How to Needlepoint
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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. -
Stretching Unprimed Vs. Pre-Primed Canvas for Painting
INFORMATION JUST PAINT SHEETS 8/07 No. 3 Developed in collaboration with Conservator James Bernstein and Golden Artist Colors, Inc. Stretching Unprimed vs. Pre-primed Canvas for Painting Pre-stretching traditional size. A stretched linen canvas by the weave in an unfavorable position. It is itself on a humid day would become taut. wisest to pre-stretch as a separate step. This Unprepared Canvas When there is an animal glue size on a linen aligns the weave as fabric tension is For ultimate fabric choice, unprimed canvas, the animal glue swells and the canvas estimated. If a fabric is very responsive, the canvas offers the most possibilities. The becomes less tight. Conversely, a linen first stretching may be done barehanded artist is not limited by the variety or size of canvas by itself on a dry day would become (without pliers), as the canvas should not fabrics available pre-primed. limp. However, animal glue under dry initially be stretched too taut. Allowance has If starting with unprepared linen, cotton, conditions shrinks and becomes taut. Thus to be left for subsequent wetting and rinsing or other fabric for painting, preliminary the opposite natural behaviors of linen and that will tighten the fabric significantly preparation of the canvas is essential. A animal glue are dynamically opposed and (albeit temporarily). common misunderstanding is that the help hold each other in tow. The pre-stretched canvas should be application of size or ground layer coatings This dynamic is not as well balanced for gradually and uniformly moistened and then will correct or compensate for all sorts of cotton canvas. -
Jennifer Brunton 2017
The Zibby Garnett Travelling Fellowship Report by Jennifer Brunton MLitt Technical Art History. The Cleveland Museum of Art, Ohio, USA. th th 9 July – 16 July 2017. Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Table of Contents Introduction 1 1.1 Overview 1 1.2 Budget 2 Placement Overview 3 2.1 Cleveland 3 2.2 The Cleveland Museum of Art 4 3.1 Learning Objectives 4 4.1 Day 1: Stretching the First Canvas 6 4.2 Day 2: Part One. Working on a Glue Size Recipe 8 4.2.1 Day 2: Part Two: Preparing a Glue Ground Layer 10 4.3 Day 3: The Second Canvas and WOW! 11 4.3.1 WOW! (Wade Oval Wednesday) 13 4.4 Day 4: Experimenting with Ground Recipes 13 4.5 Day 5: Last Day and Boiling the Third Canvas 14 4.6 Back in Glasgow: Stretching the Huckaback Canvas 16 Conclusion 19 Acknowledgements 20 Appendix 1 21 Appendix 2 22 Appendix 3 24 Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Image Credits All images not credited are copyright of the author, with permission from The Cleveland Museum of Art, Ohio. Figure 1. http://www.lib.utexas.edu/maps/world_cities/cleveland.jpg Figure 2. http://www.clevelandart.org/sites/default/files/images/homepage- feature/full/BannerBenefit_desktop.jpg Figure 22. http://www.universitycircle.org/events/2017/06/14/wow-wade-oval-wednesdays Zibby Garnett Travel Fellowship Report Jennifer Brunton 2017 Introduction. 1.1 Overview. My name is Jennifer Brunton, I am 22 years of age, and currently studying for a post- graduate degree in Technical Art History at the Centre for Textile Conservation and Technical Art History at the University of Glasgow. -
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. -
Tailoring Series TECHNIQUES for TAILORING UNDERLINING a TAILORED GARMENT—Underlining Is a Second Layer of Fabric. It Is Cut By
tailoring series TECHNIQUES FOR TAILORING UNDERLINING A TAILORED GARMENT—Underlining is a second layer of fabric. It is cut by the garment pattern pieces and staystitched to the wrong side of the corresponding outer sections before any seams are joined. The two layers are then handled as one. As a general guide, most suit jackets and coats look more pro- fessional when underlined. Underlining is especially recommended for lightweight wool materials, loosely woven materials and light- colored materials. For additional information on selecting fabrics for underlining and applying the underlining, see Lining a Shirt 01' Dress HE 72, N. C. Agricultural Extension Service. STAYSTITCHING—Staystitch all outer garment pieces before construction begins. If garment is underlined, stays-titching is done when the two layers of fabric are sewn together. Staystitch 1/3 in. outside seamline (on the seam allowance). Stay- stitch “ with matching cotton thread on all curved *areas that may stretch during construction such as necklines, side seams, shoulder seams, armholes, and side seams of skirt. Use directional stitching always to prevent stretching of fabric and to prevent one layer of fabric from riding. The direction to stitch is indicated by small arrows on the pattern on the seamlines. INTERFACINGS—Select a high quality hair canvas for the front and collar of coats and jackets. The percentage of wool indicates the quality—the higher the wool content of the canvas the better the quality. Since a high percentage of wool makes the hair canvas fairly dark in color, it cannot be used successfully under light-colored fabrics. In these cases use an interfacing lighter in color and lower in wool content. -
Glossary of Terms
Glossary of Terms Areal Density : It is the weight of fabric per unit area. Assortment : It is the selection and classification of raw jute according to fibre characteristics prior to packing or baling. Bag - A Twill : A double warp hemmed twill bag of 112 X 67.5 cm size and weighing 1190 g with three blue stripes woven along the length of the bag and used for packing sugar. Bag - B Twill : A double warp hemmed twill sacking bag measuring 112 X 67.5 cm and weighing 1020 g has the capacity of holding 95 kg of foodgrains. With three blue stripes woven along the length of the bag and is used for packing foodgrain. Due to ILO stipulation, a new type of B.Twill bag has been developed with 50 kg capacity, dimensions 94 X 57 cm and bag weight of 665 g. Bale (Kutcha) : A package of raw jute consists of various morahs, usually weighing 130 kg to 150 kg and sometimes only 55 kg It is bound with jute ropes. Bale ( Pucca) : It is hydraulically pressed bale of raw jute usually bound with jute ropes. Its standard size is ( 120 X 45 X 50 ) cm having net weight of 180 kg. Bale ( Fabric or Jute Bags) : A rectangular or square pressed, rigid package, containing jute fabrics or bags, covered with bale covering with outer layer stiched and bounded by metal hoopes in conformity with the relevant specifications. The bales containing jute bagging do not have bale covering. Batch : A quantity of raw jute selected from various asoortments to produce yarn of desired type of quality. -
Basic Needlepoint
VISIT OUR OTHER NEEDLEARTS BASIC NEEDLEPOINT TUTORIALS AT www.beadseast.com WHAT YOU’LL NEED: Needlepoint canvas, 3” larger than your desired finished size; fiber appropriate to the gauge of the needlepoint canvas (in our tutorial we’ll assume you’re using 14-to-the-inch interlock canvas and a full strand of embroidery floss or tapestry wool); #10 embroidery needle or size 24 tapestry needle; masking tape; scissors 15 19 23 17 21 18 16 24 20 Before beginning, tape the edge of your canvas with masking tape and22 round the edges (photo, above) to minimize tangling or catching. Secure threads by holding one inch on the back of the canvas and catching the thread end in the first few stitches; end a thread by running it under stitches on the back of the canvas, one or more times until secure. When deciding where to start, allow a margin of about 1.5” all around, which will allow enough margin for blocking should it be necessary. There are three basic stitches used in traditional needlepoint: Continental stitch, half-cross stitch, and basketweave stitch. You’ll probably use all three within each project. 22 20 8 6 2 2 4 6 8 10 12 21 19 7 5 1 1 3 5 7 9 11 24 18 10 4 13 15 19 23 17 21 9 18 16 24 23 20 14 22 17 3 26 16 12 25 15 11 28 14 27 13 HALF-CROSS STITCH is also worked in 2 4 6 8 10 12 30 back and forth rows with a rotation of the1 3 5 7 9 11 13 15 19 23 17 canvas at the end of the row. -
Advanced Silk Shading
ROYAL SCHOOL OF NEEDLEWORK 2019-2020 ACADEMIC YEAR DIPLOMA ADVANCED SILK SHADING Traditionally worked with silk thread on silk or linen fabric, but now more usually worked in stranded cotton thread. Silk is still the most usual background fabric but a variety of other fabrics may be used. For Advanced Silk Shading you may work EITHER an animal, bird, fish or reptile; OR a tapestry shaded human figure. SILK SHADED ANIMAL OR BIRD AIM – To demonstrate an advanced level of technical skill by working a realistic and naturally shaded embroidery of an animal, fish, reptile or bird using Long and Short Stitch with one strand of stranded cotton (or fine silk thread). To utilise shading and stitch direction to accurately depict musculature, fur, scales and clearly defined feathers as appropriate. Please note: All preparatory work (e.g. outlines, drawings, stitch plans, original source material) MUST be handed in for assessment or the work will not be marked. DESIGN Try to come with some ideas for a design and bring along some photographs. The photograph must be printed a similar size to the embroidery size otherwise it is very difficult to work. It is essential to work from a crisp, clear, well-focused photograph where you can see the individual colours and changes from dark to light. Illustrations can sometimes be harder to follow, and you should be wary of images from the Internet, which are often poor quality and may not print sufficiently well. However there are many places online from which you can purchase high quality images. The tutor will be able to make suggestions and help you bring your ideas together. -
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 -
Altar Guild Handbook, Rev
HANDBOOK FOR ALTAR GUILDS Revised 2014 (Former versions entitled “Altar Guild Manual”) The Episcopal Diocese of Texas i The National Altar Guild Association (NAGA) The purpose of the National Altar Guild Association (NAGA) is to assist parish, diocesan, and provincial altar guilds through information, resources, and communication, including a quarterly newsletter—the EPISTLE www.nationalaltarguildassociation.org National Altar Guild Prayer Most gracious Father Who has called me Your child to serve in the preparation of Your Altar, so that it may be a suitable place for the offering of Your Body and Blood; Sanctify my life and consecrate my hands so that I may worthily handle Those Sacred Gifts which are being offered to You. As I handle holy things, grant that my whole life may be illuminated and blessed by You, in whose honor I prepare them, and grant that the people who shall be blessed by their use, May find their lives drawn closer to Him Whose Body and Blood is our hope and our strength, Jesus Christ our Lord. AMEN. Oh Padre bondadosa, que has llamado a tu hija(o) a sevir en la preparación de Tu Altar, para que sea un lugar digno para la Ofrenda de Tu Cuerpo y de Tu Sangre; Santifica mi vida y consagra mis manos para que de esta manera yo pueda encargarme dignamente de estos Dones Sagrados que te ofrecemos. Mientras sujeto estos santos objetos, concede que mi vida sea iluminada y santificada por Ti, en cuyo honor los preparo, y permite también que el pueblo bendecido por su participación, se una más a Él, Cuyo Cuerpo y Sangre son nuestra esperanza y nuestra fortaleza, Jesucristo nuestro Señor. -
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.