kakishibu update

One of the pasted folkhouse pieces made it into the kakishibu (persimmon tannin) just to see what would happen. Kakishibu and paste can be tricky, because the paste softens when it gets wet and with kakishibu the idea is to wet the piece and let it dry in the sun multiple times. Each dunking and sunning leads to a darker rust-color, and only the side facing the sun takes on color.

Here’s with paste on, after being in the sun:
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River washout:
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Final result (though it needs a good pressing, sorry about that):
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In some places, the paste cracked and left little lines of rust, giving it a bit of a batik crackle. I really like the darkness of the color and the imperfections of the kakishibu in relation to the stencil design.

I am looking forward to combining kakishibu with indigo and working with layers of dye and paste. Maybe offsetting the stencil? Maybe the use of different stencils directly over each other? There’s something to this process–and to katazome as a surface design technique–that I want to explore more fully. I am so grateful to have had the opportunity to try it.

shibori double pleated

shibori runner: linen fabric

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Technique: double-pleating

Step One: pleat by stitching with thread and pulling up, wrap around a flexible core and wrap with thread to hold, use strips of fabric wrapped around as resists; dye with indigo, remove from core

Step 2: wrap around core with the other side down, wrap with thread to hold, wrap with strips of fabric to act as sectional resists; dye with indigo, remove from core, remove all pleating and tying thread

Results:

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katano shibori

Shibori on linen fabric, katano technique, dyed with indigo

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Easily one of the most frustrating projects I worked on, as it didn’t turn out like I wanted (I’d wanted more light and shading around the lines). When Bryan talked on his blog about me being frustrated with indigo, this is the piece that brought that out. I’m hoping with time I’ll just accept it for what it is and not think about what I wanted it to be.
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ba kata (leaf stencil) for katazome

inspiration: the greenery around me and classic katazome stencils featuring detailed leaves on a dyed background

stencil 1: open leaf; stencil 2: leaf veins. This was my first attempt at designing a 4 way repeat, so let’s just ignore all the places where things don’t quite meet up. The third small stencil is to sign my work. (And if I ever remember to paste it on anything I hope it looks cool.)
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in progress: pasting the open leaves. (Yes, that is a 95 year old Japanese shibori artist in the background; she’s making all of us lunch!)
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in progress: removing the paste after the first indigo dye series by washing it in the river
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in progress: The red paste is the second pasting using the leaf veins stencil.
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in progress: removing the paste after the second dye bath
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results: two different samples dyed with indigo
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