Tag Archives: mokume

Testing, 1-2-3

The thing about Shibori is it can be both mentally invigorating and relaxing, often at the same time. I’ve been looking forward to this week’s work, knowing I’d have the stimulation of a puzzle paired with the soothing calm of stitching row upon repetitive row of running stitches.

Sketchbook Notes

Quick notations capture possibilities and remind me of fleeting ideas

In teasing out an approach for the dyed background of my “letters from home”, I’ve thought of plenty of possibilities. The overall goal is to find an idea that is generally repeatable, yet with enough elbow room for variations that will allow each piece to hold its own among the others in the series.

Ori-Nui

I keep even the smallest amounts of dye on hand so that I can make mini-samples on the fly. For the process of Ori-nui, the cloth is folded and stitches are made parallel and close to the fold. It’s a good way to achieve definition. I felt the stitches I’d made in this sample were too far from the fold, so I adjusted that distance in my final, full-scale sample.

I also have to keep in mind how the embroidery-to-be will fit, so that it doesn’t become lost against the color and pattern of its dyed background.

Mid-stream stitching

Once I get to the stage of sewing the resist stitching, I can settle in and relax. Where to stitch, what direction those stitches will take, and where the knots will be placed have all been decided. So there’s nothing to do at this point but listen to a book or podcast and get to work.

It’s all well and good to jot down options in a sketchbook, but it isn’t until the needle actually pierces the cloth that reality sets in and decisions/questions begin to crop up in earnest. Should the striations of pattern all go in the same direction – or perhaps oppose each other? How best to keep a crisp line between areas of pattern and open spaces of dye? Can I balance those two while keeping in mind that the third crucial element of the embroidered imagery will be added later?

Ready for Dy

With the stitching complete, the fabric is ready to soak and then all the threads will have to be drawn up tightly and knotted before beginning the dye process.

An example of the many things to think about: an often overlooked characteristic of Mokume stitching is that even the point where one chooses to begin a row of stitching can impact the final appearance. I am quite fond of the little white dots left un-dyed by the knots at the end of my stitching thread, so I try to work out ways to incorporate them that will enhance the piece without distraction. It’s worth noting that beyond contributing added visual “zip” for those who look closely, those tiny spots are also a reminder that this process is very much hand-made.

Knots

Admittedly they are very subtle, but I think the marks left by the knots at the end of my thread elevate the pattern as a whole, so I try not to hide them if possible.

Last but not least, at this early stage everything must be worked within a pre-determined finished size to accommodate framing.
So yes, lots to think about and I have my work cut out for me. But I wouldn’t have it any other way.

Finished Full

And there you have it – the finished, dyed piece. The dye came out a bit like the Northern Lights, don’t you think?

Finished Dye- Cropped

If I go with a 12 x 12 inch final dimension as originally planned, this is about where it’ll end up.

Most of our fall yard chores are now complete, crowned, as always, by the all-important planting and securing of the garlic under its snug winter cover of leaves and burlap.
Time to get ready for garden dreaming in hibernation season by turning to books. After reading the article I mentioned in my last post, I picked up David Culp’s The Layered Garden from the library for his ideas on how to bridge the seasons in your garden.  My favorite example of this idea is Jack Lenor Larsen’s Red Garden at the Longhouse Reserve.

I have a beautiful red twig dogwood and tend to leave areas of echinacea and bee balm for visual interest against the snow (and any late foraging birds). But I wonder what other ideas Culp might have. I was rewarded this morning, waking up to a frosted landscape that reminded me just how lovely every season can be.

Frost

 

Step by Step

This week, in lieu of all the usual writing, I am giving us both a break. Instead, I am posting photos of this latest piece as it has evolved. Your questions are welcome.

Mokume

The first step is creating the Shibori pattern on raw silk. This particular pattern is called “Mokume”, which means wood grain. It is not an exact science – just rows and rows of closely spaced running stitches. Still, I’m sure you can appreciate the resemblance to its namesake. Look closely to see the dots of white along the right edges of the pattern. They mark the placement of the knots of the threads that were used to gather the fabric before it was dyed.

Photocopy Map

I use photocopies of my original sketches as a map of sorts, to help me translate the image into stitch.

Stitch Variety

Using a variety of stitch patterns, weights, and colors gives a sense of form, and also adds an abstracted quality that I quite enjoy.

Gold Thread

Once I added the gold thread to that inside right section of the cup, it began to come alive. Sometimes a very small change can make a huge difference.

Keep Going

When I got to this point I began to see the minimal stitching on the saucer as an interesting composition in itself and I gave serious consideration as to whether I should just stop, leaving the saucer mostly blank. Of course I decided to keep going, but seeds have been planted to investigate this idea further in a future piece.

Saucer

Not only have I made the choice to keep going by filling in the saucer, I’ve begun to work on the background as well.

Getting the saucer right

Getting the saucer right was a bit of a challenge. You don’t see it in these photos, but it took several tries to get each section so that it rang true. Such is the beauty of working with thread; it is so easily removed and restitched.

Shadow

The background is now a major consideration – and I have removed most of the stitching to the right that had appeared before. Deepening and outlining the shadow below the cup strengthens its definition.

Background evolves

The background continues to evolve.  At this point I realized I needed to figure out how to tone down the lighter section to the left of the cup so that it didn’t stand out quite so starkly.

Quiet Moment     ©2017 Elizabeth Fram                                                                                                Finished! Now to decide on framing…

Quiet Moment, detail

Quiet Moment, detail     ©2017 Elizabeth Fram

Quick note: most of these photos were taken at the end of the day, in sketchy &/or artificial light, which explains the color differentials.

On a Different Note…                                                                                                                           

This week marks the opening of “Fiber Expressions, a group show of the Vermont members of the Surface Design Association.  I have 4 pieces exhibiting. I hope you can check it out if you’re in the area. Here’s the scoop:

Fiber Expressions
February 20 – March 31, 2017
Living/Learning Gallery, University of Vermont
633 Main St., Commons 205, Burlington, VT 05405
802.656.4299   http://www.uvm.edu/llcenter/gallery/
Exhibit Hours: Mon – Fri: 1:00-8:30pm    Sat: 12:30-4:30pm
Gallery Closed for Spring Recess March 11-19; Open by appointment only

Needlework: ‘Redemptive and Rebellious’

It’s been snowing off and on much of the week which has been great for productivity. Does anyone else notice that no other light quite compares to that which fills a space when it’s snowing outside? Colors appear crisp and true, reading more clearly than usual.

In process      ©2016 Elizabeth Fram                                                             Follow along with me as this piece progresses

As you can see, this week I’ve been concentrating on marks and the visual texture of stitches to pull out the form of a cup and saucer from the open section of last week’s dyed piece. I am still working to find a way to marry my daily drawings with my textile work without compromising either. It’s been a bit of a balancing act to keep the image recognizable while simultaneously leaning toward an abstraction of the forms’ shapes and cast shadows. By sticking with one color of thread, I’m relying on the direction of the stitches, their weight, and the patterns they create to define both the space and the image. I quite like the way they work in tandem with the dyed ‘mokume’ pattern. Before I began, I wasn’t sure how successful a partnership it would be, but I am encouraged by the way things are developing.

In process      ©2016 Elizabeth Fram

I found two thought-provoking articles from Brain Pickings this week that I’d like to share. They seem particularly appropriate since I’ve been totally consumed with needlework. The first, Stitching the Stars, centers on the nineteenth century astronomer Maria Mitchell’s theory of the needle as an instrument of the mind and why she felt it gave women an advantage in the field of astronomy. In turn, Brain Pickings’ creator Maria Popova posits that the mental space afforded via the slow nature of needlework has been a cornerstone in the “long history of thinking-by-hand in the intellectual life of women”. Bravo! Stitching is an art that is typically sidelined as ‘women’s busy work’; how absolutely satisfying and encouraging it is to see an acknowledgement in print of one of the most cogent hidden strengths that many of us who are actively engaged with needle and thread know to be true.

In process      ©2016 Elizabeth Fram

The second article, which segues easily from the first, The Dinner Party: Artist Judy Chicago’s Iconic Symbolic Celebration of Women’s Heritage in Creative Culture, is so very pertinent considering the political climate we are facing. It is an all-important reminder that the message of Chicago’s unparalleled project is just as crucial today as it was in 1979.

In process      ©2016 Elizabeth Fram

Finally, I am quite honored to have been invited last month to join TAFA: The Textile and Fiber Art list. As “a business community of entrepreneurs rooted in textile and fiber art products and traditions”, it supports artists, retail and wholesale e-commerce, cooperatives, galleries, organizations, writers, publishers, and collectors. The TAFA icon in the upper right of this blog’s sidebar is a link to my profile page. But more importantly, explore all of TAFA’s website to learn more about it as an organization and to see work from its over 500 members representing 44 countries. I have no doubt you’ll find something remarkable.

In process     ©2016 Elizabeth Fram

And please stay tuned. I’ve got my fingers crossed that this piece will be finished next week.

In process      ©2016 Elizabeth Fram

Switching Gears

There’s no arguing that persistence is one of the jewels in our proverbial bag of tricks. But there are definitely times when there’s more to be gained from allowing yourself to switch gears, especially in the face of a wall that, for the moment, seems insurmountable.

swoop

In Process     ©2016 Elizabeth Fram

I have been struggling with too many false starts on this piece over the past couple of weeks, spending as much time taking stitches out as I have putting them in. While I am loving the colors and the swoop of the pattern as it rises and falls through the layers, I am having a heck of a hard time taking it to the next level. So it’s going up on my wall where I can live with it, allowing time and distance to work their magic. Having put it aside, I’m on to something completely new to give my brain an airing out, making for a nice change this week.

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Stitching guidelines marked on raw silk

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Stitching, stitching, & more stitching

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Just slightly pulling the threads begins to reveal a beautiful pattern.

Although this form of shibori is named “mokume”, meaning ‘wood grain’, it also reminds me of Ansel Adams’ photographs of sand dunes.

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Soaking the fabric in water allows me to pull the threads all the tighter.

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The first application of dye

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A mixture of red, brown and eggplant. I have to be careful that the dye gets into all the nooks and crannies.

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Since this type of dye only adheres to protein fibers (i.e. silk, wool, etc), it doesn’t affect the cotton thread, which is a cellulose fiber. This makes it much easier to find the tight knots and to snip them without nicking the fabric.

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Removing all the threads reveals this incredible pattern. It still takes my breath away each time.

And now to get begin the next stage…