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October 2018
YMOCT18Cover.FINAL:Layout 1 11/1/18 5:21 PM Page CV1 CAN YOU KEEP BE THE LISTEN A SECRET? CHANGE UP! Protect shared The retail Podcasts get you information with landscape is inside the heads of a nondisclosure changing your customers— agreement. quickly.Are literally. you ready? OCTOBER/NOVEMBER 2018 2019: A YARN ODYSSEY FREE COPY DelicatE wslavender eucalyptus grapefruit unscented jasmine h p teatmen o you in ashable YMN1018_Eucalan_AD.indd 1 10/23/18 12:49 PM Plymouth Yarn Pattern #3272 Drape Front Cardi Plymouth Yarn Pattern #3272 Drape Front Cardi 60% Baby Alpaca 25% Extrafine Merino 15% Yak 60% Baby Alpaca 25% Extrafine Merino 15% Yak WWW.PLYMOUTHYARN.COMWWW.PLYMOUTHYARN.COM YMN1018_Plymouth_AD.indd 1 10/23/18 12:48 PM YMOCT18EdLetter.FINAL:Layout 1 10/31/18 2:24 PM Page 2 EDITOR’S LETTER Looking Back, Looking Forward ROSE CALLAHAN Where were you five years ago? It was the fall of 2013. Some of you may not have even owned your business in the yarn industry yet, while others of you had been at it for well over 20 years. Some of you had not yet become parents; others were close to becoming empty nesters. A lot can change in five years, but of course, a lot can stay the same. Five years ago, Yarn Market News made a change. Because of dwindling advertising dollars, we announced that we would be publishing three issues a year instead of five. And this issue marks our first all-digital issue, born out of both a desire to go green and to help the magazine’s struggling bottom line. -
Oriental Rug Knotting & Construction
Oriental Rug Knotting & Construction Knotted, Tufted and Flat-Woven Rugs; Knot Types and Density Anatomy of A Hand Knotted Rug A. WARP - The parallel threads running through the entire length of the rug onto which the knots are tied. B. WEFT - The threads running across the width of the rug inserted between all the rows of knots. These threads pass through alternate warp threads. Their job is to secure the knots in parallel lines and to strengthen the fabric. C. KNOT - The term used for a strand of wool yarn which is looped around two adjacent warp threads and then cut to form the pile (surface of carpet). D. OVERCASTING - A simple wrapping of dyed yarn along the entire length of both sides of a handmade rug. E. FRINGE - The visible continuation of the warp threads at both ends of the carpet. F. KILIM - The pileless web of warp and weft between the rug's pile and the knotted fringe. This is also the name for a rug without pile. Types of Oriental Rug Construction Who Uses Which Knot? Line of division (dotted line): distinguishing Turkish Knot (west of line) and Persian Knot areas (east). PERSIAN KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL TURKISH KNOT WITH ALL OF THE WARP THREADS ON ONE LEVEL PERSIAN KNOT WITH THE WARP THREADS ON TWO DIFFERENT LEVELS OPEN BACK & CLOSED BACK OPEN BACK CLOSED Different methods for finishing the undersides of rugs BACK The FULL LOOP part of the In the CLOSED BACK KNOT is on the UPPER KNOT the FULL LOOP is warp thread on the LOWER warp thread . -
Brosur Ingilizce
Our Products We offer the 100% Acrylic HB yarns, from NM10 to NM40, ecru or dyed, single or twisted; for knitting, socks, circular knitting, weaving, tufting, bath mats and carpets. foundation 100% Acrylic Relax yarns, from NM10 to NM40, for fashion! ecru or dyed, single or twisted; for knitting, socks, weaving, upholstery and velvet. 100% Acrylic Relax yarns from Dralon fiber, from NE16 to NE30; for chenille, lace, knitting and socks. Wool Acrylic Blended yarns, from NM10 to NM40, HB or Relax, single or twisted; for knitting, socks, circular knitting and weaving. Cotton Acrylic Blended yarns, from NE12 to NE30, HB or Relax, ecru or dyed, single or twisted; for knitting, circular knitting and weaving. Viscose Acrylic Blended yarns, HB or Relax, ecru or dyed, single or twisted; for knitting, upholstery and weaving. Linen Viscose Blended yarns, NE12, NE20, NE30, Akren Iplik A.fi. is a member of Textileonly. www.textileonly.com single or twisted, ecru or dyed; for knitting, circular knitting and weaving. Center Office: Linen Cotton Blended yarns, NE12, NE20, NE30, Rumeli Caddesi, No: 2/5 Niflantafl› 34563 - ‹stanbul single or twisted, ecru or dyed; for knitting, circular Tel: +90 (212) 231 04 28 pbx Fax: +90 (212) 233 94 75 knitting and weaving. Yenibosna Plant: 29 Ekim Caddesi, No: 22, Yenibosna 34530 ‹stanbul Tel: +90 (212) 503 21 36 Fax: +90 (212) 639 95 62 100% Acrylic Chenille yarns from Dralon fiber, NM4 Çorlu Plant: and NM6, ecru or dyed; for knitting, upholstery and Velimefle Hac›fleremet Mevkii, Çorlu - Tekirda¤ weaving. Tel: +90 (282) 674 44 48 email: [email protected] Acrylic bouclet and frise yarns, ecru and dyed; for knitting, upholstery and weaving. -
How to Make Métis Hooked Rugs
How to Make Métis Hooked Rugs There are six steps in making a hooked rug. These are: 1) Preparing Materials 2) Building a Frame 3) Preparing a Work Surface 4) Cutting and Tracing the Pattern 5) Hooking the Rug 6) Putting on the Backing and Finishing Touches 1) Preparing Materials • Use two-by-two inch pieces of wood for the frame • Make the frame slightly bigger than the rug • Use nails to attach the frame • Use burlap or jute for the frame’s backing • Use corduroy or denim to reinforce the frame’s border • Use quilting or upholstery thread to stitch the border • Use sealed wax to bind the border to the burlap/jute backing • Use wool or string to lace the burlap border to the frame • Use various big-eyed needles and a thimble for the lacing process • Use paper to make the pattern • Use paper scissors to cut out the pattern • Use small or large straight pins to pin down the pattern • Use sharp scissors to cut all fabric • Use a rug-hooking tool to begin the rug-hooking process • Rug-hooking tools can be found at craft or carpet stores, or can be made from a cork and a nail • Use various colours of cotton t-shirts for materials • Cut the seams out of the t-shirts, and then cut the material into thumb width strips • The strips can be rolled into balls for easy storage 2) Building a Frame • Make an adjustable frame by drilling holes in the wood • Use a nut and a bolt to adjust the frame’s size • If the frame is to be used only once, nail it together 3) Preparing a Work Surface • Choose either burlap or jute (which is finer grained) • Then -
Stranded Knitting Lesson by Arenda Holladay
STITCH ANATOMY Stranded Knitting Lesson by Arenda Holladay As with all articles in the Stitch Anatomy Series, the lesson discusses gian," or some name iden tifyi ng a geographic area. T hese names the stitch pattern in detail, any potential p roblems in working it and refer to areas where a specific trad ition of stranded knitting was tips for improving the appearance. For those interested, a pattern developed. Each tradition has its own rules and characteristics fo r a pillow using the stitch pattern follows. The pattern outlines the which make it unique. Fo r example, Fair Isle patterns have peeries steps involved in designing with the stitch pattern. Also included is and Norwegian patterns have "lice". Since the fabric has a double information for anyone who wants to try designing a similar pillow thickness it is not surprising that this technique flourished in 011 their own using different yarns, a different pillow size or a varia colder climates. The lesson will not discuss the history of stranded tion of the pattern. knitting or their cultural significance. An article on Fa ir Isle tradi tions ca n be found on page 10 and the bibliography foll owing this ABOUT STRANDED KNITTING article lists books that delve into history and culture. Stranded or jacquard knitting is a colorwork technique where rwo colors are used in one row. The color not being used is car Since the stitch pattern used fo r stranded kn itting is Stockinette, ried behind the work until it is needed. These are called fl oats. the knitting itself is not difficult but the process can be challeng Sometimes stranded knitting is referred to as "Fair Isle," "Norwe- ing. -
Project Description
Project Description Candlewicking is a form of surface embroidery that traditionally uses an unbleached cotton thread on a piece of unbleached muslin. It gets Candlewicking its name from the nature of the thread, which very much resembles the wick used in a candle. Motifs are created using a variety of knots (Colonial) and satin stiches (backstitich). A warm covering made of two layers of cloth filled with a material with loft and tyed together. Tying refers to the technique of using thread, Comforters yarn or ribbon to pass through all three layers of the comforter at reqular intervals. These "ties" hold the layers together during use and especially when the comforter is washed. A warm covering made of two layers of cloth filled with a material with Quilts loft and stitched together in lines or patterns. The top layer is typically pieced together and the bottom is one solid layer. Process of stitching together two layers of fabric, usually with a soft, thick substance placed between them. The layer of wool, cotton, or other stuffing provides insulation; the stitching keeps the stuffing evenly distributed and also provides opportunity for artistic expression. Quilting has long been used for clothing in many parts of the world, especially Quilting in the Far and Middle East and the Muslim regions of Africa. It reached its fullest development in the U.S., where it was at first popularly used for petticoats and comforters. By the end of the 18th century the U.S. quilt had distinctive features, such as coloured fabric sewn on the outer layers (appliqué) and stitching that echoed the appliqué pattern. -
VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 P.M
VOGU Eknitting CHICAGO THE ULTIMATE KNITTING EVENT OCTOBER 24 –26 ,2014 • PALMER HOUSE HILTON HOTEL PRINTABLE BROCHURE NEW& INSPIRATIONAL KNITWORTHY HAND KNITTING PRODUCTS CLASSES & LECTURES! VOGUEKNITTINGLIVE.COM SC HEDULE Thursday, October 23 Registration: 3 p.m. –7 p.m. OF EVENTS Classroom Hours: 6 p.m. –9 p.m. Friday, October 24 VOGUEknitting Registration: 8 a.m. –7:30 p.m. 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. 2-hour Classroom Hours: 9 a.m.–11 a.m., 2 p.m.–4 p.m. Marketplace: 5:00 p.m. –8:30 p.m. Please refer to VogueknittingLIVE.com for complete details. Saturday, October 25 HOTEL INFORMATION Registration: 8 a.m. –6:30 p.m. Vogue Knitting LIVE will be held in 3-hour Classroom Hours: 9 a.m.–12 p.m., 2 p.m.–5 p.m., 6 p.m. –9 p.m. downtown Chicago at the luxurious 2-hour Classroom Hours: Palmer House Hilton Hotel, located 9 a.m.–11 a.m., 2 p.m.–4 p.m. near Millennium Park in the heart of Marketplace: 10 a.m. –6:30 p.m. the theater, financial, and shopping districts of downtown Chicago. The Palmer House Hilton Hotel is within walking distance of the Windy City’s Sunday, October 26 most famous museums, shopping,a government, and corporate buildings. Registration: 8 a.m. –3 p.m. 3-hour Classroom Hours: The Palmer House Hilton Hotel 9 a.m.–12 p.m., 2 p.m.–5 p.m. -
2021 Creative Activities Rules and Premiums
Aug. 26-Sept. 6, 2021 Creative Activities Superintendent..................................................................................................................... Curt Pederson, Shoreview, MN Board Member............................................................................................................................... Gail Johnson, Anoka, MN Secretary....................................................................................................................................... Arlene Restad, Eagan, MN Creative Activities Rules 1. ENTRIES. Open Monday, June 7. Entries close for all divisions Tuesday, Aug. 10, at 4:30 p.m. No exceptions. A. ONLINE REGISTRATION. All entries MUST be registered. Entries close on Tuesday, Aug. 10, at 4:30 p. m. No entries will be accepted after closing date. Errors or omissions must be registered within 10 days after fair closes. No entry fee required. 1. A confirmation will be sent to your email within 24 hours. Exhibitors must bring their registration confirmation during specified drop off dates and times for verification purposes only. A hard copy printed OR readily available to be viewed easily on a mobile device will be required at drop off. 2. Refer to the "How To Enter Exhibits" document for detailed information and entry procedures. Visit the Minnesota State Fair website to begin the registration process: competition.mnstatefair.org B. MAIL-IN REGISTRATION. Must be in our office (not postmarked) by Tuesday, Aug. 10, at 4:30 p.m. No entries will be accepted after closing date. All entries MUST be registered. Follow procedure below: 1. On an 8 1/2” x 11” sheet of paper. Must include 1) first name, last name, address and phone number; 2) list of class number(s) and description of entry for each exhibit. 2. Mail to: Competition Department - c/o: Creative Activities, Minnesota State Fair, 1265 Snelling Ave. N., St. Paul, MN 55108. -
Vogue Knitting LIVE Launches in New York City in January
NEW YORK, NEW YORK 6,000 Knitters and Industry “Knitterati” to Gather for New Event Vogue Knitting LIVE Launches in New York City in January. Popular Classes Already Sold Out More than 53 million people know how to knit or crochet—and the number is growing. Following the successful premier of Vogue Knitting LIVE in Los Angeles last year, Vogue Knitting magazine announces a new event at the Hilton New York January 14–16, 2012 . Knitting, an ages-old craft, is taking the world by storm. Professionals, Hollywood A-listers, and rock stars have all joined the ranks of knitters, and Ravelry, a popular social media site for stitchers, boasts close to 2 million members. Its benefits are renown: A Harvard study from 2007 concluded that knitting may be as effective as medication in reducing stress. “We know that knitters love getting together at yarn stores to learn new techniques, compare projects, and hear from top designers. We’ve simply taken that to the next level by creating the largest live gathering of knitters in New York,” says Trisha Malcolm, editor of Vogue Knitting and originator of Vogue Knitting LIVE. Vogue Knitting LIVE caters to knitters at all levels—from the knit-curious to experienced designers and crafters. In 2012, knitters can expect: • More than 75 how-to sessions, some of which are already sold out. Topics like “An Overture to Estonian Lace” and “Working with Antique and Vintage Knitting Patterns” bring 200-year old techniques to new generations. Other sessions such as “Happy Hat Knitting” and “Sock Innovation” focus on specific types of projects. -
Reconceptualizing the Inherent Distinctiveness of Product Design Trade Dress
Chicago-Kent College of Law Scholarly Commons @ IIT Chicago-Kent College of Law All Faculty Scholarship Faculty Scholarship 1-1-1997 Reconceptualizing the Inherent Distinctiveness of Product Design Trade Dress Graeme Dinwoodie IIT Chicago-Kent College of Law, [email protected] Follow this and additional works at: https://scholarship.kentlaw.iit.edu/fac_schol Part of the Law Commons Recommended Citation Graeme Dinwoodie, Reconceptualizing the Inherent Distinctiveness of Product Design Trade Dress, 75 N.C. L. Rev. 471 (1997). Available at: https://scholarship.kentlaw.iit.edu/fac_schol/901 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons @ IIT Chicago-Kent College of Law. It has been accepted for inclusion in All Faculty Scholarship by an authorized administrator of Scholarly Commons @ IIT Chicago-Kent College of Law. For more information, please contact [email protected], [email protected]. RECONCEPTUALIZING THE INHERENT DISTINCTIVENESS OF PRODUCT DESIGN TRADE DRESS GRAEME B. DINWOODIE* Traditionally, trademark rights subsisted in words or two- dimensionalpictoral images. Twenty years ago, courts recognized that a product's very design might also function as its trademark. To be accorded this status, however, the manufacturer must demonstrate that her product design identifies the source of her product-that the design is, in the trademark vernacular, "distinctive." In this Article, Professor Graeme Dinwoodie addresses the question of how to determine when a product shape or design identifies its source. In 1992, in Two Pesos v. Taco Cabana, the United States Supreme Court endorsed the assimilationof the principles governing the distinctiveness of word marks and non-verbal marks. -
We Are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017)
“We are the Rug Hooking Capital of the World”: Understanding Chéticamp Rugs (1927-2017) by © Laura Marie Andrea Sanchini A thesis submitted to the School of Graduate Studies In partial fulfilment of the Requirements for the degree of Doctor of Philosophy Department of Folklore Memorial University December 3rd, 2018 St John’s Newfoundland Abstract This thesis is the story of how utilitarian material culture was transformed into a cottage industry, and eventually into high art. Chéticamp rug hooking is an artistic practice, one wrapped up in issues of taste, creativity, class and economics. Rug hooking in Chéticamp rose to prominence in the first half of the 20th century when Lillian Burke, a visiting American artist, set up a rug hooking cottage industry in the area. She altered the tradition to suit the tastes of wealthy patrons, who began buying the rugs to outfit their homes. This thesis examines design in rug hooking focusing on Chéticamp-style rugs. Captured within design aesthetics is what the rugs mean to both those who make and consume them. For tourists, the rugs are symbols of a perceived anti-modernism. Through the purchase of a hooked rug, they are able to bring home material reminders of their moment of experience with rural Nova Scotia. For rug hookers, rugs are a symbol of economic need, but also agency and the ability to overcome depressed rural economic conditions. Rug hooking was a way to have a reliable income in an area where much of the labour is dependent on unstable sources, such as natural resources (fishing, lumber, agriculture etc.). -
North Cascades Sweaterscapes
North Cascades Sweaterscapes Climbers find some of the world's most challenging ascents in the rugged Picket Range of Washington state.. We hope you will enjoy the challenge of knitting this sweater as well! An Intar sia Landscape Sweater design by Lynne & Douglas Barr Copyright ©2009 Lynne & Doug las Barr e-mail: [email protected] www.sweaterscapes.c om Instructions Finished Sweater Measurements Begin neck shaping on row 140. Chest: 39 (42,45) inches We recommend using short-row wrapping for the neck opening. It eliminates the seam between sweater and Length: 24 (26,28) inches neck rib and produces a neck opening with the proper Equipment stretch. #4 and #6 needles (or size needed to obtain gauge) Illustrated instructions can be viewed at Row Counter www.sweaterscapes.com. Bobbins Sweater Back Materials Using size 4 needle and White yarn, cast on 6(8,10) Green Mountain Spinnery yarns, 4 ounces/250 yard stitches. Then cast on 92(98,104) sts with Indigo yarn. skeins Rib in K2, P2 pattern for 2 inches, twisting the yarns when changing colors as when knitting intarsia. 4(4,5) oz Champlain Blue 8 oz Indigo Change to size 6 needles and follow sweater chart for 6 oz Light Grey the back. 6 oz Natural Grey Knit stitches on chart: 4 oz White small 9-106 medium 5-110 large 1-114 1 oz Blue Spruce Knit rows on chart: 1 oz Ivy small 17-171 medium 7-175 large 1-179 1 oz Blueberry 1 oz Aquamarine Finishing Gauge Weave in the ends from the intarsia knitting.