Stitch of the Month
December 2004: Illuminations

by Ann Strite-Kurz

Main Road Map (click on image at right for a larger view)


All of the patterns include laid threads, and except for the Area 1 center band, these rows are all executed as Step 1 of the pattern. The general directions for laying tramé rows are found in the January segment so no additional instructions are needed for this step.

Area 1. Center Band. Main framework of four-way hot wheel units with two-way diagonal tramé rows tied with upright crosses.

Area 2 Bands. Horizontal tramé rows with Hungarian and cross stitch tiedowns. Four-way tent accents.

Area 3 Bands. Vertical tramé rows with oblong cross stitch tiedowns. Accents of horizontal hot wheel units and brick stitches.

Area 4. End Bands. Pattern couching in open traméd brick with secondary pattern accents.

Area 5. Lantern Handle. Counted outline of whipped back stitch. Traméd brick filling.


Introduction

With the exception of the filling in the hanger at the top of the lantern, all of the patterns used in this project are covered in the ANG Stitch of the Month program for 2004. Students can go to the appropriate monthly segments for the sequences required by clicking on links in this month’s text, so only the placements need to be modified to fit the lantern contours.


Instructions

After mounting the canvas in your preferred way, locate the center hole of the canvas and mark it. The top edge of the center Area 1 band is 2 threads below this marked hole. The design is started here since the remaining bands are arranged on both sides of this middle band.

The two overall charts provided show the bottom left and right sides of the lantern since this is the most comfortable position for working the bands. The vertical dotted line at the top of both charts identifies the vertical center of the design, so there is a slight overlap in the views. Rotate the canvas 180 degrees to add the top half but keep the charts in the same position. The round lantern handle is added to the top half of the design. It would not fit on the overall chart due to the size limitations of my computer printer so it will be shown separately in the Area 5 instructions.

 

Charted View of Lower Left Side of the Design. (click on image for a larger view)

Charted View of Lower Right Side of the Design. (click on image for a larger view)

Start each pattern along the left edge and count to this starting point from the center axis (marked on Area 1 with a vertical dotted line). The horizontal dotted line marks the top edge of the Area 1 pattern on both charts and the center hole of the canvas should be two threads above where the two dotted lines intersect. It is recommended that one horizontal basting line be added to mark this horizontal dotted line in both directions from the vertical center line. If a running stitch row of “over four threads, under four threads” is used, it will be easy to recount these threads. After Area 1 has been completed, the remaining areas can be placed by counting in from the sides of each completed pattern.

A view of just the Step 1 main frameworks of each area is included in the following two charts to assist you with these key placements.

Left Side View. (click on image for a larger view)

Right Side View. (click on image for a larger view)

Area 1 Pattern. This pattern is 96 threads wide. Instead of counting 48 threads to the left edge to start the pattern, the sequence for Step 1 can be started to the right of the center vertical axis since the sequence chart matches both rows. Please refer to the November SOTM segment for instructions on executing this pattern.

Color and Thread Key for Area 1.
Step 1. Four-way hot wheel units. Use Anchor #5 pearl cotton, #297 yellow.
Step 2. Diagonal tramé rows. Use Kreinik #8 metallic, #235 Red Embers, two strands.
Step 3. Upright crosses. Use DMC #8 pearl cotton, #321 red.

Area 2 Pattern. This pattern is 80 threads wide. It is also 8 threads shorter than the Area 1 pattern on both sides.

Color and Thread Key for Area 2.
Step 1. Horizontal tramé rows. Use Sparkle Rays, #SR49 Lite ChristmasRed.
Step 2. Hungarian units. Use Petite Very Velvet, #V657 gold.
Step 3. Cross stitches. Use DMC #8 pearl cotton, #321 red.
Step 4. Four-way tent accents. Use DMC #8 pearl cotton, #321 red.

Please refer to the March SOTM segment, Example 4, Variation II, for instructions on executing this pattern. Please note that there are 8 empty threads between the Hungarian units this time instead of 6. In addition, there are no brick stitch tiedown stitches in this version, but there are some cross stitch tiedowns in the second and fourth rows of tramé. Add these rows, using the horizontal paths suggested in the April segment for Pattern 1, Step 2.

Along the compensation edges, work the partial cross stitches from the outside corner towards the shared hole throughout the pattern. Along the left edge, start with the top stitch and then add the bottom stitch before you begin the regular sequence. Thereafter, start the crosses along the bottom edge, both to maintain an ideal tension and to conceal the traveling threads.

Area 3 Pattern. This pattern is 64 threads wide. It is also 8 threads shorter than the Area 2 pattern on both sides. Please refer to the August SOTM segment for instructions on executing this pattern. Rotate the canvas 90 degrees clockwise to have a more comfortable working position for laying the Step 3 rows. If preferred, Steps 1 and 2 can also be worked in this position but the charts show these as vertical paths.

Color and Thread Key for Area 3.
Step 1. Vertical tramé rows. Use Petite Very Velvet, #V657 gold.
Step 2. Oblong cross tiedowns. Use Kreinik #8 metallic, #235 Red Embers.
Step 3. Horizontal hot wheel units. Use Anchor #5 pearl cotton, #297 yellow.
Step 4. Brick stitches. Use DMC #5 pearl cotton, #321 red.

Area 4 Pattern. This pattern is 48 threads wide. It is also 8 threads shorter than the Area 3 pattern on both sides. Please refer to the February SOTM segment, Example 5, for instructions on executing this pattern. There is one additional repeat in the final project.

Color and Thread Key for Area 4.
Step 1. Horizontal tramé rows. Use Sparkle Rays, #SR49 Lite Christmas Red.
Step 2. Yellow brick stitches. Use Petite Very Velvet, #V657 gold.
Step 3. Red accent stitches. Use DMC #8 pearl cotton, #321 red.

Area 5 Pattern. The round hanger attaches to the top of the design and is centered above the narrow Area 4 band. A number of options will be offered for this treatment but the model uses the #8 yellow pearl cotton for the back stitched outline, and it is whipped after the inside filling is completed so that it appears smoother. The model also uses a red velour for the Brick stitch tiedowns and the laidwork is added to every other row instead of to every row.

Overall View of Hanger Attached to Top of Design.
(click on image for a larger view)

Color and Thread Key for Area 5.
Step 1. Back stitch outlines. Use Anchor #8 pearl cotton, #297 yellow (shown), or DMC #8 pearl cotton, #321 red.
Step 2. Tramé rows. Use Kreinik #8 metallic, #235 Red Embers.
Step 3. Brick stitches. Use DMC # 5 pearl cotton, #321 red, or Petite Very Velvet, #V631 Christmas Red (shown).
Step 4. Whipping of the back stitch outlines. Same thread choices as Step 1.

Sequence Chart for Back Stitch Outlines.
(click on image for a larger view)

Step 1 Outlines. Use the lettered back stitch sequences shown for both circle outlines. Only the first few stitches are lettered to indicate the stitch rhythm but the arrows are provided for the complete paths.

When executing back stitches along curves, sink the needle inside the traveling thread each time. This placement will nudge the thread towards the curve each time to hold the path behind the actual outline. This simple maneuver is easy to do if you leave the traveling thread a bit relaxed so that it can be pushed aside gently with an underneath finger as the needle sinks.

Even though the area between the two outlines will be solid, any leaning threads will tend to interfere with the laying of the Step 2 filling, so keeping the edges tidy is advisable.

NOTE. You may also use the #5 pearl weight in the same yellow to execute these outlines. In the heavier weight, these back stitches will not have to be whipped but the added density will make it slightly harder to place the inner fillings. In another lantern I used a similar hanger and did the back stitches in velour and the outline was smooth and round without whipping.

If the #8 weight pearl cotton is used as shown in the model, use longer lengths than needed and park the remaining lengths in order to add the whipping later with the same thread tail. After the whipping is completed, these thread tails can be secured in the backing on the reverse side.

Sequence for Traméd Brick. Steps 2 and 3. This sequence is covered in the January SOTM segment.

This small scale one-way couching pattern with horizontal laid rows will compensate easily within the soft curves of the circle. The arrangement produces a delicate but dense pattern that will cover the canvas completely. Since the couching stitches are staggered in alternating rows, a simple “bricked” pattern emerges that fits uniformly within the symmetrical shape. Refer to the overall pattern for the placements inside the circle.

Reminder. The laid rows for this pattern must be executed one at a time and then couched before the next row is laid. Because the couching stitches need to be tucked under the laidwork of the previous row each time, it is more comfortable to work this pattern with two needles in an alternating sequence. The laid thread is executed first in each row and is then followed by the brick stitch tiedowns.

Alternative Arrangement for the Laid Rows. This partial arrangement is shown in the view of the model. I particularly liked this variation with the velour but either option is attractive.

Alternative Placements.
(click on image for a larger view)

Start at the top of the shape and work the rows back and forth until the area is filled, using the placement chart of your choice. The split rows around the inner circle must both be completed before the lower section of the filling is added. Use one set of threads to work the top half of the filling and the left side of the middle section. Start a new set of threads for the right side of the middle section and the bottom half of the filling.

NOTE. Since the area is small, it is possible to start with double length threads and park half of each length above the hanger area. After the top half is completed, thread up these ends and weave in the established backing to the new starting points for the remaining sections.

In addition, place the two partial brick stitches along the top edge of the circle before the first tramé row is laid, as it will be uncomfortable to do this as an afterthought.

Step 4. Whipping of the Circle Outlines. When adding the whipping stitches, work from the inside out with the wrapping along the curves. The stitches lie better when they wrap towards the direction of the arc of the curve, and the shapes will look nicer as a result. On some of the longer stitches, a double wrap can be used, but be sure to tighten both wraps in the direction of the next stitch before moving on. The whipping will cover the dimples between the back stitches and make the outlines resemble stem outline, which I think forms the prettiest soft curves. Stem was not used to set up the outlines originally, however, because the loose back stitches made it easier to add the inside fillings.

This completes the Illuminations lantern and I hope you have enjoyed working some unusual one-way and two-way couching patterns in a complete project. Layered patterns offer an ideal way to blend a variety of textures and thread weights together, and the same composite patterns can be interpreted in a medley of other combinations to produce different effects. Changes in color, value, thread weights and/or textures will sometimes alter the dominances within a pattern as well, so perhaps you will enjoy playing with some other combinations. I enjoyed sharing these original arrangements with you and hope I have inspired you to consider some couching treatments for future canvas designs.

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