Types of Embroidery Stitches an Embroidery Stitch Is a Technique Executed in a Particular Manner, to Form a Figure Or a Pattern on a Fabric
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Largs & District
CONTACTmonthly01/2021 Largs & District After a difficult year, Largs & District EG challenge pieces are only limited by the We very much hope, however, that by Branch will be starting the New Year members’ imaginations. accepting this challenge it will give us all with optimism as they gear up to meet Needlework has been such a solace for an opportunity to focus, even if only for their ‘21 in 21’ Challenge. many of us during the stressful months a short time, on an activity that brings The aim of the Challenge is to get of 2020. We aim to harness those us so much pleasure. members motivated by producing beneficial effects to kick start our stitch- Our ‘21 in 21’ Challenge will launch 21 small project pieces over the ing and perhaps, over the year, move us at our first Zoom meeting in 2021 on coming year. ever so slightly out of our comfort zones. January 20th, when we look forward to Members can set their own param- The pieces are intended to be small, engaging in a lively discussion on the eters, so may choose to produce 21 roughly postcard size, so as not to be many ideas for meeting the Challenge pieces on a particular theme, relating to stressful in the planning or production. that members will undoubtedly bring. a specific technique or perhaps linked We are a small Branch and the challeng- Fiona Duggan, Largs & District EG by a colour scheme. The options for the es of the past year have been many. Terry Murphy Terry Murphy, the Guild’s CEO, will be retiring from his role as The Board wishes to thank Terry for his support and his of 31st January 2021. -
Ribbit Sweet Yarns for Real Life
Ribbit a free design by Susan B. Anderson ™ ™ www.spudandchloe.com ™ sweet yarns for real life Black embroidery floss Stitch marker Stitch holder or waste yarn Gauge: 6 stitches per inch in stockinette stitch Abbreviations: k: knit p: purl k2tog: knit 2 stitches together m1: make a stitch by placing the bar between the stitches on the left needle and knitting it through the back loop kfb: knit in the front and back of the same stitch st(s): stitch(es) rnd(s): round(s) Body: Starting at the bottom of the body with Grass and the double‐ pointed needles cast on 9 stitches placing 3 stitches on each of 3 double‐pointed needles. Join to work in the round being careful not to twist the stitches. Place a stitch marker on the first stitch. Rnd 1: knit Rnd 2: (k1, m1, k1, m1, k1) repeat to the end of the round (5 sts per needle, 15 sts total) Rnd 3: knit Rnd 4: (k1, m1, knit to the last stitch on the needle, m1, k1) repeat on each needle Rnd 5: knit Repeat rounds 4 and 5 until there are 15 stitches on each needle, Finished Measurements: 45 stitches total. 3 inches wide by 5 inches tall End with a round 4. Place a stitch marker on the last completed round and leave it there. Yarn: Knit every round until the body measures 1½ inches above the Spud & Chloë Sweater (55% superwash wool, 45 % organic stitch marker. cotton; 160 yards/100grams), 1 skein in Grass #7502 Decrease rounds: Tools: Rnd 1: (k3, k2tog) repeat to the end of the round (12 sts per US size 5 double pointed needles, set of 4 or size to obtain gauge needle, 36 sts total remain) Yarn needle Rnd 2: (k2, k2tog) repeat to the end of the round (9 sts per needle, Scissors 27 sts total remain) Tape measure or ruler Polyester fiber‐fill (small amount) Tennis ball (optional) © 2012 • This pattern is copyrighted material and under the copyright laws of the United States. -
Winter Mitten Making
1 Winter Mitten Making By: Kielyn & Dave Marrone Version 2.0, October 2015 http://lureofthenorth.com 2 Note 1- This booklet is part of a series of DIY booklets published by Lure of the North. For all other publications in this series, please see our website at lureofthenorth.com. Published instructional booklets can be found under "Info Hub" in the main navigation menu. Note 2 – Lure Mitten Making Kits: These instructions are intended to be accompanied by our Mitten Making Kit, which is available through the “Store” section of our website at: http://lureofthenorth.com/shop. Of course, you can also gather all materials yourself and simply use these instructions as a guide, modifying to suit your requirements. Note 3 - Distribution: Feel free to distribute these instructions to anyone you please, with the requirement that this package be distributed in its entirety with no modifications whatsoever. These instructions are also not to be used for any commercial purpose. Thank you! Note 4 – Feedback and Further Help: Feedback is welcomed to improve clarity in future editions. For even more assistance you might consider taking a mitten making workshop with us. These workshops are run throughout Ontario, and include hands-on instructions and all materials. Go to lureofthenorth.com/calendar for an up to date schedule. Our Philosophy: This booklet describes our understanding of a traditional craft – these skills and this knowledge has traditionally been handed down from person to person and now we are attempting to do the same. We are happy to have the opportunity to share this knowledge with you, however, if you use these instructions and find them helpful, please give credit where it is due. -
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. -
Thread Yarn and Sew Much More
Thread Yarn and Sew Much More By Marsha Kirsch Supplies: • HUSQVARNA VIKING® Yarn embellishment foot set 920403096 • HUSQVARNA VIKING® 7 hole cord foot with threader 412989945 • HUSQVARNA VIKING ® Clear open toe foot 413031945 • HUSQVARNA VIKING® Clear ¼” piecing foot 412927447 • HUSQVARNA VIKING® Embroidery Collection # 270 Vintage Postcard • HUSQVARNA VIKING® Sensor Q foot 413192045 • HUSQVARNA VIKING® DESIGNER™ Royal Hoop 360X200 412944501 • INSPIRA® Cut away stabilize 141000802 • INSPIRA® Twin needles 2.0 620104696 • INSPIRA® Watercolor bobbins 413198445 • INSPIRA® 90 needle 620099496 © 2014 KSIN Luxembourg ll, S.ar.l. VIKING, INSPIRA, DESIGNER and DESIGNER DIAMOND ROYALE are trademarks of KSIN Luxembourg ll, S.ar.l. HUSQVARNA is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB • Warm and Natural batting • Yarn –color to match • YLI pearl crown cotton (color to match yarn ) • 2 spools of matching Robison Anton 40 wt Rayon thread • Construction thread and bobbin • ½ yard back ground fabric • ½ yard dark fabric for large squares • ¼ yard medium colored fabric for small squares • Basic sewing supplies and 24” ruler and making pen Cut: From background fabric: 14” wide by 21 ½” long From dark fabric: (20) 4 ½’ squares From medium fabric: (40) 2 ½” squares 21” W x 29” L (for backing) From Batting 21” W x 29” L From YLI Pearl Crown Cotton: Cut 2 strands 1 ¾ yds (total 3 ½ yds needed) From yarn: Cut one piece 5 yards © 2014 KSIN Luxembourg ll, S.ar.l. VIKING, INSPIRA, DESIGNER and DESIGNER DIAMOND ROYALE are trademarks of KSIN Luxembourg ll, S.ar.l. HUSQVARNA is a trademark of Husqvarna AB. All trademarks used under license by VSM Group AB Directions: 1. -
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. -
Watermelon Hat Sweet Yarns for Real Life
Watermelon Hat a free design by Susan B. Anderson ™ ™ www.spudandchloe.com ™ sweet yarns for real life P: purl Rnd(s): round(s) St(s): stitch(s) Hat With C, CO 56 (64, 72, 80, 88) stitches. Join to work in the round being careful not to twist the stitches. Place a stitch marker on the first st. Rnds 1–3: (K1, p1) repeat to the end of the round. Rnds 4 & 5: Knit. Rnds 6: Change to B, knit. Rnds 7: Knit. Change to A and knit every round until the hat measures 4 (4.5, 5, 5.5, 6)” from the cast on edge. Decrease rounds: Rnd 1: (K6, k2tog) repeat to the end of the round. Rnd 2: (K5, k2tog) repeat to the end of the round. Rnds 3 & 4: Knit. Transfer all sts dpns. Rnd 5: (K4, k2tog) repeat to the end of the round. Rnd 6: Knit. Rnd 7: (K3, k2tog) repeat to the end of the round. Rnd 8: (K2, k2tog) repeat to the end of the round. Rnd 9: Knit. Rnd 10: (K1, k2tog) repeat to the end of the round. Rnds 11–13: Knit. Rnd 14: K2tog to the end of the round. Materials Rnds 15–17: Knit. • Spud & Chloë Sweater (100 g/160 yds), 1 hank each A, B, C, D Rnd 18: K2tog to the end of the round, knit any remaining sts. • Size 7 (4.5 mm) 16” circular needles for all sizes except newborn Place all stitches on 1 dpn. Work in I-cord on 2 dpns. For some sizes size, or size to obtain gauge on the first row of the I-cord you will need to knit k2tog until you have • Size 7 (4.5 mm) set of 4 double-pointed needles, or size to obtain 3 stitches remaining. -
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. -
Our First Two Big-Time Classes
Translate Latest news from Rittenhouse Needlepoint View this email in your browser May 2018 Newsletter In this Issue: 1. Our First Two Big Time Classes 2. News roundup 3. Thread of the Month: Stef Francis 12 Ply Silk 4. Stitch of the Month: Little Wavy 5. Notes on Needlepoint Our First Two Big-Time Classes Why do I say, "Our first two big-time classes?" Well, because this is the first time in the nearly ten years that we have been open that we will be bringing in professional teachers to our store to teach. And boy are we excited! First up is "78 Stitches, 78 Threads" with Ruth Dilts. This wonderful class is a crash-course in all things Rainbow Gallery. You know Rainbow Gallery threads. You've been using them forever. They are those threads that come on cards https://us2.campaign-archive.com/?e=[UNIQID]&u=9b9b7549e5c8f818070e0508c&id=d352853db8[6/26/2018 4:17:38 PM] and are on the ubiquitous spin racks found pretty much wherever needlepoint supplies are sold. True confession here -- I've been in the business for a while now and even I have trouble keeping all the names of their products straight in my mind so I can only imagine what a jumble it must be for people who don't handle them every day. Well, now is your chance to start untangling that confusing web. And best of all with this class you will end up with a permanent reference volume to take home with you so that in the future you need never be confused by the plethora of Rainbow Gallery options ever again. -
Straight Stitch
Straight Stitch 16.105 Page 1 Common to all sewing machines, except toy chainstitch models, the straight stitch is the basic stitch used for sewing garments, home dec and craft projects. Formed by the interlocking needle and bobbin threads, this versatile stitch can have many faces, depending on its use. Length Common straight stitch uses: On most machines the straight stitch Basting is temporary stitching to hold length can be adjusted from zero (stitching something in place until construction in one place without moving the fabric) to stitching is done. up to 6mm long. Gathering is drawing in fullness to fit When sewing seams, use a straight stitch another portion of the project--like on a 2mm to 2.5mm long, depending on the skirt or ruffle. fabric. A shorter stitch length is used on lightweight fabrics that tend to pucker. Topstitching A length of 6mm is used for gathering and When a straight stitch is sewn on the right for basting. Some machines offer an even side of the project, either decoratively or to longer straight stitch variation specifically hold something in place, it is called for basting. topstitching. This may be done parallel to a A length of zero, where the needle actually seam, along an stitches up and down in the same place, is edge or within used to anchor a seam at the beginning the interior, and and end of the stitching line. multiple rows may be used In Reverse together. Often A straight stitch can be sewn in reverse to the presser foot anchor the beginning and end of a seam width is used as instead of stitching in place. -
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 -
Silverwork and Sequins
Session 2: Cornucopia II: Silverwork and sequins In this session you will be learning how to couch metallic threads, both Jap Thread and twist. You will also learn how to stitch sequins in place using a bead. Metallic threads add a touch of sparkle to your embroidery designs. They are made by tightly wrapping a flat metallic strip around a core of cotton or silk thread. This produces a shiny thread which can be bought in a range of sizes. There are particular ways of stitching with metallic threads which you will learn in this session. MATERIALS AND EQUIPMENT NEEDED FOR THIS SESSION: • Embroidery hoop or small frame • Embroidery scissors • Needles: o Crewel/embroidery needle size 10/12 o Large-eyed needle such as a chenille or tapestry needle (large enough to take the metallic threads) • The worked embroidery from Session 1: Cornucopia I: Blackwork Infills • Silver Jap Thread • Silver Twist Thread (or DMC silver metallic stranded thread) • Grey sewing cotton • Silver sequins, 3-4 mm, either round or flower-shaped or both: about 5-6 in total • Silver or clear seed beads, one per sequin plus one spare READ ALL OF THE INSTRUCTIONS THROUGH BEFORE YOU START YOUR EMBROIDERY. WORKING THE EMBROIDERY: HORN-OF-PLENTY SECTIONS 1. Place your worked piece from Session 1: Cornucopia I: Blackwork Infills in your hoop or frame (if it isn’t still there!) 2. You are going to use a technique called COUCHING to stitch the silver threads in position on your embroidery. Metallic threads are often too heavy to stitch through the fabric and the outer metallic cover will separate off if you take them through the fabric too often.