Bavarian Lace in Needlepoint (hopefully)

Embarking on a new quest for knowledge, and I'm afraid gone a bit too far, as usual.

When I first decided to do the "ethnic" dolls in their national costumes, I noticed the beautiful lace insets on the aprons and sleeves of the German dirndl.

To back up a bit, I began replicating lace many years ago in needlepoint, but my facination was the Irish crocheted lace, as I had crocheted many pieces of it myself, so understood the construction. I especially enjoyed doing "filet lace," as you can see here in the top two pieces, in which a netting is worked with fillers in the "bump" stitches to create a pattern.

Bavarian lace is a bobbin lace, constructed down flat on a pillow, which produces a netting that is flled in with various patterns, but lies flat rather than having the "bobbles." I was amazed at the variation of the netting in the different regional laces, and that of different countries, and wanted to be careful not to make it look like the crocheted lace in my needlepoint things.

One of them has the same netting as filet lace, and others range from six to eight sided openings. So - my first chore has been to figure out how to replicate this fine netting on needlepoint canvas, which is an even weave scrim, and then to fill in a simple pattern - without making it look like crocheted lace.

I'm sure there are a lot of people out there who know a lot more about this lace thing than I do, as the construction of real lace has not been one of my studies over the years.

Anyway, what I finally devised as a netting has four pointers to show a fast and easy way to draw it onto canvas without having to count - or even to think, in this situation. That was a total struggle in the beginning, and I made some pretty awful mistakes with it. The canvas that looks like ladders is to show the quickest way to do this without having to count anything.

Next was the task of filling in a pattern of some sort to see if I could stitch it.











This is drawn with the light blue Sharpie drawing pen, as I intended to stitch it in white with a dark green "fabric" showing through. I like the second one best, as it shows "netting," which is the most difficult part of developing this thing. I have to keep reminding myself that's it's only to be a little band of lace on a small apron, but I enjoy the designing process and figuring it out. Oh well.


There are several mistakes here, as I was trying out different things - and the pointer shows where I decided I could make a scalloped edging by leaving out the two little stitches in that space.

Now I need to design an actual pattern to use, and although I never design on graph paper, I decided it would be easiest on this to have something on paper for doodling.




















I enlarged the drawing on canvas, (150%) printed out several paper copies, and that will be my practice page. Canvas is on the left, paper copy is on the right.

ADDENDUM: I used DMC cotton floss # 3865, which I like very much, as it isn't so bright white as the Blanc, and it lies nice and flat. The background is Vineyard Silk - "Holly" as I remember. (lost the tag) I tried perle cotton for the lace, but it was pretty awful looking for this due to the twist.

Developing Patterns for Needlepoint

While working on this project and getting more and more addicted to it, I realized that many people don't know why we designers charge such high prices for some of it - it takes a long time and a lot of thought and effort to get it right!

As the ideas keep coming and I keep working, I'm getting excited about the possibilities here with these conical shapes. I think this form, rather than the painted canvas version, started with some Murano blown glass trees I saw in the catalog from The Art Institute of Chicago. These images kind of "implant" in the brain.

Anyway - playing around today with the poster board cone and the white paper, I decided I needed to do something with "tinsel" swags going in a continuous diagonal line around the tree. The first photo shows a squiggly freehand line I drew. I had tried several things that didn't work, but we won't go into that now.

Bear in mind I was sitting up on my bed, watching a movie on the DVD player, so the line isn't perfect. Opening these things out is sometimes the fun part, as it's a big surprise.


It occurred to me that the curved lines appear to have their ends on a straight line, which would be great for making sure they connect at the right place on the back. So - out came the green marker and the straight edge - and Voila!!

Now to put it onto canvas with this as a guide. Obviously, the canvas will be oriented with the point at the top, and it will only require running a fingernail across to get the marks in the correct places on the edges. (I'll show it on Freebies, etc. when I get it drawn correctly)



Next, I decided to be clever and see what I could do with using my diagonal laces and trims of two years ago - so first I drew a series of straight lines parallel to the edges of the tree, as the laces were worked on the 45 degree angle of the canvas.. I didn't measure or anything, as this is just an experiment.


I couldn't believe what it looked like on the back when I put it onto the poster board cone!!

You can see that the lines are drawn straight and parallel to the edges. Again, I didn't measure anything - just random straight lines made with my plastic ruler.

Looking at this also gives me another idea - using my laces that are stitched on the horizontal and vertical. It can be done with a bit more time playing with paper and scissors.

I won't stitch one in lace unless I come up with something different, as this lace binge lasted quite a while - I first did that in the early 70's, and then again about 12 years ago. I'm all laced out and drained dry, but still love it! (However, I'm working on replicating Bavarian lace in needlepoint for another "ethnic doll" I have planned.)



















I'm showing the diagonal laces for anyone who missed them, as they were made in May, 1998. The diagonal "rollie" shows how well they translate for something like this. I went on to do mini-stockings with "jeweled" chains - all kinds of fun and glittery things. I have put the booklet of these at a discount price on Freebies, etc. for anyone who wants to try it.

Classic and Gorgeous Crochet and Cross-Stitch Patterns!

I enjoy lots of other forms of the needlearts, in addition to needlepoint. Crochet has been a great love of mine since I was a child, as long as it's the classic and traditional type patterns.

I have a blog post over on Freebies, etc. about a beautiful site with FREE patterns - crochet both traditional (with new twists and uses) and whimsical.

Also counted cross stitch patterns that I might even do although I don't usually enjoy that. This woman's photos are gorgeous.


I have collected Fillet Lace (crocheted) patterns for many years, just because they fascinate me - and I love adapting them to needlepoint.

A rug is shown that is exquisite, and I would never have thought of using it that way!!

Kreinik Metallic Threads: The Many Faces!! (a tutorial)

While going through my rather enormous stash of Kreinik metallics this morning - looking for something I can't find, of course - I was once again amazed at the variety of sizes, colors, finishes, and uses of this miraculous and wonderful thread. As I've said before, I refused to do anything "'Christmas" for many years, due to the fact that there was nothing to stitch with that would make them sparkle and glitter.

These days, almost everything I do has some kind of Kreinik metallic on it, as it is so very very versatile for embellishments and special effects.

However, watching blog stitchers from time to time, and talking to local stitchers, there seems to be confusion about what weight braid to use on which size canvas. Just the braid itself ranges in size from 4 to 32. (increases in increments of four ) Once again - COMMON SENSE!! If it doesn't fit the canvas properly, try another size. Normally, #16 braid fits 13 mesh canvas beautifully for tent stitches - but is skimpy for upright. #12 braid is for 18 mesh canvas in tent stitches and long, slanted stitches, but won't cover well for upright stitches - so one must simply use #16 braid. (Now that "ribbon" has been invented, I love it for the long, slanted stitches, and also for upright stitches, as it lies so flat on the canvas.)

Upright stitches are like bargello - and remember that we always increase the size of the thread for this, as we used 2 plies of Persian wool long ago on 14 mesh, but increased to all three plies for bargello and other upright stitches.

When I stitched the ornament, the ribbon was a new product, and it gave us a whole new dimension for stitching with metallics - I initially thought the 1/16" would work for 18, and the 1/8" for 13 - but actually, the 1/16" works quite well for both upright and tent stitches on 18 mesh canvas, which gives it a great versatility, as the same spool may be used within one piece instead of having to switch to the braid in same color. It's quite flexible in texture.

Here, the gold is ribbon, but I didn't have it yet in the teal, so used braid - #16, of course - and you can see how much flatter the ribbon lies - Also on the leaves around the center flower. The ribbon also eliminates a lot of the "dandruff" that is a problem (canvas showing through) with upright stitches.

The leaves on the Henry mini-sock were also stitched with #16 braid - pre ribbon - and you can see that they don't lie smoothly. However, at that time, there was no metallic ribbon, so I didn't know the difference!
The diagonal piece was designed and stitched after I started using ribbon, and the leaves - although the braid would have worked on the slanted stitches, are beautiful and flat with the metallic ribbon. This is my favorite green - #015 Chartreuse. Notice also how nice and flat the little mosaic stitches are as leaves for the red flowers - the mosaic stitches are outlined in tent stitches with a darker green #12 braid.

The gold, which works so beautifully with Petite Very Velvet and beads, is the 002V. I used #12 braid for this, as the Smyrna crosses and the tent stitches around the bead strand didn't really require ribbon - nor did the long armed cross stitch border. However, ribbon would have worked if that had been all at hand! More on this later.

The Kreink metallics aren't just about braid - they begin with blending filament and go through many many sizes of braid and ribbon, and also "cord," cable, and Japan thread, which have different looks and uses.

Stay tuned - we also have the new one - the "Holographics," which should be great fun.



ADDENDUM: I swore today that after a long week painting, and another yet to come, I would rest a bit and not think about work or new projects - but couldn't leave this one alone, as it's too fine not to think about! Sooo I got out the box and took pictures and played a bit.

The first photo is the new Kreinik Holographic blending filament - some wild and fun looking stuff!The second one is a few of the colors, illustrating the variety of "finishes" and looks just within one grouping of metallic threads - rather incredible. The arrows are pointing to the braid, and the really shiny stuff is the BF, and the other is 1/16" ribbon.

Normally I only use the #8 braid for surface embellishment, as it's too fine for tent stitching and outlining on 18 mesh canvas. However, I've had some "special effects" and embellishments in the back of my mind for quite some time, and this is what I need to accomplish it. Now I'll have to paint really fast this week and reward myself with some play time. Oh joy!!

DMC Floss 100%! (the Purple Ornament Finished)

I didn't like the way the Frosty Rays and Flair were looking on the flowers, as they were not the right texture to stand out against the background, so I eliminated that.

What DID work was the DMC Satin Floss (4ply), as it really shines, and stands out beautifully against the matte finish of the cotton floss.

Also, against the texture of the background being done in T-stitch.

Actually, the leaves are made with Perle Cotton, but could as well be done with floss. I like the subtle shine of this because of the "ropy" twist of the thread. It does make a bit of difference.

The larger flowers on the "lace trim" across the center were made with the same white Satin Floss, but in long, slanted stitches (4-ply), and slanted in different directions to give a bit of dimension to the petals of each flower. You can see this detail if you click to enlarge the picture.

For anyone who missed my little method of stitching with floss, I have used this for about 30 years, and found it extremely helpful in preventing the little individual plies from going astray during stitching. ESPECIALLY with the Satin Floss, which is rayon, and quite slippery. (but well worth the effort) Just take the labels off the skein, open it totally out (first removing all cats from the room) and then put the two ends together. Fold the long thread over three times and cut the looped ends. This produces a long thread, about 38" long or so, but cotton and rayon are both sturdy, and I haven't found it difficult as it doesn't fray. (This long thread doubled after you take off the plies you need, will be a working thread of about 19". It seems long, but is quite easily managed.)

Then take off two plies (for 18 mesh canvas, 3 plies for 13 mesh), double it, and thread the loop through the eye of the needle. Then put the ends of the thread through the loop, and pull a slip knot up next to the eye.



















This holds the plies securely, and once the stitching has begun, they will lie flat and not separate. If you make a mistake and have to undo a stitch - then you will have to cut off the slip knot. Oh well. It happens, but not often.

This ornament is extremely simple in design, but I thoroughly enjoyed working it, and didn't get bored - probably because of the four different color areas. It was fascinating to stitch just a little bit further and see how the color looked around the next band of flowers - which is one of the reasons I enjoy just drawing a design on white canvas and not painting it.

Ornament Progress: Before and After Beads!

It's rather incredible how different these two ornaments are when stitched with different threads and in different colors. Starting with exactly the same drawing on canvas!

The red one is coming to life with the addition of the beads, which glitter and sparkle in person. A close-up of this (click on it to enlarge) shows the basketweave on the flower petals done on every other row to accomodate the beads.

I could have used red beads, but am very fond of the way the clear, hexagonal ones look, as it 's more like ice crystals on the velvet of the background. The flower centers are DMC Satin Floss.

I drew another one for stitching with the pink and purple threads, as I don't like working on my own painted canvas - it's easier to see this way. The background stitch is T-Stitch, which has a nice but not overwhelming texture, and it's done with DMC cotton floss. I ordinarily use 4 plies, but in this case, I used 5, as it's on a white background, and the canvas is prone to show through with this stitch. Anne Stradal calls it the "dandruff effect," and neither of us is fond ot it. If I had worked on the painted version, I would have used 4.


As mentioned before in the previous post, the outline should always be stitched first, as it makes a clean, smooth edge - particularly when using a textured stitch like this. It gives one a definite place to start and stop - much easier and no ragged edges.

I wanted this version to contrast totally to the tree ornament red one, and I think it does. The cotton floss is matte, and the pearl cotton used for the leaves makes a nice, contrasting bit of shine, as does the Satin Floss on the flower centers. The petals are made with Rainbow Gallery Flair, and the large flowers will be made with Petite Frosty Rays, for a bit of difference against the background.

Again, if you missed it, the pattern for this ornament is on Freebies, etc., and is available for anyone to print out and use.

P.S. on this one: If I were stitching the "red" one with a white PVV background and red flowers, I would definitely use red beads on the flowers.

Prayer and Altar Rail Kneelers: chapter III

I haven't really a lot more to say about the St. Andrew's kneelers, but did want to show the rest of the pictures - at least the ones I didn't manage to erase from the memory card. I am not good with mechanical and electronic devices - and that includes my little Kodak camera. This, of course, is the center cushion - St. Andrew's cross.

I had forgotten some of the artwork on these - I don't like having everything totally matching, as it takes away the handwork aspect of the art, and would make it less personal. I do all of my drawing freehand - nothing by computer. ( I don't even know how to produce art by computer.) To explain this comment - I drew the original working master pattern freehand - but then traced it onto each canvas with my drawing pen. I never draw directly onto the canvas - that would create disaster. Big mess, etc.

This one has the two clusters of grapes on the right side, and the shield has the curled edges at the top. Some of the kneelers - such as the two end ones, have plain shields and only one cluster of grapes on each side. I finally remembered that this was done because they are shorter than the central 13 designs.
Bad light again here - I have no idea who this is - a chalice with a snake. My books are all packed in boxes in the garage, but it's worth looking it up, as I'm rather curious. There are a few others that I don't recognize, also

Another dark one, but if you click to enlarge, you can see it better. Again - I don't know who this is.

St. Matthew is obvious, with the open book.
When I arrived, St. Peter was displayed upside down - as someone didn't remember that he was crucified on an upside down cross. I turned the picture the correct way when I put it into the computer - but did turn it before I left the chapel. On this one, you can see the curled edges of the shield more clearly. This is all I managed to get home with - I'll have to do it again, but with a better photographer than I am, and some decent lights.

This is all for St. Andrew's - I'm waiting now for pictures of work I've done for Church of the Good Shepherd here in Austin, and also St. David's. The Celtic knotwork was delightful to work out! (St. David was from Wales)

Also, I think a trip to Tallahassee is justified (wooo hoooo!) to see my altar rail cushions at Church of the Advent. Those go all the way around the altar - and have curved corners so that they may be changed with the seasons. The main, recurring theme for those was the wheat and grapes - and I used native flora and fauna of the state that have religious symbolism - like the butterfly and the dogwoods.

Another Form of Lace!

This was a serendipitous find for me - as I was cruising around in Sharon B's PINTANGLE yesterday, I clicked on a blog under her list of "R"'s, and was amazed to find yet another version of the 15th and 16th versions of filet lace.

I have, off and on in the last few months, made a rather thorough study of lace and it's origins, as I'm intensely interested in replicating the look of the Irish crocheted lace - particularly their adaptation of filet lace, which originated in Italy and evolved from the Reticella to punto-in-aria to filet.

The Reticella was originally cutwork in which threads were pulled from linen fabric to make a "grid," and then a pattern was worked mainly with buttohole stitch. Later reticella used a grid made of thread rather than a fabric ground. Both types resulted in the characteristic geometric design of squares and circles, etc. Reticella then evolved into Punto in Aria, which did not involve using the fabric, but was constructed "stitch in air" to make the netting.

Adriana Ortiz, of Argentina, learned the art of RANDA from her grandmother a number of years ago - this term refers exclusively to the needlework originating in the province of Tucuman, and is one of the oldest of the crafts, which were brought by the Spaniards to the new world in the late 16th to the early 17th century.

Do go visit this blog, Randa - Handmade Lace, and enjoy! Her work is exquisite. I had no idea this had been done - from so long ago. As Michaelangelo said, "I am still learning." Learning is a good thing!!

The lovely white pillow is for the ring bearer in a wedding - gorgeous thing, it is!

A Few Days Off??

I am always amused/annoyed when people exclaim over my state of self employment: " You only have to work when you want to. How wonderful!" Well it doesn't work that way. I have no paid vacations, no paid days off, deadlines to meet, and other responsibilities whether I want to or not - and there are many many days that I would fire myself permanently if I could find a suitable replacement. About ten days ago, I decided to re-do one of my "create your own" type design patterns, and put it into e-pattern form for my web page. I spent four days in front of the computer doing text and layout - and got a bit carried away, producing a monster of 26 pages. Consequently, my back "went out" and I was laid low on the heating pad for two days. Then of course, I had to catch up on work that had been waiting. Finally done, three days ago I decided to take a two or three day break and just rest myself, watch trash on T.V., read, and stitch - basically enjoying myself with no pressure. Strangely, every time I do this, I seem to produce a volume of work - and actually enjoy it! Maybe I need a serious new way of looking at this design business thing. Anyway - what I have done now is to expand on two ornaments I did a while back (stitched) in my "jeweled chains" series and draw some new ones for Valentine's and Easter. This, of course, called for some serious stash diving after I had spent time re-organizing the bags and drawers. Had to dump it all out again and dig for treasure!!

These two mini-stockings are a little bit bigger than the one I have already shown on a previous post finished.
I don't know if I'll ever have time to stitch these things, but I envision all of them in various ways with different kinds of threads and metallics - beads, etc. The enjoyment of this design - the "chains" is that different fibers give them different looks. I have quite a few threads (understatement) from the distant past when I first started playing around with "jewels" - first on Faberge' crosses and eggs, and later on jeweled sea shells.

Next - an update on what I had intended to do on my "days off" - just stitch and finish the new Crazy Quilt ornament and an older "rollie," which I haven't yet picked up. Maybe tomorrow - as I just received a huuuuge package of gorgeous silk ribbon from River Silks, which I'm anxious to try. Self employment is good after all - I do have these options at times. The new "jeweled chains" pieces will eventually end up somewhere on my web page as "e-patterns" - the kind you download, print out, and draw for yourself onto canvas, dump out your own stash, and choose your own colors! However, this is another of my options - I will not destroy my poor back again by sitting here longer than I should - will exercise self discipline and a bit of good sense. (maybe)

Marilyn's Lace

I didn't realize until I was looking in my picture file for this piece that it is in keeping with the beautiful colors Sharon B. has chosen for us this month - of course I will refrain from telling Marilyn about the "discarded kitchen sink" palette.

Anyway, her latest project has been to do a "wedding pillow" for friends of her daughter's. I don't think the bride has chosen her colors, yet, but we thought that doing a rather understated and elegant piece would endure over the years - and is more likely to be treasured by any future offspring. Sometimes, as sweet as they are, a lot of hearts and bells and winding ribbons become a bit cloying in the general decor of the home, and they get relegated to a trunk in the attic. The couple's names and the wedding date will be machine embroidered on the back of the pillow after finishing is done.

I won't go into great detail about the lace again, as I have done this in previous posts labeled "Needlepoint Lace" - as well as it's being the subject of my article in the current issue of Needlepoint Now. It is just a simple matter of playing around with small elements to replicate the look of crocheted lace edgings. In this case, the "picot" edge with it's little bump stitches is composed of smyrna crosses. The size of the inner field is drawn in white paper, traced onto canvas, and the center marked - then, starting in the center, the lace is drawn and turned at the appropriate place on the corner. The threads used here are from Vineyard Silks - I really like the effect. We had to outline the initials to make them "entertwine." This effect is also possible to do on fabric by using waste canvas - I use the 18 mesh for narrow edgings. I simply mark the lace onto the waste canvas with the same black Pilot pen I use on needlepoint canvas - (or an ultra fine Sharpie in lieu of the Pilot.)

Beads and "Jeweled" Trims

This is another binge which began with my playing around with the laces and trims again, and trying out new effects with threads, metallics, and beads. These pieces are worked with a minimum of elements - just the Kreinik metallic, YLI ribbon floss, and Sundance beads - only the crystal clear #250 hexagonal. As the individual "bracelets" and chains are counted, I put them onto canvas first with a Pilot drawing pen - makes it much easier! I wanted a strong vertical element to offset the horizontals, so worked the ribbon floss up and over three threads. (Another happy accident: after the vertical lines were drawn, I realized the count was even (6), which made it possible to do this stitch.) It's absolutely amazing how different the ribbon floss looks. It is exactly the same thread from the same spool - on each the red and the white ornaments. Basketweave darkens and dulls the look, and the longer, flat stitches reflect the light in a way that lightens and brightens the area. I wanted the beads to be a subtle accent to add a bit of sparkle to the ornaments, so used them on the backgrounds as well as every other stitch on the vertical lines. The clear beads were applied on the red piece with red cotton floss. I am not pleased with the green "jewels" on the red ornament, as I think they add too much texture - but I'm short on patience for ripping out! I probably should have used the Renaissance Shimmer, as I did on the white one to make "turquoises." The effect of these threads, etc., is stunning - and brings to mind so many different things that could be done with them - rearranging, etc. on other shapes. I have now drawn a heart and an egg, as well as starting a set of napkin rings and a few more bracelets. The round one will probably go the "kissing ball" way. I have no idea what a kissing ball is, but the diaper pattern ornament was finished this way - over a styrofoam ball with shirring (moire) around it. The red one will, of course, have a beautiful tassel hanging from the bottom. On the diaper pattern ball, the red flowers are beaded, and you can see, again, the effect of the light on the YLI ribbon floss. Amazing! This little project will probably go on for a while before I get totally tired of it - as I can see also small things like scissors fobs and keyrings! Now - on to creating more patterns with "laces and trims."

The Rollies in Progress

"Haste is the enemy of perfection" said Beau Brummel (in the old movie starring Stewart Granger). I was really impatient to see what these things would look like - so wrapped them around a skinny rolling pin, and taped them on - wanting to see what the spirals would look like, and if they worked. They do!! The spiral trims actually meet at the right place on the other side at the seam - making a continuous line around the cylindrical shape. The red one isn't even nearly half finished, but is exciting, nevertheless. (the horizontal version of the lace and trims) I need to stitch the red around the flowers next - and then the flowers themselves, which will be worked in "bump" stitches in Kreinik metallic ribbon - a really nice, sparkling, shiny white with green leaves and yellow centers. These little "laces and trims" and "jeweled chains and bracelets" have many possibilities for design - I'm now seeing heart shaped ornaments done with the same elements, but different colors.

More Threads and Metallics and Beads!

It's amazing the different effects one can produce with the same thread, but different stitches. This red piece is another "rollie" which will be finished as a cylindrical shape to hang on the tree or maybe as part of a mobile at Holiday time. This time I used the laces and "bracelet" trims in a horizontal layout, so needed the vertical lines to anchor it. The red ribbon floss is identical, except for using the shimmer blend for the basketweave around the beaded bracelet - but due to the way the light plays on the long, flat stitches above and below, it looks much darker. I wanted the vertical lines to be rather subtle, so used my favorite crystal clear Sundance (color 250 hexagonal) beads with red thread - so that they will glitter as the ornament turns, but not be a different color. There are single gold tent stitches between each bead. Also - I chose to use beads on the bracelet, as the Leviathan stitch I normally use for this count was too lumpy and prominent for the effect I wanted. You can see on the detail the tent stitches on the warp threads, getting ready to insert beads on the weft - very simple for a small area, and it looks solid beads. I ran out of gold braid (Kreinik gold #221), so am waiting for more to arrive so that I can outline and stitch the flowers - and continue on down to the bottom. Meanwhile, in addition to the spiraling rollie, I have the little mini-stocking to work on. Again, I used the YLI ribbon floss, and stitched long, flat areas going in different directions. The way the light hits them adds to the surface interest. Just for fun - I used multi-colors for the beads. Red, gold, green, and blue - a kind of "confetti" effect. I had to just use white floss to apply them, as I wasn't about to use colored thread and have to re-thread the beading needle so many times. The ric-rac on the heel is made with the Kreinik 1/16" ribbon in green #015, which is one of my very favorites! It lies so nice and flat, whereas the braid would be a bit difficult. I'm not really sure what I will do with the heel and toe - will decide after I get the rest of it done. As for the name? Who knows? Maybe a family cat. Incidentally, if you click on the detail of the red rollie - the one with the warp threads stitched - and enlarge it, you can easily see that the weft stitches are left bare for the insertion of the beads. I wasn't able to do that when drawing the "chains" on the mini-stocking, as I left an even number of threads between them so that I could make the long stitches in opposite directions, and needed a center. The beads wobble a bit, and it is very annoying - but couldn't be helped.