Thanks for all the reassurance that it's ok (in the North American tradition
at least) to jump around in my lace making. My first lacemaking was in
England and I think that's where the notion of a very structured approach
got into my mind. While there are sound reasons for that, I think like
othe
Hello Clay, hello everybody,
. In Europe, lacemakers "typically" learn the
> lace that is traditional in their region, and they usually
> learn it in a very structured way, that is to say, there is
> a traditional course of stitches, variations, patterns, etc.
> Examples of the expectations are th
ng from the development
of other arts in the Americas, that is not an unrealistic
expectation.
Clay
Clay Blackwell
Art (and now Lace) Historian
Lynchburg, VA, USA
- Original Message -
From: "Lorelei Halley" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Thu
Oh. Lorelei...So goodto hear that you are a "lace frog", also. I often think
how much more profecient I would be if I had spent my time and efforts
concentrating on one or two particular laces. I want to try them all, get all
excited, buy an appropriate book, devour it. Then, I play in that "sa
Julie
I'm like you. I jump around from one form of bobbin lace to another.
Mostly because everything I see fascinates me, and I can't help myself. I
want to learn it all! When I first started, I stuck with torchon for about
a year and a half. Then I took my first workshop ever, in Honiton with
