problem

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My previous post 'promised' a 3rd round and also invited you to join in. Good news and bad - my round hasn't quite worked out as I had imagined but the great news is that tatters have already sent in their Gorgeous 3rd (and in some cases even 4th) round. Most have shared their pattern as well. But let the suspense linger till the next post.

I wanted to include another interlacing in this round, this time with a ring. First part is fine but then came the logistics problem! Notice the arrow? If I lock join the chain at this picot, how do I get the large yellow ring to interlace?! See, one should always 'think through' - yeah, I'm no good at that!

I tried a couple of options to no avail especially since this is a very large ring. While at this stage, I can insert the shuttle through the space, it will become harder once more arms are joined. There is one more option I can try - floating or bridging chain, joined back into a mock ring. But with this 40 stitch ring, it will be too much work. Oh, or I could shift to needle instead of shuttle!

Moreover, I am not at all happy with the overall look including the last-minute decision to use black. I was going to use 2 small ring between the arms but then I might get accused of copying another pattern. And seeing the lovelies that have come in, I feel totally inadequate at designing as good a round. So, I might shelve mine for the present till inspiration strikes.

Speaking of inspiration -

It turns out the first 2 rounds/motifs are very similar to Jon Yusoff's beautiful 'Quantiesque' Snowflake'. (free pattern here - https://tatsaway.blogspot.com/2008/12/snowflake.html). During my quick online search for Celtic models/patterns, this one did not show up. The most common were motifs by Rosemarie Peel and Sue Hanson, besides a few others. In the mood to try my own, I thought to improvise with twin rings in the 2nd motif (all models used only a single small ring at the end of the long arms). 

Now both motifs are very basic, beginner level. 

Motif 1 is probably something every antique tatting book begins with after the edgings. Ditto for Motif 2. Nothing proprietary after over a century and half.  

All we do is change the look slightly when we change the count or picot placement, or what we do with it/them subsequently.

Further there are only a very limited ways in which you can interlace, right? Again interlacing dates back to Mlle Riego  if my memory is reliable.Yet, the first impression is very similar to Jon's first 2 motifs [her 2nd motif has twin rings but with a short chain between them; the length of the long arm chain is also shorter than mine]. 

Jon explained all this rationally so much better in response to a self-aggrieved third party complaint.

Another similar start was brought to my notice yesterday. Renulek's 'Plait tatting' motif (free pattern here - https://renulek.blogspot.com/2010/09/frywolitka-pleciuga.html). Was Jon's snowflake the inspiration for Renulek's start? 

I know one thing. In my attempt to Not be influenced by the models that came up in my search, I ended up doing something similar to Jon and Renulek - both exceptional designers! I am nowhere in their league, LOL, as evident in my botched attempt above.

Be ready to be inspired and wowed by the models and patterns coming in .... stay tuned and my 'lazy' friends, keep your shuttles at hand!

tagme roundup 1

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#tagmeEndrucks - Endrucks Angel and Bell pattern by Margaret Davies

Previously I have presented the roundups in ascending alphabetical order. This time let's reverse the order to give full justice to everybody. These are previous posts on this game we played in November in our Endrucks 1920 Project group -

https://tipsaroundthehome.blogspot.com/2022/11/tag-along.html
https://tipsaroundthehome.blogspot.com/2022/11/lets-play-tag.html
https://tipsaroundthehome.blogspot.com/2022/11/teachable-moments.html
and the pattern - https://tipsaroundthehome.blogspot.com/2022/12/heart-angel-bell-play-tag.html

1. Winnie Ho tatted 4 bells and in her Jingle Bell version she incorporated her love of embroidery in a tatted frame. This bell sold in her craft show to rave review by her buyer.

Notice the tiny tatted bows on the 2 top bells.

2. Vani Kattoju tatted her angel in this cheerful colourway. 

3. Stella Marina tatted her glittery angel in silver metallic.

4. Silvana Buonvino made this two-coloured bell.

5. Sharada Rajan ran out of thread in the purple angel, but persevered and completed it later. She worked a 2nd in Lizbeth size 80

6. Ruth Palsson tatted 2 angels, the 2nd with beads.

7. Roberta Porati worked a two-tone angel

8. Renata Niemczyk (Renulek) couldn't resist the call of the bell and recently shared her bell.

9. Reiko Akamatsu, ever resourceful, tatted several angels, joining them on the go. 

She had to cut off her first attempt at the 3rd angel due to an error, but persevered to create this beautiful coaster/doily. I especially love the central motif with concentric chains!

10. Pina Barone tatted a bell and flipped it over for an angel. The beautiful halo appears to be tatted as well.

to be continued .....

This is the first roundup for this event. Plenty more to be shared!

Many many many thanks for playing along so enthusiastically!

a chained heart

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I fell in love with it right away. It is such a wonderfully elegant heart with a bit of freeform thrown in – just the way I like it. So it had to go to The Most Special person in my life for our very special day.

This is Renulek’s Serce Od Serca or Heart from the Heart. Such a beautiful conversion of a bobbin lace heart to a tatted lace heart. The pattern is free here.

Made with Anchor size 40, it is <7 cms high and 8½ cms wide.

I must apologise to Renulek for bungling up. Despite frequent referencing and such clear diagrams, I ended up joining the last chain on 1^st round on a picot rather than at the base of ring. Realised only when I reached it after the 2^nd round. Had to wing it, which is why you see a long chain and no small ring.

My eye keeps getting drawn to it ;-(

TIP : Notice how the orientation of my heart is opposite to that of Renulek’s? In traditional tatting this wouldn't be a problem, but with directional (fs/bs) tatting, there is only one distinct front side.

TWoT (This Way or Tat?) Notes - The reason lies in the very first ring. I followed the pattern, and tatted the ring frontside, starting with 8ds. Realising it was going to face the other way, I peered closely at her photos. Huh, her rings were backside, and chains frontside - knotty naughty ;-D. This same orientation was used in diagrams, hence the confusion.

However, if you want the heart to face like her’s, in frontside/backside tatting, 

start the ring by reversing the order of half stitches (shs then fhs), 

OR,

start the ring as 5-5-3-8.

It seemed a bit forlorn all alone on the card. These S-chains made with scrap threads, saved the day. There’s more tatted lace and stuff inside, but that’s our secret ;-P

Meanwhile I’ve been hooked on the S-chains, clearing out my scrap lengths. I have a few ideas to cook them in SOUP* when I have a good stock ;-P (This is how the S-chains look with picots)

Many many thanks, Renata,  hubby loved it !

retreading the path

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magic squares, doilies and magic/infinite pathways - common threads VI.

This post is an exploration to satisfy the researcher in me. There is no absolute right or wrong – it is my perspective or thought experiment. Fair warning - walk away while you have the chance; or stay to humour me? ;-P A new thread in Craftree inspired me to retread the path.

So yes, the pathways in this earlier post were all just that – pathways – a sequence of working and joining motifs continuously without having to tie and cut after every motif. And for this we can use bridging elements or tweak the design to allow us access to next motif.

The magic pathways moved straight along column/row or moved in a concentric spiral. Therein lies one of the major difference with the magic square.

Ia.  Magic Square

I explained the magic square concept in my 2014 post here. All the magic squares till then had been based on the original Ann Orr triangular corner design. Someone found that one could work continuously from one triangle to the next to create an ever-increasing square – hence the term ‘magic square’.

Last year new interest was generated with the incredible series of new magic square patterns that Robin has spawned, including the reverse/inverted squares. She adapted an existing square into a magic square by ‘breaking’ the square into triangles for a workable continuum. 

She shared her deconstruction of the concept and process in detail, inspiring others to join in with their own magic squares (eg., Jane McLellan and Ninetta Caruso). These also followed the original style of working and the original triangular pathway.

Thus the magic square, characteristically, is made of repeatable square motifs that work as “…building blocks…” (Robin) and follow a diagonal path (triangulation) resulting in as large a square as one desires. The square will get “…opened out just by turning the direction of tatting” (Grace Tan), not by the application of bridging elements.

Ib.  Open-ended Motif or Transitioning Elements in Magic Square

There is one aspect that needs to be highlighted before I begin the next segment – the slight ‘asymmetry’ of each motif within the fabric. While working, one corner remains ‘open-ended’/different in order to change direction and continue to next segment. 

For instance, in the old magic square motifs, while 3 corners have chains, the 4th corner is made with rings in order to continue to the next section. Only the final fabric will have all 4 corners completed/identical (chains, in this case).  

Similarly the new squares needed some slight adaptation to transition into a continuous working path as in Konior's original square motif, and the Onion Ring magic squares.  

The reason this happens is clarified in Robin’s own words : You start with a formula (triangular pathway for magic square, or up and down columns for the table runner) and make the design work for that path. A one round square can be redesigned into a magic square, and now I’ve found a bookmark can be redesigned into a table runner.

(Notice that the bookmark is essentially a rectangle. It doesn't strictly adhere to the magic square definition since it follows the straight column/row magic pathway, and well, it is not a square to begin with). 

These transitioning elements are not merely functional, but visually appealing and create lovely patterns to break the monotony.

TIP : Incidentally, Jane’s magic square can be worked as a magic pathway, with each motif intact. Robin’s 2^nd Onion Ring magic square can also work along a magic pathway with complete & symmetrical motifs because of the single outward ring which can be worked as a split ring. Clearly, a ring in the corner is an asset!

IIa.  Magic or Infinite Pathways 

During my Quatrefoil polygons, I discovered other pathways which would allow the tessellation to continue uninterrupted and create large fabrics in the same shape as the original motif. Thus I could trace paths for a triangle, square, pentagon, hexagon; and recently the Fortuna Square, by climbing out/in using split rings.

With so many shapes, Magic ‘Square’ seemed like a limiting term to me, hence I used the term Magic Pathways - there is magic in figuring out an infinite route :-)

At the end of the day, though, it is just continuous or one-pass tatting which can go on forever (hence Robin uses the term ‘Infinite Pathways’). During the writing/researching of this post and some recent discoveries, perhaps ‘Infinite Pathways’ is a better term than Magic Pathways. Yet I’d like to spell it out …

IIb.  Rationale for the term Magic Pathways : 

When we have shapes other than a square as a building block; use bridging techniques (climbing out/climbing in); and follow paths other than along the diagonal, then I like to call this one-pass or continuous tatting a “Magic” Pathway, because ….

1. it creates an immediate association to the essence of a magic square – that a large fabric can be worked continuously from the same repeatable pattern

2. it is magical that a simple substitution (eg. 2nd shuttle instead of ball, split ring/chain instead of regular ring/chain, perhaps simply switching shuttles, etc.) can allow us to tat infinitely

3. the straight/zigzag and/or spiral pathway is not limited to a square – depending on the pattern of the motif any geometrical shape/polygon can be tessellated into a large lace fabric. eg. the quatrefoil triangle, pentagon, hexagon and Robin’s mat and hexagon from Dillmont’s triangle. 

  

4. it is magic to puzzle over and trace out a continuous sequence keeping the original motif intact - without changing, tweaking, or redesigning an original motif or creating any transitioning motif.

Future idea : 2 different motifs tessellated alternately/side-by-side through a magic pathway. Note that the transitioning part of the magic Squares tend to automatically create a different motif in the center of 4 motifs.

I hear you ask - If a magic pathway is simply one-pass tatting then wouldn’t a doily worked in one pass also qualify? Hmmm….

IIIa.  Is the magic pathway different from a One-pass doily?

We frequently use climbing out techniques (split rings, split chains) when working on a doily, even if not specifically designed. So if we can complete a multi-round doily in one pass, does it become a magic pathway? After all we are moving in a spiral pathway whether the doily is circular or angular.

I don’t have a clear-cut answer for this. But my guess is ‘not exactly’?

To me, part of the difference lies in tessellation : motif v/s medallion. Each row of a doily comprises of repeatable motifs while the magic pathway is for medallions that we use as motifs. Medallions are standalone complete designs, and the magic pathway allows us to join them continuously and repeatedly to create a large fabric in the same shape as the original medallion and the same pattern as the constituent.

Further, even if we use the same motif in All rounds, we may have to change the stitchcount to prevent cupping or ruffling especially in a round/oval doily. In magic pathways, there is absolutely no change in stitches.

Future idea : It will be interesting to convert a circular medallion into a magic pathway.

IIIb.  What about more elaborate one-pass doilies?

Remember these doilies that are specifically designed to be worked in one pass such as Iris Niebach's TIAS doily and tattingweed's Crinoline Doily?

These take a long serpentine and circuitous route through multiple ‘tiers’ with each repeat, to complete the tatting in one pass. German tatters such as Endrucks designed elaborate one-pass doilies. These do appear magical to even design, let alone tat! 

But these are logistically and practically limiting. Inevitably, there comes a full stop. It cannot go on or be tessellated infinitely. So while magical in itself, it does not conform to the above concept. Or perhaps it is a 'magic' pathway, but not an 'infinite' pathway !!!  

To conclude :

• Magic Squares and Magic/Infinite Pathways allow us to tessellate infinitely to form larger and larger lace fabric working continuously without snipping off.
• Almost any square medallion can be modified/redesigned into a magic square, but not all medallions will allow a magic/infinite pathway.
• In the magic square, one first selects the formulaic diagonal path and ‘fits’ a square medallion to tessellate infinitely; in magic pathway, one selects a polygonal medallion and then figures out a continuous pathway. 

I was amused to read Robin’s comment here. How far she's travelled, now leading the way :-) And only a few days back I rediscovered her Dillmont inspired mat & hexagon where she has already outlined the pathways that I spoke of during the Quatrefoil series and diagrammed in the Fortuna Square!

If you have, thanks for reading. It validates my effort ;-)

I invite you to share your views.

All paths lead to Tatting !

revisiting options

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When learning, we move from easy to complex to consolidation. Further learning and explaining requires an ability to break the complex into easy. I’ve come full circle with this tutorial. In my defense, I am continually learning J

A Craftrean is working on Renulek’s Wiosna 2015 and referring to my notes. This prompted me to read through my Round 9 notes. Errrghh ! Unnecessary complication!

In light of more experience, here’s a simpler, more direct method of working that round, with shuttles always in position (no SLT or ungainly cross-threads). And how changing the base join can change colour placement. 

click on image for larger view

Wiosna 2015 Round 9 REVISITED

Start with 2 shuttles, CTM (if using one colour).

I have used 2 colours to differentiate the 2 threads at a glance and also to illustrate colour placement options.

Refer to Renulek’s notation here, for the stitchcount.

When working from the backside, you can use the reverse order of half stitches (RODS - optional, but indicated).

Start with shuttle 1 ring, working from backside. (RODS)

Reverse Work

Tat chain from front.

Lock/shuttle join to ring picot. Continue around the ring as per pattern. 

Last chain is to be attached in space between ring and chain as indicated by the pin in #5.

Lock join to base. (see join options below).

Turn Work

Switch shuttle and work the chain from backside. (this chain is attached to Round 8 in doily)

Switch shuttle and work ring backside. Notice that it is worked like a thrown/thrown off ring.

After closing ring, Reverse Work.

Work chain frontside and join to previous motif as per pattern. Continue around.

2^nd motif complete. Continue in similar fashion for entire round.

Colour Placement Options

When working with a single colour, the above method is sufficient. But when we work with 2 colours, choices need to be made between colour of ring, colour of chains around ring, and colour of chain between adjacent rings.

Shoelace/Overhand Tie

We already know that colours can be switched using the SLT or shoelace/overhand tie. I am not a great fan of this method, but it does the job.

Onion Ring Join

Instead of a Lock Join at base of ring, an onion ring join can be used.

Pull a loop of chain thread & pass core thread through it. Tension and continue as before.

Compare the change in colour placement with first two motifs.

If we use onion ring join, the switch in colour will happen naturally after every 2 repeats.

Reverse Join

Pull a loop of core thread as if making a lock join. But encapsulate the chain thread within, and then make the lock join.

This tends to switch shuttles/colours automatically. What we would do with LJ+SLT, is accomplished with one RJ.

Compare colour placement with earlier motifs.

In conclusion, for the same pathway and working, we can choose our colour placement by choosing the type of join.

And, of course, there are many options available to work Round 9, as discussed in the earlier post and here.
Also, this same path can be used for onion rings ! I've been using it since Robin's Frauberger Bookmark which I learnt later (so I'm excused, right ?!)

If anybody wants larger pictures or a pdf, please let me know through comment or email and I will mail the original pics to you or upload the pdf.

till then, happy tatting always J

TWoT 2 : Back to Basics !

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That’s exactly how it felt ! I don’t remember tatting many rings-only patterns when I first learned, especially not with bare thread space. This time it was different – it felt like I was starting from the basics of tatting design.  I have learned (and am still learning) a lot while working on this series.

The This Way or Tat? series starred with a Preface – Quo vadis ;

then an Introduction with practice patterns (pdf here)

Continuing from where we left off in the Introduction, here is the first set - diagrams for Rings Only scenarios.

UPDATE (Oct 15, 2016) : In case the link does not work, here is an updated, revised pdf with new link --- TWoT? Set I Rings Only updated

This Set was taught in Georgia's Online Tatting Class On Oct 10, 2016

This Way or Tat? Set I - Rings Only Updated

This part consists of a guide to read the diagrams ; many small but graded (difficulty level) patterns for practice and exercise ; and questions scattered throughout the document.

Answers will be shared in the next post.

I am grateful to Rachael Mohler & Eliz Davis for graciously & enthusiastically sharing their patterns, 

and to Renata who equally enthusiastically permits me to share her doily links for this series.

I hope you have tremendous fun playing with the patterns, while keeping a close eye on the whats and whys.

I will share my own thoughts, pics and working of the wreath and square motif patterns in next post, along with some links and answers.

My own practice patterns are pretty basic, while incorporating some application of the diagrams.

These 3 patterns constitute this collage-in-the-making called …

Ring In The Bouquet !

The bouquet comprises of rings-only patterns worked with a single shuttle in size 20 thread.…

Wiggly Flowers

Forgot to join the picots in the 5-petalled yellow flower, making it fidgety. Noticed only when I started to work on the pics at my desktop. Hence the name. Maroon flower is the prototype.

Butterfly Liberated

I have struggled to design a simple butterfly. This time, it wasn’t that difficult! Hence this name.

The maroon one in topmost pic was the prototype where I deliberately left out picots.

Laurel Leaf

 Shape of this leaf had always appealed to me....

 but I joined the leaflets a bit differently, to create that mesh-like effect.

I can’t believe these or similar ones haven’t been done before; even so, I created them from scratch. 

Wiggly Flowers were easy. 

Butterfly Liberated took 1 trial. 

Laurel Leaf took 3 trials. 

When I started to design and tatted a prototype of leaf and butterfly, I searched Google, Craftree & Pinterest. The way I worked them is a bit different from the ones I found. I will willingly give credit to any designer if you can guide me....

These patterns are deliberately shared only as diagrams in this file. However, I will upload all patterns to My Patterns page, properly formatted, with written notations. These are all free to use, even if one does not want to follow the exercise.

download pdf here :  This Way of Tat? Set 1 - Rings Only UPDATED pdf

pdf for pattern only : Ring in the Bouquet

All feedback and criticism is appreciated and welcome – it will help me improve on the next diagram sets.

Inchies 

While comparing the Set diagrams to practice patterns, I wondered if I could design a square using outward facing rings. These 2 Inchies (yes they are exactly 1” squares!) are the result of a quick tat. The right (pink) one was made first, then the beige one. These are prototypes, and I need to better them … but I like the potential of these simple airy square medallions that can be joined into a larger fabric. 

Meanwhile, I am thrilled to see at least 3 tatters working this series (3, or at least 2 More than I had anticipated,since Eliz had committed to it :-D !) 

Read Eliz’s excellent observations and applications of the previous exercise and how Ninetta has applied the exercise to her current doily project with curled rings !!! Mama Martin left a nice comment here, on how it helped her.

Set II comprises of Chains Only diagrams. But I doubt there will be these many practice patterns ;-) Hope to share it in about 10 days ...

happy tatting always, whichever direction you take :-) 

Related Posts : Preface – Quo vadis

Introduction

UPDATE (Oct 8) : Left-handed tatting by Eliz Davis
My working of the Hen n Chicks Square Motif & Ring Only Wreath

UPDATE (April 2021): While I try to find the time and focus to complete this series, please check out these links:

TWoT posts and TWoT Notes.

Practice patterns: 

Chains-only: https://tipsaroundthehome.blogspot.com/2016/12/all-in-chains.html & Rosette Enchained snowflake 

Rings & Chains: Minarets in the Sky; Aspiration snowflake; Hidden Rose Snowflake (rings & chains) - 

 https://docs.google.com/document/d/1r4OmXX_c5LjFebMN2UbSNiYqXYETLmoridK0X1YIQco/view 

Mark Myer's Luster Snowflake  Paths/choices when climbing out with a split ring . pictorial pdf.

Lock Join Plus series - several methods that can result in change of direction, colour, etc. including when climbing out. https://tipsaroundthehome.blogspot.com/2020/07/lock-join-plus.html