RE: [lace] Colour in lace
Regarding Alexâs insightful comment, I have to say that I go back and forth about color in lace myself. On the one hand, I like color. On the other hand, the palette of lace making is texture and pattern. When you are using pattern and differences in density for your palette you tend to use the techniques of bobbin lace and needle lace to their ultimate. In fact, it has been a bit of a problem in staging the exhibition. The exhibition isnât very colorful. The most vibrantly colorful objects are ones made by the lace artists of the 1970s. That phase appears to be over. Now lace artists are using the palette of pattern and texture to a greater extent, and are working in monochrome, even if the chrome may be red or black. I am finding myself realizing that lace technique developed in an environment of monochrome and miniaturization. But, modern art galleries are large places that typically display large colorful art. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Yes I've heard that too Kathleen - Perhaps it was Nenia Lovesey who told us? Catherine Barley Needlelace www.catherinebarley.com Original message Subject : [lace] Colour in lace Some years ago I visited a village in southern Belgium which had specialised in making black Chantilly lace. It’s name escapes me. The lace we saw was fantastic, but we were told that there was little of it left, because the black dye used to colour the thread, (or maybe the process used) rotted the thread over time. I wonder if anyone else has heard this, and also, what dye was used? Kathleen, in a damp and dreary Berkshire, UK. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace-radical or historically correct?
Historically linen was difficult to dye and to get the dye to stay. I think thatâs why the fabled bright yellow starch was so popular - you got a good colour that mimicked gold, and because the dye was in the starch, every time the lace was washed, it was re-coloured by the starch. Adele > I have always thought that the whiteness of lace was the result of the > Protestant Reformation, sumptuary laws and laundry considerations as people in > Europe decided to wear washable body linen next to their skin and embellish > the area around the neck and hands where the linen showed. > Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Original message Subject : Re: [lace] Colour in lace Is coloured lace as non-traditional as most people seem to think it is, though? -- There were most certainly examples of coloured lace produced in the East Midlands as Alan S. Cole found and mentions in his Report on Northampton, Bucks & Beds Lace-making in 1891. When we were researching for the exhibition Art, Trade or Mystery - Lace and Lacemaking in Northamptonshire, held in 1999 we found sheets of samples of coloured laces in the collection of Northampton Museums. Diana in Northamptonshire. Hi Diana I well remember as one of the Westhope Group, helping to set up this exhibition in Northampton and what a success it was too! The group played a large part in the exhibition and we were asked to make two pieces of lace each, one in white and one in colour, but both on the same theme. My chosen theme was Hans Andersen Fairy Tales, with my Snow Queen panel being the white lace and The Little Mermaid my coloured piece (worked using stumpwork techniques). I think Cynthia Voysey (a very well known Honiton tutor/author, worked a small coloured purse in Needlelace for this exhibition, but I could have been for one of the other many other exhibitions the group displayed their work, maybe the one at Pilkington's Glass? I do seem to recall when teaching the C & G students at Camberley Adult Education Centre, that a small group visited the V & A and discovered a piece of coloured Honiton lace from way back? It would seem that nothing is new and it's all been done before! Catherine Barley Catherine Barley Needlelace www.catherinebarley.com - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Is coloured lace as non-traditional as most people seem to think it is, though? -- There were most certainly examples of coloured lace produced in the East Midlands as Alan S. Cole found and mentions in his Report on Northampton, Bucks & Beds Lace-making in 1891. When we were researching for the exhibition Art, Trade or Mystery - Lace and Lacemaking in Northamptonshire, held in 1999 we found sheets of samples of coloured laces in the collection of Northampton Museums. Diana in Northamptonshire. To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
> I am making a bookmark from Technique of Bobbinlace. For anyone that has the > book it is decoration b on page 46 and I would like to make it in white with > the three outlined motifs in blue. I have never used colour before and would > like some help from anyone who can tell me how to change from white to blue > and back again please. Do you mean âThe Technique of Bobbin Lace" by Pamela Nottingham? In my copy page 46 shows six different sections of a sampler, and b is a diamond shape of torchon ground with tallies enclosed by a gimp. Is that what you are asking about? Itâs not usual to change colours in gimps (the outlining threads) and preferable not to have any joins in them because being much thicker than the main thread any knots or overlaps will be very visible. If you are asking about changing the colour of an area of cloth stitch what is usually done is to change the workers and leave the passive threads as they are. There are two ways of doing that; either use knots to change the colours and get the knots as close to the pin as you can or at the start of the section you want to be coloured hang in a new worker pair and leave the original worker pair as an additional passive pair. When you get to the end of the coloured section just lay the coloured pair bac over the work and close with a cloth stitch made with the two should also be on the same pin. Once the lace is off the pillow you can weave in the ends of the contrast threads. Brenda in Allhallows paternos...@appleshack.com www.brendapaternoster.co.uk - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] colour in lace etc.
In a message dated 25/03/2004 19:31:33 GMT Standard Time, [EMAIL PROTECTED] writes: how does Fimo work for making beads for spangles? Some of my very first painted bobbins bought in the early 1980s came with Fimo beads colour co-ordinated with the painting and they still look like new after 20 years. They are a matt finish having not been varnished, but now I work with Fimo myself I know that by using the very fine wet and dry polishing papers it is possible to get a mirror-like surface. Time consuming though and not practical for a commercial enterprise with cost restraints, but for a few beads that you are making for your own special bobbins it is worth it. Lots of polymer clay sites on the internet and a quick google search will find them. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] colour in lace etc.
On 25 Mar 2004, at 19:20, rick sharon wrote: I must know...what thread was Miriam using to do colour in her Honiton? :) I've always thought honiton screams for very subtle colouring..is there coloured thread out there that is fine enough? If there is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda http://www.argonet.co.uk/users/paternoster/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] colour in lace etc.
Sharon wrote: I must know...what thread was Miriam using to do colour in her Honiton? :) I've always thought honiton screams for very subtle colouring..is there coloured thread out there that is fine enough? If there is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda === Bjarne has 120 (3 ply) and 250 (3 ply) unboiled silk in colors. I have several of the colors and it is wonderfully fine and wonderfully strong. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] colour in lace etc.
Sharon wrote: I must know...what thread was Miriam using to do colour in her Honiton? :) I've always thought honiton screams for very subtle colouring..is there coloured thread out there that is fine enough? If there is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda === Bjarne has 120 (3 ply) and 250 (3 ply) unboiled silk in colors. I have several of the colors and it is wonderfully fine and wonderfully strong. http://home0.inet.tele.dk/drewscph/silkefarver.htm Also Piper's Silks has Fine Twisted Silk, 2/20, 4/20, 6/20 in colors. http://www.pipers-silks.com/ 2/20 silk, now that's what I call invisible thread! Patty Dowden - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re [lace] colour in lace etc.
. . . About green threads. I knew a lady who wanted to clean an antique embroidery, which she did very gently and very carefully in distilled water. The whole thing turned out beautifully except the green. It just disintegrated and not a hair was left. At the time I wondered whether it was the chemical composition of the dye itself. I have run up against this a couple of times since with things I have bought at flea markets, and it's always the green thread that falls apart. Interesting. Sharon = Hi Sharon, I have to think that it is the chemical composition of the green dye stuff. A friend of mine used to make kites from ripstop nylon fabric. In spite of being the same fabric in the same weight from the same manufacturer, the hand of the fabric differed by color rather dramatically. As I recall, the yellow was quite stiff and the purple was soft and flowing. We know that the black dyes used in the 19th century are eating the fabrics they were applied to because of their iron oxide content. That means that most Chantilly is slowly dy(e)ing and is already mostly too fragile to actually wear. Modern dye manufacture is often stymied by ecological constraints into using less than optimal formulations. It seems to me that probably something in the green dye stuffs (some mineral oxide in a solvent) are not easy to bring to a neutral or near neutral state or that once stable, they degrade over time, which also probably means that they oxidize. Oddly, since I like to make lace in wire, a nice bright royal blue wire is non-existent. Maybe for the same kind of reason. Modern enamelled wire is actually coated with polyester much of the time. In any case, it isn't really enamel and doesn't come in a nice bright blue. End of musings . . . Patty - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: Re [lace] colour in lace etc.
The effect of dyes appears to be quite marked in the rayon sold as crochet silk to day. The pale colours are soft and good to work with but the dark blues and black in the range are so harsh that I would not use them. I have a black shawl in black rayon from many years ago and it is delightful both in appearance and the drape. I have looked without success for thread to work a similar one. Barbara Ballantyne in Sunny Sydney, australia - Original Message - From: Patricia Dowden [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, March 26, 2004 9:48 AM Subject: Re [lace] colour in lace etc. . . . About green threads. I knew a lady who wanted to clean an antique embroidery, which she did very gently and very carefully in distilled water. The whole thing turned out beautifully except the green. It just disintegrated and not a hair was left. At the time I wondered whether it was the chemical composition of the dye itself. I have run up against this a couple of times since with things I have bought at flea markets, and it's always the green thread that falls apart. Interesting. Sharon = Hi Sharon, I have to think that it is the chemical composition of the green dye stuff. A friend of mine used to make kites from ripstop nylon fabric. In spite of being the same fabric in the same weight from the same manufacturer, the hand of the fabric differed by color rather dramatically. As I recall, the yellow was quite stiff and the purple was soft and flowing. We know that the black dyes used in the 19th century are eating the fabrics they were applied to because of their iron oxide content. That means that most Chantilly is slowly dy(e)ing and is already mostly too fragile to actually wear. Modern dye manufacture is often stymied by ecological constraints into using less than optimal formulations. It seems to me that probably something in the green dye stuffs (some mineral oxide in a solvent) are not easy to bring to a neutral or near neutral state or that once stable, they degrade over time, which also probably means that they oxidize. Oddly, since I like to make lace in wire, a nice bright royal blue wire is non-existent. Maybe for the same kind of reason. Modern enamelled wire is actually coated with polyester much of the time. In any case, it isn't really enamel and doesn't come in a nice bright blue. End of musings . . . Patty - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
