Preparing for upcoming class

In preparing for my upcoming katazome class, which starts on December 8th at the Textile Center of Minnesota, I’ve been looking into some alternatives to shibugami (traditional katazome stencil paper), because, though shibugami is lovely, pleasant to cut and extremely durable, it is expensive. It can be helpful to explore alternatives, especially when beginning to learn katazome materials and techniques. Some months ago I heard about using Yupo as an alternative from Australian katazome artist, Melinda of so-meru. Since then I have tried it with some of my own work.

field

When I first used these Yupo stencils, I found pasting somewhat awkward because they are not reinforced.  My paste spreader (hera) was catching on points and edges of shapes in the stencil. I learned to reinforce my shibugami stencils with silk netting, called sha. John Marshall developed an innovative method which doesn’t require toxic lacquer. The netting, which is attached to the front (top) of the stencil, both stabilizes it and protects it from damage while pasting. Here is a close up of one of my reinforced stencils. You can see how fine the sha is.

The solution I came up with seems to work well so far with these Yupo stencils. I found some mosquito screen at my local hardware store. It’s made from lightweight plastic or nylon. A roll of it costs less than $10 and is enough to make a bunch of screens. I cut it to approximately the same size as my stencil (or a little smaller), and created a flexible margin around it using duct tape. The stencil goes down on the cloth first, then the screen goes over the top. Paste as usual, then mist lightly, and remove both the stencil and the screen from the surface simultaneously.

pastingyupo

Below is a close up of the screen corner. I made the margin a bit too narrow, but since my Yupo stencil already had a rather wide margin it didn’t really matter. You need a margin for the extra paste to flow as you spread it across the stencil.

cuscreenpaste

The border of the screen below is wider, and I think this works better. I used 2 pieces of duct tape, one on back, one on front, overlapping the screen by about 1/2″.

You will have to make sure your paste is of the proper consistency, i.e. not too thick. Thick paste will likely leave little squares on your cloth in the pattern of the screen. Here’s a close up of my wet paste after screening. You’ll see a few areas where I need to smooth it out a bit but generally it covers well. The cloth is linen: loosely woven, soft, with a basket weave pattern woven in, which gives it dimension and texture. (I am making curtains for the household.)

cuwetpaste

I think this is an adequate and flexible solution. Everything is waterproof and does not buckle. You can soak the paste off and forget about it (as is my normal routine) when finished pasting. If you want to paste the stencil both from the back and the front, i.e., flipping the design, you may do so, though you’ll have to wash the paste from the stencil before flipping it. I think using this technique with a registering repeat design will be more challenging; something to look into later.

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Author: Kit

I use the materials and techniques of the Japanese art of katazome (paste resist stencil dyeing) to capture my experience of nature. My work celebrates daily meetings with the wild birds, plants, and lake breezes of my local urban surroundings.

9 thoughts on “Preparing for upcoming class”

  1. Hi Kit,
    I’m glad you were able to try out the Yupo paper. It is frustrating that its not such an elegant solution as katagami. I love the system you came up with using the mesh screen though!
    I can see your fabric is maybe not fixed taut to the table (?) but if it was you can print through the mesh and smooth out your nori. Then lift the mesh halfway to the middle carefully, then lay it back down in place. Then repeat with the other half of the mesh. Then spray lightly with a mist of water and re-smooth out your nori with the hera. Maybe you already know this and I am preaching to the converted. But anyway its what they do with shabari-d stencils here to eliminate the residual grid lines.
    best, Melinda

  2. I love the field pattern you have been working with lately. it is beautiful, it almost looks like it is swaying in the wind. Thanks you for the hints on the stenciling process, katazome ma be next on my list of things to learn…

  3. Hi Kit,
    I’m glad you were able to try out the Yupo paper. It is frustrating that its not such an elegant solution as katagami. I love the system you came up with using the mesh screen though!
    I can see your fabric is maybe not fixed taut to the table (?) but if it was you can print through the mesh and smooth out your nori. Then lift the mesh halfway to the middle carefully, then lay it back down in place. Then repeat with the other half of the mesh. Then spray lightly with a mist of water and re-smooth out your nori with the hera. Maybe you already know this and I am preaching to the converted. But anyway its what they do with shabari-d stencils here to eliminate the residual grid lines.
    best, Melinda

  4. Hi Melinda – I’m trying to visualize what you are describing… It sounds very interesting. I lay my work on a big piece of indoor outdoor carpeting (an innovation I learned from John Marshall), so it is not fixed but the carpet keeps the work from sliding. It has to be the kind without ridges. The issue with these mesh screens in that the lines are more apparent, especially if the paste is too thick. I’m still looking for a finer mesh! Thank you for your helpful comment! cheers – Kit

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