Mamluk Egyptian Charts & Reading
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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. -
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. -
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 ..................... -
Stitches and Seam Techniques
Stitches and Seam Techniques Seen on Dark Age / Medieval Garments in Various Museum Collections The following notes have been gathered while attempting to learn stitches and construction techniques in use during the Dark Ages / Medieval period. The following is in no way a complete report, but only an indication of some techniques observed on extant Dark Ages / Medieval garments. Hopefully, others who are researching “actual” garments of the period in question will also report on their findings, so that comparisons can be made and a better total understanding achieved. Jennifer Baker –New Varangian Guard – Hodegon Branch – 2009 Contents VIKING AND SAXON STITCHES 1. RUNNING STITCH 2. OVERSEWING 3. HERRINGBONE 4. BLANKET STITCH SEAMS 1. SEAMS 2. BUTTED SEAMS 3. STAND-UP SEAM 4. SEAMS SPREAD OPEN AFTER JOIN IS MADE 5. “LAPPED” FELL SEAM 6. FELL SEAM WORKED ON WRONG SIDE OF GARMENT FINISHES ON RAW EDGES OF SEAMS SEWING ON TABLET WOVEN BRAID HEMS OTHER STITCHES FOUND IN ARCHEOLOGICAL FINDS REFERENCES 1 Stitches and Seam Techniques VIKING AND SAXON STITCHES There are only four basic stitches to master: 1. RUNNING STITCH , 2. OVERSEWING, ALSO KNOWN AS OVERCAST STITCH OR WHIP STITCH 3. HERRINGBONE , ALSO KNOWN AS CATCH STITCH 4. AND BLANKET STITCH. ALSO KNOWN AS BUTTONHOLE STITCH Running stitch is probably the easiest to start with followed by oversewing. With these two stitches you can make clothing. The other two are for decorative edging. These directions are for a right handed person, if you are left handed remember to reverse all directions. 2 Stitches and Seam Techniques RUNNING STITCH A running stitch is done through one or more layers of fabric (but normally two or more), with the needle going down and up, down and up, in an essentially straight line. -
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. -
'Sublime Stitches' Aida Page 5 Patterns 62
'Sublime Stitches' Aida Page 5 Patterns 62- 74 Full Design Area: 16.07 x 29.57 inches worked on 14 count AIDA 225 x 414 stitches Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 14 count Aida, white, antique white or cream The sample was worked on Zweigart 14 count Aida, white Over dyed or space dyed fabrics may detract from the design - select carefully! There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown above. Please follow the main chart carefully to place and work the different patterns. The embroidery may differ slightly. Where patterns overlap between the pages do not start the pattern. The part patterns are there to help in the placing of the design. As additional pages are added the part patterns will be complete. Do not add beads to the design until all 12 pages have been worked. The sample was worked in DMC and Anchor floss in four shades including DMC 310 as the base colour. Cross stitch is worked in TWO strands over two threads, back stitch is worked in ONE strand over two threads. Threads used: DMC 310 Black, three skeins Anchor 1206 variegated, or DMC 815 Garnet, three skeins DMC 415 Pearl grey, one skein DMC 414 Steel grey, one skein Metallic threads used: Rainbow Gallery Petite Treasure Braid PB01, one card or DMC Lights Effects E3852 Dark Gold, one skein DMC Lights Effects E317 DMC 996 electric blue is used on the chart to show ONE strand of 415 and ONE strand 414 together to make two strands for pulled thread work stitches. -
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. -
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. -
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. -
A Hole New Story Jumper & Socks Edition
Workshop no.1 A hole new story jumper & socks edition Don’t let your textiles go to waste workshop series Contents 1. Who are we? 3 2. Mending, a story of tradition and care 7 3. Fabrics 101 11 4. Material kit explained 16 5. Visible mending techniques 18 6. Basic sewing skills 23 7. Step-by-step mending techniques 25 2 1. Who are we? 3 TextileLab Amsterdam TextileLab Amsterdam is a group of people that researches, questions and Pictured above (from left to right): speculates how we can help transition the textile and clothing industry towards a more sustainable and value driven approach. From a holistic Cecilia Raspanti approach we look at materials, tools/instruments, processes, culture and Co-founder TextileLab Amsterdam, systems and how these are related. Co-founder Fabricademy: textile academy The research always has a collaborative and value driven nature, where Ista Boszhard findings are shared in a fully open source fashion to create knowledge Co-founder TextileLab Amsterdam, exchange and foster collaboration with a range of diverse stakeholders. Lecturer Amfi Circular economy, sustainable value flows and networks, as well as material Margherita Soldati research and innovation are at the core of the TextileLab operations, going Concept and design TextileLab Amsterdam, hand in hand with exploring informal hands-on alternatives for design, Independent Designer fabrication and production. This wide range of operations and outcomes all feed into education innovation, supporting the change of this field starting Beatriz Sandini from existing educational structures. Concept and design TextileLab Amsterdam, Independent Designer 4 REFLOW Textiles have been a critical and polluting industry since the Industrial Revolution – each year, 14,000 tons of textiles are thrown away in Amsterdam only. -
Janome 3160QDC Manual
INSTRUCTION BOOK IMPORTANT SAFETY INSTRUCTIONS This appliance is not intended for use by persons (including children) with reduced physical, sensory or mental capabilities, or lack of experience and knowledge, unless they have been given supervision or instruction concerning use of the appliance by a person responsible for their safety. Children should be supervised to ensure that they do not play with the appliance. When using an electrical appliance, basic safety precautions should always be followed, including the following: This sewing machine is designed and manufactured for household use only. Read all instructions before using this sewing machine. DANGER— To reduce the risk of electric shock: An appliance should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. WARNING— To reduce the risk of burns, fire, electric shock, or injury to persons: 1. Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children. 2. Use this appliance only for its intended use as described in this owner’s manual. Use only attachments recommended by the manufacturer as contained in this owner’s manual. 3. Never operate this sewing machine if it has a damaged cord or plug, if it is not working properly, if it has been dropped or damaged, or dropped into water. Return this sewing machine to the nearest authorized dealer or service center for examination, repair, electrical or mechanical adjustment. 4. Never operate the appliance with any air opening blocked. Keep ventilation openings of this sewing machine and foot controller free from accumulation of lint, dust and loose cloth. -
How to Mend Holes in Garments
How to mend holes in garments A COMPREHENSIVE GUIDE TO MENDING. WHETHER IT’S DARNING, PATCHING OR REINFORCING, YOU’LL FIND WHAT YOU NEED HERE. HOW TO MEND A SMALL HOLE USING HAND-SEWING YOU WILL NEED DIFFICULTY Thread to match your Hand-sewing needle garment Scissors EASY METHOD 1 4 Use a length of doubled thread that matches your Work small, uniform stitches that go across the hole, then garment as closely as possible. pull the stitches to close the hole shut. 2 5 Try to be sparing with the stitching, otherwise your stitches might become a more obvious blemish than the hole itself! 6 Do a few stitches to secure the end of the thread and trim the end. Work on the inside (wrong side) of the garment. 3 Either tie a knot in the end of the thread, or do a couple of small stitches to secure. www.loveyourclothes.org.uk facebook twitter✉ HOW TO DARN A HOLE IN A WOOLLEN GARMENT This method tackles moth holes or other small, worn areas and is ideal for use on knitted and woven garments. YOU WILL NEED DIFFICULTY Darning or knitting wool Darning needle to match your garment – Scissors EASY or a contrasting colour if you want to make your darning a decorative feature METHOD 1 4 Thread the needle once through the wrong side of the Once you’ve covered the hole with horizontal stitches, garment and tie a double knot to secure it – this is a great you’ll need to change direction and work vertical stitches trick as the knot could otherwise slip straight through – at a right angle to your original stitches.