reading is cool

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We're facing a heat wave for the last several days with no respite in sight; temperatures soaring to 44-45C. But these great reading materials have a cooling effect when I encounter so much inspiration, beauty, and possibilities! And not least that I had a bit of contribution to make as well.

Chronologically .....

Ninetta had already sent me her very first book in Italian along with exquisite gifts and this time I received her English edition of 'Tatting is a Serious Matter' again with fabulous gifts! The package arrived in mid-December but I only now got around to taking pics. Her book is such a treasure, a pleasure and a great addition to any tatting library. Read about it here - https://ninettacaruso.blogspot.com/2023/11/tatting-is-serious-matter.html

• At the top is a painting on real papyrus! The Syracuse papyrus produced by Flavia Massara from the Galleria Bellomo..
• The exquisite bobbin lace bookmark was specially made by Luigia Tosin. Many thanks, Luigia.
• The butterfly is one of two designed by Ninetta for the Progetto Farfalla MG - a fundraising enterprise for children's care. Anybody can send in a lace butterfly to the overall specifications. I had intended to design one in tatting, too, but sadly didn't get around to it.

Ninetta's tatted pieces always put me to shame. So fine, so dainty, so tiny!

She remembered that I hate to tat bare thread patterns and sent me the classic wheel.

A very special surprise was the ENDRUCKS' banner she tatted for me. We partners in crime both have one now!

Wandering Wheels (2011) by Karey Solomon is a booklet with lots of block tatting/coils, also gifted by Nin. It was such fun reading it and the way Karey has applied the technique to cute patterns. Turns out she had also done what we now call BBT - a block that is tatted in reverse direction, ie, from top row to bottom row. She used it for the tatted spiral/coil (calling it the tatted wheel), working it from the out in.

Can't thank Ninetta enough for her friendship, partnership, mutual respect, and support! Not to mention these delights in the mail. 

'Designing with Friends' is the article I submitted and was published in the IOLI Bulletin Spring 2024 issue. It is about the DAL Celtic Snowflake 'challenge' and includes the complete pattern for my version and pics of all the versions sent in by the lovely participants. I must thank Liz Redford and her team for a beautiful layout and their diligence. 

In fact, an octogenarian had tatted Five versions when the game was first posted a year back, but didn't know where to send it. On reading this article she saw Anita's name and contacted her and now I have all 5 of her models in the collection, along with her patterns.

This is the design-along (DAL) first two motifs and participants had to design the 3rd round.

https://tipsaroundthehome.blogspot.com/2023/05/lets-design-round-3.html

And its first anniversary motivated a new participant to tat an ice drop version.

All participants have graciously shared their respective patterns in their own individualistic style. I had intended to draw diagrams for the ones missing them, but simply cannot find the time (nor the weather!) to do it quickly. Hence I might make the doc public and continue with the diagrams at my own pace.

Brenda Rewhorn, the Chairperson and current editor of the Ring of Tatters newsletter had requested me to write about the Endrucks 1920 Project. She said a shortened version of the one published in IOLI bulletin (Summer 2022) would suffice. However, so much has happened since then.... the Project has evolved and is continuing to grow and diversify. Hence I wrote a brand new article titled 'Endrucks 1920 Project - Evolution and Revolution' and it was published in their Spring 2024 (#88) issue. 

Couple of days back I received a complimentary copy of their newsletter and the content is absolutely great! So many lovely tatting patterns, and other articles, competition, etc., all dedicated solely to tatted lace. Love the newsletter (it's almost a magazine!). I still have quite a few pages to read and am hoping to tat as many of the patterns as possible.

Brenda was in Delhi earlier this year but we couldn't meet up, though we corresponded. She is a wonderfully friendly person and hopefully we will have a second chance to meet up in person.

 

So that's it for this post. Time to curl up with one of these books again and cool off with inspiring beauty and ideas. 

thrown, floating and 8 rings

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Please note that the post and pdf have been updated on 30th August 2021. In case you already downloaded the pdf, kindly click on the link to refresh the document.

Tatting with an international community throws up interesting facts and ideas. All patterns in Endrucks' (1920) book use 2 shuttles and has plenty of rings made by switching the shuttle in hand - you guessed it - thrown rings! However, as Ninetta pointed out, a lot of Italian tatters have mastered the art of tatting with a single shuttle and ball, and adapting any pattern to suit this. It got me thinking about all the various ways in which we throw off a ring and here is the result of that exploration/stream of thought.

Thrown Ring Methods - a Ready Reckoner. click this link to download the complete document - https://drive.google.com/file/d/1PhXhtq9K-WiUbys0dwwZuOIat10hGlB0/view which contains pictorials for each method as well as patterns to practice. Included at the end is a list of Needle tatting resources. 

For several of the patterns, despite having a pdf, I had to give the link to the blog post because the pdf link just wouldn't work the moment I converted this doc into a pdf. Probably some formatting glitch.

 

Following is a limited glimpse into each method. 

Gapsosis - A frequently asked question is how to avoid any bare thread/gap between the chain and the thrown ring. Above is an old pictorial I had done in response to this very question, where we have a trefoil instead of a single ring thrown off the chain - https://tipsaroundthehome.blogspot.com/2017/05/squirreling-away-gapsosis.html. 

1. Using 2 shuttles. I prefer this method except when I want to create a point in the chain where the ring is.

A thrown ring does not necessarily have to be floating above a chain or ring! It can lie above a join, between 2 chains, and can also face inwards.....

While this 8-ring appearance may not use the term thrown ring, the blue ring is made exactly according to any of the TR methods (in above case, with 2nd shuttle). 

Several other effects can be seen in the above model. Can you identify the thrown ring(s) in each?

NOTE: Although not shown in the pictorials, the pink ring need not be alone. We can have 2,3,or more rings below, with 1 or more TRs above!

All the rest of the methods are made with one shuttle and ball. Compare the colour of the TR and the chain curvature between each method. It is very important that chain stitches are snugged properly before attempting the TR.

2.A. Flipped-Up ring is simply a normal ring that is turned upwards before continuing with the chain.

2.B. Since I didn't like the way it sat, I tweaked it by stabilising and centering the TR with on overhand tie and keeping the ball in front of the work.

3. Loop Tatted Ring can be used to throw off a ring as well.

4. We all know that the Self-Closing Mock Ring is often used to deliberately create a pointed chain - whether it is a 1ds SCMR or a larger thrown ring.

Direct Tatting. In certain cases, it is easy direct tat a chain and throw off a ring, using single shuttle and ball. Tatting will move from right to left, but the shuttle will be in position to make a thrown ring.

Even if the shuttle is not in position, it can be brought to where we need it, by the following 2 methods -

5.A. Twist Work - I start by making an unflipped half-stitch but instead of snugging. I pull the shuttle upwards (or downwards, if required) such that the threads now switch position and I have the shuttle where I need it. I had explained it here to switch threads after a lock join - 

 https://drive.google.com/file/d/1nRj_48VHK2LjhcxdQnirXBVweKO6h2ow/view 

5.B. Shoe Lace Trick - we all know this, but I avoid it and prefer other repositioning methods, including twist work. Jon Yusoff has explained this method very nicely here (wish I could get my SLT to behave so well!) - https://tatsaway.blogspot.com/2010/05/sometimes-you-dont-need-two-shuttles.html  

6. Changing Course - When another row/round follows the one with thrown rings, one can choose to shift the rings to the next row/round and make them normal rings. Obviously the direction of the rings will change, and sometimes it may cause ruffling/cupping/distortion. However, it worked fine in the above version - those purple rings were supposed to be thrown rings from the previous round, but I wanted this colour here, hence.... https://tipsaroundthehome.blogspot.com/2019/06/valley-of-flowers.html 

I tatted this twice! My intention was merely to showcase the different effects when using each of the methods (lower scroll). But then somebody asked whether I had a tutorial actually showing how to do a thrown SCMR. So, I started over, taking stepwise pics for each method. 

And now I'm calling it a Ready Reckoner (RR), because as far as possible, I have included everything we'd want to know about Thrown or Floating Rings. I would love to get your feedback on this format and exercise. I already have another RR on the way that was started in July in response to a friend's request for help. 

Click to download complete pdf - https://drive.google.com/file/d/1PhXhtq9K-WiUbys0dwwZuOIat10hGlB0/view 

lock join plus

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Many months back, in response to some curiosity and confusion among several tatters, I decided to illustrate the simple progression and functional similarity between a few techniques. Here the underlying common factor is the ubiquitous Lock Join. Add one extra step to the LJ, and it opens up the canvas to change colours, shuttles, and even direction of chains.

I took stepwise pics for each of the combinations back then, but preparing a proper stream-lined article has taken way more time than intended. I am immensely grateful to Anita Barry, Master Tatter, for her proofing and editing.

In order to make the document manageable, it is uploaded as a series of 5 pdfs, each a stand-alone (click on each title to download) –

PLEASE NOTE - Most of these are also Reposition Methods which can be used even without a lock join to change direction, create points or curves, etc.

1. Lock Join Plus – Executive Summary and practice Patterns for further exploration. (3 pages)

 

How one extra movement after a lock join can open up the canvas to change colours, shuttles, and even direction of chains. 

For starters, a simple 2-colour motif is used where all chains face the same direction. But for further exploration, more patterns are listed. 

2. LJ Plus - Lock Join (LJ) pictorial (1 page)

 

How to make the lock join using both up and down loops. 

Notice how the colour blips in the 2 right joins are larger than the remaining 3. If the down loop LJ is followed by a 2nd half-stitch, the blip is almost hidden completely.
Links to undo a LJ and variations that include making a LJ with 2^nd shuttle.
See also Lock Join in Mock Rings - 

https://tipsaroundthehome.blogspot.com/2018/06/mock-rings-2-lj-mock-onion-rings.html

3. LJ Plus – Reposition pictorial (1 page)

 

A laissez-faire crossing of threads. Simple, quick, vintage. Compare how chain segments change colour and the slight overlap at the start of each chain.

4. LJ Plus - Shoe Lace Trick (SLT) pictorial (1 page)

 

Tying a half knot outside the LJ – overhand tie or SLT. Again chain colours get switched. SLT also allows us to switch the core thread in instances when the shuttle is running low on thread.

5. LJ Plus – Reverse Join (RJ) pictorial (2 pages)

 

Encapsulating or entrapping the other thread within the LJ. Created by Elaine P Gan (tattingbox). 

Pics showing an up loop and a down loop. The latter 
minimises the colour blip in a RJ as well.

Functionally the same as crossing and SLT after LJ, but more elegant and efficient – a smooth transition.

After each or either of these, if we turn work, reverse work, switch shuttle, and/or direct tat (unflipped stitches) the next chain, we add another dimension – changing the direction of the chain! Along with colour. Our choices multiply! And we might even be able to work throughout with just one shuttle and ball. To explore these choices, some practice patterns are listed in the main pdf. Besides block tatting, think also of filet tatting, especially in 2 colours, where these can be used effectively. I forgot to mention the role of lock join plus in mock rings and mock onion rings, but you get the idea, right? Wherever you have 1 or more chains joined below, play with LJ Plus!

I used all the above 4 in this vintage edging from Priscilla Tatting Book3 Fig 29 where the chains move to and fro. We can turn work after each chain or we can work every alternate chain directly (reverse stitch - unflipped). I started with LJ, then tried reposition, SLT, and RJ after every 3^rd chain. Shuttle in hand changes depending on our choices.

So I'm sure there is no need to spell out why I presented this article/pdfs in the way I did? There is lot of scope to play and design because each method has it's own pluses and minuses!

Do you see a butterfly in the above arrangement? Time to pick up my shuttles again and work out a pattern ;-D
Before that you might get fed one more lesson, so stay locked in ;-P

UPDATE 1: When working with only one shuttle and ball, changing the direction of chain using direct tatting - https://tipsaroundthehome.blogspot.com/2021/06/2nd-shuttle-or-ball.html 

UPDATE 2: Carrying on with functional movements, see pictorial Twist Work (TwW) -

 https://drive.google.com/file/d/1To6YwZSkh2ffQH3XBcKZ-Ed3l4myW34c/view 

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

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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.

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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.

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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)

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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.

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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!

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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.

tell the world it's not easy!

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daisy picot star and tatting notes

From now on we tell the world it's not easy. This delightful article was recently shared on Craftree.

It Is true – we generally spend longer than we care on our projects. I usually do share my mistakes and all, but don’t like to make it a sob-story.

This time, though, I stand by the title (no kidding, no fibbing, no embellishing) – this star did not come easy and I spent way too much time.

Daisy Picot Star

Jon Yusoff

Link to pattern diagram

I was inspired by Jane's star project to pick this up, and the fear that I'd forgotten how to make a daisy picot. And like her, I joined leaves which should've remained floating ! Too far into it to un-tat. Cut off and started afresh.

I’ve done the daisy picot before. It’s pretty easy once we know how to hold and how to wrap stitches. But rarely used, hence easy to forget. This time I referred to Jon’s own pictorial – excellent directions !

A stroke of luck from Utah made me realise that I the daisy picot stitches are wrapped in what we termed Twist Work in Reverse Stitch (TwW rs) !!!

Clearly I like to make my tatting life difficult! I've gotten addicted to directional (fs/bs) tatting. This star tested me to the limits. Not only did I have to refresh my daisy picot skill, but now I needed to tat them backside as well!

AND join to adjoining trefoil daisy picot backside ! Managed somehow, with lots of retro-tatting. But what's a project without some challenge, right?! And I was adamant. Fortunately I was working with size 20 threads.

My Notes :

• In the discarded attempt, I started with the inner daisy picot trefoils frontside. The work progressed in counterclockwise direction, and joining to adjacent daisy picot was easy.
• In 2^nd attempt, with inner trefoils being worked backside, and work progressing in clockwise direction, joining became difficult – it seemed like I was using “picot join to the right” methods. But it could just be some messing around with up and down picots.  
• To eliminate the space between chains at base of daisy picot, I had to pull real tight, not always successfully. Should’ve had an anchoring vsp !
• I slipped the yellow thread through the last half stitch of ring before closing in the hopes of keeping the 2 threads as close as possible. I think size of base ring (& thread size?) also has a role to play.
• For the leaves, I did not use SLT. Easy to make the ‘8’ leaves without any SLT if the side chains face in opposite directions.
• The arms need careful attention for some unfathomable reason. Perhaps some design-induced mind games coz I faced similar problems with Marilee’s snowflake!

Back to the aforementioned article – delightful read and I agree as a crafter. But she misses one point – not every crafter can fib and market oneself. That in itself is a skill that needs to be acquired :-D

Many thanks to Jon for sharing her pattern and tutorial

easy or difficult, it’s happy tatting time always !