FINALLY! What many have been waiting for - the patterns of models that were sent in by our designer participants - all compiled in this master doc with individual PDF links! PLEASE GIVE CREDIT TO THE DESIGNERS ALONG WITH THE NAME OF THE CHALLENGE, ETC., whenever you post a pic of their pattern and DO NOT SELL ANY PATTERN from this collection!
Muskaan's DAL 2026 Challenge Collection:
https://docs.google.com/document/d/1MUrhYc7JUol9yUY9ex2wjcSowm5m7oUkAhcQ8PoS_XU/view (click to open)
Designing takes various paths from letting the shuttles take their course to meticulous real-sized diagrams where the lace then takes shape, and everything in between or a combination! Over the years I have used several methods and am still learning. Sharing a few 'tips' I think this design-along threw up from the comments or private conversations with participants and my own observations. The categorisation below is merely to highlight and for ease of reading because there can be a lot of overlap between them. In no particular order ...
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| A representation of design ideas, variations and possibilities by one tatter/designer! |
A slice of the design-along!!!
1. Colours & Placement. Choice of colours can make a huge difference in process as well as product. eg., Continuous tatting is easier when using a single colour.
- Carolyn Craig uses white to tat her prototype. She says that colour distracts from the design. Once she is satisfied with the design, she uses colour.
- For her 2nd version, Jon Yusoff used whatever thread was on her shuttles, which happened to be variegated. She preferred a solid colour for the final tat. Ninetta wasn't happy with her variegated choice either though she enjoyed the entire process.
- Colours can transform any design by highlighting certain aspects and lines. Wanda's 1st version, Jagruti's flower effect, Linda's popular mat, Marie-Helene's 3-colour motif, and Silvana's mandala effect are but a few such. And it was also interesting to see how Donna used only black, white, blue, and ecru to create her 8 versions (pic above)!
2. Negative Space. Jon also says - "Lately I have been focusing on white spaces (or negative space) in my designs. I feel that they bring out a design just as much as the outline of rings and chains." It will be a good exercise to study all the models in this collection from that perspective.
3. Proliferation. This has taken several forms - some participants designed multiple rounds around the starter motif while others belted out multiple versions! Both are awe-inspiring! Margaret's design is such that the same formulation can be applied to as many rounds as one wants to add!!! Several motifs can be tiled into a larger fabric as Linda displayed!4. Design-within-design. Liyarra's version quite stands out in my opinion where you can see a square shape interwoven through an octagon! There are other models where this is possible or where, in a multi-round version, each round can also act as the finished round.
5. Shapes. It is amazing how different participants saw/produced different shapes from the same common motif! Ranging from an oval to circular doilies with multiple rounds, from floral shapes to a snail! The square/diamond starter motif transformed into an octagon, circle, spoked, starry, snowflake-y, distinct diamond, ...... Sheetal's 3rd round was a 4-sided figure which turned into a circle with her next two rounds.
6. 3-Dimensional. To be honest, my own imagination was limited to tatting a 3rd (or more) round that made the piece cup to create a 3D bowl or a box. Vicki converted it into a spoked 3D model! Richard went with a mug cover or lid. Curled rings and a 3D rosette are other examples.
7. Embellishments. Richard's use of butterflies which he had long had in his stash made his versions stand out. Interestingly nobody used beads or buttons or even a cabochon probably because most were prototypes, with the design being developed. We do expect future tatters to employ such doodads since the patterns are now available.
8. Copyright. Avoid Allegations. One lady thought I was asking for patterns so that I could sell them or perhaps even 'steal' the credit the designers deserved. She is the admin of a public FB group and despite my assurances, she not only withdrew and cautioned her group, but went further to privately influence other group admins against participating. She had made up her mind and was unwilling to listen or consider.
This, however, was a learning for me, never having encountered such an issue in any of my previous challenges or games for over a decade. I have always taken due permission before sharing, and also their approval before finalising. The allegation made me over-cautious. It made me add a footer in each PDF about not selling the pattern (Richard and Kaye's presentations helped me formalise the sentence) I also put the main doc under CC (Creative Commons) license like Ninetta did for our Endrucks 1920 Project doc. Ninetta helped me choose the right licence for this, too, and I inserted the CCL logo and link to each PDF.
9. Presentations.
- Two French participants sent in their patterns in French. I was struck by their presentation. They call it a Technique/Technical Page, without any images, but tons of details walking you through the pattern and process. I have shared both the French as well as the English versions. The latter is mostly in sync with our usual format and the one I have been following for all the other presentations this time.
- Donna sent in typed instructions for each of her versions. Some sent in diagrams (hand-drawn or using some program). I decided to systematise all in a largely common format which included the written short notation pattern and the inked sequence. a couple patterns were already very professionally done and all I had to do is review them.
- Most patterns can be worked continuously without cutting threads after each round. Again. as a least common denominator and for widespread reach, the rounds have been presented as separate rounds attaching to the previous rounds. Ditto with directional or frontside/backside tatting. Both these processes can easily be adopted by experienced tatters using a bit of pre-planning. In my own version, though, I have indicated specifically how to climb out of each round.
As of 30th Sept, there are 30 PDFs (some contain more than 1 pattern/version) uploaded of which I prepared the presentations for 28. Some were easy, some were tough, in my attempt to make it as easy/simple to follow with a consistent format. Took a lot of time, but I was quite happy to do it all. I could truly appreciate the nuances of each design and the meticulous ingenuity of each designer.
Due to Palmetto Tat Days or other engagements, 5 patterns are yet to arrive , while I still have to make a new presentation for Barbara's extended doily pattern. She has been experimenting with tatting the final round continuously and is finally happy with her trials. I think within the next 10 days, all patterns would've been received and the master copy updated with respective links. So save the following link and refresh it before opening to see if there are any updates. Last update was on 30th Sep 2006.
Each pattern belongs to the person who designed the 3rd (or more) round and partially to me for the starter motif pattern. Please do not copy-tat and ALWAYS name the designers and pattern/challenge. Free does not mean it belongs to anyone, no one or everyone! Copyright rests with the designer!
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Many many many thanks to each and every participant! You rock!!! Unfortunately I could only name a few in this post, but each contribution is priceless and truly appreciated!!! Thank you all for making this game a success.
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Wow muskaan, you’ve put such a lot of work into this , coordinating and presenting it all. Hats off to you and all the designers.
ReplyDeleteThanks, Jane 😍 It was all a labour of love and I was kind of on a roll ...and you can imagine why surrounded by such creativity!
DeletePodziwiam za tak wspaniały projekt, włożyłaś w to mnóstwo pracy i serca🙂
ReplyDeletePozdrawiam serdecznie.
Many thanks, Maryla 😍 Hope you will tat some of the motifs!
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