RE: [lace] Footside on left or right?
Janice Interesting theory! Lorelei -Original Message- Subject: [lace] Footside on left or right? The question of why the footside of yardage lace is either on the right (mainly English laces) or on the left (mainly European continent laces) ... answer other than the Brits do everything the other way around from their continental cousins. So my theory is that when the Mechlin and Lille lacemakers fled to England , they either took rubbings of their prickings or allowed rubbings to be taken from their prickings in their new country and the quickest and easiest way to make up these designs was to change the side of the footside. Janis in South Africa - 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/
[lace] Footside on left or right?
The question of why the footside of yardage lace is either on the right (mainly English laces) or on the left (mainly European continent laces) has come up regularly over the years and no-one seems to have a definitive answer other than the Brits do everything the other way around from their continental cousins. I have a personal theory, so I take full blame if I am proved wrong. When I first learned to make bobbin lace in England in the late 1970's, photocopy machines were still a rarity so we were taught to trace the pricking from a book and then prick it through onto card and transfer the marking. However, at various lace days it was acceptable to ask a lacemaker for a copy of her pricking and the way to do it was to take a rubbing of the reverse side of the pricking. I still have some rubbings from those days and my piece of heelbore from the local cobbler. For a torchon pricking you can usually use it either way up with the pricking on left or right but with Bucks Point, or similar, with floral designs, it did make a difference and the way to get the design the right way up was to put the footside on the other side. For fairly simple designs, even a flower can be made either way up but for more complex designs it can be quite difficult. So my theory is that when the Mechlin and Lille lacemakers fled to England , they either took rubbings of their prickings or allowed rubbings to be taken from their prickings in their new country and the quickest and easiest way to make up these designs was to change the side of the footside. I hope that this makes sense and if anyone has problems with my theory I am willing to listen. Lace greetings from Janis in South Africa where the sun is shining again today after some serious rain in the past week. - 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/
[lace] Footside on left or right
Alice wrote on 9 January There can be a problem with some laces that use gimp. Someone once reported that a pattern was almost impossible to do, as printed in a book. The answer was that it was printed upside down. When turned around, the gimp movements were possible. As Steph noted on 11 January, you don't need a gimp for this problem to arise either. Floral Bucks is certainly one lace where up-ending a pattern with the footside on the wrong side doesn't always work; you should mirror-image it. Generally, start at the top of the flower or sprig, and end with the stalk. However, this can apply in well-designed patterns, for example, handkerchief edgings, which to the innocent eye look symmetrical around a central reverse. Good examples are on pages 128 and 142 of Pamela Nottingham's The Technique of Bucks Point Lace. It's usually at the nook pins where the differences have been introduced, so mainly a gimp problem. I generally work with the footside on the right, certainly for Bucks point, but with it on the left for early forays into Flandern and point de Paris. I think there can be a practical difference in working the different ways, though I'm not sure whether it really matters. I've virtually always ended up with the main angle of work top right to bottom left, whichever side the footside was on. Assuming that the bulk of the design is on the headside, and net on the footside, with the footside on the right, the net works into the cloth (or whatever), while with the footside on the left, it works out of the cloth. The picture of a pillow with work in progress in La Dentelle de Bayeux a l'ecole de Rose Durand by J Potin and MC Nobecourt on page 41 shows the same line of work, with the footside on the left, of course. The only diagrams in Shelly Canning's 32 Downton Lace Patterns which show a working angle, nos. 27 and 30, are the same. Has anyone noticed this, or is it just me being awkward? Can it make a difference to tensioning, or anything else that might matter? It's nothing to do with spangled/unspangled bobbins, as I use unspangled S Bucks bobbins for Bucks. Baffled, but interested [EMAIL PROTECTED] ___ To help you stay safe and secure online, we've developed the all new Yahoo! Security Centre. http://uk.security.yahoo.com - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Footside on left or right
From: Leonard Bazar [EMAIL PROTECTED] I generally work with the footside on the right, certainly for Bucks point, but with it on the left for early forays into Flandern and point de Paris. I think there can be a practical difference in working the different ways, though I'm not sure whether it really matters. I've virtually always ended up with the main angle of work top right to bottom left, whichever side the footside was on. I nearly always work with footside (when present) on the left. It just looks so awkward the other way around. This is a bit ironic, since left-side picots are a whole lot easier for me, but then I don't like picots anyway. As for an angle of work, it really depends on the pattern for me. On my one try at wide and complex Skan (which has no pins except at the edges), I always made a mad dash for the footside (on the left) so I could anchor the thread. This meant the edge of the worked area was upper-right to lower-left. On torchon and Bucks, I often work in a chevron or even zig-zag edge as I work an area as far as it can go, then move to another area and work it. I like to complete motifs/sections whenever possible, and this leads to a front edge that progresses in bits and pieces. There have even been occasions when I worked from the footside down/right to the headside because that's the way I could understand the pattern. Robin P. Los Angeles, California, USA (formerly Pittsburgh, Pennsylvania) [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
