Re: [lace] Bulletin Volume 24, #2
Janice Blair wrote: > I got my IOLI Bulletin yesterday and have had a bit of time to glance through it > today.. Well, Janice, now I don't have to read the Bulletin when it comes! You've given a synopsis of the magazine so we won't have any surprises! Next time I see the title I'll delete without reading the posting... Betty Ann in Roanoke, Virginia USA - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] updated webshot
Solros Hello I have updated my webshot album Bobbinlace with two pictures of a candlestick with a lace"collar" and silverpearls. Both the pattern, the pearls and candlestick are from Moravia, a Jana Novak design. Ann-Marie http://community.webshots.com/user/annma1 If there is an attachment that is called sanitizer along with my mails it is from my mailserver that checks all my in- and outcoming mails for viruses. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: newest IOLI bulletin
On Jan 11, 2004, at 14:22, Sylvie Nguyen wrote: Tamara, The photos of your lace fan in the newest IOLI Bulletin are splendid. What a beautiful fan! Thanks; for something that I designed half-way as a joke (figured everyone would make theirs "proper", folding ones, so made mine round, to remind everyone that not only aristocrats need fresh air sometimes ), it did turn out quite well. And Debra photos are always superb. My issue hasn't come yet; have something to look forward to now... My DH, being an academic (retired) values/respects publication more than I do, so I always make a point of showing him whenever there's something to show; for days afterwards there's no mention of cooking, cleaning, etc, never mind complaints about how much time I spend at the pillow/drawing board, or how un-feminine such obsessiveness is... :) On Jan 11, 2004, at 19:53, Janice Blair wrote: the back cover has the Southern Afternoon fan that Tamara entered in the fan competition about 4 years ago at convention. Ooooh... That'll impress him even more; cover stuff is worth at least two weeks of "dispensation" :) I was disappointed that it was not featured in more detail at that time and suggested to Debra that I would like to see it in closeup again. Aha! *Now* I know whom I have to "thank" for having to go back, revise the diagrams and re-write the instructions (the puter ate them up in the change from PC to Mac... :) Thanks, girlfriend, I'll remember *that*; that work earned me a lot of complaints, more than a week off "housewifely duties" is worth... On Jan 11, 2004, at 20:08, Ruth Budge wrote: I seem to remember that Debra promised a pen to anyone who had a pattern published - do you think she might be persuaded in my case to substitute a copy of the magazine instead?? Do you think its worth asking?? Debra's IOLI-related e- is: [EMAIL PROTECTED] Sure, it's worth asking. But IOLI no longer gives pens as "thank you's"; for the last two of my patterns I got beautiful, spangled Midlands bobbins instead, and, even though I don't use Midlands for working, I love them (much better than the pen; how many of those can one use? Especially when one's using a puter for most of one's correspondence? ) The idea is, essentially, the same as in the Lace Guild (UK) bobbins -- your name and the issue number of the Bulletin in which your pattern's been published is on it. But the IOLI bobbins are painted (in England, I think. By Margaret Wall, I think -- judging by the MW) rather than heat-etched (I forget the proper English term for the technique, sorry), with a big IOLI logo on the other side of the handle. Also, unlike the Lace Guild's ones, they do not seem to change colours from year to year (both of mine are pale wood, with blue painting), so the bottom beads are identical. But they're lovely -- painted with two bobbins crossed. As an incentive to suppply more patterns for the Bulletin, they're much better than either the pen or an extra copy of the Bulletin (IMO)... But, of course, if you'd rather have an extra copy of the Bulletin... :) - 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: Big finishing...
Hi All, At my local frame shop they don't use the sticky fabric Adele writes about. I can't remember what I've seen them mount (I was the bookkeeper there for many years) but the fabric is tacked to a piece of foam core (paper on both sides, "foam" sort of like styrofoam on the inside). Small tacks can be pushed into the foam. The lace is sewn on through the foam core with tiny stitches on the front, using thread similar to that used in the project. I'll have to ask if it's acid free. They do a lot of fine work so I'm pretty sure it is. Jane in Vermont, USA whose hot flashes (power surges ) are keeping her warm in the below zero F (minus 15-20C) temps we've been having. [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Bulletin Volume 24, #2
Congratulations, Janice, you win the bet!! Actually, I drew the pattern when Lace 2000 first came out - and it took me AGES!! One day, I went to print out the pattern (probably for Debra!!) and discovered that it had disappeared from my computer. Never did find it again, although something else I was looking for at the same time turned up a few days later. So, I had to sit down and re-draw the whole darn thing. I wasn't looking forward to it. However, I'd learnt a lot more in the meantime about how to use Lace 2000, and the second time it only took me an hour or so to redraw the pattern, and I think it's a nicer, neater job too! I seem to remember that Debra promised a pen to anyone who had a pattern published - do you think she might be persuaded in my case to substitute a copy of the magazine instead?? Do you think its worth asking?? Ruth Budge (Sydney, Australia) --- Janice Blair <[EMAIL PROTECTED]> wrote: > I got my IOLI Bulletin yesterday and have had a bit of time to glance through > it today. > There is a Bucks Insertion from Ruth Budge that looks like an interesting > pattern drawn from an old christening bonnet. Nice job Ruth, bet you used > Lace 2000 for that one!! http://personals.yahoo.com.au - Yahoo! Personals New people, new possibilities. FREE for a limited time. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Bulletin Volume 24, #2
I got my IOLI Bulletin yesterday and have had a bit of time to glance through it today. I see Arachne is well represented again with the cover going to a beautiful needlelace fan by Aurelia Loveman and the back cover has the Southern Afternoon fan that Tamara entered in the fan competition about 4 years ago at convention. I was disappointed that it was not featured in more detail at that time and suggested to Debra that I would like to see it in closeup again. Both patterns are featured inside. BTW, Debra did a nice job with the covers using white Point de Venise lace on a pink background behind the photos of the lace. Inside I saw a torchon pattern by Kenn Van Dieren that he entered in the competition in 2003 and got second place in the Technical Proficiency section which features a spiderweb on the ivory centerpiece. I had an idea it was his piece and maybe he was after the popular vote featuring a spidersweb so prominently knowing a number of Arachne would be at conve ntion. ;-) There is a Bucks Insertion from Ruth Budge that looks like an interesting pattern drawn from an old christening bonnet. Nice job Ruth, bet you used Lace 2000 for that one!! Devon Thein has an article on the language of fans and although it doesn't say it, the guy holding the fan must be her DH. Kate Henry has a little article on the background lace that Debra used with closeup picture. If I have missed any other Arachne I apologise because I then got engrossed in the selection of workshops for the next convention in Harrisburg. Janice Blair Crystal Lake, IL - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Big finishing for lace project
I had visited my favourite framer several times, and always wondered why he had a large photo hanging there, divided into three sections. One section had ordinary glass, one had non-reflective glass, and the third section had nothing. It took me some months to notice that there WAS glass over the third section - I don't know what it's called, but it has all the benefits of no-glass, such as being able to see the clarity of detail without itself causing reflection problems or the "muddying" effects of non-reflective glass. It is, naturally, more expensive than non-reflective. Ruth Budge (Sydney, Australia) Clay Blackwell <[EMAIL PROTECTED]> wrote: I'd like to offer my two-cents on the subject of non-reflective glass. While it might reduce the glare, it definitely cuts out detail. If your lace is fine, you may have difficulty seeing it as well as you would want - particularly if you're planning to show it. Glare-free glass works very well with commercial prints and in areas where there is a lot of light from overhead lights and big windows... but if you're framing fine art (photographs, drawings, etchings, watercolors, or fine handwork), you really should use regular glass. It is better to hang these ""good" pieces (as opposed to commercial decorative stuff...) out of direct light anyway, so that glare should not be an issue. Clay - Original Message - From: "Viv Dewar" > I'd ask the framer to use non-reflective glass too. (I've never framed > lace, but that's what I used in pre-BL days for cross stitch). > It cuts out some of the glare & IMO is worth the extra cost - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED] http://personals.yahoo.com.au - Yahoo! Personals New people, new possibilities. FREE for a limited time. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] framing lace
but even out in the sticks here we have framers who are using modern framing techniques. One thing I wanted to make clear in my last post is that I am talking about framers **who specialize in textiles** and use the sticky mounting board. Framers who have testimonials from museums, people who claim they have worked in conservation for thirty years. These are old, well-respected businesses - and I suppose I should have asked "which 30 years?" ;-) So, don't think that just because a well-respected framer has "textile specialist" and "conservator" written across his window actually means he knows not to use the sticky mounting board. Instead, if he's so experienced he will have samples for you to see. Adele North Vancouver, BC (west coast of Canada) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] a Canadian lacemaker needs help
I hope that there is someone in Quebec who can help a French-Canadian lacemaker find her way onto PayPal. She wants very much to get the CDs, but I don't know that she can work her way through the directions on PayPal. It would be much easier for her, I think, if someone whose primary language is French could help her through it. I have been writing to her in French, but without knowing her language strength in English I don't know that I can be as helpful as someone up there might. Please answer privately if you have a suggestion. Thanks. Tess ([EMAIL PROTECTED]) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Re: Big finishing for lace project
Hey JoAnne!That's great news about your Miss Channer's mat. Sounds like you've been lacing up a storm since that last time I saw it! You've gotten a lot of great responses for finishing your mat. I think that's a great idea to see what sort of rules the ISF people will use. Frankly, I'm wondering how much their judges really know about lace. If you're lucky they'll be able to tell it's not tatted! LOL! I wonder if Doris has any idea about what they might be looking for? She probably knows what they *should* be looking for, but again it depends on how much that particular judge(s) know about lace. I've done some research about framing my cross stitch and other needlework. If you want to use glass, then for sure you don't want the non-glare stuff. It's better to go with regular, or splurge and get the conservation type of glass. Peppertree Studios has an example of a print behind all 3 types. The non-glare really gets distorted and looks terrible, IMHO. And I also recall hearing on the 'net that it has some bad fumes or acids that aren't good for needlework. Frankly, I rarely use glass on my cross stitch since there are no smokers in our house and we aren't on a gravel road. I like to be able to see the texture up close and personal if I choose. But then, I haven't finished *the* mat either! That I just might put under glass!!! And I think for sure if it's going to travel to fair. I like your idea of mounting it on fabric and then mounting the fabric. Like the others have said, never trust something this special to just any old framer. I take my needlework to Sharon at the Needlecase (over by Wal-Mart now). She presumably (since i've never peeked behind the paper) laces fabric to the board instead of using pins or tape. This is prpobably more important for me because the working being mounted is my xstitch, whereas it's just the backing fabric in your case. But still, it's nice to know that the person doing the work appreciates your work. I've also laced a few of my own things so I could help you do that if you decide to frame it yourself. Or maybe if you get it all mounted, then the framer would just have to order the mats (if desired) and frame and pop all the stuff together. Hey, hope I see you at the next guild meeting on Wednesday!Anita Find out everything you need to know about Las Vegas here for that getaway. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] NL query on couching from lace-digest V1 #3892
I hope not too late for a 2003 thread, but here's the method I've ended up using for the couching in needle lace. Following the Zele method (modern Flemish descendant of Alencon/point de gaz). They use a very fine thread - 100/2 Brok or Egyptian Cotton - in a fine (say no.10) needle, and bring the needle through on the design line, over the cordonnet or "trace" threads, and back in the same hole. Couching stitches, as in all versions, about 1/12th of an inch or 2mm apart, and trace threads taut and couching firm. This does work, and doesn't give a loose outline; in fact the couching threads get less in the way in the filling than a thicker thread would. At the end, any stitching holding the sandwich of pattern and double piece of calico/muslin is removed (I zig-zag round the outside to keep things fairly neat) and then the two pieces of calico are just pulled apart, ripping the couching thread. A bit worrying the first time, but it does work! Rather like unpinning one's very first piece of bobbin lace thinking it's all going to fall to bits. It doesn't, honest. What does happen is that the couching thread ends up in longish bits which are very easy to pull out, and being fine there's no problem with this. [EMAIL PROTECTED] - sort of meeting New Year's resolution to post a little more often! __ Do you Yahoo!? Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Big finishing for lace project
Alice wrote: I have one of my first pieces of Russian tape lace sandwiched between two pieces of glass with a red stained glass border. Both pieces of glass hold the lace in place. This has hung in my south east facing kitchen window for over six years through many heatwaves and the thread does not show any sign of deterioration or discoloration. When I mount some of my pieces I do it directly onto the acid free mattboard. I take my piece to the craft shop and choose the appropriate mattboard color. I then lay my used pricking card over it, reverse way up if I am working a piece with the front face down, and position it where I want to attach my piece. I prick through both cards in as many places as I think I need to attach the lace firmly, then I used similar thread to sew it down through the card, reusing the hole to go up from the back, over a thread and back down through the same hole, then on to the next hole. I sometimes change the color of thread if the piece is multicolored. I have no worry about stretching the piece out of shape as I might on a piece of cloth and I have not so far, touch wood, had a problem with shrinkage of the piece so as not to be able to use the above method. I also know that the mattboard will probably fit the frame I choose as it replaces the piece of card that is usually in the f rame. I do use extra mattboard to keep the lace from touching the frame or use spacers that you can get from the craft store to keep the mattboard off the glass. Janice Blair Crystal Lake, IL where the snow is melting but it is still cold. Brrr.. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] framing lace
Gods, I don't know what kind of framers you guys must have to deal with, but even out in the sticks here we have framers who are using modern framing techniques. Firstly, yes, I would mount my own lace. You don't even really have to use fabric..which will stratch and sag over time anyway. There are perfectly safe mat boards, acid free, that come in silk finishes and assorted other types. I assure you these are made from cotton. Sewing the lace on a background yourself is still the best way because of costs and also you have more time to put in the extra stitches to prevent future sagging. Think sag when you mount it because if not supported properly it will. Use either your lace thread or the transparent mono filament..I think the lace thread is best. As for glass, well for years now there has been some spectacular non-glare glass available. The old type that was etched is so out of date, I can't imagine a shop stocking it. Obviously some do. There is now a new type of glass, in the States it's put out by a company that calls the glass "Image Perfect". The trick is in how the glass is manufactured. It's porous, with all the little pores running in the same direction all the way through. The main problem with this glass is that everyone "has" to touch it to see if there's glass there :( If this happens it has to be cleaned as soon as possible due to the nature of the glass. The same company puts out a museum grade Image Perfect which cuts 90% of UV rays. Framers will make "spacers" to put between your lace and the glass to keep the glass off. Some of them use commercially manufactured spacers, which are convenient. Shop around and find a framer who knows about these things. Sharon on rainy Vancouver Island - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Big finishing for lace project
JoAnne, > to get info for, is: Once I am done, what is the BEST way to finish a > project? I really want this to look good, once I get it done. I also > want to enter > this in the Iowa State Fair next summer, so does anyone know, can I frame > it, > or do are there rules that the judges have to be able to pick up a piece > and > look at the back of it? If I can frame it, should I have the piece > attached to > the material, or would it be better to let the framer do that? Can I have > glass in the frame? My thoughts were to wash it, block it, and then > stretch > dark blue or black silk on a frame, and stitch the lace to that. Then I > would > take it to the framer and let them do the rest. Please, any help would be > wonderful! I would check with your fair's rules: some must see the bank and others don't need to. It is certainly much safer if it can be entered mounted. I would also do the 'mounting to fabric' myself. I did with a piece I had framed. I had used a fairly stiff 'paint on fabric' piece and they did a great job. Be careful in choosing the framer, ask about their experience in framing 'fabric and/or needle work'. I hope you will be able to post some pictures for all to see. Lorri - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Technical Nottingham Bucks headside question
Hi Spiders! This is a staggeringly technical question, but I would like to know the answer and can't think of who else to ask. I'm sorry. I'm hoping the Arachne pool is large enough that someone will know. If you reply by posting, make sure not to paste this whole message in your reply. I am working through Chapter 3 Bucks Point of Pamela Nottingham's "The Technique of Bobbin Lace Completely Revised New Edition". I started a new exercise today, Fig 215 Cloth and Honeycomb Fan Pattern, and I worked through the first repeat without consulting the diagram. This was proper, since Nottingham encourages this. When I then consulted the diagram, I found that my headside was done wrong. I was sure, however, that I had done it correctly. So I looked really carefully at all the previous exercises and found, to my surprise, that Nottingham makes headsides in two different ways (it might be clearer to say "3 ways"). Here are the ways of doing headside: 1) This doesn't really count. This is the situation where there is no problem with headside since there are the same number of picots as there are outgoing pairs. Work one picot with each outgoing pair, going through pairs from left to right. An example of this is Fig 212 Kidney Bean. There are 5 outgoing pairs, call them 12345, and picots are worked top to bottom: 1 2 3 4 5 Sheeps Head and Pheasant's Eye also fall into this category, but they have their own type of weirdness since extra honeycomb stitches are put into the headside. This case doesn't matter. The aspect of headside I am concerned with is the problem of what to do when there are more picots than there are outgoing pairs. When that happens, some pairs must make two picots, and that is the situation the next 2 cases deal with. 2) There are more picots than there are outoging pairs. Work a picot for each outgoing pair, going through pairs from left to right. When done, the last picot worked is the pivot picot P. P comes AFTER the most indented (bottom of the valley?) picot. Now perform the pivot. Count the number of picots that still need to be worked and separate that number of pairs from the left side of your group of outgoing pairs. Work the picots by going through the pairs from left to right. Examples of this are Fig 196 Church Window and Fig 200 Little Heart. For both of these there are 4 outgoing pairs, call them 1234, and the picots are worked top to bottom: 1 2 3 4(P) 3. It turned out that the most indented picot was the first one for pair 3. This is the method that Nottingham told me to use! She describes it on page 122, in the section for Church Window. She does not mention anywhere else in the book any other way of dealing with the "more picots than pairs" problem. 3) There are more picots than pairs. We force the pivot picot P to be the most indented picot. Work picots with outgoing pairs, going through pairs from left to right, until the pivot picot P is worked. At this point, some pairs on the right have not yet worked any picots. Dedicate these pairs to the very last picots in the section. So think of these picots as being assigned to pairs, even though you won't actually work them until the end. Now perform the pivot. Count the number of picots that still need to be worked, remembering not to count the very last picots which have been dedicated. Separate that number of pairs from the left side of the group of outgoing pairs and work the picots fgoing through pairs from left to right. Now bring in the unworked pairs (which are all the way on the right) past all the other pairs and work the very last picots going through the pairs from left to right. Examples of this are Fig 203 Ram's Horn and Fig 216 Cloth and Honeycomb Fan. It looks as if Fig 220 Pattern Interpretation and Fig 250 Cloth Stitch Diamond With Four Pin Buds do it this way also. For Cloth and Honeycomb Fan, there are 7 outgoing pairs, call them 1234567, and the picots are worked top to bottom: 1 2 3 4 5(P) 4 3 6 7 Ok, so that's what I saw when I looked carefully at all the headsides. I haven't gone into the details of moving pairs around since that would obscure the main point, so just accept that everybody is moving around so that it all comes out as in Nottingham's diagram. If you actually read through all this and don't know Bucks Point, please understand that this is all MUCH easier to actually do in practice then it is when I try to explain in words all the steps, so don't be put off. So, first, am I correct about this? Method 2 and method 3 really seem to me to be truly different. Am I misunderstanding something? Second, if I am correct, then why does Nottingham switch methods? She gave very clear instructions about method 2 , implying that this is a method that she likes, but every single one of the later patterns uses method 3, which implies that sh
[lace] newest bulletin
Tamara, The photos of your lace fan in the newest IOLI Bulletin are splendid. What a beautiful fan! Sylvie in sunny, though cold, Cherry Valley, Illinois __ Do you Yahoo!? Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes http://hotjobs.sweepstakes.yahoo.com/signingbonus - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
[lace] Couture=Art (& Melon Pillow)
Hello all - Catching up on digests after a trip. I ran down to Philadelphia to see the Schiaparelli exhibit which was MARVELOUS. (In my opinion, their exhibit hall puts the Met's Costume exhibit space to shame. It's larger, handles crowds better and has an exhibit case down the center that allows pieces to be viewed from front and back.) I don't remember any lace but there was lots of embroidery, and the construction of the pieces was amazing as was the number of items on display (about 180 with about 140+ being clothes). I bought the 50-pound (as in weight) book but loaned it out immediately and haven't yet looked through it. One nice aspect of the show was the display of Salvadore Dali works next to the related items of clothing--they were often collaborators. It was quite a treat to get to spend plenty of time going through the exhibit. As for melon pillow and carrot bobbins, it looks like something Little Grey Rabbit would have used! ;-) warm regards, Lorraine in frozen Albany, NY - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Big finishing for lace project
Another topic I haven't seen covered yet is what to do with the piece of fabric you intend to sew your lace to. Your description of how you plan to attach the lace to the fabric is great. *But* - and this is a really big but - very few framers, anywhere, will properly attach the fabric to the heavy cardboard (matte board) that will hold it straight and even in the frame. They will assure you that they do, but usually they don't - if he says he does, get him to show you a sample - it should be sewn on as described below. Framers are taught, wherever they learn their framing, to take your piece of fabric and stretch it carefully over a piece of matte board that has a very sticky surface, and press it down. That stickum is acidic, and will turn brown over time, and will also turn the fabric brown - most likely the lace as well. It is also not reversible - you can pull the fabric off the backing but the sticky stuff has already done its work and has sunk into the cloth, and the harsh chemicals you would have to use to remove the sticky stuff will ruin your project. In my embroidery guild we would only allow one framer to put the fabric onto the backing board, and that's because his wife ran a stitchery shop and we went in and taught him how to do it ourselves. For other framing, we all did the backing personally. It's a simple, though tedious, job: Explain to your framer you want to do the mounting yourself, and get him to cut your matte board (you can also do this yourself, if you have non-acidic matte board handy and you know what size to make the board.) Centre the matte board behind your project, making sure the lace is positioned the way you want it, and lightly pin the fabric into the edges of the matte board to hold it in place. (I mean the edge; the pin is inserted (only a little way) into the 1/8" or so *depth* of the matte board) Turn it face down and fold the fabric edges to the back. Using a strong thread, sew cross-cross across the matte board, taking a stitch through the fabric and then going across the board to the other side, take a stitch, and repeat. Start in the middle and work to the edge. Then start back in the middle and work to the other edge, adjusting the tension as you go - you want this firm, but not tight enough to buckle the matt board. Then do the same in the other direction (eg, if you've already done the length of the matte board, do the width.) Now, it's ready to be inserted in the frame. Adele North Vancouver, BC (west coast of Canada) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Big finishing for lace project
Maybe I missed it, but there's one point about framing lace that I didn't see mentioned. The glass must NOT touch the lace. If glass is put on the frame, there must be enough spacers between the backing and the glass to hold the glass away from the lace. Use double or triple matting, or put spacing strips on the edges of the backing where the frame overlaps the backing. Be sure the backing fabric is color safe and will not bleed color on to the lace over time. I prefer no glass on my frames, but I'm not trying to preserve them for posterity. I just please myself. If you are framing the lace, you can leave all your ends long, and thread them to the back of the backing with a needle instead of cutting them short and having stubby ends showing. Happy lacing, Alice in Oregon -- where life is getting back to normal, and the news is finally carrying stories about the rest of the country where other regions are experiencing the bitter winter weather like we had. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Big finishing for lace project
I have to add a "me, too." When I was a kid, I used to complain about the fact that art galleries do not use glare-free glass and sometimes I had to twist my head around to find an angle where the track lighting wasn't bouncing off the glass into my eyes. When I asked my mother (art historian, painter, and photographer), she told me that fine pieces should not be framed under glare-free glass because the light frosting on the surface obscures the detail. If you go into art galleries, you'll notice that they use regular glass, not glare-free glass. Avital - Original Message - From: "Clay Blackwell" <[EMAIL PROTECTED]> I'd like to offer my two-cents on the subject of non-reflective glass. While it might reduce the glare, it definitely cuts out detail. If your lace is fine, you may have difficulty seeing it as well as you would want - particularly if you're planning to show it. Glare-free glass works very well with commercial prints and in areas where there is a lot of light from overhead lights and big windows... but if you're framing fine art (photographs, drawings, etchings, watercolors, or fine handwork), you really should use regular glass. It is better to hang these ""good" pieces (as opposed to commercial decorative stuff...) out of direct light anyway, so that glare should not be an issue. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Re: Big finishing for lace project
I'd like to offer my two-cents on the subject of non-reflective glass. While it might reduce the glare, it definitely cuts out detail. If your lace is fine, you may have difficulty seeing it as well as you would want - particularly if you're planning to show it. Glare-free glass works very well with commercial prints and in areas where there is a lot of light from overhead lights and big windows... but if you're framing fine art (photographs, drawings, etchings, watercolors, or fine handwork), you really should use regular glass. It is better to hang these ""good" pieces (as opposed to commercial decorative stuff...) out of direct light anyway, so that glare should not be an issue. Clay - Original Message - From: "Viv Dewar" <[EMAIL PROTECTED]> > I'd ask the framer to use non-reflective glass too. (I've never framed > lace, but that's what I used in pre-BL days for cross stitch). > It cuts out some of the glare & IMO is worth the extra cost - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] Re: Big finishing for lace project
I'd ask the framer to use non-reflective glass too. (I've never framed lace, but that's what I used in pre-BL days for cross stitch). It cuts out some of the glare & IMO is worth the extra cost Viv -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Tamara P. Duvall Sent: 11 January 2004 05:58 To: lace Arachne Subject: [lace] Re: Big finishing for lace project PS If you *do* go for a glassed in version of the frame, at least make sure that the framer doesn't seal the whole thing with paper in the back. The paper lets *some* moisture in and out, but not readily; you're running the risk of condensation and eventual deterioration of the textile. Un-sealed "picture" will have slight cracks between the backing and the frame, which will allow for freer air-circulation. - 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]
Re: [lace] Re: Big finishing for lace project
In Australia, washing of any craft item before exhibiting in the local shows (or Fair) is strictly forbidden - part of the skill being judged is deemed to be whether you can keep your work clean!! So I'd be asking whether it's OK to wash it before you plunge it into the soapsuds Ruth Budge (Sydney, Australia) "Tamara P. Duvall" <[EMAIL PROTECTED]> wrote: On Jan 10, 2004, at 23:38, [EMAIL PROTECTED] (JoAnne) wrote: > Once I am done, what is the BEST way to finish a project? Ther's no single way; depends on th project. > I also want to enter this in the Iowa State Fair next summer, so does > anyone know, can I frame it, or do are there rules that the judges > have to be able to pick up a piece and > look at the back of it? That varies from Fair to Fair (state, county, locality). Iowa State Fair might have a website; check and see if they have a contact person for Arts and Crafts (or whatever they may call it. Sometimes it's something like "home crafts"). Ask them what their rules are. If they don't *forbid* it, go ahead and frame it. Judges may *like* to handle a piece and look at the wrong side of if, but a piece tends to look better if mounted, and you can hide a multitude of sins in the process. > If I can frame it, should I have the piece attached to > the material, or would it be better to let the framer do that? Never trust anyone other than yourself when mounting a piece of lace :) *Definitely not* a framer who may know everything about framing, but zero about textiles. > Can I have glass in the frame? Again, depends on the rules of the individual organisation that mounts the competition; ask them. In Virginia, there's no rule against glass, and we've never discriminated against pieces which were framed and glassed over. But I don't like glass, either as a judge, or as a lacemaker. It might be OK for antique/fragile lace which needs to be protected against handling at all costs, but, IMO, glass detracts from the overall look of textiles. Not only does it provide a visual barrier (cheap glass reflects light and makes viewing more difficult), but it gives a "hard edge" to textiles which shouldn't have any. > My thoughts were to wash it, block it, and then stretch dark blue or > black silk on a frame, and stitch the lace to that. Then I would take > it to the framer and let them do the rest. *Almost* exactly so. But, after you've washed and blocked it but *before* you've mounted it on fabric, go to your framer and choose the frame style and size. That's because different frames have different "lip" depths, and will cover a different amount of your background fabric. You don't want to go to all the trouble of mounting only to discover that the frame comes too close to your object (lace), leaving no "breathing" margin around it. When that happens, the lace will look "crowded in" Take your chosen fabric -- uncut -- with you; that will allow you to see what colour frame will look best with it. With luck, it will also let you see how big the frame needs to be; ready made frames often come with a piece of cardboard which fits the frame precisely (so that you can do your own framing). Drape your fabric over the cardboard, lay your lace on the fabric, push the cardboard into the frame and see if it "sings" to you. If not, identify what's wrong and try another frame. Even if you choose a frame that has to be specially cut and fitted (so have only a small corner piece to play around with when choosing), you can get an idea of how much of the background fabric will be covered by it (ie how much bigger it needs to be to show the lace *and* some margin of fabric around it). PS If you *do* go for a glassed in version of the frame, at least make sure that the framer doesn't seal the whole thing with paper in the back. The paper lets *some* moisture in and out, but not readily; you're running the risk of condensation and eventual deterioration of the textile. Un-sealed "picture" will have slight cracks between the backing and the frame, which will allow for freer air-circulation. - 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] http://personals.yahoo.com.au - Yahoo! Personals New people, new possibilities. FREE for a limited time. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
