Re: [lace] Temporary pins in Binche
Susan please remember always it is your lace it is your interpretation of a pattern and unless you are submitting your work for assessment, your lace should be done in a manner that is convenient for you, and makes life easy for you. Always ignore the lace police they only have power if you allow them to. Anna from a cold wet Sydney On 8/9/18 4:09 am, Susan wrote: Thanks to all who wrote & saved me from the lace police! Good to know that support pins are “legal” & encouraged. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace, not Lace catalog
Ugh. I forgot that my email transmission don't work unless i send them through the google mail site, instead of my mail program. Sorry for the duplication. Dear Janice, I think the best photos would be the ones that are in the catalog, which will be available from Amazon for $30.00. Those people attending the opening and visiting the exhibit might like to buy the catalog from the museum to show support for them taking the risk of holding an exhibit of art made from lacemaking techniques. Three cheers for the Hunterdon Art Museum! Also, you could save money on postage. The catalog is 76 pages long and has photos of all the work except Manca Ahlin’s new piece, because it will only exist as of Sept. 23rd. There is an entry for each artist giving information about the artist’s work and background. Also, I asked each artist how they learned to make lace which I thought was interesting, since, as we know, it isn’t the easiest thing to find instruction in. There is an essay by Dagmar Beckel-Machyckova describing the economic and governmental environment in Czechoslovakia that encouraged Czech modern lacemaking. The essay focuses on Milca Eremiasova who has taught and mentored Dagmar. There is also an essay by Lieve Jerger in which she explains the iconography of the Carriage of Lost Love, why she started it and what it means to her. I was overwhelmed by the generosity and skills of members of the Brooklyn Lace Guild who helped with the catalog. Elena Kanagy-Loux and Amy Mills did some sophisticated photo editing, hence the likely superiority of these photos to those that will be taken at the opening. Elena also did some great graphics for the glossary. Kathleen Collins spent an incredible amount of time designing and laying out the catalog and it shows. Kathleen works in art publishing and has decided to start her own press, Openwork Imprint. The mission of Openwork Imprint is to bring together new perspectives on textile-based processes and practices. I am also very thankful to Nancy Neff, a published author in her own right, two times over, for her help in editing. It was a wonderful experience working together as a team to produce this catalog. I thought it was very important to have a catalog because when a museum wants to put on a show the first thing they do is to collect catalogs of similar shows. Also, once the show is over, the only lasting record of it is the catalog. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Lace, not Lace opening Sept. 23-catalog
Dear Janice, I think the best photos would be the ones that are in the catalog, which will be available from Amazon for $30.00. Those people attending the opening and visiting the exhibit might like to buy the catalog from the museum to show support for them taking the risk of holding an exhibit of art made from lacemaking techniques. Three cheers for the Hunterdon Art Museum! Also, you could save money on postage. The catalog is 76 pages long and has photos of all the work except Manca Ahlinâs new piece, because it will only exist as of Sept. 23rd. There is an entry for each artist giving information about the artistâs work and background. Also, I asked each artist how they learned to make lace which I thought was interesting, since, as we know, it isnât the easiest thing to find instruction in. There is an essay by Dagmar Beckel-Machyckova describing the economic and governmental environment in Czechoslovakia that encouraged Czech modern lacemaking. The essay focuses on Milca Eremiasova who has taught and mentored Dagmar. There is also an essay by Lieve Jerger in which she explains the iconography of the Carriage of Lost Love, why she started it and what it means to her. I was overwhelmed by the generosity and skills of members of the Brooklyn Lace Guild who helped with the catalog. Elena Kanagy-Loux and Amy Mills did some sophisticated photo editing, hence the likely superiority of these photos to those that will be taken at the opening. Elena also did some great graphics for the glossary. Kathleen Collins spent an incredible amount of time designing and laying out the catalog and it shows. Kathleen works in art publishing and has decided to start her own press, Openwork Imprint. The mission of Openwork Imprint is to bring together new perspectives on textile-based processes and practices. I am also very thankful to Nancy Neff, a published author in her own right, two times over, for her help in editing. It was a wonderful experience working together as a team to produce this catalog. I thought it was very important to have a catalog because when a museum wants to put on a show the first thing they do is to collect catalogs of similar shows. Also, once the show is over, the only lasting record of it is the catalog. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] 2018 Arachne Card Exchange
Hello Fellow Lacers: I just had the first cataract eye surgery and so this week have basically been unable to do my norm. So, i thought that it best to allow a few more days yet to join in the fun. I will do the pairing up on Tuesday 9/11 in case you wish to join in. I wish to thank those who have been responsive so far. There is nothing like the sense of accomplishment for making a cherished masterpiece. Cards and ornaments are treasures in life and bring smiles to all who use and/or admire them and share the pleasure of a gift from afar with those near. As a reminder, this year the schedule will go like this: August 17 Sign Ups begin and until September 7 extended to 9/11 September 9 Exchange partner assignments made and emailed out December 1 All cards should be in the mail, please Same guidelines apply as the previous exchanges: send in name, snail mail address, email address, how many cards you wish to make to share and any geographical preferences to me at *linhud...@gmail.com *. After making your card(s) please take a picture and email directly to me. If you wonder if your partner was able to send in a photo of her card sent to you, just send one upon receipt and I will make sure everyone is represented. If you have any questions or preferences, please feel free to email me linhud...@gmail.com. This is just too much fun. Come take a bit of fun for yourself. Happy lacemaking. Hugs, Lin and the Mali [image: http://www.amazing-animations.com/animations/goodmorning15.gif] Lead me into all misfortune. Only by that path can I transform the negative into the positive. - Ancient Buddhist Prayer. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Re: Starching question!
Thank you to everyone who responded to my starching question! Apologies that I couldn’t reply individually, I’m up to my ears in bobbins but I really do appreciate it. I have come to the conclusion that the best idea for this project is to use magic sizing rather than starch, so the piece has more body but isn’t too stiff. This way hopefully the silk will not lose it’s sheen, as I’m only spraying the back side. Thank you again! Best, Elena - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Bobbin management
Clearly bobbin management in the Flemish laces, is part of the key to success, as there are so many ways for bobbin management out there. Whatever system is used has to be a match between the bobbins and the holders. I use the standard Binche bobbins, and the wood and elastic holders. The wooden ones that are about 3/4 inches, 2cm wide do not, in my opinion, do the job. Bobbins wiggle and fall out at too great a rate. John Aebi's, (a retired American woodworking teacher married to a lacemaker, I believe) has an improved wood and elastic bobbin holder. It is just as thin, but it is much wider, so that a standard Flemish bobbin of almost any sort fits the width from the wooden bulge at the bottom to the stop at the top where the thread is wound. I hope I'm making myself clear. The elastic is beefy, and I usually make it tighter with a knot. I like them so much that for one Christmas one year I requested four dozen of these from my son who is a woodworker. Good I asked for so many, because he says he won't make any more. Cherry. I get the elastic from a common fabric store. The pieces of wood are tapere! d at one end to make scooping up bobbins more convenient, and there are holes drilled in the same place on each piece so you can pin a stack of them to the pillow with long pins when traveling. It's not perfect, but it certainly works for me. Lyn in Lancaster, Pennsylvania, USA "My email sends out an automatic message. Arachne members, please ignore it. I read your emails." - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace, not Lace opening Sept. 23
Devon, It sounds like a fascinating exhibition. Wish it was on the west coast so that I might see it.  I was pleased to read that there will be quite a number of needle lace pieces in the exhibition.  I hope you might be able to post some photos to Flickr for us all to see and drool over.  Good luck.Janice Janice Blair Murrieta, CA, jblace.com - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Temporary pins in Binche
Hello Susan and everyone Another option for keeping the outgoing weaver pair under tension: make a short, temporary plait with it and a nearby passive. Undo the plait when the pair is needed in its new role as a passive. My preference to that or a temp. pin is to swing the outgoing pair at right angles to the new weaver, tensioning with the next two pairs, the new weaver and its first passive. As Adele mentioned, the threads will tension all in place even without temporary pins. Whatever works, of course! Definitely practice by doing more Binche! The more familiar you are with it, the easier to manage. Confidence building. My aim was to become somewhat free of the diagram in that I didn't have to keep a mark-up copy. So far so good on the latest project. All the same I'm a fan of the removable arrow stickies for keeping track :) And here is a bobbin minder "hack" - I ran out of sticks-and-elastic on this latest project; I'd seen neat wooden tray-type bobbin holders before, made by the lacemaker who was using them. What would I have on hand instead...I put a wide-ish elastic band around an empty CD jewel-box, and that worked fine. The thin style are best. I make use of cover cloths too, layering small groups of bobbins between cloth instead of using bobbin holders. Risky if using too many bobbins though in case of tangles. HTH in some way lace on Bev On Fri, Sep 7, 2018 at 11:13 AM Susan wrote: > Still wrestling with bobbin management so Iâve ordered more tamers. -- Bev in Shirley BC, near Sooke on beautiful Vancouver Island, west coast of Canada - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Temporary pins in Binche
Thanks to all who wrote & saved me from the lace police! Good to know that support pins are “legal” & encouraged. I have never used a “ghost pillow” so have been using sticky arrows on a greatly enlarged copy of the working diagram in a clear plastic page protector. I also numbered the pinholes to help keep track of where I am. Still wrestling with bobbin management so I’ve ordered more tamers. Thanks again for lending a hand! Sincerely, Susan Hottle USA Sent from my iPad - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Practice
Adele, in your response re support pins, among the others, I think you make a good point: 2. Get lots of practice. Many lacemakers just make a few short samples and call it a day. Pick a pattern and make a couple of feet of it; long enough for you to go through the pattern many times, and then you’ll be much more comfortable with the process. I am thankful for many reasons that I don't have to make a living for myself and my family by making lace. I'm healthier, more comfortable, and I have a better understanding of lace in all its variations, along with its connection to history and sociology than most of them did. BUT, they knew their pattern. We tend to make something in a class, and might finish it when we get home, but not necessarily. Then it's put away and not done again for months, usually. And we tend to make bits and pieces, seldom a whole handkerchief. To say nothing of yardage. I am guilty of this, too. But I used the appropriate lesson in Ann-Marie Verbeke-Billiet's Binch Syllabus I to learn to make tallies, where it is a handkerchief edging filled with tallies, and you're expected to finish the handkerchief. Practice certainly does make better, if not perfect. And I learned a lot about all sorts of things when I made the edgings for the altar cloth, some 9 feet on one altar, and there were! two. Same pattern. Wow did it go faster at the end. I make lace almost every day. It goes along with my one LARGE cup of morning coffee. Great way to greet the day. Of course, now I'm retired, children long gone. Since I make no money from my lace, its priority is actually well below a number of other things, even now as a retiree. But I think daily lacemaking, where your pillow is always set up, bar cats, dogs and children, is very helpful. Lyn in Lancaster, Pennsylvania, USA, where the heat wave has finally broken and the air conditioning isn't a necessity. "My email sends out an automatic message. Arachne members, please ignore it. I read your emails." - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Lace, not Lace opening Sept. 23
All are invited to the opening of Lace, not Lace: Contemporary Fiber Art from Lacemaking Techniques at the Hunterdon Art Museum in Clinton, NJ. Yes, this exhibit that I have been working on for years is due to open Sept. 23, 2018. The reception with wine and snacks is 3-5. I will speak at 4. At 5 pm we will go out to the Toshiko Takaezu Terrace where two of the large lace Urchins will be on display. Choi + Shine will speak about the Urchins at 5. There will be food trucks and music on the terrace and it will be a pleasant time to relax until 6:50 when the sun goes down and the first lighting of the Urchins occurs. Details can be found here: https://hunterdonartmuseum.org/future-exhibitions/ There will be 41 works of art by 28 artists representing 11 nationalities. Forty of the works will be in either bobbin lace or needle lace. I am thrilled that we have artists who were among the pioneers of contemporary lace in the later part of the twentieth century as well as new practitioners. Lieve Jerger’s Carriage of Lost Love, a life size wire bobbin lace carriage, will be assembled in the River Gallery, a rare opportunity to see this “work in progress” which has been in progress since 1977. The following works will be at the show, which runs from Sept. 23 to Jan. 6. Manca Ahlin: Corona, a large lace doily with fiber optic cable representing the sun and the potential of solar energy. Also, Mani Lace Wall, a work based on her travels in Tibet. This has never been exhibited before. Jane Atkinson: Seableed, a new work in bobbin lace, never before exhibited raising questions related to climate change. Daniela Banatova: Danae, an abstract work in bobbin lace, suggesting a matrix of cells. Dagmar Beckel-Machyckova: Habitats of Hypocrisy, a new work in Czech modern lace style addressing issues of food production. J Carpenter: Citrinitis, a house shaped work in bobbin lace addressing concepts of security and sanctuary provided (or not provided) by domestic institutions. Choi + Shine: The Urchins, large crocheted sea urchins in reticella style, originally shone at the 2017 Marina Bay Ilight Festival held in Singapore. They glow, and they move with the wind. You can stand in them. The Urchins will only be on display September 23 until October 7. Jill Nordfors Clark: Sepia Bowl, worked in needle lace with dyed hog casing, a process based on Native American practice. When the hog casing dries the piece becomes rigid. Milca Eremiasova: Small Theatre, Church of San Salvador, Gothic Window, Fountain, these are lace sketches from the collection of Milca’s student Dagmar Beckel-Machyckova. It is a treat to have four pieces from one of the greatest Czech lace artists of the late 20th century. Pierre Fouche: Judgment of Paris II, part of his triptych in which he combines bobbin lace with macramé to make figural pieces often drawn from newspaper and internet photography. Laura Friesel: Winter, a “lace painting” in bobbin lace based on a classical Japanese poem by Minamoto no Sanetomo. Alex Goldberg: Invisible Place, bobbin lace made in Monofilament “invisible thread” from 19th century patterns. The invisible lace is visible only in shadow on the wall. Maggie Hensel-Brown: Staring into the Void, Not Hungry, Just Bored, Coping Mechanism II: Get Stoned and Watch Boats, Dancing the Dance of the Special Boy for Sixty Seconds or Less. The artist uses punto in aria technique associated with heroic laces of the 17th century to depict unexceptional moments. Agnes Herczeg: II-34, inspired by prehistoric art, the artist combines needle lace and plaiting in this image of a woman which is built into the crook of a twig. Ros Hills: Purse 2 and I am woman, two pieces exploding in color and texture in needle lace by the artist whose work “Purse” was bought by the V & A for its collection. Veronika Irvine: Triaxial Arrowheads, Bee Prepared, Delle Caustiche, three works by mathematician Veronika Irvine whose computer-generated grounds are one of the most interesting new innovations in bobbin lace. Nava Lubelski: [a cast of my left hand in the shape of a] glove, in which the artist has worked around her left hand using her right hand to stitch with and including found objects to create an impressionistic glove. Dorie Millerson: Airplane, Taxicab, Catboat. These three tiny sculptures in needle lace engage in shadow play when installed in a corner. The artist created “Catboat” especially for this exhibit because it is a boat that is significant to New Jersey in its history as a working boat, and as a recreational boat. Penny Nickels: Just Girly Things and The Jersey Devil. Just Girly Things, in its debut appearance, adopts a gros point style to explore the artist’s feelings about a particular internet meme. The Jersey Devil also makes its debut appearance, appropriately, in the state that it haunts. The New Jersey folklore demon, the Jersey Devil, is depicted in needle lace taking over 1500 hours to make. The result is a very
Re: [lace] The whys & wherefores of using temporary pins in Binche
Hi Susan: Normally I don’t use support pins in Binche; I have learned tensioning methods that work well for me. Of course, when I am in a class taught by a support pin fanatic, I use them. Life is easier that way. Here’s the thing - if I understand your description, you’re cloth-stitching across a row inside a motif, at the end you drop the weaver, take the next pair to it and cloth stitch back across the row. When you get to the end, tensioning that row pulls against the first weaver, pulls it away from the edge of the motif, and creates a hole. That does not happen if, while you tension, you hold down that first weaver. The two pairs pull against one another and the tension is nice and even. Now, it does round off the corner of the row a little bit, but you’re not looking for a 90 degree angle anyway; you want a nice, rounded, filled motif. One of the fun things about these types of laces is that you will often make 2 or 3 rows before there’s a pinhole. Yes, it does work! You can make 3 rows, put up a pin, and use that to tension all 3 rows. I find that satisfying and exhilarating, but don’t do it in a class where you’re expected to put in support pins; the teacher will get really excited, and not in a good way. I think the secret when you learn these laces is: 1. Don’t obsess; it will take the joy out of your lacemaking. Tension as best you can and then move on. and 2. Get lots of practice. Many lacemakers just make a few short samples and call it a day. Pick a pattern and make a couple of feet of it; long enough for you to go through the pattern many times, and then you’ll be much more comfortable with the process. Hope this helps. Adele West Vancouver, BC (west coast of Canada) > > Hello All! I am working a small beginner sampler & the weaver changes every > other row. Since I do not know what I am doing (!!), this has lead to small > holes in the slanted edge of the cloth work. While I suspect this is a > tension issue that I must overcome, should I use a support pin at that point > to help keep the newly discarded “weaver turned passive” in place? Remove it > after a few rows? Temporary pins can create holes too so maybe this is a case > of a double edged sword. I am using the most delicious color of pale pink > Aurifil 50 so I would like to make decent lace. Suggestions are welcome. Many > thanks. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Holes in Binche
Hi Jane, I really don't think so. The best old Binche / Val have very few holes at the corners and curves of the cloth-stitch areas. Might you be thinking of Flanders and modern Val? They have holes between the outer ring and the inner ring pair. Nancy Connecticut, USA On Thu, Sep 6, 2018, 15:31 Jane Partridge wrote: > ... one of the laces was to be identified by the small holes around the > edges - it wasn't Binche, was it? If so, trying to avoid the holes might be > removing an intentional effect??? > > - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
