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400 Floral Motifs for Designers, Needleworkers and by Briggs & Co.,Carol Belanger Grafton

By Briggs & Co.,Carol Belanger Grafton

Treasury of infrequent Victorian-era designs for borders, wreaths, cushion squares, sprays, and different tasks. comprises styles for verbena, strawberry, lily, and plenty of extra.

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Additional resources for 400 Floral Motifs for Designers, Needleworkers and Craftspeople

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Do not use typewriter carbon; it will smudge and rub off on the fabric and is almost impossible to remove. Dressmaker’s carbon, available at notions, fabric and dime stores, comes in packs of assorted colors in strips about 7 × 20 inches. It has a hard waxy finish and is designed for our purpose. Do not pin the carbon in place. With a hard, even pressure, trace a few lines with a tracing wheel or similar tool. Raise one corner of the tracing and the carbon to check the impression. If the results are too faint, apply more pressure; if too heavy, less pressure.

Y. 11501 Library of Congress Cataloging-in-Publication Data 400 floral motifs for designers, needleworkers, and craftspeople. (Dover pictorial archive series) 1. Embroidery—Patterns. 2. Decoration and ornament. 3. House furnishings. I. Grafton, Carol Belanger. II. Wm. Briggs and Company. Album of transfer patterns. Selections. III. Title: Four hundred floral motifs for designers, needleworkers, and craftspeople. IV. Series. 44’ 86-6374 9780486137773 INTRODUCTION Although this collection of fine turn-of-the-century designs has been edited and published especially for the needleworker who is looking for something more artistically valid than what is customarily available, it is full of designs that will appeal to a host of other craftspeople as well.

If the results are too faint, apply more pressure; if too heavy, less pressure. Too heavy a line is difficult to hide with embroidery and too light a line is hard to see, but keep in mind that the transfer does have a tendency to fade a bit as it is handled and so should be a little on the heavy side. After adjusting the impression, trace the entire design and then remove the carbon and all but two pins. Carefully lift one side of the tracing paper and check to make sure the design is intact on the fabric before removing the pattern.

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