I started a small tapestry this morning. In order to create my cartoon, I pulled up the photo I wanted to use in Adobe Photoshop (I’m using Creative Suite 4), re-sized it to 7 ½ inches high by 10 inches wide, set the Mode to Grayscale, applied the Photocopy filter, then printed a black and white version, as well as a color version. This is basically the same process I use when I’m creating transparencies to create solarplates for printmaking. There’s really more detail than I need in the cartoon for this version of the tapestry but it will be useful later.
The black and white version is placed behind my warp threads to provide the pattern for me to follow as I’m weaving and the color version hangs on the wall in front of me as a color reference. Picture red rock cliffs, a valley, blue sky with the beginnings of a sunset.
As you can see, I have the cartoon rotated 90 degrees counter-clockwise. Since I’m using a variegated yarn for the rock faces, working in this direction gives the rocks a more natural look. Once again, I’m using the Feza Fiona in earth tones for the rock faces.
While I was mucking about in Photoshop earlier I created a number of cartoons for future tapestries including a couple of abstracts that I’m really excited about. The color variations are gradual and very subtle so they’re probably going to be a test of my patience. And I need to find just the right fibers to work with.
One thing I’ve decided after working on the 16” Mirrix is that I’m going to upgrade to the largest Mirrix loom in 2011. I’m really starting to feel the need to begin working large.
Don’t forget to stop by WeaveZine to hear Syne's interview with Claudia. I have a very eclectic (okay, okay, I’m more than a bit eccentric) background so I’m always fascinated by how people got started doing what they do.
Also, check out the blog ‘the gift half understood’. She’s doing some really interesting sculptural work with weaving "influenced by monolithic standing stones, burial rituals, stone surfaces, and offerings".