Showing posts with label temari anatomy. Show all posts
Showing posts with label temari anatomy. Show all posts
Wednesday, February 8, 2012
grandmother star - or, how big is a temari?
Temari range in size from very small (marble sized?) to very large (very, very large). I'm taking the "Grandmother Star" class from Barb Suess. It's from her that I took my first class for my first temari in her "Morning Glory" pattern.
This is the largest temari I have made to date. Most of mine average 25 to 29 centimeters in circumference. In the photos, the purple temari is no. 93, and is 27 cm / 10.625 inches in circumference, which is 8.59 cm / 3.38 inches in diameter.
The tennis ball is 21 cm / 8.25 inches circumference (6.68 cm / 2.62 inches diameter).
And, the large prepped off-white mari is going to be the Grandmother Star. It has 6 cups of rice hulls inside (I usually use a little more than one cup) — and its circumference is 41 cm / 16.125 inches (13 cm / 5.13 inches in diameter).
Stay tuned! This is temari no. 100 (I number them when I start, and don't always finish in order — though I have yet not to finish one).
Sunday, October 16, 2011
anatomy of a temari: part four
Division
Once the mari is finished, it needs to be "divided," based on the pattern that will be stitched. A temari is traditionally broken down with geographical terms, as if it's a small earth (there's a diagram at the very bottom of the sidebar at the right). The "top" is the north pole, the "bottom" the is south pole, and the line around the middle is the equator. Having these points helps orient the ball while stitching. Simple patterns are often designs that originate from the two poles, and the equator gets a wrapped band called the obi (which is the Japanese word for the sash around a kimono). A perfect example is the very traditional Kiku, or chrysanthemum.
Luckily for me, this isn't a tutorial, so I can generalize. . . .
The thread-wrapped mari is first marked with pins, and then the pins serve as guides for adding division lines in heavier thread, which usually become part of the final design, but may be removed, depending on the pattern.
Since mari size varies, measuring is started by using a paper strip (1/4-inch wide and long enough to wrap around the circumference and then some). To get the basic measurements, numbers and math aren't needed — it's all relational.
The end of the strip is pinned to the ball and this becomes the north pole (using pins with colored tips, one can designate different colors for different pins, e.g. white for the north pole, blue for the south pole, and red for the equator, like the diagram). The paper strip is wrapped around the circumference and trimmed to the length that equals the circumference of the mari.
While still attached at the north pole, the strip is folded in half; wrapping the folded strip will find where the halfway point —the bottom, or the south pole — is located, and another pin is inserted.
The strip is folded in half again and a notch is cut at this fold. This is the 1/4 mark of the strip, and shows where the equator is located (halfway between the north and south poles). The number of pins placed around the equator depends on the final division (4, 6, 8, 10, 12, 16, etc.).
The pins must be spaced equally around the equator. The same paper strip can be used, since it is it the circumference of the temari; it is folded into 4ths, 6ths, 8ths, or whatever your desired measurement is, and notches cut at the folds, and — theoretically — a pin at each notch will space them equidistantly around the equator. Alternatively (and this is what I prefer), you can pin a fabric tape measure around the temari, divide the circumference by the number of pins you want and use the tape measure to place your pins exactly (for example, a 24 cm circumference divided by 8 for a simple 8 division equals a pin placed every 3 cm).
Whew!
Example one — simple 16 (S16) division, used for the above mentioned chrysanthemum (though these are actually early photographs of no. 43, "the breaking of a wave") — in this temari the division lines are part of the design, so they're made with metallic thread and left on and used as the guidelines for sewing (you can see this if you click on the link for no. 43):
There are simple divisions: S4, S6, S8, S10, S12, S16 . . . the number referring to the number of N–S division lines. And there are combination divisions: C6, C8 and C10, which don't have an equator / obi, and have multiple poles.
Example two — combination 10 (C10) division. Used, for example, for an all-over spiral.
This starts out as an S10. Note that in the following two photos, the pins that were on the equator have been moved relative to the poles using a particular formula specific to the C10 (which does require math and a ruler), to get the mari ready for adding the division lines.
Using the repositioned equator pins, more lines are wrapped around each to divide it into the "combination" division: each pin will become a pole with 10 division lines radiating outwards. I'm using regular sewing thread, because after I'm done marking it, I'll remove the thread before embroidering.
Once the C10 is complete, "shapes" are picked out on which to work the design. You can see stars, triangles, pentagons, octagons, diamonds. . . . If the division lines are part of the design, they're done in decorative thread and used to guide the stitching. For the all-over spiral, the next steps are to put new pins in at the corners of the right shapes and remove the division lines before beginning stitching since they are not part of the design — as seen here.
Update 18 October: see the finished "plum" all-over spiral.
So, that's a very simplified explanation with just a couple of examples of how to ready the mari for the design. End of anatomy lessons!
For each temari I complete, I try to include a label / tag with the type of division. Over in the sidebar is a list of tags, so you can click on any one and get a list of posts & pictures of temari using that division — for an example, here's the list of S8 temari.
Once the mari is finished, it needs to be "divided," based on the pattern that will be stitched. A temari is traditionally broken down with geographical terms, as if it's a small earth (there's a diagram at the very bottom of the sidebar at the right). The "top" is the north pole, the "bottom" the is south pole, and the line around the middle is the equator. Having these points helps orient the ball while stitching. Simple patterns are often designs that originate from the two poles, and the equator gets a wrapped band called the obi (which is the Japanese word for the sash around a kimono). A perfect example is the very traditional Kiku, or chrysanthemum.
Luckily for me, this isn't a tutorial, so I can generalize. . . .
The thread-wrapped mari is first marked with pins, and then the pins serve as guides for adding division lines in heavier thread, which usually become part of the final design, but may be removed, depending on the pattern.
Since mari size varies, measuring is started by using a paper strip (1/4-inch wide and long enough to wrap around the circumference and then some). To get the basic measurements, numbers and math aren't needed — it's all relational.
The end of the strip is pinned to the ball and this becomes the north pole (using pins with colored tips, one can designate different colors for different pins, e.g. white for the north pole, blue for the south pole, and red for the equator, like the diagram). The paper strip is wrapped around the circumference and trimmed to the length that equals the circumference of the mari.
While still attached at the north pole, the strip is folded in half; wrapping the folded strip will find where the halfway point —the bottom, or the south pole — is located, and another pin is inserted.
The strip is folded in half again and a notch is cut at this fold. This is the 1/4 mark of the strip, and shows where the equator is located (halfway between the north and south poles). The number of pins placed around the equator depends on the final division (4, 6, 8, 10, 12, 16, etc.).
The pins must be spaced equally around the equator. The same paper strip can be used, since it is it the circumference of the temari; it is folded into 4ths, 6ths, 8ths, or whatever your desired measurement is, and notches cut at the folds, and — theoretically — a pin at each notch will space them equidistantly around the equator. Alternatively (and this is what I prefer), you can pin a fabric tape measure around the temari, divide the circumference by the number of pins you want and use the tape measure to place your pins exactly (for example, a 24 cm circumference divided by 8 for a simple 8 division equals a pin placed every 3 cm).
Whew!
Example one — simple 16 (S16) division, used for the above mentioned chrysanthemum (though these are actually early photographs of no. 43, "the breaking of a wave") — in this temari the division lines are part of the design, so they're made with metallic thread and left on and used as the guidelines for sewing (you can see this if you click on the link for no. 43):
There are simple divisions: S4, S6, S8, S10, S12, S16 . . . the number referring to the number of N–S division lines. And there are combination divisions: C6, C8 and C10, which don't have an equator / obi, and have multiple poles.
Example two — combination 10 (C10) division. Used, for example, for an all-over spiral.
This starts out as an S10. Note that in the following two photos, the pins that were on the equator have been moved relative to the poles using a particular formula specific to the C10 (which does require math and a ruler), to get the mari ready for adding the division lines.
![]() |
| S10 showing the north pole pin (white) and the N–S division lines, with the 10 equator pins (red and green) already repositioned for a C10. |
![]() |
| Another view of the same, from a different angle, showing both north pole pin and south pole pin (blue). |
Using the repositioned equator pins, more lines are wrapped around each to divide it into the "combination" division: each pin will become a pole with 10 division lines radiating outwards. I'm using regular sewing thread, because after I'm done marking it, I'll remove the thread before embroidering.
![]() |
| The additional division lines have been added. Switching out pin colors during the process helps me keep track of my progress and orientation. |
Once the C10 is complete, "shapes" are picked out on which to work the design. You can see stars, triangles, pentagons, octagons, diamonds. . . . If the division lines are part of the design, they're done in decorative thread and used to guide the stitching. For the all-over spiral, the next steps are to put new pins in at the corners of the right shapes and remove the division lines before beginning stitching since they are not part of the design — as seen here.
Update 18 October: see the finished "plum" all-over spiral.
So, that's a very simplified explanation with just a couple of examples of how to ready the mari for the design. End of anatomy lessons!
For each temari I complete, I try to include a label / tag with the type of division. Over in the sidebar is a list of tags, so you can click on any one and get a list of posts & pictures of temari using that division — for an example, here's the list of S8 temari.
Sunday, September 4, 2011
anatomy of a temari: part three
Finishing the Mari
Once the core is prepared — I use rice hulls in a section of a new stocking or sock to form a ball, like a snow ball — the next step is to wrap it. First it is wrapped with yarn, then with thread. The size I want my finished temari to be is what dictates both the amount of rice hulls I use (anywhere from 3/4 cup to 1.5 cups, for the temari to date in this blog), and also the amount of yarn.
Using extremely soft yarn, I wrap the core gently and randomly until it is entirely covered. The wrapping must be random and loose to keep the shape round and free of lumps.
The next step is to wrap thread over the yarn. Regular sewing machine thread, in the color that will be the [back]ground of the temari. The thread must also be wrapped randomly without bunching or having lots of parallel strands, and only moderate tension should be used. If it is too tight, it will be impossible to sew through. The end result should result in a "springy," round-as-possible temari. The thread will compress the yarn, making the finished temari somewhat smaller in circumference than the yarn-wrapped stage.
While this is the most laborious (and sometimes tedious) step of temari making, it is also incredibly rewarding. Since one must concentrate to wrap randomly yet consistently, one can regard it as a zen-like task, a "meditational" task. The result — a mari base made from scratch and ready to embroider — is so worth it.
For an even more elaborate description of the process, visit the excellent site TemariKai.
Once the core is prepared — I use rice hulls in a section of a new stocking or sock to form a ball, like a snow ball — the next step is to wrap it. First it is wrapped with yarn, then with thread. The size I want my finished temari to be is what dictates both the amount of rice hulls I use (anywhere from 3/4 cup to 1.5 cups, for the temari to date in this blog), and also the amount of yarn.
Using extremely soft yarn, I wrap the core gently and randomly until it is entirely covered. The wrapping must be random and loose to keep the shape round and free of lumps.
![]() |
| yarn wrap |
The next step is to wrap thread over the yarn. Regular sewing machine thread, in the color that will be the [back]ground of the temari. The thread must also be wrapped randomly without bunching or having lots of parallel strands, and only moderate tension should be used. If it is too tight, it will be impossible to sew through. The end result should result in a "springy," round-as-possible temari. The thread will compress the yarn, making the finished temari somewhat smaller in circumference than the yarn-wrapped stage.
While this is the most laborious (and sometimes tedious) step of temari making, it is also incredibly rewarding. Since one must concentrate to wrap randomly yet consistently, one can regard it as a zen-like task, a "meditational" task. The result — a mari base made from scratch and ready to embroider — is so worth it.
For an even more elaborate description of the process, visit the excellent site TemariKai.
![]() |
| thread wrap |
Wednesday, August 17, 2011
anatomy of a temari: part two
The Core
Temari are constructed from the center outwards. At the core you need something to form the basic round shape. Some people use a styrofoam ball since it's already round, however this isn't for me; I like to start from scratch. Instead I use rice hulls, which are used in beer and wine making as filtering material. I take part of a new, clean sock or stocking and fill it with rice hulls — the amount depends on the size I want for the final temari. The bell box is nestled in the center of the rice hulls, and the top of the sock or stocking is folded over. The next step is to form it — almost like a snowball — into as round a sphere as possible, and then wrap with yarn. I'll save that for part three.
Alternatives to rice hulls (which are traditional in Japan) are scraps of fabric, cotton or bamboo batting, even the left over scraps of embroidery thread that are saved when sewing the pattern on the temari. Dried lavender or other scented flowers or flower buds can be mixed with the rice hulls. Or catnip, should your cat be a temari connoisseur!
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| rice hulls |
Saturday, July 30, 2011
anatomy of a temari: part one
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| bell box with note and brass rings, before being sealed shut |
The Bell Box
At the core of my temari is a "bell box"—a very small box crafted from heavy-weight watercolor paper—containing special items. Routinely I include a small note and brass rings in the bell box. A nod to my work in chain maille, the brass jumprings in the bell box create a subtle, pleasing rattle when the finished temari is gently shaken. Bell box rattles are traditional.
I also include a handwritten note with a meaningful thought or quotation, poem or haiku, or lyric. Every temari I have made, starting with the very first, has a handwritten note inside. Temari are often given as gifts, signs of deep friendship and loyalty; adding a note with a personal message or particular quotation — even small significant items like shells, beach glass, or pebbles — makes the gift all the more special.
As temari can be used as objects of focus for meditation, contemplation, or deep reflection, the note might be a quote, poem, or phrase on which one can meditate.
The photo above shows an overhead view of an unsealed bell box with the note and seven rings.
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