Square napkin. Viatka style lace

Napkin. Viatka style lace

Napkin. Viatka style lace

Napkin with pasts. Viatka style lace

Nest bassinet slip cover. Viatka style lace

Souvenir “Gee-gee”

Napkin. Viatka style lace.

Tie. Viatka style lace

Towel. Mikhailov style lace

Bobbin lace making is an attractive handicraft for many people all over the world nowadays. It would not be overstatement to say - lace making is on the rise again. This fact explains general interest in any information about lace making including patterns, lace techniques, tools and equipment.

This book is an attempt to consider problems concerning technical support of lace making. The beginners and experienced lace makers need equipment for productive and comfortable labour. First of all it is necessary for them to have pillow sets and devices for winding bobbins. These devices are elucidated here including models published in various books, in the WWW, also author’s original models.

Russian lace makers came across a specific problem that is seemed unknown to somebody else. The essence of the matter is the very thin thread is necessary for “viatka” laces. They have to get it by untwisting standard “moulinet”. For this reason automation of untwisting takes considerable part of the manual. It is destined in the main to russian readers. However it can quite happen the original constructive decisions arise inerest of somebody else. Authors hope that the rest parts of the manual will prove to be useful and interesting not only for russian lace makers.

1. Фалеева В.А. Русское плетёное кружево
Л.: «Художник РСФСР», 1983. - 328 с.:ил.

2. Белозёрова И.Е., Блинова Л.И. Русское кружево. Школа плетения на коклюшках
М.: ИД «РИПОЛ классик», 2005. - 320 с.:ил.

3. Лукашёва Р.А. Русское кружево. Основы художественного ремесла
М.: «АСТ ПРЕСС», 1998. - 144 с.:ил.

4. Gilian Dye. Beginning Bobbin Lace
London: Dryad Press, 1986. - 96 p.

5. Elizabeth Wade. Torchon Lacemaking
Rumsbury, Marlborough/ The Crowood Press Ltd, 1991.- 176 p.

6. David Springett. Turning Lace Bobbins
England: Rugby Warwickshire, 1995. - 124 p.

7. Климова Н.Т. Народный орнамент в композиции художественных изделий.
Цветное коклюшечное кружево
М.: «Изобразительное искусство», 1993. - 224 с.:ил.

8. Пересторонина В.Д. Вятские кружева
Горький: Волго-Вятское книжное изд., 1982. - 168 с.:ил.

9. Браун Дж. Энциклопедия методов обработки дерева. Пер. с английского
М: «АСТ-АСТРЕЛЬ», 2005. - 176 с.:ил.

10. Глинкин М.С. Работы по дереву на станках
М: «Народное творчество», 1999. - 280 с.:ил.

11. Брокгауз Ф.А., Эфрон И.А. Энциклопедический словарь.
Изд. 1956 г.

SUMMARY

In descriptions of equipment for lace making authors of the book evaded questions of economic since all devices were experimental, made in the single exemplar though sometimes in several variants. Our goal was a principle decision of a technical task only. Price of decision was always secondary. That is why some high cost details and materials were used without any restrictions icluding ball-bearings, aluminium prifile, screw fastening etc.This way is admissable for a domestic master-amateur. The book is addressed to such amateurs. It could have a motto “Make it yourself!”

However in the case of serial production of lace making equipment many technical decisions are to be revised for the benefit of more techological ones. Many materials and details will be replaced for the purpose of cost decreasing. These are problems for professional designers, tecnologists and specialists in economic of enterprise.

5. LIGHTING AND OPTICAL DEVICES

Bobbin lace making with thin threads demands good eye-sight. However keenness of sight trends to fall as far as a lace maker ages. This process accelerates if a lace maker neglects elementary rules of occupational hygiene.

During all previous centuries premature falling of eye-sight was typical for lace makers who used to work by the light of a candle or a kerosene lamp. Museum guides never forget to remind this sad fact in history of the people artistic handicraft industry.

Nowadays the rules of industrial safety provide prophylactic of eye-disease. The rules are general in many professions including watch assembling, fitting of microelectronic chips, sizing of small objects etc.

Prophylactic is achieved due to hygienic methods (periodic relax, special exercises for eyes) as well due to special equipment.

Two methods provide comfortable conditions for eyes of lace maker:

- normal lighting of a pattern;

- magnification of a pattern image with an optical device.

The work zone lighting depends on source brightness and source position. One can notice on all photos of lace plating that lace makers prefer to work in the shade of a tree (by dissipated sun light) or by the window in the room.

If natural lighting is missing, the pattern is to be illuminated with local light source. Nowadays a great number of table-lamps are accessible. Total lighting of a lace pattern is to be the same as lighting of a text document, i.e. at least 1000 - 1200 luxes. A fluorescent lamp provides normal lighting at distance 20-30 cm (8-12 inch) from the pattern if its power is 50-75 watt.

Some deviations of distance and power are possible depending on the pattern contrast, thread color and pattern background color. As a rule table-lamp has furniture for setting it near the pillow.

Any optical device, whatever perfect, hampers lace making in some degree. It restricts view field in order to increase magnification of pattern image. One is to find rational compromise between desirable magnification and inevitable narrowing of view field.

Optical devices are useful for permanent application and can be used from time to time when thread is torn or thread knots arise. It is a good habit to make lace using optics that is suggested now in a great number.

German lace makers does not neglect the auxiliary optic that allows to plate for a long day without eyes straining (Fig.5.1).

Fig.5.1. Using optical mask and local lighting

Assembly glasses (Fig.5.2) and optical mask (Fig.5.3) are accessible for lace makers in Russia. Magnification from 2 to 5 times is changed by means of auxiliary lenses. The devices adopted to head size. Device weight is less than 100 gr.

Fig.5.2. An advertisement of optical masks

Fig.5.3. Assembly mask

Fig.5.4. Assembly mask

All the rest optical devices are magnifying glasses provided with a handle (Fig.5.5, Fig.5.6, Fig.5.7), a stationary support foot or a flexible support attached to the rest (Fig.5.8).

One used to apply the magnifying glass for examination of any lace fragment because of a small view field. Since the necessity does not occur frequently, the glass with a short handle seems to be more comfortable.

Fig.5.5. Glass

Fig.5.6. Glass

Fig.5.7. Glass with a flexible support

Fig.5.8. Magnifying glasses with the handles

It was said about local lighting of the work place. Besides one can light even a separate pattern fragment. In the case a miniature lamp is used (Fig.5.9).

Fig.5.9. Miniature lamp

General shortage of magifying optics can be compensated in some degree only by simple increasing glass sizes. Sometimes the glass is combined with a local lamp. This way was taken by designers of transnatiolal company LUXO that produced the row of glasses containig lamps. These are models LFM, Wave ESD, Wave Plus, Magnifique Pro (Fig.5.10).

Fig.5.10. Magnifying glass with fitted lamp

The lens of the most advanced model has sizes 175х108 mm. The glass is provided with the ring lamp that creates distributed lighting without shades. It is rathe expensive device that is not accessible for every lace maker. “Magnifique Pro” is intended mainly for plants producing electronic devices. It can be used as well for checking notes, bones and other financial documents.

The magnifying glass with shadeless lamp yields to the simple glass with a table lamp in the respect of integral index “price + convenience in lace making”. One could not wait another result since optical devices “LUXO” were designed not for lace makers. Hower there is an attempt to make optical equipment for lace making (Fig.5.11).

Fig.5.11. Magnifying glass for lace makers

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4.5. The rest for bobbins

Lace making is a process that compels operator’s attention for a long time. Lace maker is to mind her several previous steps and foreknow the next steps. Nothing must draw away her attention from current work.

It becomes possible if lace making is well grounded in all details. First of all bobbins are to be wound in proper quantity and placed next to the pillow. The bobbins are to be placed in so manner that threads can never be entangled.

Naturally inventors took care of special contrivances as well many years ago (Fig.4.20 - Fig.4.22).

Fig.4.20. Parallel rods for bobbin pairs

Fig.4.21. Cantilevers for bobbin pairs

Fig.4.22. Cantilevers for bobbin pairs

An “umbrella” rest is able to carry much more bobbin pairs (Fig.4.23).

Fig.4.23. The “umbrella” rest

That is why authors of the book preferred this type of device (Fig.4.24, Fig.4.25).

Fig.4.24. Author’s umbrella bobbin rest

Fig.4.25. Author’s umbrella bobbin rest

The contrivance contains six combs that are fastened at the upper unmovable platform with hinges. This platform is set on the top of the rod. The rod rests on the lower unmovable platform. Steadiness of the rod is provided with four slats that are fastened with hinges. The third platform moves along the rod between two mentioned platforms.

In the normal state the movable platform is lifted and fixed tightly together with the upper platform. Combs lay on the movable platform and make six horizontal rays (comomile-petals). At least dozen of bobbin pairs can be hung at every comb.

When lace making is over at the current work day, the rest for bobbins is being transformed in order to protect combs and decrease sizes of contrivance. For the purpose one must relax the movable platform and shift it down along the rod. In result combs will rotate and take up vertical position. A cylindrical cowl can be put on the combs to protect from dust and teeth damage.

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4.3. The universal contrivance for winding bobbins

The experience of our first winding device as well as the designing experience of the previous 400 years proves to be useful for creating universal contrivance that is tolerant to wide variations of bobbins sizes and forms. Universal model is to combine all the best of ancient winding principles (see Fig.4.8, Fig.4.9) together with possibilities of modern details (ball-bearings) and materials (plastics, aluminum alloy).

Four functional units are set on the basic platform (Fig.4.19).

Fig.4.19. Universal winding device

1. The left movable bobbin bearing contains the basis with two ball-bearings. The basis can move between guiding slats. It can be fixed with a wing-nut.

2. The left unmovable bobbin bearing consists of the basis and pair of ball-bearings.

3. The right bobbin bearing contains the movable basis. The pole for the ball-bearing is set on the basis. The cup chuck is mounted into the ball-bearing. The basis can be shifted at any direction on the basis plane as well be rotated around the fixing screw with the wing-nut.

4. The hand drive unit contains the basis with the poles for the ball-bearings. The sheave is stretched on the left end of the axe, on the right end - the drive handle.

The winding device can be tuned up any Russian bobbin. The bobbin is inserted into the belt ring and its handle is set into the space between four ball-bearings.

The philosopical question can arise - is the universal winding device needed for bobbin lace making? It would be correct to ask - who needs for the universal device?

Certainly it is not necessary at a specialized workshop where lace makers use standard bobbins only. They have no time to ajust any equipment. Moreover the bobbin winding will be performed at special work place since any efficient mnufacture demands division of labour. The most skilled lace makers are to be free from simple auxiliary work like bobbin winding.

That is another affair when lace is plated at home. All the operations, very simple and complicated, a lace maker is to perfom herself. In that case different equipment is needed including devices that are independent of the bobbin sizes and forms, in other words - universal devices.

However efficient methods are worked out in domestic conditions too. Lace maker little by little gets habits to use the best means and methods. She works out her own “standards”.

4.2. The contrivance for winding bobbins of a type model

Authors of the book investigated dozens of bobbins applied in the central provinces of Russia. The investigations allowed to bring out a typical row of bobbins having middle statistician sizes in millimeters (Fig.4.17).

- total length L = 160 ± 15;

- neck length s = 40 ± 10; diameter 10 ± 2;

- handle length z = 60 ± 16 (conical form); maximal diameter 15 ± 2, minimal one
6 ± 2;

- a semispherical head with radius 8 ± 2.

Fig.4.17. A typical bobbin

The authors decided to work out a winding contrivance that would be fit to bobbins of announced typical row. A condition was adopted to simplify the first model - to rotate the bobbin by hand without acceleration.

The winding device is presented on the photo (Fig.4.18). The bobbin handle is inserted into the inner ring of the tail ball-bearing. The movable platform is shifted left or right depending on length and form of bobbin handle. The bobbin head is to be inserted into the cup of the chuck tightly. The movable platform is fixed at the chosen position. The basic platform is to be pressed to the table with a bracket. When all preparations are made, a lace maker starts winding bobbins. Some seconds are spent to adjust the device to a new bobbin.

The described device was placed at the Forum of the site “The needlewoman” (www.klk.pp.ru) 01/30/2006.

Fig.4.18. Winding device

The device was being tested for a long time using bobbins of the typical row. Naturally problems arose when bobbins happened to fall out of the row. As a rule it took place when a bobbin had an irregular form for instance it looked like an irregular cylinder or a barrel. Of course discomfort arose when bobbin sizes exceeded middle ranges.

Then authors decided to advance the winding device in two directions:

- enlarge acceptable ranges of bobbin sizes;

- eliminate restrictions applied to the bobbin form;

- accelerate winding.

4. DEVICES FOR WINDING LACE BOBBINS

4.1. Traditional devices

Contrivances for winding lace bobbins have the centuries-old history as well as the history of lace making. Rests for pillows and winding devices are the first contrivances demanded by lace makers. And these devices appeared before steam-engine and electricity were invented. Nowadays invention of an original winding device is much more difficult task than invention of a new bicycle. It would be laudable to invent something useful for lace making but the invented thing would be scarcely a new one.

The Spain lace makers use for a long time the simplest manner to wind bobbins (www.youtube.com/watch?v=OwYyzLjI58k).

Their technique reminds the primeval manage to get fire by means of dry wood stick friction with other wood surface. The stick is reversible rotated with the bow-string that surrounds the stick with one coil. The difference is that lace makers have unmovable bow-string as soon as the stick (i.e. bobbin) moves along “bow-string”. Lace makers use a strong thin thread instead a bow-string. The thread length is about 40-50 cm (16-20 inch). There are two loops at the ends of the thread. A small loop is to attach with a pin, the big one is intended to hold with a finger. The big loop can be substituted with a plastic ring.

Lace makers using dozens and hundreds pairs of bobbins can not manage without technical contrivances for winding bobbins. Just they are who urge inventions.

Two basic types of winding devices roam from one century to another.

Type 1. A bobbin is a part of the belt transmission. It serves as a driven wheel. The leading wheel is rotated by hand. The leading wheel diameter is 8-10 times more than the bobbin handle diameter. At that degree the gyration rate of bobbins is increased.

The bobbin is pressed to a bearing surface or to a roller with the belt. One of the bobbin ends (or both) stays free. Winding devices differ in manner of bearing only: there is one pole (Fig.4.8, Fig.4.9) or there can be two poles [6].

Fig.4.8. Winding device

Fig.4.9. Winding device

The discussed method has a good property - winding does not depend on the bobbin length. But it is perceptive to the bobbin handle form. It necessary to take care that the bobbin does not shift along the gyration axe. If the bobbin trends to shift at one side, a restrictor is provided (Fig.4.9). More often bobbins are made of special form that prevents shifts at both sides.

Type 2. A bobbin is squeezed between two rotating bearings. One of them (active) is joined with the leading wheel with a tooth (Fig.4.10), belt (Fig.4.11) or worm transmission. The second bearing is passive.

Fig.4.10. Winding device (the 19^th century)

Fig.4.11. Winding device (the 21^th century)

Dependence on the bobbin length is eliminated with two methods:
- adjust the basic distance between bearings;
- fasten the bobbin at the handle (Fig.4.12, Fig.4.13).

Fig.4.12. Winding device

Fig.4.13. Winding device (”A.B.G.Anderssons”, Sweden)

The same idea is realized in the home-made device with the drive spinning mechanism (Fig.4.14). The original wooden zange holds the bobbin head.

Fig.4.14. Winding device

At last lace makers can not miss the opportunity to use a sewing-machine as a winding contrivance (Fig.4.15)

Fig.4.15. Improvised winding device

As a rule bobbins are wound by hand. Manual winding allows to feel tension of the thread and to control it. The electric drive of the winding device meets rarely, however there is alike suggestion (Fig.4.16). The contrivance has an electric motor powered with an accumulator.

Fig.4.16. Winding device with electric motor. Spain

The short review of the foreign winding devices shows that all of them are created for bobbins having standard form and sizes. So all the winding contrivances prove to be devices specialized for the definite bobbins.

There are many regional centers of lace making in Russia. Each of them has own plating traditions and original lace bobbins. Hence it is difficult to find out some bobbin standards. On the same reason winding device is to be fit to bobbins of any origin or at least to bobbins of some typical row.

3.6. Work place for untwisting of thread

Three operations of the thread split are performed sequentially at the same work place in domestic conditions. On this reason it would be better to combine three contrivances at a single revolving platform. The roundabout mechanism of the integrated workplace is presented on Fig.3.13 - Fig.13.18.

Fig.3.13. The work place. View 1

Fig.3.14. The work place. View 2

Fig.3.15. The work place. View 3

Fig.3.16. The work place. View 4

Fig.3.17. The work place. View 5

Fig.3.18. The brake lever

3.4. The analysis of mechanisms
for setting thread on a spool

This theoretical part of the book is skipped. Two method of setting thread are compared there - crankshaft and eccentric ones. It is shown that an eccentric has advantage over a crank.

3.3. The contrivance for untwisting of thread

The “moulinet” is twisted of 6 or 12 cotton threads. More thin threads are needed for lace making. They can be made by splitting (untwisting) the “moulinet”.

Manual untwisting does not prove to be simple as it seems at first sight. It becomes just clear that an operator ought to have the third and fourth hands. In other words this work can not be done without an assistant.

Splitting technique consists of three operations:

- pull out of the clew a part of “mouline”, untwist it and split at three flows of two-, three- or four-fold thread;

- rewind split threads around three intermediate spools keeping equal tension;

- stop splitting every time when the next part of “moulinet” is being pull out of the clew.

It ought to keep strictly the rule - avoid excessive touching the thread by fingers to save its cleanness.

The problem of keeping thread tension constant arises because of growing difference in length of untwisted threads. The greater is difference, the less is tension. The state of emergency takes place. One must stop splitting and eliminate thread sag in the emergence channel by means of additional rotation of the spool. Of course it is impossible in this case to avoid needless touching the thread.

Authors of the book suggest method of splitting that provides automatic compensation of thread sag using gravity strength. The principle can be seen on the cinematic scheme (Fig.3.5).

Fig.3.5. Compensation of thread sag

Mass of the clew 1 is enlarged up to 150 grams (0.33 pound) with a metallic ball inserted into it. The clew works as a plumb. It hangs at pulled out thread (L » 1.5 meter or L » 5 foots) and rotates untwisting the “moulinet”.

The comb 2 splits the “moulinet” at three threads. The split thread moves towards the comb 3 going under the roller 4 that is pulled down with gravity strength F₁.

The split thread moves farther above roller 5 and under roller 6, both being set on the disk 7. The gravity strength F₂ turns the disk 7 clockwise.

It is to be noticed that using two different compensators 4 and 7 is not obligatory. The matter is both realize the same principle. On this reason it would be possible to change the disk compensator 7 with falling roller like the roller 4. However author saved both compensators as they are to demonstrate possible variants of tension controlling.

After the roller 6 the split thread goes through a guiding comb 8 to the intermediate spool 9 set on the main roller which is rotated by hand of an operator i.e. a lace maker.

If tensions of three threads are equal, the balance of all strengths (gravity and friction) takes place. The roller 4 moves up to level of the combs 2 and 3; centers of the rollers 6 and 7 are at the horizontal line.

As soon as one of three threads becomes longer then other two, thread tension relaxes and the balance of strengths comes at other position of rollers. The roller 4 falls and the disk 7 turns clockwise. Movement of rollers stops when tension restores at this channel and becomes equal tension in other channels.

When the current piece of the “moulinet” is split, it is necessary to stop movement of disks 7 and spools 9. The pause is needed to pull the next “moulinet” piece out of the clew 1 and to untwist it.

There are many methods to work out a cinematic scheme according to the compensation principle. One of methods is presented on Fig.3.6 (front view) and Fig.3.7 (plan view).

Fig.3.6. The contrivance for untwisting of “moulinet”. Plan view

Fig.3.7. The contrivance for untwisting of “moulinet”. Side view

All basic units are seen on Fig.3.6 including:
- the main shaft with three spools and the fly-wheel;
- the reducer (on the left from the shaft);
- the eccentric mechanism and three guiding forks;
- three disk compensators and the brake lath in front of the disks;
- the frame and two combs on it;
- three lever compensators that can be seen through the frame;
- the box intended to save the clew; besides the clew there are three spools saving the split thread.
Fig.3.7 shows the following units:
- the brake of the fly-wheel;
- the lever compensators under the combs;
- the levers tied to the disk compensators with the cords

3.2. The contrivance for rewinding of thread
out of skein to the clew

An advance notice is to be said: the operation is so simple that it can be done with a tool made of materials at hand. Such contrivance is named usually as “a small cunning”. For instance one can take a plastic bottle approximately 10 cm (4 inches) in diameter with a cone neck.

The skein is to be put on the neck of the bottle filled with water to enlarge the mass that makes the bottle to be steady. The easy skein rotates around the bottle neck when thread is rewound around the clew. Of course one can feel the winding uncomfortable because of primitiveness of the tool but the goal is achieved tolerably.

The more skilful master can make a specialized tool for rewinding that eliminates grave shortcomings of the “bottle construction”. It is recommended to use a spool of a spinning rod. The spool with 10 cm (4 inches) in diameter is set on a ball bearing (Fig.3.2).

Fig.3.2. Spool for a spinning

Thread is rewound easily without entangling. It remains only to fasten the spool to a platform or to the table with a screw-clamp.

At last one can cease looking for ready devices that are made for solving other technical tasks. It may be more productive to design a device intended for rewinding exclusively. Such a device must have small friction of rotation and adaptation to changing of skein size. It is proves to be possible to realize the tool even in domestic workshop.

The contrivance for rewinding of thread from the skein to the clew is shown on the cinematic scheme (Fig.3.3).

Fig.3.3. Rewinding of thread out of skein to the clew

The vertical axe of the disk plate 1 is fastened to the ball bearing 2. Four wedges 3 are set on the plate 1 along radius with step 90 grades. The wedges slide on the plate surface when the thrust plate 4 moves upwards and downwards. Every wedge has a ledge at the external side.

The ledges are intended for packing of the skein 5. The wedges take position in accordance with skein sizes. Plate 1 and wedges rotate together with the skein when thread is rewound.

Two important features of the device are not shown on Fig.3.3:

1. The wedges are tightened with springs toward the axe of gyration.

2. The thrust plate 4 is fixed in position according to the skein diameter. When fixation is released, the plate 4 are pushed upwards with the wedges which moves toward the gyration axe. As a result the distance L between external sides of the wedges shortens.

Every wedge has a cover plastic plate having mirror surface to weaken friction between the wedge and the plate 4.

The rewinding device is shown on the photo (Fig.3.4). It is fulfilled as an autonomous unit that can be set apart or can be mounted together with other tools on the working place.

Fig.3.4. The device for rewinding of “moulinet”
out of the skein to the clew

Details of the device are made of accessible materials. For the plates 1 and 4 is used plywood. The wedges are cut of wood flats. Guides for them are made of aluminum profile. The gyration axe is substituted with four short pillars mounted into the plastic body of the roller (a detail of skate board). Two ball bearings are pressed into the roller.

3. EQUIPMENT FOR PREPARATION OF THREAD FOR LACE MAKING

3.1. The techniques of thread untwisting

Modern Russian laces are plaited of different threads according to local traditions in provinces. There are bleached and unbleached linen, silk, artificial (synthetical) fibre, cotton thread (”moulinet”), rarely - woolen and metallized thread.

The high quality laces technique demands the finest thread. When fine thread is not available, lace makers are to untwist “moulinet” (Fig.3.1).

Fig.3.1. A clew, “moulinet” and bobbins

The untwisting technique is extremely labor-intensive in domestic conditions. The authors of the book attempted to find own means to solve the problem. Process of “moulinet” untwisting is dismembered at three consecutive operations:

- winding of thread out of a skein to an intermediate clew;

- untwisting of “moulinet” out of the clew at three doubled threads and winding each of them around intermediate spool;

- rewinding of the thread out of the intermediate spool to a reel that keeps the thread up to the moment of plaiting (winding on lace bobbin).

Authors made contrivances for each of the operations mentioned above.

2.6. Rests for flat pillows

Lace makers in west Europe and north America prefer to set patterns on wide flat pillows instead bolsters that are so popular in Eastern countries. In western lace making technique a pillow stays practically immovable. It makes possible to held the pillow on knees and use the simplest contrivances to fix its incline (Fig.2.41).

Fig.2.41. Support for a flat pillow

Nevertheless a flat pillow as well must have three degrees of freedom to deliver the following manipulations with pillow:

- rotating around the center of a pillow;

- inclining towards a lace maker;

- lifting a pillow along vertical axe.

That is why rests are invented for flat rests too. A study table and dinner one is inconvenient as rest since it is immovable in the room. It would be better if a lace maker had an independent rest for the pillow. Such a tool naturally could be set at the best illuminated place of the room.

Examples of pillow rests are shown in books [4] and in the WWW. They origin out of two prototypes:

- racks (”horse”, “goat”) having four leg;

- reading (music) stands having one leg.

A designer of the rack (Fig.2.42) created a hard and steady rest.

Fig.2.42. “Goat” for flat pillows

An author of the “music-stand” (Fig.2.43) seems to make an elegant rest; staying aside steadiness of the device.

Fig.2.43. “Music-stand” for flat pillows

During experiments with equipment for lace making authors of the book made a rest for a disk pillows too. It is alike the known construction (Fig.2.44).

Fig.2.44. A steady rest for disk pillows

The author’s model (Fig.2.45, Fig.2.46, Fig.2.47) provides two regulations:

- shift at 60 … 80 cm (24 … 32 inches) along vertical;

- incline at 0 … 60⁰.

Fig.2.45. Author’s rest for disk pillows

Fig.2.46. Units of the rest

Fig.2.47. Mushroom pillow on the rest

The bearing post moves between two flats. The height of a disk is fixed by means of squeezing the flats. The incline of a disk provides a hinge braked with a rubber washer. The steadiness of the rest is guaranteed by size of platform. There is enough room for lace maker’s feet. The bearing post is fastened with three inclined flats.

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2.5. The ball hinge emulation

The universal rest with the ball hinge is the best equipment for setting a bolster or a flat pillow. However its main assembly (the ball hinge) quite often is not available in domestic workshop. In that case the main unit can be emulated with own plate for every plane of controlling.

This idea many years is realized in devices for navigation of ships, airplanes, rockets, space vehicles. The device named “gyroscope” creates a bearing coordinate system on a moving object. The authors of the book naturally came to the same idea after testing numerous rests.

Despite of very “scientific” name the “gyroscope platform” can be domestic made of wood details. Drafts of a rest emulating the ball hinge were shown on the site klk.pp.ru at Russian lace maker’s request in 2006.

The rest contains three movable platforms. The first (lower) platform rotates on a table. The second (middle) platform is set on the thirst one and rotates at two pin axes. The third (upper) platform is set on the middle platform as well on two pin axes (Fig.2.38).

Fig.2.38. The rest for small bolsters

The tray for the bolster is attached to the upper platform. The bolster is plunged into the tray down to 0.3 … 0.4 of its radius. This depth is enough to fix the bolster without any additional contrivances. Variants of the rest are ahown on Fig.2.39, Fig.2.40.

Fig.2.39. The rest for small bolsrters

Fig.2.40. The rest emulating the ball hinge

The details of braking on heel and elevation angles are not shown. Brakes are fulfilled as metal sectors with soft plastic gaskets. Braking effect is achieved by squeezing sectors with screw-nut. The same effect would be created with an off-center device. It is desirable that bolster controlling would be pedal. Steadiness of rest is ensured with frames or skis attached to tables.

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2.4. The rests with the ball hinge

A rack-”goat” has evident shortcoming - a lace maker has to rotate often a heavy bolster around all axes of gyration. Using tool like “a goat” demands outstanding physical endurance when plating takes place all over a workday. But it is completely inadmissible to burden hands busied with the skilful work.

The overload of a lace maker is eliminated when a bolster has a ball hinge with three degrees of gyration freedom. Ideally a center of bolster gravity must coincide with a gyration center. As soon as it is not practicable one must deviate from the ideal cinematic layout. Practically a bolster 1 is set on a platform 2 that is joined with the ball 4 by means a rod 3 (Fig.2.24).

Fig.2.24. Ball hinge of a bolster

In this scheme a bolster is controlled well but moving a center of gravity out of a gyration center hampers fixation of the platform. Long levers L₁ and L₂ arise which demand to create great strength to fix the platform at any given space position. The task becomes a little easier when ball diameter enlarges.

Pillow rest having a ball hinge was invented in Viatka province [8] about 40 years ago (Fig.2.25).

Fig.2.25. The rest with a ball hinge. Viatka province

Many contrivances use a ball hinge, for instance, the rests for a plane-table and an easel (Fig.2.26), the rests for cover plating (Fig.2.27). These devices do not demand often to change position of the table. Rotations are fulfilled inside narrow angle range - about several grades.

Fig.2.26. Plane-table

Fig.2.27. Rest for cover plating

Much more diapason is needed in plating of link laces. A bolster is rotated very often, each rotation taking place in range from 10 to 40 grades. On these reasons Russian lace makers can not use devices shown on Fig.2.26 and Fig.2.27.

The construction from Viatka proves to be the best rest for them, but it is created for workshops and stays practically unknown to mass lace makers working at home.

The Viatka rest is ideal as to bolster fixation but its controllability stays unsatisfactory. It is seen on the Fig.2.25 that fixation of the bolster tray is released by pressing brake-pedal. However the rest has nothing to return the pedal at start position. Hence the lace maker has to pull back the pedal lever by her hand to fix the bolster again. Naturally she tries to avoid excessive movements. That is why she finds some intermediate position of lever when it is still possible to turn the bolster by hands but the bolster does not move already when the thread is being stretched. It is clear why all lace makers say that they do not use the brake-pedal, considering it is an excessive detail.

It is curious that the rest exists with the mentioned shortcoming more than 30 years! But this annoying defect of the rest can be easily corrected with pair of springs as it has been done by authors of the book (Fig.2.28).

Fig.2.28. Advanced rest

Improvements of the rest are achieved with the next transformations:

1. The control lever of the ball hinge is enlarged 3.5 times to decrease breaking strength.

2. The staff brake-pedal and its lever are moved away.

3. Some details are added:

- a spring that returns the control lever at start position;

- a driving sheave with pedal to pull the lever.

New details are mounted on the slab that is set under the cross-piece of the original rest. Adjustment of the rest is being made by means of tension of springs.

Now lace maker does not touch the control lever by hand. She presses the pedal and releases the bolster brake. Both springs stretches out and save energy. Lace maker turns the bolster at the new position and releases the pedal. The springs compress and due to released energy return movable details at their normal position. The bolster is being broke again.

Control possibilities depend on the characteristic of the ball hinge braking mechanism (Fig.2.29).

Fig.2.29. Control characteristic of the ball hinge

An ideal characteristic is to be linear with two distinctly expressed points of total braking and total releasing. In fact braking and releasing take place gradually. That is why the rotation angle of the control lever increases approximately from 30 to 70 grades. It means that the sheave (as well as the pedal) rotation angle increases two times.

Due to modernization the rest weight is decreased at 23% (20.8 against 27 kg). The rest would be easier, if it projected using modern materials and techniques.

The construction from Vyatka proves to be the best rest for them, but it is created for workshops and stays practically unknown to mass lace makers working at home.

A rest with the ball hinge can be made easily in domestic conditions if one happens to get ready ball joint with braking mechanism inside. Authors of the book have got possibility to buy a hinge named “Kombihalter mit Kugelgelenk” (Fig.2.30) that is produced by the Kaindl Industrie (Germany, www.kaindl.de).

Fig.2.30. Kombihalter mit Kugelgelenk

The firm prompts the mechanism for decision problems that are far from lace making but in the context of the task under discussion the hinge proves to be the main unit of the universal rest. The ready joint can be mounted into the rest after minimal completion. It is necessary only to enlarge the braking handle.

“Universal” means that the rest will fit to set different pillows, including cylindrical and flat ones (bolsters, cookies, mushrooms etc.). The rest I shown on Fig.2.31 and Fig.2.32.

Fig.2.31. The universal rest. View 1

Fig.2.32. The universal rest. View 2

The universal rest acts in the same way as the modified viatka rest. The lace maker presses pedal and release the ball hinge of braking. At this moment the spring becomes longer. The lace maker turns the bolster at some new position and then release the pedal. The spring compresses pulling the break lever at start position. The bolster is being stopped at given position.

The rest stands upon pair of “skis” that are destined to change the hight of a pillow lifting. The skis ase attached to the slab by means of hinges and can take two positions - vertical (upright) or horizontal (flatways). Position changing creates difference in lifting about 12-13 cm (5 inches). The slab sizes are enough to deliver steadiness of the rest when the pillow with the largest sizes is set.

Changable equipment is made as a tray for a bolster (Fig.2.33).

Fig.2.33. Changeable trays for the bolsters

Handles are attached on the sides of the tray to control position of pillow. Two examples of bolsters setting are shown on the photos (Fig.2.34, Fig.2.35).

Fig.2.34. The small bolster setting. The skis are upright

Fig.2.35. The big bolster setting. The skis are flatways

A contrivance for setting of a flat pillow is made as a box with three radial holders on it (Fig.2.36. Fig.2.37). Restrictors are attached at the ends of holders.

Fig.2.36. The tray for a small disk pillow

Fig.2.37. The tray for a big disk pillow

2.3. The rests on an inclined platform

The bolster can get fixed slope in the ring holder (Fig.2.16).

Fig.2.16. The ring holder for a bolster

However it would be better to slope the bolster turning it together with the inclined platform. The rest-”whatnot” was invented for lace makers in Germany (Fig.2.17, Fig.2.18). The upper floor is an inclined disk containing four pivots. The bolster is nested between pivots.

Fig.2.17. The rest with inclined platform. Germany

Fig.2.18. The modern rest with inclined platform

The idea of the Italian table rest (Fig.2.19) proves to be near to the rest used in Germany.

Fig.2.19. A rest with an inclined platform. Italy

The italian designer moved farther - he surmised to variate the platform slope and to set discret meanings of the bolster rotation angle on the platform (Fig.2.20a, Fig.2.20b).

Fig.2.20a. The italian rest View 1

Fig.2.20b. The italian rest View 2

Fig.2.21a. The italian rest

Authors of the book suggested another decision of the same task (Fig2.21b). Our rest contains the next function units:

- the upper frame;

- an incline platform that is set on the upper frame;

- three control mechanisms setted on the upper frame; the first one regulates bolster revolving on the platform, the second ones controls the platform inclination and the third mechanism variates the bolster height;

- a rack supporting the upper frame;

- a lower frame with two guiding slots for the rack frames;

- a bearing slab for the foots of lace maker.

Fig.2.21b. Author’s rest with incline platform

The bolster has the minimum height when the angle between rack frames is maximum (Fig.2.21). When the frames are squeezed, the bolster lifted maximally (Fig.2.22).

Fig.2.22. The maximum height of the bolster

All angle adjustments are discrete:

- the bolster rotates through 360 grades in step 18 grades; the bolster position is fixed with the ratchet;

- the platform is inclined 6 to 30 grades in step 3 grades;

- the bolster center of gravity can be set at height 70 to 80 cm in step 2 cm.

The rest keeps steadiness at any position of the rack frames due to constant square of the lower frame (rectangular 46 x 36 cm).

The rest weight is 4.7 kg (without the bolster and the bearing slab).

The rest is to carry the bolster with parameters: 30-40 cm in length, 20-25 cm in
diameter. Every bolster is nested into an according tray (Fig.2.23), that is placed on the incline platform. Changing of the tray takes 20-30 seconds.

Fig.2.23. The bolster tray

2.2. The rests on a horizontal platform

When a rest is choosen, a lace maker must take care to pevent rolling of the pillow on the surface. For this purpose it is enough to lay something under the pillow, for instance a piece of porolon with edges rolled to form cylinders (Fig.2.3).

Fig.2.3. Lining under a cylindrical pillow

Russian province lace makers many years ago used to set a pillow into a basket plated of withy or rolled of birch bark (”lookoshko”). The basket was rested on a stool (Fig.2.4).

Fig.2.4. Kalyazin lace makers
(Е.А.Katsman, 1928)

Quite often any accidental box happens to become a rest. The box is set as well on accidental surface like a chair, a stool or a table. One can find instructions in some manuals how to make the simplest rest for a bolster. It consists of four details: two desks with semicircle cuts and two sticks that join the desks. Authors of the book made their first rest of five desks, spending 30 minutes (Fig.2.5).

Fig.2.5. The first author’s rest for a bolster

A professionally made rest looks much more elegant (Fig.2.6).

Fig.2.6. A professional made rest for a bolster

For the beginning such rest looks well (the first step has been done - plating started!), but soon it becomes evident how the rest is far from ideal one! Really:

- the bolster is to be pulled often out of the rest to rotate pattern at several grades;

- the bolster is to be turned together with the rest on the table;

- it is necessary to put anything under the rest to incline the bolster;

- at last the bolster fidgets in the rest!

However there are no reasons to despair. All self-educated lace makers start at the same manner.

Beginners in Russian traditional lace making centers are tought using rack-”goat”. It is analogous to rack used to saw fire-wood in Russian north villages but looks better because of more skilful work.

The rack is an unpretentious equipment that consists of two rectangle frames joined together with a rotation axe. Typical rack has useful functional properties:

- width of frames allows to set bolsters different at length;

- variable angle between frames allows to set bolsters different in diameters;

An angle between frames is fixed with a ribbon (a cord, a small strap) that binds lower (sometimes - upper) slats of frames. Despite of incomplete accordance to ideal “goat” is prevalent rest type in all Russian provinces due to simplicity, reliability, cheapness of construction. In addition racks are made of local materials - birch wood, pine wood, white spruce (Fig.2.7, Fig.2.8).

Fig.2.7. Vologda province. Master class on the Sheksna riverside

Fig.2.8. “Ryazan lace makers”, V.V.Ageyev (1980 г.)

In Viatka province lace makers use racks that has arched upper slats (Fig.2.9)

Fig.2.9. Viatka rack-goat

European lace makers use racks too. An Italian rack (Fig.2.10) has a peculiarity - frames are different at height.

Fig.2.10. Italian lace makers

Authors of the book tested rack too. Our experience showed that it is enough to be able to use a hack-saw and a drill to make a “goat” in improvised home workshop during 2-3 hours (Fig.2.11).

Fig.2.11. Author’s rack for a bolster

Domestic made “goat” (for bolsters 16 inches in diameter) consists of two frames joined together with two screw-bolts used as half-axes. Frames are made of standard pine-wood flats (section sizes 40×16 mm and 16×16 mm, i.e. 1.57×0.63 and 0.63×0.63 inches). Metallic accessories include six furniture angle bars, two belts (M8, 2 inches in length) and two dozens of screws. The rack is solid and rigid due to construction details:

- plywood triangles that bind side and upper flats;

- horizontal flat that holds half-axes.

It is understandable that described technology is admissible in domestic conditions only to make a single exemplar. If a training class is to be equipped with 10-15 racks or a party of racks is to be delivered to lace makers working at home, rests must be made professionally using another materials, details and stationary workshop equipment.

Junctions of horizontal and vertical slats are subject to the greatest destroying load every time when lace maker inclines the heavy rest towards herself (Fig.2.12).