Kinusaiga – Painting with Fabric and Turning Scraps into Art

Do you know the feeling? After almost every sewing project, there are fabric scraps left over. Some pieces are still large enough for a small appliqué, while others are so tiny or awkwardly shaped that they are hardly useful for another sewing project. But they still seem far too good to throw away.

Most of the scraps I collect are jersey fabrics, so I am always looking for ideas that allow even smaller pieces to shine once more. That is how I discovered Kinusaiga – a technique in which many individual fabric sections are combined to create a complete picture. No sewing is required.

It sounded like a particularly interesting way to use up fabric scraps, so of course I had to try it. For my first project, I created a design called “Sunrise over the Hills”. Once I had gained a first impression of the technique, I used a second landscape motif to show you the process step by step.

The second picture features the sea in the foreground with a small boat floating on the water. In the background, there are mountains, with the sky and sun above them. The template mainly consists of larger, clearly separated sections. This makes it suitable for a tutorial without reducing the whole image to basic geometric shapes.

What Is Kinusaiga?

Kinusaiga is often described as “painting with fabric”. This is a surprisingly accurate description, because instead of using brushes and paint, the picture is created from individual pieces of fabric.

A design is placed on a firm but cuttable board. Narrow grooves are cut along the outlines. The fabric pieces are then positioned over the corresponding sections, and their edges are pushed into the prepared grooves using a blunt tool.

The separate pieces of fabric are not sewn together. Their edges disappear completely into the board, where they meet the neighbouring fabric sections. Gradually, this creates a closed surface that is somewhat reminiscent of patchwork, marquetry or a mosaic.

What appeals to me most is that the fabric does more than simply cover an area. Its colour, pattern, sheen and texture take on the role of brush and paint. Depending on the fabric selected for each section, the same design can look completely different.

From Kimekomi Dolls to Fabric Pictures

The idea behind Kinusaiga becomes easier to understand when looking at traditional Japanese Kimekomi dolls. During their production, grooves are carved into a firm doll body. Small pieces of fabric are laid over the surface, and their edges are pressed into these grooves. This is how the richly decorated clothing of the figures is created.

Kimekomi dolls are part of traditional Japanese doll-making. The technique developed in Kyoto during the 18th century and is still used for different types of dolls today.

By Yoshio Kohara, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=56683481

Japanese graphic designer and artist Setsu Maeno later transferred this three-dimensional principle to flat image surfaces. Instead of covering a doll’s body with fabric, she used pieces of fabric to create complete pictures. Her works mainly featured silk fabrics, including pieces cut from old kimonos.

The focus was not only on colour. The weave, sheen and pattern of each fabric were also deliberately incorporated into the composition. Fabric was therefore not simply a craft material to her; it genuinely took on the role of paint.

This is exactly what I find so fascinating about Kinusaiga. A fabric scrap is not used merely because it needs to be used up. It is deliberately selected for its colour, texture or pattern.

My version using jersey and double-sided transfer tape is, of course, different from the original method using kimono silk. However, it follows the same basic idea and adapts it to materials I already have at home.

Which Fabrics Are Suitable?

Traditionally, Kinusaiga was mainly created with silk fabrics. Modern craft projects often use woven cotton, patchwork fabrics or linen instead. These materials are relatively stable and are therefore easy to cut and press into the grooves.

Most of my scraps, however, are jersey fabrics. Jersey has both advantages and disadvantages for this technique. The cut edges hardly fray, and its stretch allows it to adapt well to curved shapes. At the same time, it can distort, curl or stretch unintentionally while you work.

To stabilise the fabric on the surface, I first cover the styrene board with double-sided transfer tape. This allows the jersey to stick to the base before I press its edges into the cut lines. It is easier to control this way and does not shift as quickly.

For my picture, I use 3M 468MP double-sided transfer tape. It is very thin, so it adds hardly any noticeable thickness underneath the fabric. The individual pieces of tape measure 20 × 20 cm. Depending on the size of your design, you can either cut the styrene board to match one piece or cover a larger board with several pieces.

For larger pictures, the pieces of transfer tape should meet as neatly as possible without overlapping. Otherwise, the joins may become visible underneath thin jersey fabric.

For a first attempt, I would avoid very soft or highly elastic viscose jersey. A slightly firmer cotton jersey is much easier to control.

Which Templates Are Suitable for Kinusaiga?

Not every drawing automatically works as a Kinusaiga template. For beginners, designs with larger, clearly separated sections are most suitable. Tiny details, narrow points and very tight curves make it unnecessarily difficult to insert the fabric pieces.

Before choosing a template, consider how the individual fabric sections will be inserted later. Every line in the template separates two different fabric areas. Completely enclosed small shapes can therefore cause problems if the surrounding section is not divided further.

A good example is a toadstool with white spots. If each spot is meant to be made from a separate fabric, the mushroom cap must be divided into several sections using additional lines. Otherwise, the entire cap would remain one continuous red fabric section, and the white spots could not simply be left out and inserted separately.

When looking for suitable templates, it helps to combine your chosen motif with terms such as “mosaic”, “template” or “colouring page”. Mosaic designs often already consist of clearly separated sections and can therefore be adapted well for Kinusaiga.

Simple colouring pages can also work. Look for clear outlines and avoid overly detailed motifs. If useful divisions are missing, you can draw in additional separating lines yourself. These lines can follow the natural curve of a shape, a shadow or the direction of an existing element. This way, they look like an intentional part of the design rather than an added construction line.

Check the template carefully before cutting. Every marked section should be suitable for cutting and inserting as a separate piece of fabric.

For my tutorial, I use a landscape motif featuring the sea, a boat, mountains, the sky and the sun. The boat is deliberately kept simple and consists of only a few larger sections. Tiny windows, thin ropes or other small details would make the project unnecessarily fiddly.

Materials

For my Kinusaiga picture, I use:

• a 2 cm thick styrene board
• a printed template
• various jersey fabric scraps
• 3M 468MP double-sided transfer tape
• washi tape or another removable adhesive tape
• a sharp craft knife or scalpel
• a cutting mat
• fabric scissors
• a smooth, blunt tool for pressing in the fabric edges

You can use a blunt knitting needle, a bone folder, a wooden or plastic cuticle pusher, or a modelling tool to press the fabric into the grooves. The most important thing is that the tool is smooth and has neither a hook nor a sharp edge.

Despite its convenient shape, a crochet hook is less suitable. The hook could catch individual jersey loops and pull small threads out of the fabric.

I start with a blunt knitting needle. A slightly wider, flat tool can also be useful for longer lines.

Safety Note

The outlines are cut into the styrene board using a very sharp knife. Always work on a suitable cutting mat and cut away from your body wherever possible. Children should not carry out this step.

Preparing the Styrene Board

First, cut the 2 cm thick styrene board to the desired size. The dimensions depend entirely on your chosen template. You can either cut the board to match one 20 × 20 cm piece of transfer tape or combine several pieces for a larger design.

Next, cover the entire front of the styrene board with the transfer tape. Rub it down carefully and as smoothly as possible. Leave the protective backing paper on the top surface for now.

When using several pieces, make sure that they meet neatly. Overlapping sections may become visible beneath the fabric later.

Securing the Template and Cutting the Outlines

Because the transfer tape is already attached to the board, I do not transfer the template using carbon paper. Instead, I place the printed design directly onto the protective backing paper of the transfer tape.

Align the template carefully and secure it around the edges with several pieces of washi tape. The paper must not move while cutting.

Now cut directly along the printed lines with a sharp craft knife. In one step, you cut through the paper template, the protective backing of the transfer tape and a few millimetres into the styrene board.

Use light pressure and go over a line a second time if necessary. Do not cut all the way through the board.

For curved lines, it is usually easier to rotate the board slowly instead of forcing the knife around the curve.

Once all the lines have been cut, remove the washi tape and carefully lift off the paper template. The design is now cut directly into the tape-covered styrene board.

Leave the protective backing paper on the rest of the surface. Later, remove it only from the section you are currently covering with fabric. This keeps the remaining adhesive clean and protected.

Choosing and Arranging the Fabrics

Before cutting, I first lay out my jersey scraps next to one another. This makes it easier to see which colours and patterns work well together.

For my landscape picture, I need different fabrics for the sky, sun, mountains, sea and boat. Not every section needs a completely different colour. Landscape pictures often look more harmonious when several shades from the same colour family are combined.

I would use bold prints only as deliberate accents. If every section contains a striking pattern, the picture can quickly become too busy. Small prints, subtle colour variations or marl fabrics can create beautiful effects.

The direction of the pattern also matters. Stripes, leaves or other recognisable motifs should be positioned correctly before the fabric is cut.

Adding the First Fabric Section

I begin with one of the larger areas, such as the sky or the sea. First, I carefully remove the cut section of protective backing paper from this area only.

The neighbouring sections remain covered, so the fabric sticks only where it is needed.

I then place the jersey onto the exposed adhesive as smoothly as possible. I take care not to stretch it. The fabric should lie in its natural state and be pressed down only lightly.

Next, I trim the fabric around the section, leaving a small allowance on every side. This allowance must be large enough to disappear securely inside the groove.

Excess fabric can always be trimmed away later. If the piece is cut too small from the beginning, however, it may slip back out of the groove.

Pressing in the Fabric Edges

I now use a blunt knitting needle to press the fabric allowance carefully into the cut outline.

I begin on one side and then continue on the opposite side. This helps to secure the jersey evenly. If I worked across the whole section from left to right, the fabric could become distorted in one direction.

The knitting needle should push the fabric into the groove without piercing it. If it catches individual loops or leaves marks, a wider tool such as a cuticle pusher or bone folder can be used instead.

If too much fabric collects inside the groove and creates a bulky area, carefully pull the edge out again and trim it slightly. It can then be pressed back into place.

Working Neatly Around Curves and Corners

Curves are best worked in small sections. I press only a few millimetres of fabric into the groove at a time and slowly follow the outline.

Jersey generally adapts well to curved shapes because of its stretch. However, it should not be pulled tight. Otherwise, the knit structure may distort or the surface may develop ripples.

Too much fabric can collect in corners. It is especially important not to leave an overly large allowance there. If a small lump forms, remove the fabric again, trim the corner carefully and insert it once more.

Any additional cuts into the fabric should be made very cautiously. If the cut extends too far, it may remain visible outside the groove.

Completing the Picture Section by Section

Continue in the same way until the entire design is covered. For my landscape picture, I begin with the larger sections such as the sky, sea and mountains.

The sun and boat follow afterwards. The boat is slightly more detailed, but it is deliberately simplified so that the individual pieces can still be inserted neatly.

After every section, I check whether the fabric lies flat, whether all raw edges have disappeared completely and whether the jersey has become distorted.

Small mistakes can usually still be corrected as long as the allowance has not been cut too short. However, the transfer tape holds the fabric more firmly than traditional Kinusaiga without an additional adhesive layer. The fabric should therefore be aligned carefully before it is pressed down completely.

Finishing the Outer Edges Without a Frame

I do not use an additional picture frame to finish the edges. Instead, I cover the sides of the styrene board with fabric as well.

To do this, I extend every cut line that reaches the outside of the design vertically across the edge of the styrene board. The cuts therefore do not end on the front surface but continue over the side and towards the back.

For sections along the outside edge, I leave a larger fabric allowance. The fabric does not stop at the front edge of the picture. Instead, it is folded over the side of the board and onto the back.

On the reverse side, I press the fabric edge into another prepared groove to secure it.

This covers the visible sides of the styrene board completely with fabric. The method takes a little more time than simply placing the finished picture in a frame, but the sides also look neat and fully finished.

As a result, no additional frame is required.

I work particularly carefully around the corners, as several fabric edges may meet there. The allowances must not be too large, otherwise the corners quickly become bulky.

I initially cut the fabric only roughly, wrap it around the edge to test the fit and then trim it little by little until it lies smoothly and can be secured neatly on the back.

My Conclusion on Using Fabric Scraps for Kinusaiga

After completing both landscape pictures, I can say that Kinusaiga is a genuinely useful way to use even very small fabric scraps. Pieces that would have been far too small for another sewing project can have an entirely new effect in a fabric picture.

I particularly like the fact that you are not limited to choosing fabrics by colour alone. Patterns and surface textures also change the appearance of the image. Even two identical templates can look completely different depending on the scraps selected.

My version using jersey and double-sided transfer tape also worked well. The tape keeps the stretchy fabric in position and makes it much easier to press the edges neatly into the cut lines. The jersey was therefore easier to work with than I initially expected.

However, the technique still requires a little patience. Smaller sections, tight curves and the corners around the outer edge can be slightly fiddly. For a first project, I would therefore continue to recommend a motif with larger, clearly separated areas.

The technique has definitely made me want to create more pictures. It is a lovely change from sewing and, at the same time, a way to turn fabric scraps into something new rather than simply using them up somehow.

What kind of picture would you create from your fabric scraps?