Videos for the Christmas Stocking - Working the Gimp Threads

Working the top band on the Christmas Stocking using Gimp threads and spiders.

The thick, red thread on the sample is used as a single thread, not worked as a pair. These threads are called 'gimp' threads. Sometimes in laces like Honiton, one thick thread can be paired with a normal thread and worked as a pair, these are called a 'coarse' pair.

Christmas Stocking 1 - Starting and adding the Red Thread.

Start by working the first row of pins only. This can be with any edge stitch you like. I used a simple half stitch, pin, half stitch, hanging the pairs on temporary pins above the top pins. The stitches need to have two twists ready for running the red gimp thread along.

Hang the red thread around a loop above the top pins and laying the two bobbins down on the work. The red threads are not worked as a pair, but as single threads.

Working to the left or right, the same method is followed, always lift the left, pass the gimp thread over the right ground bobbin place the left bobbin back in it's place.

Working to the left...Lift the left of the first ground pair. Take the left red bobbin pass the Red bobbin underneath the left ground bobbin, leaving the right ground bobbin on the pillow. Place the left ground thread back in the same place. Twist the ground pair twice. The red bobbin is now on the other side of the ground pair, held in place with the two twists. Repeat with all the bobbins.

The red gimp thread should lay in a single thread line with two twists on either side, holding it nicely in the space between the pins. If you wish, you can alter the twists so that a gimp thread actually sits close up to the pin and next to the ground pairs. This makes a tighter outline, or even a wider 'halo' effect.

https://youtu.be/iY-yPNEOrGw

Christmas Stocking 2 - Turning and Ending the Green Threads.

The red and green gimp pairs are used as single threads, not worked as pairs. Each single bobbin follows it's own path. The green gimp threads are being thrown out (ended) and they need to lie alongside each other for several pins until they are more securely held together, being secured by the double twist on the workers and maybe a few more ground stitches before cutting them off. If they are not in the way, you can leave them until the piece is finished. Missing out the two twists between the red and green threads makes it look more like one thread, rather than two.

https://youtu.be/4-pm2jCDrhU

Christmas Stocking 3 - Crossing the Red Thread.

To bring the two single red gimp threads together for crossing over, pass one of the threads though all the ground pairs (which have two twists ready) to the opposite side. Take the waiting red thread and work back, laying the second pair alongside the first one. No twists in the ground pairs until both red threads are together and they have swapped sides. Put two twists on all the ground pairs and continue with the pattern.

If gimp threads are being thrown out, they need to lie alongside each other for several pins until they are secured by the double twist on the workers and maybe a few rows worked before cutting off the gimp threads.

Missing out the two twists when laying two gimp threads together makes it look more like one thread, rather than two. Of course if you wish to keep the two threads effect, keep the double twist between the crossing gimp threads but be aware, that's a lot of twists between two pins!

https://youtu.be/oWmGZn36l10

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.pdf available from the 'Files' Tab on Lesley's Lace facebook page. You need to be a member to access these.

https://www.facebook.com/groups/907516516997481/files/files

Firework Flower

This Cluny style design with just a touch of Muaiga, was created while playing with a program on an ipad.  This is great fun to do but doesn't take into account the practicalities of a hand drawn original design where you can see the dance of the bobbins following their paths, the program is more of a 'chuck it in and see where it lands' sort of vibe.  Lines may line up, and make a beautiful colouring in mandala, but they cannot work out how bobbin lace needs to be made.  This causes some puzzling out to be done when working the first trial piece.

Good job I like the puzzle aspect of bobbin lace making!  A second puzzle was that I had 35 pairs of bobbins to put away, but I only counted 27 needed for the piece, maybe it was all the in and out short thread ends I was using up on this piece,  let me know what number you come up with, although this can vary according to how you choose to do your own bobbin dance.

I started by adding 'magic threads' in with the starting pins because I knew I wouldn't be able to get a needle or crochet hook into the start of plaits or windmills when it came to joining the ends to complete the circles.  These are simply 5-6 inch long loops of left over thread, preferably coloured, tied at the ends which are placed through the starting threads at the pins.  These are pulled out at the end, drawing with them the threads you need to pull through the pinhole to make the tie off.

There was a bit of plait joining going on at the end, so to avoid having lumpy knots along a plait, I took the threads along the plait with a bit of rolled edge technique, throwing out the threads one by one and finishing with a 'surgeons knot' using an extra loop fed into the last thread knot.

This is not a beginner piece, it doesn't follow all the techniques relating to a specific style of bobbin lace though I would say it was more akin to Cluny than Bedfordshire lace.  The main difference is in the crossings.  I prefer the crossings which don't take the pair into the passives one side and use the existing passives from the opposite edge to go out on the other side. I find this makes the trail have a spliced look.  The Cluny style crossing also leaves the actual passives in place, very handy if they are a different colour, being used to carry gimps or colours, or short threads. 

13.5 cm  -  27 pairs -  Thread 27 wpc equiv to Presencia Finca 30, Empress Mills Cotton 50s  

The square tallies were difficult for me as I am not well practiced in making these yet, so please forgive the irregularity of them!  The two threads for the square tallies can be changed for a different colour as these are independant of the design. They can also be changed for four pairs instead of two single pairs and made into a half stitch bud to fill the space.  The angle they come in from is wider on one side than the other, this caused a little concern but I'm sure with more practice, I could get them more even.

13.5 cm  -  27 pairs -  Thread 27 wpc equiv to Presencia Finca 30, Empress Mills Cotton 50s  

Techniques:- Cluny crossings, single and double thread picots, false plaits, Square and leaf tallies, windmill and complex crossings, raised and rolled tally in half stitch ground.  Magic threads recommended for joining at end. 

If you have difficulty printing this at A4 on your home printer, you can download the .pdf  at  Lesley's Lace Facebook Group look for the Files tab for this and other patterns.  

If you print at 'letter' size, the pattern will be a little smaller, but the tolerance is 13.5 to the outside of the picots, and it should still work with the same thread size at a smidge less than 13cm

Would love to see a picture of your finished lace on my FB page.

Print at A4

Print at A4

Seed Bead Strawberry

This unseasonal Strawberry was a little diversion for me. A change of pace to use big, coloured threads and play about with beads.  The challenge came in finding the right size crochet hook the right size to catch one pair of threads to draw through the seed bead, and secondly to go through the center of the seed beads.  My seed beads were from a random bag so I don't know what size they counted as but the were on the larger size for seed beads. The thread was a magenta crochet thread, the nearest I could get to a proper red but it paired up nicely with the soft peridot green I had.  

The 'pin under four' or 'two pair edge' makes it easier to sew the green leaves to the top but a standard two pairs twisted about the pin is still acceptable. 

I started at the top left corner, this allowed me to see where the threads went before adding more.  The ones which were happy to 'bounce' off the opposite edge went back into the ground.  Sometimes I had to look at both edges to see which was the most appropriate pair to use for this purpose.  Because this is not a true geometric shape, some artistic licence has to be used and the lacemaker has the final decision to make on pieces like this.  

This piece is worked from the back.

The seed beads were added at alternate pinholes, with one Torchon stitch being pinned between each.  I used single Torchon (ct,pin,ct) but in hindsight, I think a double Torchon would have given me a stronger and thicker ground between the beads. 

 If you choose to use sequins, only use alternate pinholes to leave room for a small sequin.

Tension on the beads is important.  Make sure that there is no slack thread on either side of the bead before working the next pin.

I ran the pairs in with the passives along a straight side to finish, easier to throw out a lot of pairs along a straight edge than all at once at the point. I sewed in the last few threads at the end.

Reuse 2 pairs of the bobbins rewound with green thread for the leaves at the top.  Two versions are available, either the plaited zigzag, or the leaf tallies.   The leaf tallies are worked continuously.  Work the leaf upwards, pin and turn to make a plait back down to the strawberry where a sewing is made, and onto the next tally and plait until the last one is made when you tie off the last plait into the strawberry.  

Techniques:-  Torchon Ground (single or double). Add plait or leaf tallies. Add seed beads. Take in and throw out pairs into the edge. Add beads to darker dots.   20 pairs for ‘pin under 4’ edge, 18 pairs for single pair around pin edge.  Shown is the 5cm Strawberry using Coates crochet thread no 20. using a 0.5cm crochet hook to add large seed beads.  

Dachshund, a little dog that just keeps getting longer!

The shape of this little dog took my fancy one day, and I was about to start filling the outline with my favourite Bedfordshire stitches then I thought, why not try something different?  Torchon didn't immediately spring to mind because it isn't a lace that lends itself to organic, fluid shapes, being based on a 45 degree grid 

The 'Adventurous' series of patterns I designed needed another project so this little dog volunteered.  The long, comedic shape of the 'sausage dog' gave me the idea to extend the body, and to have an insert which can be repeated multiple times to make the dog as long as anyone could possibly want.  A bookmark?  Why not make it long enough for a belt, or an edging?

This one was made with no 40 Crochet thread, I used a thicker thread than usual because I wanted to practice making a series of video tutorials.  Sequins and some sparkly gift tag cord was hunted out and the bobbins were wound.

I learn as I work and make the decisions where threads go as the pattern progresses.  I thought it would be interesting to include the choices, and why, when making a design for the first time. 

This pattern uses only a line for the outside edge trail.  The straight lines of the Torchon stitches dictate where the pins have to be along the edge.  As long as the outside pins are kept relatively equidistant, then the edge should sort itself out without the need for pin dots. 

The dots are dictated by the ground.  The ground pairs follow the grid and where they meet the edge, or need to be added/taken out, or turned to go back into the ground is where the pins go. This changes a lot on an organic shape and the Torchon grid does not allow for these irregularities so the lace maker has to make the choice.  The outer pin is placed as evenly as possible. I have not marked the pins on this piece because my intention was to show how a piece is constantly being worked out when made for the first time.

I use a 180gsm blue card which I find is easy enough to stab my pins through directly into the pillow without the need for pre pricking.  I like to make notes and mark alterations directly onto the card during working so I don't cover with the plastic film which is used to protect prickings in normal use. This also allows me to move pins about if needed.  The final prickings are usually drawn up after my first working but on this piece, you are seeing the first working being made. 

I decided that life really is too short to spend time on things I don't enjoy so videos are made in one take.  There is no excitement at the thought of staring at a computer screen for any longer than is absolutely necessary, so editing is not an option for me.  

It is hard enough trying to make lace and talk about it at the same time that I am figuring it out, for me to refilm it all over again for the sake of an odd blooper or two.  

Please do award yourself points when you find the bloopers, I see it as a novel way of seeing if you are paying attention and all part of the learning process!  I only have a mobile phone on an old camera stand and it sometimes obscures the actual work I am making!  

The full playlist of the Dachshund videos is here    https://youtube.com/playlist?list=PLtaX_I87zRKXiWEIGw5d68HzykZ8NuDJr&feature=shared

The .pdf is in the Files tab of my Lesley's Lace facebook group

This prints at A4