Paperback Book: Openwork Embroidery (New Edition, Revised) By: DMC #8271-2 Year: 1974 Includes: Instructions - guide - laces to make by drawing threads Condition: minor wear Publisher: Editions Th. De Dillmont (France)
Michael Geddis is an emerging Northern Irish visual artist who specialises in drawing. He delights in the elegant beauty of natural forms and finds tiny microscopic structures particularly inspirational. Geddis worked as a Veterinary Surgeon for over 25 years before ill health forced his early retirement. He then enrolled at Belfast School of Art (Ulster University) and in 2013 graduated with First Class Honours in Fine Art. His degree show drawings drew acclaim at a national level when he won the James White Prize for Drawing at the RDS Annual Student Awards in Dublin. Since then, he has been developing his practice through a series of awarded artist residencies/bursaries, some collaborative projects and an Arts Council Lottery Funded project using micro-surgeons magnifying loupes to produce finely detailed drawings. In this exclusive interview, he discusses his work and his thoughts on drawing.
Only a bit of weaving today on the scarf warp - my back is bothering from way too much walking over the weekend on the coast........2 long walks each day, really long walks, and lots of bending over picking up shells off the beach. This scarf I used a teal weft, it's nice, not as eye popping as the black weft but I like it. Next scarf with be another one using the black weft.
Lace making is one of my favorite things. Weaving Teneriffe lace on hexagon looms is fun and quite easy. I’ve made a video tutorial that shows how to weave the Starburst motif in Teneriffe L…
Enjoy a free pattern on me! Buy 2 patterns get 1 free. Add 3 patterns to your Ravelry cart, and the least expensive will be free. The beautiful Estonian “lingonberry” pattern graces this tunic with asymmetrical sweeps of lace detail. Lingonberry motifs adorn the small cap sleeves as well. Delicate eyelets around the hem, sleeves and neck echo the small berry theme, for a pretty summer top that will be a delight to knit as well as to wear! The top is worked in the round from the bottom edge to the armholes, where it is divided for front and back. A-line shaping is accomplished with different needle sizes. Small cap sleeves are worked flat, and edges at the neck and sleeves are finished with eyelets. Note that I am now retired from knit design, but if you purchase the pattern and have any queries, you can reach me at [email protected]
DIY threading cards made from cardboard.
Hungarian artist Agnes Herczeg creates figural lace works of female forms, capturing figures in moments of contemplation or work. In one piece the subject stands at a loom, appearing to weave herself from the included fibers. In each of her works Herczeg uses all natural materials, incorporating small pieces of wood or other found materials to serve as a sculpture’s bed frame, hair accessory, floating vessel, or small shelf. Herczeg studied textile conservation at the Hungarian University of Fine Arts, and over the years has gathered several methods of embroidery and lace-making to use in her work such as needle lace, pillow lace, macramé, and more. More
Summer Lacing Cards - create your own lacing cards at home to work on your child's fine motor skills and hand coordination - perfect for preschoolers.
Please, contact us for purchase [email protected] Our store
“Leno Lace Irisierende Wellenschal” 10-seitiges Musterbuch Von Lisa Rayner Sie erwerben hier ein PDF-Sofort-Digital-Download-eBook. Ich habe dieses Tuch auf meinem 70cm breiten Schacht Flip Webstuhl gewebt. Es sind fünf Wellen, so könnte das Muster in 5 cm Schritten schmaler gemacht werden. Weben Sie einen weichen, spitzen, drapierten Baumwollschal auf einem starren Heddle-, Schaft- oder Backstrap-Webstuhl mit Meereswellen und einem irisierenden Aussehen. Komplette Richtungen von Anfang bis Ende. Das Tuch kombiniert zwei fingermanipulierte Spitzengewebe: Dreherspitze, um durchbrochene Maschenwellen zu erzeugen, und spanische Spitze, um Leinwandbindung zwischen den Wellenmotiven zu weben. Dieses Heft enthält: * Viele Nahaufnahmen des Tuches auf und neben dem Webstuhl zeigen Designdetails. * Eine Beschreibung, wie ich auf das Design gekommen bin und welche Techniken ich gewählt habe. * Eine detaillierte, leicht verständliche Beschreibung, wie das Tuch von Anfang bis Ende gewebt wird. Alle Rechte vorbehalten. Kein Teil dieser Broschüre darf ohne schriftliche Genehmigung des Autors vervielfältigt, nachgedruckt oder elektronisch geteilt werden, mit Ausnahme von kurzen Zitaten und Bewertungen. Die Beachtung des Urheberrechts unterstützt die wichtige Arbeit der Autoren. Darüber hinaus sind meine Muster nur für den persönlichen Gebrauch bestimmt, nicht für den kommerziellen Gebrauch. Vielen Dank.
A set of cotton and linen placemats woven with 8/4 Un-Mercerized Cotton and Duet Cotton/Linen. This rigid heddle pattern uses 2 pick-up sticks and warp floats to create a motif reminiscent of Swedish Huck Lace.
An elegant and delicate machine knit shawl pattern that is free. Hand manipulated stitches and added details create a simple and sophisticated shawl.
I was perusing Yarn Barn of Kansas' website recently and saw this kit they call "Soft Merino Petals," a huck lace scarf in a very soft 2/30 ...
This work centers on careful stewardship of textiles, both heirloom quality and everyday clothing items. Keeping in mind notions of cultural heritage, matrilineal inheritance, muscle memory, and shared links between language and cloth, the works mine words and phrases from the care tags of bras. The words are isolated from their full context and rendered in colorful weaving and lace to allow them to float between literal handling instructions and small poems about care and intimacy in the time of a pandemic. The words are a prompt for viewers to consider their relationship to the care of the cloth items in their lives, as well as the ways that gently handling and mending garments can become acts of environmental justice that serve the liberation of exploited garment workers in the Global South. Artist: Emma Welty Size: 25" x 17" [64 x 43cm] Age: Contemporary, 2021 Place of Origin: Woodbury, Connecticut Type of Textile: Tapestry Material: Wool yarn, cotton yarn, acrylic baby yarn EW007
I happened by chance on Kate Gagnon Osborn’s beautiful LeCorbusier Scarf, and it was love at first sight, I had to weave this! I have since discovered Bronson Lace – the November/Decemb…
The reason that rugs are a subject of such fascination and admiration for so many is that within their threads they carry the weight of history. The designs (which may have religious, talismanic or totemic meanings) tell the stories of their weavers, and of traditions passed down from one generation to the next.
So my friend Sue came over last night on crafty night and taught me how to do a version of needle lace called teneriffe lace. It was quite fun and went fairly quickly. I produced one in a little over an hour. Here are the pictures of it. First you start with a round needle point type disk and you stitch around the edges to create what will anchor it on while you weave. Then you add the first Row of stitched around and knot it in the center to give them tension and hold them in place. Then you put weave three rows round the center going over every four strands. Then you move a little ways up, using your own personal judgement and weave over four again. You do the same on the next row but you pick up differing four's to make the weave more decorative. On the last round you go over two's and when finished you knot it off, and cut away the blue anchoring threads. This is the finished result. It was made out of cotton thread (as it was given to me for free to do my trial disk). I really enjoyed it and would most certainly do it again. I saw it used in period on an apron and may consider this path down the road when making more.
Explore free style girl's 902 photos on Flickr!
Weaving. Pixels. Life.
The metadata below describe the original scanning. Follow the All Files: HTTP link in the View the book box to the left to find XML files that contain more...
Ever since I began experimenting with waves in my weavings, I can’t seem to get enough of them. I love the fluidity and beauty that curves can create. So today, I’m popping in to share 5 wavy weaving techniques that you can add to your own weaving projects. Fun and quirky, waves are a great way to jazz up your weaving repertoire. (If you are brand new to weaving, don’t worry, I’ve got you covered with several links to tutorials that will help you along the way). Some of the techniques I’m sharing today are new on the blog. And I’ll show you exactly how I did them. Others, I’ve shared elsewhere. In these cases, I’ll refer directly to the post where I’ve provided a step-by-step tutorial. Either way, you’ll be learning how to create each and every technique. Let’s get started! MATERIALS loom (see how to DIY your own here) white cotton yarn (for your vertical/warp thread) yarn varieties of your choice (for your horizontal weave) bent weaving needle long weaving needle (like this 5-inch one) scissors For some variety, I added the items below, but they are totally optional: natural wooden beads copper nuts lace ribbon 5 WAVY […]
At the conclusion of my last post, way back at the beginning of the year, I teased that the final pattern in the 1884 knitted lace sample book would be "worth the wait." Little did I know just how long that wait would prove to be. As it turned out, life came between me and my knitting and I am just now getting back on track. Thanks to all who have hung in there. Our grand finale pattern was published in the newspaper under the title "New Fancy Work" and was submitted by M.M. Niles of East Gloucester, Massachusetts. It appears first among the patterns in the sample book, but I have saved it for last because it is in a class by itself. In the accompanying notes the contributor suggests using it to make a tidy (for more on tidies, see 37. Vine Tidy), but my first thought upon seeing the instructions was "counterpane square." Worked from corner to opposite corner, the design features a raised leaf motif against a garter stitch ground in the lower half of the square and rows of eyelets alternating with reverse stockingnet stripes above. The edges of the lower triangle of each square are rimmed with eyelets to use in sewing four squares together to form a block with the leaves at the center. And when multiple blocks are sewn together, the full pattern is revealed: the eyelet rows come together as nested diamonds. A minimum of four blocks (16 squares) are needed to properly show off the arrangement. Since January I have managed to knit only a single block, so in the interest of expediting this post, the image below is actually a digitally created collage. The rate the stitch count increases varies greatly-- the count rapidly rises in the first 15 rows, remains steady as the leaf motif tapers, and then increases again one stitch per row before reaching 38 at the center of the square. By contrast, the upper half of the square narrows one stitch per row throughout. The disparities make for a rather oddly shaped piece, but it is easily blocked into a uniform square. The 74 rows may seem excessive for what amounts to a little swatch, but since many rows are knit with just a handful of stitches, it is not as daunting as that number may suggest. Only rarely do the sample book newspaper clippings include recommendations for materials, but Ms. Niles has several suggestions for her pattern. First and foremost: "In doing fancy work always use the best materials." She advises using very fine steel double pointed needles, No. 16 in the sizing system of her day, the equivalent of 1.25mm (US 0000) today. For thread she recommends either Morse & Kaley's four-ply No. 10 knitting cotton ("I can recommend this cotton highly. It is manufactured at Milford, N.H.") or Barbaric Drab Linen Thread No. 30. She continues Sixteen of these pieces, or four squares ... makes a very pretty tidy, when bordered with some pretty edge. Line the tidy with some bright color. For a coverlet, the fingering weight cotton and 2.25mm needles I used for my sample would be ideal. The individual squares blocked to 3½" along each side. If used for a project today, some refinement of the pattern may be in order. Although paired decreases are used to taper the leaf, only K2tog is used to shape the upper half of the square where a left-leaning decrease might be preferred along one side. (And while we're at it, I think I would set the decreases in from the edge, slipping the edge stitch, for a smoother selvedge and easier sewing of the blocks together.) The tip of the leaf would also benefit from a change. As written, the leaf narrows by one stitch per side every other row until it is down to three. From there only one stitch is worked off on each of the next two right side rows. The resulting leaf tip lacks definition. The obvious substitution would be a single double decrease. This pattern is so large it would be unintelligible without a powerful magnifying glass if the chart, verbal instructions, notes and photos were laid out on a single page as I have done in the past. So I have divided it up in two parts. You can download the chart here and everything else here. Next week: But wait! There's more!
