[lace] Re: Lace
In message <[EMAIL PROTECTED]>, Brenda Paternoster <[EMAIL PROTECTED]> writes >> Has anyone got their January "Lace " yet? > >No. I'm still waiting for mine to arrive I suspect the postal system is being a bit erratic - mine arrived on Wednesday morning! Somebody mentioned my bookmark pattern that is in this issue - thought some people might be interested to know that I originally designed it for an Arachne bookmark swap - two of the three Arachnes I was swapping with had only just started making bobbin lace, so I thought I would make a sampler of the basic torchon stitches they were likely to come across. The ones I did for them I worked up in LBH 40 tatting thread - the one that twists up a lot in tatting so a lot of tatters don't like it, but it works OK for bobbin, producing a very firm result. One of my students achieved a very nice effect using a pastel coloured variegated DMC Fil a Dentelles 80 thread. If anyone bothers to work it, I would love to hear their comments - and I'm sure that goes for others who have patterns published, too - such feedback motivates designers to continue designing, especially those who may be new to design work. Constructive criticism - ie of the problems found in working patterns - is always helpful as it means the designer is less likely to cause the same pitfalls again. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Guild memberships (long)
Recently we have had the issue of (National) Guild membership raised, in the inclusion of IOLI's membership fee in the convention costs (if I remember rightly), and then at the weekend Jenny Barron said, in her email about magazine subscriptions, >IMO >for a lace group it is a good magazine and it fits in well with our other >group subscription which is to the Lace Guild magazine. This rang alarm bells with me, as from my time on The Lace Guild's Exec I remembered that there is no such thing as a group subscription to The Lace Guild - so I emailed Maggie at the Hollies to check that the position hasn't changed, and her reply was: "You are correct there is NOT a group subscription Maggie The Lace Guild: Custodians of the Past and Guardians of the Future" The confusion arises because a member of The Lace Guild can make use of the Guild's services to its members in terms of insurance for groups and classes, and have the group added to the list of groups held by the Guild in order to advise other lacemakers of its existence. It is *only* the person who is the individual member (often the group's secretary) who has the membership rights - voting, a copy of the magazine, member's rates for courses, use of the library, etc - and this frequently causes confusion when other members of the group, who are not Guild members in their own right, try to claim these rights. Where insurance for groups is concerned, the group must pay an annual premium for each of its members who are not Lace Guild members. Calculating the number of group members, and possible prospective members, who need the premium paying for the coming year, can be quite a headache (I've been a group secretary in the past) and it is a lot easier if group members are also Guild members! Tamara quoted the Guild's membership figure to be 10,000 - it was, back in 1993 or thereabouts. These days it has fallen drastically, to just less than 5,000 last year. Of course, the other 5,000 could be these (non-existent) group members. It doesn't take an accountant to see how much is being lost in subscriptions by entire lace groups sharing one magazine. At the moment, the Guild is desperately in need of relocation - the large, important, collection of lace, equipment and books, recognised by the Guild being granted Registered Museum status, needs better, and far more, storage space than it has now, (I too wondered where the census labels would be stored!) quite apart from the day to day running costs of the present building and staff. I am sure all of the National groups and guilds have the same problem - they depend upon the membership for the backbone of their funds, but subscription is restricted by members sharing their magazines with others, rather than encouraging them to join, too. Whilst I appreciate that not everyone can afford (financially) to join a guild, maybe if those who can afford it, but choose to make use of a friend's (or so- called group) subscription, did join, then the future of the guilds/groups would be made more secure for all of the members and there would likely be benefits for all (especially, in the case of The Lace Guild, for the *lace*, which has to suffer somewhat cramped storage conditions). If guild/group memberships continue to fall, then they will eventually reach a point where they have to fold, and what would become of the collections, libraries, etc, then? Maybe there needs to be some distinction between which magazines are available as *magazine subscriptions*, and which are the benefit of *guild/group membership*? OK, I'll step off my perch and go and make some lace now! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Out of print? and new book that looks interesting...
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes >On Feb 24, 2004, at 7:59, Clay Blackwell wrote: > >> At Guild last night, two of our new members reported that they had >> tried to find copies of Cook's "Practical Skills in Bobbin Lace" and >> after several unsuccessful attempts, learned that the book is out of >> print! The 1997 version is recorded as "out of stock, cannot accept orders at this time" on the Tesco book warehouse website. (Tesco is one of the UK's large supermarket chains). However, a couple of entries further down I found a new one, "Lace", no author quoted, available for pre- order, due at the end of April. So I clicked the information button, and it came up as: " VA Lace Hardback 1-85177-418-1 Published: 30 Apr 2004 - Publisher: V & A Publications Available to pre-order, normally delivered on release date Tesco Price: £30.00 Summary: Clare Browne has selected examples across the full range of designs and fashions, to demonstrate the skill and variety lace-makers have achieved in their work. She explores the history of lace-making from its origins in the late fifteenth century, showing how patterns and techniques developed to serve the fashions of the day. Lace-makers became more adventurous as technical developments in needle and bobbin lace opened up new possibilities, while later sophistication in design brought astonishing naturalistic effects, particularly in the depiction of flowers and plants. Specially photographed details provide a feast for the eye as well as a survey of exquisite craftsmanship. This book will be additionally valuable as a record of important parts of a collection which by its nature is too fragile to be displayed. It also offers a wide-ranging survey of the art and craft of lace-making down the ages that will appeal to needlework enthusiasts, designers, students and all those interested in historical fashion." Looks as if it might be an interesting one to look out for, in a few months' time. V & A, of course, is the Victoria and Albert Museum in London. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Tallies
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes >PS. The leaf-shaped ones are also called "Cluny leaves"; in Honiton, >they're called "wheat"-something; can't remember what. And "leadwork" >is also one of the names used, at least in the English laces... Good >luck "hunting" them up. I've come across them as leaf tallies in Torchon and Cluny leaves in tatting. I'm sure it is Bedfordshire where they are wheatears, and the Honiton leadworks, like Buck's Point d'espirit, are square tallies, not leaves. (Lynn - leaf tallies are roughly () in shape - unfortunately the computer won't make the brackets touch, which would show the shape better! - most leaf tallies, but not all, are pointed at each end). Rectangular tallies come into Bedfordshire, as "cucumbers" - particularly at the footside. One of my former students, a while back, decided to go experimental and produce a firework picture in various embroidery threads - tapestry wool tallies worked quite well in this case, and they were big enough to lose some of the "holly leaf" effects. More so in mohair type yarn! (Not exactly the easiest thing to work with, but it was effective). I find it easier to work tallies in some laces than others - Bucks square tallies cause no problem - but Torchon? the air is blue! Other than the difference in thread, I have never quite worked out why! Some of my class have had chance to work four pair tallies recently - those who get to see the Myth or Mystery exhibition (in Coventry, May to August this year) will, hopefully, get to see the results! Tallies (under another name, probably) are also an embroidery technique, but I can't remember which discipline they come into. I find it interesting to discover the pet hates amongst lace stitches, tallies are a frequent one, but one elderly student I had more or less went into hiding at the mention of the word "gimp"! I've got my lot over the fear of half stitch by teaching it first - obviously that which you learn in innocence, you have little difficulty with; it is being told it is difficult that makes you think it should be. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fwd: Re:Unusual lace pillow and stand for a doll's house on ebay
In message <[EMAIL PROTECTED]>, Patty Dowden <[EMAIL PROTECTED]> writes >> >>I got my LOKK Kantbrief today and on page 19, there are two lace tables >>(full size) of the same type of design. I wonder if the posting was meant to go up on April 1st, instead of April 2nd? Lots of magazines put a spoof article in the April issue - are the editors of LOKK Kantbrief likely to have done so too? (Great minds think alike and all that). I can't see that the pillow itself would be comfortable to use - though it would certainly make sure you sit up straight, assuming that the stand was sat on a table of some sort! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Unusual lace pillow and stand
In message <[EMAIL PROTECTED]>, J.Falkink-Pol <[EMAIL PROTECTED]> writes >Lots of magazines put a spoof article in the April issue - >> are the editors of LOKK Kantbrief likely to have done so too? >I don't think so, as the Dutch members recived it already a while ago. Having now read Esther's description of the article that was in LOKK, I can see that the pillows in the article were nowhere near the *same* as the version featured on Ebay - which was the impression I was under, albeit obviously the wrong one. Hence my thought that it might be a spoof. The pillows in the article do, at least, sound as if they would be feasible to work on. Makes me wonder what kind of spoof would be used, if any of the editors were ever brave enough to print one, though - trouble is, it would likely be quoted as fact by the uninitiated for centuries to come! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: beginner in California
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes >I'll be coming back to US July 22 and, being an elderly lady, And since when have you been "elderly", Tamara? You're not the "dowager" duchess yet :-))) (oh dear, I suppose we have quite a few new arachnes to explain your title to, so much happens on the list in nine years!) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Branscombe Point and) Tape laces
In message <[EMAIL PROTECTED]>, Jean Barrett <[EMAIL PROTECTED]> writes > Branscombe >Tape is narrower and finer, and has no gathering thread along the >edges. You have to either ease the tape round corners or put in a >gathering thread yourself. In the Branscombe technique, you tack the tape to the pattern following your outline. Mrs Treadwin's advice (Antique Point and Honiton Lace, Lacet Publications 1994 page 8) is to tack the outside edge of the tape first, then whip the inner edge, draw up the whipping thread and finish off securely, then tack the inner edge down. It is important that the tacking doesn't gather the tape. It is a while since I learnt Branscombe, but I am sure we tacked near to the outer edge and whipped the inner, without the second line of tacking. The tape at this stage does look wrinkled, with the gathering, but it is almost magical when you finish a piece, remove the tacking stitches to take it off the pattern, then *wash and iron* it - this is one lace which needs washing and pressing! - all of the wrinkles disappear, and the tape lies flat! With Battenberg tape, you do need to be careful to secure the far end of the gathering threads before you start gathering, otherwise get enthusiastic and you could pull it too far it is also a case of pull one, then the other, as you always gather the inside of a curve and for designs that snake around, this means gathering both sides in different places. I found that using the Branscombe tape available in the UK (through Hornsby's or Tim Parker) it needed DMC Broder Machine 30 or 50 in the old "blanc" shade of white - the newer, optic white 5201 is so much brighter that it makes the tape look grey. That of course, was before I did my train (see Canadian Lacemaker Gazette, Vol 15 Mo.3 (Spring 2001)) and ended up making most of the tapes with cloth stitch bobbin lace, using the same thread for the tapes as for the fillings in order to get the colours required. At least I was let off making the tape I required in black - Tom in Belgium was able to supply that. (The black brings back memories - I got to the wheels and undercarriage that required it in the winter, not the best time of year for working in that colour!) As to tape versus braid, in the UK, and possibly the reason behind the original question Jacqui? We were taught that for the purposes of City & Guilds tape was machine made, braid with bobbins. Branscombe is a Tape Lace - it is only when you end up making your own tapes/braids for it that it gets confusing! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Branscombe Point and Tape laces
In message <[EMAIL PROTECTED]>, Sulochona Chaudhuri <[EMAIL PROTECTED]> writes >Who is "Tom in Belgium" - I have heard mention of his name before as an >excellant supplier of B'berg and Branscombe tapes Tom Deleenheer is, or was, managing director of: Louise Verschueren, Real Belgian Lace Manufactory Rue Watteeu 16, 1000 Bruxelles, Belgium Tel. 0032.2.5110444 - Fax 0032.2.5138578 http://www.belgian-lace.com http://www.belgiantapestries.com (details taken from his email to Arachne in 1999) I have just checked out the lace link, it still comes up but the last update was 2002 and the "crafters corner" he mentioned in his email doesn't appear to be on the site. I have sent an email asking if they are still trading, whether the tapes are still available, and will let you know if I hear anything (I've also asked if they do the Le Luxeuil tapes). When I bought the black, it was a case of having to buy a full card, but the service was efficient and I was able to pay by credit card. Tom was hounded off the list for occasionally sending emails about the products they had for sale - tapes, fine linen, etc - I doubt even as frequently as Theo posts to chat about the books he has available - but this was at a time, in the days before the split of lace and chat, when another supplier was being annoyingly frequent with blatant adverts and whereas bobbin lace suppliers are fairly numerous, and such adverts were annoying, those of us with "minority lace" interests are not so well catered for and need to know the details of the few existing suppliers! As I say, I don't know if the company are still trading, and have no other connection with them than having been a customer in the past. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lacemaking supplies - for tape lace addicts
Following on from my response to Sulochona's query as to who was Tom in Belgium, I had the following reply from him - confirming they still sell the tapes, but not shown on their website. I cannot say I have come across any other suppliers of black tape, and the black tape I bought some seven years ago was fine enough for Branscombe. --- Forwarded message follows --- In message <[EMAIL PROTECTED]>, Tom Deleenheer <[EMAIL PROTECTED]> writes >Dear Jane, > >Thank you for your e-mail. We indeed still sell the lace tapes in all sizes >and colors. Basically, we call the battenberg lace tape. They come in white, >cream and black. Also gold and silver are available. They are not on thje >website anymore, though. > >Please let me know what you need. > >Best regards, > >Tom >___ >Sequoia Enterprises : Belgian Lace, Tapestries & Home Decor >Daal 32 B, 9450 Denderhoutem, Belgium >Tel : ++ 32.(0)53.848680 Fax : ++ 32.(0)53.848661 >www.belgian-lace.com >www.belgiantapestries.com >www.european-decor.com >e-mail : [EMAIL PROTECTED] -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: happy dance !!
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Congratulations! Is there a picture available anywhere? >(And do you get a posy with your prize?) I forgot to take my voucher with me yesterday (the exhibition opening day at Coventry) to pick up a catalogue, but I think there may be a photo either in that or possibly going into July Lace (have the proofs to read at the moment, but obviously I can't reveal what's in it!) - I'm sure I saw a picture of it in one or the other. The Australian Lace Guild piece that won the adult group entry is magnificent, big congratulations to them! and there was far too much to take in on one visit - thankfully I'm demonstrating there on a couple of the Saturdays so I will have chance to have another look. (Demonstrations of lacemaking are taking place from 11am-3pm every Saturday). There were nearly 300 entries this year, too many, unfortunately, for the gallery to exhibit, and I believe the ones that couldn't be displayed will be on show at The Hollies from mid July. Congratulations also to the other Arachnes who won prizes/medals - Liz Ligetti and Jane Eborall (her piece won the Ring of Tatters' Rosebowl) spring to mind. The list is to go on the Guild website - I'm sure many are eagerly waiting for Jean and David to do the update this time! I decided to keep quiet until the more distant prize winners had received their letters, but I also won a Medal of Excellence for my "Rainbow Choker" - one of two to be awarded in the "Something to Wear or Wave" class - though there were several of the other entries which were equally good if not better than mine! The letter was a lovely shock after a hard day at work! I'm disappointed that the beaded Ankh (think I've spelt that right) on the top of my class' piece, "Mummy's Lace", got bent out of recognition (despite careful packaging), but that is what it is supposed to be. The exhibition is colourful, wonderful, and inspiring - if you get the chance to go to see it between now and the end of August (it is open every day), do. My husband is still trying to work out how Judith Connors gets her tatting so even, and I kept getting "did you see" comments from him - he's not a lacemaker, but descended from a Nottingham (machine) lace worker. The tea room is still closed, being in the part of the building undergoing refurbishment. It should have been finished last year, but the work has had delays and will now likely carry on till the end of the summer, according to the staff. However, there are several cafes and restaurants in the shopping centre, near to the gallery. There are exhibition catalogues and bobbins (Midland and Honiton) available in the gallery shop - as well as a few lace and tatting books. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Arachne group entry
In message <[EMAIL PROTECTED]>, Sue Babbs <[EMAIL PROTECTED]> writes >> >> I agree with Sue, that making an Arachne group entry would be >> interesting. But the logistics of it... The mind boggles >> >I don't know - the frequency with which we all discuss things, it might well >make faster progress than a group which only meets monthly! >Sue Remember the lace globe that we talked about doing for the Millennium? I don't think it was the making that would have been the problem, more where to exhibit it and what to do with it afterwards. At least this time there would be somewhere for it to be exhibited initially (at least the problem of number of entries versus gallery space has been addressed this time!). The maximum size allowed could dictate how many individual pieces of lace were incorporated, and we would need to discover the group expert on mounting. But I think it could be done - we have three years (when we know what the theme is to be next time round) and would need to stick to very strict deadlines (to allow time after completion of the lace for collation, construction/mounting, things to go wrong and getting it to The Hollies (or wherever). The only problem would be in the stability of the group membership over that period of time? If the entry won a prize, of course, it would then be a case of voting who would collect, and possibly hold, it on the group's behalf? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Arachne entry
Karen Butler said in her email: >Incidentally, in the exhibition catalogue it states the theme for 2007 >is >SEVEN. We could get something International out of this, then, eg: Seven Seas Seven Continents (I think?) Seven Wonders of the World Seven Sisters or Seven colours of the Rainbow Seven-year itch (!) Seven days of the week Do we have Arachnes in each of the continents? Would heptagons fit together in any way? (Is it a heptagon or a septagon? I can't remember!) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: seven
In message <[EMAIL PROTECTED]>, Deborah Metters <[EMAIL PROTECTED]> writes >Anyway, the seven deadly sins each have an associated >colour, animal, and opposite cardinal virtue. >Greed; yellow, frog, liberality This brought about the idea of seven pub (?bar) signs "The Greedy Frog" depicting a large frog on a yellow background, surrounded by food? It would, of course, have to be a "free house" in order to retain its liberality Just thought, no, I am not referring to anything other than the amphibian type of frog! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Sevens - logistics more ideas
In message <[EMAIL PROTECTED]>, Sue Babbs <[EMAIL PROTECTED]> writes > >Inside the back cover we could list all contributors to the project, from >design ideas, to drawings, to lace, to construction etc This could cause problems at judging stage - where work normally has no reference on it whatsoever as to who the maker was! My only reservation so far is that the winners in the recent past have kept their work fairly simple and uncomplicated - and this seems to be neither, there is a lot going on in it, and that may be a negative rather than a positive. Going for maximum size may be the way to fit all of the ideas in, but if the same happened again as this time with gallery space being at a premium, it may work against it. When initially reading through Tamara's logistics, I was thinking seven separate panels, taking up wall space; what about joining them together at both sides to make a heptagonal carousel - then I read the book bit. I am right that 70cm is very approximately 30 inches? (My brain isn't too good at this time on a Monday morning and I cannot envisage centimetre measurements easily at any time of day!) That would give a widest spread of about 5 feet plus an allowance for the centre rod - rather gallery space hogging, maybe? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Myth & Mystery
In message <[EMAIL PROTECTED]>, Viv Dewar <[EMAIL PROTECTED]> writes >Hi Everyone, >I'm planning to visit the LG Myth & Mystery Exhibition in Coventry this >Saturday. >Can anyone tell me whether photographs are permitted? There is a notice up in the gallery requesting those wishing to take photos to sign the book at the reception desk, so as long as you conform to that you shouldn't have any problems. There have been people taking photos on at least one of the two occasions I have been over so far (one of the advantages of only being 20 miles away!). It takes a lot of time to take everything in - but there is a sofa to sit on! and do note that Janice Blair's Phoenix and another piece are on a narrow strip of wall at the opposite end to where you enter the gallery from the landing - between the two doorways into the adjoining galleries - I nearly missed it! The catalogues and exhibition bobbins are on the shelves in the "shop" area with some of Rosemarie Peel's publications. All being well, Carol Lee will be demonstrating with a friend between 11.00 and 3.00 this Saturday. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Myth or Mystery - Hollies exhibition and extra Visitors' Trophy
As there was not enough gallery space at Coventry to display all the exhibits, it was decided that the pieces not displayed in the main exhibition would be exhibited at The Hollies (The Lace Guild's headquarters in Stourbridge). There has been a fair amount of discussion on this, not least the speculation that those pieces not displayed at Coventry would miss out on being eligible for the Visitors' Choice Trophy. In fact, there will be *two* Visitors' Choice Trophies awarded - one chosen by visitors to the exhibition at Coventry, and one by visitors to the exhibition at The Hollies. It is, therefore, a pity that some entrants have removed their pieces before the Coventry exhibition. In emails to Adrienne Thunder, Chairman of The Lace Guild, since learning this from proof reading the July magazine, and mentioning to her that it would help if the details were published on Arachne prior to the magazine coming out at the end of next month, she has replied that the details should be on the Guild's website when it is updated, but also asked me to forward the following to the list: "Myth or Mystery at The Hollies. The Hollies will be open on the following Saturdays: 24 July, 31 July, 7 August, 14 August, 21 August and 28 August from 10am to 5pm. Visitors can vote for a Visitors' Trophy to be awarded to those exhibits on display at The Hollies." I know I want to go and see the pieces at The Hollies, having looked through the album at Coventry, and the Saturday dates mean I will have a chance to do so. I hope others in the UK will make the effort, too, and vote for their favourites both at the Herbert Gallery and The Hollies. May the best pieces from both exhibitions gain the recognition they deserve. (July's magazine has even more photos from the exhibition - worth joining for in my personal opinion - I can't wait to see it properly in print!) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Myth or mystery - correction
Whoops, I meant to say it was a pity some had removed their entries before the exhibition at the Hollies, not Coventry! You know what I meant, I'm sure! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] There's *loads* of time before the wedding.....
In message <[EMAIL PROTECTED]>, Carol Adkinson <[EMAIL PROTECTED]> writes >How long do people think it takes to make lace? She'd been watching me for >quite some time, so she must have realised it isn't a speedy occupation. I was demonstrating at Coventry (Myth or Mystery exhibition) today - and the one realistic view of this we had was from a bloke! From what he said, it appears his mother had made lace, and he learnt to (and escaped when he left home) embroider - but still does cross stitch. He brought his son round the exhibition - an approximately 11 yr old - disappointed because the WW1 exhibition had finished, but we talked him into having a go at lace and he got on quite well. While going round the exhibition his dad was asking how long he thought things took to make. The lad did choose and vote for his favourite piece, too. First success of the day was to teach a lady to tat - she got the transfer straight off, and the most humorous comment award must go to the bloke (in his fifties at a guess) who asked why Cash's didn't have anything in the exhibition? Cash's are a famous Coventry firm specialising in woven tapes (particularly the customised ones for naming kid's clothing etc), and they do have pieces in the Godiva Exhibition on the ground floor, but not in the Lace Guild exhibition - my reply was that they hadn't entered the competition! There were a couple of girls (one about 8-9, the other about 10-12) who picked up the bobbin lace stitches straight off, the older of the two trying first, and working the stitches faster than I normally do, even though she had never done so before! She even came back for another go before their other two friends/sisters dragged them off. I'm working a garter at the moment, and I know I could do it in three weeks given the time, but working full time hours at the moment means I don't get as much spare time as I would like. BTW, Sue Babbs' Ring a Ring a Roses has now been put back on it's stand - it had fallen over when we went for the presentation. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Straw vs ethafoam
In message <[EMAIL PROTECTED]>, Jane Bawn <[EMAIL PROTECTED]> writes >I have read this thread with interest and noted that no one has yet >mentioned one draw back of the straw pillows and that is the little visitors >that sometimes appear when using them. I think they cause more discussion than they are worth - with three straw pillows in the house, over a period of (hang on, no, it's four - the first pillow I had bought for me is a straw one, so are my travel pillow, my honiton pillow and a cookie pillow I was given) fifteen years, I have only ever met up with one or two of the little whatsits. Removed them with a paper tissue, squashed them well, and haven't seen any since. (Don't ask how many polystyrene pillows are around this house - I've lost count - comes of having bought a dozen for a workshop a couple of years back, on top of the ones I already had!) - what was it I calculated for the CLG survey on the same question last year, Bev, somewhere between 15 and 20? (Some are loaned out to students, though). -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Pattern lifting
In message <[EMAIL PROTECTED]>, Karisse Moore <[EMAIL PROTECTED]> writes >But the pricking card itself moved up the pins. This actually is the problem of having so many pins close to each other - in Torchon, where the pins are more widely spaced, the problem is one of the lace rising up the pins. With Bucks, the card rises off the pillow. I was taught (by Jennifer Ford) to correct this by making sure that the edge pins are slanted correctly (slightly out, slightly back) and the pins between are all absolutely vertical. This is quite often difficult to achieve when you are working on a flat pillow, especially as you tend to work with it on a slope. The pins must be perpendicular to the pillow, so if the back edge is raised, it means placing them towards you, rather than away! Once you start working in this way, you will find that the card will settle back to the pillow again, even if you have a section that remains slightly raised. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] meaning of "calico" in Australia or England
In message <[EMAIL PROTECTED]>, Ruth Budge <[EMAIL PROTECTED]> writes >Devon, In Australia, calico is a strongly-woven, off-white plain material - > Not having done any reticella, I don't know why or >how you're going to use it. I'm assuming that someone may have already told Devon why she needs it, but at a guess (I haven't actually done any, but have books referring to its method of production) reticella requires a strong, evenweave fabric of either cotton, linen, or linen type as it is based on drawn thread work. So for the actual lace, I would have thought an evenweave embroidery linen would be used? Most of the calico I have seen is evenweave, but I would have thought drawing threads from it a little difficult! So, why would you need it? The logical thought is that the filling of reticella is a needlelace. The book I have (Ann Collier's "Gentle Art of Lacemaking") says that after you have drawn the threads, you draw your pattern onto brown paper or architects' linen and tack the fabric to the pattern now in other needlelace projects, you wouldn't be working on just the layer of architects' linen - in Carrickmacross, the late Sheila Regan taught us to use butter paper for the pattern and two layers of tissue paper beneath. In Branscombe point, the traditional method was several layers of brown paper, not just one - these days, as with other needlelace, you use architects' linen (or covering film over a paper pattern) supported by a pad of two or three layers of calico. In other words, the calico is to give you a pad to work on - something to hold - whilst you are working on the lace - it also means that your hands don't have to touch the actual fabric while you are working, so helping to keep it clean. So what you are looking for is something cheap and cheerful, which will serve its purpose as a support for your work but not break the bank when you may not re-use it afterwards - if you do more needlelace, then the holes from the cut away tacking threads/couching threads won't matter, but it won't be much use for anything else. You don't want to use your best linen for that, and you don't want any fluffy, highly coloured fabric which could put its fibres in your lace - but any firmly woven, white or ecru, inexpensive fabric offcuts of the right size for the project would probably do. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Wedding Garter
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Minimum, one and a half times the measurement of the bit of the leg where it >is to be worn. >and the average >measurement here seem to be 18". So, that works out to 27". But remember that not everyone is average! The garters I have made so far have tended to be for a 19.5" measurement, and the current one is for 22.5! I work on the "at least twice" rule, which works well with the pattern I use, (my own design, uses 26 pairs so works up quickly) so I expect to need a minimum of 40 inches. As Jacqui said, gather some of the worked lace onto a ribbon and see what looks best. For the elastic, I work on the leg measurement, minus half an inch, with an overlap of half an inch to join the two ends. If you use the narrowest bra-strap elastic (this is the one which is fuzzy on one side), it will grip onto the bride's stockings and not fall off so easily. Another thought, when measuring the leg, make sure the intended wearer is standing up, not sitting down - the measurement standing is smaller than that sitting! Add nerves to the equation, and a garter made on a sitting measurement will definitely be too big! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Magazine sharing
In message <[EMAIL PROTECTED]>, Chris Vail <[EMAIL PROTECTED]> writes > I'm actually thinking >of cross-stitch and crochet magazines here, as those >are what I've subscribed to, but I don't see why lace >would be different. It's the same type of product >from a pattern issue. Especially as magazines >diversify more, and more similar ones come on the >market Except that cross stitch magazines tend to all be produced by one of a fairly small number of publishing houses - ie one magazine company produces a number of magazines, often across a number of interests. If one of their magazines fails to maintain its subscriber base, it fails, but the company isn't necessarily put in danger. On the other hand, most of the lace magazines are often the newsletters of individual (even if fairly major) guilds - and their sole publication - and if they fail to get the number of subscribers (in other words, members) then the major source of income to the guild fails, and the guild goes under. This is why several of the guilds have associate membership - another member of the household can have membership (usually restricted in some way) at a cheaper rate, because they will share the magazine of the main household member. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] pronounciation of lace names
In message <[EMAIL PROTECTED]>, lapalme <[EMAIL PROTECTED]> writes > If I'm speaking >English, and there is an English translation for the French term, I use >the English translation. Sitting here reading the thread on this, I'm thinking, as an English English person, I would say Point de Neige rather than pwan as we were taught point is pronounced in French. Then, it dawned on me, English translation... the other day we actually travelled (in the car) down a road called Whitestitch Lane. (In Meriden, for anyone in the English Midlands). Of course, Point de Neige translates literally to Snow Stitch, so maybe it answers my mused question as to what White stitch was? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] more book questions - Amy Dawson book
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >The Amy DAWSON book was published in 1977. It is a very basic beginner's >book with instructions how to make your pillow first. The torchon designs are >all edgings. There is a chapter called "The family of lace: Torchon, Cluny, >fine lace, Russian. Honiton" which gives even more basic instruction in these >others. I bought this one as a beginner, in 1984, for 2.95 GBP and got so muddled with it that I put off any further attempts for five years, until I found a class to go to! It has stayed on my bookshelf since, I wouldn't have wished it on anyone That said, a first edition copy was amongst some equipment recently passed on to my class for sale, with the proceeds going to the local hospice. One of my students did decide to buy it, and having given it another look what confused me at the time, having been taught initially the very basics in "English Torchon" terminology, was the Cluny bias of the book. Now I'm years further down the line, I can cope with that, so it may be of some use. For an absolute beginner, as aimed, I'm not so sure. The worked samples are not as well made as we would expect from modern authors (it was published in 1977), which she explains by saying that her patterns are taken from traditional sources and if you want to have more accurate prickings you need to draw them out on graph paper, but that it would then lose the "hand made look" (!). Trying to find an explanation, yet alone a diagram, of how to work a picot for my student to refer to (other than the instruction right at the beginning that a picot was made by "looping the far left hand thread round the pin" - later in the book mention is made of the picot being twisted three or five times, but I could find no mention of using more than one thread...) was very frustrating (despite the patterns using them) - my student has decided to use it as a background to a foray into Beds lace, and was working one of the simple insertions from it. On the other hand, when the book was written there were few instruction books around, and few classes. Writing instructions of "how to teach an alien to make a cup of tea" style is not the simplest of tasks, bits are bound to be missed - especially that which the instructor has done automatically for years (eg "make a pricking"). Hence as a book for someone without English Lacemaking blinkers on, with a lacemaker to turn to for the occasional "how do I...?" or "what does mean?", it isn't that bad. For an absolute beginner with no one to turn to, I'm not so sure. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] books
In message <[EMAIL PROTECTED]>, Weronika Patena <[EMAIL PROTECTED]> writes > I'm putting them all into one file >indexed by book, along with reviews I found in other places - I can put the file >online somewhere so that other people can access it. I must admit I haven't looked for some time, but Steph Peters used to have the collated responses to the last round of book recommendations on her web site - is it still there, Steph, and might it be worth updating the single list with the new comments? (That is, once she has stopped being rained on in Wales!) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Battenberg lace
In message <[EMAIL PROTECTED]>, Jane Viking Swanson
<[EMAIL PROTECTED]> writes
> And Mrs. Treadwin's book came out in
>1874. I've always considered that tape lace with commercially
>woven tapes started around 1850 but I haven't seen anything
>to prove that. I believe Jane Partridge read in one of Alan
>Brown's books that Branscombe Point Lace started being made
>around 1850.
Thanks for picking up on that, Jane - I'd already replied directly to
Mark that I thought I had read somewhere that it was being taught around
the 1849-early 50s, but couldn't remember where, and unfortunately don't
appear to have our correspondence on the matter saved. If it was in Alan
Brown's book, then perhaps Sheila could put us right? (Mine is under a
pile of books, so not easy to get at the moment).
I think I've read somewhere that the actual technique of tape lace with
fillings goes back even further, but I can't be sure. That doesn't
settle the question of when it arrived in America, but I would have
thought that being a quicker, and probably less expensive means of
working lace it might have appealed more in the days of frugality? I
wonder if the beginnings are actually based in ribbons (which could have
been recycled) joined together by the embroidery technique of faggoting
to get a lacy effect?
Having just looked at Judith Gwynne's illustrated lace dictionary, this
type of lace goes back, in northern Italy, to around 1640 (using bobbin
made tape). Under the various sections in the dictionary about tape
laces, Royal Battenberg is listed as dating from the very late 1800s,
but other tape laces are mentioned as dating earlier. Pat Earnshaw
("Lace in Fashion") mentions tape laces among those described as
"renaissance", ie copying these earlier 17th century ones. My thoughts
alongside the ribbon idea were along the lines of "could it also have
been made with strips of fabric?" and one of the books mentions that
strips of linen, and ribbon, were sometimes used. I can't really see
that there would have been no production of this type of lace *at all*
between the 17th and late 19th centuries, but it probably wasn't worth
the cost of documenting and the lace itself may possibly not have been
as long lasting as the more expensive bobbin and needle laces - the
implication in the dictionary is that they tended to be used for
furnishing rather than costume. I couldn't find anything that resembled
the tape laces in the Great Exhibition (1851) Catalogue that I have (a
facsimile version published several years ago), but Pat Earnshaw
mentions the publications which sprang up following the exhibition,
particularly one in 1852, giving instructions on how to make it.
The other mention in the books is the effect that the American Civil War
had on trade, a lot of lace from Europe was exported to America up until
then, and it would have taken time to renew the trade after the expense
of the war? So if any of the American ladies had the time on their hands
(!!!) to make lace (a somewhat frivolous item?) whilst in the midst of
the chaos, with their men away from home and everything to do (even if
some did have servants to help, they still needed supervision?)
presumably if the tape techniques had found their way across before the
start of the war, they may well have found their niche, especially being
far more portable than pillow and bobbins!
This of course, is purely speculation, but it does make you think!
--
Jane Partridge
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[lace] Re: lace in London
In message <[EMAIL PROTECTED]>, Eileen Lee <[EMAIL PROTECTED]> writes >I can't believe it, I will be in London that weekend!!! 2 questions: > Firstly, remember that the NEC is on the outskirts of Birmingham, which is approximately 100 miles from London. As the others have said, this is easily accessible by train, and a quick look at http/www.nationalrail.co.uk shows that on Saturday, to arrive for just after opening, you would need to get the 8.15am train from Euston. The web site is our national rail enquiry site, and also gives details of engineering works, fares etc. Trains between London Euston and Birmingham International (the NEC station) are half-hourly for most of the day. If you plan to do any serious rail travel while you are over here, you need to ask your travel agent (I think) about getting a rail pass for the UK - you must do this before you travel! I remember asking the question before for someone who was planning to go all over the place, and that was the answer - it is cheaper to do so abroad, I don't think you can get anything similar here. If the trip to Brum (local name!) is the only rail travel you plan, then you can buy (at the station on the day) a "Saver Return" ticket which will cost you 36.50 (GBP) each. Sometimes "Cheap Day Return" tickets are available, but nothing has shown up as available on the website. The NEC is adjacent to Birmingham International Station - you just follow the signs! It takes about ten minutes to walk from the platform to the Pavilion (which is the relevant exhibition hall). Parking at the NEC now is 6.00 pounds per vehicle - at least, it was the last time we went. As the BBC Clothes Show is likely to be on, the car parks are likely to be packed! The main reason why the station is called Birmingham International is that it is "next door" to Birmingham Airport. There is a transport link between the two. >How much time should I allow to see the fair? (all day?) Definitely all day if it is your first time and you plan to buy rather than just look - it is possible to get round quicker, but only by not stopping and talking to people you know!!! If you know what you want from which supplier, then get a show guide, sit down with a cuppa and plan your route - then you might only need half a day :-). >And DH wants to know if there are other things of interest in the area >since he doesn't want to go to the lace fair I was born in Birmingham, now live twenty miles north. A great deal of the answer to this question depends on what is he interested in? The National Motorcycle Museum is very close to the NEC, or a twenty minute train ride will take him into the City Centre (Birmingham New Street) where there are quite a few other areas of interest (not just shopping!). As the others have said, there are normally several other shows on at the same time, but be aware that some are trade shows, not open to the general public. There is a Tourist Information Centre on the main NEC Concourse, who can advise. Last year I combined my visit to the lace fair with seeing the Cat Show, this year, from what Jean has just said, I might be tempted by the railway one (is it Warley Models, Jean? - that very rarely coincides!). Let me know what he is likely to want to do, and I'll let you know if there is anything nearby that suits. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] The Horror Kit
>John OConnor wrote: > >>Hi, >> >>Evening Stitches is selling the horror kit on e-bay. Looking at it, it would appear that rather than a one off private sale, this person is selling needlecraft items as a business - has anyone contacted her/him to suggest that perhaps this is not the best kit to sell, and suggest alternatives? The problem for retailers who don't know the crafts they are supplying for, is that they have no idea whether the item at the wholesaler's is going to be the best thing since sliced bread or an absolute waste of space - the reason why I started teaching 10 years ago was because our local needlework/craft shop could only obtain the dreaded Dryad kit from her wholesaler, and she ended up being careful who she sold it to, making sure they had someone to support them (the problem with that kit was the instructions - the pillow, card, thread and pins OK, the (plastic) bobbins just needed attacking with sandpaper, the (plastic) beads replacing - now they are coming up at car boot sales for a pound or two - quite a cheap way of getting a reasonable pillow and a sheet of pricking card!) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Christmas Card exchange
In message <[EMAIL PROTECTED]>, Tamara
P. Duvall <[EMAIL PROTECTED]> writes
>(or seems to; the older generation tends to put the return
>address at the back of the envelope, rather than in the upper left
>corner of the front, and the PO doesn't seem to bother to check for
>that),
So does this mean that despite not having reached 50 yet I'm "older
generation"? Without a daughter to hand to check what is taught in
school now, we were definitely taught to put a return address on the
back of the envelope or package - and letters from banks/businesses with
printed envelopes invariably have the return address on the seal-down
flap.
However, I have just looked in the current booklet published by the UK
Post Office to see what the rule (here) is. Under packages requiring
customs labels, it tells you to "write or type your name and address as
near as possible to the top left hand corner of the front of the
package" ("Mail Made Easy" page 22). Under "Preparing your mail" on page
24, it says "We recommend that you write your address on the back of all
mail so that it can be returned to you if there's a problem delivering
it".
So if the US post office doesn't look on the back for a return address
before trashing post, an awful lot of post from the UK will be trashed
despite our following Royal Mail's recommendations.
--
Jane Partridge
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[lace] Pattern Issue
In message <[EMAIL PROTECTED]>, palmhaven <[EMAIL PROTECTED]> writes > A caveat with using gimp in silk is that if the gimp is not of a >continuous nature, you will need to tie the gimp thread with the ground >thread after they are overlapped. I have had problems with them wanting to >work loose because the thread is slippery. I have never had to tie in the gimp threads - make sure that you overlap the gimp through more than one stitch, don't cut off close until the lace is "set", if necessary add an extra twist to the pairs holding the gimps in place. The problem with tying is that it is likely to alter the thread paths, and should you have made a mistake, it makes it very difficult to back-track! In general, you should aim never to have any knots/ties in your lace. The only legitimate use I have come across in the English laces is in Honiton, when a tight turn (eg at the tip of a leaf) necessitates a method of holding the nearest passive thread close to the pin. In Bucks there are no real hard and fast rules concerning twists after gimps - mostly they are governed by the stitches you are using, say three twists if your next stitch will be a point ground (CTTT) stitch, or two before a honeycomb stitch, but the twists are there to provide the spacing required between stitches/pattern elements, and it is up to the lacemaker how that space is used. Back to the original query, it might be worth considering the natural properties of the threads you are thinking of using. If you want a crisp finish, then use either a linen or a glazed cotton - or alternatively, it will need stiffening in some way - dilute PVA glue is the safest, although if the article is going to be used and washed frequently then starching is probably the best way to go. Never store lace that has been starched without washing out the starch first. Cotton has a softer "handle" - not flimsy, but neither is it stiff. It is probably a better choice for articles that are going to require frequent washing, linen is more likely to shrink. Silk on the other hand, is chosen where the item is required to drape well. It will withstand washing, and if you are working in fine counts, unless you use a noil silk, the longer staple length (silk is a mono-filament when at its best quality, the longest cotton staple is about 2-2.5 inches) means it is less likely to break if bobbin movement causes the thread to unspin. Most silk will wash - but avoid detergents as, like wool, it does not take kindly to alkaline solutions. I have found that DMC Broder Machine 50, whereas it is suited to the most common Bucks grids, does tend to unspin and fall apart in use (probably due to the three twist movement of the ground). I have had much better results with William Hall 80/2 Egyptian Cotton, and Madeira Tanne/Cotona 80. I was in Jennifer Ford's class when she first substituted Unity Glace with Dragonfly - those in the class who tried it didn't particularly like it, from what I remember. This is going back to the early 1990s, so it might have improved since then. Fortunately I had managed to purchase some Unity Glace 100 and 150 before it disappeared completely! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] UK Lace Guild Magazine 2
In message <[EMAIL PROTECTED]>, Jean Nathan <[EMAIL PROTECTED]> writes >But does that mean there'll be no >more large prickings? Not complaining - just curious. No, it doesn't - Deborah has kept the option to have the large sheet once a year, but she was struggling to find anything large that needed to go on it - as with all editors, she is dependent on what is sent in! Losing the green pages was a sacrifice, but as you say, worth it to be able to afford more colour - and the magazine will be a lot easier to proof read from my point of view! I'm just a bit miffed that you lot got yours yesterday - when I could have done with mine (I've been demonstrating at a craft fair in Sheffield all weekend, lots of interest, despite a fairly low attendance) - I have seen it, at black and white photocopy (proof) stage, I have handled it - helping put some of the foreign-bound copies into envelopes at The Hollies last Monday, but haven't had a chance to see what everything has come out like in colour yet! Oh well, maybe tomorrow - I will be spending the day with my feet up (following a minor op last Wednesday - the good thing about a weekend demonstrating is that you get to relax and make lace without having to tend to the family and cats!). -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace magazine - gremlin!
Jean very kindly mentioned my Rainbow Choker in her earlier message about this quarter's Lace Magazine. Having just received my copy today, a gremlin has got in between proof reading and printing - should anyone decide to work it, please note that the numbers on the diagram have been moved one pinhole to the right - they should surround the more solid hexagon with the arrows, 1 being the second pinhole on the third row down, 4 the pin to its right, 2 the first pinhole on the sixth row, and 3 the pinhole shown in the top of the bead. It isn't very often that mistakes slip through the six or so of us proof readers, this one is probably explained by Deborah's decision to show the pricking at full size (my original pattern shows it full length, at 50%), causing the text to need retyping and the diagrams moving - the numbered one has been rotated 90 degrees to the original to fit the new text layout on the page. In retyping, two lines of text had been missed out, spotted at proof stage and this was corrected - however, this looks as if it meant that the diagram had to be moved slightly to the left - the diagram moved, the numbers stayed put! I will say that the choker almost ended up in the bin - it was finished just before the deadline, and my initial attempt at stiffening it with PVA glue didn't work very well - fortunately it washed out, and my second attempt, using a solution of 2 tablespoons of sugar to one pint of water, worked. Not the best for conservation (!), but it held it stiff, despite being displayed at Coventry vertically (as the pricking is on the page) for three months. I would welcome feedback if anyone does work it. (And I'll be demonstrating lace at the Doncaster Card Craft and Stamping Show next Sunday if anyone wants a copy of my pattern - the choker itself is still doing the rounds of the main shows, though). -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Organising a lace day
I've been quiet because I've been madly organising... one of my students asked why not organise another Tamworth Lace Day, as there hasn't been one for several years... so as the idea grew very quickly, I got on with making arrangements! The history behind this is that I was the first secretary of the Tamworth Lace Group, back in the early 1990s, and did most of the organisation of the first few annual lace days the group had. These were held at a school, with plenty of free parking space. Then the committee changed, the school doubled their hire charges, and the lace day was moved to a hall in the town centre, next to a municipal pay and display car park - so lace day visitors were competing with town centre shoppers for parking - not a good thing. Numbers dropped, of course, and to the best of my knowledge there hasn't been a lace day in the town this century so far! So, I teach two groups, one in the town, and one in a village just to the north. The village group are Womens Institute members, and hold their WI meetings in another village's hall - competitively priced for hiring, and with its own car park. It made sense to move the lace day to this venue. Combining the efforts of two small classes means having, hopefully, sufficient help on the day (and Stella is talking about twisting other WI arms to help too!). Should we manage to make any profit, the village parish church needs yet more funds to pay for the repairs to flooring, heating, steeple, stonework, etc. I always used to try to be at least one year ahead, if not two, with bookings for hall, suppliers, etc, but this time it wasn't possible - so, the hall at Shuttington (just off the old main road from Tamworth to Nottingham) is booked for Saturday June 4th, 2005. This time it was a case of choose a month, contact suppliers, confirm with hall! Our suppliers will be Larkholme Lace (Arachne Jacqui Southworth), Malcolm Thorpe and the Guild of Needlelaces. One of my students is an expert in plastic canvas work, so she will be doing a workshop in the morning, and Anne Weston (chairman of the Guild of Needlelaces) will do a needlelace workshop in the afternoon. I've got the basic text typed in for the letters to go to groups, etc, and need to dig out the scanner to get some lace pictures to illustrate the flyers/posters - they look a bit boring at the moment. Then on Sunday I'm going to measure up the hall, so that a table plan can be worked out (along with gaining the information needed to work out the maximum number of tickets we can sell). The next stage then is producing the tickets, get a map drawn and make sure I have the public transport details to hand. Then it will be circulating information to groups, magazines, local libraries, etc, and hoping that it all goes well on the day. Yes, it is six months away, but with deadlines for quarterly magazines to work to it is a case of getting the information to them quickly, and some of the local lace groups only meet a few times a year. At this stage it is an excuse for more chocolate... will enough people want to come to make it worthwhile? But I have been there before, and it all worked out last time! So, if I'm quiet for a few weeks, you'll know why. I'll still be reading, but after a day of typing at work sometimes it is nice to leave it to others to respond to queries! Should anyone plan to be in the English Midlands at the beginning of June next year, it would be lovely to see you at our new, hopefully improved, Tamworth and Newton Regis Lace Day! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lacemaker's fair and currency
In message <[EMAIL PROTECTED]>, Eileen Lee <[EMAIL PROTECTED]> writes >I am headed to the lacemaker's fair in Birmingham, England in a few days. >Does anyone know if the vendors will take a Visa credit card, or should I >try to have British currency with me? There are ATMs in the NEC complex - and the signboards do point them out. If you are arriving at the Station before walking through to the Pavillion, the easiest to go to is probably the Nat West Bank one, for which, instead of turning right at the bottom of the escalators (near Hall 3), carry straight on, to the left of the escalators up to the other halls, and the Nat West Bank is on your left. If there is a queue at the two machines outside, there is also one that you can use inside the branch if it is open. From there, you can carry straight on to the end of that "corridor", turn left and you will come back to the doors out to the Pavillion area - it is basically one big square. I don't think the machines on the Station itself charge, but have watched one person get nabbed by the Security Staff for trying to steal, so would be wary of using them. As ?Jacqui said, we tend to call them cash machines, but most people round here (Birmingham/Midlands) know what an ATM is! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lacemakers fair and currency
In message <[EMAIL PROTECTED]>, Janice Blair <[EMAIL PROTECTED]> writes > You will receive a booklet at the >door in return for your entry fee and it will have a list of vendors and >usually >a map with location. The catalogue isn't included in the entry fee - hasn't been for years! If you book your tickets in advance, you get a money off voucher for it, which I think this year puts it down to a pound instead of two, but you need to buy the catalogue separately to the door ticket. Usually Jennifer's son has a stand immediately inside the doors selling them. It does at least give you contact details for all of the suppliers, in case you miss any of them! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Lace Guild's Lacemakers' Census
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes >Each initial is decorated with "flowering vines" made of plaits and >tallies (two pairs permit two colours - one for leaves and one for >flowers), and each has a spider web somewhere, connecting the initial >to the "frame" where the flowering vines fail to. I think a few of you >- Jacquiest Southworth, Jane Partridge and Jane Viking - may have >intitials made in that period. Yes, I've still got mine - in green and black, I mounted it on to a stick pin and wear it occasionally - especially when demonstrating if it goes with what I'm wearing - and being pretty it draws attention to itself. So, Tamara, your name as its creator is getting spread, as I often have to explain that no, I didn't make it. Out of curiosity, what have the others done with theirs? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: lace pillow storage
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes >On Dec 9, 2004, at 13:39, [EMAIL PROTECTED] wrote: > >> I have been storing pillows in the square plastic bags that sheets >> sets come in. >More than half of our cookie pillows (the likely candidates for storage >in either plastic wreath boxes or zippered sheet-set plastic bags) are >likely to be *plastic* filled, no? >Enjoy the day, but don't lose touch with reality I think that is the crunch of the matter with most of us - we tend to get, in a way, 'politically correct' over just about everything, and forget the reality. Especially on City and Guilds courses where the mantra is 'never throw anything away' (especially with the Preparing Working Designs side of the course, but then, that had its uses, when going on to do another subject, having some of the design work already prepared...). However, I suspect that Elaine's reasons for storage are slightly different to the rest of us - she spends half the year in one country, half in another - so for six months the pillows, and whatever happens to be on them, need to be protected from whatever risks they face when she is not there to 'supervise'. The bags are probably the easiest option, if not perfect - and the zip will allow some air to circulate (I've never seen a vacuum zip yet!). I would possibly be inclined to take the pillows out of the bags to air occasionally, but realistically, unless the pillow is about to be used, I would more likely forget to! I suspect that Elaine's pillows are possibly straw? These do need looking after, as a good straw pillow will more than likely outlive us. The working life of a polystyrene pillow is only likely to be about 2-3 years, unless it is well covered with carpet felt etc, so the conservation point of view, where this type of pillow is concerned, is somewhat irrelevant. There are some pieces of my lace which I hope will be around, like my great-great-grandmother's sampler, to show future generations what I did - but I cannot control what my daughters do with them once I am gone - and there is no guarantee that if they were given to a museum that a) that institution would survive; b) they would ever see the light of day again or c) they would not be sold/passed on to a less caring buyer. Added to which, that which is important to me, is not necessarily so to everyone else! The best we can do with any of our lace or equipment is to protect it to the best of our ability while we are around to do so, in context to its working life, but not go over the top where items of lesser life expectancy (eg bent pins, polystyrene pillows, etc) are concerned. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Torchon to Beds
In message <[EMAIL PROTECTED]>, Eva Von Der Bey <[EMAIL PROTECTED]> writes >the british bobbin lace tradition >sometimes dominates. >Which means: there is Torchon, than Beds or Bucks as continuos thread lace, >a little milanese, and of course Honiton. > Which is interesting, as Torchon isn't really all that traditional in English lace history - it didn't really take off here until the late 19th Century when its speed of production was its advantage (and having done the others alongside it for C&G, coming back to Torchon you definitely work faster!). Tradition dictated that you started with the lace of your region, and stayed with it for life. Modern teaching starts with Torchon, and I think we worked that out (on Arachne, a couple of years ago) as to the fact that it is possibly more complex in variety of stitches than any of the others? >a word from good old europe: a quite natural step after Torchon is to jump >into Flanders, I always wondered if Torchon to Tonder would be a natural progression, too? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] RE: Lorelei's honiton
In message <[EMAIL PROTECTED]>, Carol Adkinson <[EMAIL PROTECTED]> writes > I wound >the bobbins and, as I thought that a pale pink gimp would look well with the >ecru lace, I wound several pairs of said pink gimp. I had similar with my first attempt at designing a piece for a pendant in Bucks - in Jennifer Ford's class. Using "white" silk (silk white is more of a cream) for the main threads, decided to use pink to outline the "flowers" and green for the stems - both pastel shades. Jennifer's comment (and I can't remember exactly what she said now) about using coloured gimps put me off wearing said pendant for a long time.. until, my first ever demonstration outing (for the first National Lacemaking Day, in 1991), when I had it pinned up amongst other pieces I had made - and quite a few favourable comments were made, as to how pretty it looked, etc. After that, I gained the confidence to wear it. The pink and green threads have now both faded back to almost white, though - (has anyone else had this problem with Mulberry Silks?) - so maybe yet another reason why we think that "traditional" lace was all white, black or ecru? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] (no subject) just what are we aiming for?
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Time spent at craft shows, while illuminating for the public, is >not going to result in as large a pay off, unless they are very high end >craft shows. The bottom line here is whether we plan to keep lacemaking alive, by attracting more lacemakers, or whether we are in it as a commercial venture. I have, in the past, both made lace to commission (a piece of lace jewellery, for which I could charge a realistic price) and swapped a piece (which was certain to be appreciated by its intended recipient - the brother of one of our local potters) for a piece of pottery that my daughter really wanted. But, my feelings now, are that lace is beneficial in terms of stress relief, and companionship, and building self confidence. This is achieved in class, and members of a class are more likely to be found wandering round the local craft fair than occupying the classes rich enough to buy the produce. I feel much more pleasure is gained by someone who knows enough to appreciate a gift, than one who has more than enough money to acquire another piece. I make my living by other means, passing on the skills I do for free. (And I know most people won't agree with this, but it means that only the room has to be paid for, and lacemaking is accessible to more learners). This week, one of my class gave another member a birthday present of a Christmas tree ornament she had made, and a bobbin. From the look on G's face, the ornament was the greater treasure. If everyone stopped demonstrating at craft fairs, we would probably stop attracting new lacemakers, and if that happens, when we go, the skill of lace goes. It may be years before the interested party takes up the craft (my new-to-lace-this-year 85 year old student first expressed an interest in learning when her son was 16 - he remembered, and bought her equipment this year - she is enjoying every minute of learning - and her son is way past 16 now!). For some, lacemaking is a livelihood, but we must work to keep a balance between demonstrating for the rich buyers, and for the not so rich would-be lacemakers. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace Guild Newsletters on Professor's Site?
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > How does >one obtain permission from each and every individual contributor, or should >that not be considered? Will someone send newsletters to The Professor >without >Guild approval? Will local Guild policies and By-Laws require re-writing to >address this subject? All, if not most, of the larger Guilds respect copyright law - and the copyright of the patterns/articles remain with the contributor. In "Lace", The Lace Guild's "newsletter", there is a note regarding the Guild's use of patterns on the Guild's website, and that permission to use any piece should be requested, in the first instance, of the editor/webmaster. The Lace Guild has recently produced a CD of the first twelve issues of Lace, thus continuing to raise funds through those issues. For the Myth or Mystery CD (and yes, Jeri, I know you hate the idea of anything being put out in CD format, but it does have its uses!) not every piece in the exhibition is included, because the Guild did not have permission from those individuals to use images of their lace in this way (ie in Guild publications and for commercial/publicity purposes). These again are covered by copyright, and I would not imagine that the Professor would willingly breach copyright. As you say, it is something that the (probably smaller) Guilds need to be aware of, but it would appear that in all probability national law already covers the problem. Anyone sending a newsletter without gaining copyright approval from the publisher/copyright holder should be aware that they are on very dodgy ground. (I can't think of any other wording for that phrase at the moment - I hesitated because it is not the most appropriate of phrases in view of the last week or so). Looking at the copyright section on the second Webside, it appears that one particular Bulletin which folded some time ago, did not cover itself by copyright (presumably this non-automatic grant of rights is US law - I understand that UK law automatically grants copyright) notices and thus is regarded as being in public domain, and therefore available for reproduction. Being aware of this, it is for the individual Guilds to ensure that they do protect their work by copyright, and for individual designers who would object to their work being freely circulated on the web being wary of contributing to newsletters not setting out clearly their copyright policy in every issue. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.298 / Virus Database: 265.6.5 - Release Date: 26/12/2004 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: wearing lace
In message <[EMAIL PROTECTED]>, Tamara P. Duvall <[EMAIL PROTECTED]> writes > a grocery store, a bookstore, a liquor store >and a drugstore here in town, and a bus stop in San Francisco "... if you're going to San Francisco, Better wear lace flowers in your hair" On the other hand, one of my students proudly wore the lace flower she had made, and her son asked her which charity she was supporting - this was about a year ago, before ribbons took over from flowers. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.11 - Release Date: 12/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Down with Trim! /Wear more Lace
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Not only that, but the use of hand made lace as trim presents problems in >laundering. I do not see any sign that people of the future are going to want >to do much fussy laundering. So make the piece to suit the function - the basic rule of any design brief! Not every piece of lace we make is of heirloom category, and one of my early pieces, an edging used to trim the yoke of my daughter's dress - she was 2 when I made it, saw about ten years service (as Hannah grew, so an extra flounce was added to the dress, she stopped wearing it when she was 10, and it had a couple of years with my cousin's daughters) as a favourite dress, being machine washed and ironed. The lace is made from Sylko (ordinary run of the mill sewing cotton) and is still as good as when it was first made - the dress now occasionally comes out to show when I'm demonstrating. If you are making a piece to wear, accept that it will need laundering - and design to suit, use sensible, hard wearing threads (which most natural fibres are - Mom always told me that silk was used for underwear because it would stand up to harsh washing!) and make sure that your ends are well secured. Leave the flimsy, hard to clean, lace for that which is only occasionally worn for special occasions, or that which will be framed. We are, after all, using a traditional method to make a piece of cloth for whatever use we will put it to, whether it is coloured, white, of simple geometric design or outrageously stylised - what matters, and impresses people more, is that it can look delicate but stand up to modern life (hence my reason for taking the dress out with me - it shows that lace isn't just for underwear). Handmade lace in the past wasn't made to look pretty - it had to stand up to being used on bed covers, being positioned to prevent armour chafing the neck (the reason for Venetian Gros Point cravats), flouncing over flowing skirts and draping from sleeves - and no doubt likely to be caught on furniture, etc. It was used for the doily under the cakes at tea, and to protect furniture from the plates and vases - and it was washed by laundry maids using methods that probably make Jeri's hair stand on end, but it made its impression because only the wealthy could afford it, and as a status symbol. When machine lace, priced to be affordable for the masses, came in, everyone could have that status, and so today we see lacy patterns on jeans, trims on collars, as a textile, it is seen and ignored. Distinguishing hand from machine often makes us reach for our magnifying glasses - not something Joe Public would bother about. To be visible, modern lace needs to stand out from the crowd - and be something a machine possibly wouldn't make - hence the reason why wire lace is "seen" and silk or cotton lace isn't. Pictures, 3-D items, etc may be noticed - unfortunately, the lace waistcoat that took months to make will probably be thought of as machine made - you might get asked where you bought it, but it isn't out of the ordinary for modern machines. In a modern world, handmade fibre lace is probably more valuable as a means of stress relief than as a saleable art-form! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.6.11 - Release Date: 12/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fw: car thieves have found yet another way to steal your car...
In message <[EMAIL PROTECTED]>, Barb ETx <[EMAIL PROTECTED]> writes >The car thieves peer through the windshield of your car or truck, write down >the VIN # from the label on the dash, go to the local car dealership and >request a duplicate key based on the VIN #. Apparently it is possible - when my husband recently needed to have a new key cut he had to take both the VIN and the vehicle registration document with him before they would order it. I wonder how many thieves get frustrated when having shelled out the cost of the key (which as Jean Nathan said some time ago can be very expensive) they get back to the car park to find the car has gone....! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.7.4 - Release Date: 25/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace 117 - Or a small group of friends?
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >In a message dated 1/31/05 5:43:21 AM Eastern Standard Time, >[EMAIL PROTECTED] writes: > > >> Giving the "masses" what they they need/want without actually asking them. >> Big businesses - and that's what local authorities are - look at a very >> broad >> picture not details/individuals. >> >The few Maine lacemakers would never expect any "local authority" to offer a >lacemaking class. We know the people we like to share time with, and when we >want to get together it is in private homes. The number that can participate >is rather limited because of the long distances one must drive. However, >we've found a lovely set of friends whom we trust in our homes. I think that >the >most we've ever had show up in one place was 6. This number will fit in most >living rooms. There is, however, a requirement in the UK for the education authority to "meet learners' needs" and this includes providing classes when asked to do so. For a class to be viable, there need to be 12-16 learners - the actual number differs between the various County Councils. However, should there be sufficient to form a class, then the authority should provide a tutor or an alternative. This is why whilst I was studying for City & Guilds at Lichfield, and the Mansfield class was closed due to lack of numbers, three members of that class who were left without a course were able to transfer to our class, and claim reasonable travelling expenses for doing so from their Council. There is no way I could fit four, or six, learners in my living room, even working on their laps! I suspect American houses are somewhat larger than those in the UK, Jeri. Also, it throws up problems regarding insurance (normal household insurance may not cover the risks involved), whether any form of working at home (which this is) would be prohibited by the requirements of the deeds of the property and local bye-laws, whether there is sufficient suitable parking, etc. Once a tutor steps into paid private teaching she needs to be registered with the Inland Revenue as self employed (and having survived this weekend with a husband of that status I am glad I opted to teach voluntarily, much simpler!). Husband and children may not have to get up on Saturday morning, but whether they would approve of having the living room taken over every Friday evening is another matter. And we all know how expert husbands are for finding dropped pins with their bare or socked feet... The Community Education Service may well have a room available somewhere for a self help group to hire - or even take the group under their umbrella - I would suggest the class concerned looks into that option, too. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.7.4 - Release Date: 25/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lacemaking classes
> >I would be very interested to know if other tutors have been put through >this ordeal. I did the Stage 1 C&G 7407 a couple of years ago - having been teaching for 8 years, based on Guiding experience, it was interesting to have confirmed that what I had learned on the hoof was the right way to go about it! I teach privately, and thus had to fund the course myself - I don't actually need to have the qualification, and can't afford to do the Stage 2 at the moment, neither could the tutor whose class I did my teaching practice in spare the hours from her work for me to do the forty hours TP required for Stage 2 had I carried on with the others to take it - as she was doing Stage 2 herself at the time. There were two or three of us on the course who couldn't get our heads round what to do about lesson plans - one of the other two teaches upholstery, the other teaches young offenders, and rarely gets the same students two weeks running, yet alone know in advance what they would be doing! However, discussion led to the agreement that there was no requirement to do lesson plans in this case - you do individual student plans and a schedule of work, and that is acceptable. Assessing the group was another hurdle - but photographs, quizzes, question and answer sessions, etc help - with one student having an actual phobia to tests of any kind (the quiz just about scraped the border line on this, but she managed it!) and another refusing to keep any form of student diary, and being recreational students they couldn't see the need for assessment... but I survived and passed the course. Observation by my tutor was passed on the wow factor (she was used to teaching formally, an accountancy class, not everyone doing something different). The plus point is that we have no problems showing diversification, whereas other types of teaching do! I admit I don't want to teach in the Adult Education system because of the pointless paperwork - I keep the records I need to keep, designed to keep me up to date with what my students can do, and when they did whatever. Sometimes that helps in working out the answer to "how long did this piece take me to make?" and knowing what to suggest for the next pattern to be worked. Feedback is in the chatter, and the fact that they keep coming. In about a month's time I'm taking a group for a weekend at our local adult education residential college - which just happens, if the rumour is correct, to be when they have OFSTED in. I'm not sure if I will be included in the observations or not, but I'm doing lesson plans because this weekend will be one where the group are working on the same projects, except for two absolute beginners I happen to have added to the course! So it breaks down to two plans for each session. Doing them is useful, as it is making me consider what I plan to achieve, and why, and what I need to make sure I take with me. Until I had set out the scheme for the weekend, I couldn't easily have written the list of things I want the group to take with them (eg how many pairs, which threads) - lesson plans have their uses sometimes! Doing it this way means that I have had to book the rooms, and the college will invoice me, but at least it gets a lacemaking course there, and shows that there is still interest (particularly with the beginners - I went on a calligraphy weekend there before Christmas, and the woman sitting next to me was interested in learning, so she and her mother are coming to the course). This last week or so I have written to the local papers concerning the lace day in June (thanks for the mention, Rosemarie!) - our main local paper decided to send out a reporter and photographer (I've had that photographer doing rose ground before now!) to the class to do a piece in advance - and we were all surprised when what we thought would be a small paragraph with one picture ended up two thirds of a page and four colour photos! They made a delightful error - one of the group will be doing a workshop on Plastic Canvas (lavender sachets) at the lace day, and took in some of her work to illustrate the fact "I noticed one lady practising a different form of lacemaking, known as plastic canvas..." !!! So I e-mailed the paper asking them to correct this, and repeating the reason why she had taken the pieces in - result, the e- mailed letter, and another photo, in this week's paper. So far, the article has gained me a talk to a group at the local Age Concern Day Centre, and probably a new student It is worth advertising lace days early! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.3 - Release Date: 31/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] collection of lacemakers
In message <[EMAIL PROTECTED]>, Jennifer Audsley <[EMAIL PROTECTED]> writes > Or perhaps a tangle >should refer to the novice lacemakers only :) No.. it takes experience to get into a right mess! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.3 - Release Date: 31/01/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Retournac Patterns
As nothing has been mentioned on Arachne for some time regarding the lace patterns available from the museum at Retournac, and we have had quite a few new Arachnes lately, I thought I would forward the message I received tonight (and yes, my subscription is on its way!). For those who don't know, the Museum at Retournac, France, has had a professional lacemaker hard at work over the last couple of years, reworking the old patterns and producing them in sets, usually of about four or five patterns, consisting of prickings, picture of the lace and details of its origins (this last is in French), and then sending them out in envelopes bearing pictorial stamps, usually one set every three to four months, sometimes longer. We are now up to set 10, with 11 ready to order, and I think it is now two and a half to three years since the collection started. The museum can take payment by credit card, and has now set up a secure page for ordering over the internet. Their aim is that the old patterns are put to use, and they are setting up a web page to display photographs of the lace made from their patterns. Further details are on their website at http://www.ville-retournac.fr/ and there is an English version for those who do not understand French. (I think they still only have one employee who speaks/writes English - she does so far better than I do French!) Dear friends, As we said, we have now with the new set coming out, a subscription system you can receive sets 11, 12 and 13 as soon as they are published for the price of euros 50 without postage (instead of euros 52.50 without postage as it stands presently). For those of you who would rather order singly, you still may do as before. The price moved up slightly from euros 17.50 to euros 19. However, so as not to penalize our faithful buyers, the set will be available for euros 18 for orders received within 30 days of the set coming on the market. We remind you that since September 2004, we create a virtual window of your work executed from Retournac's design. To appear in this window, send us a picture of each work (paper photographs which can be sent back to you or numerical pictures in 150 ppi minimum) with your name and Christian name, also your club if you wish. The date your work will be shown on line will depend on how fast you send us your pictures. Museum staff http://www.ville-retournac.fr/ -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 265.8.8 - Release Date: 14/02/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hello to a newbie in Oz
nto your thread) and rub out the pencil marks. The pricking card doesn't shed its fibres, and normally the ink doesn't bleed into it, as some packaging card does. You save money in not needing to buy the plastic film. Do use a piece of baking parchment or waxed paper between the card and pattern when you are pricking, or dip your pricker into beeswax every so often - it will make life much easier! Don't believe a pen is waterproof unless it says so on it - some sold for lacemakers several years ago were anything but. >> cover cloth - what colour, fabric > >Anything that pleases, as long as it's big enough to cover most of the >pillow and *all* of the lace. Keeps the lace protected from sunlight, >curious cats, etc. Interesting cover cloths - with spiderwebs or group >logos - are often offered by vendors or groups. Another good reason to >join groups :) > >> working cloth - what is it? > Non-shedding, and colour-fastness are >*essential*. Likewise with what you are wearing to make the lace! The (red) jumper I have on at the moment is notorious for shedding its fibres (it is cotton, and not at all hairy - took me ages to work out the culprit!). It only takes one fibre (visible usually only with a magnifying glass) to change the colour of a small area of your lace. Don't make your pincushion from felt, for the same reason. The hackle pliers do come in useful for removing such fibres, though, when you do get some - otherwise use fine tweezers. Go for the basics that you need to start with - pillow, fabric to cover the pillow with, work and cover cloths, pins, pincushion, bobbins, thread, pricker, something to prick your pattern on (eg cork mat), pricking card, good, basic, beginner book. Look for good close up diagrams, and a style of writing you can understand. I made a mistake with the first book I bought - "Bobbin Lace for Beginners" by Amy Dawson - because I couldn't relate much of what was written to what we had been shown. Now I can distinguish that it was written with a Cluny lace bias, it is a little more use than it was when I was trying to carry on by myself. Finally, I'm not trying to put you off, but it needs to be said that not everyone takes to bobbin lace. For this reason I loan equipment to my new students until they are sure they want to continue, and buy their own equipment - there are many who have a pillow packed away in the loft or wherever. My eldest sister is an embroiderer, needlewoman, knits, sews, but could not take to bobbin lace, it did not grow fast enough for her. Some people assume that everyone should be as enthusiastic as they are - yes it is easy (once you get over the first hurdles), but not everyone takes to it. Where supplies are hard to come across, it is tempting to buy everything in one go that one might ever need (and some of us may never use), but unless you are of the type to work projects that may take weeks, (and sometimes years) to complete - to pick it up, do a bit, put it down and continue another day, rather than pick it up and have something finished in a short space of time, you may find it frustrating. Steph's beginnings of trying with improvised equipment to start with may be a good idea in your case, if you find sourcing equipment difficult. You will then have an idea if it is worth the effort. (Was this improvisation before or after seeing Gil Dye demonstrate with a biro shell improvising for a bobbin on that shawl, Steph?) -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.300 / Virus Database: 266.5.1 - Release Date: 27/02/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hair weaving
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >There is a photograph somewhere on the internet of hair weaving in action. I >wonder what I was looking for when I found it! Some years ago, I think it was in 1998 when Tamara was in the UK - a group of us met up in Manchester and went to the ?Science Museum. In a textile exhibition there, there was a large hanging made totally from hair - woven I think. Quite impressive, wonder if its maker was one of the 17? Steph, Tamara, do either of you remember this piece? -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.6.0 - Release Date: 02/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Pricking card
In message <[EMAIL PROTECTED]>, Carol Adkinson <[EMAIL PROTECTED]> writes > at least by copying the pattern, one doesn't have to waste umpteen >pieces of card just to get the ink markings correct! I use Typex if I make a mistake - alternatively go over the mistake with another colour pen - and mostly I only mark about one pattern repeat, and any really necessary bits, rather than the whole pattern, so it is very rare I have to give up completely and start again. Yesterday I went to our local Age Concern Day Centre to give a talk on lace - and I think I ended up learning as much as they did - one of the ladies used to work in one of the lace factories in Nottingham - a huge flatbed machine from her indication of how far down the room it would have reached - she said there were 40 people working to each machine, and it was very hard work. They ended the day with blisters on their feet and many cuts on their fingers, as they had to pull hard on the threads. Both she and her husband worked there. She said that the foreman was always complaining if they were not pulling their weight (ie doing as much as the others) - and if they were not up to the job, they were out. She had started her working life at age 14, turning saucepans from rods of metal. It was quite fascinating talking to her. Today I'm ready to go off for the weekend - teaching a group of my students, and two absolute beginners, (the woman who was sitting next to me on a Calligraphy course in December, and her mother) at a residential college for the weekend. The main group will be looking at how to use and manipulate colour (the more simple methods), so it will be interesting to see what they come up with. At least if we get snowed in we will have our lace with us! (Just looked out of the window to see how wet it is - we've had a little sleet this morning - and there is a wren pecking round quite near to the house!) -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.6.0 - Release Date: 02/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace Days
In message <[EMAIL PROTECTED]>, Judith Bongiovanni <[EMAIL PROTECTED]> writes >Just an add on to the previous message about the Amherst Museum Lace Seminar. >From the list of tutors, I assume that Amherst Museum is in the United States of America? Please remember that not all Arachnes are in the US, so wouldn't know where it was unless the country, and in your case, state, was mentioned - this information would also help those who are likely to be there on holiday (from other countries) know that there is something of lace interest going on, who may not know of the venue's existence otherwise. I think at times we all forget that we are not in the next room! If anyone will be in England (Staffordshire) at the beginning of June, and is interested, I am organising a lace day - email me for further details, or look in the current issue of Lace (117 - think that was January's - I'm proof reading 118 at the moment!). -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.1 - Release Date: 09/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] A question
In message <[EMAIL PROTECTED]>, Rita Lloyd <[EMAIL PROTECTED]> writes > I am working on a wedding garter for a friend who is >marrying in Apr. I can't remember how long I should make it, for gathering? >Is >it 2 !/2 times the prospected length or 3 times. I've got double the length >now >and am not sure how much longer to make it. I usually work on twice the leg measurement - taken at the point where it will be worn, but make sure the bride to be is standing, not sitting, as the muscles contract on standing! That said, some of the best advice I have seen is to take a length of ribbon and thread it through enough of the garter to gather up and see what degree of gather looks best - measure the amount you are gathering before and after, so that you can work out how much gathering needs to take place. Also, consider the style of dress to be worn - a fully gathered garter will not look good under a tight-fitting dress! For the elastic, I use the soft bra-strap type, which is slightly fuzzy on one side - this will grip to tights or stockings better. Measure off to half an inch less than the leg measurement, thread it through and overlap by half an inch before sewing the ends of the elastic securely - this should give enough grip without cutting the circulation. Thread the elastic through the garter, then thread ribbon over the top. Leave sufficient (about 9" each side) tails of the ribbon to tie into a bow, the ends can be trimmed once it is in place. Photograph it when you have finished - you might never see it again! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.3 - Release Date: 15/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] what's plonk
In message <[EMAIL PROTECTED]>, Margot Walker <[EMAIL PROTECTED]> writes >On Thursday, March 17, 2005, at 05:34 PM, [EMAIL PROTECTED] wrote: > >> Plonk is a term we use for the type of wine that you can clean a toilet >> with. > >Ooooh, I wouldn't go that far. To me, plonk is not the greatest, but >drinkable and cheap. We tend to describe it as paint-stripper - and it definitely doesn't improve with age - drinkable to teenage daughters, definite yukk to us! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.3 - Release Date: 15/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] atract young lacemakers
In message <[EMAIL PROTECTED]>, Helen <[EMAIL PROTECTED]> writes > However, >craft just isn't something that a lot of young people do any more. I've >got a 11 year-old Guide who I know has never made a pompom before. Possibly because it is far less hassle for the schools/parents to buy the ready made ones, and also, with the lack of shops selling knitting wool, the materials are not easily to hand. However, I used to find out what they had never done before and plan it into the programme where possible - hence guides who had never been on a train before had a day out, including a five mile sponsored walk (together with the other company I was assisting at the time), travelling by five trains and two buses! (Day Rover tickets were cheap in the early 1980s!). I learnt to make the basic stitches of lace on a County Guiders' Training Day in March 1984 (when I was 27) - went to college to learn, five years later, when my younger daughter was two, (her sister was born in October 84) with the intention of passing on what I had learned to the guides. Fifteen years later, I'm teaching adults (having retired from guiding in April 1994, after 19.5 years, after I had started doing my C&G in lace). > Also, if >someone tried to do a demonstration, the chances are that the only hall >they'd be able to get would be a church hall or a community centre - >neither of which often seem particularly enticing places. A friend and I go out demonstrating at Craft Fairs (next one is Doncaster on 3rd April), but if I travel by train for any distance, I take my travel pillow and work on the train. If I go on a weekend course of any kind, I take my pillow to work on in the evening (usually in the lounge or bar area! - this led to two absolute beginners taking the course I led a week or so ago). Quite often it is lace being demonstrated in holiday areas (Malta, Belgium, etc) that gets the interest, even if it is years before the student takes it up - my 85 year old student, who started last April, had seen lace being made in Honiton when her son was 16 and said she wanted to learn - he remembered, and last year, on holiday in Germany, bought her the equipment, this led to her finding my class. Don't rule out older learners! > A lot of people have said to me that they don't have the >patience to make lace, My stock answer to that one is that patience is for the things you don't want to do, like ironing or dusting, you don't need patience to do the things that interest you. Both of my daughters have made some lace, but neither has kept it up - maybe later in life they will come back to it, in late teens/early twenties there are many other demands on their time. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.7.4 - Release Date: 18/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] square bobbin report - hitches
In message <[EMAIL PROTECTED]>, Mary Robi <[EMAIL PROTECTED]> writes >I started using the double head, but even though I had pre-wound then hung >the bobbins for a day, I had problems with them unwinding. I find that the single hitch will hold, without need to resort to double hitch, if it is hitched appropriately for the way the thread is wound. That said, some bobbins, and some threads, won't stay hitched what ever you do, which is why I rarely use the Springetts bobbins I bought some fifteen years ago. I haven't tried the International Square bobbins - but I don't have any problems with the other square bobbins I have. If your thread is wound clockwise as you look down on the head, if you hold the bobbin horizontally in your left hand, with the head to the right, the thread will pass upwards in front of the bobbin and *over* the top of it - extend your left index finger so that it is parallel to the bobbin and take the thread over this finger, round and under, bringing it up (in a forwards direction) between your finger and the bobbin - you will now have a loop of thread round your finger (the thread crossing over on itself between finger and bobbin). Place your finger tip onto the top of the head of the bobbin, and slide the loop onto the short neck and tighten. (I tend to put my loop onto the wound thread rather than on the short neck - the springier threads stay put better). If your thread is wound anticlockwise, you need to take the thread from the bobbin round *under* your finger, behind, up and over then down between your finger and the bobbin to form the loop - again, put your finger tip onto the top of the bobbin, slide the loop off your finger onto the neck of the bobbin and tighten. If the correct hitch is used for the direction the thread is wound, you shouldn't have a problem. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.0 - Release Date: 31/03/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] another hitch!
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > 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. I used to have this problem, particularly using DMC Broder Machine for Bucks Point. Margaret Allen pointed out the rule of turning the bobbin at right angles to the pillow every time you lengthen or shorten, and I found that this helped to cure the problem - but Bucks does still unwind the DMC threads in the ground movement, so I now use William Hall's threads for that. Likewise in Honiton you need to watch the threads, but in that case it is more likely due to the rolling of the bobbins. If DMC unwind, they fall apart - I think it is partly the direction of twist, and partly the staple length of the fibres used could be shorter than that of others? Probably just a case of every so often, pick up the bobbins individually and let the thread leash slacken - if it twists up, you need to untwist it (by turning the bobbin in line with the thread, not at right angles to it) so that the proper twist on the thread is restored. Turning the bobbin at right angles ensures the thread is unwound, not untwisted. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.1 - Release Date: 01/04/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Hitches
In message <[EMAIL PROTECTED]>, Jean Nathan <[EMAIL PROTECTED]> writes >The head of the bobbin makes no difference to me - I make a single loop >hitch around the thread, not around the neck, I went one further than this, and got Eric, Jacqui Southworth's husband, to turn me some Midland bobbins with a single head - I don't use the double head anyway and this meant that the body of the bobbin could be slightly longer, (without sacrificing thread space on the long neck) allowing it to be wound by hand without the spangle catching the lower edge of my hand with each turn. Unfortunately, the makers of bobbin blanks don't consider that point about bobbin length! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.1 - Release Date: 01/04/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] demonstrating, "it's tatting!" and bobbins
I spent yesterday in Doncaster, (South Yorkshire, UK) demonstrating lace at a Card, Craft and Stamping Show with Anne Weston (Chairman of The Guild of Needlelaces) - Anne takes her needlelace, I take bobbin. (Next Sunday we'll be at Edgbaston Cricket Ground if anyone is in the Birmingham area and not going to The Lace Guild Convention, and then Sheffield on the 24th.) Half way through the day, a woman with two young girls came to see what we were doing, and the girls (approx 10 year olds) both had a go at doing a stitch in my lace - they were very shy, but the one who tried first did another stitch after her friend/sister had had a go, and got it right without guidance from me. A minute or so later, she came over with a two pound coin in her hand, and asked if I would like it for showing her - I refused, of course, and thanked her for the thought. It really made me feel appreciated, though! Later, two women, one saying "it's tatting" and the other correcting her that we were lacemaking - but, I think I have found the reason for the "tatting lady's" insistence. I took it back this morning, so can't refer to the title now, but there is a book on the history of the Nottingham lace industry from the late 1700s to 1950s. In that, it defines tatting as a machine made geometric lace, similar to torchon. Hence the confusion. In this case, the friend got the last word in! 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? I got the feeling that a lace teacher in Pontefract and a bobbin turner in the Doncaster area would be a good idea - there seems to be a hole around there! Is there anyone in the area? I got the first side of a square mat (I'm working it in Texere's Galloway linen - the grid is 10 to the inch rather than metric) done during the day - it was one I doodled about a year or so ago, and it stayed on the graph paper ever since waiting to be done - I'm not sure about the centre at the moment, will wait till it is finished to see if it could have done with another cloth area, but the pattern will probably end up being sent to Bev for the CLG - "watch this space" but don't hold your breath! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.1 - Release Date: 01/04/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Galician Lace Catalog (Spain)
In message <[EMAIL PROTECTED]>, Miriam <[EMAIL PROTECTED]> writes >Noelene, > >you are not the only one who can't download the Galician Lace file. I have >tried several times and got perhaps two pages and then the whole computer >froze. Have you checked that there is sufficient space on your hard disk for the file? Phil (DH) managed to download it OK for me this morning - it took about 20 minutes - but his comment was that some of the broadband ISPs limit the size of file you can download, and use slower routes, so this might be the answer in Noeline's case. The computer we use generally for email is rather ancient, still on Windows 95, and so it was a case of dictating the (long) url to him to type into his (newer) machine. The monitor on the old machine is rather small of screen, and I noticed that I needed to scroll across to get the last three or four digits of the first of the two lines the original message came through in - it made me wonder if anyone who hasn't succeeded has missed out these three or four digits? I have just sat and looked through the 286 pages - some very pretty patterns and variations - now to get him to put it on a CD, hopefully then I will be able to access it when his machine isn't hogging the dining table! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.9.5 - Release Date: 07/04/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] travels by air and US customs
In message <[EMAIL PROTECTED]>, Barbara Joyce <[EMAIL PROTECTED]> writes >They're >combination locks that you can set with your favorite number, but they also >have a keyhole at the bottom. In theory, only TSA has a key that will open >them. The idea is that TSA can get into your luggage, but baggage handlers >(and others) can't. I'm not sure I'm convinced, Neither would I be - most combination locks don't need a key to get into, just a good ear! My father in law was a locksmith, and so DH is well-clued on such matters - so when our daughters ended up with combination locks on the - hmm, they're not chains, more like a length of plastic coated metal - things for securing their bikes to lampposts, etc we had a demonstration of how easy it was to unlock them, even without knowing the number set. In any case, if TSA can have master keys, who is to say one (at least) can't 'go astray' into dishonest hands? I think I'll stay a land-lubber! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.10.4 - Release Date: 27/04/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Poole Lace Day
In message <[EMAIL PROTECTED]>, Elizabeth Pass <[EMAIL PROTECTED]> writes >I just thought I would let you know that there are still some tickets left >for Poole Lace Day - Saturday 4th June Likewise for Tamworth (Staffs) on the same day (for those not able to get to the South Coast). Suppliers Larkholme Lace (Arachne Jacqui Southworth), Malcolm Thorpe and Guild of Needlelaces - contact me! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.11.6 - Release Date: 06/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Quiet list
Have we just all run out of steam or is the list unusually quiet at the moment? We have had a week of our anti-virus fighting off several hundred spam emails (from the same domain) a day and I wondered if anyone else was getting this - the messages apparently contained a worm - and of course, the ones we wanted to receive were usually last in the queue to download! DH has reported the abuse, and it seems to have got less today. Other than that, and a twisted ankle last weekend (much better now, but I've decided housework is dangerous!) not much seems to be happening. One thing I was alerted to in the week was that apparently Margaret Wall's husband is selling some of her bobbins on Ebay - one of my students has bought a couple. For those who don't know, Margaret Wall paints some wonderful bobbins, but they were nearly always out of my price range so I think I've only bought one or two from her in the last fifteen years. I got the impression from what my student said that this was an ongoing thing rather than a one off. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.11.6 - Release Date: 06/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] tatting
I thought I'd mentioned this a few weeks ago - I found, in a book about the machine lace industry in Nottingham, a definition of tatting which explains perfectly the many misconceptions about bobbin lace. Apparently, tatting in machine lace terminology means a geometric lace (ie of bobbin lace appearance, not tatting done with a shuttle). Hence the number of ladies of a certain generation who insist that bobbin lace is tatting - though they are more than likely thinking of the correct terminology they saw applied to machine made lace in shops in their youth, than distinguishing between terms for machine and hand made lace. Unless you are certain that the piece on ebay is hand made (I haven't looked at it), it could, truthfully, be termed as tatting if it is a machine version of, eg, torchon! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.11.11 - Release Date: 16/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Help Please
In message <[EMAIL PROTECTED]>, Lynn Weasenforth <[EMAIL PROTECTED]> writes > I can't get the roseground to >work, can anyone help me. I haven't got Doris Southard's book, but in principle you work the top two corners first, these do not have pins. Then you work the four pin holes, top, two sides, bottom. Then to finish, the two bottom corners - again, no pins. The order of working is thus: a, b, 1, 2, 3, 4, c, d. a 1 b 2 3 c 4 d where a, b, c and d do not have pins, 1 2 3 and 4 do. The most frequent roseground I've come across has a cloth and twist at the corners and half stitch, pin, half stitch for the pinned stitches. (But you can combine any stitches - eg half stitch at the corners, Dieppe ground stitch at the pins, or even half stitch at the corners, then work a half stitch diamond at the pins - there are many variations.) If you have a bottom corner that is also top corner to the next square, you do not do a second corner stitch. I also find it helpful, as well as marking the diamond (the usual pattern marking for roseground), to mark in crosses at the corners, as these show which pin holes in the surrounding area your threads are coming from and going to - the cross-over is where the pin-less stitch sits. So it is marked: + . + ./ \. \ / + . + (I'm sure you can square that up, and extend the lines of the + to reach the relevant pinholes - it is easier to draw than type!) Note also that alternate squares are empty, so you do have big gaps between (my students always ask if that is correct!) - the roseground squares form a checkerboard effect. Remember that you have two pairs coming to a pin, and two pairs going out from it - you cannot have two coming in and three or four going out! (Obvious, but occasionally a trip up point!). Also, you cannot work roseground and turn a corner on the same line - you need two lines of roseground, one before the turn and the other after. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.14 - Release Date: 20/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Pattern for bobbin lace classes
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >finally I decided to advertise a beginners course in bobbin lace in autumn. I >would like >to know, which patterns/prickings you use in the courses you teach? I use my own patterns, or those for which I have obtained permission to use (in which case the students are asked to buy their own copy). Does the German Lace Guild produce anything in the same way that The Lace Guild in the UK does? The guild's book "Introduction to Torchon Lace" is less than five pounds, so I don't have any problems with asking students to buy it. At least then they have a back up (along with the handouts I have produced on various techniques) for working at home. You will, I assume, need something with the text in German! Sorting out your own paperwork in advance, and planning the basis of your course (which may or may not be thoroughly revised after the first session with the students) at least gives you a chance to plan what you are intending to teach them, to work out what you can reasonably expect of them (remember they will all learn and work at differing speeds!) and give you an idea of what you need to take with you (if the class is to be away from home) or get out ready on the day. It is also a good idea to consider insurance - you will need liability cover, and if you are teaching at home, consider whether this has any implications on your household insurance and any restrictions on lease/rental agreements etc. In the UK we can insure our classes through the Guild, as long as we are Guild members. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.15 - Release Date: 22/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Michelle - craft shops
In message <[EMAIL PROTECTED]>, Micki <[EMAIL PROTECTED]> writes >Michelle, > >if you go to the followng website www.hobbycraft.co.uk you will find the >nearest shop to where you will be. I think, when we went to Chester a couple of years ago, I remember coming across a needlework shop in the centre. Unfortunately, Hobbycraft has killed off most of the smaller craft shops (including the one where I taught lace for the last 10.5 years - it closed a couple of weeks ago, the class is moving to the library, with a change of day, starting the Friday after our Lace Day (a week tomorrow!) - not exactly easy when you need to do the last minute organising and the class is fragmented! If you look up DMC's main site for the UK, hopefully they will give a listing of stockists - or maybe, links. Also look at the Lace Guild's suppliers page (www.laceguild.org) - I'm not sure whether Church Meadow Craft's shop (at a craft centre, can't remember which offhand, but it is up in the Chester direction) is a possibility (they will be one of our suppliers, and David will be giving a talk, at next year's lace day). Or do a search with "craft shops" + Chester Cheshire as the requirements (senior moment - the correct word has gone!. Not doing very well tonight, am I!) -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 267.1.0 - Release Date: 27/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: pinning spiders (was: BLacing with hair)
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >What I do is put in the pin till I've got all the "legs" anchored to >the ground. I find the easiest way to remember to do this (particularly for students, but I occasionally forget too) is to re-use the centre pin for the last ground pin - ie the pinhole directly below - of the surrounding diamond. At this point, you are at a convenient point to tension the spider, with all the ground pins in place for support. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 267.2.0 - Release Date: 27/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Picture of a needlelace needle required
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >4. Nenia Lovesey, "Introduction to Needlepoint Lace": For the couching down >of the design: *Betweens have a round eye and a No. 8 is about right when >using sewing cotton. *Crewels have long eyes and a No. 10 is right for single >strands of stranded sewing cotton or silks of a higher number than 100/3s. I am somewhat surprised that such a recognised expert as Nenia Lovesey would recommend using stranded cotton or silk for the *couching* stitches! These stitches do not stay in the lace, they are removed completely, and usually a fine sewing thread is used, as it is cheap enough for its throw away purpose. One of the threads we had to experiment with for City & Guilds Part 2 was dissolvable thread (apparently, according to the person who wrote the syllabus, it seemed like a good idea at the time!) and just about the only practical use we could think of to put it to was for the couching stitches. After all, who wants to spend time making lace only to dissolve away their work? Even so, dissolvable thread, although convenient (as long as you keep your hands dry), is probably too expensive for this purpose. Rather than splitting hairs over which needle is used, it is often down to what comes to hand and what one is comfortable working with. I prefer to use very fine tapestry needles (size 28) as the eye is not that thick or wide, it will go through seed beads, and the end has no trace of sharpness which I have found with some ball points. For larger threads, it is obvious you need to use a larger needle! The couching needle is less important, as long as it is suited to the sewing thread being used, and does not produce a hole large enough to pull the cordonnet thread through. I would tend to use a fine between or sharp - whichever was the first out of my needle case. Any author will recommend that which he/she is used to working with, hence the wide variety between the four. I am sure if you looked at more books, you would find even more possibilities. The only exception to this is Hollie Point, where working it drove me up the wall - I was convinced that not only did the 18th Century girls have finer threads, they also had finer needles than we can purchase. There were places where I had difficulty with the finest needle I could obtain (a blunted for the purpose No 12 Sharp) in terms of inserting it between the stitches of the row before. This lace is worked with the stitches very close together - the pattern is made in the holes made by missing a stitch, much the same as the effect of Assisi work in embroidery. In most pieces of needlelace, you will only use two needles - one for couching and one for filling. The only reason you would need more than that would be if you were varying the size of threads in the fillings, in experimental work most likely. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 267.3.0 - Release Date: 30/05/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Hornsbys UK
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Hi Bill Hornsby went into the church some years ago. I don't think they do >much in the lace world now, On the contrary, Vivienne, Sylvia Hornsby is still trading - the range was cut down from the extensive list of items they used to carry, but she supplies essential items for most types of lace as she still teaches. Hornsbys have now been trading for 30 years, and are very useful for items such as architect's linen, Battenberg tapes, and the DMC Broder Machine threads - particularly the colours, which most of the suppliers seemed to have dropped last year when I needed to order more of a specific colour - Sylvia had it, as she is still importing the thread from France. This year I have bought the Ali-gator set of patterns from her, and one of my students is working a garter to one of her designs. (Another student is working one of yours, Vivienne, garters seem to be the in thing at the moment!). As with most of the lace suppliers, service tends to be either by return, or within a couple of days of the order being placed. I have passed her email details on to Noelene, as fax machines do occasionally have hiccups! Interestingly, we have recently noticed some of the local "antique" dealers at craft centres selling Hornsby plastic spangled bobbins - and trying to get at least three pounds each for them, when they are still available in the catalogue for just over a sixth of that amount! It isn't only Ebay that has ridiculous prices for the uninitiated. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.6.9 - Release Date: 11/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Extra lighting - safety tips
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >Remember Robin's excellent suggestion for replacing your room's lightbulb(s) >with one(s) that provide more light. Whilst on a safety note, it might be worth considering whether the light bulb supplied by the hotel is kept to a low wattage because of cost consideration, or because any shades used do not allow for the extra heat generated by higher wattage bulbs? So many lamp shades on sale in the UK these days are for 60W bulb maximum - you really have to search for 100W rated ones. This is, of course, to cover the manufacturers' backs, but it is a *fire* risk to be aware of. You can get a higher equivalent wattage by opting for low energy bulbs, if available. Where daylight bulbs are concerned, one of the things we learnt on a visit to The Textile Conservation Centre in Liverpool is that daylight bulbs give out the most UV rays - and are therefore the most harmful to use with textiles. The old fashioned tungsten bulbs were the least evil! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.6.9 - Release Date: 11/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Graph grid query
>In a message dated 14/06/2005 22:08:36 GMT Daylight Time, [EMAIL PROTECTED] >writes: > >I want to make a pricking for a beginner of the beginner's "bandage" to be >made using ordinary sewing thread. In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > and I felt, when I'd finished that I hadn't >achieved anything. .. >and >gives them something worth having as their first project. I assume there is a reason for wanting to use sewing thread as a first rather than anything thicker (which most of us probably use - either one of the cordonnets or Perle 8). However, it does pose some problems for beginners - though they would either learn to tension properly very quickly or get very frustrated with broken threads! - and as Jacqui says, it grows very slowly. But, there is no reason why you can't do something with the bandage produced - two short narrow lengths (about 2 inches), coiled round a bobbin and stiffened (I use this as a just past beginner project, and incorporate a wire pair to hold the coil in place) can be used for earrings. You can do this with any thickness of thread. An ordinary bandage can be gathered down one side into a rosette, placed on an interesting background (I've started using glitter card for this) and placed in a coaster. Once the piece has served its purpose in the straight - to learn the stitches - it doesn't have to stay straight! You don't have to do miles of bandage - careful placing of the basic stitches, and use of colour, (which helps a beginner understand the stitches) can make a 6-8 inch length of the beginner strip into a bookmark. Having something usable rather than just a strip of bandage at the end of the exercise gives a morale boosting sense of achievement, and motivates the beginner to go on to other things. Get bored with a bandage, and you may stop there. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.3/15 - Release Date: 14/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lenka's cancellation
In message <[EMAIL PROTECTED]>, Tamara P Duvall <[EMAIL PROTECTED]> writes > in fact, as a non-US citizen I am not >allowed to >teach without a green card. Is this likely to cause problems generally for lacemakers in the US wanting to bring in a teacher from abroad? Presumably the need for a green card doesn't only apply to Canadian teachers? -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.4/16 - Release Date: 15/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Girl Guides and lace
In message <[EMAIL PROTECTED]>, Carol Adkinson <[EMAIL PROTECTED]> writes >Hi Helen and Spiders, > >I used to be a Guide Captain, running a very successful group of girls in >Hertfordshire but, just before I finshed, the Bobbin Lace proficiency badge >was discontinued. Rooting through some things a week or so ago, I remembered someone saying something about this recently, and the date given for the badge's decline was definitely within the time that I was a Guide Guider. (1974-1994) However, although I'm sure somewhere I have a copy of the old Guide handbook (when the badges were included in it) I can't put my hand on it at the moment. From the 1988 version, through to the one that was current when I left guiding in 1994, the only mention of lace was the clause in the Craft Badge - "make a piece of lace". I gather that there have been major changes since 1994, and I'm not sure if guides still do badges - if so, and if the Craft Badge still exists, do we have a current Guider in the UK who can tell us whether the clause is still there? As for how I got into lacemaking in the first place - it was an option given on a (Staffordshire) County Guiders' Training Day - at the Edward Orme School in Newcastle-under-Lyme - in March, 1984 - I got home full of enthusiasm, "can I have a pillow for my birthday?". DH bought me the pillow (rectangular, straw, with my current project on at the moment!) but within a month or so I couldn't use it - our eldest daughter was born that October. It was then five years before I saw a "lacemaking for beginners" class at the local college, with a crèche able to take my (then) two year old younger daughter (at 18 months she was jealous of her big sister being able to go to playgroup - they had to be 3 for that) and the rest, as they say, is history. I went into lace with the aim of having something new to pass on to guides - I never dreamt at the time that I would eventually be teaching adults! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 17/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Girl Guides and lace
In message <[EMAIL PROTECTED]>, Sue Babbs <[EMAIL PROTECTED]> writes >For interest's sake, I've just dug out my guide handbook from 1968, and >found the badge requirements: It's a bit daunting, isn't it - even having passed City & Guilds Part 2, I could do clauses 1, 3a,b,d and e (could do c but it wasn't something I enjoyed doing when we learnt how) and 4a (I hate knitting, and of the Irish techniques, only learnt the rosettes when Mom taught me to crochet - my netting didn't really get further than the initial "hammock", and a better square to show the technique - the piece of darned net we did was on a commercially produced square net). But, as for clause 2, we were never taught how to mend lace - and if you think about it, today's society tends to shy away from mending anything - I wonder if, with the trend towards recycling, mending skills (for all sorts of things, not just lace) are something that should be revived? -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 17/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Website, Brazilian bobbin lace
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > If you look at the shoulder bag on the products page its the leaves >that stand out and makes the whole thing 'work'. I must admit I really like that bag - if they had a sales page up I would be really tempted! Have you noticed though, the lace on the home page appears to be wrong side up? I was trying to work out which way it was worked - whether the half stitch was traditional or the s'Graves.. (that word I can't spell that has vertical straights instead of horizontal in the half stitch) - this is often a clue to machine made lace - on one of the top left hand petals in most of the flowers, the centre thread is not woven all the way down. Almost looks as if a thread has been put in later, rather than worked in at the time. But then, back to the bag, four tally flowers to make one side of a bag - they are huge tallies to control! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.10/24 - Release Date: 21/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace Travel in the UK and France a d little Belgium
In message <[EMAIL PROTECTED]>, Laurie Hughes <[EMAIL PROTECTED]> writes >First of all, the Lace Guild has a really lovely guide to lace and lace >collections in the UK. >UK > >Honiton in Devon - >Olney in Buckinghamshire - >Cecil Higgins Gallery and the Bedford Museum >Bath - Museum of Textiles, >Luton - >Victoria and Albert Museum in London - Don't forget as well that you can arrange to go and see the lace held in The Lace Guild's collections at The Hollies, Stourbridge - it is as well to have an idea of what sort of lace you would like to see, and definitely make an appointment in advance - they will then arrange for one of the voluntary curators to be there, and you will be able to avoid having your visit clash with any of the committee/sub-committee meetings (which are held in the same room as the lace is stored). -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.11/26 - Release Date: 22/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] membership
In message <[EMAIL PROTECTED]>, Avital <[EMAIL PROTECTED]> writes >Er, sort of. If someone were to decide to post in Ugaritic or Swahili, there's >nothing anyone could do to prevent it, except to unsubscribe that person after >the fact. We can't *force* someone to write in English in advance! But we do >prefer that you post in English. But then a couple of years ago we agreed that if someone couldn't write in English, they could write in their own language and an attempt would be made to find someone on the list to translate it - the idea was not to put people off joining just because of language difficulties. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.8.5/32 - Release Date: 27/06/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] S and Z - Choosing & caring for unusual materials
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >My take is that it is the way thread is twisted in the manufacturing process >that matters. You want to thread it in a needle in the same direction as it >comes off the manufacturer's spinning equipment. The tiny fiber ends will lay >down better in that direction and not be bent backwards (against the grain). The end that comes off the manufacturer's spinning equipment is the end that is at the start of the reel/cop it is wound onto, not the end... in hand spinning (spindle - I haven't experience of wheel) the fibre ends face away from the end being added to - ie towards the spindle. It follows that if this end was then wound onto a reel (rather than being made into a "butterfly" on the hand from which you can draw the correct end) then the end coming from the reel would have the fibre ends facing the needle, not away from it. This is why you pull thread from the centre of a skein, and wool from the centre of the ball. In the manufacturing process, is the resulting product wound immediately onto the small, 100m (etc) reels we buy, or is there an intermediate large cop (after all, most thread is produced for garment manufacturers who use much larger quantities - the domestic market is a spin-off, if you will excuse the pun)? My grandmother (wardrobe mistress to the Royal Shakespeare Touring Company during the early 1900s) always said to thread the needle with the "end from the reel". This is ambiguous - the end away from the reel, or the end nearest to the reel? Using reeled threads on sewing machines shows that some threads "shed" more than others, (even threads of the same manufacturer!) so I suspect that these threads are wound the other way onto the reel (ie the rough end comes off first). Presumably a case of always test the nap direction before starting a new reel? -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.338 / Virus Database: 267.9.7/60 - Release Date: 28/07/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Adhesives & Blue Vanishing Pen Inks
In message <[EMAIL PROTECTED]>, Carol Adkinson <[EMAIL PROTECTED]> writes >Vivienne sells the glue-stuff - Fray-Check I think - >So - does anyone know how long it has been around, and if there are >any adverse reports so far. Quite a long time ago (around the time that Steph Peters started making lace, if Steph can remember when that was!) those of us on the uk.rec.crafts newsgroup used to meet up every so often, especially at shows, and so we made an @ badge to wear so that we could be distinguished from the crowds. I did a cross stitch one, stranded cotton on green linen, cut out the shape, coated it in Fraycheck to stiffen it, and stuck one of the white card badge things (ie a circle of card with a safety pin attached) on the back. I have it sitting in front of me now - it definitely isn't brown anywhere, even if the original colours may not be exactly as they were to start with, they are close enough, including the very very pale blue in the variegated cotton I used. It is still stiff enough to hold shape (but possibly not quite so stiff as it was to start with). It definitely hasn't turned brown, as items glued with Copydex glue years ago have, and there are still books around now that tell you to use Copydex! The only glue I will contemplate near to fabric now is PVA. Fraycheck always used to remind me of the stuff that you could get in the 1970s to stop ladders in tights - and I think that had been around for a while. Of course, in the days before coloured tights, it wouldn't have mattered if it turned slightly brown. On the other hand, I think discussion on the list in the past drew us to the conclusion that there are differing formulas of Fraycheck according to where you are - though it may be a case of climate, if I remember correctly the Australian version went brown, the English didn't. My main use for the Fraycheck was when I was doing a lot of cross stitch, to seal the edges of the fabric before mounting it in an embroidery frame (rather than zig-zagging round with the machine, which with Aida, quite often pulled a set of threads off) to work - this was then trimmed off before framing. >> > and Dora Smith wrote: >I always wash my samplers in cool water when I'm done, then mild >detergent (like dish detergent), Be careful with dish detergent! When my class was working on our group piece for Myth or Mystery last year, one of the group learnt the hard way why not to wear hand cream while making lace (unfortunately she doesn't have much choice in that matter, due to her skin condition, but has since discovered "Udder Cream" which solved her problem) and ended up with a dirty mark on the piece she was doing - using ecru DMC Broder Machine and a Madeira Metallic 40 in gold. So she washed it - gently letting it soak for a couple of minutes in water with Fairy washing up liquid. She didn't immediately notice the effect, but when she brought it into class and compared it with the others, we found that the gold thread had been stripped back to orange, and the lace which was ecru was now brilliant snow white! Orvus is really the only safe thing to use. Fortunately she had time to do a second piece of lace, and it hadn't taken her years to make. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.338 / Virus Database: 267.9.7/60 - Release Date: 28/07/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Fwd: gallery-4
In message <[EMAIL PROTECTED]>, Tamara P Duvall <[EMAIL PROTECTED]> writes >> >> Now there is also an exhibition at Buckingham Palace of The >> Queen Mothers White Wardrobe designed by Norman Hartnell in 1938 >> for the Queen Mothers trip to Paris, they have never been worn >> since. There has also been an article on this (including lots of photos) in Hello magazine - unfortunately I didn't look at the date on the cover (I was filling in time at the hairdressers). Apparently at the time of the visit she was in mourning but didn't want to wear black for a State Visit. Research into earlier centuries showed that white used to be the accepted colour of mourning, so Hartnell designed the White Wardrobe collection for her. -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.338 / Virus Database: 267.9.9/62 - Release Date: 02/08/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] local news article
With all the talk about lace consultants and newspaper articles over the last few days, I thought you might be interested to know that my class made it into the local free newspaper today - a whole page except for the crossword! The article is also available to read on their website (though without the photos). Dawn, the reporter, came and spent an entire morning in the class several weeks ago, spoke to everybody and made copious notes. She had a go at the piece on my pillow, and got hooked enough to go and have another go after asking a few more questions. This personal experience meant that she was able to describe what she had done with some accuracy. It was just a pity that she has to work on Friday mornings, and she gets tied up with attending Council meetings on most Monday evenings, which is when my other class is held. The link is: http://ictamworth.icnetwork.co.uk/ and you need to click on "Lacemaking provides a pastime challenge" which is under the local news section. If you invite a reporter or photographer to attend a class, do encourage them to have a go - once they have first hand experience of making the stitches, they are less likely to fall into the trap of saying that lace is made by winding threads round pins, or such like! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.338 / Virus Database: 267.10.12/77 - Release Date: 18/08/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Mullers for handmade lace?
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >involves >twisting and plaiting up to 200 bobbins around each other and around a pattern >of >pins in the lace-making pillow. >(Sigh!) The inaccurate bad description of the bobbin lace technique - again! > Yes, but I was pulled up short (in my mind) the day I was demonstrating at Sewing for Pleasure at the NEC - a bucks point piece - and overheard a fairly young father explaining to his son at my shoulder that the lace was made by wrapping the thread round the pins. so what was I actually doing at that moment... making a picot, and wrapping the thread round the pin! It is easy to see where this misconception came from. And yes, I did put them right, as I continued the work. The exception always catches out the rule! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.10.17/84 - Release Date: 29/08/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Lace samples and Witney Antiques Sampler Exhibition
While we are talking about antique lace, I was given a book of bobbin lace samples made/assessed in 1911 when I went down to Witney on Wednesday. I wondered whether perhaps any French Arachnes might know anything about the institute? The book, a red hard cover folder slightly larger than A4, contains pages of samples worked and assessed for the first three parts of the Institut Professionnel Neuchatelois de Dentelles, Neuchatel-Lausanne - I think the Expert (examiner?), from her signature, was a Mme R I Funod (or maybe Fernod). The samples were worked by Miss Norah Crooke, who from the loose notes at the back of the folder was British rather than French. The folder has in gold lettering the title 'Modeles de Dentelles' (Lace Samples) (apologies for the lack of accents, there is a grave accent over the first e of Modeles). I took it into class this morning, and my first comment on showing it to my students was "this is how not to display your lace" (Jeri, close your eyes quick!) - the lace is pinned (with ordinary short silver coloured pins) to blue/grey paper pages. There are some acid marks on some of the samples, but most have survived quite well. Obviously, in putting the work in to be assessed it needed to be accessed both sides by the examiner, and the useful archive quality sheets for displaying photos etc that we have now were not available then. There are three prickings at the back of the folder - demonstrating clearly how much the lace shrank when it was released, but also on much thicker card than we use now. The folder also includes the syllabus covered, the first three parts being the Certificate of Studies, (which are the samples in the book) then it also gives the syllabus for parts 4 and 5, which are required for the teaching diploma. The lace samples, mostly, are of the Cluny type, a couple of the samples include coloured thread (green, and I think it may be silk). Can anyone translate 'La Fougere' for me (again, grave accent over the first e). I hadn't come across Point de Six before (a double version of triangle ground, used as a footside) and there are plenty of tallies of one type or another (leaves, raised, raised and rolled, point d'espirit, etc). From the notes, it appears the lace was worked in the opposite manner to the way I work (I can never remember which is open and which is closed!) I quote from her notes: "Half Point Hold the two pairs in either hand and twist; the two rights over the two lefts, and cross two middle bobbins, left over right; continue in same way to end of line. In closing pin two half points on top of one another." In other words: twist, cross instead of cross, twist. The labelling throughout the book is in ink, written in French. From the mark sheet at the front, her overall mark was "good" - it would be interesting to know where that stood in the marking scale - some pieces are much better than others! I also took the chance to go and see the annual sampler exhibition at Witney Antiques, and this year the theme is "Samplers Mapped and Charted". Two have bobbin lace edgings; one silver metal lace. There are about half a dozen or so stumpwork pieces displayed, too. I found it fascinating that in the late 18th and early 19th centuries the North Sea was known mainly as the German Ocean, and occasionally as the British Ocean (does Eric know when it was downgraded to a sea, Jacqui S.?). Many of these samplers are worked on silk. (The large square of Valenciennes bobbin lace is still on display - wonderful to look at, but I would need to mortgage the house to even think about buying it!) If you get the chance to go and see the exhibition, do - Witney is about half an hour by bus from Oxford, and the exhibition is on until Saturday 29th October, 10am-5pm daily. http://www.witneyantiques.com I now have some work cut out - they are selling some hand-coloured charts for Berlin Woolwork - and having just bought a handbag mirror mount, and having some silk gauze bought quite a while back, I'm planning on working one of the designs from the chart I bought, but in silk, not wool! -- Jane Partridge -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.12.0/134 - Release Date: 14/10/2005 - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Dowager? (and what I'm up to)
In message <[EMAIL PROTECTED]>, C. Johnson <[EMAIL PROTECTED]> writes >Lacemakers, > >I send this only in the interest of accuracy. We are not all lacing widows. >-- chiefly applied to widows of personages of rank.[1913 Maybe Tamara, our (future) Dowager Duchess, is getting ready for the time when she becomes a widow, then - trying the title on for size, maybe? Me, I'm just a common p(h)easant, who has been around on the list since July 95. I don't think I feel old enough to be a dame yet, though. Musing on, Pantomime Dames are male, so maybe the title would fit David, too... Right, back to making petals and getting covered in glitter - I found this rather interesting coloured glittery interfacing (at one of the Papercraft Shows I'm demonstrating at every other week or so) that is like a wide ribbon, so bought a couple of yards of several colours, and cut down into narrow strips it works on bobbins for a lace fantasy flower idea just have to remember not to pull too hard! Can any lace teachers/lace group organisers in Sheffield, Derby, Nottingham, or Wigan (or the immediate surrounding towns) let me have details of their meetings/classes if they are taking new members - being the "something very different" at these shows we pick up interest, and do get asked about where to learn, so having the details to hand them helps greatly! These are the shows left for this year; after Christmas we'll be doing Leeds, Birmingham and Doncaster again, as well as the above. The great thing about these fairs is having a dedicated day at least once a fortnight when I am making lace; the not so great is having to be up at about 6.30am on Sunday mornings! I'm also slowly getting a scalloped variation on my Hearts and Flowers Snowflake Bucks mat (published in Lace a couple of years ago) onto the pillow, too and the long term UFO is a Honiton version of an Ann Orr quilting pattern. Must get that out again one day! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Arachne Dowager vs. Youthful Lace Enthusiast
In message <[EMAIL PROTECTED] i52>, Annette Meldrum <[EMAIL PROTECTED]> writes >Hi Jeri and all, >I would like to second what Jeri says about reaching out to young lacemakers >and getting them involved on the list. They will be the means of continuing >the skills and traditions of our beloved craft and need to be nurtured and >encouraged. I don't think that works any more, as the young tend to have far too much put on them (especially school/college work) that by the time they have a boy/girlfriend as well, there is little time for any hobby. My two daughters (now 18 and 21) both learnt the basics as young children, (Hannah was two when I started to learn seriously, and she started having a go then) but apart from the occasional "cool" comment at what I'm doing (if I'm lucky!) neither show any particular interest now. At demonstrations, we occasionally get passing interest from girls in their 20s, and often a child can be persuaded to have a go, but the most interest comes from those who have just reached retirement age - ie in their early 60s, who still have the capacity to learn, have time at home to practice, and the money to set up in equipment. I'm sure I'm not the only teacher who only has two class members younger than herself and I'm not 50 yet! I started to learn when I was 33. As each year brings a new wave of say, 10 year olds, it also brings a new wave of 60 year olds who have "always wanted to do that"! They need to see lace being made when they are younger, but not necessarily learn. To see lace, we need to get rid of this idea that "nobody makes lace any more" - so, if you are travelling (and not driving, or presumably still, flying), take your travel pillow/shuttle/needles and get some lace made in the hour or two on the train, waiting at the station (I got a fair number of comments whilst filling in half an hour at Oxford station a couple of weeks ago) - just remember to be prepared for the ticket inspector who, if you are tatting, always comes round to check your ticket mid ring! You don't have to have an organised event to demonstrate lace to the public! And it doesn't matter if you are new to the craft - most of your fellow travellers won't know as much as you do, and the boost to your confidence from their comments will do your lace good! I just hope the relevant members of the next generation will take over the bobbin turning/lace supply businesses when their parents retire - otherwise we will all be somewhat scuppered! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Arachne dowager v Youthful lace enthusiast
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > And Lee Uptegraff (a former Arachnean) is >a middle-school (12-15 year-olds) librarian who has a large following >year after year after school. Has anyone heard how Lee's group are doing recently? It seems several years since anything was reported on Arachne. For those who didn't know about this, when Lee first set up the after- school group, quite a few Arachnes donated equipment - bobbins, pins, patterns, etc to help the youngsters learn, and they also held fund raising activities to pay for equipment they could not otherwise afford. I still have the thank you notes - on pink bobbin shaped slips of paper - from some patterns I sent to the group. If Lee's group is still going, do they require help in this way now? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] How did you start making lace?
In message <[EMAIL PROTECTED]>, Christine Lardner <[EMAIL PROTECTED]> writes >When I began teaching in 1978, my classes were about 20-24 students, many in >their 20's and 30's. Now I'm lucky to get 10, and at least half are >pensioners, and only one under 40! In the late seventies, there was the big craft revival following on from all things flowery of the late sixties... lots of part-work how-to-do craft magazines and books. Evening classes were for leisure as well as study - you didn't have to take an exam at the end of it - although my view may be coloured by the fact that at that stage I was just out of college and still living at home - though even after I moved into my flat I had time to go to a "homecraft" class one evening a week with Mom - we learnt to make baskets and soft toys (Snoopy and a teddy bear!). It was the time between study and marriage plus kids. These days, however, that age group is more likely to be out clubbing with their friends rather than going to night school! (Or maybe evening classes have lost the mythical lure of being the place to catch the perfect bloke!). I think, also, we felt safer going out at night - certainly in the 70s I didn't think twice about walking across Birmingham (UK) city centre at 11pm to get the other bus home - now I'm nervous about going to visit my parents in daylight! These days, the pensioners still feel young enough to learn (even those who don't start making lace till 84, as with one of my students). There still isn't anything good on TV, but we do tend to sit at our computers in the evening rather than going out. And with the instantness of email, comes the expectation that everything else is just as quick.. and lace isn't - it is a slow process. There are still those of us who make lace because we can cope with things that don't get finished in an hour or two, but many can't. As to the magazines, yes, they still cover various crafts, but only those that can be explained in a quick one off article (with the exception of Anna) - putting a complicated lace pattern into a craft magazine these days would have little appeal - only the relative few lacemakers (compared with the tens of thousands of cardmakers and scrapbookers) would know what to do with it, unless they went into pages of explanation - and space for a very limited audience doesn't exist. Getting knitting off the ground again has taken a very dedicated campaign (probably by the Knitting and Crochet Guild) at shows - with a focus on a "relax and knit" stand at the entrance to whichever hall they are in (I'm thinking of the shows like Sewing for Pleasure at the NEC). There are still relatively few knitting magazines on the newsstands, and although you are likely to find a knitting pattern in a women's magazine, you are not likely to do the same with a lace pattern. However, I read in one of the magazines that came with a Sunday paper that there is about to be a backlash to the everything machine made/for convenience - home cooking is coming back in, and likewise what they call "domestic crafts" - making things for the home, etc. So maybe crafts in general will raise their head again, as in the 70s, and with lace being back in fashion for clothing, who knows? -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Threads for Lace - a must have
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes > In over 25 years >the only thread I can remember needing a second spool of was an acrylic >knitting type yarn of about 4ply thickness (whatever that is in US English) >and >I >was making a Tshirt! Just occasionally you do need more than one reel - I'm still on the getting to be long term project of making my petticoat - (a full (knee-) length underslip) which needs a narrow edging to go round the top of 1.5m, and 2.5m of a wider edging to go round the hem (and up round a slit to one side). So I looked in the shops, couldn't find anything of similar design in two widths, and decided to make the lace instead. I have adapted the first of the patterns from Retournac - the one with the half stitch "wave" edge and alternate blocks of half and cloth stitch in the trail - to the two widths I needed (half inch and about 1.5 inch respectively). The narrow length worked up quickly, but after starting the second, wider length I soon found I needed more than one reel of DMC Broder Machine 30 to complete it. Being one of the shades, not standard white or ecru, I was glad that there had been mention from Sylvia Hornsby that she could still order this thread from France (I think this was last year, we discussed it on the list for a while) and I bought two more reels just in case - I am still hearing from other suppliers that it has been discontinued! I am still on the second reel, but at least now I know I have more than enough to finish the lace. As to how long all this is taking - I was working the narrow strip on the train when I went down to Honiton for the 400 (?450) years exhibition at All Hallows Museum, if anyone can remember which year that was, and I got ten inches worked between the two train journeys. (My memory is getting terrible!). Two and a half yards x 20 or so pairs doesn't sound as if it will need more than a reel, but it is when you take into account the two half inch wide trails, and the amount of thread needed for the two worker pairs, that the amount of thread required really adds up. A strip of lace that is mostly ground, without the continuous trails, would take a lot less thread. How much thread a pattern will take is a question often asked by new lacemakers - but even those of us with years of experience get it wrong sometimes! (I was just grateful I could still buy the thread, and there wasn't a major difference in dye-lot!). -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] St. Martins Day Fair
In message <[EMAIL PROTECTED]>, Pene Piip <[EMAIL PROTECTED]> writes >They were from Gloucester & said that they hadn't seen >lacemaking before, but he knew of the lace machines in Nottingham. Sounds as if the Gloucester Lace Group (which has been in existence for years!) need to get out and demonstrate more :-) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Cutting off lace
>> I have a narrow point ground edging on my pillow that >> I want to continue working, but I want to cut some of >> the length off now to use. I think we fuss too much sometimes - if it was machine made, you wouldn't have a second thought about cutting it (leaving exactly the same number of loose ends!) and in days gone by, when the lace was being made for a living, the "tally man" just used to cut off the completed work from the pillow, probably without a second thought other than how much money it would make. Assuming you have worked enough to use beyond your pinned area, the only problem in cutting straight off would be if any threads still hung in were likely to pull through (and out of the lace) with the weight of the bobbins - more likely with straight passives than those worked in ground, as long as you have a couple of inches pinned - watch the footside, as these may need supporting. If you are just about to complete the length you want to use, but haven't gone further, stop working at the length you need, drop a couple of inches down the pricking (you may need to move up first, depending on the type of pillow you are using), place pins in a row of pinholes straight across the pricking and tie the threads in pairs so that the knots sit on the top of the pins (this will stop them from pulling through when the other section is cut off) and then continue working for a couple of inches. You can then cut off the first length, leaving ends long enough to tie off if you wish, but still have the pairs supported for continuing to work. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Cards for lace
In message <[EMAIL PROTECTED]>, Tamara P Duvall <[EMAIL PROTECTED]> writes >I think their source was in UK, but can't remember the name of the >firm. Nor do I know how to look for more such cards. > There are two major firms that spring to mind - Impress and Craft Creations - I think both have web sites. I'm not sure about Impress, but I think Craft Creations supply to both trade and public. Have a look, and if not, come back to me because I'm demonstrating (lace) at a Papercraft Show in Sheffield on Wednesday this week (2.30-9pm at the Don Valley Stadium, if anyone is near enough to be interested) and then at Derby University (10-4) on Sunday, and I can ask around the suppliers there if any can deal with you direct. Are you looking for circular, oval, square or rectangular apertures in the cards? (You can get other shapes too now - they use them for iris folding). >PS Is Arachne asleep/comatose, or is it my 'puter/server? I've had no >messages at all today from lace, one from lace-chat, a couple from NELG >list and another couple in the private inbox... This being the weekend, >it's not really worth the effort checking the archives :) This is the first chance I've had to get to the computer all weekend - it was the Supreme Cat Show at the NEC on Saturday (a ginger Maine Coon neuter won) and our two cats send me hunting for food and toys to that one (end up looking like a gorilla arm-wise by the time I get home!) each year. We don't show our cats, I don't think they would put up with being caged all day, and they are not pedigrees. Then yesterday I spent the afternoon teaching tatting at a WI Craft Dabble Day. I'm not sure if it was that or carrying the cat food on Saturday that has made my right shoulder hurt, but it is as good an excuse as any not to do the ironing! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] RE: That art word
In message <[EMAIL PROTECTED]>, Clay Blackwell <[EMAIL PROTECTED]> writes >Thank you all for reminding me (once again) that if you don't find it in >the OED, you've no doubt mis-spelled it!! Even so, there are days at work (as secretary for a solicitor) when my Oxford dictionary of spelling and word division (in my desk drawer - drat, I needed it here at home today!) falls down, because the word I want is more likely in my medical dictionary (ancient, bought when I was a medical secretary in the 70s) and that is on my bookshelf here at home! They insisted we had the OED at school, but I always found Chambers more user friendly, and for Scrabble, nothing beats the Pitman Shorthand Dictionary! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] BEWARE - Gorgeous Antique Beaded Bone Lace Bobbin *Circa1830 (6224228813)
After reading Debbie's message, I went in and had a look at the bobbin in question as curiosity got the better of me. I have one with more or less identical beading (so how old are those beads? - I haven't come across anything modern as tiny) which are in lines of about an inch long but the bobbin itself is straight, rather than shaped, and both above and below the points where the wire is wrapped round the shank above and below the beads, which are in lines of about an inch long, there are about five (the bobbin is on my pillow in the other room, and I've already gone and looked at it again twice!) consecutive grooves round the circumference of the bobbin. The long neck measures about half an inch, if that. The head is narrower at the tip than across the "bulb" below the short neck (very similar to Stuart Johnson's heads, but the short neck is very slightly longer). The spangle is attached with a silver coloured wire, so almost definitely replaced at some stage, although the spangle beads do not appear modern. As to the colour of the bone, mine is much lighter in colour (almost as if you had just cooked it!) from the beads to the head than from the beads to the tail (decidedly yellowed). On the other hand, this (lower) is the area that would be handled more, so would likely change colour quicker. I paid 26 pounds for mine, at an antique fair in London, in 1998. It was amongst about a dozen or so others (of which I bought another, slightly cheaper and plainer bone bobbin), with no description as to age or maker, I bought it because I liked it, and its condition meant it would be usable. To me it is a nice tool, not a collectable item! -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Repeated emails
In message <[EMAIL PROTECTED]>, [EMAIL PROTECTED] writes >I recommend dropping this 'poll,' because there's nothing I can do about it. At a guess, a server was down somewhere for maintenance or whatever, and when it was restarted they set the clock back to ensure nothing got lost - but at least with (probably) all of us having seen double, it wasn't the wine this time! :-) -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: pita lace?
In message <[EMAIL PROTECTED]>, Debora Lustgarten <[EMAIL PROTECTED]> writes > There is also a mention of lace made with aloe >fibers, but I think that may not be the proper plant... >Sadly, the book doesn't mention whether the lace is bobbin lace, needle >lace, crochet or what. >On an interesting note, in the Philipines, lace was also made using >pineaple fibres... A few years ago I went on a visit to Kew Gardens (I think it is the Royal Botanical Collection, but I'm not sure - I think you have to be in an organised group to see it) with the Textile Society. In the collection they have a pair of needlelace shoes made from aloe, and also a shawl (memory is a bit leaky here) made from pineapple fibres. We were looking particularly at plants used for dying, but the chance to see these items made it well worth the visit. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Machine made needlelace -- ???
In message <[EMAIL PROTECTED]>, Clay Blackwell <[EMAIL PROTECTED]> writes > and the >direction that each piece is worked should be relative to the direction of >other similar sections of the work. If I'm reading this correctly you suggest that hand made needlelace is worked in more or less one direction, allowing for change of angle in say, the panels of a skirt? This throws out the "chop and change" element of much contemporary work, where change of direction is governed by design points of light and texture (I'm just thinking of the key ring I finished making for a friend just before Christmas - a front and side view of his DAF truck - and the only way to get the image of the "corner" was to work the front horizontally and the side vertically - thus relying on the light effect to change the shade of the thread enough to give the 3D illusion. (It is definitely a one-off as I don't want to have to work couronnes that tiny again!) When you have one front, and one side, there are no "similar sections of the work"! 3D needlelace, particularly Point de Gaze, is worked in sections and then joined. My feeling about Brenda's piece is that it probably was worked as motifs, possibly by different workers, and then assembled (using the bars to join), much as 19th century Honiton lace would have been. That said, with a small monitor the detail isn't wonderfully defined, but if I was working needlelace motifs for a living, all day every day, I would expect my tension to become more or less uniform! Needlelace as a whole is much freer than bobbin - in that you can change colour, direction, thread, texture, etc throughout a piece as you are working to a "colouring book" outline rather than a set directional pattern. I would have thought that machines have more difficulty changing direction in mass produced work than people! -- Jane Partridge (I won't be doing any stitching tonight due to a dressing-patchworked right hand and wrist - serves me right for giving a friendly feline visitor some fuss!) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] lace question
In message <[EMAIL PROTECTED]>, Jenny Brandis <[EMAIL PROTECTED]> writes >I hate reading a blog and finding something related to lace left hanging .. > >http://www.alamut.com/past/0502.html > >Jan 1 raised a lace issue but he/she never gets around to adding more info. >Any idea idea if they are right ?? > ". It took a good lacer up to two hours to make just one inch. At their largest ruffs were 9" wide. It can take about 5 yards to make a full ruff. If you were using 3" wide lace, every yard of 9" wide ruff would be made up of 9 yards of 3" wide lace sewn together. That means that it takes 45 yards x 36" x 2hr., or 3240 man hours. That would be a year of 10 hr. days." The maths is wrong, though - three one yard strips of 3" wide lace would be a total of 3 yards, not 9! 3 x 5 is 15, so at 72 hours/yard/strip, 15x72 is 1080 hours, or eighteen weeks of ten hour days (if they had Sundays off). It is probably a good estimate of the amount required, but one of the English lace groups (it was in Lace an issue or so back) has been working on Elizabethan costume lace for the Royal Shakespeare Company so if any of that group are on Arachne they would be able to confirm... so would my grandma, who was wardrobe mistress to the Royal Shakespeare Touring Company in the early 1900s (she ended up with a part as an extra in Merchant of Venice in South Africa in 1903 when one of the actresses was taken ill) - but unfortunately she died in 1962. As a comparison of sorts, it took me four months to tambour 6 yards of 2" edging for a veil for City & Guilds, working five hours a day (my shoulders were painful if I tried to do more than that), and that flat edged a 5 ft diameter veil. (It also gained my place in the CLG Five Metre Club - you don't *have* to do bobbin lace!). Elizabeth, of course, also brought in laws that only the high nobility could wear lace - probably as well they were the only ones who could afford it! In a book on British costume history I have (published in 1834 or thereabouts), is record of the yellow ruffs made fashionable in England by a Dutch woman. I think the ruff was made and then dyed, rather than the lace being worked in dyed thread, and apparently the fashion didn't last long as she was beheaded (or something) along with others involved in one of the plots. I'm not sure if it was Elizabeth or James they were plotting against, though - must get time to read it through again. -- Jane Partridge - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
