[lace] Need information on some thread
For mending linen, I would only use a linen thread. If, when you have found the right thickness thread, you are anxious about whether it will be strong enough to darn with, consider drawing it over bee's wax before you sew. Do a practise/sample on a scrap of fabric to check, but I am fairly sure any wax residue would wash out in the first two or three washes. I have used ordinary linen lace thread, very thoroughly waxed, to repair horse harness and those repairs are still 100% after many years. Jean, I use rayon a lot for lacemaking (because of the glorious colours) and it doesn't stretch noticeably during work. Used for close work in laces like Milanese, it is very good tempered and ends up on the firm/crisp side (great for pictorial, perhaps a little too crisp for clothing uses). Used for Torchon type laces where the threads are not so tightly packed, it is softer. To get a crisper effect here, I cord two or more strands to get the thickness I want. I also use it with cotton to get a contrast in texture and I reckon that as the two yarns are not pulling against each other (in the way thread used to sew a seam would be) that it will see me out. BTW, when I did my dressmaking training, l was taught to use silk to sew on wool fabrics, not cotton. But as silk became harder to find I used cotton and never noticed any difference in either sewing or end result and performance. And now I use Drima for most everything. Perhaps now our clothes aren't fitted skin tight over our corsets, and we mostly don't expect our clothes to last anything like as long, the thread used to sew with is no longer as stressed as it would have been. Jacquie, catching up on posts after only 3 days away. Why don't the black holes in arachne posts ever coincide with the holes in my internet access? - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED]
[lace] RE Quiet list?
Could be just coincidence but I wondered if the new demime feature is being extra vigilent in some way. Before the two quiet list posts, just recently received, the post from Liz was the last one I got. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED]
Re: [lace] Sally Johanson, Author of Traditional Lace Making
Many thanks, Jeri, for forwarding that. It will go in my copy, bought on e-bay, that started all the controversy! I borrowed this book many, many years ago from a library and have coveted it ever since. And many thanks to Jean, who started it all, as it was her that brought it to my attention. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED]
Re: [lace] Adhesives for fans
In a message dated 30/07/03 10:06:25 GMT Daylight Time, [EMAIL PROTECTED] writes: It would be interesting to find out what fan makers used during the 1900s before these synthetic adhesives were around. While not suggesting for a moment that she would remember what adhesives fan makers used before synthetic adhesives, many years ago Pat Read recommended gum arabic to me. It was in powder/granular form and had to be dissolved in water before use. Perhaps Jane could tell us more. I have to confess that the lace did not stay stuck for long, but that was probably due to operator error. In retrospect, I should perhaps have primed the wooden sticks in some way, and I could easily have got the proportions of water/gum arabic wrong. I do have to say though that when the lace came off, after some months, there was no mark or staining apparent, and there still is not after probably another 15 years. And the leaf is still not back on the sticks. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED]
[lace] Wedding Anniversaries and a big than you
I'll get in in front of big sister here with the talk of wedding anniversaries and ask, does anyone know what a 70th anniversary is? Apart from a minor miracle. I hope it has a recognisable colour theme. January next year is our parents' 70th, and also next year they are both 90! Both still fairly active, both still driving, mum is still making lace and painting. Let's hope it's genetic. Many thanks to all of you for the help with the UFO. We will practise with acetate discs before we commit the lace to its final home. Jacquie in a hot, hot Lincolnshire - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] hand whittled bobbin on ebay
In a message dated 08/08/03 09:35:55 GMT Daylight Time, [EMAIL PROTECTED] writes: How does the seller know this bobbin was hand whittled? Looks turned to me. I don't think any of my this old bobbins are still spherical, but maybe they're all whittled! They all have flat areas because they get picked up by the same bit all the time. Funny thing is, none of my modern bobbins show this amount of wear yet. I obviously spend too much time admiring them instead of moving them; but I know I'll still be able to eat next week even if I don't. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Handling bobbins
After all the recent talk about different ways of picking up bobbins, I was interested read this morning in the new Lace Society newsletter, an article by Marjorie Carter about Mrs Janes, a professional Bedfordshire lace maker, taught as a little girl at the end of the 19th century. She used only her left hand to move the bobbins, working the stitch with the three middle fingers and flicking the spare bobbins out of the way left or right with her little finger and thumb respectively. Meanwhile her right hand moved the pins and it was quite literally a continuous action of both hands at considerable speed and amazing to watch. After much struggle I did manage to copy it, but painfully slowly; no-one would have wanted to watch me!! Marjorie also mentions a bit more about a quotation in her collection by H. Massingham (not a name I am familiar with) describing a similar method of working. Very interesting. There is also a delightful reasoning why the Lace Society do not yet indulge in e-mail correspondence, including the fact that you are required to send an s.a.e. for your reply and this is not possible by e-mail. Jacquie, enjoying a much cooler morning. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] antiques
As far as tractors are concerned, 50 yrs plus are vintage, newer old ones are classics - and I think those two classes apply to cars as well. The older cars (as in the old film, Genevieve and the London to Brighton car run) are veterans - but with those I believe there is a statutory cut-off date rather than a progressive cut off. As far as lace bobbins are concerned, I think that the 100 yrs antique label is the one. Maybe the 20/30/40/50 yrs olds could be modern classics. I know that Tony Archer bobbins, for example, are still very collectible. Jacquie - off to a tractor and steam rally tomorrow. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Stool for little lacemakers - Placed in Context the Midlands
I can't resist throwing in my pennyworth. If we assume that the seller assumes (like a lot of non-lacemakers) that mentioning Nottingham assures us of its authenticity - even though we know better - then we can probably also assume he/she is thinking of Midlands lace. Now although I can believe that the Spanish style bolsters (which if I read Jeri's post correctly were used vertically in a similar way to a Maltese pillow) are used sitting on a low stool, the horizontally orientated Midlands bolster was normally used in conjunction with a pillow horse and I don't ever remember reading about or seeing one of those with short legs. I also don't remember seeing many low stools in museum recreations of any type of 18th century English cottages. I would have thought they would sit on the same chair they used for everything else if possible, for reasons of both economy and lack of space. It's unlikely to be a milking stool as they have three legs so however uneven the ground is, it will stand firm. Not level maybe, but steady. Although I appreciate that photos are a lot later than the claimed date of the stool, in those the children always appear almost dwarfed by the pillow/horse set up so there seems to be no reason to suppose that this stool was for a child lace maker. With regard to the ability (and agility) to get up and down off a low stool; this depends on the custom of the community. Where it is normal to sit cross legged, the majority of the population continues to sit cross legged into old age. The use of the low stool described by Jeri with her feet are pulled way back under her reminds me of the position suggested by Jacqui Carey for making Japanese Kumihimo braids. Traditionally made in a kneeling position, uncomfortable to most westerners, she suggests the use of a tiny stool or fat cushion to support your btm to lessen the strain on the knees. Very few of the people I have shared classes with can even manage this in comfort for very long and instead sit or even stand. Has anyone written to ask the seller why they think it is a lacemaker's stool? Or perhaps we should blame the Millers guide - as that seems to be where they have got their ideas from. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] ramie/cotton blends for lace making?
I don't know anything about ramie, but all threads can be used to make lace. The important thing is to get the right size/scale pricking for the thread, do a sample to see what it feels like made up, and then use it for appropriate things. For example, let's say you use a thickish ramie/cotton thread, you choose a pricking that sets it off just fine, but the finished lace is a bit stiff and scratchy. Now this wouldn't matter at all for a wall hanging but might not be the best for a scarf. The angora has two disadvantages I can think of, from using this type of yarn for knitting. The first is that the fluff tends to hide the pattern, so use it for a simple, bold design; Torchon ground rather than rose ground is an example of what I mean here. The second is that it tends to felt slightly so you want to keep undoing to the minimum; a simple design will also help with this. Again, do some samples to get the right grid so you keep the lovely softness and drape. I have got some handspun yarn (not by me g) that is one ply shetland and one ply of mohair. I picked up one skein to make a scarf, then a second in case one wasn't quite enough. Then I saw two more and bought those as well so there may be enough for a jacket front (or half a front and half a back) instead of the scarf. But what ever I decide to make it will be after careful sampling to get exactly the right size grid for it, as I want it as soft as possible (biggish grid) without it losing its shape (too big grid). Good luck, and do let us know the results of any experiments you do. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] re crochet threads
According to Brenda Paternoster's Threads for Lace Coat's #40 is 23 wraps per cm so the equivalent in DMC is #50. DMC #40 is 22wpc. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Thread Conversion Question
Shirlee, Brenda Paternoster's book Threads for Lace 2 will answer ALL your thread questions.I'm sure someone will tell you who to get it from in the States - and it's not too expensive. Brenda also does updates whenever she finds a new thread and these are posted on her website. If you have any thread that's not in the book, send her a little and it will be assessed and added to the list. Any thread can be used for bobbin lace - if in doubt work a small sample to find out how it feels, both to work with and in the finished piece. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Postal strikes and the Lace CD
For those of you in Britain waiting to order Tess's amazing Lace CD #2, we have recently had two packages from America. The first was posted on 27th October (in KS) and arrived on the 30th, the second was posted on the 30th (NY) and arrived on 3rd November. It would appear that whatever chaos the strikes were causing with internal post, the international incoming mail was not affected. So now looks like a good time to order - before the Christmas mail clogs everything up. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace making needle?
The only thing it reminds me of are the tools used for making either rugs, on this scale, or on a small scale for doing a fine, velvet like embroidery. But the photo isn't very good and it's hard to see if there is a needle/prodder at the bottom (it may be retracted as there looks as if there is a screw/nut). What would have been useful would have been a clearer photo of the instructions because it might have been possible to translate the heading. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Corian
I think it's the plastic that is used for marble look pens etc. If I'm right then it's what Alan Hazel at Ash Woodturning uses in conjuntion with wood. I have some of his bobbins and very beautiful they are too. Feels good and is about the same weight as wood so the bobbins don't feel odd as you handle them. I believe he advertises in Lace but I'm feeling too lazy to get up and look :-) Jacquie, in Lincolnshire, where it looks like it's going to freeze tonight, but this afternoon I was impressed by a forsythea (sp?) in full flower about three months early. Confused or what. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Working on the right/wrong side
From my previous experiments, it makes not the slightest bit of difference to the raised-ness of the gimp which way you pass it through. It's your good tension that does that. Because you are working on flat, the thread under the gimp takes the shortest route from pin to pin; the over thread humps up over the top of the gimp and is therefore longer.(I know that in the US the h*** word has other connotations to here, but I couldn't think of another one to describe the move as well, and It was clean when it left the stage as they used to say in the music halls.) I always lift the right thread, because then I don't have to remember to do an extra twist before passing the gimp. I then do two twists after (assuming I want one twist remaining), to close the gate is how I describe it to my students, but the first of these is normally achieved by replacing the RH thread on the LH side. In fact whichever way you do it, the first twist lies before the gimp, the second above and below the gimp, and the third after the gimp. The important bit is making sure the gate is shut each side, ie the first and third twist. Of course, in Bucks, there will be more twists depending on the stitches you are coming from and going to. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Famous lacemakers
Roslyn wrote: I read this week a filler in the paper that said all the famous lacemakers were men. As this contentious statement has caused us some degree of bewilderment and speculation, could we ask Roslyn to contact the paper to ask why the author of the article believes this to be so. Unfortunately, she tantalisingly omitted to tell us what the rest of the piece was about. By filler, does this mean it could have been reprint from an historical source? If so, is there a geographical reference. In the world-wide context, I don't think there are any lacemakers who are really famous. How many people outside lace (and maybe historical textiles) have heard of Thomas Lester for example. I know that when I studied fashion, including history of dress, he was never mentioned; I only found out about him through lace making. And even those contemporary lacemakers (mostly female) that we consider to be famous, our icons and role models, are largely unknown outside of lace. Shame though, perhaps we should try for the Turner prize. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Corners in lace
Reviving a topic from a couple of weeks ago regarding when were corners worked as distinct from gathering the lace. I have just had another glance through the November 2003 Lace Society newsletter prior to filing it, and noticed that in the extract from The Illustrated London News February 1869, the illustration clearly shows a corner being worked on an enormous bolster pillow. The piece of lace is narrow, and appears to be a typical Bucks mass of pins. The pillow is so large (the diameter is similar to the lacemaker's shoulder to seat measurement) that the working surface is similar to a mushroom pillow. The bobbins are unspangled, but I suppose could be deemed thumper-ish. The text though refers to the bobbins (50 or 60 of them, far more than illustrated) as being spangled so the drawing obviously came from the archives, rather than being done from life. I'm not sure that the writer has quite got the hang of the method as the description is Round the pins, when rightly fixed, the thread is thrown and woven together by the bobbins All in all, despite a passage covering the hours needed to make lace and the poor wage earnt, it is a very romantically written piece finishing with the prediction ... in all probability, the operation of lace making will, like the spinning wheel and other matters once so familiar, soon become a thing of the past. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] twisted picots
I have always been a bit wary about the picots that are made from twisted threads looped around the pin without separating the threads; someone told me many years ago that she had been shown them in Bruges but they didn't always seem to work as well as our more traditionally made Bucks picot, and as I had never had any great difficulty with those, I stuck to them. It was reading Mary and Jane's very clear descriptions of making these picots and particularly the bit about Cathleen Belleville twisting her hair until it naturally went into a picot that suddenly made a penny drop. I got a thick piece of tape and twisted it and yes, on the left hand side it makes a good picot with the thread from the lace crossing over the threads carrying on to the bobbins. BUT, if you try to do the same thing on the right hand side it doesn't work. You are forcing the twists to go against themselves and it just unfolds and you are left with a loop (like the round front bit of a letter p without the downstroke) instead of a sideways teardrop shape. For it to lie in a proper picot shape you either have to twizzle it round the pin in the opposite direction so the threads from the lace go under the threads to the bobbins, or do reverse twists. I was taught picots by Pat Read and we were told 5 twists is about right for Bucks type threads but you need as many twists as will fit tidily around the pin, so it varies with pin and thread size. The main difference she taught me was that after you have settled the two threads around the pin, put the second bobbin down on the outside. (On the left this is one twist, on the right it is a reverse twist.) The twists before the picot is started make the cord that fits from the edge of the lace and around the pin. Any twists made after the pin is in place are blocked by the cord and have nowhere to go. The thicker the thread, the more excess twists show. I had originally done picots from my Pamela Nottingham book where she teaches three twists before and after. It was when I was shown by Pat (with explanations why), that I realised that one reason my picots didn't sit neatly was due to the three twists at the end. Look at the photo of plaited lace #1 in the Technique of Bobbin Lace to see what I mean. Quite a few of the picots are leaning back, pushed by the last little stem of twists. I think it was finding out how much difference 5 plus 1 twist made, compared with 3 plus 3 (both 6 twists, after all) and analysing the reason why, that started me analysing and questioning all my lacemaking. Jacquie. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Pricking on the pillow
Just loved your story, Liz. One of my best is when we were demonstrating lacemaking at an exhibition, one lady hovered for ages, then asked if lace bobbins were sold in John Lewis (a well known English department store). We said it was possible, but not likely, and offered her lace supply and teacher's addresses. Oh, no, it's all right. came the reply I'm sure they must do. I'll go and buy A PAIR and teach myself. A tad confused with knitting maybe but I have idled away many pleasant minutes since, wondering how she got on! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Pricking on the pillow
In a message dated 07/01/2004 18:00:33 GMT Standard Time, [EMAIL PROTECTED] writes: I don't see the *need* to pre-prick a pattern Time to add my tuppence worth. The *need* depends very much on the lace you are making. It is relatively easy to prick-as-you-go when you are doing lace of the type you were talking about in your post. The holes are usually well spaced, and if one is slightly out of line it probably won't notice. On the other hand, for Julie who is working her way through Bucks, where the pin holes are close together and multitudinous, to try to prick as you go is very much more difficult and has the potential for disaster, because it is so easy to miss a hole half hidden by a gimp line, or by mis-pricking slightly through all the threads to have one hole where two should be. Also you can work this many-pin lace much more fluently if you can just put the pin in the hole. If you time how long it takes to prick a hole in a flat pricking on a board, about half a second I would reckon, and compare that to accurately finding the hole in the gap between pin and thread, trying to accurately prick with a pin or reaching yet again for your pricker and then picking up and placing the pin you'll get the idea. It only feels as if you are saving time. I have just finished a couple of bits of Milanese which I pricked before I worked them - and kept wondering why I had. Having studied Withof worked on an undotted outline where you put the pin where you need it, I now enjoy doing that, and in Withof and similar laces it is accepted that you will prick as you go. In Milanese sometimes you need the holes opposite each other and sometimes as a zig-zag depending on the braid chosen, so I was making new holes where I needed them because I had revised my plans as I worked. When the holes are close to start with, there's not much of a gap to have second thoughts in. So yes, as I said above, this way placing pins can be slower but if you're not sure where you are going to want the pins it can be a lot easier and I don't believe you do *need* to prick first. Picking up on the thread about the angle of the hole, I was taught that the pricker should be held as near vertically as possible to get the most accurate pricking. I think that when I am pricking I am concentrating on accuracy without worrying at which angle I should be pricking at. And although I follow the basic 'edge pins out and middle pins back' rule, the pins around design features go at a slightly different angle to those that are 'just' ground, to give the workers more support for tensioning. I don't think I could cope with working all that out as I prick but it just happens as I lace. Jacquie - Tempted by the thoughts of starting a new bit of lace and at the same time bitten by my conscience to work on a UFO? - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Heart Pattern
In a message dated 18/01/2004 23:30:21 GMT Standard Time, [EMAIL PROTECTED] writes: The contact at the front is Larkfield Crafts, Hilary Ricketts, 4 Island Cottages, Mapledurwell, Basingstoke, Hants, tel: Hackwood 6585. Hilary is now married to Stephen Pearce who makes the bone bobbins, and they live in Suffolk. I don't think that she sells lace supplies any longer - at lace fairs I have only seen them with Stephen's beautiful bobbins. This is the link for the web site - http://homepages.tesco.net/~stephen.pearce/ and the e-mail address is [EMAIL PROTECTED] Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] IOLI Convention
In a message dated 20/01/2004 19:42:37 GMT Standard Time, [EMAIL PROTECTED] writes: I rather like the idea of having one class all-day for 2 days, followed by a different class all-day for two days. I can use the same equipment for the second class, which means I pack half as much. The bit I liked best about this one is Robin's confidence that the first piece of lace will be finished, leaving the pillow and bobbins free for the second class. Interesting discussion when looked at from the outside. There are good arguements being made all round. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] I need a new magazine subscription
But + 10 euros postage surface mail to the UK.amp;nbsp; I keep thinking about it, but nearly £11 a copy.. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] pillow stands
I have got the ordinary 'shelf' type fitments that consist of two metal strips with slots in screwed to the wall. The triangular brackets that the shelf itself fits on are available in lots of sizes (for different shelf widths) and I use those for the pillows - without a shelf first. The brackets slot easily into the strips and can be altered to different spacings to suit different pillow combinations. They are fitted from the top of a set of drawers to the ceiling so they are in what would otherwise be wasted space. Even my biggest pillow (24) sits securely at the top on 15 brackets; because it's close to the ceiling it can't tip off. And I have bought all of them at carboot sales so the total investment to store about 10 pillows was in the region of £5. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Teachers and teachings
In a message dated 19/03/2004 03:23:28 GMT Standard Time, [EMAIL PROTECTED] writes: although like everything else in lacemaking, some people find them difficult, and others do not. In one class I was teaching, one quite experienced lacemaker had managed to avoid tallies with her previous teacher, and with me until she had been in my classes for a couple of years. When it was *essential*, because of the piece of lace she had chosen to do, there was blue smoke around her for several weeks. Later in the term another student, a fairly new lacemaker, also wanted to learn how to do them. Her first one was nearly perfect, her second just as good, as was the third. Student one (who by now could produce passable tallies, but still with massive concentration) was watching this with envy. The whole class collapsed with laughter when student two asked, in all innocence Yes, but when am I going to learn to do the *difficult* tallies that *** has so much trouble with? Jacquie, hiding indoors today from very wet and windy weather. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Broken Threads?
Whether I have been lucky or not, over the last couple of years I have been using the Colcoton Unikat threads quite a lot - including pale green and pale turquoise-green and have had no problems at all with any of the colours breaking, in either of the thicknesses. Unfortunately there is not a very fine one. They are a 2ply, S twist thread whereas the Madeira Cotona and Tanne are Z twist. I note that the original problem was not really *breaking* so much as the thread pulling apart which happens when it becomes untwisted. I have had students with this problem with the white Madeira and I feel it is maybe something to do with the way they handle the thread when winding or how they move their bobbins, but I have never been able to analyse quite what. They all use spangled bobbins, but as one student will have the problem and another not even though they are using the same spool of thread.. The way to solve it is to regularly stop and overtwist any bobbins where the thread is starting to untwist. For some reason it seems to be worse with the 30 and 50 than the 80. Not logical. But this doesn't explain why you may have the problem with one colour and not another, and why the pale greens seem to be so vunerable. Take all the normal care such as pulling the thread off the side of the reel and winding the bobbin onto the thread rather than thread onto bobbin. But having said that, if you were to pull the thread off the right end of the reel as you are winding you would actually be adding a little extra twist which would help to strengthen the thread. It has also been suggested previously on arachne that Z twist threads benefit from being wound anti-clockwise; if you try this don't forget you need to reverse your hitch as well. There is quite an interesting web site about thread www.ylicorp.com which includes an interesting printable booklet on all aspects of thread such as twist, weight, fibre and the different processes that are used in manufacture. Although basically designed for sewers, there is a lot of interesting info there. A couple of relevant things I spotted are that a Z twist is better for sewing machines (hence the Madeira Z twist as they are basically machine embroidery thread not originally lace thread) as the machine action tends to increase a Z twist but untwist and weaken an S twist - maybe the reverse applies to bobbin lace if the thread is wound in the normal clockwise manner.And that amongst the things to look for in a good thread such as strength and uniformity, one of the factors is ply security. Perhaps the pale greens need an extra process in dying that dries the thread, or even makes it more springy so the ply security is affected and it just doesn't find it easy to stay together. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] colour in lace etc.
In a message dated 25/03/2004 19:31:33 GMT Standard Time, [EMAIL PROTECTED] writes: how does Fimo work for making beads for spangles? Some of my very first painted bobbins bought in the early 1980s came with Fimo beads colour co-ordinated with the painting and they still look like new after 20 years. They are a matt finish having not been varnished, but now I work with Fimo myself I know that by using the very fine wet and dry polishing papers it is possible to get a mirror-like surface. Time consuming though and not practical for a commercial enterprise with cost restraints, but for a few beads that you are making for your own special bobbins it is worth it. Lots of polymer clay sites on the internet and a quick google search will find them. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Holding the roller
When I had a very basic roller pillow with no satisfactory anchor to stabilise the roller I found the most effective way to hold it was by using a piece of tape or ribbon over the top of each end of the roller with the front ends pinned into the pillow near the roller (they are mainly needed to keep the roller down into the box, but also so you don't have to put weight-bearing pins into the roller), and have longer ends at the back pinned low down on the pillow with the pin at angled so the point is higher than the head. It is the pins at the back that do the work; they are holding both the constant weight of the bobbins and the extra pull when you are working . I then put a pin through the tape at the top of the roller. To turn the roller this was the only pin that needed to be moved. As I said before, it is the back edge of the roller that needs to be held firmly but I found that if I tried to hold the roller in place with a pin or tape just from the back of the roller to the pillow, it damaged the roller because you are pulling hard against it. I think you said that your pillow has a hole but the roller is now too wide to fit in it. If you over-fill the hole with something soft like wadding and pin a cloth loosely over the top then you will be able to seat the bottom curve of the roller into the stuffing, so it doesn't move around much. If I am mistaken about the hole, the same principle should work but I would make two firm sausages and pin them to the pillow first, to make a groove for the roller to sit into so it is more secure. If you are using the whole width of the roller to work on (which I assume you are otherwise you wouldn't need such a wide one VBG) then you could have 3 or 4 tapes and remove them as needed so they are not across the bit of pillow you are using. The pins will probably be far enough apart to allow the tape to go between them. I hope some of these ideas are of help to you. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] Holding the roller
I did try wedges first, but I think that perhaps the roller didn't sit very deeply into the hole, and it was just a roller with no central dowel to slide into grooves. It literally pushed into the box and the hole was not very deep. I think that maybe the maker thought it fitted tightly enough to be secure but it rolled towards you. Although wedges stopped that to a certain extent, at intervals as I was working if I needed to tension firmly I would find I was pulling the roller up out of the box, which was when I put the tapes over the top. They held it down and with one added pin, stopped it rolling. As Ann-Marie is also trying to use a roller on a not purpose-made pillow, I thought a variation of the tape might solve her problem. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Passementerie
According to Anna Crutchley, in The Tassels Book, passementerie is the making of tassels and trimmings. She says it is a hybrid craft. It employs the talents of the cordspinner, weaver and tassel maker, each of whom works to a high level of skill and expertise. They in turn are answerable to the interior decorator or upholsterer who is commissioned be the owner of the house to design schemes of great taste and imagination. Anna is one of the tutors that we have for or lace and textile weekends and she does a talk and slide show about some of the traditional methods and equipment used to make this high quality work - I believe I am right in saying some of hers was used in the restoration of Windsor Castle after the fire. Some of the narrow braids she shows could be replicated successfully with lace techniques but are much quicker on a purpose made loom and therefore more commercially viable. Even so, they are extremely expensive as they are mostly made to order. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Braid lace/tape lace
In a message dated 12/05/2004 01:11:48 GMT Standard Time, [EMAIL PROTECTED] writes: As far as I'm concerned, only two laces belong in that group: Milanese and Chrysanthemum. And, of the 2, Chrysanthemum is iffy, on the fence, as it were, since it uses only one decorated braid (and that not always) and makes its (simple) fillings on the go... Then surely you must also include Spanish braid lace Witch stitch, with its meander and figure of eight braids. Many thanks to everyone for your input on this subject, so far the concensus seems to be that there is even less clarity in the States than here g Even though *I* was taught braid is bobbin and tape is machine (my main teacher has been Pat Read) and it seems to be generally understood as such here, I am still always careful that those I am talking to are on the same wavelength to minimise confusion. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Mounting lace on fabric
The second Elsie Luxton book has directions for sewing a Honiton lace motif to fabric (ie handkerchief corner) and finishing the rest of the edge. As I looked for the book to give you its name I realised it's not there. I must look in my library book to see which student has it, because whoever it is its been gone for years rather than months or I'd have remembered it's not here. Anyway, it's the Honiton designs not techniques one, written by just Elsie Luxton. Just be very aware that the first round of stitches is worked one way up over the lace and reversed when used on the fabric edge. It does say this quite clearly but I still managed to not reverse it. When I came to do the second round I discovered that I wasn't able to make the finished off edge on the fabric bit (ie over 3/4 of the edge!) and had to undo it all. It's still a UFO as I got bored with it and cross with myself. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Lace in literature - and the price of lace
A quick flick through the Bucks. Cottage Workers Agency book, not dated but after 1911 so from the fashions as well, a little earlier than your book, reveals only one Bucks collar. Lots of Beds and Irish crochet(?) and a Bucks neckband - very Edwardian. The collar is marked as 8/6, 10/-, 12/6 or 15/-. (Does this indicate different quality or other styles?) The prices are also given in dollars $2.10, $2.50, $3.00 or $4.00 *each* (just in case you thought this was for a dozen). Then my question appears to be answered as Other Point Ground collars are priced from One Guinea up to Ten Guineas each So, nearly 10 years earlier the starting price is 8shillings and 6pence through the agency, but if lace in 1920 was further out of fashion and the old woman is not working for the agency, maybe her price was lower. Also the collar illustrated, although the cheapest, is quite wide (basic horseshoe shape) so a little collar should be less expensive still. Jacquie, still on a high from Scarborough. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: lFantasy Flowers
In a message dated 19/05/2004 16:38:55 GMT Standard Time, [EMAIL PROTECTED] writes: What you are all saying is that it is OK to take someone's work and use it for one's own material gain? That isn't how I read the posts on this subject at all. What they do all seem to be saying is that it is possible for two people to independently come up with very similar ideas. If Rosemary made her first flowers in the late 70s then this predates the Novak ones by a considerable margin. But no-one would think that plagiarism has taken place the other way round, would they! My teaching notes are dated when I do them, ie when I need handouts for a class. This doesn't necessarily mean that the design or technique they refer to is brand new to me, just that it's the first time I want to run a a workshop on them and turn them into the public arena. Often the ideas and prototypes have been work in progress for a long time. The same could apply to Rosemary's notes dated late 80's. It is no evidence that she was influenced by Novak. As my copy of the book has not arrived yet, I am unable to compare the prickings with the ones designed by Jana Novak, and I am unclear from your comment I had a look at Rosemary's web site and her new book whether you have actually seen the book, or just the write up and pictures. What I really find fascinating is that no one has taken the time to compare the two books and make a constructive comment As it is a new book not many of us will have had the opportunity to make this comparison yet but even if I had been able to, probably the only comments I could make are on the lines of Yes, there are notable similarities or No, I think the similarities are minor. Either way, it would be fairly subjective and would throw no further light on the influences, conscious or subconscious, behind Rosemary's design ideas. I do not make any accusations, I simply state a fact. Unfortunately, to me at least, it did sound accusing. Unless you know for sure that Rosemary was aware of and influenced by Novak's work then what you are implying is not stating a fact. The only fact is that there are similarities, your post seemed to take it much further. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Butterfly books
Looks good from the cover, very tempting, but don't get too carried away over the bidding. I'd guess it is for sale by the author or author's contact. If you go to the seller's other items he/she has three copies for sale at the moment, so don't bid over the buy it now price of 17 euros/$23, because you can go on to the next one. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fantasy Flowers - Rosemary's view
After meeting Rosemary Shepherd when I phoned her daughter's house to order Fantasy Flowers, and learning I am subscribed to arachne, she has e-mailed to ask me to forward the following post to arachne to clarify the position regarding her new book. I have ageed to because I feel it's fair we should hear from her about her new book. 'After a year of family tragedy and the hard work involved in producing a book I was finally able to relax here in the UK and look forward to the birth of my first grandchild, and to catch up with lacemaking friends. Then a kind and concerned friend sent me the postings to Arachne about my alleged plagiarism or 'adaptation' of Jana Novak's work in my new 'Bobbin Lace Fantasy Flowers' book. My first impulse was to ignore it, but so many Arachneans came to my defence - thank you all so much - that I thought I should set the record straight. In case those who do not know me think 'there is no smoke without fire' let me state firmly that I have never in my life copied or adapted anyone else's work and passed it off as my own. Would anyone seriously think that a lacemaker with more than 30 years experience, who was a founder of the Australian Lace Guild, curator of lace for 20 years at one of the world's largest museums, and decorated by her country for 'service to the arts, particularly lacemaking', would risk her reputation by doing such a thing? The ironical thing is I can't answer specific allegations because there are three heartflowers in the book and several with five petals, but not one called 'five petals' so I must assume that Karolina was perhaps looking at my web site and not at the book itself. I am also away from my copy of 'Fri Knipling', but to be perfectly honest I can't remember any 3D flowers in it, because I haven't looked at the book for so long. I CAN say that the dates on the notes Karolina has from my workshops do not reflect when the designs they contain were created, but when they were finally produced for teaching. As any teacher knows a lot of time and effort goes into ensuring that something 'works' before it is given to students. It is, also, a matter of record that I made my first one-piece 3D flower in 1977, for the Crafts Council of New South Wales 'Function and Fantasy' Exhibition, which toured Australia. In 1981 an image of the flower and other work accompanied an article about me in Family Circle magazine. Many people will remember this because it brought 400 new members to the Guild in the following months. I have been an independent lacemaker since my first six lessons with Nenia Lovesey in 1970. Even before these lessons were over I was designing my own lace, and in the years since have probably worked less than half a dozen pieces that I didn't design from scratch. I began to play with colour at about the time I started teaching in 1976, and also experimented with other materials such as copper wire, raffia and nylon monofilament. Two pieces of my lace from this period were bought by the Powerhouse Museum in 1980. I worked many more totally free-form flowers after the 1977 daisy - working over a sketch and placing the pinholes as I went. In the very early 80s I discovered the wonderful work of the Czech, Slovak, and Moravian lacemakers, and Elena Holecyova became my particular hero. She profoundly influenced the way I worked subsequent flowers (and other lace), but the flower designs were inspired by lace and woven textiles of the'bizarre period'. Eight of the 'Fantasy Flowers' were originally designed and made in the period 1980 to 1990, with minor changes evolving later. The rest of the book's flowers were produced 2001-3 for workshops in the US in 2003, and in some cases are extensions of much earlier design ideas. I think I first saw Jana's work in the mid-80s but did not own any of her books until about 1989-90 when the Australian Lace Guild first thought about inviting her to teach. Jana accepted the invitation for 1992 and I first met her when she gave workshops and a lecture at the Powerhouse during her trip. Later in 1992 we were both guests of the NZ lacemakers in Christchurch for '2201 pins - a Lace Odyssey', where my flowers and other work were part of the exhibition. I am happy to say Jana has become a friend. I love her creative work and greatly respect her historical knowledge. In a few weeks we will be meeting with other lace friends for lace study in Denmark. Neither of us has any need to plagiarise other people's work. I am sure we both have many more ideas than we can possibly hope to deal with in one life time. This is the very best time in my life. Having retired from the Museum I am at last free to make lace full-time and to publish the best of the work I have designed over the years, as well as some of my re-constructions of early lace - another of my passions. I sincerely hope that any lacemaker who thinks anything in a future publication is 'adapted' he/she will pay me the courtesy of
Re: [lace] pen/pencil for prickings
If you aren't confident drawing the lines on your pricking, then be all means you it lightly in pencil first. Draw the permanent lines in a waterproof fibretip type pen and then use a soft eraser to remove any traces of pencil as this will rub off onto the lace. Do not use a biro type pen, as this can and does rub off onto your lace. One of my students inked in a fan pattern with the correct pen, but realised he had made a mistake at one place. His correction was put in with biro (he obviously had a senior moment). It was several months before he worked over that correction and several more months before the lace was off the pillow. But there was still a mark on the lace where the biro was. The lace was for a Lace Guild assessment, so he also included an in-depth study of which solvents remove biro from cotton lace! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: happy dance !!
Well.. as everyone else has come out of the closet, and with Malvary nagging me, I guess I'd better confess to winning the Individuals Trophy with my Milanese lace dragon. It was made for Pat Read to go into her new book, but as it fitted the theme I decided to enter it in Myth and Mystery as well. I shan't see the exhibition until 3rd August, but I hope my catalogues arrive before then, and I can do some arachne spotting. Sounds like we did well. Perhaps we should do a group entry next time! Jacquie. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Seven........
Seven ages of man, dance of the seven veils, seven years bad luck for breaking a mirror, - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Competition Rules
From this time, at least, the size restrictions were maximum 100cm (or 40 - so if you've got size problems, work in inches VBG) in any one direction but with a total of height + width + length not more than 190 cm (75). But that is in it's packaging so in fact, for example, if you want to do a long rigid flat piece it needs to be less than 100cm. A larger piece could be achieved if it can be folded or taken to bits and fitted into the above size. The reassembly needs to be idiot-proof as it has to be put in and out of the packaging several times. The group entries just says three or more so I don't see why it should make any difference where they come from. Regarding the judges, unless they go around with blinkers on, they can't help seeing and hearing about some of the entries. If they are involved in its making, then they will say they have an interest in that item and take not part in judging it. If they couldn't do that then students being taught by one of the judges would not be able to enter. Basilisk was made, as I said before, to go in Pat's new book. She saw my original design source but was not involved at all in it's designing or making - except for expressing some anxiety when she needed it for the photography session and it was still on my pillow (it took from 15-11-03 to 5-1-04 to make, with flu in the middle). When it dawned on me that I actually had a finished piece of lace that fitted the theme, I asked Pat if it was OK to enter it. I didn't know she was one of the judges and I meant OK as far as Batsford's were concerned. She thought I meant because she was judging and explained the above. Because of the way arachne works, there will not ever be more than words on public view. Once the project(s) is underway, only those involved will see what is taking shape. For this reason, I can't see that there would be any conflict of interest or unfairness. If you want me to clarify any of the points, I will find out who I need to speak to and do so. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Myth and Mystery exhibition
As an update to the previous comments about which pieces of work are on display at Coventry, I have just been speaking to Pat Read on another subject and mentioned how upset people are that their lace is not included. She said she hopes that no-one thinks it was the judges who decided, and told me that in fact it was not even the Lace Guild themselves. The pieces on show were selected by the Exhibition Director and the Gallery Staff, and there seems to be no logic to selection or otherwise. The choice appears to be purely random, with about 70 pieces not on show; perhaps simply the last 70 in the pile with no real selection involved at all. Because of all the building work going on at the Gallery, the area for the display is smaller than it was previously and I believe the Lace Guild was not aware that this would be the situation. Pat said it was certainly not decided on quality because there were several pieces she remembered from the judging that she wanted to see again, and they were not on show. Jane's piece of lace which was left out was apparently a very small piece and, space-wise, could easily have been included. Jane is understandibly cross because this also means that her piece will now not even have the chance of winning the Visitor's Award, judged by the public. And of course, this applies to you all who were unlucky enough to not have your lace on show. In the recent past, the Visitor's prize was won by Caroline Biggins' Honiton Dolphin which won no other prize, so it does matter. Sue thought perhaps the selection had been fair in that she had her prize winning piece on show, which maybe explained why the Wood Nymph isn't. In fact, that is not the case either. There is at least one example of a lacemaker with three entries, unfortunately none of which was a medal winner, but where all three are on display. She is understandably embarrassed by the situation. I am intending to write to the Lace Guild about this, even though it appears to have been largely outside their control, so the situation does not occur in the future. They have spent a lot of time, money and effort to run a well supported competition, and people enter with the hope, but not the neccessarily the expectation, of achieving some recognition for their work. If it is not even to be displayed then the incentive, to my way of thinking, is considerably reduced. I suggest that those of you affected also write expressing your misgivings. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Riddle not rhyme
As Jean said, don't forget you will need the person (not necessarily male!) who is the I in the rhyme. Also, please remember this was originally a riddle, not a nursery rhyme, the question being, Kits, cats, sacks, and wives, How many were there going to St Ives? The two solutions (depending on how the question is read) being either ONE, ie the person telling the rhyme, or NONE ie the questioner means How many of kits, cats etc are going to St Ives. The trick obviously is that the recipient will do the lengthy mental arithmetic of 7 times table and additions. S, if you put a signpost in, make sure it faces the right way. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Riddle not rhyme
In a message dated 12/06/2004 19:02:24 GMT Standard Time, [EMAIL PROTECTED] writes: The people would mostly be facing the TO. sign, except for a wife who stopped to pick up a lost sack and is turned around while picking it up. No. That's the whole point! It's I that's going to St Ives, the rest are coming from there, so the people need to be facing away from the village. If they were all going to St Ives it would be a maths problem not a riddle. If you want it to be the viewer who is I, then the people need to be coming towards you, not going from side to side on the panel. There are 3 St Ives in England, the best known being the one in Cornwall. I can't find any evidence as to which one is referred to in the rhyme; it could have been just because it happens to rhyme with wives. So it doesn't matter much what the village/town (if you have one) looks like as there is no distinguishing feature like a cathedral tower. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Bridal Handkerchief
I have a poem for the other way around! A tiny square of linen And a dainty edge of lace Designed into a bonnet To frame your baby's face After baby's worn it Fold and tuck away And it becomes a hanky For baby's wedding day Not a lot of help to you, I know, but it might be useful for someone else. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] large or small lace pieces
Just as a follow on to my previous reference to machine made lace. At a lace day many years ago, the speaker was the lace and textiles lady at Philip's auction house. A friend of mine had an exquisite handmade collar which she had recently bought in an antique shop. She asked for a valuation, and was relieved to get a figure in the same region as she had paid. This was followed by a pause, and then she was told that if it had been a bolder design, then it would sell for a lot more at auction because it would be of interest to buyers purchasing for stage and film use and it would make NO difference to its value if it was hand or machine lace. I have an ever growing collection of machine made lace, and it is interesting to follow its development in tandem with the changes in fashion and technology and with the changes in hand made lace. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Survey - ancient UFOs
I have just (last week) finally removed from a pillow a large piece (about 2ft square) of Torchon, made in yarn about 4ply thickness. Mum bought it as a T-shirt kit in the middle 1980s and gave it to me to make. As she is now nearly 90, I think (hope) she has forgotten all about it. As someone else said, I could only work on it for a few minutes at a time because of the pillow size, and it wasn't really big enough either as it was only slightly bigger than the lace. The bobbins fell off the edges so I used to work with piles of books on either side, all very makeshift and unsatisfactory. Over the years I had scavenged bobbins off it so many ends were loose, and finally I don't think there was actually enough yarn to finish even one square let alone the two needed to make the garment. It was only guilt keeping it on the pillow. I am trying to remember exactly when I started it. I think in 1984 or 85. Does it still count as a UFO? It's certainly unfinished and it's certainly an object! I *could* pin it back (but on a custom designed block pillow this time - so I don't have to stretch across and so there is somewhere for the bobbins to rest) and finish it, so long as the yarn lasts anyway, but in reality don't think I ever will. A piece of lace started only 4 or 5 years ago sounds like work in progress to me, not a UFO g Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Welcome, Coventry and UFOs
We have a new arachne, Jill Harward, who just happened to win the John Bull Trophy with the Hydra. We were talking on Saturday at the awards ceremony at Coventry, and she let slip that she has finally joined having been listening to me going on about all the things I find out about here. But she also said she is just lurking as she doesn't know what to post about. The Myth and Mystery Exhibition was very good, but it was so crowded (because of the awards) that even my partner said we'll have to go back and have another look. It was good to meet other arachnes; Brenda Paternoster and Ann Day were there but I also met Jane Partridge for the first time and Sue Babbs from the States. Unfortunately her little book and its stand (right in the front of a big display case, Murphy's law in action) had fallen over and was not showing it's most flattering side. They are going to try to rescue it. Jill and I both agreed that we would not want to be judges, there seems to be a very fine line between those that won a medal and those that didn't. There were several pieces I was impressed by; Janice Blair's Phoenix and the big Ann Dyer wall hanging come to mind as I write this. Richard had taken his own camera and when I looked through the photos he'd taken, there were several of pieces that I didn't remember seeing - is it just that they look different when they are in isolation on a photo or did I really miss them. Back to reality, and to work on some UFOs which include my first flower from Rosemary Shepherd's book and a Kortelahti paper string picture, both worked and just waiting to be stiffened, a Beds edging and some Torchon designs nearly ready to work. I also have two bits of coloured Milanese in progress, but they are resting so don't count as UFOs! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Sisters
And the connection is deeper still - our Mum was the first one to start classes, but at the same time without knowing she was going to classes, I started teaching myself from a part work, Golden Hands Crafts (still one of my favourite reference books, everything you can think of is in there). After a couple of weeks I found out about Mum going to class, and we both bought the only lace book we could find, Margaret Maidment's Hand Made Bobbin Lace Work. Having finished the lace in Golden Hands, I then ventured into Maidment and can remember crying tears of frustration at not being able to start a new piece. I would phone Mum and she would take her book to class and tell her teacher that I was stuck just *there*, and the poor teacher would try to think up what I might have done wrong, and then Mum would try to explain it to me over the phone. We only discovered afterwards that the teacher was only half a page ahead of her class! Mum was an adult education teacher (dressmaking, knitting, crochet and general handicraft classes) at the same centre as Pat Read, and got the last place in her class. After a year she pursuaded Pat to consider me (as an extra student in a full class) and I had to talk myself in. When Pat asked who I had studied with and I told her I had taught myself so far there was an ominous silence, but she let me join and the rest, as they say, is history. On her next trip home, Malvary saw both Mum and me making lace and there was the third one hooked. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] laces used by judges
I don't think Judges here in England have lace on their robes, but may be wrong on this. Not quite the same thing but the Speaker of the House of Commons has a Honiton jabot and cuffs, made by Pat Perryman. And several mayors (I wonder if there is a list of them anywhere) have jabots or whatever to wear with their most formal regalia, usually made by the local lace groups. There have been articles about some of these in Lace over the years. I wonder how they are surviving now; it must be worrying making a handmade, high maintenance accessory unless you are fairly confident the care will be available to look after it, through frequent changes in custodianship. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Jabots - an outsider's view
As this now seems to be getting serious VBG there are a couple of things that come to my mind. First is that you are probably making it for the post rather than person, so what is a lady judge now may not always be. You do need to make sure that they will be welcomed (there is a hell of a lot of work involved here) even though it would have been nice as a surprise. And, back to a point I made a few days ago, you also need to make sure there will always be someone with enough knowledge to care for them (and who can be bothered/payed enough to care). This is especially important if you do gathered or fluted lace as it is much harder to iron. In fact Ipersonally think the long term care should be a primary factor in deciding the type of lace you make. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Straw vs ethafoam
In a message dated 19/07/2004 22:25:14 GMT Standard Time, [EMAIL PROTECTED] writes: My first pillow was made from an old McCall's Needlework magazine, with felt roller and lightly-padded cardboard apron. Do you actually mean it was made from the magazine? Or made from directions in the magazine! I grew up with these magazines as a touch of American exotic in 1950's England. How I envied the girl's bedrooms with all themed furnishings - so very different from post war Britain, the dolls houses and the unusual soft toys and all the gadgets and materials we couldn't get. One of my best presents ever was a daisy winder sent from Canada (probably by my brother when he first emigrated or maybe my aunt before that) as I was able to some of the things I'd been reading about for years. The ones I have are the later ones when they went to a small size, the ones I first remember were a lot bigger. But I don't remember ever seeing lace of any sort in them apart from Battenburg-ish, crochet and knitting - not even tatting, I think. Mum probably still has some of these early magazines in her workroom (polite name for a store room as with only about 2 sq ft of floor uncovered it's a bit hard to do any work in there, Malvary knows exactly what I mean). And her remaining two or three lace pillows (Malvary and I keep borrowing them) are on the top shelf to the right of the door, just above the fabrics, some dating back to when we lived in Herne Bay pre 1961. Oh what fun we'll have one day! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] exotic wood
In a message dated 20/07/2004 06:20:09 GMT Standard Time, [EMAIL PROTECTED] writes: I would not recommend doing exotic wood sawdust either. Many a woodworker has found out that exotic woods can cause many allergies or illnesses I'll second this one. Doing the health and safety aspect of lace on a City Guilds many years ago, I phoned Richard Gravestock to ask him what he knew about the risk aspects of wood. Although it's the fine dust particles in the air from turning that cause most of the problems rather than the bigger sawdust, some of the fine dust would get into the pillow and maybe more breakdown over the years. And interestingly, he told me that one or more of the ordinary fruit woods like apple and plum are as bad - but I can't remember now which one(s) he said. I'm not so sure about pet bedding but horse beddings are clean, pine shavings. I would think that the finer stuff from the same process is bagged for hamsters etc. It's not treated with any additions and I wouldn't think it has (or needs) any pre-sterilization. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] lace on display
Jean's post about Budleigh Salterton has reminded me I meant to post about the museum where the new Devon trolley net is on display. I'm afraid I can't remember the name of the village (town?) but one of my students went while she was on holiday and was most disappointed. She said that the people at the reception desk didn't seem to even know the lace was in the museum but when she tracked it down (in an upstairs room, I think) there were only two small cases in a room with lots of other things (I explained that I thought that's all that has been found), and the museum attendant in that room knew nothing about it. The book which has been mentioned on arachne is on sale (£16, I think) and a couple of postcards with photos of the samples. She went with non-lace friends and they thought her absolutely mad to want to go out of her way to see scraps of lace - fortunately the village was attractive so they were able to sightsee. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] IOLI revised bylaws
Well, Devon, you're lucky to have got that far! I've had five tries now and each time the PDF page comes up and then that's it. A blank. And three times my computer has frozen. Are there really 20 pages of bylaws to download? Jacquie, one of the newest IOLI members - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace 75 and the Challenge bookmark
Not being able to remember this bookmark, I reached down my copy and settled down to read. What an issue of interest to arachnes. One of the first things I spotted was a letter from Leonard Bazar about the original inch measurement. A couple of pages on was an article about a jabot and cuffs made for the High Sherriff of Merseyside in 1994, then a couple of articles about lace in Spain. Next I found (with great delight) the instructions for making a small electric bobbin winder from a battery operated fan and the inside of a cotton spool. I have tried to describe this a couple of times to arachnes who have had problems with bobbin winding due to wrist or hand problems, but now I know the way to make it VBG On the very next page is an article on polystyrene and styrofoam, followed by Leonard again - well, Leonard's Honiton lion. And finally, just as I was beginning to wonder if the Greek OIDFA was going to be as good as the Czech one was - I don't associate Greece with lace in the same way - there is a letter from a Greek lace group who met near Athens; I wonder if they are still there and already planning for 2006. And I am wondering if Jean Horne is one of our many Jean's, and how many other arachnes I missed. I have a whole new view of the wider lace world since belonging to this group. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] THread left on bobbins
Just a couple more ideas I haven't seen. If it's a thread you use a lot, then bobbins with lots of thread on, keep them as you can wind half across to make a pair. The rest, as you take the thread off the bobbins any that there is more than half a yard (a short arm length) just drop it, as it is with all its curls, into a small zip-top type bag. Add the bobbins with thread and a label to say what it is. When you use the thread again, you have some pairs half wound as a starter. Wind the rest with new thread. (If it is a biggish project and your recycled pairs have less thread than the others, use them as footside passives etc not as fan workers G.) If/when you need to join in new threads use the bits from in the bag instead of new thread. You'll find that you can just pull a length from the bag. I think the curls help to stop them tangling and very rarely have problems. Don't be paranoid about running out - if you do, join in a new thread. If you were making a table cloth or metres of lace for a project then you would have to join in new threads, and if you break a thread you have to join in a new one. So learn to join new threads in well and don't worry if you might run out. It is far better to join in new threads than to overfill your bobbins, which means the thread is rubbing on the pillow. The thread should never be wound wider than the body of the bobbin. Another thing to use shortish ends for is to do a tension swatch (yawn, boring). Make a graduated pricking with a simple repeat pattern increasing one grid size (1mm) at each repeat - the photocopier is useful here, make a note of the percentage increase to get each next size up or down and do each one as a bigger and bigger increase (or smaller and smaller decrease) of the original to avoid distortion. By knowing this percentage, you can reproduce the same size pricking in future from your standard graph paper. The pricking will sort of look like this I I I I I I as each section is a little wider than the previous. Start your work from a grid a little too small through to where it is obviously to widely spaced, working straight across the change of size. This is usually about 4, 5 or even 6 grid sizes. It gives a very useful feely sample, often from stiff through to floppy, as well as visual. It is especially useful for working polar and other distorted grids where there is a range of spacings in the same pattern, but I often find thread/straight grid combinatins that I hadn't thought to use. It is also easier to change a pricking size slightly to best suit the thread that you already have than to go and buy yet another different thread for one project. You only need to do one sample for each thread, but for it to be useful you do need to attach them to a note book and label them with what they are and maybe add comments such as it broke a lot or was very difficult to tension. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Winding bobbins with equal amounts of thread...
In a message dated 30/07/2004 12:41:56 GMT Standard Time, [EMAIL PROTECTED] writes: Wind the mate with 8 rotations off the first bobbin, and your pair is equal - and you don't have to deal with piles of thread getting tangled and dirty But make sure you take the thread off onto the second bobbin by unwinding it off the first, not by pulling it off the top. In other words, in the same way as you will, of course, have taken the thread off the side of the spool in the first place. If you don't believe this makes a difference, wrap a piece of ribbon or tape (or even a strip of paper) neatly around a pencil or similar, then holding the starting end onto the pencil, pull the ribbon off the top of the pencil. All the twists that you get in a short length of ribbon are multiplied over your yard or three of thread and will either tighten or loosen the correct thread twist. A rule of thumb, if the reel of thread isn't turning as you take the thread off, you're interfering with the twist. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Wedding Garter
Minimum, one and a half times the measurement of the bit of the leg where it is to be worn. Most people seem to want to wear them just above the knee (where it is purely ornamental and won't help a lot with holding anything up!) and the average measurement here seem to be 18. So, that works out to 27. If you do more them they are obviously frillier, but it is worth finding out what sort of dress the bride is wearing as a very smooth bias cut skirt will not hang well over a very full garter, and one of my students made one which wasn't then worn by the recipient for this very reason. Another thing to consider is the centre holes/ladder where the elastic/ribbon goes through. If these are close together then you get gathers but on some designs they are more widely spaced so you get pleats. If you have already done some of the garter, put a ribbon through the holes and pull it up until you like the effect. Measure this bit and then measure it again flattened out. You can then do the maths to see how much you need in total. You will probably now decide it would look lovely not quite so gathered! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hanging bobbin
In case anyone was interested in this bobbin, the seller has now managed to get two clearer photos. It is still very difficult to see the words and the confusing thing is that it looks as if there are 5 letters not 4 in what is possibly Bull. The W is very clear, the B not bad, and you can sort of make out a U but then where the LL should be it is worn, messy and unclear. It may just be that there are very pronounced seriphs. I have given you the link again and you can request the new photos. It is still around 37GBP, but I don't think I want one that much. http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItemcategory=114item=6111453204 rd=1 Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] pattern copyright and adaptations
In a message dated 25/08/2004 14:49:44 GMT Standard Time, [EMAIL PROTECTED] writes: However, the case can probably be made that they intended the patterns and their derivatives (the finished lace or bookcase or whatever) to be for personal use and not for publishing by the people who made things from the book. But can putting a boasting picture, with proper credits to book and designer, on a non-commercial boasting website, really be described as *publishing* except in the very widest sense of the word, ie make generally known. Surely it's the modern equivalent of having it hanging on your wall where all your friends will see it, or in a key ring fob, or taking your finished work to a lace day. No designer wants the lace made from their designs to then be hidden away in the back of a drawer. In fact, so long as it is accredited to them, it is free advertising for them. The important thing is that proper acknowledgement is made of the source of the pattern, both the designer and publisher, and this applies even if the lacemaker has made even quite substantial personal alterations to that design. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace in Melbourne?
This is an appeal for information from the Australian Arachnes. Within the next couple of weeks one of my students is leaving for a holiday in Australia, lasting a couple of months. Some of the time she will be touring but she is based in Melbourne from 18th October to 20th November. Is there anything lace-based going on during that time that she might be able to go to? Also are there any craft/embroidery type shops (or any others of interest for that matter) in Melbourne that she shouldn't miss? Please reply direct to me and I will forward your ideas to her. Many thanks, Jacquie in England. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] IOLI Bulletin
Got mine yesterday - it's really good :-) Just to rub it in, as Malvary organised my membership for me at the same time as her own. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Australian Lace Guild Conference
In a message dated 04/10/2004 03:18:51 GMT Standard Time, [EMAIL PROTECTED] writes: On Saturday, there was an exhibition of lace made by members of the Guild - including a chance for us to see the piece Medusa's head which won the John Bull trophy. I don't think so!! The John Bull Trophy was made by Jill Harward with her piece called The Hydra. There is a piece called Medusa's Ghost which won the Northumbria Lacemakers Trophy and was made by the Australian Lace Guild South Australia Branch and I guess this is the piece you mean. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Ooops. John Bull Tropy revisited!
Of course I meant to say The John Bull Trophy was *won* by Jill Harward with her piece called The Hydra, not made by. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Fishbone Lace Pins and old IOLI bulletins
When I was doing lace City and Guilds in 1987 (unfinished at that time as it was interupted by a fairly major car accident) one of my fellow students did some research on the use of fish bones and thorns as pin substitutes. I am fairly sure that her conclusions were that mostly they were not any use because if they were fine enough for the lace, they were too fragile to push into the pillow. Perhaps another of the people who were on that course with me, or AnnDay our tutor, could fill in the gaps I have in my memory from that time. On a similar theme, I have this week found the 1981/82 IOLI annual bulletin in a local second hand book shop. Among the pieces I have read so far is an article about Arlene McKinnel of Brecksville. Relevant to this topic is a reference to the early English Midlands lacemakers who had no access to standard equipment and so were forced to use the bones from sheep for bobbins and the fine fish bones to make their prickings. Obviously no NEC lace fair then! In the same article is a reference to American Ipswich lace bobbins being made of bamboo. A quote from here says It's thought that the five inch bobbins were brought into Ipswich Bay on trading ships, perhaps as part of the packing used to transport Oriental goods safely across the sea to New England. Although I remember this lace being discussed on occasion on Arachne, I don't remember bamboo bobbins, but I love the idea that bobbins could have been used as an early form of polystyrene chips; somehow though, I think the author got the idea a little mixed up. But it is perfectly possible that the bamboo used to make early packing cases could have been recycled into bobbins (and lots of other things) once in America. So, were Ipswich bobbins made of bamboo? And all of them or just some? Finally, in the July 1982 edition there was an article about a lace collection owned by a Mrs. Laurena Senter, shown to the Columbine IOL Lace Club of Denver. I would like to ask if anyone knows any contact details for either Mrs Senter or (as it is 20 years on) the current owner of this collection. Many thanks in advance, Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] rings for lacemaking?
In a message dated 17/10/2004 20:42:42 GMT Standard Time, [EMAIL PROTECTED] writes: Does anyone have any idea what the rings are for? The seller doesn't know. Without a photo I wouldn't have a clue. Patty has read this as turned rings on the bobbins, I had read it as 4 (separate) rings of unknown size/material/ purpose included because they were there. But I agree with Patty that I wouldn't consider anything that there's no photo of. I also found it strange that you have to be a pre-approved buyer, I haven't seen this one before. As the seller gets the money (and can allow cheques to clear) before they part with the goods, why is this necessary - especially for a relatively low cost item? Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] digital cameras- for
I wouldn't touch a digital camera with a barge-pole! They are dreadful, and only give you very mediocre results. Sorry, I have to disagree with your Committee member. I have a Canon digi (not bottom of the range by any means but nothing even approaching 10,000 dollars!) and if you are interested I can send you a couple of photos I have taken of my lace. No flash, no tripod, just quick photos to be able to show students work in progress. And not only are the full frame photos excellent, they are still crystal clear if I zoom in on details. Yes I did get excellent photos with my Olympus SLR, but I also got a lot of not quite clear enough for lace purposes and one of the main benefits your advisor has omitted is that I can immediately see my photo, take more if it's not good enough (if I need to, which I don't usually), and only have the expense of printing those I need in photo format. And I have it immediately, not when I've finished the film and had it developed. With the cost of film and developing here in England, this has meant I have been able to take far more photos in the last 18 months than ever before and even just counting the films I would have used I have a big chunk towards the cost of my camera (which is now a lot cheaper anyway than it was then). Another reason I love it (which was not a factor I had thought of when I bought it) is that because of the pull-out multi position screen, I can be very discreet when taking photos. No obvious camera-in-front-of-my-face. This has meant I have been able to get shots of my grandchildren which would have been impossible otherwise as they don't pose and/or hide. And I can take high and low level photos without having to perform gymnastics. Finally in this quick review of why I'm glad I jumped in and bought a digi is that in a once in a lifetime situation I can be sure of having good photos (having lost my photo opportunity at my first grandson's Christening because the film wasn't in the camera properly, duh). taken by one of our Committee members who also owns a camera shop I know I might be suspicious, but there is a lot in the media here about Kodak having to close down factories due to lack of demand for film etc. The same will possibly apply to the owner of a camera shop. Once you have bought a digital camera you won't need to buy anything else from the shop unless you want to upgrade at some unspecified time in the future. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] flashing framed lace
In a message dated 27/11/2004 15:10:09 GMT Standard Time, [EMAIL PROTECTED] writes: Do you have experience with flashing lace that is framed behind glass? When flashing straight from the front you whould get a white reflection spot. My problem when I have recently tried to photograph pieces of framed lace, both with glass and (presumably) perspex or similar (as some were at Myth or Mystery) is not the flash problem as my camera is clever enough to cope without in all but atricious light. What I have the problem with is the reflections of all the surroundings including me and or the camera. Ideas to overcome this would be appreciated. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] National Flax Museum in Kortrijk/Courtrai
In a message dated 27/11/2004 16:09:18 GMT Standard Time, [EMAIL PROTECTED] writes: I would add that I did not have problems communicating in English in Belgium (but maybe that was because of the planning that went into the tour Not necessarily. I have always been most impressed in Bruges at the way in which most shop staff eye up the customers as they approach and greet them in the correct language; English, French, German and Flemish basics seem to be considered normal for most people in contact with the public. It really puts the British if they can't understand, just speak more slowly and loudly attitude to shame. Unfortunately, joining the EU hasn't seemed to make foreign languages any more relevant to many people. Jacquie, who can just about get by in present-tense French, but all the other tenses went missing somewhere. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Lacemaker's fair and currency
A few of the big ones will - off the top of my head I think Tim Parker, SMP, Roseground if they are there. Most of the smaller ones don't. As Tamara says, ATMs and a debit card are the way to go. However, if you want to find one I would recommend you learn to ask for cash-point machines as ATM is not a recognised expression here. The ones in and outside banks are usually free and illustrate the accepted cards, but the ones in less financial settings (ie garage forecourts, shops, pubs) sometimes (often) charge. But they have to tell you if they are going to. The key pads are all fairly standard number pads (like the side of your keyboard). Jacquie - hoping to go on Saturday. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Pin cushion
Something very tightly woven for an inner layer: calico works well (this is English calico I'm talking about - cheap, and beigy colour). You can buy different weights and for a smallish pin cushion, a light to medium weight would be best. Hot wash it to soften and remove the dressing, then iron ready to use. A lightweight one can be used double. Anything you like for the outer layer - my kit one from Springett's had a thin, dressmaking weight velvet and is still going strong after 20+ years. If you want to make a square pincushion, cut the fabric (and lining) with slightly bowed out sides( to help stop the bowed in sides and sticky-out corners that you get with a true square. Make the lace (note the assumption that an arachne will have a lace edged pincushion) at least a little over size and ease or gather it on. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Pillow storage (wreath boxes)
Your translation is probably right! A wreath is a ring of flowers, leaves, ribbons built on a wire, wood or flower arranger's foam frame. They are used a lot at Christmas to hang on doors, but also traditionally at funerals. They can be a similar shape and size to a round lace pillow which is why a box to keep one will fit the other. I haven't seen wreath boxes here in England - but then I haven't been looking and wouldn't want to store a wreath from one year to the next anyway! If I did, I guess it would just go in a big bag on top of the rest of the decorations in the attic. I certainly wouldn't buy a special box for it. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Wearing art-the campaign
Devon, who is planning to go to two theatrical events next week in lace jewelry Well, that should be noticed! Might even get in the press. I think Devon should be applauded for her dedication VBG Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Personalised stamps
In a message dated 20/12/2004 08:38:29 GMT Standard Time, [EMAIL PROTECTED] writes: Personalised stamps have been around for quite a while in the UK and can be ordered through the Royal Mail web site. They cost 14 pounds 95 pence for 20 - quite expensive, but rather nice for a special occasion. Looking at these which are only an add-on to the side of the stamp, a similar (and considerably easier and cheaper) option would be to simply print the required photo onto small sticky labels. Use them next to the stamp, on the flap or even as part of your return address label. I prefer the US idea where your design *is* the stamp, but if this is all the Royal Mail will offer (and what a price, getting on for 3x first class mail) then I think I might have a go at DIY. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Personalised stamps
There are many inexensive software packages designed for printing on labels, mine came included in my WordPerfect package. The labels are all made in set sizes and so you just tell the computer which photo to use on which size label and it more or less does it for you. So, you could do single sheets with a different photo on each sheet. Don't know if you can mix photos on a sheet. The first lot I did were for the lids of our honey jars so I had a photo and our name and address on the tiny return mail size labels; if I can cope with that, I'm sure most people can. You can use the same programme for business cards, and if you don't want to splash out on the ready perforated sheets they still look most professional done on ordinary art card (I've used softly marbled and also one with a slight texture) and then cut up with a craft knife. I hadn't thought of adding a photo of a piece of my lace - duh. (BTW, that's the lace bit of the post!) Avery labels are one of the best known brands and I wouldn't be surprised if they had a basic label programme to download - it might be worth a google. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] magnetic brooch holder ideas
Like Carolina in Spain I am unable to order these as I am in the UK. But they are basically only a strong magnet with a tunnel attached to one of them for the brooch pin to pass through. I must admit that my first thought when I looked at them, (before I realised it would be complicated to get them to here anyway,) was that it is a very expensive way of buying 4 magnets, and that there must be a way to add the little tube to a magnet. Maybe a circle of fabric to tone in with your outfit, with a little pucker to push the brooch pin through. We have got some small magnets (quarter inch) which were bought at Lee Valley (in Ottawa), and when I got up to fetch them discovered that the ones Richard chose have a small hole through the centre. They are what are described as rare earth magnets and in the newest catalogue I have (2003) they were 50 cents (CA) each (or 40c for 10+). The brooch pin could very easily be sewn onto one of these and at that price you could have one for each brooch, or a pair to make it more balanced as Jeri suggests. There is a website www.leevalley.com and I'm sure you could see them there. In case you are worrying about losing the brooch, the quarter inch magnet will lift a two-and-a-half pound block of steel, so if you are sticking magnet to magnet (even with fabric between) it will be a firm hold! I've just tried it through a thick wooly sweater and had to prise them apart. Now, this doesn't directly help non USA and Canadian citizens but there must be sources of magnets in your own countries. Lee Valley for those of you who haven't heard of it is a store selling woodworking tools, fittings for furniture and the like, and gardening stuff. A magical place for us Brits as the quality is mostly good to excellent and the prices (especially with the favourable exchange rate) about half the cost of mediocre tools in the UK. But it's not a specialist *magnet shop*. Just one more thought, as with any sort of magnets, keep them away from your credit and other swipe cards! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Ribs, rolls, bundles and tubes
I think Anneke misunderstood my use of emphasise, and that we are probably saying the same. I was just trying to keep it brief as I knew the whole post would be lengthy. I agree that the roll emphasises the design by giving it depth and strengthens the design lines by making them bolder. But its purpose is largely an aesthetic one and not because it is needed to carry pairs to somewhere else in the work. It is the way I used rolling for my Basilisk entry in Myth and Mystery. In Honiton the roll is used in a more functional way to carry pairs from one piece to the next which reduces the need to keep stopping, bowing off and starting again. This strengthens the design structurally, and visually to some extent but the rolls tend to be less bold in relation to the rest of the work. They are generally not so immediately obvious as in Withof because they are rarely at the edge of the work. Honiton tends not to have the 3D, carved-out-of-ivory look that Withof has. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Rib'n'roll
In a message dated 21/01/2005 16:47:09 GMT Standard Time, [EMAIL PROTECTED] writes: I thought it was in Cook, but I looked and it wasn't there. Now I have to look through my vast collection of books to try to find it. (May take a while) Oh yes it is, chapter 9, #48, described as tubular roll finish but illustrated as a join between 2 different grounds. Thought it must be there as it was Bridget that taught me it. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] honiton questions
In a message dated 21/01/2005 17:12:15 GMT Standard Time, [EMAIL PROTECTED] writes: To get the effect of the filling tucked behind the rib, you would have to sew into the pinhole threads through the back of the rib where the non-pinhole side faces the filling - best to avoid this and switch the pinhole side when constructing the rib, I should think - unless that would affect the overall appearance of the rib vis-a-vis the lace. The turning stitch side of the rib goes on the inside of the curve regardless of which side any sewings may need to come from. It is very difficult to get the rib to lie flat if it is worked on the outside of the curve (it folds up against the pins) and you need to do backstitches to try to put extra length on the tape/ turning stitch side; even with these (which in themselves make it hard to keep the tape even) it is hard to get it to stay flat. If the curve of the rib changes it is usual to change the pinhole side. If you are working next to the tape side of the rib, the work will lie over the top of the tape. If you are doing cloth or half stitch as distinct from fillings, you need enough pairs to fill the work right to where you are doing the sewings, ie it should be covering/concealing the rib. The sewings are all done into the pinhole bars as top sewings and are no harder to do from the tape side than from the pinhole side - in fact, when done from the tape side they tend to keep the pin holes open better because they are pulling the tape away from the pins slightly. Sewings are not done into the non-pinhole side, simply because there's nothing to sew into except by pushing through the solid cloth stitch. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Is it a rib
In response to Tamara There are different turning stitches; the least bulky is to work to the turn, twist the worker and leave it and return with the last pair passed through. OK; this is the version I'd like to concentrate on, because it's both simple and versatile, and the one I invariably turn to, when I want a graceful curve, with some shape to it, but without too many pins. It's a half-tape, as it were... In looks, the other turning stitches are the same, the only reason for using one in preference to the others is that they fill the edge better and give more support to a straighter rib. Monkey wrench #1: What if... On the pin-side, you don't do the sewing footside (pin under both pairs), but a winkie pin one instead - twist your worker pair (1, 2, 3 times; whatever's your preference), and work it back through the last passive on the inner curve, twist, leave, pick up the last-worked-through passive pair as your new worker, and scuttle back to the pin-side... Is it *still* a rib? And, BTW, you could have an 8-stick that way... :) If you take the Honiton definition, no, but then they never thought of doing it any other way. You can do an 8-stick with the exchange pair edge, or up to as many as you want. I did a 40-plus-stick in a piece of Withof. Was that still a rib? With a winkie pin edge it would be more difficult to do sewings as the pin holes tend to close up on ribs, because they're not tensioned from the other edge. And if you don't want to do sewings, then have the pins in the centre and a turning stitch on both sides, then you can have a 6-stick if you do the cloth stitch through and back with the same pair edge. Monkey wrench #2: What if... *All* the descriptions of rib (here and in Cook) presuppose that the worker pair moves in CTC - cloth/linen stitch. That's what I'm familiar with, that's what I've always done... But there's also that precocious darling to consider - the *half* stitch... It fills in spaces better than the cloth stitch does (about half the number of pairs are needed to cover the same width), if needfull, but is agreeable to being squeezed to a minimum (possibly more so than cloth stitch). I read about this with interest last time you mentioned it after Ithaca, and haven't tried it yet, *but*.. I can see that it would fit into a tighter space, and that in a thicker thread it would have an interesting texture; what I don't understand is how it spreads out enough to look at all like half stitch without the support of a pin on the opposite side. Surely the returning pair will close the half stitch up, and even with subtle tensioning it will be difficult to maintain an open enough stitch for it to show as half stitch. And when it's a rib without the stretch from the second row of pins, I don't understand how half the pairs fill the same space. It obviously must be pretty special for you to be so excited about it, so bobbins out and sample needed. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: CT/KD
In a message dated 27/01/2005 00:30:40 GMT Standard Time, [EMAIL PROTECTED] writes: Jo, what Alice said is precisely what I meant: 2 colours, instead of 3. That is, green as usual for half stitch (with an extra cross-hatch for the honeycomb. Or roseground in Denmark). But a *single colour* (purple, red, I don't care which) *for both* the cloth (linen) and the whole (double) stitch. The only difference being an extra cross-hatch on the cloth stitch colour, to denote the whole stitch. This is precisely what Cook and Stott did in their Bucks Point pattern books, but for some reason they chose blue for the half stitch and red for cloth/whole stitch. There was a lot of grouching at the time (which was just about when English lacemakers were becoming aware of these fancy, coloured, continental diagrams) because they'd used the colours for different stitches. Now it's possible they felt there would be a clearer difference between red and blue than green and blue which is what the international colours would give, but I would have thought that a mauvish blue would give a good contrast to green. All the other notations (gimps, twists etc) are in black; some heavy, some fine. Anyway, the diagrams are easy to work from and the twists are easy to follow. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] bundle/plait start
Two of my students have just finished their first square of Flanders lace (after some samples), with the overlap join. They both did the join in class, and each of them took about an hour to do it, which is quicker than doing all the sewings and then running in the ends. Yes you do have to make extra lace - but if you make mistakes at the beginning you cankeep working until it's right and then do the edge and overlap from there. Neither of them had cut it! There are instructions in Bridget's bible, and the Lohr book already mentioned and in her tricks and tips book. Take time to line up the join exactly, and to tack firmly either side of it. Choose the longest row of ground possible. Use a much finer thread, this may need to be cotton even if the lace is linen. Make sure the colour matches. Use a fine but blunt needle so you go through spaces not threads. Pull the stitches that wrap around each stitch as tight as you can, but the one that travels to the next stitch only to exactly the right tension for the space, so you don't pucker the lace. And that's it really. The thought of it is worse than the doing. Now, I wonder if they've cut it yet VBG Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Modern Art
In a message dated 11/02/2005 08:40:14 GMT Standard Time, [EMAIL PROTECTED] writes: Two weeks later when the exhibition was removed, the art department staff were very frustrated at not being able to find which of their students had painted it so that they could be reunited. And on a similar line, one of our friends studied engineering at university level. At one point the art department had a prestigious competition for sculpture and 3D installations. This was all set up in a public foyer area ready for judging the following morning. Working late, he manufactured a piece using brass scrap tubing, cogs, radio pieces and other waste materials from his department. It was smuggled into place in the exhibition. The following day he was called by his head of year, and asked if it was true that this thing was his work. He grovelled a bit, apologised and offered to quietly remove it. But unfortunately that wasn't possible, as he'd won. I have seen the piece in question and it is very attractive, if a bit weird, following the Heath Robertson school of design. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Alternative route to Rhiannon's photos.
If any of you are still having problems seeing Rhiannon's photos, I didn't even think of doing a copy-and-paste job. I have the arachne webshots bookmarked (surely you all have too VBG) so I went that route and clicked on newest (as her photos are only recently there). Straight in and hers were the first lot of photos. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] bobbin help (long)
In a message dated 24/02/2005 05:40:45 GMT Standard Time, [EMAIL PROTECTED] writes: Spangled bobbins were designed for flat or almost flat pillows. Though people sometimes use them otherwise, the spangle does not function properly unless it is flat. Except that the spangled bobbin is also known as the English Midlands bobbin, and the traditional pillow to go with them is a large bolster. So they evolved to be used on the gently curved surface of this type of pillow, not on what we would now think of as a flat pillow. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Interesting ebay item
In a message dated 03/03/2005 20:59:01 GMT Standard Time, [EMAIL PROTECTED] writes: Here are some interesting lace bobbins for sale. They look like they have lead weight inside. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemcategory=945item=6159496881; rd=1 An idea of size or scale would be useful to tell if these are lace or weaving - I suspect the latter for the sort of hanging warp weaving we have discussed in the past regarding other very early possible lace bobbins. I have sent a question to the seller asking for more information about this, s as they say Watch this space. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Weighted bobbins
Well, the mystery is over, the bobbins are 7 long, each weight is about 2oz but they have been sold with a buy-it-now purchase so someone really wanted them. At a second look, the thing I did notice was that although they are big and clumpy, the difference in diameter between head/body and neck is fairly minimal, so they wouldn't hold as much thread as they potentially could, especially if the thread was heavier than the scraps on them now. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hair weaving
There is a photograph somewhere on the internet of hair weaving in action. I wonder what I was looking for when I found it! Anyway, it reminded me of working Kumihimo braid and certainly my bobbins for that are lead weighted - three differently weighted sets in fact for different threads. I say bobbins because they are more like a cotton reel shape, which is easier to pass over the Marudai than the long lace bobbin shape. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Using Polyester thread
Catching up on back issues, but I don't think this point has been covered. One of my students made lace to go down the front of a polyester blouse and used polyester thread. No particular problems making the lace, but the reason for choosing the thread was that she was able to throw the blouse in the washing machine, and the lace then ironed up a treat with the same cool iron heat as the blouse. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] another hitch!
And on a related theme to Carol's request for ideas why one lady's hitches won't stay even though using the same thread, bobbin and method as the rest of the class, has anyone got any thoughts about why just one or two threads out of 40 or 50 on a pillow untwist and run the risk of breaking. Malvary had this problem when she was here last and I have encountered it on my own pillow and on those of students. Sometimes it's a worker, sometimes a passive (Malvary had one of each), there seems to be no obvious difference in the bobbin (ie there's another - same make, same spangle on the pillow which isn't affected), no common stitch (ie not always in half stitch or always in ground), and however diligently it's retwisted, as soon as you take your eyes off it for a moment, it's separated itself back into two or three plys and is trying to jump. Jacquie, looking forward to Malvary arriving and seeing lots of you in Bristol. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re:square bobbin report - hitches
In a message dated 02/04/2005 12:21:14 GMT Standard Time, [EMAIL PROTECTED] writes: I have to say - is that threads should *not* be too long, and the pillow should look *tidy* - ie, with all the threads about the same length. Some of the class members are meticulous about this, others - and the lady concerned - just don't seem able to comprehend the need for it But also, if her bobbins slip and lengthen all the time, this could be the reason her leashes tend to be too long, whether or not she understands the reasoning behind it. Have you tried shortening them all to the appropriate length (in the process checking that all her hitches actually are correct as I have known students who *can* do the correct hitch, especially when I'm watching, but don't necessarily achieve it 100%), and then working at her pillow for a reasonable length of time to see if you have any problem. If you can thus rule out a systemic fault, it only leaves something in the way the bobbins are handled. As a correctly hitched bobbins should be stable with a straight tensioning, my guess is that she is in some way angling the bobbin to the thread and in this way unconsciously releasing a little thread each time she handles/tensions the bobbins. Logically this might mean the workers slip faster than passives. And in the same way as it is possible to deliberately release thread more easily from some bobbins than others, so some might react more sensitively than others to a slight mishandling. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hitches and bobbin design
I nearly always use the double head on a midlands bobbin - the exception would be if I have thick thread too bulky for that bobbin, or a very slippy synthetic perhaps, but for normal thread it is as easy to put the hitch on the head as on the neck and is often easier to release thread. As others have said, thread on thread has the risk of catching. The important thing is that the thread changes direction so if it is wound clockwise onto the bobbin, the thread passing into the hitch (wherever it is) should be anti-clockwise. The hitch sits against this change of direction and this acts as the brake. As to the shape of the head - I have one very old bobbin where head looks as if it has been sat on (by lace fairy?). The lower bulb shape is not () but almost (with curves not corners, of course) and then the top is like an umberella or saucer over it, with the edges curving down slightly. It is just wonderful to use, and the thread stays in place. It's this slightly down-turning sweep of the top that holds the thread as the hitch snuggles up under it. Of the modern bobbin makers, I guess Richard Gravestock's bobbins are still following this general principle (why doesn't he get mentioned more on arachne, he is still one of my favourite bobbin makers), and I have some *very* early Springett's bone ones with this shape. The more modern trend seems to be for the top of the head to have a straight sided shape \ / which allows the thread to slide off far more easily. As to Kenn's point about the grooves. This is a common decoration on otherwise plain Honiton bobbins. At the top of the body there are two, three or four very fine lines. They are a pain in the b***. Maybe Kenn isn't using his bobbins to do sewings, or if he is perhaps the thread is thicker than the groove, but the Honiton thread just fits right in there. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] demonstrating, it's tatting! and bobbins
In a message dated 04/04/2005 23:41:55 GMT Standard Time, [EMAIL PROTECTED] writes: One woman came up and said that she used to make lace, but couldn't now as her grip has gone and the bobbins slide through her fingers. Off the top of my head I passed on the thought that if something like the adhesive foam used for window insulation (and the grip bits in bobbin winders!) was stuck onto the body of the bobbins, making them easier to pick up, that might help? She thought it was a good idea, and I think she might try, but has anyone else any thoughts on this? There is a type of bandage (described as cohesive) which is used for horses legs and other veterinary purposes. It sticks to itself but is not sticky to the touch (if that makes sense) and is stretchy enough to be able to make it wrap tightly around a thin, not straight object (ie a lace bobbin, or the inner ring of an embroidery hoop). It is similar to the stuff you put under things to stop them slipping, but is thinner and more flexible. You should be able to buy it fairly easily at a tack shop or feed merchants. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] spring has sprung
Post arrives, and Richard wanders in saying Well, I guess you're the *old* lacer here. Yes, my Bulletin arived in Lincolnshire today. It's never occured to me to ask before, but why is it called International *Old* Lacers? Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] lace and a bad wrist?
Have a look in the archives under RSI for ideas as wrist problems have been discussed at length in the past. As you say it's only every so often it's most likely the muscles and tendons just getting themselves back in condition, and it's a case of finding the best angle of hand/wrist to pillow to minimise it as far as possible. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] overlap joins
If you plan carefully before you start, then the overlap can be a bit smaller than the (I think) suggested 4 repeats. If you decide where you want to do the join, one repeat before at the start and one extra at the end gives plenty to be able to handle it. The other advantages of this join that no-one has mentioned are a) that if you make mistakes at the start of the lace as you are learning the pattern, you work enough that this bit can be cut off. b) If you want more than one piece of lace (as in a set of mats) then you can just keep working for as many times round plus the joining bits as you need to. And finally, c) even if you are working different patterns, you don't need to rewind your bobbins and throw all the thread away because you can use bundles of single bobbins plaited to where you want to start. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] overlap joins
Do these joins work well on heavy (thick thread) laces?...As I want it to look good (it's a special present for friends), and wasn't happy with the way the first repeat or two turned out, making extra and overlapping sounds like a good idea, No, not really. It is traditionally used to do joins across the grounds such as Flanders where 4 pairs are used at a pin hole so the stitch at each pin has a lot of *body* to it and several sewing stiches work around the perimeter of the hole. It probably wouldn't be strong enough, for example, on a point-ground ground as there is only the one cross movement and an uncovered pin. It would just pull apart. Problems with overlapping leaves and sewing round, apart from the bulk, will be is that they will both need to be identical in shape to be inconspicuous, and making sure the weaver is secure so the whole leaf doesn't unravel. With plaits, it will probably be hard to keep them on-top-of each other rather than next-to (which would obviously show as it would then be twice as wide) and also anchoring all 8 ends so the plaits don't fray and fluff. For your plaits and leaves type lace, take a look at Ulrike Lohr (+?)'s The beginning of the end where she shows how to finish leaves and plaits into the back of themself with a magic thread and then a hitched bundle. Depending on how awful you think the start is, (and how many pairs and how much patience you have) it should be possible to cut the starting loops and un-lace to where you are happy with it, work the end of the lace until it matches and knot the matching ends together, *then* lose the ends into the back of the leaves and plaits (but in now in both directions as you have two sets of ends) as above VBG Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] books and articles wanted
Out of curiosity, is the 1923 date a fixed in stone (perhaps for 5 or 10 years?) or an 82 years before now date that has been decided on as a suitable period for the cut off point? In that case, does it move on a year each year, ie next year 1924 books can be used? Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Another table cloth pattern
One of Ann Moore's patterns (on her web site, google search will find it) is for a table cloth/mat/tray cloth etc and has advantages over the Veronica Sorenson one in that the borders all fit all the size middles. It is sold as a self-contained booklet and as she sells direct I would think it is probably still available. I have a student making the VS one and she had reached the penultimate round and realistically decided she was losing interest in it. She felt that if she missed a round then she could face the outer one and settle for a smaller cloth. However, because the pattern develops and each round is wider than the previous, you can't just omit one, so some fairly major redrafting was needed. The VS one is probably more interesting to work *because* each round is different, but know your own limitations. Onother student has made the one that Biggins sell, and it is just beautiful. I have some photos of it if anyone is interested. She joined it one the pillow as she was working it, which means that the tension in the join is the same as the lace because it's all pinned, and when it was finished it was blocked out and lightly spray starched. Do think how you plan to finish and store your cloth after all that work. Jacquie. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
