Another reason for stitching slits as you go. If you have a lot of long slits together the stitching can keep the slits from curling at the edges and making them difficult to weave. Also it serves as a visual and structural reminder that the slits and columns aren't pulling in or out as you weave them. such as the trestle in the piece i am working on. Joins would have been inappropriate for this piece because of the high contrast the toothed edges on the side of the vertical columns would have created and I wanted them to be very smooth looking as they were wood and metal.
Slits are interesting because there are so many ways to deal with and so many reasons not to deal with them at all. The thing to remember is that there are no tapestry police. What works works and should be determined by the designer and weaver of the piece. In trad. Gobelin weaving anything longer the .5 inches should be sewn as yo go-stitch in the ditch.
Sewing a slit gives a very smooth visual joining of the two sides. Most joins will leave a toothy look where they come together and depending on the look your after or the dictates of the design you may or may not want that look. Slits can even be pulled slightly to create a shadow or eve be umbricated or made too lap over each other.
Pulled slits for shadows in faces and other places sort of got lost in French tapestry. When i first started weaving tapestry we told all slits needed to be sewn so that when the tapestries were hung sideways the weight would pull the slits open. Turns out their was probably a little truth to this, but what was lost too general knowledge was the slits were probably pulled in order to create ver subtle shadows especially in faces, etc. Anyway this is getting long. I need to go weave. I am thinking this will be a good subject for my blog the first of February
me too! i am really enjoying weaving it. Hope to finish some time in the next week. The rest is just sky, caution tape and another feather. I am anxious to start the next piece in the series. i like your green man, I would like to try a face, but keep chickening out.
It's all in the way you handle the technique and weft blends. It's also done in a very small scale and format. Basically, it's years of practice. YOu should give it a try. It's not hard. IT's one of the simplest weaving techniques.
Cathie- It's not a real tuft, but if I did want a tuft I would do so it with rya.
it's soumack in silk-very fine. The reason it has so much dimension is that it is a reflective white on a grey back ground. It's also white on a dark background. it's the same technique you were working on while you were here.
cheers and all,
That depends on if you are doing a chene or a melange. When using multiple wefts you can also use opposite colours to creat shadows and depth. Remember that warm colours come forward and cool colours recede. The same with shadows. Also-Lights come forward and darks move backward visually. Melanges are similar colours. Chenes are opposites. You can do colour fades with either chenes are melanges. It just all depends on how you mix the yarns/wefts together on the bobbin. You can also incorporate embroidery floss into the weft bundles for more variety in colour and texture shifts while weaving a flat service.
When working large format I also roll the cartoon in back when i am working large format. Most of the large tapestries I have done are as a contract weaver and have ranged from 5 feet wide up to 13 feet tall. I use clothes pins instead of paper clips. The roll rests on the back beam. Occasionally there is a roll of cartoon at the top in any format if the is too large for the weaving space. Some looms have a cartoon bar-some don't. I roll the tops of cartoons on my small Mirrixes sometimes if I am going to be turning the warp around the mirrix. The cartoon is closely sewn to the fell line and several rows of basting are left in to support the cartoon as you go. If you don't its easy for the weft ends to cause a distortion in the cartoon because of their bulk.. I am also very careful when I use cartoons to have a mark in several places on the the cartoon that matches a specific warp or two warps on each side of the tapestry to make sire everything is staying square and together. On large format tapestry I will also have a series of horizontal lines a foot apart to level the cartoon and make sure it stays square. If you don't do this the cartoon can be distorted to the side as much as 2-3 inches or over time another good reason not to roll the cartoon around the beam as you weave.. When working on large looms we will often use a level to to make sure the cartoon stays level. If everything is level you can measure the tapestry on each side to make sure it is square. The loom haas already been leveled before the loom is warped. Anything and everything to keep the two edges at he same height so that one ends with a rectangle and not a parallelogram..
When working small format I keep the cartoon sewn close to the fell line. Even an inch or so away can cause distortion of perspective if you just try eyeballing the cartoon as you weave..
Tommye and i weave from two different traditions. So our answers will be slightly different. My instructors were all mostly Gobelin or scandinavian trained. The more bubbles the better. I usually do between 1-2 inches some times less. Even when I am doing large areas of a single colour I will hatch more bobbins in. More bobbins help get rid of pull in as you weave. It's better to use the side of the bobbin tip for placing yarns-less likely to snag and puts down more weft over 3-5 warps then when you use the tip-which only places the yarn where the tip of the bobbin is. Even doing that one should beat about every 5 passes. If your doing detail working beating in is the only way to keep the design where you want it- Circles round instead of ovals squares square etc. .. If not beaten down at some point the design will shift down and squeeze everything together just by dent of the weaving process. Weighted beaters just make the process easier.