Mountmellick embroidery

Oh cruel Dianne.
With this conversation, I'm tempted at my next class to start out by
saying: "All students who are serious, please sit at the far right
table. All students who wanted a day away from baby sit at the far
left. All the rest sit in the middle table." In that way, I'd at least
know what I was dealing with. (huge grin).

Dianne



Texasxsgal1 wrote:
and she should be allowed to take the advanced classes while she's
actually at the "can thread needle three times out of four" stage.


Ummmm i can do some "avanced" stitches, but don't know if I can thread that
needle 3 out of four. also, while I agree that a teacherfor an advanced
class
should not have to be doing remedial work, I on't agree with the can't get
in
class if you can't (or won't0 a stitch
I don't usually do french nots, but if i wanted to take a class in which
part of the piece was French nots, no big dea. I would just learn the
other
stitches and then do whatever i wanted in place of the french knots
can you tell i don't like french nots? I would be paying for the class to
learn a certain technique ofr piece -- how I learn that would be up to me

- just stitting there watching is enough if it helps me learn or if i
am
satisfied to just do that (and yes I KNOW that's a split infintieve, and I
don't are LOLOL
kathy
san antonio

I know, but I couldn't resist. :-)
Dianne

BDS2pds wrote:

Oh cruel Dianne.

With this conversation, I'm tempted at my next class to start out by
saying: "All students who are serious, please sit at the far right
table. All students who wanted a day away from baby sit at the far
left. All the rest sit in the middle table." In that way, I'd at least
know what I was dealing with. (huge grin).

Dianne



Texasxsgal1 wrote:

and she should be allowed to take the advanced classes while she's
actually at the "can thread needle three times out of four" stage.


Ummmm i can do some "avanced" stitches, but don't know if I can thread that
needle 3 out of four. also, while I agree that a teacherfor an advanced

class

should not have to be doing remedial work, I on't agree with the can't get

in

class if you can't (or won't0 a stitch
I don't usually do french nots, but if i wanted to take a class in which
part of the piece was French nots, no big dea. I would just learn the

other

stitches and then do whatever i wanted in place of the french knots
can you tell i don't like french nots? I would be paying for the class to
learn a certain technique ofr piece -- how I learn that would be up to me

- just stitting there watching is enough if it helps me learn or if i

am

satisfied to just do that (and yes I KNOW that's a split infintieve, and I
don't are LOLOL
kathy
san antonio

Dianne,

I do hope you're not going to be disappointed with my book - please
lower your expectations somewhat!! :-) I'm a bit scared that you are
expecting the perfect book - and of course it won't be!

While in Ireland I was privileged to see a quilt that belongs to the
An Grianan Adult Education College in Termonfechin. They teach
Mountmellick embroidery there, amongst other things. While I didn't
actually go there (not enough time to fit everything in!) I saw the
quilt at the home of a lovely lady called Annie Kelly, who had
pursuaded the management to let her wash it!

It had been on display and had gone quite grey. Annie had carefully
washed it and by the time I saw it, it was very white again. Testament
to the sturdiness of the fabric and the embroidery!

But, that's not my point... which is this: it was absolutely covered
in stitching. It had a very wide border of stitching all around the
edge, and then a small gap of unstitched ground, and then a large
central section of stitching. There were all sorts of flowers and
motifs included - even a pineapple! It was truly magnificent. I was
given permission to reproduce some of my photos of it in the book, so
you'll be able to get a taste for how amazing it was.

These photos, however, are unfortunately the only historical pics in
the book. We would have liked to have included more, but the repro
prices would have been too much for us. But, we have tried to keep our
projects (15 in total) as authentic looking as possible, and as true
to the historical style as possible.

My sister Prue, who is a botanical artist, designed all the patterns
in as historical style as possible. Then we pored (spelling?) over the
photos of the examples I saw in Ireland and learnt all we could by
observation for ways and ideas for stitching. I looked at my photos
again the other day and noticed new things I'd never noticed before. A
real visual feast!

Yvette

Thanks for leaving in the original link. I missed it the first time.
This site proved to me how the Brits - which is all I have to go by
until Yvette's book is released here in the States - really changed this
work. I'm excited to do it more authentically. I love the more modern
forms, but will appreciate going back to the beginning.

The very old piece shown reminds me of another type of embroidery
elsewhere during this period. Wish I could remember. The entire
surface covered. You see that a lot in textiles from the 17th & 18th
centuries.

Dianne

I can't wait for your book to be out Yvette, I'm really anticipating it
and I'm sure it won't disappoint anyone in the least.
Jeanine in Canada

Yvette wrote:
Dianne,

I do hope you're not going to be disappointed with my book - please
lower your expectations somewhat!! :-) I'm a bit scared that you are
expecting the perfect book - and of course it won't be!

While in Ireland I was privileged to see a quilt that belongs to the
An Grianan Adult Education College in Termonfechin. They teach
Mountmellick embroidery there, amongst other things. While I didn't
actually go there (not enough time to fit everything in!) I saw the
quilt at the home of a lovely lady called Annie Kelly, who had
pursuaded the management to let her wash it!

It had been on display and had gone quite grey. Annie had carefully
washed it and by the time I saw it, it was very white again. Testament
to the sturdiness of the fabric and the embroidery!

But, that's not my point... which is this: it was absolutely covered
in stitching. It had a very wide border of stitching all around the
edge, and then a small gap of unstitched ground, and then a large
central section of stitching. There were all sorts of flowers and
motifs included - even a pineapple! It was truly magnificent. I was
given permission to reproduce some of my photos of it in the book, so
you'll be able to get a taste for how amazing it was.

These photos, however, are unfortunately the only historical pics in
the book. We would have liked to have included more, but the repro
prices would have been too much for us. But, we have tried to keep our
projects (15 in total) as authentic looking as possible, and as true
to the historical style as possible.

My sister Prue, who is a botanical artist, designed all the patterns
in as historical style as possible. Then we pored (spelling?) over the
photos of the examples I saw in Ireland and learnt all we could by
observation for ways and ideas for stitching. I looked at my photos
again the other day and noticed new things I'd never noticed before. A
real visual feast!

Yvette


Thanks for leaving in the original link. I missed it the first time.
This site proved to me how the Brits - which is all I have to go by
until Yvette's book is released here in the States - really changed this
work. I'm excited to do it more authentically. I love the more modern
forms, but will appreciate going back to the beginning.

The very old piece shown reminds me of another type of embroidery
elsewhere during this period. Wish I could remember. The entire
surface covered. You see that a lot in textiles from the 17th & 18th
centuries.

Dianne

I just know your philosophy. Almquist's book has photographs of early
works, but many are poorly reproduced, so its hard to get good detail.

Mountmellick fascinates me, and I have a yard of cloth and tons of Irish
knitting cotton with which to do one of your projects. :-)

Dianne

Yvette wrote:
Dianne,

I do hope you're not going to be disappointed with my book - please
lower your expectations somewhat!! :-) I'm a bit scared that you are
expecting the perfect book - and of course it won't be!

While in Ireland I was privileged to see a quilt that belongs to the
An Grianan Adult Education College in Termonfechin. They teach
Mountmellick embroidery there, amongst other things. While I didn't
actually go there (not enough time to fit everything in!) I saw the
quilt at the home of a lovely lady called Annie Kelly, who had
pursuaded the management to let her wash it!

It had been on display and had gone quite grey. Annie had carefully
washed it and by the time I saw it, it was very white again. Testament
to the sturdiness of the fabric and the embroidery!

But, that's not my point... which is this: it was absolutely covered
in stitching. It had a very wide border of stitching all around the
edge, and then a small gap of unstitched ground, and then a large
central section of stitching. There were all sorts of flowers and
motifs included - even a pineapple! It was truly magnificent. I was
given permission to reproduce some of my photos of it in the book, so
you'll be able to get a taste for how amazing it was.

These photos, however, are unfortunately the only historical pics in
the book. We would have liked to have included more, but the repro
prices would have been too much for us. But, we have tried to keep our
projects (15 in total) as authentic looking as possible, and as true
to the historical style as possible.

My sister Prue, who is a botanical artist, designed all the patterns
in as historical style as possible. Then we pored (spelling?) over the
photos of the examples I saw in Ireland and learnt all we could by
observation for ways and ideas for stitching. I looked at my photos
again the other day and noticed new things I'd never noticed before. A
real visual feast!

Yvette


Thanks for leaving in the original link. I missed it the first time.
This site proved to me how the Brits - which is all I have to go by
until Yvette's book is released here in the States - really changed this
work. I'm excited to do it more authentically. I love the more modern
forms, but will appreciate going back to the beginning.

The very old piece shown reminds me of another type of embroidery
elsewhere during this period. Wish I could remember. The entire
surface covered. You see that a lot in textiles from the 17th & 18th
centuries.

Dianne

FYI -
Barnes and Noble lists Yvette's book being available in September 2004. You
can pre-order it if you want or set yourself a reminder of when it will be
out.

Katherine

"Dianne Lewandowski" wrote in message
...
I just know your philosophy. Almquist's book has photographs of early
works, but many are poorly reproduced, so its hard to get good detail.

Mountmellick fascinates me, and I have a yard of cloth and tons of Irish
knitting cotton with which to do one of your projects. :-)

Dianne

Yvette wrote:
Dianne,

I do hope you're not going to be disappointed with my book - please
lower your expectations somewhat!! :-) I'm a bit scared that you are
expecting the perfect book - and of course it won't be!

While in Ireland I was privileged to see a quilt that belongs to the
An Grianan Adult Education College in Termonfechin. They teach
Mountmellick embroidery there, amongst other things. While I didn't
actually go there (not enough time to fit everything in!) I saw the
quilt at the home of a lovely lady called Annie Kelly, who had
pursuaded the management to let her wash it!

It had been on display and had gone quite grey. Annie had carefully
washed it and by the time I saw it, it was very white again. Testament
to the sturdiness of the fabric and the embroidery!

But, that's not my point... which is this: it was absolutely covered
in stitching. It had a very wide border of stitching all around the
edge, and then a small gap of unstitched ground, and then a large
central section of stitching. There were all sorts of flowers and
motifs included - even a pineapple! It was truly magnificent. I was
given permission to reproduce some of my photos of it in the book, so
you'll be able to get a taste for how amazing it was.

These photos, however, are unfortunately the only historical pics in
the book. We would have liked to have included more, but the repro
prices would have been too much for us. But, we have tried to keep our
projects (15 in total) as authentic looking as possible, and as true
to the historical style as possible.

My sister Prue, who is a botanical artist, designed all the patterns
in as historical style as possible. Then we pored (spelling?) over the
photos of the examples I saw in Ireland and learnt all we could by
observation for ways and ideas for stitching. I looked at my photos
again the other day and noticed new things I'd never noticed before. A
real visual feast!

Yvette


Thanks for leaving in the original link. I missed it the first time.
This site proved to me how the Brits - which is all I have to go by
until Yvette's book is released here in the States - really changed this
work. I'm excited to do it more authentically. I love the more modern
forms, but will appreciate going back to the beginning.

The very old piece shown reminds me of another type of embroidery
elsewhere during this period. Wish I could remember. The entire
surface covered. You see that a lot in textiles from the 17th & 18th
centuries.

Dianne

Texasxsgal Kathy wrote:

I don't usually do french nots, but if i wanted to take a class in which
part of the piece was French nots, no big deal. I would just learn the other
stitches and then do whatever i wanted in place of the french knots

Thus not taking up the other students' time! Yeah!

can you tell i don't like french nots?

No. Not at all. BEG

I'd probably like 'em better if I could just get them to be
consistent... but they range in size from "so tiny that they go through
the fabric with great ease" to "so big you could use them to start a
crocheted doily in worsted weight."


Ruthie in CO
alowan art earthlink dort net

Personally Dianne, I think it is a great idea.

Cheers, SpringPam
who hasn't taken a class in a long time.

"Dianne Lewandowski" wrote in message
...
With this conversation, I'm tempted at my next class to start out by
saying: "All students who are serious, please sit at the far right
table. All students who wanted a day away from baby sit at the far
left. All the rest sit in the middle table." In that way, I'd at least
know what I was dealing with. (huge grin).

Dianne