> >It seems like an unpleasant surprise to buy a lace pattern and then
> >find out you
> >need another book to actually make the lace...
>
> I don't *sell* my lace patterns; I publish them, for free, wherever I
> think they'll fit best. Most of them are likely to be in Milanese, and
> therefore appeal to people who are already somewhat conversant with the
> technique. And, if they are, they're already familiar with at least one
> of the books - intimately enough to own it.
Ah. That makes sense then.
> >Where do you draw the line? I assume you're OK with learning
> >something like
> >roseground from a book, using it in your pattern and including a
> >diagram - I
> >guess I see Milanese braids as being on the side of roseground rather
> >than full
> >designs.
>
> Only if you made a bookmark which used nothing but a roseground, would
> it be *in the least* comparable to a bookmark which used only, say,
> "Meander in braid".
Hmm... So the copyright law depends on what setting I use the pattern in? That
seems strange.
> Add then only slightly; roseground, under many
> different names and in different guises (rose-ground can be executed in
> a multitude of way, counting each pin and the connecting stitches) is
> common-place; Milanese braids aren't. If I use roseground in a pattern,
> I don't diagram it; I either assume that the lacemaker knows at least
> one way of making it, or else refer her to the Stott/Cook Book of
> stitches.
What if you were writing a beginners' book?
> >if I can just look at the lace (which isn't designed by
> >the authors and isn't copyrighted) and figure out how it could be made
> >(probably
> >won't be the same as the diagram in the book, but will give the same
> >effect or
> >close), and draw a diagram of that, is that OK? Of course I have seen
> >the
> >diagram in the book, so it can be hard to tell how much I'm relying on
> >my memory
> >of that...
>
> Then, why bother? I've re-invented many a wheel in my time, but never
> *knowingly*; life's too short :)
I like understanding things. I feel much better about making a piece of lace if
the diagram makes sense to me, instead of just reproducing it step by step.
This often requires changes - for example I don't understand the "turning
stitch" in Milanese (i.e. why it's useful, no how it works), so I don't use it...
> >did the authors of the book look at a made lace piece and come up with
> >a diagram for the braids, or learn to make the braids from other
> >lacemakers?
>
> Ah... Now, here's a lovely story about that... :) Last year in Ithaca,
> Pat Read taught a class, and was also one of the featured lecturers.
> She described - with amusing detail - how she and her student (Lucy
> Kinkaid) would travel to museums and, having obtained permission, would
> climb up on whatever was available/handy for a close look at the
> displayed laces. And make drawings/diagrams from those. Then go home
> and try to dissect the piece and reproduce it. Then go back to check if
> their results matched those in the museum...
So the diagram contents are copyright. Need to be careful with it then. Thanks
for the info.
Weronika
--
Weronika Patena
Caltech, Pasadena, CA, USA
http://vole.stanford.edu/weronika
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