The Details
Loom
Sashiko-ori consists of a ground cloth with pattern thread floats. Because of the difference in take-up between the ground and pattern threads, there may be some difference in tension as the weaving progresses. Even though the structure is technically a supplementary warp and/or weft structure, it is not necessary to have a separate warp beam, unless you will be weaving yards and yards of production cloth.
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Shafts
​Two shafts are required for the most basic of ground cloths and at least one for the pattern. For that reason you can weave the simplest hitomezashi stitches with only three shafts with the pattern threads in the warp. A four shaft structure is basically a monks belt with pattern threads in the weft, and five or six shafts enable you to connect the warp and weft pattern threads in countless variations. Most of the drafts in this book are for six to eight shafts. A selection of more than eight shaft patterns are at the end to give advanced weavers a starting point for more complex structures. This collection consistently uses the front shafts closest to the weaver for the ground threads. Having the pattern threads carried by the back shafts makes corrections or changes easier to reach.
​​Fibers
Cotton is traditional in sashiko, but other fibers will also work for weaving. If using cotton, make sure you use either mercerized of unmercerized for ground and pattern since they will shrink at different rates. Linens and cottolins are also nice to work with. Silk noil or other silks with some "tooth" can be a good choice, but slippery silk or synthetic yarns may be problematic especially for pattern yarns that float and can snag or pull out of position easily. Wool and other animal fibers can also be a good choice. Wool has the advantage that longer floats can be woven relying on a slight fulling to hold them in place. In general, differential shrinkage can upset the balance of ground cloth and warp/weft pattern floats and experimenting with this as a textural effect could yield some interesting results. Likewise, for the use of textured yarns. If in doubt about the behavior of your chosen yarn, sample and finish it first before committing to a large project.
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Thread Size Ratios
In sashiko stitching, the pattern yarn is usually thicker than the yarn in the ground fabric which was already woven. Thus, the look of sashiko-ori is usually attractive with thicker pattern yarns. The selection of pattrn yarn should take into consideration, however, the scale of the design and the amount the pattern yarn will soften and spread when the fabric is washed. Traditional sashiko thread is soft and settles in place on the ground without spreading too much or remaining too tightly twisted and indistinct. An 8/2 cotton ground with a 5/2 cotton pattern works well, as does a 10/2 cotton with an 8/2 cotton pattern. It is also possible to simply double a thread of the ground weight and use it for pattern thread.
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Color
We think of the most traditional forms of sashiko as being white stitching on indigo dyed cloth, and those classic contrasts show off the patterns very nicely. However, there are some beautiful combinations to be woven using two colors of the same value or two values of the same color. Sometimes using a grey on dark blue can, for instance, soften the contrast a little. Color is what makes these patterns. Using the structure with a monochromatic to produce a texture weave works if there is a significant difference in size between ground and pattern threads.
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Trying color changes in the ground warp or weft on small or large scale can be rewarding. We think of embroidery as being done on solid colored fabrics. But since this practice was a tradition that was born from frugality and use, many of the older sashiko pieces were stitched on striped, checked, or kasuri (ikat) fabrics. The designs in these background fabrics served to keep the stitches in line an also add another layer of complexity to the cloths. When weaving sashiko-ori, why not consider color changes in the ground blocks? The stitching on gingham known as "chicken-scratch" can be kitschy, but sometimes some very interesting overall effects can be found. And adding color changes in large blocks can break up an overall pattern into smaller chunks.
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Pattern Block Sizes
The number of threads in a pattern block should be determined by the length of the pattern float. If the floats are long enough to produce possible snags, the ground block may be reduced in size. If the block contains an even number of warp threads, simply reduce its length by multiples of 2. If the pattern float would be more suited to a skip of three threads when the draft is made of even numbered blocks, take care to rewrite the draft so that the ground fabric remains plain weave. For example, if the ground blocks are 1, 2, 1, 2 and 3, 4, 3, 4, rewrite them to be 1, 2, 1 and 4, 3, 4 to maintain the continuity in the ground cloth.
Similarly, block size can be increased when a finer thread is desired for the ground cloth.
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Using Negative Space
Some of these patterns are dizzying or at best, "busy". The use of negative space can give the eyes and can also accentuate aspects of the pattern you might not notice if they were crowded together. To add sections of negatie space, simply plan your warp using the background blocks eliminating the pattern threads adnd their shafts.
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Using the drafts in this book
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Determining Sett
Sett should be determined by the ground block threads. The pattern threads float above or below the ground fabric and to not influence the sett. For instance, a ground thread may need to be sett at 16 epi. With a pattern thread after every fourth thread, the fabric will technically have 20 epi. but it is still treated like a 16 epi fabric. An eight dent reed is used with the four pattern threads per inch crowded in with the double sleyed ground threads.
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Selvedge Floats
The floats produced by the pattern threads at the selvedge are a concern for a lot of weavers learning this technique.
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First, a floating selvedge will not help, so don't even try it. If the selvedge will be part of a seam, don't worry about it. Just carry the pattern thread along the side. With the size of the blocks we are using, the thread carried along for a few rows is not a problem for most patterns. You can do as you would when weaving tartan and wrap the ground thread around the pattern thread at each round. Or you can also fix the edges afterwards with a crocheted edge. For blankets, a crocheted edge covered long floats and stabilized the edges.
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Plan at least two repeats of a straight draft. A couple blocks without the pattern threads will give a place for your eyes to be able to check the weft order for errors.
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Warping and Beaming the Supplemental Warp
There are three ways to manage the supplemental threads in the warp. Among the draft selections, some of the pattern threads have more take-up than others, so it is hard to give a firm rule about what method to use.
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One method is to wind the pattern and round threads together. This has the advantage of having threads in order as you thread them an not having to fool with two separate warps to integrate and keep track of. Most of the time the difference in warp take-up adjusts as you are weaving. However, if the pattern threads become slack, you can place a rod underneath them with some weight and hang it off the back beam. If you beam them together, it is highly recommended to learn a method of warping with multiple threads. For instance, you may have four ground threads and one pattern thread in your hands for one pass around the board. This action reduces the margin for error as you count threads.
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Another way to manage pattern warp threads is to weight the them in groups of 4 to 6 threads and let the warp chains hang over the back beam of the loom with the weights not touching the floor. As the pattern warp is consumed, move the weights down the chain and secure them again. If you plan to warp weight the pattern threads, allow enough length so that the warp will not become too short to hang over the back beam before the project is complete.
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And, of course, if you have a second warp beam, you can utilize that.
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Threading
One suggestion for new sashiko-ori weavers is to move a corresponding empty pattern heddle beside the threaded one as you proceed to thread your loom. For instance, if your draft indicates threading on shaft five, move an empty number six heddle along also. If the weaver wishes to change the pattern, it will be possible to simply rethread some of the pattern warps to easily create a new pattern threading without rewarping.
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Sleying
A supplemental warp should be crowded in with the ground threads. Double sleying the ground threads with the pattern thread between two ground threads is ideal but doesn't always work with your draft or sett. Be consistent with the pattern thread joining its right or left neighbor throughout.
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Tie-up
Most of our drafts utilize alternate foot treadling (for example (1, 3, 1, 3, 2, 4, 2, 4 for the ground). this is a basis for developing an even beat. However, with the supplemental weft, it is not possible to be consistent so there are some "skips" in the treadling. In some of the more complex treadlings, the tie-up may be simplified going from left to right (1, 2, 1, 2, 3, 4, 3, 4, 5, 6, 5, 6, etc.) You can change tie-up to fit your treadling style.
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Finishing
Cloth isn't cloth until it is washed. Because of the floats, gentle handwashing is recommended and is sometimes necessary to full the cloth if using wool for long floats. Additionally, some of the patterns don't appear until the cloth is removed from the loom and washed to integrate the ground fabric and settle the floats in place.
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Backing
Pattern floats on the surface generally indicate pattern threads will alternatively be floating under the ground blocks on the reverse side of the fabric. If the use of the fabric will endanger the stability of the reverse side floats, the best way to protect them is to add a backing or lining. The use of the fabric will help to indicate what kind of lining is best. In all cases, plain fabric is the easiest choice. Patterned fabrics run the risk of visually competing with your sashiko design and diminishing its impact.
Another way to avoid problematic pattern threads on the reverse of the cloth is to end all pattern wefts and begin all new ones at the selvedge when a bobbin becomes empty rather than overlapping ends of old and new yarn somewhere away from the selvedge.
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For fabrics intended to be garments, choose a light weight lining that won't add additional bulk. Batiste or other light lining material works well and can also be used to bind seams, stabilize curves and reduce bulk at hems.
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For bags any durable fabric appropriate for other kinds of bags will work here. It is often a nice touch to put fusible fleece between the outer bag and the lining to help secure floats from being snagged on the outside of the bag and help the bag retain its shape.
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For household items, such as coasters, hot pads, towels, or placemats, etc., a stable fabric that is appropriate for the use of the item is best. Any stable fabric from simple muslin to linen or canvas is suitable if it complements the look and feel of the sashiko.
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