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Project Description
Project Description Candlewicking is a form of surface embroidery that traditionally uses an unbleached cotton thread on a piece of unbleached muslin. It gets Candlewicking its name from the nature of the thread, which very much resembles the wick used in a candle. Motifs are created using a variety of knots (Colonial) and satin stiches (backstitich). A warm covering made of two layers of cloth filled with a material with loft and tyed together. Tying refers to the technique of using thread, Comforters yarn or ribbon to pass through all three layers of the comforter at reqular intervals. These "ties" hold the layers together during use and especially when the comforter is washed. A warm covering made of two layers of cloth filled with a material with Quilts loft and stitched together in lines or patterns. The top layer is typically pieced together and the bottom is one solid layer. Process of stitching together two layers of fabric, usually with a soft, thick substance placed between them. The layer of wool, cotton, or other stuffing provides insulation; the stitching keeps the stuffing evenly distributed and also provides opportunity for artistic expression. Quilting has long been used for clothing in many parts of the world, especially Quilting in the Far and Middle East and the Muslim regions of Africa. It reached its fullest development in the U.S., where it was at first popularly used for petticoats and comforters. By the end of the 18th century the U.S. quilt had distinctive features, such as coloured fabric sewn on the outer layers (appliqué) and stitching that echoed the appliqué pattern. -
Stalking the Wild Assisi by Baroness Kathryn Goodwyn, O.L
Stalking the Wild Assisi by Baroness Kathryn Goodwyn, O.L. (a.k.a. Kathryn Newell) This article was originally written in 1995, and submitted to Tournaments Illuminated, the journal of the Society for Creative Anachronism. It was eventually rejected. The West Kingdom Needleworker's Guild kindly printed it in their newsletter in 1998, for which I am grateful. I fell in love with Assisi work many years ago but researching and collecting patterns of it has proved an elusive task. At times I have felt like a detective, and so I decided to share some of my frustrations and experiences with you. My interest in the subject started when I was researching SCA period needlework, just over 20 years ago. I would occasionally see some fascinating designs pushed to the back or side of a page or an article. The technique was the opposite of regular counted cross-stitch, as the design was outlined, then the background filled in densely with cross stitch. The actual pattern was made by the unworked ground fabric. This "negative" effect gave the Assisi work a woodcut quality that I found very rich and unique (Figure 1.) Figure 1. In the style of 16th-17th century Italian work. Chart © 2001, C.K. Newell The zoomorphic chart of beasties is one I found in a Dover book (no longer in my possession) on the subject of historic Italian lace. To my informed eye the style resembled Italian designs of the 16th or 17th centuries. I have subsequently seen a runner embroidered with this exact pattern, appearing as a photo in the book Old Italian Lace by Elisa Ricci. -
1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140
1 Blackwork Journey © 'Sublime Stitches' Evenweave Part 11 Patterns 137 - 140 Full Sampler Design Area: 16.07 x 29.57 inches worked on 28 count evenweave 225 x 414 stitches Material: Material: Minimum size - 26 x 40 inches to allow for embroidery frame and mounting Suggested fabric: Zweigart 28 count evenweave, white, antique white or cream Zweigart 25 count Lugana, white or cream 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 below. The evenweave sampler was worked in DMC Coloris floss in six shades plus DMC 310 as the base colour. Evenweave Sampler Threads: DMC 996 electric blue is used on the chart to show DMC Cotton Pérle No.12, ecru. Key- please note the threads can be adapted to suit your requirements. These are a guideline only! Page 11 is worked underneath Page 8. This is the first part of the final row. Instructions for the pulled thread work border will be included in Part 12. To help position the patterns correctly on the fabric and to see how they relate to each other look carefully at the embroidery. If only a small part of a pattern is shown on one page leave it until the following month and work the pattern as a whole. -
Hardanger Embroidery
Sons of Norway Information Banks #205: hardanger embroidery IN THIS INFORMATION BANK Introduction |01 Origins |01 The Development of a Tradition |01 Today |02 Learning More |02 IntroductIon Hardanger embroidery or hardangersøm is a traditional form of decorative Norwegian needlework. Named for the Hardanger district of Norway where it was developed, hardangersøm has become so popular over the years that it has been adopted by craftspeople from all over the country and beyond. What sets hardangersøm apart is the sheer variety of stitches and techniques it encompasses. The vast range of techniques one must master make it a demanding skill to learn, but also empower artisans to continue creating an infinite array of new designs. Perhaps that’s why after more than three centuries, hardangersøm continues to inspire stitchers all over the world. orIgIns Although hardangersøm is distinctively Norwegian, its origins can be traced through many other countries. The type of embroidery that would eventually develop into hardangersøm is thought to have come to Europe from the Middle East or Persia during the Renaissance. By the 1600s the Italians had developed their own style of embroidery called reticella that soon became popular and spread throughout the continent and eventually to Norway. The earliest recognizable hardangersøm pieces date from the 1700s. Around the same time, many other regions of Norway began to develop their own distinctive styles of embroidery and other textile crafts. During the 1800s, when Norway was stirred by a great national romantic movement, people from all over the country were united in a new enthusiasm for traditional folk culture. -
Lone Star Library, Alphabetic by Author
7/5/2018 Lone Star Library, Alphabetic by Author 1 Agnew, Patience Needlepoint for Churches 2 Aimee Stitch Your State 3 Alderson, Chottie Stitchin' with Chottie, Bk 1 4 Alderson, Chottie A Rare Delight, Or Nue Project 5 Alderson, Chottie Stitchin' with Chottie, Bk 2 6 Alderson, Chottie Stitchin' with Chottie, Bk 3 7 Alderson, Chottie Stitchin' with Chottie, Bk 4 8 Alderson, Chottie Stitchin' with Chottie, Bk 5, Albuquerque Game 9 Altherr, Ilse Blackwork and Holbein Embroidery 10 Altherr, Ilse Mastering the Art of Pulled Thread Embroidery 11 Ambuter, Carolyn Carolyn Ambuter's Complete Book of Needlepoint 12 Ambuter, Carolyn Carolyn Ambuter's Even More Complete Book of Needlepoint 13 Ambuter, Carolyn The Open Canvas 14 Anchor Mezzopunto e Punti di Tappezzeria 15 ANG A Stitch Book 25th Anniversary of ANG 16 ANG Stitch Book II 17 ANG, Atlanta Chapter A Canvas Christmas II 18 ANG, Masters Teacher Program Teachers' Treasures South Central Area's 2003 ANG Seminar Project: Two-Sided 19 ANG, South Central Area Nativity Set with Stable 20 ARO Designs Historic Houston 21 ARO Designs Houston Skyline Shapes of Needlepoint, Series I, 22 Arthur, Sandra Circles/Squares/Triangles/Rectangles Shapes of Needlepoint, Series II, 23 Arthur, Sandra Diamonds/Hearts/Octagons/Stars Shapes of Needlepoint, Series III, 24 Arthur, Sandra Corners/Hexagons/Ovals/Parallelograms Shapes of Needlepoint, Series IV, 25 Arthur, Sandra Diagonals/Horizontals/Verticals 26 Ashby, D. & Woolsey, J. Creative Embroidery Techniques Using Color Through Gold 27 Ashby, D. & Woolsey, J. Ribbon Embroidery 28 Bahouth, Candace Flowers, Birds, and Unicorns: Medieval Needlepoint 29 Bahouth, Candace Romantic Needlepoint 30 Baird, Carolyn Hedge Favorite Stitches, Revised 31 Baird, Carolyn Hedge Favorite Stitches, Volume 2 32 Baird, Carolyn Hedge Merry Easter Eggs 33 Baird, Carolyn Hedge Merry Needlepoint 34 Baker, Muriel The ABC's of Canvas Embroidery 35 Baker, Muriel The XYZ's of Canvas Embroidery 36 Baker, Muriel Scribner Book of Embroidery Designs 37 Banbury, G. -
PDF Download Hardanger Embroidery
HARDANGER EMBROIDERY PDF, EPUB, EBOOK Donatella Ciotti | 96 pages | 03 May 2007 | Sterling Publishing Co Inc | 9781402732270 | English | New York, United States Hardanger Embroidery PDF Book Minimum monthly payments are required. Close Help Do you have a picture to add? Shipping and handling. I especially love the close-up pictures of examples of early-style Hardanger. She wore a crisp white apron UNDER her colorful daily one, so if company showed up, she could whisk off the colorful, but mussed up one and look presentable. I love the hardanger on the collar of a blouse. Email to friends Share on Facebook - opens in a new window or tab Share on Twitter - opens in a new window or tab Share on Pinterest - opens in a new window or tab. During the Renaissance , this early form of embroidery spread to Italy where it evolved into Italian Reticella and Venetian lacework. Condition see all. Hardanger kloster …. This amount is subject to change until you make payment. Ensure that the holes are facing stitches going outside; as shown in the picture above. Picture Information. If you take a shortcut and miss out a number on the diagram your stitches won't hold when you start the cutting process. Apparently wait list means go online and buy it quickly as the store does not wait for you to response to the email. Listed in category:. As you progress through the course, I introduce you to the different stitches that you need. However, that number can vary. The seller has not specified a shipping method to Germany. -
Inside Stitches 281-320-0133 7822 Louetta Road Volume16 – Number 3 Spring, Texas 77379 July, August, September
Inside Stitches 281-320-0133 7822 Louetta Road Volume16 – Number 3 www.3stitches.com Spring, Texas 77379 July, August, September Summer is here. Yes, the long HOT summer of the Spring, Texas weather. It is a perfect time for stitching. Make yourself a glass of ice tea (sweet tea as some of the south calls it) and find your favorite spot to stitch. Perhaps you won’t be sitting in the back yard as you did those spring projects but some where you call “your stitching” spot. You might start thinking about those Christmas projects you intend to do as gifts this year. We are happy to custom cut your fabric to the size you need or change any color that you don’t like to a color your prefer. All you have to do is ask. We are here for you. If you have questions, we have answers. Just email us at [email protected] or call us at 281-320-0133. If we don’t know the answer, we know someone who does know. We are always here for you. All you have to do is ask. Ham & Asparagus Mini-Quiches 1 cup all-purpose flour 2 tablespoons butter, diced 4-6 tablespoons ice water 6 large eggs ½ cup part-skim ricotta cheese ½ cup chopped ham ½ cup chopped asparagus ½ cup shredded cheddar cheese Preheat oven to 350 degrees. Coat a 12-count muffin pan with cooking spray, and set aside. In a stand mixer fitted with a paddle attachment, combine the flour and butter until the butter breaks down into small pieces. -
Win 1 of 2 Packs from Vikki Clayton's Hand-Dyed Fibers to Stitch
ONLINE MAGAZINE FOR CROSS STITCHERS The Gift of Stitching ISSUE 1 FEBRUARY 2006 FIRST FeatureFeature PatternPattern ISSUE WomanWoman SewingSewing ByBy LamplightLamplight byby SolariaSolaria GalleryGallery MysteryMystery SamplerSampler startsstarts PapillonPapillon CreationsCreations WIN silk threads from Vikki Claytons Hand Dyed Fibers SubscribeSubscribe nownow andand ppayay lessless thanthan $10$10 forfor 1212 issues!issues! www.thegiftofstitching.com Editorial Contents Welcome to the first issue of The Gift of Feature Patterns Stitching. It has been both exciting and Page 4 Woman Sewing by Lamplight by challenging putting this magazine together. Solaria Gallery Thank you to the designers and writers who Page 12 Mystery Sampler by Papillon Creations have contributed. This months feature design is from Stoyanka Bonus Pattern Ivanova from Solaria Gallery. It is of a mother Page 15 What Now? by Adventures in Stitching sewing by candlelight, with her baby in the background asleep. Absolutely lovely. Columns We also have the first part of a five part Page 10 Investigate with Marie mystery sampler from Yvonne Horn of Papillon Creations. She has used silks from Articles Vicki Clayton and they are just gorgeous. We Page 3 On being a Model Stitcher have 2 packs to give away so make sure you enter the competition. Competitions I would like to introduce our first columnist Page 12 Silk threads from Hand-Dyed Threads Marie-Chantal Lord. Marie loves researching and designing all forms of counted thread All patterns in this issue have been printed with permission embroidery. Her column will investigate a from the designers. This magazine is under copyright. It style of stitching with a small pattern each cannot be republished or distributed in print or electronically, month. -
Editorial Calendar 2020
PRESERVING THE LEGACY OF NEEDLEWORK Editorial Calendar 2020 There are stories to be told, and PieceWork readers want to read them. Whether it’s a personal account of a master knitter (“Bertha Mae Shipley: A Navajo Knitter”) or a well-researched article on the embroidery that adorned alms purses (“Charitably Chic: The Eighteenth-Century Alms Purse”), PieceWork is the place to share these stories. People who care about handwork and who value its past and present role in the ongoing human story are PieceWork magazine’s core audience. PieceWork explores the personal stories of traditional makers and what they made and investigates how specific objects were crafted and the stories behind them. In-depth how-to techniques and step-by-step projects make the traditions come alive for today’s knitters, embroiderers, lacemakers, and crocheters. Beginning with the magazine’s inception in 1993, we have explored numerous needlework traditions and needleworkers. We’ve covered the prosaic—mending samplers—and the esoteric—the Pearly Kings and Queens of London. The stories have been poignant—the Triangle Shirtwaist Factory fire; inspiring—Safe Return Mittens; and entertaining—Rattlesnake Kate. Beginning with the Fall 2018 issue, PieceWork changed frequency from a bimonthly publication to a quarterly. The biggest bonus with this change was the addition of more editorial pages, allowing us to continue and expand upon PieceWork’s unusual blend of the elements behind a handwork tradition—who did it, how it was done, and why. Future issues will include core sections for techniques, including knitting, lace, embroidery, and crochet. Beyond these sections, there will be a wide variety of other needlework techniques. -
Yule Log Tote” by Betty Stokoe Hardanger House
Awww.aneedlepullingthread.com NEEDLE PULLINGwww.theneedleworkpages.com THREAD [digital] “Yule Log Tote” by Betty Stokoe Hardanger House originally published in A Needle Pulling Thread© Magazine Issue 48 A Needle Pulling Thread Magazine is published quarterly and offers a wonderful variety of seasonal needlework projects including quilting, knitting, crochet, rug hooking, cross-stitch, beading, embroidery, creative sewing, fibre art, and much more…all created by talented and unique Canadian designers. For complete information and to subscribe please visit: www.aneedlepullingthread.com. This document is for personal non-commercial use only and is protected by copyright. All designs, patterns, information, and photographs contained in this document are copyrighted material owned by their respective creators or owners. Except for your own personal non-commercial use, reproduction or distribution in full or in part is prohibited without the written consent of A Needle Pulling Thread Magazine. ©A Needle Pulling Thread ©A NEEDLE PULLING THREAD ● issue 48 1 Christmas evokes nostalgic memories for many of us. This Yule Log Tote ornament may serve as a reminder of cold winter nights, sitting by the fireplace and ‘putting another log on the fire’ as the embers died down. YuleYule LogLog ToteTote – Betty skill level Intermediate finished measurements 2½” x 4½” [6 x 11cm] materials fabric • 3½” x 10” [9 x 26cm] Zweigart 25-count Lugana fabric – antique white threads • DMC Pearl Cotton #5 – 699 for tree kloster blocks • DMC Pearl Cotton #12 – 699 and 666 for nun stitch edging • Kreinik #8 Fine Braid – 238 for diagonal cable, eyelets, and woven bars needle • tapestry needle size 22 other • embroidery scissors with sharp point and fine blades • 3 or 4 cinnamon sticks in 4” – 5” lengths • 2” skewer to stabilize casing stitches used satin stitch kloster blocks diagonal cable eyelets woven bars nun stitch edging chart each grid line = 1 fabric thread 1. -
Canadian Embroiderers Guild Guelph LIBRARY August 25, 2016
Canadian Embroiderers Guild Guelph LIBRARY August 25, 2016 GREEN text indicates an item in one of the Small Books boxes ORANGE text indicates a missing book PURPLE text indicates an oversize book BANNERS and CHURCH EMBROIDERY Aber, Ita THE ART OF JUDIAC NEEDLEWORK Scribners 1979 Banbury & Dewer How to design and make CHURCH KNEELERS ASN Publishing 1987 Beese, Pat EMBROIDERY FOR THE CHURCH Branford 1975 Blair, M & Ryan, Cathleen BANNERS AND FLAGS Harcourt, Brace 1977 Bradfield,Helen; Prigle,Joan & Ridout THE ART OF THE SPIRIT 1992 CEG CHURCH NEEDLEWORK EmbroiderersGuild1975T Christ Church Cathedral IN HIS HOUSE - THE STORY OF THE NEEDLEPOINT Christ Church Cathedral KNEELERS Dean, Beryl EMBROIDERY IN RELIGION AND CEREMONIAL Batsford 1981 Exeter Cathedra THE EXETER RONDELS Penwell Print 1989 Hall, Dorothea CHURCH EMBROIDERY Lyric Books Ltd 1983 Ingram, Elizabeth ed. THREAD OF GOLD (York Minster) Pitken 1987 King, Bucky & Martin, Jude ECCLESSIASTICAL CRAFTS VanNostrand 1978 Liddell, Jill THE PATCHWORK PILGRIMAGE VikingStudioBooks1993 Lugg, Vicky & Willcocks, John HERALDRY FOR EMBROIDERERS Batsford 1990 McNeil, Lucy & Johnson, Margaret CHURCH NEEDLEWORK, SANCTUARY LINENS Roth, Ann NEEDLEPOINT DESIGNS FROM THE MOSAICS OF Scribners 1975 RAVENNA Wolfe, Betty THE BANNER BOOK Moorhouse-Barlow 1974 CANVASWORK and BARGELLO Alford, Jane BEGINNERS GUIDE TO BERLINWORK Awege, Gayna KELIM CANVASWORK Search 1988 T Baker, Muriel: Eyre, Barbara: Wall, Margaret & NEEDLEPOINT: DESIGN YOUR OWN Scribners 1974 Westerfield, Charlotte Bucilla CANVAS EMBROIDERY STITCHES Bucilla T. Fasset, Kaffe GLORIOUS NEEDLEPOINT Century 1987 Feisner,Edith NEEDLEPOINT AND BEYOND Scribners 1980 Felcher, Cecelia THE NEEDLEPOINT WORK BOOK OF TRADITIONAL Prentice-Hall 1979 DESIGNS Field, Peggy & Linsley, June CANVAS EMBROIDERY Midhurst,London 1990 Fischer,P.& Lasker,A. -
Blackwork Journey
Blackwork Journey © 1 'Sublime Stitches' Aida Part 6 Patterns 75 - 85 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.