Ea N)

aS

Traditional Japanese
Julia D. Gray Embroidery ,

SEARCH PRESS *"

 Julia D Gray's passion for traditional Japanese
embroidery was kindled by her interest in
Art Nouveau (which was influenced by
Japanese design) and further fuelled by the
Great Japan Exhibition in London in 1981.
She has studied for nine years with
Kurenai-kai, graduating at their centre
in Atlanta, Georgia, USA in 1995. Julia
researches thoroughly, travelling extensively
in Japan to study embroidery and allied
traditional crafts including sumi-e (ink
painting), yuzen (silk painting), shibori
(dyeing) and katazome (stencilling). Sne
gives illustrated talks showing her collection of
Japanese antique textiles and artefacts and
demonstates at exhibitions throughout Britain.
When not working, Julia enjoys photography,
gardening and running her smallholding,
all of which bring her close to nature - the
inspiration for her work.

Julia lives in Tenbury Wells, Worcestershire.

Previously published as:

Beginner's Guide to Traditional
Japanese Embroidery
ISBN 978 0 85532 857 3

Beginner's
Traditional 0 Guide to

Japanese
mbroidery
Julia D Gr
ay
Traditional J.Apanese
Emb roidery

Date: 9/21/12

746.44 GRA
Gray, Julia D.
Traditional Japanese
embroidery /
PALM BEACH COUNTY
LIBRARY SYSTEM
| 3650 Summit Boulevard
West Palm Beach, FL 33406-4198
First published in Great Britain 2001 as Beginner's Tn memo ofTokinaea-san,
Guide to Traditional Japanese Embroidery m0 be andeae
First published in this format in 2009

Search Press Limited

Wellwood, North Farm Road,
Tunbridge Wells, Kent TN2 3DR

Text copyright © Search Press Ltd 2001, 2009

Embroideries and diagrams © Julia D. Gray

Photographs by Charlotte de la Bédoyere,

Search Press Studios

All rights reserved. No part of this book, text,

photographs or illustrations may be reproduced or
transmitted in any form or by any means by print,
photoprint, microfilm, microfiche, photocopier,
internet or in any way known or as yet unknown,
Acknowledgements
or stored in a retrieval system, without written
permission obtained beforehand from Search Press. I would like to say my biggest thank you to
both Kurenai-kai Japan) and the Japanese
ISBN 978 1 84448 422 5 Embroidery Center (USA) for taking me on
The Publishers and author can accept no
the biggest journey of discovery in my life. It
responsibility for any consequences arising from is thanks to them and all my teachers that I
the information, advice or instructions given in this have begun to achieve my goal in mastering
publication. the exquisite art of shi-shu — traditional
Japanese embroidery. They alone have helped
Readers are permitted to reproduce any of the me strive for the perfection I seek in my work.
embroideries/patterns in this book for their personal
I can think of no better path to follow in my
use, or for the purposes of selling for charity, free
of charge and without the prior permission of the
pursuit of nui-do — the Way of the Needle
Publishers. Any use of the embroideries/patterns for — than the one I have taken.
commercial purposes is not permitted without the Thanks also to: Yusai Fukuyama for taking
prior permission of the Publishers. the mystery out of Japanese crafts for me;
Tokinaga-san for guiding me along the path;
Suppliers
Keiko Utsumi for her enthusiasm and
If you have difficulty in obtaining any of the encouragement with her zokka — the art of
materials and equipment mentioned in this book, flowers; Anna Jackson and all at the V&A
then please visit the Search Press website for details Museum for allowing me special study time
of suppliers: with their wonderful textiles and artefacts;
www.search press.com Akemi Narita, Mary Tamakoshi, Sue Leighton-
White and all my friends who have indulged
my interests and supplied my needs in their
own special ways.

Printed in China
nh
us
Contents
Iutroduction 6

History 8

Sar| Material Gq enipment 10

Fabric ~ Threads ~ Needles ~ Basic tool kit
Transferring equipment ~ Other items

| ae ae started 16
e work Sfation ~ Framing up
Transferring the design ~ Checsine colours
Handling flat silk ~ Twisting threads
Handling metallic threads ~ Making and using a
sinking needle

Winter 30
Sho-chiku-hai — Three Friends of Winter
 Spring 46
Cho-cho — Butterflies and Falling Petals

Summer S4
Tsubaki — Camellia in Water

Autimn 62
Momiji — Maple

Finishing off 70
Snipping off threads and pounding
Gluing ~ Steaming ~ Pressing
Blocking ~ Kaigara-nami — Sea Wave

Patterns 8&6

Index 96
Sutroduction
For me silk is the only truly scrumptious
natural fibre — it has such life and shine.
Embroidery on this beautiful fabric has been
worked in many countries, but I find the
perfection aspired to in traditional Japanese
embroidery a wonderful challenge.
Little did I know when I visited the Great
Japan exhibition in the 1980s that the
kimono displayed there would light a spark
inside me and change my life completely,
taking me to the far side of the world.
| wanted to learn all about the embroidery
of a country with over a thousand years
of tradition and symbolism. My journey
was inspiring and enlightening. I found in
traditional Japanese embroidery not just a
way to stitch, but also a philosophy that
allowed me to achieve balance and harmony
in my everyday life.
In Japan, many of the traditional ways of
learning cannot be taught. When learning
how to embroider, an apprentice must sit in
silence and watch the master ashe stitches,
absorbing his knowledge and skill. To sit and
watch a master embroiderer in this way is
to be given a great gift in life. You must look
Cc Le The kimono has always been designed using
carefully and ‘steal the knowledge’. If you ask panels which are the same width as the looms.
too many questions, this shows that you do Two panels make up the back, two panels
not really ‘see’. The apprentice observes in make up the front, and each sleeve is made
with one panel. A little extra silk is used to
this way and practises until his or her work is complete the garment. The sash worn over the
unrecognisable from that of the master. ae — the Obi, is made of a similar width
I began my adventure into Japanese of silk. Itis usually a heavier weight as it relies
on the ae of the fabric to hold its shape.
embroidery in the same way — by copying
Embroidery on an Obi can be much heavier, as
the work of one far more proficient than I the fabric is able to support thicker threads.
Designs were devised in phases, allowing
me to learn more techniques with each
phase. After completing phase ten, it was

6
Japanese embroidery was originally designed for kimono, which allowed for the play of
light as the wearer moved, so do not view your work from just one position — watch it
change with the light. This is the same embroidery lit from different angles.

considered that I had practised all the with the way that you stitch, the play
basic techniques. I had to show examples of light on the threads and your aim for
of my own stitching to the teacher, perfection. Be sparing with your design
illustrating how the technique should and embellishment, as less really is more
look. I discovered that it is impossible to — the eye of the viewer should be allowed
stitch successfully in fine silk if you are to fill in the gaps left — so do not feel you
unhappy or angry. To stitch, peace must must cover the whole fabric with thread
first be attained, then the gentle rhythm or fill in every space. It is not considered
of the needle and thread flowing through wise or in good taste to dot every ‘i’
the silk lowers your rate of breathing as and cross every ‘t’. The Japanese have a
you relax into your work. saying: “Too much done is nothing done’.
This book shows you how to lay flat So, good luck with this first step on a
silk, how to twist your own threads and pathway to untold riches. My only wish
how to use holding grids. Simple projects now is that I live long enough to achieve
will help to develop your techniques, my life’s ambition — to stitch all that |
raking their inspiration from the four have in mind!
seasons. Metallic threads can be used
‘o add sparkle to both stitched and
couched work, but the shine, shade
ind life in your embroidery will appear
History
Legend has it that some one thousanc
years ago, a priest carried a few silk
cocoons hidden in his hollow cane out
of China. Along with the teachings of his
religion he carried the word of sericulture
(silk making) to Japan. It is said a
Chinese Empress taking tea had dropped
a cocoon into her cup and was amazed to
see it unravel into a fine thread.
It is more likely that visiting Chinese
armies took their culture into Korea
and Korean craftsmen carried the
Chinese methods of sericulture and silk
embroidery into Japan. Whatever the
route Buddhism took into Japan — silk
embroidery certainly followed.
An embroidered god. Worship was the earliest use of
At first embroideries were only seen embroidery in Japan.
in temples and featured the teachings
of Buddha. The oldest mention of an The next step in the evolution of
embroidered Buddha was in 604 AD but Japanese embroidery came when
nothing remains of this for students to worshippers wanted their own personal
examine. In 622 AD the oldest remaining shrines, and embroidered gods appeared
example of Japanese embroidery was in their homes.
stitched, a nd I have been lucky enough In tha tenth century — the Heian
to see a reproduction of this piec Period— there was a rigid class structure
displayed at the Chugu-ji convent in in Japan, starting with noblemen and
Nara, Japan. It is called Tenjukoku warriors and descending to farmers,
Mandala, “Tenjukokw’ being the Land of craftsmen and finally merchants. The
Heavenly Longevity where it is believed need to embellish the dress of high
that people with good karma are invited ranking court members, so they could be
by Buddha. The convent also owns identified by the colour and decoration
fragments of the original embroidery, of their outfits, moved embroidery into a
which was commissioned in memory of new field. It became customary for ladies
Prince Shotoku, who had done much to
to wear many layers of kimono, each in
popularise Buddhist worship in a different hue, showing in layers at the
his lifetime.
neck, hem and sleeves. This costume was
called juni-hitoe or ‘twelve-layered dress
 In Noh theatre, the richness, colour
and pattem of embroidery began to be
used to enhance the atmosphere of a
play. As these plays were viewed from a
distance, characters were recognised by
the designs and colour of their costumes.
The warrior class or Samurai were now
gaining importance in a political sense >
taking the dominance away from cour co
officials. They added their influence to
the development of costume, which
reflected changes in the social order.
At one time, expensive cloth and
embroidery were banned, and at this time
A traditional Japanese silk weaving loom. The width
it became fashionable to have elaborate ofthese looms still determines the width offabric
linings inside simple outfits. used for Japanese embroidery.
Finally embroidery reached more of
the population. Women passed on their
mothproofing properties. On her coming
kimono to their daughters. When a
of age the tree was chopped down and a
daughter was born, her family planted a chest was made to house her collection
paulownia tree, the wood of which has
of kimono.
A woman needed at least one kimono
[he many layers of kimono traditionally worn for every season. The design of her
it court. kimono changed to reflect the stages of
her life: the sleeves became shorter for a
married woman and the colours
became darker.
Today it is very expensive to own
several sumptuous kimono. If your family
has not passed down a selection, it is
costly to set up your own wardrobe. For
this reason, wedding kimono and dress
kimono can be hired.
With the passing of the formal dress
era, traditional Japanese embroidery must
move with the times. Embroidery has
long since been found on the screens
which divide the Japanese home. Looking
to the future, it may be this kind of
interior display that keeps this fine craft
alive. The evolution continues.
Materials CQHPPMLENE
Fabric Threads
There are various ty pes of Japanese silk fabrics Flat silk threads are used and these are
available, and they are a | woven in one width. available in hanks or o n spools. If you are
This is approximate y 34cm (13 in) from a beginner, it is advisal ble to use spools, as
selvedge to selvedge ,wh ich is the same size as the silk strands are wo und on to them from
he centuries old sil k looms. the hank without any wist. The silk strands
[use a thick Hab otal k for small and should be worked flat, so taking them from
finer pieces. Shioze Sa ridged silk made the spool makes stitch ing easier.
or Japanese wedding outfits. It gives a firm Wooden spools cal ed koma are used to
pase for embroidery and can be dyed easily. hold metallic threads securely while you
ishijin, woven in that area of Kyoto, has a are stitching.
ovely texture, and someti mes small motifs are Couching threads are made by splitting fla’
eatured in the si lk, or gold threads are woven silk threads into finer strands. These are used
in. Shusu is a smooth surfaced fabric which is to couch metallic threads.
especially nice in black.
There are other types of silk available
From left to right: white and black shioze, two pink
which are suitable for Japanese embroidery, kimono silks, blue and green kimono silks, two
but if you are a beginner, I would recommend patterned white Nishijin, bright orange shusu, and
the above. three antique green silks.
 }
Threads used [ete Drieihaa
ina SunEmtiseiA,
for traditional
Japanese
embroidery.
Metallic threads
(bottom right)
are used on
koma (middle
right). Half of a
skein is wound
on to each
koma, winding
anticlockwise
towards yourself
in a beckoning
motion. Hanks
of silk thread
are shown at the
top, and spools
at the bottom.
Needles
Handmade needles are always used and they are available in
different sizes. This allows the embroiderer to select the correct
needle for the thickness of thread being used. The size of the
needle should be wide enough to allow the thread to pass
through the silk fabric without dragging, but should not be
so wide that a visible hole is created. However, note that the
steaming and pressing of the finished piece will not only ‘set’
the silk and lift the shine — it will also close the needle holes,
provided they are not visibly too large to begin with. An emery strawberry.
The right needle size is especially important with flat silk: if : j
the hole is too small, the silk will snag and fray; if it is too big,
the flat silk will lie looking like separate strands on the surface,
which is not desirable. :
A longer, thicker needle is used to lace the silk fabric on Needle sui de
the frame.
Machine-made needles
The needle felt is a work station ‘port’ at which to place all
m2 or m3 are used
your needles when you are not stitching. It also protects your
for couching.
needles from loss, damage or rust when they are not in use.
Use an emery strawberry to clean your needles, running Handmade needles:
the needle through cotton cloth several times before you begin
stitching again, otherwise you will leave a dirty mark in your silk F5 or F6 for 0.5 flat or
when you next use your needle. This should always be done if 1/1 twist
your needle begins to squeak as it passes through the silk. It is
not considered good etiquette to have a ‘singing’ needle! F7 for 1 flat or 2/1 twist
If your needle becomes blunt, or has a small burr on the
end (which can happen if you drop your needle on to the F8 for 1.5 flat or
floor, point down), then sharpen it by rubbing with very fine 3/1 twist
sandpaper. This will also clear small spots of rust if you have
F9 for 2 flat or 4/1 twist
been careless enough to let your needles get damp.

Two machine-made needles, three

handmade, one lacing needle, all
shown on a needle felt.
Basic tool kit Transferring equipment
wl The awl acts as a post on which the Wooden board This is placed under your silk
hreads are anchored when they are being cut fabric mounted on your frame, to give a firm
yr twisted. It is also used when tightening the base on which to draw your design.
acing threads.
Flat-headed pins These are used instead
of round-headed pins, as they cause less
marking of the silk.

Chaco paper This is a type of transfer paper,

similar to dressmaker’s carbon. It does not
mark the silk if you happen to rest your
hand on an area, and does not smudge. It
gives a fine line that can be carefully erased
using a slightly damp cotton bud, or left to
fade in time. Since lines fade, if the work is
to be left for some time before completing,
recommend that major lines be couched or
stitched in place as a more permanent guide
to where to embroider.

Embossing tool The embossing tool is used

cissors Scissors should have a smooth to ‘draw’ over the lines of the design by
inish, with no sharp screw heads, so they pressing gently on the chaco paper. If a pencil
lo not damage the silk fabric. Traditional or pen is used instead, there is always the
apanese scissors are best, as they have no risk that it will pierce the design paper and
crew fixing at all, so when fastening off transfer paper and make a line on the silk that
hrough your completed laid threads, there is cannot be erased.
io chance of snagging your perfect stitching.

troking needle A stroking needle, which

; known as a teko-bari or kote-bari, is used to
troke the silk flat and hold it under pressure
ntil the next stitch is placed.

et squares and small ruler These are used

or the accurate measuri ng of angles and lines.
s they are laid across fi nished stitching, they
hould have smooth surfaces.

A wooden board, chaco paper, flat-headed

pins and an embossing tool.
Other items
Frame The traditional frame used in the Acid-free tissue paper Used to cover your
home, or by the professional embroiderer, is work and protect it from rubbing, dust
rectangular and made of wood. It is made to and light.
accommodate the traditional width of silk
fabric, but is available in different lengths. The Pounding cushion A lint-free silk cushion
frame featured here is a regular size. filled with collected snippings, used to pound
the embroidery on the back to release any
Magnifying glass An aid to viewing, dust that may have settled in the work and
especially for the finest work. dulled the colours of the silk.

Cotton ends These are strong, even-weave Glue Traditionally, rice paste was used to
100 per cent cotton ends that are stitched glue the back of the stitching to anchor it in
to the silk fabric to extend it for securing place, but I use a more modern glue so as
through the frame’s rollers. This allows for the not to encourage mould to form when the
expensive silk fabric to be the right size for the embroidery is framed. This was not a problem
design with no waste. on kimono as the embroidery work was not
encapsulated in any way, but free to breathe.
Sewing machine Used to stitch cotton
ends on to the silk, as a firm, stitched line Paint brush A short, chisel-ended paint
is very important. brush of stiff bristle is best, as it will not flick
or splatter the glue, just spread it smoothly.
Long ruler Used to measure distances when The brush should of course be clean, so as not
framing up your fabric before embroidering. to spoil the silk thread.
Lacing thread I use crochet cotton to lace Tray and kettle Used to steam the silk as part
the silk fabric on to the frame, but any thick, of the finishing of the embroidery.
strong cotton thread would be suitable. There
is a traditional lacing cotton available. Finishing paper and iron Finishing paper
(baking parchment) is much thicker than
Chopsticks and wedges Used to secure tissue paper. It is used to protect your
the frame, after stretching the fabric, before stitching from the direct heat of the iron while
embroidery can begin. the embroidery is being pressed.
Saw For cutting chopsticks to size. Card I use museum-quality conservation
grade card. This helps to lengthen the life
Cover When you are not stitching, you must
of the embroidery, as it is acid-free, with no
always cover the work with acid-free tissue
chemicals to damage the silk.
paper and a cloth, to protect it from dust
or damage. This cover is also known as a Silk wadding | mount my embroidery over
furo-shiki. These are sold in Japan for carrying silk wadding to give a softer finish to my work.
shopping, and in other countries as scarves.
Hanne BCI obvi
Getting rtarted
The work station
The first thing to remember is: ‘tidy work station, tidy mind’.
Traditional Japanese embroidery is stitched with the right hand
on top and the left hand undemeath, so necessary tools are
placed to the right, in the waste cotton area.
To set up your work station, you will need daylight
coming in from the left-hand side — this means you will not
de blocking light with your body or working hand. If you are
using a lamp, it should also be a source of light coming from
he left. The other working rules to remember are: stitch top to
bottom and left to right. This means that your arm or hand will
not keep passing over or rubbing a stitched area as you work.

Julia works in the traditional

way, sideways on to the design,
with her right hand on top and
her left hand beneath the fabric.
Her Japanese scissors, needle felt,
koma and silk thread are neatly
placed on the waste cotton at the
edge of her embroidery.

16
 Since you work from the side of your embroidery, you A professional embroiderer in a
need only stretch to the centre of the design, as the other Kyoto workshop
side can be stitched by turning the fra ne round , Or Moving to
the other side of the frame. The reason for worki ng sideways
on to a design stems from tradition: ki nono are made up in
whole panels, the fu | length of the gar nent, SO it would be
impossible to stitch a design upright. However, each panel is
the traditional width of 34cm (13 in), so working from the
sides of each panel, he embroic ery Ce 1 be com sleted with
ease. [his sideways-on met nod of wor king also educes the
danger of spoiling a 1 area you have already stitc hed.
Always remember to remove your S qarp tool S, Cover your
work with acid-free tissu e paper and your furo-shiki, and also
“Over YOUr nagnilyi 128 ass, even
ome) if only leaving your work
station for a moment, as then there wi | be no regrets! The sun,
nN particula i, IS your ene my, as it will fade your silk, or even

yurn it with the hel 9 of he magnifying glass.

A work station with both the work
and the magnifying glass covered
to protect the embroidery
Framing Hp
Before you begin your embroidery, you need the silk fabric to
be centred on your frame, between equal amounts of cotton
ends. Once the cotton ends are sewn on and the fabric is
placed in the frame, one and a half turns of the roller at both
ends should pull the fabric drum-tight. Centring the fabric
in this way is very much a matter of trial and error.
Try placing the cotton ends in the rollers by eye, then
twist the rollers one and a half times to see how taut
the silk is. When you think the fabric is placed
correctly, follow the procedures in steps
3-7 opposite.

1. Use a sewing machine

to stitch waste cotton fabric
to your silk. Make sure the
seams are on the top.

2. Place the cotton ends between the rollers, with the seams uppermost.

18
3. Measure from your 4. Twist the rollers to pull 5. Using a lacing needle
stitching line with a ruler the silk drum-tight, and and crochet thread, go down
and make three marks on the push in the nails. Now lift through the first hole and
cotton ends to keep the silk the frame and push its sides come up a third of the way
fabric straight in the frame. closer to the edges of the between the first hole and
The marks should be where silk, ready for lacing. the next, in the selvedge. Do
the cotton ends will enter the not try to gauge a cut length
slot of the roller: one mark in of thread. Leave the ball of
the middle and one at each crochet cotton attached until
side. One and a half turns of you have stitched to the
the roller at each end should other end.
pull the fabric drum-tight.

6. Go down a third of the way

further along the selvedge.
Come up between the silk
fabric and the frame. Go down
through the second hole of
the frame. Continue until you
reach the other end.

7. Return to the beginning and, leaving sufficient thread to

fasten off at each end, cut your thread from the ball and te off by
taking the thread around the wood three times, then fasten with a
buttonhole stitch
8. Thread a needle at the other end. Pull up 9. Fasten off at the end with two or three
the threads all the way along with the awl, three stitches over the thread to anchor it. Repeat the
times, until there is no slack in the thread. whole process (steps 5-9) at the other side of
the frame.

10. The sides of the

frame need to be
wedged apart to pull
the fabric drum-tight
width ways. A coin
should bounce off it!
Put a wedge in the
nail side first, and saw
chopsticks to size to
wedge the other side.
Make sure the wedges 11. Make sure the chopsticks and
are the same size on the wedge are evenly sized and put
each end to ensure an the chopsticks in place.
even stretch.
Transferring the desien
Designs for Japanese embroidery are ‘drawn’ on to the silk using
chaco paper and an embossing tool. The faint blue lines produced are
designed to fade in time, so if you are going to leave your design for
some time, stitch around the main lines with couching thread in either
the background colour, or the colour you are going to stitch in.

1. Place a hard-covered book or a board, or 2. Place a sheet of chaco paper, wax side down,
both, under your framed silk, up to the height of on top of the silk, then position your design on
the silk. This is to ensure that, when you draw top of that, right side up. Pin each corner with
on the silk, you are not pressing it down. Be the flat-headed pins.
careful to use something that will not be marked
by your embossing tool.

3. Use an embossing tool to trace around 4. Remove the chaco paper and design. If the
the design. pins have left marks on the silk, these can be
removed using a cotton bud and a tiny spot of
clean water.
Choosing colours
carly morning light is the very best light by which to choose
your colours. | start the day in the traditional way of t e Japanese
apprentice, wo king in the garden and feeding the animals. By then
ny eyes are attunec to the colours of nature and I fee ready o select
the colours for my 1ext project. If you don’t have gooc ight from a
window n your ho ise, do not be afraid to ake your silks ou side to
choose. Look at the range of colours on t 71e fabric and then stand
pack to look a you ‘choice. If you wa at an objective view, ook at the
COLOUTS 1 na mirror. You wi | then see i apa ticular colour sta ids out

as wrong. Looking ng in a mi ror also helps if you cannot d ecide whether

your des gn works or not.
Choice of colou -is individual, but tradition does offer sor NE
guidelines wit 1 which to start. I n Japanese design, motifs7 are symboli
and so are sot re colours. Orange-red is a colour for gooc luck.
Children are dressed in th s colour whilst they are small —not the Nature is often the
traditional western colou rs of pi nk for a girl and blue for a boy. It is also inspiration for colours
in Japanese design.
the colour wo n to a Japanese w edding along with the p urity of white.
Here, maple leaves are
Red and white together signify happiness and celebration. Green is pictured in front ofthe
the colour of eternal life shown oy evergreens like the pine tree, which most celebrated view in
never change colour whatever the season. Black depicts mystery and Japan — Mount Fuji, o1
solemnity. Gold is the co our of heaven. Fuji-san as it is known
 A professional
embroiderer choosing
his silk at a master
dyer’s shop in Kyoto.

Japanese design is influenced by the seasons and it is unusual to

find flowers grouped together inless they bloom at the same time.
Choose the right colou rS anda S hades to match the season.
There are many festivals in Japan, many of which are on odd-
numbered dates: IstJa nuaryMS — irst of the first mon th), 3rd March
ird of the third mon h), 5th May, 7th uly, 9th September. There are
symbols and associatec CO ours to represent each festival.
lst January New Year is re presented py the Th ree Friends of
Wi nter or Sho-chiku-b ai: plum, pine ¢ nd 5amboo. The p um tree
flowers so early in he year that its ba re wood is deep pink or white
wit 1 blossom before there are any leaves. Pine and bamboo are
eve rereen, and bamboo can be a love y green-gold col Our.
3rd March Gir s’ Day or Doll Festival is represented oy dolls and
associated with pez ch blossom and soft peach tones.
5th May Boys’ Day is representec byt he purple/blue iris, with its
strong sword-like leaf, usually depicted in water; and by he ca p for its
strength and tenacity, fighting its way up a waterfall.
7th July Tanabata celebrate s the love s ory between a Heav enly
Weaver and a Cowhe d who m eet once aj ear via a bridge of m agpies
n the sky. The festiva is repres ented by the weaving loom or s dindles
ind is associated with the co ou rs of the nig at sky and cool wa tery
shades to take away t 1e heat of summer.
9th September C rysant 1e1 num Festival. The six een-peta
shrysanthemum is tl e emblem of the emperor’s fami y. Magnif cent
lower-heads of red/o range and bright yellow dominate autum1 design.
Remember that th e backgrov nd colour of the fabri c on whicl tl
you are going to wor k has a great bearing on the shades and de oth
of colour you can use. Do not use a colour just because you like t.
Think of th e work as a whole subject. In Japanese des ign, one co Our,
ar removed from the rest of the colour range, is often used spa ingly
o shock the eye. A surprise attracts the eye and makes the viewer stop
ind look closer.

i) we)
Handling flatsilk
One of the most important things to consider when handling
flat silk is whether your hands are smooth (a love affair with
good hand cream benefits you well). If you do snag or ruffle
the silk, one tip is to take the strand and run it across your
forehead. You should not be wearing make-up, and the natural
oils in your skin will smooth out all but the worst cases.

1. Spool the silk off the spool

evenly, holding it round the
back of the awl as shown, anc
letting the spool run through
your hand. Be sure to run the
silk through your fingers and
do not be tempted to unwind
it, aS you are sure to twist it,
Vit)
|
trie
and the delightful shine of fla’
silk depends on the thread
remaining completely flat.

2. Take hold of both strands

of the silk thread with your
right hand.

3. Anchor the thread round

the awl.
+. Thread up the needle with the two loose ends. 5. Place your needle into the
needle felt. Cut the thread off
the awl.

6. Knot the ends of

the thread and snip off
the tail.

Stroking
flatsilk
To keep your silk flat, not twisted, and under tension, you
need to stroke it with your teko-bani (stroking needle.)
Before pulling a stitch right down, stroke the silk flat, like
a ribbon. Keep the teko-bari under the silk until the stitch
is pulled right down.

25
Twisting threads
n order to make a 4 into 1 twisted thread, pass the silk thread round
he awl twice. If you were making a 2 into | thread, you would only pass
it round the awl once. If making a thicker thread, pass the thread round
he number of times required (i.e. three times for a 6 into 1, etc.).
Sit back from your frame when twisting, as this allows you to be more
luid with your hand movements.

2. Anchor the threads to the

awl as for flat silk (see step 3,
page 24). Take two of your
four threads and pass them
round the back of the awl, so
1. Pass your thread around the awl twice and cut to length, that you now have two threac
remembering to cut through the loop to make four threads of on either side of the awl,
equal length. separated from one another.

3. Hold the left-hand thread

in your mouth. Take the right-
hand thread in your le t hand,
place it on the heel of your
right hand and run it up from
the base of your right qand to
your right finger-tips . This is
the unc ertwist.

Note |
Do not let go of the |
twisted thread. Once it |
has been twisted, it must |
be kept taut. |

J
 4. To test whether the thread
is twisted enough, hold out a
portion of the thread and relax
ita little. You should get a twist
with a loop at the bottom. Put
the end of the twisted thread
into your mouth and twist the
other side of the thread. When
tested, it should have the same
sized loop.

5. Take the two ends of

the thread and tie them to
make sure that they are the
same length.

6. Run the threads up

your left hand as before, to
combine the threads. This
is the overtwist.

A twisted thread ready to

stitch. This type of twist is
called a ‘z’ twist.

| Note
Twisting the undertwist
up your left hand and the
overtwist up your right
hand makes an ‘s’ twist.
Handling metallic threads
You should treat metallic threads with great care, winding them on
to the koma with a gentle rhythm, in a beckoning motion. Stitchable
metallic threads (usually no. 1 gold), should be placed into paper for
protection, and then one end cut to leave manageable lengths with
which to stitch. Lengths should be kept straight, and when working
with pairs of threads, always keep them parallel and stop them from
twisting up on each other.

Making a half-hitch
1. Take a length of 2. Take those two
no. 1 gold thread ends back through
and thread both ends the loop. Tighten to
through the eye of make a halfhitch.
the needle. Tie a knot in the tw
ends and cut off any
tails. You are now
ready to stitch.

When couching, your metallic threads

will be wound on to two koma. Take
the end from each koma and knot them
together. Lay the metallic threads on
to the surface of your silk. Make a tiny
backstitch with fine couching silk. Come
up at the start of the design. Couch over
the threads at right angles with your
couching thread, leaving the tail end free.

28
Making and Msie a Linking needle
= =

| cl

Thread a needle with one strand of silk. 2. To sink your metallic thread ends, cut the
nchor the needle in your cotton ends at the knot off the tail of your metallic threads, then
lge of your work. Twist each side of the thread thread the trimmed ends through the loop of the
1 the needle, as you would on the awl, then sinking needle. Put the sinking needle through
vist them together. Snip off the end to leave the silk as close to the first couched stitch as
out 10cm (4in). This is a sinking needle. This possible, without losing the first couching stitch.
>comes a tool of your trade, and you keep it
itil the silk frays, then make a new one.

Pull the sinking needle down sharply. The loop pulls the ends through
the back of the work.

29
Winter
Sha-chiku-hai ~
Three Friends ofWinter
Plum, pine and bamboo, the ‘three friends of winter’
in Japanese culture, are also the heralds of spring. Plum
(ume) blossom on bare wood is the first flower to brave
frost and extreme cold, coming out before even the leaves.
It is considered fragrant, graceful and feminine.
Pine (matsu) is evergreen, and thus beautiful in all
weathers. [t shows great strength and fortitude, and
represents masculinity as well as longevity. The needles
grow in pairs, and remain together when they fall, and so This pine treeinOsaka, Japar
fi ; has been specially clipped to
ate symbol of fidelity. create the distinctive shape ust
Bamboo (sho) is the most important ofJapanese plants. — jn our design.
It is impossible to picture Japan without thinking of
bamboo: its myriad uses form part of the basis of everyday
life. Bamboo is both pliant and strong, and remains in
leaf through the coldest times, and therefore represents
flexibility and reliability.
The combination expresses the wish for long life, good
fortune, strength and beauty, even in the face of adversity.
This design was worked on a natural ivory silk. This
makes the choice of thread colours easier, since there is
no ‘interference’ by a background colour. When you begin
choosing your own colours, it is advisable to start in this
way, before using coloured or patterned backgrounds.
The colours chosen here are natural: the ume plum really
is this colour in flower. For the pine, I chose a strong,
Ume plum blossom flowers or
masculine green, and for the bamboo a young, vibrant
bare wood in winter, even befo
green for the new leaves. the leaves come out.

Bamboo (left) is vital to Japan

life, and symbolises reliability
and flexibility.
\40-chibpu—bai — Three Friends of Winter

esign size Pine tree: deep green, 1067, 4/1 twist

3x 13cm (7 x Sin) boughs: no. 1 gold halj-hitch
Ik fabric branches: no. 1 gold couched with gold silk, 1/2 twist
atural ivory shioze Bamboo: gold green, 1071 or 424, 2/1 flat;

ireads stalks no. 1 gold

um blossom: deep pink, 1025, 2/1 flat veins: no. 1 gold couched with gold silk, 1/2 twist
tamens: no. 1 gold couched with gold silk, 1/2 twist
lum bough: no. 1 gold halj-hitch |Note
All the design sizes given are from the
edges of the stitches, top to bottom and
then side to side.

31
Plum blossom
When working with shioze silk, bring the needle up to begin
in the valley of the fabric. Make sure your needle comes up at
a 90° angle to the fabric. Begin working your plum blossom in
satin stitch, stitching the petals in the order shown below.

hand A plum blossom has five petals

and these are stitched in a cert
order. First, find the ‘head’ pet
This is not necessarily at the tc
of the flower— it is the whole
foreground petal, and this is
always stitched first. The petal
either side of the head are the
\ ‘hands’, and are stitched next.
hand hand The final two petals are the ‘fe
and the background petal of th
two is stitched last.

hand

__|

L Ss

1. Transfer your design (see 2. Stitch the centre line, 3. Work a line of stitches fr
page 21). Tie a knot in the bringing the needle up through left to right and from the to}
deep pink thread and cut off the top of the petal and down to the bottom of the petal.
the tail. Bring the needle up through the bottom. Then work from the centre,
through the silk and make a stitching from right to left a
tiny back stitch. Do not put from the top to the bottom
the back stitch where you need of the petal, to complete
to stitch your stamen later, the petal. Fasten off after
as it will be in the way of the completing a petal.
needle. Then come up ready to
start your first stitch.

Note
It is best to fasten off after completing each petal, as taking
the thread across from petal to petal may result in you
seeing a dark line showing through your silk fabric when
you stand back from your work.
. Next work the ‘hands’ 5. Finally work the ‘feet’ in the
1 the same way, leaving a same way, finishing with the
eedle point’s space between background petal.
ne petals.

6. To fasten off, part two

strands of thread that you
nave already stitched, with the
teko-bari. Come up between
them, and make two tiny back
stitches in the space between
the threads. Make sure the
stitches are made in a valley of
the fabric, to avoid making a
bump in the embroidery.

. Come up again in the same 8. Now stitch the buds, beginning in the middle as with the
nace and snip off the thread. flower petals. Stitch to the edge of a bud, and then fill in the other
side. Stitch all the buds in the same way. The branches on which
the buds appear will later be stitched in gold, but the flat silk is
always finished before beginning on the gold thread.

33
Stamens
The stamens are shown here stitched on to a blank design for
clarity. In fact, you will stitch them on top of the deep pink silk
of the petals.

Perea
Berrersenntns
Serer
SeMeeicep peas iecssaes
ieee

9. First thread your needle

with no. 1 gold as shown or
page 28. Start with a tiny ba
stitch as before. Bring the
needle up through the centr
of the ‘head’ petal and dowr
through a ‘foot’ petal, malkir
sure that the thread lies acre
the centre of the flower.

10. Make another stitch at right angles,

dividing the flower into four. Make two more
stitches to divide the flower into eight and
then another four making sixteen. All of these
stitches are of random length and, as before,
lie across the centre of the flower.

34
 11. Make a cross stitch to
anchor all of these threads to
the centre.

12. Then pull and couch each

aes f space stamen into a curve, curving
snentesecaarneneeots “=8) down from the top stamen.

Note
When making the cross
stitch, pull the threads
down a little away from
the head petal. This will
make the flower look |
more natural. | The finished flower with the
gold stamens in place.
 Pine tree
The rule in Japanese embroidery is to work the foreground
first, so work the whole pine tree first. The tree is shown on
its side, as this is the direction in which you will be
stitching,
working sideways on to the design.

I. As for the flower, put in one

tiny back stitch. Then, starting
with the widest stitch, bring
your needle up though the silk
at the top and down through Lo ile
the bottom.
| i!
ae yin
A)

2. Fill in the right-hand

side (as you are working)
in this way.

uiay
\
|

i}

3. Fillin the left-hand side in

the same way, starting from the
longest stitch as before.

36
 Note
To make a couching thread, anchor your thread round the awl,
split it into two strands, then split one of those portions of a
strand into two again. Twist together two of the quarters to
make one fine thread for couching.

4. Thread a needle with the

couching thread and bring the
needle up through the silk.
Move the thread across the
tree. If it shows up, it is in the
wrong place, as shown here.

5. Once the couching

thread disappears into the
background threads, as shown
here, it is in the right place.
6. Bring the needle down through the fabric. Bring your next
stitch up 2.5mm (in) away from the last stitch and parallel to it.
Continue in this way until the grid covers the pine tree.

7. Couch the grid down

using the same thread and
tiny couching stitches. These
stitches should come up and
go down through the centre
of a background stitch. The
couching stitches should be
3mm (just over /in) apart.

38
_ Measure the gold branches from the design sheet. Stitch the
entre upright first. Using no. 1 gold, stitch the branches, starting
the centre and working out.

Note
Check that the branches are equidistant (approx. 4mm/¥in
apart) to maintain perfection.

39
 9. Complete the branches
the other side as shown.

10. Couch down the straight

branches with gold silk
couching thread. The upright
should be couched straight.
The other branches should be
pulled down slightly in the
middle to make them curve.
One is shown curved here. E
40
 11. Using no. 1 gold thread,
stitch the boughs with
staggered diagonals. Put in
the first stitch...

12. ...then the second goes in

slightly diagonal to the first,
about a third of the way along
and going a third past it, to
create a curve.

13. The third stitch starts

a third of the way along the
second, to complete the curve.
Stitch all the boughs of the
pine tree in the same way.
Staggered diagonals and gold
thread are also used to stitch
the branches on which the
pink buds appear.

4]
Bamboo
Begin with the foreground leaf, i.e. the whole leaf in the centre.
Then, as this design is in the centre of the fabric, it will be the
next leaf towards you that you stitch next. Remember always
to leave a needle point’s space in between the leaves.

1. Start with the whole 2. Stitch at the same angle to 3. Finish the leaf as shown.
foreground leaf, which in this the top of the leaf.
design is in the middle. Put in
your first stitch at the correct
angle at the point of the leaf.

Note
eee ee It is best to finish
ee ee stitching the silk before
adding metallic work to
your piece, so finish all
the leaves before adding
their vein lines.

4. Work from the middle le

towards yourself, then turn
the frame around and work
towards yourself on the othe
side. Put in your stitches at)
angles shown for each leaf.

WP
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. Using no. 1 gold, put in Nephodidugude PREFERS

yrs SETS TSppeda weeoset ta tnocel
Meedeeddcdnocatigaed. ; / ree nee
he vein line in the centre of
ASP PROROPEREAT ENE vethe tang
he middle leaf. Do not take
he vein right down to the
oint of the leaf, as this will PRasrceneastner PELE ES
oo ata “ esd esses peste
ot look natural.
6. Couch the vein line into a curve with gold silk couching
thread. Complete all the gold vein lines in the same way.

Tat een anne tai

rE reA

Oe
a ‘Taneranens

ledddsdddded
a Adhddial sleds Lolslglted - Libel eked
'PPRAIPLEEP OPED DRiera.

. Begin to stitch the bamboo 8. Finish stitching the

alks in no. 1 gold, as shown. gold stalks.

43
These Three Friends of Winter
(Sho-chiku-bai) appear in Sho-chiku—bai — Three Friends of Winte.
many design forms. Here is
another on which to practise.
with White Buds
The two examples show how Design size
a different choice ofcolours
16.5 x 16.5cm (642 x 6in)
can change the appearance of
the design: in the one above Silk fabric
the buds are white, and in the
Natural ivory shioze
design opposite the branches
are stitched in brown instead of Threads
gold. Stitching within the lines
Plum blossom: deep pink, 1025, 2/1 flat
you have drawn, instead ofgoing
over them, creates Japonica stamens: no. 1 gold couched with gold silk, 1/2 twist
quince blossom (opposite) buds: white, 1086, 2/1 flat
instead of plum.
plum bough: no. 1 gold half-hitch
Pine trees: deep green, 1067, 4/1 twist
boughs: no. 1 gold half-hitch
branches; no. 1 gold couched with gold silk, 1/2 twist
Bamboo: gold green, 1071, 2/1 flat
veins: no. 1 gold couched with gold silk, 1/2 twist

44
4o-chiku—bai — Three Friends of Winter
iL) Japonica Quince
sign size Silk fabric
xX 16.5cm (642 x 67/2in) Natural ivory shioze

reads
‘ince flower: deep pink, 1025, 2/1 flat
amens: no. 1 gold couched with gold silk, 1/2 twist
uds: pale pink, 1019, 2/1 flat

uince bough: dark brown, 1074 or 747, 2/1 flat

1e trees: deep green, 1067, 4/1 twist

nughs: no. 1 gold half-hitch

ranches: no. 1 gold couched with gold silk, 1/2 twist
mboo: green, 424, 2/1 flat
‘ins: no. 1 gold couched with gold silk, 1/2 twist
ee
Cho-cha ~ Butterflies Cho-cho — Bullerflies a.
wy;alling Pet
and Falling Petalr Design :
20 x 15cm (8 x (
The butterfly symbolises rebirth. It is
Silk fal
believed to be a fallen petal returning to
Cream shi
the bough.
Cherry blossom, the petals of which Thre
feature in this design, is a symbol of Bottom butterfly: medium blue purple, 614, 1/1
womanhood. It is also the emblem of the Bottom small butterfly: medium yellow green, 4
samurai (warrior), since each blossom 1/1
only lives for a single day, and therefore Middle butterfly: blue purple, 613, 1/1
symbolises the shortness of life. The Top silk butterfly: yellow green, 474, 1/1
samurai was prepared to give up his life Top butterfly: 1 pair no. 1 gold couched with gold
for the protection of his master. Cherry body padding: butter yellow, 318, 2/1
blossom is an important flower in Japan, body: no. 1 gold half-h
and gives rise to the O-hanami or cherry
antennae: one pair no. 1 gold couched with gold
blossom viewing festival, during which
Petals: orange, 202 and 204, 1/1
Japanese people sit beneath the newly
flowering trees and have picnics. It is
considered a good meditation to sit
and watch a single flower open on a
sunny day.
This design combines a celebration of
womanhood with a wish for a long and
happy life, and for rebirth, to continue
the cycle of living into infinity.
I have chosen the spring-like, soft,
creamy yellow as a background colour,
and light, young shades for the butterflies
and petals.

46
——
Pt pte
eas
eterna ena
2
rasan
 1. Cover the body of the
butterfly with silk padding
stitches. These are simply sa
stitches that will give the bo
a raised appearance.

2. Stitch over the padding

stitches in the opposite
direction with no. 1 gold
thread, and lay and couch the
antennae, as shown on page
28. Sink the ends of the gold
thread as shown on page 29.

3. Put in the first stitch of t

foreground wing. The longe
stitch comes first, as shown
This gives you the correct ai
for the rest of the stitches.

48
 iy Mi takes PE AIAN A RN NY NTT CTY
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erry ey

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ill in both the foreground wings, stitching in the direction

yn above. Then fill in the background wings as shown. Stitch
¢ main butterflies in the same way as in steps 1—4.

49
 5. Repeat steps 1-2 on the
gol d-outlined butterfly.

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50
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Stitch the centre line of the 9. Finish stitching the first

st flat falling petal. petal. Stitch all the flat petals
in the same way.

51
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10. Stitch the foreground 11. Stitch the rest of the

part of the curled petal. curled petal in the same
direction. Stitch all the curled
petals in the same way.

Stitching a large butterfly is 1

very different to stitching a sm
one, providing it is worked
sections. The body of this one }
cotton padding stitches as v
as silk, to give a more rounc
look. The play of light on the:
threads of the wings will m«
the butterfly look more thr
dimensional, and there is
‘clever’ shading need

Cho-cho — Single Buller)

Design s:
13 x 16.5cm (5 x 6%
Silk fab
Black shic

Three
Butterfly’s top wings: wood rose, 697, 2/1 |
Bottom wings: wood rose, 694, 2/1 |
Body: under layer padding: 5/1 cott.
silk padding: golden cream, 902, 2/1 fl
top layer: no. 1 gold half-hi
Antennae: one pair no. 4 gold couched with gold:

oy)
Summer
Trubaké ~ Camellia in Water
The camellia is an interesting flower, as instead of shedding
individual petals, it drops the whole flower. The samurai were
said to be wary of the camellia, as it loses its whole head — but
it can also be said to retain its beauty even when fallen. The
saying goes that ‘the camellia will always prosper in frost
and snow’.
Here the water swirls to take away the heat of the summer
for
ie} all who look upon it. As these designs would originally
have been stitched on to kimono, it would have been the
onlooker who benefited, not the wearer. Water and waves
represent repetitive movement: the tides turn every day and
water flows continuously; waves wash on to the shore into
infinity.
=) This design therefore symbolises the wish for long life.
Camellia flowering in Tokyo
The Japanese artist is taught that even when painting a dot
in the eye of a fontiger, he or she must first feel the feline, savage,
cruel nature of the creature. If painting a storm, he or she
nust at that very moment feel the force of the wind and the
power of the rain. So feel the coolness of the water as it swirls
around your desi og n, or the lightness and fragility of a butterfly
in flight. Add strength, character and feeling to your work and
keep telling the stories in your stitches.

A fallen camellia in Kenrokuen

Garden, Kanazawa, Japan.
 ubaki — Camellia in Water
sign size
cm (7 x 10in)

te kimono silk

reads
mellia: plum, 687, first line 3/1 flat; second line 1.5 flat, third and
rth line 1 flat
wer centre: butter yellow, 314, 1 flat
tail: one pair no. 1 gold couched with gold silk
umen: knots, 314, 2/1 ‘s’ twist
iter: one pair no. 4 silver couched with white silk
 1. The camellia is stitched in
long and short stitches. Start
off in the usual way. Put in the
first line of stitches: one long
followed by one short.

2. Put in the second line of

one long, one short stitches.

3. Work the whole petal in

the same way. You may need
three or four rows of stitches
to complete it.

56
 4. Lay the first yellow silk
stitch across the centre of
the flower.

peareetteeanereene
Coser pee

Stitch across the whole centre of the flower in the same way.
n lay a metallic gold thread going in the opposite direction
ards the flower’s centre. Lay five more gold threads in the
e way, and couch them all into curves.

Ul~
6. Now you need to make the
knots at the flower’s centre.
Twist your thread on the awl,
the opposite way to a ‘z’ twist.
Twist the undertwist up your
left hand and the overtwist up
your right hand, to make an
‘s’ twist (see page 27). Thread
your needle and start with a
tiny backstitch as usual.

7. Pull the needle down wit

yout left hand, holding on t
the wider loop with your rig
hand, and the small loop dec
against the fabric. This ensu
a nice, even knot.

8. Continue pulling down

with your left hand, ensuring
that the knot is made on the
fabric, not above it.

58
 RETR ay
eevee = 8=9). Fill the centre of the flower
with knots in the same way.
Fill in all the petals from the
centre out, as shown.

Sapte ees eT

Sa
SeTeer
ee ewe A si= ey ren
: ne
= nS ISS
eS - ——
Serene =e S SS
Seen a ene et
neeen
oe See. Saee

Lay a pair of no. 4 silver threads (using your koma as on page

and couch them in place using white couching thread. Lay
couch the other water swirls. Sink the metallic threads as
vn on page 29.
The iris, which inspired the design opposite, is the symbol for the Boys’
Day festival in Japan. The leaf is thought to resemble the blade of a
sword, and the flower is usually featured in water, often with a carp, to
represent strength, a warrior spirit and other ‘manly’ qualities.

Kakitsubata — Tr.
Design si
17.5 x 17.5cm (7 x 71

Silk fabr
Blue kimono si

Threa
Iris: bright blue, 5:
centre petals: 2/1 f
outer petals 4/1 tw
Leaves: green, 408, 2/1 f
Water: one pair no. 4 silver couch
in white s

60
61
Autumn
Momiji ~ Maple
Autumn maple leaves suggest the approaching close of the
year. Dressing in their final gorgeous hues, they are associated
with brilliant, warm and resplendent colours. Maples can also
de used in spring designs, in shades of young green. When
the maple leaf is used alone in a design, it is said to suggest
oneliness.
Maple leafviewing is another time for gazing up into
he trees, like the cherry blossom festival. Trees are lit up
at night, especially in public
gardens or temple grounds, for re S
people to walk beneath and ee
see breathtaking collections of oe ey
colours. With carpets of fallen
eaves beneath the trees, they
cause many camera shutters
click in the hope of obtaining a
prize-winning picture.
This design,
g being2 on black,
allows the freedom to choose
from anyve of the ee
glorious, bright
g
shades of autumn. Softer shades
can be added, as this ensures
hat the brighter ones stand out
and attract the eye, more than if
you assault your audience with
oo much colour.
eo) Remember,
‘less is more’! The black
background works like the night
sky, so that the play of colour
is concentrated in the leaves,
which look lit up.

Maple leaves cause many

a click of camera shutters,
especially where these are seen
here, near Mount Fuji.
 my — Maple
ign size middle, apricot, 2
Ped | ee o} ) )

9.5cm (8 x 10in bottom, orange brown,

) )

fabric Bottom group of four: foreground leaf: orange, 202

k shioze riddle left, red/orange, 113

eads middle right, red/orange, 115

ilk leaves are 4/1 twist

| leaves: 1 pair no. 1 gold couched with gold silk

of leaves in top left hand corner: red/orange — 11;
:
up of three on right: top, golden-rod, 336
 1. Starting with the fattest
side of the fattest finger of the
foreground leaf, put in the first
stitch as shown.

2. Continue up one side of

the first finger, as shown.
64
3. Complete the second side
of the first finger as shown
3egin the second finger of the an
leaf in the same way, fattest
side first.

~
SSSS
SSK
S
RX

S=

Continue in the same

iy until the whole leaf is
tched. Stitch all the silk
wes in the same way.
5. Couch the edge of the gold outline leaf, using your koma as
shown on page 28 and working in a clockwise direction. Sink the
metallic threads.
the veins in the same
wa\
 Ginkgo trees line some
streets in Japan, and
Osaka Prefecture has
taken the tree as its
symbol. It is considered
a venerable tree, known
to live for a long time,
indeed I have seen one
that is believed to have
lived for 1,600 years. It
therefore symbolises the
wish for longevity, and it
is usually stitched in the
young green of spring or
the golden yellow
ofautumn.

CH)
Design si
23 x 15cm (9 x 61

Silk fab:
Orange shu

Thre
I pair no. 1 gold couched with gold s

68
Finishing oft
If your work doesn’t look quite right, never be afraid to do a little
reverse stitching (taking out). The one little bit you decide to leave
as you ‘won’t notice it’ will be the one piece your eye goes to each
time you look at that embroidery. So aim for perfection in all that
you do, but do not become so obsessed with it that you lose the true
enjoyment — that of creating a work of beauty with needle and thread.
Now we have reached the finale, and it is time to finish off your
work, ready for framing. You need to be especially careful at this stage,
as you could ruin a wonderful embroidery if you tackle this part
in haste.
Even now I worry about combining water, glue and silk. If you
steam your work too much, it could become too wet, and will dry
with water marks. If the kettle spits, or if you do, it will leave a mark.
‘his is why, when viewing another embroiderer’s work, we cover our
nouths and keep speaking to a minimum. If your glue goes over your
stitching line, it will
eave a mark.
Yes, | do mean
to frighten you,
because if you take
care now, there will
be no regrets later!

When viewing another

embroiderer’s work,
you should cover your
mouth and speak as
little as possible, to
avoid ruining months
of hard work. Your own
work should be treated
with the same respect.

70
S IPI offthreads and pounding
[his is a time for tidying up. Hopefully your embroidery is neat on the
reverse, as any excess thread can snag your silk when stitching. Long
ends will need to be cut ready for gluing.

1. Tum your work

over on to the reverse
side (this is the only
time you will see
the reverse of your
embroidery). Snip off
all loose ends, using
traditional Japanese
scissors. Leave
roughly lem (in)
of thread. I always
collect the ends ina
special snippings pot.

2. Take a lint-free silk

cushion filled with
collected snippings,
or anything else dust
and lint-free. Pound
your work on the
reverse side, very
vigorously, to get rid
of the dust or tiny
snippings of thread.
This will make your
work shine
 Gluing
Traditionally, glue is applied with the fingertips, but I find it easier to
put on the glue with a chisel-ended bristle brush. I check that not too
much has been applied with my fingertips.

1. Place a small amount of glue in the palm of your hand.

2. Rub it around with a brush to make

a smooth paste. The warmth of
your hand melts the glue.

(PD
 Use the brush to apply glue to the stitched area only. Do not go over
2 edges of the stitched area. Brush in the direction of the stitch.

4. Smooth with your finger to make sure the glue is not overloaded, or it
will go through to the right side of the work.

(2
 Ssteamine
Put the work right-side up and put a full kettle
under your
work station, on a low stool, on a tray. Keep the
kettle boiling
for at least three minutes. This revitalises your
silk, sets the
threads and gets rid of any grime.

Note
The minimum distance between the
top of the kettle and
your embroidery should be approximat
ely 30cm (1 2in).
If you have a long embroidery, you
may need to move
the kettle occasionally to ensure an
even steam over the
whole piece.

ai
Pressing
lace a piece of finishing paper (1 use baking parchment) on
op of your embroidery. Switch your iron to its silk setting,
hen stroke it very lightly over the paper. Put your other hand
nder the embroidery to stop the iron from pressing too hard,
r the heat becoming too m uch for your work. If it burns
1e hand, it burns the silk. Do not press down on the fabric
s you do this. Remove the paper and leave the work to dry
aturally overnight — never eave it near a source of heat.
 Blo ching
I always mount my work over card and wadding. Blockin
g
gives a firm base on which to have your work framed.
I do not
trust a framer to do this for me!

1. Remove the wooden

wedges from the frame to
release the tension.

2. Release your work from

the frame by snipping
around the lacing.

76
Remove the threads gently using the awl.

4. Take the pressure off with

your other hand, so that you
can take out the nails.

er
5. Unwind the rollers so that you can lift the embroidery off
the frame.

6. Put the embroidery:

down on a clean cloth on y
lap. Take a piece of muset
quality conservation gt
card the size of the finis
embroidery. Take a piece of
wadding 2.5cm (lin) la
all the way round than y
embroidery. Wrap the wadc
around the c

78
 7, Wrap the embroidery on
top of the wadding around
the card. Join the top and
bottom of the cotton ends
by loosely threading them
together using crochet thread
and a lacing needle, from the
outside edges to the centre.
When you reach the centre,
go back to the beginning and
tie off with a double back
stitch. Then begin from the
other side and work in to the
centre again as shown.

8. Pull each thread of the lacing tight, making sure

it is even.
Place a finger on each tightened thread to hold
the tension while
you pull the next thread. Tighten all up one side,
then up the
other, and repeat each side twice.

80
 9. Pull the last two threads
tight and tie a double knot
to pull the centre of your
embroidery together.

10. Mitre the comers of the wadding and tuck the wadding in
between the lacing and the back of the board

81
 11. Tuck in the selvedge
edges at the back of the
embroidery. Next you need
to lace up the embroidery
horizontally, stitching throu
the front selvedge.

12. Lace up the embroidery

horizontally. Start from the
sides and work into the centre
as before. Check the front as
you go along to make sure the
tension is even.

82
 ighten and tie of { as before, but not qu ite as tightly,
é J} so th at
front looks smooth, with no wrinkles
Kaseara-nans ~ Sea Wave
The background fabric used here carries the design known
as kikko, or tortoiseshell. It is the symbol of the turtle, which
is very long-lived, but is sometimes considered too ugly to
appear in its entirety, so it is represented by the pattern on its
shell. This pattern represents the wish for a long life, and, if
featured with a crane, a happy one.
Here I have added shells, which are a sign of fidelity, as
they break into a pair that make a heavenly match; and a wave,
the symbol of the continuity of life, to represent constancy.
Whatever happens, the tide will turn each day and the waves
will crash on to the beach. The combination expresses the
wish for a long and happy marriage. Brides take a game called
‘the shell game’ into their marriage, to wish for fidelity, as
only the two halves of the same shell will match. The game is
carried in a Wedding Shell box.
When choosing the colours for this design, I considered the
play of light on a changing wave and added unusual metallic
threads to try to achieve the look and feel of seashells, which
shine differently when viewed from different angles.
This is also another cool design for a summer occasion.

Haigara —nami — Sea Wa

Design s
28 x 18cm (11 x7

Silk fal
Green kikko design kimono.

Three
Top shell: purple, 1031, 2/1 flat + stitchable mete
Next shell: green, 1071, 2/1 flat + stitchable mete
Scallop shell: soft purple, 1028, 2/1 flat; shading: purple, 1027, 1/1,
Next shell: stone, 1083, 2/1 flat + stitchable metallic; beige, 1082,
flat; cream, 1078, 2/1,
Bottom shell: shell pink, 1023, 2/1 flat + stitchable metallic; pale p
1022, 2/1
Metallic shell: stitchable meta
Wave: I pair no. 3 twisted gold couched with gold:
Detail: No. 1 gold half-hi

84
an
O4o-chibu-bat — Three Friends of‘Winter
This pattern has been reduced to fit the page. In order to reproduce it
full size, enlarge it by 133% ona photocopier.

86
Sho-chiku—bai — Three Friends of‘Oyxnler
Note
vith While Buds or Three Friends of; This one pattern is used
for the two designs
Vinter with Japonica Quince
on pages 44 and 45.
his pattern has been reduced to fit the page. In order to reproduce it To achieve the smaller
ill size, enlarge it by 133% on a photocopier. petals of quince blossom,
simply sutch inside the
drawn lines instead of
over them
 iy
tee
aS Gs
> es
&

ee a Gs)
lp
€) De
Cho-cho — Pulterfies and Fallin 7 Petals
This pattern has been reduced to fit the page. In order to reproduce
it full
size, enlarge it by 133% ona photocopier.

poy
 SSN
—\—=

J4o-cho — Single Buller, Hy

it
his pattern has been reduced to fit the page. In order to reproduce
ill size, enlarge it by 133% on a photocopier
89
SD -
Woubak; = Gamela in Water
This pattern has been reduced to half size to fit the page.
In order
to reproduce it full size, enlarge it by 200% on a photocopier.

90
Hakitsubala — Tris
his pattern has been reduced to fit the page. In order to reproduce tt
ull size, enlarge it by 133% on a photocopier.
91
 i
Momiji — Maple
This pattern has been reduced to haif size to fit the page. In order to
reproduce it full size, enlarge it by 200% on a photocopier.

92
>.
7nkgo
it
‘is pattern has been reduced to fit the page. In order to reproduce
| size, enlarge it by 133% on a photocopier
 Cc.

Haigara ~nami — Sea Wave

This pattern has been reduced to half size to fit the page. In order
to re produce it full size, enlarge
it by 200% on a photocopier.

04
Index
aval Wh, BO) 24:5 BS, MO, 3 scissors 13, 16, 71
58, 76 Iris (Kakitsubata) 60, 91 Sea Wave (Kaigara-nami)
84, 94
Butterflies and Falling Petals kimono 6, 7, 8, 9, 10, 17, 48, silk
(Cho-cho) 46-53, 88 49, 60, 84 ike 7, WO, WD, DA DS. WO.
Knots 55, 59, 81 44, 45, 46, 52, 55, 60, 84
Camellia in Water koma 10, 16, 28, 59, 66 habotai 10
(Tsubaki) 54-61, 90 Nishijin 10
chaco paper 13, 21 shioze 10, 31, 32, 44, 45,
oom 6,9, 10, 11, 23
cotton ends 14, 18, 80 DOS
orem 7 1, ils}, AS, DG. Bd, shusu 10, 68
magnifying glass 14, 17
38) 40) 43, 44, 45, 46, 48, Single Butterfly (Cho-cho)
310), DA, DD, Dil, D9), CO), O33, aple (Momiji) 62-69, 92
S533}, eo)
66, 68, 84
staggered diagonals 41
wells 7, 12. XO, 25, Sil, 32.
ales ©, 1,9), 3, Hay, IMO, My 33}, Sh SO, SL, SS, 42, Ste
Teko-bari_ 13, 25, 33
BN, MA, HO), Bil, Fn, KOs, 3), handmade 12
AP, Be, WD» SOs SH, DS, DD), thread
lacing 19, 80
60, 62, 63, 68, 84, 95 crochet 19, 80
machine-made 12
couching 21, 28, 37, 40
sinking 29
fasten off 32, 33 lacing 13, 14
stroking 13, 25
festivals 23, 46, 60, 62 metallic 7, 10, 11, 28-29,
needle felt 12, 16, 25
frame 13, 14, 17, 18, 19, 20, 50, 68
26, 42, 76, 78 ini 7, 13, 25. POL,
overtwist 27, 58 58, 84
furo-shiki 14, 17
Three Friends of Winter (sho-
Ginkgo 68, 93 padding stitches 48, 52 chiku-bai) 23, 30-45, 86-87
pounding 14, 71
undertwist 26, 58
hal-hitch 28, 44, 45, 46,
D284
work station 12, 16-17, 74

‘Z twist 58
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'i | .. According to tradition, students of Japanes¢ embroidery must watch
q ym ; a master at work and ‘steal the knowledge". Here, Julia shares her
passion for this exquisite craft, ce in-depth knowledge of
Pers the skills and symbolism involved. Detailed instructions reveal the
» intricacies of working with silk thread and silk fabric, and clear
step-by-step photographs show how to create beautiful embroideries
: inspired by the four seasons.

}
Previously published as
t Ze ~~«=--- Beginner's Guide to Traditional Japanese Embroidery
eames by Julia D. Gray,

\ ; inspec

§ ts

~~ UK £10.99 US $21.95
ISBN 978-1-84448-422-5

CU , A

A practical embroidery | | | |
book from Search Press 781844°484225">