15 Geometrical effects (waritsuke-nui)

There is, in the world of embroidery, little to rival the glossy shine of a flat silk foundation. While stitching the pines of Hanayama, I was too focused on my errors to see any beauty in my foundations. I started stitching Phase II, Suehiro, at home in advance of the class so was able to take my time with the foundations and was more satisfied both with the actual stitching and the results.

These foundations are the first step for the geometrical effects that adorn two sections of the fan. I recall that I was particularly pleased with the flat white silk foundation on one of the sections and was loathe to “spoil” it with additional stitching. Fortunately, I really enjoyed creating the geometrical patterns and was pleased with the finished sections. Geometrical effects are not appropriate for every design but they are a aspect of Japanese embroidery that I especially enjoy.

Gt Tie-dye effect (hitta-gake)

Although I tend to think of hitta-gake as one of the novel effects, it is in fact a geometrical effect that falls under the category of Linear Effects. Hitta-gake is commonly referred to as "tie-dye effect" which, for me, conjures up images of the psychedelic t-shirts of the 1960s and 70s. Hitta-gake is nothing like that - it mimics the look of kanoko shibori which in turn mimics the camouflage spots of a fawn. It is a form of shiborizomi, a term that covers all of the manipulated resist dying techniques. I know very little about shibori or dying in general but I like to understand all aspects of my embroidery so often do some background reading about related subjects. I found John Marshall’s article on shiborizomi very informative on this subject.

The foundation represents the undyed areas of the fabric so is often stitched with flat white silk. Here I used two strands and was careful to space the stitches so that they covered the fabric without cramming them together.

© JEC/Carol-Anne Conway

The foundation is covered with a lattice of twisted thread. This lattice is very slightly larger than the lattice holding on the cherry blossoms and the thread is a tight twist.

© JEC/Carol-Anne Conway

Using the same thread, three straight stitches are placed over each intersection in the direction of the foundation.

© JEC/Carol-Anne Conway

Two additions straight stitches are placed in the centre of each "square", also in the direction of the foundation. Unsupported straight stitches in the same direction as the foundation would simply sink into the foundation stitches. Those across the intersection are supported by the thread forming the lattice; the two in the centre of each square are supported by a "sleeper" stitch. This is simply a short stitch perpendicular to the foundation that is not visible when the two stitches are placed on top of it.

© JEC/Carol-Anne Conway

When finished, the motif may be outlined to hide the stitching holes.

© JEC/Carol-Anne Conway

Tie-dye effect: in relief (honbitta-gake)

To show the tie-dye effect in sharper relief, the open spaces around the edge of the motif may be filled using the same thread.

© JEC/Carol-Anne Conway

I did not understand this concept until I saw pictures of kimono that have areas of kanoko and areas of solid colour. Only the complete spots remain with the solid colour filling any remaining space.

Happy Stitching