This is a good place for beginners and those new to Temari to start - it will head off at the pass many of the common questions you have. More detailed info on any of these topics can be found in the How To or Resources section of the site but this summarizes the questions newbies invariably have. It is collected from the replies to questions posed by and suggestions given by the Temari Discussion Group members as well as ones I receive personally. I gratefully acknowledge the group's enthusiasm and participation, as well as their willingness to share and teach. Our collected thoughts here represent what we've learned from published sources that are available as well as our own experiences.
 

Before I go any farther - what do I do with a Temari?
        Like any art or craft - admire it! It is steeped in tradition and is beautiful to behold. Temari are collected and displayed either singly or grouped in bowls or baskets. They can be placed on small round bases made of various materials, on small square "pillows", on pedestal stands, or in glass or wood and glass display boxes. They may be hung singly or in groups; used for Christmas or other holiday ornaments; given as auspicious gifts on special occasions; made into mobiles, wind chimes and other decorative and functional pieces; used as gift package decorations; tiny ones and variations are made into personal accessories and jewelry. They may be used as window shade/curtain ties...  ornamental decorations anywhere in the home...  your imagination is the only limit.

 What's best to use for the yarn wrap layer?
        The smoothest and roundest results seem to be obtained with lighter weight soft yarns, such as baby or fingering (2 or 3 ply). Another suggestion is to use yarn for knitting machines as it is finer than regular 4 ply worsted. It has been noted to not use VERY fine yarns, or as one member put it you'll still be winding the yarn layer next month. Baby or fingering yarn can be purchased at most yarn or craft shops and catalogs; knitting machine yarn may have to come from a supplier for that craft unless you have a friend with an old one under the bed.

To bat or not to bat?
        Or, do I use fleece? Earlier Japanese and English instructions called for the foundation mari (the ball base, whatever you choose to use) to be covered with a layer of batting or fleece (such as polyfleece used for quilt batting) under the yarn warp. Opinions vary now. Some have maintained that if starting with Styrofoam or polystyrene (or other preformed round bases) the fleece is not needed - it was originally intended to help round the mari base if you made your own (and indeed the newer English and Japanese books no longer include it). If using preformed bases the yarn and thread can be sufficient. Others who use preformed bases do still prefer to use the fleece as they feel it adds a benefit to the stitching surface. It is recommended that if you make your own mari base, a fleece layer be used since it helps to smooth and round the surface. Whatever you decide - fleecing is always a way to obtain the needed size ball if you desire something that can't be obtained - add fleece to something smaller to size it up. Fleece is obtainable at craft, fabric and quilting shops and catalogs usually in quilt size bats. Some craft stores and catalogs offer smaller pieces.
- Good results, usually smoother, can be obtained with the low-loft batting that is available (sometimes known as baby batting)
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What's best to use for the thread wrap?
        Thoughts vary here - there is no right or wrong answer. Some prefer standard sewing thread such as Coat's and Clark Dual Duty - each ball will use a large spool (300 yards) so it can get expensive if you make a lot. Many group members have had perfectly good results with "sale"  and economy threads. Others prefer more upscale threads, even to wrap. Some have said that fading and such can occur with lesser quality thread - I've personally used all types and have had equally good results with all. As with all supplies needed, your circumstances and the flexibility of the craft will allow you to make the choice that best suits you. Temari is an equally attainable craft for all regardless of ability and resources.  Another source are the cones of thread available in fabric shops for high volume stitching - usually perfectly acceptable and less expensive than spools. Threads to avoid for wrapping are the silky shiny ones - silk and rayon (including serger thread) - you'll loose your mind trying to keep the wraps on the ball much less getting and keeping them even - and even if you do accomplish it you will have a very difficult time marking and stitching because of the slippery nature as well.  - if using off label/off brand threads, be sure to test for colorfastness. Some dark threads will transfer dye to your hands while wrapping and stitching.

How much do I wrap?
        Not as much as you think. Overall all of the wrap layers will add only about up to an inch (at most, and that's a lot) to the original diameter of the ball. The best rule of thumb is that you continue one wrap layer until you can not see any of the previous layer peeking or bleeding though (using similar if not matching colors for the yarn and thread layers will help eliminate bleed through), and then maybe just a little more. Making the wrap layers too thick increases the chances of ending up with an off-round ball. If not deep enough, the layers even collectively will not provide a firm and supportive stitching foundation.

 How do I get a round ball?
        For beginners it is very strongly suggested that you start off with preformed balls as mari bases - Styrofoam or polystyrene, wooden, tennis or Ping-Pong balls - anything that is round and gives you a heft and size that you like. Many experienced crafters continue to use them as well. Starting with a ball that is round is half the battle. Keeping it that way is the other. All members of the group agree that the secret is to pay attention and keep it moving - not like when you wind a ball of yarn and can have "clods" going on different angles over the "ball". Wrapping Temari is not haphazard - the yarn or thread has to be placed as close to around the full circumference with each round as possible. Rolling the ball in your hands or against a firm surface and pushing lumps and bumps flat is certainly fair game. It's been noted that if you are using Styrofoam bases, you know that you have a round ball when, if you roll it against a firm surface it doesn't "crunch" anymore. If making your own mari, no matter what the material, keep rolling against a flat surface frequently as you make it to keep rounding it.
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How long does it take to make one?
         If you are starting with a foam core, making a "mari" should be about 30 - 60 minutes, with another 15 - 30 to place your marker lines - a more complex marking could take up to 2 hours.  I have not made any of the other mari bases that others speak of, so I do not know how long it takes to get those into shape.  Choosing colors or creating one's own design could easily take days...weeks... months....    So... assuming you've chosen your colors and pattern...  Once the stitching starts, a lot depends on your pattern, the size of the ball, and how long you stay at it.  A simple design for a 4-5 inch ball should be completed in about 2-6 "working" hours.  A more complex design may take 24 -72 "working" hours.  Some designs that require switching colors with each round can be helped along by having several needles already threaded.  Some wrap designs must be worked all at one sitting, especially if there is no "good" place to stop.  Some stitchers like to move at a quick pace, others like to fidget over each line placement.  For those who are new to temari, it is best to start with the simplest of designs.  You will be able to complete them in a minimum of time, and still learn loads about how to make the proper stitches, spacing, etc.   Hope this helps.  Just take it slow - and make it FUN! (with thanks to Sue H.)

 How tightly do I wrap?
        Use moderate to firm tension for two reasons. First, it will provide a solid stitching foundation to hold your pattern stitches in place. Second, it will prevent your wraps from sliding off the ball - and if this is happening you're probably not wrapping around the center or full circumference of the ball as well.   If you do not wrap tightly enough the resulting surface will be spongy and squishy - pattern marks and stitches will not hold securely. An approximate illustration of the type of surface you're creating is as though you would stitch on felt.

The thread slips off after I've wrapped - what's wrong?
        You're not wrapping around the middle of the ball, and/or wrapping too loosely. This can also happen if you're wrapping too tightly - you're literally squeezing the wraps off the ball (but this means you're REALLY pulling!). This can also happen innocently with larger maris through you are doing nothing wrong. Simply use a bit of the wrapping thread to make some large herringbone stitches around the ball to hold things in place - you'll not see them after the pattern is stitched.  Be sure that you aren't using rayon or silk based (or other wise slippery) thread - choose cotton, polyester or a blend.

How do I make my own mari?
        The basic steps are to form a round wad of fabric, paper or plastic. Then wrap that somewhat with yarn to hold it together and place a few stitches. Cover with a fleece layer. Then begin your yarn and thread wraps. As you progress through all steps frequently roll the ball in your hands and against a firm surface to round the ball. Making your own mari adds to the traditionalism of your creations...  instructions can be found in both English and Japanese books. English books are available at major booksellers, needlework shops and online booksellers. Japanese books may be obtained from several places - see the links on the Resources page.

Is there a benefit to making the foundation mari?
        Technically - no. In fact you'll probably have an easier time producing a round ball with even patterns if you use a preformed round base. However if you are a true traditionalist you'll want to at least try it. Some crafters prefer the heft and feel of a mari that's made - because of the materials used it is denser and heavier. In some circumstances this may not be desirable for example, if using them for tree ornaments or other applications where hanging weight is a consideration. There has been some discussion of Styrofoam eventually disintegrating or being able to be "squashed"...  or that it may melt if exposed to direct sun or high heat. Jury's still out on these concerns.
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Can I put things in the center?
        If you want to make a Temari with even more good luck, place some noise makers in the center of the wad when you begin, such as beads, bottle caps, jingle bells..   traditional balls were made to do this with rice hulls. Now a days it's better to use non-organic things that won't decay. You may need to make a small container from cardboard or an old pill container to put the noisemakers in so that they indeed make noise. The same extra can be added to balls that are begun with Styrofoam bases - cut the ball in half, scoop out a little hole and add what you'd like. Place the halves back together and they will be held with the wrappings. Another nice suggestion is to put a shiny penny of the year the ball is made in the center - either to make noise or not, and make note of this to the recipient of the Temari.  - you may add the touch of potpourri to a ball by sprinkling potpourri on the batting before placing it around the base... it will in a matter of hours be noticeable through the wrappings. While attractive, not traditional from what is known at this time. However, it has been mentioned that early Temari from Japan had aromatic herbs and such as their centers....

What are the best things to use to make my own mari?
        Many thoughts come into this one. Viable suggestions are: old pantyhose/tights, with the bands and reinforced areas removed; some cut them into sections before wadding, others use them "whole". Tissue, paper, soft fabric, yarn scraps... all have been mentioned. Some cut whatever is used into small pieces since they feel it gives a smoother result...  also usually heftier since you will use more of whatever material you are using this way. Tradition used old kimono fabric as the foundation mari - some was wadded, then the wad was wrapped with strips of the fabric.  - Discussion group members have tried quite a few "stuffings" - stockings and pantyhose, socks, towels, plastic grocery bags (non-biodegradable, as some of them are), polystyrene beads, beans, rice hulls, muslin strips, hollow plastic balls with noisemakers or potpourri inside... anything than molds to the shape of a ball and will not rot or decay over time will work, however the traditional authenticity is debatable.

Can I improvise and use what I have around?
        Of course. In fact - it is very much in keeping with the tradition of recycling old kimonos - the fabric was used to make the mari, and the silk thread used to stitch the designs. While modern day instructions will send you to the store to purchase specific supplies, once you understand the process you may use many things that you do have already. Many of communicating in this group are on limited incomes or not able to get around too well so purchasing specific supplies becomes difficult - a nice part of  the craft in that it can be as involved or simple as you like. The basic supplies for Temari are usually to be found in your home now if you have been a crafter or needle worker; or can be obtained at standard craft, fabric and needlework shops and catalogs. Of course fancier supplies and threads may be used, but are not required to produce stunning Temari.

What do I use for marking strips?
        The pattern lines in Temari are placed using a paper strip. You can cut your own from regular white paper - make them an eighth to an quarter of an inch wide. Some find the wider strips more difficult to work with. You must try to cut them as straight and even as possible, so try a paper cutter or rotary cutter and use a straight edge. Easier and more accurate are the paper strips used for quilling. They come in several widths, and longer lengths than what you can cut from paper sheets. Another suggestion is to use the paper "curling" ribbon - easy and inexpensive, but you will need to be a bit more careful handling it. Other ribbons would also work. Quilling paper can be found in craft shops and catalogs; ribbon is everywhere. The strip for each ball is unique - don't damage, lose or discard it till you have finished the ball since you may need to check or replace pins or make further divisions on the ball as you work it. A tip was given to run some paper through a paper shredder to make accurate strips...    Another tip from a discussion group member was to use strips of millimeter graph paper... or any other fraction you're comfortable with, especially for the odd number divisions...  you can download a nifty graph paper printing program here.
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Anything better or worse for marking threads?
        After the ball is divided using the paper strip the ball is marked with (usually) metallic dividing threads. Some patterns use the same thread or thread color as the wrap if the markers are meant to disappear into the pattern. There are many options right now for metallic thread - Kreinik braids are probably the preferred but can be expensive. DMC markets a metallic embroidery thread on spools which is more reasonable - it has been mentioned that it can tarnish (although the web master hasn't had that happen in the year of using it) and is to come off the market. DMC also sells a metallic embroidery floss that is said to be difficult to use for this purpose; there is also metallic pearl, but it's heftier and more expensive. There is available lame thread used in jewelry making that has produced acceptable results, and comes in one, two and three ply for varied effects; it is relatively inexpensive. Then too are the various metallic threads used in all types of finer embroidery; prices vary as well as the appearance and outcome, according to taste. The first threads mentioned in this spot are available in craft and needlework shops and catalogs; finer embroidery supplies will come from needlework shops and specialty catalogs.

What's best to stitch with?
        Anything you want! Again - tradition reused silk thread from kimonos. Modern instructions here and in Japan call for number 5 pearl cotton. Some members use six strand embroidery floss due to difficulty in obtaining pearl with equally stunning results - and in fact a different detail that is hard to describe but not seen with the pearl comes through. Others have access to more upscale threads and incorporate more of those. mixing fibers is also very common. Again is is entirely up to you...  all is perfectly acceptable. Embroidery floss is usually easily obtainable in craft, fabric and needlework shops. Most craft shops have at least some pearl. Needlework shops of course have all of these and then some. All threads are also obtainable mail order from craft, needlework and specialty catalogs. Also used is Japanese Bunka thread - this comes as a "chain" - very slinky - and is usually unraveled prior to stitching with it. Whole it is often used to make tassels for the finished ball. Bunka is obtainable from specialty mail order - see the links on the resources page.

Thread Pros and Cons:
        Embroidery floss is versatile (and probably the most inexpensive) in that the strands can be separated to allow varying thicknesses of thread of the same color that can enhance a pattern; it also requires more attention to detail as you lay the stitches to insure that all strands are flat, smooth and with even tension. Silk and rayon threads of any type produce a gorgeous sheen and stunning results - the colors are usually very rich and intense. They are however as one group member puts it a "pig" to work with since they are very slippery. They can be single or multistranded - if multi you will need to take care to keep all strands evenly tensed. Both tend to be more expensive. Pearl cottons are single strands, rounded. This tends produce a more dimensional pattern than the flatter flosses. Number 5 is the most common and the closes to what is being used in Japan today. Number 3 is heftier; number 8 is finer. They have their places depending on the size of the ball and the pattern/texture desired.
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Thimbles and such?
     Such helps are up to you. At times there will be tough places to place a stitch and pull a needle through. Regular or leather quilting thimbles are a help as are the modern Western takeoffs of Japanese thimbles - leather rings that fit over the front part of the finger used to push the needle; all are readily available in fabric and quilting shops and catalogs. There are intriguing ideas for pulling needles through - pliers and hemostats (medical clamps also used in hobby work and fishing tackle) have been mentioned but one must be careful if the jaws or surfaces are "gripped" - etched with a rough surface to allow a firmer grip - the needle can be damaged by this surface. Jeweler's pliers are available with smooth surfaces specifically to avoid this. There are small "rubber" disks about the size of a quarter that can be purchased in sewing shops that allow you to get a better grip with your fingers. This same effect can be accomplished with a piece of rubber glove or wide rubber band - any thin rubber or rubber-like material will work. Also try the non-sticky side of such things as adhesive or masking tape (not the adhesive side since glue may be left of the needle).

Metric versus Inches?
        There is no specific rule for using inches or a unit of the metric system. Being of Japanese origin you will of course find that the Japanese books use centimeters and millimeters...  as well as the British authors, while the American books use inches. In truth the only time you really deal with a unit of measure is to indicate the diameter or circumference of the ball when describing it. Traditionally Temari are created by establishing divisions over the ball using relational geometry (not nearly as intricate and off-putting as it sounds) with a paper strip - modern day measuring devices as we know them are/were not used to create the patterns. Today in its modern resurgence and discovery in the western needlework circles there are times when unit measurements are used. It's entirely up to you... but for the times that specific measurements are used you will often need to divide the measurement into equal parts. For this reason using centimeters will be much easier and more accurate. For example, to divide the circumference of a ball into tenths, it's much easier to divide a measurement of 26 centimeters by ten to 2.6 centimeters and have that readily visible on your tape measure  than to have to divide 11 inches into 1.1 inches...

Displaying Temari - bases and stands
        While there are many nifty display bases, stands and cases available in Japan unfortunately here in the west we need to improvise. Some of the best substitutes are the smaller bases used to display decorated eggs ( craft and hobby shops and catalogs)... other ideas offered include napkin rings and  candle holders/bases (gift, craft and housewares shops). Balls may be placed in clear plastic boxes that are available for small collectibles of all sorts (gift, craft and specialty shops). Collections of Temari ball may be shown in baskets or bowls. Single balls may be hung on ornament hanger bases available in craft shops and catalogs. Simple ring bases made be made using cardboard and covered with thread or fabric (see Make a Base on the web site).

Measuring Helps -
        Traditional Temari crafting used only a paper strip to divide the ball and place marker threads... however today some modern conveniences will help out in obtaining accuracy and evenness. There is a small plastic accessory obtainable in Japan for dividing the Combination 10/Pentagon patterns...see its page on the site...  but there are also readily available helps you can purchase outside of Japan. The popular sewing gauge and ruler combo (six inch ruler with adjustable slide tab) available at notion counters in fabric stores for about a dollar is wonderful - will help much in getting even spacing and increments. Some stores also have a round disk or a squarish sort of gauge in preset small measurements. A narrow tape measure is more easily used on the balls than the wider ones. Some people like to get a second one and cut it to a smaller length to have handy for quick checks. The biggest problem that is faced by all crafters is getting the spacing even on the strip for odd number divisions... thirds, fifths, etc. Two solutions for this - there is another sewing help called a Simiflex that looks like a mini baby gate (it's used to space button holes for example) - you open it to the length you need against the number of tips needed. It works wonderfully but is expensive - about 12 to 14 dollars US. A simpler solution is to get used to measuring in centimeters... and divide by the number of divisions using a calculator (these days a small simple calculator is less expensive than the Simiflex).

Help for Lefties -
    All of the published directions in Temari (as in most other needlework) is written only considering righthanded people. If you're a lefty there are a few ways to get around this. One way is to just remember to make your stitches from left to right rather than right to left. Another is to prop a mirror in front of the book and use the image in the mirror as your diagram. Thirdly, hold the ball upside down from the given orientation, down towards your lap to stitch. And - if you own a scanner and graphics software, try scanning the images and then rotating them 180 degrees laterally. Any of these tricks should help make things a bit easier. (with thanks to the discussion group). See Herringbone for Lefties too.