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Table of contents
- the ria s compliance solution book answers for the critical questions bloomberg financial Manual
- 6 Style Shortcuts to Get the Folk Look
- Related titles
- 1942-'43: 2 ISSUES
In the streets, I found lace masks for sale to tourists. Although some of the masks were clearly cheap imitations, others were made in the fine needlepoint lace of Burano. On my return to Ireland, I decided to design my own lace mask incorporating traditional Clones lace techniques and motifs. Here is one of them for you to enjoy. Rose Make 5. Refer to Figure 1. Rnd 1: Ch 9, sl st in 1st ch to form ring. Rnd 2: Work 12 sc in ring. Rnd 3: Ch 5, sk 1st sc, dc in next sc, [ch 3, sk next sc, sc in next sc] 4 times, ch 3, sl st in 2nd ch of beg ch ch-3 lps. Rnd 4: Sc, 3 dc, sc, sl st in each ch-3 lp around6 petals.
Rnd 5: [Ch 5, working behind petal, sl st around post of. This is the basis for the next row of petals. Rnd 6: Sc, 5 dc, sc, sl st in each ch-5 lp around6 petals. Rnd 7: [Ch 7, working behind petal, sl st around post of next dc from Rnd 3] 6 times6 ch-7 lps.
the ria s compliance solution book answers for the critical questions bloomberg financial Manual
Rnd 8: Sc, 7 dc, sc, sl st in each ch-5 lp around6 petals. Large Shamrock Make 4. Refer to Figure 2. Cut a inch Double it and sl st through the fold. Pull cord into circular shape, holding leaf with thumb and index finger. Pull pc into shape, making sure that leaf is flat. Do not cut thread or pc. Do not fasten off. Make a Clones knot at center of the shamrock and attach the leaves, securing the shamrock at the same time. Small Shamrock Make 1. Pull cord into shape, making sure that leaf is flat.
Buttony Make Refer to Figure 3. Step 1: Wrap thread around the end of the plastic straw or knitting needle 13 to 15 times. Step 2: Take circle off straw or needle with thumb and index finger and make 1st sc with crochet hook on circle. Step 3: Work 18 sc in circle or until it is filled , sl st in 1st sc to join. Note: Do not fasten off 12th buttony. Grape Cluster Refer to Figure 4.
Working from WS, join the 12 buttonies tog with sl sts in the shape that is shown in Figure 4. Small Vine Leaf Make 3. Refer to Figure 5. Note: Make leaves separately, joining them together as you finish each one. All work is done around padding cord. Middle leaf, Cut a inch Ch Join pc with sl st at the fold, turn. Rnd 1: Working over pc, sc in 1st 15 ch, 3 sc in last ch.
Rotate piece to work in opposite side of foundation ch, sc in next 14 ch, 3 sc in last ch35 sc. Row 2: Cont working over pc, sc in next 13 sc, turn. Row 3 WS : Ch 1, sc in 1st 13 sc, 3 sc in next sc mark center st , sc in next 13 sc, turn29 sc. Row 4: Ch 1, sc to marked center st, 3 sc in center sc mark new center st , sc to last 4 sc, turn leaving rem sts unworked27 sc. Rows Rep Row sc. Outer leaves, Cut a inch Special Abbreviations clClones knot; see page pcpadding cord; measure size 10 thread to length indicated and work around as directed.
Wear this to your next costume or Halloween party and wow the crowd! Rnd 1: Working over pc, sc in 1st 13 ch, 3 sc in last ch. Rotate piece to work in opposite side of foundation ch, sc in next 12 ch, 3 sc in last ch31 sc. Row 2: Cont working over pc, sc in next 11 sc, turn. Row 3: Ch 1, sc in 1st 11 sc, 3 sc in next sc mark center st , sc in next 11 sc, turn25 sc. Row 4: Ch 1, sc to marked center st, 3 sc in center sc mark new center st , sc to last 4 sc, turn leaving rem sts unworked23 sc. Row 5: Rep Row sc. Join outer leaf to middle leaf: Holding 2 leaves with RS tog and matching last row so that they meet at the same point at the bottom, sl st through both layers down 1 side of each leaf to center point.
Join 3rd leaf to opposite side of middle leaf. Large Scroll Make 4. Refer to Figure 6. Row 1: Working over pc, make 25 sc, ch 2 alone to make division mark , then 15 sc over pc, sl st around pc at division mark.
6 Style Shortcuts to Get the Folk Look
Pull the pc gently into a circle. Drop the pc and turn. Row 4: Pick up pc, working over pc, [4 sc in next ch-4 lp] 7 times, [3 sc in next ch-4 lp] 2 times, drop pc and turn 34 sc. Row 6: 2 sc, p, 3 sc in 1st ch-5 lp, 3 sc in next ch-5 lp, turn. Row 7: Ch 6, sk 5 sc, sl st in next sc, turn. Row 8: 2 sc, p, 2 sc, p, 2 sc in ch-6 lp, sc, p, 2 sc in ch-5 lp from Row 5. Pick up pc and work 3 sc in last 2 ch-4 lps from Row 3.
Cut pc and fasten off. Left Eye Scroll Refer to Figure 7. Rnd 1: Working over pc, make sc, sl st in 1st sc to join. Pull pc to make an oval shape. Cut pc about inch 1 cm from end of eye shape. Double it and sl. Rnd 4: Working over pc, 3 sc, p in each ch-4 lp around. Attach small shamrock to this part of the eye scroll, pulling the scroll into an eye shape. Right Eye Scroll Refer to Figure 7. Row 1: Working over pc, make 40 sc, ch 2 alone to make division mark , then 15 sc over pc, sl st around pc at division mark.
Row 4: Pick up pc, working over pc, [4 sc in next ch-4 lp]. Stage 1. Place completed motifs on the template in your own design. Photograph by the designer. Stage 2. Crochet Clones knots around eye scroll and finish first half of mask. Mask Cut out the template. When all elements have been crocheted, place the motifs on the template; see the Stage 1 photograph on page Crochet Clones knots around the eye scroll and finish left half of mask; see the Stage 2 photograph above.
Crochet around other half of the mask, working around eye scroll and continuing to fill in with Clones knots. Clones Knot Filling Work around left eye scroll. Attach motifs to each other with sl sts as you go along. Rep for right side of mask. Ties Make sl knot between leaf and rose on right-hand side of mask. Ch 13 inches Cut thread, then sl st over tails to hide. Rep for left-hand tie. Finishing Soak overnight, then rinse and pull mask gently into shape, leave on towel to dry.
If necessary, iron from wrong side, pulling into shape. She came to Clones in and fell in love with its lace. She enjoys researching the history of Irish crochet, creating new pieces, developing the craft as an art form, and passing it on to a new generation. She is also a primary-school teacher. Victorian ornaments surround a preservation art necklace. All were crafted from crochet motifs in the authors crocheted-lace collection. Photograph by Ann Swanson.
The European elite were delighted to buy crochet lace in lieu of the more expensive bobbin and needle laces then in vogue. Worked by dim candlelight with threads as fine as size which no longer exists , Irish crochet became a symbol of life, hope, and pride to the Irish people and still offers inspiration to todays crocheters.
I am a great admirer of crochet as art, and freeform crochet speaks to my sense of crochet aesthetics. Many freeform crochet artists use traditional Irish motifs in their work today. As the British freeform crocheters Sylvia Cosh and James Walters point out: The word free refers mainly to freedom from the limitations of the conventional approach and beyond that to escape from the restrictions we all unknowingly impose upon ourselves. As a longtime antiques collector, I hate to see antiques of any type altered.
But as a realist and one who suffers from collecting too much stuff, I realize there are times that it makes more sense to preserve portions of pieces, especially if those pieces are damaged and not reparable. For example, it makes a lot of sense to reuse the motifs of a piece of Irish crochet in which the ground lacet stitches are damaged. In a nutshell, I recommend preservation when it makes sense to do so. Cutting may decrease value or destroy historic significance, so cut and reuse only if that makes the most sense for the useful life of a piece of lace.
Free means being aware; b eing able to g enerate new options; and to make fresh choices whenever we need. This may include seeing when a conventional approach will get us to where we want to go. I have a modest collection of crochet motifs, laces, and doilies that vary in quality from some fine examples of original Irish crochet to doilies made with harsh, coarse threads.
Over the years, Ive eliminated some. Pieces were made in the millions by amateurs using cheap raw materials and common printed patterns. Crochet lace was generally made as a household lace, and pieces were heavily used and laundered frequently. Rarely do I come across a piece that is of museum quality. That said, along with my desire to use and enjoy my textile collection, all of my pieces of crochet lace have to work for me. I mentally place each piece into one of four groups: 1.
Good Condition. These are pieces I want to keep as is. Many were made by my grandmothers and great-grandmothers. Also included are pieces that I purchase for my design work and teaching that show specific techniques. I reserve these pieces in their entirety and gently use them at home or as design or class samples. Good Condition but Not Collectible. Most commonly, the patterns are generic. I use these pieces in craft projects and dont hesitate to cut, dye, paint, or otherwise destroy them.
I may also donate them to a local resale store. Poor Condition. These may have heavy staining, rotted threads, or are raveling, but they have some redeeming feature such as a stitch, pattern, or technique that I like. Ill either write the pattern or crochet a copy, and then the original piece moves into the last group. Poorly Executed or Damaged. Once I have categorized a piece of crochet, it is easy to decide how to treat it.
Nothing from Groups 2, 3, or 4 remains in my collection; I throw away pieces that are poorly executed or in poor condition. Regarding the repurposing of vintage crocheted articles, I queried three colleagues: How do you feel about using or even cutting up old pieces of lace from things possibly acquired from your grandmother or found in garage sales?
Do you have misgivings about pieces like this being destroyed if they are not kept intact? Do you prefer to preserve only pieces in their entirety? Their answers are in the sidebars on pages 28, 29, and The project that follows illustrates one of my free creations inspired by and using pieces from my own collection of vintage crochet.
The Crochet Workbook. New York: St. Martins Press, Kinsler, Gwen Blakley. Collecting Crochet. PieceWorks Crochet Traditions, Fall History of Irish Crochet. Old Time Crochet, Spring Surprise in a Chest of Drawers. Ballards site. Photograph by and courtesy of the author. The author of Clones Lace: The Story and Patterns of an Irish Crochet says she always reminds her students that Irish crochet is the original freeform crochetno two pieces were the same, though some motifs, such as the grape and vine, the thistle and fern, and the rose leaf and wild rose, were always placed together.
She says, I am so grateful for the legacy [that the older lacemakers] shared as now most of them have passed on Although I appreciate the importance of keeping this style of Irish crochet alive, I am more drawn to the creative and freeform Clones lace with its packing cord, motifs, and Clones knot filling stitch. I still love to work in white or ecru because it is timeless, but I am very interested in modern freeform and the Eastern European style of using color to make larger items in the Irish crochet freeform style.
If not, it is time to visit vintage, antiques, and resale shops, where youll find crocheted articles ranging from newer pieces to very, very old ones. Many high-fashion designers take their inspiration from vintage laces. Use the following instructions to create your own vintage masterpiece. I incorporated three tiny Irish roses to embellish one of the motifs in my necklace; instructions for making them are included below. Instructions Notes: If you have a large piece of lace and wish to use only a portion of it, stitch tightly around the section you wish to use with a sewing machine; cut inch 6 mm around the sewn outline.
This technique will prevent any raveling of the lace. Necklace Select a variety of vintage motifs. Trace the pattern on the heavy paper. Place the selected motifs on the pattern. If you want another necklace shape or one without the snap closure with overlapping tab, place the selected motifs on heavy paper and create an approximate necklace shape; using a pencil, outline the shape. Pin the motifs to the paper.
She incorporated three tiny Irish roses to embellish one of the motifs. Rearrange the motifs and adjust the pattern as necessary until it is the exact shape required. Let the pinned motifs simmer for a day or so, to be sure you are happy with the placement. After placement is finalized, make a rough sketch of your motif placement on a piece of paper. Number and describe each motif, for accuracy of placement later. If using a snap closure, cut two 2-inch 5. Fold the remaining fabric right sides together and cut out inch 6 mm larger all around the pattern.
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Cut neck section where tab will be attached. Sew tab sections right sides together to each neck piece. With right sides together, sew around of the fabric shape with the sewing machine, leaving an opening on the side for turning. Trim the edges on the outside of the stitching to 18 inch 3 mm.
Press with an iron. Cut batting for the body of necklace only, using the pattern trimmed to inch 6 mm smaller than the fabric. Insert the batting inside fabric; make sure it is smooth. Tuck raw edges in and sew the opening closed with the needle and matching thread, using slip stitch. Place and pin the motifs as sketched to the finished fabric necklace. When satisfied with the placement of the motifs, sew the motifs securely to the fabric with the needle and matching thread.
Make shallow stitches; do not sew through to the back side of the necklace. Sew a snap to front of necklace for the tab and to the back of tab; attach the vintage button on top of the tab. Irish Rose Using the crochet cotton and crochet hook, ch 4, sl st in 1st ch to form ring. Rnd 1: Ch 6, [1 dc, ch 3] 4 times in ring, sl st in 3rd ch of beg ch 6 to join. Rnd 2: 1 sc, 1 hdc, 3 dc, 1 hdc, 1 sc in each ch-3 sp. Rnd 3: Working behind last rnd, work 1 sc around 1st dc on 1st rnd, [ch 5, sc around next dc] 4 times, ch 5, sl st in 1st sc to join.
Rnd 4: 1 sc, 1 hdc, 5 dc, 1 hdc, 1 sc in each ch-5 sp around, sl st in 1st sc to join. The author of many articles on needlework, she has the utmost reverence for her crochet forebears, who paved the way so elegantly for modern crochet enthusiasts, and is honored to share snippets of history from her collection with readers of Crochet Traditions. Stevenson, appeared in the November issue of Needlecraft Magazine. The instructions below are exactly as they appeared in that issue; neither corrections nor alterations were made.
For more on vintage needlework publications, including tips on translating vintage instructions, see Trimmings on page One space, 4 trebles; repeat around, join. Same as 1st row. This completes the band, which may be widened if desired by repeating 8th row once or twice more. For the crown: Chain 4, join. Chain 3, 13 trebles in ring, join.
For the filling: Fasten in a space of insertion or band. Same as 2d row. Same as 2d, with 10 chain between groups of trebles. Same as 2d, with 9 chain between groups of trebles. This cap may easily be made larger, and is very pretty for theater-wear, if lined with white or matching color. It is also a neat boudoir- or breakfast-cap. ABOVE: Originally designed to keep ones hair from literally blowing in the wind in an open car in the early decades of the automobile, our lacy Auto Cap makes a 21st-century fashion statement.
The sample is shown with the page from the November issue of Needlecraft Magazine, showing the illustration and instructions for Auto-Cap in Crochet. Although that voice was stilled upon her retirement decades before her death in at years of age, the song continues to ring from her extensive published works. It is through her own words, particularly in those dedications, comments, caveats, and asides drawn from her self-published volumes, that I came to know Elizabeth Hiddleson; I am very pleased to introduce her to you.
She was born Catherine Elizabeth Harmon in Arkansas at the turn of the last century but spent most of her adult life and did all of her design work from her home in Vallejo, California. Married three times, she was devoted to her two children, Delena Gilmer and the Rev. William P. Hiddleson Elizabeth held a full-time job, possibly as a bookkeeper at a shipyard, but her passion and talent for crochet gained attention from thread companies.
Her earliest designs in the s were published uncredited in booklets and leaflets by J. Call it vanity, but I wanted my name to be with my patterns. In the mids, dissatisfied with the thread companies practice of buying patterns outright and never acknowledging their designers, Elizabeth decided to publish her doily patterns herself and sell them by mail order. Although women had self-published needlework books as early as the mid-nineteenth century, this was a bold move, not without risk, considering the prevailing attitude that trivialized needlework. Armed with a crocheted doily and handwritten instructions, Elizabeth shopped around for a local printer.
The first printer didnt want to fool with it, but Wheeling Press owner Margueritta Rita Burke told her that she could get the pattern typed up, and the shop could take a good close-up picture against a black background.
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This first run of 2, individual sheet patterns set the format for all of Elizabeths works to come white thread samples photographed against a black background accompanied by full written instructions. And so began Elizabeths thirty-year association with Rita and Wheeling Press. Later, in gratitude, Elizabeth wrote, Margueritta, I dedicate this volume [Volume 6-A] of original designs to you as a friend who will always have a warm place of love and concern in my heart. Without your. In all, fifty-nine original crochet volumes varying in length from 16 to 44 pages were published from the late s through the late s together with about single-sheet patterns.
Volumes 1 through 15 and the A series, Volumes 1-A through A, along with the individual sheets numbered below and those in the series, were handled by Elizabeth herself. But to share the burden and the income with her family, Volumes 16 through 49 and the sheet patterns in the and series were handled by her daughter, Delena, and then by Delenas daughter Shirley Siracusa. Upon Elizabeths retirement, her daughter-in-law Carolyn Hiddleson also managed some of the works. Because Elizabeths books have been reprinted countless times, it is likely that very few first editions survive.
As the years went by and with each reissue, Elizabeth began including a dated copyright declaration. She added, Original Creations. Copyrights on my Crochet Books and Patterns are good for my lifetime plus 50 years. Therefore no one can legally copy and sell themwithout my written permission. If they should do so, they are liable for prosecution under the U. Copyright Law. In the late s, Elizabeth began endorsing the threads of Lily Mills, in particular its Daisy Mercerized Thread, Article 65, which she likely used for her doily samples.
Fullpage promotion for Lily appears in Volumes 4 through 35, presumably up until the product was discontinued by the succeeding owners of the mill. Of the thread, she wrote, I highly recommend Daisy Mercerized Crochet Cotton, because of the excellent smooth finish, the snow whiteness which stays white longer. Also it is the only thread on the market in colors in both size 20 and size If your stores do not carry this line of thread, send a self addressed stamped envelope to me and I will tell you where it can be obtained by mail.
I do not sell thread. This association with Lily. Volume 12 of Crochet Originals circa is on top. It featured the instructions for Pretty Baby Doily and a photograph of pretty baby Earlene Kay born , the daughter of Elizabeths son and daughter-in-law, William and Carolyn. Elizabeths volumes were sold worldwide and throughout the s and s could be found alongside the displays of crochet thread in many dime stores.
Elizabeth apparently felt that some prospective buyers needed strong persuasion to purchase her patterns. As she wrote in Volume Also to the thousands who have written how very much they enjoy my creations in Crochet, I am most grateful. Of course I must make a living, but aside from the financial part of my business, it is a much more satisfactory life just knowing that through my creations I am providing pastime and enjoyment for others. Were not telling you anything you dont know when we acknowledge that a controversy about Crochet exists.
And since were in the business of selling books and patterns, you obviously know where we stand. If you dont Crochet we would like to persuade you to start, and if you do wed like to persuade you to try a book youll like more than the one you are using now. Its simply the easiest book you have ever enjoyed using. We just dont see the point in putting out books and patterns so complicated a beginner cant use them. We do our very best to make instructions plain and easy to follow, then we go farther. If we do goof on instructions we make sure you can follow the excellent pictures. Later on, the attention and appeals for personal pattern support were exasperating.
See how she scolds her readers with this notice from Volume Youd be hard pressed to say whether Elizabeth was more devoted to her family or to her crochet. The sheer enormity of her crochet output, the painstaking attention to detail, and her protectiveness of her creations tell you that she loved her crochet. But in addition to the designs, she filled her books with loving dedications to her children and included numerous photographs of them and of her grandchildren. Theres no reference to her husbands, however, which makes you wonder. Elizabeth obviously had a huge fan base, whom she truly appreciated, especially early on.
Here is a love note from Volume To my customersWhom I regard as unseen friends. I want to thank the many who sent greeting cards. I wish time would permit that I might reply separately to each of you, but the number is too great. All Elizabeth Hiddleson books are soldas is. Every possible effort has been made to give complete understandable directions.
However, realizing there could occur a slight error, we have given good pictures that even an amateur can follow over a slight error. I hope you use them when needed. We have given much thought to perfecting them for your benefit. No special directions will be written for anyone. And as I myself on occasion struggle with the writing of crochet instructions, I have to smile at this caveat from the complex Oval Tablecloth from Volume This cloth was easy for me to make, but sure is a challenge to explainI will do the best I can, so please work it out by what I have written, together with the good picturesfor I cannot give extra help on itdo not ask.
Elizabeths written instructions used her own abbreviations and format, well in keeping with the crochet writing style of the time, a style that expected users to read between the lines. By current standardized crochet-speak, she doesnt provide as much information as we designers are required to include today.
I think she might be dismayed at that, judging from what she wrote for the design For the Bride in Volume I am writing directions, for each rnd, just required amount for the section, to be repeated all aroundso please use the section pictures in connection with directions to avoid lengthy and unnecessary dialogue. Elizabeth neither used nor provided crochet symbol diagrams for her self-published works.
In the s, however, the Japanese company Ondori gained permission to excerpt designs from Volumes 1 through 15, which it published in Japanese, accompanied by complete stitch diagrams. The Ondori books are now scarce and fetch steep prices when they come up at auction. The total number of Elizabeths published designs is unknown. In addition to self-publishing, she continued to freelance her designs, most of which were credited with her byline. Her designs appear in publications as late as , although she had retired from designing by that time. According to family members, Elizabeth had wished for one last book, Volume 50, to be produced.
For some reason, however, those remaining designs were sold instead to Les Editions de Saxe and are probably the ones that appear in magazine issues through the early s. Ten years ago, Jennie Gaskin, an avid collector of vintage crochet patterns and owner of Country Yarns in Pitkin, Louisiana, set out to track down the sources of Elizabeth Hiddlesons self-published works. She contacted Rita Burke of Wheeling Press and the two family members who held the remaining copies.
When she discovered that 7 tons 6. As family members find additional caches of books, they are turning those over to Jennie as well, and so now her Hiddleson stock fills a tractor-trailer! With the exception of Volumes 1 through 15, most volumes and patterns are available through Jennies website, www. It was Jennie who offered some of the anecdotal information in this article gleaned from her conversations and meetings with those who knew Elizabeth. I own all but a few of Elizabeth Hiddlesons volumes and have viewed images of most of the single-sheet designs.
I also own many dozens of vintage thread company leaflets and magazine issues that include her work, both attributed and not. From what I have here before me, I will try to describe her style, the aesthetic, and the artistry that set her apart from her contemporaries. Elizabeth preferred very fine work, mostly done in size 20 and size 30 crochet threads.
Rarely was a sample worked in heavier thread size 10 or in a fiber other than crochet cotton. The greatest part of her work was doilies, round and oval, occasionally rectangular and square. She also offered larger tablecloths, runners, and mats, TV scarves, as well as small pieces that could be adapted as desired, such as edgings and innovative lace motifs, squares, and hexagons, with a couple of triangles.
She designed one book and a few individual patterns for baby clothes; two books of lace collars were the last books published Volumes 49 and A. An odd find in Volume 13 is Shelly, a design for a Barbie dress. Filet crochet is featured heavily in many of the volumes. Elizabeths filet pictures tend toward the traditional subjects of flora and fauna, roses, swans, and hearts, with occasional heraldic, pastoral, exotic, patriotic, and historic images, but never abstract.
Many of her filet designs have unusual shapes, and many combine filet with other lace stitches.
1942-'43: 2 ISSUES
Most amazing are the large cloths in which filet is shaped into individual wedges, which are joined as they are made into a whole, such as Roses for Love in Volume 4-A. Elizabeths Christian background is evident in the religious iconography in the filet hangings, altar laces, and trims. The individual pattern , out of print, by far her most intricate in filet, is an interpretation of Da Vincis Last Supper. The immediate impression of Elizabeth Hiddlesons thread designs is of open laciness achieved through her use of tall stitches treble and double-treble , chain spaces, and mesh.
Even her filet is worked in treble crochet instead of. Photograph courtesy of and used with permission of Carolyn Hiddleson. She crocheters. Even those who dont relishes the challenge of multidido thread, myself among them, rectional work, piecing and shapcan derive inspiration from Elizaing in different ways. All motifs beths stunning lace, as illustrated are joined as they are made, never by my adaptation of the round sewn together with individual doily, Pretty Baby, into a trendattachments.
Elizabeths pieces right crocheted skirt. With a bit are characterized by harmonious of conservation and care, we can balance and an attitude of less is ensure the enjoyment and awemore, with virtually no surface inspiring artistry of these volumes details or textured bumpy bits for modern crocheters into the such as popcorns, never bullions twenty-first century and beyond. Elizabeth Hiddlesons Doily Board, which she highly Authors Note: All volumes, recommended, assuring her readers You will be well Her doilies are thus perfectly text, and images of the Hiddlesuited for being photographed rewarded.
Permission for fair use need to illustrate surface texture, the lace is perfectly and of excerpts from text and photographs, also permission to beautifully readable. Working from the original doily design as printed in her self-published Crochet Originals, Volume 12 circa , I have turned her very concise instructions into full-blown current crochet-speak that has doubled the word count. The accompanying stitch diagram is icing on the cake. The thread crochet sample was beautifully made by Jane Rimmer. The following is some advice from Elizabeth Hiddleson: Before starting to crochet from this book, please read the following: These designs are created with an even tension and if an even tension is used, your doily will not cup.
Many crocheters are inclined to make tight ch lengths, then loose long tr or dc as the case might be. This causes cupping, so please work with compact tr. This method eliminates cupping and gives you a nice flat piece you can be proud of. Blocking is another important thing. If you dont have a doily board, make one as shown in this book, starch your crochet pieces lightly and pin on the board using care in shaping. You will be well rewarded.
Instructions Notes: The doily is crocheted in joined rounds, right side always facing not turned after each round. Hiddlesons original instructions called for a ch 4 picot but did not elaborate. I believe that the following is the picot style she wanted: Following a treble crochet chain 4, slip stitch by inserting hook from top to bottom in front loop of treble. Doris Chan translated Elizabeth Hiddlesons pattern for the doily that was originally published in Crochet Originals, Volume 12 circa into contemporary crochet notation.
The doily was crocheted by Jane Rimmer. In other words, retrace the path of the last step of the treble crochet. It made me wish women's hats were still in fashion Of course, I'm still missing a lot of early issues There's a really interesting ad for learning "Dichtl Lace" - looks a lot like traditional tape lace There was a tidal change from heavy emphasis on knitting to equal billing between knitting and crochet They riot of primary and other colors, stylized "flower power" designs, exposed flesh, and quirky fashion make these issues a riot to go through Winter Page Count: Notes: You get a splashy two page spread showing off two tatted ornaments by Marion Leyds- but neither of the patterns are actually in the issue.
You have to order one of their leaflets instead. I was too far down the family tree to inherit one by the time he passed away. He was a gentle soul, and I miss him greatly. January Vol. February Vol. September Vol. October Vol. November , Vol. December , Vol. Thread Co. Kazelunas Soft Geometry Cardigan M. Mix up with patterned rugs and blankets for a riotous display. Rikki Snyder. A row of Chinese paper lanterns adds a fiesta atmosphere, but can easily be stashed away if interiors calm is required.
And the painted wooden chairs have been matched with a more sedate floral tablecloth. Have you gone for folk style at home? Share your ideas and photos in the Comments below. What are you working on? See all Design Dilemmas. Read More. Comments 5. See 2 more comments. Thank you for reporting this comment. Our place is always busy, noisy, messy, fun and a joy but it would not look great in the photos. Sign Up to Comment. Whatever size or shape of living room you have, this guide will help you position your furniture in the most pleasing and welcoming way.
Add charm and personality by displaying original crafty elements around your home. Take the sweetness out of sugary shades by adding striking black accents. Looking for something pared-down and natural for your bedroom? Take a look at these gorgeous spaces. Celebrate the beauty and character of wear and tear with this lived-in look. Banish cupboards from your kitchen walls and your space will feel lighter, brighter and full of potential.