_117, 1/14/05, 3:38 PM, 8C, 3056x4330 (574+460), 62%, bent 6 stops, 1/40 s, R73.3, G59.0, B73.5

Each week, I share some of the books and other resources I have found inspiring in my investigation into 3D design for 3D printing. The full list lives here on the pinboard “3D Design to 3D Print I…

The Dekorative Vorbilder, was a decorative arts periodical published by Julius Hoffman in Stuttgart, Germany from 1890 until the late 1920s. The series featured work from a variety of artists, and it...

1. The Spaceship Palaces of Bolivia Freddy Mamani Silvestre is known as the “King of Andean Architecture,” and he has built dozens of houses boasting bright colors and patterned motifs that originate in indigenous art and architecture. His architectural work in the fast-developing city of El Alto is one element of broader cultural changes that have…

516, 75 p. 29 cm

At head of title: Arte francés moderno aplicado

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Okay everyone! This long time anticipated crochet quilt tutorial is finally available! (happy jig!) My friend Tiffany of Fanny Lu Designs took the time to put together the most thorough and detailed t

Are you familiar with Sophie's Garden? Undoubtedly, it's legendary! This spring we are ready to play with Spectacular Afghan Squares!

Date of publication from English Catalogue of Books

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Copies of designs chiefly in ink. Some designs on slips of paper laid in. Other designs pasted on inside of front and back covers

A blog about quilting and a newbie quilter's journey.

This post may contain affiliate links. Hexagon motifs are so versatile and special. They open up a whole world of options for you to make any project you love, from adorable coasters to motif–based afghans. This sublime hexagon motif can be made with any yarn and the recommended hook size for yarn of your choice. … [Free Pattern] Adorable Pattern For A Hexagon Shaped Motif Read More »

Chase the chill with the Klondike Pullover, an unexpectedly sophisticated garment that blends heritage elements with modern design. Worked in traditional Lopi yarn, this chunky pullover features 3x3 rib accented with large cable motifs and saddle shoulders. Difficulty Intermediate Finished Size 39.5 (42, 47, 49, 54)“ bust circumference. Pullover shown measures 39.5”; modeled with 8” of positive ease. Yarn Ístex Álafosslopi (100% Icelandic wool; 109 yd/3.5 oz): #56 ash heather, 10 (10, 12, 13, 14) skeins. Yarn distributed by Berroco. Needles Sizes 8 (5 mm) and 9 (5.5 mm): 16” circular. Size 10 (6 mm): straight. Adjust needle size if necessary to obtain the correct gauge. Notions Marker; cable needle; stitch holders; tapestry needle. Gauge 20 sts and 22 rows = 4” in charted patt on largest size needles. Note This pullover is worked in pieces from the bottom up and seamed.

3 p. \U+fffd\., 53 p., 1 \U+fffd\., 192 pl. 25 cm

Il y a un an, juste avant Noël, un ancien collègue s'est vu diagnostiquer un cancer et a dû subir une ablation du rein. Un an plus tard, son combat contre la maladie n'est certes pas terminé mais il est plus déterminé et combatif que jamais. C'est à sa demande que j'ai conçu ce modèle d'amigurumi "M. Bean" : un petit rein kawaii au crochet. "Plus doux que le vilain rein qui lui a fait tant de mal" m'a-t'il dit et d'une certaine manière, une façon pour lui "de tourner la page avec humour" pour

Bobbin lace, also known as pillow lace, is a method of making lace by weaving threads held on bobbins and pinning them to a pattern pinned to a pillow.

I love using paper foundation piecing for flying geese blocks. The blocks make up so quickly, and they always finish with perfect points. When a pattern shows other techniques that don't work quite as well for me, I always sketch out my own paper foundation pieced block patterns, and photocopy them. You can draw your own paper pieced flying geese blocks, too - in any size you need. It's easy, and there's very, very little math involved. Most flying geese blocks are twice as tall as they are wide, so you basically need to multiply the width of your block by 2 to get the height. Start with a rectangle. Make it twice as tall as it is wide. The most commonly used flying geese block sizes for quilts are: 1" x 2" 1 1/2" x 3" 2" x 4" 2 1/2" x 5" 3" x 6" Size doesn't make any difference in the process for making the blocks. My examples are for making 2" x 4" blocks. This is a great size for practice, but you can adjust when you are making other sizes you might need for your quilts. Now, get a ruler, a sharp pencil, and some graph paper. And, away we go! Make a single block Step 1: Draw a rectangle twice as tall as it is wide on your graph paper. Mine is 2" x 4", but the same formula works for all sizes. Measure halfway down the right hand side of the rectangle and make a mark. This is the same measurement as is the width of your rectangle. Draw lines from the mark you just made to either corner on the left hand side of the paper. The lines you have drawn are the lines that you will sew on when sewing the block and assembling the quilt. Step 2: Add 1/4" seam allowance all around. This outer line will be the line you cut on when you trim the block down for sewing into your quilt. Write in numbers to show the order of adding fabrics. The large triangle, usually made with a darker color of fabric, is number 1. The smaller triangles made with background fabrics will be numbers 2 and 3. It makes no difference which of the smaller pieces is attached first. But what if you want to put two blocks into a set so you can sew two at the same time? Make a set of two blocks Step 1: Draw a single block just like you did before. Now attach another block right next to it. Each block will be twice as tall as it is wide. Step 2: Add 1/4" seam allowance all around. Once again, the outer line will be the line you cut on when you trim the set of blocks down for sewing into your quilt, and the inner lines are the lines you stitch on. Write in numbers. The larger triangles for each block are always added first, the smaller triangles next. Number the first block with numbers 1, 2, and 3, and the second block with numbers 4, 5, and 6. Longer Sets Sets of three or more blocks Follow the same procedure that you used to draw two blocks to make sets of three blocks, 6 blocks, or as many as you can fit on your graph paper. Start with side by side blocks, then add 1/4" seam allowance around the entire set. Write numbers in sequential order, block by block. Make sure that the large triangle is always given the first number in its block. That's it! Photocopy as many copies as you need and begin sewing! How to measure the fabric pieces for your block sections. There is always some unavoidable waste with paper foundation piecing, but if the fabric pieces are cut relatively close to the finished size and shape, the waste can be minimal. Whether sides are cut on the bias or not is relatively unimportant with paper foundation piecing. I've tried to make the measuring for fabric pieces as easy as possible by cutting the large triangles as quarter square triangles and the background triangles as half square triangles. Photo A: half square triangles for small background segments Photo B: Quarter square triangles for larger segments of the block The Formula Yes, there is a formula, but it's pretty easy to follow. For the smaller triangles (photo A above) : Begin with a square 1 1/4" longer than the width of the block. For a 2" x 4" block, you would add 1 1/4" to 2", the shorter measurement of the block. 1 1/4" + 2" = 3 1/4" The square should be cut 3 1/4" on either side. Cut in half once diagonally. You will have two triangles, enough for one block. For the larger triangles (photo B above) : Begin with a square 1 5/8" larger than the height of the block. For a 2" x 4" flying geese block, add 1 5/8" to 4", the longer measurement of the block. 1 5/8" + 4" = 5 5/8" The square should be cut 5 5/8" on either side. Cut in half diagonally, and then cut in half diagonally again. You will have four triangles, enough for four blocks. I've made a chart to simplify it even more. Chart for cutting common size triangles for paper foundation pieced flying geese blocks. Size of Block Cut square for Cut square for two, small, half four, large, quarter square triangles: square triangles: 1 ½” x 3” 2 ¾” x 2 ¾” 4 5/8” x 4 5/8” 2” x 4” 3 ¼” x 3 ¼” 5 5/8” x 5 5/8” 2 ½” x 5” 3 ¾” x 3 ¾” 6 5/8” x 6 5/8” 3” x 6” 4 ¼” x 4 ¼” 7 5/8” x 7 5/8” 4” x 8” 5 ¼ x 5 ¼” 9 5/8” x 9 5/8” And that's everything you need to know! Make all the paper foundation pieced flying geese blocks you like, in any size you like.

Provides resources for self-study for animation professionals, students, educators and researchers.

made a blob collage with album art outtakes / now I’m gonna make a blanket :-P

Broderie : terme désignant l'ornement d'un tissu au moyen de motifs cousus avec des fils de couleurs et de textures variées. Le terme de "broderie" apparaît à la fin du XIIe siècle et désigne tout d'abord les motifs décoratifs ornant les vêtements...

Unfurling XX artwork, mixed media fern artwork, original art, home decor, fiddleheads, collectible art mounted on cradled wood panel. Acrylic painted burlap with hand stitched acrylic yarns and wood beads, mounted on cradled wood panel 1.5 inches deep (4 cm). Artwork size 12"H x 6"W, (30.5 x 15.2 cm)

Rosa Andreeva transports us to a whimsical world using a variety of embroidery techniques.

Hello all, Today i am going to continue my investigation into the Provençal Costume by talking about something which may be surprising in such a warm climate, namely, quilted clothing. Quilted clothing is extremely widespread, as far as China, being a practical way to produce warm clothing. There are three garments worn as part of this costume which are sometimes quilted, the corset or bodice, the petticoat, and the skirt. Obviously these are more commonly worn in winter, but the skirt especially is sometimes worn even in warm weather for special occasions, such as weddings. There are two types of 'corset' or bodice worn in Provençe, with a lace up front, or an overlapping front which is pinned shut. The peasant class, the Paisanne, often wears a laced bodice as the sole outer garment, made of a double layer of colored or striped cloth. The Artisanne and the Bastidanne most commonly wear the bodice or corset which is pinned shut across the front. The back has a fold with lacing to adjust the corset to the body and provide support for the torso. This type of bodice/corset is worn over the chemise and under the dress or jacket 'caraco'. The corset is usually white or off-white, made of a double layer of cloth, and often finely quilted. Here is a photo of such a corset. Another similar garment is the petticoat, which in cooler weather is quilted the same way. These garments are made with minimal wadding or none at all, and often show very elaborate geometric and/or floral designs quilted into them. Here are some examples. More surprisingly, perhaps is a skirt worn by the upper class, the 'Bastidanne', which is sewn and quilted just like a comforter, and is considered to be a very formal garment. The normal skirt averages about 4.5 m around, but the quilted skirt runs about 2.6 m. The regular skirt is called 'jupe', but the quilted skirt goes by the special name of 'Cotillon'. Here is a drawing by Lucille Armstrong showing this version of the Provençal Costume. This is more or less the upper class, Bastidanne Costume, except that the sleeves on the jacket are usually longer, and the fichu is normally of whitework. Here is another photograph of a Provençal wedding, with both the bride and groom in the Bastidanne Costume. It is very refreshing to see people maintain their own traditions instead of submitting to the cookie cutter white elephant wedding gown of standard western culture. The woman standing at the left and the man kneeling at the right are both in Paisanne Costume, while the two women standing and kneeling behind the groom are both in Artisanne Costume. If you look closely, you can see that the bride is wearing a quilted 'cotillon'. If the cotillon is made of a printed material, then usually the quilting is made up of a grid of diamonds over the body of the garment, with parallel lines of quilting on the bottom edge. Here are some examples. These skirts are made in a wide variety of colors and print designs. These skirts are made by putting the lining cloth on a stretcher, then placing the wadding on top, and the outer cloth is then quilted by hand on top. The bulk of the texture of the quilting shows on the outside, and the inside is relatively flat. There is a second type of cotillon which is made, in which the surface cloth is of a solid color, often a rich silk. A band of design is inserted between the diamond grid of the body of the cotillon and the parallel pipes of the hem. Here is a photo of the Bastidanne costume including such a cotillon. The solid color of the top cloth enables the quilted design to be seen and appreciated. Those who wish to make more ambitious quilted designs choose to do this. The inserted design varies significantly in width. Here are a couple more examples. Here are some examples of the types of designs which are inserted. Each horizontal band is a separate design. There is yet one more type of cotillon which is sometimes found. Occasionally a girl makes one specifically for her wedding. While the dress for the wedding may be of any color, this particular type is often white. The added design makes a very wide band, but instead of being arranged in bands, the design consists of various images symbolic of a wedding, fruit, flowers, arches, baskets, hearts etc. scattered around the band. Usually this includes the bride-to-be's initials, and can also include inscriptions such as short prayers or 'this skirt belongs to demoiselle X'. These are obviously a lot of work and are often handed down as heirlooms within the family. Here are a couple of examples. I found this tradition of handiwork surprising, and I hope that you find it interesting and inspiring. Let us make and wear things that are not the same as everyone elses. Let us look to the traditions of the past when everyone contributed to the development of traditions. Thank you for reading. Feel free to contact me with requests for research. I hope to eventually cover all of Europe and the Former Russian Empire/Soviet Union. I also gratefully accept tips on source materials which i may not have. I also accept commissions to research/design, sew, and/or embroider costumes or other items for groups or individuals Roman K. :[email protected]. Source Material: Mary Gostelow, 'The Complete International Book of Embroidery', New York, 1977 Rode de Basso Prouvenço, 'Le Costume Populaire Provençal', Aix-en Provençe, 1990 Andre Sainsard, 'Costumes Folkloriques Provinces Françaises', Paris, 1972 Royere, Gardilanne, Moffat et al, 'Les Costumes Regionaux de la France', New York, 1929 Charles-Brun, 'Costumes des Provinces Françaises', Paris, 1937 P. Leroux, 'Costumes Regionaux', Paris, 1940 Nicolette Tennevin & Marie Texier, 'Dances of France II. Provence and Alsace' from the series 'Handbooks of European National Dances', London, 1951

Bobbin lace in italian Bilros/birros em italiano Encaje de bolillos Tombolo

Sophie's Garden is an extension of Sophie's Mandala. It is a large crochet square with lots of floral detail and step-by-step photo tutorials for each part.

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A range of interviews with contemporary textile artists. We've been lucky enough to chat with some of the world's leading practitioners in this area.

Eucalyptus Square VVCAL Pages 2020 VVCAL Main Page2018 VVCAL Main Page2016 VVCAL Main Page Pin Me! Introduction Each of the VVCAL 2018 Squares were dedicated to a tree by one of the members of my C…

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Copies of designs chiefly in ink. Some designs on slips of paper laid in. Other designs pasted on inside of front and back covers