Why must the spoke count in Teneriffe lace be odd, and what happens with an even spoke count?

The odd spoke count requirement is the single most important structural rule in Teneriffe lace, and understanding why it is required explains the fundamental weaving mechanics of the sol. When the working thread weaves over one spoke and under the next — the basic over-under plain weave — and advances in a continuous circuit outward from the center hub, the over-under relationship with each individual spoke must shift from one circuit to the next. The thread that passed OVER spoke 1 in circuit 1 should pass UNDER spoke 1 in circuit 2, then OVER it again in circuit 3. This alternating over-under relationship at each spoke is what interlocks successive circuits together: each new circuit is locked to the previous one because the thread changes its relationship with each spoke every time it passes. With an odd spoke count, this shift happens automatically. When the working thread completes one full circuit around all N spokes (where N is odd) and arrives back at spoke 1, it has made an odd number of over-under transitions. An odd number of transitions means the thread ends the circuit in the opposite state from where it started — if it began the circuit going OVER spoke 1, it ends the circuit positioned to go UNDER spoke 1 at the start of the next circuit. The over-under relationship shifts without any action by the weaver. With an even spoke count, the opposite happens: the working thread completes one full circuit and arrives back at spoke 1 in the same state it was in at the beginning — if it started going OVER spoke 1, it arrives ready to go OVER spoke 1 again. Two successive circuits with the same over-under relationship at every spoke do not interlock — they lie on top of each other in the same orientation, and the structure separates into two distinct layers when the sol is removed from the pins. This is the basket-weave split: instead of a single interlocked disk, the sol forms two separate fabric layers that can be peeled apart. It is structurally unusable for free-standing sol lace. The practical consequence for documentation: when writing or teaching Teneriffe patterns, always specify the spoke count explicitly and verify that it is odd before beginning the foundation wind. Common odd spoke counts: 16 (accessible, good for 3–5cm diameter sols with #40 thread), 24 (intermediate, good for 5–8cm sols with #30–#40 thread), 32 (advanced, used for larger sols or when fine thread (#60–#80) is required for detailed pattern insertions). If a patron is scaling a pattern to a different diameter, they cannot simply add one spoke to reach an even number — they must add two (from 23 to 25, from 31 to 33) to maintain the odd count while increasing the spoke density.

How does the foundation thread winding path work in Teneriffe lace, and why does it cross through the center?

The foundation thread winding sequence creates the radial spokes that the working thread will weave over, and the path it takes — crossing through the center with each new spoke — is what produces the hub structure that anchors the sol and determines the center geometry. The winding sequence proceeds as follows: anchor the foundation thread at pin 1 (the starting pin). Cross the circle to pin 9 (for a 16-spoke count, pin 9 is the spoke directly opposite pin 1; for non-even spoke counts, the near-opposite pin). Wrap around pin 9 (one or two turns to lock the thread against the pin). Cross back through the center to pin 2 (adjacent to pin 1). Wrap around pin 2. Cross to pin 10 (opposite pin 2). Continue this pattern: from each pin on the circumference, cross the entire diameter of the circle to the near-opposite pin. The critical element is that each crossing passes through the geometric center of the circle, not along the circumference and not on a chord that avoids the center. Why the path must go through the center: each crossing through the center adds one thread to the center hub. After all spokes are wound, the hub is a densely layered point where every spoke thread crosses — typically 8 layers for a 16-spoke sol, 12 layers for a 24-spoke sol. This hub provides the anchor point for the working thread when weaving begins: the working thread starts by passing up through the hub and begins its first circuit directly adjacent to the hub. If the winding path had crossed on chords that bypassed the center, the hub would not form — each spoke would be an isolated thread crossing without a central anchor point, and the sol would have a hole at the center. In practical documentation: photograph the hub from directly above after completing the foundation wind, showing the density of crossing threads and the even distribution of spokes radiating outward. Common error documentation: if the spoke threads are not evenly distributed around the 360-degree circumference (some pairs of adjacent spokes are closer together than others), the weaving circuits will not produce even circle spacing — some sectors will be wider than others and the sol will look irregular. The cause is usually that the winding path did not reach exactly opposite pins on each crossing; it skipped one position in the sequence. Correction: if caught before weaving begins, unwind the affected spokes and re-wind with more careful pin counting.

What are the pattern families in Teneriffe lace, and how does star insertion work?

Teneriffe lace patterns are classified by what happens between the spokes during the weaving phase. The plain weave sol is the foundation: working thread over one spoke, under the next, advancing continuously in circuits outward from the hub, with every spoke engaged in every circuit. The result is a uniformly filled disk where the woven surface covers the entire sol from hub to perimeter with no gaps. Star insertion modifies the plain weave by skipping groups of spokes in a repeated pattern within each circuit. In a 16-spoke sol with a 4-point star insertion, four groups of two adjacent spokes each are skipped — not woven over or under — in a regularly spaced pattern around each circuit. Within each group of skipped spokes, the thread bridges across as a straight bar rather than weaving over and under. The result is four open sectors (unwoven wedge-shaped voids) between four filled sectors (woven areas). Viewed from above, the sol has a star appearance: four radiating points of woven fabric alternating with four open wedges. The number of star points is determined by the number of skipped spoke groups, and the width of each point is determined by how many spokes are skipped per group. For a 24-spoke sol, common insertions include 6-point stars (four spokes skipped per group across 6 groups) and 3-point stars (eight spokes skipped per group across 3 groups). Complex compound filling places secondary woven structures inside the open sectors created by star insertion. A figure-8 filling loops the working thread around two adjacent spokes in a figure-8 path, connecting the two border spokes of the open sector without filling the sector with plain weave — it reads as a delicate connecting element rather than a solid fill. A honeycomb filling laces the thread between every other pair of spokes across the open sector, creating a hexagonal cell pattern within the void. A raised stitch connects non-adjacent spokes with a thread that travels above the sol surface, creating a textured three-dimensional element. Compound filling patterns combine star insertion geometry with secondary filling techniques, producing sols where some sectors are plain-woven, others are figure-8 filled, and others are open. The most complex Teneriffe patterns use multiple insertion types within a single sol and may layer secondary weaving circuits on top of primary circuits to create textured, multi-level surfaces.

How are Teneriffe lace sols joined together to make larger pieces?

Joining methods connect individual completed sols into larger assembled pieces (collars, placemats, shawls, curtain panels) and are one of the technical areas where Patreon documentation is most lacking relative to the information creators and patrons need. The three primary joining methods are bar joining, picot joining, and ring-off joining, each producing a different visual connection and appropriate for different assembly scales and design intentions. Bar joining is the most common method for assembling large grids of sols: after completing one sol and removing it from the pins, the joining thread is anchored to the sol perimeter at a specified spoke position, stretched to the corresponding spoke position on the adjacent sol, and wrapped 3–5 times to form a solid bar. The bar is then overstitched with buttonhole stitches (a blanket stitch worked over the bar thread) to form a firm, decorative bridge. Bar joins are visible elements of the finished piece and should be considered part of the design; they can be decorative (using a contrasting thread) or neutral (matching the sol thread). The bar spacing — which spoke positions are connected — determines whether the sols sit tangent (touching) or spaced apart with a gap. Picot joining uses the picot loops formed at the sol perimeter (created by looping the working thread around each pin before the sol is removed) as the joining element. To join with picots, a thread passes through the picot loop of one sol and through the corresponding picot loop of the adjacent sol, and ties the two loops together or connects them with a chain of additional thread. Picot joining is less visible than bar joining and produces a more delicate-looking assembly, but requires planning ahead: the picot loops must be formed at the correct spoke positions during the weaving of each sol, and the loop size must be consistent across all sols for the joins to align properly. Ring-off joining is used for circular or curved assemblies where sols must join at angles other than 90 degrees. Each sol's perimeter threads at the joining points are not cut but are continued as a connection thread to the next sol, so the sols are woven in sequence with the connection established during the construction of the second sol rather than after both are complete. Ring-off joining requires planning the assembly sequence before beginning any sol, because the connection points are set during construction and cannot be repositioned after the fact.

How does Apple Tax affect Teneriffe lace Patreon creators in 2026?

Apple's 30% in-app purchase fee applies to all iOS Patreon subscriptions from November 1, 2026. Teneriffe and sol lace creators — whose audiences are concentrated on Instagram slow-craft and needlework communities (70–82% iOS in UK, Spain, US, and South American markets) and Pinterest lace and textile art audiences (68–80% iOS) — face significant revenue exposure. iOS rates are high in this category because the primary discovery path for sol lace is entirely visual: a patron sees a finished sol or assembled multi-sol piece on Instagram or Pinterest, is drawn in by the geometric intricacy of the woven pattern and the delicacy of the thread, and then searches for a Patreon that provides patterns and tutorials. This image-first discovery path skews heavily toward the mobile iOS users who dominate Instagram and Pinterest. Revenue lost per iOS subscriber: at $10/month with 72% iOS: $10 × 0.72 × 0.30 = $2.16/month ($25.92/year) per subscriber. At $25/month with 75% iOS: $25 × 0.75 × 0.30 = $5.63/month ($67.56/year) per subscriber. At $50/month with 78% iOS: $50 × 0.78 × 0.30 = $11.70/month ($140.40/year) per subscriber. A sol lace Patreon with 45 patrons distributed across pattern, technique, and design tiers loses approximately $180–$280 per month ($2,160–$3,360/year) to Apple after November 1, 2026. Enable Patreon's web-only billing toggle before October 31, 2026 and update all subscription CTAs to the direct Patreon web URL so new subscriptions are processed through the browser rather than the iOS app. Creators who want a fully self-hosted membership page with no platform fee can use KeepTier.

Explainers · 2026-07-31

Patreon for Teneriffe lace creators: sol construction (odd-spoke pin circle, foundation winding through center, hub compaction, over-under circuit lock), pattern families, joining methods, DMC Cordonnet thread selection, and the Apple Tax in 2026

Teneriffe lace Patreon retention depends on the technical documentation layer that finished-sol photography cannot carry: the odd-spoke count requirement and why it produces the over-under circuit lock, foundation thread winding path through the center to build the hub, hub compaction before weaving begins, per-circuit tension management, and the pattern family hierarchy from plain weave sol through star insertion to compound filling. Sol lace audiences are Instagram-primary and Pinterest-heavy with iOS rates among the highest in the lace category — Apple Tax exposure begins November 1, 2026.

Creator subtypes and tier structures

Teneriffe lace practice divides into three creator subtypes with distinct documentation emphases and different Patreon audience expectations.

Traditional sol lace and mundillo makers produce sols following the construction conventions and pattern vocabularies of the Canary Islands tradition and the South American mundillo tradition (established in Paraguay, Brazil, and Uruguay). The traditional emphasis is on structural accuracy: the correct spoke count for a given sol diameter, the foundation winding sequence that produces an even hub, and the weaving circuits that produce the characteristic visual patterns of each tradition. Traditional Canary Islands sols are typically made in fine cotton thread (#40–#60 Cordonnet) and used as decorative insertions in household linens, collars, and blouses. South American mundillo circles use similar techniques with regional variation in spoke count preferences and joining methods. Subscribers to traditional sol lace Patreons expect exact specifications — spoke count, sol diameter, thread weight, circuit count — rather than creative interpretation.

Tier examples: Sol Pattern Tier ($8–12/month) — monthly sol pattern with spoke count, diameter, thread weight and weight number, circuit count for each pattern family element (plain weave circuits, star insertion circuit pattern, compound filling technique used); Technical Tier ($22–32/month) — monthly sol pattern plus step-by-step construction photography of the specific sol, showing the foundation winding sequence, hub before and after compaction, and each stage of the circuit weaving, with troubleshooting notes for common errors at each stage.

Contemporary sol lace designers use Teneriffe construction as a basis for original pattern design, developing new star insertion patterns, compound filling combinations, and multi-sol arrangements that go beyond the traditional pattern vocabulary. The documentation emphasis shifts toward pattern design process: how to calculate spoke groupings for a desired star-point count, how to plan compound filling for a specific open sector shape, and how to design joining arrangements for a specific large-scale piece. Contemporary designers often work with a wider thread range (including colored cottons, silk, and fine linen in addition to standard Cordonnet) and scale from miniature sols (1.5–2cm diameter, 8 spokes, accent elements) to large exhibition sols (15–20cm diameter, 48+ spokes).

Tier examples: Design Pattern Tier ($12–18/month) — 2 original sol patterns per month with design notes explaining why the spoke grouping was chosen and how the filling pattern interacts with the star insertion geometry; Designer Tier ($40–60/month) — monthly original pattern plus a design development walkthrough showing the initial spoke layout sketch, the star insertion planning, and the compound filling choice, with discussion of the design decisions rejected and why.

Large-scale assembly and textile design creators work primarily with multi-sol pieces (collars, shawls, curtain panels, framed textile art) and document the assembly planning, joining method selection, and large-scale project management that distinguishes a coherent assembled piece from a collection of individual sols. The documentation emphasis is on assembly-level decisions: how to plan sol diameter and spoke count so that all sols in a grid join consistently, how to select and execute joining methods (bar join, picot join, ring-off) for different piece geometries, and how to plan thread quantities for a large project. This subtype appeals to Patreon subscribers who already have basic sol construction skills and want to make large-scale pieces.

Tier examples: Project Pattern Tier ($15–22/month) — monthly multi-sol project pattern with full sol specifications, joining method specification, sol placement diagram, and thread quantity table; Master Class Tier ($50–75/month) — monthly project pattern plus a project planning module covering how the piece geometry was designed, how the sol diameter and spoke count were selected for the joining method used, and what order the sols should be made and assembled in.

What is Teneriffe lace: the sol and the free-standing woven disk

Teneriffe lace is named for the island of Tenerife in the Canary Islands, where the technique developed in its documented form in the sixteenth and seventeenth centuries as part of the Spanish needlework tradition. The name "sol lace" (sol = sun in Spanish) describes the finished unit: the basic element of Teneriffe lace is the sol, a circular woven disk with radiating spoke lines emanating from the center hub, visually resembling a stylized sun. Unlike bobbin lace, in which threads are manipulated around pins to create a fabric that covers the surface of a lace pillow, or needle lace, in which thread is worked into a fabric on a temporary foundation, Teneriffe lace is constructed by needle-weaving over a foundation of spoke threads and produces a free-standing disk that requires no fabric ground during construction and no backing after completion.

The construction sequence: pins are inserted at equal intervals in a circle on a foam pad or purpose-made Teneriffe module; the foundation thread is wound from pin to pin across the circle, passing through the geometric center with each crossing, to create a set of radiating spoke threads that meet at a dense hub in the center; the working thread then weaves over and under the radiating spokes in concentric circuits advancing outward from the hub; the completed sol is removed from the pins when the weaving is complete and the working thread is secured. Multiple sols are joined at their perimeters to build larger pieces. A South American parallel tradition exists under the name mundillo (particularly active in Paraguay, Brazil, and Uruguay), using the same woven-spoke structure with regional variation in spoke counts, joining conventions, and the integration of the sol form into broader lace assemblies alongside other needle lace techniques.

The sol is the modular unit of Teneriffe lace in the same way the motif is the modular unit of tatting or the hexagon is the modular unit of English paper piecing: an individual sol is a complete, self-sufficient object, and a collection of sols joined together is a piece of Teneriffe lace. This modularity is a significant Patreon content advantage: each new pattern is a single sol specification (spoke count, thread weight, circuit plan, filling technique) that can be taught as a standalone lesson and combined with previously released sols for progression projects. A creator can teach 12 sol patterns over 12 months and then release an assembly project that combines 6 of them into a collar, giving existing patrons a reason to revisit earlier patterns and new patrons a reason to start from the beginning of the archive.

Pin circle geometry: spoke count, spacing, and the critical odd-count rule

The pin circle is the foundation setup for every sol. It establishes the diameter of the finished sol and the number and angular spacing of the spokes. The geometry of the pin circle determines whether the sol will weave correctly, whether the spokes will be evenly distributed, and whether the pattern families planned for the sol are geometrically achievable.

Sol diameter selection. The finished sol diameter is determined by the diameter of the pin circle drawn on paper and pinned to the foam pad. Diameter and thread weight are co-determined: finer thread allows more circuits per centimeter of radius, producing more visual detail within a given diameter; coarser thread produces fewer circuits and a bolder, more graphic result. A useful calibration: with DMC Cordonnet #40, a 5cm diameter sol with 24 spokes produces approximately 12–15 weaving circuits from hub to perimeter (each circuit approximately 1.5–2mm wide), accommodating plain weave, a 6-point star insertion, and compound filling within the same sol. With #60 thread and 32 spokes on the same 5cm circle, the number of achievable circuits increases to 20–25, allowing more complex compound filling patterns. With #20 thread on the same 5cm circle, the circuit count drops to 6–8 and the bold thread texture dominates the pattern — appropriate for decorative accent sols but limiting for detailed star insertion work.

Spoke count and angular spacing. After determining the sol diameter, the spoke count is selected. The spoke count determines the angular spacing between adjacent spokes: for 16 spokes, each spoke is separated from its neighbors by 360° ÷ 16 = 22.5°; for 24 spokes, by 15°; for 32 spokes, by 11.25°. Finer angular spacing allows more granular control over star insertion patterns (more groups of spokes, each group smaller) and produces a more even circuit texture in plain weave regions. Coarser spacing is easier to work physically (the needle path between adjacent spokes is wider) and appropriate for larger thread weights.

The odd-count requirement. The spoke count must be an odd number — this is the most important structural rule in Teneriffe lace and cannot be relaxed under any circumstances. The reason is embedded in the weaving mechanics: the working thread weaves over one spoke and under the next, advancing in a continuous circuit. For the over-under relationship at each individual spoke to shift from one circuit to the next (spoke 1 is crossed over in circuit 1, crossed under in circuit 2, crossed over in circuit 3, and so on), the thread must arrive at spoke 1 in the opposite state from the previous circuit. This happens automatically if and only if the spoke count is odd, because an odd number of over-under transitions returns the thread to the starting spoke in the opposite state. With an even spoke count, the thread arrives at spoke 1 in the same state each circuit — the over-under relationship never shifts — and the structure builds as a basket-weave that separates into two distinct layers when removed from the pins. Common odd spoke counts: 16 (accessible for beginners, good for 3–5cm sols), 24 (intermediate, good for 5–8cm sols), 32 (advanced, good for larger or fine-thread sols). If a patron scales a pattern to a different diameter by adding spokes, they must add an even number (2, 4, 6) to maintain the odd total. A pattern designed for 23 spokes scaled up becomes 25 or 27 spokes, not 24 or 26.

Pin placement precision. Pins are placed at equal angular intervals around the circumference of the drawn circle. Use a printed circle divided into the required number of equal sectors as the placement guide — dividing a circle by hand into 24 equal parts with a ruler introduces cumulative error that becomes visible as uneven spoke spacing in the woven sol. Printed templates for common spoke counts (16, 24, 32 spokes) and common diameters (3cm, 5cm, 7cm, 10cm) are among the most practically valuable Patreon deliverables in this category because they eliminate the most common setup error.

Foundation thread winding: crossing through the center and building the hub

The foundation winding sequence creates the radial spoke threads that define the sol's structure. The path the foundation thread takes — crossing through the geometric center of the circle with each new spoke — builds the dense hub that anchors the working thread when weaving begins and gives the sol's center its characteristic solid, multi-layered appearance.

Winding sequence. Anchor the foundation thread at pin 1 with 2–3 wrapping turns. Cross the full diameter of the circle to the pin directly opposite (for a 16-spoke sol, the directly opposite pin is pin 9, offset by 8 positions; for a 24-spoke sol, it is pin 13, offset by 12 positions; for odd multiples, use the nearest pin to directly opposite). Wrap 2–3 turns around the opposite pin. Return across the diameter to pin 2 (one position clockwise from pin 1). Wrap pin 2. Cross to pin 10 (opposite pin 2). Continue this alternating pattern: each new pin on the circumference is one step clockwise from the previous, and each crossing goes to the diametrically opposite or near-opposite pin. The critical element is that each crossing must pass through the geometric center of the circle — not on a chord that avoids the center and not along the circumference. Each center-crossing adds one thread to the hub. After all pins are wound, the hub contains N crossing threads (where N is the spoke count) layered in a dense stack.

Thread management during winding. Maintain consistent tension on the foundation thread throughout the winding sequence: neither too tight (which pulls the pins out of alignment as cumulative tension builds) nor too loose (which allows the spokes to sag between the pins and the hub). A useful check: after completing half the winding sequence, sight along the sol from one side — all spoke threads should be straight lines from pin to hub, lying flat on the foam surface without bowing upward or slumping downward. If spokes bow upward from the foam, the foundation thread is too tight; if they droop, it is too loose. Document in photography: the foundation winding stage is the most difficult to photograph clearly because the spoke threads are fine and lie flat, but a photograph taken from directly above with strong sidelighting shows the spoke arrangement and hub density clearly and is among the most useful reference images for patrons who are learning the sequence for the first time.

Hub compaction. After the foundation winding is complete, compact the hub before beginning the weaving circuits. The hub at this stage is a loosely layered stack of crossing foundation threads. If weaving begins with a loose hub, the first 1–2 circuits will shift and slide on the hub stack rather than advancing cleanly outward, and the center of the finished sol will appear irregular. Compaction: use the tip of the tapestry needle or a blunt stiletto to press the hub threads firmly together, working in a circular motion around the hub to distribute the compression evenly. The hub should feel firm to the needle tip — no individual thread should be able to move independently when the needle pushes against it. After compaction, secure the hub by passing the working thread foundation around the hub center several times before beginning the first weaving circuit. This hub wrap holds the compacted threads in position and provides the anchor point for the working thread.

Starting the working thread. Bring the working thread up through the hub at the center of the sol. The thread should emerge from the center of the compacted hub, not from the edge. Begin the first circuit by going OVER spoke 1 and UNDER spoke 2 and OVER spoke 3, advancing outward from the hub in a continuous spiral. Do not pull each transition tight — maintain the thread at a gentle curve that follows the circular path of the circuit. Pulling the working thread tight radially would compress the circuits toward the hub and produce a constricted, uneven surface.

Over-under circuit mechanics and tension management

The weaving circuits are the core structural and visual element of the sol. Their regularity — in circuit spacing, tension, and advancing position — determines whether the finished sol looks crisp and professional or loose and irregular. The mechanics are simple to describe but require consistent technique to execute well, and detailed documentation of the technique is the area where Patreon instructional content is most needed.

Circuit tension. Each circuit should be woven at a moderate, consistent tension that allows the circuit to lie flat against the previous circuit with no visible gap and no compression of the previous circuit. Too tight: the working thread pulls the spokes slightly inward with each circuit, causing the sol to cup upward rather than lying flat; this is the most common tension error in beginners, who interpret "firm tension" as "as tight as possible." Too loose: the working thread leaves visible gaps between circuits; the sol surface looks sparse rather than dense. The correct tension produces a circuit that lies flat on the previous circuit and maintains the flat disk form of the sol. Test after every 2–3 circuits by pressing the sol flat with a finger: if the sol springs back to a cupped form, the tension is too tight and the last few circuits should be removed and re-woven.

Advancing the circuit. After completing one full circuit (weaving over and under all spokes and arriving back at the starting spoke), advance to the next circuit by moving one spoke width outward along the current spoke before beginning the next circuit's first transition. Do not advance to the next circuit by pulling the thread in a straight radial line outward from the hub — this creates a radial "seam" in the sol where the transition between circuits is visible as a straight line from hub to perimeter. The correct advancement creates a continuous spiral rather than concentric separated rings. In practice: after completing the last under-pass of a circuit, go OVER the next spoke and then immediately begin the next circuit's under-pass on the spoke following, advancing the spiral without creating a visible break.

Flattening each circuit. After completing each circuit, flatten it by passing the tapestry needle horizontally behind the just-completed circuit, using the needle shaft to press the circuit threads downward against the previous circuit and toward the hub. This flattening step prevents the circuits from stacking vertically (building up in height rather than outward in radius) and maintains the flat disk form. The flattening also compresses any small gaps between circuit threads within the same circuit, producing a denser, more uniform surface. For finer thread weights (#60–#80), the flattening step may need to be applied after every circuit; for coarser weights (#20–#30), every 2–3 circuits is sufficient.

Automatic circuit-to-circuit shift with odd spoke count. The most important documentation point for teaching the weaving mechanics: the over-under relationship shifts automatically at the start of each new circuit when the spoke count is odd. The weaver does not need to track or manually adjust which spoke to go over or under at the beginning of each new circuit — the odd count ensures that arriving back at spoke 1 always sets up the opposite transition from the previous circuit. This means that once the first circuit is established with the correct starting transition (over spoke 1, under spoke 2), every subsequent circuit can be woven without counting or planning the starting point. The sol "self-corrects" the over-under shift with every completed circuit. Documenting this mechanism in detail — explaining WHY it works, not just that it works — builds patron understanding that enables them to troubleshoot their own work. A patron who understands the odd-count mechanism will immediately recognize a basket-weave split as evidence of an even spoke count and know to re-count the pins before continuing; a patron who was told only "use 16 pins" without the reasoning will interpret the split as a technique error and attempt to compensate through changed tension or different weaving path.

Pattern families: from plain weave to complex compound filling

The pattern vocabulary of Teneriffe lace builds in layers from the simplest (plain weave sol) to the most complex (multi-technique compound filling). Each pattern family uses the same fundamental woven-spoke structure but varies what happens at the spoke level during each circuit.

Plain weave sol. The simplest pattern: over one spoke, under the next, every spoke engaged in every circuit, advancing from hub to perimeter. The result is a uniformly filled woven disk with no open areas. The visual interest comes from the thread quality (the luster of Cordonnet cotton or silk produces a slight sheen that catches light differently on the over and under passes), the spoke geometry (the radial lines from hub to perimeter are visible through the woven surface as darker lines, defining the sol's characteristic sun appearance), and the circuit density (fine thread with many circuits produces a fine, detailed surface; coarser thread with fewer circuits produces a bold, graphic result). The plain weave sol is the foundation skill and the technique that every other pattern family builds on.

Star insertion. Star insertion creates an open-spoke region (void sector) within the sol by skipping groups of adjacent spokes in a regularly repeated pattern during each weaving circuit. In a 16-spoke sol with a 4-point star insertion, the circuit skips 2 adjacent spokes at each of four equally spaced positions. Instead of going over or under the two skipped spokes, the working thread bridges directly across them as a bar, not engaging with them at all. After completing one full circuit with four skipped groups, the sol has four open sectors (the areas above the skipped spokes where no thread was woven) and four filled sectors (the areas above the engaged spokes where plain weave circuits built up). Viewed from above, the four filled sectors form four solid "petals" or "points" alternating with four open voids — the classic 4-point star appearance. The number of star points equals the number of skipped groups. For a 6-point star: 6 groups of 2 skipped spokes each in a 24-spoke sol (6 groups × 2 spokes + 6 remaining engaged spokes between groups = 24 total spokes; verify the math before beginning). For a 3-point star: 3 groups of 4 skipped spokes each in a 24-spoke sol (3 × 4 + 3 × 4 = 24). The ratio of skipped spokes to engaged spokes determines the visual weight of the star points relative to the filled areas; more skipped spokes per group produces wider, more open star points; fewer produces narrow, angular points.

Working thread behavior during star insertion. When the working thread bridges across a skipped group, it travels in a straight line between the last engaged spoke and the first engaged spoke after the skipped group. This straight bridge thread will not interlock with the previous circuit's bridge thread (because there is no circuit weave at the skipped spoke positions — only bare spokes). The bridge threads from successive circuits accumulate as parallel bars across the open sector. This is the characteristic visual element of the open star sector in Teneriffe lace: the bare spokes within the void are visible as radiating lines, and the circuit bridge threads crossing the void appear as parallel horizontal bars. The combination of bare radial spokes and horizontal bar bridges gives the open sector a distinctive grid-like appearance that is quite different from the woven texture of the filled sectors. Documenting this interaction between the circuit weave and the star insertion is the content that helps patrons understand why their sol looks different from the reference photograph — if the bridge threads are inconsistently tensioned (some tighter, some looser), the bars in the open sector are not parallel and the star points appear jagged.

Compound filling in open sectors. Compound filling places a secondary woven or looped structure inside the open sectors created by star insertion. The three most common compound fillings are: figure-8 filling, honeycomb filling, and raised stitch. Figure-8 filling is worked after all plain weave circuits are complete and the star insertion has established the open sectors. A separate thread is brought up at the border between the filled and open sectors at one open-sector edge, loops around one spoke in a figure-8 path to the adjacent spoke, and then travels across the open sector to loop the next pair of border spokes in the same figure-8 sequence. The figure-8 loops connect pairs of adjacent spokes within the open sector, adding a delicate connecting structure without filling the void with solid weave. Honeycomb filling passes a thread through the open sector in a zigzag pattern that connects alternate spokes at staggered positions, creating a cell-like pattern between the spokes. Raised stitch connects non-adjacent spokes within the open sector with thread that travels above the sol surface, creating three-dimensional elements that cast small shadows and add textural contrast to the flat woven surface of the filled sectors. Complex compound filling patterns combine two or more of these techniques within a single sol: for example, a 6-point star insertion with figure-8 filling in three alternate sectors and raised stitch in the other three sectors, or a 4-point star with honeycomb filling in the open sectors and a ring of raised stitch at the perimeter of the filled sectors.

Picot perimeter. The picot perimeter is an optional decorative edge added to any sol by forming a loop of working thread around each pin before the sol is removed from the foam. Picot formation sequence: when the working thread reaches the outermost circuit adjacent to the perimeter, instead of simply continuing to the next spoke, loop the thread around each pin (or every other pin, for wider-spaced picots) before making the final circuit. The loop should be formed by passing the thread under the pin, around it, and back under it in the opposite direction — the same motion as forming a picot in tatting, but executed on the pin rather than on a shuttle loop. After the sol is removed from the pins, the picot loops stand at each spoke end, adding a decorative serrated edge that softens the visual transition from the woven surface to the open perimeter and provides joining points for picot joining with adjacent sols. Picot size is determined by how loosely the picot loop is formed on the pin: a tight loop produces a small closed picot; a loose loop produces a larger open picot. Document the picot tension explicitly in pattern instructions, because inconsistent picot size is one of the most common causes of uneven joins in multi-sol assemblies — if some sols have small picots and others have large picots, the joining thread cannot be tensioned consistently across the join line.

Thread selection: DMC Cordonnet Special weights and circuit density

Thread selection in Teneriffe lace is the decision that most directly determines what is achievable in terms of sol diameter, circuit count, and pattern complexity. The standard thread for most contemporary Teneriffe instruction is DMC Cordonnet Special (also called DMC Cebelia in some markets), a twisted cotton thread available in weights from #10 (very heavy) to #100 (extremely fine). The weights most commonly used for Teneriffe lace span from #20 to #80.

DMC Cordonnet #20 (bold weight). A thick, firmly twisted cotton thread approximately 0.35–0.40mm in diameter. At #20 weight, each circuit contributes approximately 0.35–0.40mm to the sol radius, so a 5cm diameter sol (2.5cm radius) can accommodate approximately 6–7 plain weave circuits from hub to perimeter. The bold thread weight is appropriate for large accent sols (10cm diameter and above) where the coarse spoke texture is a design choice, or for demonstration and teaching sols where the construction steps need to be visible from a distance. #20 thread on a 5cm pin circle produces a sol that looks bold and graphic rather than delicate; it is not appropriate for complex star insertion or compound filling patterns because the thread is too thick to fit enough circuits for the pattern families to read clearly at that diameter.

DMC Cordonnet #30–#40 (standard weights). The most widely used range for instructional patterns and general sol construction. #30 is approximately 0.25mm in diameter; #40 is approximately 0.20mm. At #40 weight, a 5cm diameter sol accommodates approximately 12–15 plain weave circuits and 8–10 circuits in a star insertion pattern (the open sectors reduce the number of locked circuits). This range of circuit count is sufficient to develop a 4-point or 6-point star insertion, a simple compound filling, and a picot perimeter within a single 5cm sol. The #30–#40 range is the appropriate choice for most pattern releases in Patreon documentation because it balances visual detail with ease of handling — fine enough for complex patterns but not so fine that the needle work becomes difficult to see and photograph clearly.

DMC Cordonnet #60–#80 (fine weights). Fine thread for detailed work and high circuit density. #60 is approximately 0.13–0.15mm in diameter; #80 is approximately 0.10–0.12mm. At #80 weight, a 5cm diameter sol can accommodate 25+ plain weave circuits, enabling complex multi-technique compound filling within a moderate diameter. Fine thread work at #60–#80 requires a correspondingly fine needle (tapestry size 28 or finer) and good lighting conditions for photography — the thread is nearly invisible against white foam, and circuit-level photography for documentation requires a contrasting foam color or strong sidelighting. Fine thread patterns have high Patreon value because the complexity of execution and photography means very few creators document them at the level of detail (step-by-step circuit photography with close-up images of each compound filling stage) that beginners can follow. The audience for fine Teneriffe work is smaller than for medium-weight work, but the subscriber retention is higher because the technical depth of the content is not easily replicated or found in free resources.

Needle sizing. The tapestry needle size must match the thread weight: a needle too large for the thread leaves oversized holes at the spoke crossing points, distorting the even weave surface; a needle too fine for the thread snags the spoke foundation threads while weaving, pulling them out of alignment. Standard sizing: #20 Cordonnet uses a tapestry needle size 22–24; #30–#40 uses size 24–26; #60–#80 uses size 26–28. The needle must have a blunt tip (not a sharp sewing needle) because the needle must pass between the spoke threads rather than piercing through them; a sharp needle splits the foundation threads and weakens the spoke structure.

Thread color documentation. Pattern releases for Teneriffe lace should document thread color by DMC Cordonnet color number, not by descriptive color name. DMC Cordonnet color numbering differs from DMC stranded cotton (floss) color numbering, and patrons who have difficulty distinguishing the two numbering systems end up buying the wrong product. Document the color as "DMC Cordonnet #40, color 2101" rather than "white #40 Cordonnet" because the color code specifies both the white shade and the product line, reducing ordering errors. For patterns that use two or more thread colors (colored Cordonnet is available in the standard DMC range), list all color codes in the materials list at the beginning of the pattern and note which pattern stage uses each color.

Joining methods: bar join, picot join, and ring-off joining for multi-sol assemblies

Joining multiple sols into a coherent larger piece is one of the most technically and aesthetically demanding aspects of Teneriffe lace, and it is underserved by the existing instructional content in the category. Most Patreon and tutorial content shows how to make individual sols; very little shows how to plan and execute a consistent, visually integrated multi-sol assembly at the level of detail that allows a maker to reproduce the join type and spacing reliably.

Assembly planning before first sol. Before beginning any sol in a multi-sol project, establish the full assembly specification: (1) sol diameter and spoke count for all sols in the piece; (2) joining method for each join type in the piece (some projects use bar joining for interior joins and picot joining at the perimeter edge); (3) join position — which specific spoke or picot loop position on each sol connects to which position on the adjacent sol; (4) join thread — whether the joining thread matches the sol thread (invisible-join aesthetic) or uses a contrasting color (visible-join design element); (5) sol order — which sol is made first and in what sequence the assembly proceeds, because some joining methods require making all sols before joining, while others join as you go. Documenting these five decisions before beginning any sol prevents the most common large-project failure: completing half the sols and discovering that the joining method requires a feature (picot loops of a specific size, a specific finishing thread position) that was not incorporated in the already-completed sols.

Bar joining. Bar joining is the most common method for rectangular or diagonal grid assemblies. After completing and removing each sol from the pins, position two sols side by side at the intended join distance. Anchor the joining thread to spoke position N of sol 1 (the spoke at the joining edge of sol 1). Stretch the joining thread to the corresponding spoke position on sol 2 and wrap it around that spoke 3–4 times. The thread bridge between the two sols is the bar. Overcast the bar with buttonhole stitches (blanket stitch worked closely over the bar thread), working from the sol 1 spoke to the sol 2 spoke. The buttonhole overcasting converts the thread bridge into a firm, textured bar that holds its shape and provides a visible design element between the sols. Bar length determines sol spacing: a longer bar produces a larger gap between sols; a shorter bar (or a direct spoke-to-spoke join) produces tangent sols. Bar join positions are typically documented as "connect at spoke positions 5, 9, and 13 of each sol" — specifying the exact spoke positions prevents uneven joining where some joins are made at different positions than others and the grid alignment drifts.

Picot joining. Picot joining requires that the picot loops were formed at the correct spoke positions during construction. After completing all sols, position two sols side by side with the picot loops that will be joined aligned. Pass a joining thread through the picot loop of sol 1 at the join position, then through the corresponding picot loop of sol 2. Bring the joining thread back through both loops and pull to bring the two picot loops into contact. Secure the joining thread and cut. The result: the two picot loops are interlocked, holding the two sols together at that join point. Multiple picot joins along the joining edge produce a continuous connection. Picot joining is less visible than bar joining — the interlocked picot loops form a fine joining structure that does not interrupt the visual flow of the sol surfaces — and it produces a more flexible connection (the sols can move slightly relative to each other) that is appropriate for wearable pieces (collars, shawls) where drape and movement are important. The primary technical constraint: all picot loops must be formed at consistent size and at the correct spoke positions during construction. Document in pattern instructions: "form one picot loop at spoke positions 3, 7, 11, 15 (for a 16-spoke sol) for picot joining at the N, E, S, W positions."

Ring-off and continuous joining. Ring-off joining is used for circular assemblies (a ring of sols arranged around a central open space) and for curved or irregular assemblies where bar joining would require very long bars that would sag. In ring-off joining, the working thread at the perimeter of the second sol in each adjacent pair is not cut but instead extended to form the first circuit of the connection between the two sols before the second sol is removed from the pins. The connection thread travels from the perimeter of sol 2 across to the perimeter of sol 1 (already completed and removed from its pins), wraps around sol 1's spoke at the join position, and then returns to continue the final circuits of sol 2's perimeter. The result is that each sol in the assembly is connected to its neighbor during construction rather than after. Ring-off joining requires a strict assembly sequence (each new sol must be made adjacent to an already-completed sol) and pre-planned join positions, but it produces the most seamless-looking connection of any joining method because the joining thread is part of the construction rather than an addition after the fact.

Historical context: Canary Islands tradition and South American mundillo

Teneriffe lace is documented in the Canary Islands from at least the sixteenth century, when the technique appears in inventories of textiles produced in Tenerife and Gran Canaria for export through Spanish trade networks. The Canary Islands' position as the last port of call for Spain's Atlantic trade routes (ships stopped in the Canaries for supplies before the crossing to the Americas) meant that Canary Islands textile techniques traveled to the Americas with Spanish colonists in the sixteenth and seventeenth centuries. The sol lace technique established itself in South America alongside other Spanish needlework traditions, adapting to local materials (fine linen spun from locally grown flax, rather than the cotton and silk of the Canary Islands tradition) and developing regional variations in pattern vocabulary and assembly conventions.

The South American mundillo tradition (well-established in Paraguay and Uruguay, and practiced in Brazil's northeastern states) uses the same woven-spoke structure as Teneriffe lace but is frequently classified separately in craft literature because it developed alongside other needle lace and bobbin lace traditions in those regions, and because the design vocabulary shows regional influences not present in Canary Islands Teneriffe. The most visible distinction in Patreon terms: patrons who come to sol lace from a Teneriffe tradition and patrons who come from a mundillo tradition may use different terminology for the same techniques (the "sol" of Teneriffe corresponds to the "rueda" or "medallón" of some mundillo traditions; the "spoke" corresponds to "radio" or "hilo de base") and may have different default spoke counts and assembly conventions. Patreon creators who serve both audiences benefit from documenting terminology differences explicitly — a glossary note saying "this pattern uses the terms from the Teneriffe tradition; for mundillo equivalents, use these alternative terms" positions the creator as a bridge between traditions rather than a partisan of one, and expands the accessible audience for each pattern.

The contemporary revival of Teneriffe lace outside the Canary Islands and South America began primarily through English-language craft instruction in the late twentieth century, driven by the work of several American and British lace guilds that incorporated Teneriffe workshops into their programs alongside traditional bobbin lace and needle lace instruction. The technique's accessibility relative to other lace-making forms — it requires a small, inexpensive toolkit and produces visible results within a single session — contributed to its spread among craft communities that had previously focused on more tool-intensive forms. Contemporary Teneriffe practitioners in the UK, US, Australia, and continental Europe primarily learned the technique through guild workshops or published instruction books, and many are returning to the technique after years of other lace or textile work, which gives the Patreon audience a strong prior-skill foundation to build on.

iOS rates and Apple Tax for Teneriffe lace creators

Teneriffe and sol lace audiences are concentrated on visual discovery platforms where completed sols — their geometric precision, the delicacy of the woven spoke pattern, the variation between star insertion and compound filling designs — photograph exceptionally well and attract sustained engagement. The primary discovery path is image-first: a patron sees a finished sol or multi-sol assembly on Instagram or Pinterest, is drawn in by the visual qualities, and then searches for tutorial resources or Patreon subscriptions from that starting point. This image-first discovery produces iOS rates consistent with the iOS-heavy demographic of visual-primary social platforms:

Instagram slow-craft and needlework communities (finished sol photography, process shots of the foundation winding and circuit weaving, close-up detail of compound filling and picot perimeters): 70–82% iOS. Instagram's mobile-first interface and visual-primary content format make it the highest-traffic discovery channel for Teneriffe lace content. UK, Spain, and South American sol lace communities on Instagram are among the most active in the craft lace category.

Pinterest lace and textile art audiences (finished piece photography, pattern reference images, construction diagrams pinned from craft blogs and tutorial sources): 68–80% iOS. Pinterest's audience for textile and lace content is heavily iOS-concentrated because the primary Pinterest use pattern — passive inspiration browsing while mobile — is a behavior dominated by iOS device users across all markets.

YouTube lace tutorial content (foundation winding demonstrations, circuit weaving technique, joining method walkthroughs): 55–68% iOS. YouTube's broader demographic reduces iOS concentration compared to Instagram and Pinterest, but Teneriffe lace tutorial content on YouTube attracts the visual-inspiration segment of the YouTube audience, which is more iOS-concentrated than general content categories.

Lace guild newsletters and craft association email lists (event announcements, pattern previews, technique tips): lower iOS rates (45–60%) reflecting the desktop-primary behavior of email newsletter readers and the slightly older demographic of formal lace guild members, who are more likely to use desktop email clients for newsletter consumption.

Starting November 1, 2026, Apple takes 30% of every Patreon subscription processed through the iOS app. Impact at representative subscription levels for Teneriffe lace Patreons:

At $10/month with 72% iOS: $2.16/month per subscriber lost to Apple ($25.92/year). At $25/month with 75% iOS: $5.63/month per subscriber ($67.56/year). At $50/month with 78% iOS: $11.70/month per subscriber ($140.40/year).

A Teneriffe lace Patreon with 45 patrons distributed across sol pattern, technique, and project tiers loses approximately $180–$280/month ($2,160–$3,360/year) to Apple after November 1, 2026. Enable Patreon’s web-only billing toggle before October 31, 2026 and update all subscription CTAs — Instagram bio link, Pinterest profile link, YouTube description URL, lace guild newsletter link — to the direct Patreon web URL so new subscriptions are processed through the browser pathway. Verify with a test subscription from Safari on iPhone before November 1.

KeepTier is a self-hosted membership page for creators who want 100% of their tier revenue and zero Apple Tax. Plans from $9/month.

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