Advanced Creative Stitchery
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cora Ginsburg Llc Titi Halle Owner
CoraGinsburg-11/2006.qxd 11/22/06 11:26 AM Page 1 CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework Winter 2006 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] EMBROIDERED LINEN FOREHEAD CLOTH English, ca. 1610 Triangular in shape and lavishly embellished, a forehead cloth—also called a cross-cloth or crosset—was a feminine accessory sometimes worn with a coif, an informal type of cap. Rare after the mid-seventeenth century, forehead cloths first appeared in conjunction with the coif around 1580; embroidered with patterns to match, they were worn around the forehead and draped over the coif with the point facing backwards. Though the occasions on which a lady might wear a forehead cloth are not fully known, it seems that they were used for bedside receptions and in times of sickness. In his 1617 travels through Ireland, English author Fynes Moryson observed that, “Many weare such crosse-clothes or forehead clothes as our women use when they are sicke.” The remarkable embroidery seen here shows the practiced hand of a professional. Much fine needlework was accomplished domestically in sixteenth- and seventeenth-century England, but there were also workshops and skilled individuals that catered to the luxury trade. The Broderers’ Company, an organization for professional needleworkers, was founded under Royal Charter in 1561; specialists were also retained for wealthy private households, and journeymen embroiderers were hired as necessity demanded. -
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. -
Macstitch/Winstitch Manual by Ursa Software
MacStitch/WinStitch Manual by Ursa Software Revision: January 2017 - !1 Introduction This document explains all the main functions of the application, plus the bundled Thread Editor utility, and Symbol Editor. We hope you enjoy many hours using the program! If you can't find the answer to a query you have within this document, please send us an email using the contact form on our website, or in the help menu of your program. Jeff & Deb Tullin Ursa Software MacStitch Mac, and WinStitch for the PC are designed for making the creation of counted cross stitch charts easy, quick and fun. You draw on screen using the mouse, using your selected colors (taken from the DMC, Anchor, Madeira or several other thread ranges), and build up your design just as you would on graph paper. For the artistically challenged, you can import scanned photos or clipart, and have the program turn them into ready-to-stitch designs in minutes, at just the right size. The printouts are clear and easy to read, especially when you choose to print at the larger symbol sizes. No need run down to the print shop to get the chart enlarged when you can print it yourself! The task of creating a chart involves either designing something based upon an idea you have, and using the computer screen like a sheet of graph paper, or by importing an image from elsewhere (perhaps a photo or piece of clip art) Once the design is on the screen, you can amend it further: perhaps by adding text, removing background stitches, or adding half stitches to smooth curved edges. -
23. Embroidery As an Embellishment in Fabric Decoration
EMBROIDERY AS AN EMBELLISHMENT IN FABRIC DECORATION By OLOWOOKERE PETER OLADIPO Department of Fine and Applied Arts, Federal College of Education, Osiele, Abeokuta. Abstract Nigeria is endowed with abundant human, natural and material resources, which could be used in different vocational practices. Practitioners have consistently practiced their art with attention to uniqueness and high quality forms, styles and content. Embroidery as a decorative process in Art has played principal roles in entrepreneurship development. Hence, this paper made a critical analysis of the forms, content and significant of embroidery in art, the thread colours, fabric motifs and pattern suitable for a successful embroidery design would also be considered. The general conclusion is that if embroidery is properly done, it would increase the embroiderers sense of creativity in our societal growth and the interested individual should be encourage to learn the craft so that the tradition will remain forever. Embroidery is an interesting stitching technique by which coloured threads, generally of silk or wool are used with a special needle to make a variety of stitches, and it is used to make an attractive design on garment, wall hanging or upholstery pieces. In Nigeria today, embroidery clothing are used far and wide and its unique feature and elegance remain the ability to trill and appeal to the people’s fervent love for it whereby the artisan considered different textile materials such as guinea brocade, damask and bringing out the significance of thread with which it is worked. Ojo (2000) defined, embroidery as an art of making pattern on textiles, leather, using threads of wool, linen, silk and needle. -
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. -
Multifunctional Blanket Stitch By: Magdamagda
Multifunctional Blanket Stitch By: magdamagda http://www.burdastyle.com/techniques/multifunctional-blanket-stitch What better time for hand sewing revelations than now when my sewing machine is in service? sigh I have been thinking about this for some time – one type of hand stitch that comes in handy in so many situations! I’ll point out the ones I thought about, new ideas are welcome! Known as the “blanket stitch” it can back up your sewing machine in some situations or even go where no sewing machine has gone before!!!! First this is how it’s done: I prefer to stitch right to left. Bring the thread to front at desired distance from the edge ( about 2 mm for buttonholes, 4-5 mm for serging). Take the thread over the edge of the cloth and pull the needle back to front through the same point. Make a loop around this thread segment at the cloth edge level. At some distance from the first “entry point” (3-4 mm for serging) and at the same distance from the edge thrust the needle from front to back and pull the needle through the loop formed by the remaining thread. You can help yourself by keeping the thread over the index finger of the left hand while doing so. Repeat, repeat, repeat..:) Tip: If you are serging, make sure not to pull the thread too much and cause the fabric to pluck. If you’re working on a button hole or doing some embroidery work pull the thread just right so that the thread remains straight: not too loose, not too tight:) Tip-tip:) : If the thread gets twisted on itself , you can straighten it out by sliding the needle close to the fabric and running the thread through your fingers from the fixed end towards the loose end (a few times) Note: Whatever you plan to use this stitch for, you’ll find it ideal when dealing with curved lines! A video to catch the basic move: Step 1 — [serging] Multifunctional Blanket Stitch 1 Use it for: 1) Serging (overcasting the raw edges of a fabric to prevent unraveling).. -
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. -
How to Slip Knot & Chain Stitch
How to Slip Knot & Chain Stitch Appearance in pattern - ch Crochet usually begins with a series of chain stitches called a beginning or foundation chain. A slip knot is the first step in most crochet projects. We will begin by making a slip knot on the crochet hook about 6 inches from the free end of the yarn. You will first start by creating a loop with the yarn. Be sure that the free end of the yarn is dangling behind your loop (see illustration 3). Insert the crochet hook through the center of the loop and hook the free end (see illustration 4). Pull this through and up onto the working area of the crochet hook (see illustration 5). Pull the free yarn end to tighten the loop (see illustration 6). The loop on the crochet hook should be firm, but loose enough to slide back and forth easily on the hook. Be sure you still have about a 6-inch yarn end. Once you have the yarn wrapped, hold the base of the slip knot with the thumb and index finger of your left hand. Step 2: Bring the yarn over the crochet hook from back to front and hook it (see illustration 8). Draw hooked yarn through the loop of the slip knot on the hook and up onto the working area of the crochet hook (see arrow on illustration 9); you have now made one chain stitch (see illustration 10). Step 3: Again, hold the base of the slip knot and bring the yarn over the crochet hook from back to front (see illustration 11). -
Faculty Development Grant Report Sumi Lee Professor of Fashion
Faculty Development Grant Report Sumi Lee Professor of Fashion Design Faculty Development Grant Report Submitted Sep.11th, 2017 Sumi Lee Professor of Fashion Design Project Description: In Fall 2016, I received a Faculty Development Grant to fund a textile art workshop titled “Places, Spaces and Traces” in Les Carroz, France. This workshop focused on creating artistic textile surfaces, while experimenting with found materials, different media, novel techniques, mark-making (i.e., use of stitch as a “line”), and paint methods on fabric (e.g., sun prints with silk dyes). These different approaches to creating textiles are often described as “painting with cloth.” This workshop was instructed by a renowned textile artist from the U.K., Cas Holmes, author of several books and articles including “The Found Object in Textile Art” and “Stitch Stories”. She utilizes a unique “hands-on” approach that showcases her experimental use of found materials and inventive application of textile and mixed media procedures. Significant Activities: According to Cas Holmes, the most important aspect of “creating art” is the process of developing one’s own approach to subject matter in a meaningful way. Specifically, Holmes showed how she makes connections to natural environments in developing her narratives and her personal vision as a textile artist. #1. Stitch- Sketching: Drawing and recording daily observation, and the realization of those ideas in textile is a process. Sketchbook by Cas Holms Sketchbook by Sumi Lee The colors, textures, and changing light over the meadows, fields and landscape can provide a stimulus for the narrative, formal, or abstract quality in textile works. -
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. -
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 .....................