Firstly, obtain the latest list of requirements for these cover most possibilities and give structure to your learning. These can all be downloaded from the Australian Guild Website or email the proficiency co-ordinator for them.
Start the bibliography page for your portfolio. Immense yourself in lace books, not just braid. Perhaps also start a subsidiary personal notebook and record authors. Book titles and page numbers of the techniques and patterns you may want to consider for your submission. Read Pat Earnshaw books and reread copies of “Lace” Australian Lace and other publications. Look at books on Celtic (which are good for braid) and other designs.
Your aim will to be to show the assessors that not only are you proficient at stage one lacemaking, but that you have researched and gained an understanding of the background and history as well as the techniques required.
Keep it mixed in the thee major and three lesser pieces, and aim to do each in a different type of braid lace. A good starting point would be a page or two of sample strips of different braids. These could cover the starting requirements, the different edges, gimps, picots etc. Similarly, in stage two one could show different decorated braids, holes, shaped tallies, etc.
Experiment with different threads and colours. The different ways of turning curves and angles and connecting braids, to be shown in actual lace. It could also be shown by diagrams in coloured pencils, this page could be a valuable reminder and teaching aid for the future.
Where possible, work a complete motif rather than an unfinished sample. Small items need not be useless. Think of greeting cards and Christmas decorations. There are some delightful ideas in Jana Novak’s “Christmas Lace” and Christine Springetts “lace for Children of all ages”.
Let the assessors know which techniques are to be assessed from each item. It is not necessary to list many page numbers and examples of each, just one or two you consider your best.
Include the actual pricking used, and the pattern source for each piece. To preserve anonymity, do not name a tutor or other lacemaker. List and show the threads used, a little of each could be wrapped around a 1cm wide strip of acetate or similar. If you have designed your own lace, show the working ‘up’ from the original piece idea to the final drawing. State if you have adapted someone else’s design.
SOME PRACTICAL CONSIDERATIONS
Make your portfolio stand out with thoughtful presentation choices! Opt for lightweight, flat items that showcase your lacework beautifully. Avoid bulky, three-dimensional pieces unless they can be displayed opened flat, such as bracelets, tiaras, fan lace, trinket box tops, framed pictures, bags, or spectacle cases.
At least one piece of lace should be mounted on fabric, so don’t forget to preshrink both the fabric and the lace to ensure a perfect finish. Select items that fold neatly or fit easily into the sheet protectors of your portfolio for a polished look.
As you move into stages 2 and 3, you’ll have the chance to highlight your growth by presenting lace that demonstrates increased complexity and mastery. Best of luck, and may you thoroughly enjoy every step of this creative journey!
In Conclusion
Do not get discouraged, these notes are a guide and hopefully be a bit of help. They have been put together by an ALG Proficiency Assessor.