footprints on the sands

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... of time and tatting. Today I complete 10 years of blogging and it is the 800th post. These are mere numbers but mean a lot to me. 800 posts that each contained some tip, idea, experiment, option... At times 10 years seems like a long time; and yet like a short period, not enough to accomplish all my goals. Did I leave any footprints during this journey? Some faint ones perhaps which will soon be washed away. 

Incidentally, my first post on 3rd December 2013 was on tatted edgings! 

And now these pics from Judith Connors kind of summarise and symbolise my online tatting journey. I wouldn't be here, wouldn't have improved and learned so much without the help and guidance of the community; without their willingness to share freely of their expertise, patterns, and resources.

The lace - design shared freely by Robin Perfetti; tatted by me, in Lizbeth size 80 threads gifted by Sharada R; gifted to Judith who mounted it on a plain white handkerchief. This is what she wrote - 

'If you look at the close-up you’ll see that I crocheted around the raw edge first and then slip-stitched/top-sewed your lace to the crochet. I love how it all came together. When Queensland Tatters next have a display of their lace I shall place our combined effort in there too.'

This 'combined effort' is what my online experience has taught me. It may not always be an overt collaboration but the moment we tat somebody's pattern or when we share something that gets picked up another, the community grows, evolves, thrives.

Speaking of which, Judith also sent her beaded version of the Reflections Snowflake - a gift we send to anybody who completes an Endrucks' pattern.  

I had extracted it from the 100 year old Endrucks' pattern #17; it was modified by Ninetta Caruso and Anna Tedesco; tatted by several of our recipients in their own unique versions, including this sublime beaded beauty.

Endrucks 1920 Project, a huge milestone in my tatting journey, is pure collaboration! I will never reach any pinnacle of perfection and am aware of my limitations. Yet it makes me immensely happy to be able to pass on whatever I have learnt or discovered along the way. 

While the tatting community is growing, the blogging community is shrinking. Blog Land is getting a bit lonely with bloggers dropping off in favour of other platforms. Irrespective, I join those who persevere - I find it the best long-term platform and with absolute freedom to present and express in any kind of format. Let's see what the next years will bring ....

💓Cheers! And a huge thanks to the tatting community at large!💓

stormy calm

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Or so it seems! Blue skies one moment, and the next stormy grey clouds converge together, enclosing the sun (or is it an orange eye of the storm?). That’s how I see these 2 snowflakes!

If you remember Ruthie May and I joined forces to tat Robin Perfetti’s Challenge Snowflake. It was fun corresponding together and watching each other’s progress.

While I worked it with shuttles and monochrome Anchor size 40 thread, Ruthie selected a grey-scale palette along with orange (don't you just love that splash of orange?!), from her embroidery skeins. 6 strands, needle tatting.

My readers know that none of the several techniques used in the pattern are new to me; most already applied in my own patterns. But the pattern is just so attractive and irrestible. Also, it is good practice, good refresher! And such a clever combo, and padding the stitch makes the chains hold their shape nicely.

Ruthie : “This was my introduction to balanced doubles. I had previously seen a video demo link on the subject from Georgia Seitz. I said to myself I'm never gonna need or want to use that. Then I saw your post with the link to the snowflake challenge Balanced doubles included. To coin your phrase never say never. You never know what life will throw at you.”

Needle Tatting tutorials and resources - https://tipsaroundthehome.blogspot.com/p/tatting-resources.html

I think instead of 5mm double picot recommended for size 40, I would prefer 7mm. As it turned out, except for the first, I used 6mm.

Ruthie - “…. I was delighted that the color work added the gradient affect that I was looking for. The thread increased the size of the snowflake and gave it a puffy texture that I desired for a mug coaster." 

Alongside Robin's Floral Edging (see recent posts) where I have turned the corner. Snowflake measures 3.5" in size 40. Love it!!! 

Ruthie was successful in making the mug coaster she wanted! In 6 stranded embroidery thread, the final measurement is 5.5".

Ruthie : "It measures 3 1/2 inches across the middle not including the SCMR around the edges. 

Regret:The embroidery thread that I used was not kind to my picots. It separated and became (splitty) which is what embroidery threads do for a reason. Though, I could see myself using that effect in other projects to create an interesting feather, fur, or frilly texture.”

We never stop learning, and what better way than with/through pretty lace, with like-minded tatters.

Many thanks, Robin, for sharing your beautiful patterns ! 

excitedly

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Day 2 of my Distraction continues.....7

As I said yesterday, I wound 2 shuttles, ctm,  with Anchor size 40, and started Robin's Challenge Snowflake.  Rounds 1 & 2 seen.
Then I deliberately left off and picked up the size 80 edging. 13 repeats done so far.
Both patterns can be found here - http://tattingbythebay.blogspot.com/p/free-patterns.html

Ruthie May is tatting along, working the snowflake in 6 stranded embroidery thread and using needle.

After 2 rounds, the snowflake measures 1.5". I like how the padded chains keep their shape. I think it's the first time I worked it in size 40. So much neater than size 20. (https://tipsaroundthehome.blogspot.com/2015/11/pds-padded-double-stitch.html)

I've used self-closing mock Josephine Rings in 2 of my patterns - I had called it SCM(J)R, not having come across it before. Love them!
https://tipsaroundthehome.blogspot.com/2016/06/under-pinning.html and
https://tipsaroundthehome.blogspot.com/2019/11/frost-flower-pictopattern.html

Followed the pattern exactly,  except for  this lock join in the end. I substituted it with Reverse Join because I want the red shuttle back in action in next round. (https://tipsaroundthehome.blogspot.com/2020/07/lock-join-plus.html)

Let's see what tomorrow brings. I'll have to get back to my usual (new) life routine, so.... What I do know is that I am having fun :-D

starting

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After what seems like ages (certainly months), I finally got some uninterrupted time to tat. Blissful!!!

This is Robin Perfetti's Floral Edging pattern - http://tattingbythebay.blogspot.com/p/free-patterns.html
After much online browsing and even sketching out a couple of my own designs, I finally settled on this beautiful pattern.

So far, I've completed 6 repeats. Worked in Lizbeth size 80, it is 1/2 inch wide and 3" long.
This is for a handkerchief to gift, which is why I wanted something with minimum decorative picots. Makes maintenance easy.
I hope to embroider something in one corner. If not, perhaps some tatted motif.

Tomorrow Ruthie May and I will be starting Robin's Challenge Snowflake.  Join us - more the merrier.
Time permitting,  there are several other little patterns on my immediate list.
Distraction, with a capital D, is my First name obviously ;-D What's yours ?! 

The picot stands tall

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Many of us ‘eye-ball’ the picot. When precision is needed as in case of graduated, double/triple, interlocking/interwoven, central and tuft picots or in tatted hairpin lace, a gauge is required. Some ink/tattoo dots on their finger! I merely measure and cut some cardstock to use as a homemade gauge. To me, vertical meant looping the picot thread around the gauge, while horizontal meant laying the picot thread flat along the measuring side. 

But Robin pointed out that there are different interpretations (see comments) and it led to a lot of research ending in this article : Measuring the Picot.

I will use 2 images sent by her to illustrate how some tutorials/resources differ in their approach & terminology. One set speaks of how to hold the rectangular gauge, while the other talks about how the picot thread lies (in relation to core thread or the gauge) when measuring. 

 

            In A, the picot gauge is held horizontally, but the picot thread is vertical.

In B, the gauge is held vertically, but picot thread is horizontal.

But notice that the core thread remains the same throughout – horizontal!

Core thread is the only constant during measurement.

It lies flat (horizontal or on the X-axis)

irrespective of the picot thread or the picot gauge.

In A, we measure the height of the picot (5mm in this case) and the finished picot is of the same measure viz 5mm.

In B, we measure the length of the picot (10mm in this case) but when finished, the picot will measure 5mm.

Length of thread in any picot is twice the height of that picot.

Conversely, height of picot is half its length. 

In A, multiple picots can me made before slipping them off the gauge.

In B, only 1 picot at a time is possible.

Thus the seeming dichotomy is resolved. But this is not all. There are ways to use the gauge unconventionally; and ways to measure a picot without using any separate tool (see collage below) !!! These are all covered in the article, along with pictures – some stepwise. 

Part of the article was published in Bellaonline on July 12, 2018. More sections were added later, and refined further, to make it quite a comprehensive document.

Click to download the pdf of the complete article -

Measuring the Picot

This article is a compilation of the many ways – old & new - to measure a picot. Each method has it’s advantages and it is entirely up to the tatter to choose the method(s) they prefer. The article makes no claim of superiority of one method or of one gauge over the other.

The contents of the article :

I.  Orientation of Picot Gauge – horizontal and vertical

II. Orientation of Picot Thread in Relation to the Core Thread – height (vertical) and length (horizontal)

III. Non-conventional  Applications/Uses

A.                  Direct Tatting (unflipped stitches)

B.                  Decorative Effects

C.                  Graduated Picots 

D.                  Multiplier Effect of Gauge 

E.                  BEADS as Picot Gauge

IV. Stitches as Picot Gauge – length and height

Recap / conclusion

References

¯¯¯¯¯

During the course of my research, many good friends helped with their own insights, though not everything was included in the final article. This post is to share this new information rather than repeat what’s in the article.

Historically, a pin was used to measure the picot loops. “Tatting. Edgings and Insertions”, Mlle Riego de la Branchardiere, 1861.

‘A Pearl Loop – After the number of double stitches are worked as directed, the thread which forms the loop round the hand is passed over the pin, invented for the purpose, facilitates the work.’

Since a pin has a circular cross-section, there is no vertical/horizontal dilemma here. The number of times one wraps the picot thread around it can alter the size of a finished picot.

This same technique is used by Jon Yusoff on modern gauges for extra long picots! The collage above shows how to measure a 10cm picot using a 2cm gauge.

¯¯¯¯¯

Bonnie Swank (through Anita Barry) sent me her description derived from “The Art of Tatting”, Lady Hoare, 1910, page 20. 

“Pinching the ring and shuttle threads together then tatting the double stitch and sliding the new double stitch next to the previous double stitch.
This is a horizontal method of making the picot without a gauge.”

Lady Hoare suggests ‘leaving about the eighth of an inch of thread on both loop and shuttle threads….’ This is what we refer to as eyeballing.

¯¯¯¯¯

An elementary and universal method is to employ

the stitches themselves as a picot gauge.

If a gauge is not available, the stitches themselves can act as a gauge. Even beads can be used for measurement if size is known. The advantage of using one’s own tatted stitches as a gauge is that it accommodates all types & sizes of threads as well as individual difference in tension.

I used the height of a picot-in-the-making to estimate the size of central picot and arrived at the following thumb rule. Jane McLellan stepped in with trials, experiments and feedback to confirm the rule.

A thumb rule for measuring the central picot

around which rings will be linked :

1ds width for each ring.

(± half stitch to account for individual differences)

¯¯¯¯¯

While technically not a picot, it is a different way of using a picot gauge. Jeanie Schekel, in her unpublished book, calls it a folded picot gauge ideal for bare thread tatting and mignonette. She shared her images and also these video links –  Double picot gauge by needledreams and this video by mytattingplace which also shows how to get uniform half-closed rings.

¯¯¯¯¯

Coretta Loughmiller sent me many pics of the BTS and Picot Tool being used. Now this stepped tool, at first glance, defies the vertical/horizontal position. However the detailed markings of length and directional arrows helps us understand how to hold and use the gauge to measure either the height or the length of the picot thread and also bare thread. Gloria Nelson, the designer & manufacturer of this compact efficient tool, has been most gracious in our communication, even offering to send in more pics.
Such markings are a good way to avoid any confusion and communicate clearly - whichever gauge a designer uses.

¯¯¯¯¯

Martha Ess’ sliding gauge is ideal for graduated picots. She graciously gave me permission to use any of the photos and instructions!

¯¯¯¯¯

I’d like to sincerely thank each and everyone mentioned 

for prompt and enthusiastic help – over and above my expectations !  

And I cannot thank Robin & Georgia enough! 

Robin Perfetti has helped proof the multiple drafts carefully and offered valuable feedback/suggestions. Some of the words, thoughts & of course images, are hers. 

Georgia Seitz has provided us with a wonderful platform and opportunity to reach a wide audience through Bellaonline and her Online Tatting Class.

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 !

Am I the right person?

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Especially where picots on tatted lace are concerned?

I generally go for minimum decorative picots, preferring clean lines that show the design clearly. Not that I don't admire the lacy, airy effect of picots.

A couple of weeks back Agnieszka (Frywolaga) invited her readers to a fun picot challenge.

She usually makes 2 versions of her beautiful patterns – one with and other without decorative picots. This time she shared a picture of her Doily #10 without free picots and those interested need to put in picots where they wish. She sends out instructions for the next round when the previous is finished.

When I first set eyes on her doily I loved the simple lines and didn’t want to muck or clutter it up with picots (sorry, dear picot-ists, no offence ;-D). But when I received the 1^st round pattern, I had to think slightly out of the box and came up with the following …

Here are my first 2 rounds worked in Anchor size 40 …

I used a double picot in round 1 enhancing the floral effect.

Measures 2.5cms

She shares her suggestion here. 

Dot picots in the 2^nd round.

Measures just over 5cms

I hope to repeat both type of picots in later rounds.

It really is fun! And knowing the complete design, it becomes easier to plan ahead. Just hope I do a good enough job while enjoying the journey. If you wish to join in, the links above provide all the information.

What I did muck up, though, was this simple pattern - the Onion Ring Magic Square #2. I had no problem following the pattern or direction, yet stumbled on simple joins! Thrice rings are attached incorrectly. Noticed only in the picture when the negative space seemed wonky. 

Since I wanted only the one square, most joining picots in outer chains were discarded. (Next time I might even discard the free picots on inner rings ;-P)

Onion rings were tatted with same shuttle. Inner ring from backside, turn work, outer ring from frontside. Outer ring is looped from Behind the inner ring as I had done for the marigolds here.. I found it much quicker to work especially when not using 2 colours. This is the onion ring join used - very effective.

with or without picots, tatting is always lacy fun J

magical Mexican wave

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a Mexican wave of tatting !

Different time zones can be quite limiting in many ways.

Or they can create a Mexican wave ! While some sleep, others are awake to carry on tatting and the wave goes around unending. My volunteers eagerly raised their shuttles (to my call for help) and worked as a tatting-wave and they deserve a similar ovation.

My 5 test tatters are from 4 different continents !!! Through the day I kept getting progress reports, pics, & feedback. Oh, it is so exciting to be a part of this wave. In less than 24 hours of sending out the pattern, I had my answers! I feel so blessed to be surrounded by such a community. Now it's my turn to finalise the presentation and tat a new error-free bookmark.

While I slept, Robin successfully took on the challenge of flattening out the quatrefoil hexagon. Here's my working of it ... 

It lays flat but the rings need to be worked carefully - some have a tendency to get squished. 

I found the hexagon that wanted to be a square. Instead of a mock picot it has a tiny 4ds split ring (SR) between the 2 SRs. 

I like the pattern it creates and a fabric of these squares would definitely be much more interesting in 2 colours. 

Both versions together for comparison - the inner square is more defined in 2nd version.

Which do you prefer ?

So, back to the hexagon.  I did another one without picot space between split rings. Kind of squishes the SRs,  don't you think ?! Space between the 2 SRs provide some flexibility. 

Jenny did something interesting - instead of a mock picot with equal thread lengths, she allowed the upper one to be longer, and the lower one to remain flush. It worked for her !!! 

A single colour CTM version causes the sequence and direction of work to change !

And some more excitement - I traced out a continuous path along the hexagons to create as large a fabric as one desires --- a Magic Hexagon ! So the wave continues ;-D  (I guess it is a fancy name for one pass tatting, but much more appealing ;-P)

I placed the 4 individual medallions I had and it works on this rings only pattern ! Can it translate to a rings & chains pattern is something that needs to be seen.

In fact, for the same reason, there are 2 ways one can tat this in one pass or as a magic hexagon (some split rings will become true rings and some true rings will become SRs!) - 

• complete hexagons climbing out with split rings     OR
• as half hexagons in a kind of undulating wave.

Very early days though. Need to work on it some more - what will happen if another round is added? A one-pass rectangle made of these hexagons is easy to figure out.

I didn't have an updated pic last time, so here's how far I got in the magic square prototype. I've had to drop it for the present till the pattern writing, tatting, and presentation are over....

And the Magic Wave continues across continents with Jane sharing her own experiments - do check out her recent posts on the topic ! 

Now here's an idea.

How about a Global Tatting Mexican Wave ?

Start from the East and follow the sun till it sets in the West, with tatters working on a butterfly or heart or any small motif and then uploading a pic immediately on any social media they follow. 

I remember something similar was tried a few years back. Did you participate?

tatters are magicians who create enduring lacy waves !