DOCSLIB.ORG

Silverwork and Sequins

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. Instead they are stitched on to the surface of the fabric with a fine sewing cotton. Grey cotton is used for silver Jap and yellow cotton for Gold. 3. Cut 2 lengths of the Silver Jap Thread about 20cm (8 ins) long. Thread your crewel needle with a length of sewing thread. If you have some beeswax, run the thread over the beeswax once or twice, then run it through your fingers to remove any excess beeswax. However, this is not essential, so don’t worry if you don’t have beeswax! Couching metallic threads Courtesy of Alison Larkin for Immediate Live 4. Start at one end of the outline of section F of the Horn-of-Plenty. Lay the two pieces of silver Jap side by side along the marked edge, leaving about 3-4cm (1.5 in) length of jap thread extending beyond the start of the outline. Bring the sewing thread through just to one side of the jap thread about 0.5 cm (0.25 in) from the end of the outline and make a small stitch straight over both threads with the sewing cotton. Move about 0.5 cm along the jap threads and make another couching stitch over the silver threads. This will hold the two silver threads in position along the outline of the section. 5. Continue along the outline of section F, making your couching stitches across the silver threads. Stitch about 0.5 cm apart and try to stitch straight across both threads. Work your stitches as evenly spaced as possible along the jap threads. Keep the stitching close to the side of the silver and try not to let the two jap threads cross over each other. 6. When you reach the end of the outline, you need to take the ends of the jap thread through to the back of the work. Thread each end of the jap in turn into your large-eyed needle and use the needle to take the thread to the back, right at the end of the outline. Don’t worry if you make a large hole in the fabric, it will slip back into place later! When both ends are at the back, tug on them gently to make sure they are completely through, then use the sewing thread to oversew the ends of the jap to the back of your embroidery. Trim off the long ends when they are secure. Repeat this with the other ends of the jap (at the start). 7. Repeat this process around all the edges of the other sections of the Horn-of-Plenty except the main rim. Also outline fruit I with silver jap in the same way. SILVER FRUIT: 8. Now you are going to try couching in a circle! Cut two lengths of the jap thread about 30cm long, and thread some sewing thread into your needle. Pick a spot round the outside of the edge of the silver fruit and start couching the pair of jap threads round the edge, leaving 4-5cm (1.5-2 in) of loose end unstitched. 9. Keep going around until you get back to where you started, then continue to couch the pair of jap threads inside the first line, stitching them close to the first line. Continue round the fruit, spiralling in towards the centre. You will find that you need to bend the jap threads a bit more as you go round, but keep the two strands of jap parallel, and the couching stitches straight over the pair of silver threads. 10. When you get to the centre of the fruit, keep couching until you get as close to the centre as you can manage, then use the large-eyed needle to take the jap thread to the back and stitch the ends down. Stitch one clear seed bead in the centre to cover any space you have left. 11. Now go back to the ends of jap you left at the start. Take the inside one of the pair of jap threads through to the back close to where you started couching. Couch the remaining end along the edge of the fruit on its own until you are a little way past where the other end went down, then take it through to the back as well. Stitch the ends down on the back and trim then off. By stitching a single strand like this you make the end smoother against the circle of the fruit. RIM OF HORN-OF-PLENTY: 12. Here you are going to work with a twisted thread, which is slightly different to couching a jap thread. The aim is to keep the couching stitches running in the grooves of the twist. Work with one piece of Twist at a time. 13. Cut a piece of silver twist about 20 cm (8 in) long. (If you are working with a DMC metallic stranded thread, separate out about half the thickness of the full thread). Starting at one end of the outer edge of the rim and leaving about 3-4 cm (1.5 in) end to take back, couch the strand of twist down around the outer edge of the rim. Instead of stitching straight across, angle the couching stitches so they lie in the twist of the thread. Continue round the rim until you reach the other end. Courtesy of Alison Larkin for Immediate Live 14. Cut another length of twist and repeat this, couching the second length just inside the first. Carry on until you have filled the width of the rim with lines of couched twist. How many you need will depend on the thickness of your twist: I used 4 lengths. Take the ends through to the back in the usual way (1 strand of twist at a time) and stitch them down securely on the back. SEQUINS: 15. The easiest way to stitch down single sequins is by using a bead in the centre. Try the beads over your needle: if you have trouble getting the needle through the bead, you might need to find a finer needle. Using a doubled length of the grey sewing thread, bring the needle up at one of the dots. Thread the sequin onto the needle, then thread a clear seed bead after it. Push both sequin and bead down to the fabric. Then take the thread back down through the hole in the centre of the sequin and pull the thread down. The bead will hold the sequin in position against the fabric. 16. Stitch a sequin and bead over each of the dots on the pattern, mixing plain and flower/cupped sequins if you have them. That is your first project finished! Well done. I hope you have enjoyed learning blackwork and silverwork, and I’ll see you in the next Session: Hardanger! CORNUCOPIA MARKING PATTERN AND STITCH CHARTS MARKING PATTERN: NB: Do not mark the letters but do include the dots. Courtesy of Alison Larkin for Immediate Live BLACKWORK INFILL STITCH DIAGRAMS: In these diagrams, each line on the grid represents a thread of the linen fabric. Work all the stitches in one direction first (I suggest the black ones), then work the red stitches. Then the blue ones, then the green ones. Your pattern will gradually build up as you add stitches. Adjust the length of the stitches to fit the shape you are completing. Courtesy of Alison Larkin for Immediate Live .
Recommended publications
  • Cora Ginsburg Catalogue 2015

    Cora Ginsburg Catalogue 2015

    CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework 2015 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] NEEDLEWORK SWEET BAG OR SACHET English, third quarter of the 17th century For residents of seventeenth-century England, life was pungent. In order to combat the unpleasant odors emanating from open sewers, insufficiently bathed neighbors, and, from time to time, the bodies of plague victims, a variety of perfumed goods such as fans, handkerchiefs, gloves, and “sweet bags” were available for purchase. The tradition of offering embroidered sweet bags containing gifts of small scented objects, herbs, or money began in the mid-sixteenth century. Typically, they are about five inches square with a drawstring closure at the top and two to three covered drops at the bottom. Economical housewives could even create their own perfumed mixtures to put inside. A 1621 recipe “to make sweete bags with little cost” reads: Take the buttons of Roses dryed and watered with Rosewater three or foure times put them Muske powder of cloves Sinamon and a little mace mingle the roses and them together and putt them in little bags of Linnen with Powder. The present object has recently been identified as a rare surviving example of a large-format sweet bag, sometimes referred to as a “sachet.” Lined with blue silk taffeta, the verso of the central canvas section contains two flat slit pockets, opening on the long side, into which sprigs of herbs or sachets filled with perfumed powders could be slipped to scent a wardrobe or chest.
  • Pleats, Tucks, & Ruffles

    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.
  • Crewel Embroidery 0F Colonial New England

    Crewel Embroidery 0F Colonial New England

    o o . 1‘ ‘ lb ‘ \w‘.‘ v ‘ " O . .1' '-' «7A :1. 90;": “W;ul.\u’$31.?l'“.‘ 1),. 3:10; 'M " d5‘_);”: ”‘22. ‘ '11“. 5"? $0.053“: . ~ .t"""\" 0‘70' ' ‘. ""7"! ( J::T.m4‘u '.""‘:.O-c :cnou ~11 ‘5'. u o. _'.‘ "' "‘:"-: .t-‘. _ n J; :ln'. ‘“:.;.’ ‘u‘ 9“ .‘ A.“ '. .. *“." " V'W‘ ’:".I|\~u"oOI(|‘. ""h’" '...Iigv-I . 01.11 f"-"'-":""‘°uo‘f.‘ .. - . ‘ p...‘ ‘I . ‘ a " . ...<o CREWEL ... EMBROIDERY THE Thesis MICHIGAN ENVIRONMENTAL MARY for 0F LYNNE the STATE COLONIAL 1975 Degree RICHARDS UNIVERSIIY INFLUENCES ovo- Of NEW M. cOc "9...! A ENGLAND -~ 0 ’Ipup~ ”‘0... l 00"! . AND I'ocumnmnwwwvwv- - Q . o . IIIII IIIIIIIOO PLACE II RETURN BOX to remove this Moat from yout record. To AVOID FINES Mum on or More data duo. DATE DUE DATE DUE DATE DUE — LI- * Om MSU Is An Affirmative MINI/Emil Opportunity Institution Wanna-9.1 ABSTRACT CREWEL EMBROIDERY OF COLONIAL NEw ENGLAND AND THE ENVIRONMENTAL INFLUENCES By Mary Lynne Richards The purposes of this study were: 1) to describe the characteristic colors, stitches and designs found in crewel embroidery created within New England during the colonial period, 2) to analyze these characteris- tics in relation to the dates and locations of the sample embroideries, and 3) to analyze the characteristic designs in relation to aspects of the colonial New England physical environment. The sample was composed of fifty crewel embroidered items, believed to have been created between 1620 and 1781, within the geographic boundaries of New England. A data sheet, plus color slides or black and white sketches, were used to record information pertaining to each embroidered item.
  • Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar

    Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar

    Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow, Michael Mateas, and Noah Wardrip-Fruin Computational Media Department University of California Santa Cruz Santa Cruz, CA 95060 USA [email protected], [email protected], [email protected] Abstract Design tools with computational algorithms have been aiding artists for many years in 2D and 3D, from of- fering a digital drafting table or canvas to applying im- age filters or other mathematical transformations. How- ever, there are many more non-digital creative tasks that can benefit from computer-aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose pat- terns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar-guided user input, enumerates expanded pat- tern possibilities, and compiles patterns into an imme- Figure 1: Generated samples by our parametric shape gram- diately sewable file format. The grammar is capable of mar. These demonstrate borders, focal designs (motifs), and generating published embroidery patterns as well as in- two examples of space-filling patterns. finitely possible new patterns, and has future applica- tions in other areas of surface pattern design and crafts. Related Work Introduction ”Embroidery” is a broad term that roughly encompasses any embellishment by thread, or materials held or strung via thread, on nearly any material, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified (Leslie 2007). This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to em- broidery pattern generation.
  • Bernina Bernina Accessories Workbook Bernina

    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

    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.
  • Yarn Couching

    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.
  • The Bayeux Tapestry

    The Bayeux Tapestry

    The Bayeux Tapestry The Bayeux Tapestry A Critically Annotated Bibliography John F. Szabo Nicholas E. Kuefler ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2015 by John F. Szabo and Nicholas E. Kuefler All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Szabo, John F., 1968– The Bayeux Tapestry : a critically annotated bibliography / John F. Szabo, Nicholas E. Kuefler. pages cm Includes bibliographical references and index. ISBN 978-1-4422-5155-7 (cloth : alk. paper) – ISBN 978-1-4422-5156-4 (ebook) 1. Bayeux tapestry–Bibliography. 2. Great Britain–History–William I, 1066–1087– Bibliography. 3. Hastings, Battle of, England, 1066, in art–Bibliography. I. Kuefler, Nicholas E. II. Title. Z7914.T3S93 2015 [NK3049.B3] 016.74644’204330942–dc23 2015005537 ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
  • Stitch Setting Chart

    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.
  • How to Needlepoint

    How to Needlepoint

    How to Needlepoint A quick guide for the on the go learner to get started stitching By Casey Sheahan What is needlepoint? Needlepoint is a type of embroidery where wool, cotton or silk is threaded through an open weave canvas. Needlepoint can be used to create many different objects, crafts or art canvases. Sources : Colorsheets, Viviva, and Shovava. “What Is Needlepoint? Learn the DIY Basics to Begin This Fun and Colorful Craft.” My Modern Met, 9 Sept. 2018, https://mymodernmet.com/what-is-needlepoint/. The Editors of Encyclopaedia Britannica. “Needlepoint.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 Sept. 2019, https://www.britannica.com/art/needlepoint#:~:targetText=Needlepoint as it is known,the foundation for the embroidery Needlework has been around for centuries. Throughout history we have seen a variety of different types History of of stitching. Tapestries have been found dating back to the 15th century Needlepoint and needlepoint was even found in the cave of a Pharaoh. In the 17th century when upholstered furniture became pooular. Source: “The English Needlepoint.” Ghorbany, https://ghorbany.com/inspiration/the-english-needlepoint. Getting Started Now that you know a little more about the history of needlepoint, you will start collecting your materials to begin stitching. Getting Started Material Options: Threads and Yarns Althea DeBrule outlines some of the most common types of threads used in needlepoint. Persian Yarn: By far the most popular yarn used for needlepoint. Persian wool can be be purchased in hundreds of colors from delicate hues to bold shades. Tapestry Yarn: Tapestry wool is a single strand thread that cannot be separated for fine stitching.
  • S Quill News from Quail Run Needlework

    S Quill News from Quail Run Needlework

    The Quail’’s Quill News From Quail Run Needlework April 2011 From Susan’s Desk Specializing In Welcome to the first issue of our new newsletter! Custom, Innovative Finishing This inaugural issue profiles our beautiful new store. The new location is perfect and our view of the fountain, courtyard and lake is just gorgeous. The wall of windows provides great light for the retail space. Our window displays are gathering much attention and many questions about needlework from people walking by our shop. Mercardo del Lago Center Parking is easy and there are lots of comfortable stools and chairs to sit in while you 8320 N. Hayden Rd look at canvases or catalogues for that special design. There are many special new models to give you great finishing ideas. Come in and see our shop if you have not Suite C112 had the chance! Scottsdale, AZ 85258 This month our new thread is a lovely Chinese silk in 190 colors from City Needleworks. It is 6 meters of 6 ply and works well on 18 mesh canvas. If you have 480-551-1423 not tried the new High Cotton, it is another fine thread we introduced this year. The colors are marvelous , it plies easily and has a slight sheen. I have used it on a new 480-551-1425 (fax) Laurel Burch design as the new colors in this line are perfect for the brilliant colors. 800-635-9750 (toll free) New canvases from market have arrived - the new Leigh pagodas, Sophia’s fans and kimonos, Mindy’s oriental quilts, Debbie Mum’s Halloween, Mary Lake Thompson’s www.quailrun-inc.com bottle bouquets and ribbon candy from Melissa Shirley, Napa wine scene from Susan Roberts and many more.
  • Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow

    Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow

    Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow ABSTRACT Design tools with computational algorithms have been aiding artists for many years, primarily with image manipulation such as rotation, scaling, or applying graphical filters. However, there are many non-digital creative tasks that can benefit from computer- aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose patterns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar guided user input, enumerates expanded pattern possibilities, and compiles patterns into an immediately sewable file format. The grammar is capable of generating published embroidery patterns as well as infinitely possible new patterns, and has future applications in other areas of design and crafts. Introduction “Embroidery” is a broad term that roughly encompasses any embellishment by thread or materials held or strung via thread on nearly any substance, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified [1]. This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to embroidery pattern generation. The objectives of this work include (1) representing counted-stitch embroidery digitally; (2) discovering local properties of stitches to develop into grammar rules capable of generating previously published blackwork embroidery Figure 1: Generated samples by our patterns; (3) offering those stylistically different parametric shape grammar grammar rules as agency to a designer of embroidery patterns; (4) providing instant visualization of enumerated pattern possibilities; and (5) enabling anyone to discover, explore, and enjoy blackwork embroidery or related applications of this grammar.