Division a 4-H Needlework
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Largs & District
CONTACTmonthly01/2021 Largs & District After a difficult year, Largs & District EG challenge pieces are only limited by the We very much hope, however, that by Branch will be starting the New Year members’ imaginations. accepting this challenge it will give us all with optimism as they gear up to meet Needlework has been such a solace for an opportunity to focus, even if only for their ‘21 in 21’ Challenge. many of us during the stressful months a short time, on an activity that brings The aim of the Challenge is to get of 2020. We aim to harness those us so much pleasure. members motivated by producing beneficial effects to kick start our stitch- Our ‘21 in 21’ Challenge will launch 21 small project pieces over the ing and perhaps, over the year, move us at our first Zoom meeting in 2021 on coming year. ever so slightly out of our comfort zones. January 20th, when we look forward to Members can set their own param- The pieces are intended to be small, engaging in a lively discussion on the eters, so may choose to produce 21 roughly postcard size, so as not to be many ideas for meeting the Challenge pieces on a particular theme, relating to stressful in the planning or production. that members will undoubtedly bring. a specific technique or perhaps linked We are a small Branch and the challeng- Fiona Duggan, Largs & District EG by a colour scheme. The options for the es of the past year have been many. Terry Murphy Terry Murphy, the Guild’s CEO, will be retiring from his role as The Board wishes to thank Terry for his support and his of 31st January 2021. -
Palmetto Tatters Guild Glossary of Tatting Terms (Not All Inclusive!)
Palmetto Tatters Guild Glossary of Tatting Terms (not all inclusive!) Tat Days Written * or or To denote repeating lines of a pattern. Example: Rep directions or # or § from * 7 times & ( ) Eg. R: 5 + 5 – 5 – 5 (last P of prev R). Modern B Bead (Also see other bead notation below) notation BTS Bare Thread Space B or +B Put bead on picot before joining BBB B or BBB|B Three beads on knotting thread, and one bead on core thread Ch Chain ^ Construction picot or very small picot CTM Continuous Thread Method D Dimple: i.e. 1st Half Double Stitch X4, 2nd Half Double Stitch X4 dds or { } daisy double stitch DNRW DO NOT Reverse Work DS Double Stitch DP Down Picot: 2 of 1st HS, P, 2 of 2nd HS DPB Down Picot with a Bead: 2 of 1st HS, B, 2 of 2nd HS HMSR Half Moon Split Ring: Fold the second half of the Split Ring inward before closing so that the second side and first side arch in the same direction HR Half Ring: A ring which is only partially closed, so it looks like half of a ring 1st HS First Half of Double Stitch 2nd HS Second Half of Double Stitch JK Josephine Knot (Ring made of only the 1st Half of Double Stitch OR only the 2nd Half of Double Stitch) LJ or Sh+ or SLJ Lock Join or Shuttle join or Shuttle Lock Join LPPCh Last Picot of Previous Chain LPPR Last Picot of Previous Ring LS Lock Stitch: First Half of DS is NOT flipped, Second Half is flipped, as usual LCh Make a series of Lock Stitches to form a Lock Chain MP or FP Mock Picot or False Picot MR Maltese Ring Pearl Ch Chain made with pearl tatting technique (picots on both sides of the chain, made using three threads) P or - Picot Page 1 of 4 PLJ or ‘PULLED LOOP’ join or ‘PULLED LOCK’ join since it is actually a lock join made after placing thread under a finished ring and pulling this thread through a picot. -
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. -
Expression2038 - 2048
expression2038 - 2048 Owner’s manual This household sewing machine is designed to comply with IEC/EN 60335-2-28 and UL1594 IMPORTANT SAFETY INSTRUCTIONS When using an electrical appliance, basic safety precautions should always be followed, including the following: Read all instructions before using this household sewing machine. DANGER - To reduce the risk of electric shock: • A sewing machine should never be left unattended when plugged in. Always unplug this sewing machine from the electric outlet immediately after using and before cleaning. • Always unplug before relamping. Replace bulb with same type rated 5 Watt. WARNING - To reduce the risk of burns, fi re, electric shock, or injury to persons: • Do not allow to be used as a toy. Close attention is necessary when this sewing machine is used by or near children or infi rm person. • Use this sewing machine only for its intended use as described in this manual. Use only attachments recommended by the manufacturer as contained in this manual. • 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 the sewing machine to the nearest authorised dealer or service center for examination, repair, electrical or mechanical adjustment. • Never operate the sewing machine with any air openings blocked. Keep ventilation openings of the Sewing machine and foot controller free from the accumulation of lint, dust, and loose cloth. • Keep fi ngers away from all moving parts. Special care is required around the Sewing machine needle. • Always use the proper needle plate. -
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. -
Copy of Graves County 4-H Fair Exhibits and Shows
July 26-31 Graves County 4-H Exhibits & Shows *Enter projects in arts, photography, Monday, July 26th sewing, electricity, forestry, 4-H Exhibit Check-In, 4:00-6:00 pm* needlework, foods, canning, honey, tobacco, horticulture, entomology, Tuesday, July 27th home environment, crops, geology, 4-H Exhibit Judging, 8:00-11:30 am and more! Projects do not have to be 4-H Exhibits on Display, starting at 12:00 pm completed in 4-H to compete. Wednesday, July 28th 4-H Exhibits on Display Thursday, July 29th Rabbit Show, 5:00 pm Please see fair and show information for more Poultry Show, 6:30 pm details on classes, rules, and procedures, and 4-H Exhibits on Display expectations related to COVID-19. To request a copy, please contact the Graves County Friday, July 30th Cooperative Extension Service at 270-247-2334. Goat Show, 5:00 pm Cattle Show, 6:30 pm Animal exhibitors should arrive for 4-H Exhibi ts on Display check-in one hour prior to show start Saturday, July 31st Sheep Show, 5:00 pm Swine Show, 6:30 pm 4-H Exhibits on Display . July 29-31 Graves County 4-H Livestock Shows Thursday, July 29th Please see fair and show information for Rabbit Show, 5:00 pm more details on classes, rules, and procedures Poultry Show, 6:30 pm and expectations related to COVID-19. To request a copy, please contact the Graves Friday, July 30th Goat Show, 5:00 pm County Cooperative Extension Service at 270-247-2334. Cattle Show, 6:30 pm Saturday, July 31st Sheep Show, 5:00 pm Swine Show, 6:30 pm Animal exhibitors should arrive for check-in one hour prior to show start. -
Bead Crochet / Knitting / Tatting
bead crochet / knitting / tatting Design Originals BEAD KNITTED BAGS BEAD CROCHET BASICS 10 Projects for Beaders & Knitters Beaded Bracelets, Necklaces, Jewelry and More! by Julia S. Pretl by Mary Libby Neiman . This book featured the historically rich technique of In no time at all anyone can make an entire bead knitting – a method of knitting beads directly wardrobe of beaded jewelry! The beautiful beaded into stitches to create a dense but supple tapestry- pieces explained in this book are so intricate like fabric, in the style of vintage or antique beaded looking, one could imagine they were made by bags. With detailed instructions and sequenced artisan master beaders. illustrations, the author provides clear, step-by-step BK2130 guidance, complemented by the 20 video tutorials Softcover, 96 pages on the accompanying DVD. Each of the 10 Includes Bonus DVD BK1213 projects contain a materials list, detailed knitting Sugg. Retail $21.95 Softcover, 36 pages instructions, and color-coded graphs of the entire Sugg. Retail $12.99 pattern or a repeating motif. Each project has a unique strap, closure, or edging and the author provides finishing suggestions and helpful hints throughout the book. A Beadwork® How-To Book KNIT AND CROCHET WITH BEADS BEAD CROCHET by Lily M. Chin by Bethany Barry . Nationally known knitwear designer and author Professional beader Bethany Barry shows you how Lily M. Chin introduces 23 original, fashion-savvy to combine a vibrant selection of seed and accent designs for knitters and crocheters of all skill levels. beads with simple crochet techniques to create an Features 16 techniques for knitting & crocheting enticing cache of jewelry, accessories and sculptural with beads; and 13 knitting & 10 crochet projects; pieces. -
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 -
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. -
Annual Report 2003 Annual04c 5/23/05 3:55 PM Page 1
Annual04C 5/23/05 4:17 PM Page 1 MILWAUKEE ART MUSEUM Annual Report 2003 Annual04C 5/23/05 3:55 PM Page 1 2004 Annual Report Contents Board of Trustees 2 Board Committees 2 President’s Report 5 Director’s Report 6 Curatorial Report 8 Exhibitions, Traveling Exhibitions 10 Loans 11 Acquisitions 12 Publications 33 Attendance 34 Membership 35 Education and Programs 36 Year in Review 37 Development 44 MAM Donors 45 Support Groups 52 Support Group Officers 56 Staff 60 Financial Report 62 Independent Auditors’ Report 63 This page: Visitors at The Quilts of Gee’s Bend exhibition. Front Cover: Milwaukee Art Museum, Quadracci Pavilion designed by Santiago Calatrava. Back cover: Josiah McElheny, Modernity circa 1952, Mirrored and Reflected Infinitely (detail), 2004. See listing p. 18. www.mam.org 1 Annual04C 5/23/05 3:55 PM Page 2 BOARD OF TRUSTEES COMMITTEES OF Earlier European Arts Committee David Meissner MILWAUKEE ART MUSEUM THE BOARD OF TRUSTEES Jim Quirk Joanne Murphy Chair Dorothy Palay As of August 31, 2004 EXECUTIVE COMMITTEE Barbara Recht Sheldon B. Lubar Martha R. Bolles Vicki Samson Sheldon B. Lubar Chair Vice Chair and Secretary Suzanne Selig President Reva Shovers Christopher S. Abele Barbara B. Buzard Dorothy Stadler Donald W. Baumgartner Donald W. Baumgartner Joanne Charlton Vice President, Past President Eric Vogel Lori Bechthold Margaret S. Chester Hope Melamed Winter Frederic G. Friedman Frederic G. Friedman Stephen Einhorn Jeffrey Winter Assistant Secretary and Richard J. Glaisner George A. Evans, Jr. Terry A. Hueneke Eckhart Grohmann Legal Counsel EDUCATION COMMITTEE Mary Ann LaBahn Frederick F. -
For the INDUSTRIOUS NEEDLEWOMAN Adelaide Byrd
The San Francisco Sunday Caß For the INDUSTRIOUS NEEDLEWOMAN Adelaide Byrd Daughter's Dresses season ushers In certain dis- a delicate lace yoke without any wear- tinctive marks that stamp Its sim- ing quality. EACHplest frocks as belonging to the year Soutache and heavy cotton star braid In\ question. Sometimes these differ- are effective upon linen, and the latest Centerpiece ences are so slight that an untrained fashion demands a touch of figured eye might pass the garment by as the foulaVdas tie and girdle. The four-in- sanite old gingham dress, but to those hand, looped through slots in the front in who know arid to "sweet sixteen" ,her- of the linen bodice, gives a good self they take on a great deal of im- chance for the touch of ornamental portance, these little changes, and each material of Persian. Indian or Egyp- little twist and turn of the styles gives tian design. the frock a definite position. Ginghams for the young girl are as Decided notes are readily" found, but goo 4styl-a this year as they have ever some of the. more obscure are scarcely been, and their outlines are most nor- discernible. There Is little change in mal. For instance, there Is no un- materials for young girls, there being necessary fulness in bodice, sleeve or ifew- new cottons and linens except skirt, and the belt has dropped to the. homespun "and hopsacklng. which are usual line of the waist. Field Daisies made in both, linen and cotton. The panel has more or less disap- That made of cotton has a burlap ap- peared, and in Paris the princes* ef- pearance and is not be altogether. -
How to Needlepoint
How to Needlepoint A quick guide for the on the go learner to get started stitching By Casey Sheahan What is needlepoint? Needlepoint is a type of embroidery where wool, cotton or silk is threaded through an open weave canvas. Needlepoint can be used to create many different objects, crafts or art canvases. Sources : Colorsheets, Viviva, and Shovava. “What Is Needlepoint? Learn the DIY Basics to Begin This Fun and Colorful Craft.” My Modern Met, 9 Sept. 2018, https://mymodernmet.com/what-is-needlepoint/. The Editors of Encyclopaedia Britannica. “Needlepoint.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 4 Sept. 2019, https://www.britannica.com/art/needlepoint#:~:targetText=Needlepoint as it is known,the foundation for the embroidery Needlework has been around for centuries. Throughout history we have seen a variety of different types History of of stitching. Tapestries have been found dating back to the 15th century Needlepoint and needlepoint was even found in the cave of a Pharaoh. In the 17th century when upholstered furniture became pooular. Source: “The English Needlepoint.” Ghorbany, https://ghorbany.com/inspiration/the-english-needlepoint. Getting Started Now that you know a little more about the history of needlepoint, you will start collecting your materials to begin stitching. Getting Started Material Options: Threads and Yarns Althea DeBrule outlines some of the most common types of threads used in needlepoint. Persian Yarn: By far the most popular yarn used for needlepoint. Persian wool can be be purchased in hundreds of colors from delicate hues to bold shades. Tapestry Yarn: Tapestry wool is a single strand thread that cannot be separated for fine stitching.