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Dear Reader,
I share here what I like and what works for me. If you've been following me, you know that I can change my mind from time to time, and feel free to comment that I'm completely wrong, you may be right. I'm not running a business. I'm not paid and have never received any compensation or facilitation for any review/brand/site here mentioned. In case one day we'll ever meet, I'll be the one offering you a cup of Italian coffee, too.
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Friday, 16 April 2021

Saturday, 13 March 2021

crab or candle holder?

That is, the pattern n.9 in the Endrucks' 1920 book reminds me a line of crabs but also candle holders! That pattern would be lovely if tatted in colored thread! 

Pictures in this post are from Pina Pinto. 

Her beautiful tatting and her thread's choice make the tatting look very traditional but still modern.

It's wonderful how a simple shape can inspire many ideas! For example, if we add more picots in the upper rings, they look like flowers in a pot!

She's converted Endrucks' 1920 patterns (the number 9, 15 and 16 in the old 1920 book) in modern step-by-step pictures and/or numbers on pictures, that is a great help in recreating the old tatting patterns, that otherwise would be very difficult to follow, if you only look at the the old text and diagrams. 

Thank you very much, Pina!

Her contribute has been very useful to think about some details, like that one underlined in the n.15 above. The pencil lines indicate where she changed direction of chains and that is different from the original old pattern. The tatting starts on the left in the picture, those chains face in opposite direction, and to obtain that effect we need a change of direction and a picot in the same point. 

In general, in some models, Endrucks avoided holding a picot on the core thread. We may like more symmetry than what tatters used to like in the past and in that case we need a chain with a drop picot or a picot held with paperclip.

I remember now that, to change direction, I've learnt another way to do it, in place of using a clip,  when I tatted the mystery doily:
- leave a small picot,
- first half,
- one complete ds,
- reverse work, adjust last ds and continue the chain.
That worked for me.

In the next picture, there is only part of the pattern n.16. I can see it like a big earring, with beads, tatted with metallic thread! If only I wear big earrings!

Direct links to (modern version) pdf files:

We've had her help also for a fourth pattern (the number 17 in the old book), that will be available soon. 

That is a community project, we welcome everyone of you to join in! Please let us known 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 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  

Ciao,

Ninetta.

Saturday, 6 March 2021

snackable post

It seems that it is the trend for the 2021, very short posts and a lot more videos than in the past.

Then, this is my "snackable" post!

Pattern is by Paola Bevilacqua and it is shared in facebook, in the Italian group "Chiacchierino: Filo, Amore e Fantasia". 

"Presentosa" is the name of a traditional Italian jewel, that is usually gifted to the beloved girl, wife or mum. Actually I already gave that to my sweet mum!

Thread for the smaller one is Sanbest, 3 strands, gold n.32 and colour Chameleon. The other one has been tatted with red dmc cebelia n.10 and ecrù Anchor Freccia n.8.

Ciao,

Ninetta 

Tuesday, 16 February 2021

hearts, friends and flower

 Happy late Valentine's Day and thanks to Muskaan for her beautiful "Block Heart"!

She shared it 4 "Valentines" ago! Time flies (but we all know that very well!). Her original post is here: https://tipsaroundthehome.blogspot.com/2017/02/spring-is-in-my-heart.html

and the pattern can be found here: https://tipsaroundthehome.blogspot.com/2017/02/heart-to-heart-to-heart-to.html

I followed her instructions, substituting blocks with 6+6 double stitches for original blocks with only 4ds. Rows have increased accordingly.

That was a nice tatting, after all the block tatting that I've done for the Endrucks' project (https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view). Good block tatting needs exercise, and I thanks a lot my dear tatting friend Muskaan for getting me involved in that project, I've learned a lot from the old patterns and from Maestra Muskaan, she has a talent in explaining things!

I've tatted two patterns, Muskaan's heart and one of mine, for a tat-along with friends in the Italian Facebook's group.

That is mine:

The original pattern is a modification of one repetition of an edging, the original edging and the prototype heart is here (2011): https://flic.kr/p/9Cbm5k
There is another blog post with a little motif that is about the same design: https://ninettacaruso.blogspot.com/2014/09/seaaside.html 

Muskaan is a nice friend and she gifts me often with her great tips, for example in the case of my heart, she suggested to remove the top center from the prototype. That was a great idea! The heart is now a lot better!

Also, the heart was asking me for something inside that empty space, so I thought that hearts and flowers always go well together, that is why I've added the yellow flower.

In the next there are my step-to-step pictures for Muskaan's heart (that is exactly as explained in her instructions at page 4):


I especially love how she passed from block1 to block 2, that is with a first half ds folloved by a picot (pic 5), that minimizes the space between the two blocks.
It's a very clever use of block tatting. I love her bracelet version too.

In the next pictures there are some indications for tatting my heart. 

I've called it "Heart by the sea". The pattern is as follow:

Thread is DMC Cebelia number 8. The pattern can be done with one shuttle and the ball. The floating ring in the bottom can be done as a mock ring, otherwise you will need the second shuttle just for tatting that only one suspended ring.
The yellow flower is tatted as a separate element. I suggest to tat the flower first and then attach it while tatting the heart, but in my pictures I did the flower at the end. The bead in the center of the flower has been sewed.

- = picots - they are all small (the design should result compact), 

+ = normal join

Yellow flower:
Ring A: 4-4-4 (in the picture you see where A, B and E are joined to the red heart)
Ring B: 6-3-3
Ring C: 3+(to last p of B) 9-3
Ring D: 3+(to last p of C) 9-3
Ring E: 3+(to last p of D) 3-6
Close and sew the bead in the center.

Red heart:
Rings and chains are all 4 ds between each picots.
In picture 3, you see the two rings for the bottom, that is a normal ring 4+4-4 and the floating/suspended ring 4-4 (that can be tatted as a mock ring).
Those dimpled rings are: first one 12-8-4/4+8-8-4; last one 4+8+8-4/4+8+(to first dimpled ring) 12.



I've already found a good place for my new hearts! (They are still to be sewed)

Ciao,

Ninetta

Update 17 Feb 2021: I prepared a drawing for the Italian Facebook group, text is in Italian. Here it is: 

Please, don't share pictures but share link to this post and credit the designer. Thank you in advance. Ninetta.



Wednesday, 10 February 2021

1920 charm - tatting by Stefania

I've always loved the way Stefania shows her tatting, everything looks precious and sparkling!

What beautiful pictures!

She's converted Endrucks' 1920 pattern (the number 36 in the old 1920 book) in modern notation, in English and Italian. Thank you very much, Stefania!

Since we started this international collaboration, with Muskaan, that is the only one pattern that has been converted in needle tatting! 

That 1920 charm that shines through Stefania's photos, makes me wish to try it myself...

I am very happy and love what she did with the old pattern, despite she feels that is not as good as she wanted. We tatters are often strict with ourselves! She told me that she learned block-tatting with the needle thanks to this pattern and that is wonderful! 🥰

Here's the url for her pdf - https://drive.google.com/file/d/1-zkfjobUqgbuUE4LeEr2Kpn-fb2OmNzI/view

That is a community project, we welcome everyone of you to join in! Please let us known where we can find your renditions and derivative tatting! We created the hashtag #Endrucks1920Project 

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 

Ciao,

Ninetta

Wednesday, 3 February 2021

Fronkensteen butterfly

Please don't be scared by the title... 

Tatted from parts of patterns n.43 and n.24 in the Endrucks book, 1920.


It ended in a butterfly:

I'm calling this my Fronkensteen butterfly 😁!

Ciao

Ninetta 

Wednesday, 20 January 2021

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

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 

Wednesday, 13 January 2021

AOSJ for adding beads in split ring

Vintage patterns have always something to teach. I learned this join when tatting a pattern from 1923!

I love playing with techniques, just like in a jigsaw puzzle where pieces are all mixed up till someone puts one next to another and they perfectly match. Plus, there are many ways to do the same thing, we are spoiled for choice! 

This time I'd like sharing one more way to put a bead in a split ring, I adjusted the method that I explained here: Anne Orr's Slip Join (AOSJ) – pics 43 & 44

bracelets with beads put inside split rings with the AOSJ

Look at next pictures, follow the sequence of steps from left to right and up to down. Split rings are 10ds on both sides (red and yellow thread), that is: 10ds on the normal stitch side, then 10ds on the reversed stitch side.

I started the split ring. Then the side with normal stitches temporarily stops at the middle point (I tatted 5ds) and I tatted half of the second side (5rs, reverse order). 

At this point I added the bead, in this way: on the second side of the split ring, make the second half stitch unflipped (first pic on the upper left), pick a bead and put it on the loop formed by the leg of that half stitch.

(That is very similar to what I shared for normal rings in one drawing here: https://flic.kr/p/mTMZeB , but in that case the loop is joined to the core thread in a different way)

Then, I passed the core shuttle thread through the loop pulled from the bead, then I continued with the rest of the first side of the split ring. In that way the shuttle’s thread is trapped into the loop coming from the bead, but it is still free to slide.

Then look at the upper right picture of previous collage: pulling (not too tight) the second shuttle thread (yellow), the loop inside the bead disappears and you see from the other 2 pictures that I resumed the second side of the split ring and tatted the remaining stitches. 

Close the split ring and that's all.

I added one bead, but with the same method you can add many beads as you like, for example in the next pic I added 3 little beads. Of course, the stitch count in the split ring should be right to fit the size of the bead or the number of little beads you choose.

There isn't any difference between front and back: 
I hope that you like the AOSJ and I think that it has a lot of potential, still to be discovered.

Ciao,

Ninetta 

Thursday, 7 January 2021

short december summary

Happy New Year! My last post was on the first day of December, so I owe you a little summary. Actually, I haven't tatted a lot, but I accomplished to finish one of my long term projects, that is the dining room box.

Sorry that the edging in the next picture is not very clear, because the thread is a light pink glued on a light grey frame. The pattern is the #30 in the "Schiffchen-Spitzen" book, by Eleonore Endrucks, from 1920, if you like, I have better pictures in one of my previous posts (https://ninettacaruso.blogspot.com/2020/11/tatted-frame.html)

I had a lot of fun changing the chairs with a new fabric. The furniture is plastic stuff, except for the console table on the left, that is wood.
I folded some fabric for the cupboard and used the hot glue to fix all elements. I tatted two short edgings (rings only, all 3-3-3-3 rings) for the shelves.
The small "doilies" on the console table are snowflakes designed by Sharon Briggs (https://ninettacaruso.blogspot.com/2019/08/sizing-snowflakes.html)
(Well, an update for this post: actually I think that one is by Sharon Briggs and the other one is by Lene Bjorn)
The chandelier has been handmade by my aunt, with bugle beads and glass beads. The rosette in the ceiling is the tatted white motif with Venetian picots, that you can see in one of my old posts, here: https://ninettacaruso.blogspot.com/2018/03/venetian-picots.html
For the doily on the table, I started like in the Anne Orr's baby bootie, but then I made the rest up, finishing with the "hen and chicks" traditional edging. I made an error in the pattern, in the count of the number of rings, but I'm lucky that Mr Downplay was here visiting for the holidays. He is always nice and indulgent! In fact at the end I missed a ring, but the doily is so little that the mistake is not evident, I bet that you wouldn't have noticed it if I hadn't mentioned. So, that will be our secret!
Thread for the all the lace in the room is twisted silk, produced by "Tecnoseta srl". I've talked about the silk here: https://ninettacaruso.blogspot.com/2019/07/the-music-of-tatting.html

Ciao,

Ninetta

Tuesday, 1 December 2020

detail

It was a pleasure and an honour for me, testing and even writing a short foreword for the new book by Edda Guastalla. Many thanks to her for giving me this opportunity!

That one is a detail of my pochette, all tatted following one of her patterns. Sorry I cannot share other pictures of my tatting, that are all in the book.

I will buy a "paper" copy of the book as a self gift for Christmas! I love "real books", but I  know that in the near future it could be available also in pdf format. It is in Italian (actually I don't know if they are working for a translation too) but there are many clear drawings that are very easy to follow. It is a book for tatters at any level. It's a "big" book, 128 pages, it contains 15 patterns and instructions for tatting many variations. Also, there are diagrams for how using the method of the "magic square" to adapt it also for edgings and different shapes that only squares. That's something that you can't find elsewhere in the Tatternet!

The book is available here:

https://corradotedeschieditore.com/it/home/662-il-mio-libro-dei-quadrati-magici-a-chiacchierino.html

Ciao,

Ninetta

Tuesday, 24 November 2020

renewed on the third try

That is about another challenging pattern for the "Endrucks 1920 Project". 

It is a community project, we welcome you to join in! All infos and links are in the Endrucks 1920 Project Document, here:
https://docs.google.com/document/d/17LEVftXweztBIOWh4sL4BB7bX65ssoOsOn4oXIgCepY/view?usp=sharing

The medallion in picture number 40 in the book drew my attention.

The original models, in the old book, were clearly tatted with a very thin thread (actually I've tatted mine with size 80 threads) but I've always thought that the thread's size doesn't affect the pattern. Anyway, in those patters there are elements very close to each other and the "heigth" of the double stitches could affect the final result. The tatter's tension looks very different from mine, it seems that they used to tat very loose, there are bare threads between chains and rings and picots are different in size, some are long and others are very small, without a clear schema/plan. Nowadays we are used to a more compact look. I also believe that the designer kept the stitch count regular in every pattern to help the tatter to easily memorise them.

On my first attempt, I followed the original pattern, but the centre looked distorted and the outer rounds cupped. The cupping disappeared after stretching it.

Thread is Lizbeth size 80, colour 154. Despite it looks almost fine, I was not happy with it, especially for the packed centre. 

Then, I reduced the stitch count for the inner rings and it was far better, all rings fitted well and was not squashed. Also the smaller centre should have helped me for the cupping problem in next rounds.

Thread for the second sample is DMC Special Dentelles, size 80, colour 818 (pink). I didn't change the stitch count in the outer rounds. The centre is a wee bit smaller than the original one, but that was not sufficient, the outer round was still cupping:

I don't like stretching my tatting because I am afraid that it will break! Then I needed a third try!

Note that in the original there are floating rings in the centre, but I didn't tat the inner floating rings in the second sample and I didn't tat any of them in the third sample. 

Eventually there was a simple solution, that was to "enlarge" the edge of last round and to reduce a little more the second last round. To make that, the ring&chain elements in the second last round have been substituted with split rings...

...and then the block tatting in the last round has been changed a little too, adding a couple of ds for each block at the outer border of the block tatting (2ds x 8repetitions means adding 16ds to the outer border):


I'm happy with the result, I didn't need to stretch it and it is almost flat even just off the shuttles!

Thread for that last sample is DMC Special Dentelles size 80, colours 3778 and 368.

I'll put in Flickr the drawing for the medallion, within few days, with notes for tatting both the original and the last modified sample.

UPDATE: Pattern is in Flickr

endrucks n.40

Ciao,
Ninetta

Thank you very much for all your nice comments.

Ciao
Ninetta