I took some time to draw the cartoon and refine it to create a 4-way repeat. Here are the final cartoon before transferring it to the stencil paper, and the final stencil design before cutting away bridges and adding the silk sha. I wanted to try this design on Japanese Kozo as well as fabric. I will post the results next.
Imagining a “garden at dusk” led me to paint several layers of dusky colors in a very light value on the entire surface of the cloth, using soy milk and natural pigments. I would never have used the vintage white damask formal linen tablecloth for dining purposes. My cloth is long enough for two instances of the stencil, which was created from a full sheet of stencil paper. The finished image will be approximately 16” x 30.” Placing my stencil on the cloth before pasting allows me to see where the background colors fall within the stencil design. Before pasting the design (rice paste through the stencil), the stencil and the bamboo stretching sticks–“shinshi,”–soak in water.
My new katazome stencil was inspired by the Robins I wrote about in my last post and by the late spring/early summer garden. I started with sketches on newsprint of plants and a nest, and then chose the shapes I liked best. For the plants, I settled on Hosta from the garden and Wood Anemone, a native wildflower that I discovered growing just down the street in a city park. I worked out the composition by drawing shapes on black paper, cutting them out and arranging them on a white background. I then transferred this design to the back of the stencil paper (shibugami). I found these really great white opaque ink pens called Uniball Signo, which show up very well on the dark brown stencil paper. The nearly-final stencil in the bottom image still has a few narrow bridges that will be cut away during the next step of the process, which is to reinforce the stencil with silk netting, or “sha.”