Off on a new adventure

Rd 1 color 1 of Interwoven Picot
Medallion adapted by Cajah Reed

Because I like contrapuntal* music, I like tatting patterns that weave into 3-D pieces. Being able to work them in different colors is just what the organist in me wants. So, I’m off on a new interwoven pattern:

I found this in the summer 2021 issue (Vol. 41, No 4) of the Bulletin published by IOLI. The name is very descriptive: Interwoven Picot Medallion and Ornament. Thank you to Cajah Reed for adaption this from Serena Watson’s Twirly. 

* Contrapuntal: A piece of music with two or more independent melodic lines. 

Beads in a group

 Discussed in our group this week:  

Star in 2 colors by Madsen

Beads added to the Star pattern.

Penelope adapted by Kendra Goodnow

How blocking can really help.

Group Tatting

 I am so fortunate to have a local tatting Study Group. I treasure my online tatting friends. When I can, I try to connect with them. But, having a local group is a lot of fun!

We meet each Tuesday for a couple of hours. Lately, we have been bouncing around snowflake pattern ideas. I was reminded of a lovely celtic style pattern in this blog post from Bernice. I remembered tatting it. Just couldn’t remember when and where the pattern is. I don’t have this book, just her Tatted Animals book (which I love). After quite a bit of digging I found the sample I had. Using that, I tatted up this new Star:

I really must keep from getting side-tracked! But this was great fun!!!!!

Sometimes simple can be difficult

BWV 225

When we learn something new, we start out with the simple parts, the baby steps, or the familiar.

Then we build on what we know and learn the new, right?

Well, simplicity can be difficult to execute!

Singing unison is tough. If you’re used to locking in the harmony, matching pitch exactly can be really tough. It demands that each singer have either a high degree of pitch accuracy, or that you all agree on who to match.

When I designed BWV 225, I wanted something simple. The Cantata is shorter, clear statement of the Chorale, and the architecture of the hall is not ornate. I set out to feature chains without picots. Little did I know that my design would prove to be tricky!

Those meeting in Georgia in September for Palmetto Tat Days have a chance for all to be revealed. It’s not tricky, really……

Two Hearts in One completed

Two Hearts as One by Martha Ess (front)

Here is the version in olive and deep red:

I’m glad I tatted this beauty. Thank you Martha Ess for giving us a great design to tat!

For my next version…..

Two Hearts as One by Martha Ess (back)

I considered tatting the pattern with picots only where necessary. Using beads, of course, and joining. But then I realized that it would be that much harder to tell which side is the front. And it would complicate the pattern just enough my brain might short-circuit. No explosion, but too many mistakes that would need to be dealt with. Not worth it.

I’ve had ideas for my Bach Fest piece. Last year was so much fun. And the bookmark continues to bring Joy. I’m seeing where a fugue subject takes me this year!

More weaving in the heart

I completed more of the Martha Ess Heart pattern:

This is the final round at the point of the heart; from here on out, you work up the side to the top ending at the “cleavage” with a final chain. To complete the pattern, you tat part of a self-closing mock ring, switch to the other color thread, tat part of a second self-closing mock ring, then you weave the shuttles through rings, tat chains and finally close the rings. It sounds complicated and hard to execute. In all sincerity, it was easier to figure out shuttle placement of these few elements than to figure out shuttle placement of the first join of this round.

Funny thing though….I caught almost all of my mistakes in the complicated parts, but as I finished, I noticed that first join does not match the picture. I need to study the pattern, figure out if I really did make a mistake, and then make notes to help the next time around.

Yes, there will be a next time. I’ve had a request to tat this pattern in quilt thread for some earrings.

Progress on Martha Ess Two Hearts as One celtic style pattern

I am intrigued with patterns that have elements that intertwine. So, I revisited this pattern. I posted the seperate heart motifs on the Homework blog here. Here’s the first part of the two motifs together:

I find that my brain keeps track of just so many details when tatting. Or playing the organ. Or cooking. Or…… So, I didn't quite get the final split chain (in green) worked in. 

Here's a poor picture of that chain joined BEHIND the red chain. 

 

The picture is poor as we were in the midst of quite a storm! Poor natural light. If you blow them up in a fresh tab you should be able to see the error and the correction.

Where was I? 

Oh yes, the celtic-ness of this pattern.  

I think we should come up with another term for the intertwined elements in tatting patterns. In music we call them contrapuntal textures. Look it up. I think it will work! 

Now to untat a mistake in the SCMR…..

Frilly Cross

I completed the Frill! Whew!!!!

Celtic Cross 2009 Ruth Perry
 and Charming Frills by Usha

I think my execution is not as neat as it could be. I still am fiddling with the steps. The last row was easier, but didn’t execute as well as I would like. I’ll be tatting the pattern again.

The cross will also go in my frequent patterns to use pile. I liked the simplicity of the chains. I used celtic shuttles, but didn’t really need to. The project reminded me why I dislike using flat shuttles. Even for weaving on a small loom. I’m a boat kinda gal. The next cross will probably have gobs more picots. Not very true to Celtic design traditions, but I know I will like it and it will wow some folks!

Thank you Ruth and Usha for wonderful patterns to tat.

The game is on

Here’s my version of Day 2: 

And Day 3:

I have also added to my design sketch book. I attended a lovely chamber concert last weekend in Carmel Valley. The musicianship was superb, the room pleasant, and the selections enjoyable. Being chamber music, the venue felt quite intimate. I could almost hear the rustle of silk and smell a bit of powder or snuff on the air. Almost. I really have very little desire to relive that era. I’m very happy living today in this age. There’s much wrong with the world, and much right.

One of the selections was Terzetto by Gustav Holst. The piece is in 2 short movements scored for flute, oboe, and viola. Written later in Holst’s career, the piece was interesting and well executed. Through spoken “Conductor’s Notes” given before the concert by the Artistic Director of Ensemble Monterey, John Anderson, and also through written program notes, we learned that the score of this piece is written using 3 different key signatures. Each of the instruments plays in a different key. Sure enough, I could hear the difference. I could also recognize when the instruments ended up playing a chord in one or another of the keys. It made for some rather nerdy listening. The true artistry of the composition is how the music sounds positively melodious.

I immediately dreamed up a tatted motif. Each instrumental line would be in a color assigned to represent that instruments tonal character. Mostly chains, the thread will weave in and out creating a design. Even the negative space will play a part. Just as my ear filled in the missing pitches to recognize tonality, my eye must fill in the holes to recognize shapes. 

There are a few projects I must finish before I work on this. Whenever I have trouble motivating myself to finish a project, I’ll just need to look at this sketch!

Pumpkin in rope

I normally do not decorate specifically for Halloween. I’m usually way too busy with all things musical. All Saints Vesper is one of my favorite services to sing. The closure of remembering those who have passed away in the last year also feeds my soul. So, the ever present cobwebs and such is usually all that I bother with for Halloween decorations.

This year, I found some orange cord in the camping gear box. Just about that time, someone mentioned tatting with rope. Well, I was inspired to work out this decoration for our front door.

The pattern is Tatted Celtic Knot Pumpkin by  Rozella Linden.

Personally, I think I need something a bit larger for the door; it’s that massive a door. Maybe like a wreath pattern in brown cord with some harvest theme tatting fastened on. 

25 Motifs in 2016

I did it!! This one completes the Challenge:

Hen N Chicks square by Rachael Mohler

I completed 25 motifs in 2016. I know many, many other tatters have tatted that much in 12 months. I probably have in quite a few years in the past. But, this year I kept track. I thought it would help me keep track of projects for the house, help grow the studio, and generally keep me focused and motivated. Well, it did!!

Thank you Sharon for maintaining the blog. I know how much work you’ve set for yourself. Yes, I know technology makes a lot of the task easier, but you still have to sit and the computer, look at the screen, edit the post, and then make sure it’s all the way you want it to be. Thank you!

And so, here’s my 2016 25 motif Challenge list:

1: Design # 10 Ball Cover by Nadine Nunnelley

2: Cross by Melanie Cervi

3: Wild Rose by Nellie Hall Youngburg

4: TIAS 2016 (Bunny) by Jane Eborall

5: Snowman by Melanie Cervi

6: Julehjerter by Anne Bruvold

7: Heart basket using Julehjerter by Anne Bruvold

8: Edging by Nellie Hall Youngburg

9: Celtic Knot Butterfly by Rozella F. Linden

10: Tatted Scarf Square from a Workbasket magazine c. mid1970’s

11: Celtic Picot Mat by Jennifer Williams

12: Curled Ring Earring by Muskaan

13: Tatted Triangle Motif by Frauberger updated byJennifer Williams

14: Rainbow Bright Earrings by Renee Campbell

15: Long Picot Earrings by Nina Libin

16: Lanyard using Necklace by Nina Libin

17: Bead Cap Earrings by Melanie Cervi (no picture….it went poof after the gift was wrapped and given)

18: Edging based on several vintage patterns

19: Window Decoration II by Jan Stawasz

20: Motif from Hector Earrings by Nina Libin (no picture....I had one, but now....poof!)

21: Dainty Tatted Trim by Anna J. Johnson

22: Insertion based on Hen N Chicks

23: Daisy Medallion updated by Ruth Perry

24: Tatted Tablecloth Square from Workbasket c. 1974

25: Hen N Chicks Square by Rachael Mohler (see picture above in this post)

There! If anyone has questions or comments or would like more info, I’ll be back to check after a walk on the beach! If you're curious what else I've tatted lately, have a look at the Board I have on the other blog I maintain.

The Celtic project

That sounds devilish doesn’t it?

I just wanted to tat a pattern using the Celtic Knot technique. 

Celtic Picot Mat by Jennifer Williams

This is what I came up with.

I know the scan is a bit hard to see detail, but that’s because I broke the software for the printer…..again! I just couldn’t manage to get it all sorted. Another task for another day.

I am pleased with the addition of the sequins to this pattern. And I do like the way the pattern flows. It was a bit wonky while working on it, but as the last few joins fell into place, it worked just fine! 

Who knew?

I can see uses for this in my designs. Maybe something on the Bach Trio Sonatas. Maybe something with ornamentation like Daquin. 

Butterfly! Butterfly!

Celtic Knot Butterfly by Rozella F Linden

Well, I proved I could. I can needle tat passibly. This is the Celtic Knot Butterfly pattern from Rozella F. Linden’s book Celtic Tatting Knots & Patterns published in 2004 by Handy Hands.

We discovered in the Tatting Study Group that there were some errors corrected in my copy. I guess I have a later printing than the other ladies. So, much of time last Tuesday was spent proofing for pattern errors. I must say, that has to be the part of designing I absolutely detest! My eyes start to cross very quickly!

Anyway, I’m not entirely happy with my work on this butterfly. It has nothing to do with the pattern, nor using needle rather than shuttle. I chose the wrong size thread for the outer round of black. It just doesn’t work for the pattern. I may try again; after I work up a square motif that was shared with me at the last Carmel Craft Guild meeting. Thank you Nancy!

Celtic Knot Picot

Here’s my sample of Celtic picots.

This continues the trend of combining projects/classes:

OnLine class on 3-14-2016

Tatting Tuesday study group with Carmel Crafts Guild members

Using up the left overs on shuttles.

Well, the last isn’t an official project, but it does keep things a bit more tidy!

And the next challenge is.......

Being able to meet with local tatters is a newer experience for me. I had the pleasure of getting to know a few tatters at the Lace Museumin Sunnyvale, but the meeting time was awkward for me and their main challenge project was frustrating for me. Don’t get me wrong, they are lovely ladies and very dedicated. I just wasn’t getting the whole ornament ball cover thing at that time.

Susan's first celtic tatting

The Tatting Tuesday group here in Monterey is a different story. About the same numbers of tatters come to the get-togethers. There is a wide range of experience and skill level and interest. The current challenge is “celtic” tatting. That’s the term applied to patterns that come out looking like a celtic knot. Typically, elements are interwoven; usually chains. Here’s a sample submitted by a newbie tatter:

And yes, that's a Tinker Toy that she repurposed as a shuttle.Smart lady!

I plan to start my sample today; after I get back from demonstrating weaving at CSU Monterey Bay. More on that later too.  

Celtic cross

I love sitting in on the Monday class that AKTatter monitors. I’ve learned a lot. Found a ton of good patterns. Discovered tatters from all over the world. Most importantly, I’ve learned how to talk tatting.

Celtic Cross by Yvonne Reypa

This pattern discussed during was a recent class. I am always intrigued with “celtic” patterns and how the chains weave. With this cross, the weaving is done with rings; a bigger challenge. After sitting in on the discussion and looking at what others have said about the pattern, I attempted my version. The thread is size 10 Manuela. I felt like I was always one DS away from a mistake that would be hard to correct, but I think I’ve got it.

I think this will end up on a blanket a friend is knitting. Don’t know yet. We’ll see……..