Page 54 - Studio International - July/August 1967

7 As with almost all other issues, the working drawing treats the than the end of the designer's function. Once the design was
question of colour in an informational rather than in a literal completed there followed a series of consultations with the
way. An area of woven textile can never 'look like' an area of weavers, which continued throughout the period of the weaving.
paint, and the design is not meant to be imitated. The determina- The designer must be sure that the weavers understand his
tion of the colours of the yarns—and in some instances what kind intentions, for weaving is not a mere reproductive process, and
of yarns will be used—is accomplished by discussion of the how the weavers interpret the marks he makes can make an
design between the designer and the head weaver. Sometimes enormous difference to their treatment of the design. The
yarns will have to be dyed specially. weavers in Edinburgh are sensitive, intelligent craftsmen. Being
The yarn forming the weft is wound on bobbins, which are used so they produce their best work when they are fully engaged by
both for passing the weft through the warp and for beating it the design, and fully extended in its execution: and designing
down. According to the fineness of the weave, around nine in this context thus becomes largely a human problem.
threads of yarn are wound and woven together. These need not (Harold Cohen left foreground, Archie Brennan, head weaver,
necessarily be all of the same colour, and a wide and subtle right foreground.)
range, both of colour and texture, can be achieved by mixing. 9 Work in progress on the tapestry for the Victoria and Albert
8 A good deal of experimentation has already been done before Museum.
the actual design is executed, and probably several small pieces 10 The completed 8 ft-square tapestry—the work took four months
of tapestry woven, in order to determine whether certain ideas from commissioning to completion.
can be realized, how various elements may be treated, and— 11 A second uncommissioned tapestry, about 6 ft x 6ft, woven by
perhaps most important—what scale the working drawing should Edinburgh Tapestry Co. shortly after the BP tapestry, to
be. But the completion of the design marks the beginning rather Harold Cohen's design.