[lace] Re: famous lacemakers
On Friday, Dec 12, 2003, at 23:59 US/Eastern, Roslyn wrote: I read this week a filler in the paper that said "all the famous lacemakers were men." Now I don't know famous lacemakers nor if they were men or women, but I had always thought that the men associated with lace were more like middlemen. They would buy from a lacemaker and sell to the wealthier lords and ladies in the communities, towns, and cities. Some of the men associated with lacemaking were designers, and one of them (Thomas Lester) could be considered famous, if only in lacemaking circles... I'd write the newspaper a scathing letter and find something more reliable to read on the "daily bread" basis; if it's "all wet" on one point, it's likely to be so everywhere else as well :) - Tamara P Duvall Lexington, Virginia, USA Formerly of Warsaw, Poland http://lorien.emufarm.org/~tpd/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Rundherum
On Friday, Dec 12, 2003, at 23:11 US/Eastern, Sulochona Chaudhuri wrote: . . The patterns are very pretty, though, and Tamara professed a liking for "all things Lohr", and if I remember, it was her birthday coming up ( to whatever base ) . . . . All true, and I ain't telling the number Since the booklet has been mentioned, I wanted to ask what 13,5 and 14,5 (paar) meant . . .?? Thirteen and a half pairs of bobbins ?? Where does the extra bobbin go ? 13 and a half pairs of bobbins is waht it says... :) But where the extra half pair goes, I have no clue; the diagrams aren't clear enough. In some laces, you'll have a "mixed" pair (one thick and one thin thread) in the head, to maintain a smooth but distinct line. But it's still a pair. Same's true about the mixed worker pair in some of the PG laces (like Polychrome), where one thread is a different colour than the rest. But you still hang in a *pair*, however "incompatible"... The only reason I can think of here is the peculiar way -- "on the go" -- of attaching the lace to the fabric. Perhaps the extra thread is used for that? - Tamara P Duvall Lexington, Virginia, USA Formerly of Warsaw, Poland http://lorien.emufarm.org/~tpd/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] famous lacemakers
I read this week a filler in the paper that said "all the famous lacemakers were men." Now I don't know famous lacemakers nor if they were men or women, but I had always thought that the men associated with lace were more like middlemen. They would buy from a lacemaker and sell to the wealthier lords and ladies in the communities, towns, and cities. If anyone knows the answer to this I would appreciate the information. Roslyn [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] A T-shirt for the "in" crowd?
Gentle Spiders, The last week or so, I've been corresponding with several BL "novices" on the finer points of Torchon bookmarks (I have the book in which the bookmarks were published, so could check what they were talking about). Three of them (the novices) mentioned -- as if it were a dirty secret -- a *general* problem or two they were having (not the same ones). I couldn't begin to understand why they thought those problems were something to be ashamed of; when I was starting, the overload of info was overwhelming -- *everything* was new, and everything had to be memorised before the fingers (skills) took over... "Up a creek without a paddle" is where I felt I was (of course, that was '89, I had only one book, with outdated info re: suppliers, and no Arachne in sight ). So, as I was writing back, I kept thinking: "been there, done that..." And then realised that, no, I did *not* have a T-shirt to prove it; I have several lacemaking T-shirts, but not *that* one. I'd love to have a T-shirt (either short or long-sleeved) which said "been there, done that... Ooops" and then showed some lace (Torchon?) with common "oopsies"... My personal favourite would be the messed-up footside -- pin under 2 instead of under 4 for just one pin -- that's one that still happens to me sometimes (in Milanese). But I'm sure there are other "lovely" ones worth commemorating... :) "[EMAIL PROTECTED]" at the bottom optional... Non-BL-ers wouldn't understand it, but then they don't understand the "straight" ones, either. For *us*, however... On the one hand, it's a statement of improvement (been there, done that, but am not doing it anymore). On the other hand, it'd be reassuring (I should think) to novices to know that *everyone* had, at some point, worn the "lace diapers" but did manage to get "toilet trained" in the end... If y'all think the idea is worth pursuing, and if there's someone among us who'd be willing to get such a T-shirt "organised", I'd volunteer to make the "oops-y lace" for it *After* New Year's ) Provided, of course, other people on the list were willing to share their particular bugaboos (a pine-cone tally among a cluster of perfect ones?) overcome or not... - Tamara P Duvall Lexington, Virginia, USA Formerly of Warsaw, Poland http://lorien.emufarm.org/~tpd/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Rundherum
From: "Tamara P. Duvall" <[EMAIL PROTECTED]> Sent: Thursday, December 11, 2003 6:15 AM > Sulochona gave me the book and, while I love to look at it, I'm not > about to touch any of those patterns with a 5'2" Pole... Ahhh . . . well . . . . I havent done any of the patterns either. Must confess, I had forgotten about the book and had to go a-hunting for it . . . . The patterns are very pretty, though, and Tamara professed a liking for "all things Lohr", and if I remember, it was her birthday coming up ( to whatever base ) . . . . Since the booklet has been mentioned, I wanted to ask what 13,5 and 14,5 (paar) meant . . .?? Thirteen and a half pairs of bobbins ?? Where does the extra bobbin go ? Best wishes Sulochona In Ranchi [EMAIL PROTECTED] [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Translation, please
On Thursday, Dec 11, 2003, at 10:04 US/Eastern, David Collyer wrote: I have 2 of Ulrike's books and have never once read any of the text. They are both in German and I find the working diagrams excellent. They are both books on quite complex Chantilly and I'd recommend them highly regardless of your first language. And, Robin Panza wrote: I agree with David. I have "Maikafer", "Shmetterlinge", "Schwartzarbeit", the snowflake book, and a couple of others, and have only used the diagrams. They are excellent--both detailed and clear. I've never had any concern about the text. I do not have either "Maikafer, flieg" or "Schmetterlinge" and I don't know what the second book on Chantilly (mentioned in David's message) might be. But I do have the "Schwartzarbeit" (blackwork) as well as several other of Loehr's books. Unlike the "Rundherum", they all *do* have English -- where it counts, in the introductory explanations. Although I've never made a single pattern from the Chantilly book (Schwarzarbeit), I did learn how to handle "loop de loop" gimp from it. And yes, I used mostly the diagrams (the English is, at best, "so-so" for clarity) but I'm not sure I'd have been able to *identify* the technique without the English. I'd never before seen it diagrammed, so didn't recognise it by just looking at it. And the title of that section (Durchstecken; translated in the book as: the passing through) was meaningless to me and not to be found in my little dictionary. It was reading the description of what the process achieved that clued me in. I read it in English -- my German wouldn't have stretched to it. That whole section (first 16 pages) is a gold mine of tips and suggestions on how to get the best results. Sure, the pattern diagrams are superb and the info next to each pricking is negligible and can easily be discounted (ca 160 Paar; not for me, thank you ) but the info on the threads used -- and how they differ in the final effect -- is invaluable. And, thankfully, available in English. In Schneeverweht (Snowdrifts; on Binche) the English is even more important. Not only is the lace technique itself more complex, but she uses some symbols which are uniquely her own. All of that is explained, with big diagrams, in the preliminary section of the book -- in both German and English. And each of the patterns has a few words -- again both in German and English -- about its origin and particular "points of interest"; I find those fascinating. I expect, if one already had plenty of experience in a given technique, one could reproduce the patterns strictly on the basis of the diagrams and a mix of experience and ingenuity. More or less accurately (and, if it's "less", don't look to Loehr for praise; if it's not plu-perfect, she has little time for it. "It will do" gets a very cold "if it makes you happy" in response ). So, to that extent, those books are *useful*, no matter the language. But, if there had not been the English, side by side with the German, it would have been a "pebble in my shoe" forever; I'd never stop wondering just what I might be missing. Just as I do with the 400 Tricks; I can interpret the diagrams well enough to follow them. But I *really* want to know how she's worded her verbal explanations; she has an uncanny knack of packing a lot of info into a very few words - Tamara P Duvall Lexington, Virginia, USA Formerly of Warsaw, Poland http://lorien.emufarm.org/~tpd/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Working on the right/wrong side
On Thursday, Dec 11, 2003, at 18:11 US/Eastern, Panza, Robin wrote: But what if, instead of "lifting the left", I were to "raise the right"? Won't work. And several other people concurred, explaining why... Oh well... I guess I'll just use thicker gimp for PG (as Loehr reccomends) in the future, and hope that after the first washing, the slight difference will disappear and the gimp will end up dead centre... 'cause I am *not* giving up working from the back; there are too many advantages to it... :) - Tamara P Duvall Lexington, Virginia, USA Formerly of Warsaw, Poland http://lorien.emufarm.org/~tpd/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: working on the right/wrong side
On 12 Dec 2003, at 04:07, Tamara wrote: I've been making that piece as I'd been told to (by several Arachneans): "lift the left" for the gimp to pass. I expect that's how your friend had been taught also. That method makes the gimp ride up on the side facing you. But what if, instead of "lifting the left", I were to "raise the right"? The number of twists before and after might need to be adjusted, of course, but, would it "flip" the lace so that one'd be facing the wrong side (flatter gimp) instead of the right? Has anyone tried it to report on results? "Raising the Right" is effectively just adding a twist before "lifting the left" so wouldn't make a great deal of difference to PG or torchon, especially if you then adjusted the number of twists! With the gimps down the middle of a Russian braid where the worker pair passes between the gimps they can go either way; the pair of gimps can be twisted left over right or crossed right over left. Two pairs next to each other but worked in opposite directions give a similar effect to chain stitch embroidery. Brenda http://www.argonet.co.uk/users/paternoster/ Supporting the [EMAIL PROTECTED] campaign - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Mystery tatting shuttle on ebay
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3260324377&category=114 I think this "rare 1873 vintage tatting shuttle" is actually a letter opener? = Diane Williams [EMAIL PROTECTED] Galena Illinois USA __ Do you Yahoo!? Protect your identity with Yahoo! Mail AddressGuard http://antispam.yahoo.com/whatsnewfree - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Bit of lace knitting
Wow! More than just a bit. That is quite a project. When did you start it and did you work on it exclusively or do other things for a break? Very nice indeed. Judy Bongiovanni in snowy Niagara Falls, NY USA - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Working with gimp
At 01:27 AM 12/12/2003, you wrote: In fact whichever way you do it, the first twist lies before the gimp, the second above and below the gimp, and the third after the gimp. The important bit is making sure the "gate is shut" each side, ie the first and third twist. This is a very concise description. You end up with the same basic thread arrangement no matter which thread is lifted up to tuck the gimp under it. The difference is the effect on the twists. When the LH thread is lifted, the last twist is opened and the gimp slides in it. It can no longer be seen or counted *before* the gimp. When the RH thread is lifted, the last twist stays in place and a new twist is created with the gimp in it. Because the twist count is not affected, many gimp instructions specify lifting the RH thread and replacing the thread to the left of the other thread, then proceed to do the number of twists needed *after* the gimp. The actual twist that encloses the gimp is not counted either before or after the gimp. Back when I started learning Bucks, I spent quite a while analyzing what seemed like contradictory instructions in different books before I realized that they all were saying exactly the same thing but in greatly varied viewpoints. The difference was not the action, rather it was the attempt to describe it in words. Anyone who has tried to describe an action in just words on this list can sympathize with the challenge. Lacemaking can be a challenge but so much fun! (And my new spellchecker just tried to change 'lacemaking' to 'lovemaking'. It doesn't understand any thing about lace. It's not only the tatting lady who needs educated.) Happy lacing, Alice -- in very wet Oregon - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] Translation, please
I agree with David. I have "Maikafer", "Shmetterlinge", "Schwartzarbeit", the snowflake book, and a couple of others, and have only used the diagrams. They are excellent--both detailed and clear. I've never had any concern about the text. Robin P. Pittsburgh, Pennsylvania, USA -Original Message- From: David Collyer [mailto:[EMAIL PROTECTED] I have 2 of Ulrike's books and have never once read any of the text. They are both in German and I find the working diagrams excellent. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Translation, please
Dear Friends, Perhaps someone will gently share with Ulrike how difficult it is for non-German-speaking lacemakers to use her various very wonderful books. I have heard others who have invested in Ulrike's books express a desire for translations. Even one, who spends much time translating for OIDFA, had difficulty executing a lace in one of Ulrike's books! I have 2 of Ulrike's books and have never once read any of the text. They are both in German and I find the working diagrams excellent. They are both books on quite complex Chantilly and I'd recommend them highly regardless of your first language. Just my opinion David in Ballarat - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Working on the right/wrong side
>From my previous experiments, it makes not the slightest bit of difference to the "raised-ness" of the gimp which way you pass it through. It's your good tension that does that. Because you are working on flat, the thread under the gimp takes the shortest route from pin to pin; the over thread humps up over the top of the gimp and is therefore longer.(I know that in the US the h*** word has other connotations to here, but I couldn't think of another one to describe the move as well, and "It was clean when it left the stage" as they used to say in the music halls.) I always lift the right thread, because then I don't have to remember to do an extra twist before passing the gimp. I then do two twists after (assuming I want one twist remaining), to "close the gate" is how I describe it to my students, but the first of these is normally achieved by replacing the RH thread on the LH side. In fact whichever way you do it, the first twist lies before the gimp, the second above and below the gimp, and the third after the gimp. The important bit is making sure the "gate is shut" each side, ie the first and third twist. Of course, in Bucks, there will be more twists depending on the stitches you are coming from and going to. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Maltese bobbins raffle
Hi spiders Just in case I wasn't clear in the original message (which for some odd reason has duplicated several times, sorry but,I only pressed the button once promise), as this has cropped up in replies, but 10 pairs equals 10 prizes, ok? Very best wishes to all for Christmas & the New Year. Nicky in a still grey Suffolk - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
