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Una de las dudas más frecuentes con las que me encuentro en las clases es "y para hacer esto, ¿qué entretela, (soporte, guata, papel...). utilizo?" y es que con toda la cantidad de materiales a nuestro alcance, tenemos muy claro cual queremos que sea la apariencia final de la labor, pero nos perdemos a la hora de elegir. Hoy me gustaría ayudarte a saber qué es cada cosa, para qué sirve y qué se puede conseguir con cada uno de estos papeles o entretelas. Ponte un café bien calentito o una cervecita bien fría, que esto va para largo. Edito: Y tanto que va para largo. Para evitar confusiones y que puedas "digerir" bien toda la información, he decidido dividir el post en dos partes. Te dejo con el Volumen I: los materiales no adhesivos. Si quieres información sobre los adhesivos, puedes consultarla aquí. Gracias al desarrollo del patchwork y la costura durante los últimos años, los fabricantes han creado mil y un tipo de papeles, guatas, entretelas y materiales para utilizar en nuestras labores. En función de la consistencia que se le quiera dar, usamos papel soporte, papel para bordar, entretelas (de diversos grosores), papel termoadhesivo, jefitex, estabilizador,.... y surge la duda: sí, pero para ESTE bolso que estoy haciendo, qué pongo?! No pasa nada, que no panda el cúnico!! cunda el pánico!!. Voy a intentar explicar para qué sirve cada cosa y espero conseguir que cuando vengas a la tienda dejes de usar palabros como "Fasel de losabin" (papel de log cabin), "micifuz" (fast to fuse) o "esa cosa que... que... si, hombreeee, eso duro" Ein? Eeeemmm mejor no, no dejes de usarlas, que nos reímos mucho con vosotras!!! Bueno, para poner un poco de orden, los clasificaré en Materiales que pegan y Materiales que no pegan. Allá voy: Materiales no adhesivos - Jefitex: No es exactamente un papel, es un material de grosor similar al fieltro, un poco rugoso y de consistencia fuerte. Sirve para dar estabilidad y una apariencia muy rígida. Nosotras lo usamos mucho para los bolsos de punto tipo clutch y también es el secreto detrás del bolso Jardín de la abuela de La Tertulia. También lo utilizamos mucho para poner en la base de los bolsos y que no se deformen al meter cosas dentro. - Estabilizador: El descubrimiento del siglo, al menos para mí. Si se mira de canto, es como la espuma que se pone en tapicería, pero de 1/4 de centímetro aproximadamente de espesor. Está como recubierto de tela suave y es fantástico para bolsos o neceseres que queremos que se queden "de pie", pero que sean flexibles. Es el material que he usado para mi bolso muestrario. - Papel soporte: es el papel que se utiliza para técnicas como el Log Cabin. Se trata de un papel tipo gasa, que transparenta un poco y que tiene una consistencia muy ligera. En el mercado existe liso y cuadriculado, ideal para dibujar patrones sin necesidad de regla. Básicamente sirve para marcar las líneas por donde iremos cosiendo: se coloca la tela por una cara y por la otra se cose. Como las líneas dibujadas se ven por las dos caras, facilita mucho la labor. También se usa mucho para realizar bloques como el Crazy. (imagen Pinterest) - Papel transfer o transfer paper: es muy parecido al papel soporte, quizá un poco más suave, y se comercializa en láminas de tamaño A4 aproximadamente. Se utiliza para facilitar el trabajo de aplicación: se pone encima del motivo a aplicar, que se calca en este papel. Posteriormente, ponemos el papel sobre la tela que hayamos elegido y repasando la línea dibujada con un rotulador especial (rotulador transfer), se puede transferir o traspasar la plantilla a la tela.Sólo nos queda ir cosiendo a puntada escondida por la línea a la vez que vamos remetiendo el margen sobrante. Vamos, lo que viene siendo el needle turn appliqué de toda la vida. ¡No confundir con un papel que también existe en copisterías que se utiliza para transferir fotografías a tela!. - Guatas varias: Es el material que se pone en las colchas o quilts. La más corriente es la 80/20 (en su composición tiene un 80% de algodón y un 20% de material sintético) También la hay con una composición de 70/30, que son las ideales para usar en quilts que se vayan a exponer colgados. Casi todas las quilters que envían sus trabajos a concursos utilizan este tipo de guata. Las hay sintéticas, que son ideales para las colchas de bebé, ya que no pesan nada y poniendo dos capas, quedan unas colchas muy ligeras y mullidas. Y también las hay que son 100% lana. Muuuuy calentita y muy gustosa, pero con la que hay que tener cuidado con la temperatura al lavar y al planchar (como con todas las cosas de lana). Además existen también con una capa de material adhesivo en una de sus caras, muy útiles para determinadas prendas de ropa o para dar consistencia (por ejemplo) a labores como el SAL Mon cahier de broderie. Hasta aquí la primera parte. En otro post te cuento cómo y para qué se usan los materiales adhesivos.

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Stay warm all night in these men's pyjama sets, featuring a 100% polyester drop needle microfleece top and bottoms from 100% cotton yarn-dyed flannel. The sets are available in M, L, XL, and XXL. The pyjama set top has 180gsm for superior warmth, while the pants offer an adjustable waist with drawstrings and two side pockets for added comfort.

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Investigación y relevamiento de información Geometral con transparencias para visualizar las distintas capas del bolsillo. VISTA EXTERNA Y VISTA INTERNA. Geometral con detalles constructivos, y par…

Investigación y relevamiento de información Geometral con transparencias para visualizar las distintas capas del bolsillo. VISTA EXTERNA Y VISTA INTERNA. Geometral con detalles constructivos, y par…

Francisca Artigues, madre del pintor Miquel Barceló, ha convertido sus bordados inspirados en la obra de su hijo en obras de arte diferentes que ahora se exponen por primera vez en España. El propio Barceló relata la pasión de Francisca por esa expresión artística con aguja e hilo.

7 Pages of Easy Sewing Exercises For Beginner Sewers Becoming proficient at sewing is really a matter of time spent...

Una alfombra bordada a mano con lana 100% virgen de GAN con acabados elegantes y vanguardistas que otorgan modernidad a cualquier espacio. Ven y comprala en nuestra tienda en línea.

Descripción del trabajo: Estamos en busca de un Creador de Contenido creativo y talentoso para unirse a nuestro equipo en un emocionante proyect...

Sold by the quarter yard - We will cut you a continuous piece. Size: 44"-45” wide by length of fabric purchased   Manufacturer: Robert Kaufman Collection: Big Sur Canvas Recommended Needle: A 70/11 or 80/12 universal or quilting needle is recommended. Recommended Thread: 40 wt polyester thread Ironing: Use the cotton setting. NEED A PATTERN FOR THIS FABRIC? This fabric is ideal for projects such as bags, quilts, clothing, coverings, upholstery, and outdoor items. Click here to view our collection of patterns!

Investigación y relevamiento de información Geometral con transparencias para visualizar las distintas capas del bolsillo. VISTA EXTERNA Y VISTA INTERNA. Geometral con detalles constructivos, y par…

Materials: - Crochet hook 3.00 - 100% cotton yarn for a 3.00 crochet hook (two colors needed) - Tapestry needle - Soft stuffing like polyfiber fill - A bit of cardboard or a polystyrene food tray Colors - One main color - One contrasting color Abbreviations st = stitch ch = chain stitch slst = slip stitch sc = single crochet increase = 2 sc in one same st decrease = 1 sc joining 2 stitches Note: The teapot measures 15 cm approximately (height) and the cup is 4 cm. Of course should you use a different yarn calling, measures will vary... Ready? Inside of the teapot (Use the contrasting color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (18) 4. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 5. Crochet *3 sc, 2 sc in the next st*, repeat * (30) 6. Crochet *4 sc, 2 sc in the next st*, repeat * (36) 7. to 8. Crochet 36 sc Close and break the yarn. Set aside for a while... Teapot (Use the main color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (18) 4. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 5. Crochet *3 sc, 2 sc in the next st*, repeat * (30) 6. Crochet *4 sc, 2 sc in the next st*, repeat * (36) 7. Crochet *5 sc, 2 sc in the next st*, repeat * (42) {STOP!!!! Take the piece of cardboard (or the polystyrene food tray) and place the circle you've just crocheted on top of fit. Trace the borders with a black pencil and cut the circle with a pair of scissors. Set aside...} 8. Only through back loops, crochet 42 sc 9. Crochet 42 sc {Place the cardboard circle as a base for your teapot...} 10. Crochet *6 sc, 2 sc in the next st*, repeat * (48) 11. Crochet *7 sc, 2 sc in the next st*, repeat * (54) 12. Crochet *8 sc, 2 sc in the next st*, repeat * (60) 13. to 20. Crochet 60 mp 21. Crochet *8 sc, one decrease*, repeat * (54) 22. to 24. Crochet 54 sc 25. Crochet *7 sc, one decrease*, repeat * (48) 26. to 28. Crochet 48 sc 29. Crochet *6 sc, one decrease*, repeat * (42) 30. Crochet 42 sc 31. Crochet *5 sc, one decrease*, repeat * (36) 32. Crochet 36 sc {Stuff firmly...} Now take the "inside of the teapot" piece and fit it in the opening of the teapot, so that one stitch of the opening faces one stitch of the "inside" (they both have 36 stitches). Now, with the yarn you've been using to crochet the teapot, crochet a row of 36 sc, joining at the same time one stitch of the opening of the teapot with one stitch of the "inside". Done? Close, break the yarn and weave in ends... Lid of the teapot (Use the main color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (18) 4. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 5. Crochet *3 sc, 2 sc in the next st*, repeat * (30) 6. Crochet *4 sc, 2 sc in the next st*, repeat * (36) 7. to 8. Color 36 sc 9. Only through back loops, crochet *4 sc, one decrease*, repeat * (30) 10. Crochet *3 sc, one decrease*, repeat * (24) 11. Crochet 24 sc 12. Only through back loops, crochet *2 sc, one decrease,* repeat * (18) {Stuff firmly.} 12. Crochet *1 sc, one decrease,* repeat * (12) 13. Crochet 6 decreases (6) Close, break the yarn and weave in ends. Knob of the lid (Use the contrasting color...) 1. Start with a magic ring of 5 sc 2. Crochet *2 sc in each st*, repeat * (10) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (15) 4. to 6. Crochet 15 sc 7. Crochet *1 sc, one decrease,* repeat * (10) 8. Crochet 5 decreases (5) Close and break the yarn, leaving a long tail to sew to the lid... Handle of the teapot (Use the main color...) 1. Leaving a long initial tail, ch 13 and then slst to the first ch to form a circle. 2. Crochet 1 sc on each ch (12 sc) 3. to 15. Crochet 12 sc {Remember to stuff as you go...} 16. Flatten the opening of the tube and close it, joining together, with 6 sc, opposing stitches on each side. Close and break the yarn, leaving a long tail to sew to the teapot. Thread your tapestry needle to the long initial tail and close with a few stitches the other end of the tube. Don't cut the yarn just yet. Use this tail to sew to the teapot. Spout (Use the main color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. to 9. Crochet 12 sc 10. Crochet 6 sc and then 2 sc in each of the remaining 6 stitches (6 increases) (18) 11. to 12. Crochet 18 sc 13. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 14. Crochet 24 sc 15. Crochet 12 sc and then 12 dc 16. Crochet 12 sc and then 12 dc Close and break the yarn, leaving a long tail to sew to the teapot. Push the other end inside, to create the opening from where the tea "will" come out... Cup (Use the main color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (18) 4. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 5. Crochet *3 sc, 2 sc in the next st*, repeat * (30) 6. Crochet *4 sc, 2 sc in the next st*, repeat * (36) 7. to 14. Crochet 36 sc 15. Only through back loops, crochet 36 sc 16. to 22. Crochet 36 sc 23. Crochet *4 sc, one decrease*, repeat * (30) 24. Crochet *3 sc, one decrease*, repeat * (24) 25. Crochet *2 sc, one decrease*, repeat * (18) 26. Crochet *1 sc, one decrease*, repeat * (12) 27. Crochet 6 decreases (6) Close and break the yarn. Push half of this piece inside, to shape the cup. Row 15 should be the border. Handle of the cup (Use the main color...) 1. Make 2 chain stitches. Crochet 4 sc in the second chain from hook. 2. Crochet *2 sc in each stitch*, repeat * (8) 3. to 12. Crochet 8 sc {No need to stuff it...} 13. Crochet 4 decreases (5) Close and break the yarn, leaving a long tail to sew to the cup. Saucer (Start with the contrasting color...) 1. Start with a magic ring of 6 sc 2. Crochet *2 sc in each st*, repeat * (12) 3. Crochet *1 sc, 2 sc in the next st*, repeat * (18) 4. Crochet *2 sc, 2 sc in the next st*, repeat * (24) 5. Crochet *3 sc, 2 sc in the next st*, repeat * (30) 6. Crochet *4 sc, 2 sc in the next st*, repeat * (36) 7. Only through back loops, crochet *5 sc, 2 sc in the next st*, repeat * (42) 8. Crochet *6 sc, 2 sc in the next st*, repeat * (48) 9. Change to the main color and crochet *7 sc, 2 sc in the next st*, repeat * (54) 10. Crochet *8 sc, 2 sc in the next st*, repeat * (60) 11. Crochet 60 sc 12. Crochet *8 sc, one decrease*, repeat * (54) 13. Crochet *7 sc, one decrease*, repeat * (48) 14. Crochet *6 sc, one decrease*, repeat * (42) 15. Crochet *5 sc, one decrease*, repeat * (36) 16. Crochet *4 sc, one decrease*, repeat * (30) 17. Crochet *3 sc, one decrease*, repeat * (24) 18. Crochet *2 sc, one decrease*, repeat * (18) 19. Crochet *1 sc, one decrease*, repeat * (12) 20. Crochet 6 decreases (6) Flatten well and join both halves with a few stitches, using your tapestry needle. Assembly - Sew the handle to the teapot. - Sew the knob to the lid. - Stuff the spout and sew it to the teapot. - Sew the handle to the cup. Crochet as many cups and saucers as guests you are planning to invite... Done!! Enjoy and invite your friends to tea... © 2016 - This tea set is a design by Carla Mitrani for {Amour Fou} – All rights reserved. This pattern is for personal use ONLY. This pattern or parts of it must not be reproduced or published (printed or online), altered, resold or used for commercial purposes without authorization. You can neither reproduce, publish, alter, sell or use for commercial purposes FINISHED DOLLS made with this pattern without authorization. Thank you!

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Animals seem to be a popular embroidery subject. They are everywhere online. I know that the Royal School of Needlework (RSN) teaches 'pet portraits' to their certificate and diploma (C&D) students, but it's not been available as a day class until recently. I had the good fortune to participate in the first offering of this online version of the class to non-C&D students. These are some of the bits and pieces that I had acquired by the end of the class: The class had a lot going for it even beyond the fact of it merely being available. It was six weeks long and held on Saturdays. Because the instructor, Jen Goodwin, was willing to teach at night in the UK I had a wonderfully civilised 10AM (California time) start time. The sessions were only three hours long which I found to be a good length for a Zoom class. (I tried a single six hour RSN class several months ago and it was tiring, not to mention the class started at 7AM for me which was just too early.) I did the entire class on a phone, but a tablet or something larger would be nicer! The following is going to be fairly geeky. I'm writing this with the intent to share and also as notes for myself. We spent the first four weeks with lectures and sample stitching. Jen gave us guidance on good and bad source materials for our animals and she helped us select our photos. I chose a head shot of one of my cats: Meili at nine months old from last November. She's in pretty good focus and her eyes look really nice which was something that was important to me. Once our source photos had been selected we started working on developing a stitching outline or pattern. Jen gave us good directions on how to create the outline. We then used those patterns to do more prep work including a stitch direction diagram, a black and white shaded drawing, a colour pencil drawing and an order-of-work breakdown. These were all excellent exercises intended to help us to really get to know our photo and how it would eventually be embroidered. I haven't had time to finish all of the prep work, but will before I start working on the final piece. We started the process of choosing appropriate ground fabrics and thread colours. I find choosing thread colours to be very challenging, so this was probably the part that interested me the most. We used colour photos of our animal subjects and held threads up to the photos to see what matched. Or, we used the actual animals themselves sometimes: The next steps were to stitch several samples of different types of fur one might encounter when stitching an animal. The class was geared towards helping us learn how to stitch any animal through the various exercises. Employing a subset of the threads that we intended to use on our portraits, we stitched the samples on muslin/calico. We weren't necessarily stitching samples of our animals, we just used colours that we had already selected for future use. The exercises were fun and very informative. (There were only six required samples. I added more boxes to play with later.) The most interesting thing about stitching the fur is that, unlike traditional shaded work where you come up in an already stitched area, you go down into an already stitched area. You want to see the end of the fur. That was kind of weird to get used to, but well worth it! I had a bit of a conundrum over which ground fabric to use on my project. I narrowed it down to two natural-coloured Italian Graziano linens. They are sold in the States as 'manuscript vellum' (left) and 'sandcastle' (right). (Cutting out Mei Mei's head from the cluttered background of the original photo made things much easier!) I ended up choosing manuscript vellum because I like the contrast better. At this point we could transfer our patterns to the ground fabric and start stitching, but I decided I would work on practice pieces first. We started with the eyes on our actual animals and, in my case, the neck which would be the first area I would start stitching on besides the eyes. I had a lot of trepidation over stitching the eyes. Our penultimate class was wholly dedicated to the eyes. By the way, after the first class, I didn't do any stitching during classes, I just observed and took notes. That worked better for me as I could completely focus on what was being taught. We could send Jen photos during the week of our progress if we wanted to. Back to the eyes....they were difficult, but not as hard as I thought they would be. I followed Jen's excellent instruction and ended up with these: They need a little more tweaking, but they're not bad for a first try. I put several copies of the eyes on one of my practice pieces (via ink jet). I want to try some other colour combinations as well. That's about where we ended the class. I think there will be many challenges ahead, but we were given excellent instruction. I feel I have a solid grounding in how to proceed, but I'm still going to have fun figuring out the colours. However, this is good for me to do and I'm glad I took the class so that it forced me to try something I knew would be difficult. The class had a nice amount of rigour, but we also laughed a lot! I highly recommend it if you are interested in learning to embroider animals. References Royal School of Needlework The class proved very popular and they plan on offering it again. As of this writing there is a class in the Fall. Some of the students in the class are sharing their work on Instagram. You can follow via #rsnspringpetportrait2021 Jen Goodwin Embroidery

Big, bold stripes work up quickly with chunky yarn!  Kit includes Mary Maxim Marvelous Chunky yarn and pattern.  Finished size 32" (81.28 cm) x 52.5" (133.35 cm).  Requires Crochet Hook size L-11.

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