RUNNING STITCH the Running Stitch Is One of the Simplest Stitches That Are Used to Create Patterns Or Texture
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Cora Ginsburg Llc Titi Halle Owner
CoraGinsburg-11/2006.qxd 11/22/06 11:26 AM Page 1 CORA GINSBURG LLC TITI HALLE OWNER A Catalogue of exquisite & rare works of art including 17th to 20th century costume textiles & needlework Winter 2006 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] EMBROIDERED LINEN FOREHEAD CLOTH English, ca. 1610 Triangular in shape and lavishly embellished, a forehead cloth—also called a cross-cloth or crosset—was a feminine accessory sometimes worn with a coif, an informal type of cap. Rare after the mid-seventeenth century, forehead cloths first appeared in conjunction with the coif around 1580; embroidered with patterns to match, they were worn around the forehead and draped over the coif with the point facing backwards. Though the occasions on which a lady might wear a forehead cloth are not fully known, it seems that they were used for bedside receptions and in times of sickness. In his 1617 travels through Ireland, English author Fynes Moryson observed that, “Many weare such crosse-clothes or forehead clothes as our women use when they are sicke.” The remarkable embroidery seen here shows the practiced hand of a professional. Much fine needlework was accomplished domestically in sixteenth- and seventeenth-century England, but there were also workshops and skilled individuals that catered to the luxury trade. The Broderers’ Company, an organization for professional needleworkers, was founded under Royal Charter in 1561; specialists were also retained for wealthy private households, and journeymen embroiderers were hired as necessity demanded. -
2021 Virtual Sewing & Stitchery Expo Schedule Checklist
Virtual Expo Schedule Use this checklist to plan your Virtual Expo experience. Don’t forget to buy your class tickets online beginning Jan. 12! All times listed are Pacific Standard Time (PST). Registration for Three & Four Needle classes that require a kit will end Feb. 2 to allow time for shipping. Wednesday 8:00 AM - 12:00 PM 4104 The Victorian Sewing Box 1:00 PM - 1:45 PM FS Lighting your Sewing Room 8:00 AM - 12:00 PM 4106 Beyond the Basics in Free Motion Quilting 1:00 PM - 2:00 PM Cutting Line Designs 8:00 AM - 12:00 PM 4107 Cadence Top Sew-A-Long 1:00 PM - 2:00 PM Fit for Art Patterns 8:00 AM - 12:00 PM 4110 A TempLee Quilted Medallion 1:00 PM - 2:00 PM The Rain Shed 8:00 AM - 12:00 PM 4111 From Thread to Lace 1:00 PM - 5:00 PM 4101 Flowermania English Paper Piecing 8:00 AM - 12:00 PM 4114 Scrappy Wonky Quilt Blocks 1:00 PM - 5:00 PM 4103 The Caprice Organizer 8:00 AM - 12:00 PM 4119 Temari—Japanese Thread Balls 1:00 PM - 5:00 PM 4105 Featherweight Spa Day 8:00 AM - 12:00 PM 4121 Easy Fit and Sew Yoga Pants 1:00 PM - 5:00 PM 4109 Enchantress Bracelet 8:00 AM - 12:00 PM 4122 The Ultimate Stabilizer Class 1:00 PM - 5:00 PM 4112 Vintage Windmill 8:00 AM - 12:00 PM 4123 Coverstitch Workshop 1:00 PM - 5:00 PM 4115 The Boro and Sashiko Pillow 9:00 AM - 9:30 AM FS Rulerwork Tips for Any Machine 1:00 PM - 5:00 PM 4117 Sew For You: Panties 9:00 AM - 10:00 AM WonderFil Specialty Threads 1:00 PM - 5:00 PM 4118 No Pins, No Basting, No Kidding! 9:00 AM - 10:00 AM Paradiso Designs 1:00 PM - 5:00 PM 4120 Viking Knitting: Trichinopoly on a Dowel -
23. Embroidery As an Embellishment in Fabric Decoration
EMBROIDERY AS AN EMBELLISHMENT IN FABRIC DECORATION By OLOWOOKERE PETER OLADIPO Department of Fine and Applied Arts, Federal College of Education, Osiele, Abeokuta. Abstract Nigeria is endowed with abundant human, natural and material resources, which could be used in different vocational practices. Practitioners have consistently practiced their art with attention to uniqueness and high quality forms, styles and content. Embroidery as a decorative process in Art has played principal roles in entrepreneurship development. Hence, this paper made a critical analysis of the forms, content and significant of embroidery in art, the thread colours, fabric motifs and pattern suitable for a successful embroidery design would also be considered. The general conclusion is that if embroidery is properly done, it would increase the embroiderers sense of creativity in our societal growth and the interested individual should be encourage to learn the craft so that the tradition will remain forever. Embroidery is an interesting stitching technique by which coloured threads, generally of silk or wool are used with a special needle to make a variety of stitches, and it is used to make an attractive design on garment, wall hanging or upholstery pieces. In Nigeria today, embroidery clothing are used far and wide and its unique feature and elegance remain the ability to trill and appeal to the people’s fervent love for it whereby the artisan considered different textile materials such as guinea brocade, damask and bringing out the significance of thread with which it is worked. Ojo (2000) defined, embroidery as an art of making pattern on textiles, leather, using threads of wool, linen, silk and needle. -
Hobby 1142-Manual-EN.Pdf
hobby114 2 Owner´s manual 7 6 5 4 3 2 1 28 8 9 27 211 2626 100 202 111 191 122 188 25 141 24 151 233 16 171 22 122 11 2020 133 Parts of your hobby™ 1142 sewing machine 1 Bobbin winder stop 2 Bobbin winder spindle 3 Hole for extra spool pin 4 Spool pin 5 Carrying handle 6 Bobbin thread guide 7 Take-up lever 8 Foot pressure dial 9 Face plate 10 Thread cutter 11 Buttonhole lever 12 Needle threader 13 Slide for lowering the feed dog 14 Needle plate 15 Accessory tray 16 Throat plate 17 Throat plate release button 18 Thumbscrew 19 Needle screw 20 Presser foot lifter 21 Thread tension dial 22 Reverse stitch lever 23 Power switch 24 Connecting socket 25 Stitch length dial 26 Stitch selector dial 27 Handwheel 28 Stitch width dial Congratulations on purchasing your new PFAFF® hobby! Your hobby is so easy to use and offers a whole range of features and accessories for you to explore. Please spend some time reading these operating instructions as it is a great way to learn the machine and also to make full use of the features. Your Pfaff dealer will be at your service with any help or advice you need. We wish you many enjoyable hours of sewing ! Some fabrics have excess dye which can cause discoloration on other fabric but also on your sewing machine. This discoloring may be very difÀ cult or impossible to remove. Fleece and denim fabric in especially red and blue often contain a lot of excess dye. -
Elegant Table Runner H
Elegant Table Runner Designed By Patty Peterson Featuring Kreinik Metallic Machine Sewing Threads Finished size 11.5" X 40.75" ave you ever wondered how you can use the decorative stitches on H your sewing machine? Well here’s a quick and easy project where you can combine your machine’s decorative stitches with beautiful metallic threads and make an absolutely elegant table accessory. Whether you make it for your own home or as a gift, this table runner project will help you see the possibilities of those decorative machine stitches in a whole new light! ! SUPPLY LIST: 1.!!! Kreinik Metallic Machine Sewing Threads (34 colors available). This project uses:! Fine Twist threads: 0001 SILVER, 0002 PEWTER, 0003 WHITE GOLD, 0006 ANTIQUE DK GOLD 2.!!! Kreinik Silver Metallized Gimp:! 0030 SILVER, 0032 ANTIQUE GOLD, 0033 BRASSY GOLD! 3.!!! Size 14 Topstitch needle 4.!!! Sewing or embroidery machine/combination 5.!!! Walking foot or dual feed foot to construct table runner 6.!!! Tear-away stabilizer (depending on your hoop size) 7.!!! Bobbin thread 8.!!! Scissors 9.!!! Kreinik Custom Corder!™ 10. !If you plan on embroidering out the stitches in your embroidery hoop you will need 3/4 yard of Kona Bay, Black cotton fabric !! 11. If you are sewing the decorative stitches you will need!1/2 yard Kona Bay, Black cotton fabric 12.! Background fabric 13" x 44" (WOF) width of fabric (our model uses light weight patterned nylon)! 13.! Backing fabric: Kona Bay, Black cotton 13" X 44" (WOF) 14. !Extra fabric to sew test stitches, such as a couple of 6" x 6" squares 15. -
Stitches and Seam Techniques
Stitches and Seam Techniques Seen on Dark Age / Medieval Garments in Various Museum Collections The following notes have been gathered while attempting to learn stitches and construction techniques in use during the Dark Ages / Medieval period. The following is in no way a complete report, but only an indication of some techniques observed on extant Dark Ages / Medieval garments. Hopefully, others who are researching “actual” garments of the period in question will also report on their findings, so that comparisons can be made and a better total understanding achieved. Jennifer Baker –New Varangian Guard – Hodegon Branch – 2009 Contents VIKING AND SAXON STITCHES 1. RUNNING STITCH 2. OVERSEWING 3. HERRINGBONE 4. BLANKET STITCH SEAMS 1. SEAMS 2. BUTTED SEAMS 3. STAND-UP SEAM 4. SEAMS SPREAD OPEN AFTER JOIN IS MADE 5. “LAPPED” FELL SEAM 6. FELL SEAM WORKED ON WRONG SIDE OF GARMENT FINISHES ON RAW EDGES OF SEAMS SEWING ON TABLET WOVEN BRAID HEMS OTHER STITCHES FOUND IN ARCHEOLOGICAL FINDS REFERENCES 1 Stitches and Seam Techniques VIKING AND SAXON STITCHES There are only four basic stitches to master: 1. RUNNING STITCH , 2. OVERSEWING, ALSO KNOWN AS OVERCAST STITCH OR WHIP STITCH 3. HERRINGBONE , ALSO KNOWN AS CATCH STITCH 4. AND BLANKET STITCH. ALSO KNOWN AS BUTTONHOLE STITCH Running stitch is probably the easiest to start with followed by oversewing. With these two stitches you can make clothing. The other two are for decorative edging. These directions are for a right handed person, if you are left handed remember to reverse all directions. 2 Stitches and Seam Techniques RUNNING STITCH A running stitch is done through one or more layers of fabric (but normally two or more), with the needle going down and up, down and up, in an essentially straight line. -
Powerhouse Museum Lace Collection: Glossary of Terms Used in the Documentation – Blue Files and Collection Notebooks
Book Appendix Glossary 12-02 Powerhouse Museum Lace Collection: Glossary of terms used in the documentation – Blue files and collection notebooks. Rosemary Shepherd: 1983 to 2003 The following references were used in the documentation. For needle laces: Therese de Dillmont, The Complete Encyclopaedia of Needlework, Running Press reprint, Philadelphia, 1971 For bobbin laces: Bridget M Cook and Geraldine Stott, The Book of Bobbin Lace Stitches, A H & A W Reed, Sydney, 1980 The principal historical reference: Santina Levey, Lace a History, Victoria and Albert Museum and W H Maney, Leeds, 1983 In compiling the glossary reference was also made to Alexandra Stillwell’s Illustrated dictionary of lacemaking, Cassell, London 1996 General lace and lacemaking terms A border, flounce or edging is a length of lace with one shaped edge (headside) and one straight edge (footside). The headside shaping may be as insignificant as a straight or undulating line of picots, or as pronounced as deep ‘van Dyke’ scallops. ‘Border’ is used for laces to 100mm and ‘flounce’ for laces wider than 100 mm and these are the terms used in the documentation of the Powerhouse collection. The term ‘lace edging’ is often used elsewhere instead of border, for very narrow laces. An insertion is usually a length of lace with two straight edges (footsides) which are stitched directly onto the mounting fabric, the fabric then being cut away behind the lace. Ocasionally lace insertions are shaped (for example, square or triangular motifs for use on household linen) in which case they are entirely enclosed by a footside. See also ‘panel’ and ‘engrelure’ A lace panel is usually has finished edges, enclosing a specially designed motif. -
Identifying Handmade and Machine Lace Identification
Identifying Handmade and Machine Lace DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Handmade and Machine Lace Text copyright © Jeremy Farrell, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name held at The Museum of Costume and Textiles, Nottingham on 21st February 2008. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audiences. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Textile Types and Weaves 1750 -1950 Identifying Printed Textiles in Dress 1740-1890 Front cover image: Detail of a triangular shawl of white cotton Pusher lace made by William Vickers of Nottingham, 1870. The Pusher machine cannot put in the outline which has to be put in by hand or by embroidering machine. The outline here was put in by hand by a woman in Youlgreave, Derbyshire. (NCM 1912-13 © Nottingham City Museums) 2 Identifying Handmade and Machine Lace Contents Page 1. List of illustrations 1 2. Introduction 3 3. The main types of hand and machine lace 5 4. -
Stitch Chart
Stitch Chart Memo • When any of the following stitches (reverse stitch patterns) are selected, pressing (Reverse/ Reinforcement stitch button) will sew reverse stitches. Stitch 110 stitches 00 02 05 No. 100 stitches 00 01 04 When any other stitch is selected, pressing (Reverse/Reinforcement stitch button) will sew reinforcement stitches. • The stitch pattern symbols indicate the following. 1 Left needle position a d e 2 b d e Middle (center) needle position c 3 Right needle position 4 Reverse stitch pattern 5 Reinforcement stitch pattern Note • The walking foot can only be used with straight or zigzag stitch patterns. Do not sew reverse stitches with the walking foot. • When using the twin needle, set the machine to the twin needle mode. For details, refer to the Operation Manual. *1 Twin needle can be used by attaching zigzag foot “J”. For details on using the twin needle, refer to the Operation Manual. No. Stitch width Stitch length Presser (mm (inch)) (mm (inch)) Stitch 110 100 Stitch name/Applications stitches stitches foot Auto. Auto. model model Manual Manual Straight stitch (Left) 0.0 (0) 2.5 (3/32) 00*1 00*1 J General sewing, gather, pintuck, etc. 0.0 - 7.0 0.2 - 5.0 (0 - 1/4) (1/64 - 3/16) Straight stitch (Left) 0.0 (0) 2.5 (3/32) 01*1 –JGeneral sewing, gather, pintuck, etc. 0.0 - 7.0 0.2 - 5.0 (0 - 1/4) (1/64 - 3/16) Straight stitch (Middle) 3.5 (1/8) 2.5 (3/32) 02*1 01*1 J General sewing, gather, pintuck, etc. -
Buttermint Hand Towels
Patterns for the Buttermint Rigid-Heddle Loom Hand Towels Designed by Deborah Jarchow aturated pastels highlight sweet Slines of lace in this set of five hand towels, each a slightly different variation on the same theme. Woven on a solid white warp using an absorbent unmercerized cotton, these towels will wear well even after multiple washings. Packaged with homemade buttermints or a jar of jam, they make a perfect gift! Follow the stripe patterns exactly or design as you go. You will also learn the secrets to maintaining a straight fell line and hemming handwovens. 1 of 4 | Yarnworker | All rights reserved. © 2014 | Version 1, 2-2014 | $6.95 L @yarnworker C Yarnworker b yarnworker.blogspot.com yarnworker.com Directions Project Specs Dress the Loom Using your preferred warping method, warp the loom following the project specs. You will thread 2 warp ends through every slot and hole. Getting Started Wind four shuttles, one with a single strand of each weft color. You will use more Natural than the other colors, so pack its shuttle generously. Weave about 1" of scrap yarn to spread the warp. This creates a firm base to start your towel and creates an even fell line. See Tips & Tricks on page 6 for more information. Beginning Each Towel Each towel will start the same way. Leave a tail 4 times the width of the warp Yarn 8/2 unmercerized cotton from Yarn Barn; 1 and weave 2 ⁄2" in the stripe pattern of your choice. 3,369 yd/lb; 100% cotton; shown in Natural (#0100) Turquoise (#1510), Salmon Secure the beginning of your project using the tail (#1317), and Rust (#1316) and the embroidery stitch over 4 threads, see Tips Tools Rigid-heddle loom with a 15" weaving & Tricks. -
Owner's Manual
creative 2170 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 authorized 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. -
Fixing Torn Buttonholes No
C O N S U M E R S E R I E S CLOTHING Fixing torn buttonholes no. 8.528 by K. Williams1 Do you have clothes with buttonholes that are torn or missing some stitches? Quick Facts... General Directions If the buttonhole is torn at the end, to fix the tear, do the following: If a buttonhole is torn at the end, • Take out the buttonhole stitches around the tear. it may be patched and recut. • Cut a piece of material a little bigger than the tear to use as a patch. Use the same color if you can. (Figure 1A.) If stitches are coming loose from • Put the patch between the facing and outer material. a buttonhole, they may be • Mend the tear by stitching back and forth through all three layers of material. resewn by machine using a Machine stitching holds better than hand stitching. (Figure 1B.) zigzag stitch or by hand using a • Cut through the patch to make the buttonhole the same length that it was. buttonhole stitch. (Figure 1C.) Sewing By Hand To resew a buttonhole by hand, start at the good end of the buttonhole. Sew over stitches that are still there. • Knot the thread and push the needle from the wrong side of the buttonhole through the stitches. • Push the needle down through the buttonhole and up through the material near the end of the buttonhole. (Figure 1D.) • Bring the thread under the point of the needle from left to right. (Figure 1E.) • Pull the needle and thread through the material.