I've done freehand embroidery and counted cross-stitch with fine floss and crewel embroidery with heavier yarns.
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Sleigh Bell Crewel Embroidered Table Throw, $96.50 (originally $129), available at Pottery Barn [You save $32.50]This festive red table throw is lined with a snowy winter scene that's festive and inviting — perfect for dinner.
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Often based on tree of life imagery, curving branches with large flowers were a typical design. Early crewel embroideries exclusively used wool thread on linen (modern crewel embroidery encompasses a broader range with the only requirement being extensive use of crewel stitch variations).
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The technique is at least a thousand years old. The origin of the word crewel is unknown but is thought to come from an ancient word describing the curl in the staple, the single hair of the wool. The word crewel in the 1700s meant worsted, a wool yarn with twist, and thus crewel embroidery was not identified with particular styles of designs, but rather was embroidery with the use of this wool thread. Crewel wool has a long staple; it is fine and can be strongly twisted.
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Other plainweaves suitable for crewel include denim, sailcloth, ticking, and organdy when worked in wool.
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Ivy is a protagonist in Dragon on a Pedestal, Crewel Lye: A Caustic Yarn, and Man from Mundania.
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Modern crewel wool is a fine, two-ply or one-ply yarn available in many different colours. Crewel embroidery is often associated with England in the 17th and 18th centuries, and from England was carried to the American colonies. It was particularly popular in New England. The stitches and designs used in America were simpler.
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Crewel is a 2012 young adult dystopian fantasy novel by Gennifer Albin. The book is Albin's debut novel and is the first entry in her Crewel World trilogy. Crewel was released on October 16, 2012 by Farrar, Straus and Giroux and follows a young girl in a dystopian society that is pulled from her family due to her ability as a Spinster to manipulate the world via weaving. Albin stated that she came up with the idea of using the term "Spinsters" while comparing the term for old maids with that of the usage of the term to describe someone who spins wool.
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Surface embroidery may be performed on plainweave, such as crewel work, goldwork, stumpwork, cutwork, and candlewicking. Embroideries that can be performed on plainweave do not require the crafter to perform stitches at a precise thread count. Most woven fabrics that were not specifically manufactured for the purpose of embroidery qualify as plainweave. Traditionally, linen plainweave is the preferred fabric for crewel embroidery.
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Crewel bed-hangings provided both decoration and comfort, while serving as a status symbol. Detail of linen valence ca. 1760-1770 embroidered with crewel wool, American Many of the embroidery patterns they worked from included common motifs: trees, birds, flowers, groups of figures or animals. This indicates that these patterns may have been variations of a small number of originals.
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Other common names include cuy lippe, herb peter, paigle, peggle, key flower, key of heaven, fairy cups, petty mulleins, crewel, buckles, palsywort, plumrocks, tittypines.
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V&A; T.166-1961. Sets of bed hangings embroidered in crewel wools were another characteristic product of the Stuart era. These were worked on a new fabric, a natural twill weave from Bruges with a linen warp and cotton weft. Crewel wools of the 17th century were firmly twisted unlike the soft wools sold under that name today, and were dyed in deep rich shades of green, blue, red, yellow, and brown.
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These ornate fabrics, as well as fabrics decorated with crewel embroidery, were used in curtains during the English Elizabethan and Jacobean periods. Solid wood shutters were used during cold seasons.
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Haraszty later moved to California where her work incorporated embroidery and crewel to create what she called "needlepainting." She wrote books on the subject and created needlepainting kits for production.
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The linen-cotton union fabric used is made by Peter Greig and Company (based at Victoria Linen Works, Kirkcaldy, Scotland), and the 2-ply crewel wool is dyed and spun by Appletons, of Buckinghamshire, England.
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Wool from Worstead in Norfolk was manufactured for weaving purposes, but also started to be used for embroidering small designs using a limited number of stitches, such as stem and seeding. These were initially often executed in a single color. However, the color and design range expanded, and embroidery using this crewel wool began to be used in larger projects and designs, such as bed hangings. Rich embroidery had been used extensively in ecclesiastical vestments and altar drapings, but after the Protestant Reformation, the emphasis moved to embroidery, including crewel work, for use in homes and other secular settings.
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Levey and King, The Victoria and Albert Museum's Textile Collection Vol. 3: Embroidery in Britain from 1200 to 1750, p. 16 and 66 Slip motifs are also seen in blackwork embroidery, worked in silk, and in Jacobean embroidery and crewel embroidery in silk and wool.
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Fanciful leaf in crewelwork, detail of a curtain, English, c. 1696. Victoria and Albert Museum T.166-1961. Crewel embroidery, or crewelwork, is a type of surface embroidery using wool. A wide variety of different embroidery stitches are used to follow a design outline applied to the fabric.
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Mary Linwood (1755–1845) was an English needle woman who exhibited her worsted embroidery or crewel embroidery in Leicester and London, and was the school mistress of a private school later known as Mary Linwood Comprehensive School. In 1790, she received a medal from the Society of Arts.
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There was a resurgence of interest in crewel embroidery in Deerfield, Massachusetts when two women, Margaret Whiting and Ellen Miller, founded the Deerfield Society of Blue and White Needlework, thus starting the Deerfield embroidery movement. This society was inspired by the crewel work of 18th-century women who had lived in and near Deerfield. Members of the Blue and White Society initially used the patterns and stitches from these earlier works that they had found in the town museum. Because these new embroideries were not meant to replicate the earlier works, members of the Deerfield Society soon deviated from the earlier versions with new patterns and stitches, and even the use of linen, rather than wool, thread.
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For nearly seventy-five years Mary worked in worsted embroidery, producing a collection of over 100 pictures that specialised in full size copies of old masters. She opened an exhibition in the Hanover Square Rooms in 1798, which afterward travelled to Leicester Square, Edinburgh and Dublin. Mary Linwood's copies of old master paintings in crewel wool (named from the crewel or worsted wool used), in which the irregular and sloping stitches resembled brushwork, achieved great fame from the time of her first London exhibition in 1787. She met most of the crowned heads of Europe. She exhibited in Russia and Catherine the Great offered £40,000 for the whole collection while the Tsar offered her £3,000 for one example.
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1590 to 1620 a uniquely English fashion arose for embroidered linen jackets worn informally or as part of masquing costume. These jackets usually featured scrolling floral patterns worked in a multiplicity of stitches. Similar patterns worked in 2-ply worsted wool called crewel on heavy linen for furnishings are characteristic of Jacobean embroidery.
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There are few other early crewel embroideries known. The Jamtlands Lans Museum in Sweden has three related items, the Overhogdals tapestries, from the 11th -12th centuries that show people, animals, and other natural and human-built items. As of 2019, the primary theory is that these works depict the downfall of the world, the Ragnarok.
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The Presentation order was heavily involved in the promotion of the craft. In 1920 when the Quaker school closed, the Presentation Sisters moved into the school and continued its embroidery tradition. Four possible sources of influence on the origins on Mountmellick embroidery have been suggested. The most likely influence was crewel embroidery, because of the similarity of the stitches.
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Smocking requires lightweight fabric with a stable weave that gathers well. Cotton and silk are typical fiber choices, often in lawn or voile. Smocking is worked on a crewel embroidery needle in cotton or silk thread and normally requires three times the width of initial material as the finished item will have.Reader's Digest, pp. 160–161.
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The main categories are free or surface embroidery, counted embroidery, and needlepoint or canvas work. In free or surface embroidery, designs are applied without regard to the weave of the underlying fabric. Examples include crewel and traditional Chinese and Japanese embroidery. Counted-thread embroidery patterns are created by making stitches over a predetermined number of threads in the foundation fabric.
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Initial critical reception for Crewel has been mixed to positive, with Redbook listing the book as a recommended read. Kirkus Reviews praised the book's premise, but wrote that it was "undermined by inconsistent worldbuilding, fuzzy physics, pedestrian language, characters who never move beyond stereotype and subplots that go nowhere". Publishers Weekly also commented that the reality-weaving can get "murky" but that "it's easily forgiven as the plot races along".
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Queen Mary II (co-reigned 1689–1694 with her husband William II) and the women of her court were known for the very fine needlework they produced. Using satin stitch with worsted wool, they created hangings and other objects showing images of fruits, birds, and beasts. Their example spurred interest in crewel embroidery. Bed hangings and other furnishings were created, often using bluish greens supplemented by brighter greens and browns.
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The stitches used most often were outline, seed, and economy, and the designs most frequently used showed plants. Crewel embroidery was a pastime primarily in New England. There are some surviving examples from the mid Atlantic region, primarily New York and Pennsylvania, but these designs differed. Indeed, there were also stylistic differences within New England, with one region being the Massachusetts coast area centered on Boston, and another Connecticut.
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The medallions in the front and rear windows are of Elgin and Melrose Abbeys which were 13th and 16th century seats of learning. The draperies are of crewel-embroidered linen. The rooms lighting fixtures were inspired by an iron coronet in Edinburgh's John Knox Museum that was retrieved from the battlefield of Bannockburn at which Scotland won its independence from England in 1314. Student's seats resemble a chair that belonged to John Knox.
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Historic eighteenth century crewel embroidery preferentially used a linen and cotton twill plainweave because it wore well. The fabric's diagonal rib was regarded as an esthetically pleasing contrast to the embroidery, although sometimes it was brushed before working to create a smoother nap. This material, known as fustian originated in Fustât in ancient times and was probably the forerunner of velvet. Almost any plainweave fabric can be made suitable for goldwork and other metal embroidery.
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Some embroideries from the Elizabethan period used garden motifs for their design, as gardens themselves were enjoying a heyday. These embroideries were worked in silk or wool (crewel), and were used in the home to brighten the surroundings. Embroidered wall hangings, table carpets, and various forms of bed-hangings might all sport embroidered images. The length of valences made them ideal for embroidery that told a story of a number of episodes.
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Landscape patterns with figures were more realistic in the 18th century than they were in the 17th century, and seldom involved scenes from the Bible, as had earlier patterns. Many of the New England embroidery designs in the 1700s included rounded and curving elements. Patterns for crewel designs were obtained in a number of ways. Patterns in both England and New England were often derived from elements taken from engravings of English and French artists.
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Chain stitch was the stitch used by early sewing machines; however, as it is easily unravelled from fabric, this was soon replaced with the more secure lockstitch. This ease of unraveling of the single-thread chain stitch, more specifically known as ISO 4915:1991 stitch 101, continues to be exploited for industrial purposes in the closure of bags for bulk products. Machine embroidery in chain stitch, often in traditional hand-worked crewel designs, is found on curtains, bed linens, and upholstery fabrics.
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Crewel is a form of magical weaving. This marks her as someone that would be of interest to the people who run Arras, as the world is completely dependent on the Guild to manipulate the world and bring in food and good weather. Every year Arras’s Manipulation Services performs a test on girls of a specific age, looking to see if they have the ability to manipulate. The girls that show promise are taken away in the night and put to work weaving the world around them.
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Her works had a hint of seventeenth-century crewel-work and her designs featured floral forms with angular stems and a strong decorative quality. She also imported the new Glasgow style lettering into her embroidery designs. Students who took part on her embroidery classes did so as an extra subject, or because they hoped to earn a livelihood as professional embroidery workers. At the turn of the century the Scottish Education Department issued guidance which envisaged embroidery as an important part of the national school curriculum.
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Women may also have used designs from printed fabric for their crewel work. From surviving Colonial crewelwork and written references such as letters, it is known that most projects were embroidered on linen. However, the preferred background fabrics were fustian (a twill fabric that generally had a linen warp with a cotton weft, though may have been all cotton) or dimity (which has fine vertical ribs and resembles fine corduroy). The range of wool colors that needleworkers in colonial New England could call upon were rather limited.
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Cross stitches were typical of 16th century canvas work, falling out of fashion in favor of tent stitch toward the end of the century.Levey, S. M. and D. King, The Victoria and Albert Museum's Textile Collection Vol. 3: Embroidery in Britain from 1200 to 1750, Victoria and Albert Museum, 1993, Canvas work in cross stitch became popular again in the mid-19th century with the Berlin wool work craze. Herringbone, fishbone, Van Dyke, and related crossed stitches are used in crewel embroidery, especially to add texture to stems, leaves, and similar objects.
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The Quaker Tapestry consists of 77 panels illustrating the history of Quakerism from the 17th century to the present day. The idea of Quaker Anne Wynn-Wilson, the tapestry has a permanent home at the Friends Meeting House at Kendal, Cumbria, England. The design was heavily influenced by the Bayeux Tapestry, and includes similar design choices, including three horizontal divisions within panels, embroidered outlines for faces and hands, and solid infilling of clothing, which is embroidered in the Bayeux technique. The tapestry is worked in crewel embroidery using woollen yarns on a handwoven woollen background.
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Traditionally, this stitch has been used to secure the edges of buttonholes. In addition to reinforcing buttonholes and preventing cut fabric from raveling, buttonhole stitches are used to make stems in crewel embroidery, to make sewn eyelets, to attach applique to ground fabric, and as couching stitches. Buttonhole stitch scallops, usually raised or padded by rows of straight or chain stitches, were a popular edging in the 19th century. Buttonhole stitches are also used in cutwork, including Broderie Anglaise, and form the basis for many forms of needlelace.
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The end of this period saw the rise of the formal sampler as a record of the amateur stitcher's skills. Curious fashions of the mid-17th century were raised work or stumpwork, a pictorial style featuring detached and padded elements,Embroiderers' Guild 1984, p. 81 and crewel work, featuring exotic leaf motifs worked in wool yarn.Fitwzwilliam and Hand 1912, "Introduction" Canvaswork, in which thread is stitched through a foundation fabric, and surface embroidery, in which the majority of the thread sits on top of the fabric, exist side-by-side in the English tradition, coming in and out of fashion over the years.
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Pashmina, Shawl, Carpet, Silverware, Woodwork, Crewel embroidery, Phool Kari, Kashmiri rug and Papier-mâché are the main products of Kashmiri Handicrafts. It is said that the people of Kashmir learnt Namda (see, Kashmiri rug) weaving in the 11th century when Mughal emperor Akbar ordered for a suitable covering floor for his horse. It is also believed that some people make useful things from stone crafting which can be later used in Architecture work. Stone crafting are mainly done by men while other handicrafts like Embroidery work is done by both men in women in the region conventionally.
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London: Collins; p. 148 There is a holy well dedicated to St Bryvyth in woodland just outside the village. There are four stone crosses in the parish: Trethew Cross consists of a crosshead which was found in 1900 and a separate base; Trevorry or Sandyway Cross was found in 1936; Menawink Cross is a cross with a mutilated head which was found c. 1990 and erected shortly thereafter on the opposite side of the road; Crewel Cross was first reported in 1870 built into a stile (in 1900 the two separate parts were joined together and erected on a base).
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Embroidered cushion cover, 1601, British (Metropolitan Museum of Art) Embroidery for household furnishings during the Elizabethan era was often worked using silk and wool on canvas or linen canvas. Garment embroidery more often used silk or silk and silver threads. Many different stitches were used for the embroidery, including "back, basket, braid, pleated braid, brick, buttonhole, chain, coral, cross, long-armed cross, French knot, herringbone, link, long and short, running, double running, satin, seed, split, stem, tent as well as laid work and couching." Motifs frequently used in crewel embroidery of the period included coiling stems, branches, and detached flower designs.
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Embroidered linen jacket c. 1614-18 Sketch of a portion of the base or terra firma from an 18th(?) century curtain.Fitzwilliam, Ada Wentworth and A. F. Morris Hands, Jacobean Embroidery, Its Forms and Fillings Including Late Tudor, Keegan Paul, 1912 Jacobean embroidery refers to embroidery styles that flourished in the reign of King James I of England in first quarter of the 17th century. The term is usually used today to describe a form of crewel embroidery used for furnishing characterized by fanciful plant and animal shapes worked in a variety of stitches with two-ply wool yarn on linen.
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"It is an almost impossible task to describe the large leaves, since they bear no resemblance to anything natural, they are, however, rarely angular in outline, rejoicing rather in sweeping curves, and drooping points, curled over to display the under side of the leaf, a device that gave opening for much ingenuity in the arrangement of the stitches." Although usually called "Jacobean embroidery" by modern stitchers, crewel has its origins in the reign of James I but remained popular through the reign of Queen Anne and into the early 18th century, when a return to the simpler forms of the earliest work became fashionable.
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Occasionally, "a dull pinkish red" would be the main color. Crewel embroidery on bed curtain panel, British, early 18th century (Metropolitan Museum of Art) Designs in the latter part of the 1600s fell primarily into three categories. One was individual sprays of flowers scattered over the fabric; the second, to be found on narrow panels, involved flowering stems running the length of the panel with a floral motif between them; and the third was a branching tree with stylized leaves, the Tree of Life. The tree sits on a mound, and there might be other small motifs of individuals or flora and fauna near the mound.
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Baynes also contributed artwork to many magazines, including Holly Leaves, Lilliput, Puffin Post, The Sphere, The Tatler and The Illustrated London News (to which she was introduced by another of the ILN's artists, her friend and mentor Ernest Shepard). Stationery companies commissioned her to design Christmas cards - some of which are still reproduced decades after she painted them - and Huntley and Palmers employed her to advertise their biscuits. The Church of the Good Shepherd in her home village of Dockenfield has a pair of Baynes's stained glass windows. And for the Plymouth Congregational Church in Minneapolis, Baynes designed the largest pieces of crewel embroidery to be found anywhere in the world.
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By the middle of the 19th century, Deerfield's population was declining, with young people moving away. There was a focus amongst those who stayed on Deerfield's history, and this was reflected in the establishment in 1870 of the Pocumtuck Valley Memorial Association, which actively collected local artifacts, which formed the basis of the Memorial Hall Museum, which opened to the public in 1880. This local interest in heritage served as the setting for the founding of the Deerfield Society of Blue and White Needlework. Whiting and Miller carefully examined historical crewel embroidery of the area as found in the possession of residents and in Memorial Hall Museum.
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Ultramagic N-355 hot air balloon (volume of 10,000 m³, for up to 20 persons) registered in Germany and sponsored by Warsteiner Ultramagic (, ) is a manufacturer of hot air balloons, based at the Igualada-Òdena airfield, province of Barcelona, Catalonia. It is the only manufacturer of hot air balloons in Spain, and the second largest in the world.Sky’s the Limit Ballooning Adventures, Southern California, PILOTS AND CREWEl Periodico, Once meses en globo The company produces from 80 to 120 balloons per year, with 80% of them exported to Europe, North America, South America, Africa and Japan. The company can produce massive balloons, such as the N-500 that accommodates up to 27 persons in the basket.
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While hanks may differ by manufacturer and by product, a skein is usually considered 1/6th of a hank (either by weight or by length). One source identifies a skein of stranded cotton as being , of tapestry wool as being , and crewel wool as being . In yarns for handcrafts such as knitting or crochet, hanks are not a fixed length but are sold in units by weight, most commonly 50 grams. Depending on the thickness of the strand as well as the inherent density of the material, hanks can range widely in yardage per 50 gram unit; for example, 440 yards for a lace weight mohair, to 60 yards for a chunky weight cotton.
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Brian Cox is an American writer, director and producer of various independent films and television. He is perhaps best known for the films Scorpion Spring, Keepin' It Real and the live-action adaption of El Muerto: The Aztec Zombie,El Muerto (The Dead One) - Cast and crewEl Muerto (film) - the official site the latter of which won the Best Feature Film Award at the first annual Whittier Film Festival. One of his first credited roles in film was as a script consultant for the 1990 thriller film Behind Bedroom Doors II.Behind Bedroom Doors II - Cast and crew Cox is well known for his versatility in differing genres and prefers his films to be more character-driven than to be filled with special effects.
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Deerfield embroidery developed from the efforts of the Deerfield Society of Blue and White Needlework in Deerfield, Massachusetts in the 1890s. Margaret C. Whiting and Ellen Miller formed the society in 1896 as a way to help residents boost the town's economy by reviving American needlework from the 1700s. This society was inspired by the crewel work of 18th-century women who had lived in the Deerfield, Massachusetts area. Members of the Blue and White Society initially used the patterns and stitches from these earlier works, but because these new embroideries were not meant to replicate the earlier works, the embroidery soon deviated from the original versions with new patterns and stitches, and even the use of linen, rather than wool, thread.
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This movement creates loops, and repeats of these lead to a line of chain stitches.Sajnani, Manohar (2001) Encyclopaedia of Tourism Resources in India, Volume 2 The fabric is stretched on a frame and stitching is done with a long needle ending with a hook such as a crewel, tambour (a needle similar to a very fine crochet hook but with a sharp point)Wood, Dorothy (2008) The Beader's Bible or Luneville work. The other hand feeds the thread from the underside, and the hook brings it up, making a chainstitch, but it is much quicker than chainstitch done in the usual way: looks like machine-made and can also be embellished with sequins and beads - which are kept on the right side, and the needle goes inside their holes before plunging below, thus securing them to the fabric.there are many types of materials used like zari threads, embellishments,siquins etc.. Aari embroidery is practiced in various regions such as in KashmirMehta, Vinod (2006) Delhi and NCR city guide and Kutch (Gujarat).HALI.
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Anthony's most extensive series, with 41 novels and growing. # A Spell for Chameleon (1977) # The Source of Magic (1979) # Castle Roogna (1979) # Centaur Aisle (1982) # Ogre, Ogre (1982) Ogre, Ogre was the first paperback original fantasy novel to appear on the New York Times Bestseller List. # Night Mare (1983) # Dragon on a Pedestal (1983) # Crewel Lye (1984) # Golem in the Gears (1986) # Vale of the Vole (1987) # Heaven Cent (1988) # Man from Mundania (1989) # Isle of View (1990) # Question Quest (1991) # The Color of Her Panties (1992) # Demons Don't Dream (1992) # Harpy Thyme (1993) # Geis of the Gargoyle (1994) # Roc and a Hard Place (1995) # Yon Ill Wind (1996) # Faun & Games (1997) # Zombie Lover (1998) # Xone of Contention (1999) # The Dastard (2000) # Swell Foop (2001) # Up in a Heaval (2002) # Cube Route (2003) # Currant Events (2004) # Pet Peeve (2005) # Stork Naked (2006) # Air Apparent (2007) # Two to the Fifth (2008) # Jumper Cable (2009) # Knot Gneiss (2010) # Well-Tempered Clavicle (2011) # Luck of the Draw (2012) # Esrever Doom (2013) # Board Stiff (2013) # Five Portraits (2014) # Isis Orb (2016) # Ghost Writer in the Sky (2017) # Fire Sail (November 5, 2019) # Jest Right (in publisher queue) # Skeleton Key (in queue) # A Tryst of Fate (in queue) # Six Crystal Princesses (in progress) # Apoca Lips (planned) Books 1–3 were omnibussed as The Magic of Xanth (1981) // Three Complete Xanth Novels / The Quest for Magic. Books 4–6 were omnibussed as The Continuing Xanth Saga.
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