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All Shibori
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 45575# Japanese KIMONO SILK / ALL SHIBORI TREES  US $1.29
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Painting on silk usually requires some sort of resist, because otherwise the dyes will spread uncontrollably on the silk. Once a dye has been put on the silk it can not be easily or effectively removed so resists can play a major role in your painting.
The most popular resists are wax and gutta. Where these are placed onto the silk, that area will not be penetrated by dye. You can then paint other areas, knowing that the dye will only go where you want it to. However, silk can be very unpredictable which is both a blessing and a curse! With the best will in the world, things can (and often do) go, shall we say, unexpectedly, so you must not get too upset about it and try to see every accident as an opportunity. You will quickly learn your own tricks to hide any 'mistakes' and most paintings are not beyond redemption if the dye leaks out of the resist. This is why popular subjects are flowers, landscapes etc, which can easily have an 'extra' tree/leaf/petal added if the dye leaks!
Wax resist is also known as batik and is used throughout the world in fabric design. Batik wax is heated in a pot and dripped or painted onto silk to form a resist. In this way, several colours can be built up on the silk, with wax covering each layer. The main limitation of wax resist is the it is difficult to block out fine details this way.
Gutta Resist
Gutta is a rubber-based liquid which is available in a variety of colours as well as clear. You draw it onto your silk as an outline which can then be painted in using iron or steam-fix dyes. If you are thinking of using gutta, a tip: be sure to buy the sort in a small plastic bottle with a lid, NOT the type that comes in a tube. The tube stuff is an absolute nightmare to use!!! The bottle type can be very frustrating also, but with some practise you should be OK. You can trace a design onto your silk then go over it with gutta. It needs about half an hour to dry before you can paint. The main drawback with gutta is that it leaves that 'stained-glass' effect outline that many people associate with silk painting. If you like this effect, fine, if you don't, you'll have to find your own style!
Pre-Gutta Designs
It is possible to buy silk with the design already printed on. This is great if you are just starting silk painting because it allows you to forget about outlines and just get on with your painting. I would strongly recommend starting out with pre-printed gutta designs before trying to create your own. For a great silk painting kit for beginners, please see my website http://www.japancrafts.co.uk
Katie Chaplin is a textile artist, teacher and lecturer on Japanese crafts. Her work includes paintings on silk, shibori wall hangings and recycled kimono jewellery and has been exhibited throughout the UK. Katie also teaches workshops on many Japanese paper and fabric crafts to Womens Institutes, Embroiderers Guilds, craft groups etc, and gives regular talks on kimono, tea ceremony, geisha and Japan. She sells Japanese craft supplies including her own exclusive range of kits through http://www.japancrafts.co.uk
What are They Thinking in Japan - Hiroshi Sasaki
When I think of Hiroshi Sasaki, the first thing that comes to mind is my favorite Japanese beer commercials. They were for Kirin Ichiban Shibori beer. Ichiban Shibori was Kirin's response to Asahi Super Dry, which had turned the beer industry on its head and displaced Kirin Lager from its No. 1 position in the Japanese beer market. According to Sasaki, the naming came from a chance remark in a client meeting, when someone on the client side said, "It might be a bit more expensive to make, but how about a beer made from the ichiban shibori, the first pressing of the mash." "Ichiban shibori" was a long established marker of high quality in Japanese sake brewing but had never been applied to beer. Sasaki, however, wouldn't belabor the point. He had noticed that, since the launch of Super Dry, beer advertising always seemed to end with a celebrity drinking the beer and saying something about its taste. Sasaki and his team decided instead on the pure pleasure of that first swallow of a great beer. The result was a series of commercials in which actor Ogata Ken took a swallow of the beer, smiled contentedly and said, "Aa, ureshii," (I'm so happy). It has been almost twenty years ago, but I still can't get that line out of my head, and my favorite Japanese beer is Ichiban Shibori.
Born in 1954, Sasaki is, like Maki Jun, a graduate of Keio University. After joining Dentsu, he spent six years as an account executive before taking an internal exam and becoming a copywriter. After rising to the position of Executive Creative Director in the Dentsu Creative Planning Center, in 2003 he became the head of a new Dentsu Group creative boutique Shingata.
When I started to write this piece, the line that popped into my head was, "You might call him Mr. Negative." But that is not because Sasaki is a sour or gloomy character. On the contrary, the person we meet in his writing and speaking about his work is a very nice guy, indeed. While clearly proud of what he has achieved, he constantly heaps praise, not only on the people he has worked with but also those against whom he has competed. He talks about how much he enjoys heading a team with a talented rival and how energized he feels by getting to work with outstanding subordinates. That "Mr. Negative" comes from the fact that both the first and latest things I have read by him stress the importance of starting from positions of weakness instead of strength. Describing his leadership style, he describes himself as perverse and willing to play the kobaka (little fool) to encourage his subordinates.
In a 1992 lecture (revised in 2000) to a group of aspiring young copywriters, he describes the launch ad for a product as a self-introduction. He then goes on to observe that, while clients who have spent years and fortunes on a product of which they are very proud always want to trumpet its virtues, nobody really likes someone who introduces themselves by saying, "I'm perfect, isn't that great." But false humility doesn't work either. Suppose, for example, a beautiful Japanese woman, the daughter of a wealthy family and a graduate of the University of Tokyo, says, "I'm just an ordinary girl who likes socializing with my friends." Those who hear this introduction are sure to roll their eyes. The trick is to acknowledge a weakness but to do so in a charming way.
Thus, when asked to come up with a successor to a long-used catch phrase for Fuji TV, "If it isn't fun, it isn't Fuji TV," he came up with "If you're tired of TV, Fuji TV." For a subsequent campaign he developed "Life IS possible without watching Fuji TV" The Toyota Corona was Toyota's second oldest model and seen by young Japanese as Dad's or Granddad's car. But the Sasaki team's solution wasn't an in-your-face "It's not your father's Corona." Instead they came up with "Mr. Corona," an absent-minded professor looking for a good deal, whose comic warmth made the brand appealing to a new generation of Japanese drivers fed up with the car industry's usual pompous proclamations. Later, for KDDI, Japan's No. 2 telecom company, his team came up with headlines including, "When you're No. 2, you can be a bit crazy" and "Companies with boring ads are almost always boring companies," skewering No. 1 NTT.
Low key and a little silly, just silly enough to be utterly charming. No hard sell, pure seduction. Yes, says Sasaki, advertising is a love affair.
About the Author
John McCreery is an anthropologist who has lived and worked in Japan since 1980. For thirteen of those years, he was a copywriter and creative director for Hakuhodo Incorporated, Japan's second largest advertising agency. In 1984, he and his wife and business partner Ruth McCreery founded The Word Works, a supplier of fine translation, copywriting, research and consulting services to firms doing business in Japan. You may also find articles by John at the TalentZoo.com website under Ads Without Borders.
ART Till September 9 at Eye on Art Gallery, 3 Pretoria Street, Chandrakunj Bldg, 2nd floor; 12 noon - 8 pm:
The 2nd solo exhibition of paintings by Debesh Chakraborty. September 9 - 15 at Academy of Fine Arts, North Gallery; 3 pm - 8 pm: Reflection of Another Day presents Members’ Biennial, a show of paintings, graphics and sculptures. Inauguration this evening at 5.30.
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