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Like I said in my recent posts, expert and experienced tatters have graciously come to my aid whenever I asked for it. And some have gone a step further by sharing their work and/or discussing techniques and terminology even before I asked. One such is Judith Connors who has been instrumental in guiding and inspiring me through this past decade. My presentations have been influenced by her despite not being a perfect student.
Early last month, Judith sent me her article on 'Building Bridges' along with a pic of her Fan motif (If you are a member, you can see her model in the Queensland Tatters 2025 group post here - https://craftree.com/forum/threadfs/40423?page=1#258577). We had discussed bridging some years back, too. I was in a state of tatting inertia when this motif instantly spurred me to wind my shuttles and tat since this decorative/functional bridge had been on my trial list since 2019 (https://craftree.com/forum/threads/39159), but never got down to actually applying it. I did do the Rose Motif from Priscilla Tatting Book No.3!
Bridging Flower Motif - based and adapted from Judith Connors' Fan motif
sharing my process, pattern, and tips/tricks
How many rounds does this motif have?
Do we cut after the inner 'rosette' round?
Were Celtic shuttles or needle used for the Celtic effect?
Or were 4 shuttles used for the interlaced/overlapping chains?
Getting back to the present motif, it occurred to me that I could use the element to create overlapping or interlaced chains instead of single lines! So off went my shuttles to confirm.
Now this post is only about the adapted motif - process, pattern, and tips/tricks. I have pics for a pictorial, along with the background and explanation, terminology and history. Part of it is already explained in the link above (https://tipsaroundthehome.blogspot.com/2022/01/bridging-gaps.html). The rest will be shared in a few days to avoid stepping on Judith's class despite her permission. For the curious, we know the technique as split chain, which is a misnomer and limiting, meant mainly for climbing out.
My first attempt. I ran out of thread and also realised that if I continued around there would be cupping (I had increased the count in some parts). Moreover the thread had a tendency to unravel, even though it is Anchor mercerised cotton. Cut my losses and started over.
Design Tip starting with a magic circle: Since I wasn't sure how big the central ring should be, I preferred to use the
magic circle (the multiple threads are to make the picot large enough to join to later). Wrap the thread around the magic circle and start the first inner chain. End each chain with a lock join around the circle.
TIP to keep last half-stitch flipped: The
marker on the right - since each bridge is a long chain, by the time it was completed, the last half-stitch often unflipped and locked the core thread below. This temporary marker on the core thread prevents it from happening.
After a few repeats, I pulled on the magic circle to see whether it was working well. Successful; no cupping or ruffling.
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| Bridging Flower Motif pattern |
- Only 2 shuttles are used with continuous thread and the entire motif is worked in one pass.
- 8 repeats and all chains in this prototype. No space for a central ring. In Anchor mercerised crochet cotton size 20 (equivalent to Lizbeth size 10), the motif measures 6.5cms in diameter.
- In the image above, I have split the sequencing (A to F) to indicate where there is a change of direction , shuttles, or element.
- The entire motif is worked clockwise from the front.
- Chains C & E are bridging chains aka bridge, bar.
- I used a 2cms folded picot gauge to measure the bare thread for bar/bridge before lock joining it to a picot on the previous element. TIP: I found that making a lock join by pulling the loop down instead of up through the picot makes a neater start to the bridge.
- These bars are covered with Dora Young's Knotless Method or tied stitches worked from left to right. I worked them all from the front, though there are several variations of the method.
- NOTE: The arrows for bridges indicate where the thread from shuttle2 goes, not the direction of working the stitches.
- While making each subsequent bridge, keep it in FRONT of the previous chain so that the overlapping is synchronised.
10. For the bridges on the last rosette chain, TWO each had to be made! The above image shows the first pair done and the 2nd pair is being bridged.
After working the first bridge exactly like ch-C, then one more bridge is made joining to the first rosette on the right, at the base of the very first bridge. The stitches are then worked using the Australian method. This, too, is worked from the front, but in the opposite direction (right to left). Repeat this for the 2nd pair of bridges.
Important: To maintain overlap, pass the shuttle under and over the last bridge both times.
11. After the motif is finished, and both threads are in the center, I threaded them together and inserted the needle through the picots held open with the magic circle, and kept removing the threads from the circle. Final tie, cut, and hide ends.
Option: One can use metallic thread or colour-coordinated thread for the magic circle and leave it be after tightening the slip knot. Then hide all ends - from the motif as well as the circle.
Possible Variation: However one can use a central ring of 10 small picots separated by 1ds and make a 10-repeat motif.
Future Idea: Can we use this bridging technique to work block tatting over or across an element?
I will try to write the pattern in a more lucid form when I share the pictorials and other details. Here I wanted to focus more on the process.
Technique Option: Also, instead of the bridges going from right to left, we can move forward. Thus from chain A we can work the 'bridge' like a floating chain or single shuttle split chain, leaving a picot open with a paperclip to join to later.
Bridge tatting or bridging encompasses a lot more, not all of which is outlined here. In this post and motif, the bridges are ornamental - a design element; they can be functional too. Hopefully I will be able to cover it all in the pictorials post.
I cannot thank Judith enough for her valuable mentorship and guidance since we 'met' at InTatters a decade ago! We may not always agree but the discussions are always lively and passionate!
A while back there was a post in a FB group which mentioned Cyprus tatting where continuous tatting involved simply leaving bare thread right up to the point in the next round where the next element starts. This is visible unlike Mlle Riego who kept the bare thread at the back of work. 
