Re: [lace] lace collections
In a message dated 19/07/2005 14:18:54 GMT Standard Time, [EMAIL PROTECTED] writes: I have even heard of lace guilds selling books Yes, The Lace Guild is, but when they get 'common' books as part of a bequest, and have several copies when even one is rarely borrowed anyway, surely it is sensible to turn a liability into an asset. If I decided to leave my lace things to them, I would perhaps be upset (from the other side?) if they sold off what I consider to be 'special' pieces of lace, or a rare first edition of a book, but I wouldn't expect them to make *my* copy of Little Grey Rabbit Makes Lace *their* 27th one! I am currently selling books for 3 students who have had to stop lace for health reasons and for the family of one who has died. As I have multiple copies of some books, I know just how the Lace Guild feels. Jacquie in Lincolnshire - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Harry Potter movies and the reluctant husband.
Alice, did you really mean this (in reference to Harry Potter) or was it a typo? I drug him to the movies, but he has never read the books. I have a feeling it should read drag, but your typo may be more accurate. Jacquie in Stamford To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Nottingham bobbin
I have been thinking about my favourite bobbins for the Canadian Lacemaker Gazette and in the process considered a style of bobbin that I bought at the Nottingham Lace Museum (where the machines were on show) many years ago. And then when I was teaching this week, I noticed one of my students who had been on the same trip was using hers, and she also commented how much she liked it. The head is a most unusual, elegant shape, a flat 'collar' at the top of the neck with a long pointed top. Where the two parts of the head join, there is a rounded groove, and it is this that holds the thread so well, even when it is quite thick for the size/scale of the head. I will add a photo of it/them to my webshots later in the day, because it's hard to describe just how they look. I bought two - a fancy wood and a painted one, and she had just bought the painted version. We were both sceptical as to whether that shape of the head would hold the hitch, which is why we didn't buy more. But it does and I wondered if anyone knows who made them, and if they might still be made. Jacquie, in Lincolnshire England - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Lacemaker by Vermeer
I have a half worked version of this as a wool on a printed canvas tent stitch embroidery. I bought it from a lace supplier (Hornsby is ringing memory bells) many years ago. It is not a great success as the scale of the stitches does not suit the detail in the picture, especially around the hands, bobbins and threads, and the directional line of the tent stitch means that more detail is lost or distorted. But I did learn that I hate working on pre-printed canvas. Maybe I'll finish it one day, and use it on the side of a pillow bag or similar. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Cleaning Antique Bobbins/Spangles
Like Carol, I also have no qualms about re-spangling antique bobbins because I don't believe that many 150+ years old bobbins are still with their original spangles anyway. If the spangle is still good and a size that I like I will leave it, but if it is too large for my taste or has sticky-out bits of wire , then I redo it. I want to enjoy using my old bobbins and I can't if the spangles irritate me. As far as possible I keep the right beads with the right bobbins but spares from the very large spangles are used to bead old bobbins I bought without a spangle. As for cleaning, for wood I recently bought some furniture and polish reviver which I now use for wood. It's liquid, so it could be used with a fine brush or cotton bud to clean small areas and it works extremely well. I have used it on a section of a wardrobe door which we got from an old farm where everyone were heavy smokers. It was filthy but I have been wary as to what would be the best thing to clean it with (it's an Edwardian wardrobe, with the original delivery note to the Duke of Buckinghamshire still pasted to the top). It took all the dirt off and brought out an amazing gloss and wonderful colours in the walnut veneer panel. I had tried it at the show on an old bucks thumper I had just bought from a junk stall, and it had obviously been damp and exposed for a while as it had that dull look. The polish stuff brought it up a treat and hasn't left a greasy/oily/waxy residue. Just after I bought it there was a post on arachne (lace or chat? don't remember) about a polish made with turps and vinegar and this is basically what mine is. The ingredients are pure turps, linseed oil, white vinegar and sugar (in that order), but obviously there's no proportions otherwise we'd all make our own next time! But at less than GBP4 it's probably not a lot cheaper to make it as the ingredients are mostly quite pricey. Whoever wrote about it, may like to repost. If your bobbin is bone then a damp cotton bud or a tiny bit of fabric on a tooth pick or similar and just gently rub the dirt away from the undecorated areas. If it won't come off with rubbing with damp it probably won't come off in use either. Jacquie in Lincolnshire To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] glass bobbins
Clay said So the short answer to your question is that these bobbins aren't any more expensive than others, but they are more fragile, so the expense will be in breakage. But on the other hand, I have probably a dozen glass bobbins and in 25+ years have only ever broken one. That was on my pillow, inside a bag, on a table and I was leaning over to see what someone the on the other side was doing and quite without thinking about it put my hand down on the bag to keep my balance. The bobbin broke clean across. However, in the last year or so I have had a run of wooden bobbins breaking - four now, I think, so like any other tool for any craft there is a need to replace at intervals. Aren't we lucky! I'm just a little extra careful with my special bobbins, whether that special-ness is from extravagance or sentiment. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] resizing patterns
In a message dated 24/06/2005 04:31:09 GMT Standard Time, [EMAIL PROTECTED] writes: Is there a general rule of thumb for enlarging or reducing a pattern if you wish to use the /Threads for/ /Lace/ book and use a different size thread than the pattern recommends? To add to what Tamara said, for the continuous laces, at the front of the 'Threads' book there is a section on which span of thread sizes fit each grid (along with the ideal wpc count for that grid). So, if you know which thread you want to use you can look here to see which size graph you need. For your Milanese it's probably easier, in the first instance. to put a piece of graph paper on the pillow, wind the thread you want to use and start with a cloth bandage. Use the graph to keep your edges straight and allow the thread to tell you how much space it needs widthwise and hole distance. Once you are happy with the cloth, do some braids keeping the same spacings. This sample will then let you decide whether you like the heavier thread, both to look at and work with. Is there a point that you can enlarge or reduce the pattern too much? Depends! I used to think I didn't like the Point Ground laces enlarged, but then I saw the Blue Moon scarf.So long as the thread is right for the size you are working and the scale is right for the project as a whole then the answer is probably not. However, if you are working way outside the accepted parameters of a style, it is probably a good idea to do a reasonable sample to see if the actuality agrees with your vision. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Website, Brazilian bobbin lace
In a message dated 21/06/2005 10:09:31 GMT Standard Time, [EMAIL PROTECTED] writes: What struck me as being odd, is that they are doing this for money, but making BL with lots of petals which surely isn't the quickest of techniques. A lot of Asian/Chinese torchon/Cluny typle BL also has petals. Yes, but for visual impact they have got to be worth every minute spent. The mix-up of all those colours works because of the blocks of plain colour in the leaves. If you look at the shoulder bag on the products page its the leaves that stand out and makes the whole thing 'work'. Also think about the silk Maltese, made for sale earlier last century and it's the fat, overlapping leaves that give it the wonderful texture; they catch and reflect the light and quadruple its value from just 'ordinary' lace. It's a pity there isn't a picture of the 50 hour blouse (or I can't find one) to see how much lace there is on it, because I'd love to get an idea of how fast these lacemakers are. I always remember Doreen Fudge telling us the Midlands lacemakers could make a Beds collar (and we are not talking small or narrow here, one of the ones with a wide back and shaped, hanging down fronts) in a day and a half. Jacquie. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fingerloop braids.
Jeri is cruel bringing this to our attention when I already have s much lace I should be doing. I also make Kumihimo braids and am interested in comparing the two ways of making a braided/woven lace. I've not started yet (resisting hard as I'm about to go on a 2 day Withof course with Yvonne Scheele) but on reading through Lady Bindloss's Braid Manuscript from pre 1660 I came across the following frustrating entry:- 26. To make a braid of :40: bobbins (I omit this set of instructions since it is not a fingerloop braid. Plus, the handwriting was close to illegible, sorry!) Well, some of us would still be interested even if it's not a fingerloop braid. Some of the earlier ones there is a copy of the script, along with a transcription and a translation. This one just shows the braid, which is flat with a textured chevron design. So, I wonder how it is made. It is very unlike the plaited lace of the time so I am guessing that she is using the general definition of bobbin as a thread carrier. But how frustrating. Jacquie in an overcast but still very hot Lincolnshire - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: [lace-chat] Question about lace supplies for convention
In a message dated 19/06/2005 04:38:49 GMT Standard Time, [EMAIL PROTECTED] writes: You'll need two work cloths and, for both laces, you'll need similiar ones - a square or round cloth with a small (no more than 2) hole in the middle. Depends on who the teacher for Honiton is! Really you should use 3 or 4 ordinary cover cloths, preferably a reasonably light weight (plain dark coloured) cotton fabric, and you dress the pillow with a triangular hole using 3 or a square/rectangular hole using 4. The cloths are pinned low down on a proper Honiton pillow (or way out at the edges if you are improvising with another sort) so they need to be big enough to do this. They are stretched absolutely drum-tight (so you need 6 or 8 strong flat-headed pins) and the last cloth is the one at a 90 degree angle to the predominant direction of work (to give the flattest working area). As you go round curves you often change the *top* cloth by swopping the positioning of the ends relative to each other (NOT completely re-dressing the pillow). But by having the cloths tight, the bobbins pass over the edges with little difficulty anyway. This tight-to-the-pillow arrangement means you can also use a slider (a piece of acetate or clean x-ray film with 'very' smooth edges) under the cloths (not held by pins) and it covers any exposed pin heads so your very fine thread doesn't catch and break. Having the separate cloths also means you can have a much smaller uncovered hole - most Honiton beginners motifs are less than 2 across so the round-hole cloths would expose the complete motif and even if you keep sliding it about you can't get a tight down to the pillow edge to work over and you can't get the tight fit needed to hold a slider. And the rest of the cloth tends to 'flute' on the pillow which the light weight Honiton bobbins hate, they like smooth to work on. The cloths don't need any fancy hems, I just tear mine so there is as little bulk as possible under the folded over edge, and wash them in the machine a couple of times, after which they don't fray any more, but if you are uncomfortable with that, a zig-zag edge is sufficient. Hope this helps, 'cos apart from the number of them (but you can never have too many cover cloths anyway) these torn cloths will be much easier to make and more useful for other lace in future if you don't take to Honiton. I use the same arrangement for all my part lace - Bruges, Duchesse, Withof and Milanese and have never owned a cloth with a hole. But I have seen them used very successfully for the 'bigger' types and watched students struggle with them for Honiton. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Green cards?
Presumably the need for a green card doesn't only apply to Canadian teachers? and Some of my friends have presented at scientific conferences in the US and it's always been a hassle for them to get work visas - and that's when some admin department somewhere has been doing all the leg work and they've just had to fill out the application forms. I can't imagine how tedious it must be if you constantly have to deal with this sort of stuff yourself. Just a thought in response two these two comments. I'm feel sure the organisers must know which of their selected tutors need and more importantly, make sure they can get, any extra necessary documentation *before* they advertise that particular course. I am convinced that no-one involved in an event for this size would be so naive as to leave this major detail to chance. And I also thought that Lenka had taught in the States before so *she* must have known about this when she agreed to teach the class. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: ten-stick
There are three turning stitch variations that I know of, my definition of a turning stitch being the way to reverse direction without a pin, and this is how it has been referred to by the various teachers I have studied, with regardless of the movements used. First is the one that Tamara talked about which I was taught by Beryl Maw and Pat Perryman and I believe is in the Luxton and Thompson books (too tired to look it up as I didn't get home till 1.30 this morning) where you work through to the end, twist (only) the worker once and leave it and return with the last-pair-passed-thru, ie ctc at the edge. The next is Pat Read's ctctc Milanese variation Finally, a second one also taught to me by Pat Perryman, where you work to the end of the row and then with no twists at all, return with the same pair, ie ctc,ctc. I use the first and last for rib/tenstick. Because of the different bulk created by a 3 or 6 movement stitch, I might use both in the same piece of work or even on the same rib because the ts shouldn't show. For tight to medium curls I would choose the first, for medium to almost straight I would use the third. The ctctc is the hardest to use for rib *because* the pairs are split, and it is more difficult (therefore slower) to make sure that there are absolutely no slightly looser threads left at the ts side; the culprit could be in the edge passives or the workers. It is used in the Milanese braids because, by tensioning the correct combination of threads, you can a) move it from side to side, b) move it backwards and forwards and c) once you have tensioned everything tightly it locks in place to a large extent. This complexity isn't needed in a rib, so there is little point in using it in this situation. When you are doing rib, remember Pat Perryman's description - you are making a tape not a piece of string, so keep the passives flat and an even width, not pulled as tight against the pins as you possibly can. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Did you know
16. Q. What is the only food that doesn't spoil? A. Honey There is a record of some archeologists in Egypt who found a large urn filled with 2000 year old honey, identified by tasting (probably a long time before the health and safety current climate), the only thing wrong with it was that is had little black bits in it. On further investigation they were found to be bits of hair off the head of the baby which was preserved in the honey! We still have to put a best-before date on the honey we sell - the British Beekeepers' Association recommends 18 months to 2 years purely on the basis that most people will have eaten it by then anyway. We're not allowed to label it with If you insist on a date then bb end of 4005 Bureaucracy gone mad. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] The sad demise of Miss Moore's machine - long
As well as Arachne, I also belong to some CSM (circular sock machine) sites. For those of you who haven't encountered thesemachines, they were mostly made from the late 1800s through to the 1930s or thereabouts and are knitting machines with vertical needles around the outside of a cylinder and horizontal needles in a radial form on the top to rib with. They are operated by turning a handle and because it is all counterbalanced I find it much less tiring to use than my flat bed machines. Once they are adjusted properly (when new, they should have been factory set ready to knit, but people have fiddled with them over the years) a pair of socks can be knitted in less than an hour. During WW1, once America entered the fray, the Red Cross set up knitting centres with machines and wool and each division had a quota of 55,000 pairs in 3 months to knit for the troops. Without the aid of the machines, these targets would have been much harder to reach. Mine, dating from 1900, is a very heavy cast iron and brass model, but some of the cheaper ones had the cylinders made of lighter alloys - it is one of these that the correspondence below refers to. The background is that this lady in Canada had *found* a CSM (circular sock machine) and with the help of an expert discovered it was completely useless as it had been frozen and thawed in a Canadian shed for many years and the cheap metal alloy had cracked and distorted. With it, however, was the correspondence from the manufacturer. One of the selling techniques was to push them as a money earner - any socks made could be sold back to the company - if they were up to quality. And therein lies the rub! The owner of the machine had told us about this machine and the letters. Of course, she was then bullied into sharing them with us and as the trials and tribulations of poor Miss Moore were probably repeated over and over in many sorts of work of this kind, including lace making for money, I thought you'd find them interesting and got permission to share them with you. ... The Auto Knitter sent Miss Moore a post card on Nov 11, 1925 to say that they had dispatched to her, charges collect, by Express, the Auto-Knitter she had ordered recently. On Nov. 25, 1925 Miss Moore received a card from the railway company (CNR) saying that her machine had arrived on Nov 14th. The shipping charges were $3.65 .. Letter #1 Toronto 9, Ont. January 21st, 1926 Miss B. A. Moore, Alma, Pictou Co. N. S. Dear Madam: - We received your sample pair of socks, and are returning same to you under separate cover. The selvedge is correct also the cuff, leg, heel and toe, foot, and the closing of the toe. The tension is too slack; tighten the cylinder tension two points. [ Please adhere carefully at all times to the correct lengths which are --- Cuffs 5 inches, legs 8 1/2 inches, and feet 11 inches. We would ask you to kindly send us another sample on account of the tension. Yours very truly The Auto Knitter Hosiery Company Limited ] [What appears in square brackets will not appear in the following letters. The square brackets will show that this is what is left out.] .. .. Letter #2 Toronto 9, Ont. February 10th, 1926 Mr. B. A. Moore, Alma, Pictou Co. N. S. Dear Sir: - We received your sample pair of socks, regarding which we have the following remarks to make. The selvedge is correct also the cuff, leg, heel and toe. The foot is 1/2 inch too short. The closing of the toe is correct. The tension is too slack, tighten the cylinder tension two points. [ Same two paragraphs as in the first letter, same signature] Letter #3 Toronto 9, Ont. February 27, 1926 Miss B. A. Moore, Alma, Pictou Co. N. S. Dear Madam: - We received your letter of February 22nd and in reply would advise the machine was carefully tested and in perfect working order when shipped from here and the tension was set as near correct as possible but as different yarns require different tensions we could not advise you definitely until a sample sock was sent to us. Also we could not advise a worker to alter then tension more than 2 points at a time as some people tighten the tension far more than others for two points and therefore, we can only advise two points at a time and the cylinder tension must be perfect before we can advise regarding the Ribber tension. However it is very seldom that the Ribber tension requires alteration. If you will tighten the Cylinder tension 2 more points as requested in our letter of February 10th we feel sure your next sample will be perfect. Assuring you of our best attention at all times, we are Yours very truly, The Auto Knitter, etc, etc.
Re: [lace] Birthday Honours list
WOW, that is really amazing, fantastic news. There couldn't be a better, more deserving award person for all she has done teaching so many people with so many types of lace in general and with the research and development of Milanese in particular. I must practise my curtsey! Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] IOLI class
In a message dated 10/06/2005 14:10:09 GMT Standard Time, [EMAIL PROTECTED] writes: I'm so excited, this is the first time I will be taking a 24-hour class. Make sure you get lots of sleep beforehand then VBG Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Russian bobbin lace instructional materials
In a message dated 10/06/2005 16:53:51 GMT Standard Time, [EMAIL PROTECTED] writes: There is a bobbin lace instruction book in Russian on eBay right now These books (there are two) are not 'rare' in the way that the seller is implying. I bought them about 2 years ago and I have seen them for sale at least twice since then. They are apparently new so it is possible that if the dates are genuine, a batch has been found in a warehouse and they are being trickled onto the market. As far as I can see, the cover patterns are not included which is a shame. There are very good diagrams, but maybe not for a very, very beginner unless they are a Russian speaker. The books do cover winding bobbins etc so are theoretically at least, aimed at all abilities. Unfortunately, a fair bit of the information is duplicated in both books, but then we are used to ignoring the first chapter or two of a book once we have mastered the basics. However, they were fairly good value when I bought them and it was very exciting getting post from Russia. What I would really like to know is if there are any different editions lurking anywhere. Is there a Russian speaker on the list who could ask? Since I bought them I have bought the International Lace Dictionary* and Russian is one of the 16 languages that have 600+ lace words translated into English, so I must be able to get some sense now from the words. *This book is well worth having if you have any lace books in languages other than your own as with not too much difficulty you can translate into English and back to a third language. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: scrolls and ties
In a message dated 08/06/2005 10:28:27 GMT Standard Time, [EMAIL PROTECTED] writes: I seem to get a series of holes just inside the outside edge, which I don't like in a naturalistic pattern. This is an integral part of this method which Pat sometimes refers to as 'fully-fashioned shaping' as it reminds her of the evenly spaced decreases on raglan sleeves on knitwear. Yes, I know those are little lumps from knittting two or three stitches together, not holes, but I know what she means. If you don't like these holes you can minimise them by having more pairs in the magic number. This means that the open area of the scroll (the bit inside the magic number) is smaller and therefore will be slightly denser and the holes will not be allowed to open as much. Spreading the magic number passives so they are a more similar spacing to the rest of the scroll and not packed tightly together also helps to close these holes a little. Just don't tug the outside pair away from the pins. Some ways to increase the magic number include having 'enough' pairs in the braid beforehand, by reducing the number of holes around the scroll slightly or by working the scroll in two mirror imaged halves (essential with colour if you want the pairs back where they started). Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Corsetry advice VBG
While I was away this weekend I bought from a junk stall a delightful pink satin corset. I don't know a lot about underwear and wonder if there is anyone that could give me some ideas about date. It is waist length (10 from the highest arch of the bust shape), the front boned top to bottom. There is a 2 wide elasticated panel in the centre back and two small elastic gussets at the lower back edge. It does up down the centre front with silver colour hooks and eyes. The elastic panel edges are turned over top and bottom with a 1/4 hem and is finished with a form of multiple thread machine stitch. The rest of the stitching is straight stitch. There is no evidence of there ever having been a label inside the garment. The lace content is over the front over the bust where the top curve shape (between 2 and 3 deep) is a double layer of hexagonal machine net with three twists on the main zig-zag horizontal line and one twist on the vertical connecting bars. The outer layer of net is decorated with a coached design. I believe that this is hand done as the coaching stitches appear to be a single thread, are not related to the net, are long on the back (as far as I can see through the other layer) and each repeat is subtly different in shape and size. It is in a box (which may, of course, not belong to it) with a large picture of a double ended axe with and the words The Double Axe Brand Corsetry and Trademark written along and under the picture. Beneath is the description The Corsets that have Stood the Test of Time On the end of the box it repeats the trademark picture with its wording, then Double Axe Company again in big letters (in case you missed it). The quality is marked as SB2, colour Tea-Rose and size 7. All in all, it is delightful but I would like to know a little bit more about it and the sort of clothes it would have been worn under. Many thanks, Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Milanese scrolls
Hi everyone interested in this subject. I answered Kathy privately but have been reading the other replies. What I have been interested in is the suggestion that you need to tie the workers against the first passive pair either the first time or even every time. When I was taught Milanese by Pat the only time that she suggested it is necessary to knot after this first pair is when you are hanging in new pairs under the workers before you make up the edge stitch. These new threads are laid in as the 2nd and 4th passive counting from the edge and it can be very helpful to give this new pair some support so avoid spoiling the edge line as you tension the work. In contrast, the constant edge passives, be there 2, 3 or more (that I refer to as the magic number when I am teaching), are normally held out against the pin by the passives-that-used-to-be-workers; if anything when the magic number is 3 or more pairs it is helpful to gently spread these pairs *away* from the edge as they tend to be held there in a tight bunch by the aforementioned p-t-u-t-b-w. In Pat's instructions for the scroll sample in her first book it appears she is suggesting that you tie after the first pair as you start the scroll, but in fact this tie is to support the last of the new hung in pairs. There is no mention of any further knots. I have also checked in the series on Milanese that Pat did for the Lace Guild (Lace 105 - 108) and again there is no mention of tying the workers when doing a scroll or scroll turn. The other thing I would like to comment on is Christine's: Once you have worked down the braid as far as the pivot pin, work the pivot pin as a blind stitch (= do NOT work edge stitch, just pin the workers) and the work to the outside edge, work the edge stitch and work back through all of the passives. LEAVE THE WORKER -it's not going to be a worker any more. . This is correct when the braid leaving the scroll has its own, new pinholes (as in the scroll sample). However, in the example such as Kathy was asking about where it was a scroll turn followed by sewings, it is better to make this stitch up as a normal edge stitch. Once you have finished the scroll turn and are about to work the row right across to the pivot pin, take the twists off this inside edge pair and cloth stitch through it as an extra passive. Now, lay the worker sideways next to the pivot pin and tie what was the edge pair to hold the worker close against the pin. This saves you doing a sewing in this awkward hole. Leave the worker for now, and use the pair you just knotted as the new worker for the next row. When you get back to the inside edge again, the worker you left is included as the inside edge passive. Jacquie, just off for a second day of lace demonstrating. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] lace ebook
In a message dated 28/05/2005 01:39:47 GMT Standard Time, [EMAIL PROTECTED] writes: I wonder if ebay item# 8194265826.is the same as or a different version to.images provided by Tess Parrish. Very probably, I'm going to write and ask them VBG Do you think they'll tell me? Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Making a tatting shuttle part 4 The best way
In a message dated 26/05/2005 00:26:57 GMT Standard Time, [EMAIL PROTECTED] writes: i appreciate this very much. i am sure i can make enough of them to start a small project in tatting this way. Hi Suzi, how are you VBG You only need one shuttle to start to tat! Eventually when you are doing fancy stuff you might want 2 or even 4. I don't think that before you can tat, and have used many different styles of shuttles that it would be easy to make a good one anyway, because you wouldn't have the *feel* for what you are trying to make. The size, shape and feel of each shuttle makes a great difference to how easy you find them to use and what one person loves will be nearly impossible for another to use at all. I don't know what price they are in the States but here they start at a little over 1GBP so $3 perhaps. Put that against the cost of materials, tools and your time trying to make one. One of the least expensive (GBP3) has a centre spool (where the thread goes) that pops in and out. It is very like a sewing machine bobbin. You can get extra ones of these and therefore use the same shuttle for more than one project without rewinding the thread. As for needle tatting, you don't need special tatting needles to do it, any long straight needle with an eye much the same size as the rest of the needle will work. Doll needles are good and can be much more easily and cheaply found in craft shops - I suspect they are the same needles in different packaging as it's unlikely any company would make needles just for tatting. But please be aware that although the finished result is very similar, needle tatting is a completely different technique to shuttle tatting. With shuttle tatting the knot is transferred from one thread to the other and it is the knack of doing this that some people have trouble with. In contrast, with needle tatting the 'knots' are placed onto the needle and then the thread in the needle's eye is pulled through them. The more advanced techniques (I believe I am right in saying this) can only be done with shuttle tatting. Jacquie in Lincolnshire, England - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Definitely, maybe.
In the latest edition of KENT ADULT EDUCATION learners' news (sic, no wonder children don't know when to use capital letters, a current grouse of teachers,) there is a wonderful item about their 'Guaranteed Programme' for Autumn 2005. Because of intensive market research about the demand for classes they are able to make the following pledge:- Our brochure (and website) will feature courses starting in the Autumn making it possible to make a 'no cancellations' promise. If for any reason we are forced to cancel a class there will be automatic compensation for anyone already enrolled. To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace-chat] Definitely, maybe.
Most classes have a minimum number of students necessary to make the class break even financially That has always been the case here - last year I had to convince them that the students were going to sign up on the first day of term and if they didn't, they needn't pay me. I believe what they mean is that they won't cancel classes before the term starts, but it's not what it says. There is no statement anywhere in the half page article as to when they might be forced to cancel the class (although as you and I know, if it's cancelled it will be if there aren't enough learners). The compensation is highly unlikely to be compensation in the sense that most people would understand it, just a refund of their own money paid in advance. It's the conjunction of the two sentences that we found amusing. Did they actually read what they had written? To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Another ebay lace bobbin
I thought it was probably a stiletto. The LH end in the photo looks like the start of the taper and I have seen one before with a Stanhope in. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Stanhope 'bobbin'
In a message dated 23/05/2005 18:11:19 GMT Standard Time, [EMAIL PROTECTED] writes: The ebay 'bobbin' isn't a bobbin.. And the seller must know this very well, because as well as Jean writing to her, she has some very nice bobbins for sale. BUT, considering her feedback, I'm not going to waste time going down that one. Thank you Jean, I'd missed that until you pointed it out. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] bobbin on ebay
It looks like we're getting to him/her!! The seller is now saying he/she is having doubts about it being a lace bobbin, and has given two enquiries to that effect. Hasn't published mine (or Amanda's, I don't think) and has changed the story from 'selling it for someone else' to 'bought it at an antiques fair'. Could be a handle from a lot of things such as a stilletto, crochet hook, button hook but if it came in a whole box of needlework bits and pieces then the remote similarity to a bobbin was enough to convince him that's what it is. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] ebay tatted coasters
Having been away for a couple of days, I'm a bit late picking up on some of these threads but... The change of description is there, but as someone else said, I'm inclined to think these are modern, commercial Chinese or whatever, not Granny-made. What did amuse me however is if you scroll to below the change of description there is a bid retraction from Brenda saying If these are bobbinlace I would rather not purchase them. Is that a problem? No problem as far as the seller is concerned but I do wonder about Brenda who apparently only collects tatting but then can't see the difference between it and bobbin lace. Hi-ho, it's the peculiarities of life that make it so interesting. 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]
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]
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] 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] 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]
[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] 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-chat] Timtex?
Can one of the US arachnes tell me what Timtex is, please. I think it may be a thickish stiffening (like pelmet Vilene, here in the UK) as it is possible to machine stitch through it, but is making a base for something. Also, the materials call for a silica filled sandbag as a ready made/purchased item (would this be from a DIY store?), but with no size given. From the instructions it look as if it's about 5 x 2 1/2. Does anyone know if this is right. And, out of curiosity, what are these really made for. I'm sure there's not a market for pin cushion fillings in the States. Many thanks, Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Log books, demo time etc
Not wanting to show my ignorance, I was hoping that someone else would ask first, but perhaps I'm the only one who doesn't know. What are these log books for demo time, and who is the timekeeper? And does the demo have to take place in the States? I have a feeling that this information might be hidden in the IOLI small print, but then non IOLI members won't ever know about it. And if it's useful to the IOLI, is there anyway that the Lace Guild or other UK groups can benefit from being able to prove we are sharing our skills and knowledge to a wider audience. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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] 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]
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] 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]
[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] 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-chat] Re: lace-chat-digest V2005 #25
From Sharon on sunny Vancouver Island Personally, I think their time has come to quit altogether. There will always be an oppressive class sytem in Britain while the royals still exist. Umm, while I know there are haves and have-nots in every society, I really don't think that description applies to Britain any more. And I'm surprised that the rest of the world sees us like that. It is still considered correct to bob a curtsey to the Royals and give them the correct title, but that's about it. And if you don't want to, I guess you just avoid the situation. But I'd hardly call that oppressive. Those people who think they are better than others and look down their noses, can be found in every country, monarchy or not; they will still be there even if the Royals are disbanded. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
[lace-chat] Australia Tourism
I have a feeling this may have been on chat before, but quite a while ago. After David's wonderful this is Australia post, this seemed a good time to send this. Especially for Liz's Aussie in case he's never seen it. Jacquie The questions below about Australia are from potential visitors. They were (allegedly) posted on an Australian Tourism Website and the answers are (allegedly) the actual responses by the website officials, who obviously have a sense of humour. Q: Does it ever get windy in Australia? I have never seen it rain on TV, so how do the plants grow? (UK). A: We import all plants fully grown and then just sit around watching them die. Q: Will I be able to see kangaroos in the street? (USA) A: Depends how much you've been drinking. Q: I want to walk from Perth to Sydney - can I follow the railroad tracks? (Sweden) A: Sure, it's only three thousand miles, take lots of water. Q: Is it safe to run around in the bushes in Australia? (Sweden) A: So it's true what they say about Swedes. Q: Are there any ATMs (cash machines) in Australia? Can you send me a list of them in Brisbane, Cairns, Townsville! and Hervey Bay? (USA) A: What did your last slave die of? Q: Can you give me some information about hippo racing in Australia? (USA) A: A-fri-ca is the big triangle shaped continent south of Europe. Aus-tra-lia is that big island in the middle of the Pacific which does not... oh forget it. Sure, the hippo racing is every Tuesday night in Kings Cross. Come naked. Q: Which direction is North in Australia? (USA) A: Face south and then turn 90 degrees. Contact us when you get here and we'll send the rest of the directions. Q: Can I bring cutlery into Australia? (UK) A: Why? Just use your fingers like we do. Q: Can you send me the Vienna Boys' Choir schedule? (USA) A: Aus-tri-a is that quaint little country bordering Ger-man-y, which is...oh forget it.Sure, the Vienna Boys Choir plays every Tuesday night in Kings Cross, straight after the hippo races. Come naked. Q: Can I wear high heels in Australia? (! UK) A: You are a British politician, right? Q: Are there supermarkets in Sydney and is milk available all year round? (Germany) A: No, we are a peaceful civilisation of vegan hunter gatherers. Milk is illegal. Q: Please send a list of all doctors in Australia who can dispense rattlesnake serum. (USA) A: Rattlesnakes live in A-meri-ca which is where YOU come from. All Australian snakes are perfectly harmless, can be safely handled and make good pets. Q: I have a question about a famous animal in Australia, but I forget its name. It's a kind of bear and lives in trees. (USA) A: It's called a Drop Bear. They are so called because they drop out of gum trees and eat the brains of anyone walking underneath them. You can scare them off by spraying yourself with human urine before you go out walking. To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
[lace-chat] Bent pins and recycling
Does anyone in the UK know where we can send bent pins please? Bent brass pins were collected by Springetts from all over the UK...and each year they'd take the collection to a metal merchant and sell them to be melted down and recycled. Springetts gave the money they received for the pins to charity. But take care that the bent pins for charity doesn't become an obsession. Time and time again I have shown people how to straighten their pins (by holding the head under the hinge of a pair of scissors) and even severely bent pins can be straightened this way. If you straighten each pin as you bend it, it's no hassle. And the occasional brass pin that gets a burr on the point can be rescued in seconds with a stroke on a fine emery board. I have seen many people who reject pins as soon as they have a slight bend that can be easily stroked straight in your fingers, but It's for charity so that makes it alright to scrap it. Don't forget recycling uses a lot of energy, and so does making new pins. Keep a sense of perspective because the scrap metal value of brass is negligable compared to the cost of new pins, so straighten your pins and donate some money to charity if you want, instead of buying new ones. If you want to save scrap brass, the off-cuts of wire from spangling and pins that have bent and kinked so they won't straighten are the ones to choose. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
[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] 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]
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] 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] 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] 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] 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]
[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] 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]
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] 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] 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]
[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] 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]
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]
[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]
[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]
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]
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] 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] 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]
[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] 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] 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]
[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-chat] I beg your pardon, did I hear that right?
On BBC Radio 4 there are several ongoing daily or weekly serials of various sorts, and one that is being played at the moment is Unless, Carol Shields final novel. It is set in Toronto and the story teller is an author and translator whose daughter has decided to live on the streets. In tonight's episode, the story teller was talking to an older author about their editor, who had just died. All of a sudden the older woman says: Without editors, writers are nothing but makers of lace Having got over my surprise, I pondered on it for a while then decided that maybe to a non-lacemaker this remark could be very profound, but I found it very dismissive of our skills and slightly insulting to lacemakers. I think I know what she is trying to say, but the comparison perhaps needs to be to something more rapid and transient in its making. If anyone wants to listen to it, (or any other BBC radio programme for that matter,) you can listen on line for up to a week after the transmission; just click listen again. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Post to the UK
I would like to thank all of you who kindly offered to send Richard's impulsive e-bay purchase on to him. We were both amazed at how many of you offered; well, him more than me because he doesn't understand the power of arachne. So a big, big thank you from Richard for offering and from me for proving me right when I told him I was sure someone would help VBG Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace-chat] Oh so true....
A man asked his wife what she'd like for her birthday. I'd really love to be ten again she replied wistfully. On the morning of her birthday, he arose early, got up, made her a nice big bowl of Frosties and then took her off to their local theme park. What a day! He put her on every ride in the park: the Death Slide, the Wall of Fear, the Screaming Monster Roller Coaster, everything there was. Five hours later she staggered out of the theme park. Her head was reeling and her stomach felt upside down. Right away, they journeyed to a McDonald's where her loving husband ordered her a Happy Meal with extra fries and a refreshing chocolate shake. Then it was off to the cinema to see the latest blockbuster, complete with a hot-dog, popcorn, a big fizzy drink, and a huge bag of MM's, her favourite sweets. What a time she had! Finally she wobbled home with her husband and collapsed into bed exhausted. He leaned over his precious wife with a big smile and lovingly asked, Well, Darling, what was it like being ten again? Her eyes slowly opened and her expression suddenly changed. You idiot, she replied. I meant my dress size... And the moral of the story: Even when a man is listening, he's still going to get it wrong To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
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-chat] Help needed - Post from USA to UK.
Is there an American arachne who would be kind enough to post on a booklet that my partner bought on e-bay. It is a vintage tractor manual, not very thick I believe. When he bought it he knew that the seller wouldn't post to the UK, but for some reason they won't post to Canada either so we can't get it via Malvary. In return, either I will send some lace things (or anything else for that matter) not available in/expensive in the States or, if preferred, Malvary can send you US funds to repay you. You may think it strange that he would buy something before he knew if he could get it, but he collects (among other things) American Oliver tractors. His first was bought new by his Dad in 1948 and he still has that, and also 4 others. This manual he has bought is for the cultivating equipment that hangs underneath the row-crop style ones. We have two of these, plus a load of bits of equipment, but because they are rare in this country the manuals are even rarer, and if we could find one at all it would cost probably in excess of 50GBP. He got this one for about $12! And it might help him make usable equipment out of the piles of parts that he picked up as a job lot. If anyone can help, please contact me with your address and what you would like in exchange. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
[lace-chat] Re: lace-chat-digest V2004 #127
Jenny spotted some Russian lace books on e-bay (http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItemcategory=19158item=81108970 08rd=1) I bought the same two books (well, not these copies or they wouldn't be for sale still!) from the same seller several months ago, so they are not as rare as she is implying. As you can see, they are number 1 2; I wonder if this was all that was printed or if there are some different ones stashed away in a warehouse somewhere. I don't remember how much I paid, but not an enormous amount. They are in as new condition, and were well packaged and came quite quickly. Very exciting to get a parcel from Russia. They are interesting with typical Russian style designs in. A lot of the contents are self explanatory, but there are occasions when I wish I could speak Russian. No photographs of the lace, only drawings of the type you can see. The close up stitch diagrams are slightly different to normal. The thread path is shown very clearly, but also have things a bit like speech bubbles (like in comics) around bits of them, which I presume is indicating some subtle point (referred to in the text) regarding that stitch. Very frustrating because I don't know if I am missing some skill or technique that would alter the quality of the lace, or if they are just an idiot's guide for beginners. There also seem to be more patterns than what I have worked out must be the instructions (bobbins, thread etc) for those patterns. Unfortunately, the cover designs are not included (unless the language void means I'm missing something) but the T-shirt one shown is. Jacquie To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace-chat [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]
[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] 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] 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]
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]
