Hello Again! Thanks for that info Cindy. Now that I know Brenda's estimated wpc factor, it looks like I won't be using C&C S975 for Honiton! Just as a comparison though, Madeira Cotona is wimpy, wimpy, wimpy & pastel, pastel, pastel--something that I'd like to overcome. And maybe I don't fully understand why some threads are considered 'lace' threads & others not. Coming at this from the CQ (Crazy Quilt/embroidery) perspective, I don't consider any materials sacred to one technique or another--they're all fair game. So thanks again for the heads up! BTW--the C&C performed beautifully in my ancient sewing machine on my linen project, although we won't mention to Jeri that I used an archival, non-acid glue stick to temporarily hold the ribbon to the ground fabric. (vbg) Liz, you would ask & I don't really understand the change in the behavior of Piper's silk either. At the beginning of the week, I would say 90% of my bobbins needed clips. By the end of the week, non! e. So--was it thread wear? After all I did make lots of mistakes that required unlacing. Was it heat/humidity? Unlikely because we were in the chilliest, most climate controlled room at the Conference Center. Someone on Arachne (Jacquie maybe?) has mentioned that bobbins seem to have a mind of their own when the lacemaker is not confident. In that regard, I was more self assured at the end of the week in Sandi's class. The only other factor that I can think of is that the thread relaxed from its factory-wound condition. This theory could easily be tested by winding/hanging pairs at the outset. I will say, I know a gal who has a little collapsible rack that she uses. She winds all her bobbins & hangs them on a rack she purchased in Belgium. If anyone else has a suggestion, please jump in! It was certainly a curious effect & anything that helps me understand how to control my materials & tools, helps me make better lace sooner! Sincerely, Susan Hottle, Erie, PA U! SA
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