A hand-drawn textile is still the result of several different operations. Tokyo’s official account of Tokyo tegaki yuzen distinguishes the sketch, resist work and application of colour. Reading those jobs separately is more informative than treating hand-drawn as a complete process specification.
Technique and structure
The technical list names aobana and similar materials for drawing the preliminary design, several kinds of paste or wax for resist work, and brushes for colour insertion and painted dyeing. Resist defines areas protected from colour; the brush is the tool for placing colour in the dyeing operation. The same list separately permits fine drawing or stencilling with a carved stencil for crest work, monsho-uwae. Consequently, a statement about drawing the main design by hand should not be extended to mean that no stencil can appear anywhere in the work described by the standard.
Identify the part of the process being described
The traditional substrate named by Tokyo is silk fabric. Its account places the design, colouring and finishing under the maker’s continuous work. That is a description of this craft, not a reason to infer the fibre, process or certification of an unidentified garment from a photograph.
A useful conversation with a maker can distinguish the main design from crest work and resist application. This guide reproduces no textile image, motif or cutting pattern.
For international readers
Ask what is hand-drawn, how the resist is applied and whether a separate crest operation is involved. The technique name supplies no universal washing or stain-removal instruction.
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日本語
東京手描友禅：防染と色挿し、紋章の仕事を分ける
東京都の技法説明は、青花等による下絵、糊やろうによる防染、筆・刷毛による色挿しや描き染めを区別しています。同じ説明には、紋章上絵で毛描きや彫刻した型紙による刷り込みを用いる規定もあります。「手描」という名称から全工程で型紙を一切使わないと一般化せず、どの仕事を指す説明か確かめます。