I made this lamp to explore moiré patterns in lace. Each face of the lamp has two layers of lace: the outer layer is orthogonal to the frame of the lamp; the inner layer of each face is worked at a different angle to the frame. (The inner layer of the first face is actually orthogonal, and the moiré effect in that case is created by the difference in viewing angle due to the ¼ inch separation between the layers: each inner layer is attached to the inner part of the frame, so it is approximately ¼ inch behind the outer layer.) Both layers are worked in identical roseground; the outer layer has a clothstitch border all around, while the inner layer has a clothstitch border only at the top and bottom, and just a single plait on the sides, since these layers abut on the inside of the frame.

The pattern for the outer layers was very simple, since it is just roseground; but I had to make four separate patterns for the inner layers. To determine the angles for the three angled inner layers, I printed a line-drawing representation of the roseground on paper and again on a transparency, which I placed over the paper printout and turned until I found three resulting moiré patterns I liked. I then used a paper frame, the size of the finished panel and aligned with the paper printout, to isolate a section of the transparency, which I then pricked to make the pattern.

Making the actual lace became rather boring—essentially, it was 160 square inches of roseground! I considered working it as Flanders ground, to speed up the work, but since precision is critical to the moiré effect, I decided to use the extra pins. The only slightly challenging bit was the edges of the inner faces, since the roseground joined the borders at peculiar angles. Maintaining the precision of the stitches required some creativity.

I worked the lace in a very pale pink Madeira Tanne 30. The inner panels are backed with tightly-woven lightweight cotton fabric to diffuse the light. I constructed the frame using ¼ in. x ¼ in. square dowels. The lamp has a 40 watt bulb.

While I am pleased with the results (I especially like the way the patterns "move" as one walks around the lamp), I probably won't make another like this; I prefer patterns with more variety in the working. I have thought about making a single pair of panels with a motif surrounded by ground in the outer layer, using the moiré for effect around it. But so far I've not wanted to tackle that much plain ground again.