Ok, so I had this long plan in my head with specific and precise information and a gizilion photos of steaming dyepots with different wools in mind ..... but perhaps I had better look at my timerestraints, for they truly do exist these days and only do one of the dye explanations before I put up the tapestry.
The thing is ..... when I weave tapestry I like to see what the yarn wants to happen rather than being in full control of every square millimeter. As you saw on the previous post in the water colour painting the window panes, reflecting the drawn curtains inside my window did have a rather intriguing and fluent colour motion in them. This worried me a lot and I was trying to combine my knowledge of both this and that into something that would make sense in the decision making of how I wanted the windowframes to look and 'feel'.
Then suddenly what sprang into my mind was a sock yarn dye workshop which I once took from my good friend Marilyn Rand (who is bringing her fabulous silk fusion pictures, sculpture and some felted pieces to Denmark with me and the rest of SEVEN) Marilyn's workshop was on how to dye yarns yourself so you automatically knit a pattern in your socks without having 4 balls of yarn hanging out from behind 5 different needles. And then I knew .....
I only wound about 20 rounds of 29 feet, for I had to do several skeins to be sure that I had what I wanted. I sectioned off the skein and folded the 'ends' of each section towards each other until I had almost an octopus. I had 12 or 16 arms on each octopus.
These creatures I died very yellow and once that had happened I picked out my sections to over dye with red and which sections to over dye with burgundy. I left every other 'arm' yellow since I knew that I wanted a yellow background with the red and burgundy being .... whatever they wanted to be, I hadn't quite seen it yet.
By dyeing the yarn like this I was able to put aside some of the responsibility of how these windows were supposed to look - since I would have to go with the flow of the yarn, always making sure that the yellow was the background and would cover each shape satisfactorily to separate them all from each other.
All the red squares are very square and straight to weave but the window panes were very wavy and never on a straight horizontal line. It was fun to work with two such different images in the same piece. I also had to use the beating fork extensively when I wove the whole piece with the windows in it since there were no straight lines, as opposed to the bottom part, where the wall is all red and by evenly traveling back and forth across the piece, using the beater is a grand way to keep yourself on the straight and narrow.
And here we are the grand finale, I have braided under the linen warp threads so they make a nice edge and hold the tapestry together at the same time and the wide bias tape will be sewed on to the top and the bottom of the piece, so I can slide rods through them in order to hang and display the piece nicely.
In my next life I will take a photography class so I can learn how to take photos nicely and properly of my work. This is the finished tapestry hanging from two of the aforementioned hooks which helped me wind the 29 feet long skeins of yarn for the window panes. The piece is done, along with its green sibling it is ready to head to Denmark in just a couple of weeks from now and will be shown to ...... anyone who would care to come to Basal Elin Kunst or to Kerteminde to rest their eyes upon it for a little while and feel ..... exactly whatever it is that it will make the viewer feel or experience. This is my outside house wall, hope it can stir some of the same happy feelings for other people as it does for me, when I walk out to the sheep and see it, or watch the guinea cock and his little black hen meander by through these windows. They have seen a lot!