Temari Balls – Cosmo Book 6: 34/2
June 14, 2010
Today’s pattern comes from Ozaki, Cosmo series, book 6 “New Temari” (ISBN 483770784x) – pattern on page 34, second from the top.
The photo on page 24 (no.1) shows a cobalt blue mari, gold jiwari, an obi in yellow and green and a large white stitched ‘flower’ on either hemisphere – in an “open”, netted effect. The “netting” effect is reminiscent of the braided herringbone kiku style. What’s important is here the strong sense of the colour of the mari showing through and dominating the whole. It’s natural to think of white netting over a dark background. There is a popular style of temari using white on a black background, as well as gold metallic thread on black. The current model relies somewhat on this, with its bright white stitching on blue – a white flower against a blue sky, with a yellow and green obi around the equator.
My version relies on slightly different colouring for each of the three areas of stitching, so the overall strong tonal contrast is lost. I attempted three different coloured threads in the stitching – I wouldn’t do that again. Stick with one colour, like white, for the whole flower. I thought the white-on-blue a bit too predictable, but I realise that the most part of the effect of this stitching style is the accuracy stemming from placement of kiku stitches.
In the absence of a photo today my mari was ochre, with gold jiwari, a pale green obi and stitching in orange (top), red-orange-rose (middle) and cerise pink (bottom). The overall effect is ochre from the mari; a burst of gold at the poles but rather a incongruous clash of orange and cerise, the bulk of threads looking more uneven than the photo of the original!
For those in possession of the Ozaki book and wondering what to make of the pattern in the Japanese language, consider my approach, as follows:
(i) Go for a 30cm circumference mari, as per the book. Any smaller and you’ll struggle with the stitching at the kiku points. Also the book gives dimensions in centimetres, and not in geometrics (1/2, 1/3,1/4).
(ii) Create a Simple 8 division with gold (1/2 the standard DMC gold thread, i.e. the double thread split into two)
(iii) Lay down jiwari 7mm either side of each of the S8 jiwari. Total 24.
(iv) insert two extra jiwari in the intervening spaces, i.e. diving each of the spaces evenly into three. You’ll notice this brings the total up to 40 jiwari, which is quite unusual. Notice also that some are absent in the original design – when I re-do this pattern, I’ll work out an efficient method. For the moment, though, I have left all 40 in. The gold jiwari against my ochre mari base don’t show. Ozaki uses a gold jiwari which appears to be quite thick, by comparison.
(v) By now, you will have completed 5 jiwari evenly-spaced between each of the eight segments. Total 40. Groom the jiwari prior to stitching, but I caution against tacking over all the jiwari to keep them in place in this instance: tacking will actually be more trouble than it’s worth!
(vi) As is most often the case, I leave the obi till last, but keep in mind that it is 10mm wide.
(vii) Now, what to make of the stitching called for in the pattern? Look for three general areas of stitching: two threads lacing around near the poles; lots of three in the middle and long stitches in groups of three from the obi.
(viii) Which order to stitch each of the three? The pattern calls for the middle lot, followed by the bottom lot, followed by the top lot.
(ix) Stitching the middle lot. This is where Ozaki would have you stitch – her Step 2 of the pattern. Think kiku, starting 1.2cm from the pole going down to the fourth jiwari along at 3.5cm from the equator. This is all rather straight-forward, but take very great care to maintain stitches in parallel with the equator on each jiwari.
(x) Stitching the bottom lot. Again, this is where Ozaki would have you work – Step 4 of the pattern. This feels strange at first, but go with it! Start at the bottom of the V-shape with the first thread 2.5cm up from the equator. The wide arcs taken by the stitches will be disconcerting, but the ‘return’ stitch later on makes you realise you haven’t made a mistake! Give a generous 1cm between each stitch so the third and last is on or extremely close to the edge of the anticipated obi, keep all stitches lined up correctly as you go.
(xi) Stitch the top lot. Ozaki’s Step 5. I found the arcs involved difficult to work with – and the poor stitching technique all the more obvious when using a different colour to the mid and bottom stitching!
(xii) Work the other hemisphere, followed by the obi.