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Game of Thrones Tapestry | |
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Year | July 2017 |
Dimensions | 70 cm× 8210 cm(28 in× 3,230 in) |
Location | Ulster Museum Belfast |
Website | https://www.ireland.com/en-gb/features/game-of-thrones-tapestry/ |
Season . Episode | Length (m) | Total length (m) | Total length (ft) |
---|---|---|---|
1 | 10.70 | 10.70 | 35.10 |
2 | 10.63 | 21.33 | 69.89 |
3 | 10.75 | 32.08 | 105.25 |
4 | 11.40 | 43.48 | 142.65 |
5 | 11.64 | 55.12 | 180.84 |
6 | 11.30 | 66.42 | 217.91 |
7.1 | 1.70 | 68.12 | 223.49 |
7.2 | 1.50 | 69.62 | 228.41 |
7.3 | 1.47 | 71.09 | 223.23 |
7.4 | 1.53 | 72.62 | 238.25 |
7.5 | 1.53 | 74.15 | 243.27 |
7.6 | 1.57 | 75.72 | 248.43 |
7.7 | 2.23 | 77.95 | 255.74 |
The Game of Thrones Tapestry is a hand-crafted tapestry, woven by hand on a jacquard loom, with additional embroidery. The tapestry tells the entire story of the television show, Game of Thrones . [1] It consists of seven 11-metre-long panels and one 10.5-metre panel. The eight panels depict scenes from each episode and include images of crew at work. [2] [3] The tapestry was commissioned by HBO and Tourism Ireland, the tourism bureau of Northern Ireland [4] where HBO filmed much of the series.
It was put on view to the public on 21 July 2017 at the Ulster Museum in Belfast, Northern Ireland. [5] In 2018, it was 66 m (217 ft) long, It was completed in July 2019, and, at 90 m (295 ft), is longer than its inspiration, the 70-metre-long Bayeux Tapestry. [6]
The finished tapestry was displayed at the Bayeux Museum in Bayeux, Normandy, France, from 13 September to 31 December 2019. [7] At the time, The New York Post reported: “Irish officials hope the Bayeux exhibit will boost tourism to Northern Ireland. Its Game of Thrones sites are already a big draw, attracting 350,000 visitors in 2018 alone.” [8]
The tapestry celebrates the legacy of the linen and textile industry of Northern Ireland, historically one of the largest in the world. At the end of the 19th century, it is estimated that over 100,000 people in the north of Ireland were employed in the manufacture and decoration of linen. [9]
Today, the Irish linen and textile industry is much smaller, whereas a growing number of the Northern Irish have found direct or indirect employment in the Game of Thrones tourism industry. [10]
Publicis London, the advertising agency, generated this campaign to help a global audience understand this shift in employment.
The tapestry was made from material which represents that of the late 18th century (linen) and a technique passed on from generations (embroidery). The tapestry was hand-embroidered by some of the last few people remaining in the industry in Northern Ireland.
Many iconic scenes from Game of Thrones are portrayed in the traditional illustrative style of medieval tapestry. Some garments worn in the show were supplied by the Irish textile trade, and the tapestry contains some of these same yarns. Yarns were supplied by Thomas Ferguson and Co. Ltd of Banbridge in associations with the Irish Linen Guild. [11]
Publicis London worked closely with HBO to ensure that all characters were true to their appearances on the show and to their roles during particular scenes. [12]
The Game of Thrones Tapestry Website was launched in July 2017. Viewers can scroll the entire length of the tapestry and zoom in to see each individual stitch. The website was updated as each new section was created. The site carefully plots the filming locations (Castle Ward, Shillanavogy Valley, Inch Abbey, Dark Hedges, Downhill Strand, Ballintoy Harbour, Cushendun Caves, Audley's Field, Pollnagollum cave) famous to Northern Ireland and presents further key facts within the show and each location.
Publicis London employed a group of illustrators from Jelly London, an animation/illustration studio in London. The illustrators started by creating outline sketches using both pen and paper and digital touch screens. Sketches were in black and white, with the aim of identifying the correct style, tone of voice, scale and detail, for approval by HBO and Tourism Ireland. Once approved, the line drawings passed through a colourisation phase, a lengthy process of converting the monochrome designs into coloured pieces of illustrated artwork. This process considered line widths, contrasts and resolution, and identified the correct colour palette to use for each section.
The illustrated artwork was then passed to hand-weaving specialists. The artists at Dash & Miller started the weaving process by setting up their loom to the required specification. Several tests were carried out during the early stages of the campaign to determine the design density and range of colours possible. A specialist software was used to help translate the artwork into a format readable by the loom. Once programmed, the team at Dash & Miller began weaving, using the colour palettes instructed by the loom. The average speed of weaving was 4 hours per metre. To capture the weekly episodes, a camera was installed above the loom: it was set to take regular shots during the weaving process, which were then stitched together to create a weekly time-lapse.
Once woven, the 11-metre section of tapestry was shipped to Belfast to be embroidered. This was done at the Ulster Folk and Transport Museum, near Holywood, County Down. Key areas on the tapestry were selected to be embroidered by a team of 30 stitchers working in groups of 6 and 9 at a time. The team included six staff from the museum. The work also relied heavily on the help of volunteers drawn from textiles guilds, including the Northern Ireland Lace Guild, the Patchwork Guild, and the Embroidery Guild. Stitching was undertaken on a daily basis for over three weeks. The volunteers ranged from a recent textiles graduate in her mid-twenties to an 82-year-old with a background in the garment stitching industry.
The jacquard loom used for weaving the tapestry was a hand-operated TC2 weaving loom [13] from Digital Weaving Norway. This loom was the latest technology in hand-woven jacquard design and allows the hand-weaver to create intricate and complex patterns by hand.
The black and white cotton warp threads first had to be wound onto the loom. This was done in 64m lengths, and the threads were wound onto the back beam of the loom. The warp had 60 threads per inch and was approximately 20 inches wide. Each thread needed to be threaded through a heddle in the middle of the loom, and then through the reed at the front of the loom. This threading process was done by hand using a threading hook. Once the machine was threaded up, the warp threads were secured at the front of the loom onto the front beam. The loom then had to be calibrated to advance the warp threads at the correct speed to weave 84 threads per inch.
To begin the weaving process, Dash & Miller wove 1 or 2 inches of plain weave at the beginning of the warp. This spaced out the warp threads properly and evened out any tension issues. They then began weaving the tapestry, passing the 3 colours of thread by hand through the shed created by lifting the warp threads up and down. The computer controlled which threads were lifted up and down, but the weft yarns were passed through the shed by hand. Weaving built up at a rate of approximately 11 inches per hour, and the weaving was stored on the cloth storage beam at the front of the weaving loom.
Once the weaving was completed, another 1 or 2 inch plain weave border was added before the weaving was cut off the loom, ensuring the warp threads were still threaded so they could be tied on to begin the process again for the next panel.
Using specialist weaving software from Pointcarre, the illustrators' artwork first had to be calibrated for the jacquard loom, taking into consideration the weave construction and warp and weft yarns. The warp yarns were 2/30NE Cotton in black and white end-on-end, and the weft yarns were 1/10NM Flax and Linen.
The fabric comprised combinations of double-cloth and double-faced satins and sateen structures over 4 ends. The combinations of 3/1 and 1/3 satin structures, together with blending of warp and weft colours, allowed the creation of different shades within a spectrum to bring depth and intricacy to the weave.
The illustrators' artwork was converted into a weave file by first defining the colours within the 4 colour palettes. The weave used three weft colours, split into colour palette in the following way:
During the weaving process Dash & Miller blended three colours together in the weft, and the illustrators marked which sections of the design should be woven in each colour palette. They then manually switched between colour palettes during the weaving process.
The weave had 84 threads per cm in the weft, and to ensure the scale remained true to the designs the artwork had to be stretched and rotated. The CAD was stretched by 140% to allow the weaving to come out at the same scale as the original illustrators artwork. The artwork was rotated by 90 degrees counter-clockwise so that the piece can be woven as a continuous length on the loom.
Once the artwork was scaled and the colours defined, Dash & Miller allocated weave structures to each colour in the CAD using Pointcarre Jacquard software. Each colour within the four colour palettes had its own weave structure. Dash & Miller also added borders and selvedge to the weave to ensure clean edges to the design. Once the weave file was generated, the computer was able to read the pattern to begin hand-weaving.
Fergusons was first established in Banbridge, County Down, for the hand-weaving of linen fabric. In 1867 the firm introduced power driven jacquard looms for the weaving of linen damask. John England (Banbridge) Ltd, since 2015 a sister company of Fergusons, regularly supplies fabrics for major theatrical and film productions, including Game of Thrones.
The loom used to create the panels is a small modern version of that developed by Frenchman Joseph Marie Jacquard, the son of a Lyonnais silk weaver, in 1804. His development was based on earlier work by fellow Frenchmen Basile Bouchon in 1725, Jean Baptiste Falcon in 1728, and Jacques de Vaucanson in 1741. A jacquard loom is one in which a series of punched cards each corresponds to a row of the design to be woven, allowing for a greater definition of motifs. The punched cards operate a mechanism attached to the loom, controlling the pick-up of weft threads as the design evolves. In the case of the Game of Thrones Tapestry, it allowed the weavers to introduce a rich palette of colours and considerable level of detail throughout the work.
The Jacquard machine is a device fitted to a loom that simplifies the process of manufacturing textiles with such complex patterns as brocade, damask and matelassé. The resulting ensemble of the loom and Jacquard machine is then called a Jacquard loom. The machine was patented by Joseph Marie Jacquard in 1804, based on earlier inventions by the Frenchmen Basile Bouchon (1725), Jean Baptiste Falcon (1728), and Jacques Vaucanson (1740). The machine was controlled by a "chain of cards"; a number of punched cards laced together into a continuous sequence. Multiple rows of holes were punched on each card, with one complete card corresponding to one row of the design.
A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.
Weaving is a method of textile production in which two distinct sets of yarns or threads are interlaced at right angles to form a fabric or cloth. Other methods are knitting, crocheting, felting, and braiding or plaiting. The longitudinal threads are called the warp and the lateral threads are the weft, woof, or filling. The method in which these threads are interwoven affects the characteristics of the cloth. Cloth is usually woven on a loom, a device that holds the warp threads in place while filling threads are woven through them. A fabric band that meets this definition of cloth can also be made using other methods, including tablet weaving, back strap loom, or other techniques that can be done without looms.
Tapestry is a form of textile art, traditionally woven by hand on a loom. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall, or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. Most weavers use a natural warp thread, such as wool, linen, or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.
Ikat is a dyeing technique from Southeast Asia used to pattern textiles that employs resist dyeing on the yarns prior to dyeing and weaving the fabric. In Southeast Asia, where it is the most widespread, ikat weaving traditions can be divided into two general groups of related traditions. The first is found among Daic-speaking peoples. The second, larger group is found among the Austronesian peoples and spread via the Austronesian expansion to as far as Madagascar. It is most prominently associated with the textile traditions of Indonesia in modern times, from where the term ikat originates. Similar unrelated dyeing and weaving techniques that developed independently are also present in other regions of the world, including India, Central Asia, Japan, Africa, and the Americas.
In the manufacture of cloth, warp and weft are the two basic components in weaving to transform thread and yarn into textile fabrics. The vertical warp yarns are held stationary in tension on a loom (frame) while the horizontal weft is drawn through the warp thread. In the terminology of weaving, each warp thread is called a warp end ; a pick is a single weft thread that crosses the warp thread.
Damask is a woven, reversible patterned fabric. Damasks are woven by periodically reversing the action of the warp and weft threads. The pattern is most commonly created with a warp-faced satin weave and the ground with a weft-faced or sateen weave. Fabrics used to create damasks include silk, wool, linen, cotton, and synthetic fibers, but damask is best shown in cotton and linen. Over time, damask has become a broader term for woven fabrics with a reversible pattern, not just silks.
Darning is a sewing technique for repairing holes or worn areas in fabric or knitting using needle and thread alone. It is often done by hand, but using a sewing machine is also possible. Hand darning employs the darning stitch, a simple running stitch in which the thread is "woven" in rows along the grain of the fabric, with the stitcher reversing direction at the end of each row, and then filling in the framework thus created, as if weaving. Darning is a traditional method for repairing fabric damage or holes that do not run along a seam, and where patching is impractical or would create discomfort for the wearer, such as on the heel of a sock.
Paithani is a variety of sari, named after the Paithan town in Aurangabad district from state of Maharashtra in India where the sari was first made by hand. Present day Yeola town in Nashik, Maharashtra is the largest manufacturer of Paithani.
A balanced fabric is one in which the warp and the weft are of the same size. In weaving, these are generally called "balanced plain weaves" or just "balanced weaves", while in embroidery the term "even-weave" is more common.
A selvage or selvedge is a "self-finished" edge of a piece of fabric which keeps it from unraveling and fraying. The term "self-finished" means that the edge does not require additional finishing work, such as hem or bias tape, to prevent fraying.
Silk In India, about 97% of the raw mulberry silk is produced in the Indian states of Karnataka, Andhra Pradesh, Tamil Nadu and West Bengal. Mysore and North Bangalore, the upcoming site of a US$20 million "Silk City", contribute to a majority of silk production. Another emerging silk producer is Tamil Nadu in the place in where mulberry cultivation is concentrated in Salem, Erode and Dharmapuri districts. Hyderabad, Andhra Pradesh and Gobichettipalayam, Tamil Nadu were the first locations to have automated silk reeling units.
The manufacture of textiles is one of the oldest of human technologies. To make textiles, the first requirement is a source of fiber from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving, which turns it into cloth. The machine used for weaving is the loom. For decoration, the process of colouring yarn or the finished material is dyeing. For more information of the various steps, see textile manufacturing.
Brocade [brōˈkād] is a class of richly decorative shuttle-woven fabrics, often made in coloured silks and sometimes with gold and silver threads. The name, related to the same root as the word "broccoli", comes from Italian broccato meaning "embossed cloth", originally past participle of the verb broccare "to stud, set with nails", from brocco, "small nail", from Latin broccus, "projecting, pointed".
In weaving, the shed is the temporary separation between upper and lower warp yarns through which the weft is woven. The shed is created to make it easy to interlace the weft into the warp and thus create woven fabric. Most types of looms have some sort of device which separates some of the warp threads from the others. This separation is called the shed, and allows for a shuttle carrying the weft thread to move through the shed perpendicular to the warp threads. Which threads are raised and which are lowered are changed after each pass of the shuttle.
A woven coverlet or coverlid is a type of bed covering with a woven design in colored wool yarn on a background of natural linen or cotton. Coverlets were woven in almost every community in the United States from the colonial era until the late 19th century.
Textile manufacturing is one of the oldest human activities. The oldest known textiles date back to about 5000 B.C. In order to make textiles, the first requirement is a source of fibre from which a yarn can be made, primarily by spinning. The yarn is processed by knitting or weaving to create cloth. The machine used for weaving is the loom. Cloth is finished by what are described as wet process to become fabric. The fabric may be dyed, printed or decorated by embroidering with coloured yarns.
Soumak is a tapestry technique of weaving sturdy, decorative fabrics used for carpets, rugs, domestic bags and bedding, with soumak fabrics used for bedding known as soumak mafrash.
Odisha Ikat, is a kind of ikat known as Bandhakala and Bandha, a resist dyeing technique, originating from Indian state of Odisha. Traditionally known as "Bandhakala"', "Bandha", '"Bandha of Odisha", it is a geographically tagged product of Odisha since 2007. It is made through a process of tie-dyeing the warp and weft threads to create the design on the loom prior to weaving. It is unlike any other ikat woven in the rest of the country because of its design process, which has been called "poetry on the loom". This design is in vogue only at the western and eastern regions of Odisha; similar designs are produced by community groups called the Bhulia, Kostha Asani, and Patara. The fabric gives a striking curvilinear appearance. Saris made out of this fabric feature bands of brocade in the borders and also at the ends, called anchal or pallu. Its forms are purposefully feathered, giving the edges a "hazy and fragile" appearance. There are different kinds of bandha saris made in Odisha, notably Khandua, Sambalpuri, Pasapali, Kataki and Manibandhi.
Pin weaving is a form of small-scale weaving traditionally done on a frame made of pins; the warp and weft are wrapped around the pins. Pin-woven textiles have a selvage edge all the way around.