(36in)
Varying the grids
Many moyōzashi designs are based on a square grid while others require a diagonal or triangular grid (see diagram below left). If you look closely at many traditional Japanese designs with diamonds, hexagons or triangles, you will see that they are not drawn on a true isometric 60-degree grid – the diamonds look slightly wide, the hexagons a little squashed and the triangles are not truly equilateral. To keep this look, start with a rectangular grid on a 2:1 ratio and fill in with diagonal lines (below centre). If you want an isometric grid, perhaps to integrate your sashiko with patchwork hexagons and stars, use isometric graph paper, the 60-degree angle on a quilter’s ruler or a 60⁄30-degree set square to create the grid (below right). There is only one pattern in this book that requires a true isometric grid – maru bishamon (circular bishamon, page 65).
Distorting patterns
Grids are also the key to stretching patterns vertically or slanting them horizontally to give them a different look. Various moyōzashi patterns can be treated this way, as shown by some of the examples illustrated below. Compare asanoha (hemp leaf, page 72) with kawari asanoha (hemp leaf variation, page 73): the basic grid for the first pattern is on a rectangular 1:2 ratio; the second is on a square grid, with the rest of the pattern marked the same way as the basic pattern but following the square grid.
Jūjitsunagi (linked ‘10’ crosses, page 75) becomes nanamehōgan tsunagi (diagonal linked crosses, page 75) when the same pattern is stitched on a diagonal grid rather than a square one. The two versions of sayagata (saya brocade pattern, page 90) are treated the same way.
I gave higaki (cypress fence, page 77) this treatment when I used it inside a matsukawabishi (pine bark diamond, page 84) outline on the door curtain project on page 44, so the pattern harmonized with the outline shape.
It’s all about using the patterns in your design. For example, shippō tsunagi (linked seven treasures, page 64) could be elongated into elegant ovals. The framed sashiko sampler on page 26 has asanoha (hemp leaf, page 72) stretched to fit the frame. Learn the features of a new pattern by stitching the basic version first before embarking on your own distorted version. If you enjoy drawing perspective effects, the straight line patterns are interesting: curved line patterns would be challenging but not impossible!
Asanoha
Jūjitsunagi
Sayagata
Kawari asanoha
Nanamehōgan tsunagi
Sayagata variation
Transferring designs to fabric – marking methods
There are various methods for marking your sashiko pattern on to your fabric. You can mark the pattern directly on to the top fabric or draw the design on paper and transfer it. The most useful methods are described here.
Marking directly on fabric
This is my favourite method and I use it whenever possible as you can always see exactly what you are marking. There are many marking materials for dark fabrics, so try several and use your favourite (see page 19). Drawing around curved templates is easier with pencils or pens than with a block of chalk. Some marks stay on the fabric for longer than others but can also depend on factors like humidity and hand warmth. If you already have a preferred method for marking dark fabric (such as slivers of soap) use that. Always follow the manufacturer’s instructions when using a new marking product – what removes one kind of mark may permanently set another.
Marking fabric with a quilter’s ruler
Quilter’s rulers are very accurate. Use the parallel lines on the ruler, as shown below, to mark the base grid for the pattern and mark directly on the fabric. Allow for the width of the line, especially if using tailor’s chalk as the line might be up to 1⁄8in (3mm) thick, so line up with the bottom of each line or your grid might be 11⁄8in (2.9cm) not 1in (2.5cm)! Draw the rest of the pattern with curved templates or extra diagonal lines, following the individual diagrams in the Pattern Library.
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