In message <26820544bd01403b88110f1251dad...@loreleihalley>, Lorelei
Halley <[email protected]> writes
In the process of doing
that (initially to make sure I hadn't left out a dot or 2) I came to an
understanding of why the pins in torchon were spaced the way they were, why
the ground pins and clothwork pins had the spatial relationship to each other
that they had. In other words copying those patterns and drawing in the lines
taught me how to design torchon bobbin lace.
The process is essentially the same with other styles.
I am sure others will agree, though, that there is a lot more that goes
into good design work than just drawing lines on a grid - although doing
so helps on the technical side of knowing what will and won't work (eg
the spacing of roseground at a corner), and when using colour, which
stitch to use where.
I'm thinking in terms of the use of shading by changing from half to
cloth, representation of a design source - even geometric laces can be
representative of patterns, real-life objects, etc. I'm not saying that
"Sunday afternoon doodles on graph paper" can't work (they do), but that
there are other methods of designing lace.
--
Jane Partridge
-
To unsubscribe send email to [email protected] containing the line:
unsubscribe lace [email protected]. For help, write to
[email protected]
