Japanese Hand Embroidery

I hope John reads this! He just completed Step 7 (I think that's which
step it was) and finished the most gorgeous embroidery. He sent me a
picture. I was astounded at the work.

I'd like to hear more about this "constant tension" technique. Do you
mean the thread is always held taut? Of course, that would require
two-handed working.

Isn't there also a great deal to do with making your own strands? I
have the Chung book. It's wonderful. She mentions about making your
own strands, as well.

Dianne



Marjorie Holme wrote:

Hi, Maureen: I can learn most anything from books but this technique
stymied me. I went to the Japanese embroidery center near Atlanta a
couple of years ago for a beginner course and it made a world of
difference. "The Techniques of Japanese Embroidery" by Shuji Tamura is
the best technique book. "The Art of Oriental Embroidery" by Young Y.
Chung is another good one. The Japanese Embroidery Series books on sale
at the Center are all pictures with little or no technique information.
They do help train your eye to really see the embroidery.

The key that I learned in class, and did not get from the books, is that
the threads are under tension at ALL times. This is what I'm still
working on.

You can order beginning designs, materials, etc. from the Center. If you
join you'll receive a lovely little periodical discussing embroidery and
the philosophy--it includes new and practice designs you can order. I've
been a member, off and on, for years.

Good luck. Marjorie

Maureen Miller wrote:

Please excuse me if this is a repeat post but a recent virus (now
deleted) wiped out everything so if my message was indeed posted, I did
not see the reply.

I want to learn Japanese Hand Embroidery. There is no teacher locally,
nor classes at local institutes. But there are MANY books out there on
the subject. Could someone please recommend a good book to learn
Japanese Embroidery from which preferably teaches from beginner to
advanced techniques? Thanks much!

Maureen In Vancouver, B.C.

Dianne Lewandowski wrote in message ...
I hope John reads this! He just completed Step 7 (I think that's which
step it was) and finished the most gorgeous embroidery. He sent me a
picture. I was astounded at the work.

I'd like to hear more about this "constant tension" technique. Do you
mean the thread is always held taut? Of course, that would require
two-handed working.

Isn't there also a great deal to do with making your own strands? I
have the Chung book. It's wonderful. She mentions about making your
own strands, as well.

Dianne



Yes, I've just noticed it, and I'll try to make some comments about
tension in Japanese embroidery.

(Dianne, thank you, by the way, for your kind comments on Camellias,
the Phase 7 piece. That phase was a joy to stitch.)

For a start, I'd have to say that I don't think about tension. I just
do it, and it works. I'm sure if I concentrated on getting the
tension right, I'd make a mess. Tension is critical when you're
working with flat (i.e. untwisted) silk. It's the stitches held under
tension that give you that wonderful shine. I have my left hand under
the frame and right hand over. Left handers would do it the other
way. I put the needle through from the top, and as soon as I get the
needle in my left hand I take the tekobari (laying tool) in my right
hand and hold the loop taught as I draw the stitch through. When
there are only a few inches of the loop left, I stroke the loop in the
direction of the stitch (i.e. towards me)to spread and align the silk
fibres. The advantage of the tekobari is that I can control the
stitch until the very last moment. When the stitch is taut, I try to
give a little flick with a finger of the left hand, just to be sure.
When I put the needle through from the bottom, I keep tension on the
loop underneath with a finger of the left hand, then give that little
flick again with a finger of the right hand, to ensure that the thread
is held firmly underneath.

This means, of course, that there are a few seconds when the thread is
not under tension, when you're actually placing the needle. This is
OK, as the fabric should be densely enough woven to hold the stitches
firmly.

And Dianne is correct about making one's own twisted threads. You can
make a range of twisted threads, thick to thin, soft to hard,
according to the effect you're trying to create. For example, I might
take 4 strands of flat silk, divide them into two sets of two strands,
make an S-twist to each set, combine them and give a Z-twist. When
stitching with the twisted thread, I hold the loop underneath with a
left hand finger, and the top loop with the tekobari, as before, but I
don't spread the thread. Mind you, I wasn't taught to use the
tekobari with twisted thread, but I find I can maintain the twist
better if I tension the thread with the finger underneath and the
tekobari on top.

All of the above sounds complicated, but it's not. It's an utter joy
to do. You probably do something like that already to stop knots from
happening.

I like the Chung book on Korean embroidery, and the Bertin-Guest book
on Chinese embroidery, but the best book in English is The Techniques
of Japanese Embroidery by Shuji Tamura. This is now available in
paperback. There is also an excellent Japanese textbook published by
Ondori. The diagrams in this book are so clear that the lack of
knowledge of Japanese is hardly a disadvantage.

John

Thanks for that very descriptive post. It's printed and I'll stick it
in the Chung book for "in the future when I get brave". :-)

I wish you all could see John's Camellias! I can only dream. Next time
I have my tambour hoop out, I'll try doing as described, even though
it's not flat silk.

I understand learning to twist the thread is a bit of a learning curve?

Dianne

John wrote:

Dianne Lewandowski wrote in message ...

I hope John reads this! He just completed Step 7 (I think that's which
step it was) and finished the most gorgeous embroidery. He sent me a
picture. I was astounded at the work.

I'd like to hear more about this "constant tension" technique. Do you
mean the thread is always held taut? Of course, that would require
two-handed working.

Isn't there also a great deal to do with making your own strands? I
have the Chung book. It's wonderful. She mentions about making your
own strands, as well.

Dianne




Yes, I've just noticed it, and I'll try to make some comments about
tension in Japanese embroidery.

(Dianne, thank you, by the way, for your kind comments on Camellias,
the Phase 7 piece. That phase was a joy to stitch.)

For a start, I'd have to say that I don't think about tension. I just
do it, and it works. I'm sure if I concentrated on getting the
tension right, I'd make a mess. Tension is critical when you're
working with flat (i.e. untwisted) silk. It's the stitches held under
tension that give you that wonderful shine. I have my left hand under
the frame and right hand over. Left handers would do it the other
way. I put the needle through from the top, and as soon as I get the
needle in my left hand I take the tekobari (laying tool) in my right
hand and hold the loop taught as I draw the stitch through. When
there are only a few inches of the loop left, I stroke the loop in the
direction of the stitch (i.e. towards me)to spread and align the silk
fibres. The advantage of the tekobari is that I can control the
stitch until the very last moment. When the stitch is taut, I try to
give a little flick with a finger of the left hand, just to be sure.
When I put the needle through from the bottom, I keep tension on the
loop underneath with a finger of the left hand, then give that little
flick again with a finger of the right hand, to ensure that the thread
is held firmly underneath.

This means, of course, that there are a few seconds when the thread is
not under tension, when you're actually placing the needle. This is
OK, as the fabric should be densely enough woven to hold the stitches
firmly.

And Dianne is correct about making one's own twisted threads. You can
make a range of twisted threads, thick to thin, soft to hard,
according to the effect you're trying to create. For example, I might
take 4 strands of flat silk, divide them into two sets of two strands,
make an S-twist to each set, combine them and give a Z-twist. When
stitching with the twisted thread, I hold the loop underneath with a
left hand finger, and the top loop with the tekobari, as before, but I
don't spread the thread. Mind you, I wasn't taught to use the
tekobari with twisted thread, but I find I can maintain the twist
better if I tension the thread with the finger underneath and the
tekobari on top.

All of the above sounds complicated, but it's not. It's an utter joy
to do. You probably do something like that already to stop knots from
happening.

I like the Chung book on Korean embroidery, and the Bertin-Guest book
on Chinese embroidery, but the best book in English is The Techniques
of Japanese Embroidery by Shuji Tamura. This is now available in
paperback. There is also an excellent Japanese textbook published by
Ondori. The diagrams in this book are so clear that the lack of
knowledge of Japanese is hardly a disadvantage.

John

I love the control twisting my own thread provides---not only can you
control the size but you can control the color and the twist of the
thread. If you've made twisted cord or spun wool, the principle is the
same. The technique is a little different, but not difficult. The only
thing I found hard was getting a good stitching rhythm going and then
having to stop and make more thread. Now I try to twist enough for an
area before I begin. Marjorie

Dianne Lewandowski wrote:

Thanks for that very descriptive post. It's printed and I'll stick it
in the Chung book for "in the future when I get brave". :-)

I wish you all could see John's Camellias! I can only dream. Next time
I have my tambour hoop out, I'll try doing as described, even though
it's not flat silk.

I understand learning to twist the thread is a bit of a learning curve?

Dianne

John wrote:

Dianne Lewandowski wrote in message ...

I hope John reads this! He just completed Step 7 (I think that's which
step it was) and finished the most gorgeous embroidery. He sent me a
picture. I was astounded at the work.

I'd like to hear more about this "constant tension" technique. Do you
mean the thread is always held taut? Of course, that would require
two-handed working.

Isn't there also a great deal to do with making your own strands? I
have the Chung book. It's wonderful. She mentions about making your
own strands, as well.

Dianne




Yes, I've just noticed it, and I'll try to make some comments about
tension in Japanese embroidery.

(Dianne, thank you, by the way, for your kind comments on Camellias,
the Phase 7 piece. That phase was a joy to stitch.)

For a start, I'd have to say that I don't think about tension. I just
do it, and it works. I'm sure if I concentrated on getting the
tension right, I'd make a mess. Tension is critical when you're
working with flat (i.e. untwisted) silk. It's the stitches held under
tension that give you that wonderful shine. I have my left hand under
the frame and right hand over. Left handers would do it the other
way. I put the needle through from the top, and as soon as I get the
needle in my left hand I take the tekobari (laying tool) in my right
hand and hold the loop taught as I draw the stitch through. When
there are only a few inches of the loop left, I stroke the loop in the
direction of the stitch (i.e. towards me)to spread and align the silk
fibres. The advantage of the tekobari is that I can control the
stitch until the very last moment. When the stitch is taut, I try to
give a little flick with a finger of the left hand, just to be sure.
When I put the needle through from the bottom, I keep tension on the
loop underneath with a finger of the left hand, then give that little
flick again with a finger of the right hand, to ensure that the thread
is held firmly underneath.

This means, of course, that there are a few seconds when the thread is
not under tension, when you're actually placing the needle. This is
OK, as the fabric should be densely enough woven to hold the stitches
firmly.

And Dianne is correct about making one's own twisted threads. You can
make a range of twisted threads, thick to thin, soft to hard,
according to the effect you're trying to create. For example, I might
take 4 strands of flat silk, divide them into two sets of two strands,
make an S-twist to each set, combine them and give a Z-twist. When
stitching with the twisted thread, I hold the loop underneath with a
left hand finger, and the top loop with the tekobari, as before, but I
don't spread the thread. Mind you, I wasn't taught to use the
tekobari with twisted thread, but I find I can maintain the twist
better if I tension the thread with the finger underneath and the
tekobari on top.

All of the above sounds complicated, but it's not. It's an utter joy
to do. You probably do something like that already to stop knots from
happening.

I like the Chung book on Korean embroidery, and the Bertin-Guest book
on Chinese embroidery, but the best book in English is The Techniques
of Japanese Embroidery by Shuji Tamura. This is now available in
paperback. There is also an excellent Japanese textbook published by
Ondori. The diagrams in this book are so clear that the lack of
knowledge of Japanese is hardly a disadvantage.

John

Unfortunately JE (Japanese Embroidery) is not an inexpensive hobby/craft. However, it can be quite fulfilling, and in that sense has been 'worth it' for me. I must admit I was daunted by the cost at first, but am glad to pay my teacher what I consider a small fee for her oh-so-helpful knowledge. The silk fabric can be expensive. Once you have bought the basic tools you do not need to purchase any more. The silk threads don't break my bank. For example, my upcoming Phase X piece may cost me nearly 1K by the time all is said and done, but it will take me a year or more to complete. It is time-consuming and painstaking work, and some days I can spend hours working on just a few inches (or less!) of area. I hope that some day you can try it, if you are interested.

Good luck,

Christine
Phase IX (X at the Center this Nov!)
Oakton, VA, USA