[lace] Colour in lace
I am making a bookmark from Technique of Bobbinlace. For anyone that has the book it is decoration b on page 46 and I would like to make it in white with the three outlined motifs in blue. I have never used colour before and would like some help from anyone who can tell me how to change from white to blue and back again please. Ann UK - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in lace....
Re the query from Ann Humphreys lace digest no.#39: As many people are perhaps aware, way back in 1991, I worked out how it would be possible to invisibly change the colours of threads when working lace and was invited by BT Batsford to write two books* about it. The methods are many and varied but the basic advice that I can offer is: Hang the new pair on a temporary pin above the work, as near as possible in the angle along which it will be travelling once in work.i.e. if it is a passive pair to be changed, then the new pair is to hang directly above the work, but if the leader pair is to be changed, then the new pair is to hang along the path the leaders will take. Cloth stitch the new pair through the old pair and tension, tie a reef/square knot and a half with the old pair.remembering, to when tying the knots of the old pair, to tension the threads by pulling their ends along the direction that the old thread, and consequently the new thread will be travelling i.e.a new passive pair will be tied vertically, whereas a leader pair will be tied slightly off the horizontal. Ease down the new pair, and throw back the old pair, both pairs still following their angles of working. Basic, illustrated, thread changing pattern booklets and more advanced patterns are available from my website: www.sandiwoods.com where I may also be contacted (via the website). I will be tutoring a workshop 'Changing Colour in Lace' at The Lace Society AGM on 29th April 2017 - for more information and details contact The Lace Society. *Both of these books are out of print, but it is worth enquiring of The Lace Guild from time to time to see if they have used/donated copies of my two books; 'Special Effects in Coloured Bobbin Lace' and 'Alphabet Inspirations in Coloured Bobbin Lace'. Hopefully this note may be of some help to Ann and others... Sandi Woods (Currently enjoying yet more torrential rain in Warwickshire, UK) - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in lace
Is coloured lace as non-traditional as most people seem to think it is, though? In the V&A collection there is (or at least, was) a Spanish altar frontal, worked in needlelace, in full colour. If memory serves me well, it dates back to the late 1600s. There is a black and bright, topaz/kingfisher blue collar, worked in bobbin lace in the 1800s. I have written before about the yellow starch that was fashionable for dying ruffs in the 1600s, until the woman who brought the fashion to England was hanged for murder. When, in 1996, I went to Lille with friends to see the exhibition L'Europe de la Dentelles, many of the old pieces from other countries that were displayed were made in coloured threads. Lace that survives is mostly in dealer's pattern books, where white thread would have been sensible - lace was made by the yard and then when someone asked for so many yards in such and such a colour it was most likely dyed to order, the composition of the dyes probably having a detrimental effect on the thread hence little has survived the passage of time. (I'v! e had poor quality black embroidery thread, used for a cross stitch design on a cushion cover, disappear totally in five years). My mother in law and I went to the Nottingham Museum of Costume and Lace before it closed as they had in their collection a wedding dress which belonged to one of her forebears. We know it to have been worn around 1860, and the lace triming the brown dress was also brown (colour, not age). Think also of the stumpwork boxes that are worked in coloured and metallic threads as well as white. We take most of our impression of what lace was available from portraiture - and most portraits show white collars and cuffs. It is known that a good number of artists used their own stock of costume, props and models to prepare portraits ready for the face to be added, to save on sitting time. I doubt many artists could afford coloured lace, and so the pieces they owned would most likely have been white, thus making us think that all lace was white. Like most textiles, lace changes according to fashion. We know that it was Queen Victoria who started the rage for white wedding dresses, and probably an upsurge in the production of white lace to go with it. It is likely that the change from lace being made in white and dyed to suit, to being made in coloured thread, came with changes in fashion and thread production that meant a larger range of thread was produced in colour - not just skeins of silk and cotton used for embroidery. Jane Partridge __ Devon said: But, it is an interesting question. From the need to qualify Needlelace with the term ???fine white traditional??? would I be correct in assuming that the use of color is no longer controversial and that colored pieces worked in buttonhole stitch are now considered lace? - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in lace
Some years ago I visited a village in southern Belgium which had specialised in making black Chantilly lace. It’s name escapes me. The lace we saw was fantastic, but we were told that there was little of it left, because the black dye used to colour the thread, (or maybe the process used) rotted the thread over time. I wonder if anyone else has heard this, and also, what dye was used? Kathleen, in a damp and dreary Berkshire, UK. Sent from my iPad - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] colour in lace
Kathleen wrote: Some years ago I visited a village in southern Belgium which had specialised in making black Chantilly lace. Itâs name escapes me. The lace we saw was fantastic, but we were told that there was little of it left, because the black dye used to colour the thread, (or maybe the process used) rotted the thread over time. I wonder if anyone else has heard this, and also, what dye was used? The town in southern Belgium is Geraadsbergen. There they make or made black Chantilly lace. The silk was dyed with iron oxide to make it black. This rotted the silk, so very few old black Chantilly laces of other old black laces are left. There are also metallic laces in which the metal thread was originally wound up with black silk. Now the black silk is rotten away and only the metallic lace is left. Happy lacing Gon Homburg, in a wet Amsterdam, The Netherlands, where finally spring arrives. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in lace
Hi Arachnids Here is a comment I found interesting regarding lace. When I became involved in teaching a pilot scheme for City & Guilds I tried to get on a BTECH course for design but unfortunately it was on the same days as I was teaching. However, when I discussed why I wanted to attend the course with the head of department he said âI will have to give you plenty of work on textures. Textures are your colour.â Traditionally most lace has been monochrome and the designs a balance of textures, light and shade. When you add colour you upset this balance because colour immediately becomes dominant and overpowers the subtleties of the textures. Hence when colours become the design the changes in texture usually have to be reduced so that the design is not overloaded and many techniques have to be modified to accommodate the requirements of moving the coloured threads to where they need to go. I am a monochrome traditionalist at heart but that does not stop me from enjoying coloured lace nor from helping students who wish to explore using colour and positively encouraging those who show a flair with colour. But I object strongly to those who are dismissive of traditional monochrome lace and wonder if they are jealous of those of us who are able to make it. We need to keep the best of the traditional techniques going while embracing new developments. Blow the dust Alex - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in Lace.
Wow! Alex, that hits it right on the head!! Texture or colour? One does seem to override the other. Yes, I agree. I do a lot more monochrome lace, and I know just what you mean about the texture showing up when it is not distracted by colour. Catherine, I worked your Strawberries â and learned Such a Lot while working the pieces â flowers wired, leaves with wired veins, and a double layer of stitching to make the strawberries. It was such fun to do, - and a belated big Thank You for the pattern â and in fact, the whole book!! However when I put that piece in my Proficiency exam, it was written, by the examiners, as Stumpwork. I am not sure whether they accepted and passed it, or not!! Stumpwork is surely partly Needlelace, anyway â isnât it?!! Well, that whole piece is Needle Lace to me, anyway!! (But then, - I was always a bit of a rebel!! â and I refuse to be Politically correct!) Devon â Yes, I too get odd dots, Capital letters, and other marks put in to some Arachne letters â Jeriâs and my own among others. I have no idea why, and no way of altering it. It certainly does not come from this end. It only seems to happen to the Arachne emails. Regards from Liz.in Melbourne,. Oz. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
[lace] Colour in Lace
it's always the green thread that falls apart. I have found this with wool, too: if you work with the Appleton crewel wool (for embroidery), the sea-greens are much thinner and more prone to breakage than any other colour. The greens that are not sea-green are just as strong as the other colours - it always seems to be the sea-green that's the problem. I asked around about this once, and was told that in order to get a nice sea-green the wool has to go through more than dyeing processes than for the other colours. Each dyeing process requires mordanting, which weakens the fibre somewhat, and the result is that the sea-green is extra-weak compared to the other wools that go through fewer processes. Perhaps it is the same for other fibres. 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] Colour in lace,
Hi Sharon, I'll answer your questions instead of having it go through Angela. I used Pipers Silk 210/2 in very light yellow for the rose petals and green for the leaves. It was worked in raised and rolled technique. Idid enlarge the pattern by 10%, but now that the rose is finished and off the pillow, I think that I should have enlarged it slightly more. As to beads made out of Fimo. I tried it once and my results weren't too good. Miriam, in Arad, Israel - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Colour in lace
> I am making a bookmark from Technique of Bobbinlace. For anyone that has the > book it is decoration b on page 46 and I would like to make it in white with > the three outlined motifs in blue. I have never used colour before and would > like some help from anyone who can tell me how to change from white to blue > and back again please. Do you mean âThe Technique of Bobbin Lace" by Pamela Nottingham? In my copy page 46 shows six different sections of a sampler, and b is a diamond shape of torchon ground with tallies enclosed by a gimp. Is that what you are asking about? Itâs not usual to change colours in gimps (the outlining threads) and preferable not to have any joins in them because being much thicker than the main thread any knots or overlaps will be very visible. If you are asking about changing the colour of an area of cloth stitch what is usually done is to change the workers and leave the passive threads as they are. There are two ways of doing that; either use knots to change the colours and get the knots as close to the pin as you can or at the start of the section you want to be coloured hang in a new worker pair and leave the original worker pair as an additional passive pair. When you get to the end of the coloured section just lay the coloured pair bac over the work and close with a cloth stitch made with the two should also be on the same pin. Once the lace is off the pillow you can weave in the ends of the contrast threads. Brenda in Allhallows paternos...@appleshack.com www.brendapaternoster.co.uk - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Is coloured lace as non-traditional as most people seem to think it is, though? -- There were most certainly examples of coloured lace produced in the East Midlands as Alan S. Cole found and mentions in his Report on Northampton, Bucks & Beds Lace-making in 1891. When we were researching for the exhibition Art, Trade or Mystery - Lace and Lacemaking in Northamptonshire, held in 1999 we found sheets of samples of coloured laces in the collection of Northampton Museums. Diana in Northamptonshire. To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Original message Subject : Re: [lace] Colour in lace Is coloured lace as non-traditional as most people seem to think it is, though? -- There were most certainly examples of coloured lace produced in the East Midlands as Alan S. Cole found and mentions in his Report on Northampton, Bucks & Beds Lace-making in 1891. When we were researching for the exhibition Art, Trade or Mystery - Lace and Lacemaking in Northamptonshire, held in 1999 we found sheets of samples of coloured laces in the collection of Northampton Museums. Diana in Northamptonshire. Hi Diana I well remember as one of the Westhope Group, helping to set up this exhibition in Northampton and what a success it was too! The group played a large part in the exhibition and we were asked to make two pieces of lace each, one in white and one in colour, but both on the same theme. My chosen theme was Hans Andersen Fairy Tales, with my Snow Queen panel being the white lace and The Little Mermaid my coloured piece (worked using stumpwork techniques). I think Cynthia Voysey (a very well known Honiton tutor/author, worked a small coloured purse in Needlelace for this exhibition, but I could have been for one of the other many other exhibitions the group displayed their work, maybe the one at Pilkington's Glass? I do seem to recall when teaching the C & G students at Camberley Adult Education Centre, that a small group visited the V & A and discovered a piece of coloured Honiton lace from way back? It would seem that nothing is new and it's all been done before! Catherine Barley Catherine Barley Needlelace www.catherinebarley.com - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Re: [lace] Colour in lace
Yes I've heard that too Kathleen - Perhaps it was Nenia Lovesey who told us? Catherine Barley Needlelace www.catherinebarley.com Original message Subject : [lace] Colour in lace Some years ago I visited a village in southern Belgium which had specialised in making black Chantilly lace. It’s name escapes me. The lace we saw was fantastic, but we were told that there was little of it left, because the black dye used to colour the thread, (or maybe the process used) rotted the thread over time. I wonder if anyone else has heard this, and also, what dye was used? Kathleen, in a damp and dreary Berkshire, UK. - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
RE: [lace] Colour in lace
Regarding Alexâs insightful comment, I have to say that I go back and forth about color in lace myself. On the one hand, I like color. On the other hand, the palette of lace making is texture and pattern. When you are using pattern and differences in density for your palette you tend to use the techniques of bobbin lace and needle lace to their ultimate. In fact, it has been a bit of a problem in staging the exhibition. The exhibition isnât very colorful. The most vibrantly colorful objects are ones made by the lace artists of the 1970s. That phase appears to be over. Now lace artists are using the palette of pattern and texture to a greater extent, and are working in monochrome, even if the chrome may be red or black. I am finding myself realizing that lace technique developed in an environment of monochrome and miniaturization. But, modern art galleries are large places that typically display large colorful art. Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
Fwd: [lace] Colour in Lace.
Original message >From : lizl...@bigpond.com Subject : [lace] Colour in Lace. Texture or colour? One does seem to override the other. Yes I agree. Catherine, I worked your Strawberries â and learned Such a Lot while working the pieces â flowers wired, leaves with wired veins, and a double layer of stitching to make the strawberries. It was such fun to do, - and a belated big Thank You for the pattern â and in fact, the whole book!! However when I put that piece in my Proficiency exam, it was written, by the examiners, as Stumpwork . - >From : catherinebarley@btinternet. Subject : Re: [lace] Colour in Lace. Hi Liz I know I said my previous posting on the subject would be my last but I couldn't be ill mannered and ignore your email to me, so as I'm writing it anyway, thought I might as well include Arachne too! Yes Alex did hit the nail on the head and I recall explaining to you some time ago when asked, how to achieve density/tonal values when working monochrome laces. A lot more thought needs to be used in the variation of thread weights to achieve this, rather than simply choosing the correct shade/colour of thread. For example my 'Henley Bridge' where I had to differentiate the blue sky from the blue/grey water and also the tarmac road, is an example. I wondered how I could do this without the use of colour and felt it required more than just a variation of the filling stitches. Different gauges of white thread was the answer and of the old Point de Gaze samples is where this idea came from. I was also invited by the Lace Guild here in the UK (along with others) to design and work a piece of needlelace using a Winifred Millar bobbin lace pricking as our source of inspiration. I thought I'd design/work a piece of Point de Gaze to go on the front of the 'spare' ivory satin wedding shoe from my book which I had intended to work it in a gold coloured thread, thinking it would compliment the ivory satin. Like most lacemakers no doubt, I have drawers full of threads that wlll probably never see the light of day, but did I have several gauges of the same coloured/shade of gold thread to work my Point de Gaze? - No I didn't, so it was back to white for me, of which I had every gauge I might possibly need. Of course the white wouldn't show up against the ivory satin, so I mounted my white Point de Gaze onto a gold coloured silk background and framed it instead of using the ivory coloured satin shoe! If you're sufficiently interested you can see this on my website und! er 'Lace Guild Challenge', also 'Henley Bridge' and right at the bottom of the list you can see an example of Argentan Ground under 'Chopin's Nocturne' I do not classify the 3-D strawberries as Stumpwork/Raised Embroidery as they are not worked onto a fabric background! They are a contemporary use of traditional needlelace stitches incorporated into a 3-Dimensional arrangement of strawberries. Stumpwork is another term for 'Raised Embroider' and to embroider something one needs a background fabric on which to embroider/embellish this fabric! One does set one's self up as an 'Aunt Sally' when writing a book/catalogue and has to be very sure of one's facts before doing so, as there is always someone out there who know better! Once something goes down in print it is frequently quoted by future generations and we have learned through experience over the years, that it is not always correct, as further evidence comes to light over the years to substatiate this. The inspiration for these strawberries came for a Grinling Gibbons wood carving depicting a variety of flora and fauna, also fruit, birds, musical instruments etc an! d I thought that if someone could create something so beautiful/realistic out of a solid piece of wood, surely I could do something similar with my knowledge of needlelace! I recall being allowed into the room when the assessor came to mark our work at Windsor & Maidenhead College for the C & G two year Creative Textile Course. I had been asked to take some Rhododendron flowers from my garden to display along with the student's work, and took them in before the assessor started on her rounds, and Nenia was showing her a copy of her very first book published by Batsford entitled 'Needlepoint Lace' published 1980. As I was leaving the room I overheard the examiner ask Nenia "Is this all Needlepoint Lace"? My heart sank, as we all had to make a piece of needlelace as one of our assessments and clearly our examiner didn't even know what it was! This Creative textiles course was the beginning of the revival of this beautiful but sadly neglected form of lace and Nenia Lovesey was the driving force behind it, as was Barbara Hirst the driving force behind the revival of St
[lace] colour in lace etc.
Angela, I must know...what thread was Miriam using to do colour in her Honiton? :) I've always thought honiton screams for very subtle colouring..is there coloured thread out there that is fine enough? If there is, I wants it!:) Another point that I thought interesting in the last digest..how does Fimo work for making beads for spangles? I've often thought I'd like to make a bottom bead to match my painted bobbins..is it really suitable? Does it stand up to much use? About green threads. I knew a lady who wanted to clean an antique embroidery, which she did very gently and very carefully in distilled water. The whole thing turned out beautifully except the green. It just disintegrated and not a hair was left. At the time I wondered whether it was the chemical composition of the dye itself. I have run up against this a couple of times since with things I have bought at flea markets, and it's always the green thread that falls apart. Interesting. Sharon on rainy, windy Vancouver Island - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re [lace] colour in lace etc.
. . . About green threads. I knew a lady who wanted to clean an antique embroidery, which she did very gently and very carefully in distilled water. The whole thing turned out beautifully except the green. It just disintegrated and not a hair was left. At the time I wondered whether it was the chemical composition of the dye itself. I have run up against this a couple of times since with things I have bought at flea markets, and it's always the green thread that falls apart. Interesting. Sharon = Hi Sharon, I have to think that it is the chemical composition of the green dye stuff. A friend of mine used to make kites from ripstop nylon fabric. In spite of being the same fabric in the same weight from the same manufacturer, the hand of the fabric differed by color rather dramatically. As I recall, the yellow was quite stiff and the purple was soft and flowing. We know that the black dyes used in the 19th century are eating the fabrics they were applied to because of their iron oxide content. That means that most Chantilly is slowly dy(e)ing and is already mostly too fragile to actually wear. Modern dye manufacture is often stymied by ecological constraints into using less than optimal formulations. It seems to me that probably something in the green dye stuffs (some mineral oxide in a solvent) are not easy to bring to a neutral or near neutral state or that once stable, they degrade over time, which also probably means that they oxidize. Oddly, since I like to make lace in wire, a nice bright royal blue wire is non-existent. Maybe for the same kind of reason. Modern enamelled wire is actually coated with polyester much of the time. In any case, it isn't really enamel and doesn't come in a nice bright blue. End of musings . . . Patty - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] colour in lace etc.
In a message dated 25/03/2004 19:31:33 GMT Standard Time, [EMAIL PROTECTED] writes: > how does Fimo work for making beads for spangles? Some of my very first painted bobbins bought in the early 1980s came with Fimo beads colour co-ordinated with the painting and they still look like new after 20 years. They are a matt finish having not been varnished, but now I work with Fimo myself I know that by using the very fine wet and dry polishing papers it is possible to get a mirror-like surface. Time consuming though and not practical for a commercial enterprise with cost restraints, but for a few beads that you are making for your own special bobbins it is worth it. Lots of polymer clay sites on the internet and a quick google search will find them. Jacquie - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] colour in lace etc.
On 25 Mar 2004, at 19:20, rick &sharon wrote: I must know...what thread was Miriam using to do colour in her Honiton? :) I've always thought honiton screams for very subtle colouring..is there coloured thread out there that is fine enough? If there is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda http://www.argonet.co.uk/users/paternoster/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] colour in lace etc.
Sharon wrote: > I must know...what thread was Miriam using to do colour in her > Honiton? :) I've always thought honiton screams for very subtle > colouring..is there coloured thread out there that is fine enough? If > there > is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda === Bjarne has 120 (3 ply) and 250 (3 ply) unboiled silk in colors. I have several of the colors and it is wonderfully fine and wonderfully strong. - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
RE: [lace] colour in lace etc.
Sharon wrote: > I must know...what thread was Miriam using to do colour in her > Honiton? :) I've always thought honiton screams for very subtle > colouring..is there coloured thread out there that is fine enough? If > there > is, I wants it!:) The finest coloured cootn thread I know of is Tanne/Cotona 80 - same thickness as Egyptian gassed 80/2. If you want colour in finer than that it would have to be silk. Piper's Fine Twisted silk comes in colours and compares to Egyptian Gassed 140/2 Brenda === Bjarne has 120 (3 ply) and 250 (3 ply) unboiled silk in colors. I have several of the colors and it is wonderfully fine and wonderfully strong. http://home0.inet.tele.dk/drewscph/silkefarver.htm Also Piper's Silks has Fine Twisted Silk, 2/20, 4/20, 6/20 in colors. http://www.pipers-silks.com/ 2/20 silk, now that's what I call invisible thread! Patty Dowden - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: Re [lace] colour in lace etc.
The effect of dyes appears to be quite marked in the rayon sold as crochet silk to day. The pale colours are soft and good to work with but the dark blues and black in the range are so harsh that I would not use them. I have a black shawl in black rayon from many years ago and it is delightful both in appearance and the "drape". I have looked without success for thread to work a similar one. Barbara Ballantyne in Sunny Sydney, australia - Original Message - From: "Patricia Dowden" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Friday, March 26, 2004 9:48 AM Subject: Re [lace] colour in lace etc. > . . . > About green threads. I knew a lady who wanted to clean an antique > embroidery, which she did very gently and very carefully in distilled water. > The whole thing turned out beautifully except the green. It just > disintegrated and not a hair was left. At the time I wondered whether it > was the chemical composition of the dye itself. I have run up against this > a couple of times since with things I have bought at flea markets, and it's > always the green thread that falls apart. Interesting. > Sharon > > = > Hi Sharon, > > I have to think that it is the chemical composition of the green dye stuff. A friend of mine used to make kites from ripstop nylon fabric. In spite of being the same fabric in the same weight from the same manufacturer, the hand of the fabric differed by color rather dramatically. As I recall, the yellow was quite stiff and the purple was soft and flowing. > > We know that the black dyes used in the 19th century are eating the fabrics they were applied to because of their iron oxide content. That means that most Chantilly is slowly dy(e)ing and is already mostly too fragile to actually wear. > > Modern dye manufacture is often stymied by ecological constraints into using less than optimal formulations. It seems to me that probably something in the green dye stuffs (some mineral oxide in a solvent) are not easy to bring to a neutral or near neutral state or that once stable, they degrade over time, which also probably means that they oxidize. > > Oddly, since I like to make lace in wire, a nice bright royal blue wire is non-existent. Maybe for the same kind of reason. Modern enamelled wire is actually coated with polyester much of the time. In any case, it isn't really enamel and doesn't come in a nice bright blue. > > End of musings . . . > > Patty > > - > To unsubscribe send email to [EMAIL PROTECTED] containing the line: > unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED] - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
Re: [lace] Colour in lace-radical or historically correct?
Historically linen was difficult to dye and to get the dye to stay. I think thatâs why the fabled bright yellow starch was so popular - you got a good colour that mimicked gold, and because the dye was in the starch, every time the lace was washed, it was re-coloured by the starch. Adele > I have always thought that the whiteness of lace was the result of the > Protestant Reformation, sumptuary laws and laundry considerations as people in > Europe decided to wear washable body linen next to their skin and embellish > the area around the neck and hands where the linen showed. > Devon - To unsubscribe send email to majord...@arachne.com containing the line: unsubscribe lace y...@address.here. For help, write to arachne.modera...@gmail.com. Photo site: http://www.flickr.com/photos/lacemaker/sets/
