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Overview
Learn how to use your crochet hook to make delicate lace patterns with this illustrated guide. No previous experience is necessary; aspiring lacemakers will find all the basic techniques here, and experienced readers will discover new insights into the intricacies of filet crochet, motifs, and Irish crochet.
Crochet Lace presents full directions for more than ten projects ― including framed lace motifs, delicate gloves, and a bedspread ― as well as directions for using crochet to imitate other styles of lace such as Honiton and guipure lace. In addition to an extensive collection of traditional and modern patterns, the book offers practical advice and information on joining motifs, edgings, adaptation, and finishing. Color photos and easy-to-follow diagrams appear throughout this splendid source of instruction and inspiration.
"This is an extraordinary book! The most completely helpful book I have read and used on crochet. It is suitable for the absolute beginner and the seasoned crocheter. I highly recommend!" — Bartow County Library
Product Details
| ISBN-13: | 9780486802282 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 12/19/2014 |
| Series: | Dover Knitting, Crochet, Tatting, Lace |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 128 |
| File size: | 43 MB |
| Note: | This product may take a few minutes to download. |
About the Author
Pauline Turner is the author of many crochet-related books and articles. She runs an international correspondence course, The Diploma in Crochet, which has been adapted for use by the City and Guilds of London Institute. She is a founding member of the Knitting and Crochet Guild of Great Britain and the Chairperson of the Crochet Guild of America.
Read an Excerpt
Crochet Lace
Techniques, Patterns, and Projects
By Pauline Turner, Syd Cumbus
Dover Publications, Inc.
Copyright © 2003 Pauline TurnerAll rights reserved.
ISBN: 978-0-486-80228-2
CHAPTER 1
The Basics
The Basics
There are many ways of exploring the many different facets of crochet, but since this book concentrates on crocheted lace, I have chosen to look at the traditional beginnings as well as the more usual present-day techniques. Should you already be an experienced crocheter, you might like to try out the following instructions, which were originally given in The Enquirers Home-Book, dated 1910. The passage begins with what was required to produce crochet work, and then goes on to tell you how. If you are a beginner to crochet, the following section is for historical interest only; please practice the methods given from page 19 and on first, returning to these more complicated explanations when you feel more proficient.
"... Cotton, thread [presumably linen], wool or silk and a crochet needle are the materials required for crochet work. The long wooden and bone crochet needles are used for wool, while for cotton and silk short steel needles screwed into a bone handle are best. The beauty of crochet work largely depends upon the regularity of the stitches; they must be elastic, but if too loose they look as bad as if too tight. The work should be done only with the point of the needle; the stitch should never be moved up and down the needle.
All crochet work patterns are begun on a foundation chain. There are three kinds of foundation chains. The plain, the double, the purl. The plain foundation consists of chain stitches only.
Plain foundation chain: Form a loop with the cotton or other material with which you work, take it on the needle and hold the cotton, as for knitting, on the forefinger and other fingers of the left hand. The crochet needle is held in the right hand between the thumb and forefinger, as you hold a pen in writing; hold the end of the cotton of the loop between the thumb and forefinger of the left hand, wind the cotton once round the needle by drawing the needle underneath the cotton from left to right, catch the cotton with the hook of the needle and draw it as a loop through the loop already on the needle, which is cast off the needle by this means and forms one chain stitch. The drawing of the cotton through the loop is repeated until the foundation chain has acquired sufficient length. When enough chain stitches have been made, take the foundation chain between the thumb and forefinger of the left hand, so that these fingers are always close to and under the hook of the needle. Each stitch must be loose enough to allow the needle hook to pass easily through. All foundation chains are begun with a loop.
Double foundation chain: Crochet two chain stitches, insert the needle downwards into the left side of the first chain stitch, throw the cotton forward, draw it out as a loop, wind the cotton again round the needle and draw it through the two loops on the needle *draw the cotton as a loop through the left side of the last stitch, wind the cotton round the needle and draw it through both loops on the needle. Repeat from * until the foundation chain is long enough.
Purl foundation chain: Crochet four chain stitches, then one double crochet. In other words, wind the cotton round the needle, insert the needle downwards into the left side of the first of the four chain stitches, wind the cotton round the needle, draw it through the stitch, wind the cotton again round the needle and at the same time draw the cotton through the last loop and through the stitch formed by winding cotton round the needle. Wind the cotton once more round the needle, and draw it through the two remaining loops on the needle. The four chain stitches form a kind of scallop or purl.
The three types of chain. From bottom to top: plain foundation chain, double foundation chain and purl foundation chain.
Slip stitch: Draw the needle through the back part of a plain or double foundation chain stitch, or in the course of the work, through the back part of a stitch of the preceding row, wind the cotton round the needle and draw it through the stitch and loop on the needle.
Double stitch: Double stitches are worked nearly like slip stitches. Draw the cotton as a loop through the back part of a stitch, wind the cotton round the needle and draw it through the two loops on the needle.
The ribbed stitch: This stitch is worked backwards and forwards, that is, the right and wrong sides are worked together, which forms the raised ribs. Insert the needle always into the back part of every stitch. Work one chain stitch at the end of every row, which is not worked, however, in the following row ..."
It is interesting to see that the double foundation chain and the purl foundation chain are almost nonexistent now. The ribbed stitch reflects the crochet technique of that time by stressing the need to work this stitch in rows rather than in a round or a circle, which was more usual. The British term for this is single crochet. Later the use of this variation of a slip stitch as a stitch to form a fabric was rare. However, it is still used to give solidity to all beaded crochet and items such as purses and beaded crochet mats.
Twenty-First Century Methods
Since this book focuses on thread or lace crochet, I am concentrating here on the use of the finer threads in cotton, linen, or even silk and fine lurex. Remember, there is no right or wrong way to crochet – only good ways and bad ways. Once you find a method that gives you a high standard of work, stay with it and ignore any well-meaning comments from people who employ a different method.
Hooks
The hooks used for all the stitch patterns and projects in this book are those suitable for finer threads. These hooks are shaped like a stiletto. There are two main ways to hold a crochet hook: like a pencil or like a violin bow. Depending upon where you live, you will hold the hook either as shown above right, which is the way British people tend to hold the hook, or as shown below right, which is the way the majority of people living in Europe hold it. Both ways are commonly used in the U.S. Either way, one of the fingers of the same hand should be used as a stop to prevent the thread loop from sliding farther up the shaped part of the crochet hook.
If you discover that you are gripping the hook too tightly and clenching it rather than letting the hook just lie and flow with your fingers, you might find the hooks with handles easier to manage. Handled hooks are particularly suitable for anyone who is coming to lace crochet after working most of their crochet items in yarn. Equally, hands with stiff joints or other physical problems will find it less of a strain to work with a fine hook that has a handle. Only by experimenting will you know which kind of hook is right for you.
Threads
If you have crocheted before, please do not change the way you hold your thread. Hold it the way that you are used to, since this will be familiar and make thread crochet much more fun. Only attempt to change how you hold your thread if you are having problems with your tension. Fine cotton and linen threads do not have elasticity incorporated into them during manufacture; therefore, as you hold the thread, it needs to be taut and flow easily through the fingers, without hurting the hand. Yam, on the other hand, will become thinner if held taut.
There are numerous ways to hold thread or yarn. I find that I do not hold yarn in the same way as thread; I allow it to circle two fingers of my left hand instead of one. When working with thread, however, I find I get a better tension by holding it the more traditional way, which is to wrap it around the little finger once. Be careful you do not grip the thread tightly with the little finger or you could find you have tensed the muscles in your arm right up to your neck. This counteracts the relaxing, therapeutic effect of crochet.
Factors to Consider
Hook type: Choose the hook type carefully (see page 23).
Stitch tension: This should be even, since the lack of elasticity in the thread makes every little deviation noticeable.
Hook size: The size suggested in a pattern may not be the one you need to get the recommended tension. Do not be afraid to change your hook size to achieve the result you need for your project. The chart on page 23 gives recommended hook sizes to use with the different thicknesses of cotton. Use this as a guide only, not a rule.
Varied working methods: As I looked at many patterns over the years and helped others achieve even tension, one very important fact emerged. Not every designer keeps the loops wrapped around the circumference of the hook and holds the hook at a diagonal when working off the loops on the hook (see "Basic Stitches," page 24). Some designers bring the loop through to the front of the work and then lift the hook to a horizontal position to make the stitch longer. This can cause all kinds of difficulties when working in the round, causing what should be a flat motif to either frill or cup. If you have followed the instructions for making the different stitches as given in this book and then come across a pattern in which the designer has elongated the stitch, follow the instructions given in "Motifs," page 57.
Pressing methods: Block pressing makes cotton and linen pieces look better. Pressing for silk or any other fiber (thick or thin) is optional but I would usually advise against it. Crochet has a unique texture and pressing items using any fibers other than cotton and linen can destroy the textured finish.
Mercerized cotton: Most cotton used for lace crochet has an additional finish called mercerization. This is a process that adds luster and prevents fading. A mercerized cotton is difficult, in fact almost impossible, to dye. It is ideal for heirloom crochet.
Stress and tension: You may discover that if you are going through a time of stress, your crochet tension may alter. If this is the case, start another project that is smaller and can be worked on when you are tense. Leave your larger projects for pleasure and leisure—such as while watching TV, listening to the radio, or sitting in the garden on a warm day.
Selecting the Cotton and Hook
The higher the number given to a ball of cotton, the finer it is. Therefore, to purchase a ball of No. 100 cotton is to acquire a thread that is finer than the ordinary, everyday sewing cotton. Without going to a supplier of lace materials, No. 100 cotton is the finest you can purchase for crochet. Other thicknesses are available in No. 80, No. 70, No. 60, No. 50, No. 40, No. 30, No. 20 and No. 10. Some items and fashion designs call for thicker threads such as No. 8, No. 5 and No. 3, but these thicknesses tend not to be mercerized. You may also come across a muclvused term bedspread-Weight cotton. This is equivalent to No. 10 thickness.
When choosing a hook for the thread, the smallest crochet hook available is 0.60 mm (size 14) but you can often get a hook smaller than this from specialist lace suppliers. Another possibility is to scour the antique shops, garage sales, and secondhand stores for the very fine hooks made in the late nineteenth and early twentieth centuries.
When using mercerized cotton threads, linen, or silk for wearable fashion, you will need to increase the hook size to allow the fabric being produced to be softer and to drape well. The chart on page 23 is a generalization of what I recommend. I suggest you try the middle size first to see whether you wish the resulting fabric to be firmer or softer.
Thicker weights can be purchased but often these are used for heavier household, special-effect, and fashion crochet. Some of these cottons will be classed as soft cotton or knitting cotton. To crochet with these heavier weights, look in crochet books dealing with yarn and treat them as yarn rather than thread.
Basic Stitches
Having procured thread and a suitable hook, it is time to start crocheting. I suggest you use the largest shaped hook (cotton hook) you can get—a 1.75 mm (size 6) hook – with No. 10 (bedspread-weight) or No. 20 cotton.
It is impossible to crochet unless a loop is on the crochet hook. This loop is there at the beginning of your work and is still there when you come to fasten off, and it is never counted as a stitch. When the loop is first placed on the hook, it is called a slipknot. There are two ways to make a slipknot. In the first method, the tail or short end tightens on the hook and in the second the thread coming from the ball tightens on the hook. I find the first method the most useful, since it enables small motifs and buttons to be made without a central hole. It also has the advantage of hiding the little knot left at the beginning of the work because it can be tightened enough to slide into the first stitch, avoiding any ugly lumps. Occasionally, you may find you prefer to have an immovable knot and to achieve this make the slip knot as shown opposite but substitute "thread from the ball" for "tail end."
Now let's discuss the stitches. There are three basic stitches from which all other stitches and stitch patterns arise. These are the chain, single crochet, and double crochet stitches. The chain does not need to be connected to another type of stitch, while the single crochet attaches itself to other stitches but does not wrap the yarn around the hook before being inserted into the work. The double crochet is the basic stitch that wraps the yarn once around the hook prior to being connected to other stitches. It can be made longer by wrapping yarn around the hook more than once, or shorter by missing one of the processes when removing the loops—this is the half double crochet, which falls between the single crochet and double crochet in length. Basic double crochet is twice as tall as the single crochet and therefore requires more chain to lift the hook to the top of the row.
You will also need to be able to work slip stitches. These are normally used to link a stitch or group of stitches to another point, such as when working in the round, but slip stitches are also used when you want to carry the yam across a few stitches.
Clusters of stitches can be used to form soft texture. In thread work, you may need as many as five unfinished double crochet in one stitch for the texture to be noticeable. The stitches chosen for the clusters may well be taller than those used to create the row itself, so any turning chain in a row containing clusters should be the number required for the general stitch the row contains. Often clusters are used to work inverted shell patterns when the base of each long double crochet being worked would use a separate stitch in the row below. In this section, the symbols for each crochet stitch are given next to the headings.
Slipknot
1. Place the tail end of the yam over the main length of yarn to form a loop.
2. Continue wrapping this end over the ball end of the thread and behind the circle you have made,
3. Insert the hook under the single thread that has materialized, as shown in diagram A below.
4. Pull the hook upward to tighten the loop on the hook. At this stage the loop rarely fits snugly on the hook, but a tug with the short end will tighten it to the size required.
Chain (ch)
1. Make a slip knot on the hook. Notice that one side of the length of chain resembles an embroidery chain while the other side resembles a cord. It is the side that looks like embroidery that should face you when working into it.
2. Put the yarn over the hook from back to front as shown in diagram B below.
3. Draw this yarn through the loop already on the hook. You have made 1 chain (ch 1).
4. Continue making chain stitches until you have the required length.
Slip Stitch (ss)
1. Insert the hook into the chain stitch, picking up 2 strands of yam as shown in diagram A below.
2. Wrap the yarn over the hook (yo) as you did when making a chain. See page 25.
3. Draw the thread through all the loops on the hook. You have made 1 slip stitch (1 ss). A slip stitch can be used to join a length of chain into a ring; see diagram B.
Single Crochet (sc)
1. Work a length of chain containing 1 chain for each stitch for the first row plus 1. This is for use as a turning chain.
2. Make sure the smooth side of the chain is facing the front.
3. If you are making a household item, insert the hook from front to back into the third chain from the hook, picking up 1 strand of yam. Alternatively, if you are making a fashion item, insert the hook from front to back into the third chain from the hook, picking up 2 strands of yarn as shown in diagram C below. Turning chains are counted as the first stitch unless your pattern tells you differently. They are the 2 chains left prior to working the first single crochet.
4. Put the yarn over the hook (yo) and draw through to the front.
5. There are 2 loops on the hook, yo, draw through the 2 loops as shown in diagram D on page 27. Remember, all stitches begin and end with a loop on the hook.
6. Although only 1 single crochet has been made, there are 2 stitches completed because of the turning chain. The next single crochet is worked in the next chain, with no chains missed. Continue working 1 single crochet in each chain until all the chains are used. The number of stitches worked should be 1 less than the number of chains you started with, including the turning chain.
7. At the end of the row, chain 1 before turning the work, as shown in diagram E. This is to lift the hook to the top of the next row. You may have noticed that the crochet hook sits on top of the stitches and does not go through the center of them. Therefore, you must lift the hook to that position before commencing the next row or round. Turning chains are the way to achieve this.
(Continues...)
Excerpted from Crochet Lace by Pauline Turner, Syd Cumbus. Copyright © 2003 Pauline Turner. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
Contents
Introduction,Crochet Patterns,
My Conclusions,
Chapter One: The Basics,
Chapter Two: Filet Crochet,
Chapter Three: Motifs,
Chapter Four: Joining Motifs,
Chapter Five: Irish Crochet,
Chapter Six: Crochet Imitating Other Types of Lace,
Chapter Seven: Edgings,
Chapter Eight: Adaptation and Finishing,
Index,
About the Author,