Friday, July 11, 2014

A Freeform Look at Classic Crochet, Creative Crochet Lace by Myra Wood

A Woodworks Editions book
www.myrawood.com
isbn-13: 978-0-9800182-9-5
first publication in 2008 by Woodworks Editions
Text and Photography copyright 2007 Myra Wood

This book takes a different approach from other crochet books. It doesn't give strict patterns. Instead it gives you an overall guide on how to creatively crochet. It inspires you to enjoy and get lost in the process of crocheting instead of focusing on the finished product. Although the finished projects can turn out quite well. I really like the instructions on the 5 variations of freeform crochet lace.

Acknowledgements

Table of Contents

Freeform Crochet Lace (abbreviated FCL)

Laying the foundation p. 7
  • "Freeform is one of the more creative aspects of crochet,...no planned instructions and no written patterns." Her "approach is more a fluid process than a set of specific A to Z steps." 
  • She "encourage you to collect and study as many crochet stitch guides as you can...[to] include in your work." She keeps a file of new stitches and lace pattern "recipes". "
  • Freeform is all about experimentation and variety." "FCL is ...another way to crochet using different combinations of stitches with openwork spaces between the solid stitches and motifs."

A Bit of History p. 9
  • She recommends "The International Art and History of Crochet, A Living Mystery" by Annie Louise Potter
  • Actual origins of modern crochet still disputed but crochet is centuries old.
  • Nun's lace 1600s in Italy and Spain
  • Poor Man's Lace mid 1800's
  • 1850's, Irish Crochet
  • by the turn of century a popular pastime
  • 20th century "modern crochet"
  • 1970's freeform crochet
  • "The Crochet Workbook" by James Walters and Sylvia Cosh 1989
  • Some notable artists; Prudence Mapstone, Margaret Hubert, jenny Dowde

What is Freefrom Crochet Lace? p. 11
  • "doesn't really have any rules but youdo need a basic understanding of crochet stitches, attention to the overall color of your piece and a sence of the general design." 
  • "relaxing and pleasurable process." "It's all about the journey and the endless discoveries possible." [Don't] "get caught up in wanting to see what it's going to be, ... let go and follow your fingers,...
  • "FCL is more of a mind-set than a specific plan to follow. I'll often have an idea of what I want to create,.... but I have no idea until it's done what it's going to look like."
  • "I loved the act of hooking yarn but I was bored to tears following pattern instructions."
Freeform Crochet Lace as Art and Self Discovery p. 14
  • "Freeform allows me to experience the wonder of fiber art at the same time that I'm doing a craft...."process versus product."
  • "one of the main obstacles...is being too critical of their work....While..crocheting, take it one stitch at a time and reserve any judgement about what your are doing."
  • "Lose yourself in your crochet...just allow yourself to watch what you are doing instead of making any decisions about its worthiness."
  • "a form of impressionism and expressionism."

Materials and Tools
Yarn and Thread p. 16
  • SABLE- Stash Acquired Beyond Lifetime Expectancy
Crochet Hooks p. 17
  • crochet hook addiction
  • Hold hook firmly but not too tightly and stretch your fingers at least once an hour, clench & open
Templates p. 19
  • general plan for sizing using paper or fabric to pin crochet pieces to
  • can tape template to large piece of cardboard
  • can make by tracing a garment
Work surfaces and lighting p. 20
firm, flat surface,
good daylight/full spectrum bulb

Other Useful tools p.21
  • small scissors, tapestry needles, safety pins and/or plastic stich markers, 
  • 2 gallon clear plastic zipper bag to transport WIP (Work In Progress) and store UFOs (Unfinished objects). FOs (Finished objects.)
  • dress form just a tiny big bigger than you

The Five Styles
Where do I start? p. 23
  • Find a lace stitch you love in a stitch guide and work a few sets of the lace pattern to get a feel how lace patterns work.
  • "Decide ... how tight or loose you want the fabric to be and then keep it consistent as you go."
Five styles of freeform crochet lace p. 26

Funky Filet p. 28
  • Based on filet crochet
  • Funky filet top
Doodle Lace p. 32
  • Start in center doing basic crochet stitches randomly in a flat circular method.
  • Doodle Lace Cape
Tossed Salad p. 36
  • "crochet rows done in succession with yarns, yarn colors and stich patterns changin randomly every few rows to create a varied and usually wild fabric." 
  • "or changing stich paterns and continuing the same yarn throughout"
  • "change stich patterns only at the beginning of a row."
  • Tossed Salad diagonal top
Wild Irish Crochet p. 40
  • She adapted this "from the popular method of crochet lace making developed in Europe in the mid-1800s called Irish crochet."
  • "various motifs are made first, placed randomly, and joined with a series of chains to create the mesh, just as in the traditional Irish Crochet."
  • Wild Irish Crochet tunic
Organic Lace Scrumbling p. 44
  • "usually done with one yarn or one type of yarn."
  • appears to be a series of random lace pieces attached together to fill a template.
  • Dress forms can be bought or made
  • Organic Lace Scrumbel Duster
Design p. 52
  • consider the overall sense of completed piece
  • stitch size, hook, yarn or thread
  • color, practicality or not.
  • stitch and motif size variations to get better flow, random look
  • one main color or yarns with slight gradation of colors, variegated yarn
  • repeating same motif
  • even edges versus random edges, asymmetry

Some Finishing Touches
Flowers and leaves p. 54
Surface crochet and ruffling p. 55
Beads, trinkets, charms and bells p. 56
closures p. 56

More projects p. 59
tops, skirt, vest, blouse, shrug, lace cuff, pillow, lace scarf, shoulderbag, 

Artist Gallery p. 81
Margaret Hubert, Prudence Mapstone, Bonnie Pierce, Mitsuko Tonouchi, Jenny Dowde, Dawn Jeffory Nelson, Jennifer Hanson (Hairpin lace), Pirkko Vega

Resources and bibilography p. 98
About the author p. 100

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