Broad Introduction to Blackwork 2014
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From the Sun Region of the Embroiderers’ Guild of America, Inc
from The Sun Region of The Embroiderers’ Guild of America, Inc. website: www.sunregionega.org RD’s Letter Hello Sun Region, I hope that all of you are enjoying the cooler weather. I’m enjoying being outside more and working in the gar- den. Plus, it helps me get into the spirit of the season. Speaking of the season, yesterday was my chapter’s Christmas party. It was well attended but best of all, Audrey Francini was there. Most of you know, or know of, Audrey and her wonderful stitching. She’s an EGA icon. I talked to Audrey for a little bit and she said that she’s still stitching although she believes that it’s not as good as it used to be. We both agreed that without our stitch- ing we don’t know what we would do with ourselves. The big news for Audrey is that she has a big birthday com- ing up on December 22 . She will be 100! Please join me in wishing Audrey a very happy birthday and a wish for many more. The Florida State Fair is coming in February. Have you ever been? More importantly, have you ever entered something in the fair? If not, you should think about it. They have a fiber arts section that includes just about everything. I’ve been in touch with Brenda Gregory the coordinator of the family exhibits division. She’s trying to encourage more entries and would like some quality entries from EGA. The handbook is out and is very detailed in how to enter, etc. -
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow, Michael Mateas, and Noah Wardrip-Fruin Computational Media Department University of California Santa Cruz Santa Cruz, CA 95060 USA [email protected], [email protected], [email protected] Abstract Design tools with computational algorithms have been aiding artists for many years in 2D and 3D, from of- fering a digital drafting table or canvas to applying im- age filters or other mathematical transformations. How- ever, there are many more non-digital creative tasks that can benefit from computer-aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose pat- terns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar-guided user input, enumerates expanded pat- tern possibilities, and compiles patterns into an imme- Figure 1: Generated samples by our parametric shape gram- diately sewable file format. The grammar is capable of mar. These demonstrate borders, focal designs (motifs), and generating published embroidery patterns as well as in- two examples of space-filling patterns. finitely possible new patterns, and has future applica- tions in other areas of surface pattern design and crafts. Related Work Introduction ”Embroidery” is a broad term that roughly encompasses any embellishment by thread, or materials held or strung via thread, on nearly any material, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified (Leslie 2007). This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to em- broidery pattern generation. -
Cascade 220® Fingering Lattice Sampler Shawl
FW240 Cascade 220® Fingering Lattice Sampler Shawl Designed by Jennifer Weissman © 2017 Cascade Yarns® - All Rights Reserved. Cascade 220® Fingering Lattice Sampler Shawl Designed By Jennifer Weissman Skill Level: Intermediate Size: 64" wide x 32.5" deep Materials: Cascade Yarns® Cascade 220® Fingering 100% Peruvian Highland Wool 50 g (1.75 oz)/ 273 yds (250 m) 4 skeins color #9593 (Ginseng) US 4 (3.5 mm) knitting needles or size to obtain gauge 3 Stitch markers Yarn needle Pins for blocking Gauge: 20 sts x 40 rows = 4" (10 cm) blocked, in Garter Stitch Abbreviations: BO = Bind Off CO = Cast On K = Knit K2tog = Knit 2 sts together (decrease 1) KFB = Knit into the front and then the back of the next st (increase 1) M = Marker P = Purl PM = Place Marker Sl = Slip st purlwise with yarn in front Sl2-K1-P2SSO = Slip 2 sts knitwise, knit 1, then pass the 2 slipped sts over (decrease 2) SM = Slip Marker SSK = Slip 1 st knitwise, slip 1 st purlwise, insert left needle into front loops of the slipped sts and knit them together (decrease 1) St(s) = Stitch(es) WS = Wrong Side YO = Yarn Over (increase 1) Notes: The Lattice Sampler Shawl is an asymmetric triangular shawl featuring bands of lattice lace in a Garter st field. Each of the lace bands is set off from the Garter st background by ridges of double Garter st. The shawl finishes with a wider band of large lattice lace. This shawl begins with 2 sts. Sts are then added at the beginning of RS rows so that the piece grows into a right triangle. -
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 -
"Alphabet 11 - Outline" by Katherine Martin Tripp
"Alphabet 11 - Outline" by Katherine Martin Tripp x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x Copyright Alphabet 11 - Outline at www.better-cross-stitch-patterns.com "Alphabet 11 - Outline" by Katherine Martin Tripp Copyright Alphabet 11 - Outline at www.better-cross-stitch-patterns.com Alphabet 11 - Outline Author: Katherine Martin Tripp Company: Extra Mile Mercantile Copyright: Katherine Martin Tripp Website: www.better-cross-stitch-patterns.com Fabric: Evenweave Grid Size: 112W x 90H Design Area: 7.79" x 6.21" (109 x 87 stitches) Legend: [2] DMC 3834 grape - dk Backstitch Lines: DMC-3834 grape - dk In the Photograph: The "Alphabet 11", as shown in the photograph, is stitched on 14-count Aida using DMC floss. It was originally designed to be stitched in outline, using backstitches alone. However, it can also be filled in with cross stitches. You can see an example in the letters "A" and "B" stitched at the bottom of the chart.. Outline only: • 1 strand for backstitches Filled in: • 2 strands for cross stitches and partial stitches • 1 strand for backstitches Description: Outline Letters, script/italics Characters Included : • Upper Case Letters • Lower Case Letters • Numbers • Punctuation Height: • The upper case letters are 7 stitches high. • The lower case letters without ascenders or descenders (ex: a, c, o) are 5 stitches high. -
Xstitch Pro for Windows Manual
Platinum For Mac OSX Plus edition Copyright D. Peters 2015 Rev. 1.00 ii Platinum For Mac OSX 1 - Introduction.................................................................................1 2 - Running XSPro...........................................................................3 3 - Commands...................................................................................5 4 - Text to Stitches..........................................................................75 5 - Creating Fonts .........................................................................79 6 - Objects......................................................................................83 7 - Motifs........................................................................................87 8 - Printing......................................................................................95 9 - Digitising for Machine............................................................117 10 - Colours....................................................................................121 11 - DP Frame ...............................................................................127 12 - Hardanger Design....................................................................131 13 - Colour Range Editor...............................................................133 14 - Settings....................................................................................139 15 - Technical Support...................................................................141 S1 - Template Format.....................................................................143 -
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. -
Trc Collection: Silk Embroidered Postcards
TRC Collection Silk Embroidered Postcards TRC COLLECTION: SILK EMBROIDERED POSTCARDS FROM THE FIRST WORLD WAR Leiden December 2015 1 TRC Collection Silk Embroidered Postcards Colophon Author: Gillian Vogelsang-Eastwood Address: Hogewoerd 164, 2311 HW Leiden, The Netherlands Date: December 2015 Copyright: Textile Research Centre, Leiden TRC Collection Catalogues •! Silk Embroidered Postcards from the First World War (2015) Acknowledgements The TRC would like to thank Dr. Ian Collins for his help in collecting various postcards and his help in writing the text (https://sites.google.com/site/embroideredsilkpostcards/home ) 2 TRC Collection Silk Embroidered Postcards Silk Embroidered Postcards from the First World War Decorative postcards with a short text were popular in Europe from the early 1900's until the 1950's. Many of these were made in France. The cards included a wide variety of designs and messages, worked in floss silk in various colours. Some ten million embroidered cards were allegedly produced. Embroidered silk postcards were especially favoured during and just after the First World War (1914-1918). During the war, the range of designs was very varied and included obviously military subjects, such as the flags of the allies (notably Belgium, Britain, Croatia, France, Italy, Portugal, Russia, and the USA), names of regiments, figures of famous generals, and more public subjects such as Christmas, birthdays and New Year best wishes. In addition, many cards carried illustrations of butterflies and flowers, as gentler, more sympathetic images. Comparable cards were made in Germany, but with different designs and texts. The designs and texts were worked in small, silk gauze panels with colourful, free style embroidery. -
Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109
Blackwork Journey © 1 'Sublime Stitches' Aida Part 8, Patterns 101 - 109 Full Design Area: 16.07 x 29.57 inches worked on 14 count AIDA 225 x 414 stitches Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 14 count Aida, white, antique white or cream The sample was worked on Zweigart 14 count Aida, white Over dyed or space dyed fabrics may detract from the design - select carefully! There are 12 pages of patterns. One page will be placed in 'Freebies' in Blackwork Journey every month. Each pattern or group of patterns have their: Individual numbers, Technique, Threads and beads used, Chart, Picture and Method. Each month join a printout of the chart to the one before. The final chart will consist of 12 pages arranged in the order as shown above. Please follow the main chart carefully to place and work the different patterns. The embroidery may differ slightly. Where patterns overlap between the pages do not start the pattern. The part patterns are there to help in the placing of the design. As additional pages are added the part patterns will be complete. Do not add beads to the design until all 12 pages have been worked. The sample was worked in DMC and Anchor floss in four shades including DMC 310 as the base colour. Cross stitch is worked in TWO strands over two threads, back stitch is worked in ONE strand over two threads. Threads used: DMC 310 Black, three skeins Anchor 1206 variegated, or DMC 815 Garnet, three skeins DMC 415 Pearl grey, one skein DMC 414 Steel grey, one skein Metallic threads used: Rainbow Gallery Petite Treasure Braid PB01, one card or DMC Lights Effects E3852 Dark Gold, one skein DMC Lights Effects E317 DMC 996 electric blue is used on the chart to show ONE strand of 415 and ONE strand 414 together to make two strands for pulled thread work stitches. -
S Quill News from Quail Run Needlework
The Quail’’s Quill News From Quail Run Needlework April 2011 From Susan’s Desk Specializing In Welcome to the first issue of our new newsletter! Custom, Innovative Finishing This inaugural issue profiles our beautiful new store. The new location is perfect and our view of the fountain, courtyard and lake is just gorgeous. The wall of windows provides great light for the retail space. Our window displays are gathering much attention and many questions about needlework from people walking by our shop. Mercardo del Lago Center Parking is easy and there are lots of comfortable stools and chairs to sit in while you 8320 N. Hayden Rd look at canvases or catalogues for that special design. There are many special new models to give you great finishing ideas. Come in and see our shop if you have not Suite C112 had the chance! Scottsdale, AZ 85258 This month our new thread is a lovely Chinese silk in 190 colors from City Needleworks. It is 6 meters of 6 ply and works well on 18 mesh canvas. If you have 480-551-1423 not tried the new High Cotton, it is another fine thread we introduced this year. The colors are marvelous , it plies easily and has a slight sheen. I have used it on a new 480-551-1425 (fax) Laurel Burch design as the new colors in this line are perfect for the brilliant colors. 800-635-9750 (toll free) New canvases from market have arrived - the new Leigh pagodas, Sophia’s fans and kimonos, Mindy’s oriental quilts, Debbie Mum’s Halloween, Mary Lake Thompson’s www.quailrun-inc.com bottle bouquets and ribbon candy from Melissa Shirley, Napa wine scene from Susan Roberts and many more. -
Journal 33.Pdf
1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO. 33 APRIL 30, 2010 / VAISAKHA 2, SAKA 1932 2 INDEX Page S.No. Particulars No. 1. Official Notices 4 2. G.I Application Details 5 3. Public Notice 11 4. Sandur Lambani Embroidery 12 5. Hand Made Carpet of Bhadohi 31 6. Paithani Saree & Fabrics 43 7. Mahabaleshwar Strawberry 65 8. Hyderabad Haleem 71 9. General Information 77 10. Registration Process 81 3 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 33 of the Geographical Indications Journal dated 30th April 2010 / Vaisakha 2, Saka 1932 has been made available to the public from 30th April 2010. 4 G.I. Geographical Indication Class Goods App.No. 1 Darjeeling Tea (word) 30 Agricultural 2 Darjeeling Tea (Logo) 30 Agricultural 3 Aranmula Kannadi 20 Handicraft 24, 25 & 4 Pochampalli Ikat Textile 27 5 Salem Fabric 24 Textile 6 Payyannur Pavithra Ring 14 Handicraft 7 Chanderi Fabric 24 Textile 8 Solapur Chaddar 24 Textile 9 Solapur Terry Towel 24 Textile 10 Kotpad Handloom fabric 24 Textile 24, 25 & 11 Mysore Silk Textile 26 12 Kota Doria 24 & 25 Textile 13 Mysore Agarbathi 3 Manufactured 14 Basmati Rice 30 Agricultural 15 Kancheepuram Silk 24 & 25 Textile 16 Bhavani Jamakkalam 24 Textile 17 Navara - The grain of Kerala 30 Agricultural 18 Mysore Agarbathi "Logo" 3 Manufactured 19 Kullu Shawl 24 Textile 20 Bidriware 6, 21 & 34 Handicraft 21 Madurai Sungudi Saree 24 & 25 -
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow
Blackwork Embroidery Pattern Generation Using a Parametric Shape Grammar April Grow ABSTRACT Design tools with computational algorithms have been aiding artists for many years, primarily with image manipulation such as rotation, scaling, or applying graphical filters. However, there are many non-digital creative tasks that can benefit from computer- aided design. This paper presents an interactive parametric shape grammar for blackwork embroidery pattern generation, whose patterns are then implemented (sewn) using an unmodified home embroidery machine. A design tool executes the grammar guided user input, enumerates expanded pattern possibilities, and compiles patterns into an immediately sewable file format. The grammar is capable of generating published embroidery patterns as well as infinitely possible new patterns, and has future applications in other areas of design and crafts. Introduction “Embroidery” is a broad term that roughly encompasses any embellishment by thread or materials held or strung via thread on nearly any substance, most commonly on textiles. In the multi-millennial lifespan of embroidery, while many fundamental stitches remain the same, dozens of styles and approaches have been classified [1]. This paper chooses to focus on non-freeform blackwork embroidery, one of the most restrained styles, as a first approach to embroidery pattern generation. The objectives of this work include (1) representing counted-stitch embroidery digitally; (2) discovering local properties of stitches to develop into grammar rules capable of generating previously published blackwork embroidery Figure 1: Generated samples by our patterns; (3) offering those stylistically different parametric shape grammar grammar rules as agency to a designer of embroidery patterns; (4) providing instant visualization of enumerated pattern possibilities; and (5) enabling anyone to discover, explore, and enjoy blackwork embroidery or related applications of this grammar.