Free Macrame Patterns & Projects, Macrame Knots

Macrame is a variety of knotted handwork that originated under the deft fingers of Arabian women, but now it may be found tied in the knots and fringes of every country. The needlework in Italy is fairly knotted together with it. Every little linen-shop along the Arno in Florence displays among its choicest wares bags both plain and embroidered with seams macramed together.

A favorite form for these bags is four-sided, pointed, with a tassel at the end. They are not unlike the ecclesiastical miter and no doubt the pious Italian needlewoman got her inspiration at high mass from the hat of the church dignitary. There are also long, rectangular pillow-covers that have ends banded by inset strips of macrame. Such covers are especially cool and attractive over the chaise-longue cushions in summer. Linen sets for the dressing-table, consisting of a long pin-pad that has an inch-wide macrame band uniting the top and bottom linen slip-covers and a scarf of the same material decorated by end strips of macrame, are among the practical articles that one may see. Even dainty caps for infants are macrame knotted of linen thread by the skilful Florentine.

This shows the band of meshing with the band of macrame below it. A second band of meshing must be worked to complete the width of the insertion.

The type of design that is possible with macrame is limited to geometric forms by the nature of the work, but the variety of patterns has only the ingenuity of the worker for its limitation. And their interest depends upon her critical spacing. A plan for the latter is, of course, impossible, but a very safe guide is this: avoid obvious divisions. If a band of macrame for an inset is to be made, plan it so that its width and that of the hem above which it is put are not the same, or the one just half of the other. Also avoid the obvious when spacing the pattern in the macrame itself. One may, however, go to the other extreme, getting in too much variety or not enough contrast between the widest and the narrowest spaces, and that means a confused effect. A preliminary spacing on paper of the whole decoration before beginning the actual work helps one to a clearer vision of its proportions.

The easiest way to learn macrame is by doing it, so the doing of the diagramed motif is here explained. Start with a four-inch length of cord for a foundation cord on which to work. Stretch it taut on a board or cushion. The latter should be stuffed solid and mounted on a wooden base. A cushion of that kind would, of course, have to be made especially for macrame work, and should be about eighteen inches long and ten inches wide, so that it will be possible to work large pieces on it. However, a smooth board and a dozen small tacks for securing the foundation ends do very well.

For the first practice piece of macrame any firm cord will answer. The special kinds are told about a little further on. When the foundation cord is fastened at each end "cast on" ten working cords each thirty inches long. The way to cast on is shown in a detail of the diagram, which also shows how each cord makes two working ends; so that with the ten cords there are twenty working ends. Stretch another cord below the first and knot each end on to it with a macrame knot, pulling them up close so that the second foundation cord lies against the first. The detail of the knot is shown in the diagram.

Each cord that is cast on makes two working ends. The two beads forming one macrame knot are shown on the second foundation cord.

Then comes a half-inch of "meshing". The knot that is used for this is also shown by a detail diagram. Four threads are used for each knot, making five knots horizontally across the work. When these are completed make another horizontal row below the first, skipping the first two working cords and omitting the last two. That will mean only four knots in the second row. Then there must be a third row, using all of the cords and having five knots across. This unit of macrame is, of course, intended to be repeated in order to make a band with it, and the meshing is then more effective. But for the saving of space only one unit is illustrated.

Knot used for the meshing as well as for the bar.

When the meshing is knotted its lower edge must be finished by a foundation cord. Then the point is reached where the macrame pattern may be made. Divide the twenty working cords into three groups, eight cords to each outside group and four in the middle. Make a bar of the four cords by knotting the two on the outside over the two in the center with the same knot that was used in the mesh. This simple knot, by the way, comes from sailor's cording, and they have given it the wise - sounding name of Solomon's knot.

Each group of eight cords is treated in the same way, therefore the knotting of only one group of eight will be explained. Divide it through the middle and take the inside cord of the four cords on the right in the left hand. Hold it taut and on the slant, and knot the four cords of the left side over it with macrame knots. The slanted cord is, it will be seen, acting as a foundation cord, but when one of the working ends is used in this way it is called a "leader".

Next use the inside cord of the group of four cords on the left for a leader, slant it toward the right and knot the remaining three cords of that group over it. Then hold the inside cord of the four on the right in the left hand again and knot the four ends of the left group over it. Continue working from one side to the other in this way until the work is the depth desired. In the picture of the pattern only five ridges of macrame were made. The bar of Solomon's knots in the center must be the same depth. The group of eight cords on the other side of it is worked exactly like the group just described, and then the macrame pattern is finished with a foundation cord, followed by a band of meshing, and still another foundation cord. The short working ends will hang below this last cord, but may be concealed inside the hem when the strip of macrame is applied.

A special cord is manufactured for macrame, usually from cotton. It is made four or more ply with an extra hard twist that is supposed to have the special virtue of bringing out each knot distinct. Such cord is very well where a harsh surface is not objectionable, but unless the work is heavy that quality is undesirable. Italian macrame is made of a linen cord (for fine work linen thread), which is firm but has a smooth surface and is so well finished that it does not rough up in the working. It is more satisfactory for the majority of work than the kind known as "macrame cord". Most embroidery-supply shops carry something similar to the Italian cord. Be sure to get a kind that will not fuzz in the handling, will remain round, and yet is not very hard-twisted.

But the use of macrame is not confined to household linens. Porch cushions, hangings for the mountain bungalow, and a cover for the couch all of burlap, arras cloth, or monk's cloth, would be transformed from the commonplace into draperies with character by wide bands (at least five inches wide) of macrame made with jute. Use the three or four-ply one-eighth-inch-thick jute and dye it either the same color or a color that is a pleasant contrast with that of the cloth.

In a collection of old-time bell-pulls, among the many of tapestry were several knotted in macrame with heavy silk cord. And in old English houses the shades are still drawn at night by a long-looped band of macrame made an inch or more wide of fine linen cord. Some of them, instead of looping up, end in a large tassel fashioned out of knots.

18th century Italian macrame patters, with simple, well spaced pattern.

For these tassels and, indeed, not only the tassels on English curtain bands, but tassels for every purpose and from every country, even those from Turkey and especially the elaborate Chinese tassels, all are sure to have the trefoil knot or some variation of it in their construction. The first diagram shows how to tie the foundation of this knot, and the arrow indicates where the working end must continue in order to make a little band like the second diagram. Each time that the original four loops of the knot are followed; around with the working cord it adds to the width of the band. A convenient way to keep it round and open is to work it over a lead-pencil, or a rod of wider diameter if necessary.

Caps for topping tassels can also be made with the trefoil knot. It is done just as the band was made, but allowing only one opening to form instead of two. And when both openings are closed a ball may be made. For little ball-drops slip a wooden bead inside of the balls for their foundation. The beads are washable and may be used in ball-drops for tea-cloths or other dining-room linens.

Showing how the trefoil knot is started.
An easy way to shape a band made from the trefoil knot.

Each petal for the tassel with the three-leafed cap is made with a trefoil knot foundation. The detail diagram next to the finished tassel shows how to start a leaf of the cap. Make the three leaves separately and tack them together with a few stitches at the top. The ends may be concealed by slipping them inside the cap. The cord of the tassel itself bring up through the opening at the top between the leaf cap, and for a finish slip a trefoil band over it.

The tassel part is easily made. Cut a stiff piece of cardboard as wide as the depth of the tassel and wind it with the linen, silk, or tinsel thread - whatever the tassel is to be - until there is enough thread on the card to make it the required thickness. Then slip a strong thread between the card and its wrapping, tie it tightly around the wrapped thread, and slip the latter off of the card. Tie the tassel again below the first tying, wrapping the tying thread about it several times, and then cut the bottom loops of the tassel.

A simple tassel with a three petal cap made of knotted cord. The small diagram shows how each petal is made.

The best effect in macrame does not depend upon elaborate and involved construction, nor upon the variety of knots in a piece of work. One is more sure of a unified whole if only one kind of knot is used to develop the entire idea surely never more than two kinds, and then one must dominate the other. A piece of knotting with many turns and twists is apt to be tiring instead of interesting. Simple construction, the introduction of not more than two contrasted textures, and well-related spaces go far toward a happy finish.

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