Nui-shibori is where things start to depart a bit from the Western concept of tie-dye. Areas are bound off through a variety of stitching, rather than tying, techniques. A simple running stitch is commonly used as seen in the outline of the maple leaf below; or the fabric may be folded and stitched as seen in the veins.
As with the maple leaves, the clouds and flowers below have all been defined using a simple running stitch that has been gathered and pulled tight. The horizontal bars of the clouds have been folded and whip stitched along the edge to create an affect similar to that seen in the veins of the the maple leaf to the left. Notice the few kanoko spots as accent in the cloud in the upper right of the picture..
above and right:
A very simple and direct form of nui-shibori elegantly executed.
Simple serene elegance is exhibited in the charming indigo on cotton piece below. Kanoko calyx and stem embraced by nui-shibori petals.
left and below:
Furisode for a very stylish young woman. Yuzen-zome flower cart design with surging waves in kanoko-shibori.
    Once the rice paste has been removed, the silk must go back to have the aobana applied through a stencil to determine the placement of all of the kanoko dots.
  The person tying, must begin by stitching around all of the yuzen-zome area to protect it from receiving any more dye. Only then can the labor intensive process of tying off all of the little deer spots begin – one at a time.
    The entire bolt of silk now will have the dyes steeped in – if the yuzen-zome portion was not properly protected, it’s too late now!
    The piece is rinsed, the knots opened up, everyone holds their breath to make sure the flower cart design has remained radiant, and – it has!
   The fabric goes back to the yunoshiyasan to steam set the fabric in a flat, but not ironed, condition, If the “conductor” feels inspired, the silk may have a few touches of gold-leaf or embroidery added, which means sending the silk around to those specialists as well.

    All of this work has been done while the fabric is in bolt form.
    At long last we are ready to have it skillfully handsewn into a masterpiece garment. We finally get to be the audience viewing the performance that until now has only been in the creative mind of the “conductor”. Is it any reason so many of us become addicted to Japanese fabrics?
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combining techniques:
The Japanese are very fond of combining techniques, and shibori is no exception.
    When two methods are employed on the the same garment, the work more than doubles. Since each craftsperson is a specialist, and each specialist has his or her own set-up time, labor, and overhead, the costs for these works of art mount quickly.
   It is further complicated by the choreography required in coordinating the various steps of each process. For example, in the piece to the right, which combines yuzen-zome techniques with kanoko-shibori, who starts off?

   You need what amounts to a conductor – someone who will keep all of this in sync.The weaver needs to prepare the silk to order; the yunoshiyasan needs to scour the fabric.
   If the yuzen (tsutsugaki) is to be dyed first then a sketch must be made on the silk of the entire design using aobana as an underdrawing. The paste-technician must draw the outlines of each image in rice-paste, and the painter apply the colors.