This large MacRae Modern Red genuine tartan cloth notebook has 192pp of 80gsm cream paper, with left page plain, right page ruled. Cloth supplied by kilt makers Kinloch Anderson. With a ribbon marker, inner note pocket, elastic enclosure, history of tartan leaflet, and bookmark with a brief history of the MacRae Modern Red tartan. The MacRaes are a Highland clan whose historic seat is Eilean Donan Castle. For generations, the MacRaes were constables of the castle for the Mackenzie family. Offical variant spellings and septs of the name include: Crae, Cree, Macrae, Macraw, Macree, Macrath, Macgrath, Macgraw, Machray, Macraith, Rae, Raith and Reath.

This Maclean of Duart genuine tartan cloth large notebook is made with genuine British tartan cloth. It measures 21cm x 13cm, and has 192 pages of 80gsm cream paper, with left page plain, right page ruled. Cloth supplied by tailors and kilt makers Kinloch Anderson. With a ribbon marker, inner note pocket, elastic enclosure, history of tartan leaflet, and colourful bookmark with a brief history of the Maclean of Duart tartan. Presented in a clear acetate bag. The Maclean of Duart tartan is red with black, and touches of yellow, white and blue. The Macleans claim descent from Gillean of the Battleaxe, a kinsman of Fergus Mor, the sixth-century-ruler of the ancient kingdom of Dalriada. Lands given to the clan chief included the isle of Mull, off the west coast of Scotland. During the 16th century the Campbells emerged as the most powerful clan in the West Highlands. Several marriages took place between the Macleans and the Campbells. Septs of the Maclean clan include Beaton, Black, Dowart, Dowie, Duart, Garvie, Gillan, Lane, Lean, Leith, MacBeth, MacCormick, MacFadyen, Macgeachan, MacVey, Patten and Rankin. Scientists, thinkers and writers in the Scottish Enlightenment used 'commonplace notebooks' to record thoughts and ideas. Many British writers such as Virginia Woolf and Arthur Conan Doyle continued to use them. Tartan belongs to Scottish heritage and culture, and thrives today both at home and overseas. There are now over 7,000 tartans officially recorded in the Scottish Register of Tartans located within the National Archive of Scotland. Waverley Books (Waverley Scotland) are delighted to innovate on the commonplace notebook idea with the Waverley tartan notebooks bound in genuine tartan cloth supplied by kilt makers and tailors Kinloch Anderson, Edinburgh.

Bound in Stewart Modern Camel tartan cloth made in British mills, this large hardback notebook is 21 x 13cm, with 192 pages - each spread has left blank, right ruled. Has stained edges, ribbon marker, bookmark and inner note holder. Eight perforated end leaves and expandable inner note holder. Each includes a removable booklet and bookmark giving information on the specific tartan used for the binding. With 192 pages, acid-free threadsewn, 80 gsm cream shade pages, with round-cornered cover and bookblock corners, and a matching elastic closure. The tartan cloth is supplied by and produced with the authority of Kinloch Anderson who are tailors and kiltmakers in Edinburgh.

Bound in real Murray of Atholl Ancient tartan cloth supplied with the authority of Kinloch Anderson, this hardback notebook is 21 x 13cm, with 192 pages - each spread has left blank, right ruled. Has stained edges, ribbon marker, bookmark and inner note holder. Eight perforated end leaves and expandable inner note holder. Each includes a removable booklet and bookmark giving information on the specific tartan used for the binding. With 192 pages, acid-free threadsewn, 80 gsm cream shade pages, with round-cornered cover and bookblock corners, and a matching elastic closure. The tartan cloth is supplied by and produced with the authority of Kinloch Anderson who are tailors and kiltmakers in Edinburgh.

With hundreds of vivid and detailed color photographs and an easy narrative style enlivened by historical vignettes and images, the authors bring overdue appreciation to a centuries-old Native American basketmaking tradition in the Northeast. Explore the full range of vintage Indian woodsplint and sweetgrass basketry in the Northeastern U.S. and Canada, from practical "work" baskets made for domestic use to whimsical "fancy" wares that appealed to Victorian tourists. Basket collectors may compare four regional styles: Southern New England and Long Island, Northern New England and Canadian Maritimes, Upper New York State, and the Great Lakes. Learn of the craft's key role in supporting many Eastern Algonquian and Iroquoian peoples through generations of turmoil and change. Discover how today's creative young artisans are building upon their legacy. The book's "Resources" section guides readers to relevant websites and publications as well as northeastern Indian basketry collections in more than 30 public museums.

Needle Work: Stitched Illustrations is a lavishly illustrated volume that explores the growing trend in textile-based art and illustration. The works of each featured artist are showcased with full-page illustrations, alongside a brief biography that examines their work, inspiration, and artistic vision.

Terry cloth was once relegated to towels for the kitchen and bathroom, but, after World War II, it was embraced as a bold, colorful, and comfortable fabric for everything from beachwear to evening wear. The first book devoted specifically to terry cloth, it contains more than 500 images that trace the fabric's history through vintage advertisements, sewing patterns, and terry apparel. The patterns feature designs from dainty florals to fabulous geometrics, especially from the 1950s to the 1970s. Chapters include techniques for sewing, caring for, and where to purchase terry cloth. This book is a great resource for fashion designers, students of fashion, and history buffs.

Given its importance in analysing and influencing the world around us, an understanding of colour is a vital tool in any design process. Colour design provides a comprehensive review of the issues surrounding the use of colour, from the fundamental principles of what colour is to its important applications across a vast range of industries. Part one covers the main principles and theories of colour, focusing on the human visual system and the psychology of colour perception. Part two goes on to review colour measurement and description, including consideration of international standards, approval methods for textiles and lithographic printing, and colour communication issues. Forecasting colour trends and methods for design enhancement are then discussed in part three along with the history of colour theory, dyes and pigments, and an overview of dye and print techniques. Finally, part four considers the use of colour across a range of specific applications, from fashion, art and interiors, to food and website design. With its distinguished editor and international team of contributors, Colour design is an invaluable reference tool for all those researching or working with colour and design in any capacity.

Textile design is a complex field of practice which operates in a competitive, global industry. Designers need to take into account not only the design but also the manufacture, technological development and application of the final product. Textile design provides a broad overview of the fundamentals of and advances in textile design, as well as practical case studies of relevant industries. Part one covers the principles of fabric construction as applied to textile design, with chapters on fundamental principles, woven and knitted textile design. Part two discusses surface approaches to textile design, with chapters on such topics as surface design of textiles, printed and embroidered textile design, dyeing and finishing and the use of colour in textile design. Finally, part three focuses on the applications and advances in textile design, including chapters covering colour trend forecasting, sustainable textile design, fashion, interior and 2D to 3D design considerations and new developments in technical and future textiles. With its distinguished editors and international team of contributors, Textile design is an essential reference for design professionals in the textile and fashion industries, as well as those who specialise in interior textiles and academics with a research interest in the area.

Offering a challenging new argument for the collaborative power of craft, this ground-breaking volume analyses the philosophies, politics and practicalities of collaborative craft work. The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of recent technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach. With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft will be essential reading for students, artists, makers, curators and scholars across a number of fields.

One of the most distinctive features of Islamic design is the evolution of an increasingly abstract and repetitive repertoire of motifs, which are shared among all media - metalwork, woodwork, ceramics, tilework and textiles. In textiles the main themes are based on angular and geometric shapes - vertical and horizontal striped bands; hexagons and octagons, which can be linked and infinitely extended; stylized and rhythmic scrolls of foliage and flowers; and Arabic calligraphy, of which the letters can be formed into continuous borders, panels and medallions. These motifs can be used separately or combined into complex patterns, of which the repetitive and two-dimensional features are ideal for textile production, especially where varying lengths are required - for hangings, curtains, robes and shawls. Valued for their role in the subtleties of court ceremonial and fashion, these textiles were also much admired beyond the Islamic lands. The exceptional collection published here ranges widely in region, material and technique. There are textiles and garments from North Africa, Syria, Arabia, Iran, Turkey and the Indian subcontinent linked by a shared vocabulary of ornament - evidence of the international nature of Islamic design. Materials represented are silk - the most prestigious of fibres, requiring highly respected weavers - wool, cotton and linen. Decoration is based on variations of weave and colour and embellishment through embroidery, printing and applique and illustrates the work of both professional and domestic workers. The strengths of the collection are concentrated in the textile production of the nineteenth and early twentieth centuries, which, thanks to the basically conservative nature of textile technique and design, preserve and continue the traditions established in the medieval Islamic world. They are important in an assessment of Islamic textiles both for their quality and as illustrations of survival and adaptation in a major industry. Their heritage reaches back well over a thousand years, even though their very high perishability means that for the earlier part of the tradition our knowledge is reliant very largely on written sources. These, however, attest to the superb quality and quantity of textiles at the courts of the period.

From booties and scarves to art and fashion, "The Culture of Knitting" addresses knitting since 1970. Investigating knitting as art, craft, design, fashion, performance and as an aspect of the everyday, the text uncovers the cultural significance of knitting. Drawing on a variety of sources, including interviews with knitters from different disciplines as well as amateurs, the text breaks down hierarchical boundaries and stereotypical assumptions that have hitherto negated the academic study of knitting, and it highlights the diversity and complexity of knitting in all its guises. "The Culture of Knitting" investigates not merely why knitting is so popular now, but the reasons why knitting has such longevity. By assessing the literature of knitting, manuals, patterns, social and regional histories, alongside testimonial discussions with artists, designers, craftspeople and amateurs, it offers new ways of seeing, new methods of critiquing knitting, without the constraints of disciplinary boundaries in the hope of creating an environment in which knitting can be valued, recognized and discussed.