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gothhabiba · 1 year

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will you tell us about victorian knitting gauges?? i would love to hear about victorian knitting gauges. good luck with all your craft endeavors either way!!

so!! the history of knitting gauges begins in the 1830s and 40s with well-selling knitting manuals such as Jane Gaugain's The Lady's Assistant, Cornelia Mee's Manual of Knitting, A Lady's Workwoman's Guide, Frances Lambert's My Knitting Book, &c.

communicating the size of knitting pin (that is, needle) required to complete a certain project was necessary, since larger needles would produce a larger piece of fabric and then the number of stitches the manual told you to use to get a fabric of a certain size was all off. knitting pins of different materials tended to be of different sizes (e.g. since ivory pins would break if made very thin, these would be metal), so sometimes the rough size of pin you need is communicated by material. sometimes, though, it's communicated by number (so Mrs. Gaugain could call for "ivory pins, No. 6."

these numbers would be the numbers given by wire-drawers' gauges of the kind used in manufacturing: the Berlin Wire Gauge, and later the Paris or Standard Wire Gauges, were used. Jane Gaugain (The Ladies’ Assistant vol. 2, FN p. 419) writes:

“The gauge used by me is the Standard Wire Gauge, used by all jewelers, wire-workers, &c. I would recommend every lady who is a knitter or netter to be provided with one. They can be had at the instrument-makers. I am not aware if the fancy-work shops keep them generally, although it is an article which I sell [at her haberdashery in Edinburgh]. They may be had either round or oblong squares, the round is certainly the neatest looking instrument.”

[ID: a metal disc with a hole in the centre and many holes around its perimeter. the holes are labelled and vary from 6 (largest) and 36 (smallest). the disc is engraved "Vulcan Hardware Co, English Standard. end ID]

There were a couple problems with this—the SWG wouldn't be legally standardised until 1883, so measurements could vary from one gauge to the next. Also, it wasn't very genteel to be obliged to get tools generally used in manufacturing, directly from the instrument-maker. At least, Frances Lambert perhaps felt so, and she was the first to take it upon herself to rectify the situation in 1843 (My Knitting Book, London, John Murray, p. 12):*

“The following engraving represents the Standard Filière, or knitting and netting needle gauge, an instrument invented some time since by the authoress, and now in general use, by which different sizes of knitting and netting needles can be ascertained with greatest accuracy.”

[ID: illustration of a black disc with gradated holes arranged in a spiral formation beginning with 1, largest, in the centre, and going to 26, smallest, at the edge. F. Lambert is written on the disc at the top. the illustration is labelled "The Standard Filière." end ID]

The sizing of Lambert's gauge was different from that of most SWGs and from any knitting pin gauges that would be made thereafter.

Seemingly in response to this, Elizabeth Jackson changed the frontispiece of the 1845 edition of The Practical Companion to the Work Table (London: Simpkin, Marshall, and Co.) to an illustration of a SWG. She writes (p. 14):

Some writers on the subject of Berlin wool work, have asserted that no standard measure exists; whilst others with equal truth but less modesty, have claimed the invention as their own. The writer of this volume begs to state that the above Gauge has been in use for centuries, and may be relied on for its perfect accuracy. It is the standard by which all wire manufacturers regulate their sizes, and may be obtained at the Berlin Brooms, York, or at any respectable ironmonger’s warehouse.

As Sheila Williams says, "[o]ne doesn't have to search far for the recipient of this barb!" (The History of Knitting Pin Gauges, p. 12). Lambert responds in the 5th edition of The Handbook of Needlework (London: John Murray, 1846) that the instrument "used by wire drawers for testing the diameters of their wires" was "a bulky and rude machine, little fitted for the work-table of a gentlewoman," and that smaller versions of these machines (probably referring to the little circular kind pictured above) tended to "vary" in their measurements and so produce problems in knitting (p. x).

It's worth noting that knitting for leisure was at this time the sole province of gentlewomen; other women also knitted to make useful items for their families or to produce items to sell, but most of the knitting guides being produced at this time were solidly marketed at and priced for gentlewomen, who were for one thing literate, and for another thing more likely to want to produce the "fancy work" (rather than "plain work") designs the books included. So if there is squeamishness here surrounding buying and using manufacturers' tools, that's important context for it.

Other writers of knitting guides came out with knitting gauges that would enable the buyer to produce any of the patterns in their book, error-free (they also claimed to be selling a gauge that conformed to the real standard and would thus be able to eliminate all of the buyer's confusion on the subject once and for all). Cornelia Mee produced one such gauge in 1842; Mrs. Savage in 1846; Mrs. Hope in 1848 (Williams pp. 14-16). These could be purchased by writing in to an address specified in the seller's knitting manual, or by visiting the storefront of the writer (if they had one). They were offered in various qualities of metal (from brass to silver-plate) and in various shapes.

[ID: an illustration of a crescent-shaped gauge with holes in the centre of the shape and on the periphery of the inside part of the curve. holes are labelled from 1 (largest) to 28 (smallest). "Mrs. Savage's Crescent Gague" is inscribed on the gauge at the top, and the illustration is labelled "Crescent Gauge." the description of the illustration in Williams' book reads "Mrs. Savage's German silver Crescent, 1846". end ID]

The real revolution, however, came when George Chambers, a needle manufacturer (and thus more able to actually influence standards than the author of a knitting manual) produced the first "bell gauge" in 1847:

[ID: a flat piece of metal shaped like a bell. a circle with a hole in it is the "handle" at the top of the bell; "Chambers & Co." is inscribed on this part of the gauge. on the main body of the bell, "Bell Gauge Patented 17 Sept. 1847" is written and a coat of arms is engraved. the centre of the bell has holes from 1 (largest) to 4; the two sides and bottom of the bell have holes or slits from sizes 5 to 28. end ID]

These gauges were attractive because they were sturdy and cheap to produce (the shape can be punched out of a sheet of metal with little waste by making every other bell 'upside down'). In fact, the moment that it was legal to do so (after the failure of Chambers' business in 1858), other manufacturers started producing these bells without referencing Chambers' patent. This shape dominated knitting gauge production well into the 1930s.

Bell gauges were produced by manufacturers and stamped with that manufacturer's name and logo; they were also produced by manufacturers and then stamped with the name and logo of a small haberdashery or needle store for sale locally, so careful comparison of gauges is often necessary to find out which die they were cut from (and thus, which manufacturer they were made by). Gauges also continued to be made of ivory, bone, wood, vegetable ivory, and cardstock, in many different shapes and sizes. Sellers of knitting manuals continued to make them, as did some small local manufacturers; travelling peddlars would also sell them (Williams p. 21).

Mrs. Hope's cornucopia-shaped gauge, silver plate. 1848.

Mrs. Hope's cheaper version of a knitting gauge, 1865. [ID: an illustration of a rounded rectangular gauge with two lines of gradated slots running from 1 (largest) to 20 (smallest). Text on the page reads "The above is an engraving of a new instrument for measuring knitting pins and netting meshes. It is cheaper, more elegant, and offers greater facility in use than any similar articule, and is a correct measure for twenty sizes according to the numbers in this little volume, and in the works of Mrs. Gaugain, Mrs. Mee, and Miss Watts. Price in German silver, Five Shillings. Sold by all Berlin Shops, or post free of the Publisher for the amount in penny stamps." The page is labelled in Williams' book "Illustration from the 1865 edition of Hope's Knitter's Friend. end ID]

[ID: two rounded rectangular gauges, one longer and thinner than the other and the other having two lines of holes. they are labelled by Williams "Local craftsman-made ivory/bone gauges, typical of a pedlar's ware." end ID]

Knitting gauges would only become more in-demand in the 1870s, after the Education Act increased literacy. More and more knitting manuals would be produced for the common woman (Workwoman's Guide in 1838 had been an early exception), and bell gauges were cheap, durable, and mass-manufactured (Williams p. 22), with Henry Walker's "Archer" gauge being perhaps the most widely referenced and most easily attainable by collectors to-day (this gauge used the "Archer" logo after Walker's death in 1876). Gauges in other shapes would also continue to be produced.

Crescent Manufacturing Co. star-and-crescent gauge, late Victorian.

Robert Hogg's club-shaped "Fairfax" knitting pin and wire gauge, 1896.

Head's steel Diamond gauge. Late Victorian/Edwardian era.

The history of these little knitting tools continues well into the 20th century, but the beginning of the 20th century is about where I start to lose interest. But these gadgets are very useful if you're trying to knit something from an antique pattern, as well as being very fun and downright cheap to collect. I now own several.

To learn more:

"Gauging the needs of knitters and crocheters." Loopholes, blog.

"Commend me to a knitting wife." Ragged Soldier, blog.

"The Bells." Wooly Thoughts & Mental Blocks, blog.

--"More Knitting Gauges."

The History of Knitting Pin Gauges, Sheila Williams. Out of print and hard to come by, but g*ogle books has a preview of it, or ask me to make a scan.

*Sheila Williams, in The History of Knitting Pin Gauges (p. 10), says 1842, but I don't think this is correct. Williams doesn't cite an edition or page number, but the 1842 first edition of Lambert's My Knitting Book (New York: Wiley & Putnam, pp. 93-4) illustrates a SWG and laments the lack of a standard, but does not introduce her filière.

#sorry to everyone who's been dutifully asking me about Victorian knitting gauges. as you can see this post took a while #knittng #knitblr #yarn crafts #yarnblr #questions #Victorian

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theladyofbloodshed · 2 years

Text

Part One ¦ Part Two ¦ Part Three ¦ Part Four ¦ Part Five ¦ Part Six ¦ Part Seven ¦ Part Eight ¦ Part Nine ¦ Part Ten ¦ Part Eleven ¦ Part Twelve ¦ Part Thirteen ¦ Part Fourteen

Epilogue (Thank you to everybody who has read along with this - I appreciate it massively! I hope you've enjoyed.)

Slow. That was the mantra. Slow.

Any slower and Cassian might explode.

Their first moments together had consisted of a bath where Nesta hid her body then they had fallen asleep on the bed for a few hours. When Cassian had awoken, Nesta was gone. His heart had lurched with panic until he found her enjoying a very late breakfast at the table with her sisters and Lucien. He took a moment to admire the scene; his beautiful mate never letting Lucien Vanserra apologise for holding a knife to her throat. Every time the male tried to speak, he was shushed or clipped or spoken over. She was as sharp as steel, all bite and edges. Cassian loved her.

But he really was going to explode soon if he couldn’t have her.

It took coaxing, but Nesta did share his bed each night though only to sleep and her cheeks still dotted with pink when she entered the room as if it were a scandal.

‘You haven’t even started the frenzy yet,’ Azriel said with bewilderment.

‘It’s not like I’m not trying,’ Cassian replied, watching Nesta lead Feyre through the library to collect a book.

They spent hours kissing then Nesta was curl up to sleep and Cassian would lay as still as a tomb stone trying not to combust. Soon, if Nesta so much as touched his knee, he might come in his pants. Showers were taken with cold water, he said prayers to the Mother constantly to distract his brain. If Rhys ever sent him to Illyria, he’d be too out of focus to do anything worthwhile.

‘Does she actually know you are mates?’

‘Surely she feels the bond.’

Azriel rubbed his temples. ‘She is mortal. She doesn’t have any idea what is happening. Cassian, you prick, you need to speak to her.’

It was a strange conversation to have. It felt like explaining the fundamentals of life. Cassian had to track right back to the formation of Prythian itself and the magnitude of the Cauldron. Nesta pressed her hands together, taking it all in with a sceptical expression.

‘Faerie magic has bound us together forever. I bound us together without realising. Because I fed you.’

‘Yes.’

‘That’s ridiculous.’ It cut Cassian in two to hear how clinically she spoke as if the bond meant nothing to her. It was all he could think about, this all-consuming need for her. ‘We’re not even married.’

‘Do you want to get married?’

Nesta gaped at him. ‘That was the worst proposal I have ever heard.’

This impossible female.

Cassian grabbed a slice of bread from the table and gnawed at it until it resembled a ring. Like the mortals did, he got down onto one knee. ‘Nesta Archeron, will you marry me?’

‘That was the proposal? That’s all I get?’

Cassian heaved himself to his feet. ‘So, that was a no?’

‘I didn’t say that,’ she snipped. Nesta took the mauled chunk of bread from him and slipped it onto her finger. ‘Although you will need to replace my ring every time it grows mould or gets soggy. Or if birds start pecking it.’

***

Feyre was not adjusting well to Velaris. A pretty city didn’t suit her, she was more used to getting her hands dirty and running wild with boys like Isaac Hale. Nesta had tried to help her grow more comfortable with activities like reading or needlework to occupy the time, but Feyre was more used to throwing a knife or climbing a tree.

More often, she sulked alone in her rooms, lamenting the life they left behind. As soon as it was safe, Feyre could return to the village. Rhysand had promised her as much and even would buy her a more comfortable house. Nesta had tried to explain to her that a return to the village with wealth would make her the prime target for eligible bachelors to descend upon then she really would be forced to be the dainty wife.

And then, one day, a break through came. They had tried taking Feyre into the city, to cafes and restaurants to try new food, offered to take her flying but she balked at the heights involved, Elain roped her into gardening alongside Lucien, Nesta had tried to find books for her. It was Rhysand who managed to find a way to reach Feyre. Painting sparked her interest until it became an inferno. A whole room had been cleared out solely to be her studio as she learnt. He found teachers for her. He scoured Velaris to bring her different kinds of paint and canvases. Hours and hours would be spent there, blanketing every surface Rhys supplied with blocks of colour. She’d forget to eat if somebody didn’t drag her out each day. When Feyre emerged, green stained the ends of her hair or blue was smeared across her cheek.

Nesta was able to breathe a little easier once Feyre settled. She wouldn’t go near Amren with her strange eyes and glasses of what Nesta suspected was blood. Mor and Azriel would spend time with Feyre – likely out of duty to their high lord – but the man himself was happy to try his hand at painting too in between his duties. Sometimes, Nesta would go to her sister, but hear her laughing and speaking with Rhysand so she’d return to her own sanctuary and leave them in peace.

Once, Nesta had even seen them in the library together. Feyre had always struggled with reading. She said the letters moved around the page or flipped when she tried to read them. She could be defensive about it. Didn’t like when others knew. But Rhysand seemed to be trying to help her which meant a lot.

‘Are they friends as well?’

‘Mates,’ Cassian corrected as he slipped his arms around her body then rested his chin on her head. ‘I don’t know. You don’t know until the bond snaps. You want her to stay here?’

‘Of course, I do; she’s my sister. She’d have a better life here. I haven’t seen either of them smile so much since before we lost our money.’

The wedding would be soon for them, thank goodness, as Nesta had a one-track mind. It was only her stern morals stopping her from locking the bedroom door with Cassian inside and not emerging for days. Even now, feeling his body behind hers made her knees feel weak.

‘Did Elain ever tell you she dreamt of Lucien?’

‘Certainly not. I thought she was smitten with Graysen.’

‘I suppose seeing him as part of the hunt for the witch in the woods turned her off of him.’

***

‘Quite frankly, I want you nowhere near my city. You have options, Lucien. Do not think I am not benevolent.’ Rhys languished in his chair, doing a very good job of pretending he was completely bored by Lucien’s presence. Or he might not have been acting. ‘The first is that I tear through your flimsy mental shields and remove any traces of my city then dump in you in Spring. Or you could remain here for eternity.’

‘I might still push him from the roof,’ Amren supplied.

‘The first, of course the first.’

Rhys winked. ‘I thought as much. Poor Elain will be devastated.’

‘You wouldn’t remove my memories of them.’

After her initial obsession with Lucien, they thought she might have grown bored after a day or two. But Elain still followed him like a shadow, smiling at all of his jokes, sharing every meal at his side like a diligent keeper. Lucien had warmed to her quickly too and could be seen helping her to prepare flowerbeds for spring so both had hands black from soil or they’d talk easily over a cup of tea until both were yawning and Nesta escorted her sister to bed. The male was not as bad as they thought. Beron had exiled him after carving out his eye simply because his youngest had played a trick and wasted his best barrel of wine. Cassian wouldn’t ever forgive the male for attempting to harm Nesta, but he swore he’d panicked in front of Amren and just wanted safety. He was tolerable, Cassian supposed.

‘And run the risk of the Archerons being hurt when you scurry back to your master?’

‘But Elain is my.’ He cut himself off.

‘What is she, Lucien?’

No bond had snapped yet, but it seemed to be a waiting game. They all expected it to happen at any moment. Lucien and Elain were already finishing each other’s sentences; they had developed a harmony in such a short space of time where they moved in synchronisation with each other. It didn’t seem possible for another mating bond to snap with a mortal – but maybe the Archerons were different.

‘You wouldn’t be so cruel.’

Rhys examined his nails. ‘Wouldn’t I?’

‘You could always denounce your ties to Spring and pledge allegiance to the Night Court.’

Perhaps if the suggestion was offered up by anyone other than Amren, Lucien might have been more inclined to agree. He was still terrified of the female. One look from her could quell him entirely.

‘That’s not fair.’

‘Return to Spring,’ Rhys said, ‘If it’s meant to be, you’ll find each other again. In this life or the next.’

‘Elain’s not immortal.’ Lucien’s voice was wracked with pain. ‘She doesn’t have the same luxury of time as we do. Rhysand, this isn’t fair.’

‘Decide what’s most important to you – your loyalty to Spring or a future with Elain.’

They left Lucien to dwell on it in the library, and sure enough, seconds later, his shadow was entering it inviting him to eat lunch with her, with a kind smile brightening her lovely face.

‘We don’t really want him in our court, do we?’ Mor could not move past her revulsion of his older brother.

Rhys’ face twitched into a smile. ‘Doesn’t Lucien look familiar to you?’

‘He looks like a snake,’ Mor said, ‘he’s a Vanserra.’

‘Is he?’ Rhys winked. ‘We’ll let him stay for the wedding. Maybe the declaration of love will make the bond snap then I’m sure it will sway his opinion.’

***

The wedding planning was a nightmare. How could Nesta think about frilly table cloths when all she wanted was for Cassian to bend her over the table? They had set the wedding for two weeks’ time which apparently would be plenty of time – and would motivate them to plan it quicker.

Doubts were creeping in. Cassian had stopped his over-familiar touches, stopped sitting practically in her lap or pawing at her. At night, he had begun to hesitate before kissing her, offering a chaste peck instead then would lay like one in a coffin with his hands crossed across his body, staring up at the ceiling taking deep breaths.

‘Is this a punishment? Or have your affections changed so readily?’ Nesta sat up in the bed then leaned over him to light a candle.

Cassian clamped his hands over his eyes rather than seize the opportunity to peer at her breasts in her scooped nightgown. She had specifically picked the most outrageous night clothes she could find when Mor had taken them shopping in Velaris. And still Cassian was not touching her. It wasn’t right for Nesta to make the first move. He was the man. He should be the one touching her.

‘We are waiting until we are married,’ Cassian said through gritted teeth.

Nesta let out a little whine. ‘But. But we will be married soon. And we are faerie friends.’

‘Mates,’ he groaned

Nesta straddled his lap then prised his hands away. ‘Why won’t you look at me? Am I hideous?’

‘Mother hold you. Mother carry you. Mother take you to the eternal land-’

‘Are you praying?’

‘I have to,’ he rasped, his hazel eyes would look at anything but her.

Nesta swallowed. ‘You don’t love me.’

��It is because I love you that I am clinging to this last thread of sanity so I don’t lock us in this room for a year.’

Heat bloomed up her neck along with a sense of pride. ‘You want to bed me?’

‘Witch, I wanted to bed you the first night I saw you. Stop wiggling on my lap.’

‘Like this?’ She asked rotating her hips in a slow circle.

‘Sweetheart, stop. If you carry on, I won’t be held accountable.’

There was a fire inside of her that could not be quenched. She needed him. Had needed him for a long time. ‘What will you do to me?’

Cassian inhaled through his nose. ‘Nes, you wanted to wait until marriage.’

‘No, I didn’t. I just wanted to ensure we were engaged and that you would marry me. I’ve been waiting for you to touch me.’

She could not tell if Cassian was about to cry. His face certainly passed through a wide range of emotions in a short space of time. ‘Say it.’

Nesta ran a finger against his bare chest. ‘Touch me.’

***

Cassian was a starving male at a banquet, a pauper in a treasure vault. He didn’t know where to touch Nesta first. His body was convulsing already in anticipation. Slow, he reminded himself.

First, he tossed away her obscene scrap of a night gown so she was naked before him. His tongue brushed against the seam of her mouth then Cassian moved to her breasts. They filled his hands and he’d be lying if he said he hadn’t thought of them endlessly. The skin was soft beneath his lips, her darkened nipples already peaked.

He lay her down to the blankets then slowly kissed along her inner thigh. She tasted of sweet vanilla and jasmine petals. Cassian paused to look upon her sex. It called to him, the scent dizzying. His tongue parted her, stroking against the soft skin with tender touches before pressing further in.

At Nesta’s deep moan of pleasure, his heart and soul fell into her. His mate, claimed at long last.

With reverent touches and delicate kisses, Cassian explored his mate. The drive wasn’t solely for pleasure, more to lay claim to her. He wanted every male in Prythian to know that she was his. Each primal sound that tore from Nesta bolstered Cassian’s enthusiasm.

Her thighs clamped around his head, each clench of them more powerful than the last as her orgasm built. The only sounds in the room were Nesta’s moans and the sound of his tongue lapping against her sex.

Cassian continued through Nesta’s trembling. He had to be careful with her, he knew, but she had so readily taken two fingers. The ring of muscles clenched around them as her back frequently lifted itself off the bed. He crooked them faster, driving them in and out in time with her ragged breathing.

Tremors rolled through Nesta’s body as she finally gave in and came. Cassian’s cock pulsed with her moans. Her cries were a symphony, the way her entire body shook with her climax was a gift from the Mother herself. So beautiful. All his.

Cassian winced as he eased off of his knees.

‘What are you smirking at?’

‘You’re moving like an old man.’ Nesta lay back on the pillows with her breasts on full, glorious display.

‘I am old. I’m five hundred and thirty-seven.’

Nesta patted the space beside him. ‘Come here then and I’ll take care of you.’

She steeled her nerves then a hand clasped around the shaft of his cock. Her touch was curious, testing all the ways to make his hips jerk. With how tightly-wound Cassian was at the moment, he surprised himself when he didn’t come at the first brush of her fingers against him.

Her hand moved in a steady motion, gripping his cock tighter at the base then loosening near the top. Once Nesta had found her rhythm, she twisted her wrist at the end or pressed her thumb against the head. It was bliss to watch her. Her fingers explored just as much as his own had done to her. The soft touches had Cassian shifting on the spot, driving his hips upwards into her hand.

Then Nesta took him against her lips. Her lips nuzzled against the underside of the tip, kissing it sweetly. It sent a jolt up his spine and the dam burst.

Before he could stop it, a streak of cum jetted across her face – but Nesta, his wonderful mate, enclosed her mouth around the head of his cock and sucked down every drop spilling from it.

‘I don’t think I could have waited another two weeks,’ he breathed, flopping back onto the pillows. 'It won't always be that fast. I promise.'

Nesta pushed back his black hair from his face then kissed his forehead.

‘You want to stop?’ He asked.

‘Absolutely not. That wasn’t nearly enough.’

***

There was a driving need to have Cassian inside of her. Nesta knew she would not be able to think straight until she did. She straddled his lap again to give herself the illusion of control. She was fully spread open across his massive, muscled thighs. The black tattoos stood out on his toned chest, so Nesta allowed herself the chance to kiss her way along them, imagining a younger version of Cassian fighting his way to a mountain to earn them. What a life he'd had. And she would learn all of his history.

The tip of his cock rubbed against her slit as she rolled her hips in torturously slow back and forth movements. It was slick with pre-cum and her own wetness as Nesta sank down onto it.

Cassian held her still, preventing any further movement. He kissed her. ‘You say stop when it hurts.’

It might be sooner than he expected. The size of him was enormous. Nesta had barely been able to enclose her hand around it, but she let her body lower a little more, taking in another inch then another before Cassian had his hands around her hips to lift her back off.

The moment she was without him, Nesta needed him again. Needed that sensation of being filled and stretched by her mate.

Nesta pushed through the discomfort until it gave way to pleasure. Cassian thumb circled the apex of her thighs until she could no longer function.

‘I can’t do this when you do that,’ she breathed, tipping forwards towards his chest.

‘Then let me do both.’

Cassian went his knees between her legs and continued his languid touches as he thrust inside of her. Although the movements were slow, the intensity was dizzying. Nesta didn’t even know her own name. All she knew was this man was giving her everything she ever wanted.

They came again together, Cassian’s seed spilling inside of her as Nesta’s legs shook around his body.

Together, they flopped on top of the blankets, his wing coming around her to shield from the chill in the room.

‘You tired?’ Nesta shook her head and his face turned into a grin. ‘Good, because you’re not getting any sleep tonight, sweetheart.’

***

The wedding planning had been left to everybody else. Meals were left outside their door the first couple of days, but the House of Wind had been evacuated. Cassian couldn’t feel too much guilt. It gave them more rooms to play in. There wasn’t a room he hadn’t fucked Nesta in. She was worse than him, demanding sex constantly, him on his knees, her on top of a table. He didn't know where she was getting her ideas from, but Cassian was a willing victim to all of her experiments. But after two weeks of mindless consummation, Mor and Rhys had arrived to drag them to their own wedding.

Mor took Nesta off to her sisters – and even in that brief absence, Cassian already missed his mate.

‘I’m glad you’ve not snapped her in half.’

Cassian winced at the visual. ‘She’s trying to kill me off. I can barely keep up.’

Rhys laughed at that remark then his face became pensive. ‘I have an early gift for you. I’ve been in the library a lot and found a spell that Helion could cast. It will tether Nesta to you,’ he explained. ‘When you depart this world, that’s when she will go – and no sooner.’

‘I can have more time with her?’

It was a thought that Cassian pushed to one side each time it bubbled up in his mind. The thought of Nesta turning old and grey, never really bothered him. It was the idea that he’d have to continue on without her that was worse.

‘She’ll be tied to your life. If you were to fall in battle next year, she’d also die. But if you live to two thousand, then she’ll be there every step of the way.’

‘Old and grey together,’ he mused. ‘She won’t age like a mortal, will she?’

His horrified face made Rhys titter with laughter as he looped his tie around his neck. ‘No, fortunately not. I don't think mortals can manage more than eighty years before they start decomposing. I’ve also told Lucien that it’s a possibility with Elain – but only if he remains with this court.’

‘The bond snapped?’

‘Three days ago. She cut her hand trying to cook with the wraiths and Lucien went berserk at the sight of her blood. Likely why she dreamt of him since she was a girl. Some latent part of her always knew he was hers. Mor has the pleasure of filling Nesta in on the parts she’s missed – and about the spell. It’s both of your decision. Think it over.’

It required no thought from Cassian. Of course, he would want more time with Nesta. He’d take every drop of it the Cauldron would give them.

‘Is Feyre still painting?’

A blush swept across Rhys’ cheeks before he could turn his body away. ‘Yes. We flew a few days ago too. Not too high. Just around Velaris.’

‘Poor Azriel.’

‘What?’

‘Lost both of his brothers to an Archeron.’

Rhys shook his head. ‘Feyre is just a friend. I’m helping her to settle in. For your benefit. For Nesta.’

‘What an altruistic high lord you are. I’ll ask you again in a week if she’s still just a friend.’

***

Nesta owed her thanks to Mor who had taken on the bulk of the wedding planning alone. It was exactly how she would have wanted it. Simple yet elegant. Flowers wreathed the arch where Cassian stood. If she didn’t know him any better, Nesta would say that he was nervous. He was shifting his weight between his feet, fiddling with cuffs, and murmuring constantly to Azriel and Rhys. Or maybe being in formal attire made him that way.

Her sisters were resplendent in long gowns of periwinkle blue and bouquets of white lilies. They walked the aisle together in lieu of her father doing it. It had been her sisters who Nesta had leaned on; her sisters who had nuzzled together in the frigid cottage for that extra bit of warmth. They would manage this new world together.

They presented her to Cassian and Nesta couldn’t stop herself from beaming.

‘You look beautiful.’

Mor had also chosen her dress; it was white silk gathered into a cowl-neck and slunk along her curves to the floor.

‘You saw me less than two hours ago.’

Cassian shrugged one shoulder. ‘You looked beautiful then too.’

Likely because her mouth was filled with his cock beneath the table after they'd slept together on it. That memory resurfaced in him too and a smile flitted to both of their lips.

A priestess had been commandeered to lead the proceedings though she read the mortal ceremony with uncertainty, the words unfamiliar to her. Nesta didn’t care. She was marrying Cassian, the man who had been kind enough to teach her how to light a fire easier and hunt so she could survive without him. The man who had teased her and coaxed fun back into the dire days of the cabin. Nesta would never give thanks for the injuries that had shot him out of the sky, but she was glad that of all the roofs to land on, Cassian had chosen hers.

‘Nesta, I promise to cherish you always, to honour and sustain you, in sickness and in health, in poverty and in wealth, and to be true to you in all things until death alone shall part us.’

His hands were gentle holding hers. The sun shone through his wings, making them glow red like the stones he wore. He was hers.

‘With this ring I, Nesta, take you, Cassian, to be no other than yourself. Loving what I know of you, and trusting what I do not yet know, I will respect your integrity and have faith in your abiding love for me, through all our years, and in all that life may bring us.’

Cassian repeated the words too. Behind her, Nesta could make out Elain’s sniffing and weeping. She’d always been a romantic.

‘By the power vested in me by the Mother and the Cauldron, I now pronounce you husband and wife.’

Cassian grazed his knuckles down her cheek like one of the first times they’d met. That time, he’d smacked her in the mouth with a wing. She knew now to avoid them.

He pressed a kiss to her lips. ‘Husband and wife. Mortal and fae.’

‘The exile and the injured.’

@mis-lil-red

#the exile and the injured

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irish-dress-history · 11 months

Text

Laurent Vital on Irish clothing in 1518

Burgundian courtier Laurent Vital visited Kinsale, Co. Cork in 1518. He wrote an account of the visit titled "Speaking a little of the country of Ireland" which included descriptions of Irish people and culture. Vital was less bigoted toward the Irish than many of the 16th c. English writers. His writing was still somewhat biased though, because his information came from a French-speaking (probably Anglo-Irish) Irishman who was prejudiced against the rural Gaelic Irish.

Vital's account was only translated into English in 2012, so it is not included in Irish dress history books, because all of them (Dress in Ireland by Mairead Dunlevy, Before the Kilt by Gerald Kelly, Bríd Mahon's books, H. F. McClintock's books) were published before 2012. This is unfortunate, because Vital's descriptions include a lot of details of Irish dress.

The 2012 translation has some flaws. I think the translator, Dorothy Convery, was not knowledgeable about 16th c. Irish dress and possibly not the most familiar with 16th c. French, because she completely misinterpreted some of the clothing descriptions. I have done my best to correct these, but I don't actually know French, so my revised version is not perfect either. If anyone has suggestions for improving it, let me know. I used Randle Cotgrave's 1611 A Dictionarie of the French and English Tongues, Dictionnaire du Moyen Français, version 2020 (DMF 2020), the University of Chicago's compilation of historical French dictionaries, Wiktionary, and honestly, google translate for this. (Google translate actually does a really good job with French, like 60% of the time.)

The original French text of Vital's account is available here. Convery's complete translation is here. Content Warning if you decide to read the Vital's complete account: It contains a description of assault with a possible forced marriage. Also, Vital was kind of obsessed with breasts. I am only including the parts describing Irish dress and hairstyles in this post. Translation footnotes are at the end of each page. I couldn't figure out a nicer way to format them on tumblr.

Excerpts from "Speaking a little of the country of Ireland" translated by Dorothy Convery and revised by Deidre

p. 285

The inhabitants [of Ireland] are very strangely and singularly costumed and would that it is so well described that you might picture how they dress just as I saw them, both the men and the women. For to see them is enough to make you laugh. Firstly married women wear their finery, and linen head coverings (1); some yellow and others white. When they are women of status, they have chemises with wide sleeves, worked around the collar and in the seams with silk needlework of different colours. Many of them had their hair cropped in front and back, except for two tresses of hair at either side, which are an ell long. They plait these like children here making hats from rushes and then secure them so they do not come undone. And with the tops of their heads so adorned, these loops of hair braided accordingly hang down in front more or less to their waists, in such a way that these women can put the ends into their kerchiefs (1), which they secure with wool tape (2). These women have their kirtles or petticoats (3) punched (4) there as they were worn alone in the past, with rings placed over (5) the bustline to support their breasts. And above their dresses they wear wide fillets (6) and big belts decorated with beautiful buckles, some of gilded silver, also of copper, metal or brass, according to their rank. Their dresses have loose sleeves, open the length of the arms, unfastened to hang (7) very nicely. Generally, the men, women and young girls wear their chemises (8) open to the waist, without any difference between them except that the women's chemises are, as they are over here, wide at the bottom, made with gores (9) with 4 seams, (10) if needed. So that most young women and girls have their chests naked to the waist; it is as common there to see or touch the breast of a girl or woman, as it is to touch her hand. And so, there are as many different fashions and customs as there are countries.

Translation notes:

coevrechief: kerchief or headcovering

patelette: Bande d'étoffe (DMF 2020) cloth tape, wool or possibly linen

cottes ou cotelettes: kirtle, or possibly coat, or frock/gown (see Cotte in Cotgrave 1611)

ponchonnées: pierced or punched, meaning eyelets made with an awl, or possibly decorative stamping

rondz eslevez: possibly metal lacing rings which were in use by the late 15th c. This whole sentence is confusing to me.

tissu: a bawdricke, ribbon, fillet, or head-band of woven stuffe (Cotgrave 1611)

lachiés à traillette: laschier: let go, release (DMF 2020) trailler: to trayle a Deere (Cotgrave 1611) to trail or to hang. I think this sentence is describing hanging sleeves like those on the Shinrone gown, but it could also be interpreted as "Their dresses have wide sleeves, open the length of the arms, loose to hang very nicely."

I am keeping the original French usage of chemise to mean both the man's and woman's garment, because Irish uses the same word, léine, for both.

ghéron: I think this word is derived from the Old French giron meaning gusset or triangular shape.

genoulx: knee, also join (ie seam in this context) (cf. genouille: full of joins (Cotgrave 1611))

p. 286

The women and girls there wear coloured stockings (1) of red and green and others that they like, better narrowed and tightened with garters than those of Castile. They wear little shoes (2) with single soles, very pretty and cute, worked over other colors of leather and sometimes gilded with tinned leather, as if it were gilded (2), like the shoes which were bought for children at fairs in past times. The place was full of beautiful young women and also girls of marriageable age who were very charming and pleasant. Unmarried young women went bareheaded in summer time with their hair tied back in the same way as maidens over here; and they wear on their heads garlands of flowers or greenery.

Translation notes:

chausses: stockings or hose in Middle French (wiktionary.org)

solier: alternate spelling of soulier: shoe (Cotgrave 1611)

ie like with gold

p. 287-288

Having heard about the rig-out of the women and girls, listen how the men are kitted out. For sure, even more strangely than the women, and particularly the rural people and the savages; for they were shorn and shaved one palm above the ears, so that only the tops of their heads were covered with hair. But on the forehead they leave about a palm of hair to grow down to their eyebrows like a tuft of hair which one leaves hanging on horses between the two eyes. They are strangely bearded, some shave their beards just to just above the mouth and others to below the mouth. Others shave some places and let their beards grow in tufts. These men have their chemises open there, down to the belt, without having sleeves, so their arms are naked. They are belted (1) in heavy linen which goes one and a half times around them, and goes nearly from their neck to their feet, and they go with naked feet and bare legs. [. . .skipping the part on weapons because I don't know enough about weapons. . .] These men dress and enshroud (2) themselves in large hairy mantles, worn over their heads as the women in Brabant wear their huiks. (3) This mantle only goes halfway past the belt; and over that a long shortening (4) of linen. Thus shorn, bearded, armed and barefoot — as I said — imagine how strange this costume is to look at. I must say, I have never seen anything like this before even in a painting.

Translation notes:

chaindent: from chainture the Middle French spelling of ceinture

affubler: to cloath, clad, put on; to attire, or cover with, muffle, or enwrap in, hide, or shrowd, under clothes. (Cotgrave 1611)

huik: a type of cloak worn by women in the Low Countries. It typically had a bill-like brim to shade the wearer's face. more info

escourcoeul: probably the same origin as écourter: to shorten. I think Vital is describing the Irishmen's practice of shortening their léinte by pulling them up over their belts, but I'm not confident about the translation of this sentence.

#irish dress #irish history #16th century #headwear #historical men's fashion #historical women's fashion #dress history #historical fashion #leine #irish hairstyle #gaelic ireland #irish mantle #bratanna #brog #french translation problems #anecdotes and observations

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sparrowsarus · 11 months

Text

In which we have ~2500 words posted in a new format so I can notice all the mistakes.

Ed meets Zia by accident.

He’s stopped by the local seamstress for some thread, to fix the newest hole in his shirt; it’s been a lean winter for everyone, and the storms have kept the caravans away—and subsequently dried up Ed’s main source of income. His mother’s garden and her herb books are all that’s keeping him alive and reasonably nourished, at this point.

Luckily, most of Targos still accepts bartering, and he’s brought a jar of this summer’s buckthorn jam, a headache soothing tea, and a fresh set of flirtations. Ed loves flirting with old people--they never expect anything from it; they just think it’s extremely charming or very funny. Madam Gwen especially finds it all extremely amusing. It means he can lay it on as thick as he likes, and doesn’t have to worry; and, if she’s amused enough, she might throw in another needle.

Ed could do with another needle.

Therefore, Ed makes sure to have his most charming, rakish grin plastered on his face before he knocks on the cottage door, and a compliment primed on his tongue.

But instead of the elderly, grandmotherish Gwen, Ed gets her, and the pretty, flowery remark he was going to make turns to a startled "By the gods, you’re beautiful!"

Ed slams a hand onto his mouth. He can feel his ears burning, and the beautiful stranger looks a bit pleased and a bit annoyed and a bit shy, all at once.

Later, he will mark this as the third best day of his life; later still, the second worst of Zia’s.

But for now? Now he just stands there, face on fire, and wonders if Gwen is secretly a wizard or sorceress or something, or if he’s knocked on the wrong door, or if he can just. Run and pretend none of this happened.

Then Gwen’s querulous voice demands to know who’s there, and, finding out it’s Ed, demands he come in for tea, and talk to her, and this is Zia, her daughter’s girl out from Good Mead, get your needlework, Zia dear; show Ed what you’re making for the Brewer’s new baby. Have you seen any crocuses yet, Ed? I do dearly love crocuses. Zia also loves crocuses, don't you dear? And she doesn’t know anyone else out here–very dull, for an active young woman–perhaps–would Ed mind–?

Ed would not mind. At the very least he could prove he wasn’t a complete idiot, all evidence to the contrary. He thinks that Zia just might. Mind, that is.

But then she gives him that same shy little smile, and. Well.

Ed walks out with a spool of thread in his pocket, a song on his tongue, and plans for crocus hunting. He’s not sure how he managed any of it, to be honest–but he can sense that he's in trouble.

He knows, intellectually, that Zia is beautiful—possibly the most beautiful woman in the world. A smile he could write odes to, if he wasn’t afraid of making the Gods envious, and a laugh sweeter than any sound his lutestrings could make. A walking avatar of Sune, if one was being poetic.

He’s figured out she’s kind, too–she hadn't said anything about his ill-mannered, blurted confession; hard-working; and endlessly patient, if the tiny stitches on the baby’s dress she was making, for no payment, for the sake of a woman she barely knew, was any indication.

Ed knows these things, because Ed is a bard with two operational eyes and a working brain, usually. But he doesn’t always feel it the way he wonders if he’s supposed to, sometimes.

So how he managed to talk both himself and Zia into something that might be a date, if you looked at it sideways, was a surprise.

It’s too early for crocuses, and they both know it; they have a snowball fight instead, and make plans for a sewing party the week after.

And then they start to go for walks by the angry winter lake, because Zia likes to watch the ice flows and listen to the strange, lonely birds whirling in a grey sky, while Ed hums, and watches, and wonders.

He wonders what she would look like, in the spring sunshine. Will it bring out the red tint of her gleaming brown coils that the winterlight only hinted at? Will it turn her brown eyes nearly gold? If he carved the shell he found into beads for her braids, would she wear them?

He wonders why she has that look on her face when she watches the tide roll in; who or what she’s missing, and how far it would be to bring it back for her; if she would even want him to. He wonders if she will carry that melancholy look to the lake in the summer, or if there’s something about the winter that brings it out.

He wonders what it would be like to kiss her under an autumn moon, slow and deep, till they’re both breathless, and why he doesn’t feel the same longing for it that the songs all say he should.

Winter retreats in the face of spring, and planting and weeding take precedence over long, rambling walks to the shore; Ed learns Zia sneezes exactly three times every time, and laughs, and makes her an elixir to stop the constant sniffling. He discovers her love of carrots, and makes sure to plant a little extra; Madam Gwen’s garden is not as sheltered as his is, and the soil less rich. Zia smiles at him for it, and he considers the effort well worth it.

He’s beginning to realize that he’s willing to put in a lot of effort for Zia.

Spring gracefully makes way for summer, and Ed learns how to make the hair tonics and lotions Zia likes—her one vanity. He flirts with her outrageously in public, composes ditties for her in private, and teaches her to dance under the glittering stars. He wants to be her friend. He wants to love her.

He wants.

He never once tries to kiss her, and he keeps his eyes on her face unless she asks him specifically about the outfit she’s wearing that day. Madam Gwen begins to ask, irritably, if they’ll ever get on with it, and rolls her eyes at Ed’s palpable confusion; Ed would cheerfully do this forever, until Zia asks him for something else.

He’s realized that it’s not intellectual anymore; he knows Zia’s beautiful, the way he knows Triglio or Juice of the Vine. He wants, in a way he’s never wanted before—he wants Zia in his home, in his bed, in his garden; he wants to kiss her awake in the morning; he wants to grumble about her tea leaves in the sink. He wants to help her with her hair, and haul water for her bath, and go fishing once a week, and spend the rest of his life loving her the best he can. But he never, ever, wants to ask Zia to settle for him, when she could have someone who wanted her right.

So the day Zia asks him to marry her rather comes as a shock. The first thing he says is “yes, obviously”, and the second is “are you sure?”, because Ed is—well, Ed, and is no suitable spouse for someone like Zia, who deserves a prince or a hero with a capital H–someone with a palace or a castle, instead of a passable bard with a cottage in Targos.

Zia knows that he’s largely indifferent to sex; he’s told her, because in a fit of pique she had asked why he never noticed when her bodice was a little lower, or that the blacksmith’s son was forever getting his thin shirts wet when Ed was around—and only when Ed was around.

He'd noticed the blacksmith’s son, but thought that was for Zia, not him. Because who would look at anyone else, much less Ed, when Zia was right there?

And that, Zia informed him, was why she was sure, and Ed feels like the luckiest man in the world.

He wishes his mother was there to meet Zia; but in lieu of that, he nurtures Zia's favourite flowers in the garden, and promises himself that he’ll try to be the man she deserves.

They get married that autumn, and Granny Gwen cries through the whole thing. So does Ed.

Zia doesn’t cry at all—of all of them, she’s the least demonstrative—but her eyes are bright, and her grin is infectious, and Ed is nearly dizzy with joy and a dozen other emotions he can’t name, happier than he’s ever been, leading Zia into the half-dozen dances he taught her; then Gwen, then a dozen other people, late into the night. And then, because it is expected, Ed and Zia sneak out of their own wedding, back to Ed’s—now their—cottage.

There are….expectations for a wedding night. Ed’s trying to be fine with them; he bought a few books that summer from a merchant, took some notes, made some plans. Sex in general isn’t all that interesting, but sex with Zia specifically is fairly compelling, and Ed wants to do it properly.

It’s just…Ed can count the number of sexual partners he’s had on one hand, and not even most of said hand. It was simply never as compelling as the stories and the songs people were telling, or the work they were doing, or the scatter of stars in the sky. Ed had better things to do than find his way into someone else’s bed.

The first time, therefore, was simply to see what all the fuss was about. Bran was a flutist who was perfectly happy to show Ed whatever he wanted, no strings attached; and at the end of the week, they said a perfectly amicable goodbye, both having gotten exactly what they wanted from the arrangement.

Sex, Ed had concluded, was simply another thing people did with their bodies; and, like jogging, something he was not overly interested in doing frequently. He certainly didn’t get the same joy out of it many of his bardic colleagues seemed to. But he could also see how you could turn it into a weapon: how a lingering glance, or the right kind of smile, could get him more coin or more information than he might otherwise have gained.

It worked for him before, this lack of experience; but he desperately wants to do everything right for Zia, because it matters now, the way it didn’t then. Ed doesn’t understand why, exactly, but it does and that’s that.

Ed is ready. He has a plan.

Zia’s plan, however, was apparently to sigh exhaustedly the moment they stepped through the door, change into her nightshift, and flatly inform Ed that she was going to bed, and not to wake her before noon. Which he should have expected, in hindsight.

She always did wreck his plans in all the best ways.

They do break out the books eventually; branch out a bit, then contract it back in, as the mood ebbs and flows. But there is work to do around the cottage, and garden beds to maintain, and Ed’s been eying up the Harpers for the last few years. He likes the idea of spywork and planning and making the world a better place; the Harpers are always looking for volunteers, and there’s one, Lareth Silvertongue, who thinks Ed has potential. It’s dangerous, of course, but so is Targos in a deep freeze.

He and Zia talk about it, and she encourages him to try, despite their gently nurtured hopes for the summer; maybe even because of it. Making the world just a little bit safer, just—just in case.

Ed takes the Harper’s oath with Zia behind him, and Lareth beaming proudly.

He’s away a lot, certainly, and he finds new bruises and gashes everyday. He loses comrades and friends and very nearly himself once or twice–but he comes back to Zia, every time, and remembers why he’s doing this.

Ed will be the man he should be, come hell or high water.

Unfortunately, heroism doesn’t supply a steady income, so Ed takes more and more jobs– some with the Harpers, some not; and begins to wonder if Zia wouldn't rather a husband that's home at night, rather than a hero.

Here is Ed's biggest flaw: he tries to be what he thinks people need, instead of asking what they want.

It’s by the grace of Tymora that he is home during a brutal spring ice storm. The wind is shaking the cottage, and Ed is deeply worried about the large tree in the backyard—he should have cut it down earlier, if it cracks they will have to leave and risk the trek to the neighbour’s—

But it’s not the crack of the tree that chills his blood; it’s Zia, her face ashen and terrified, while red blooms across her chemise, a horrible flower.

It’s too early, and there is too much blood.

It’s too late for it not to be dangerous.

Ed bites his lip, takes down his mother’s books, and gets to work.

It’s a long, grim night; made worse, when they both know what will be at the end of it.

Dawn comes, sunless, and Ed holds his dead son while his living wife sleeps, exhausted and grieving.

(He will remember this moment–this failure–with perfect clarity for the rest of his life–but he doesn't know that yet.)

He doesn't leave home for a while, after. He tries not to cluck and hover, but Zia can't stand for long, and so Ed cooks, and cleans, and watches her sleep, and tries not to think about a too-small pyre, and the pile of tiny clothes in a chest at the end of the bed.

The spring wears on, and time does not heal their grief, but it wears off the sharp edges.

Zia starts taking long walks to the lake again, and Ed resumes singing to her in the evening; Granny Gwen comes to stay, for a bit, before passing peacefully in her sleep. Another pyre; another grief.

I could quit Ed told Zia, once. I could leave the Harpers and go back to fishing, if you wanted. I should be here.

But Zia had told him no, and go back, and get out of the house I love you but you are driving me mad.

(Here is a thing that Ed never realized about Zia: she needed to grieve alone.)

So Ed starts leaving again; leaves, and leaves, and leaves, and it hurts him more than it hurts Zia, but he never lets it show; comes home to soup that's mostly water, and a wife who stays too thin and pale; and Ed keeps leaving.

Winter after winter; fall after fall; mission after mission, and flowers in the window boxes.

And then:

Zia, offering him another soft hope for Summer.

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stitchthesewords · 1 year

Text

I hope this formats nicely on tumblr I am mildly worried about what I am about to do here. Long post, so this is all below the read more!

This was so much longer than I expected it would be and I was a little bit worried I was going to go over the image limit for tumblr. But! It's really nice to get to look back on this and see how much of a creative year this has been for me! Thank you to @asexualzoro for the inspiration to get this done! Can't wait for the next year of creativity ahead for me!

Total words writing this year: 96,757 words (54,225 for fanfic)

Number of Needlework Projects Finished: 11 [with hopefully another 5 before the end of the year]

Onto 2023!

Taglist Below - DM or Send and Ask to be added

@atherix @braxiatel @greatbridge @ellalily

#Stitch Talks #End of the year Wrap-Up #Stitch's Writing #Stitch's Stitches #Rift AU #Superhero AU #Quadrant AU #Lost Connection AU #Catch-All AUs #RS Project #Wow this took a while to pull together #I'm happy I did it though this is very nice to look at

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vonkarma2 · 1 year

Note

30, 34, 44, 46, 48 for your pick on the oc ask?

since there’s only 3 characters and picking who to answer the questions for was stressful to me I’m going to answer all of them for everyone. So this way it’s 3 times the amount of work <3 whatever it’s ok. Answers will probably be more simplified than usual

30. How would they relax on a day off/rainy day?

Vera: Probably just reading and staying inside. I think she would like needlework and things like that she’s find it relaxing. I don’t think she really prefers the outdoors or particularly loud or crowded places. If she wanted to go out to do something I think she’d enjoy like. Live music and performances and things like that. Very fancy and expensive events.

Lupe: I feel like she’s bothered by being alone for long periods of time, like gets antsy or whatever. She’s intimidated by strangers but she doesn’t like being alone either. The type to be easily bored. I think she’d have a lot of gatherings with like a small group of friends. She would be pretty good at making new friends but not really that interested in maintaining contact with them like she simply does not care. But yeah she’d probably spend some time with other people + she’s definitely a city person so going out for drinks or whatever that type of thing.

Estrella: Smoking and staring mysteriously into the horizon. No. I feel like during the day they do a lot of physical work for their job. I don’t know anything about sailing but I would imagine it’s pretty demanding. It spends a lot of time ummm battening down the hatched. But basically because of that its idea of relaxation is just very little physical activity. It probably doesn’t like crowded areas either + I think it wouldn’t hate going into the city but wouldn’t prefer it either. Going to some nice secluded area or mostly empty fantasy tavern type place. Or just staying inside. They’re only like 35 and already this tired smh

34. Do they have a dream job?

I don’t want to put everyone’s name every time the formatting on this is going to be so awkward. Umm. Vera I think doesn’t actively want to lead the country necessarily because she has 2 older siblings right so she hasn’t realistically seen it as an option. Her dream job is probably just continuing to be a member of the royal family in a very similar way to how she is now, though she’d like to engage more directly with the nation’s people + maybe even with world politics in the future.

At the beginning of the story Lupe’s just an heir or whatever, like she gets her position basically through happenstance at first and she doesn’t really want it. A lot of the time early on when she’s trying to be strategic or cunning it’s just out of trying to protect her own position rather than ambition. So I would say early on her dream job is one where she has to do as little work as you could possibly imagine. Absolutely no motivation or passions in life at all. But as the story goes on and she starts to feel like her place in life that she’s meant to have or whatever is to have power over other people she starts to want to control the country just because she thinks she could and she’s surprised she’s good at it. Succeeding in business when she was 100% sure she’d fail and get eaten alive made her feel more powerful or whatever. + like she was already kind of entitled before then but now she’s more focused and since shes never actually been interested in anything before she’s like wow… this feels so right… this is what I’m meant to be doing. Or whatever yk.

Estrella… I think it already has its ideal life right now like it’s very peaceful for the time being it has close family members and all. It regrets a lot in its past but because it remembers that so well it tends to keep its expectations very low. It’s already doing pretty close to the best it could hope for yk. And it’s not really interested in a more engaging career, it likes the simplicity of physical labor and finds it rewarding or whatever.

44. Do they lie often? Are they good at it?

Vera is pretty bad at it because she’s so sincere. She’s used to getting her way anyway like she’s a literal princess so she wouldn’t have had music reason to lie or hide her true thoughts or whatever since she’s not actually involved in politics, she was expected mostly to be like a model child + later young woman + that did come pretty naturally to her. She’s pretty outspoken when keeping quiet would benefit her and she’s bad at keeping track of what information people would or wouldn’t have, so she’d unintentionally give a lot away. She compensates for this during the story by being paranoid + talking to as few people as possible.

Lupe is incredible at lying, it’s basically her only skill and I would say like the main point of her character honestly. She never would have gotten this far if she wasn’t really really good at manipulation and getting people to respect her or to underestimate her or whatever. Good at using people’s pre existing perceptions and telling them what they want or expect to hear. Probably does it pretty casually in daily life too and doesn’t think twice about it. Mostly does it to make things easier for herself.

Estrella I think is extremely good at lying. They’re good at like keeping a calm demeanor in every situation (not just outwardly, either, they have a lot of control over their own emotions as well.) They say everything in a very neutral tone anyway, and they’re good at thinking of convincing lies whenever prompted bc they used to have to do that very often. They don’t like doing it unless in an actually serious situation because it makes them feel manipulative + like they’re taking advantage of people, though they would definitely to it to spare people’s feelings and make them less scared. It’s like a tool they have that they usually use for practical purposes only, but sometimes also just out of pity or to make themselves feel better.

46. How do others see them? How accurate is it to how they really are?

As a public figure Vera is I think mostly ignored. People only cared abt the royal family as an idea and as a political entity. Those opposed or ambivalent towards the monarchy basically see her like, the same as any teenager, and even people who like really respect it and buy into it don’t think abt her much LOL. Which she’s not really aware of, like she knows she’s not as relevant or beloved as her parents obviously and she’s fine with that, but she does think she’d get a lot more respect than she actually has.

At first people see Lupe pretty accurately to how she actually is, which is a spoiled and clueless nepotism baby who’s never had to work for anything in her life. They think she’s easily overwhelmed. And that is true at first, but they do vastly underestimate her cognitive and strategic. Abilities. And so she increasingly has a better handle on things, and the impression becomes increasingly inaccurate. Later on she does the opposite and manages to convince people she’s stronger and more capable than she really is.

People who don’t know anything abt Estrella, which is most people, actually kind of like it like it’s usually pretty quiet but it does its job very reliably it’s very polite and I feel like its presence would usually put people at ease. Almost no one is ever actually threatened by them, at worse they find them a little off puttingly terse if theyre the type that likes to make conversation with everyone, but since they’re pretty pleasant to be around they’re respected by their work associated. People see it as dependable which is generally true, though it is the type to protect people close to them above all else and if something came up they’d like. Betray anyone else instantly they wouldn’t even try to find another solution. This probably sounds a bit off it’s because I have a couple of specific situations in mind that I’m referencing ok umm in general people are right that they’re a nice calm and peaceful person but they’re wrong in that they don’t know anything abt its past or the various crimes it has committed or been witness to + also theyre unaware of. I wouldn’t say ruthless but like resigned to violence it can be.

48. What are they most afraid of?

Vera’s worst fears are basically just like. Her storyline 😞. First of all she’s 16 and her entire family is dead so that’s not a very good situation in general. She’s constantly on the run and having to rely on the citizens of another country, and she has become very paranoid so it’s like almost a constant state of some amount of stress yk. More importantly than that though you could probably say her greatest fear is like. What she believes to be the foundation of her country and the actual foundation of her worldview being disrupted. Like the monarchy being replaced with something she sees as corrupted or whatever. I mean it is corrupted they’re literally getting her country involved in a war. And it’s like maybe this seems pretty general and not tied into her personality specifically

A big part of Lupe’s character is that she’s incredibly cowardly and afraid of physical pain. She’s often intimidated by other people in general + though she tries not to show it she hates being yelled at or openly confronted. Physical pain

It’s hard to say anything abt this with Estrella without sounding like melodramatic 😭 and overly serious or whatever. Come on losing their family being pulled back into an environment where they have to use violence to survive. Let’s go other than that ummm I think other than that it’d be afraid of isolation from everywhere else like. It’s not very social but it needs to feel like other people exist in the world to feel grounded. It’s probably irrationally nervous about getting somehow lost at sea. And really really hates the idea of going to prison.

#thank you for asking!!#sorry this ended up taking a while as usual lmao :P #my ocs #tagging it my OCs bc we don’t have a name for the collab yet #theyre fantasy spaniards this time 😔#except not actually because the region isn’t based on spain in the slightest it’s more like Italy and the United States #i just liked these names #the way I didn’t give context for any of this at all #it’s like a tradition to have these answers be incredibly confusing atp

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smasterilli · 2 years

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Inspire Uplift - new place for me and other cross stitchers

Hello everyone I'm glad to announce that I'm going back to work. There will be new cross stitch patterns and designs again! And I also want to show you another new platform where I posted my charts and tutorials - it's called Inspire Uplift. Here you can buy all my patterns in the usual format - immediate download. Inspire Uplift is a new platform where the handmade and needlework direction is actively developing now and everyone who for some reason cannot work on Etsy is welcome there.

This is a link to my store! You can also find me on sites like Boosty and BuyMeaCofee

#cross stitch #cross stitch pattern #smasterilli #lamacrossstitch #embroidery #handmade #needlework #etsy #embroiderydesign #crafts #textile art #diy

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carpe-mamilia · 1 year

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Snowflake Bentley’s 19th-century images of snow crystals put online

Natural History Museum bought album of images by pioneering scientist in 1899 and has now digitised them

For most farming families in 19th-century rural Vermont, winter snowstorms were dreaded and endured. But for Wilson Bentley, snow was a source of intense fascination that led him, at the age of 19, to produce the world’s first photomicrographs of snow crystals, which he described as “tiny miracles of beauty”.

A stunning album of 355 of the original prints by the man who came to be known as Snowflake Bentley was bought by London’s Natural History Museum in 1899, and the collection has now been digitised and made available to view online.

“They are so incredibly beautiful,” said Andrea Hart, a library special collections manager at the museum. “When you look a bit closer and see these natural formations, you can understand why his obsession was formed.”

Bentley was born into a farming family in a remote part of Vermont in the north-eastern US. His scientific interest in snow took off at the age of 15 when his mother, a teacher, gave him a microscope. He initially tried to draw the patterns of snow crystals but they were too complex to record before they melted.

His father later gave him a bellows camera, which he was able to attach to the microscope, and after much experimentation he photographed his first snowflake on 15 January 1885.

“For the farming community, the winter months would have been hard,” Hart said. “But Bentley would get upset if he missed a snowstorm and the opportunity to get more snow crystals for his collection.”

Bentley set up his kit in the woodshed on the farm and whenever a snowstorm arrived he would capture snowflakes on a board painted black. “He would examine the snowflakes with a magnifying glass and sweep away the ones he didn’t want with a turkey feather,” Hart said.

The selected crystals would be transferred on to a glass slide using a splinter of wood from a broom, with Bentley taking care not to breathe on them.

His notebooks reveal a deep scientific obsession, intent on uncovering the secrets of snow through methodical persistence. He meticulously noted the temperature, wind direction and other meteorological details of snowstorms that might reveal any environmental influences on the nature of snow crystals. “He recorded everything,” Hart said.

Bentley was also captivated by the beauty of the images, and his magazine articles reveal his poetic turn of phrase. “Every crystal was a masterpiece of design and no one design was ever repeated. When a snowflake melted, that design was forever lost,” he wrote in one 1925 report.

Hart said: “People became fascinated with it and would want the pictures for needlework patterns.” The images may have also prompted the tradition of cutting paper snowflakes at Christmas.

Bentley remained obsessed with snow, ice and other natural water formations throughout his life. Over 47 successive winters, using the same camera, he took 5,381 photos of snow crystals. He was the first American to record raindrop sizes, and was one of the first cloud physicists. He died from pneumonia on 23 December 1931, at the age of 66, after walking home through a snowstorm.

#snow #science #history #19th century #victorian #meteorology #interesting #winter

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aroworlds · 3 months

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Pride Patch Patterns: January 2024

View On WordPress

#alloaro #aroace #aromantic #arospike #creator: k. a. cook #fictoromantic #format: accessories and jewellery #format: art and crafts #format: cross stitch #format: embroidery #format: fabric art #format: needlework #format: original art #format: sewing patterns #nexus aroace #queer #work: pride patches #work: text patches

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mumscarianweek · 1 year

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Mumscarian Week Spring 2023 (3rd-9th of April)

A week dedicated entirely to celebrating the polyship between the characters of Grian, Good TimesWithScar, and Mumbo Jumbo.

Rules:

Mumscarian must be the main ship depicted in the work, but other background ships are welcome too! All three of them do not need to appear in the work, as long as the relationship is explicitly between all of them.

No requirements for participation on multiple days! You can do one prompt or you can do all of them, however many you want.

You can do one or both prompts for a particular day.

All fanworks are welcome! Some examples are fanart, fanfic, webweaving, gifs, and needlework. Anything goes!

If you do not feel like using one of the prompts on a particular day you can use one of the replacement prompts instead. These can be used at any point during the week and will be reblogged alongside other prompts on the day they are posted.

If you are posting your works to AO3 please consider adding them to the Mumscarian Week 2023 collection.

Please tag common triggers and NSFW on your work and keep these below a read more if you want your fanworks reblogged to the mumscarianweek blog :)

If you would like your fanworks reblogged on the mumscarian week blog please use the main tag #mumscarianweek, as well as a tag to indicate what prompt you are using in the format #day1prompt, #day2prompt, #day3prompt, etc. If you are using one of the replacement prompts use the tag #replacementprompts.

The prompts:

Day 1, Monday 3rd: Nature/New Beginnings

Day 2, Tuesday 4th: Handmade Gifts/Favours

Day 3, Wednesday 5th: Night/Music

Day 4, Thursday 6th: Role Swap/Sharing Knowledge

Day 5, Friday 7th: Non-Human/Cultural Differences

Day 6, Saturday 8th: Alternative Universes/The Past

Day 7, Sunday 9th: Anniversary/Family

Replacement prompts: Technology, Sick Day, Vacation

Happy creating, I look forward to seeing what everyone comes up with!

Avatar by @goodtimeswithgrian.

#mumscarian #hermitshipping #hermitcraft #mcyt #grian #mumbo jumbo #goodtimeswithscar #gtws #trafficblr #trafficshipping #mcytblr #pinned

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pamwmsn · 1 year

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Ann Almy Sampler

Wrought in the "English style", the elegant band format found on the needlework sampler embroidered by Ann Almy belongs to the earliest group of Newport, Rhode Island samplers worked between the 1720's through the late 1760's. The Almy sampler is documented in the book "American Samplers" by Boston and Coe. Ann Almy was the daughter of William Almy and Elizabeth Cranston born in 1722. She married Walter Chaloner in Trinity Church on July 28, 1743. He was commander of Fort George and then High Sheriff of the British colony of Rhode Island. The Chaloners' were loyalists to the English crown and evacuated to Nova Scotia, Canada as refugees of the American Revolution. From there they moved to St. John's, New Brunswick where he then became Justice of the Peace. Together they were parents of ten children. Ann passed away in 1808 in Canada and is buried in St. John's.

#Ann Almy #sampler #needlework

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stitchcrafthavencd · 17 days

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Please be attentive! This is a PDF pattern only.

No fabric, floss, or other materials are included in the listing.

It is a digital pattern in PDF format, which will be available for download after payment is received.

PATTERN INFORMATION:

Design Complexity: Easy Level

Design size: 160w X 167h Stitches

Palette: DMC, 11 Colors

Fabric: Aida (suitable for any Aida count you prefer).

11 Count, 36.58w X 38.10h cm

14 Count, 28.80w X 30.20h cm

16 Count, 25.40w X 26.51h cm

18 Count, 22.59w X 23.61h cm

20 Count, 20.32w X 21.27h cm

This Panda with Heart pattern is designed for stitchers of all levels, offering an easy stitching experience. With just 11 DMC colors, you can create a lovely panda design holding a heart, making it a perfect choice for Valentine's Day. This pattern will make a wonderful gift for your loved ones on this special occasion.

The final dimensions of your embroidered artwork will depend on the Aida fabric count you choose. Be sure to select a count that aligns with your desired level of detail and the overall size you wish to achieve.

2 FILES AVAILABLE FOR DOWNLOAD

PRINT VERSION

printing on A4 format

PDF includes:

- main picture for your reference

- color legend with DMC thread colors

- the embroidery will be sent to you in two formats, in color and black and white.

*** Please note that this listing is for a digital pattern download only, not a finished physical product. Colors may look different on different monitors.

Your files will be available to download immediately after the payment confirmation. For more details, please visit the page https://help.etsy.com/hc/en-us/articles/115013328108

REFUNDS:

Due to the digital nature of this product, there are no refunds, returns, or exchanges. But I strive to make all my customers happy and satisfied!

Dear customers, I would appreciate your feedback. They are very helpful at work.

If you have any questions, please feel free to contact me.

Thank you for visiting my shop and Happy Stitching!

Buy a pattern❗️

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isabella307 · 2 months

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Digitizing Embroidery: Transforming Needlework with Technology

Embroidery has long been cherished as a form of decorative artistry, but with the advent of technology, this ancient craft has undergone a remarkable transformation. The process of digitizing embroidery has revolutionized the way intricate designs are created and replicated. In this article, we delve into the world of embroidery digitizing, exploring its history, process, benefits, applications, challenges, and future prospects.

Introduction to Embroidery Digitizing

What is embroidery digitizing?

Embroidery digitizing is the process of converting artwork into a digital format that can be read by embroidery machines. This digital file contains instructions for the machine to create intricate patterns and designs with precision and accuracy.

Importance of digitizing in embroidery

Digitizing plays a pivotal role in modern embroidery, enabling the replication of complex designs with ease. It allows for greater customization, faster production times, and ensures consistency in the final output.

History of Embroidery Digitizing

Origins of embroidery

Embroidery dates back thousands of years, with evidence of early needlework found in ancient civilizations such as China, Egypt, and Mesopotamia.

Evolution of embroidery digitizing

The concept of digitizing embroidery emerged with the development of computerized embroidery machines in the late 20th century. These machines revolutionized the industry by automating the process of stitching intricate designs.

The Process of Embroidery Digitizing

Design creation

The digitizing process begins with the creation of a design using specialized software. Designers can either create original artwork or convert existing designs into a digital format.

Digitizing software

There are various software programs available for embroidery digitizing, each offering different features and capabilities. Popular options include Wilcom, Pulse, and Hatch Embroidery.

Stitch types and densities

During digitization, designers specify the type and density of stitches to be used in the design. Different stitch types, such as satin, fill, and running stitches, are employed to achieve different textures and effects.

Benefits of Embroidery Digitizing

Precision and accuracy

Digitizing allows for precise control over the placement and density of stitches, resulting in sharp, detailed embroidery.

Time and cost efficiency

By automating the stitching process, digitizing significantly reduces the time and labor required for embroidery production, leading to cost savings for businesses.

Versatility in designs

Digitizing enables designers to create intricate and complex designs that would be difficult or impossible to achieve manually. This versatility allows for greater creativity and innovation in embroidery.

Applications of Digitized Embroidery

Fashion industry

Digitized embroidery is widely used in the fashion industry for embellishing garments, accessories, and footwear. It adds a unique touch to designer collections and allows brands to create signature looks.

Corporate branding

Many businesses use digitized embroidery to brand their uniforms, merchandise, and promotional items. Customized logos and designs help to reinforce brand identity and create a professional image.

Personalization

Embroidery digitizing offers endless possibilities for personalization, allowing individuals to customize clothing, gifts, and home décor items with their own unique designs.

Challenges in Embroidery Digitizing

Complexity of designs

Creating intricate designs for embroidery digitizing can be challenging, requiring advanced skills and knowledge of design principles.

Material constraints

The type of fabric and thread used can impact the quality and appearance of digitized embroidery. Designers must consider these factors when digitizing artwork.

Skill requirements

Digitizing embroidery requires a combination of artistic talent, technical expertise, and proficiency in using digitizing software. Mastering these skills takes time and practice.

Emerging Trends in Embroidery Digitizing

3D embroidery

Advancements in digitizing technology have made it possible to create three-dimensional effects in embroidery, adding depth and dimension to designs.

Interactive designs

Interactive embroidery, such as QR code stitching and touch-sensitive textiles, is gaining popularity for its innovative and engaging features.

Sustainability in digitizing

There is a growing emphasis on sustainability in the embroidery industry, with manufacturers exploring eco-friendly materials and production methods.

Tools and Software for Embroidery Digitizing

Popular digitizing software

Wilcom Embroidery Studio, Pulse DG/ML, and Hatch Embroidery are among the leading software programs used for embroidery digitizing.

Features to consider

When choosing digitizing software, it's essential to consider factors such as ease of use, compatibility with embroidery machines, and available support and training resources.

Tips for Successful Embroidery Digitizing

Understanding fabric and thread

Choose the right combination of fabric and thread for your embroidery project, taking into account factors such as density, texture, and colour.

Testing and refining designs

Before finalizing a design, it's crucial to test it on various fabrics and adjust the settings as needed to achieve the desired results.

Keeping up with industry trends

Stay informed about the latest trends and advancements in embroidery digitizing to ensure your designs remain fresh and relevant.

Future Prospects of Embroidery Digitizing

Integration with AI and machine learning

The integration of artificial intelligence and machine learning technologies is expected to further streamline the digitizing process and enhance the quality of embroidery output.

Enhanced automation

Automation will continue to play a significant role in embroidery digitizing, enabling faster production times and greater efficiency in design creation.

Expansion into new markets

As digitizing technology becomes more accessible and affordable, we can expect to see embroidery digitizing penetrate new markets and industries.

Conclusion

Embroidery digitizing has transformed the world of needlework, offering unprecedented precision, versatility, and efficiency. From intricate fashion embellishments to personalized gifts, the possibilities are endless. As technology continues to evolve, the future of embroidery digitizing looks brighter than ever, promising new opportunities for creativity and innovation.

#digitizing #embroidery digitizing #embroidery digitizer #digitizing services

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aldiraweavetech · 5 months

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Types of Embroidery Machines and their Functions

The art of embellishing fabric or other materials with the use of thread or yarn is called embroidery. Moreover, embroidery can use other materials like sequins, beads, pearls, and quills. These days, you can see embroidery on skirts, jeans, golf shorts, caps, headgear, coats, overlays, blankets, dress shirts, and stockings. In embroidery, a vast array of colors and thread types are employed. It’s also utilized for materials for clothes and gifts. Machine embroidery is the term for the technique of creating a pattern on textile material with the use of an embroidery or sewing machine. It is mostly used for corporate advertising, uniform decoration, and product branding (logo). In the fashion sector, it’s also utilized to embellish clothing. Fanciers and craftsmen utilize machine embroidery on garments and home decor to enhance the present. Consider designing wall hangings, quilts, etc. We shall discuss all of the many kinds of embroidery machines in the below section. Additionally, there are contemporary embroidery machines. That is computer-controlled machine embroidery that has been computerized. Weavetech, being the best textile machinery manufacturer in Gujarat, delivers innovation and quality. So why look anywhere else when you can connect with us for innovation and quality.

Mechanical Embroidery Machine

There are other kinds of embroidery machines, but this is the first one that functions similarly to a household sewing machine. Here, the machine uses the needle to pierce the fabric material; the real fabric, needle, and treads are not attached. This machine pulls the stretched thread through the hole to make the embroidery design over the fabric. Additionally, this machine functions just like a standard sewing machine.

Free-motion Machine Embroidery

This kind of free-motion machine embroidery uses a regular zigzag sewing machine to create embroidered motifs. This is primarily utilized for customization, meaning that it has less automation and innovation. The machine’s feeding dog was covered, and a human manipulated the cloth by hand to create a design. The running stitch will be used to make the embroidery. Thicker lines are needed for patterns so that the machine can perform a zigzag stitch. Whatever the design created for this, it is unique and cannot be duplicated exactly. Another name for it is a free-hand sewing machine. Here, visualize the needle as a pencil and use it to create the design on the fabric by moving it in the direction you want.

Cornely Hand-guided Embroidery

Hand-guided embroidery requires one human operator to control the machine’s speed and accuracy while utilizing the artistic ability of a trained embroiderer. Special chain stitch, satin stitch, long and short stitch, cording, and applique may all be produced with this machine. Interior designers are well familiar with this hand-guided needlework. The cost of the embroidered job will vary based on design times, size, intricacy, and size. Following the creation of this machine, individuals realized that more diverse embroidery machine designs were required, which led to the introduction of computer-controlled embroidery machines.

Computer-Controlled Embroidery Machines

All contemporary embroidery machines are solely computer-controlled. The devices we observed in the previous section are sewing machines that also function as embroidery machines. However, these are exclusively meant to be embroidered. With these kinds of machines, the design is pre-programmed into the machine by the program format. The fabric is then put into the hoop, which is then fastened onto the machine. At that point, the machine automatically begins to embroider in accordance with the program. This computerized embroidery machine requires a variety of inputs.

The machine’s straightforward, independent touchscreen interface will let users adjust many parameters, including design, stitch type, stitch length, and other necessary factors. This activity does not require the hiring of professional labor because the machine generates an accurate design based on input instructions. Here, all that is required is the creation of a simple pattern in software, which must then be fed into the machine interface and turned on. The machine will then automatically begin to embroider the fabric, stopping itself if a thread breaks.

1- Single-head embroidery machine: This machine has a single embroidery head, as the name would imply. The machine’s arms move in accordance with directions, and the embroidery head remains stationary. This device will have seven to fifteen needles. operating at a speed of roughly 300–1000 stitches per minute (the machine’s manufacturer may have an impact on the number of needles and stitches per minute).

2- Multi-head embroidery machine: This machine has a single embroidery head, as the name would imply. The machine’s arms move in accordance with directions, and the embroidery head remains stationary. This device will have seven to fifteen needles. operating at a speed of roughly 300–1000 stitches per minute (the machine’s manufacturer may have an impact on the number of needles and stitches per minute).

3- Schiffli embroidery machine: These devices are used in the Schiffli product line. The fabric that requires embroidery is fed into the Schiffli machines vertically, which is a unique characteristic that is achieved entirely through the use of a device. The method of stitching will be horizontal needle entry. At the same height, every needle is positioned in a straight line and simultaneously pierces the fabric. Here, the cloth is gripped, and as it moves both horizontally and vertically, a design is eventually created on the fabric. Two textiles in total can be treated. Due to the individual handling of each needle, color shift is possible. Depending on the type of machine, 2200 needles can be inserted into fabric in a single shot.

Transform your textile operations with Weavetech, your gateway to the best textile machinery in Gujarat. Elevate your production standards and efficiency. Choose Weavetech for cutting-edge technology and unmatched quality. Seize the opportunity to enhance your textile business contact us now to weave success together.

This Blog Originally Posted Here:

https://www.weavetech.com/types-of-embroidery-machines-and-their-functions/

#manufacturing #textile machine #weaving machine #Embroidery Machines

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