Fox ANG Library, Updated Feb. 2021

Total Page:16

File Type:pdf, Size:1020Kb

Fox ANG Library, Updated Feb. 2021 Books Fox ANG Library, updated Feb. 2021 BOOK TITLE AUTHOR YEAR 120 Needlepoint Design Projects by Barnes & Blake 50 Designs from 17 Countries by Mira Silverstein 1978 97 Needlepoint Alphabets by B. Borssuck Advanced Embroidery Techniques by Beryl Johnson All About Color by Ann Harris Alphabetrics by Jinis America's Best Cross Stitch by Better Homes & Gardens American Indian Needlepoint Workbook by Margaret Boyles American Needlework by Georgianna Brown Harbeson American Needlework Treasures by Betty Ring Ancient & Primitive Sources by Jan Messant 1976 Anonymous Was a Woman by Mirra Bank Architectural Stitches & Needlepoint by June McNight Arco Encyclopedia of Embroidery Stitch (The) by Anne Butler Art & Stitchery New Directions by Gloria Katzenberg Art Inspirations by Judith Baker Montano Art of Needlegraph (The) by Sylvia Goldman 1974 Art of Oriental Embroidery (The) by Young Y Chung Art of Silk Ribbon Embroidery (The) by Judith Baker Montano Artful Ribbon (The) by Cancace Kling Ask Erica by Erica Wilson Bargello Antics by Dorothy Kaestner Bargello Borders by Nancy Hall & Jean Riley 1974 Bargello Stars, Shells & Borders by Josphine R Paine Bargello, Quickpoint, Grospoint, Repeat Patterns by Lisbeth Perrone 1972 Basic Needlery Stitches on Mesh Fabric by Mary Ann Beinecke 1973 Batsford Book of Canvas Work (The) by Mary Rhodes Bead Embroidery by Valerie Campbell Harding & Pamela Watts Beadpoint by Ann Benson Beads & Threads: A New Technique for Fiber Jewelry by Diane Fitzgerald & Helen Banes Bird in Hand (A) by Ren'ee Plains 2010 Blackwork Embroidery Patterns by Jane D Zimmeran Blackwork is Fun (The) by Judith Logan Book of Beads (The) by Janet Coles & Robert Budwig Bossa Nova Rose & Friends (The) by Mary Clark & Vee Wedow Canvas Embroidery for Beginners by Sylvia Green 1970 Canvas Embroidery Notebook (The) by Mindy English Canvas Embroidery Notebook:More Filling Stitches (The) by Mindy English Page 1 of 25 Books Canvas Embroidery Notebook:Stitches (The) by Mindy English Canvas Work by Jennifer Gray Canvas Work Encyclopedia (The) by Jane D Zimmeran Carolyn Ambuter's Complete Book of Needlepoint by Carolyn Ambuter 1972 Carolyn Ambuter's Even More Complete Book Casalguidi Style Linen Embroidery by Effie Mitrofanis Cecile - Dreams Vol One by Cecile Dreesmann Celebrity Needlepoint by Joan Scooby & Lee Parr McGrath 1972 Charted Designs for Needle-Made Rugs by Sibyll Mathews 1968 Chinese Embroidery by Wang Yarong Church Needlepoint by Louise Raynor & Carolyn Kerr Color Atlas by Harold Kueppers Complete Guide to Creative Embroidery (A) by Jane Beaney & Jean Littlejohn 1987 Complete Guide to Creative Embroidery (A) by Jane Beaney & Jean Littlejohn 1979 Complete Guide to Needlework Computer Geometric Art by Ian O Angell Constance Howard Book of Stitches (The) Country Inn by Barb Adams and Alma Allen 2010 Creative Canvas Embroidery by Bucky King 1963 Creative Canvas Work by Elsa Williams 1974 Creative Design Needlepoint Lace by Nenia Lovesey Creative Hand Embroidery by Sue Newhouse Creative Ribbon Embroidery by Heather Joynes Creative Ribbon Embroidery by Salli Van Rensburg Creative Stitches by Edith John Creative Thread Design by Mau Morris Crewel Embroidery by Erica Wilson 1962 Crewel Embroidery by Audrey A Francini Crewel Needlepoint World (The) by Barbara H Donnelly & Karl W Gullers 1973 Danish Pulled Thread Embroidery by Esther Fangel, Ida Winckler & Agnete Wuldem Madsen Designer Needlepoint by Hugh Ehrman Designer Needlepoint by Hugh Ehrman Designing Ecclesiastical Needlepoint by Meredith Finch Designing for Needlepoint & Embroidery from Designs for Needlepoint and Latch Hook Rugs by Dorothy Kaestner 1978 Designs to Embroider by Hetsie Van Wyk Diagnal Darning by Sue Dulle Dictionary of Canvas Work Stitches by Mary Rhodes Dictionary of Embroidery Stitches by Mary Thomas Dictionary of Stitches by Ed & Sheila Brull Page 2 of 25 Books Egyptian Designs in Modern Stitchery by Pauline Fischer, Text by Mary Lou Smith Elaine Slater's Book of Needlepoint Projects by Elaine Slater 1978 Embroidered Countryside (The) by Richard Box Embroidery Designs from Pre-Columbian Art by Barbara Snook Embroidery Designs from the Sea by Barbara Snook Embroidery Skills Applique by Pauline Brown Embroidery Stitches by Barbara Snook Embroidery Studio by The Embroiderers Guild Enjoying Embroidery by Anne Wilson Erica Wilson's Christmas World by Erica Wilson Erica Wilson's Embroidery Book by Erica Wilson Erica Wilson's Needlepoint by Erica Wilson Exploring Embroidery by Pru Georgeson Fashion Bead Embroidery by Natalie Giltsoff Father B's Book of Stitches by Rev. Robert Blockburn Father B's book of Stitches by Rev. Robert E Blackburn, Jr Fiber Fantasy by Carolyn Hook Filling Stitches by Edith John Flower Designs in Cross Stitch by Gerda Bengtsson & Elsie Thordue-Hansen 1973 Folk Designs From the Caucasus by Lyatif Kerimov 1974 Fun with Bargello by Mira Silverstein Gardener's Book of Needlepoint (A) by Jack Bodi, Meg Merrill & Catherine di Montezemolo1978 Glorious Fassett Needlepoint Glorious Knits by Kaffe Fassett 1985 Glorious Needlepoint by Kaffe Fassett Glorious Ribbons by Christine Kingdom Gold & Silver Needlepoint by Maggie Lane Guide to Looped & Knotted Stitches by Mira Silverstein Hand Embroidered Country Scenes by Sue Newhouse Hardenger Basics & Beyond+221192:220 by Janice Love Hardenger fundamentals made Fancy by Janice Love Humble Bags Wonderful Stitches (The) by Diane Schultz Ideas for Canvas Work by Mary Rhodes Inspirations for Embroidery Mail by Jytte Harboesgaard & Debra Virgens Interaction of Color by Josef Albers International Needlework Designs: Introduction to Needlepoint Lace by Nenia Lovesey It's a Banner Year by George Collopy Japanese Yarn Balls Just Designs by Lesley Turpin-Delport Page 3 of 25 Books Kaye Pyke's Elegant Embroidery by Kaye Pyke & Lynne Landy Ladies Guide to Needlework by S Annie Frost Lexington Lace for Needlepoint by Joan Gant Machine Embroidery Technique & Design by Jennifer Gray Magic of Free-Machine Embroidery (The) by Doreen Curran Magical Effects of Color (The) by Joen Wolfrom Making Art on Your Computer by Saul Bernstein & Leo McGarry Making Fabulous Pincushions by Jo Packman Margaret Boyles' Country Needlework by Margaret Boyles 1986 Mary Martin's Needlepoint by Mary Martin 1969 McCall's Needlepoint by McCalls McCall's Needlepoint & Embroidery Encyclopedia by McCalls 1978 McCall's Needlework Treasury by McCalls 1964 Milner Craft Series Victorian Embroidery by Robbyn MacDonald More Creative Textile Design - Color & Texture by Rolf Hartung More Jazz by Judy Murrah More Needleplay by Erica Wilson 1979 More Needlepoint Design by Louis J Gartner Jr 1975 More Needlepoint Design by Louis J Gartner Jr Names for Needleworkers by Rita Weiss NeedieLace Medallions by Vima deMarchi Micheli Needle Point Simplified by Mary deJarnette Needlecraft Designs from out Best Quilts by Johnson & Hunt Needleplay by Erica Wilson 1975 Needleplay by Erica Wilson Needlepoint - A Basic Manual by Carol Huebner Collins Needlepoint - A New Look by Richard & Elizabeth Adler Needlepoint & Beyond by Edith Anderson Feisner Needlepoint alphabet Book (The) by Hugh Ehrman Needlepoint Book by Sulvia Sidney Needlepoint Design by Louis J Gartner Jr 1970 Needlepoint Design by Louis J Gartner Jr 1992 Needlepoint Design Projects (120) by Charles Barnes & David Blake 1974 Needlepoint Design Your Own by Baker, Eyre, Wall, Westerfield Needlepoint from America's Great Quilt Designs by Davis & Giannattei Needlepoint in America by Hope Hanley Needlepoint Pattern Book (The) by Dennis M Arnold 1974 Needlepoint Plaids by Marion Broome Pokula 1975 Needlepoint Rugs by Hope Hanley Needlepoint Stitchery by Margaret Boyles Page 4 of 25 Books Needlepoint Techniques & Projects by Susan Sedlack Lampton 1973 Needlepoint: The Third Dimension by Jo Ippolito Christensen 1979 Needlepointing - A Garden of Stitches by Eszter Haraszty & Bruce Colen Needlework Designs from the American Indians by Anne Cheek Landsman Needlework Monograms Unlimited Contempory Styles by B. Borssuck New Design in Stitchery New England Samplers to 1840 Sturbridge New Look at Bargello (A) by Carol Cheney Rome New Look at Needlepoint (A) by Carol Cheney Rome & Georgia Devlin 1973 New World of Needlepoint by Lisbeth Perrone New World of Needlepoint (The) by Lisbeth Perrone New World of Needlepoint (The) 101 Exciting Designs in New York Times Book of Needlepoint (The) by Elaine Slater 1973 of Needlepoint by Carolyn Ambuter 1987 One Stitch Stitchery by Madeleine Appell Open Canvas by Carolyn Ambuter Pattern Library Needlepoint (The) Ballentine Personally Yours by Charleen Kinser Pleasures of Needlepoint by Betty Crocker Home Library Portable Needlepoint Boutique (The) by Joyce Aiken Practical Guide to Canvas Work by Ed & Linda Parry Principles of the Stitch by Lilo Markrich Pullied Thread Embroidery Stitches by Jane D Zimmeran Pullied Thread Workbook by Mary Fry's Ribbon Embroidery by Heather Joynes Romance of Paula Vaughan Romantic Silk Ribbon Keepsakes by Mary Jo Hiney Samplers & Tapestry Embroderies by Marcus Huish Satin & Silk Ribbon Embroidery by Lesley Turpin-Delport Scrap Saver's Bazaar Stitchery by Sandra Lounsbury Foose Scribble Stitchery by Barbara Snook Scribner Book of Embroidery Design (The) by Muriel Baker Sculptured Needlepoint Stitchery by Ella Projansky Secrets of Fashioning Ribbon Flowers (The) by Helen Gibb Shading & Thread Blending Techniques for Needlepoint by June McKnight Singer Instructions for Art Embroidery & Lace Work by Jules & Kaethe Kliot Spanish Textile Tradition of New Mexico
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • LIBRARY BOOKS.Xlsx
    Cat No. Title Author Type 476 2,286 traditional stencil designs Roessing, H APPLIQUE 13 Afternoon Tea with May Morris Hill, Michele APPLIQUE 1094 Applique 12 Borders & Medallions Sienkiewicz, Elly APPLIQUE 1444 Applique 12 Easy Ways Sienkiewicz, Elly APPLIQUE Rodale's Successful Quilting 455 Applique made easy Library APPLIQUE 4 Applique Mastery Naylor, Philippa APPLIQUE 382 Applique outside the lines with Piece O' Cake Designs Goldsmith, Becky & Jenkins, Linda APPLIQUE 774 Applique, Applique, Applique Sinema, Laurene APPLIQUE 657 Artful applique II Townswick, Jane APPLIQUE 656 Artful applique the easy way Townswick, Jane APPLIQUE 251 At Play with Applique Fronks, Dilys A APPLIQUE Back to Front & New Approach to Machine Applique 1369 (2nd copy) Scouler, Larraine APPLIQUE 585 Baltimore Beauties & Beyond Vol 2 Sienkiewicz, Ely APPLIQUE 702 Baltimore blocks for beginners; a step-by-step guide Dietrich, Mimi APPLIQUE 404 Barbara Brackman's encyclopedia of applique Brackman, Barbara APPLIQUE Beautiful botanicals: 45 applique flowers & 14 quilt 520 projects Kemball, Deborah APPLIQUE 1751 Best of BaLtimore Beauties Sienkiewicz, Elly APPLIQUE 1783 Best of Jacobean Applique Campbell, Patricia B & Ayars, Mimi APPLIQUE Best-ever applique sampler from Piece O' Cake 684 Designs Goldsmith, Becky & Jenkins, Linda APPLIQUE 1842 Blossoms in Winter Eaton, Patti & Mostek, Pamela APPLIQUE 1795 Bouquet of Quilts Rounds & Rymer APPLIQUE 1594 Celtic Style Floral Applique Rose, Scarlett APPLIQUE 1998 Classic Four-Block Applique Quilts Marston, Gwen APPLIQUE 235
    [Show full text]
  • 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.
    [Show full text]
  • THE SLOW HANDS LAB the Slow Hands’ Lab
    THE SLOW HANDS LAB The Slow Hands’ Lab A Thesis Project by Jiayi Dong Class of 2019 MFA, Design for Social Innovation School of Visual Arts Thesis Advisor Archie Lee Coates IV TABLE OF CONTENT TABLE OF CONTENT INTRODUCTION 3 DESIGN PROCESS 9 INTERVENTION 31 LEARNINGS 45 LOOKING FORWARD 47 ACKNOWLEDGEMENT 49 INTRODUCTION Suzhou embroidery (Su embroidery for short) was originated in Suzhou, China and later on spread to the neighboring areas such as Nantong and Wuxi in Jiangsu province. These areas, locat- THE HISTORY ed in the lower reach of Youngest River, have been famous for their high quality silk produc- OF SU EMBROIDERY ART tions for centuries. The fertile soil, mild tempera- ture, and booming production of silk fabric and thread naturally nourished the burgeoning and flourishing of Suzhou embroidery. According to "Shuo Yuan", written by Liu Xiang during the Western Han Dynasty (206 BC - 24 AD), the country of Wu (current Suzhou area) has started to use embroidery to decorate garments over 2,000 years ago. As described in the book of "Secret Treasures of Qing," the Suzhou embroi- ders in Song Dynasty (960-1279) used "needles that could be as thin as the hair. During the Ming Dynasty (1368-1644), Suzhou has become a thriving center for silk industries and handicrafts. Artists in Wu area, represented by Tang Yin (Bohu) and Shen Zhou, helped the further development of Suzhou embroidery. Embroiders reproduced their paintings using needles. These works were so vivid and elegant as to be called "paintings by needle" or "unmatch- able even by the nature." Since then, Suzhou embroidery evolved a style of its own in needle- work, color plan and pattern.
    [Show full text]
  • 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.
    [Show full text]
  • RSN Annual Review 2018-2019 View
    RSN Annual Review 2018-2019 1 Mission The RSN’s mission is to teach, practise and promote the techniques of hand embroidery, in both historical and contemporary contexts, to keep the art of hand embroidery alive. Vision The RSN’s vision is to be the best school of hand embroidery in the world: a school which celebrates tradition and inspires the new, through its teachers, students, programmes and projects. An organisation that is recognised for its embroidery knowledge and reference resources as much as its teaching. Values The RSN’s core values, which underpin everything we do, are Quality, Tradition and Innovation. Aware of where we have come from, but always looking to the future in new ways and always operating at a high level of performance. Public Benefit The RSN believes that it is important to engage with the Court: Animals in Embroidery and The Embroidered public and does this in a number of ways. During 2018- Home both of which brought in a wide range of visitors 19 these have included: including WIs, Embroiderers’ Guilds, U3A, special interest groups, Arts Society groups and individual * Working with an increasing number of museum visitors from all over the world. partners including, new for this year, the D-Day Story * The CE has lectured nationally and internationally on Museum in Portsmouth which displays the Overlord the RSN’s history, the work of its Studio and especially Embroidery, made by the RSN in the late 1960s-early the work of its students including at Winterthur in the 1970s, and the Victoria and Albert Museum.
    [Show full text]
  • Art Therapists' Work with Textiles
    LMU/LLS Theses and Dissertations 4-29-2019 Art Therapists' Work with Textiles Sarah Potter Loyola Marymount University, [email protected] Follow this and additional works at: https://digitalcommons.lmu.edu/etd Part of the Art Therapy Commons, and the Marriage and Family Therapy and Counseling Commons Recommended Citation Potter, Sarah, "Art Therapists' Work with Textiles" (2019). LMU/LLS Theses and Dissertations. 771. https://digitalcommons.lmu.edu/etd/771 This Research Projects is brought to you for free and open access by Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in LMU/LLS Theses and Dissertations by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Running head: ART THERAPISTS’ WORK WITH TEXTILES 1 ART THERAPISTS’ WORK WITH TEXTILES by Sarah Potter A research paper presented to the FACULTY OF THE DEPARTMENT OF MARITAL AND FAMILY THERAPY LOYOLA MARYMOUNT UNIVERSITY In partial fulfillment of the Requirements for the Degree Master of Arts in Marital and Family Therapy April 29, 2019 ART THERAPISTS’ WORK WITH TEXTILES 2 Signature Page Author’s Signature: Sarah Potter, MA Candidate, MFT and Clinical Art Therapy Research Mentor’s Signature: Debra Linesch, PhD, MFT, ATR-BC ART THERAPISTS’ WORK WITH TEXTILES 3 Acknowledgements Thank you to the participants in my research survey and focus group for generously giving their perspectives and their time to this project. Thank you to my research advisor, Debra Linesch, who's deep passion for this work inspired me throughout. And, finally, thank you to my sister and my husband for their feedback and support from start to finish.
    [Show full text]
  • Medieval Clothing and Textiles
    Medieval Clothing & Textiles 2 Robin Netherton Gale R. Owen-Crocker Medieval Clothing and Textiles Volume 2 Medieval Clothing and Textiles ISSN 1744–5787 General Editors Robin Netherton St. Louis, Missouri, USA Gale R. Owen-Crocker University of Manchester, England Editorial Board Miranda Howard Haddock Western Michigan University, USA John Hines Cardiff University, Wales Kay Lacey Swindon, England John H. Munro University of Toronto, Ontario, Canada M. A. Nordtorp-Madson University of St. Thomas, Minnesota, USA Frances Pritchard Whitworth Art Gallery, Manchester, England Monica L. Wright Middle Tennessee State University, USA Medieval Clothing and Textiles Volume 2 edited by ROBIN NETHERTON GALE R. OWEN-CROCKER THE BOYDELL PRESS © Contributors 2006 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2006 The Boydell Press, Woodbridge ISBN 1 84383 203 8 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library This publication is printed on acid-free paper Typeset by Frances Hackeson Freelance Publishing Services, Brinscall, Lancs Printed in Great Britain by Cromwell Press, Trowbridge, Wiltshire Contents Illustrations page vii Tables ix Contributors xi Preface xiii 1 Dress and Accessories in the Early Irish Tale “The Wooing Of 1 Becfhola” Niamh Whitfield 2 The Embroidered Word: Text in the Bayeux Tapestry 35 Gale R.
    [Show full text]