That isn't how I read the posts on this subject at all. What they do all seem to be saying is that it is possible for two people to independently come up with very similar ideas.!
My teaching notes are dated when I do them, ie when I need handouts for a class. This doesn't necessarily mean that the design or technique they refer to is brand new to me, just that it's the first time I want to run a a workshop on them and turn them into the public arena. Often the ideas and prototypes have been "work in progress" for a long time. The same could apply to Rosemary's notes dated late 80's. It is no evidence that she was influenced by Novak. As my copy of the book has not arrived yet, I am unable to compare the prickings with the ones designed by Jana Novak, and I am unclear from your comment " I had a look at Rosemary's web site and her new book" whether you have actually seen the book, or just the write up and pictures. "What I really find fascinating is that no one has taken the time to compare the two books and make a constructive comment" As it is a new book not many of us will have had the opportunity to make this comparison yet but even if I had been able to, probably the only comments I could make are on the lines of "Yes, there are notable similarities" or "No, I think the similarities are minor". Either way, it would be fairly subjective and would throw no further light on the influences, conscious or subconscious, behind Rosemary's design ideas. "I do not make any accusations, I simply state a fact." Unfortunately, to me at least, it did sound accusing. Unless you know for sure that Rosemary was aware of and influenced by Novak's work then what you are implying is not stating a fact. The only fact is that there are similarities, your post seemed to take it much further. Jacquie "If Rosemary made her first flowers in the late 70s then this predates the Novak ones by a considerable margin. But no-one would think that plagiarism has taken place the other way round, would they!<<<" Dear All, I am overwhelmed by the response my two emails caused. Someone is talking about reversed plagiarism. And some else that this dirty business should be put to sleep. The second statement speaks for its self. Now to the issue of plagiarism - Lets look at Jana Novak's track record - she comes from Moravia, being part of Czech Republic where modern lace design is part of curiculum at the college she attended and trained as Graphic Artist. Further in Czech Republic lace and lace design is being taught at some art colleges and Charles IV University by no other than Milca Eremiasova and other prominent lacemakers/teachers/designers. Since late fifties until communism ended there were co-operatives where artistic lace design and lace making was of the prime importance. Many people in the world admired the lace that came out of Czechoslovakia as the country was known than, now Czech Republic and Slovak Republic. They admired the artistic style and the different and unique approach. When I attended Rosemary's workshop she talked about the influences and her admiration towards these designers and lacemakers and their artistic attributes to the world of lace. She also admired the works by Jana Novak, she made no secret of that. I subscribe to the Danish magazine The Knipplebrevet where I can see the big influence Jana has on people's designs in Denmark . Since she's lived in Denmark she published many books with her own designs on many different subjects using many different techniques. The book with title "Fri Knipling" was one of her first publicashions and is now out of print - sadly. The Kantklosse in Vrije Vorm is a different publication - I have to take a punt at the translation but would translate it as Bobbin lace in Free form. She also published books which are works from many different designers. Designing and publishing books is her primary business as well as providing lacemakers with the necessary lacemaking supplies. She is a professional artist and designer. I don't know if Jana knew of Rosemary but I do know that Rosemary knows of Jana. The only book Rosemary previously published was "An Introducction to Bobbin Lacemaking" where the content is primarily Torchon. I have not seen any other book Rosemary published in the late seventies on "Fantasy Flowers". How could Jana plagiarise Rosemary's flowers if she never seen them? Jana lives in Denmark and Rosemary lives in Australia. Whilst Torchon patterns are easily reproduced independently it is a different story in a free form design. Every artist has his/her own artistic approach and is recognisable by their style. In the class of design I attended no two people designed the same piece. We are all unique human beings. Copyright does not protect the designers unless they can enforce the copyright through courts, and who has the money to do that? So it is up to us to do the right thing and abide by the copyright law. I am not saying that one cannot adapt original designers patterns, what I am saying is that the original designers should be recognised. The adaptations must be substantially changed, by that I mean the actual design is changed, not how the lace is worked, whether you choose to use more pairs or less, work half stitch instead of cloth stitch, go around the pattern more than once etc. In regard to dating teaching notes, in Australia we date our notes when we first produce them. If we amend the notes we include this date etc., so you may have two or three dates on the notes. Some teachers instead of amendment date include the date of their next workshop. I find the dismissive aproach to this issue quite unsettling. This issue is a very serious issue and should be looked at in the same light. If I was in Rosemary's shoes I would remove the flowers in question and publish only my original designs. Karolina Jeffers Thee times Proficiency qualified teacher - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
