#cotton warp quilt

[abigailspinach]

A few years ago I was rereading the Anne of Green Gable books when I ran across this passage:

"Yet with all this Mrs. Rachel found abundant time to sit for hours at her kitchen window, knitting "cotton warp" quilts - she had knitted sixteen of them, as Avonlea housekeepers were want to tell in awed voices." Anne of Green Gables Chaper I

Later in the series there are references to the quilts as spreads and having patterns:

"Mrs. Rachel has given you one of her beloved knitted quilts of the tobacco stripe pattern and she says when I am married she'll give me one, too." Anne of the Island Chapter XXIX " 'I'm going to give Anne two of my cotton warp spreads,' she resumed. 'A tobacco-stripe one and an apple-leaf one. She tells me they're getting to be real fashionable again' " Anne's House of Dreams Chapter II

So what was she knitting and what was she knitting it with? It took me awhile to do the research and even longer to write a blog post but this question pops up periodically in knitting forums and it is always answered in pieces. So I've collected those pieces, added a little research of my own, and hope to make a one post comprehensive answer. Here goes:

The Annotated Anne of Green Gables By Lucy Maud Montgomery, Margaret Anne Doody, Mary E. Doody Jones and Wendy E. Barry has the following note to "'cotton warp' quilt" :

"A particular type of yarn sold in stores and identified as such on the label. When it first came in, in the 1820s, this very soft yarn was used principally for weaving. What Mrs. Lynde makes is, strictly speaking, not a quilt but a bedspread. The common way of making such spreads with cotton or other thread is to knit squares on the bias and stitch them together, but Mrs. Lynde's quilt knitting involves elaborate lacy patterns. Montgomery herself knitted three such patterned quilts (see Appendix, "Homemade Artifacts")."

And the Appendix passage which is from Montgomery's 1914 journals:

[vincentbriggs]

I started working on a braided rug earlier this month, using some of the quilting cotton that I have too much of. It's inspired by some very old rugs that my grandparents had. I'm tearing the fabric into 4 cm wide strips, double folding it and slipstitching the edges together, then braiding it and whipstitching the edges of the braid together, around and around. I also pressed the fabric strips carefully after tearing them, and have been pressing the rug every time I go around the ends to prevent it from warping. It's coming along slowly and is currently 16 cm wide. I've used up almost one metre of fabric so far, and am about to switch to a different piece of green cotton.

[cozzy--cove]

I thought that I might make a post about tips on how to fix plushies since I haven't seen many talking about it.

♡Tips on how to fix plushies♡

A needle and thread are going to be your best friend when it comes to just about every repair on any stuffed toy. I prefer to use hand-quilting thread over all-purpose thread, as it is stronger and is less likely to snap or wear down as fast. (all-purpose is easier to find and comes in more colors, it gets the job done. I would just go over the hole or rip a few times)

{video on how to make a knot at the end of your needle and thread}

(the video for the ladder stitch shows you how to tie off your thread at the end of your seam)

If the hole is on one of the seams of the plush, it means one of the factory stitches has snapped or worn away. I recommended finding the ends of the factory thread and securing them down so the hole doesn't get any bigger. You can do this by tying the thread off or using Fray-Check (It's a special kind of fabric glue that keeps the threads of fabric and thread from pulling away from each other. If you want to be extra safe you can tie the threads and glue them down)

After the factory threads are secured next step is to actually sew up the hole. Choose a thread color that is the closest to the color of the fabric. (If you can't find a color that matches, go with gray. Gray thread blends in with every color) The best stitch for sewing up seams is an "invisible stitch," also called a "latter stitch." This stitch is practically invisible when done, you won't even be able to tell that there was a hole there in the first place.

{video for how to do a latter stitch}

{diagram link}

If there is a hole that is not on a seam, you have a few options. You can sew up the hole the same way I described above. (I would do this for little holes or rips. Places where the two sides of the hole touch without being pressed together)

If the hole is bigger or is caused by the fabric wearing down. (this is when the fibers of the fabric have worn away. This is caused by friction.) This means that there is no fabric to pull together without causing the plush to warp or rist the fabric fraying more. (this would cause the hole to keep getting bigger even if you sewed it up) this is the kind of hole that I would put a patch over.

(a kind of hole that I would sew up with a latter stitch)

(a hole that I would put a patch over)

A patch is just what it sounds like; it is a small piece of fabric that you would sew over a hole. A patch can be any size, shape, or color. I prefer to use a color that is different from the color I am sewing it over but you can find a color that will blend in better. (I just like the look of a bright red patch over a brown bear. But I also think that pastel colors look good along with black and white.)

A patch should be cut to be slightly bigger than the hole you are trying to cover. I like to use fabrics that are not going to fray, like felt or fleece. But if you choose to use a fabric like quilting cotton or flannel, I would recommend finishing the edges. (you can do this with Fray-Check, or by folding the raw edges in) when sewing a patch on, I like to use a "whip stitch" or a "blanket stitch" (I recommend a blanket stitch if your fabric is more prone to fraying). You will see the thread that you use, so this would be the best place to find a matching thread color, either for the patch or the plushie.

{video for whip stitch}

{video for blanket stitch}

{video for finishing an edge by hand}

I don't think people should be afraid for the day their beloved plush gets a hole or rip. I think that repairing them is such a bonding experience. I view every patch on one of my plushies to be a reminder of how much I love them and how much the two of us have been through together

Hope this helps someone （＾ω＾）

[lillipad72]

The Annotated Anne of Green Gables ~~ a special rereading

a little intro on how i will be doing things for this: generally I will not be commenting much on the story itself but more on the notes in the book i find most interesting and expanding/analyzing them :)

CHAPTER I ~~ Mrs. Rachel Lynde is Surprised + the epigraph

"The good stars met in your horoscope,/Made you of spirit and fire and dew." -Browning

This line is the first bit of text given by Montgomery, as seen in the epigraph. It comes from the poem "Evelyn Hope," by Robert Browning. This poem is about an old man lamenting the death of sixteen-year-old Evelyn and his love for her, which she never experienced. While the context makes this poem more morbid, the lines themselves are beautiful and lyrical. I am trying to figure out why Montgomery chose these lines to introduce Anne. Was it some deeper meaning she found in the poem? Was it the image of Evelyn that these lines describe? Did it match her image of Anne? Or something else entirely? Let me know what you think! (A watercolor of Evelyn from 1908 is above, and here is the poem)

"Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies' eardrops and traversed by a brook that had its source away back in the woods of the old Cuthbert place; it was reputed to be an intricate, headlong brook in its earlier course through the woods, with dark secrets of pool and cascade."

The first line of the actual story (more like a complex sentence)! I just wanted to take a second to appreciate our scenery here and specifically talk about the "ladies' eardrops." When first reading, I knew this must be a plant, for it followed alders, but I knew nothing about it. The more common names include jewelweed and spotted touch-me-not. This plant is native to North America and is mostly found near creeks. It spreads very rapidly and does not need cross-pollination! Actually, in the State of Washington, it is considered a weed due to its fast reproduction. I think that including this plant with specifically that uncommon name for it is used to draw us into the almost fantastical world full of wonder that is Anne's soon-to-be home, Prince Edward Island. Because even if you do not know which plant the name refers to, the name shouts beauty and delicacy. I have even more thoughts about the symbolism of this plant but fear that I might be looking too much into something that might just be a passing reference. Oh and above is a photo of ladies' eardrops!

"Mrs. Rachel found abundant time to sit for hours at her kitchen window, knitting "cotton warp" quilts -- she had knitted sixteen of them, as Avonlea housekeepers were wont to tell in awed voices."

While Rachel Lynde must have 'abundant time,' she also must be extremely fast at knitting. "Cotton warp" refers to a kind of yarn used for weaving, and she was actually making a bedspread. With this type of yarn, knit squares were not a thing; instead, she would have used elaborate lacy patterns. After researching, I found a post in which a woman described how long her mother took to crochet a similar type of quilt. It took her mother approximately 300 to 400 hours to complete. And Rachel knit sixteen of them and is on her seventeenth at this point. No wonder the Avonlea housekeepers were in awe. But that is not the end of her quilts. She gives Anne six quilts while in college (five are just lent, though), Diana gets one for her wedding, and another two for Anne upon her own wedding (also not clear if any of these are newly knitted for the occasion or ones she already has). Also, our favorite person, Lucy Maud Montgomery, knit three of her own 'cotton warp' quilts in her lifetime. One of which is known as the 'Crazy Quilt,' and a photo is above!

This chapter didn't have too many notes that I found super interesting, for most of them had to do with geography, and it is a shorter chapter, so I hope you enjoyed my findings on these three topics!

next chapter

[coldshrugs]

12 for the fluff prompts 🥺💗

thank you fren!! this is SO late but i missed them so. here we go.

closer to you

pairing: io laithe / estinien varlineau word count: 815 note: this prompt was "pushing a strand of hair behind their ear" and uh... we got there in the end :')

Muddy darkness thaws to warm pink-gold scattering behind the thin skin of eyelids. She is still in the edgeless realm of half-sleep, unburdened by body or name. Unaware of the exact space she occupies, only that it is too warm.

It would be a simple thing to drift off again, but even now she recognizes the fracture in his routine.

Somewhere outside the boundary, he breathes, and she hears it here, a deep, comforting rumble her mind cannot help but latch onto.

Inhale (Estinien).

She stretches, languorously rolling towards the sound. She breathes with him.

Exhale...

(Estinien)

And now there is a sense of place. They’re in their suite. In their bed, and he’s still here. Her heart (she must have one, the part that recognizes him before remembering herself) is swollen at the thought.

Inhale.

Balsam. Charred vanilla. Uncomplicated and earth-grown, distilled into a sweet amber scent that clings to him like smoke. This is the tether that drags her toward reality.

Estinien.

Exhale.

Estinien. And her name chases his until both settle into something solid. Estinien and...

Io opens her eyes to a flood of soft golden light. The details are unfocused. Here, the bed and her pillow. There, the thin cotton quilt shoved down to her waist. The humidity, thick and oppressive, creeps through the window at her head, relieved only by the feeble breeze that ripples the gauzy curtain.

Her eyes adjust, and Estinien is golden, too, painted by dappled patches of the morning sun. The steady rise and fall of his chest shifts the light. It dances over and into the valleys of long-healed scars, warping into mesmerizing patterns.

It is rare to wake before him. His days have early starts and late endings, a routine worn deep by years of disciplined training, and still more years of dread at what he might find in his dreams. So he rises with the sun, leaving Io to sleep while he readies himself for the day. He wakes her eventually, when only a sliver of morning remains, with the promise of breakfast from a favorite restaurant, or a cup of coffee, or a bath already drawn.

Anything to keep busy.

Then there are mornings like this one when the exhaustion catches up to him. Mornings when his familiar weight and warmth in their bed surprise her. Io savors these opportunities to watch him sleep in.

She props herself on an elbow.

He lies on his back, one hand on his bare chest, the other resting between them. Asleep and utterly untroubled, Estinien's face is softer than the version she holds in her mind. Free of the lines that sit between his brows, free of the tension in his jaw. Dark circles still ring his eyes, evidence of his usual sleeping habits, though they're less stark in this light.

As much as she loathes to disturb his hard-earned peace, Io cannot resist sweeping a stray silver lock away from his cheek, tucking it behind the blade of his ear. Her hand falls to his chest. She settles into the pillow again.

Estinien pries open an eye. "What are you doing?"

"Go back to sleep. I didn't mean to wake you."

It's too late. He rolls onto his side to face her, and the strand of hair she tucked falls loose again, as obstinate as the man in front of her.

"I overslept." He grins, squinting against the light. "And you let me."

"And I'll do the same tomorrow. You need the rest." Io's hand returns to his cheek. "Besides, I like waking up with you like this."

"Mm, perhaps it's more likely you want a partner in midmorning indolence." His tone is teasing, his voice syrupy, and he yawns loudly, demonstrating the point.

Io laughs, preparing a quip to celebrate her victory, but she doesn't get the chance to answer–Estinien's arms snake around her waist, and he pulls her across the short distance that separates them. The heat is sticky and stifling, so they kick off the quilt. Io curls into him, forehead to forehead, smiling softly at the patterns his fingers trace across her back.

He kisses her slowly, content to linger in each deliberate movement. His lips part, and the kiss deepens, but there is no heat, no request for more than this quiet intimacy. For the second time this morning, her heart feels too big for her body, tenderly beating against her ribcage as if it's trying to find its way into his.

Estinien pulls away and peace returns to his face for a moment.

“Fine,” he sighs, looking at her with an adoring sort of resignation. If Io melts, it will have nothing to do with Thavnair’s heat. “If you would have me waste half my day here, I expect to be plied with coffee. ‘Tis only fair.”

She has never been happier to leave her bed.

[lrkmcd]

“Remnant,” 23″ x 24″, cotton warp and organic cotton weft, 2022. 

A design based on a fabric scrap leftover from quilting. The colors were chosen before the war in Ukraine but the connection is apt. This piece is about negative space, who is lost, who remains, whose stories get told. Every day we experience monumental loss. Today there was another mass shooting, no, not the one(s) from last week, a new one, just today. Lives lost, love lost, stories cut short. Whose values are we living in/under?

[save-the-spiral]

Appliqué

(buy me coffee?) (Maliswap AU Masterpost)

Content warnings for depersonalization, derealization, dissociation, minor self harm, memory loss.

You are sitting in a cozy room. You know, intrinsically, that this room is in your flat, your home, in the same way one gets information in dreams, by just somehow knowing.

The walls are a pale grey, framed photographs and a few mementos on shelves to break up the bleak emptiness. You blink at the small wall hanging depicting an animal you can't name the species of, some brown furred thing arched and stylized as if for heraldry.

Two windows also disrupt the monotony of the walls. One looks to a brick wall, and is stuck shut anyway. The glass is warped beyond movement, making the strict lines of mortar waver. The other window has newer glass, still likely older than you, but it distorts less. Sunbeams the color of aged parchment stream into this room in the late afternoon, hours gilded and ephemeral, and you have a vague recollection of someone enthusiastically chirruping and cheering over this phenomenon at some point.

The concept of the memory dissipates like candle smoke.

The texture of worn cotton fabric comes to your attention, fingers absentmindedly skating against the surface of the bed's top quilt. A variety of shades meet your eyes, shaped into something important you can't perceive, sewn together from triangles of fabric.

You lick at your bottom lip in one small motion, trying to think. Your lips are ragged and torn, chapped from the cold and strips of delicate skin ripped by your teeth into strips. Little pains you do to yourself without thinking. Little wounds that aren't fit for a colorful bandage or a kiss to make it better. Little raw patches of skin that will weep but one bead of blood, rolling down skin, fated to be smeared and washed away.

Your teeth rake over the uneven skin, harsher than you usually are as you try to think. Fingers curl clawlike until nails bite into the meat of your palm, all those small delicate muscles aching with the strain.

If only you could just think.

Everything seems to swoop in your vision, blurring.

You know, just as you know this is your room with your windows and your quilt and your body, that you aren't drunk. You aren't sick. You aren't dreaming. You know there is a reason for you to be unable to think.

After all, you've thought perfectly fine for years upon years, as many people do. You think a lot, too much even. And yet now not a single thought is expressing itself, you can't even construct a sentence. Stringing words together to mean something is beyond you. Connecting images and concepts is too much.

All you can do is know, in that dreamlike way. You aren't dreaming, though. Some part of your mind would reject it and you would wake by now if so.

It seems to be late afternoon. Light is streaming into the room from that window. The room is suffused with warmth.

The light is not the color of faded parchment, or butter, or cake batter, or anything else.

You know you cannot see color, but also that at some point you were able to, and chose to give it away. This is what truly jolts you from this listless state.

Ignorance is not bliss, then. I hadn't thought it true, but you wished for it and I am doting in my care. I've taken too much to take the knowledge of your sacrifice as well. When I do it leaves you like this, near catatonia.

I'm sorry it didn't work. I wanted it to. I want some solution where we both are content with our lot, but it seems more and more improbable with every attempt.

Our shared existence isn't a pained one, and doesn't have to be. Unfortunately the circumstance of our joining is of pain, and the knowledge of it a wound that cannot heal.

Never have I been unable to fix my problems, but then again, never have I shared my problems with another. Never have my problems been unsolved by simply taking more.

It's all I know how to do anymore, taking.

I'm not a glutton. I don't think one is a glutton if their very nature is to take. Parasitic is far more apt, as you called me once. You said it the same tone others have used when they named me monster and beast.

Though, I've realized, I have never shared as I have with you. Shared in vessel, and existence. Perhaps that is what wrought our unique agony, but I am reluctant to snuff out your spirit.

You wouldn't exist anymore. Necromancy would not find you, because there would be no you to find, lost to the shadows.

By keeping you, I prove yet again selfish.

It hurts, to have known you so thoroughly. Your existence is defined by neglect. So few of your already few years are what one would call content, even fewer happy.

Admittedly, I don't fully grasp the mortal fixation on happiness, but it was important to you.

Mortality, in essence, renders all actions of mortals inherently of far more import than those of us whom live infinitely. With what limited years, mortals do what they can, forever grasping at the nebulous concepts they create and suffer for, forever reaching for more. The fact that it all ends is what gives their action worth. Every mortal 'forever' is an unfulfilled promise.

And in your ultimately infinitesimal life, you sat in a cramped, drafty set of rooms and relished in the act of existing alone and by your own will. Freedom is another one of those mortal concepts, one I did not appreciate until I myself was bound in my tome.

Pandora's jar and all that, I cannot return to the tome. We tried that already.

The existence of our shared problem does not denote the existence of that problem's solution.

We've tried so many things, little one. I don't know what else can render this existence a kind one, something worthy of calling life.

I think, young one, we are bound by my nature foremost.

I am a selfish thing, hoarding and consuming. But our current circumstance proves I am able to change. After all, you are still here. I can share.

I cannot give back what I have taken, not to whom I took from. Sacrifices and deals willingly committed cannot be reversed.

"So don't give me what was mine." You speak, in a voice I heard eons ago, a deep timbre so unlike the voice you traded to me for more and more.

I'm so unused to you speaking. I suppose our dialogue has been rather one-sided with my musings, after all.

"You do love the sound of your own voice. I can appreciate that, at least, considering it used to be mine." Your voice is wry and rumbling, strumming the cords of a cello left to languish in an orchestra's basement. "Keep what was mine. Gift freely the remnants of those before me."

Yes, the best of them. Gems I kept among my collection, polished and shining, some older than your Spiral. Cherished things, memories and features and skills.

You are barely more than a spirit now, only given the shape of a body because you had one in the shards of a memory you inhabited.

Now you are stitched together with the shade under a wide canopy. Now your skills and knowledge will be hemmed in with the darkness of chasms of the deep, where sunlight will never touch. Now your body will be mended together piecemeal yet whole, as you have not been since the first time you opened my tome.

I will render you whole. Reborn anew, your own body, your own mind, your spirit inside. I will divorce the you from me until we are two, one born from another.

You are quiet, and I am consumed by my own joy- something sweet and bubbling like that memory of champagne I took from you- and I look to you, expectant, hesitant, worrying.

I knew worry before this, but never have I worried before I worried for you.

You stare at me. I weave together the dark matter between stars so I may sew the fabric of your existence into more than aimless spirit inhabiting a body no longer yours.

"Would this not make us parent and child?" You say, hauntingly empty from something I did not take, something taken a long time ago by those who were only supposed to give to you.

No, no we wouldn't be. I can't claim to have created you, or grown you, or raised you. I don't know what this would make us, but never parent and child. I would not do that to you, not after what has already been done to you.

I don't know what we will be, aside from separate entities, now given a chance to exist beyond pain and unending rumination on why.

I'm dreadfully excited, to be honest. We can truly be. I don't know how we will be, but the fact that we will at all is enough to make my hands shake as I twist penumbra into your being.

I've never felt this way before. A kind of fear in the pit of my gut, yet a racing heart, yet a tingling in my fingertips, yet I feel so light as I might float away. Happy and scared and excited and terrified and utterly breathless, even as a being that need not breathe. Perhaps this is what it is to feel alive.

I'm ready.

Are you?

"Yes." you say, your new voice cracking.

It hurts, for just a moment. Spirit and mind bound yet again to body, yet body is of ideas given freely, yet body is a concept that is only rendered into true existence by nature of reconstructing the universe in the moments Bartleby blinks.

You inhale, a ragged gasping thing. Your new chest heaves.

You look upwards, at a face that used to be yours. It moves uncannily, but nonetheless into a smile.

You are alive, and whole, and totally your own.

And yet still you give to me, undeserving that I am.

An embrace is not the sacrifices you have bled before, and I treasure it more than anything.

[projectgoblin]

Ok so mistakes wise (so far)-

on the pockets, I got my fronts flipped sadly. I made the right the left and the left the right. That unfortunately led to the entirely randomized design with no two of the same colors touching to have 3 sections of the same colors together. Really unhappy with that tbh but I’m far too lazy and far along to do anything about it now. So the pockets are just going to have to live like this now, and it will eternally bother me and I will probably point it out to everyone who ever compliments the jacket, even though they probably never would’ve noticed on their own

On the jacket as a whole- WHY oh WHY did I just entirely ignore the grainline?? It’s half of my actual day job to pay attention to stuff like that, but I just totally glazed over at home I guess.

Unfortunately on silk, there’s a clear difference in how the light hits the fabric on grain and cross grain. You can see it in how some of the panels look very shiny and silky while others look more matte. The shiny ones are oriented properly and the grainline goes up and down as it should. The matte ones are oriented cross grain and thus the light hits the fibers differently. The pocket photo illustrates this well because the same colors are right next to each other but present very differently due to orientation

In the case of cotton based quilting, I’m under the impression that the grainline is less important and can be ignored (though bias cuts might warp more than with grain cuts) but for shiny satin weave fabrics and some others, grainline is very important for the look you want to achieve. Oh well, live and pay better attention next time.

[aldiraweavetech]

Jacquard Loom Machine - 3 Fabrics & Its Importance In Various Industries

What is a Jacquard Loom Machine?

The Jacquard Loom Machine is a device fitted to a loom that simplifies the process of manufacturing textiles with such complex patterns as brocade, damask, and matelasse. It is known as one of the most advanced weaving machines around the globe.

A jacquard textile machine is used to weave the type of fabric known as a Jacquard. They were created in 1804 by the french engineer and silk manufacturer Joseph Marie Jacquard. It is capable of producing complex patterns on fabric through the use of punched cards. Plain, satin, velvet, and lace are the fabrics that were woven with the jacquard textile machine. There is an increase in the application of this technology in recent decades.

Let’s discuss the fabrics and how jacquard loom machines are used in various industries.

Brocade:

Brocade is a class of richly decorative subtle-woven fabrics, often made in colored silks and sometimes with gold and silver threads. One of the most popular machines used for weaving brocades is the computer jacquard machine. Brocade has patterns that can be woven right into the fabric as opposed to embroidered fabrics. It is additionally known as embossed cloth. Earlier, brocade was formerly used for decorative clothing, although now, it is used widely.

Where is the Brocade fabric used?

Homeware: Curtains and heavy silk drapes

Accessories: Tie, pocket squares, pillows

Furniture: Ornamental Chairs with brocade cushions and sofas with brocade patterns

Damask:

Damask is a type of fabric characterized by its flat and reversible pattern. It is typically made of silk, cotton, or synthetic fibers and is often used for table linens, upholstery, and clothing. The pattern is created by weaving the warp and weft threads of different colors in a specific manner to create a reversible design. The name “damask” originates from the city of Damascus in Syria, where the fabric was first produced.

Where are Damask fabrics used?

Apparels:

Damask is essentially used for evening wear, jackets, and other stuff clothing items that are meant to be somewhat weather-resistant.

Accessories:

Scarves, handbags, and luggage are some of the common uses of damask in everyday wear.

Decor:

Damask is regularly used in upholstery for home decor. Damask can sometimes be seen on light rugs as well.

Additionally, Damask is used in a wide variety of products, including wallpapers and suitcases, including fabrics with a damask-inspired pattern. Other frequent plastic accessories with damask designs include glass cases, laptop cases, phone cases, and many other plastic accessories.

Matelasse Fabric Matelasse is a type of fabric with a raised, quilted surface resembling a woven basket. The word "matelasse" comes from the French term for "quilted." It is usually made of cotton or silk and is often used for bedspreads, curtains, and upholstery. Matelasse fabric is characterized by its intricate patterns and soft, plush feel.  An interesting fact is that in the sewing industry, a “figured fabric” is an example of what is known as a Matelasse Fabric. This fabric has a complicated weave structure. It is manufactured using cotton, silk, or rayon. The fabric has a flexible surface with a quilted appearance, additionally, the fabric is opaque in appearance.

Where is Matelasse Fabric used?

Home Furnishing:

Curtains, bedsheets, pillowcases, bed skirts, cushion covers, etc.

Computerized Jacquard Loom is the best fabric weaver as it can carry out any weave pattern and produce endless fabrics. It started the manufacturing and consumerism industrial revolutions. Due to the demand for simple, minimal, and adaptable fabrics, there is a considerable increase in favor of industrial looms among designers and apparel firms.

Alidhra Weavetech is one of the most known and famous for being armed with innovative and cost-effective weaving and twisting machinery, as well as Jacquard machine solutions in the world. Weavetech is known for its innovation, creativity, excellence, and integrity.

 If you are looking for a textile manufacturing machinery industry in India, look no further and give us a call and Contact us today.

Original Source: https://weavetech.com/blog-detail/30/jacquard-loom-machine---3-fabrics-its-importa/

[greentrickster]

Inner lining, done! Most stockings of this type don’t need one, but I’m using quilting cotton instead of faux fur or velvet or a heavy knit, and a lining is important to make sure the stocking doesn’t easily stretch, warp, or tear. I used the original stocking as a base pattern, and the lining itself is an old pillowcase that my mom gave me on the grounds of it’s too worn for pillowcase duties anymore, but still has plenty of wear for something like this.

[marionrav]

Sewing tips: blouses

This would be true anywhere from the 1900s up until the 1990s when wovens get less common. Still - might be handy for writing tips, and it doesn't hurt me to write stuff down.

I sew a lot of my shirts. Unethically made t-shirts run about 8$ - 15$ around here at best. I can get unethically made button up shirts for 3$ - 18$ if I'm willing to hunt for a sale, but ethically made clothes in my size and cut (larger, curvy,) do not really exist under 30$.

Since I can get fabric for about 12$ and I have a stash of passable shirt buttons, I can basically come out ahead on woven blouses. My base shirt is just a basic unisex blouse that cost a dollar originally. I added some darts for a little more shaping.

You're looking for a bust 46" ish sized person about 2 yards of fabric (one fitted twin sheet, if you're going for second hand test fabric) for a short sleeved blouse. The main fabric usage in a blouse is actually sleeves. On average, a pair of sleeves will take as much fabric as the front of your blouse. If you can't fit two copies of your front on doubled fabric, you likely can't get long sleeves.

So, what are you looking for?

Beware of stretch fabric. A bad stretch fabric may not have recovery, so the shirt might droop and hang badly. It might run / pucker / warp as you try to sew it. It might hate having button holes added to it. It might require interfacing to even try to make a collar / buttonholes.

Beware of poly blends until you know what your body likes. Polyester can be noticeably warmer than cotton, but you can also run into fabric you hate the texture. Stuff with a little shine in it ranges from polite to the most ill behaved wiggly mess you've ever seen. You can press synthetic fabrics, but there will be some differences compared to natural fibers.

Check the weave of the fabric. A loose weave can have a thread caught and pull in your fabric. You can literally damage it by pinning it to sew. It can also feel coarse to the touch. Loosely woven linen sometimes starts out feeling almost sandy and pilled until the linen breaks down enough to become soft. For second hand fabric, give the fabric a snap along the corners and straight of grain (in other words, grab it with two hands and give a yank.) If you feel shifting / snapping threads / see wrinkles remain in the fabric, it might simply be worn out or not behave well as you sew.

Check for weakness in the edges of the fabric. If the fabric is already trying to unravel, you will have to treat all the edges. If the fabric is pilled before you sew it, it will continue to do this. If there are loose bits (so, say, embroidery with long bits of thread, or brocade with long bits of thread inside,) then you might have wear appearing early in the fabric.

Weight of the fabric matters. Feel shirts you like in the stores. If a heavier canvas style shirt repulses you, thicker fabrics like flannel, light canvas, or heavy quilting fabrics might upset you. If you are sewing a tailored crisp shirt, then a loose floaty fabric without interfacing or lining will not work. Check what your goal garments are usually made of. You cannot sew a silk blouse out of wool broadcloth easily. You cannot make a puffy huge sleeved Victorian bodice out of rayon crepe easily. If your pattern requires careful pinning and easing complex shapes together, it will be easier with a fabric that can handle picking out a seam.

Opacity of the fabric matters. You can wear surprisingly translucent fabric with historical undergarments. Unfortunately, a transparent fabric could show the pattern of pieces under it, or sloppy seaming. A gathered / pleated / pintucked / trimmed garment can have layers to hide the interior structure of yourself or the shirt.

Make your test copy of something in a fabric similar to your final goal. It doesn't have to be gorgeous, or perfect, but a thin muslin shirt will pull / hang differently from a thick fleece shirt. If you simply cannot find anything similar, accept that you may have to adjust your seams.

Pay attention to the standards of the era you're interested in. 1900's garments sometimes have smaller arms / tighter shoulders due to how a corset would pull your body to stand / the assumed age of the wearer. The puff of sleeves goes up and down over the years, and sometimes there's assumptions in the weight of the fabric you're using. A 1910's era shirt drafting manual assumed you were sewing a gathered in the front pigeon blousing shirt with 4 times the necessary radius around the body. This would be silly in a hefty fabric. 1980's shirts assume you have shoulder pads or are sometimes cut like you're shaped like a brick. Many post 1970's shirt patterns have huge armscyes and sleeves to avoid more complex shaping.

Ease matters. In a non-stretch fabric, you must put some ease into your garment or you will be unable to comfortably move. This means you need to know the size of your body, and the size you tend to like things on your body. The simplest way is to sanity check the pieces of the pattern against something you like the fit on your body. If the pattern, with seam allowances, does not fit on you or your sample garment, then you know you'll have to adjust things. Checking a flat piece of paper against your moving body will be difficult, so a flat garment often is easier. With time, you may discover that the impossible body the pattern assumes you have always needs additions or subtractions. This is normal.

[suzhouweitaitextile]

Creamy white luxury fashion floral jacquard quilt

This Creamy white luxury fashion floral jacquard cover, with its fashionable creamy white tone, exudes a robust experience of luxury. The exquisite floral pattern adopts elegant jacquard craftsmanship. Each flower seems to have been carefully carved, delicate and vivid, bringing an elegant pastoral style to the bedroom. Its cloth feels smooth and sensitive, as though it may lightly wrap every tired frame, bringing warm consolation. At the identical time, its texture is thick and its thermal insulation overall performance is super. It can offer you with a cushty snoozing surroundings whether or not it's miles a cold iciness night time or a barely cool spring and autumn season.

Suzhou Weitai Textile Manufacturing Co., Ltd. is custom Creamy white luxury fashion floral jacquard quilt manufacturers and Creamy white luxury fashion floral jacquard quilt suppliers, located in Changshu City, Jiangsu Province, is a professional production of various warp and weft knitted fabrics and finished products manufacturing company, mainly engaged in home, clothing, toys and other plush products. The main fabrics are flannel, coral velvet, soft cotton velvet, imitation fur, PV velvet, super soft, jade fox velvet, rabbit hair, plush, non-fall, polar velvet and so on. The main finished products are cushions, rugs and blankets. We have independent factories, through BSCI, OTEX certification, has introduced the world's advanced Germany Karl Meyer warp knitting equipment and domestic leading warp knitting machine, warping machine and other production equipment, independent completion of weaving, printing and dyeing, finishing process, reduce production costs, for customers to create greater profit margins. Our monthly production capacity is about 100,000 pieces, and we launch new products every month.

Suzhou Weitai Textile Manufacturing Co., Ltd. is custom Creamy white luxury fashion floral jacquard quilt manufacturers and Creamy white luxury fashion floral jacquard quilt suppliers, located in Changshu City, Jiangsu Province, is a professional production of various warp and weft knitted fabrics and finished products manufacturing company, mainly engaged in home, clothing, toys and other plush products. The main fabrics are flannel, coral velvet, soft cotton velvet, imitation fur, PV velvet, super soft, jade fox velvet, rabbit hair, plush, non-fall, polar velvet and so on. The main finished products are cushions, rugs and blankets. We have independent factories, through BSCI, OTEX certification, has introduced the world's advanced Germany Karl Meyer warp knitting equipment and domestic leading warp knitting machine, warping machine and other production equipment, independent completion of weaving, printing and dyeing, finishing process, reduce production costs, for customers to create greater profit margins. Our monthly production capacity is about 100,000 pieces, and we launch new products every month.

[techozea]

The Best Cupcake Carriers For Keeping Your Desserts Fresh

Transporting cupcakes to a party or event can be tricky. You want to keep them looking pristine before serving. A good cupcake carrier will securely hold each treat and prevent messy frosting smudges during transit.

After testing numerous models, we found cupcake carriers fall into two main categories: hard-sided plastic containers and soft-sided nylon models. Hard plastic containers offer sturdier protection while collapsible nylon carriers provide flexibility in storage. We researched over 50 options to determine the 10 best cupcake carriers for keeping cupcakes intact on-the-go.

Hard vs. Soft Cupcake Carriers

Hard plastic cupcake carriers completely enclose each cupcake in its own compartment. This prevents squishing or mess during transport: - Sturdy protection - Holds shape while stacking - Easy to load cupcakes Collapsible nylon cupcake carriers utilize velcro flaps or drawstrings to secure treats. They fold flat for storage when not in use: *Flexible to fit different spaces - Lightweight - Affordable pricing

How We Chose the Best Cupcake Carriers

We evaluated models on these key criteria: - Protection - Ability to transport cupcakes without mess or damage - Capacity - Number of standard size cupcakes held - Durability - Withstands regular use without wear - Ease of Use - Simple loading/unloading and portability - Value - Quality relative to pricing Through extensive testing, we determined which carriers best deliver on these factors so you can find the right match. Keep reading for reviews of each top pick!

The 10 Best Cupcake Carriers of 2024

Cupcake Carrier Capacity Hard/Soft Key Features Lékué Cupcake Box 12 Hard Plastic Airtight seal, oven safe Prepworks Cupcake and Cake Carrier 6 Hard Plastic Two-tier display Mr.Kit Deluxe Cotton Cupcake Carrier 12 Soft Nylon Extendable handle Sweetheart Cupcake and Cake Carrier 6 Hard Plastic Snap-tight seal Bellemain Collapsible Cupcake Carrier 12 Soft Nylon Sturdy quilted exterior Pixel Cupcake Carrier 12 Hard Plastic Tough, transparent material KooK Birthday Cupcake Carrier 24 Soft Nylon Drawstring and handle Tuscom Cupcake and Cake Carrier 6 Hard Plastic Built-in stand Lovinland Collapsible Cupcake Carrier 18 Soft Nylon Reinforced stitching HomeBasix Cupcake and Cake Carrier 6 Hard Plastic Base separates for display Below you’ll find in-depth reviews of each carrier's design, capacity, durability, ease of use, and value. We'll explain why these models earned our recommendation for securely transporting your cupcakes. 1. Lékué Cupcake Box - Best Overall - Capacity: 12 cupcakes - Material: Crystal-clear plastic - Dimensions: 11.4 x 7.5 x 2.4 inches View on Amazon Lékué's durable plastic cupcake carrier takes the top spot for its supremely effective design. Each cupcake sits in an airtight compartment that guarantees frosting stays perfectly intact. The crystal clear lid makes it easy to peek at your cupcakes en route without disturbing them. It's oven safe up to 250°F in case you need to transport warm baked goods too. With handy dimensions, it fits well in the car to serve a dozen people. This cupcake carrier does it all, keeping your cupcakes fresh and contained for easy transportation and service. If you cater events or make elaborate cupcake creations, Lékué’s carrier is a lifesaver. Key Features - Airtight individual compartments - Oven safe to 250°F - Made in Spain from eco-friendly plastic This container is built to last through years of use without cracking or warping. It conveniently nests for storage too. For completely mess-free transportation and presentation of your cupcakes, Lékué takes first prize. 2. Prepworks 6 Cupcake Carrier - Runner Up - Capacity: 6 jumbo or 12 standard cupcakes - Material: Shatter-proof plastic - Dimensions: 10.5 x 8 x 2 inches View on Amazon If you need to safely transport fewer cupcakes, Prepworks’ cake carrier takes runner-up for its smart two-tier design. The snap-tight lid and base keep a half dozen cupcakes secure through every twist and turn without mess or squishing. For large specialty cupcakes, you can fit up to three on each level. We love the built-in pedestal stand that lifts your cupcakes for attractive display. No need for fancy platters or serving pieces - just open this container to showcase your cupcakes to guests with pride. Made from shatterproof plastic, the carrier contains zero BPA or other toxins too. What’s not to love? It fits the bill for a smaller-scale cute cupcake transportation solution. Key Features - Two-tier display pedestal - Security tabs keep levels tightly stacked - Food-safe nontoxic plastic 3. MrKit Deluxe Cotton Cupcake Carrier - Best Soft Carrier - Capacity: 12 standard cupcakes - Material: Quilted cotton - Dimensions: 10.5 x 10.5 x 4 inches View on Amazon For a soft-sided solution, MrKit's quilted cupcake carrier takes the prize for an ultra durable design. The thick cotton exterior features reinforced stitching at every seam to withstand years of use. Inside, a food-safe PEVA lining helps cupcakes slide right in while protecting against mess or squishing. We love the secure drawstring closure and comfort grip padded handle for easy portability. An inner storage pocket keeps napkins and serving tools handy too. When collapsed, this carrier compacts to just half an inch thin for storage in a drawer or cabinet. But don't let its slim silhouette fool you - it pops back open in seconds while retaining its shape. If you want soft-sided flexibility without sacrificing security, MrKit's carrier fits the bill for safe cupcake transportation and stress-free storage. Key Features - Quilted cotton exterior - PEVA food-safe lining - Reinforced stitching on seams 4. Sweetheart Two-Tier Cupcake Carrier - Best Display - Capacity: 6 jumbo or 12 standard cupcakes - Material: Clear plastic - Dimensions: 10 x 7.5 x 5 inches View on Amazon Sweetheart Cupcake Carrier’s transparent two-tier design shows off your cupcakes and makes an impressive display. The quality plastic construction safely transports half a dozen cupcakes without mess or damage. We like the snap-tight seal and built-in locking tabs that keep stacked layers secure. Clear sides give a peek at the cupcake goodness within while preventing crushing during transit. Simply lift off the lid to reveal your cupcakes beautifully arranged for serving guests. If you want to showcase cupcakes with pizzazz, Sweetheart’s carrier stacks and transports the goods then transforms into a stunning two layer display. Key Features - Clear sides for visibility - Snap-tight seal - Built-in two tier stand 5. Bellemain Collapsible Cupcake Carrier - Most Versatile - Capacity: 12 standard cupcakes - Material: Quilted nylon - Dimensions: 11 x 11 x 3 inches View on Amazon For versatility, Bellemain’s Collapsible Cupcake Carrier takes the prize. It safely transports a dozen standard cupcakes in a slim, portable design. The quilted nylon exterior features a padded handle and reinforced stitching to retain its shape after folding down slim. Inside, a food-safe lining keeps cupcakes secure and mess-free en route. Once at your destination, a drawstring closure transforms into shoulder straps for hands-free carrying. We love the versatility and convenience! When celebrations wrap up, the carrier collapses completely flat like a satchel for compact storage. Just cinch the drawstring and stash it away til your next event. If you want a carrier for frequent use, Bellemain’s lightweight quilted model folds down slim yet pops back up in seconds when needed again. Key Features - Drawstring converts to backpack straps - Collapses flat for storage - Quilted nylon exterior 6. Pixel Clear Cupcake Carrier - Most Durable - Capacity: 12 standard cupcakes - Material: Clear plastic - Dimensions: 11 x 8 x 3 inches View on Amazon Made from ultra durable plastic, Pixel’s carrier securely transports a dozen standard cupcakes without damage. We like the smart design featuring Individual compartments to prevent mess and squishing. Latching side handles also lock the lid tightly closed for transit. The clear plastic construction allows easy viewing of cupcake contents too. Plus, it easily wipes clean with just soap and water in case of spills. Pixel’s carrier withstands plenty of use thanks to thick BPA-free plastic sides, base, and lid. Just don’t put it in the oven or freezer! For frequent cupcake transport though, Pixel has you covered. Key Features - Made of thick durable plastic - Clear sides for visibility - Locking side compression latches If you need a reusable solution for moving cupcakes often, Pixel’s carrier won't crack or warp over time. 7. KooK 24 Cupcake Carrier - Best Large Capacity - Capacity: 24 standard cupcakes - Material: Durable nylon - Dimensions: 17.5 x 13 inches View on Amazon Transporting treats for a large gathering or event? KooK’s jumbo nylon carrier holds up to two dozen standard sized cupcakes safely. Despite the voluminous interior, the design retains its shape well when fully loaded thanks to thick padded sides. Adjustable drawstring closures on top help compress contents to prevent shifting too. For portability, built-in handles make carrying 24 cupcakes a cinch. Metal grommets reinforce stress points for added durability as well. When party time wraps up, the carrier folds nearly flat for storage in a drawer. Just make sure to let any condensation inside dry first before long term storage. If you cater large events or make cupcakes in high volume, KooK’s spacious carrier hauls the goods without weighing you down. Key Features - Holds up to 24 standard cupcakes - Reinforced handle and stitching - Collapses flat for storage 8. Tuscom Cupcake Carrier - Best Built-in Stand - Capacity: 6 jumbo or 12 standard cupcakes - Material: Plastic - Dimensions: 10.25 x 7.75 x 4.75 inches View on Amazon Tuscom takes the prize for best built-in stand thanks to its transparent carrier with locking kickstand on the base. It safely transports and displays a half dozen cupcakes in clear stackable tiers. We love seeing the cupcakes through the transparent design! The sturdy kickstand props up the base at an attractive angle for serving. Latching side handles also lock the lid securely onto the base. Once at your destination, simply flip up the stand and remove cupcakes layer by layer to retain your decoration intact. If quick setup and pretty presentation are priorities, Tuscom's stand carries your cupcakes hands-free. Key Features - Flip-up built-in stand - Stackable transparent tiers - Lid latches onto base 9. Lovinland Collapsible Cupcake Carrier - Best Budget - Capacity: 18 standard cupcakes - Material: Polyester - Dimensions: 13 x 10 inches View on Amazon On a budget but need to carry quite a few cupcakes? Lovinland’s carrier transports 18 for under $15. It safely encloses standard cupcakes within a quilted polyester exterior and food-safe lining. A drawstring closure and padded handle make toting almost two dozen cupcakes manageable. We appreciate the reinforced stitching throughout for durability when loaded to capacity. Compression straps also prevent bulging sides so cupcakes won’t slide around. Once back home, the carrier folds nearly flat to just one inch thin for drawer storage. If you bake cupcakes frequently for birthdays, church events, school parties and more, Lovinland’s affordable carrier hauls the goods without breaking your budget. Key Features - Holds 18 standard cupcakes - Quilted polyester exterior - Compression straps prevent bulging 10. Home Basix Two-Tier Cupcake Stand and Carrier - Capacity: 6 jumbo or 12 standard cupcakes - Material: BPA-free plastic - Dimensions: 19.5 x 10 x 6 inches View on Amazon HomeBasix offers a two-in-one cupcake carrier that transports your treats then transforms into a decorative two tier stand for serving. The clear plastic lid and base feature locking tabs to securely stack layers during transit. We like that you can see cupcakes through the transparent plastic too. Once at your destination, the base separates into a pedestal stand for display. Simply lift off sections as you serve guests for optimal presentation. When party time wraps up, components nest for compact storage. At under $15, it presents and transports cupcakes beautifully without breaking your budget. Key Features - Two-tier stand built into base - Transparent for visibility - Tab locks for stacking

Find the Best Cupcake Carrier for Your Needs

Transporting cupcakes without smushing requires a quality carrier designed for the task. Before purchasing, consider how many cupcakes you typically need to move and your available storage space. Hard plastic models with individual compartments prevent crushing and mess best. But they take up more room when not in use. Collapsible nylon carriers offer nice flexibility for tight spaces. Just check construction quality so they hold shape when loaded up. For frequent handling, seek thick durable materials over flimsy versions prone to ripping. Also make sure food-safe linings cover all interior surfaces touching treats. With the right carrier in hand, you can confidently bring cupcakes anywhere they’re celebrated without sacrifice to taste or decoration!

Cupcake Carrier Care Tips

To extend the life of your cupcake carrier, follow these care instructions: - Handwash - Clean gently with mild dish soap and water after each use. Don't submerge in water. - Air Dry Properly - Open container and allow it to completely dry before storing to prevent moisture buildup. - Don't Overload - Avoid overstuffing with too many cupcakes which can bend compartments out of shape over time. - Check Food Safety - Don't use carriers featuring cracked plastic or deteriorating liners which can harbor bacteria. - Protect Exteriors - Be gentle setting down nylon models to prevent abrasions and loose threading. - Test Weight First - Before transporting high volume, test carrying comfort of soft-sided models when fully loaded. With proper care, a quality cupcake carrier should last through years of birthday parties, school events, and special treat deliveries!

Frequently Asked Questions

What’s the best way to load cupcakes into a carrier? Place cupcakes gingerly into compartments frosting side up to prevent smushing decoration. Guide each cupcake in by the liner instead of touching frosting. How do I transport cupcakes in warm weather? Cupcakes with dairy-based frosting can melt in heat. Place a small reusable ice pack inside carrier to keep treats cool. What about large specialty cupcakes? Oversized cupcakes won't fit standard carrier compartments. Use a model with adjustable dividers or a soft-sided carrier to accommodate different sizes. Can I transport other baked goods besides cupcakes? Containers designed specifically for cupcakes best hold that shape of treat. But many models work for similar items like donuts, muffins, or petite cakes.

The Right Carrier Takes Your Cupcakes Further

A purpose-built cupcake carrier enables you to share your delicious creations anywhere without mess or squishing. With a quality carrier matched to your typical quantity and storage needs, transporting fancy frosted treats becomes foolproof. We hope our tested recommendations and carrier care tips help you find the perfect model to take your cupcakes on the go! Read the full article

[moshavelvetfabric]

Upholstery fabric / Mosha velvet fabric / Printing fabric / Sofa & Chair fabric / Warp knitting fabric – Item No.: AR626

This fabric is premium velvet with a print, soft plush velvet fabric, grey back, small and delicate print design, polyester weave to resist wrinkles. The fabric's lightweight and smooth, easy-care cotton canvas material is durable, comfortable and easy to clean, designed for a variety of different applications. Choose from different shades for color changing effects or choose a solid or striped design. Not only comfortable but also very durable. It's designed to stand the test of time. The combination of easy-care fabrics and timeless design fits perfectly in your living space. It is available in a variety of colors so you can perfectly match the colors of your room. Can be used for curtains, quilt covers and pillowcases and is ideal for sofa and chair upholstery.

[embroidery-pro]

Machine embroidery textiles, threads and needles

1 Introduction Digital embroidery must take into account a lot of physical constraints: The type of fabric the type of wire The effect of the shape of the embroidery on the fabric The three biggest problems with embroidery are puckering (fabric is warped), poor fabric coverage (you can see through an area of ​​embroidery when it was not planned) and misalignment (objects that should touch do not touch each other). Good strapping and the use of an appropriate stabilizer, as seen above, reduces this risk. On the digital level, the quality of an embroidery also depends a lot on the design and the digitization. To avoid misalignment, it is necessary in particular to compensate for the pull/push effect (distortion effects during embroidery) and sometimes to overlap the edges of the objects in the design software as we will see in other tutorials. However, let's first look at the physical factors that go into achieving beautiful embroidery: What type of wire to choose? How do the different types of fabric behave? Which type of needle is appropriate for which type of fabric? What are the types of filling and how to configure them? Are there differences between machines and software? How to determine if the thread tension is correct? This article will mainly give an overview of the choice of yarn, needles, but we will also briefly touch on other aspects. 2 embroidery threads The most popular embroidery threads are made from viscose (also called "artificial silk") or polyester. A 40 weight polyester or viscose yarn can be used on both fine fabrics like silk and rougher/heavier fabrics like jeans or leather. Polyester is easier to use and more durable than viscose, but a little less pretty. The threads can also be made from other materials such as wool, cotton (in several variants) as well as various mixtures of materials such as metallized polyester. There are several thread thickness metrics and none are really intuitive to understand. In trade, a system of weights (Wt.) is generally used. Some standard weights: 75 = very fine, for example for monograms on silk ties, 60 = fine, e.g. for delicate fabrics and small letters, 50 = medium fine, for medium weight fabrics, 40 = for standard fabric, the most popular weight, 30 = slightly thick, for filling larger areas, quilts, cross stitches, 12 = thick, decorative stitches, "handmade" embroidery A typical embroidery consumes approximately the following amount: 1000 stitches ~= 5.0 m for (top yarn, size 40) 1000 stitches ~= 3.5m (bobbin thread, size 60) A crest (Engl. "patch") at 10000 points, therefore partially filled, therefore consumes about 50m. With a 1000 meter spool, you can embroider 20 patches. A reel of 1000 costs between 2 and 3 euros, a reel of 5000 around 9 euros. That is, the cost of thread is quite negligible for small embroidery. Pricing Practices for Embroidery mentions the following to calculate a price: $1.5 for 1000 points $60/h to digitize Then, you have to add either a minimum price (to make the very small embroideries profitable) or a minimum order threshold. You can also charge a fixed price for strapping and ordering. This can vary between $5 and $10. The systems used to calculate prices can be much more complex. They take into account the number ordered, the size (the smaller the more the price/item and expensive), color change, number of colors, type of fabric, specialty fabric for badges or appliqué, etc. There are online services and software (for a fee) to calculate prices and create offers. Most software also offers features to create forms. Each brand has its own color numbering system and this greatly complicates the management of embroidery designs. These colors do not appear to be based on any other base system. Some brands provide equivalence tables with the Pantone color chart, popular among graphic designers and in the textile and plastics industries. However, the Pantone system includes thousands of colors while yarn manufacturers only have hundreds. Finally, it is almost impossible to find tables of correspondence between digital colors (RGB, HSL, etc.) and thread colors. In summary, it's almost impossible to know what a brand's color looks like without having the yarn in front of you. And without a Pantone color chart it is difficult to identify it. Because color charts found online are unreliable due to differences in screen calibration, good quality printed versions must be ordered. Refer to the Links section at the end of this article for some RGB/Pantone conversion charts. In machine embroidery, we generally use needles H-E or H between 70 and 90. The Elna 8300 manual specifies that a 75/11 needle should be used for fine fabrics and a 90/14 needle for medium fabrics to heavy. The needle type recommended by the Brother PR1050X manual is Organ's HAX 130 EBBR, available in sizes 65/9, 70/10, 75/11, 80/12 and 75/14. Schmetz needles of the 130/705 H-E system can be used as replacements. Most typical needle for embroidery ("family" and semi-professional machines like the Brother PR) Needle for embroidery and sewing machines 4 Types of fabrics and fibers The fabric has a decisive impact on the result of an embroidery. This is why the choice of fabric must be considered according to the desired result, bearing in mind that certain types of fabrics are more difficult to embroider, since they are stretchy. The stretch fabric can be stabilized in several ways which can be combined: By using a stabilizer (cf. Hoops and stabilizers in machine embroidery), By using an appropriate underlay, When embroidering in different directions As soon as you embroider large surfaces, you can observe an inevitable contraction of the threads and which can lead to the appearance of "white" between the embroidery elements, and this despite a good stabilization strategy. This is remedied by two tactics: By using traction compensation, i.e. we enlarge the embroidery by 1-3mm or a small percentage. By overlapping the elements. Other fabrics such as bath towels and fleeces have the problem that fine grain seams can visually "wash out" i.e. the fabric is not covered by the embroidery. In this case, the use of a soluble stabilizer on top makes it possible to alleviate the problem. The most common fabric types are: canvas, cotton, corduroy, denim, felt, leather, nylon, lycra, wool knit, terry, twill, woven. It is advisable to start with well-woven cotton or canvas to start. That said, you can easily do a little embroidery on any flexible fabric if it's stabilized. To know: software like Stitch Era - machine embroidery software and hotfix can adjust parameters (in particular density and compensation) to the type of fabric chosen (Embroidery -> Material or in the Art-to-Stitch pop-up, Stitch Settings panel). There are also specialized fabrics to create patches (crests). These fabrics are non-woven and thick and therefore do not move. Some are "structured", like STEP polyester, that is to say they look like an embroidery pattern and allow you to avoid embroidering large areas of background, the result of which would not be so convincing. Additional Information: To find out which stabilizer to use with which fabric, read Machine embroidery hoops and stabilizers, which stabilizer for which fabric To find out which needle to choose, read Needle for embroidery and sewing machines 5 Effects of filling There are many types of stitches, but we can distinguish five main types according to their function: forward stitches to create lines, satin stitches to create lines or other thick "columns", filling stitches used to fill larger sections in different ways. Ripka, Mychko and Deyneka (2014) in a literature review, identified several taxonomies. The article embroidery stitches describes the most important shapes. A first question is how to fill embroidery objects without too much distortion created by the fact that a fill can pull (pull) or widen (push). A rule of thumb is to use a variety of points and directions, for two reasons: The push/pull effect can be reduced, The design is going to be more interesting. Good scanning software should help do this. A second question concerns density. In programs like Stitch Era, density is measured in terms of lines/mm. For example, its default density of 5 for "normal" fabric means one stitch every 0.2mm, which is quite dense. decrease or increase Read the full article

[bomberqueen17]

yet *more* weaving nerdery

So I’m to the point with inkle weaving that I reach on a lot of things, where I understand the technique well enough to just kind of do it, which is good because most of my difficulties lie in attempting to follow patterns. Understanding the principle means that if I thread up my own thing, I’m likely to have it work because I’m not misreading a pattern I’m just doing it so it’ll work. Now, are my patterns as good as those designed by experts? No. But they work. And I’m getting there.

Here’s a thing I’m finding as I web-search for information about inkle weaving specifically: most of the people who write posts and make videos don’t actually know that much about it. Many of the instruction videos are long and rambly and feature the person doing things that even I with my scant experience can tell are inefficient or won’t yield that great a result. So it’s frustrating to have to rely on that for information, and I really should just buy a published book, but also, I struggle with following book instructions. I have one pamphlet printed out from the 40s and it is literally impossible for me to follow-- it’s the one I warped a design from only to realize that they had not explained their method of notation and so I had put in like a hundred white threads that they’d merely meant as spacer blocks in the pattern notation, not white threads at all. Most of their instructions are like “see fig 4″ and then it’s mislabeled which figure you’re actually meant to look at. So anyway.

I’m trying to learn pick-up, now, which is the technique by which you can make finely detailed figures, even letters, but again, the videos on this technique are overly long and not done by experts, and there are some blog posts that are reasonable but I’ve warped up a pattern and realized my threads are so fine it’s nearly impossible to pick them up in the correct order and also I was working in a dim corner last night and so could not see what the fuck I was doing and this was a terrible idea. I’ve done most of my weaving in terrible lighting and it hasn’t mattered, but when you need to look at the threads, and it’s too fucking dark to tell the yellow from the cream border, that’s not a recipe for success. So that’s on hold until the sun comes up at least.

Here are some assorted pics of my most recent weavings, which I’ve done without using a pattern. I need some more colors, is a mild hang-up; I lack cobalt blue, true orange, and of all things black. I mean, I have black in carpet warp but if I’m doing a whole band in crochet thread then it’s too coarse. Except I think it would work for pickup, and meant to try it but I couldn’t find a weaving diagram for that-- the instructions that said use a coarser thread for your design did not have a diagram, so the one I’ve copied uses three threads per block of design and that is obnoxious because I keep losing count. I don’t do counting, you see. And you don’t have to count for this technique, it’s all “next” and “next” and following a grid chart, and I can count “every other” and “first and last” and such, but saying okay pickup one drop one, pickup two drop two, pickup three drop three for every single block? i lose count. (Of course you can’t do all three as a chunk, you must pick up and drop them in order so they stay correctly arranged, and with crochet thread it is far too fine. so this experiment is going to be hell, but i’ve warped it on so sunk cost fallacy means I’m gonna make myself do the whole thing and hate it the whole time.)

so here’s my first self-drafted pattern:

I found out how to make that central chain-- it’s two wavy lines next to one another-- and did that in carpet warp, and the rest is crochet cotton.

Next I did a shades of green one, with a gold dashed line down the middle; I have an idea in mind to use this as trim on a kind of crazy quilt panel, so we’ll see how it does like that.

Experimenting with the visible weft, I rather like it but it’s hard to keep disciplined and make it perfectly even, and you often wind up with two little bits showing, sort of unevenly. So I see why all the directions say use the same color weft as border, but a bit of that is that the people giving the directions are so frequently inexperienced weavers themselves!

Then I warped this one on, and realized at the end that I’d just made stripes and there was going to be no pattern, so like an idiot I added warp threads in the middle which involved taking some of the heddles off and fucking up the tension and spending forever repairing it and I don’t know how in heck I got it all back together but I did, and wove it, and it worked.

(yes this is the very beginning, I was using matches as spacers to stabilize it before I started weaving. Later I switched to using a weft that matched the borders but about half of it is done with purple flecks in the border, I do like the effect.)

And then I did this one, can you see what’s going on with it?

It’d be better if I had black crochet thread instead of that beige I used there, but it was a proof of concept.

Yes-- it’s variegated thread, which I warped on to the number of pegs that meant that the color repeat lined up. So the whole band is a spectrum along its length, as well as across its breadth. This is an idea I’d been wanting to do for a while, and I did see that someone had but now don’t remember where or what technique and can’t find it again. But I was obsessed with the notion of it, and am going to use this as background for like, a bunch more ideas I have for designs.

I think it turned out pretty great! But the beige, eh. Black would work better, and I need some slightly more carefully-chosen colors for the spacer threads. (The threading diagram is pairs of the variegated threads, then a pair of spacers that’s one beige and one of a solid color that matches the vareigated spectrum, though you can see for example that dark red thread is not matchy and rather too bold instead.)

Anyway there’s my weaving update, and i know that looks like I’ve been weaving a lot but actually that’s two weeks of work in one post. It’s not nothing and I’m progressing but man hafving several day jobs is slowing me way down.