Нина Григорьевна Либин, автор техники БИНИЛЬ, выполнила авторский перевод моей статьи об АНКАРСе на английский язык и любезно разрешила мне разместить этот перевод здесь. Познакомиться подробнее с творчеством Н.Г.Либин вы сможете на ее сайте http://www.beanile.com

By Rina Stepnaya
In 1991 Angelina Rozanova graduated from a three-month tatting course while her daughter Ekaterina (Rina) Stepnaya was learning it in a correspondence course.
A. A. Rozanova started teaching tatting in the same year (1991), and Rina Stepnaya opened her first class in 1992 at the club “Vstrecha” in the Moscow suburb of Novo-Peredelkino. (‘Vstrecha’ is Russian for ‘getting together’ or ‘gathering of friends’.)
The students were from the same neighborhood, and after graduation they kept coming to visit, and to exchange ideas and plans. Soon they formed a creative group.
In 1996 the group became known as Art Studio “Kruzevnica” (Russian for Lacemaker’), and in 1998 they changed their name to Art Studio ANKARS.
In April 2001 Art Studio ANKARS received recognition from the State and was awarded the honorable title of “Narodniy Kollektive.” (‘Narodniy Kollektive’ is Russian for a ‘popular, commendable group in a specific line of work.’)
Almost immediately we started innovating classic patterns, and eventually worked out our own versions.
Naturally we came across numerous problems. One of them was the correct way to position and move the hands. It needed a new approach and a new solution.
Instead of traditional cotton threads we tried working with different materials, used thin slick (glossy, smooth) synthetic threads; now we call them ANKARS threads. Very soon they became our major material, and made us revise and change our tatting technique.
Two directions in ANKARS:
My interest in specific types of thread (we call them ANKARS threads now) was based on practical need. Frivolite is beautiful, but not very marketable. To sell a tatted collar or a doily and get an adequate price for multi-hour work seemed hardly possible.
I faced a problem: on one hand I fell in love with frivolite, and wanted to continue tatting, designing new patterns, and teaching. On the other hand I needed to earn a living doing what I loved. Many of my students were in the same position. So we decided to focus on jewelry. As apparel, jewelry has permanent place in life.
Women enjoy wearing jewelry, men admire it and buy it as gifts, and boutiques sell it. In a word, the solution to make only jewelry (exquisite and exceptional) seemed and proved to be right.
ANKARS threads allow tatting the foundation in a variety of colors, creating lace that immediately brings to mind jewelry.
Thus appeared the first ANKARS rule:
The knots of the tatted foundation have to replicate filigree, and to look like pliable metal wire, not knotted thread.
My mother (Angelina Rozanova) was a very talented person. She could create a masterpiece based on a tatted collar just by decorating it with seed beads and beads.
She used to work with the same pattern again and again, adding and removing elements, changing the stitch count in the same element, and so on.
The result was always perfect. And I have to admit that my part in preparing patterns and diagrams for her projects was not too extensive.
I choose a different approach, designing my own patterns, creating new elements, varying them within the same collection, but not using the same pattern for the next collection. That principle defined my style in ANKARS.
The difference between our approaches was also in aspiration:
The works of Angelina Rozanova are museum-quality collectable works of Art meant to be displayed behind glass and admired; something in the category of pure Art.
I considered the commercial aspect and thought of our (mine and my students’) works as wearable Art meant to be purchased and worn. This led to a different attitude in terms of the supplies we used, and the level of durability of our work.
To elaborate: if a necklace was meant for a museum display case the comfort of a person wearing it was not very important.
In our approach the strength of the foundation and steadiness of the attached decoration was very important; so we took those factors into account, and paid close attention to the comfort of our future customers to make sure the back side of the necklace was smooth and not scratchy.
The third issue was the practical ‘how to’ process. If your work is not meant to be sold, you can spend years working on the piece of Art, enjoy the process and be rightfully proud of the result. But how can you put a price on the work that took years to complete, and what would be the right price, and what is the chance that someone would be willing to pay it?
This consideration made me develop the method that allowed one to create beautiful jewelry in a shorter time.
What is ANKARS?
We continued improving the technique, and developed various ways to decorate the tatted foundation.
A. A. Rozanova employed the principles of bead embroidery.
I concentrated on developing the general rules on how to calculate pre-stringing seed beads in such a way that it would work for patterns of any level.
Both methods were later used in creating ANKARS projects.
Very soon our works started looking very different from traditional frivolite. People (even experienced tatters) kept asking us about our technique and its name. It was definitely the time to name our method/style, and we decided on “ANKARS” the abbreviation of our first and last names: A. Rozanova, E. Stepnaya, and A. Safonova.
Anjella Safonova graduated in the early 1990s from one of the first three-month classes taught by A.A. Rozanova, and some of Safonova’s original works were included in the ANKARS course before the technique acquired its name; that is why her initials are included in the abbreviation.
The word/name “ANKARS” appeared in 1996, but the technique was developed earlier, and the first projects were made in ANKARS technique around 1994.
So what is ANKARS Technique?
In our 1996 definition we have described it as “highlighted decoration of a
shuttle-tatted foundation,” meaning that all the details are covered with the words “highlighted decoration.”
In the following years the technique kept developing and including new ideas, specific expertise, new elements, and original ways of tatting foundations and decorating them.
It led to heated discussions between A. A. Rozanova and myself, and since we were both right in regards to our particular methods, ANKARS split and evolved as two styles using different supplies, including original elements and ways to apply decoration, but with the same approach to maintaining a high level of work.
In the same year (1996) we decided that both methods are valuable and each has its merits, so we (A. Rozanova and I) adjusted our teaching programs to concentrate on the specifics of each course. Since then we kept working successfully with our two methods effectively complementing each other.
With years of experience (creating new pieces and teaching) we realized that the initial definition of ANKARS technique was too limited. Therefore speaking strictly about technique I’d like to include the following:
To create ANKARS jewelry we use shuttle tatting, bead tatting, elements of both bead embroidery and traditional bead work, macrame, and original elements and technique developed by ANKARS designers.
Once again I want to mention that now there are two methods in ANKARS (by Rozanova and by Stepnaya) plus numerous original ways developed by our graduates – new masters of ANKARS technique.
At present the works of ANKARS masters look further removed from tatting than at the beginning (some twenty years ago), and the difference lies in technique: innovative methods, new elements, and a new approach.
Library of Original ANKARS Elements
A huge project to compile the “Library of Original ANKARS Elements” is now in the planning stage.
Translated from Russian by Nina Libin.


-1 #33 Рина Степная 05.09.2018 10:08

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0 #30 Рина Степная 23.11.2017 21:48
Спасибо. Но не надо учить меня копирайтерству. На самом деле мои статьи, опубликованные на этом сайте, абсолютно уникальны в том смысле, что написаны лично мной. Именно эти МОИ статьи или фрагменты из них растащены по всему интернету и опубликованы где со ссылкой на меня, а где и без таковой. Как и само слово АНКАРС - представьте себе, это тоже авторское название. А теперь введите это слово в поисковик гугла. - Ну как? Очень уникальное получается слово?
Я достаточно хорошо знаю русский язык, чтобы прямо сейчас сделать свои статьи вновь уникальными с точки зрения гугла. Но не вижу в этом никакого смысла, потому что очень скоро их опять растащат те, кто безо всякого гугла прекрасно знает дорогу на этот сайт.
Это - цена известности. И я плачу ее безо всяких обид, такова жизнь.
Зато работы, представленные на сайте, остаются уникальными. Поэтому у сайта уникальный контент.За которым на сайт вне зависимости от мнения гугла приходят посетители.
И, что интересно, в поисковике гугла этот сайт находится на первой странице, - вы заметили?
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0 #24 Рина Степная 06.05.2017 21:00
Я не поняла ваш вопрос - "But, what in regards to the conclusion? Are you certain about the source?. " Возможно, это связано с тем, что я пользуюсь автоматическим переводчиком. Мне непонятно, о каком выводе и о каком источнике вы спрашиваете?

I don't understand your question - "But, what in regards to the conclusion? Are you certain about the source?." Perhaps it is because I use an automatic translator. I wonder what kind of conclusion about the source of what you ask?

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