Textile manufacturing by pre-industrial methods

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Textile manufacturing is one of the oldest human activities. The oldest known textiles date back to about 5000 B.C. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving to create cloth. The machine used for weaving is the loom. Cloth is finished by what are described as wet processes to become fabric. The fabric may be dyed, printed or decorated by embroidering with coloured yarns.

The three main types of fibres are natural vegetable fibres, animal protein fibres and artificial fibres. Natural vegetable fibres include cotton, linen, jute and hemp. Animal protein fibres include wool and silk. Man-made fibres (made by industrial processes) including nylon, polyester will be used in some hobbies and hand crafts and in the developed world.

Almost all commercial textiles are produced by industrial methods. Textiles are still produced by pre-industrial processes in village communities in Asia, Africa and South America. Creating textiles using traditional manual techniques is an artisan craft practised as a hobby in Europe and North America.[1]

Yarn formation[edit]

Vegetable fibres[edit]

Flax[edit]

The preparations for spinning is similar across most plant fibres, including Flax and Hemp. Flax is the fibre used to create linen. Cotton is handled differently since it uses the fruit of the plant and not the stem.

Harvesting

Flax is pulled out of the ground about a month after the initial blooming when the lower part of the plant begins to turn yellow, and when the most forward of the seeds are found in a soft state. It is pulled in handfuls and several handfuls are tied together with slip knot into a 'beet'. The string is tightened as the stalks dry. The seed heads are removed and the seeds collected, by threshing and winnowing.

Retting
Threshing and dressing flax at the Roscheider Hof Open Air Museum

Retting is the process of rotting away the inner stalk, leaving the outer fibres intact. A standing pool of warm water is needed, into which the beets are submerged. An acid is produced when retting, and it would corrode a metal container.

At 80 °F (27 °C), the retting process takes 4 or 5 days, it takes longer when colder. When the retting is complete the bundles feel soft and slimy, The process can be overdone, and the fibres rot too.

Dressing the flax

Dressing is removing the fibres from the straw and cleaning it enough to be spun. The flax is broken, scutched and hackled in this step.

Breaking flax in pre-revolutionary Perm, Russia
Breaking The process of breaking breaks up the straw into short segments. The beets are untied and fed between the beater of the breaking machine , the set of wooden blades that mesh together when the upper jaw is lowered.
Scutching In order to remove some of the straw from the fibre a wooden scutching knife is scaped down the fibres while they hang vertically.
Heckling Fibre is pulled through various sized heckling combs. A Heckling comb is a bed of sharp, long-tapered, tempered, polished steel pins driven into wooden blocks at regular spacing. A good progression is from 4 pins per square inch, to 12, to 25 to 48 to 80. The first three will remove the straw, and the last two will split and polish the fibres. Some of the finer stuff that comes off in the last heckles can be carded like wool and spun. It will produce a coarser yarn than the fibres pulled through the heckles because it will still contain some straw.
Spinning
Flax being spun from a distaff

Flax can either be spun from a distaff, or from the spinner's lap. Spinners keep their fingers wet when spinning, to prevent forming fuzzy thread. Usually singles are spun with an "S" twist. After flax is spun it is washed in a pot of boiling water for a couple of hours to set the twist and reduce fuzziness.

Many handspinners, will buy a roving of flax. This roving is spun in the same manner as above. The rovings may come with very long fibres (4 to 8 inches), or much shorter fibres (2 to 3 inches).

Cotton[edit]

Picking cotton in Oklahoma, USA, in the 1890s

Cotton is a soft, fluffy staple fibre that grows in a boll, or protective capsule, around the seeds of cotton plants of the genus Gossypium. The fibre is almost pure cellulose.

The plant is a shrub native to tropical and subtropical regions around the world, including the Americas, Africa, and India. The greatest diversity of wild cotton species is found in Mexico, followed by Australia and Africa.[2] Cotton was independently domesticated in the Old and New Worlds. The most favoured cottons are the ones with the longest staple as they can be spun into the finest thread. Sea Island and Egyptian are two of these. Surat an Indian species has a short staple. Hand operated methods of processing remained the preferred way of spinning and weaving the very finest threads and fabrics into the third quarter of the nineteenth century.

Yucca[edit]

Yucca fibres were at one time widely used throughout Central America for many things. Currently they are mainly used to make twine.Yucca leaves are harvested and then cut to a standard size. The leaves are crushed in between two large rollers producing the fibres which are bundled up and dried in the sun over trellises. The dried fibres are combined into rolags. At this point it is ready to spin. The waste, a pulpy liquid that stinks, can be used as a fertilizer.

Animal protein fibres[edit]

Wool[edit]

Wool is a protein based fibre, being the coat of a sheep. The wool is removed by shearing.

Sheep Shearing
A half sheared sheep.

Shearing can be done with use of hand-shears or powered shears. Professional sheep shearers can shear a sheep in under a minute, without nicking the sheep.

The fleece is removed in one piece. Second cuts can be made but produce only short fibres, which are more difficult to spin. Primitive breeds, like the Scottish Soay sheep have to be plucked, not sheared, as the kemps are still longer than the soft fleece, (a process called rooing).

Skirting

Skirting is disposing of all wool that is unsuitable for spinning. Recovering can be attempted. It can also be done at the same time as carding.

Cleaning

The wool is cleaned. At this point the fleece is full of lanolin and often contains extraneous vegetable matter, such as sticks, twigs, burrs and straw. These may all be removed, though lanolin may be left in the wool till after the spinning, a technique known as spinning 'in the grease'. Indeed if the fabric is to be water repellent, lanolin is not removed at any stage.

Washing the wool at this stage can be a tedious process. Some people wash it a small handful at a time very carefully, and then set it out to dry on a table in the sun. Others will wash the whole fleece. Lanolin is removed by soaking the fleece in very hot water. If the fleece gets agitated, it will become felt, and then spinning is impossible. Felting, when done on purpose (with needles, chemicals, or simply rubbing the fibres against each other), can be used to create garments.

Carding or combing

It is possible to spin directly from a clean fleece, but it is much easier to spin a carded fleece. Carding by hand yields a rolag, a loose woollen roll of fibres. Using a drum carder yields a bat, which is a mat of fibres in a flat, rectangular shape. Carding mills return the fleece in a roving, which is a stretched bat; it is very long and often the thickness of a wrist.A pencil roving is a roving thinned to the width of a pencil. It can used for knitting without any spinning, or for apprentices.

Combing is another method to align the fibres parallel to the yarn, and thus is good for spinning a worsted yarn, whereas the rolag from handcards produces a woolen yarn.

Spinning
A spinning wheel used to make yarn.

Hand spinning can be done by using a spindle or the spinning wheel. Spinning turns the carded wool fibres into yarn which can then be directly woven, knitted (flat or circular), crocheted, or by other means turned into fabric or a garment.

The spinning wheel collects the yarn on a bobbin. A woollen yarn is lightly spun so it is airey, and is a good insulator and suitable for knitting, while a worsted yarn is spun tight to exclude air, and has greater strength and is suited to weaving..

A niddy noddy ready to have a skein wound on it.

Once the bobbin is full, the hobby spinner either puts on a new bobbin, or forms a skein, or balls the yarn. A skein is a coil of yarn twisted into a loose knot. Yarn is skeined using a niddy-noddy or other type of skein -winder. Yarn is rarely balled directly after spinning, it will be stored in skein form, and transferred to a ball only if needed. Knitting from a skein, is difficult as the yarn forms knots, in this case it is best to ball. Yarn to be plied is left on the bobbin.

A lazy kate with bobbins on it in preparation for plying.
S and Z twists

A skein is either formed by the hobby spinner, on a niddy noddy or some other type of skein winder. Traditionally niddy-noddys looked like an uppercase "i", with the bottom half rotated 90 degrees. Hobby spinning wheel manufactures also make niddy-noddys that attach onto the spinning wheel for faster skein winding.

Plying

Plying yarn is when one takes a strand of spun yarn (one strand is often called a single) and spins it together with other strands in order to make a thicker yarn.

Regular plying consists of taking two or more singles and twisting them together, the against their twist. This can be done on a spinning wheel or on a spindle. If the yarn was spun clockwise (which is called a "Z" twist ), to ply, the wheel must spin counter-clockwise (an "S" twist). This is the most common way. When plying from bobbins a device called a lazy kate is often used to hold them.

Most hobby spinners (who use spinning wheels) ply from bobbins. This is easier than plying from balls because there is less chance for the yarn to become tangled and knotted if it is simply unwound from the bobbins. So that the bobbins can unwind freely, they are put in a device called a lazy kate, or sometimes simply kate. The simplest lazy kate consists of wooden bars with a metal rod running between them. Most hold between three and four bobbins. The bobbin sits on the metal rod. Other lazy kates are built with devices that create an adjustable amount of tension, so that if the yarn is jerked, a whole bunch of yarn is not wound off, then wound up again in the opposite direction. Some spinning wheels come with a built in lazy kate.

Navajo plying consists of making large loops, similar to crocheting.A loop about 8 inches long is made on the leader the end on the leader. (A leader is the string left on the bobbin to spin off.) The three strands together are spun in the opposite direction. When a third of the loop remains, a new loop is created and the spinning continues. The process is repeated until the yarn is all plied. The advantage of this method is that only one single is needed and if the single is already dyed this technique allows it to be plied without ruining the color scheme. This technique also allows the spinner to try to match up thick and thin spots in the yarn, thus making for a smoother end product.

Washing

If the lanolin is unwanted, and has not already been washed out, this is done now. The skein is tied in six points and steeped overnight in detergent, it is rinsed and air-dried, and re-skeined.

unless the lanolin is to be left in the cloth as a water repellent. When washing a skein it works well to let the wool soak in soapy water overnight, and rinse the soap out in the morning. Dishwashing detergents are commonly used, and a special laundry detergent designed for washing wool is not required. The dishwashing detergent works and does not harm the wool. After washing, let the wool dry (air drying works best). Once it is dry, or just a bit damp, one can stretch it out a bit on a niddy-noddy. Putting the wool back on the niddy-noddy makes for a nicer looking finished skein. Before taking a skein and washing it, the skein must be tied up loosely in about six places. If the skein is not tied up, it will be very hard to unravel when done washing.

Silk[edit]


Fabric formation[edit]

Once the fibre has been turned into yarn the process of making cloth is much the same for any type of fibre, be it animal or plant.


Weaving[edit]

The earliest weaving was done without a loom.

Loom[edit]

Elements of a foot-treadle floor loom
Warsztat.svg
  1. Wood frame
  2. Seat for weaver
  3. Warp beam
  4. Warp threads
  5. Back beam or platen
  6. Rods – used to make a shed
  7. Heddle bar
  8. heddle- the eye
  9. shuttle with weft yarn
  10. Shed
  11. Completed fabric
  12. Breast beam
  13. Batten with reed comb
  14. Batten adjustment
  15. Lathe
  16. Treadles
  17. Cloth roll
A picture taken from the back of a loom. The metal rods with holes that have the yarn running through them are the heddles. Further back, the metal comb with wood on the top and bottom is the reed. The shed is the gap between the two sets of yarn.

In general the supporting structure of the loom is called the frame. It provides the means of fixing the length-wise threads, called the warp, and keeping them under tension. The warp threads are wound on a roller called the warp beam, and attached to the cloth beam which will hold the finished material. Because of the tension the warp threads are under, they need to be strong.

The thread that is woven through the warp is called the weft. The weft is threaded through the warp using a shuttle. The original hand-loom was limited in width by the weaver's reach, because of the need to throw the shuttle from hand to hand. The invention of the flying shuttle with its fly cord and picking sticks enabled the weaver to pass the shuttle from a box at either side of the loom with one hand, and across a greater width. The invention of the drop box allowed a weaver to use multiple shuttles to carry different wefts.

Alternating sets of threads are lifted by connecting them with string or wires called heddles to another bar, called the shaft (or heddle bar or heald). Heddles, shafts and the couper (lever to lift the assembly) are called the harness — the harness provides for mechanical operation using foot- or hand-operated treadles. After passing a weft thread through the warp, a reed comb is used to beat (compact) the woven weft.[3]

To prepare to weave, the warp must be made. By hand this is done with the help of a warping board. The length the warp is made is about a quarter to half yard more than the amount of cloth needed. Warping boards come in a variety of shapes, from the two nearest door handles to a board with pegs on it, or a device called a warping mill that looks similar to a swift.[3] Warping the loom, mean threading each end through an eye in a heddle, and then sleying it through the reed. The warp is set (verb) at X ends per inch. It then has a sett (noun) of X ends per inch. The weft is measured in picks per inch.

Knitting[edit]

The front side of a plainly knitted object

Handknitting can either be done "flat" or "in the round". Flat knitting is done on a set of single point knitting needles, and the knitter goes back and forth, adding rows. In Circular knitting, or "knitting in the round", the knitter knits around a circle, creating a tube. This can be done with a set of four double pointed needles or a single circular needle.

A knitted object will unravel easily if the top has not been secured. Knitted objects also stretch easily in all directions, whereas woven fabric only stretches on the bias.

Crocheting[edit]

Irish crocheted lace

Crocheting differs largely from knitting in that there is only one loop, not the multitude as knitting has. Also, instead of knitting needles, a crochet hook is used.

Lace making[edit]

A lace fabric is lightweight openwork fabric, patterned, with open holes in the work. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often lace is built up from a single thread and the open spaces are created as part of the lace fabric. Lace may be crocheted, or knitted.

Textile finishing[edit]

Wet processes[edit]

Embroidery[edit]

Embroidery – threads which are added to the surface of a finished textile.

Embroidery is the handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins. Embroidery is most often used on caps, hats, coats, blankets, dress shirts, denim, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn color.


Caucasus embroidery An interesting characteristic of embroidery is that the basic techniques or stitches on surviving examples of the earliest embroidery—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.


Embroidery has been dated to the Warring States period (5th-3rd century BC).[1] The process used to tailor, patch, mend and reinforce cloth fostered the development of sewing techniques, and the decorative possibilities of sewing led to the art of embroidery.[2] In a garment from Migration period Sweden, roughly 300–700 CE, the edges of bands of trimming are reinforced with running stitch, back stitch, stem stitch, tailor's buttonhole stitch, and whipstitching, but it is uncertain whether this work simply reinforced the seams or should be interpreted as decorative embroidery.[3]

The remarkable stability of basic embroidery stitches has been noted:

It is a striking fact that in the development of embroidery ... there are no changes of materials or techniques which can be felt or interpreted as advances from a primitive to a later, more refined stage. On the other hand, we often find in early works a technical accomplishment and high standard of craftsmanship rarely attained in later times.[4]

In the 16th century, in the reign of the Mughal Emperor Akbar, his chronicler Abu al-Fazl ibn Mubarak wrote in the famous Ain-i-Akbari: "His majesty (Akbar) pays much attention to various stuffs; hence Irani, Ottoman, and Mongolian articles of wear are in much abundance especially textiles embroidered in the patterns of Nakshi, Saadi, Chikhan, Ari, Zardozi, Wasli, Gota and Kohra. The imperial workshops in the towns of Lahore, Agra, Fatehpur and Ahmedabad turn out many masterpieces of workmanship in fabrics, and the figures and patterns, knots and variety of fashions which now prevail astonish even the most experienced travelers. Taste for fine material has since become general, and the drapery of embroidered fabrics used at feasts surpasses every description."[5]

Embroidery was a very important art in the Medieval Islamic world. One of the most interesting accounts of embroidery were given by the 17th century Turkish traveler Evliya Çelebi, who called it the "craft of the two hands". Because embroidery was a sign of high social status in Muslim societies, it became a hugely popular art. In cities such as Damascus, Cairo and Istanbul, embroidery was visible on handkerchiefs, uniforms, flags, calligraphy, shoes, robes, tunics, horse trappings, slippers, sheaths, pouches, covers, and even on leather belts. Many craftsmen embroidered with gold and silver thread. A number of embroidery cottage industries, each employing over 800 people, grew to supply these items.[6]

Elaborately embroidered clothing, religious objects, and household items have been a mark of wealth and status in many cultures including ancient Persia, India, China, Japan, Byzantium, and medieval and Baroque Europe. Traditional folk techniques are passed from generation to generation in cultures as diverse as northern Vietnam, Mexico, and eastern Europe. Professional workshops and guilds arose in medieval England. The output of these workshops, called Opus Anglicanum or "English work," was famous throughout Europe.[7]


Detail of embroidered silk gauze ritual garment. Rows of even, round chain stitch used for outline and color. 4th century BC, Zhou tomb at Mashan, Hubei, China.


English cope, late 15th or early 16th century. Silk velvet embroidered with silk and gold threads, closely laid and couched. Contemporary Art Institute of Chicago textile collection.


Extremely fine underlay of St. Gallen Embroidery


Traditional Turkish embroidery. Izmir Ethnography Museum, Turkey.


Traditional Croatian embroidery.

Brightly coloured Korean embroidery.


Uzbekistan embroidery on a traditional women's parandja robe.


Traditional Peruvian embroidered floral motifs.


Woman wearing a traditional embroidered Kalash headdress, Pakistan. Contents [hide] 1 Industrial Revolution 2 Classification 3 Materials 4 Machine 4.1 Industrial embroidery machines 5 See also 6 Notes 7 References Industrial Revolution[edit] The development of machine embroidery on a mass production scale came about in stages. The earliest machine embroidery used a combination of machine looms and teams of women embroidering the textiles by hand. This was done in France by the mid-1800s.[8]

The manufacture of machine-made embroideries in St. Gallen in eastern Switzerland flourished in the latter half of the 19th century.

Classification[edit]


Japanese free embroidery in silk and metal threads, contemporary.


Embroidered Easter eggs. Works by Inna Forostyuk, the folk master from the Luhansk region (Ukraine) Embroidery can be classified according to whether the design is stitched on top of or through the foundation fabric, and by the relationship of stitch placement to the fabric.

In free embroidery, designs are applied without regard to the weave of the underlying fabric. Examples include crewel and traditional Chinese and Japanese embroidery.


Cross-stitch counted-thread embroidery. Tea-cloth, Hungary, mid-20th century Counted-thread embroidery patterns are created by making stitches over a predetermined number of threads in the foundation fabric. Counted-thread embroidery is more easily worked on an even-weave foundation fabric such as embroidery canvas, aida cloth, or specially woven cotton and linen fabrics although non-evenweave linen is used as well. Examples include needlepoint and some forms of blackwork embroidery.


Hardanger, a whitework technique. Contemporary. In canvas work threads are stitched through a fabric mesh to create a dense pattern that completely covers the foundation fabric. Traditional canvas work such as bargello is a counted-thread technique.[9] Since the 19th century, printed and hand painted canvases, on which the printed or painted image serves as a guide to the placement of the various thread or yarn colors, have eliminated the need for counting threads. These are particularly suited to pictorial rather than geometric designs such as those deriving from the Berlin wool work craze of the early 19th century.[10][11][12]

In drawn thread work and cutwork, the foundation fabric is deformed or cut away to create holes that are then embellished with embroidery, often with thread in the same color as the foundation fabric. These techniques are the forerunners of needlelace. When created with white thread on white linen or cotton, this work is collectively referred to as whitework.[13]

Materials[edit]


Phulkari from the Punjab region of India. Phulkari embroidery, popular since at least the 15th century, is traditionally done on hand-spun cotton cloth with simple darning stitches using silk floss.


Laid threads, a surface technique in wool on linen. The Bayeux Tapestry, 11th century. The fabrics and yarns used in traditional embroidery vary from place to place. Wool, linen, and silk have been in use for thousands of years for both fabric and yarn. Today, embroidery thread is manufactured in cotton, rayon, and novelty yarns as well as in traditional wool, linen, and silk. Ribbon embroidery uses narrow ribbon in silk or silk/organza blend ribbon, most commonly to create floral motifs.[14]

Surface embroidery techniques such as chain stitch and couching or laid-work are the most economical of expensive yarns; couching is generally used for goldwork. Canvas work techniques, in which large amounts of yarn are buried on the back of the work, use more materials but provide a sturdier and more substantial finished textile.[12]

In both canvas work and surface embroidery an embroidery hoop or frame can be used to stretch the material and ensure even stitching tension that prevents pattern distortion. Modern canvas work tends to follow symmetrical counted stitching patterns with designs emerging from the repetition of one or just a few similar stitches in a variety of hues. In contrast, many forms of surface embroidery make use of a wide range of stitching patterns in a single piece of work.[15]

Machine[edit]


Commercial machine embroidery in chain stitch on a voile curtain, China, early 21st century. Much contemporary embroidery is stitched with a computerized embroidery machine using patterns "digitized" with embroidery software. In machine embroidery, different types of "fills" add texture and design to the finished work. Machine embroidery is used to add logos and monograms to business shirts or jackets, gifts, and team apparel as well as to decorate household linens, draperies, and decorator fabrics that mimic the elaborate hand embroidery of the past.

Industrial embroidery machines[edit] There are a number of brands available on the market; the top two are Tajima and Barudan, followed by Toyota & SWF [16]

See also[edit] Chikankari Mary Ann Beinecke Decorative Art Collection Sachet (scented bag) Embroidery of India Broderie de Fontenoy-le-Château china embroidery

Notes[edit] Jump up ^ Gillow and Bryan 1999, p. 178 Jump up ^ Gillow and Bryan 1999, p. 12 Jump up ^ Coatsworth, Elizabeth: "Stitches in Time: Establishing a History of Anglo-Saxon Embroidery", in Netherton and Owen-Crocker 2005, p. 2 Jump up ^ Marie Schuette and Sigrid Muller-Christensen, The Art of Embroidery translated by Donald King, Thames and Hudson, 1964, quoted in Netherton and Owen-Crocker 2005, p. 2 Jump up ^ Saudi Aramco World : Mughal Maal Jump up ^ Saudi Aramco World : The Skill of the Two Hands Jump up ^ Levey and King 1993, p. 12 Jump up ^ Knight, Charles (1858). Pictorial Gallery of Arts. England. Jump up ^ Gillow and Bryan 1999, p. 198 Jump up ^ Embroiderers' Guild 1984, p. 54 Jump up ^ Berman 2000 ^ Jump up to: a b Readers Digest 1979, p. 112-115 Jump up ^ Readers Digest 1979, pp. 74-91 Jump up ^ van Niekerk 2006 Jump up ^ Readers Digest 1979, pp. 1-19, 112-117 Jump up ^ Answers, Wiki (2010-05-19). "Which are the best brands of embroidery machines?". Wiki Answers. Retrieved 2012-11-25. References[edit] Wikimedia Commons has media related to Embroidery. Berman, Pat (2000). "Berlin Work". American Needlepoint Guild. Retrieved 2009-01-24. Caulfield, S.F.A., and B.C. Saward (1885). The Dictionary of Needlework. Embroiderers' Guild Practical Study Group (1984). Needlework School. QED Publishers. ISBN 0-89009-785-2. Gillow, John, and Bryan Sentance (1999). World Textiles. Bulfinch Press/Little, Brown. ISBN 0-8212-2621-5. Lemon, Jane (2004). Metal Thread Embroidery. Sterling. ISBN 0-7134-8926-X. Levey, S. M. and D. King (1993). The Victoria and Albert Museum's Textile Collection Vol. 3: Embroidery in Britain from 1200 to 1750. Victoria and Albert Museum. ISBN 1-85177-126-3. Quinault, Marie-Jo (2003). Filet Lace, Introduction to the Linen Stitch. Trafford Publishing. ISBN 1-4120-1549-9. Netherton, Robin, and Gale R. Owen-Crocker, editors, (2005). Medieval Clothing and Textiles, Volume 1. Boydell Press. ISBN 1-84383-123-6. Readers Digest (1979). Complete Guide to Needlework. Readers Digest. ISBN 0-89577-059-8. van Niekerk, Di (2006). A Perfect World in Ribbon Embroidery and Stumpwork. ISBN 1-84448-231-6. Wilson, David M. (1985). The Bayeux Tapestry. Thames and Hudson. ISBN 0-500-25122-3. Crummy, Andrew (2010). The Prestonpans Tapestry 1745. Burke's Peerage & Gentry, for Battle of Prestonpans (1745) Heritage Trust. [hide] v t e Embroidery Styles Assisi Bargello Berlin work Blackwork Broderie Anglaise Broderie perse Candlewicking Canvas work Celtic cross stitch Counted-thread Crewel Cross-stitch Cutwork Darning Drawn thread work Free embroidery Goldwork Hardanger Machine Needlepoint Quillwork Smocking Stumpwork Surface Suzani Trianglepoint Whitework Odo bayeux tapestry detail.jpgSampler by Elizabeth Laidman 1760 detail.jpgKaitag.jpg Stitches Backstitch Blanket Buttonhole Chain stitch Couching and laid work Cross stitches Embroidery stitch Featherstitch Holbein Parisian Running Satin stitch Sashiko Shisha Straight stitch Tent stitch Tools and materials Aida cloth Embroidery hoop Embroidery thread Evenweave Perforated paper Plainweave Plastic canvas Sampler Slip Yarn Regional and historical Art needlework Bunka shishu Brazilian Chikan Chinese English Indian Jacobean Kaitag Kantha Kasuti Korean Mountmellick Nakshi Kantha Persian Opus Anglicanum Rushnyk Ukrainian Vietnamese Vyshyvanka Zardozi Embroideries Butler-Bowden Cope Bayeux Tapestry Bradford carpet Hastings Embroidery Hestia tapestry Margaret Laton's jacket New World Tapestry Overlord embroidery Quaker Tapestry Fragments of a Cope with the Seven Sacraments Designers and embroiderers Emilie Bach Leon Conrad Kaffe Fassett Juanita Growing Thunder Fogarty Marilyn Leavitt-Imblum François Lesage Ann Macbeth May Morris Jessie Newbery Charles Germain de Saint Aubin Mary Elizabeth Turner Teresa Wentzler Kathleen Whyte Erica Wilson Lily Yeats Organizations and museums Embroiderers' Guild (UK) Embroiderer's Guild of America Embroidery Software Protection Coalition Needlework Development Scheme Royal School of Needlework Chung Young Yang Embroidery Museum Han Sang Soo Embroidery Museum Related Applique Crochet Knitting Lace Needlework Quilting

See also[edit]

References[edit]

  1. ^ "Designing for Fair Trade". People Tree- Fair Trade. 2009. Retrieved 2009-02-12. 
  2. ^ The Biology of Gossypium hirsutum L. and Gossypium barbadense L. (cotton). ogtr.gov.au
  3. ^ a b Handwoven Magazine. "Weaving Terms." Weaving Resources. Interweave Press. March 1, 2008 http://www.interweave.com/weave/projects_articles/Weaving-terms.pdf

External links[edit]