Creative Stitched Shibori E-Book

Annabel Wilson

• Herausgeber: The Crowood Press
• Kategorie: Fachliteratur
• Sprache: Englisch

Seitenzahl: 119

Veröffentlichungsjahr: 2024

Beschreibung

Creative Stitched Shibori introduces the Japanese craft of resist dyeing where a plain piece of fabric can be transformed into remarkable patterns. It starts with the simple running stitch and then explores how techniques can be combined to create more ambitious projects inspired by the natural world. With over 300 illustrations, including step-by-step sequences, this practical guide is a textile enthusiast's dream to a simple technique with vast and exciting potential.

Leseprobe

CONTENTS

Introduction

1 Materials and Equipment

2 Getting Started: The Basics

3 Ori-Nui and Maki-Nui Shibori

4 Awase Ori-Nui Shibori

5 Ne-Maki, Boshi and Guntai Shibori

6 Miru Shibori

7 Maki-Age Shibori

8 Mokume Shibori

9 Putting it all Together

Further Information

Index

Acknowledgements

INTRODUCTION

Discovering shibori has been a life-changing moment for me. What fascinated me from the very beginning was the simplicity of the practice of stitched shibori.

I enjoy the uncomplicated routine of taking a plain piece of fabric and by stitching into the warp and weft of the textile I can produce something personal and fresh. It may be a geometric pattern or take the form of an object from nature. The finished dyed designs may look very complicated, but they are all created following straightforward steps and using basic stitches.

Stitched shibori is just variations on running stitch and oversew stitch. Just follow the markings you have made on the fabric. Nothing can be simpler. And then by adding elements of binding the cloth in a disciplined manner, a multitude of designs can be made.

Stitched shibori practice does need forward planning and thinking through the steps and the order of those steps to achieve the design you want. It is in this way that it differs from tie-dye. Tie-dye is a random approach to making markings on fabric. The designs made with tie-dye are generally hit-or-miss.

Another difference beween tie-dye and stitched shibori is that shibori is a slower and more meditative means to realise a pattern on fabric. It is the mindful practice of needle and thread through fabric, following a line of marks that, after dyeing, will form a beautiful design individual to you. Even if you follow a pattern, your shibori will still be personal to you. Your stitching is like handwriting; the colour of dye you choose; the particular effect of the dye through the fabric and stitch. All these diverse elements will lead to an authentic and singular result.

A collection of stitched shibori fabrics dyed with madder root.

HOW TO USE THIS BOOK

Each chapter will introduce you to a stitched shibori technique, starting with the simplest and most straightforward. Gradually, your skills will build, adding to your competence in shibori. Even with the simplest of stitches, wonderful designs can be created. And you will build on those, step by step. As the chapters progress, we will put the different techniques together to produce more complicated designs. But by following the patterns and planning carefully and thoughtfully, you will find that it is easy to create wonderful and inspiring designs in stitched shibori. I am hoping that picking up this book will open up a whole new world for you to explore and create. A love of hand stitching is all you require.

Pattern templates are not included in the book. To copy a pattern, just take a photograph of the page and print out to the sizes indicated and trace onto your fabric.

I wish you much joy as you explore shibori and discover how to create your own remarkable fabrics.

CHAPTER 1

MATERIALS AND EQUIPMENT

We begin our shibori adventure by gathering all the bits and pieces we require. The equipment we need for shibori will be found in most baskets, cabinets, or containers where you keep your general sewing equipment. However, if you are completely new to sewing, the apparatus required is minimal.

The more complicated components to achieve successful shibori results are related to your selection of fabrics and dye stuffs. We will look in detail at how different fabrics affect the results so you can be clear on the best fabrics to use.

Stitched fabric with some essential shibori tools.

Also, we are going to consider different dye options and the effect that has on your creative shibori patterns. The full information on how to use different dyes can be found in comprehensive detail in books only dedicated to the process of dyeing. Consequently, unless you are already a dyer, I will recommend using the simplest dye process possible. This enables you to learn and discover the stitches, and play with the patterns and possibilities of stitched shibori. Dyeing fabrics can be a complicated art to fathom. It is a wonderful adventure in itself, but can be a brake on moving forward in shibori.

Subsequently, once your interest is piqued you can go on to discover and explore the wonderful world of natural dyeing, or delve into the enjoyable process of mixing your own special colours with chemical dyes.

SEWING EQUIPMENT

The requirements are very simple: needles, thread and, of course, some scissors. Let’s consider these in turn.

The basic tools for creating shibori, a good selection of needles, strong polyester sewing thread, a small scissors and chopped short lengths of cotton to make tags.

Sewing Thread

The main requirement for sewing shibori is a very strong, nearly unbreakable thread. For all the stitching use standard polyester or nylon sewing thread. Additionally, test the polyester thread by pulling hard to check that it does not break. Some of the cheaper polyester threads break rather too easily. I have tried them as a drive to save money. I recommend Gütermann Sew-All thread. I have used this consistently through all the years I have been sewing shibori and it very rarely breaks.

I suggest choosing a strong and contrasting colour to the white or cream of the fabric. Select a red, dark green or blue, or strong gold. The shibori stitching can appear quite complicated and dense across the fabric, so a contrasting thread helps you stay in control of your sewing.

Needles

I recommend sharps in size 7–10 or embroidery needles in size 4–8. I love the slow process of hand sewing, and consequently I prefer using short needles. However, some shibori sewers prefer a longer needle, which enables them to get more stitches completed on one pass through of the needle. Here there will be a little experimentation to find the needles you are happy with.

Scissors

You will require a small pair of embroidery scissors or snips and a larger pair for cutting the fabrics. The small scissors are very useful for carrying around and sewing your shibori on the go.

Tags

The other principal thread you need to begin your shibori is a double-knit weight cotton or wool thread. It is preferable to select a white or cream thread, just in case there is the possibility of dye from the yarn transferring to the fabric.

To create the tags used to secure the stitching use double-knit weight cotton thread and cut into 1.5–2.5cm (5/8in–1in) lengths.

This is cut into 1.5–2.5cm (5/8–1in) lengths. You don’t have to be exact here! These form the tags that are inserted at the beginning and end of every row of sewing.

Inserting the tags helps greatly at the end of the process of shibori when you are unpicking all those rows of tightly gathered stitches. The tags clearly indicate the ends of the rows and give you something to catch hold of.

MATERIALS FOR BINDING

Binding Thread

Create a selection of assorted strong threads for binding. Different threads have distinctive effects, which we will explore in future chapters. My particular selection includes a terrifically strong weaver’s warp thread, like a double-knit weight, a 3-ply/fingering weight linen thread and a nettle fibre.

A selection of threads for the binding of the shibori designs: an extremely strong cotton warp, a linen thread and a ball of nettle fibre.

A selection of beads, dowel and cotton reels that are useful to use to bind into the fabric to create a shibori resist.

Beads and Cores

Here is another diverse set of items to put together. As with the threads, begin to gather an assortment of beads and small objects to bind into the fabric.

Collect together tiny decorative glass beads of 2mm (1/16in), through to small wooden beads of 4mm (3/16in) to some larger chunky beads.

In addition, the other kind of objects you need for binding are of a larger diameter and are called cores. These are needed when creating large white circles on the fabric. Examples are items such as old cotton reels or balsa wood dowels of 2.5cm (1in) diameter. The latter are easy to cut and available from model making stores. You can also make your own ‘cores’ from scrap fabric, which I will show you in Chapter 5.

MISCELLANEOUS TOOLS

There is a small selection of additional bits and pieces that you will need.

Miscellaneous tools for marking the fabric, to protect the fingers and for the final unpicking of shibori stitching after dyeing.

Fabric Markers

It is very important to draw your shibori designs on the fabric, to give yourself clear guidance of the lines to follow with your folding and stitching. The more old-fashioned way is to use tailor’s chalks, available in various colours in block or pencil format. These do not disappear completely, so select a colour close to your final planned dye colour. The positive aspect to their use is it is more like drawing with a pencil on paper.

Alternatively, use a water-soluble or air-soluble marker to transfer the design. This disappears over time or with water.

Hand Protection

It is helpful to protect your fingers from too many needle jabs. There are now many different kinds of thimble available, which ensures you can find one that is comfortable for you.

When doing lots of sewing the hands get dry and however careful you are, the needles will prick the fingers. It is worth keeping the hands well moisturised, as rough skin constantly snags on the thread and on fine cotton and silk.

Seam Ripper

This is a very necessary tool to use for unpicking all the stitching after dyeing. A small pair of embroidery scissors can be used, but there is more danger of catching the fabric and making a small hole than when using the seam ripper.

WHERE TO DO IT

As shibori stitching is time-consuming, it is a wonderful idea to maximise the time you can use to stitch designs. A very enjoyable part of shibori sewing is that you can stitch anywhere. The amount of equipment needed is minimal. It is very easy to carry all the necessary tools with you.

I have a small basket containing all that is needed for shibori, and I can carry it around the home, allowing me to pick it up as and when I want.

A small basket to keep a selection of shibori equipment and fabrics to carry around the house, keeping everything in one place.

A cotton bag just big enough to hold a selection of equipment to take when travelling so no time is wasted.

When I take a train journey or go away it is a simple matter to take a small cotton bag with all the bits and pieces for stitching. Prepare and draw your designs on the fabric in advance, as that is more difficult to do on the move.

CHOOSING YOUR FABRIC

Shibori can be sewn into many fabrics, but I recommend starting with a nice soft cotton for your first experiments. The cotton fabric needs to be soft but quite tightly woven. If it is a loose weave, the shibori pattern will lose its definition. I suggest a light cotton calico (muslin in the USA) or voile. Some poplin and percale can be too closely woven for ease of working the needle in and out of the fabric.

Silk is a beautiful fabric to use but is difficult to work as it slips and slides. It therefore needs tacking or basting to hold the folded shapes.

Take care if reusing old fabrics such as cotton or linen sheets, because if it is worn the fabric can rip or tear. You are putting the fabric under a lot of stress with the gathering, dyeing and unpicking.

Weight of Fabrics

Many textile suppliers will be able to tell you the weights of their fabrics in grammes per square metre or ounces per square yard. As a guide, a fabric weight of between 2.6oz per sq yd (90g per sq m) and 5oz per sq yd (170g per sq m) is ideal. My favourite fabric is around 3.5oz per sq yd (120g sq m).

Preparation of Fabrics

Many fabrics have a finish on them, which needs to be removed before use, so that the dye adheres to the fabric. The process is called scouring. Wash the textiles at 60˚C (140˚F) before you start, to ensure that any finish is removed using washing soda or detergent, in a machine or by hand. To avoid the need for doing this, find fabrics described as prepared for dyeing (PFD).

Shibori Results on Different Fabrics

Various weights and weaves of fabrics will give varied results. The same dye on different fabrics will give a range of shades and tones. Search for a fabric you like, do some experiments, see how it reacts to dye and the shibori stitching and stick with that. There will always be elements of trial and error in finding the best fabric. Do not set off on a complicated design without being sure of your fabric choice and having done a few samples first.

This first sample is a calico, a nice tight weave with a soft handle. The pattern is clear and each type of shibori stitch is sharp. The result is exactly what I would expect from my original design and dyed with a chemical dye.

The second sample here is a cotton hemp mix with a pronounced slub in the weave, a more textured fabric. The pattern is well defined, but the texture makes the fabric more difficult to gather up tightly and the effect is a little grainier.

This third sample is made on a thin muslin with a loose weave. The pattern is distorted because of the weave and the dye seeps in too much and creates a blurred pattern. This fabric sample illustrates the negative effect of using such a fabric.

This is a heavy weight silk fabric. Note how different the colour is on silk. Silk is a slippery customer to sew shibori. Note that the larger leaf at the bottom right is angled differently from the other three designs. It is a challenge to keep to the drawn pattern with silk.

Each of these fabrics has been dyed with the same colour and concentration of dye. Exactly the same design was drawn on each and stitched in the same way.

ADVICE ON DYES