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This image was scanned from my private collection
TABLE OF CONTENTS
- Acknowledgements
- Preface
- History:
- Knotting
- Transition from Knotting to Tatting
- Tatting in the Americas
- Tools and Materials:
- Shuttles and Thread for Beginners
- Tools and Materials for Traditional Tatting
- Tools and Materials for Contemporary Tatting
- Accessories and Other Materials
- The Familiar Snowflake: HOW TO TAT
- Basic Techniques
- Variations on a Theme: Using the Shuttle
- Odds and Ends
- Three Projects
- New Ways: TOOLS AND MATERIALS FOR CONTEMPORARY WORK
- Improvising Tools
- Threads, Yarns, Cords, and Twines
- Ends and What to Do with Them
- Trimmings and Finishings
- Getting Down to Basics: DESIGN AND COLOR
- Josephine Picot and Other Knots
- Design Building Blocks
- Composite Circular Motifs
- Geometric Shapes
- Pattern and Texture
- Color
- Breaking the Rules:
- Variations in Rings
- Variations in Chains
- Three-dimensional Forms
- Tatting Combinations
- Adding Sparkle: BEADED FABRICS AND JEWELRY
- Mounting Beads by Using Picots
- The Traditional Way to Add Beads
- Tatted Motifs Around Large Beads
- Other Ways to Mount Beads
- Tatted Jewelry
- A Neat Package: FINISHING, MOUNTING, AND MAKING THINGS
- Handwork in a Machine Age
- Ways to Use Tatting
- Mounting Hangings on Dowels
- The Full Circle: CONTEMPORARY KNOTTING
- Bibliography
- Suppliers and Manufacturers
- Abbreviations
- Index
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Title: TATTING: the contemporary art of knotting with a shuttle
Author/Designer: Rhoda L.(Landsman) Auld
Format/Publication Date: HC:1974
Publisher: Van Nostrand Reinhold Company, NY
Page Count: 128
Book Dimensions(ht. x w.): 9 1/2" x 8 1/2"
ISBN: 0-442-20378-0
SUMMARY- Here's another rare hardcover for tatting. It covers a lot of experimental tatting, rather than more traditional uses, and has a very long section teaching the basics - but it's hard to see the stitches on the base thread in the black and white photos, so I'm not sure I'd recommend this book to a beginner other than as inspiration. It's not really a pattern book - though it has a few examples. It introduces for the first time(that I'm aware of) what the author refers to as a "Padded Stitch"(page 84). This entails adding 2 more "legs" to the stitch so that the bottom and top of the stitch are of equal width, eliminating the natural curve that develops as you string stitches together. Ms. Auld used this technique in rings, but it allows the tatter to make straight chains rather than the naturally curving ones best known to all tatters.
Ruth Perry(nom de plume: Rozella Florence Linden) later rediscovers it herself and publishes her work in 2008, labeling it "Balanced Double Stitch(BDS)" - referring to the effect that doubling the legs has.
Then Jane Eborall published work including this adaptation calling it a "Double Double Stitch" - referring to its extra legs.
I like Ruth Perry's term "Balanced Double Stitch", but any of the three terms would be correct at this point. Ms. Auld's book is less well known, but is important to the evolution of tatting for the free-spirited experimentation that Ms. Auld indulged in to demonstrate that traditional tatting could go places other than elderly ladies' parlors. If you are drawn to experimenting yourself, this is a good book to spark ideas and show where exploration has gone before. I highly recommend tracking down a copy of this book.
Judith Connor wrote an interesting article on Rhoda Auld's work: "The Vision of Rhoda L. Auld and Elgiva Nicholls"(The Bulletin, IOLI, Fall 2016)
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