So, I am just about catching up.
On Jan 11, 2005, at 9:24, Sue Babbs wrote:
The jacket is very nice but, what with the lace being copper on copper, and a "trim"... Probably, it would take a lacemaker to even notice it, much less appreciate it.
But the copper lace is quite "deep" or thick - however you choose to think of it. The particular metallic threads used have made it seem to be quite textured. When seen in reality (rather than a photo) it is actually very noticeable on the collar (probably more than the lace on the pocket which is on green). Perhaps this is because it is more at eye level (and hterefore rather in your face!). Anyway people do notice it (At least as much as the quilting on the jacket).Where I live wearable art is often worn, so people get used to talking about how garments are made. I also mix with a lot of quilters, weavers, beader, embroiderers who are fascinated by lace because very few people make it.
The Blue Moon scarf, OTOH... Oh my!!! What a fantastic use of Cathy Belleville's pattern! http://community.webshots.com/photo/148719591/249126217mYSJbN
or:
http://community.webshots.com/user/arachne2003-date
then: Sue Babbs, then second page of her album, and it's the 3rd photo...
It was in an OIDFA magazine - the delay has also been caused while I tracked down where I had filed my prickings (in my BInche file, but I didn't think of looking there!) It came from issue 3, 1999. Cathy's pattern is for a bookmark called "Moonlight Serenade" which I had greatly admired for ages. It had struck me a while back that many bookmarks would make excellent scarves if enlarged. I didn't enlarge the pricking - I simply photocopied the working diagram and worked on that, adding Paris ground to go round the neck and removing the moon on the second side. Two birds I was happy with, but not two moons! Working on the working diagram is the best of all worlds in Binche, as far as I can see - but then I really don't like to pause the flow of lacemaking to look at working diagrams. On the working diagram, you can keep working without constantly looking at it to see which pairs/ what stitch to use next, and it is easy on the eyes.
I worked it in UKI Supreme cotton 10/2, and 3/2 for the gimp. I had bought this at a weaving shop I find on Washington Island, Door County, Wisconsin - a real treasure of a place! Shame it's about 5 hours drive and a ferry ride a way! I guess if you search the internet you can find mail order suppliers.
I have found that at this time of year, when homes are very dry that the cotton tends to cling to itself and wants to fold over as I wear it. This didn't happen in the autumn when it was more humid. So other climates may not have the problem at all. (This is the time of year when we are told that our homes need humidifiers and are drier than the Sahara. Certainly the house plants need more water at this time of year)
I am planning to send more detailed photos of the scarf to OIDFA (when I can find where I put them!) in case they want to publish them
Sue
- To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
