ARCHIVE: UNTITLED
Submitted image (click to enlarge): Untitled.
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Submission title: Untitled
Submitted by: Janis Jefferies Participant’s field of work/interest: Artist Participant’s Image Description: "Image from sax+brush+Swarm Techtiles recording, 11th May 2006 (Tim Blackwell, Janis Jefferies, human performers). The weaves show superpositions of saxophone (curvy patterns) and brush sounds (straight lines). Also evident is microtexture washing, a dilution of local texture caused by unweaving into sound." Translation and weaving by Sophia Borowska. |
Pointcarré weaving simulation (click to enlarge).
Translation to Weaving
The aim in translating this piece was to create a textural replication of the two different types of sounds recorded visually in the submission. I wanted to create a structural and tactile difference between the curvy lines and straight lines, so that the two different visual patterns, and the areas where they superimpose, would have a different feel to the touch. The noisiness of the image already resembles weaving, so I was able to work with a lot of floats on the surface which tack themselves down because of the many tiny areas of only two-three pixels of colour.
-Sophia Original Dimensions: 596 x 606 px Number of Picks: 2000 Woven Dimensions: 18” x 20” Weaving Density: 105 ppi |
Structures (click to access structures - available to WDRG members only).
Technique and Process Notes
I used the capacity of double-weave to achieve two different structure systems that both rely on having two warps: pocket double-weave and a reworking of taqueté. The pocket double-weave at this particular density makes a loose, fluid cloth, with deeper colour because it is so weft-faced. The variation on a taqueté weave system makes a tight, flat surface with very short floats and a stiffer hand. The black background is pocket double-weave, and the greys in the image that appear as subtle overlaid rectangles, are in taqueté. The colours are mostly just long floats (never tacked down), except for the two lightest colours, which use some of the white warp to blend the right shade. The colours therefore float in and out of a cloth whose physical structure is loose and sleezy in some places and tight and dense in others. This difference can be felt when holding the weaving in hand.
-Sophia |
Colour reduction for weaving design (click to enlarge).
Outcome Notes
Double-weave always reduces the resolution by half, and at such a small scale, a lot of the patterning detail was lost. The colour structures that used black as a mix-colour also blended into the background more than expected, meaning that the clearly defined curve patterns in the image are not as striking in the weaving. This was a very noisy image to attempt to translate using the methods I did at this scale. However, the textural differences are quite interesting to feel by bending, scratching and squeezing the cloth, both front and back. The piece would have been more vibrant with a brighter shade of green, though this subtler shade resembles the submission as a whole more closely.
-Sophia Threads Used: Warp is white 2/16 mercerized cotton. Wefts are black, chartreuse and teal 2/8 cotton, purple synthetic. |
Images of Final Woven Samples
FRONT, ABOVE.
BACK, BELOW.
BACK, BELOW.