Re: [lace] Freehand Lace Group?

[Kim Davis]

Yes, this is the correct address.  There is a software update I need to
perform, and then
it should be back up and running.  Estimated time is a few hours, so we
should probably
say it will be up tomorrow.  Thanks for alerting me so I could fix it.

Thanks, Kim

On Wed, Feb 2, 2022 at 4:05 PM Elena Kanagy-Loux 
wrote:

> The url I had was Freehandlace.com. It wasn't a part of IOLI Ning that I
> know, but it may have started there.
> Thank you for that information!
> Best,
> Elena
>
>
>

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Re: [lace] Anyone know where this Seahorse came from?

[Kim Davis]

> I beieve this was designed by Lia Baumeister, one of her Schneeberger
> patterns. 


Kim

> 
>

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Re: [lace] Le Pompe -- first book

[Kim Davis]

Nancy,

   Please send a photo of your picture, it sounds interesting!

There are a patterns that look like Le Pompe in New
Modelbuch, also.  Since these books were not sold bound,
I have found each copy is slightly different.  If you send me
a pic I would be happy to look through various versions I have.

Kim

>
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[lace] FAQ for IOLI class registration

[Kim Davis]

Excitement is building for registration tomorrow morning.  Here are some
handy FAQ's for you to
read while getting ready.  You will find a beautifully formatted copy on
the website, but since
attachments don't work on list, I have cut and pasted the text for you.

Kim
FAQ for Uncon 2.0 Classes
Q Once I have registered for my class, am I automatically registered for
UnCon2.0?
A NO! You need to go to
https://sites.google.com/internationalorganizationoflace.org/uncon/uncon-2-0
to register for All of the UnCon2.0 fun events. The committee has worked
hard this year to bring you an exciting combination of live and recorded
events, including special presentations, lace-related games, and live
Virtual Trunk Shows featuring our vendors. Once you have registered for the
class(es) you want, make sure to also register for those events you wish to
attend at UnCon 2.0.

Q How does this work? Are we all going to be in one, big Zoom meeting?
A The Lace Museum has set up 5 tracks of classes. Each track has its own
Zoom account, email, moderator and moderator’s assistant. There will not be
more than 1 class of people on any Zoom account at a given time.

Q What if I get interrupted because I am at home, and miss part of the
class?
A Classes are recorded, and available for viewing by students in that class
for 14 days after that class has ended.

Q What if I am on the waiting list for a class I really want, but register
for a different class, and a seat in the class I really want becomes
available?
A The Lace Museum will contact you by email or phone in this situation to
give you the choice of switching classes.

Q What good is the waiting list if the class is sold out?
A There could easily be cancellations and the spots will be filled from the
waiting list. Also, if the teacher and The Lace Museum agree to open a
second section of the class (before or after UnCon 2.0) you will be offered
a seat in that section in waiting-list order. We are serious about
fairness; each request has a date and time stamp with detail to the second.

Q Will this be as bad as trying to register for a Vaccine? A Probably not!
Literally millions of people were trying to get a shot. Unfortunately,
there just aren't that many lace makers in the world!

Q If my first choice is sold out, it will take too long to go through the
whole process again to get my second choice. What can I do?
A We would recommend that you open several separate browser windows, each
one ready to register for a different one of your first few choices. Then
if your first choice is full, you can go to your second choice quickly, and
so forth. There really are several hundred total seats available.

Q How do I register for a class?
A You can register for a class in one of two ways: (a) Go to the link for
the UnCon registration form. Fill out the form. The last question will ask
you about classes and send you to the Lace Museum site. (b) Begin at
https://internationalorganizationoflace.org/ click on I.O.L.I. 2021 Virtual
Convention and scroll down to “CLASSES” click on “CLASSES.” BOTH
methods
will take you to the page https://thelacemuseum.org/uncon2-classes/

Q What if I need to cancel?
A The Lace Museum's refund and privacy policies, can be found at
https://thelacemuseum.org/workshop-and-class-policies/

Q Will there be another in person Convention?
A Yes! Remember, this is not a Convention, it's an UnCon. It is a unique
situation – an opportunity to take classes from twelve overseas teachers,
never possible at a live Convention, and an opportunity to benefit from
hundreds of hours of The Lace Museum’s experience with teaching online
classes. But have no fear, your favorite teachers will be back live as soon
as the Convention is live. Volunteers in Mesa and Reno are well underway
planning for live Conventions in 2022 and 2023. There are several reasons
that the UnCon classes are all hosted by The Lace Museum this year. The
I.O.L.I. has some resources (including a Zoom account that supports
lectures and webinars with one speaker and hundreds of viewers) and
volunteers who are experienced with organizing a general meeting, lectures,
banquets, etc. The Lace Museum has been offering online classes since March
2020 and has resources (including Zoom accounts for small classes and a
Shopify interface to handle money) and volunteers experienced with
moderating classes and helping teachers and students adapt to working
online. It was a perfect, one-time match.

May 1 - May 14 The large schedule on the top will show you the last name
and topic of all of the teachers. Each box is color coded with the
“block”
of the class. You can find classes from that block just below it. You can
also go to this area and simply browse all of the pages. You can browse
class descriptions, supply lists, teacher biographies and more. If you have
any questions, do not hesitate to email virtualworksh...@thelacemuseum.org.

May 15 - May 31 I.O.L.I. members only registration (a) Follow the 

Re: [lace] Hanging Bobbins

[Kim Davis]

Angel,

  I believe Elena is referring to bobbins that commemorate a public
hanging of someone as punishment for a crime. I read this puzzled for a
moment early this morning thinking, "don't all bobbins hang?"  Then I clued
in.  hahaha

Kim

On Mon, Mar 1, 2021 at 4:36 PM Angel  wrote:

> Do you mean matching pairs??
> s/ 
>

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Re: [lace] Hello from Eatonville

[Kim Davis]

Devon,

  Thanks for posting the link!  We have just opened up the registration
for both May and June.

  We do plan to continue offering classes like this after the pandemic has
passed, but will adjust the frequency
to meet needs.  To date we have gotten 35 new bobbin lacemakers up and
running, and have another 20
signed up to learn between now and April.  We are also running a "Just
Beyond the Basics" workshop
with essential skills and patterns for people just out of the introductory
class.

I should also add that we have *1 private SCHOLARSHIP* available each month
for this class.  The details can
be found on the same page with the class information:

https://thelacemuseum.org/workshops.html

Kim

On Wed, Dec 30, 2020 at 1:51 PM Devon Thein  wrote:

> My stock answer to the question of how to learn lace is now "take an online
> beginner class from the Lace Museum." Karen Thompson teaches these. It is a
> small class, maybe only 5 people. There is a helper and a tech person on
> the zoom at the same time to help even the most timid with any technical
> questions. Even when you locate a group there may not be a teacher in that
> group. Now everyone can have a class in their living room.
> https://www.thelacemuseum.org/workshops.html is the link.
> Devon
>
>

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Re: [lace] Lace quote

[Kim Davis]

Zuman

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Re: Re[2]: [lace] Textile Encyclopedia

[Kim Davis]

This is what it says on the site:
"Prospective contributors are invited to submit brief proposals,
identifying the proposed topic and volume, and may submit proposals for
more than one topic or volume."

It says submissions will be 4K words or less, with drafts coming in from
July 2020 to December 2021.  But, I do not see a timeframe for proposals.

Kim

On Tue, Oct 20, 2020 at 10:27 AM Devon Thein  wrote:

> What exactly is the submission process?
> Devon
>
>
>

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Re: Re[2]: [lace] Textile Encyclopedia

[Kim Davis]

I agree, Devon, and was looking at where we could fit lace in.  I wondered
if embellishment (vol 5) is appropriate for some types of lace.  Certainly
lace can stand alone, but is also often used as a trim applique on other
textiles.  Would this delve into braids?  Knotting?

I am also curious, Elena, how the encyclopedia will be structured within
each volume.  When I think of an encyclopedia, I think of an exhaustive
list of short entries on a topic.  Is it going to have that sort of thing
along with articles, or just in depth articles?

Kim

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Re: Re[2]: [lace] Happy Columbus Day?

[Kim Davis]

This is good stuff, they are the smaller Scientific Wire spools.  Good
plating, nice
and soft to work with!  Ordering from Lenka is the easiest way to get a
hold of them
here in the US.

Kim

On Mon, Oct 12, 2020 at 6:03 PM Sue Babbs  wrote:

> Yummy wire colours!!  E.g.
>
> https://www.etsy.com/listing/245020947/green-or-yellow-copper-wire-size-02-mm?ref=shop_home_active_13=1
>
> Sue
> suebabbs...@gmail.com
>
> --
>
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Re: [lace] RIP Marianne Stang

[Kim Davis]

Marianne has left such a void.   She was a deep wealth of information.   My
calendar for next week has a note to email her to let her know of the work
I have done recently on the Freehand site, and get her opinion before it is
published.  It is just so sad.  A great loss.

Kim Davis



>
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>

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Re: [lace] lace, Virtual lace classes

[Kim Davis]

We began with Meet.  It worked well until we tried
to mount a second camera to show bobbin lace pillows.
It is challenging to get a second camera mounted
without the issue of feedback on Meet.  It can be
done, but adds an extra layer of frustration for
the students.

Zoom seems to have addressed the issue of
security.  It is possible to lock the meeting
once everyone is in, now, also.

Only the host needs to have a paid account,
so no one else has to pay to use Zoom.

We have been having people use their smartphone
as the second camera to hold over the pillow. This
works very well.

Kim

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Re: [lace] Paraguayan Lace

[Kim Davis]

Elena,

 Are you familiar with this book:
Ñandutí, Lace of Paraguay Paperback – February 6, 2015
by Annick Sanjurjo

 (Author), Albert J Casciero

 (Translator)

This gives information on the meaning of many of the motifs.

If you look at the Lace Museum's Facebook posts from the past week, you
will also see a connection with a very
active lace group across various countries in South America.  If you need
more specific contact details please
email me off list and I can make an introduction for you.

Kim


>
>
>
>

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Re: [lace] Interested in lace in Australia?

[Kim Davis]

Elena,
 For more information on this topic, I would definitely recommend the
presentation Maire Treannor will be giving virtually  at the IOLI UnCon.

https://sites.google.com/internationalorganizationoflace.org/uncon-2020/uncon-2020

  I am also learning about this, and there is a tradition in France, as
well.

Kim

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Re: [lace] mezzo punto tapes-Diagonal weave?

[Kim Davis]

You can find the technique documented as well as diagrammed in Jacqui
Carey's "Chinese Braid Embroidery."  It is
a very common way to braid, and can be found elsewhere.  I like Jacqui's
diagrams the best.  I think the the lynch
pin to having this work with bobbin lace is to use the open method, thus
the TC rather than CT.

Kim



>

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Re: [lace] What is this lace?

[Kim Davis]

Devon,

 Have you seen the book, "Gekloeppelte Reticella?"   As the name
implies, they are using bobbin lace to imitate Reticella needle lace.  The
patterns are nothing like this one, they are very
geometric and imitate Reticella.  The book does, however, use tallies in
this exact manner.  As Pierre points out, it has the look of the le Pompe
patterns which we always wonder about since cloth stitch tapes were not
known at that time.  I suspect this is how the pieces were created, but
have never seen any proof.  Unfortunately, this thread looks like revival
era thread, so I am not sure how helpful it is.  But, if they were copying
an old lace directly, it would make a lot of sense.  I have not yet had
time to research this train of study, but it is on my short list.  My
suspicion is that if there are extant pieces, they are likely misidentified
as needle lace.

There is also the overlap that this type of work was done in metal
threads, again in German areas.   I have an individual pattern, but would
need to lay my hands on it if you are interested.  it is in my large stack
of things I am researching, not in a neatly filed place as it should be.
It hits that perhaps exciting/ perhaps annoying but always interesting
bridge where passaments done in other technique overlap and possibly evolve
into bobbin lace.



Kim

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Re: [lace] Lacemaking in Colonial Spanish America

[Kim Davis]

Fascinating topic!

The structure she is working on looks much more like a loom than a pillow.
I know  very little about weaving, but there is
at least one type that uses bobbins.  The textile which is coming off of
the back also looks more like a weaving or tapestry
as the pattern seems to take 2 colors to make.   I can't wait to hear what
others have to say.

Kim

On Sat, Feb 15, 2020 at 5:01 PM DevonThein  wrote:

> About 20 years ago I received a question about whether lace was being made
> in
> Colonial Spanish America. I did not know the answer. I asked a curator at
> he
> Hispanic Society. He didn’t know, but he said it was very likely because
> the
> Spanish tended to set up these industries in their colonies. I asked
> another
> scholar at the Met about this and she said it would have to be researched
> in
> the Codexes. She was involved in a show, The Colonial Andes: Tapestries and
> Silverwork, 1530-1830. The show was very striking for the sophistication of
> the craftsmanship in the tapestries, as well as the Silver. Also there were
> many paintings showing people in Spanish America wearing lace.
> Today, on my Instagram stream I was treated to an image from a textile
> conservator that really caught my attention. It was from the Codex of
> Martinez
> Companon. The conservator says it is part of a manuscript sent to the king
> of
> Spain in the late 18th century. The information about it, in the index,
> says
> Mestiza de Valles texiendo trensilla. This seems to mean Mestizo woman
> weaving
> braid. Does this show a woman making bobbin lace? What do people think
> about
> this?
> Here is the link:
>
>
>
http://www.cervantesvirtual.com/obra-visor/trujillo-del-peru--volumen-ii/html
> /966bf129-a181-4dd1-996b-ac44db7844e2_110.html
>

>
>
> Devon
>
>
> Sent from Mail for Windows 10
>
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>

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Re: [lace] Snowman lace

[Kim Davis]

Susan,
   I have seen on in one of the Lace Guild's publications..you know,
the half sized ones?   I believe it has a dark blue cover.  It is possible
it is in the childrens magazine, as we have both.  Can you send me a pic
and I will look tomorrow.

Kim

On Sat, Dec 21, 2019, 10:27 AM  wrote:

> Hello All! Does anyone know the designer/source of a lace snowman?
> friend
> sent me a photo she saw on Facebook & asked if it was bobbin
> lace! It's
> adorabl
>

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Re: [lace] Expanding cloth stitch with weaving techniques

[Kim Davis]

Joseph,

  I have taken this same approach with braids.  It is great fun and
adds texture to areas which can otherwise be flat.  The main issue I have
run into is having the repeats fall in line with the same place they want
to be for cloth stitch.  I would think this would closer with weaving
stitches than braids.  This is something to look out for when planning
stitches you will use.  You need to look and see if the pin dots need to be
moved further or closer apart.

Kim


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Re: [lace] Teachers or no Teachers

[Kim Davis]

I have to agree with Adele.  There are so many factors that there is not a
blanket answer.  I will say that being around other people, teachers or
not, seems to be  helpful in a way that books and computers can not
replicate.   However, the ability to do things in chat rooms and the
widespread use of video is changing things. I wonder how it will look 100
years from now?

The fact that you are asking this question makes me wonder if anyone has
suggested or made you feel "less than" because you are "self taught" or
have "just learned from books?"  I would say that, for the majority of
people, having a helping hand to get started on the right foot is
beneficial.   I  underscore the word most, because it isn't all.

I talk to a lot of people from around the country and different parts of
the world, and one thing I have heard repeatedly from people who "used to
make lace" or "tried to do it" or were "turned off by it"  is that bobbin
lace makers are quite snooty.  This could be good in the sense of us all
striving to make the best lace we possibly can...but the context in
which it comes up is not positive. I know SO many truly wonderful people
who make bobbin lace that the first few times  I heard it I dismissed it.
It has come up too frequently to ignore, though, and I think that I can
"see" the point of view they are coming from now.  Anytime we look down on
one another, this happens.  Whether this is a tendency of bobbin lace
makers or women in general is a whole other debate.  But, I mention this
because if we really want our art to survive, we need to embrace people
learning.  If you can learn from a book  or from videos and you have the
discipline to do it, then more power to you!

Kim

On Sat, Nov 24, 2018 at 3:41 PM Adele Shaak  wrote:

> Your lace may very well be as good as, or even better than, lace made by
> someone who has had a teacher. Or not.
>
> Some people can have the best teachers and still produce bad lace. Some
> don’t tension well. Some have short attention spans. Some people can’t
see
> as well as they think they can. Many people aren’t good at comparing what
> they’re making with the examples they’re shown.
>
> There are so many factors at work - are you conscientious, do you take
> care to make your lace look like what’s in the book, do you read
> attentively and how well do you understand what you’ve read, how well do
> you follow the instructions, do you take the trouble to find thread the
> right size for the pricking.
>
> Having a teacher means you get set up nicely with well-matched thread and
> pricking and any mistakes or bad habits are pointed out to you. The secrets
> a teacher passes on - well, they’re not really secrets, just lace lore,
and
> what gets passed on depends on the teacher, the time available, and the
> questions that are asked. A lot of learning stems from the other students
> in the class - somebody might ask if they can substitute 100/3 for 60/2,
> and the teacher might use the situation to talk about thread sizes and
> things to think about when switching threads, or the teacher might just
> answer yes or no.
>
> Each teacher has different strengths and weaknesses that may or may not be
> a good fit for you. So you can’t know for sure that you’d make better
lace
> if you had a teacher. And if you did have a teacher, you might learn better
> from a different one.
>
> I guess what I want to say is that in-person instruction is a good way to
> learn, but in-person instruction from several different teachers is even
> better, and one person working off the grid in a cabin in the woods with
> the single worst instruction book ever printed may still learn to make good
> quality lace.
>
> Just my 2 cents.
>
> Adele
> West Vancouver, BC
> (west coast of Canada)
>
> > On Nov 24, 2018, at 2:53 PM, Ann Humphreys 
> wrote:
> >
> > I’ve never had a lace teacher. I’ve learned from books and videos.
> > Will my lace not be as good as those who have had teachers. What are the
> secrets that lace teachers pass onto their pupils?
> > Just curious.
> > Ann
>
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Re: [lace] Cameras [was World Lace Congress of 2018 in Brugge, Belgium]

[Kim Davis]

I think this is a very interesting topic.  I know that when I was walking
around I purposely was not snapping shots unless I saw some architecture I
was thinking about creating in laceand of course never take selfies!
ld  For lace exhibits, I had several strategies.  I would usually take it
in first and experience it.  Then, I would go around  and take quick snaps
for documentation, but would spend time taking quality shots and close ups
for things I really wanted to study.  I wanted to make sure to have a
record of what types of work were done by which people should I want to
contact them in the future.  I will say that this type of photography is
not necessary when there is a great catalog, and I am free to not worry
about it.  In this case, though, there was certainly no way to make a
catalog.  There were simply too many pieces in too many different locations.

Kim

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Re: [lace] Central Repository of Errata - brilliant idea!

[Kim Davis]

I  miss Vibeke very much, she was a wonderful mentor.

I have the resources and platform to contain the information, but I will
definitely need
one or more volunteers to get it set up.  Once it is set up, I have the
bandwidth to keep
it updated with our current volunteer base.  If anyone is interested and
has a bit of time
to donate, please let me know,
I think this would be a very worthwhile project.

Kim

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Re: [lace] Central Repository of Errata - brilliant idea!

[Kim Davis]

This is something which The Lace Museum could connect to our archive.

The archive was my pet project before I had to take over as managing
director,
and things have gotten settled enough that I began working in the archive
last
January.

There are several hosting options I have available and I will need to think
through
which one would be most advantageous.  We are a member of the California
Online
Archive which is run by the UC system.  You can look here and find us as a
member:
http://www.oac.cdlib.org/

I have a librarian who is helping us with file structure and has put a few
files up on the
archive as we work our way through.

Because institutions can fail just as businesses do, I try to make sure
things are always
in as many places as possible in case one fails.   We can certainly list on
this archive and
have it publicly available, but we also have the bandwidth to have it on
our site.  It would
make sense to share the information with the IOLI library as well.  I will
take some time to
think about the "safest" way to have this put together so that once it is
put together it stays
publicly available.

That said, I will need a volunteer to organize the content.  Sue, is this
something you are
interested in? Since we are run entirely on volunteer hours and donations I
have to be careful
to never start a new project with out proper volunteers in place or the
project will not happen.

Kim Davis

On Thu, Sep 6, 2018 at 12:01 AM, Sue Babbs  wrote:

> Sue
>
> suebabbs...@gmail.com
> http://babbsandbaobabs.blogspot.com/
>
> Susan Hottle had the brilliant idea of a “Central Repository of Errata”
> for lace books.  This would be so helpful to all of us. It would be a great
> way for authors to communicate with their readers - and for lacemakers who
> had discovered errors to report them to authors for future editions.
>
> I'm hoping that  some lace organisation (OIDFA, IOLI, Lace Guild etc)
> would consider hosting such a list on their websites, and then the rest of
> the organisations could link to that one page.
>
> Any representatives of lace websites willing to take up the idea please?
>
> Sue
>
>
>
> -Original Message- From: Susan
> Sent: Monday, September 3, 2018 10:29 AM
> To: lace@arachne.com
> Subject: [lace] Corbett’s Flanders
>
> Personally, I am more sad than mad because I am certain the lace author
> has sweat bullets to make the information available & he/she is likely
> mortified that gremlins crept into the book. I just wish that there was a
> “Central Repository of Errata” online. It would be a blessing to us
all.
> Susan Hottle USA
>
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Re: [lace] Faery Lace?

[Kim Davis]

Regarding the thread, I am also interested in this topic.  I have heard a
few theories surrounding why we don't have it anymore.  The first was that
the fields were bombed by the Germans in WWI, and the strain of plant
destroyed.  This didn't make sense to me because we stopped seeing the fine
threads very much a good century before WWI. The French Revolution makes
more sense time wise.

However, it seems hard to believe that we could not cultivate this flax if
we wanted to.  I am eager to here what your agricultural searches turn up.

During the tour in Belgium we visited the flax museum as well as the topic
coming up later in the week.  I forget who it was that said this, but they
proposed it was more of a supply and demand issue.  We began seeing courser
threads about the time machines were invented. People began trying to
compete with machines by making heavier and/or less detailed lace.  They
suggested the demand for such fines thread went away, so were no longer a
viable money making endeavor for thread manufacturers.  I found this to be
a very interesting theory.

Perhaps when we are finished with this topic we should create a list of
urban lace legends regarding thread.

Also, I tried to change the topic, but my email program will not allow me
to.  Maybe someone else can?

Kim

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[lace] new email for Lia Baumeister?

[Kim Davis]

HI!  I have been trying to reach Lia and discovered the emails are bouncing
back.  Does anyone have a new email for her that they could share with me
off list?

Thanks, Kim

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Re: [lace] questions for you lace makers living in California in the 1980s

[Kim Davis]

I can see now that after removing all of the previous posts, I forgot to
leave enough so people would know which publication
I was talking about.  I have to say, this is actually the thing that has
prevented me from posting more over the years.  With Gmail,
the old email is set as hidden, so I forget to trim.   This is even more
problematic on a phone, as it is harder to find.   I try to be
so careful to trim when I do post that I managed to throw the baby out with
the bathwater.

If anyone is looking for hard copies of the eldest IOLI newsletters and pre
Bulletin items, we have the complete set in our archive
at The Lace Museum, in Sunnyvale, CA.

Kim

On Tue, May 15, 2018 at 9:05 AM, Kim Davis <k...@wirelace.net> wrote:

> In case anyone ever wants to look at hard copies, we have the complete set
> at The Lace Museum in Sunnyvale, CA.
>
> Kim​
>
>
>

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Re: [lace] questions for you lace makers living in California in the 1980s

[Kim Davis]

In case anyone ever wants to look at hard copies, we have the complete set
at The Lace Museum in Sunnyvale, CA.

Kim​

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Re: [lace] questions for you lace makers living in California in the 1980s

[Kim Davis]

He probably would have met up with Kaethe Kliot (please double check
spelling of her first name) from Lacis in Berkeley.  It is known as Lacis
now, but was first called The Lace Place.  I do not know when the name
changed precisely offhand, but you should be able to search that easily
enough.  Kaethe passed more than a decade ago, but her husband is still at
the business.  I would be happy to meet you there sometime.  From where you
live, it is easy to go by BART.  The shop is less than a block from the
station.

 There was a guild in San Francisco, although they were fairly
insulated.  It was a tight friendship group and unlikely he would have been
invited into the fold.  Only one member survives, and she is a bit North of
San Francisco.
 The next closest place would have been Village Spinning and Weaving.
This is a shop in the adorable Dutch settlement of Solvang.  They closed
their retail last summer, but are still around and selling online as they
sell off their stock.

 This generation of lacemakers is rapidly becoming exctint in our area,
so I would not delay in interviews if you wish to make them.  Please
contact me offlist if you need me to make any introductions.

Kim

On May 14, 2018 4:26 PM, "Sharon Ghamari-Tabrizi" 
wrote:

> For my novel, Bobby is attending the University of California Santa Cruz.
> It is academic year 1984-1985. (He will be spending the summer of 1985 in
> New York.)
>
> He wants to take a class in lace making. It could be bobbin or needle lace
> or both.
>
> A member of the list just wrote to me to share her story of how difficult
> it was in those days to find a bobbin lace teacher. And how expensive the
> lace classes were at the annual convention!
>
> SO: I would, of course, like to be historically accurate. I would like to
> show how rare the classes were. (but I do have to have Bobby actually take
> a class!)
>
> Do you recall if there were any lace-making teachers who lived in
> California, preferably in the Bay Area?
>
> If he needed to he would drive to LA or San Diego but he could only do that
> one time.
>
> Any lace suppliers at the time?
>
> I'd like to hear from your recollections. If it turns out that there were
> no lace classes in CA in those years, I might have to invent that rare
> teacher. (that's why they call it poetic license!) Still, it would be
> better if there was a community of lacers to name them.
>
> Thanks
> Sharon
>
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[lace] Re: Weaving/Fingerloop Braids/Braids/Lace (History References for Scholars)

[Kim Davis]

This information from Jeri was very helpful.  I can add this site to the
list.
https://loopbraider.com/
She has many, many videos on making various braids.  Her videos are
certainly not professionally produced, but it will provide you with
information that is very difficult to find in person, at least here in the
states.

I, too, am always looking for relatives of early bobbin lace.  I have been
studying loop braiding with a very knowledgeable teacher for 2.5 years, and
I have co-ordinated a meetup for working on finger loop techniques once a
month in Berkeley, Ca.  Should any of you who are interested find your way
to the Bay Area sometime, feel free to contact me offlist.

Kim

>
>
>
>
>
>
>
>
>

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Re: [lace] Finger looping

[Kim Davis]

Gil and Jean, please correct me if you know differently, but I do not
believe this is loop braiding.  I do not recognize the interlacing or color
configurations as possible with orthodox braids from this technique.

Kim



>

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Re: [lace] Lace Revival of the 1970s

[Kim Davis]

My observation is that before the 60s America fully embraced the melting
pot model.  My own Grandmother, for example, was not allowed to learn
Norwegian.  She was the first in her family  born in the US, but expected
to only know English.  Preserving heritage from European countries was seen
by many as a rejection of being American.  After the hippie movement, this
attitude began to change.  I think there was some desperation to regain
what was lost by many people.  I also agree with the other factors you are
looking at.  None of these social shifts happened in isolation.

Kim

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Re: [lace] Question about early English lace

[Kim Davis]

Elena,

 I would take this with a grain of salt.  Some of the inventories that
actually mention bone lace are likely to have been metal laces, which were
certainly not "fine" in terms of diameter of the thread.

Kim


In Thomas Wright’s “Romance of the Lace Pillow,” on page 8 he makes a
> distinction between bone lace as being finer, and bobbin lace as being
> coarser. My other trusted sources (Levey, Palliser, Earnshaw, etc) make no
> distinction, and my understanding has always been that bone lace is just an
> early name for bobbin lace. What say you all? Are there any other sources
> to support this or should I take it with a grain of salt?
>

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Re: [lace] Fwd: Lace Magazine #169

[Kim Davis]

​"​
 Adele Shaak  wrote:Back when I was doing embroidery, I
recall there was a place in London where they sold real gold threads and
purls, etc, for use in uniforms. Does anybody know if that company is still
running - or  better still,
​"

Yes, I think you mean Benton and Johnson.  Their things can be found on
this website:
https://www.thetoyeshop.com/benton-johnson.html

It is very similar to what is used in the German regional costumes.  If you
need any sources for that, let me know, I have several.

Kim​

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Re: [lace] Jeri's Narratives

[Kim Davis]

​I have found over the past year that I do not get most of Jeri's
postings.  I have found out about them when someone else replies, or when
Devon posts them, but do not get them when Jeri posts them.  As I recall,
there was some sort of issue with this for many people which was discussed
a few months back.   ​I also feel I must have missed something.  I
sincerely hope that  we are not loosing her.

Kim

I think I must have missed an email.  How are we losing Jeri?
> Liz, Raleigh, NC
>
>
> -
>
>

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Re: [lace] CA. fires.

[Kim Davis]

Liz,

 You wrote, "​
>
> Those California fires are Terrible. Will they never end?"
>

 This morning I have contacted key lace makers in various areas of
California to try and find out who, if anyone, may have been affected.

  If you know of anyone (bobbin lacer, tatter, needle lacer, crocheter,
knotter or knitter)  who has lost  everything due to the fires, can you
please contact me privately?

Thanks, Kim Davis

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Re: [lace] travel pillow

[Kim Davis]

Irene,

 The thinner stuff can bow a bit in the middle, I would go with 1.5" if
you can get it.

  Kim

On May 9, 2017 12:37 PM, "Irene & Steve Whitham"  wrote:

> Hello lacemakers,
>
>
>
> I'm thinking ahead to convention in July..I need to take a pillow for
> Louise
> Colgan's fan class.  I like a big area to work on..
>
>
>
> I'm thinking about making an ethafoam pillow to fit the complete base of my
> suitcase which will be about 20 x 24 inches.  Would 1 inch thick ethafoam
> work or should it be thicker?
>
>
>
> Another question, has anyone had luck with making an extender for the
> pillow.a cover cloth (?) with some body, possibly quilted that the bobbins
> can lay on to give more working room?
>
>
>
> Your thoughts are greatly apprecieated,
>
>
>
> Irene Whitham
>
> Surrey, BC
>
> Where I think Spring has finally sprung
>
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>

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Re: [lace] IOLI Convention

[Kim Davis]

Janice,

 That is going to be so much fun!

I have a suggestion for the transport of your pipes.  This might be a good
time to
 put a photo of the finished apparatus in your suitcase with
the pipes.  I sometimes do that with my wire because it looks like bomb
making
material to the TSA people, and try to keep a copy of the flier where I am
taking
a class or teaching so they can see what I am up to.

Kim

On Thu, Apr 27, 2017 at 12:49 PM, Janice Blair  wrote:

> I got my first choice, Lier, with Greet. Obviously I can't haul my huge
> wooden
> stand for my frame on a plane, so DH is going to make me a pvc plumbing
> parts
> one that I can take apart and stash in my suitcase. I upgraded to first
> class
> so I think I am allowed two pieces of luggage if necessary, or I could
> forgo
> bringing too many changes of clothes to make room for all the plastic
> pipes.
> I also received my Bulletin and Handbook a couple of weeks ago which is
> great
> as so many in the past year have gone astray or not arrived at all.
> Janice
> Janice Blair Murrieta, CA, jblace.com
>
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Re: [lace] Lace Express

[Kim Davis]

I have noticed, on Pinterest, what language you search for things has a
huge impact on how many and what quality you get.  It is possible that
entire markets were wiped out, but we may not be feeling it in our own.
As someone who designs, it is very, very sad.  It is not the money that
bothers me, it is simply the issue of respecting my intellectual property
as well as my time.

Kim

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Re: [lace] Dog pattern(s)

[Kim Davis]

Here are some I know about:

These are beautifully done, very realistic dog heads:

http://www.ateliermb.ch/shops/dentelle/eu/contents/en-uk/d63.html

http://www.kloeppelshop.de/en/Pattern/Animals/Others/

And, in the interest of full disclosure, I put this book together to
benefit The Lace Museum in Sunnyvale, CA, which includes Jane Partridge's
"Giles" the dog..a weenie dog in Torchon.

https://smile.amazon.com/Lets-Begin-Making-Bobbin-Lace/dp/0692750401/ref=sr_1_1?ie=UTF8=1485896023=8-1=lets+begin+making+bobbin+lace

Kim



On Tue, Jan 31, 2017 at 2:30 AM, H M Clarke  wrote:

> Hi,
>
> I am looking for dog patterns in both lace and blackwork. If you know of
> any then could you please let me know how to find it/them.
>
> Many thanks in advance,
>
> Helen (on the dark and windy west coast of mainland Canada)
>
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>

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Re: [lace] torchon ground / gimp writing

[Kim Davis]

I have written something in cursive for a design and used the cursive font
on my computer.  I typed up the word I wanted and printed it out.  If you
have a lace design program, graphics can be imported and then a grid placed
on top of the word.

Kim

On Sat, Dec 17, 2016 at 1:18 AM, Beth Marshall  wrote:

> I've not seen any book like this, but if I wanted to do something like
> this with "joined-up" cursive writing in lace I'd start with a printed copy
> of the grid (on good quality paper that will stand up to a lot of rubbing
> out & re-doing), write my words onto that in pencil & then adjust the lines
> where needed to fit the grid (or - cheating in torchon - adjust the pinhole
> positions slightly to adjust the ground to the words).
>
> would probably need to adjust letter widths/spacings to get the upright
> lines in the right place for the grid spaces, but if you don't want to keep
> rubbing out & re-writing could lay a tracing-paper copy of the grid over
> the words and move the "word" layer slightly when the verticals get
> out-of-sync with the grid - that method probably works just as well (or
> better) using layers in CAD drawing/lace software, but I've never had
> enough design time to get to grips with those :-(
>
> It's a lovely idea for a garter, it's perfectly possible to get a gimp to
> make a nice flowing text but I don't think I've seen it done in torchon.
>
> Beth
> Cheshire, NW England
>
>
> Jenny wrote:
>
>> I am going to design a wedding garter for my daughter's May wedding, but
>> wanted to use torchon ground with gimp writing words like Love, Hope, Joy.
>> My problem is that I am not sure how or even if gimp can do cursive
>> writing
>> - can you direct me to a book, website or person who may have the alphabet
>> and or words already sorted out?
>>
>
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Re: [lace] Memo from IOLI Bulletin Editor?

[Kim Davis]

It is not legitimate.  From what I can tell, it was mainly sent to board
members, although it could be everyone in the Bulletin editors
communications.  We did get a warning from our Google apps administrator
not to open it.
Kim

On Fri, Oct 21, 2016 at 8:25 AM, Nancy Neff  wrote:

> Probably not a legitimate mail from IOLI since I did NOT get it, meaning it
> wasn't sent to all IOLI members. Probably used someone's personal address
> list.
>
> Best thing to do is to send an email to the Bulletin editor and ask if she
> sent something to you.
>
> Nancy
>
> -Original Message- From: hottl...@neo.rr.com
> >
> > Did anyone else get an email from Google docs?  Is this a legitimate
> email
> > from IOLI?  Susan Hottle USA
> >
> >
>
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Re: [lace] Early lace etc

[Kim Davis]

Tamara,

It is going to work; I have great confidence!

Kim​

On Thu, Jan 21, 2016 at 5:35 PM, Tamara P Duvall  wrote:

> Dear Spiders,
>
> Thank you so much for the warm "welcome back" I received from many of you,
> both in public and in private. This is my third attempt at clawing my way
> back to sanity and lacemaking (one and the same?) and, hopefully, this time
> it'll work.
>
> And please forgive this wholesale thanks, instead of replying each one of
> you individually; a lot of the extra responsibilities that I had to take on
> after my husband's death aren't going away and, if I'm to have any time
> left for lacemaking, I need to manage it carefully :)
> --
> Tamara P Duvallhttp://t-n-lace.net/
> Lexington, Virginia, USA (Formerly of Warsaw, Poland)
>
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Re: [lace] pillow infestation

[Kim Davis]

When I taught pre-school we ran into issues like this with some children
with lice and scabies now and again.  Parents would frequently ask what to
do with stuffed animals.  The best thing I have heard is to put the pillows
into a plastic bag for an extended period after getting out the air and
sealing it,  suffocating the mites.  With lice we were told 30 days, with
scabies we were told 72 hours.  I do not know if this is accurate or what
might be a good recipe for the particular species you have.  In any case,
it is a harmless  and insecticide free way of killing things if you can
live without the item for a bit.

Depending on what type of material your pillow is made from, an oven will
do the trick.​

Kim

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Re: [lace] Lace8

[Kim Davis]

​Mine updated to 5.1 a few nights ago.  When I fired up the program it gave
me the message that there was an update, and I gave it permission.  Today,
when I just went to update to 5.2, it checked for updates but did not find
any.

Kim

On Thu, Nov 19, 2015 at 10:42 AM, Ruth Budge 
wrote:

> I will get onto it straight away Nancy. Although I was able to upgrade from
> version 51 to 52 there are a couple of people having problems. So it
> sounds as
> if there might be something in some systems preventing the upgrade.
>
> Ruth
> the lacema...@optusnet.com.au
>
> > On 20 Nov 2015, at 2:44 AM, Nancy Neff  wrote:
> >
> > Ruth et al.,
> > The CD that they shipped to me was version 1.0.0.51.  I couldn't edit
> smooth
> > curves or gimps in that version (I've tried on two PCs so I don't think
> the
> > problem is with my setup).  So when the program said that 1.0.0.52 was
> > available, and I saw your earlier note, I immediately upgraded.  Now I
> can't
> > even select the individual curves much less edit them.  I've had a
> support
> > request in to them for several days (since the weekend) and haven't even
> an
> > acknowledgment of my request for help.
> > Can you help at all?  The program is unuseable for what I want to do if I
> > can't edit smooth curves and gimps. Does anybody know of a solution to my
> > problems with this program?
> > Thanks,Nancy
> >From: Ruth Budge 
> > To: "'Lace@Arachne.Com'" 
> > Sent: Wednesday, November 18, 2015 4:46 PM
> > Subject: RE: [lace] Lace8
> >
> > OK - I managed to contact the programmer and caused him to delay his
> > dinnerbut the problem is fixed.It is now safe to upgrade to
> Version
> > 1.0.0.52 and that should fix all problems associated with the last two
> > upgrades.  You'll note, when you upgrade, that he has added a "Sorry" to
> > ...
> >
> > -
> > To unsubscribe send email to majord...@arachne.com containing the line:
> > unsubscribe lace y...@address.here. For help, write to
> > arachne.modera...@gmail.com. Photo site:
> > http://www.flickr.com/photos/lacemaker/sets/
>
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>

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Re: [lace] Wire lace mini discovery

[Kim Davis]

This also works well with a bobbin winder, attaching the ends of the
bobbins to a bobbin.  When I don't have another pair of hands around I duck
tape the free ends to my granite counter top.

Kim​

On Fri, Aug 7, 2015 at 6:41 PM, Susan hottl...@neo.rr.com wrote:

 Hello All!  At the 2014 IOLI convention in Sacramento, I attended Lauran
 Sundin's wire lace class.  One of the techniques she demonstrated in class
 involved twisting wires together to make heavier cable.  She used a
 cordless drill at low speed.  Today I wanted to combine two strands of 28 
 two strands of 30 gauge wire to create a cable/gimp.  The last time I used
 a power drill, the torque caused a spiral fracture to my ring finger.  To
 avoid another trip to the emergency room, my husband suggested a Dremel
 drill because it has variable speed control.  Unfortunately none of the
 Dremel attachments allowed me to connect my wire to the drill.  That's when
 I remembered my Spinster!  This is a low-tech tool that many embroiderers
 use to make twisted cording for a finished edge.  Using a doubled length of
 each wire, I attached the wire loop ends to the Spinster hook.  My husband
 twisted together the four free ends  held them with a pair of flat blade
 jewelry pliers while I reeled!
   under tension.  The resulting cable is quite lovely for my first effort
  I will use this method again.  The Spinster was easy to use/control 
 adequate for my 28/30 gauge wire but does require an extra pair of hands.
 Hope this is helpful to others who are working with wire.  If someone else
 posted this info, sorry for the rerun.  Sincerely, Susan Hottle, Erie, PA
 USA


 Sent from my iPad

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Re: [lace] Mystery objets from Iowa

[Kim Davis]

I use stretchy bands to bundle bobbins when I need to work with multiple
bobbins as a single.

Kim​

On Wed, Aug 5, 2015 at 10:27 AM, Susan hottl...@neo.rr.com wrote:

 Laundry is done so now I'm sorting the bags of loot that I received at
 convention.  There is a tiny packet of fuzzy, stretchy bands (2 blue  2
 yellow)  2 miniature safety pins.  How do I use them?  Many thanks.
  Sincerely, Susan Hottle, clueless in Erie, PA USA

 Sent from my iPad

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Re: [lace] Ma's Lace

[Kim Davis]

Janis,
You are so fortunate.  A small group of us have been studying war laces
over the past few years, and have also encouraged the family to reprint.  I
hope they will.
Kim
On Jul 4, 2015 1:23 PM, Janis thelacepl...@hotmail.co.za wrote:

 I would like to tell you about a wonderful talk I went to this morning.
 Professor Richard Brooksbank gave a talk on his great grandmother, Louise
 Lienaux Vergauwe. She was a young mother in World War 1 in Belgium, Her
 husband was drafted into the army and she managed to evacuate her children
 to Holland while she stayed in Belgium.
 During this time she taught herself to make lace from books and chose to
 demonstrate her anger at the situation, in lace. She only made 5 lace
 pictures, each about 40 x 50 cms, and one lace fan.
 1. 'Defense of the Yser' depicting the german eagle on the back of the
 Belgian lion.
 2.  'The prediction' depicting the Belgian lion holding the /german eagle
 down while the British bulldog lifts his leg over the eagles head, and the
 French cockerel and the Bussian bear attack the eagle.
 3. 'Belgium bowed but not defeated'. 2 women, the belgian one being
 supported by the another.
 4. 'America enters the war' with the Statue of Liberty and a so realistic
 picture of Kaiser Wilhelm.
 5. 'King Albert
 6. 'Peace' a lace fan with irises and a mother and child.

 The lace is amazing with the use of stitches etc giving a 3D effect to the
 pictures. After the war, when the family was reunited, she never made any
 more lace. Although she received awards for the laces and received offers
 to buy them, she never sold them but during WW2, when she had to flee
 Belgium she posted the fan to her sister in England as it was her most
 precious piece, and took the others with her.
 They are apparently, now in the Museum Communaux (is this the museum of
 lace and costume?)in Brussels.
 There is so much more to the story and it was absolutely fascinating. I am
 so inspired by the quality of the lace and the story behind it. There is a
 book about it called The Story of Ma's Lace but it is out of print. I
 begged Prof Brooksbank to let me know if it is republished and he is
 thinking about it.
 Has anyone seen these laces in Belgium? I have tried to google more about
 this story but can find nothing. If there is any more information about it,
 I would love to hear it.
 This was a once in a lifetime opportunity to hear this talk on lace when
 we are so far away from the centres of lace in Europe and we all felt so
 privileged.

 Janis in South Africa, about to go to bed and dream about being able to
 make such amazing lace.

 Janis Savage
 t/a The Lace Place,
 P O Box 2126,
 Honeydew, 2040,
 South Africa
 www.thelaceplace.co.za
 blog: a lacemakers blog

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[lace] inlays

[Kim Davis]

Hello all!

  I have found an intriguing file recently which contains inlays for
bobbin lace.  It is from a lacemaker who has passed, and I was going
through the mountains of prickings and other paper items.  The only time I
have come across this in my own studies is in tape lace, but I don't recall
if it had a name.  I believe it was a Russian tape lace project, and there
were two thicker threads in the center which twisted.  It gave a nice
effect.  This person had apparently either studied them or designed them,
and has come up with a large handful of different things to do in the
center of a cloth stitch tape.  I am trying to figure out if this is her
own original material or if she may have studied it somewhere.  Also, I am
wondering if inlay is the proper name.

Thanks, Kim

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Re: [lace] Fall IOLI Bulletin?

[Kim Davis]

Amanda,
 It is due out in about a month, I believe.
Kim

On Fri, Sep 19, 2014 at 11:23 AM, Amanda Babcock Furrow la...@quandary.org
wrote:

 I let my IOLI membership lapse and just rejoined 8/31.  I'm wondering if
 I missed the Fall Bulletin, or does anybody know when it's expected?

 Thanks!
 Amanda Furrow in PA, US

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Re: [lace] Cuffs for lace bracelets

[Kim Davis]

I have made my own attempt at mounting a lace to a cuff bracelet.  You will
find a picture in the Kim Davis folder.  While I would love to do this
with better materials, I did not have much time and went with what I could
find in the house when I found myself with an hour to kill on Saturday.  I
had reconstructed a piece of 16th century metal lace for an article I
wrote, which happened to fit the cuff bracelet I had on hand.  I then found
some scraps of purple velvet.

I decided to make a tube out of the velvet.  To keep it from walking I
placed a piece of cardboard the same width as the cuff inside. I then
pinned it tightly (with pins vertical) and sewed it together.  This left me
with only one seam, which I decided to place on the center of the underside
of the cuff.  I put some fray check on the seam after I cut it, just
because velvet always seems to fray for me.  I then turned it right side
out, and placed the cuff through it.  I mounted the lace onto it with pins
and sewed under the ends.  It is not perfect, but it is a good start to a
new idea.

Kim


On Fri, May 30, 2014 at 1:50 PM, Sue Babbs suebabbs...@gmail.com wrote:

 Following Susan Hottle's idea of making lace and mounting it on ultrasuede
 on a metal cuff, I came across a much wider choice of cuff shapes at:


 http://www.designersfindings.net/designersfindings.net/Cuffs_%26_Bracelets.ht
 ml

 also sold on this site is ultrasuede in several different colours.


 Sue

 suebabbs...@gmail.com

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Re: [lace] cuff bracelet video tutorial

[Kim Davis]

Susan said, I would be tempted, however, to apply the KISS (keep it
simple stupid!) theory  first try velvet ribbon

I like the idea of using the ribbon with the finished edge.  Both the
fraying AND the walking are issues, especially for those of us who only
dabble in sewing occasionally.  I am thinking about creating a tube with
two of the ribbons.  If they were placed with right sides facing together,
you could then sew them on both edges.  Then, turn them right side out and
slip the bangle bracelet in.  This would be pretty awesome until you had to
deal with the ends.  I think I am going to try it and see what happens!

Kim


On Sat, May 24, 2014 at 6:06 PM, hottl...@neo.rr.com wrote:

 Hello All!  So glad to hear that this technique is helpful AND authentic!
  Who knew--I certainly had no clue  simply applied what I saw on YouTube.
  As to velvet--OMG--this is a luxurious but very squirrely fabric.  Whether
 you're sewing it to itself or to another fabric, it walks.  For CQ (crazy
 quilting), I've successfully used tissue paper between the layers when
 sewing a seam.  Recently I saw (online) that you can glue the edges
 together, sew the seam with a generous seam allowance, then cut off the
 glued bit of seam allowance.  Have not yet tried this method so perhaps
 someone else will comment.  For applique, I've successfully fused light
 weight woven interfacing (Presto Sheer or Shape Flex) to the wrong side of
 the velvet  temporarily gathered/shirred the seam allowance, releasing the
 gathering thread just before completing the appliqued shape (Sue Spargo's
 technique).  Perhaps one of these methods could be adapted to create a
 foundation for wire lace from velvet yardage.  I would be tempted, however,
 to apply the KISS (keep it simple stupid!) theory  first try velvet ribbon
 because it has a woven edge that could be sewn/overcast to a lining.  There
 are some exquisite ribbons out there, just not a Michael's or JoAnn's!
  Vintage silk/rayon come to mind.  Has anyone tried using linen?  As
 in--linen banding with a pre-finished edge or using Ilse Altherr's picot
 edge finish on linen yardage?  Either would work as a foundation fabric
 that could be decoratively finished with a lining.  Just saying--we've got
 options here!!  Thanks for the historical perspective Kim.  Wire lace
 rocks!  Sincerely, Susan Hottle, Erie, PA USA

  Kim Davis k...@wirelace.net wrote:
 I am wondering if there is a way to cover it in velvet without having the
 velvet fray
 terribly?  The plaited bracelet you appliqued to it would have been worn
 appliqued just as this onto a garment in it's original period.





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Re: [lace] cuff bracelet video tutorial

[Kim Davis]

Susan,
  This is a great way to make a sturdy cuff.  I am always looking for
new ideas, I will be filing this away with my others.  I am wondering if
there is a way to cover it in velvet without having the velvet fray
terribly?  The plaited bracelet you appliqued to it would have been worn
appliqued just as this onto a garment in it's original period.  That could
be a lot of fun!
 The other sturdy way I have found to mount bracelets is on the
similarly shaped wire framework cuffs sold through lace dealers.  It works,
but is a bit fidly.  This is definitely much stronger.  Of course using
heavier wire will do it, but the fine gauge wire is half of the fun!
Kim


On Sat, May 17, 2014 at 6:17 PM, hottl...@neo.rr.com wrote:

 Hello All!  The link:
 http://www.beadaholique.com/t-video-How-To-Cover-A-Brass-Cuff-In-Ultra-Suede-And-Add-A-Decorative-Edge.aspx

 I used Weldbond white glue, available at Michael's.  Sincerely, Susan
 Hottle, Erie, PA USA

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Re: [lace] Girls Scout/Guide lace badge

[Kim Davis]

There is a girl guide project which was published in the UK guilds Young
Lacemaker.  I had contacted them about using it stateside, and someone was
working on it about 2 years ago.  However, I have lost touch with them.  I
am not sure if it was finished or not.  The one that is published is a
Torchon project of the Girl Guide logo.  I did not check in at that time to
find out if there was curriculum for a badge.  I did check with the Girl
Scouts when my daughter was going through a few years back, and could not
find one.
Kim


On Sat, Apr 26, 2014 at 11:20 AM, Lyn Bailey lynrbai...@desupernet.netwrote:

 Somehow I ended up volunteering as a source should any Scout want to earn
 a badge in bobbin lacemaking.  I vaguely remember some discussion several
 years ago.  Is there a badge for bobbin lace in either the Girl Guides or
 the Girl Scouts?  Is there a way to find out?  I would really rather not
 re-invent the wheel if I didn't have to.

 Lyn in Lancaster, Pennsylvania, USA, where the weather this Saturday has
 been really lovely.  Sunny, breezy, warm.  The predicted rain doesn't seem
 to be appearing, and that's fine, too.
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[lace] Kniplebrevat

[Kim Davis]

I am interested in finding the Danish website for Kniplebrevat.  Does
anyone know the address?
Thanks, Kim

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[lace] Brugge Kant

[Kim Davis]

Hi!  I am wondering if anyone is aware of an English translation of Brugge
 Kant by Martine Bruggeman, 1985?  I have a few pages with some
information I am after for my research, but I only speak English fluently.
Thanks, Kim

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Re: [lace] philosophical questions re: Milanese

[Kim Davis]

I also can not claim to be an expert, but have made my fair share.  In the
patterns I have worked it is definitely part of the experience that you
will need to add or subtract pairs when going from one braid to the next.
This can be further complicated if you are using colors and need more/less
of one color from one braid to the next.  In looking for well designed
pieces a designer likely will have purposely put the transitions in an
optimal place.

If you ever feel that you want to learn about this in detail, I can
recommend Louise Colgan's classes.  She pays great attention to detail in
general, and is always very thoughtful about when and wear each thread is
dropped or added.  I have not taken from Sandi Woods but hear she is also
fantastic.
Kim


On Wed, Feb 19, 2014 at 11:59 AM, dmt11h...@aol.com wrote:

 I do not claim to be a Milanese expert, but in my opinion you  see this
 adding and tossing out in older pieces such as one of my favorites,

 http://www.metmuseum.org/Collections/search-the-collections/227653?rpp=20pg
 =1ao=onft=53.162.2pos=1

 In this piece you have a lot of crazy things happening,  including tapes
 that separate into two and then rejoin each other.

 In fact, Milanese generally provides a lot of potential  for
 experimentation, often being used as the basis for delightful animals.
 There  are some
 peacocks to the right of this picture. Also there are quite a few other
 animals in parts of this piece that are not shown in the picture.

 At the very least, you can usually add some extra pairs to the  number of
 pairs running down the sides of the Milanese braid, if that  facilitates
 you
 moving from one braid to another.

 Devon

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[lace] lace exhibit at SFO

[Kim Davis]

For anyone who may be headed to or through the San Francisco Airport, here
is some information on their exhibit.  As a teen I noticed their exhibits
were really quite nice, something I didn't expect in an airport.  As the
decades have rolled by I have realized I am lucky to have a home airport
that has such spectacular exhibits.  The only downside is that it will be
taken down in June, just weeks before the IOLI convention in Sacramento.
Kim




*Lace: A Sumptuous History 1600s-1900s*
San Francisco International Terminal Main Hall | February 2014 to June 2014

For more information click on the links below:

ONLINE EXHIBITIONhttp://sfomuseum.createsend1.com/t/r-l-ptumly-fhhduhdji-r/

PRESS RELEASE http://sfomuseum.createsend1.com/t/r-l-ptumly-fhhduhdji-y/

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[lace] sad news: Elaine Merritt

[Kim Davis]

Today at The Lace Museum we have received this sad news from Elaine's
daughter.  Her memorial will be held in Albuquerque this weekend.  If
anyone needs the information please email me directly.
Kim Davis

Mother died in her sleep Dec 31, 2013 of the complications of Alzheimer's,
but her passing was as sweet and gentle as she was.  She is survived by her
five children, six grandchildren, and two great grandchildren.

Thank you and her other Lace friends for being such a warm part of her life
and memories. She truly dedicated a couple of decades of her life to OIDFA
and lace making under the name laceelain.  I remember once going to a
State Fair in Pennsylvania with her, and upon entering a barn full of
textiles, she made her way to the lace makers.  There a few women were
putting on a display which she enthusiastically embraced.  In passing she
mentioned her email address, and I couldn't believe my eyes when a
veritable throng of women perked up their ears and surrounded her with
comments and questions.  I felt like I was with Tom Cruise or some other
equally enthralling celebrity!  Where ever I lived, whether in CA, PA, MA,
of NH, mother would visit me and seek out a local chapter of lace makers
and visit.  It was one of her greatest joys.

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Re: [lace] Re: 2015 IOLI convention July 27 - Aug 2: Hoover Library

[Kim Davis]

If you are interested in the Flour Sacks, Stanford also has a number of
them, which you could visit in California if you attend the Sacramento
convention.  It is about a two hour drive from Sacramento.  A two year
study would be a lot of fun!
Kim


On Mon, Jan 13, 2014 at 6:39 AM, dmt11h...@aol.com wrote:

 I know that the Hoover Library in Iowa is the repository for  many of the
 embroidered flour sacks, presented in gratitude by the women of  Belgium.
 Does it a actually have any of the lace from the Bobbins of Belgium  lace
 initiative in it?
 I find this entire enterprise to have been fascinating, and  not the least
 of the fascination is that major Symbolist artists were supporting  the
 project by designing lace works of great artistic beauty. I would love to
  see
 more of it.
 Devon

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Re: [lace] progress-was blue film

[Kim Davis]

When I first began making lace I experimented with a lot of materials.  I
have a very hard time looking at certain colors without developing a
headache, so tried darker shades of green, blue and even red.  During this
time I decided to try the clear contact paper.  I found that it leaves
residue on the pins and gets them all sticky.  Do others have this
trouble?  I have always wondered if it could have something to do with
climate and humidity.  More importantly, does anyone know a product that
does not do this?  When I teach wire classes I recommend blue film, but I
also carry some for anyone that does not have it.  I am all for moving to
clear if there is a way around the stickiness issue.
Kim


On Wed, Nov 20, 2013 at 2:23 PM, Lin Hudren linhud...@gmail.com wrote:

 Walmart also carries the matte clear contact paper for under $5 a roll
 which will last years.



 Hugs, Lin and the Mali
 *I just realized I am so old, I have forgotten I have been there and done
 that.*

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Re: [lace] DP Arachne meeting at convention

[Kim Davis]

I think that is smart to not schedule a lunch if there are not many people
willing to attend at a given price.  I would like to point out that when
you are having  lunch in a room, most often you are paying for use of  the
room and having the chairs and tables set up as much as you are paying for
the food.  When talking with people planning a convention I think it would
be important to acknowledge this, as if they are able to work something out
with the hotel it may have a cost associated with it.  Not that it isn't
do-able.  I do think this is a good idea and will encourage better
attendance.

Kim


On Tue, Nov 12, 2013 at 1:49 PM, Janice Blair jbl...@sbcglobal.net wrote:

 Hi,
 Sorry to double post, but I want everyone to get the message.

 I heard
 from a number of regular attendees at our convention lunches and only one
 was
 enthusiastic about our meal option, so I am going to suggest to the IOLI
 convention committee to omit the entry on the registration for our
 luncheon.
  Maybe we can have an informal get together either at lunchtime, or after
 class once we see the convention calendar of events.  Many were not
 interested
 in having another box lunch, and food in California hotels, as we know from
 experience, is very expensive.  I hope everyone is okay with this decision.
  Once we know the lay of the land in Sacramento, we maybe able to take
 over an
 area of the hotel for a short time to meet up.  Maybe we can do something
 at
 future conventions, especially where we have an Arachne member on the
 committee.  I will write again closer to convention with ideas.

 Janice

 Janice Blair
 Crystal Lake, 50 miles northwest of Chicago, Illinois, USA
 www.jblace.com
 http://www.lacemakersofillinois.org

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[lace-chat] Re: [lace] DP Arachne meeting at convention

[Kim Davis]

I think that is smart to not schedule a lunch if there are not many people
willing to attend at a given price.  I would like to point out that when
you are having  lunch in a room, most often you are paying for use of  the
room and having the chairs and tables set up as much as you are paying for
the food.  When talking with people planning a convention I think it would
be important to acknowledge this, as if they are able to work something out
with the hotel it may have a cost associated with it.  Not that it isn't
do-able.  I do think this is a good idea and will encourage better
attendance.

Kim


On Tue, Nov 12, 2013 at 1:49 PM, Janice Blair jbl...@sbcglobal.net wrote:

 Hi,
 Sorry to double post, but I want everyone to get the message.

 I heard
 from a number of regular attendees at our convention lunches and only one
 was
 enthusiastic about our meal option, so I am going to suggest to the IOLI
 convention committee to omit the entry on the registration for our
 luncheon.
  Maybe we can have an informal get together either at lunchtime, or after
 class once we see the convention calendar of events.  Many were not
 interested
 in having another box lunch, and food in California hotels, as we know from
 experience, is very expensive.  I hope everyone is okay with this decision.
  Once we know the lay of the land in Sacramento, we maybe able to take
 over an
 area of the hotel for a short time to meet up.  Maybe we can do something
 at
 future conventions, especially where we have an Arachne member on the
 committee.  I will write again closer to convention with ideas.

 Janice

 Janice Blair
 Crystal Lake, 50 miles northwest of Chicago, Illinois, USA
 www.jblace.com
 http://www.lacemakersofillinois.org

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Re: [lace] Pin update- still seeking

[Kim Davis]

I have had similar issues with wire, and checked in with a wire maker.  I
found out that the core wire measurement is what is used.  For example, a
supa wire which is a copper core, at least one coat of color, and then a
coat of silver is still gauged at the copper core size. Two or more
coatings definitely change the diameter of fine wires.  I wonder if
something similar could happen in pin manufacturing?  Certainly, it could
just be the usual factors like inconsistent manufacture, supplier
variation, etc.
Kim
On Oct 30, 2013 8:14 AM, dmt11h...@aol.com wrote:

 Thanks to all who have responded to the pin question, it has  been very
 helpful. Acting on arachne sourced advice I decided to try to use a  box of
 pins that I had from Holly Van Sciver which were labeled Bohin 30 x .85
 nickel. As we have discovered the first number is the length and the
 second is
 the width. Logically, it would seem that for someone seeking a width of
 .86 mm
  there would not be a perceptible difference in using a pin that is .85 mm.
  However, the pin felt different, and did not resist heavy tensioning as
 well as  the .86 mm. Could it be only 1/100 mm less in diameter?

 Lacking a micrometer, I took Adele's advice and laid 10 pins  next to each
 other to measure them. To my surprise the .86mm measured about .83  and the
 .85 pins measured .78. So the discrepancy between the pins was not 1/100
  mm
 but rather 5/100 mm. But, more distressing, it illustrated that the
 diameter  measurements of the pins are not reliable.

 In that many manufacturers fail to list the diameters of their  pins, as I
 discovered when I went on the numerous pin sites provided to me, one  would
 almost think that pin manufacturers are unaware that their purchasers
 regularly measure their pins with micrometers!

 I confess that I have never mastered how to add photos to the  arachne
 flicker site, so if you would like to see the results of my pin
  investigation,
 ie. a photo of the pins together, and then a photo of each of  them laid in
 sets of 10 and measured with a millimeter tape, I have posted them  to
 laceioli.ning. If someone wants to add them to the Flicker site, feel free.

 Here is the link to the photos on laceioli.ning which you  don't have to
 join to view.


 http://laceioli.ning.com/group/tools-and-equipment/forum/topics/pins-seeking
 -29-mm-x-86?xg_source=activity

 But seriously, where did I buy these pins and how can I get  more.

 Devon

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[lace] Beswicks

[Kim Davis]

Hi!  I am wondering if anyone knows if the Beswicks are still making
bobbins?  I have an email address @raincitylace.com, but the website seems
to be gone now.
Thanks, Kim

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Re: [lace] Lace balloons

[Kim Davis]

I would treat it like paper mache.  Put vaseline or lotion onto the blown
up balloon, dip lace in starch, cover the balloon.  After waiting a couple
of days to dry thoroughly, either pop the balloon with a pin or cut the tip.
Kim
On Aug 29, 2013 11:29 AM, jeanette jeane...@maxitec.co.za wrote:

 Does anyone have any idea how these balloons could be made?  Lace glued
over
 an inflated balloon but how do you get out the pieces of balloon?  The
 balloons are very effective though!


 http://tinyurl.com/notz6r9

 Jeanette Fischer, Western Cape, South Africa

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[lace] Lace Express Karpenko reindeer pattern

[Kim Davis]

Hi!  I am looking to find which issue of Lace Express the tape
lace reindeer pattern is from.  The pattern is dated 1994, so I know it is
from one of the magazines from that year.   I am looking to find which
issue and page number it appeared on.
Thanks, Kim

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[lace] Lace Lady Designs

[Kim Davis]

HI!  I have recently purchased a used copy of a LaceLady Design.  It is a
very cute torchon heart that  I would like to adapt for wire and use in my
wire class.  I would never do this without asking for permission, but I can
not seem to locate her.  I have tried the number on the pamphlet and it is
no longer in service.  This certainly could mean she has moved, but could
also mean she is no longer with us.  The name given is Cristina Banyard,
and an address in Nebraska.  I tried my IOLI and Lace Museum rosters with
no luck.  Does anyone know of her whereabouts?
Thanks, Kim

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[lace] Seventeenth-Century Women's Dress Patterns II

[Kim Davis]

My email set up does not allow me to trim off old posts, so I am having to
start a fresh email.

Rosemary,
I agree wholeheartedly with this statement, you expressed my
feelings well: I think it’s just a sad fact that given the group of people
involved, the lace will never be treated as authentically or thoroughly as
the garment construction and embroidery, even though it was such an
important embellishment at the time. 
 My sense of sadness and frustration after opening the book yesterday
was very profound.  It is coming from an emotional gut place, not thoughts
involving logic.I can recall them saying book 2 was already finished, I
just expected they would do better editing.  None of us is able to put out
mistake free literature, but I am of the opinion we should do the best we
can at the time.  The research is ever changing and it is so important to
acknowledge what has changed and why.  There just isn't room to put out
badly done work.
 With that said, I agree it is good they pulled the bad diagrams and
whatever else was there rather than printing it.  Pragmatically speaking, I
would prefer they print nothing about the lace rather than give incorrect
information.Because of the accuracy of their other work and their
general reputation, I would be afraid most people picking up the book
trusted the lace was accurate.  I am personally not at a point of feeling
glad about it, though.  I had higher expectations from the VA, especially
when you brought this to their attention after the first book.
  In this period of dress, especially, the garments were quite a canvas
for the embellishments such as embroidery, lace, passaments, buttons, etc.
 You said, I’ve often observed that there is something about bobbin
lace in particular, that makes many  museum curators uneasy because it is a
complicated subject and they just don’t understand it.   I have
experienced this myself at the major museum in my area.  They have a lovely
lace collection, but there is no one on staff that knows about lace
currently, so they will not show it.  I have been slowly developing a
polite relationship with them for about 8 years now, being careful not to
sound critical of how things are categorized in their system.  I think this
is a place that, as lacemakers, we can all do our part.  Coming across
harshly only perpetuates the fear, and I think it is very important not to
do this.
 Kim

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Re: [lace] Seventeenth-Century Women's Dress Patterns - Book Two

[Kim Davis]

I have just received my copy, and gone through to look at the lace.  I have
to say that I am surprised the lace patterns are once again done hastily.
 When I opened to page 24-25 I was completely titillated, not believing
what I saw in the x-ray.  It is common knowledge amongst lacemakers lace
was/is recycled.  It is not unusual to find lace of this period which has
been recycled onto a new textile or is standing solo after having been
removed.  However, this was the first time I had seen an x-ray of an old
period garment with lace tidbits left inside.  It was beyond exciting.
When I was able to stop looking at it I turned to the next page fully
expecting a reconstruction of the lace.  The style and motif is so typical
of the Le Pompe laces, I was sure there had to be a reconstruction.  The
xray is good enough to see the single thread picots and the design, and
there is enough written about this style to make a reasonable
reconstruction.  Had there been any areas of assumption or guesswork made,
they could have noted them appropriately.  It is exceedingly disappointing
to see every other aspect of this garment made with such detail, only to
have the lace left out completely.  Insult was added to injury, for me,
when I saw the lace they used on the reconstruction.  The end result
looks nothing like it would have with even a lace made from a Le Pompe wood
cut in silver.
 119 having the next lace, I did find the drawing useful, although
again the lace is not reconstructed.
  Lastly are the passaments used on the pair of green shoes beginning
on page 146.  I took a first glance through, figuring all were bobbin
lace.  When I flipped back to study the details of the straight laces, I
immediately noticed there was only one weaver running through.  I was glad
to see that they did not label these as bobbin lace, although at first
glance it seemed as though they were lumping all 3 together.  I have not
yet had the time to scrutinize the one bobbin lace which had a pricking
included.  There are several ways to make these kronle, and I will be
checking to see the diagram accurately reflects the thread movements in the
surviving lace.
Kim




On Sun, Jun 30, 2013 at 3:23 PM, jeria...@aol.com wrote:

 Seventeenth-Century Women's Dress Patterns - Book Two
 Edited by Susan North and Jenny Tiramani
 VA Publishing, 2012
 Hardback of 160 pages, ISBN 978-1-851-77685-6

 In 2011, Arachne correspondence was generated by Book One of this  series.
 Book Two is a continuation of studies of costumes and  accessories in the
 VA Museum.  It will appeal to historians,  re-enactors, costumers,  and
 conservators.


 You have seen portraits of this period in the current Queen's  Gallery
 exhibit/book In Fine Style, and may want to learn  more.  Many have
 enjoyed
 the earlier research and pattern books produced by  the late Janet Arnold,
 and
 you will realize this research builds on the  foundation she established.
 Some of the garments and accessories  featured in this book are ones she
 studied in the late 20th Century.   Below is a sampling.

 A new 16-page analysis of a 1610-20 mulberry-colored  Italian silk velvet
 gown from the Isham family includes a  reconstruction of fabric parts that
 were cut away from the gown and  recycled centuries ago.  An explanation of
 detailed photos of  small yellow silk threads scattered over the shoulders
 and
 down the fronts says  they were used to attach two widths of spangled
 silver bobbin laces.   It all becomes clear when the page is turned and
 life-size
 X-ray images  clearly show remnants of metal laces inside seams that had
 been enclosed with some kind of applied decoration.

 18 pages are devoted to 1660-80 salmon pink watered-silk stays thought  to
 be Dutch, as shown in portrait details of two Dutch genre paintings of  the
 period.  The 295 thin strips of baleen (whale bone) stays can be  seen in
 X-rays.  A separate stomacher from the same materials is stiffened  with 59
 more strips of baleen, plus 7 horizontal strips across the top.   Laced in
 the
 front, instructions are given for tying the knot used at the top of  the
 stays.

 16 pages are devoted to a 1595-1615 blue linen supporter for a starched
 band (collar).  The linen covered a cardboard shape, reinforced  with
 metal..
 This style of  prop rested on the shoulders.   Photos show how this was
 attached at the back of a gown.  Wire used to  reinforce the shape can be
 seen
 in X-rays.

 Another type of prop was called a picadil.  The 1600-15 one  shown is from
 the Isham collection, and is covered with ivory silk  satin.  As with all
 items, relevant art is shown, color photography is  used, and X-rays
 shown, in
 addition to many drawings to illustrate  construction details and pattern
 layouts.

 Three pairs of 17th C. shoes have been selected for special attention of
 reconstruction experts.  A green velvet pair of chopines are lavishly  d
 ecorated with gathered gold metal bobbin lace.

 *Earlier this 

[lace] looking for musical note pattern

[Kim Davis]

HI!  I have a student who is working on a treble cleft, and I believe she
will want to work a series of notes next.  I recall seeing a pattern for a
musical note in the past, but I have been through my entire library and can
not find it.  Does anyone else recall seeing a bobbin lace pattern for a
musical note?
Thanks, Kim

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[lace] looking for a bobbin lace fox

[Kim Davis]

Hi!  Does anyone know where I might find a pattern for a fox?
Thanks, Kim

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Re: [lace] RE: wire on lace

[Kim Davis]

HI!  I would just like to point out that those in England are likely using
wire which is measured on the SWG, or Standard Wire Gauge.  Those in the US
are likely using wire which is measured on the AWG, or American Wire
Gauge.  If you look around online you can find a conversion chart.  The
difference is not huge, but is worth mentioning.  Secondly, wire is
measured before any coatings are put on.  Spangling wire is usually bare,
while a lot of the craft wires have a coating or multiple coatings.  This
can make their diameter larger, even though the wire underneath it all is
the same size.
Kim


On Thu, Apr 18, 2013 at 10:35 PM, Ayla Middleton ayla.p.middle...@gmail.com
 wrote:

 Thank you for the advice Alice. I have some 22 guage spangling wire, so
 I will start by playing with that. It always comes off the spool in
 loops so I can see how keeping it above the lace would work.

 Ayla

 Sent from my Windows Phone From: lacel...@frontier.com
 Sent: 19/04/2013 4:50 AM
 To: Ayla Middleton
 Cc: lace@arachne.com
 Subject: wire on lace
 As someone else said... no hitches on wire.  You want to keep it as
 smooth as possible.  Large projects that need a long piece of wire
 require it to be wound on a (preferably fat) bobbin and have some sort
 of hook to keep the wire from unwinding.

 Your brooch pieces might be similar to flower petals I'm making.  They
 have a wire gimp on the edge to hold the shape.

 My pattern calls for size 22 or 24 wire.  I tried 26 gauge but thought
 it a bit weak for the my petals.

 My petals run 3 to 6 inches long.  Since I need a 'stem' on my petals,
 I cut my wire so it hangs 3 inches longer on each side of the petal.
 I don't try to put it on bobbins.  I curl up each end in a loose coil,
 the sharp end of the wire in the center of the coil, and have the
 length of the wire slightly curved up from the tip of the petal.  It
 looks weird the bobbins and thread lie on the pillow, and the wire
 curls up above them.  When working, I lift my thread up over the wire
 coil instead of moving the wire like a normal gimp thread.  As the
 petal grows, the wire is fastened down in place.  I do use extra pins
 at the point of the petal to anchor the wire in place when I begin
 each petal.  Wire is more cantankerous to work with than thread but
 sure saves having to heavily starch all the petals.

 My petals are worked with a pair of passives on the outside of the
 wire gimp.  I've also worked in the past where the wire was the
 outside edge and the workers just wrapped around it and back into the
 threads.  Just be sure to have a good twist or two on each side of the
 wire so it's securely held in place.

 A local craft store sometimes carries a craft wire that's 22 or 24
 guage and covered with a plastic coating, in colors.  I've been using
 up a supply I got some years ago.  I hope they have some more when I
 go shopping again.

 Experiment with your project and see what works for you.

 Alice in Oregon  -- expecting relatives momentarily.  Been cleaning
 for weeks. G


 - Original Message -
 From: Ayla Middleton ayla.p.middle...@gmail.com
 I've been thinking of trying something like the brooches with wire gimps at
 the edges. Does anyone have any advice on what type and gauge of wire to
 use? Can you just wind them on bobbins as you would thread? wouldn't the
 half-hitch cause problems?

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[lace] Re: wire on lace - coated

[Kim Davis]

I agree, the coated wires are usually fine to work with.  I don't think the
size comes into play, nor the coatings, until you are working a piece
solely in wire.  That is a very different ball game.
Kim


On Fri, Apr 19, 2013 at 9:22 AM, lacel...@frontier.com wrote:

 I just wanted to say that I didn't find any problem with the larger
 thickness of the coated wires.  The threads wrap around the wire and are
 tensioned tightly.  The coated ones can add a different color, blend or
 contrast, to the project.  The size of the wire inside gives the strength
 to shape the project.

 I just looked at some wire charts.  American 22 is half way between
 Standard 22 and 23.  American 24 is very close to Standard 25.  Since the
 differences in sizes have increments of about .05mm, for lace purposes
 (stiffening an edge) it's probably not critical.  If it works for you, use
 it.

 Alice in Oregon -- on a rainy day when my project today is to make a stump
 for the local theater, with roots hanging down from the edge of a rotating
 platform and sturdy enough to be sat on.  The theater gives me such
 interesting projects.  Last time it was ostrich and kangaroo costumes.

 - Original Message -
 From: Kim Davis k...@wirelace.net

 HI!  I would just like to point out that those in England are likely using
 wire which is measured on the SWG, or Standard Wire Gauge.  Those in the US
 are likely using wire which is measured on the AWG, or American Wire
 Gauge.    Secondly, wire is
 measured before any coatings are put on.  This can make their diameter
 larger,
  even though the wire underneath it all is the same size.
 Kim


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Re: [lace] Making lace in public places

[Kim Davis]

On Mon, Jan 21, 2013 at 7:08 AM,  dmt11h...@aol.com wrote:
 I will be interested to hear any feedback on these attempts.

 My suspicion is that a lady sitting on a park bench tatting,  crocheting,
 knitting or doing needle lace, which is held in the hand is  tolerated, but a
 lady setting up a table will not be. The table is sort of a  structure.

I have been taking my lace while traveling for a good decade.  I have
not inspired anyone to begin making lace, to my knowledge, but I do
wind up talking with a lot of people about it,  It is rare to not have
a number of people comment each time I bring it out.  I have made lace
in a number of parks as well as on many beaches.  Sometimes I have my
stand, sometimes I work with a small pillow on my lap.  But, I have
not had any issue  with park rangers or anyone asking me to leave.  I
have come to the conclusion that even if no one begins making lace
because of what they have seen, at least we have given it a name.  I
think the better people are educated and familiar with things, the
more likely they are to notice it in museums and other places, which
will ultimately further our cause.

Kim

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[lace] lace at the Vatican

[Kim Davis]

I am wondering if anyone out there has ever toured the Vatican and
seen their laces?  I would be especially interested if you saw any
metal or metallic lace.  If you think you have info that would not be
interesting to the group or would like to contact me directly, I can
be reached at k...@wirelace.net

Thanks, Kim

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Re: [lace] Trident instructions.

[Kim Davis]

Liz,
  I think the structure you are talking about has come to be known
as the fir tree.  Do you have Rosemary Shephards book on early lace,
by chance?  It should be well diagramed out there as well.
Kim

On Fri, Aug 24, 2012 at 10:08 PM, Elizabeth Ligeti lizl...@bigpond.com wrote:
 I have been asked about where I found the instructions for the trident.
 IOLI Bulletin Volume 28 #1 Fall 2007 page 31, Vol 28 #2 winter 2007 page 21,
 and Vol 28 #3, Spring 2008 page 15. the article is by Susan Lambiris, and is
 about a figurative Reticella in bobbin lace.  She has nice clear diagrams,
 too, which help.
 She does not call it a trident, - the first article has a tassel but it
 looks like an upside down pine tree without any leaves

 Moral - Never, Ever, throw away any craft magazine, as you will Always need
 to go back to it one day!! :)

 Regards from Liz in Melbourne, Oz
 lizl...@bigpond.com

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Re: [lace] Trident edge

[Kim Davis]

Elizabeth,
  I am not familiar with the term Trident, but wonder if it is the
same as a trefoil or little crown.  Did you run into either of these
terms?  If so, they are made differently depending upon what type of
thread you are using.
Kim

On Wed, Aug 15, 2012 at 6:57 PM, Elizabeth Ligeti lizl...@bigpond.com wrote:
 Has anyone done a Trident edge on their plaited lace?  I think it might
 originally be from an Early lace.

 Question, - is each little plait held in place with a pin between the
 pairs, and then worked back and 3 windmill crossings at the same pinhole
 between the 3 plaited  bits?

 One diagram I have, from an Anita Wilkinson book, shows the plaits just
 looping around a pin,. But the pricking I have - Margaret Tite book,
 -appears to show them having a pin hole at each tip.  Although I have
 enlarged the photo of the completed piece, it still does not come up very
 clearly.

  I have a feeling Tamara wrote about something like this in the IOLI
 Bulletin.  I must get mine out and go through them (what a great excuse to
 sit and re-read lace magazines!!! )


 Regards from Liz in Melbourne, Oz.
 lizl...@bigpond.com

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[lace] trying to reach Brian Lemin

[Kim Davis]

HI!  I am sorry to post like this, but the email I have for Brian
Lemin is no longer working.  Does anyone have a current email address
that they could share with me privately?  Better yet, Brian, if you
are on the list, could you contact me?
Thanks, Kim

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Re: [lace] Lace Magazine

[Kim Davis]

I am on the west coast of the US, and received mine about three weeks
ago.  I have to admit I have been so busy I didn't even notice it was
late!

Kim

On Thu, Jul 12, 2012 at 4:27 PM, Jane Partridge
jpartri...@pebble.demon.co.uk wrote:
 Sue,

 Please accept the Guild's apologies for the long delay, and thank you for
 your patience. We suspect that the overseas magazines were sent out surface
 mail by the mailing house (which should not have happened), and they may not
 have been processed as quickly as we would have liked before posting - as
 you quite rightly say they should have been posted at the end of April.
 Certainly items can still be sent from the UK by surface mail, which tends
 to take around six to eight weeks. We discussed possible solutions to this
 problem at our Exec meeting last weekend and hopefully you will receive your
 magazines a lot faster from now on - the first issue of the new membership
 year is due out at the end of this month, and we are well aware that there
 may be some late renewals!.

 If any other overseas  members of The Lace Guild have not received their
 April magazine (which had the renewal slip sent with it) yet, can they
 contact the Hollies, please? Email holl...@laceguild.org  Membership rates
 are the same as last year, as they were not increased at the AGM.

 In message 000301cd6080$67728050$365780f0$@net.nz, Sue Fink
 sarnia...@orcon.net.nz writes

 G'day all,



 My English Lace magazine arrived here in Masterton, New Zealand,
 yesterday.
 Say, for the sake of argument that it was posted on the last day of April,
 it has taken two and a half months to get here!!  I was on the point of
 e-mailing the Hollies to say I had been missed off the list.  It seems to
 me
 that they are using the cheapest postage rate they can, in an effort to
 reduce costs.  It was my understanding that there is now no sea mail
 between
 NZ and UK, but there must some really old airplanes on this route if it is
 taking so long!!!  The thing that alerted me to the fact that my mag had
 not
 yet arrived was that I was aware that subs were due and I usually paid
 mine
 by the end of June.  Hopefully they won't take us off the mailing list
 just
 yet!!



 Sincerely,



 Sue Fink,

 Masterton, New Zealand



 --
 Jane Partridge

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Re: [lace] pin under 4 edge

[Kim Davis]

Robyn,
 These edges do not actually have square holes, so no bars,
they just come to a basically triangular point.  They were definitely
sewn upon fabric, though,

Kim

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Re: [lace] pin under 4 edge

[Kim Davis]

Thanks to everyone for all of the ideas!
Kim

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Re: [lace] pin under 4 edge

[Kim Davis]

Lorelei,
 Yes, this was what I had meant, although the other answers were
also helpful.  I am coming at this from the point of view of the early
laces, and I am looking at how it evolved.  I am interested in the why
part of it.  The problem of the curling up edge is one possibility.
Another possibility is the exchange of workers.  Yet another
possibility is how the actual stitches came out of plaiting.I have
a piece of lace that was made during the revival period which has a
pin under 4 edge, and I am looking back to see if this was true in
others as well.  I suspect it came out of the plaiting techniques used
at that time.  The article I am writing about it should be out in the
fall in the Bulletin.  If anyone has any thoughts before then, please
drop me an email.
Thanks, Kim

On Fri, Jun 1, 2012 at 10:45 PM, Lorelei Halley lhal...@bytemeusa.com wrote:
 Kim
 If you are asking a seriously historical question, then my answer is a little
 different.  I have seen that edge in some of the oldest laces that I've seen
 in the museum (Art Institute of Chicago).  Many of the LePompe laces show a
 winkiepin or pin after 2 edge.  But since I haven't seen the entirety of
 both published versions, I can't make a blanket statement.  My impression is
 that the pin after 4 edge was discovered fairly early, by the 17th century at
 least, to solve the problem of a curling-up-edge.
 Lorelei

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[lace] pin under 4 edge

[Kim Davis]

Hi!  I am doing some research abouot the pin under 4 edge, and can not
seem to find any information about where it may have come from.  I
have consulted with multiple books, seasoned teachers, lace experts,
etc.  Before giving up, I thought I would post to the group to see if
anyone might know when/where or how it originated.
Thanks, Kim

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Re: [lace] pin under 4 edge

[Kim Davis]

Lorelei,
Thanks!   I have heard a number of terms for it, pin under 4, pin
after 4, sewing edge, etc.  I just can't seem to find anything
relating to where or when it started.  I will keep hunting.  I suspect
it may be a little like Torchon, no one really knows for sure.
Kim

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[lace] Thanks!

[Kim Davis]

Thanks to all who responded to my queiry about the sand dollar and the
girl scout emblem.  I have located the sand dollar and am still
working on the girl scout pattern.  The piece showed in Young
Lacemaker is just the finished piece, there is not a pattern there.
When I am able to track down the pattern I will share how to get it
with the many people that responded!
Thanks, Kim

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Re: [lace] Brownie Emblem pattern

[Kim Davis]

Jackie,
 A picture of the finished piece of lace is in issue 24, which
appears to be from approximately 1990.  The photo appears with a name,
Mrs. M. Hall, and her address to which are you to send 50 pence for
the pattern.  It does not appear the pattern was given to the guild,
but it has been a long time!  Before trying to acquire foreign
currency and send it to England, I thought I should verify Mrs.M. Hall
is still living at that address.  Are you the right person to contact
for membership queries?

Thanks, Kim

On Sun, Apr 29, 2012 at 2:56 AM, Jacquie Tinch laceandb...@aol.com wrote:
 The obvious thing to do if there are questions regarding anything appearing 
 in issues of either 'Lace' or the 'Young Lacemaker' magazine, is to ask The 
 Lace Guild.

 If you let me know which issue of YLM this was in, I will find out for you if 
 this pattern is still available.

 Jacquie in Lincolnshire.
 (In case you haven't heard, now Chairman of TLG)


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[lace] sand dollar

[Kim Davis]

Does anyone know of a bobbin lace pattern for a sand dollar?
Thanks, Kim

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[lace] Brownie Emblem pattern

[Kim Davis]

I have a copy of an old Young Lacemaker magazine with a pattern for a
Brownie Emblem.  I would love to get a hold of this pattern, as my
daughter's Girl Scout troop is just about to bridge over to Brownies.
It says that I can send 50pence to Mrs. M Hall in Harrogate, England.
Knowing this was published quite some time ago, I am trying to see if
this is still possible.  Does anyone know of her whereabouts at this
time, or another way to purchase the pattern?
Thanks, Kim

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[lace] Netting the Small Fry

[Kim Davis]

I wanted to send out an email to anyone that I was communicating with
regarding Netting the Small Fry.  If you have not heard from me in the
past week, please send me an email.  I had several folders in my email
become corrupted, and I have tried to make new lists of everyone I was
discussing things with.  Fortunately I had paper copies of most
everything, but just in case there is anyone that squeeked by and was
lost, I would love to hear from you.

Additionally, if there is anyone that is still interested in
participating but has not yet contacted me, please contact me by May
1st.  I am putting the final touches on things now and will likely not
have room to add anyone after May 1st.

Thanks, Kim

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Re: [lace] Translation

[Kim Davis]

The CRB did a lot to help the unemployed lace makers in Belgium.  Many
of the laces were sold in the US, but they also went to European
countries and further east.  Devon wrote an aritcle that is in the
Bulletin from a few years ago, although I don't have the time at the
moment to look up which one.  A friend and I live in CA and have been
visiting the Hoover archive and going through the sales slips and
communications about the CRB and the lace they sold.  It is
fascinating stuff.  We are in the process of trying to have a pamphlet
republished of the actual lace, which I will be sure to post about
whenever it is finished.

Kim

On Fri, Apr 20, 2012 at 12:49 PM, Cynce Williams
cyncewilli...@sbcglobal.net wrote:
 Yes, I remember it. *Bobbins of Belgium* by Charlotte Kellogg. It's the first 
 book I ever read about bobbin lace.

 Cynthia


 On Apr 20, 2012, at 10:36 AM, jeanette wrote:

 What are the facts again about the USA helping Flemish lacemakers during the
 First World war?  Does it not have something to do with either supplying
 thread or selling the lace in the USA?  Then there was some sort of gift to
 the USA. As I recall this comes from a book by Kellog (??) about
 lacemaking??  I am sure Jeri Ames will know!

 Jeanette Fischer, Western Cape, South Africa.


 Dear Karen,

 I think I can give you some help, although  I am Dutch and not Flemish.
 In this context hulde is best translated as honour or homage.  I am
 a bit confused with de Vereenigde Staten.  This means The United States
 of America, but they didn't declare war on Germany till 1917. That said,
 this could mean thanking them for their help in other ways.

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[lace] help finding someone in Greece

[Kim Davis]

HI!  I am trying to locate Despina Forou-Kousika for some research I
am doing.  Does anyone have current contact info for her, or know
where I might find it?
Thanks, Kim Davis

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Re: [lace] wire thread

[Kim Davis]

Brenda,
  Using the micrometer is really the best way to find out about
the wire.  The companies who coat wire refer to the wires size prior
to coating it.  Sometimes it will have multiple coats, sometimes coats
of varying thickness, and sometimes even bare.  For this reason you
always need to measure your wire, one color to the next can be a
different size.  The temper on the wire will also affect how it
behaves when you wrap it.  Much of the wire used for crafts comes in
varying hardnesses, such as half hard.  When I have a choice, I always
choose dead soft for making bobbin lace out of wire.  I think it will
be very helpful to have the chart for wires you have started.  I have
many, many different wires and would be happy to send you some for
your chart if you like.

Kim

On Mon, Feb 6, 2012 at 3:29 PM, Brenda Paternoster
paternos...@appleshack.com wrote:
 Dear Spiders

 Today I received a couple of reels of fine wire - the sort you might use for 
 making wire lace.  Please see:
 http://paternoster.orpheusweb.co.uk/lace/misc/misc.htm

 Brenda in Allhallows
 www.brendapaternoster.co.uk

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[lace] Youn Lacemakers magazine

[Kim Davis]

I am now working with children, and have just received my copies of
Young Lacemaker from the Guild.  I am in the US and resources for
teaching children are very hard to come by.   The kids are especially
enjoying the puzzles, along with the patterns and other information.
I am interested in purchasing old copies (numbers 1-91 to be precise)
of the Young Lacemaker.  If you know of anyone that has old copies
they are willing to sell and post, please send me a private message.
Thanks, Kim

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Re: [lace] Lace Fence

[Kim Davis]

Lynn,
I would recommend taking a wire class lace if you are ever able,
to get your feet wet.  It would help you figure out the properties of
the wire as well as how to adapt a pattern for use with wire.  Then,
move forward with the plan you outlined below.  I would imagine a
fence is probably made of steel, what do you think?  I have been
pondering my own fence for some time, it is just really a time issue
that is keeping me from acting on it.  I think stainless wire in the
appropriate gauge would make the most sense.  The best place I have
found to get stainless wire is in England, but they do mail order.  It
is not the cheapest, however if you are making something as large as a
fence I would have to assume you would want to use quality materials
that will last a while!  Their site is:
http://wires.co.uk/acatalog/ss_bare.html

They measure all of their wires in mm, which you can check with
calipers and figure out.  The big piece of information you would need,
though, is to order it dead soft.  To work bobbin lace you do not
want to use wire that is already hardened in any way.  I have ordered
stainless from them in the past and they had no issue sending it to me
dead soft.

I have often thought about making a room divider out of either
stainless or copper.  I am hoping one day I will get to this.  The way
in which light goes through a large scale piece is fabulous.  I am
nearby Lacis, and they have several wall hangings Kaethe did in the
70's.

Kim


On Sat, Jan 28, 2012 at 11:13 AM, Lyn Bailey lynrbai...@desupernet.net wrote:
 Thank you Liz Baker, for that website.  It set me thinking.  I’m certainly
 not going to design a fence and have it fabricated in Bangalore, India.  But
 it occurs to me that one might be able to do that with a square of galvanized
 fencing if there were a proper wire.  Think of the possibilities on the deck,
 for example, as a change from the usual fencing.  Question is, can this be
 done in wire, and if so, what kind of wire?  I know nothing about wire lace.
 Is that where I should start?

 Next question.  It’s relatively easy to figure out how to start, and even
 how to stop.  How about the sides.  I am assuming a rigid side post, as in the
 fence,
 http://www.powerhousemuseum.com/lovelace/index.php/country/netherlands/lace-f
 ence     Do I just loop the stuff around the post on the side?

 And, while I’m on the subject of exotic lacemaking, what about making a
 sling chair out of a nice Torchon or Flanders pattern.  What sort of fiber to
 use?  Has anyone done something like this?  Any books on the topic?

 Lyn in Lancaster, Pennsylvania, USA, where it’s bright but full of clouds.
 47F, 7.5C

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Re: [lace] LePompe

[Kim Davis]

Yes, isn't it fun to discover those!

This was also put out in print some years ago by Editha Fischer,
although I am not sure if it is still available.  It is a small half
sized paperback with a bright yellow cover.  I believe I got mine from
Barbara Fay Verlag.
KIm

Le Pompe - Ein venetianisches Musterbuch von 1562

von Editha Fischer
Verlag: Fischer, Editha
Broschüre 68 Seiten
Erscheinungsdatum: 1993
ISBN-10: 3980330907
ISBN-13: 9783980330909



On Mon, Dec 12, 2011 at 3:29 PM, Lorelei Halley lhal...@bytemeusa.com wrote:

 I  just discovered another reprint of some LePompe bobbinlace patterns in
 German.  It has patterns which don't appear in the one published in the 1980s.
 http://www.cs.arizona.edu/patterns/weaving/books/pompe2.pdf
 Lorelei

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Re: [lace] Lace projects for children

[Kim Davis]

LInk for LOKK

http://www.lokk.nl/index.php

Kim in CA

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Re: [lace] Lace projects for children

[Kim Davis]

I have this curriculum binder,and I love it.  It is a bit pricey, but if
you think you will be working with kids much it is well worth the price.
It is very well thought out with a lot of diagrams of basic stitches and
things to help illustrate a point.  It uses the techniques it covers in
creative ways that are definitely appealing to children, but also shows
them creative uses for lace.

I think it is important for anyone, but especially children, to get to try
both tape based laces and continuous laces.  I enjoy working both, but find
I sometimes am in the mood to work with just a few pair and go off the
grid so to speak.  Other times I enjoy the puzzle of a continuous lace.
When we come into this as adults most of us have a preconceived idea of
what type of lace is appealing to us. But, I find children often don't.  I
think it is important to allow them to go back and forth between the
different types so they can get a feeling for what they like.  I know there
are many purists who don't like the idea of mixed laces, but this is
another direction many young people are moving.  As Devon mentioned having
a shape with a tape base and then using Torchon fillings can be a lot of
fun.  Critical thinking is really being pushed in the school curriculum now
(at least here in the US), so the kids I have dealt with are very eager to
jump in and figure out how it all works.  Of course, the fearlessness and
openness most young children have is also a major blessing.

Do you have any of the Brigette Bellon books with small pieces in them?
Most of the kids I have dealt with progress quickly, but still have a short
attention span.  I think working smaller projects but letting the skills
build upon each other are a good way to go.  For example, unless your niece
can work really fast, she will likely get tired of a hankie edging before
she rounds the second corner.

Kim

On Wed, Nov 9, 2011 at 11:37 AM, Lyn Bailey lynrbai...@desupernet.netwrote:

 So, I demonstrated at a local crafts bazaar, and it was highly successful,
 in
 my opinion.  I have a little half sheet that I hand out giving the url’s of
 IOLI, and more local lace groups and two major suppliers.  I handed those
 only
 to those who really expressed and interest, and I handed out about 20,
 which I
 think was great.  I didn’t have a try me pillow, as I was the only one
 there, but the niece of a friend came by, and wanted to do it, so I put up
 2
 spare pairs of bobbins, and she merrily went along crossing and twisting.
  I
 can see this getting a bit more involved.  I can teach the beginning stuff,
 and I have a fish keychain fob that I saw being made at Kantcentrum by the
 kids class there, AND I have pictures from Brioude, France, showing the
 children’s efforts, making a village out of tape lace houses with some
 simple fillings.
Problem is, I am not creative in that way.  I can’t design visual
 things.  Like lace.  The child involved is about 10.  Are there books out
 there for children her age?  Or are there books out there with patterns in
 them that have appealed to other children her age that you folks know?  It
 is
 possible, of course, that she will be satisfied with making  Torchon
 edgings,
 of increasing difficulty, but I am not hopeful.  It is also possible that
 she
 will be able to design her own lace, but I have no great hopes of that
 either.
 But she seems relatively proficient, even with a first lesson, and, more
 importantly, enthusiastic.
Has anyone else had a similar problem, and if so, how did you solve it.
 After the bandage, what do you do?  I have Christine Springett’s book on
 snakes on my shopping list, And I have the 2 German books on Easter eggs.

 Lyn in Lancaster, Pennsylvania, US, where we’re having exceptionally fine
 weather for November.  Highs of 65F 17C in bright sun.

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Re: [lace] lace diagrams

[Kim Davis]

I think people come to lacemaking the same way they do to anything else in
the world.  There are some people who love to be creative and will want to
dive in immediately to see how the lace works.  There are also lots of
people that want to learn enough of the language to be able to work a
certain type of pattern.  There are also lots of people that learn things
by rote, or only want to learn what is neccessary in that moment.  I think
it is important to honor each type of learning style, as they are vastly
different.  Of course, I am sure we have all run into some real humdingers
either in classes we have taken or classes we taught, people who don't want
to put in the time.  But, I think people like that do not last long because
they don't really want to be there, and they are also in the minority.

When I was teaching kindergarten one year I had a student who could not
learn to sound things out no matter how hard we both tried.  I had never
encountered a person like this in my 15 years teaching pre-k and k
students.  I went to a reading specialist as I was determined I must be
lacking somehow as a teacher: there had to be something I was not doing.
As it turned out, she told me there is a percentage of people who never
learn to sound words out.  They simply memorize.  Sure enough, the child
had been memorizing things and beggining to read that way. I was surprised
as we put so much emphasis on phonics.  I later learned there are many
languages that do not have a sound symbol relationship, and everyone learns
by rote.  I think we tend to focus a lot on the creative process of lace,
but I do think there are some people who are very much fulfilled not
chewing on the puzzle and just being in the moment making the lace.  I know
I am guilty of focusing on the puzzle of it, that is what I find so
enthralling about it!

Kim



On Sun, Oct 30, 2011 at 1:43 PM, Lorelei Halley lhal...@bytemeusa.comwrote:

 All this talk of slavishly following diagrams and thinking that is the
 only
 way to work a pattern has me perplexed.  I don't get it.  I learned bobbin
 lace from Doris Southard's book.  I enlarged her prickings and dotted them
 out
 on 4/inch graph paper, and worked them in 10/2 linen.  Her photographs were
 very clear.  Once I had the enlarged pricking I drew in lines connecting
 each
 pinhole to the ones where its thread came from, and where they would go
 afterward.  In the process of doing this for each pattern I arrived at an
 understanding of why torchon pinholes are spaced the way they are.  I came
 to
 understand what parts of a pattern can be varied and how those parts might
 be
 varied.  When I teach I explain to students from the first day that the
 lacemaker has many choices to make about how she can vary a design and
 insert
 her own preferences.  For those of you who think that a diagram teaches
 mindless repetition, I'm wondering if no one ever told you about ways to
 vary
 a pattern.

 Even a Binche design has places where the lacemaker can choose to insert
 her
 own preferences: snowballs can be made in half stitch or cloth stitch.  The
 links between snowballs can be made in 4 different ways.  Large sections of
 clothwork can have some areas in half stitch (though this is harder for a
 novice to judge).

 I have found the discussion of floral Bucks designs interesting especially
 the
 part about reading the pricking and deciding where pinchains work better
 that
 honeycomb.  I've always thought of floral Bucks as a kind of fudger's
 paradise.  You have got to get the threads going in the right direction,
 but
 the main problem is to make the cloth parts -- flowers and leaves -- dense
 enough to look good, without a cheesecloth appearance in certain areas.  In
 the few floral Bucks (simple ones) that I've tried, I relied on the
 diagram to
 advise me about the best pinhole for bringing pair x into the clothwork to
 achieve a good cloth density.  I'm assuming that the diagrammer has already
 figured this out, and I respect her advice.  After all, why make a mess
 when I
 don't have to?

 But some of you all have noted that in antique laces you can often see that
 each repeat is worked differently.  This alone tells us that there isn't
 just
 one solution to the problem of what do I do with THIS  (Meaning this
 one
 pair that seems to be extra, where on earth did it come from and where is
 it
 suppose to go?)

 Possibly our discussion is really about underlying attitudes rather than
 about
 diagrams.  I have met some lace teachers who are adamant that there is only
 one right way to do something, their school is the only one that teaches
 the
 lace corectly, and everybody else does it wrong.  (Perhaps I exaggerate the
 attitude a bit.)  In part this attitude is about respect for the tradition.
 But even with respect there are degrees and different ways of honoring the
 tradition.

 Balance, it seems to me, is a middle ground that a really good lacemaker
 eventually achieves: respect for 

Re: [lace] Skype lace classes?/was making Lace opinion

[Kim Davis]

Devon,
  I think there are different types of formats.  Some classes are
completely remote, others you have occasional meeting times, and other
times you all meet regularly.

This is how I would imagine it:
 I would envision a teacher putting out a class at a certain
time/day of the week each week.  It could be viewed live, or seen anytime
after by students enrolled in the class.  I do not have any idea how to
protect that video so that others could not view it, and thus put the
teacher out of business.  But, I suspect there is a way.  The teacher would
lecture, demonstrate, etc.  People would go off and do their work.  The
teacher could have a certain time or times during the week which she would
be available for live chat.  People could then come if they wished.
Students could bring up questions during this live chat session, or email
them in by a certain deadline to the teacher.  The teacher would then be
able to demonstrate or answer questions

I am guessing there are a lot of different ways this could work, but I
would think something along those lines would be most flexible.  Even if a
teacher wanted to have a traditional workshop over a weekend, it would
still be fabulous for both teacher and students to not need to travel.  The
large impairment for the teacher would be the ability to demonstrate things
on the students pillow.

I have participated in a type of class before, although I am not sure what
it was called.  We would login on the internet, and there was a
presentation there.  Then we would call in on the phone.  We would all be
on the phone together, but the instructor had control over who could be
heard.  Most of the time, it was just her.  If you had a question about
what was up on your screen, you typed it into the chat box and the teacher
could answer it.  It was very interesting.

Kim

On Sun, Oct 30, 2011 at 2:28 PM, dmt11h...@aol.com wrote:

 Sherry is not the only person who finds that travel to classes  is a
 problem.

 There was some discussion at Ithaca about the fact that  a major impediment
 to learning lace is that here in the US, at least, we  are very spread out
 and it is costly in time and money to travel to lace  classes. One person
 who would prefer not to be traveling was bouncing around  some ideas about
 how
 one could organize lace instruction via skype or video  conferencing. This
 was such a new idea to me, at least, that I was wondering  what format it
 could be done in. Would it, for instance be necessary for a group  of
 people
 who are in a class of the future to be available in front of their  screens
 at the same time? I have taken on line courses, but not ones that  involved
 viewing video instruction. Each student was able to receive the lesson  and
 do the work on their own time schedule which was an advantage. Then you
 would submit your work to the professor for feedback. The class I took was
 one
 that I paid for, and I would assume that an internet lace class with an
 attentive teacher would also include a payment platform.

 Much as we are now downloading books onto digital devices  which in some
 cases eliminates certain costs related to the physical production  and
 handling of materials, will the future include being able to stream lace
 instruction off the internet either in the form of an instructional video
 or in  the
 form of an interactive class?

 Does anyone have any idea how lace classes of the future might  be
 organized with the use of the internet eliminating the physical limitation
 of
 distance?

 Devon




 In a message dated 10/30/2011 1:19:45 P.M. Eastern Daylight Time,
 celticdreamwe...@yahoo.com writes:

 What I really like is a lacing CD which I have a few  of them. Yes, I have
 Holly Van Sciver that live about one hour and a half  from me. But I don't
 have
 a car any more so I have to have a teacher in my  home. What I like about
 the
 Lacing CDs is the teacher on the CD lets say  Christine Springet for
 instance
 takes you though a pattern step by step.  Now what is good about this is
 when I
 do another lets say Bedfordshire  pattern if I can't remember how to do a
 certain step(technique) I can just  put the CD in my computer CD drawer and
 there is my teacher again. I LOVE  THIS. I HAVE been able to make other
 laces
 by having the few CDs that I  have.
 THIS is what I DON'T LIKE...there are a
 few more Lace  teaching CDs that I would like to get...but I CAN'T justify
 paying almost  $50.00 for a CD. When I was in Ithaca in October...I really
 wanted this one  Christine Springet CD but it was almost $50.00 for one CD
 and
 with the tax  then on top of that it probably was $50.00. Now, I  don't
 know
 about  alot of you...but in my house we got hurt when the economy took a
 nose
 dive. I don't have $50.00 to buy one CD but I so wish I had it since I
 can't
 go anywhere for instructions. The Lace Making CDs are perfect for me.  They
 do
 help and I can make lace just having them as reference. Seeing  

[lace] bringing in new lacers- Netting the Small Fry

[Kim Davis]

I have been following the discussion about the future of lace and the
importance of bringing in new membership.  I know that here in the states I
am usually the youngest person in a class, and I just had my 40th birthday a
few weeks back.  I see it both locally and on the national level; we are not
attracting a lot of new membership.  I have been concerned about this and
will be facilitating a forum at the 2012 I.O.L.I. convention called Netting
the Small Fry.   The motivation for this forum is to bring people together
and open a discussion about finding, encouraging and supporting new lace
makers.  It is geared toward bringing in children as well as young adults.
I am currently assembling a panel of people who will present ideas.  All
attendees are encouraged to bring in whatever ideas and/or patterns they
have found useful in working with children, demonstrating and intriguing
young adults.  If you are unable to attend, please consider this an
invitation to send something directly to me and I will bring it along to
share.  I am working with someone on the education committee to bring the
results of our forum to a special page on the I.O.L.I website.  If you are
interested in participating in any capacity, please send me an email off
list to k...@wirelace.net

Thanks, Kim

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