Stitches Increase As the Setting of Stitch Length Dial Approaches “0”
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August Newsletter
Inside JoAnn Fabrics Viking Sewing 502 Fort Evans Road, N.E. Leesburg, VA 20176 Phone: 703-737-3047 Gallery [email protected] www.vikingsewinggallery.com/698 August Newsletter We continue the adventure with the Foot-Of-The-Month (FOTM) club this August with Blocks 2 & 4. Make and Take Classes are here to stay, keep an eye on our website to check for pop-up Make and Take Classes or give us a call — it’s your chance to try our machines! In Viking Club we are making Drunkard’s Path using the Circle Attachment . Want to get more out of your serger? We hear you and we are making a placemat using a serger — or sewing machine if you pre- fer — in the Quilt As You Go Serger Placemat class. A marathon of Owner’s Classes this month including one for Software and for Serger Owner’s! Do not miss the Stabilizer Class, it is very handy when planning your embroidery projects. As always, students receive a 10% discount on their purchases during class (some exclusions apply). Foot-Of-The-Month Club Block 2 – Saturday, August 13th at 10:30 AM Instructor: Kelley Gimping Foot with Guide & Open Toe Foot Use the Gimping Foot to create a dimensional satin stitch technique. Gimp thread is guided by the foot as the satin stitch is sewn over it. Use the Open Toe Foot or Clear Open Toe Foot to stitch a satin stitch around the leaves. Block 4—Saturday, August 20th, 2016 at 10:30 AM Yarn Couching Feet Set Instructor: Kelley With the Yarn Couching Feet you can easily create decora- tive yarn embellishment both when sewing free-motion and embroidering. -
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. -
How to Use Access Commodities Filament Silk Gimp
How to Use Access Commodities Filament Silk Gimp This innovative thread was recreated from 17th century examples found on period needlework. The unique structure of silk gimp consists of a filament silk core wrapped with filament silk. The cord like appearance is both sleek and supple to use, providing an interesting surface texture. It is recommended to treat Filament Silk Gimp like real metal thread passing threads, which are not stitched back and forth through a fabric or canvas, but applied on the surface to great effect. Step 1: First knot the end of the silk gimp before unreeling it off the spool. As you un- reel the silk gimp, it may twist back on itself, due to the composition of the thread. Sim- ply stroke it to smooth it out. Step 2: Unreel a small amount of thread about 4 to 6 inches and snap the top of the spool on the remainder. (See illustration #1) Don’t cut it off the spool but leave it on, unrolling a little more as you stitch. This helps controls the thread as you work and minimizes the twisting. Illustration No. 1 Step 3: The thread can be couched with Au Ver á Soie, Soie 100/3 or a single ply of Au Ver à Soie, Soie de Paris. (See list below for list matching colors.) A Crewel #10 needle is recommended. You will find it helpful if the couching thread is waxed for control. Copyright L. Haidar for Access Commodities, 2013. Date: December 2013 Step 4: Make your couching stitches slanted rather than straight because of the twist of the thread. -
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. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
Working with Neon Rays Added Karen Chrissinger As a Teacher
June 2017 A Message from Jill In this Issue: On October 1, 2009, I took a big step in my and my family’s life - I A Message from Jill purchased Louise’s Needlework. Being an owner of a small business is one of the hardest yet most fulfilling jobs there is. I love the challenge of Yeah….that stitch! growing Louise’s every year and we have come so far yet there is still more Karen Chrissinger discusses the basic types of stitches and growing to do. Our move has been one of the best changes we made. We how they are worked. love our space, light and parking. In fact we wish we had more space than we have now! We have added new thread lines and continue to grow Classes others. Don’t miss out on a wonderful new class beginning soon at Louise’s. We have had great success with our clubs and will continue to add new and exciting ones in the near future. New classes have been added on A Few of Our Newest Arrivals Thursdays and we have hosted Laura Taylor (who will be back in 2018), Canvases just added – and will be hosting Kelly Clark in September. available in the store and online. Even employees have changed. We have Working with Neon Rays added Karen Chrissinger as a teacher. If you Diane Snyder gives several haven’t taken a class from her you should. helpful hints on working with this beautiful, but sometimes Karen has spread her love of needlepoint to frustrating, ribbon. -
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. -
Zigzag Stitch Sewing Machine Comparison Chart (PDF)
Zigzag Stitch Sewing Machine Comparison Chart For a comparison of our straight stitch machines, refer to the Straight Stitch Sewing Machine Comparison Chart (300086XHT) for specifications on Sailrite® Ultrafeed® LS-1, Leatherwork® and Fabricator® Sewing Machines. SEWING MACHINE SAILRITE® ULTRAFEED® SAILRITE® PROFESSIONAL Fully portable machine and easy to carry. Intended for canvas, Full-size industrial machine in a large table. upholstery, awnings and vinyl; can sew leather with appropriate presser feet. Sews 4-point and 2-point zigzag stitch. Intended for sail repair and sailmaking. LSZ-1 Basic LSZ-1 Plus LSZ-1 Premium LSZ-1 (EU) Basic LSZ-1 (EU) Plus LSZ-1 (EU) Premium STANDARD ARM MODEL #300601 #300602 #311603 #220601 #220600 #220603 #500500 TECHNICAL SPECS SHUTTLE Oscillating (Cam/Rocker Arm Driven) Full Rotary, Gear Driven 1/4 hp, 90VDC motor, 550-Watt, 3/4 hp, 110V MOTOR POWER 1/10 hp, 110 volt, AC motor, 1.5 amp 3 amps 1/10 hp, 220-240 volt, AC motor 50/60 Hz, 0.7 amp Workhorse Servo Motor Input 110V AC 5,800 rpm motor MOTOR SPEED 6,600 rpm motor at 1.5 amps 8,200 rpm motor at 0.7 amps 4,500 rpm motor at 4.5 amps at 3 amps POSI-PIN® CLUTCHING SYSTEM WorkerB® Balance Wheel (Compatible with Power Plus® (Compatible with Monster® II Balance Monster® II Balance Power Plus® (Compatible with Monster® II Balance Wheel for hand cranking and FLYWHEEL Wheel for hand cranking and sewing without electricity. Wheel for hand cranking Stitch PRO sewing without electricity. Included in the PREMIUM packages.) Included in the PREMIUM packages.) and sewing without electricity. -
Husqvarna Viking Embroidery Sewing Machine Stitch Chart
Husqvarna Viking Embroidery Sewing Machine 1 Stitch Chart Icon Stitch Names Designer I Designer II #1+ Rose Iris Platinum + UTILITY STITCHES Straight Stitch, Left Needle Position A1, D24 A1:1 A1 Straight utility stitch, left needle position; use to gather with the Gathering foot Or for topstitching Straight Stitch, Center Needle Position A2, C34, D25, F1 A1:2 A2 1 1 1:01 A straight stitch, center needle position; 25 needle positions; use Edge-Stitch Foot for edge-stitching woven fabrics Straight Stitch, Right Needle Position A3, D26 A1:3 A3 Straight utility stitch, right needle position; use Edge-Stitch Foot for edge-stitching woven fabrics Stretch Stitch - Left Needle A4 A1:4 A5 3 3 1:02 Left needle stretch stitch Stretch Stitch - Center Needle A5 A1:5 A6 A zigzag-type stitch that makes a stretchy seam; suitable for seaming tricot and light-weight stretch fabrics Stretch Stitch - Right Needle A6 A1:6 A7 Right needle Stretch stitch Reinforced Straight Stitch - Left Needle A7, D27 A1:7 A8, A Tri-motion reinforced stitch, left needle position Reinforced Straight Stitch - Center Needle A8, C35, D28 A1:8 A9 2 2 1:03 Tri-motion reinforced stitch, center needle position; 25 needle positions; for seams subject to strain and to topstitch Reinforced Straight Stitch - Right Needle A9, D29 A1:9 A10 A Tri-motion reinforced stitch, right needle position Zigzag - Left Needle A10 A1:10 A11 A 3mm wide zigzag stitch; changing width leaves left-hand stitch in the same needle position Zigzag - Center Needle A11, F2 A1:11 A12 4 4 1:05 A slanting 3mm wide -
4.3 Characterization Methods for Slub Yarns
ABSTRACT Jaganathan, Sudhakar. Characterization Methods and Physical Properties of Novelty yarn. (Under the guidance of Dr. William Oxenham) The purpose of this work is to find the characterization methods which quantitatively define the inherent properties of novelty yarn. The research was divided in to two parts. In the first part various instrumental methods and techniques were investigated to characterize the physical properties of the novelty yarns. Various structural properties of gimp and slub yarns were defined and characterized. Instrumental method included CTT Tester, Hairiness tester and a Traveling Microscope. An image analysis algorithm was proposed to measure the size distribution of novelty yarn structural effects. In the second part visual perception of novelty yarn texture was characterized. A texture nomenclature based on the theory of “Textons” was developed. A human psychological survey was conducted to get observers response on texture terms. We proposed various image analysis methods to quantitatively characterize the novelty yarn texture. The image analysis method had good correlation with human psychological response on the novelty yarn texture. CHARACTERIZATION METHODS AND PHYSICAL PROPERTIES OF NOVELTY YARN by SUDHAKAR JAGANATHAN A thesis submitted to the Graduate Faculty of North Carolina State University In partial fulfillment of the Requirement for the degree of Master of Science Textile Management and Technology COLLEGE OF TEXTILES Raleigh, NC 2005 Approved by: Dr.William Oxenham Chair of the Advisory Committee Dr.Nancy Powell Dr.Pamela Banks-Lee Committee Member Committee Member Dedicated to Amma, Appa, Anni and Anna for all the support and encouragement they have given ii Biography Sudhakar Jaganathan was born on June 29, 1979 in Coimbatore, India. -
Step 1: Turn on Sewing Machine - Switch on the Right Hand Side
8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 1 Part 1: Sewing Machine (Student Worksheet – Formative Assessment) Name _____________________________________________ Period ________ Score _____________________________________________ Directions: Complete after all parts have been completed, place in designated tray. Step 1: Turn on sewing machine - Switch on the right hand side. Step 2: Identify & Practice Using Assigned Parts Sewing Machine Parts: Part 1 1. Needle Button and Needle - DO NOT USE HANDWHEEL! On / Off Switch 2. Reverse Button – Reverse 3. Presser Foot – Holds down fabric 4. Stop/Start button must be green to sew. This is only done when the presser foot is down. 5. Speed Switch – Regulates your sewing speed. (NOTE: remember we are in a school zone – So sew slowly!!) Speed Switch 6. Stitch Regulator – Regulates stitch sizes (Large, Medium, Small). To make changes click the light at the bottom of the stitch regulator. Then slide the switch to the stitch size required. Most stitching is done with the medium stitch size. Stitch Regulator 8 th - Introduction of the Tempo Baby - lock Sewing Machine Page | 2 7. ZigZag Stitching - Press the zigzag button light when using this 4 type of stitch. The up/down button will change the numbers on the screen and will determine what stitch you are making. Check the plastic chart to see what numbers correlate to each design. Since we have the “J” foot on, these are the stitches we will be using. 8. A few more parts: Zig Zag Dials a. Feed Dogs – Grabs fabric smoothly through b. Threading Guides – Helps you thread the machine – all are sequentially labeled. -
Fixing Torn Buttonholes No
C O N S U M E R S E R I E S CLOTHING Fixing torn buttonholes no. 8.528 by K. Williams1 Do you have clothes with buttonholes that are torn or missing some stitches? Quick Facts... General Directions If the buttonhole is torn at the end, to fix the tear, do the following: If a buttonhole is torn at the end, • Take out the buttonhole stitches around the tear. it may be patched and recut. • Cut a piece of material a little bigger than the tear to use as a patch. Use the same color if you can. (Figure 1A.) If stitches are coming loose from • Put the patch between the facing and outer material. a buttonhole, they may be • Mend the tear by stitching back and forth through all three layers of material. resewn by machine using a Machine stitching holds better than hand stitching. (Figure 1B.) zigzag stitch or by hand using a • Cut through the patch to make the buttonhole the same length that it was. buttonhole stitch. (Figure 1C.) Sewing By Hand To resew a buttonhole by hand, start at the good end of the buttonhole. Sew over stitches that are still there. • Knot the thread and push the needle from the wrong side of the buttonhole through the stitches. • Push the needle down through the buttonhole and up through the material near the end of the buttonhole. (Figure 1D.) • Bring the thread under the point of the needle from left to right. (Figure 1E.) • Pull the needle and thread through the material.