Ruth’s story is tied up with the barley harvest and sheaves of wheat and barley are great shapes. This craft is a lovely quiet threading activity, simple enough for younger participants but effective enough to satisfy older children. Want to add in a prayer activity? – Use this so that each head of grain […]

I like this box idea for holding mending thread cards. This box originally came from a blog that is no longer available. What a pity too bec...

Meet “Ingeborg”, my new Vintage Style Dress Form, dressed up in pretty Tilda fabric and wearing my Huldresølv gilt silver heart brooch: I have named her Ingeborg after my blog friend in…

MAKE STRING HEART YARN CARDS

Wild Olive is a blog about handmade crafts and cuteness, embroidery patterns, projects and printables, with a dose of kawaii things with sweet faces!

192 Fäden, zu einem schmalen Bändchen verwoben.

MAKE STRING HEART YARN CARDS

176 threads. 176 feinste Seidenfäden, zum Größenvergleich ein 1-Cent-Stück.

The description card reads, "Crazy Quilt 1883-1893 Silk, cotton, wool, and linen, pieced and embroidered with silk and cotton threads Crazy quilts, which emerged after 1850, were usually composed of small, irregular-shaped fragments of silk, wool, and other fragments pieced together. The seams were then embroidered using a variety of stitches. They acquired the name “crazy quilts” because of the strong colors and busy, confusing nature of their designs, typical of Victorian taste."

304 threads

In the early 20th Century the J. & P. Coats company, now known as Coats and Clark, offered a series of 5 mechanical paper dolls through the...

A postcard with a note stitched in red thread with exaggerated flourishes. Love it!

Manual and exchange chart: [geekurl=https://boardgamegeek.com/filepage/220048/expanding-kittens-manual] [/geekurl] [geekurl=https://boardgamegeek.com/filepage/220048/expanding-kittens-manual]- Online PDF[/geekurl] Expansion cards: [url=https://imgur.com/gallery/skl6IsX]- Coffee Kitten expansion[/url] [url=https://imgur.com/gallery/UN6MzAn]- Expanding Kitten expansion[/url] [url=https://

This will be the first in a series of blog posts where we will take a closer look at natural fabrics such as linen, cotton, and wool, and their journey through the ages. Today, natural fabrics can be found in all shapes, styles, and forms from basic undergarments to high end fashion. In decades past,...

My book tour was amazing, surreal, an absolute dream come true BUT I had little time in each city to shop! Boo hoo! Fortunately though I did get to hit a few nice shops thanks to my friend Leslie who introduced me to this fabulous notions store in San Francisco called Bell'occhio. This store lef

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I have a collection (only images!) of paintings by past artists that show women engaging in different types of fiber art. Not that it was called fiber art in the past - more like "womanly past times." Looking at these works gives me such a feeling of connection to women who lived so long ago and, like me, used fibers to knit, crochet, weave, embroider - to make the clothing and furnishings needed for everyday life. And to not just make serviceable items, but to embellish them and make them more than just clothing and fabric. As I'm sitting with my own work, I like to think of these paintings and these women. Here are some of my favorites: circa 56 BCE This piece, showing ancient Greek women weaving, is the oldest image I've found of original artwork. You can see the types of looms they used, upright and attached to the wall. The round shapes at the bottom of the warp threads are clay weights that held the threads down. And to the far left, you can see how the fiber was kept in a bucket and spindle spun. Weaving was an important tradition for Greek women and there are many stories in Greek mythology and writings that feature weaving - among them, Penelope weaving her father-in-law's shroud and one of my favorites, the weaving competition between Arachne and Athena. In the Middle Ages, needlework was seen as an appropriate past time for "well-bred" women. The tapestries that insulated those cold stone walls were all hand woven, fabrics from coarse cloth to fine linens had to be woven, and embroidery was needed on special garments. This illustration is from Concerning Famous Women, a book by Boccacio written in 1402 and now in the Bibliotheque Nationale in Paris. Look closely and you can see all stages of weaving going on - carding, spinning, weaving. And from the clothing the women are wearing, I can see that the queen is working alongside her lady-in-waiting as well as women who are dressed in the manner of servants. Jan Vermeer is pretty well-known since the movie Girl with a Pearl Earring. He did like to paint women. He probably didn't get a chance to do more than that as he, his wife, and their thirteen some children lived in his mother-in-law's house. And some art historians believe the girl in the painting was his daughter, Maria, not a servant. See this link for a discussion of the book/movie versus historical record. Dutch lace in the mid-1600's, when this painting was done, was made by rich and poor women alike - the lace was needed for trimming and could also be relied upon for extra income. The woman in this painting is making bobbin lace - thread on bobbins is wound around pins that are arranged in patterns on a cushion. These are all depicted in the painting, as well as the special lace making table that is used. This site has more information on the process. Jan Vermeer, The Lacemaker, c. 1669 - 70. Oil on canvas transferred to panel, Musee du Louvre, Paris. I love this oil by Adolphe Bouguereau painted in the late 1800's and showing a young (and very flirty!) girl crocheting. I can hardly see the thread she's using, but it looks like it is extremely fine. I believe this is still when crochet was used for making fine lace, so that's most likely what she's doing. William-Adolphe Bourgereau, Young Girl Crocheting. Date unknown. Oil on canvas. Eugene du Blaas, The Knitting Lesson, oil on cradled panel. And this oil, also from the late 1800's, painted by Eugene de Blaas is wonderful. He completely captured the look of heavy concentration on the young child learning to knit and the careful watching, without wanting to look like she's hovering, of the woman teaching her. While I'm not sure I want to be included in this particular gathering (although if I'd lived then maybe I would have), this Jeanne-Madeleine Lemaire oil painting makes me think of how nice it would be to have an embroidery group. I can just feel the camaraderie and friendly competition (I love the woman slyly peeking at her neighbor's work) and hear the great gossip! Jeanne-Madeleine Lemaire, An Afternoon Embroidering. Oil on canvas, private collection. Diego Rivera painted the ordinary people of Mexico going about their daily business and managed to make much of it look exotic and romantic - I'm not sure this was on purpose, but had more to do with accurately capturing the colors and atmosphere without using photo realism. This women is weaving with a backstrap loom much like is still used in much of Guatemala and southern Mexico. I love her yarn holder - I've been toying with buying a swift instead of using the upside down piano bench, but now I'm going to have my husband build me one of these. Diego Rivera, The Weaver, 1936. Tempera and oil on canvas, The Art Institute of Chicago. I hope these give you inspiration for your own work! Happy Creating! Deborah

Sposobów snucia jest kilka, ja robię to przy użyciu ramy. Aby przyspieszyć proces, nie ciągnę pojedynczej nitki, lecz używam deseczki z otworami - przepustki (to ta na dole, zaznaczona na pomarańczowo). Za szpularz służy mi stojak od Harfy lub kilka garnków. Dobry sposób podpatrzyłam ostatnio na weaving today: Kiedy już wiem, jakiej długości osnowa jest mi potrzebna (biorąc pod uwagę straty, wrobienie, kurczenie się po praniu etc), ciągnę pierwszą nitkę testową między kołkami ramy. Nitka to ślad, po którym będę nawijać osnowę o odpowiedniej długości. Jak widać ze zdjęć, snuję z góry na dół, można też w poziomie – od prawej do lewej. Kołki na obu końcach służą do krzyżowania nitek tak, by potem układały się w odpowiedniej kolejności przy nawijaniu na wał nadawczy. Krzyż nitkowy – ten po lewej stronie na górze to miejsce, gdzie krzyżują się pojedyncze nitki – tu pomocna jest deseczka oraz kciuk i palec wskazujący. Nie podejmuję się opisania, jak się przebiera nitki. Taki opis można znaleźć np. w książce „Tkactwo rękodzielnicze” Z. Krzeptowskiej, J. Sypniewskiego, ale o niebo łatwiej zapamiętać, kiedy się to zobaczy i przećwiczy. Krzyż gankowy, na dole po prawej – tu krzyżują się półganki - np. snuję osnowę z 5 nitek przewleczonych przez deseczkę – te 5 nitek ciągniętych razem, to półganek, który krzyżuje się z kolejnym półgankiem. Dwa półganki dają 1 ganek czyli w tym przypadku 10 nitek. Po nawinięciu odpowiedniej liczby nitek oba krzyże zabezpiecza się przed poplątaniem wiążąc je tasiemką/ sznurkiem. I już można z osnowy zrobić warkocz. A za jakiś czas zdjąć z krosien takie dywaniki! (na zdjęciach jeszcze nie wykończone)

Weaving a Sámi band with 11 pattern threads. Sámi shoe band. I saw this beautiful band in Oulu in the Northern Ostrobothnia Museum. It is a Sámi shoe band. There are three motifs and the pattern repeat is: A,B,A,C, Warp and weft details Warp: red, blue and yellow wool Background: yellow wool Weft: yellow wool which makes a speckled selvedge. Warp plan for border There are 10 border threads on each side. The warp plan gives the warp order to the centre. Reverse the sequence for the complete warp. There are 51 warp ends in total. Remember that the red pattern threads are twice the thickness of the background threads. Using the Sunna double slotted heddle. The Sunna heddle has 13 shorter slots for the pattern threads. If you wish to weave a band with fewer pattern threads some slots will be empty. One pattern slot on either side is left empty. In order for the threading of the border threads to keep to the correct sequence of hole then long slot, one long slot has to remain empty on each side. Threading for the Sunna heddle. Note the empty long and shorter slot on each side. Using a standard heddle Threading for the standard heddle. Here is the pattern draft. first part of draft There are 58 picks for the pattern repeat so I have divided the chart into two. second part of draft This is the second part of the pattern draft. There are 58 picks for the pattern repeat in total. Using a standard heddle The dots on the chart indicate which pattern threads appear on the top layer of warp when raising or lowering the heddle. The heddle is raised on the odd number and lowered on the even numbers. When raising the heddle, pattern threads 2,4,6,8 & 10 appear on the surface. Lowering the heddle gives pattern threads 1,3,5,7,9 & 11 on the surface. Using a standard heddle on pick 1, you need to pick up pattern threads 1 and 13 from the lower level and drop down pattern threads 4 and 8 from the top level in order to select the correct pattern threads for the surface pattern. This is an attractive band. I like the way the weaver has made a speckled selvedge by having two red threads at the end and using a yellow weft. Can you see on the second part of the draft that the centre of the shapes has a row of three spaces? Look at the reverse side of the band. You can see that where there are three spaces on the front, the pattern on the reverse is not clear. If you look at the first part of the pattern draft, the spaces are in a cross formation and on the reverse of the band the cross is crisp. This is a typical example of Sámi design and is rarely used in other countries. It means that the band has a definite front and back. I have analysed many bands with this type of motif. It is used to great effect in the designs. Susan J Foulkes January 2015 Weaving a heart pattern. Here is a pattern for a heart shape using 11 pattern threads. You can use a Sunna double slotted heddle, a standard heddle or an inkle loom. Pattern for heart shape with 11 pattern threads. There are twelve picks for this pattern. Repeat until you have woven the length you require. Close up of the heart pattern. Happy weaving Susan J Foulkes February 2015

embroidered on photo

An inkle loom? I bet you didn’t expect to see that here! I have been playing with my Ashford inklette this week…but more about that later! I have this star motif memorized now! You woul…

I have been making some new collages for the Open Studios/ Wool fair this Saturday and for my ETSY shop. Always try to have something new f...

blogged: ranchococoa.blogspot.com/2010/11/flossy-on-craft.html

File name: 10_03_002342a Binder label: Thread Title: Eureka Knitting Silk for hand knitting, half ounce. [front] Date issued: 1870 - 1900 (approximate) Physical description: 1 print : chromolithograph ; 12 x 8 cm. Genre: Advertising cards Subject: Women; Girls; Silk; Knitting; Yarn Notes: Title from item. Collection: 19th Century American Trade Cards Location: Boston Public Library, Print Department Rights: No known restrictions.