Tatting school, beautiful patterns

Jll.iout t/ie, autfwr I was born in May 1947, near Stupsk, where I live. Most of my life I have been employed in hotel trade and tourism, a field which offers many possibilities to travel and meet people. I have always been very active and energetic, finding myself additional occupations, hence my hobbies requiring technical knowledge and dexterity, like woodwork or electronics. All of this had to change after a car accident in which 1 suffered a spinal fracture and which resulted in receiving a complete ban on work.

This is when tatting became an integral part of my life, a vent for my vigour and imagination.

I have been tatting since 1992 and , I pride myself on never having copied someone else's pattern. Neither do I recreate once invented patterns, unless on special commissions. And these come from museums, galleries and individuals from all over the world. But this is not the only source of my satisfaction , as I do not restrict myself to tatting as such. I also publish my patterns and innovations I have developed in various professional magazines and conduct countless tatting courses. My effort to save and propagate a perishing profession has been appreciated by a number of local and national artistic institutions. All of this have been achieved only with two hands, self-made shuttles, a vivid imagination and a lot of patience. I hope my tatting will give you as much content as it gives me.

For more information or contact, please visit: www.frywolitka.slupsk.pl

The best tatting results are achieved with tightly twisted and nonflannelled cordon nett (100% cotton , mercerised). The works must not be made of thread with artificial admixtures or too loose a twist. Otherwise, after being washed, they will lose their characteristic shape and the artificial materials might unfavourably change their colours. For the sake of learning size 10 tatting thread will be most appropriate.

Every tatted piece is formed with one basic stitch , i.e. a double knot consisting of two half-stitches. The final shape of the composition is determined by the number of stitches included in individual elements of the work, as well as the number and length of picots.

!Jhw to 111/lK# t/ie,first ring

:Frywofitl(a 'Jrivo{ite 'Iiitting Occh.i

Jan Stawasz

Begin the work by forming a loose loop around the fingers of the left palm. Hold the thread at the intersection between the thumb and the index finger - photo 1. Close the ring and the little finger inside the loop and extend the middle finger outside it. Lead the thread

76-200 Slupsk ul.Kosynier6w Gdyr\skich 4/68

shuttle or reel thread

r-;:-;--.-~~---------. (photo 1) initial loop

~ (+48)(59) 842 12 29 __,JQDIQ] (+48) 606 226 393 www.frywolitka.slupsk.pl jan .sta wasz@>frywolitka.slupsk.pl

fig.1

- 6-

leading thread (from a shuttle)

fig .2

-7-

(1st half stitch) a view before tightening the thread shuttle thread

D from the shuttle held in your right har d behind the extended middle finger ar d insert the shuttle down into the loose loop - photo 2. Having led the shut e through the loop, raise the shuttle threc: d to the level of the left hand thumb, ,,0 that the thread forms its extension. This is how we obtain the first half stitch.

Now, tighten and shorten the thre3d from the shuttle as much as possible It is best done with the little finger of 1e right hand - photo 3. Next, with the IT' ddle finger of your left hand, move the as yet loose loop with the already forlT'ed half stitch towards the thumb and hol J it on your index finger - photo 4. You have to remember not to loosen 'le thread coming from the shuttle, open he fingers closed on your left palm or ra se the thumb from the index finger even for one moment. The same rules shoulc be followed when your tying the second 'lalf stitch. To form it, use the left hand r1iddle finger to hold the shuttle threac to the inside of your palm - photo 5 1nd insert the shuttle upwards into the lo0p photo 6. Then close the middle fir ger (now without the thread) on your palm and raise the shuttle with a tightened thread to the level of the thumb - photo 7. Keeping the thread tight all the time, move the loop with the second half s tch to the first one . Use your middle fing r to do that - photo 8. You should now check if the stitch has been formed correctly.

Still holding it between your index fi 1ger and thumb, pull the loop down with 1our (photo 4)

(1st half stitch)

movement of the left hand middle finger

<Fi\ 1

~ tightening (with a shuttle)

tightened shuttle th read fig.4

(photo 6) (2nd hal stitch) a view before tightening the thread

fig.5

fig.6

(2nd half stitch)

(photo 8)

(a whole stitch)

photo 7)

(forming subsequent stitches)

fig,7 ~fi-g =-:-: .8=:-:-:::--;:"'.':"""-;:---;;;;:;;;;-::::!.!:::::::::::======- ---=~ right hand. The loop should augment by sliding inside the stitch - photo 9 . This action should be performed repeatedly while making an oval element (a ring), because the loop uses up and shortens while forming stitches on the leading

thread.

!Jfow to form picots

(photo 10, 11 )

fig.10

forming a picot

In our exemplary ring, picots are placed every four stitches. After the first stitch form three more in exactly the same manner. While tying the fifth stitch, do not place it directly next to the fourth one, but leave some space on the leading thread - photo 10. Now make the second half stitch - photo 11 and only th en slide the complete fifth stitch to the four previous ones - photo 12. This is how you make all picots (on rings as well ~s on chains) and their length (height) bepends on how big a space you leave etween the stitches. In the presented

â&#x20AC;˘ element we will make such gaps alsc between the 8th and the 9th as well a the 12th and the 13th stitches. Havinc tied the last stitch of the element remove the loop from your hand - photc 13 hold all the stitches (now shaped lik a horseshoe) between the thumb an the index finger and , pulling the shuttl down , reduce the loop until it closes, i.e the first stitch touches the last one photos 14 and 15.

j{uuJto

aatf

another tlireatf -forming a chain

a circle - an oval

--1 close with a shuttle

fig.11

fig.13

shuttle new thread /

--~ ' \

,n,

,/~~

,,~lf.¡~:5)

/

I

~.

(forming an arc)e - - ' Q

It is most comfor- L....;;;___ fig.20_ _ _ _ _ _ _ _....., fig.21 table to join a new thread to the work by resting the piece on your lap. To do it, turn the complete ring over so that the short end of the thread faces up. Against it put the thread from the second shuttle - photo 16. Then place both shuttles under your thigh and press them against the chair, at the same time holding the ring with both tightened threads on the upper side of your thigh photo 17. Now use the upper thread to form the first half stitch on the two tightened threads, right next to the chain photo 18. With the same short thread form the second half stitch - photo 19 and move it towards the first one - photo 20. Now remove the shuttle with the newly attached thread from under you thigh and instead place there the short

¡~

·reversed shuttle method"

new loop

and hook it on the loop just behind 1e index finger - photo 34. Next, draw 'le loop through the picot so that the w protruding part of the loop does not t st - photo 35 and put the shuttle throu it - photo 36. Then , using your finge to tighten the loop, bring the elemi its nearer - photo 37 and check if the op is still sliding inside the stitches. If s it means that the connection has t en formed properly and you can pro1 ed with further stitches and picots. Ha ng formed them all, close the ring witr rie shuttle repeating the operat 1s described with regard to the first rinq To form another chain, you have to ir ert the whole piece again. So far the thr ad from the second shuttle has been h ging loose, but now it is situated or '1e top of the work and you should wr< J it around your left hand's little fing€ to form the next chain, for which use rie shuttle you started the piece with .

shuttle /

~;'\

(2)

new loop fig.22 shuttle 1

cm/--~

t . ;B ,=~ . - - : f~ ~

shuttle /

swap

shuttle 2 fig.23

or reel

/

-.. .

L ';;

I

I

f

·{/

'

chain direction change fig.24 -14 -

fig.25

chain direction ch ige

·~ersea sliuttfe metfwtf" The elements to wh ich th is method is applied are formed by means of two shuttles. On the schemas they are denoted with green and black. First, form the part of the ring marked in black.

In the employed example this means eight stitches with a picot in the middle.

After you have formed them, put down the shuttle (here it is dark blue) and extend your fingers to tighten the loop photo 38. Now complete the part marked in green: take the second shuttle (here it is white), hold the thread that is coming out of it at the inside of your left palm and insert the shuttle down into th e loop in a direction opposite to the one you have been using up to this point - photo 39. This part will be a mirror reflec_tion of the section marked in black.

Keeping the loop still tightened, complete th e first half stitch - photo 40 and th en th e second one - inserting the shuttle up into the loop, from the inside of i~ur. palm out - photo 41 . Shape it on ~t tight loop right next to the first half stI ch - photo 42.

Ph t Forming a picot is shown in ei ~ts. 43 and 44. Having finished the ing st1 !ches of this part of the element quest10 n, put down the shuttle you - 15-

have been using and pick up the ott> er one (the one with which you have formed the leading loop) - photo 1 5.

Use this shuttle to reduce the loop a'ld close the circle - photo 46. Any sub<:.equent elements formed according to the "reversed shuttle method" do not reqL.. re the piece to be inverted, as there are 'lo chains here.

'Tatting wttli 6eatfs Before you start to make a piece of tatting enriched with beads you have to string the required number of beads on the thread, which only then can / OU coil on the shuttles. While forming he piece each time you have to slide only as many beads off the shuttle as / OU need in a particular element.

'13emÂŁs on a chain The exemplary chain consists of six stitches and three beads in the rr iddie of them. Therefore, form three complete stitches, to which you will s de three beads that you should already have prepared between the coil on your little finger and the piece - photo 47.

Now form the remaining three stitches photos 48 and 49 and bring them closer to the three previous ones, which should give you the final effect presented in photo 50.

'l3eJUfs on a ring From the shuttle that you are using to form the ring, slide off the necessary number of beads (here there are five) and keep them on the loop around your palm - photo 51. Now form four stitches and make a conjunction using a picot (already containing two beads) of the previous element - photo 52. Next, add four subsequent stitches and three of the five beads from the loop - photo 53, then another four stitches, which we follow with the two remaining beads and with the last group of four stitches to end the element - photo 54.

Close the ring, invert the piece and you are ready to start forming another chain.

Joining elements Witli one.ieaa To create such a juncture, in the place of the planned connection form a Picot slightly longer than the size of a bead. Then, before you make the connection , place a bead on a very fine crotchet and hook the crotchet on the Prepared picot - photo 55. Slide the bead off the crotchet onto the picot, hook the crotchet (inserted into the picot) on the loop thread -photo 56 and pull the ~read through the picot - photo 57. ow lead the shuttle through the little 100 P to end the juncture - photo 58. If You use small and tight beads, for which

a crotchet might be too thick, you may substitute it with a hook made of a fine wire, e.g. a needle threader.

qenera{prlncipfes of recreating tfze patterns - fiow to read tfze sdie:mas

~mpfes of two-sliuttfe patterns (an element on the outer side of a chain)

(a two-shuttle pattern)

fig.29

fig.28

fig.30

All tatting works are created by means of just one basic stitch consisting of two half stitches (right and left or first and second ). In the schemas the number of stitches necessary to form each element is given on the outer side of it, between picots, and it is expressed in Arabic numerals (1, 2, 3, ... 6, 8, 10, etc.). Any red numbers refer to the "Jan's Method", which has been applied to almost all of the items presented in this book, the blue ones are valid for those who use on ly the traditional method and the black ones are common to both methods. Picots are denoted by shorter or longer vertical lines. Please note that in the schemas the picots which join adjacent elements are unnaturally long - this is just for clarity of the representation. In fact you should make them as short as possible, so that the complete pattern is tight and stable.

Most of the patterns I have included in this publication are complex compositions consisting of many independent parts which are marked with Roman numerals (I, 11 , 11 , IV, etc.). We begin the work with part I, in which the first element to be formed is usually a ring (an oval) designated as A. The subsequent elements should be formed in alphabetical order, marked with capital letters (B , C, D, etc.). The direction of work is also indicated by broken line arrows - - - - - - - - ~ .

As it is a basic rule in tatting to alternately form rings and chains, you have to remember that when ring A has been formed , the piece must be turned upside down before you form a chain and returned to the initial position when the chain has been completed. Only than can you proceed to element 8. Keep forming subsequent elements until you have completed a given part. When you are using two shuttles, it is worth remembering that a round element placed on the outer rim of a chain (usually halfway its length) is formed by means of the second shuttle. Therefore, having formed a half of a chain, you have to put the first shuttle aside, keep the work in the same position and make the desired element with the second shuttle (fig. 27). After you have formed it, r~turn to the first shuttle and finish the chain still holding the piece in the same posillQ]J_(fig. 28). In one-shuttle patterns all the chains have the same direction, but if you use two shuttles, you can change it and thus achieve more diversified and interesting ~ompositional effects. This is how you do it: having formed a closed element and ~f~re f?rming a chain, do not reverse the piece but switch the shuttles - the new 1 ~t: n will turn itself in a direction different from all the previous chains (fig. 24). In le ~: wo~ds, the thread which so far has been shaping the stitches will now be the th~ ing (inner) thread, whereas stitches will now be formed of the hitherto leading cha ad. In_ an~ther case, when you want an arc which has been joined to a picot to shu~?e direction without an_ intervening oval element, reverse the work, switch the Sche es and form an arc (fig. 25), which will also turn in another direction. In the mas such places are indicated with black arrows with the letter x ~ .

p When you finish individual parts of you work, leave the ends of the thre ds of several centimeters' length uncut, tie them together by means of a reef knot and nsert into the piece (across 3 or 4 stitches) with a needle. Only than can you cut the ends off remembering to do it as close to the pattern as possible.

And another two very important cues. When you are forming alt â&#x20AC;˘rnate reversed rings and chains or while shifting shuttles, you should remember that the threads cannot intersect between the elements. The lower thread is alwa,,8 the straight leading one, while the upper forms stitches or separate closed elemen s.

A finished piece must be washed, gently starched (remove the excess of starch by squeezing the work in a towel) and shaped while it is still wet. To sr ape it, you must carefully straighten and stretch all the decorative picots. You can do it with a crotched or, more comfortably, with not too sharp a spike. You must not allo v your work to dry unaided, as cotton will twist. The shaped work must be dried wit, a hot iron (through a cloth), on a hard table top. If you have all those rules in mind tatting will be easier, more comprehensible and pleasant. And the only things you r eed to create tatting are those presented in the picture below, accompanied by c lot of patience and enthusiasm.

tb'

.: traaitiona{

Jan's

. As far as traditional tatting is concerned, it is difficult to distinguish between th e right and the back side of a piece. In order to avoid such doubts and make our works even more beautiful, I propose a new method of tatting . It requires only a slight change in the technique, namely a half stitch shift of the position of picots in some ele;e;ts. The shift is shown on the illus~rations; Fig.1 shows a chain and Fig.2 a ring. actual and schematic representations are marked "a" and "b" respectively.

671 .¡~- .. ¡2

2.

!Ftg.1

Fig.1 - A chain

Form two stitches and the first half stitch of the third one. Now leave some space (which will become a picot) and form the second half stitch. Having drawn the half stitches together you will find the picot inside the third stitch. Then proceed with the fourth stitch, the first half stitch of the fifth

6 one, a space, the second half stitch - and once more the picot is in the middle of the fifth stitch . The procedure must be re ,eated in stitches no. 6, 7, and 8. For the sake of comparison, the last picot in the e ement (i.e. between stitches 9 and 10) is for11ed in the traditional manner.

!ftg.2

rtant!

.

.

trnP0 _the direction of work 1s clockwise _ the Arabic numerals denote the number of stitches _ the first dot (before the short line) denotes the first half stitch _ the short lines represent picots _ the second dot (after the short line) stands for the second half stitch hope that the method I am pr?posing will prove uncomplicated and useful. I am cer. that you will be pleased with the effect of your work. tain I wish you good luck with your tatting!

1

Fig.2 - A ring

The procedure is identical as in the case of the chain.

In the "a" section of the illustrations there are numbers placed inside 1-Je elements (1 to 11 in the chain and 1 to 15 in the ring). It is just an auxiliary nur eration of the successive stitches. However, the most significant numbers are those placed outside the elements - they tell how many stitches are to be made. A double st ch with a picot inside is also marked by two dots separated by a short line. A dot is Jsed to mark a half stitch in order to avoid numeral fractions which looked untidy and umbersome on paper.

,Jan's

Size:

diameter: 51 cm

Materials: size 10 tatting thread , ecru two shuttles 1.1 mm crotchet

Scfie.ma

PJ!aterials:

size 20 tatting thread , beige (the basket) and ecru (the flowers) two shuttles 1.0 mm crotchet clipframe 18 x 24 cm, black velvet for the background

XI

Size : diameter: 30 cm

Mateials: size 1O tatting thread, ecru two shuttles 1.1 mm crotchet

Sdiema ~

/ /

Size: neck circumferenee: 40 cm

Materials:

d black . e 20 tatting th ea shuttles s12 t o tchel ri cro h 1 0 rP Ieng! . 128 ~f 3 nm ones Beads.

168 ' ,und in9

fasten

Size:

19 x 19 cm d ecru size 20 tatting threa ¡ two shuttles 1. 0 mm crotchet

Materials:

-37

Size: neck circumference: ca 46 cm width: 12.5 cm

Materials: hite size 1O tatting thread, wrties two shU t mm crotche 1.

Scliema

Size:

Materials:

diarr ter: 50 crn

d ecrtJ size 1o tatting t rea h'urtleS 'vo s het 1.1 r- rn crate

Sc/ie,ma

Size: 9c

x 5,5 cm

Materials:

size 1O tatting f-iread, ecru one shuttle 1.1 rim crotchet

:fig. 2

!fig. 3

Size : "S" circumference : 88 cm length : 54 cm

Materials: size 20 tatting thread, green two shuttles 1.0 mm crotchet

!Front

Materials: 77 x41 cm

size 10 tatting thread, ecru two shuttles 1.1 mm crotchet

VI

Sc1ie11lll .91.

Sc1ie11lll '13

-54-

-55-

Size:

Materials: head circumferenee: 54 cm

ecr~

size 10 tat

tties 9 thread, two shLI het 1 1 mm crotc

-------- ----------

Sdiema copper wire I

I I

I I I I I I I

I I I

I I

I I I I I I

Size:

.

2 cm the tatted piece - diameter: 1 the frame - s1 ¡de of the hexagon: 7 cm Materials:

. threadh' ecru size 20 tatting ttles twos u 1 0 mm crotchet COpper wire - diameter. . . . 1 ¡5-2 mm

Size:

neck circumference: 40 cm

Materials: size 10 tatting thread , black two shuttles 1.1 mm crotchet 293 round beads a fastening - 60 -

-61 -

Scliema

Size:

Materials : . ter·· 37 cm ·i d1ame big do1 y -- d iameter: 23 cm doily little

.

size

d ecru • 10 tattin~ threashuttles 'WO

tchet

1. ~ ,, m cro

Size:

diamete 7,5 Cr)) Materials: size 10 tatting th

ad, ec111

o e shuttle

1 .1 m

c rotchet

Size:

diameter: 33 cm

Materials:

~ize 20 tatting thread light blue and salmon two shuttles 1¡0 mm crotchet - 64-

- 65 -

Scliema - 66

Sdie:1111l

Materials:

Size:

size 30 tatting thr t 0.95 m beads: 842 small 16 of 2 156 of 3 24 of 5 24 of 7 16 of 10

neck circumference.¡ 41 cm

-68-

ad, white

- - ---

shuttles crotchet nd ones m length m length m length 'Tl length m length

69-

--

Materials:

Size: neck circumference: 44 cm width: 8 cm

size 20 tat.ting threa , ecru two .. huttles 1 .0 mm c ¡otchet

Scliema

"Tatting - theory and patterns"

Errata

XII

3

Page (strona) 31

Page (strona) 28

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Page (strona) 63

P age (strona) 85

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:z .:2

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