On Jul 28, 2005, at 9:09, [EMAIL PROTECTED] wrote:

Part of the instructions to new lacemakers is to leave a new bobbin lace on the pillow overnight so the last few inches of crosses and twists will "set" and keep their definition. This is probably because the teachers know that many
new lacemakers have not established the correct tension yet.

I think there's more to this leaving lace overnight to "set" than just the novice's inexpert tensioning. Afterall, if you learn on yardage, you are forced forced to unpin and move on, especially on a roller pillow, which allows you only a couple of inches (at best) made in comfort (on top of the roller). And, with thick threads and few pairs (beginners patterns), you accomplish those couple of inches fairly quickly.

My tensioning - with perhaps the exception of the very start in some pieces is, generally speaking, pretty steady, after 16 yrs. But I find that, while I can take off a piece which took only a day or two to make immediately, I no longer do it with a piece the beginning of which had been pinned to the pillow for a week or two.

After a couple of weeks (or longer, in cases of people who keep many pillows and many projects simultaneously without finishing), the thread *does* "set". If you then finish a project and yank it off the pillow immediately with a "Hip, hip hurrah, voila!", the last bit will "shrink" at a different rate than the part which had had the time to "set". I know it from bitter experience :) So now, on a larger project, I tend to leave the newly made bit overnight (or longer) before unpinning. Unless it's yardage, made on a roller, where I had been unpinning all along, not allowing the thread to grow too comfortable around the pins.

The professional lacemakers of Europe would have put their pillows right to work on a new lace. Once a piece of lace was complete, it was quite necessary
to start another.

That's right. But that also meant that the earlier-made lace didn't have the time to "set", so it was safe to unpin the later-made one also... I'd still recommend that something like Miss Channer's mat, which had been sitting totally pinned on one's pillow for months, should not be taken off the moment the last join is done; you've waited that long, you can afford another 24hrs (or, still better, 48) <g> Or else learn to unpin as your work permits, so that the thread has been exposed to the same amount of pressure for the same amount of time...
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On Jul 28, 2005, at 13:05, C. Johnson (Susie) wrote:

Don't give up.

<VBG> That soooo reminds me of Greet and her Liers class... She had this big binder, with all sorts of "stuff" in it - a collection of possible ideas, samples of smaller finished pieces (or photos of same), graph paper... But, on the first page, there was this cartoon: a pelican, trying to swallow a frog. The frog's head is already down the pelican's throat, the rest of the frog is firmly flattened by the pelican's beak. But, in the last attempt at self-defence, the frog's front legs have taken a strangle-hold on the pelican's throat... The captions says: "Never give up". Greet says she'll make it in tambour one day, as it expresses her philosophy so well :)
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On Jul 28, 2005, at 17:18, [EMAIL PROTECTED] wrote:

I hope that students who will be taking Greet Rome-Verbeylen's Lier class in
Denver have written thank yous to Tamara

Please don't <g> My Inbox is overloaded as it is - Jeri is absolutely right, in that it took a looong time to write that report.

It was good to hear that Tamara's 250-mile drive home was uneventful. I departed to Maine the same Monday morning at 4 a.m. and completed my 550-mile drive in 10 hours, plus another hour for a 15-minute nap at a rest stop and a quick restaurant meal enroute. (Hey, I'm 10 years older than Tamara, and am
getting to the age where a nap helps break up a tiring solo drive!)

If I had to drive 550 miles in one "go", I would have needed more than a 15 minute nap; I'd have needed a dose of a miracle eliksir to give me courage <g>. Glad you got back home safely; I was going to check, but you've asked us not to keep your address in our Addressbooks, so I had to wait till you "surfaced" on the list...

This is a
lace I'd like to learn more about, and I hope more books will eventually be published on the subject of Lier tamboured laces. (Yes! Yes! I know the Fukuyama
book, but that is not what "we" are reviewing today.)

I got it (the Fukuyama book) from Deb Bender (she really had *everything* "together" for that workshop, didn't she?), but only because I wanted to round out my - pitifully small - library on the subject of tambour lace. It's not a very inspiring book, design-wise, and no wonder, since she uses the chain stitch only; no fillings at all. Jean Dudding's tiny little booklet, "Creating Coggeshall Lace" (1994, no ISBN), is better than that, though not as good as Greet's book.
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On Jul 28, 2005, at 15:06, [EMAIL PROTECTED] (Clay) wrote:

I may have misunderstood you, but from your description, it sounds as though you're looking for picots in which there are two visible little loops for each picot. If this is correct, then you're not looking for the same "ideal" picot that I look for.

Yeah, I wondered about that myself...

Susan, most of us avoid the "rabbit ears" (or your "two tennis racquets") like a plague, when making double picots - both threads of any *one* picot should be twisted together and inseparable until the "stem" (one of the treads should be over and one under the "stem"). Like Clay says:

the picot should look as though the pin were still there, only invisible!! In other words, a perfect little "o" on top of a tiny, almost invisible "stem".

So she's right - you may already be making a perfect picot, but pursuing an evil phantom <g>. Unless... By "two tennis rackets" you mean two *single* picots, one each side of a plait?

What keeps a double picot twisted (or should <g>) and in position, is what goes on before and after - the cloth stitch in the headside.

--
Tamara P Duvall                            http://t-n-lace.net/
Lexington, Virginia, USA     (Formerly of Warsaw, Poland)

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