Embroidery Machine Information : IMachine Group

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MarJen for Error Embroidered Quilt Introduction 2

About Embroidery Machines

What happens when you combine the old hobby of stitching designs to a cloth or fabric with computer technology? You get an embroidery machine! Before embroidery is being done by hand that meticulously and painstakingly takes for several hours to finish. With the development of the embroidery machine, the process narrows down to a mere few minutes and even seconds. What is good about embroidery machine is that accuracy and perfection is always assured every time the needle starts to move. Since it is computer generated, every stroke of needle is assured to land on the right spot.

If you are considering buying an embroidery machine, here are some things you should do:

Doing an initial research on different embroidery machine on the market (online or offline) is the best first step towards your goal of owning one. This would give you an overview of the type of embroidery machine you would need. From here you can now set your budget. Limit your shopping to your set budget so as not to get surprised once you are already shopping. One important remainder: an embroidery machine could cost thousands of dollars so you have to be mindful of your set budget. Make sure you don’t go with the most expensive for sometimes, cost cannot be equated with quality.

After you have done some initial research and have already set your budget, you should not rush on the nearest appliance store or online shops. You should identify the features you want. Some embroidery machines are built for industrial purposes- the ones that are tough and can do several stitches in short span of time. Some embroidery machines are capable of stitching on soft fabrics. Some would do well in leather and heavy fabrics. So what should you choose? If you think you would not be able to put it under extreme work, then there is no need to buy high-end machines. Other embroidery machines are so complex; they can do several tasks in one time. Though it is very tempting to buy this kind of machine, still have to ponder if you can maximize this type. Make sure that the embroidery machine you buy would definitely serve your purpose.

If you are only beginning to love embroidery, make sure you settle for basic machines. Upgrade only once you progress your technical skill. Most people would tend to buy the most sophisticated and complex embroidery machine you could find. And more often than not, these machines are left useless and gathering dusts for owners do not know how to use it.

If you are planning to make embroidery a living, you still have to consider its purpose. Choose a machine that would answer the specific task you expect them to give. For example: if you desire a machine that would solely do embroidery, then settle for a particular one that would do the specific kind.

Several embroidery machines have additional accessories that could be added afterwards. Usually additional accessories compatible with the machine are enumerated. Choose an embroidery machine that does not necessarily have the most accessories. Instead, choose one with accessories you can use.

Finally, make sure you do not go primarily for brand names. Although you can surely trust those with good and tested names, go after the product, features, warranty, service, and price.

Did you know that one of the cheapest places to get your craft supplies is at an Outlet Store? If you live in Florida, check out Ellenton Premium Outlets for their full range.

Embroidery patterns

Buy Designer Sarees, Embroidery Salwar Kameez, Wedding Lehenga Choli online from www.sareez.com

A Salute to Women Artists

Woman in Veil, Attributed to Emily Eastman (1804-c. 1841), Loudon, New Hampshire, c. 1825, Watercolor and ink on paper, 14 9/16 x 10 5/8″, Collection American Folk Art Museum, New York, Promised gift of Ralph Esmerian, P1.2001.7, Photo © 2000 John Bigelow Taylor, New York

If you are in New York City and looking for ways to stay out of this oppressive summer heat, try to catch the exhibition Women Only: Folk Art by Female Hands on view at the American Folk Art Museum. Approximately 60 objects from the museum’s vast collection illustrate the diverse mediums and wide-range of abilities used by 18th and 19th century women for artistic expression.

According to Stacy Hollander, exhibition curator, “Artmaking activities were primarily the province of male artists, and women’s work operated almost entirely within a separate circle that was admired and judged by female peers and important figures such as teachers and parents. Needle and thread were the traditional tools used to fulfill women’s roles in society; clothing the family, warming and covering the bed, and ornamenting the home.”

But some women were not content to work within that separate circle that Hollander refers. Portrait painting was predominately produced by men but, there are some notable exceptions. Deborah Goldsmith, creator of the family group Mr. and Mrs. Lyman Day and Daughter Cornelia, painted to support herself and her aged parents and Emily Eastman painted this exquisitely delicate watercolor of a woman in a veil.

Mr. and Mrs. Lyman Day and Daughter Cornelia, Deborah Goldsmith (1808-1836), Sangerfield, New York, c. 1823-1824, Watercolor and pencil on paper, 9 x 8 3/4″, Collection American Folk Art Museum, New York, Promised gift of Ralph Esmerian, P1.2001.17, Photo courtesy Sotheby’s, New York

Quilts showcased individuality, according to Hollander, and sometimes made political statements, not always subtle. The unidentified maker of the Cleveland-Hendricks Crazy Quilt used a popular format, the crazy quilt, to make her political sentiments known. She combined political ribbons, portraits of Grover Cleveland and his running mate Thomas A. Hendricks, a strutting rooster-the emblem of the Democratic Party during the 1880s and 1890s, and other ephemera to show her political allegiance.

Cleveland-Hendricks Crazy Quilt, Artist unidentified; initialed “J.F.R.”, United States, 1885ñ1890, Lithographed silk ribbons, silk, and wool with cotton fringe and silk and metallic embroidery, 75 x 77″, Collection American Folk Art Museum, New York, Gift of Margaret Cavigga, 1985.23.3

Hollander also writes, “Women worked with mediums that were culturally acceptable or innovated with unusual materials, such as tinsel and marbledust.”

Tinsel Painting: Jenny Lind, Artist unidentified, United States, c. 1850, Reverse painting and foil on glass and paper collage, 28 1/2 x 24 1/2″ framed, Collection American Folk Art Museum, New York, Gift of Susan and Laurence Lerner, 2009.13.3, Photo © 2006 Andy Duback

Tinsel Painting: Wreath, Birds, and Daguerreotype, Artist unidentified, United States c. 1855 – 1865, Reverse painting and foil on glass and hand-colored photograph in stamped-brass mat, 11 7/8 x 14″, Collection American Folk Art Museum, New York, Gift of Mr. and Mrs. Day Krolik Jr., 1979.3.1

Violin, Artist unidentified, Probably New England, c. 1830, Watercolor, pencil, and ink on wood, 23 1/2 x 8 1/8 x 2 3/4″, Collection American Folk Art Museum, New York, Promised gift of Ralph Esmerian, P1.2001.276, Photo © 2000 John Bigelow Taylor, New York

You don’t have to look just to museum exhibitions or to the 18th and 19th centuries to find evidence of girls gone wild. Girls of every decade have bucked trends and followed their artistic passions. In some cases the result of their work is long lost, but evidence of the process survives. This splint basket, found in upstate New York, is filled with cotton and wool rag balls and signed in paint on the handle, “Mrs. L.C. Millard.” With a little digging in genealogical records, much is discovered about Anna Millard. She was born in 1860 in New York and became the wife of Lewis C. Millard. They made their home in Oneonta, Ostsego County at the turn of the century with 2 children, only one who lived to maturity. In the 1910s, Anna and Lewis resided with his parents, hotel proprietors in Oneonta. Both Millards were dead by 1930. Were the wool and cotton strips being saved for a braided rug that was never made? What other objects initially survived, but are now lost, that belonged to Anna Millard and could shed light on her artistic passions?

Mrs. L. C. Millard’s Basket of Rag Balls #134518,
offered by VandM.com dealer Gabriel Gibson Decorative Arts, Clark Day photography

At the turn of the 20th century women were still using their needle to create acceptable works of art. Working within the prescribed limits of female social and cultural life, this artist produced an exquisite drawstring bag in the fashionable arts and crafts style. Many of these bags were produced at home from published patterns as well as purchased from shops here and abroad.

Drawstring Bags #158640 and #158641,
offered by VandM.com dealer Gabriel Gibson Decorative Arts, Valerie Hutnan photography

By the second quarter of the 20th century woman were using traditional methods to create art and actively competing with men. Two Mexican silver designers Ana Nunez de Brillanti, and Bernice Goodspeed were at the top of their field competing for customers alongside Mexican icons William Spratling and the Castillo brothers.

Ana Nunez de Brillanti (marked her work Victoria) opened her workshop in 1940 and operated it until 1978. She designed this set of six shot glasses made of copper with sterling silver overlay figures and engraved with rural scenes of Mexico. Each glass features a different design and the inside is coated with thick silver. All are marked with “Victoria Taxco Mexico 267.”

Shot Glasses #183038, designed by Ana Nunez de Brillanti
offered by VandM.com dealer Hacienda

Bernice Goodspeed produced silver jewelry and wares for almost 30 years. This heavy sterling silver bracelet made up of six concave flower-shaped links is each set with a cabochon amethyst. It is signed with a “B” surrounded by “Taxco Mexico” and marked “Sterling.”

Bracelet #105597, designed by Bernice Goodspeed offered by VandM.com dealer Hacienda

Today’s girls have come a long way from the 19th century world of the maker of the Cleveland-Hendricks quilt. And, like that anonymous artist, some still push the envelope. Donna Radner, bagan her artistic pursuits creating traditional quilts from published patterns in simple color schemes. She quickly grew bored so began experimenting with multiple shapes and colors. Her quilts soon evolved into one-of-a-kind fiber paintings that can be used on a bed or a wall. Where there is passion, girls will find a way to unleash it. Girls gone wild, indeed.

Pieced Quilt with Masks #220397, Donna Radner,
offered by VandM.com dealer Gabriel Gibson Decorative Arts, photographer Mark Gulezian

About the Author

Talis joined VandM.com ( http://vandm.com ) in March of 2009 and is responsible for overseeing the company’s marketing, advertising and business development strategies. Before joining VandM.com, Talis led the account management department at The Creative Directors, Inc., a boutique advertising agency held by VandM’s parent company, EUE/Screen Gems ( http://www.euescreengems.com/ ). As Vice President, he managed new business as well as the company’s retail, financial and pharmaceutical accounts, including Office Depot, Silvercrest Asset Management, Wyeth and Schering-Plough. Prior to The Creative Directors, Talis was at the advertising agencies McCann Erickson New York and Campbell Mithun in Minneapolis, working on accounts such as Weight Watchers, Breyers, Klondike and several other Unilever brands. Talis started his career as a television producer, working on network news shows such as The Today Show, Dateline, CNN, and Good Morning America; reality shows such as Joe Millionaire and Big Brother; sporting events such as the NBA Playoffs and NHL All-Star Game; and documentaries such as Intervention on A&E. Talis received a BS in advertising from the University of Minnesota – Twin Cities. Inside info: Talis climbed Mt. Kilimanjaro, ran the NYC Marathon, and can eat fire.

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