1 MULTIUSE, EMBROIDERY and SEWING SCISSORS Stainless Steel
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Machine Embroidery Threads
Machine Embroidery Threads 17.110 Page 1 With all the threads available for machine embroidery, how do you know which one to choose? Consider the thread's size and fiber content as well as color, and for variety and fun, investigate specialty threads from metallic to glow-in-the-dark. Thread Sizes Rayon Rayon was developed as an alternative to Most natural silk. Rayon threads have the soft machine sheen of silk and are available in an embroidery incredible range of colors, usually in size 40 and sewing or 30. Because rayon is made from cellulose, threads are it accepts dyes readily for color brilliance; numbered unfortunately, it is also subject to fading from size with exposure to light or frequent 100 to 12, laundering. Choose rayon for projects with a where elegant appearance is the aim and larger number indicating a smaller thread gentle care is appropriate. Rayon thread is size. Sewing threads used for garment also a good choice for machine construction are usually size 50, while embroidered quilting motifs. embroidery designs are almost always digitized for size 40 thread. This means that Polyester the stitches in most embroidery designs are Polyester fibers are strong and durable. spaced so size 40 thread fills the design Their color range is similar to rayon threads, adequately without gaps or overlapping and they are easily substituted for rayon. threads. Colorfastness and durability make polyester When test-stitching reveals a design with an excellent choice for children's garments stitches so tightly packed it feels stiff, or other items that will be worn hard stitching with a finer size 50 or 60 thread is and/or washed often. -
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laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra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. -
Sashiko Tote
Sashiko Tote You can never have too many bags! Create unique tote featuring Sashiko quilting and accent stitching. This project is quick and easy to make using the Baby Lock Sashiko machine. Skill Level: Beginner Created by: Kelly Laws, Marketing Project Manager Supplies: Baby Lock Sewing Machine Baby Lock Sashiko Twenty 4” cotton print squares in different colors 1 yard fusible fleece 1 1/4 yard coordinating cotton fabric 2 ½ yards ¾” wide gross grain ribbon All-purpose thread to match fabrics 30-Weight thread in white and black Fusible Web (optional) Iron and Ironing board Scissors Pins Ruler Chalk Baby Lock Sewing Project: Sashiko Tote Page 1 of 3 Instructions: 1. Thread the machine with all-purpose thread to match your fabrics. Using a ¼” seam sew five blocks together to form a row. 2. Create 3 more rows of 5 blocks alternating the block colors. 3. Sew two rows together to create the pieced band for the bag front. 4. Repeat to make a pieced band for the other side of the bag. 5. Cut four pieces 18” x 15” from the cotton fabric. 6. Cut two pieces of fusible fleece 18” x 15”. 7. Following the manufactures directions, fuse the fleece to the wrong side of two of the 18” x 15” pieces. 8. Sew the two fleece pieces together along one of the 15” sides. 9. Sew the other two 18” x 15” pieces together along one of the 15” sides. This is the tote lining, set this piece aside for later. 10. Open the piece out into one long strip. -
Advanced Multi-Needle Embroidery
PR1055X 10-NEEDLE EMBROIDERY . ADVANCED MULTI-NEEDLE EMBROIDERY Experience the Power of 10 • 10 Needles and Large 10.1" Built-in High Definition • Industry-First InnovEye Technology with Virtual LCD Display Design Preview Increase your productivity with 10 needles and stitch designs up to Get a real-time camera view of the needle area and see your 10 colors without changing thread. View your creations in a class- embroidery design on your fabric – no scanning needed! Also, scan leading crisp, vivid color LCD display and navigate easily with the your fabric or garment, preview your design on-screen, and you’re scrolling menu and large, intuitive icons. View 29 built-in tutorial ready to embroider. It works with the optional cap and cylinder videos or MP4 files on-screen. frames for tight spaces. • Brother-Exclusive My Design Center Built-in Software • Wireless LAN Connectivity – My Stitch Monitor Mobile App for Virtually Endless Design Possibilities Keep track of your embroidery with the My Stitch Monitor mobile Draw designs directly onto the screen or use the included scanning app on your iOS or AndroidTM device. Follow the progress of your frame to scan art to embroider. With up to 1600% zoom, view the project and get alerts when it’s time to change threads or when your smallest details of your designs on the LCD display. embroidery is finished. • Add Beautiful Stippling and Decorative Fills • Wireless LAN Connectivity – Link Function Accurately add stippling or echo stitching to any embroidery design, With wireless LAN connectivity and PE-DESIGN 11 software*, you can or save the outline, and then choose from 26 new built-in decorative link as many as 10 machines without a cable. -
Owl Whipstitch Instructions
Sew Cute Patterns Plush Baby Owl Pattern Whipstitch Tutorial www.sewcutepatterns.com Copyright Sew Cute Patterns Copyright © 2013 by Sew Cute Patterns All rights reserved. No part of this pattern may be reproduced electronically or in print in any form without the written permission of the publisher. Patterns may not be sold or distributed in any manner. Finished sewing projects may be resold by whatever means desired. Your stuffed baby owl will be created with a whipstitch which is done by hand using embroidery floss and a sewing needle. What is a whipstitch? A whipstitch is simply a stitch that passes over the edge of the fabric. Watch a video example at: http://www.sewcutepatterns.com/p/whipstitch.html Begin the whipstitch by tying a knot in the end of the thread. Then poke the needle through the top layer of fabric, about 1/8" in Then go over the edge of the fabric and poke the needle up through both layers of fabric about 1/8" from the edge. The distance between the stitches can vary depending on how you'd like the stitch to look. Generally, about 3/4" or a tab wider is good. Repeat till you get to the end of the fabric you are stitching. Tie a knot to secure. When whipsitching, you want to use a fabric type that won't fray around the edges. Felt fabric is best not only because it doesn't fray but because it doesn't have a lot of pull. So the stitch looks good. Felt however is very limited in colors and patterns and it’s not very soft. -
Astronauts in Lunar Orbit After Blastoff from Moon
ri . v f- ■ ,, Average Dally Net Press Ron 'I’hfe-Weather For The Week Ended Mostly cloudy, warm, humid through Wednesday with chance July 81, m i of ahowers/thunderstorms; low tonight near. 70 with consider 14,890 able night rain. Manchester— A City of Village Charm (Classified Advertising on Page 17) PRICE FIFTEEN CENTS VOL. LXXXX, NO. 257 (TWENTY PAGES) man(:hester, conn., Monday, august 2,1971 Steel Strike Averted But Pact Settles Astronauts in Lunar Orbit Prices Hiked PITTSBURGH (AP)— Rail Strike U.S. Steel Corp., the in After Blastoff from Moon dustry pacesetter, hiked WASHINGTON (A P)— Negotiators announced to prices on virtually all prod day a contract settlement providing 42 per cent wage ucts today, a little more hikes over 42 months for about 200,000 trainmen, and SPACE CENTER, Hous than 12 hours after the said pickets would be removed froih 10-strike-bound ton (A P)—Apollo 15 as steel industry and the railroads, -------------------- : tronauts David R. Scott and James B. Irwin blast United Steelworkers Settlement of the 18-day old President Charles Luna of the ' strikes in the dispute involving striking-AFO-CTO United Trans- ed off safely from the agreed on a strike-avert all of the nation’s major rail- portatlon Union, ing contract. moon today after three roads came after a 17-hour <‘nve arp very happy that this days of historic lunar ex The m oveby U.S. Steel came marathon bargaining session at long dispute has ended and that as most of the nation’s steel ploration. A television the Labor Department. -
Gale Owen-Crocker (Ed.), the Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 P
Francia-Recensio 2013/1 Mittelalter – Moyen Âge (500–1500) Gale Owen-Crocker (ed.), The Bayeux Tapestry. Collected Papers, Aldershot, Hampshire (Ashgate Publishing) 2012, 374 p. (Variorum Collected Studies Series, CS1016), ISBN 978-1-4094-4663-7, GBP 100,00. rezensiert von/compte rendu rédigé par George Beech, Kalamazoo, MI Scholarly interest in the Bayeux Tapestry has heightened to a remarkable degree in recent years with an increased outpouring of books and articles on the subject. Gale Owen-Crocker has contributed to this perhaps more than anyone else and her publications have made her an outstanding authority on the subject. And the fact that all but three of the seventeen articles published in this collection date from the past ten years shows the degree to which her fascination with the tapestry is alive and active today. Since her own specialty has been the history of textiles and dress one might expect that these articles would deal mainly with the kinds of materials used in the tapestry, the system of stitching, and the like. But this is not so. Although she does indeed treat these questions she also approaches the tapestry from a number of other perspectives. After an eight page introduction to the whole collection the author groups the first three articles under the heading of »Textile«. I. »Behind the Bayeux Tapestry«, 2009. In this article she describes the first examination of the back of the tapestry in 1982–1983 which was accomplished by looking under earlier linings which had previously covered it, and the light which this shed on various aspects of its production – questions of color, type of stitching used, and later repairs. -
A Pair of Scissors Wool a Sewing Needle Small Knitting
Easy peasy (well, it is if you take a look at the champion ‘how to knit’ guide at www.learn2knit.co.uk which will give you everything you need.) But if you’ve 1. Pop your feet up with a cup of tea. done a bit in the past, here’s a reminder of the main stitch. 2. Using double knitting yarn and some small needles, cast on 28 stitches. You’ll need this stuff: 3. Knit 2 rows. Then, starting with a knit row, work in stocking stitch (knit 1 row, purl 1 row, knit 1 row etc) for 12 more rows. small knitting 4. For the next row, knit 2 together to the end (14 a sewing a pair perhaps wool needles stitches). And for the row after that, purl 2 together needle of scissors some bobbles (31/4 mm - 4mm) to the end (7 stitches). 5. When you’ve finished, cut the yarn leaving about 25 cm. Thread the cut end of the yarn through a sewing needle, then run it through the loops and 1. Insert the tip of the right needle through the first loop remove the knitting needle (fig. A). on the left needle, from front to back. Then wrap the working yarn around the tip of the right needle. 6. Tighten the yarn (fig. B) and sew the little hat together at the side (fig. C). Once finished, turn it right-side out so that the seam you've just sewn runs up the inside. 7. Just to check you’re on the right track we reckon 2. -
Ipswich Lace Workshop Materials Information
Ipswich Lace Workshop Materials Information Patterns, etc. provided to the students from the instructor: 1. Two Ipswich pattern packs of your choice. Please choose from the attached list. The samples are listed in approximate level of difficulty, with #2 being the easiest. 2. Prickings are printed on light grey cardstock and mailed to your snail mail address. 3. Color-coded working diagram 4. Corresponding pictures of the reconstructed lace and the original 1790 sample. Supply list: 1. Lace pillow, your preferred style for continuous lace, large enough to accommodate up to 50 pairs of bobbins 2. Bobbins (your preferred style) up to 50 pairs, depending on pattern choice 3. Pins – all the same size. The Ipswich lacemakers used handmade pins, which were approximately .60 to .65 mm in diameter. 4. Black silk thread, such as YLI 50, Clover 50, or Tiger (approximately 35-36 wraps/cm), or Piper spun silk 140/2 or Kreinik Au Ver a Soie 130/2 (42 wraps/cm) 5. Gimp thread: Gütermann 30/3 (S1003, 3-ply, approx. 16 wraps/cm) or Soie Perlee for a slightly thinner gimp. Or use 4-6 strands of your lace thread. 6. Two cover cloths. The one on the pillow, under the bobbins should be light color to contrast with the black threads. 7. Several short bobbin holders 8. Scissors, other regular bobbin lace supplies for continuous lace technique. 9. Wind on each bobbin about 4 times the length of lace you plan to make. Wind the number of bobbins indicated on your chosen pattern, singly or in pairs, depending on your preference. -
Cora Seton's Chance Creek Holiday Cardinal Craft
Cora Seton’s Chance Creek Holiday Cardinal Craft Materials: 1 sheet red felt Scraps of yellow and black felt White embroidery floss Small amount of stuffing—in a pinch, cotton balls or tissues work Directions: A word about embroidery floss: Embroidery floss comes in strands of 6 threads twisted together. When you are ready to sew, you will need to cut a length of the floss and then unwind 1 strand from the other five. Do this slowly and carefully, or your floss will knot up. You will thread that one strand through the needle, even up the two ends, and knot them together—so I sewed with doubled thread for all steps below, which means I cut a piece of floss twice as long as I wanted it to be once I doubled it up. Here’s a video on separating embroidery floss. Note that she cuts a piece pretty short. I did twice as long: https://www.youtube.com/watch?v=11_udtynLtg A word about stitching: In the interest of keeping this project as simple as possible, I have chosen fairly straight-forward stitches to use. Please feel free to embellish your project your own way! Get as fancy as you like. I have used the whip stitch and the back stitch: The whip stitch is for joining two edges together. Thread your needle and knot your embroidery floss. Start on the inside of one of the pieces of felt you are sewing together. Run your needle through the felt, match up the edge of your two pieces, run the floss over the top of the edges, and poke the needle through the felt, coming out about an eighth of an inch from the first needle hole. -
Theories and Methods in Japanese Studies: Current State and Future Developments
Hans Dieter Ölschleger (ed.) Theories and Methods in Japanese Studies: Current State and Future Developments Papers in Honor of Josef Kreiner V&R unipress Bonn University Press Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.des abrufbar. ISBN 978-3-89971-355-8 Veröffentlichungen der Bonn University Press erscheinen im Verlag V&R unipress GmbH. © 2008, V&R unipress in Göttingen / www.vr-unipress.de Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Hinweis zu § 52a UrhG: Weder das Werk noch seine Teile dürfen ohne vorherige schriftliche Einwilligung des Verlages öffentlich zugänglich gemacht werden. Dies gilt auch bei einer entsprechenden Nutzung für Lehr- und Unterrichtszwecke. Printed in Germany. Gedruckt auf alterungsbeständigem Papier. Table of Contents PREFACE...........................................................................................................7 Ronald DORE Japan – Sixty Years of Modernization? .........................................................11 KUWAYAMA Takami Japanese Anthropology and Folklore Studies................................................25 ITŌ Abito The Distinctiveness and Marginality of Japanese Culture.............................43 FUKUTA AJIO -
How It Was Made
To put what text you want here just click HOWand type, to add anIT image WAS click insert > image then drag it here/resize it and delete MADEthis text Scissors Scissors have two arms each with blades at one end and a round hole for the fingers at the other. These arms are pinned together with a screw or rivet which allows them to move and be opened and closed, sliding the blades against each other to cut. They are different from shears or spring scissors which are made from one piece of metal bent in half to make two arms, each with a blade at the end. Diagram of scissor parts The blades and bows of scissors vary enormously depending on their intended use and user. Blades can have one or both points which are: round, square, curved or pointed. Bows can be equal/unequal in size, straight or offset to one side (sidebent), higher than the blades (i.e. have a bent shank) and can be shaped and highly decorated. ‘Scissorsmyths’ or ‘Scissar makers’ and ‘shearsmiths’ were active in Sheffield from the early 1600s (see ‘Tweedale’s Directory of Sheffield Cutlery Manufacturers 1740-2010’ by G. Tweedale, 2010) and by the mid-1600s Sheffield was well known for its manufacture of steel and cutlery – table knives, trade knives, razors and scissors - taking advantage of the availability of water power, skilled labour, and the raw materials needed (see ‘A History of Sheffield’ by David Hey, 2005). In the 1700s and 1800s the cutlery industry grew, particularly after the invention of crucible steel by Benjamin Huntsman in the 1740s with an increase in both domestic and export trade.