The Tapestry Books
Eryn
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As a matter of fact, Carola Hicks says that there were over 500 books and articles written about the Tapestry, as of 1999, so I may not have found the Ultimate Source. But here is a little about the books I read, if you want to learn more.
1) The Bayeux Tapestry: The Life Story of a Masterpiece, by Carola Hicks. It is extremely well-researched and balanced. While Hicks proposes Edith as its patron, she also gives the evidence for other possible patrons.
2) A Needle in the Right Hand of God, by R. Howard Bloch. This book also has a wealth of information about the production of the Tapestry, down to the twists per meter in the warp and weft, and descriptions of the embroidery stitches.
After many years of teaching tapestry and weaving, the authors realize that it is sometimes the warping process that stops a weaver dead in her/his tracks. Traditional weavers often have horror stories about their warping experiences and while many tapestry weavers do not have a background in traditional weaving, they too often see the process as impossibly difficult. In this book we are covering as many warping methods and hints as our combined 60 years of experience have taught us. We have learned these methods through much trial and error. We are certain there are other ways of doing things, but we have hit upon the methods that work well for us and for our students.
To help understand warping, we present different types of tapestry looms, various tensioning and shedding mechanisms including several types of heddles, and the following warping methods: figure eight, circular, bout, four-selvedge, floor loom, and as an added treat, the method of warping the Russian Old Believer backstrap loom for weaving tapestry belts. There are 110 pages of information for warping your loom so you can weave tapestry. If you arent warped before you read this book, So Warped will really help you get there.
Tapestry is the fiber medium I connect with. Nature inspires me, and, more specifically, the interconnectedness of life. Reciprocity is an important aspect of my work. Trees, plants, and fungi are some of the subjects I draw from. Tapestry gives me the means to visually express these connections. Enter Arras. When I heard Schacht was working on a new vertical tapestry loom, I could hardly wait. I had several other looms at that point, but none except the simple frame looms were made of wood. One of my favorite things about the Arras is the wood and the way that new wood aroma lingers for days. I wish I could have bottled it!
While The Tapestry is a long read, I would definitely recommend it. It is a fascinating and challenging autobiography/biography of a couple and of a family that have had tremendous influence, leading many to the Lord, whether in person, or through their well-read books and films.
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We learn from, not only, the celebrations and comedy of the past, we also learn an abundance from the brutality showcased across literature. We garner this history and information that continues to shape societies today.
The intention of this post is to ask how this applies to your writing? Whether you are working on an epic novel or a nonfiction manuscript to debut your products or services, you are creating a time capsule.
The assets that contribute to the tapestries of society across books and novels alike include aspects of our cultures. Assets like food, wine, clothing yes. The two primary contributors that I encourage you to explore and study for your own narrative are:
The first step a writer must take to control their inspiration and the visiting Muse is to trust. Trust that the ideas and insights are yours. Trust that you have the grace and wisdom to write, to take your inclinations by the hand and carry them to their fullest potential.
The Weeks family relocated from Memphis, Tennessee, to Michigan to revitalize an old church and congregation. After working for months to paint and update the building, there is water damage to the walls after the first, heavy snow. Pastor Weeks and his son Jonathan set off to Detroit to pick up Christmas decorations for the church. On their journey they find a unique tapestry and meet an elderly woman at a bus stop. She returns with them to the church and sees the tapestry Jonathan found in a thrift store. The woman tells her story of being separated from her husband by the war.
Pollution and The Death of Man is an ominous-sounding title for a Christian book. But stewarding the environment is something Christians need to think about, as these concepts are clearly addressed in the Scripture (see Genesis 1:28, 2:15...
Most people know about the diary of Anne Frank and the Jewish girl in the Netherlands who wrote it.My Friend Anne Frank will give you a new perspective about Anne and the true story of her best friend and Holocaust survivor Hanna...
This publication highlights the tremendous wealth of these tapestries in intricate detail. It accompanies a collection exhibition of the Kunsthistorisches Museum in Vienna, home to the former imperial tapestry collection, from 26 September 2023 to 14 January 2024.
Elizabeth J. Buckley Tapestry Artist creates heirloom hand woven tapestries for contemporary interiors, meditation rooms; teaches tapestry design and techniques from the Aubusson, Beauvais, and Southwest tapestry traditions.
I was especially interested to learn more about the beginnings of Paternayan yarn here in the States, with two brothers, Harry and Karinig Paternaya, who were sole survivors from their village in Turkey of the 1915 Armenian genocide. After walking to Palestine, they eventually ended up in New York City and started a business that utilized their knowledge of rugs: importing and dying quality Persian wool yarns.
By the time I started working with the crewel weight version of these yarns in the 1989, JCA Corporation in Maine was producing both the Persian weight (three strands plied together) plus a crewel weight (thinner strands) with separate palette of over 250 colors. A mainstay yarn for many tapestry weavers in the United States, it was a devastating blow when JCA shut down all production of Paternayan yarn and closed their business in May of 2012. We were forced to find other yarns. Fleur de Paris began production of its new Anahera line. In 2016 the Paternayan Persian weight became available again, but the crewel weight can only be found when weavers die and their studio inventory is sold.
Other reasons for working from the back of the tapestry entail keeping the face of the tapestry pristine and smooth, with no possibility of making the wool weft fuzzy from brushing against it while weaving. Weaving from the back can be more efficient when ending and beginning new colors, and when using specific shading or interlocking techniques. When a tapestry is hung from the side, or by the wefts, the light reflects differently off of the grain of the fabric and the woven image.
Regardless of whether one weaves from the back or the front, when a mural-sized tapestry is hung sideways, by the weft, it can better support the tremendous weight of these works. When such a tapestry is hung warp-wise, the weight and gravity over the decades and centuries will cause the weft to shift downwards and expose the warps, thus weakening the structure of the tapestry cloth.
Navajo Textiles: The Crane Collection at the Denver Museum of Nature and Science. Authored by Laurie D. Webster, Louise I. Stiver, D.Y. Begay, and Lynda Teller Pete, plus Ann Lane Hedlund, who wrote the introduction.
This book began as a simple invitation to write a catolog about the Navajo textile collection at the Denver Museum of Nature and Science (DMNS) and grew into a collaboration and friendship among Navajo and Anglo textile scholars. The four of us share the love of Navajo textiles, and two of us grew up weaving them. We each contributed different expertise and knowledge and learned from each other in the process. We also had lots of fun.
In September of 1996, I flew out to California and attended the weekend-long Anatomy of Tapestry Symposium that Jean Pierre organized. When Jean Pierre learned that I would be driving the loom from San Jose to New Mexico in a cargo van, he sat across from me over lunch and sketched on a napkin how best to pack the parts, with the heavy front and back beams of steel and oak on the bottom, lashed together so that they would not shift and roll.
As I drove from San Jose, California to Albuquerque, New Mexico, the brew of possibilities unfolded before me. With this loom, I knew I was about to enter the threshold to exploring large ideas in tapestry; a threshold with tangible links to the long lineage of the mtier de basse-lice dating back to 14th century France, to the weaving centers in Aubusson and Felletin.
Now, as I prepare the warp across 60 inches of width, I am establishing the weave structure and foundation for sound tapestry cloth. My focus has to be on each detail and each step. Accuracy is essential. Mistakes in threading, spacing, or uneven tension will only cause difficulties that magnify during the weaving process. Not being in a hurry is important, just as is checking and double-checking my work.
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