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150 Crochet Trims: Designs for Beautiful Decorative Edgings, by Susan Smith

By Susan Smith

;150 Crochet Trims: Designs for gorgeous ornamental Edgings, from Lacy Borders to Bobbles, Braids, and Fringes КНИГИ ; ХОББИ и РЕМЕСЛА Автор:Susan Smith Название: a hundred and fifty Crochet Trims: Designs for gorgeous ornamental Edgings, from Lacy Borders to Bobbles, Braids, and Fringes Издательство: St. Martin's Griffin Год: 2007 Формат: djvu Размер: 12.8 Мб ISBN: 978-0312359829 Страниц: 128 Качество: хорошее Описание: one hundred fifty вариантов каймы и цветочных мотивов, связанные крючком. Для сайта: www.mirknig.comhotfile openfile sixty eight

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Extra resources for 150 Crochet Trims: Designs for Beautiful Decorative Edgings, from Lacy Borders to Bobbles, Braids, and Fringes

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She calls that central idea That’s why I like to have my notes or my paragraph to see the spine of the work. This is a great analogy because you if the piece I’m working on is going to do just that. That can see how the spine holds everything together, creating paragraph is important. unity, but also allows for many different actions, sequences, events, and so on. Obviously her events are based in movement and time, whereas art quilts are static; but the same principle of finding the spine holds.

3. Sketch it out, then follow the steps below; or just doodle away on a series of variations on those few simple lines. You can also do this with any simple traditional quilt block with which you’re familiar. or block. „„ Redraw and add lines anywhere you like. „„ Redraw and omit lines. „„ Redraw, curving the lines. „„ Redraw, doubling the lines. „„ Redraw a set of four of these little units together. Then try again but with one big and three little ones. „„ Draw one big one and one for spare bits of time such as when in waiting rooms.

But this particular texture can also be used in a much more abstract way. Jan Myers-Newbury has developed a very clear signature style based on her masterful use of arashi shibori arranged in geometric forms. Later in the series, even though I redefined the loopy swirls as shrubs and trees, the arashi texture remained a constant, holding the pieces together as part of the same body of work. Photo by Sam Newbury Overlook by Elizabeth Barton, 54˝ × 39˝ Photo by Sam Newbury October by Jan Myers-Newbury, 64˝ × 38˝ Ten Squared by Jan Myers-Newbury, 60˝ × 60˝ Ode to Albers by Jan Myers-Newbury, 75˝ × 75˝ Photo by Sam Newbury Finding Your Theme 29 Form: Using Texture—Monoprinting Most artists don’t plan the length of a series when they made from brightly colored plastic, precut in various fence begin working on one.

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