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O barbante EuroRoma é produzido com fibras recicladas que permitem a criação de peças incríveis com uma atitude ecológicamente correta. Indicada a utilização agulha de crochê 3,5mm ou tricô 4,5mm. TEX 984 Comprimento: 610 metros Peso: 600 gramas Produto sujeito a variação de tonalidade conforme o lote
Tapeçaria de parede produzida à mão em tear manual por Luiza Caldari. Feita com fios 100% lã natural. Inclui haste de aço inoxidável produzida pelo T44studio e ganchos para facilitar a fixação na parede. Peça única e assinada. Dimensões: 47 x 96cm
Conheça a origem da tapeçaria e os tipos mais usados na decoração. Inspire-se com ambientes lindos que apostaram em peças perfeitas.
Estes esquemas são de montagem, apenas p/orientação, e alguns não possuem medidas. É necessário conhecer um tear e o seu funcionamento, antes de construir. Aconselho aos iniciantes em tecelagem, a …
barbante EuroRoma colorido n 6 4/6 Tex 984 Contém: 1 unidade com 600 gramas = 610 metros Composição: 85% Algodão e 15% Outras Fibras Agulha Recomendada: Crochê - 3,5mm | Tricô- 4,5mm use a sua imaginação e abuse das cores para confeccionar suas peças com qualidade que só euroRoma oferece. Ideal para crochê, tricô, macramê, tear, tapeçaria e artesanatos.O pensamento do sustentável somado à alta tecnologia de seu maquinário dá aos fios ecológicos da Eurofios com exclusividade, maciez e de extrema qualidade além é claro de respeitar a natureza. Fabricante: EuroRoma
Left: Reproduction of the Ladies in Blue fresco from Knossos. Center: Priest King fresco restored. Right: reproduction of a woman carrying an ivory pyxis from Tiryns Minoan male and female dress, from mir-kostuma.com The most spectacular scenes of the daily lives of Minoans is seen in their fresco art. Many frescoes are so vivid and full of energy that you can't help but feel an affinity for them. From these scenes we are given accurate and colorful depictions of how the Minoans viewed themselves. It is truly remarkable that such woven works of art survived, as any and all elaborate dresses seen in frescoes have long since disintegrated. One great example of fashion, class, and culture is the Theran Naval Fresco. Nobles are shown in robes, commoners in tunics, and rustics in sheepskin, alluding to three general occupation based groups in society. Whoever could afford bronze or copper razors used them, and tweezers were used as well. Minoan fashion was in a constant state of flux, constantly changing year to year through a localized version of our now global fashion industry. Long hair was common: men, woman, nobles, and bull keepers wore it, whereas those who kept short hair were either soldiers or those who needed it for practical reasons due to their work. Everyone wore jewelry, if they could afford it. Depictions of the lower classes are surprisingly common, and while details of their clothing are not seen so visibly in frescoes, metalworkers made statuettes of everyday worshipers to be left at religious sites. These metal depictions of commoners were a very frequent item found at such sites. Commoners are also seen in seals and in frescoes occasionally, and generally the most common clothing of the period for most people was wool. Modern illustration of Minoan male and female dress An example of a warp-weighted loom seen in Minoan frescoes Leaf shaped bronze razor from funerary building 3 in Arkhanes Crete, made around 1,400 BCE Bronze razor from Phylos, made around 1,200 BCE Bronze tweezers from Crete, made between 3,000-1,000 BCE A diagram of Minoan cosmetic tools Frescoes unintentionally show the artist's ideal self-image through their own aesthetic lens. Because of this, other Minoans are seen with their attractive features elaborated: straight noses, almond eyes, popping eyebrows, long black hair, tan and athletic bodies, and slim waists and legs. Both men and women are portrayed as beautifully perfect, but of course the world is never so kind. Minoan art excludes those who do not adhere to this stereotype, and most people may not have had the money to wear colored cloth with exquisite and complex designs. While the majority of clothing are left out of the picture, the clothing which is seen was manufactured by master craftsmen. Some designs are too complex to be woven, and were probably block printed, embroidered, appliqueed, or put on using a mixture of methods. The Queen's fresco, reminiscent of the ideal female aesthetic found in classical period art Clothing then as now was gendered, and women's clothing was much more elaborate than men's. Women wore dress tops designed similarly to modern t-shirts, but with a long slit from the neck to the navel. This long opening left women two options, one was to have the breasts covered and the other to have them exposed. Women with their breasts exposed is commonly seen in ritual contexts, and presumably it had some uncommon significance. It is presumed that reciprocally then to have the flaps covering yourself was the normal practice, although it should be said that there is no hard evidence detailing the norms, religious customs, or if there was even a difference between the two styles. Women also wore wide belts and embroidered aprons but only in a ritual context, thus these pieces of clothing suffer too from a lack of any information on their actual usage. It was standard for women to wear hats, whereas men would not, and by 1,700 BCE it was fashionable for women to wear tall pointed hats. By this period, men would also wear such hats but only in a ritual context. Woman from the Procession of Ladies fresco at Akrotiri The Saffron Gatherer fresco Detail of the Xeste 3 fresco at Akrotiri A woman in a fresco from the House of the Ladies “Le Parisienne” Minoan fresco from Sanctuary Hall at the Piano Nobile in the palace of Knossos, 1,450-1,350 BCE Reconstruction of part of relief fresco of an elaborate dress from Pseira, Found in Yphantiki kai Yphantres sto Proistoriko Aigaio, Crete University Press, pg 229 Detail of the arm of that dress from the same source Detail of the lower section of that dress from the same source Pre-Temple (2,400-2,100 BCE) female Minoan fashion, by Tadarida Old Temple (2,100-1,600 BCE) female Minoan fashion, by Tadarida Late Minoan (1,600-1,000 BCE) female Minoan fashion, by Tadarida Mycenaean (1,400-1,250 BCE) female fashion, by Tadarida A diagram of women's hair styles from frescoes at Knossos, Thera, and Tiryntha Male gendered clothing was intentionally skimpy, and during the MM and LM periods different variations of loincloths were all the rage. Presumably in the early MM period men would wear codpieces held up with a belt, which throughout the MM period slowly changed as people wrapped cloth around their upper thighs, turning their loincloths into a simple kilt. Eventually, certainly by the LM period, men would sew the middle of the kilt together to create shorts, and throughout the LM period men's shorts were elaborately patterned and included a decorated tassel hung from a sporran (a pouch tied around the waist used as a pocket). Also during the LM period men would forgo the kilt altogether and only wear a codpiece. Detail from the Stiersprung fresco of a bull leaper, 1,600-1,450 BCE Prince of the Lillies fresco Painting of two male servants at Knossos Servant with a blue vessel fresco at Knossos EM (codpiece) and MM (kilt/shorts) male fashion, by Tadarida A diagram of Minoan male loincloth styles A man from Knossos wearing hat, made around 1,400 BCE or earlier, now at Herakion Museum, from pg 69 of The Arts in Prehistoric Greece by Sinclair Hood The most brilliant example of male fashion from Crete is not actually from the island proper. It is a painting on the wall of a tomb in Egypt. It shows various Minoans bearing gifts for the Pharaoh in celebration of the recently departed Egyptian adviser Rekhmire. He had died around 1,450 BCE and was the Grand Vizier to multiple Pharaohs, he was well liked and respected among the local aristocracy. The fact that foreign Cretans felt obliged to celebrate the life of a Grand Vizier is testament to the connection between Egyptian aristocracy and Minoan aristocracy. The Egyptian artist or artists who were tasked with painting the procession scene were put in a serious bind: they had to paint those gift bearing Minoans presumably before they had even arrived, and the artist/s had not seen a Minoan in some time. The artist/s made a professional decision and painted Minoans as they had remembered them: wearing cod pieces with a particular hem line. When the Minoans actually arrived, their fashion had changed! Kilts had become all the rage and no one wore cod pieces anymore. The Egyptian artist/s were able to quickly fix this mistake before the tomb was sealed, simply painting kilts over top of the old cod piece. Reconstruction of the frescoes from the tomb of User on the left, and Rekhmire on the right, depicting Cretan envoys and their clothing Minoans bringing tribute to Egypt, in the tomb of Rekhmire. It is interesting to note their typical Cretan style done in an Egyptian manner. Also note the fantastically elaborate shoes Detail of the shoes of the Cretan envoys, by the author. While the tomb was made in the late 1,400s BCE, Cretans were known for exporting elaborate shoes by at least the 19th century BCE. King Zimri-Lim of Mari gave King Hammurabi of Babylon a “pair of leather shoes in the Caphtorian [Cretan] style”, but Hammurabi returned them. The tablet which describes this event gives no reason for Hammurabi's ill manners, but only a few years later he conquered Mari and killed Zimri-Lim Various styles of Minoan shoes, all of which are Minoan except for B which is Hittite The procession from Keftiu at the tomb of Rekhmire, by A. R. Burns The procession from Keftiu continued, at the tomb of Rekhmire, by A. R. Burns The recording of gifts from Keftiu by the Egyptian officals, at the tomb of Rekhmire, by A. R. Burns Another fascinating painting from the tomb of Rekhmire, an elephant being brought as tribute. It is unknown whether this was either a small Syrian or Asian elephant (which existed in Mesopotamia until around 700 BCE), or simply a miniaturized drawing of a normal sized elephant References The Minoans, by Rodney Castleden http://amzn.to/1EaVS2X
If you are a weaver who works on a frame loom, you might have come across floor loom weaving patterns that look equally interesting and intimidating. Floor loom weavers have to know how to read weaving patterns, to be able to set up their floor looms properly: thread all the ends in the right sequence through the heddl
Barbante EuroRoma Colorido N.6 4/6 Tex 984 - VÁRIAS CORES Contém: 1 unidade com 600 gramas = 610 metros Composição: 85% Algodão e 15% Outras Fibras Agulha Recomendada: Crochê - 3,5mm | Tricô- 4,5mm Ideal para crochê, tricô, macramê, tear, tapeçaria e artesanatos. A sustentabilidade aliada à alta tecnologia de seu maquinário proporciona aos fios ecológicos da Eurofios exclusividade, maciez e extrema qualidade, além de respeitar a natureza. Tag: barbante euroroma, barbante para crochê, barbante para tricô, tear, tricô'.
Rotating Heddle Bar. Made of Northeastern Hard Maple. Unfinished. A heddle bar is great for separating threads on your loom in order to pass a sword or a shuttle through from end to end. Rotating the heddle bar lifts threads alternately allowing tools to pass in either direction. Based at 4 TPI. Spacing is 1/8th inch . Made of Northeastern Hard Maple 1 inch square Available in 3 sizes: 14 , 20 , and 26 inch lengths The 14 inch size fits our Peeper loom The 20 inch size fits our Dragonfly loom The 26 inch size fits our Bullfrog loom Unfinished. Made in America. Free Shipping. Remember. Our Heddle bars are designed for our looms . We do not know if they will work with other manufacturers. PLEASE NOTE! Our heddle bars are set for ASME sizing. This means that they will not fit any loom that is built with metric dimensions. Examples would be Schacht BEKA or LeClerc Looms ,or other European based loom manufacturers. Since 7/19, we have told that our heddles will fit some of the smaller Harrisville looms, as per customers who own Harrisville tapestry looms. All of our products are manufactured in our shop, in Eden, New York!
Combiner des techniques ancestrales pour créer des pièces contemporaines est l'une des propositions de l'artiste textile portugaise Diana Cunha. Créatrice de la marque Oficina 166 qui sert des clients du monde entier, elle est toujours à la recherche de nouveaux matériaux et designs pour expérimenter les langages et les styles dans ses pièces décoratives artisanales. Dans ce cours, vous créerez des pièces de tapisserie sur un métier à tisser manuel, en apprenant les principaux points et techniques de création de formes, en incorporant des textures et des franges. Diana partagera son processus du début à la fin, depuis les premières idées, l'assemblage du métier à tisser, l'exécution de la pièce jusqu'aux finitions finales et le placement de la pièce pour décorer son espace.
I‘m back with the second of three installments of Weaving Class to teach you how to make simple shapes and customize your wall hanging with a little paint and fun tassels. In the first class we covered the general tools you need to get started and set the foundation with a few basic things you…
Crafts are always a big part of island life. I bring lots of materials and then sit back and see where things go. The last time we went out ...
Kids can weave with this DIY cardboard loom.
Warp Weighted Loom
I‘m back with the second of three installments of Weaving Class to teach you how to make simple shapes and customize your wall hanging with a little paint and fun tassels. In the first class we covered the general tools you need to get started and set the foundation with a few basic things you…
Explore Tiuku-'s 6769 photos on Flickr!
Have a cardboard box and some popsicle sticks sitting around your house? You've already got the basic building blocks for a simple cardboard box loom!
Introducing "Kintsugi," a captivating handwoven artwork inspired by the Japanese art of repairing broken pottery. Derived from the philosophy of embracing flaws and imperfections, Kintsugi emphasizes the beauty of resilience and the transformative power of repair. Set within a sturdy oak frame, this piece exudes sophistication and tranquility, making it a perfect addition to any modern space. Handwoven with natural cotton, its absence of texture enhances its minimalist appeal, creating a serene focal point that invites contemplation and appreciation of the simple yet profound beauty found in the art of Kintsugi. Can be displayed in 2 different orientations depending on your preference and it includes all fixtures for a hassle free installation. Elevate your decor with "Kintsugi" and embrace the art of embracing imperfection. Please note this is a Made to Order artwork. As each piece of my handwoven wall art is meticulously crafted by hand, I want to emphasize that while I strive to recreate the essence of each design, the inherent nature of handmade art means that no two pieces will be exactly alike. This uniqueness ensures that every artwork is truly one of a kind, making it a special addition to any space. Your understanding and appreciation of the individuality of each creation are greatly valued, and I look forward to crafting a bespoke piece that resonates with your vision and style.
In case you need a tiny project to keep you company on a long train ride this week, or to help you quiet your mind and transition from work to wonder, here’s a tiny woven pouch project from R…
Textured wall weaving create a lovely effect. In this tutorial, you will learn 5 simple and easy ways to add texture to your DIY wall weaving.
warp weighted loom and a whalebone weaving sword
