non-tenure track faculty in apparel design and product development Recruit, mentor, and advise top graduate students into the department Manage the Digital Apparel & Textile Studio (DATS) 1 June 2016 – forward Equity Advisor, College of Human Sciences, Iowa State University Chair the CHS Committee on Diversity, Equity, and Community (DEC) and represents the CHS on the ISU Committee on Diversity Coordinate regularly with -
Tension Attention! Dancing Embroidery
Tension Attention! Dancing Embroidery Lilý Erla Adamsdóttir 2 Degree work number: 2017.6.1 Degree Project: Master in Fine Arts in Fashion and Textile Design with Specialization in Textile Design Title: Tension Attention! Dancing Embroidery Author: Lilý Erla Adamsdóttir Tutor: Karin Landahl Opponent: Gabi Schillig Examiner: Delia Dumitrescu The Swedish School of Textiles University of Borås Sweden 3 Table of contents 1.2 Abstract 16 1.3 Keywords 16 2.1 Introduction to the field 17 2.1.1 Playscapes 18 2.2 The Magic of The Unexpected 20 2.3 Motive and Idea discussion 24 2.5 Aim 25 3.1 Design method & Design of experiments 26 3.1.1 Conceptual work 26 3.1.2 Experimental work 27 3.1.3 Analyzing 27 3.2 Development and Analyzing of experiments 28 3.2.1 Functional and technical development and analyzing of experiments. 28 3.2.2 Development of the final examples 34 3.2.3 The thread 37 3.2.4 Aesthetics 39 3.2.4.1 Tufting as a painting method 41 3.2.4.2 Composition 43 4.1 Result 45 Family 45 Vulnerable World 46 Dance with us! 47 Pull me up 48 Cliff 49 4.2 Presentation 50 4.3 Discussion & Reflection 51 5 .1 References 52 Photos and Illustrations 54 4 Figure 1 5 Figure 2 6 Figure 3 7 Figure 4 8 Figure 5 9 Figure 6 10 Figure 7 11 Figure 8 12 Figure 9 13 Figure 10 14 Figure 11 15 1.2 Abstract This Master’s degree project explores the design possibilities of thread tension, to create a transformation in an interactive, 3D embroidered, wooden surface. -
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience
Mary Walker Phillips: “Creative Knitting” and the Cranbrook Experience Jennifer L. Lindsay Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2010 ©2010 Jennifer Laurel Lindsay All Rights Reserved TABLE OF CONTENTS LIST OF ILLUSTRATIONS.............................................................................................iii PREFACE........................................................................................................................... x ACKNOWLDGEMENTS ............................................................................................... xiv INTRODUCTION .............................................................................................................. 1 CHAPTER 1. CRANBROOK: “[A] RESEARCH INSTITUTION OF CREATIVE ART”............................................................................................................ 11 Part 1. Founding the Cranbrook Academy of Art............................................................. 11 Section 1. Origins of the Academy....................................................................... 11 Section 2. A Curriculum for Modern Artists in Modern Times ........................... 16 Section 3. Cranbrook’s Landscape and Architecture: “A Total Work of Art”.... 20 Part 2. History of Weaving and Textiles at Cranbrook..................................................... 23 -
Lettuce Knit Arm Warmers
Knitting Needles: 4.5mm [US 7]. Place markers (2), small stitch holder, yarn needle. GAUGE: 19 sts = 4”; 26 Rows = 4” in St st. CHECK YOUR GAUGE. Use any size needle to obtain the gauge. SPECIAL ABBREVIATIONS M1 (make one stitch) = Lift running thread before next stitch onto left needle and knit into the back loop. K1, p1 Rib (worked over an odd number of sts) Row 1 (Right Side): K1, * p1, k1; repeat from * across row. Row 2: P1, * k1, p1; repeat from * across row. Repeat Rows 1 and 2 for K1, p1 rib. ARM WARMERS Right Arm Cast on 41 (45) sts. Cuff Begin with Row 1, work in K1, p1 rib until piece measures 1½”, end by working a wrong side row. Begin Pattern Row 1: P3 (4), k13, p7 (8), k1, p17 (19). Row 2: K17 (19), p1, k7 (8), p13, k3 (4). Row 3: P3 (4), k4tog, [yo, k1] 5 times, yo, k4tog-tbl, p7 (8), k1, p17 (19). Row 4: Repeat Row 2. Repeat Rows 1 - 4 until piece measures 8½” from beginning, then work Rows 1 and 2 once more. Shape Thumb Row 3: P3 (4), k4tog, [yo, k1] 5 times, yo, k4tog-tbl, p7 (8), place marker, M1, k1, M1, place marker, p17 (19)– 43 (47) sts. lettuce knit Row 4: K17 (19), p3, k7 (8), p13, k3 (4). arm warmers Keeping continuity of pattern, continue to inc 1 st after first marker and before second marker every right side row 5 (6) times more, working extra sts into pattern–53 (59) sts; 13 (15) sts SN0111 between markers. -
Origins of Fair Isle Knitting
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America Spring 2004 Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Design Commons Pulliam, Deborah, "Traveling Stitches: Origins of Fair Isle Knitting" (2004). Textile Society of America Symposium Proceedings. 467. https://digitalcommons.unl.edu/tsaconf/467 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Traveling Stitches: Origins of Fair Isle Knitting Deborah Pulliam Box 667, Castine ME 04421 207 326 9582 [email protected] The tradition of Fair Isle knitting seems to have been emerged too well developed to have actually started in the islands north of Scotland. This paper suggests a source in the Baltic region of Eastern Europe. Like much of the “history” of knitting, much published information on the history of Fair Isle-type knitting is folklore. The long-standing story is that a ship, El Gran Grifon, from the Spanish Armada, was wrecked on Fair Isle in 1588. The 17 households on the island took the sailors in. That much is true, and documented. The knitting story is that, in return, the Spaniards taught the islanders the brightly colored patterned knitting now known as Fair Isle. Not surprisingly, there appears to have been no multi-colored knitting tradition in Spain in the sixteenth century. -
HOME CRAFTING GUIDE We’Re Still Here for You
WEEK 8 HOME CRAFTING GUIDE We’re still here for you. As we continue to practice social distancing, we’ve pulled together another list of of our current favorite classes on the site. We want to continue to be a resource of creative inspiration as we get through these long days and hope you’ll take some time to start a new project or two. Thanks for being a part of the Creativebug community! Remember... You're more creative than you think! HOME CRAFTING GUIDE 2 WEEK 8 Concept Sketchbook: A Daily Sew the Wanderlust Tee Practice with Lindsay Stripling with Fancy Tiger https://www.creativebug.com/classseries/ https://www.creativebug.com/classseries/ single/concept-sketchbook-a-daily-practice single/sew-the-wanderlust-tee Skill level: Intermediate Skill level: Intermediate Video duration: 1 hour Video duration: 28 min Materials: Materials: - 8 x 8” mixed media sketchbook – Lindsay - XS-L: 1 yard Jersey knit fabric (+ ¼ yard if uses Shinola brand lengthening shirt) - Mechanical pencil - XL – XXL: 1 ¼ yards Jersey knit fabric (+ ¼ - HB pencil yard if lengthening shirt) - Eraser - Sewing machine - Sharpener - Serger (optional but recommended) - Pilot g-tec .4 pen - Double or Twin Needle 4.0 size - Kuratake brush pens - Rotary cutter - Three colored pencils, two similar and - Cutting mat one contrasting - Matching thread - Neocolor II Aquarelle crayons or other - Tape wax or pastel crayons in Malachine Green, - Scratch paper Vermillion, White, Ochre, Salmon and - Marking tool Light Blue - Thread snips - Tracing paper - Pattern weights - 6" x 24" -
Yarn-Storming Machine
INSTRUCTION MANUAL Franckh-Kosmos Verlags-GmbH & Co. KG, Pfizerstr. 5-7, 70184 Stuttgart, Germany | +49 (0) 711 2191-0 | www.kosmos.de Thames & Kosmos, 301 Friendship St., Providence, RI, 02903, USA | 1-800-587-2872 | www.thamesandkosmos.com Thames & Kosmos UK Ltd, Goudhurst, Kent, TN17 2QZ , United Kingdom | 01580 212000 | www.thamesandkosmos.co.uk SAFETY INFORMATION WARNING. Not suitable for children under 3 years of age. There is a risk of choking due to small parts that may be swallowed or inhaled. There is a risk of strangulation if long cords (yarn, embroidery thread) become wrapped around the neck. Save the packaging and instructions. They contain important information. Dear Parents, This knitting loom and the braiding In addition, the manual offers star will make it possible to perform suggestions for using or recycling all sorts of fun hobby projects at other materials from around the different levels of difficulty — from house. This way, your child will get simple friendship bracelets all the a feel for how to create new things way to a loop scarf. out of used ones, and learn that not everything has to be purchased from Please save this manual, since it a store. contains important information about specific techniques and Please offer your help when your suggestions for all kinds of knitting child is ready to cast off the knitted and braiding projects. What you item. Be sure that the woolen string won’t find here, however, are detailed is tied securely at the end and take instructions describing exactly how a look at the home-made accessories a finished item will look. -
Textiles and Clothing the Macmillan Company
Historic, Archive Document Do not assume content reflects current scientific knowledge, policies, or practices. LIBRARY OF THE UNITED STATES DEPARTMENT OF AGRICULTURE C/^ss --SOA Book M l X TEXTILES AND CLOTHING THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO TEXTILES AXD CLOTHIXG BY ELLEX BEERS >McGO WAX. B.S. IXSTEUCTOR IX HOUSEHOLD ARTS TEACHERS COLLEGE. COLUMBIA U>aVERSITY AXD CHARLOTTE A. WAITE. M.A. HEAD OF DEPARTMENT OF DOMESTIC ART JULIA RICHMAX HIGH SCHOOL, KEW YORK CITY THE MACMILLAX COMPAXY 1919 All righU, reserved Copyright, 1919, By the MACMILLAN company. Set up and electrotyped. Published February, 1919. J. S. Gushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. ; 155688 PREFACE This book has been written primarily to meet a need arising from the introduction of the study of textiles into the curriculum of the high school. The aim has been, there- fore, to present the subject matter in a form sufficiently simple and interesting to be grasped readily by the high school student, without sacrificing essential facts. It has not seemed desirable to explain in detail the mechanism of the various machines used in modern textile industries, but rather to show the student that the fundamental principles of textile manufacture found in the simple machines of primitive times are unchanged in the highl}^ developed and complicated machinerj^ of to-day. Minor emphasis has been given to certain necessarily technical paragraphs by printing these in type of a smaller size than that used for the body of the text.