captured in pairs – Part IV

This post is part of a series:

Captured Picot VersionA: captured in many ways - Part I

Captured Picot VersionB: captured in a twist - Part II

Adjoining Captured Picots and Captured Join: captured and caught - Part III

Triple and Quadruple Captured Picot: this post (captured in Pairs - Part IV)

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My PIC (Partner In Crime) saw all this series in advance. Playing in pairs is a lot more enjoyable than playing alone, also I needed help to rationalise all the different effects and Muskaan is always generous and talented, giving me a lot of her time. We love exploring tatting techniques together!

Every effect shown here in rings can be applied in chains too.

Continuing from previous post, you’ll read about the (perhaps!) last couple of effects which combine Captured Join (CJ) with Captured Picot (CP). A good pair to end this series.

Thread is Lizbeth size 10, pink 619 and seagreen 686.

Triple Captured Picot

1 - Start with 6 ds, then first long picot and 3ds. I used a picot gauge 1/2”, vertically. The first picot is a normal long picot.

2 - (Here the CJ starts.) Pull up a loop from the front through the first long picot to be joined. Put your fingers inside that loop.

3 - Then, just like explained for CP VersionB, take the loop and twist it clockwise so that you will create the second measured picot (1/4” used vertically), and 

4 - tat 3ds with the thread coming from the loop.

5 -  open again the main loop of the ring, put your hand again inside it and 

6 - leave the space for the third long picot (1/2” used vertically) and complete the ring. The 3rd  picot gets captured through both previous picots.

I tatted 6ds and closed it.

Update: In step 3 the twist is needed to capture the thread in the picot before making the next double stitch. You can twist the loop clockwise or counterclockwise: the final effect is slightly different but really almost unnoticeable! See the next pic: 

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Quadruple Captured Picot

This is another combination of CJ and CP, where the first picot is again a normal long picot:

1 - Start with 4 ds, then first long picot and 3ds. I used a picot gauge 1/2”, vertically.

2 - (Here the CJ starts.) Pull up a loop from the front through the first long picot to be joined. 

3 - Put your fingers inside that loop, leave a second measured picot (1/4” used vertically), and 

4 - tat 3ds with the thread coming from the loop.

5 - Then, just like explained for CP VersionB, take the loop and twist it clockwise so that you will create the third measured picot (1/4” used vertically), and in this way you will have the loop in front of the third picot.

6 - tat 3ds with the thread coming from the loop.

7 -  open again the main loop of the ring, put your hand inside it and 

8 - leave the space for the fourth long picot (1/2” used vertically), that will be captured by both the first and the third picots, and complete the ring. 

I tatted 4ds and closed it.

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I’m tatting a delicate narrow edging, just to show off the quadruple effect. Thread is DMC size 80. I have already tatted about 40cm of it, I think that it would be nice around a little linen rectangle - at least this is the plan. I’ll be back to the blog when it will be finished.

Pattern:
r-A    4 - 4 - - 3 CJ↑ ( - 3 -↑ 3) - - 4 - 4. rw
ch-B    4 - 4. rw
r-C    4 +(to previous ring) 4 - 4. rw 
ch-D    4 - 4. rw
r-E    4 +(to previous ring)  4 - - 3 CJ↑ ( - 3 -↑ 3) - - 4 - 4. rw
    
Repeat from r-C to r-E till you reach your desired length.

Legend:
- -  long picot (gauge 8mm used vertically)
-  short picot (gauge 2mm used vertically)
CJ↑ captured up join
-↑ Captured Picot VersionB, twist loop clockwise
(…) = in rounded parentheses the stitches made with working thread coming from the loop

UPDATE (25 June) the edging is finished:

Update - video: https://drive.google.com/file/d/1Tqwy5Jvd6p3qeDJQjQ_t3sWpfgxsr446/view?usp=drivesdk 

Ciao, 

Ninetta.

a personal touch

It’s always a pleasure when you get to know another tatter, even if only in “the virtual life”. 

I “met” Maria Grazia in the Facebook group “Chiacchierino: Filo Amore e Fantasia”, discovering her tatting, in which she never fails to add her personal touch. She helped us in the Endrucks 1920 Project, with the pattern n.43 and created a parure from it. She was among the first group of volunteers, in fact her first sample arrived very soon, in November 2020 (Gosh! Almost one year has already gone! And the great news is that almost all patterns have been modernised or are in the final stages of presentation). Then, a couple months later, her necklace and the earrings arrived.

Here I’d like to introduce her with her own words, in the way she shared them last February, in our FB group, along with some pics of her tatting:

Mi presento con qualche lavoro: ho 64 anni. Ho imparato il chiacchierino a navetta in prima media durante l'ora di applicazioni tecniche. Negli anni ho realizzato pizzi e centrini ma solo negli ultimi anni, grazie a fb, ho scoperto quante altre cose meravigliose si possono realizzare, anche se molte non sono alla mia portata.
Per chi lo volesse sono disponibile ad insegnare quel poco che so.

I introduce myself with some of my tatting. I am 64 years old. I learned shuttle tatting in 6th grade, during the so called “Applicazioni tecniche” class (we used to practice many handicrafts in that class). Over the years I have made edgings and doilies, but it is only in recent years, thanks to fb, that I have discovered how many other wonderful things can be made, even if many are not within my reach.
For those who wish to learn, I am available to teach the little I know.

She’s very humble but actually very talented, as you can see from just these few pictures:

From her photos, we understand that she knows many techniques, but she confided to me that only with Endrucks she has learned what Block Tatting is. In fact, in her modified version of the pattern, chains are faced opposite direction and not the same direction as in block tatting. But we love it, any which way!

My little contribution to this pattern was to draw the visual pattern, for which Maria Grazia had sent me a pencil drawing and her notes. I played with it last January, adding my own touch and then shared my experience here: https://ninettacaruso.blogspot.com/2021/01/testing-with-grace.html

In the last weeks I worked at it again and included the visual pattern in a pdf document, that now is available for everybody to try: 

Pattern (original and modified):
https://drive.google.com/file/d/1JRu7OggaSna0eXDRA2P18dRu6uE4-1J7/view

If you like the diagram only, it’s in my albums in Flickr, here: https://flic.kr/p/2kuTya8  

I enjoyed this pattern and send many thanks to Maria Grazia for inspiring us to adapt it into a lovely necklace! Muskaan joins me in thanking her!

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I cannot end this post without mentioning the “Strawberry Doodle” derivative motif by Patty Dowden. That’s a great example of her personal touch! Many many thanks to Mrs. Dowden for this very inspiring motif!

This talented tatter doesn’t need my introduction, being very well known. I absolutely love how she reproduced in tatting the corals of the Barrier Reef. The technique that she created (I think in 2008) is called "hyperbolic tatting".
Here it is a link to her tutorial, it is a revised pdf (version 2) from 2011, listed in Jane McLellan’s blog (thanks to Muskaan who helped me find it) - https://www.keepandshare.com/doc/6194296/hyperbolic-tatting-pdf-698k?da=y
Her work is on display in the Denver (CO) Museum of Art.

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This is a community project, we welcome every one of you to join in! Please let us know where we can find your renditions and derivative tatting!

We created the hashtag #Endrucks1920Project, so please use it!

We all enjoy sharing and the project is awaiting every one of you!

All info and links are in the Endrucks 1920 Project Document, here:
https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view

Ciao,
Ninetta & Muskaan

that bewitching and mysterious beauty

Today I’d like to introduce you to Consuelo Piras and her tatting. She helped us in the Endrucks 1920 Project, with the pattern n.4 and also she’s created a bracelet from it.

The “model” in her picture is a reproduction of a Nuragic Sardinian bronze sculpture, four-eyed and four-legged mysterious hero from the Nuragic Sanctuary of Abini (the original is in a museum in Cagliari). I had to ask Consuelo for info because I hadn’t any clue about the sculpture! So then I studied and discovered that that archaeological site is about in the centre of Sardinia island, I would say in its heart!

Back to the bracelet, the pattern is two repetitions of the edging, the two sides are worked continuously, passing from one side to the other with long spiral chains. After completing both sides, she added those round elements, they are all split rings of 4d/4ds (that is first side 4ds, second side 4ds). Beads are sewn on at the end. 

Here it is another picture:

And that is on Consuelo’s wrist:

In the old original sample, in Endrucks’ book, the pattern starts with a dead-chain, but it can be also started with a ring, just like Consuelo did in her samples:

The double lines in the original pattern and in Consuelo’s sample and bracelet are tatted with the Block Tatting technique, facing all the same direction. But there’s no harm in trying to find alternative paths! Just like it happened with pattern n.43, tatted by Maria Grazia, there are only 2 chains that form the “bold” lines, then they can be tatted facing opposite direction, as we normally do in a simple rings and chains pattern. The consequence is that, in this case, it can be worked with one shuttle and ball without the block tatting technique. I prepared a little sample for this alternative, that you can find in the document for the reworked pattern.

I’ve tatted a short sample, too, that helped me to understand the pattern for preparing the document and I’ve enjoyed it so much, that eventually I ended with a corner and then a little square doily! I have a funny story to tell you, I was tatting this edging while a little girl came near me, quiet at first, staring at me and at my mysterious tool... then after few long seconds without a word from her, she stated: “oh ok, I can see, you are doing a line of teddy bears!” Adorable, sweet girl!

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I’ve been in touch with Consuelo since I first joined Facebook, in Dec 2010, she is a very nice and pretty lady, I remember that she used to be admin of an Italian tatting group that no longer exists. Some years ago, she also tatted all the jewellery worn by models in local fashion shows. She has a personal page where you can admire her tatting, that is here:

 https://www.facebook.com/ibijouxdiconsuelo

You will find there, for example, the next unique tights that she designed on request, for a dancer:

She can also do macramé! I like sharing with you two samples of her macramé work that, just like all her works, it is inspired by her bewitching and mysterious island. The “sun” is inspired by a Sardinian traditional jewel called “corbula”, usually made in gold filigree; then, the starfish is a typical Mediterranean theme.

Thank you, Consuelo!

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Direct link to modern version pdf file for this pattern n.4 : https://drive.google.com/file/d/1zQh2jDfisoIx3PLZ84KpVZiwC51AlToe/view

That is a community project, we welcome every one of you to join in! Please let us know where we can find your renditions and derivative tatting!

We created the hashtag #Endrucks1920Project, so please use it!

We all enjoy sharing and the project is awaiting every one of you! 

All info and links are in the Endrucks 1920 Project Document, here:
https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view

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Ciao,
Ninetta & Muskaan

cute and unusual

Maybe, some of my readers can remember that I tatted and diagrammed the edging #14 from the "Schiffchen-Spitzen", by E.Endrucks, a book from 1920. I tatted it as part of the "Endrucks 1920 Project", that is an international collaborative endeavour, with volunteer tatters presenting Frau Endrucks’ patterns in modern format, compiled here: https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view

I attached the edging #14 to a pram sheet, and I've also tatted a narrow version for the pillow's cover.

Those pics have been taken in March, when I sewed it:

Actually I'm out of exercise with the needle and my sight has worsened lately, but eventually I'm happy with it! It's a cute set!

We've discovered that Mrs Endrucks had her book published at the age of 36. She died when she was only 54. Read a short biography here: https://drive.google.com/file/d/1-LzBnvzj7azCWLXJACSvcNHegXfP4fv_/view

Her patterns are a great source of inspiration, even after 100 years! It isn't the "usual" tatting with wheels and rosettes, she was aware of her originality and wrote: "My book shows you the way out of the eternal monotony of all tatted lace so far"!

Here it is the link for the pattern of the narrow edging, that I tatted following just part of the edging in Endruck's book:

Ciao,
Ninetta

P.S. This next info is especially for my readers that receive and read my posts only via email:

"The Feedburner team announced that their email subscription service will be discontinued in July 2021. As a result, Blogger’s email subscription widget, also known as the FollowByEmail widget, will be turned off."

testing with grace

I've been test tatting another pattern for the "Endrucks 1920 Project".

That is a community project, we welcome you to join in! Please let us known where we can find your renditions and derivative tatting! We all enjoy sharing and the project is waiting every one of you! 

All infos and links are in the Endrucks 1920 Project Document, here:
https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view?usp=sharing

I tried the pattern number 43, that has been already tatted by Maria Grazia, a friend from the Italian tatting group in Facebook, you can see her tatting in the Endrucks 1920 Project Document. "Grazia" is "grace" so I'd the idea to title this post like that! Also grace means elegance, that is what I think looking at this lovely pattern.

I started from the original diagram and stitch count. But I changed the starting point, in fact in the original, the edging starts with a chain in the point indicated by the white arrows. In this way, also the direction of the two chains under the big rings changes (they will face opposite direction and not the same direction as in block tatting).

 That in next picture it is the original diagram from the 1920 book:

It was my intention to draw it again and put it in Flickr, in time for this post, but lately I had little time. I hope to do it in a week, then I will put the link here too.

UPDATE: link to the drawing in Flickr: https://flic.kr/p/2kuTya8

UPDATE: Link to the pdf with the pattern (original and modified): https://drive.google.com/file/d/1JRu7OggaSna0eXDRA2P18dRu6uE4-1J7/view?usp=drive_link

The pattern asks to tat the inner part of the scallop with the block tatting with rings, then two "back and forward" chains follow  that trim the rings. That remembered me some old crochet patterns, a very clever escamotage to have an high border in only one pass.

At my first try, I followed the original instruction, joining a normal picot on the starting chain, but when you join in that way, you are forced to bend the picot, to put it on the same side of the double line of chains. I bent it on the back.

Maybe, that is a point where a face inward picot could be useful. Then, in the next repetition I wanted to try my idea. I like it better, but it's just a matter of personal preferences. I think that sometimes I'm too meticulous!

In the original, all chains face in the same direction, as in block tatting. But those chains are detached two by two, then they can be tatted facing opposite direction, as we normally do in a simple rings and chains pattern (that is how Maria Grazia tatted it in her sample). I tried both versions.

 

Another point to put on evidence is related to tatting tension. In the original, all surrounding chains are 6ds, then the big rings between scallops are all 8ds between joins or picots, look at the picture on the left:

I tat very tight, in spite of that I had to reduce the stitch count for the big ring in the section that has to be joined to the scallop. I like it better, and I noticed that the big rings are a wee bit out of shape also in the original picture. IMHO that was a designing solution to simplify the pattern, maybe they thought all the same stitch count between picots is simpler to memorise and in general, tension on rings is tighter than on chains.

Then, A and B in the next picture, are the points that I would change in respect to the original, if I'll tat this pattern again.

There's still space for another tip from my side, if you like. The two points where the scallop joins the big ring, they are the same points where at the same time you need to lock join the chain of previous round (that is like in block tatting).

I found easier to first do the lock join and after that, do the normal join to the ring.

I hope that you like this project like me, because I want to try more patterns from this old book. 

If you wish to participate at any stage, you can leave a comment here, or in Muskaan's blog (https://tipsaroundthehome.blogspot.com/2021/01/back-to-endrucks.html) or contact us on Facebook (https://m.facebook.com/muskaan.mooskaan and https://www.facebook.com/ninetta.caruso)

Ciao,

Ninetta 

tatted frame

The next is pattern #30 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, it is available here: http://www.georgiaseitz.com/public/publicindex.html

There are two files for that book, one is with photos of the actual tatting and another contains simple diagrams and short text written in German, but with an additional page in English with some description of symbols used.

For the #30, the tatted model and the diagram differ a little, so we eventually have two variants. Also, in the original diagram, those little rings on the sides of the central big ring are different from that I'm tatting, in fact the original are rings: 6ds, join to central big ring, 6ds. But in my first sample those rings popped up and I couldn't make the edging lay flat. Then, I've changed the stitch count.

In my version I tatted little rings in this way: 4ds, join to central big ring, 4ds.

The central element in each repetition has been tatted like an onion ring, same as in the chapter "2.2 Inner true ring with second shuttle, mock ring with first shuttle", the tutorial is here: https://ninettacaruso.blogspot.com/2020/05/onion-rings-not-fried-yet.html

I started an edging that I will use to frame a ... well that will be a surprise... And I needed to design a corner! 

The pattern is completed by two rows, but I'm tatting them at the same time with 4 shuttles. That is a trick because in that way the edging is progressively completed and I can measure my progress on the frame. The elongated big rings are tatted alternatively with the two pairs of shuttles.

I started also a short sample for the second version, with a lovely multicoloured thread. I'll make it longer and use it as a bookmark.

Thread is DMC Special Dentelles size 80, colour 818, for the frame and Lzbeth size 80, colour 184, for the short sample.

I've uploaded my diagram in Flickr with both versions and the corner (click to see a better image):

Ciao,
Ninetta

Eleonore, that's difficult!

Despite the name of my blog, it happens that a pattern can be difficult, for many reasons: the stitch count is not easy to memorize, the direction of work changes often, tension is an issue, switch shuttles is needed but not clear where... Or all these together!

Eleonore put me on test. I'm not yet sure that I gave it justice. The red and ocher is already finished, I added a tail and it's about to go live alone, in one of my mum's book. You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80. The pattern is the #24 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, it is available here: http://www.georgiaseitz.com/public/publicindex.html

I've uploaded my diagram in Flickr (click to see a better image):

As in previous two edgings, there is block tatting and thrown off rings, that makes it a 2-shuttles pattern. In the original, as far as I understood and tatted, the first corner of the block tatting is done simply switching shuttles, then tat 1 ds, leave a very small picot and go on. The whole pattern is completed after a finishing external round, only chains, and I regret not having left another very small picot after the point where I switched shuttles, becouse I could have better joined the outer round.

In next picture, one of those corners is pointed by the blue arrow:

Next is a bracelet, with metallic Sanbest thread, 3 strands, color is a gold-pink hue, number 133. The coloured swarovski beads, that you can see in the first picture above, are only laid on top. I still don't know how to add a clasp, I think that I need a wide type of clasp, but at the moment I haven't any at home.

Ciao,
Ninetta

UPDATE (19Jan2022) - pattern in pdf (errors corrected) :

https://drive.google.com/file/d/1ZpHou6AOWM3LZJVbEMNB_gurWqtjazRx/view

unusual scalloped edge

Another post for the "Endrucks 1920" project.

That is my tatting for the pattern #14 in the "Schiffchen-Spitzen" book, by E.Endrucks, from 1920, it is available here: http://www.georgiaseitz.com/public/publicindex.html

I think that I'll go on tatting that, at least about one meter, for a nice linen towel's edging. I like this scalloped edging a lot, a very unusual and original shape for tatting, it makes me forget that the pattern it's turning 100!

You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80. 

As in previous pattern (the n.8, read previous post: vintage trees), the bottom part is the side of the edging that should be attached to the fabric.

In the pattern there are true thrown off (floating) rings, that makes it a 2 shuttles pattern. There are tatters who prefer tatting with shuttle and ball and transform all floating rings in mock rings. The difference is minimal but it can be spotted, because of the different effect on the chain, it changes the curve. The next is a narrow edging with mock rings on chains, that I've tatted some years ago:

I've uploaded my diagram in Flickr (click to see a better image):

The pattern starts with the little ring 6-6 on the left, but, alternatively, you can start directly with the block tatting part, omitting the first ring and the chain 6-6-6. In that case, the pattern would start with a picot, then a chain 4-4-4-4, something like in previous pattern n.8, that started directly with a chain. They usually call it the “dead end” start, but in this case it is with a starting picot. There are some links to various tutorials in Muskaan's page https://tipsaroundthehome.blogspot.com/p/tatting-resources.html, if some links there don't work, in the URL you should change blogspot.in with blogspot.com

The original instruction in previous Eldrucks' pattern number 8 was to start CTM with one double stitch, then leave a very small picot, then tat the first row of the block tatting. That is only one way to start the "dead end" chain without a clip. I think that it may be helpful to figure this method as if they started CTM in the "Diag.1" drawing in this photo: (Block Tatting how to by Julie Patterson: http://www.georgiaseitz.com/2012/blockpatterson.jpg) .

Ciao,
Ninetta

vintage trees

My tatting today is for the "Endrucks 1920" project. It is a collective project. It all started here:  https://tipsaroundthehome.blogspot.com/2015/11/pattern-eleonores-angels.html

That is only a short sample for the pattern #8 in the "Schiffchen-Spitzen" book, by E.Endrucks, from 1920, it is available here: http://www.georgiaseitz.com/public/publicindex.html

(direct link: http://www.georgiaseitz.com/public/endrucks/eleonoreendrucks-leichtensternschiffchenspitzenbook1920.pdf)

It is an edging and in the book's picture it is shown upside down, that is the bottom part is the side that should be attached to the fabric. It's lovely, it looks like trees, maybe the single tree can be used in greeting cards, just an idea.

It could have been one shuttle and ball pattern but there's one thrown off (floating) ring, that makes it a 2 shuttles pattern. You can start CTM, all one colour, but I chose to tat it in two colours to better follow the pattern. Thread is DMC Special Dentelles size 80.

The dense trunk is block tatting, you can follow your favourite method to do it. I tatted the rows in a way similar to that explained in Julie Patterson's drawing (2006): https://www.georgiaseitz.com/2012/blockpatterson.jpg

Each row is connected to the previous row with lock joins. But that is not the only way to join. I have a video in my channel in YouTube, comparing the Patterson's joining method to Jane Eborall's method (2007, amended in 2013: https://janeeborall.freeservers.com/BlockTattingEasy.pdf ). This is the link to the video in YouTube: https://youtu.be/oxGV7b3xK20. I think that if you use the J.Eborall's way of joining, you would need to leave very small picots in all rows for the trunk, just after each join, but I haven't tried that.

About YouTube, I'd like sending you all my heartfelt thanks, for I reached 1K subscribers on my channel! That is amazing, I can't believe it! Thank you, thank you! It's a long time since my last video, I don't know when I will post another one. With the "kids' restrictions" they deleted all comments and I lost the infos like the date posted, but I hope that it's not a problem! Videos are still there!

I've uploaded my diagram in Flickr (click to see a better image):

You have already noticed that in the diagram and in my tatting the first row was tatted, then I reversed work and tatted the first ring, then I didn't reverse work and switched shuttle, tatting the second row for the trunk. On the second row, there's no need to leave small picots because the lock joins itself let a very small space.

If you tat only one "tree" and attach the last ring to the first, a little tube will pop up. Sometimes it happens that you find things by chance, so... That are the earrings that sprung up from the tree:

The bottom part is a separated element, 4 rings flower (all 6-6-6-6 rings joined at the first picot), that contains the 8mm pearl, topped by a 6mm bicone swarovski; the "leaves" below are two rings, (21ds-3ds, and 3ds+21ds). I put 2mm bicone swarovski on picots, added one onion ring at the base of the "vintage tree" and finished with an SSSR, like in Miranda's tutorial -  http://tattingfool.blogspot.it/2011/07/finishing-with-sssr.html

Ciao,
Ninetta