Take time to study the sections created by the divisions in each style. Many more wondrous designs are possible by identifying the smaller repeating sections that are created in each of the major divisions. Utilizing these smaller sections is very simple and yet produces even more detailed and intricate appearing balls.

        Using the "weaving" technique - working one layer or round of thread on each section before doing the next, all over the ball - produces magic. Technically it is very simple - artistically it requires you to be able to "dream" a bit  - but after you work one or two balls this way you will be able to visualize the outcomes more easily. The technique is covered as far as the basics in the "Plum Blossom" design in Vandervoort's second book. Combining this with the more obvious overlaid and/or interlocking of the design elements works wonderfully too. As you create your own patterns don't feel limited to one technique.

        While ancient tradition calls for using only the paper marking tape, modern technique allows and encourages using some aids such as measuring tapes (easier in centimeters since you will usually be dividing the measurements), protractors and angle templates to either initially mark divisions or check their accuracy, and even a drafting divider and drafting caliper to check and reproduce accurate repeating divisions. Small sewing measuring guages are available at notions counters and are very helpful. Remember in the end it is the symmetry and equalness of the pattern over all of the ball that a Temari is judged by; using all resources available to insure accurate divisions is fair game.
        Further dividing some basic patterns such as the complex ten/pentagons into smaller sections allows for producing finer and more intricate appearing patterns - but is no more difficult than working the larger divisions.

        Using various weight threads such as finer (#8) pearl cotton, or several strands of embroidery floss (separated from the original six) either independently or in conjunction with the standard #5 pearl cotton can produce stunning results. There are also many specialty embroidery threads available - let your imagination soar.

        An interesting concept that continually appeared was in displaying some patterns. This is evidenced too on the Japanese web links (see links page). Balls that are created with two main polar designs - such as a top an bottom large chysanthemum - are displayed by being hung from the obi, so that the major impact of the design is seen face on, side to side - which makes a whole lot more sense. The chrysanthemum, or Kiku pattern seems to be one of the most popular in Japanese design. Also very evident is the use of smaller design blocks - the same basic patterns but worked on smaller scales on the balls, and combining many of them rather than dedicating a ball to one major large interpretation. The colors are usually very vibrant, with a lot of red and white, reds, yellows and oranges. The more recently published books draw in more of the cool colors.

        Temari collections are very popular. In addition to the balls being hung, they are frequently placed on small round wooden bases, very simple in design, small coaster-like pillows (usually red), or placed in glass and wooden display cases that each hold one or two balls. There also appear to be glass or plastic display globes, sized close to the ball, with a small pedestal foot or base.

        Traditionally Temari are designed and named after the area of the country in which they are made - and the are made all over Japan. One area has a unique tradition it appears of placing the balls in glass globes, each of which is topped with a square of cloth tied around the smaller round opening. Rather than the cloth just being placed and gathered and tied, it is precisely pleated at ninety degree increments around the circle of the top of the globe. While I am sure that this method has specific tradition behind it as well as purpose, I do have to admit that the fabric topper, which is usually a fairly vibrant print, tends to distract from the ball being displayed, albeit in its protective covering.

        Another new discovery was the size of the balls. Many are of the usual three or four inch, but likewise many are much larger, looking to go up to eight or ten (or more) inches. There are also some very tiny ones, usually shown with a heavier hanging cord and a jingle bell attached to the cord. One illustration showed what appeared to be drum mallets with the mallet heads made of small temari. Also popular are personal accessoroes - flat 2 dimensional pendants and bolos, pins, and formed band bracelets. And - quite to some amazement, rings.

        While most all of the books demonstrated traditional methods for making the base mari, using anything from fabric to wadded plastic to what appeared to be seeds or seed hulls, the fly covers of most served as advertisements for Temari supplies. Styro or styrene ball forms were always offered. While silk threads were advertised, much more were the standard DMC pearl cottons and flosses. With few exceptions #5 pearl cotton was the standard thread used.

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