Back to the Classroom: Hungarian and Parisian Stitches

Needlepoint picture of a Boston terrier

I had prepared a number of visual devices for this class period. First, I had completed the bulldog picture with a background of the Parisian stitch. I used six related light greens in a random order.  I also demonstrated that the Parisian stitch can be used in a single color to suggest a texture as well. It is the stitch that has been used to make the strawberries in the basket and on the tablecloth in this little kitchen still life.

Needlepoint still life of a basket of strawberries

Hungarian stitch sample

The first stitch we made in the next session was the Hungarian stitch, a very old stitch from the Renaissance. It uses the same stitches as the Parisian stitch, but in a different order. If you are working on a sample along with this discussion, start a few squares further down the canvas than you did for the Parisian. You can always go back and fill in the missing full or partial stitches. Start with the short stitch over two threads or bars. Then do the long stitch which starts a thread above the short stitch and ends a thread below it, covering four threads. Follow it with a second short stitch. Skip the next square of mesh and leave it empty. This is vital. Your stitch pattern will not work without it. Repeat the cluster of three stitches plus an empty square of mesh all the way across your sample. In the next row, a short stitch goes below the short stitch in the row above. Skip the long stitch. Put a short stitch under the next short stitch. Start a long stitch in the empty square of mesh and end it a thread below the short stitch..Put another short stitch below the short stitch above. Skip the next square, leaving it empty. I have done this sample in two colors  (rose and light green) so that the pattern is easy to see.

Hungarian stitch variations

Hungarian stitch can also be used in other combinations. This sample shows it used, from the top, in strong contrast (red/white/blue), weak contrast (complementary colors of orange and blue in muted tones), and as a sample in variegated yarn. When you do separate samples of stitches like these, don’t forget to go back and even out your rows at the top and bottom with partial stitches in the appropriate colors. That is how you truly learn a pattern. I did not do that at the tops of these samples because I wanted you to know how many rows to drop down before starting the first stitch.

Close-up of eagle from "Firs and Feathers"

Hungarian stitch is one of my favorite stitches. It is effective when used in a solid color for the background to a picture, as you can see in this close-up from a much larger picture. I chose it for the forest sky because its double diagonals echoed the sloping profiles of the bargello “evergreen” trees, the subtle slant of the tent stitches, and the strong shape made by the eagle’s wings.

Doubled Parisian stitch

Both the Parisian stitch and the Hungarian stitch can be doubled. Just follow the pattern, but make two consecutive stitches each time. The doubled Parisian is shown in the pink and white sample.

This is an attractive pattern on its own for objects like glasses cases, cell phone cases, place mats, etc.

Doubled Hungarian stitch

The doubled Hungarian is shown in orange and yellow. Be sure to double the empty square each time, too. This is a bold pattern that works up quickly. If you are using it as a background, however, be careful that it doesn’t overwhelm the picture in the center. As a background, it is better done in softer, more neutral colors. Also, while the pattern is so regular that you could work all of the first color and then fill in the second color, I don’t recommend this if you are doing a background. I’m afraid you will get into trouble when you have to use short stitches or omit stitches to match up with your central figure.

Hungarian stitch "medallion"

Another thing that can be done with Hungarian stitch is to use it to make medallions like the one shown here, Start in the exact center of your piece of canvas, Make a single Hungarian stitch. Change colors and surround the single stitch with three Hungarian stitches on each side. (Sides will share some stitches.) The next row and color will have five Hungarian stitches; the next, seven. Repeat colors if you like. Proceed until the medallion is the size you want.

Medallion extended to a 4-way bargello

If you want a larger design, continue as far as you like. When you cannot make any more complete diamonds, make as much of each diagonal line as you can, then work the design into each corner of the canvas. Or stop when the medallion is as large as you want it to be and work the remaining canvas in a solid color in one of the tent stitches. In either case, you will have made a simple 4-way bargello pattern like the one at the end of this article. I’ll bet you never thought it would be that easy to make something that looks so complicated!

The last stitch for the session was the Hungarian diamond. Start even farther down your canvas for this one. Begin with the short stitch over two threads or bars. The second stitch is the stitch over four threads in the Hungarian stitch, The third stitch starts one thread above the second stitch and ends one thread below it, covering six threads. The fourth stitch repeats the second stitch and the fifth stitch repeats the first stitch — diamond made. Skip the next square of mesh. Repeat the pattern across your sample. In the second row, the 2-stitch goes under the 4-stitch above it, the 4-stitch goes under the 2-stitch above it, and the 6-stitch begins in the empty square. Complete the diamond and leave the next square empty, Continue as far as you can across the row, ending with a partial diamond.

Here is the pattern in two colors:

Hungarian diamond stitch in green and yellow

Hungarian diamond stitch variations

Once again, this pattern can be used in a variety of ways. This sample shows, from the top, strong contrast (red/black/ white), blended contrast (shades of green), plus a sample in variegated yarn.

Outline traced on a photograph

The students chose the background they wanted to use and filed their other samples. When they had worked for a while and I felt they could easily finish the background at home, we stopped. I showed them how they could make more realistic pictures of family pets or other animals. I used a photograph to show them where to draw the outlines that they would then trace on their canvases. I also showed them:

•  how back-stitching enhanced the picture,
•  how to put the reflections in the animal’s eyes,
•  how to put in the dots on the muzzle where whiskers emerge,
•  how to do the whiskers with thread, and
•  how to put a little shine on the animal’s nose.

Back-stitching need not be done in black. It can be done in either a darker shade or a lighter tint than the area being outlined.

The class looked at a group of pillows with bargello tops. They chose one that could be done in a variety of color combinations to learn during the next session. We adjourned. The Easter ladies stayed behind for a few minutes to discuss how to best use the animal pictures they wore making. I gave them some pointers for making and lining square Easter baskets.

Now, here is that 4-way bargello pattern. The background is done in basket-weave tent stitch.

Finished 4-way bargello, "Diamonds and Gold"

Remember that practice brings you closer to perfection.

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