After experimenting with full-color gradients in my original Meisen piece "Ghost in the Refraction" （here）, I wanted to take on the challenge of expressing light and shadow next.

Since I was at it, I decided to rely entirely on computers for the design phase—and entirely on handcraft for the actual making.

Using computer graphics, I created a three-dimensional model of the traditional Japanese pattern asanoha (hemp leaf), and used vertical strokes to depict shading in a way that would enhance one of Chichibu Meisen’s defining features: warp ikat (tate-gasuri).

To avoid harsh, mechanical lines, I hand-carved the stencil.

The result, created as a companion to Ghost in the Refraction, brings together printing techniques, the Pythagorean theorem, computer graphics, and the weaving traditions of Chichibu Meisen.

It’s an attempt to push the expressive boundaries of Chichibu Meisen, mobilizing all the knowledge and skills I have.