ToolKit - Jyouge Douji 上
translates to up and down from jyouge
and concurrent/synchronous from douji
A jyouge douji design will zig-zag up and down while traveling around
the mari, both at the same time. It's usually worked on a Simple
. The sequence is: stitch at NP,
pass the thread over the equator (keeper
are used to hold the threads in place at the equator), take a
stitch at SP, pass the thread again over the equator, return to the NP
and take another stitch. Subsequent rows follow the same sequence with
the crossovers at the equator being bundled by the keeper pins.
The northern hemisphere mirrors the southern hemisphere. No stitches are
taken at the equator in the process of working jyouge douji. Tabane kagari
or an obi
design may be stitched at the equator later, but these are separate
elements and not part of the jyouge douji design.
The stitches used in
jyouge douji can vary according to design: chidori
, uwagake chidori
are most common. How many
sets of marking lines are used varies with design as well. One of the
major impacts of this element is not so much the individual needle
stitch but, the concept of the design going from pole to opposite pole
in continuous travel around the mari. Essentially, a whole
revolution of the design is completed with one thread, as opposed to
individual parts. This puts it in the renzoku
class of stitches. Maintaining even symmetry around the ball as it's
being worked is a must.Also, it's a must to maintain the same north-pole
orientation during stitching the whole design - if you "flip" in the
process, you will reverse the thread crosses in the stitches, which
interrupts the lay of the threads and becomes noticeable in the overall
design. Jyouge Douji is one of the requirements for JTA
Place pairs of keeper pins at
the equator. Anchor a working length of thread close to the NP,
to the left of a marking line. Move to the keeper pins, carry
thread through, move to next marking line and take a stitch at
the SP. Move to the next pair of keeper pins, carry thread
through. Move to next marking line, take a stitch at the NP.
Continue until returning to the starting point.
If design requires, repeat the stitching process on the other
set of marking lines with a second thread. Be sure to stay
oriented to the north pole. If the ball is flipped during the
stitching process, it reverses the direction of the stitches and
will be visible in the design. Return to the first thread for
the second round; use sakasa technique
with uwagake on both poles.
It will resemble the red and green example shown at the top of
The photo to the left shows a variation using chidori
kagari, worked with open space. The example to the right
uses shitagake chidori.
When stitching is complete, the crossovers need to be anchored.
This is done with neatly applied tack or back stitches around
the bundle, being sure that the threads are laying smoothly.
These stitches are called tabane
kagari; they are seen at the equator crossovers in the
photo to the right and at the top of the page. Alternatively an
obi may be wrapped to secure the crossovers.
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