embroidery

White Paper | Application of Non-FR Emblems and Embroidery

By www.ishn.com
Published On :: Tue, 08 Feb 2022 00:00:00 -0500

Whether it is appropriate to attach non-FR embroidery and emblems to flame resistant protective garments is always a difficult question to address.


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Fossils Woven on a Bed of Embroidery

By www.fubiz.net
Published On :: Mon, 09 Jan 2023 00:53:24 +0000

Loin d’effectuer un travail archéologique (quoique…), Rachel Crisp alias @bluesunthreads créé des broderies inspirées par la nature. L’artiste, photographe et guide touristique réalise des œuvres sur lesquelles figurent des crânes de dinosaures, entourés de végétation. Travaillant sur plusieurs formats l’artiste donne l’impression, grâce à son travail sur la texture, que ces os reposent sur le […]


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Wool Applique + Thread Embroidery + Beads = Happy Quilts!!!

By beadlust.blogspot.com
Published On :: Thu, 24 Sep 2015 02:36:00 +0000

Oh dear, busy me, four months since I've posted here. Lots of quilting, a little beading, some travels, and recently several sets of house guests have made "retirement" a bit of a joke. For now, since the La Conner Quilt Festival is just around the corner (October 2-4), my subject is one small exhibition on the first floor at the Museum, which is currently up, and will remain through the Festival.

Last year at the Festival (and again this year!) Sue Spargo taught workshops on her wool applique embroidery methods. Those of us who were lucky enough to get in were invited by the Museum to exhibit our finished pieces. These marvelous creations are the subject of this post. Uneven lighting makes it difficult to get good photos, so please forgive poor color or tone on some of these photos.

In case you are unfamiliar with Sue's work, below is an example of her work. Students in her class could choose to make chicks, circles, or flowers. Most chose the chicks. Eight of her students are showing their work in the current exhibit.

My vote for the most awesome-creative piece goes to Bunny Starbuck for She Has Flown the Coop! Here it is:

Having put my chicks all in neat rows similar to Sue's example, I find it amazing that Bunny's mind took the idea and made a whole different story of it... a coop full of chicks, with two in line on the roof ready to follow the one already in the air. Don't you just love the way the lines divide the space?!




Note Bunny's use of whispy yarn to suggest little chick feathers, her use of snaps for eyes, the one chick turned full front, the one with a bead-tassled braid and glasses, and the one with beaded loop fringe and a gathered yellow ribbon (?) yo-yo. I love them! I'm in awe, Bunny!

Below is Chicks on Parade by Dorie Benson. It's so fun the way they are so close together, with two of them going in a different direction, just as you might see in a little cluster of chicks. If you click the photo to enlarge it, you can see some of Dorie's excellent stitching and hand quilting!

The next one is Chicks by Glenys Baker, who not only did all 36 chicks but also made a second quilt featuring circles (shown further down). Awesome work, Glenys!

And next is Birds of a Feather Can Dance Together by Lorraine Jones. The fun of the title is matched by the fun of Lorraine's embellishments, including her border treatment. (You'll have to see this one in person, because the light from a table lamp, made the lower corner of the photo look terrible.)

I guess most of us like to "swim the other way," as you can see in the next piece, Chickadees, by Carrie Unick. I thought many of Corrie's embellishments were especially fun and creative, so I've also included a couple of detail photos.




Last of the chicks is my piece, simply named Chicks. It was so much fun, that I made another small piece (also in the exhibition), shown at the top of this post. Both are displayed in shadow-box type frames to protect them from dust and moth damage.

Glenys Baker, in one year, made not only a 36-chicks quilt (shown above), but also a 48-circles quilt, Circles. How she keeps thinking of new embellishment variations I can't imagine. Yet each of her circles is completely unique! Her choice of border fabrics is perfect for the quilt, complimenting the flow of color among the circles.


I love the fun color combinations and the way the beads enhance her embroidery on Nancy Anders' Bodacious Blooms, a joyful wall quilt if ever there was one! (Again, I couldn't quite get the color right in the photo, so you'll just have to go to the Museum to see it in person.)


The name of Roberta Roberts' flower quilt, Memories, invites us to look closely at the flower with three ladybugs. I don't know the story, but I can tell there is one here... and I love that. Her embellishments are varied and fun as well.



There you have it... 10 quilts by 8 students who learned some methods of wool applique and embroidery from Sue Spargo, last year at the La Conner Quilt Festival. I'm so grateful to be one of them!


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How to Frame Bead Embroidery

By beadlust.blogspot.com
Published On :: Wed, 30 Dec 2015 11:37:00 +0000



During the past 28 years of stitching beads on cloth, I've veered away from making necklaces, bracelets, and bags or purses, mostly producing wall art pieces. Thus, I've had lots of opportunities to experiment with various methods of finishing and framing my work, making it suitable for display.


I always leave ample fabric margins surrounding the actual beaded area, giving me lots of options for finishing or framing.  One simple finishing method is to wrap the extra fabric around the sides of a manufactured painting-canvas (over stretcher-bars), and lace the fabric snugly across the back, as in the photo below.


But the problem with this method, of course, is that the surface of the beading is exposed to dust and air-borne grime, which over the years may spoil the fresh look of the beading, aging the piece prematurely. So we look to frames and glass to protect our work.

Among the various methods for covering (and protecting) beadwork with glass, the following is the one I use most frequently, and like the best.  It's not very expensive, or particularly difficult, although it does take a bit of time. Even if you already know about frames, please take a look at the section called Preparing Your Bead Embroidery for Framing in the Tutorial below.

Tutorial: How to Frame bead Embroidery

Choosing a Frame

This tutorial assumes the beaded work has straight sides, and will be framed in a square or rectangular frame. The frame size, color, and style are important considerations.

Wanting viewers to look at my beading and not be distracted by an overly fancy, gaudy, or large frame, I generally select a plain, narrow frame in a color that compliments my beading without competing for the viewer's attention. Sometimes I choose a stained, wooden frame if it seems to fit the theme of my beadwork better than a metal frame. Depending on the size of my beadwork, I generally size my frame at 2-3 inches more on each side than the beadwork.

Frame: Often I use a painted, metal frame with a cross section similar to this.


I either buy it as a kit (pre-cut pieces and required assembly hardware), assembling it myself, or buy it from a frame shop. The advantage of buying from a framer is that you will be able to see samples. Also, the framer can cut an accurate mat, foam core insert, and backing board for you, and can supply the needed risers. If you decide to work with a framer, I suggest you print this post (to show the framer how you will be preparing your work for the frame), or take the prepared bead embroidery with you to the frame shop.

Glass: I believe in using the highest quality glass, even though it is a lot more expensive than ordinary glass. The UV resistance is good, but the primary reason for using premium glass is its clarity, which allows the viewer to see the details of your work without any distortions or color shift, as if there were no glass at all.  Note: do not use non-glare glass. It only works if it lies directly on the surface of the art. You will be putting risers under the glass so it sits above the uneven surface of your bead embroidery, not touching any of the beads; even at this slight distance from the beadwork, non-glare glass will look frosted and obscure the details of your work.

Other Framing Materials You Will Need

Mat: Choose a simple, acid-free, neutral-colored mat, either warm or cool white, depending on the emotional message and colors in your work. All those beautiful colors in the framer's palette are appealing, but for most bead embroidery, there is color and texture enough in the beads, and no value in adding more with your mat choice. If you do not have a mat cutter, a framer can cut your mat. Although I have not ever used a double mat (because I find them distracting, bringing my eyes away from the beadwork to the edges), it could be a way to gain a little more space for the glass above the beadwork.



Risers: Dense plastic rods, risers are 1/8th inch square in cross-section, with an adhesive surface on one side. Use a wire nipper to cut the rods to fit along the outer edge of the glass; remove the paper strips covering the adhesive from the the risers, adhering them to the glass along the edges, as shown above. They prevent the glass from touching your beadwork, by resting on the outer edge of the mat, thus holding the glass above the beaded surface. If the surface height of your beadwork is greater, you can adhere two rods together, making a quarter-inch of space. If the depth is more than a quarter-inch, you might want to consider mounting your work in a shadowbox frame (see this post for a good example and instructions).

3/16th Inch Foam Core Board: Since your beadwork will be mounted directly into this foam core board, be sure to use the white, acid-free, buffered, slightly more expensive variety. You can buy it at art supply or frame shops, in person or on line. You will need a piece at least 3 inches larger than your bead embroidery on each side.

 Preparing Your Bead Embroidery for Framing 

 
The piece above is the example used in the the steps which follow. It's a small piece of bead embroidery, measuring only 1-3/4 inches wide by 2-1/4 inches high. The mat is 2 inches larger on each side. Numerous folks have surprised me with high offers to buy this piece (which is not for sale), illustrating that nicely framed bead embroidery can be sold at a favorable price.

Mounting your bead embroidery in foam core board 

As per the recommendations in the frame section above, draw the frame size (which will always be designated by the inside dimensions, the size of the artwork) on a piece of 3/16th inch foam core. Use a mat knife and ruler to accurately cut out this shape.

Then, measuring carefully, making sure it is exactly centered, draw lines to indicate the outline of your bead embroidery, adding 1/2 inch on each side. For example, if your beaded area was 2 inches wide, you would draw your lines 3 inches apart (2" for the beadwork plus 1/2 inch on each side). Designate one edge as the top, and mark. Draw a vertical arrow from the top through part of the center through part of the outside margin. With a mat knife, cut out the center, being careful not to damage it or the outside frame. The cut out center will eventually be placed back in the hole by aligning the arrow segments drawn on the back.

For the next step, you will need at least a 1.5 inch margin of un-beaded fabric all around your beadwork. If you have less than a 1.5 inch margin, cut strips of any cotton fabric (re-purposed sheet or shirt fabric is fine). Using a zig-zag stitch on the sewing machine, and placing the strips under the margin of the beaded fabric (wrong side), stitch the strips to the margins, extending them to a total of 1.5 inch from the edges of your beadwork on the top, bottom, and both sides.

Center your beadwork on the cut-out piece of foam core board. Hold in place using map or sewing pins, pushed straight through the beading down into the board. Wrap the fabric snugly around the board and pin from the back. Remove the pins from the front. Check to make sure the work is still centered accurately. Re-pin if necessary. Using a sewing needle and beading thread, stitch from side to side, lacing the fabric around the foam core, as in the example below. Start with the longer sides. Knot when finished. Then do the same on the shorter sides.

Tip: I like to rest the beaded side face down on a thick, folded, bath towel while I am lacing the back.


This is how mine looks on the front after being laced around the foam core board on the back. If I had not wanted to frame this piece, I could have used double-sided, archival tape to adhere a heavy paper backing over the laced area on the back; it could then be displayed on a small stand similar to the one in the second photo from the top of this post.


This is how it looks on the back, when it is placed back in the original hole cut into the foam core board. Notice how the arrows match up, insuring a perfect fit.


This is how it looks on the front. Note: the hole in the mat will be cut exactly to the size of the beadwork, so that when it is framed, you will not see any of the fabric around the outside edge of the beaded area.


Assembling a Bead Embroidery Sandwich


Now it's time to make a sandwich with the foam core board between two pieces of acid-free mat board, one which has a beveled hole cut in the center, the other which is solid and goes on the back.


To cut my own mats, I first measure and draw the exact outline of my bead embroidery centered on the wrong side of the mat. I always mark the top, because sometimes the work is not precisely square or rectangular. Of course you can give the dimensions to a frame shop, and have a professionally-cut mat made for your beadwork.

Tip: One way to get an exact measurement of the beaded area is to make a 100% copy of it on a scanner or copy machine. Cut out the copy with a ruler and mat knife, test it by holding it over your beadwork. If it is exact, use it as a template to mark the hole on the mat board. If the mat is hand-cut, the hole does not have to be precisely square or rectangular.


Using a special, beveled, mat-cutting tool, I then cut away the center, where the beading will show.


Here is how the top and middle of the sandwich looks, with the mat placed on top of the foam core board and beadwork.


The photo above shows a piece of mat board cut for the sandwich back (on the right). Note that I've drawn around the laced beadwork, and cut away a layer of the mat board to make space for the laced fabric in the sandwich. Do this by gently cutting along the drawn lines, being careful not to cut very deeply into the mat. Then, use a knife to lift one corner of the inside area and peel it back creating a shallow empty space.


This is what the completed sandwich looks like. The beading is supported well between two pieces of mat board, and can't shift when hung. No glue or tape (to later fail or chemically alter the mat or beading) is necessary in this process. And it looks so neat and professional!

Assemble the Frame

With the more challenging steps already completed, the final assembly goes very quickly !


Assemble the bottom and sides of the frame by inserting the metal corner plates, and tightening the tension screws. Insert and tighten the corner plates into the top of the frame. Make a double-decker sandwich by putting the glass with the attached risers on top of the mat. Be sure the glass is clean and clear of any finger prints. Slide the complete d-d-sandwich into the obvious slot in the bottom part of the frame. The hanging wire can be added now or later.


Slip the corner plates at the top of the frame into the slots on the sides, and tighten the tension screws. You should have gotten metal spring strips with your frame kit. Lay them out on the back, spaced evenly around. Push down on the center of a spring and slide it under the edge of the frame, between the backing mat and the frame. Do the same with each of the springs. If you haven't already, add a hanging wire. Add a felt or rubber wall-bumper to each of the lower corners.


That's it! You are finished... your bead embroidery is ready to hang on your wall!  For those who would like a little more detailed step-by-step explanation of how to assemble this type of frame, this is a good one or if you prefer videos, this one is pretty complete.

Tip: Whether using a metal or wooden frame, the depth of the frame is an important consideration because the d-d-sandwich will be thicker than a photograph or most paintings. The measurement of the depth, or space inside the frame structure to accommodate the thickness of the artwork, is called the rabbet. The rabbet measurement on the above metal frame is 9/16th of an inch, which is adequate with a single riser under the glass. But it's a tight fit, the springs having to be nearly flat when inserted. If I had used a double riser, I would need a frame with a deeper rabbet. I've found it rather difficult to find small, narrow, simple, plain, wooden frames with a deep enough rabbet.

Here is a link for downloading this post as a printable PDF. It's a free, and slightly expanded version of what you've seen above. Free Download: How to Frame Bead Embroidery by Robin Atkins


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House of Chikankari: Unveiling the Secrets Behind Exquisite Embroidery

By www.geekytraveller.com
Published On :: Mon, 19 Feb 2024 07:25:31 +0000

Chikankari specialty Step into a world where every thread tells a story and every pattern sings a story song. Chikankari House stands not only as an advertisement but as the custodian of a centuries-old art form. Traditional Indian embroidery is not only preserved here; It is celebrated, nurtured and evolved. Chikankari with its subtle beauty and intricate details weaves the fabric of India’s rich cultural story. Chikankari House: Carrying forward a valuable asset Chikankari-property History and Origins Chikankari House takes great pride in being the torchbearer of an art form that has deep roots in ancient India. Known for its exquisite beauty and subtlety, Chikankari is often associated with the Nawab’s land in Lucknow. This delicate weaving style is believed to have flourished during the Mughal era under the patronage of Noor Jahan, wife of Emperor Jehangir. Chinkari, however, is more than just embroidery and decoration; It symbolizes an interesting story told through fashion. The story begins in mythology, where Lord Krishna’s wife Radha is said to have expressed her love with unique colorful chikankari patterns embroidered on cloth This Connection imbues chikankari with divine substance and emotional meaning, and owes it and rich textiles of rich cultural heritage again Lucknow is situated. Evolution Over the Years Like a river that changes its course over time yet never abandons its source, Chikankari too went through various transformations over the centuries. Yet, it painstakingly preserved its original essence. Chikankari artisans of the past passed on their art to younger generations, ensuring that it continued with all its skill and fervour. Notable figures in history have contributed to the popularity of this intricate craft over the years. British viceroys, Queen Victoria herself, and more recently, celebrities, and fashion designers have all played crucial roles in keeping Chikankari in the public consciousness. In its nascent stages, Chikankari was typically portrayed in white-on-white embroidery on muslin cloth, epitomizing the essence of understated elegance. Over time, the craft embraced colored threads, sequins, beads, and various fabric types, transforming Chikankari into a versatile and appealing element in modern fashion. Through the eye of the House of Chikankari, this beautiful amalgamation of past and present turns a simple piece of fabric into an alluring canvas. And as the world evolves, so do we, making sure the essence of Chikankari, the legacy of Kesari, continues to enthral generations to come. The Craftsmanship of Chikankari: An Intricate Symphony of Stitches Understanding the Art When it comes to understanding the art of Chikankari, the process begins even before the first stitch is laid. The House of Chikankari starts its crafting journey with the selection of just the right fabric – one that holds onto the charm of the delicate stitches, absorbing the soul of Lucknow into its texture. Traditionally, fabrics like muslin, cotton, and silk have been used owing to their soft texture and durability. The art features multiple unique stitches, each lending a distinctive texture to the piece. One such stitch, traditionally known as the “Bakhia” or the shadow work, stands as the backbone of Chikankari. Symbolic of Chikankari’s subtlety, Bakhia is an intricate technique where the thread’s shadow reflects on the cloth, creating a play of light and shade that brings the fabric to life. The artist behind the craft Behind every piece of Chikankari art from Chikankari House is an artist – patient, dedicated and full of unimaginable skill. They are quiet poets who tell stories through their work, weaving stories of tradition and heritage. Becoming a Chikankari artisan is not a job but a professional journey, often passed down through generations. Their training usually begins at an early age, and they spend years mastering the details – from learning different fabrics to understanding patterns and knots While it’s hard to put a number on the many unsung heroes nurturing this art form, an estimated 2.5 million artists across India are associated with Chikankari, according to the European Center for Development Policy and Management , sources that this art show succeeds on a global stage, spreading the appeal of our cultural heritage far and wide. House of Chikankari Today The House of Chikankari, rooted deeply in traditional artistry, is embracing the winds of change to sail towards modernity with grace and resilience. Today, this time-honored craft marries age-old techniques with contemporary influences, gracefully striding into the global fashion arena. Modern Innovations In the realm of Chikankari, modern technology and evolving fashion sensibilities play pivotal roles in elevating this craft to cater to contemporary tastes without losing its essence. Digital Design and Promotion: Techniques such as digital embroidery design and online marketing are helping Chikankari reach global audiences. The House of Chikankari leverages social media and e-commerce to showcase its intricate designs worldwide. New Materials and Stitches: While preserving the traditional stitches, innovative materials like georgette and net are being used, along with traditional cotton and silk. The inclusion of embellishments such as sequins and beads adds to the allure of modern Chikankari outfits. Fashion Integration: Notable fashion designers and brands, including the House of Chikankari, have been instrumental in incorporating Chikankari into high fashion. Collections showcased at major fashion weeks have featured Chikankari, placing it on the global fashion map. Sustaining the Craft The journey of Chikankari, from the streets of Lucknow to the fashion capitals of the world, has been supported by various efforts to preserve its legacy. Government and NGO Efforts: Initiatives like the Geographical Indications (GI) tag for Lucknow Chikankari by the Indian government have aided in protecting its identity. NGOs and social enterprises collaborate with artisans, providing them with fair wages and better work conditions. Educational Programs: Specialized training programs and workshops aim at skill enhancement and introducing the youth to Chikankari, ensuring the inheritance of this craft by future generations. Exhibitions and Workshops: Events such as the “Chikankari Exhibition” in major cities and the participation of Chikankari craft in international craft fairs increase awareness and appreciation for this delicate embroidery work. Through these efforts, the House of Chikankari not only survives but thrives in the landscape of modern fashion and global markets. The blend of traditional craftsmanship with contemporary innovation ensures that Chikankari remains not just a craft of the past but a living tradition, evolving and growing with each stitch in time. Investing in Chikankari Investing in Chikankari is not just a purchase—it’s an embrace of a heritage, a story woven into fabric. This section provides a comprehensive guide to ensure you select authentic pieces and maintain them, so they last a lifetime. Guide to Buying Chikankari Selecting Authentic Pieces Look for Handcraftsmanship: Authentic Chikankari is hand-embroidered. Look closely at the stitching. Irregularities often indicate handwork, as opposed to the uniform stitches of machine embroidery. Fabric Quality: Traditional Chikankari is done on natural fabrics like cotton, silk, and muslin. A gentle touch and the slightly irregular texture of natural fabrics are good indicators of quality. Design Details: Authentic Chikankari flaunts intricate designs that can range from floral motifs to paisley and geometric patterns. The richness in details often signifies authentic workmanship. Where to Buy: Prefer purchasing from recognized artisans, local markets in Lucknow, or reputable online stores specializing in Chikankari. Some reputable brands connected to the House of Chikankari offer quality assurance. Price Range and Factors Affecting Cost Artisan vs. Mass-Produced: Handcrafted Chikankari pieces, especially those from skilled artisans, will be priced higher than mass-produced ones. The uniqueness and quality justify the cost. Complexity of Work: The more intricate the embroidery and the denser the design, the higher the price. Work that takes longer to produce is naturally more valuable. Fabric Type: The choice of fabric impacts the price. Silk-based Chikankari garments are pricier than those crafted on cotton due to the cost of the material. Caring for Chikankari Garments To ensure your Chikankari pieces remain as timeless as their tradition, following proper care instructions is crucial. Washing Instructions: It’s best to hand wash Chikankari clothes in cold water with a mild detergent. Avoid wringing the fabric harshly. For machine wash, use a gentle cycle. Drying and Ironing: Always dry Chikankari garments in the shade. Direct sunlight can fade the delicate threads. While ironing, place a thin cloth over the garment to prevent direct contact with the iron. Storage: Store Chikankari apparel in a cool, dry place. Use padded hangers for items like sarees and kurtas to avoid creases. For best preservation, wrap the garments in soft, breathable fabric. By following these guidelines, you can invest wisely in Chikankari, ensuring you own a piece of heritage that brings elegance and traditional charm to your wardrobe. This enduring craftsmanship, with the right care, can be part of your legacy, cherished and passed down through generations. Chikankari Future As we navigate the crowded world of fashion and fashion, the House of Chikankari remains open in the face of obstacles and opportunities. Navigating a sea of ​​change, the delicate beauty of embroidery clings to its heritage. Challenges and opportunities Challenges Competition with machine-made products: One of the most important issues is competition from faster and cheaper looms that imitate Chikankari. Preservation of traditional skills: There is a danger that the meticulous skills of Chikankari craftsmen will be lost in today’s fast-paced manufacturing environment. Economic Development: Designers often face financial challenges due to irregular demand for materials and a lot of time spent on crafts. opportunity Design innovation: Innovation that captures the essence of Chikankari while appealing to contemporary aesthetics can create new appeal. Online Marketplace: With the rise of e-commerce, Chikankari offers a global platform, connecting skilled artisans with consumers directly. Sustainable clothing: As consumers become more eco-conscious, demand for sustainable and ethically produced clothing such as chikankari may increase. What is happening in the future Trends in the fashion industry, as well as consumer preferences, point to a different future for Chikankari. There is the possibility that: Fusion Wear: Combine chikankari and western fashion elements for unique outfits. Heritage promotion: The use of chikankari as a contemporary fashion can be a cultural promotion, especially among the youth. Technology integration: Technology can provide immersive shopping experiences such as virtual reality, allowing consumers to interact with artistic origins and stories. conclusion Chikankari House, an Indian heritage fortress plays an important role in traditional handloom weaving. It’s not just historical art preservation; It supports the livelihood of countless artists. Cultural Identity: Supporting Chikankari is like preserving an irreplaceable part of India’s cultural identity. Investing in Heritage: Each purchase of a chikankari is an investment in a tradition that has been handed down for generations. Call to action: Explore the timeless beauty of authentic chikankari embroidery. There is a story embedded in every thread. Sharing history of every purchase. Chikankari House is not just alive; it is adaptive, conquering, and moving forward to meet dog after dog adorned with canine charms. It invites us to be not only spectators but participants in the preservation of this complex art form.

The post House of Chikankari: Unveiling the Secrets Behind Exquisite Embroidery appeared first on Geeky Traveller.


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Queer artist Liactuallee crocheted sculptures and embroidery are on display at Method Bandra

By www.thehindu.com
Published On :: Mon, 19 Jun 2023 13:56:44 +0530

Polish artist Liactuallee celebrates Pride Month with crocheted sculptures and embroidery


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Zardozi Embroidery

By www.thehindu.com
Published On :: Wed, 10 Oct 2012 20:25:12 +0530

A pantheon of craftsmen and their art are on display at Kaivalam, under way in Chennai. Rashmi R.D. introduces us to some Living Legends of Indian crafts. Meet Mohammad Bilal


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Embroidery of Dreams: Deepika Khatri’s journey to Cannes

By www.thehindu.com
Published On :: Mon, 10 Jun 2024 13:17:07 +0530

Designer Deepika Khatri made news when actor Rebecca Kunikowski wore her work on the red carpet. She talks about her life and how it brought her to Cannes


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Watch: Women artisans in Lucknow keep Chikankari embroidery alive

By www.thehindu.com
Published On :: Thu, 04 Jul 2024 12:59:40 +0530


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Mira Rajput tries her hand at embroidery with Misha, 'Little hands made the heart with a lot of excitement'

By www.mid-day.com
Published On :: 10 May 2020 02:30:00 GMT

Shahid Kapoor and Mira Rajput tied the knot on July 7, 2015, in a private ceremony and since then their love has grown stronger. Mira is the daughter of Delhi-based businessman Vikramaditya Rajput and Bela Rajput. Shahid Kapoor and Mira Rajput became proud parents to baby girl Misha on August 26, 2016. Shahid Kapoor and Mira Rajput welcomed their second child, a baby boy on September 5, 2018, and the duo named their new-born Zain Kapoor.

Misha and Zain are one of the most adorable star kids of B-town. The cute little kiddos are the apple of everyone's eye. Just like other star babies, both the kids, particularly Misha has several fan clubs dedicated to her. Shahid and Mira often treat their fans with lovey-dovey pictures of their kids on Instagram.

During the coronavirus lockdown, Mira tried her hands at embroidery and even took some help from daughter Misha. Mira shared a picture of an embroidered heart and wrote, "Big love with my little love. With a hand drawn pattern and help on the turns, little hands made the heart with a lot of excitement and filled with a whole lot of love!" Take a look at the picture here:

The star wife keeps sharing snippets of her family quarantine time on her Instagram profile. She recently gave a shoutout to everyone for staying indoors. She wrote an elaborate open letter which read, "Love them. Hug them. Ask them how they feel and let them cry if they're not okay. Kiss them. Paint with them and let their clothes and the walls get dirty. Watch their favourite cartoon with them. Snuggle up with them. Give them extra ketchup if they ask for it that day. And when you’re tired after doing the dishes and cooking dinner and they say “Mumma can you play with me” remember this time isn’t forever. Little hands. Big hearts Love them."

 
 
 
View this post on Instagram

A post shared by Mira Rajput Kapoor (@mira.kapoor) onApr 29, 2020 at 9:52am PDT

On the work front, Shahid Kapoor's last film, Kabir Singh, did excellently at the box office. The Sandeep Reddy Vanga directorial was the story of a brilliant doctor who takes the self-destructive path when the love of his life is forced to marry another man. It earned over Rs 250 crore and became one of the highest grosser of 2019.

As of now, Shahid has signed the Hindi remake of the Telugu film Jersey, which is the story of a cricketer and how he battles the politics within the game and his inner demons. The film is all set to release on August 28, 2020.

Catch up on all the latest entertainment news and gossip here. Also, download the new mid-day Android and iOS apps.

Mid-Day is now on Telegram. Click here to join our channel (@middayinfomedialtd) and stay updated with the latest news


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Make Money with Embroidery

By www.articlegeek.com
Published On ::

People are all ages are looking to make extra money. Whether you are planning to supplement your current income or looking to replace an income totally, consider using a hobby like embroidery to make some fast cash. Embroidered items are always popular with all types of shoppers, and you can easily begin an embroidery company with a low overhead for those short of start up funds.


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What a gorgeous embroidery! I would love to learn ...

By madetotreasure.blogspot.com
Published On :: Thu, 21 Mar 2019 23:36:13 +0000

What a gorgeous embroidery! I would love to learn and have begun collecting just a few things. I really need to just do it!


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Chicken Scratch embroidery?? Never heard of it! ...

By madetotreasure.blogspot.com
Published On :: Sat, 28 Dec 2019 21:34:15 +0000

Chicken Scratch embroidery?? Never heard of it! How cool!!! Glad you are catching up on these different techniques!


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embroidery

Attachment for embroidery and sewing machines for creating crystal/rhinestone patterns and motifs, and software functions to control the attachment

By www.freepatentsonline.com
Published On :: Tue, 21 Apr 2015 08:00:00 EDT

Method for creating a crystal/rhinestone template utilizing a sewing/embroidery machine to perforate a medium in a desired pattern. In the case of a multiple-needle sewing/embroidery machine, the machine's needle is replaced by a perforator blade and perforator blade holder which are attached to machine's needle bar. Machine's needle plate is replaced by perforator plate and waste holder. With a single-needle sewing/embroidery machine, machine's needle is replaced by a pressing tool attached to the machine's needle bar. A contact point, a spring, and an arm are attached to machine's presser foot. Machine's needle plate is replaced by perforator plate. A template medium is placed on a work surface of machine. Machine is operated by software that reads a user-specified pattern/motif outline for filling stones in vector form, using innate rules to move machine frame and control hole placement.


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embroidery

Embroidery data processor, computer-readable storage medium storing embroidery data processing program and sewing machine

By www.freepatentsonline.com
Published On :: Tue, 12 May 2015 08:00:00 EDT

An embroidery data processor includes a color information acquiring unit configured to acquire color information of a workpiece cloth on which an embroidery pattern composed of a plurality of color-based pattern portions is sewn, a color storage unit configured to store data of defined colors, an assignment unit configured to randomly extract colors from the colors stored by the color storage unit for every color-based pattern portion, the extracted colors being used as thread color data specifying colors of the color-based pattern portions respectively, the assignment unit assigning the extracted colors to the respective color-based pattern portions, and a setting unit configured to set a predetermined extraction range containing a similar color or a contrast color based on the color information acquired by the acquiring unit. The assignment unit is configured to extract the color stored by the color storage unit in the set extraction range.


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embroidery

Embroidery hoop

By www.freepatentsonline.com
Published On :: Tue, 03 Jun 2014 08:00:00 EDT

An embroidery hoop includes a first frame, a second frame and a resilient member. The first frame includes an inner surface and an outer surface. A second frame includes an inner surface, an outer surface and a split portion. The split portion of the second frame includes a pair of separate end portions. One of the first and second frames is positionable in circumscribing alignment with the other of the first and second frames. The resilient member spans the end portions of the second frame split portion and is operable to provide a biasing force for abutting the inner surface of one of the first and second frames against the outer surface of the other of the first and second frames when the first and second frames are in circumscribing alignment.


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embroidery

A Simple Weekend Embroidery Finish

By feedproxy.google.com
Published On :: Mon, 20 Apr 2020 13:15:00 +0000

An idea has been bubbling around in my brain for a while. And since this past weekend was a perfect …


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embroidery

Jacobean Sea Embroidery Project: Troubleshooting the Stem

By feedproxy.google.com
Published On :: Mon, 27 Apr 2020 13:00:00 +0000

Oh golly. I really wanted to show off some serious stitching today. But in fact, I ran into one of …


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embroidery

The Royal School of Needlework book of embroidery : a guide to essential stitches, techniques and projects.

By www.catalog.slsa.sa.gov.au
Published On ::

Embroidery.


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embroidery

Best books on embroidery: Author Patricia Nicol recommends tomes featuring women who sew 

By www.dailymail.co.uk
Published On :: Sun, 16 Feb 2020 22:50:57 GMT

British literary expert Patricia Nichol, shares a selection of fascinating book son embroidery including The Testaments and A Single Thread.


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embroidery

Mira Rajput tries her hands at embroidery, takes daughter Misha Kapoor's help

By timesofindia.indiatimes.com
Published On :: Sat, 09 May 2020 09:55:51 GMT

Mira Rajput tries her hands at embroidery, takes daughter Misha Kapoor's help



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embroidery

Mira Rajput Shares Cute Heart Embroidery Done by Daughter Misha

By www.news18.com
Published On :: Sat, 9 May 2020 03:06:34 +0530

Shahid and Mira Kapoor's daughter embroidered a pair of hearts on a cloth with the help of her mother which was proudly shared on Instagram.


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embroidery

Mira & Misha try their hands at embroidery

By timesofindia.indiatimes.com
Published On :: Sat, 09 May 2020 11:14:40 IST

Shahid Kapoor and Mira Rajput are reportedly self-quarantining in Punjab with their kids Misha and Zain. The duo has been making the most of their free time amid the lockdown and spending time with the family.


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embroidery

Palestinian embroidery motifs: a treasury of stitches, 1850-1950 / Margarita Skinner ; in association with Widad Kamel Kawar

By grammy.mit.edu
Published On :: Mon, 4 Jun 2018

Rotch Library - NK9273.7.A1 S55 2014


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embroidery

A Daisy rose frockcoat with heavy embroidery on the sleeves and pocket

By digital.lib.usf.edu
Published On :: Thu, 30 Jan 2014 11:42:53 -0400


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embroidery

A Cap and baby dress with leaf design and a bag with heavy embroidery

By digital.lib.usf.edu
Published On :: Thu, 30 Jan 2014 11:44:51 -0400


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embroidery

A Long coat white embroidery with sprigs of flowers on pockets

By digital.lib.usf.edu
Published On :: Thu, 30 Jan 2014 11:45:05 -0400


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