(This blog post was originally published March 11, 2015 on my first blog site, which is no longer in existence.)
In which I begin an occasional series of blog postings on the body of my work that began seriously in the late 1980’s.
Back in the day, I produced a lot of weft-faced rugs and small loom-controlled tapestries based on block weaves, mostly 6-block Summer and Winter, woven on my 8-harness loom. I could squeeze a lot of design out of six blocks. There would be a background, and for contrast, up to three other shuttles with different colors. I rotated the shuttles carefully, always keeping them in a certain order, and would change the colors out as the design progressed.
While I referred to the technique I used so often as “Polychrome Boundweave on Summer and Winter”, many now have replaced those six words with the very economical term Taquete. Woven without a tabby, the pattern blocks are woven on opposites, combined and defined by the weft colors.
The rug above is an example of this technique and was part of my Master’s thesis, written in 1987, titled “Computer Design in the Handweaving Process” at Iowa State University. (There is a scanned copy of my thesis available on-line now (sans pictures). You can find it here.) Titled “MacKintosh Variation #2”, this rug is one of several riffs I did off the design work of Charles Rennie MacKintosh, a Scottish architect working at the turn of the 20th century. I did two other rugs as part of that thesis. Then I graduated.
Another piece titled “Plaited Rug”, woven later that same year, and using the same technique, is shown here:
Here is a detail, which shows the color blending a lot better:
Here is a copy of the page from my weaving notebook, showing how I planned this piece:
The draft shown is a profile draft with 6 blocks. (Going back through my old records I am constantly amazed at how consistent my design ideas have remained!) My rubric was using a straight draw in the threading quadrant and in the treadling quadrant, and finding the design in the tie-up. I wanted to express the image of a plaited twill. I used at least two shuttles. When there was solid gray, I used two shuttles to maintain the same texture throughout. Mostly, I would alternate between gray and a pattern color, but there were times when I would need three shuttles, when there were three different color areas across the same row. Since this didn’t happen often, I guess I must have figured the overall look of the rug wouldn’t suffer.
I only have ten treadles on my loom, and the combinations of tie-ups were many more. I would have had to do a a lot of crawling under the loom to keep making changes (I think I’ve blocked that memory out…).
Anyway, this Plaited Rug really marked the beginning of the series of loom-controlled tapestries that I worked on for the next 8 or so years. I quickly shifted to a smaller format, from wool to cotton, from the floor to framed pieces. I have been scanning the slides of the work that I did, and am just beginning to appreciate the intensity and consistency of this body of work.
More to come! I’ll keep you posted 😉
Your dedication and careful documentation are an inspiration. I am not that consistent.
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