I often draw with a pencil on Japanese handmade washi paper. Characterized by its irregular surface, the pleasure of drawing on washi lies in the fact that you cannot draw exact straight lines because the lead of the pencil gets caught in the rough fibers, adding unpredictability to the results.
This concept is essential in many ways to how we develop and manufacture our products.
Born during the Meiji era, a dyeing technique, Chusen was invented as an industrialized method to traditional stencil dyeing which had existed for several hundred years.
Dye is poured onto a sheet of fabric, penetrating the top and bottom layers; patterns created by applying resin to prevent or block specific parts from being dyed. As a result, the top and bottom of the fabric react to the dye differently, and depending on the yarn structure of the fabric, the pigment may bleed at the edges of the patterns creating an unpredictable blurring.
This irregular blurring can be seen also in the work of Ise-Katagami, a traditional method of hand-cutting stencil patterns used for stencil dyeing. The artisan carefully carves out designs and images from paper made of handmade Japanese paper treated persimmon tannin. Both the original base-drawing and the hand cutting process ensure a human touch aspect is felt and seen within the final product. I find this unique personality cannot be found in silkscreen, or machine made prints.
All these hints and traces of handiwork created by dedicated craftspeople, provide the charming elements expressed in our products. I am in the continuous search of discovering the best combinations of design, fabric and technique.
Hand-printed pattern shirt, from an original drawing using mineral pigments('Iwa-enougu') I found in Kyoto.
This particular traditional method of hand-printing utilizes printing plates; overlapping and slight deviations created by using separate plates for each color, expressing a texture and depth of manual work.
'Iwa-enogu'(*akin to powdered mineral pigments)
Short sleeve shirt, printed after the original dice pattern drawn in watercolor. the stain, color unevenness, and soft lines of the original paint are reproduced on the fabric.
Printed by chusen method, the original 'LITTLE CLOUD' image created by a hand-engraving. The dye is poured over the top of the laminated fabric which has the image pattern resin glued on the surface, and then flushed from the bottom uning a compressor.
Prints from an original brush painting by Kelsi Nakamura; hand drawn traces are seen in script writing and lines within each brush stroke, differences in thickness and soft curves expressed on the fabric.
The words 'THIS IS THE LIFE' are reproduced by hand-dyeing from the original hand-drawn and hand-cut stencil. The stenciled letters each have a different balance and thickness, giving them a warmth not found in uniformly flat font produced by digital software.
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