Fool the Eye: Illusions in Textile Art

Three Early American quilt designs

What are "optical illusions"? They are patterns that fool the eye into seeing things that are not really there. These include 3-dimensional objects that appear to extend out from the canvas, “hollow” spaces in the canvas showing depth, textured surfaces, and interwoven areas where sections appear to pass over and under each other. Some optical illusions can be traced back to Early American quilt blocks.

When European settlers came to America, for a long time they were dependent upon supplies of cloth shipped in from Europe.  Therefore, everything needed to be made to last as long as possible. When a garment was no longer wearable, any usable pieces were cut out and saved. When a new garment was made, all fabric scraps were saved. When enough scraps were accumulated, they were sewn together to make woolen quilts like the ones seen here.

A popular pattern was the one shown in blocks on the first quilt in this trio, which was called the "Nine Patch". If you look closely, you will see that each block is made up of nine small squares.  It is an easy beginners' pattern. With the instruction of a patient and loving grandmother, I learned to sew a simple seam and made a little Nine Patch quit for my doll when I was about four years old — and I have been sewing ever since. The second quilt is also composed of small squares, arranged in larger squares which are placed in a diamond configuration. This pattern was commonly called "Sunshine and Shadows". As quilters became more assured (and more competitive) they began to use more complex pieces and designs, like the third quilt shown here, made with sharp diamond-shaped pieces. This is one of many "Star" designs.

Tumbling blocks

Well, these are very pretty, but they don't "fool the eye". This one, called "Tumbling Blocks" does. It forms an illusion still used broadly today.

It appears that you are looking at a surface that is further away than the surface of the canvas. Your eye moves back and forth from blocks that appear to be pointing upwards and acting like stepping stones to blocks that appear to be pointing downwards and coming out of the surface toward you. The effect is achieved by using a bright yarn, a dark yarn, and a light yarn of the same color. The sample was done in longstitch (upright Gobelin) on a #7 mesh canvas. The edges are so sharp that back-stitching is optional. The finer the mesh this is done on, the more distinct the illusion will be.

A tumbling block design in longstitch

The next example shows the illusion of depth. It appears that you are looking down at a surface that is farther away than the surface of the canvas. The pattern starts with a network of light-colored diamond shapes. One of these has been filled in with successively shorter rows of successively darker shades of the yellow color. The darkest shade forms a solid diamond that our eyes tell us is the bottom of a 3-dimensional space. The more layers of color that are used, the deeper that the "box" or "room" appears to be.

Another needlepoint illusion

This illusion is made by making rows of zig-zag pointed patterns which meet only at their highest and lowest points, which are staggered from one row to the next. This leaves small blocks of canvas in between the rows. Since the rows are off-set slightly, the empty blocks are not diamond-shaped as one might expect. These parallelogram-shaped parts of the pattern are sometimes called "lozenges". These are used frequently in bargello patterns.  The odd numbered rows are identical to each other. The even-numbered rows are identical to each other, but slightly different from the odd-numbered rows. This causes the "lozenges" to point to the lower right in one row and to the lower left in the other.  Would such a construction be possible in three dimensions — say using shoeboxes?

The illusion below appears to show two flat striped ribbons twisted around each other.  Notice that the bottom edge of each ribbon is slightly lighter than the matching top edge.  The sample is done in long, straight stitches. It would be a bit more difficult to chart and work in tent stitch, but the illusion would probably be more distinct.

Follded ribbons in longstitch

Bachelor's puzzle construction steps

Here is a step-by-step series of diagrams for an illusion I know only as "Bachelor's Puzzle".  It is derived from a quilt block. Below is a small framed picture of it done in needlepoint.  A collection of several pictures like these is nice for a narrow wall space next to a door or between windows.

Bachelor's puzzle needlepoint

This time we are going to adapt two designs and combine them to make a framed "op art" picture. I started with a pattern I know as "Ring Around the Star".  (Many patterns have multiple names.) I don't know the origin of the pattern, but I suspect it is 18th Century American.  However, I believe it may be derived from a much older English pattern called "King's Cross". The center of the "King" pattern is just to the left below. The center of the "Ring" pattern is next. The last two diagrams are sketches I made to decide which shading gave the effect that I wanted.  I chose the one on the right.

Ring-Around-a-Star development sketches

The two pictures below show the shading I did for the color stitching. You will find a photo of the framed picture at the end of this article.

King's Cross in a rectangle

Square frames are harder to find than rectangular ones, so I have modified the "King's Cross" design to fit a rectangular frame.  I did this pattern for a 5-inch X 7-inch frame (13 X 18 centimeters), but I can show you how to adapt it for any rectangular frame. Turn the frame upside-down on your canvas and draw around the opening with a pencil. Remove the frame. (If necessary, use a ruler or straight-edge to square the corners and make the sides straight.) Leave extra canvas around the rectangle so that you can tape the edges. Find the center of the rectangle and mark it with a dot (O on the diagram), continuing to use a pencil. Find the centers of the top and bottom — the short sides — and mark them with dots (A). Find the centers of the long sides and mark them (B). Mark the four corners (C). Mark the centers of the lines between the A's and the center O (D). Mark the centers between the B's and the O (E). Mark the centers between the C's and the A's (F) and the centers between the C's and the B's (G). Now connect the dots as follows:

1. A-O-A
2. B-O-B
3. Both C-O-C's
4. Both E's on the top and bottom with the nearest D
5. Both G's on the sides with the nearest E. You may then erase the A-D and the B-E lines if you wish to do so.

Now you are ready to begin stitching.

King's Cross sketch

This sketch will work with any three-color combination as long as the white sections are in the lightest color, the pencil-shaded sections are a darker shade of the same or a similar color, and the inked-in triangles are in a very dark color. You will notice that the pairs of triangles are not quite the same. Also, the shapes that were parallelograms in the original pattern are now polygons. These are large areas, so use a heavier yarn than usual or double your regular yarn to cover the canvas completely. Once again, I recommend doing the triangles in basket-weave, starting at the center points and working outward this time. Any irregularities where two colors of yarn join, or at the edges, may be covered by back-stitching if you choose.


Once, as I worked on the design for a 6-way bargello pattern, I told J.D. that I could see an optical illusion forming in one of the designs. He said he could see one, too, but that he would have to erase some of the lines in the design to make it. I suggested that we each draw the design we imagined, to see if we had different illusions in mind. When we compared our results, we had indeed seen different illusions. We were delighted. This “game” continued for some time. Below are two of the more interesting ones, for the benefit of those of you who have taken up this pursuit. You can use black, white, and grays for your shading or you can use various tones and shades of a single color. If you use different colors, you may achieve an interesting design, but lose much or all of the illusion.

Hexagon grid

Working with a hexagonal shape requires us to adjust our thinking just a bit. We are used to thinking in terms of a base of 90 degrees (0 degrees, 90 degrees, 180 degrees, 270 degrees, 360 degrees).  A hexagon, however, is based on 60 degree angles (0 degrees, 60 degrees, 120 degrees, 180 degrees, 240 degrees, 300 degrees, 360 degrees). The design is constructed along each axis from the degree mark to the center. Although the hexagon is basically two overlapping triangles, it seems more balanced than any triangle.  On the other hand, it is more versatile and less static than a square or a rectangle. Try starting with a hexagonal outline and building shapes inside it.

In the first example, two overlapping 3-dimensional squares have been fused together to make an angular figure-8 shape.  The most shadowed areas are shaded in black. The intermediate shading is done in a medium green.  The most illuminated areas are done in a light blue. The background is the white of the drawing paper. Once the figure is complete, the little construction lines can be erased, along with the unnecessary bits of the hexagonal outline.

The second figure is made up of small cubes.  You would need to put the construction lines in very lightly because many of them would have to be erased in order to achieve the final illusion. The same three colors have been used to show the amount of light reflected from the surfaces. Once again the white of the paper is the background, but you could put in another very light color if you wished. Study the construction diagram on the top right to determine how the figure was constructed. The finished illusion is shown on the bottom right with the construction lines and unnecessary hexagonal lines erased.

Now that you are familiar with hexagons, you might want to try constructing a six-pointed star pattern.  Here is a hint:  connect 0 degrees (which is also 360 degrees) to both 120 degrees and 340 degrees; connect180 degrees to both 60 degrees and 300 degrees. Two more straight lines will complete the star.

Finally, here is a photo of the finished and framed project that we promised you earlier in this post.

If you enjoyed this article, watch for a new post on the subject this Fall.

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Patterns, Pointers, and Practices: Fiber Arts Hacks

Above you can see a group of small color patterns. One of them should look familiar to you because you saw a version of it turned into a larger all-over pattern on a table mat not long ago. With this post I want to emphasize several points that I have made over time about patterns — but that I have not before grouped together for emphasis.

Needlepoint placemat from our first post of 2019

Archive your small needlework samples!

First of all, I want to remind you of the value of working a small sample of a new pattern, whether it is geometric like these or more representational. This is especially important if you are planning to change the color scheme or other aspects of the pattern. I make many of my samples on durable plastic canvas in tent stitch, largely because I learned it early in life and use it as a kind of "shorthand". (If you want to learn about how I got started in the needle arts, follow this link: February 28, 2013 post) These samples are durable and easy to file in a convenient box for future reference. They may also have other uses, as you will see later in this post. If counted cross-stitch is easier for you, get a quarter yard of the small "baby check" gingham. That will make a number of samples that you can tape or staple on index cards and store in a larger box.

"Ancient Pathways", framed needlepoint by Annake

We have worked with a few repeat patterns before, but now I want to show you how such a technique can work on a scale that is large enough to be suitable for framing or even larger projects. This one, like some of the smaller motifs on this post, was adapted from a Native American design. I call the resulting framed picture "Ancient Pathways", in honor of an ancestor who left the Appalachians and settled in the upper Midwest and all of the other Eastern Cherokees who settled there rather than follow the "Trail of Tears". Notice the alternation of colors at the edges of the motifs and the structure and strong diagonals of the turquoise background between the motifs. Negative spaces like backgrounds can contribute a lot to a design.

Let's consider how one of these small patterns would work as a repeating design. Here is an enlarged graph of the middle design in the set at the top of this article. Decide how many horizontal and vertical repeats of the design you want on your selected canvas or fabric. I have left an empty row of squares all around the design so you can outline it if you prefer, rather than joining the design repeats directly together. If you don't want to border the motifs, simply trim that row of squares off the pattern or ignore it.  Check your canvas or fabric very carefully to make sure you have enough room for all of the repeats you want, plus an edge to turn under all around. Outline the spaces for the repeats with a running stitch (yes, even on canvas) in a bright or dark color that you are not using in the design, and pull those stitches out as you finish each motif. That is a little more work, but it will keep you from making disappointing mistakes.

Some of these small charts work well as linear designs. They can be expanded from one end or from both ends at the same time. See how the ends are each half of a design feature? Linear designs are great for belts, hatbands, straps of all kinds, etc. They make interesting picture frames. Or, if you like, they can simply be used to border a piece that is done in a solid color. The following chart shows the third design above repeated linearly.

Graph of a simplified version of 3rd design at the top of post; choose your own color scheme.

I have a shady straw hat for the summer, a Stetson-like cowgirl hat, and a felt fedora for the winter — all of which can hold a series of changeable needlework hatbands. This has earned me the nickname of "The Lady in the Hat" at the local Farmers' Market (as in, "Ask the lady in the hat; she probably can tell you.")  For directions to center and join a hatband design, follow this link: post for Sept. 30, 2016. Ladies from a certain organization will understand the significance of the purple butterflies on the red hat.

If you look closely at the linear pattern, you will see that the top and bottom of the center of the motif are also halves of a feature, so this design can also be expanded upward and downward to make a 4-way design. Several others of these designs can be treated the same way.

Three more small needlepoint design samples

Pink & green diamond motif latch hook rug

These designs can be expanded for much larger articles like afghans and rugs, even tiled as flooring or back-splashes above kitchen counters. Here is a very simple design made into a rug. Notice that the changes in the shades of the selected colors creates an illusion that the designs are three-dimensional. This would be interesting on a needlepoint pillow, too. It also qualifies as an interesting optical illusion.

Simple optical illusion design in needlepoint

Optical illusions have been very popular with our readers and we have received requests for more of them. I promise to return to the subject in 2020 with more examples and patterns. I'm including a simple optical illusion in this group of sample patterns. Can you figure out how it is made? How might you use borders to make the design even more "dimensional? Think about it.

Those of you who have followed these posts for some time know that I like to start with a central design and "grow" it outward in all directions. We have worked with 4-way, 6-way, and 8-way designs. There will be new patterns in each category in 2020. When we do art and craft shows, we try to jot down notes about the questions and comments made by the people who stop by our booth. I base a lot of the next season's topics on those notes. We heard you "loud and clear"!

At the top of this post, I hinted that you might find some other uses for these small needlework samples besides practice pieces and reference. The most obvious ones are coasters from the square or diamond-shaped designs and bookmarks or luggage tags from the linear ones. I'm sure you can think of others (and we would like to hear about them). Each year I choose some of my favorite samples (often adding small decorative pins. buttons, or charms) and use them to decorate our holiday tree. Here are a few of our favorites.

Season’s Greetings,

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

Wrapping Up the Season: Late Fall Q &A, 2018

Before I begin with recent questions, I want to pass along two items of interest from a benefit show and sale for a local animal shelter that we took part in a few days ago.

A charming couple purchased several of my puppets for their children. They said they planned to fill the bodies and arms of the puppets with "stocking stuffers" like candy, money, miniature toys and games, etc., and sew them shut with an easy-to-pull thread. Then the children would each have a puppet to play with after they had enjoyed their small treats. What a great idea! I learn so much from the people I meet! The same idea would work for birthday parties or sleep-overs. Here J.D. is showing the puppet of a girl elf with some stocking stuffers.

Elf puppet filled with goodies

Two of our puppet pets

The other thing I want to point out refers to our dog and cat puppets, like the Siamese cat and Yorkshire terrier seen here. You will notice that each of our dogs and cats is wearing a "collar" and a "tag".  This is to remind children that their pets should be licensed and wear identification tags for their protection.

Now to our questions.

I like the 4-way bargellos a lot. I understand how the pattern "grows" from the center out. I can follow your examples, but I don't know how to start a new design from the center outward. Can you give me some examples to get me started?

Certainly. I'll be glad to. And I can show you a "short-cut'" that you can use to generate new designs when you run out of inspiration. All you need is quarter-inch graph paper and something to color the squares. I'll show you that trick first. Take a piece of graph paper and mark off several frames around squares that are 6 graph squares wide and 6 graph squares high. Start with the square in the lower right-hand corner. Color it. With the same color or a second color, fill in a random pattern of graph squares in the next row outward. Repeat with a 3rd color in the next rows of graph squares. Continue as long as you like, with as many colors as you like. Repeat colors if you like. Make several of these designs on your sheet until you find one you like more than the others.

Three 6 x 6 designs on graph paper

First design rotated and repeated four times

Now take a clean sheet of graph paper and mark its center both horizontally and vertically. Repeat your desired pattern on top of the horizontal line, starting just to the left of the vertical line. Now repeat your pattern in reverse to the right of the vertical line. Turn the paper upside-down. Repeat what you just did below the horizontal line above the horizontal line now. Now you have a 4-way starting pattern.  Each colored square represents a stitch in your bargello pattern. Empty squares can be worked in white, black, beige, etc. Work the four parts of your design in the center of your canvas, then decide how you want to "grow" your finished pattern. Here is what the first of our small patterns looks like done in this way. This one is done in a single color with a white background.

Second design

Here is the second "starter square"done in the same way.  the more colors that you use, the more complex the design that you create. This one is done in two shades of two colors, plus a white background. Substitute your own choice of colors. Once you have gotten that far, you need to decide if you will continue that design all the way out to the edges or put in new directions of your own making, You may want to practice on graph paper before you start a large project.

Third design

And here is the third "starter square", expanded. Here you have strong diagonals balancing the vertical and horizontal lines. You might choose one over the other to change your design as you work outward from the center. This one also uses four colors, but the contrasts are stronger and the white background is greatly reduced. It is a good all-over design.

But remember these important rules:

1. Each square represents 4* vertical stitches, each over 4 threads.
2. No canvas is left bare; stitches share the squares of mesh.
3. There will be places where there will not be room for an entire square. In that case,work as much of the square as you can.

When you did the 6-way bargello you showed two optical illusions that you and J.D. saw. I liked them and copied them on plastic canvas, but now I don't know how to proceed. You didn't show any shading on the pieces, but it seems to me that shading is what makes the optical illusions work. Can you show those patterns with the correct shading, please?

You are correct that shading enhances optical illusions.  However, there is more than one way to shade a particular illusion, depending on where you decide the light source is.  We will be glad to show you how we would shade the two illusions.  Just be aware that there is more than one "correct" way to do them.

Annake's (left) and J.D.'s (right) illusions with shading

You can use black, white, and grays for your shading or you can use various tones and shades of a single color. If you use different colors, you may achieve an interesting design, but lose much or all of the illusion. I suggest you work the designs out on paper before you select the yarns. Think carefully also about your background and whether or not you are going to outline the sections with back-stitch or some other embroidery stitch.  Good luck.  It should be an interesting project.

You haven't mentioned latch-hook lately. Are you still doing it?

Yes, although it has been curtailed somewhat because of the increase in frequency of shows that we have done this year and the remodeling we have been doing to give me more studio space for drawing and painting.  Here is a rug that I finished at the beginning of summer. When I was doing research for the posts on creating landscapes in needlework, I came across a photograph of a Ming Dynasty scroll that had a beautiful butterfly on it. I wanted to do a rug with a similar butterfly, but in "hot" modern colors.  This is the result.

Latch Hooked Rug, "21st Century Ming Butterfly"

Have a happy holiday season for all the holidays we celebrate around the world.

*This post has been updated on December 15, 2018 to correct an error in content. Our thanks to the reader who brought this to our attention.

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

A Six-way Bargello, Plus More Optical Illusions

8-way Bargello Pillow Top

This post, I'm trying to make good on some projects I promised earlier this year. The first one was to give you a pattern for a 6-way bargello design. We have already done 4-way bargellos and an 8-way bargello (above), but a 6-way is different because the design is based on 60-degree angles, rather than the familiar 90-degree and 45-degree ones. I have designed several of these, but we will be starting with a very simple one. There will be others next year, but they will be a little more difficult. I suggest that you study the posts on 4-way (December 22, 2014) and 8-way bargello (April 22, 2016) before you begin a 6-way project. You may find that you want to try one of the others first, but I assure you this one is probably easier. I'm going to take you step-by-step through this project. Let's begin with the design, which you can download.

Click here to download Pattern for 6-way Bargello

Since this is a 6-sided design, it makes sense to start with a 6-sided figure, the hexagon. I began by finding the center of my paper and marking it with a dot. Then I constructed a hexagon with the dot at its center. I then made 6 more hexagons, each starting from a point, not a side, of the original one. (If you are constructing a design like this, rather than using a pattern, you may want to make a cardboard template of the center hexagon to draw around as you progress.) You will notice that each of the spaces between the outer and inner hexagons — as well as between each outer hexagon and its neighbor — is a triangle. Where the bases of two triangles touch, they form a diamond-shape. Finally, I divided the central hexagon into 6 equal triangles. This gave me a choice of triangles or diamonds to stitch. I then made several copies of the design and began to work it out in various color combinations. You can see some of the results below.

Four alternative color schemes for 6-way bargello project

As I worked on the design, I told J.D. that I could see an optical illusion forming in one of the designs. He said he could see one, too, but that he would have to erase some of the lines in the design to make it. I suggested that we each draw the design we imagined to see if we had different illusions in mind. When we compared our results, we had indeed seen different illusions. (We were delighted, because another of my promises was to provide more optical illusion designs!) This “game” continued for some time. Below are two of the more interesting ones, for the benefit of those of you who have taken up this pursuit.

Annake's (left) and J.D.'s floating block illusions derived from the 6-way bargello  pattern

In the meantime, I prepared my canvas for the demonstration I'm going to show you now. For more information about preparing a canvas, see the post for May 11, 2014. I began with the triangles in the central hexagon. There are several ways to approach these triangles. An obvious one is to do two sets of triangles in two colors. That is, alternate the two colors as you move around the hexagon. To use three colors, work two adjacent triangles in the first color, the next two in the second color and the last two in the third color. Finally, you can use a different color for each triangle — 6 in all. I decided to do two shade of one color in the hexagon, two more in the ‘star’ and a final three in the hexagons. Since it is autumn, my favorite season, I chose yarn in autumn colors.

You are probably going to look at the triangles and think, “This is going to be hard:  the triangles point in different directions and I will have a lot of slanted stitches.” No, they are just triangles with equal sides. They don't point anywhere. They don't do anything but sit there and wait for you to fill them with stitches!

I began with the triangle in the bottom center of the hexagon with yellow yarn. I started at the base of the triangle and stitched from the base to the side line of the triangle, increasing the length of the stitch each time until I reached the triangle's upper point. From there I decreased each stitch until I reached the end of the base. My first and last stitch may go over only one thread of the canvas. The other two yellow triangles form a ‘Y’ with the first one. Then I reversed the canvas to work the gold stitches. The most important thing is to have each gold stitch begin on its base line, but end in the same hole as the yellow stitch it meets. Don't leave any bare canvas. Any bits of the pattern line that show through or any irregularities in stitches meeting will be covered later with top-stitching. Your stitches should cover both sides of the canvas. Don't pull them too tight or you will deform the shapes of the triangles.

6-way bargello, Step 1

I am working on #12 cotton needlepoint canvas with tapestry and crewel yarns. You will have more or fewer stitches than mine, depending on the type of material you are using for a background and the yarn you are using. If you have a stitch that looks thin and doesn't cover the canvas, put another stitch right over it and pull it down firmly. No one will ever know … and I won't tell.

Now that Step #1 was complete, I moved on to Step #2. Here I was concerned with the triangles outside the center hexagon — the ones that form a 'star' shape when they are completed. “Okay,” you will say, “now the triangles are pointing in different directions!” No, they aren't. Hold the canvas in the same position that you used to begin the center hexagon. This time work the triangle at the top. Be sure the stitches start in the same holes as those of the ones they are touching in the hexagon. Work that triangle the same way, followed by its companions at bottom right and left. Reverse your canvas again and do the other three triangles. All of your stitches at this point will be straight up and down. Didn't I say it was easy? When I finished the ‘star’, I took the time to top-stitch the sections of the center hexagon with dark brown. Step #2 is complete.

6-way bargello, Step 2

By this time I really liked the triangles because they each took very little time. I decided to do the outer hexagons in the triangles, but I wanted each hexagon to be in a single color. I removed the canvas from the hoop and drew the triangles lightly in pencil. (I am using a hoop because the canvas is very flexible and needs to be stretched taut.) Then I worked all 6 triangles in each hexagon in a single color and top-stitched the junctions in the same color. If you are doing all the hexagons in a single color, or in 6 different colors, you are free to start with any hexagon you like. If you are using 2 colors, your hexagons will form a ‘Y’. If, like me, you are using 3 colors, you will have 2 hexagons in each color, and they will be directly opposite each other. With the hexagons complete, I top-stitched around the ‘star’ points and the edges of the hexagons. Step #3 is done.

6-way bargello, Step 3

If you want to expand the design, you might fill in the triangles between the hexagons or make them into diamonds. You might add another ring of hexagons to the outside of the existing ones and proceed from there. Since I am preparing my design to be a round pillow-top, I am simply going to fill in the background to the outer edge of the circle. A sample of the background stitch pattern I am going to use is shown below. The finished pillow will be shown on a future post.

Background stitch  for 6-way bargello pillow top

Until next time, have fun with this six-way design.

 This post by Annake's Garden is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.