Here’s the first week of my 2012 tapestry diary. For the first month I plan to keep it simple, play around with colors, yarns, patterns etc.
I’ve been thinking about making bluish halos around the black and white images in my tapestries, so I’ll explore how that might work.
Since so many people have been asking me about the Tapestry Diary, here are some links from previous blog posts.
There are some other short mentions of the diary in other blog posts from 2010, but these are the ones with the most information.
Basic Plan: 14 inches wide, the finished piece is more than close to 5 feet long. I wove a small parallelogram every day, about 1 inch tall and 1.5-2inches wide. They started out abstract but soon I began including text and sometimes small images for special days. I used the diary to experiment with techniques, textures, colors and shapes. Every month had a color scheme.
If I was away made up the days when I got home, sometimes weaving an entire week as one entry.
I kept it spontaneous, and rarely thought about what I would do until I was sitting at the loom. I kept a small sketchbook next to the loom and occasionally I did a small sketch first.
January 2010 – Starting to weave the days
February 2010 – 7 weeks in
November 2010 – Nice photos of the fall months
January 2011 – The finished 2010 tapestry diary
September, October, November 2010
I have decided to keep a tapestry diary again, starting January 1, 2012. Some of you may remember that I did this in 2010; you can read about it here. I was inspired by Tommye Scanlin’s tapestry diaries, which you can read about on her blog.
The basic idea is to weave a small section of tapestry every day. It can be a way to mark the passing of time, an opportunity to weave without the pressure or expectation of creating a masterpiece, a chance to play and experiment.
I wanted to try something different for 2011, and chose to do a sketch diary. 
I posted on this blog about the first part, which was Moon Snails.
After that I worked from some photos of trees, mostly dark tree trunks against the snow….we had a LOT of snow last winter.
The sketch diary lasted about 6 months, and then all of my traveling got in the way. I know, you would think I could just do a sketch wherever I found myself, but it didn’t work out that way. 
The sketch diary had morphed into a serious study of certain objects and forms, with each sketch fitting into the ones around it. For example the page shown above contains 15 sketches.
Even though I did not continue for a full year, I feel like I got so much out of the experience.
This tapestry diary will be a bit different from the last one.
I keep looking at the last part of the 2010 tapestry diary, where I played with black and white.
Most of my current tapestries are black and white, and I have been dreaming of adding little bits of color to them, so that will be the subject of my explorations in the 2012 tapestry diary.
I decided to get a head start, so I have warped up the loom, and woven the heading with the year on it. I have always loved the look of a fresh warp, perhaps because it’s all possibility, like a blank canvas.
This warp looks cool because I put black poster board behind it. Otherwise, because it’s a circular warp, I would be seeing 2 sets of warp threads one behind the other, and it makes my eyes go blurry.
(This photo looks a bit crooked, so either I took it from a strange angle, or I need to adjust the spacing at the top of the loom! TIP: take a photo to see imperfections that you may not notice otherwise!)
Nevertheless I was a little peeved when my husband told me he liked the blank warp so much, perhaps I should just leave it that way….hmmmph.
The weekend before last I participated in a local Studio Tour. It was really amazing to see how much space I have in my studio, once I got it all cleaned up! I was also amazed at how many tapestries I have…..that’s a bit depressing actually.
I own a large painting by Ruth Dealy, which I bought when preschoolers were pals about 25 years ago. It’s 61 x 86 inches, and the only wall in our current house that’s big enough is in my weaving room, or so I thought.
I didn’t want someone else’s art on display for the Studio Tour, so I moved it into the dining room, temporarily. Here it is between the wall and a drop leaf table. I realized then that I could hang my largest tapestry in its place.
Luckily, with my handy measuring tape, I discovered another wall that is big enough for the painting; it’s in the guest room, so I’ll have to go lie on the bed and meditate on the painting, which covers an entire wall. One thing I love about this painting is that I will never get bored with it, there is so much to look at.
I finally accepted that I will never have time to frame all the small tapestries, so I pinned a bunch of them to a piece of painted sound board, then put it on my easel.
Visitors could see my framing process, as I had 3 tapestries in various stages of framing, including this one (“Weaver’s Palette”) pinned to its frame, with the curved upholstery needle threaded, ready to sew.
I had 2 small tapestries professionally framed, so folks could see how nice that looks.
The folks at Finishing Touches are very good with framing textiles, so I kept a pile of their business cards on the piano, next to the 2 tapestries they framed. By the way, a piano makes a lovely display case!
I was delighted to sell two tapestries, “Winter Forsythia,” (right) and “Cranberry Bog.” (Below). It was great to send them out into the world.
“Cranberry Bog” is the one that I wove for the Australian exhibit, “LAND.” It’s only 4 inches tall, and is based on a photo I took from my husband’s small airplane, of a Cape Cod Cranberry Bog in March.
I figured they wouldn’t have too many other cranberry bogs in the exhibit. It’s always nice to be unique.
This was my first year, but other artists say the numbers were down from last year, and that people bought less and smaller, less expensive items. That’s no surprise with these economic conditions.
It’s not just about sales.The best thing about the studio tour was talking to all the visitors, and explaining what I do.
One artist said she sold a painting to a customer who had visited the year before, fell in love with the painting and finally bought it this year. Others said this event is the best advertising, and I believe it. I made a lot of good connections, got a list of people interested in taking classes, and enjoyed demonstrating tapestry weaving.
I had about 25 visitors on Saturday and 40 on Sunday. Some were friends, co-workers, fellow weavers, and neighbors. Most were strangers, but all were very interested in learning about tapestry.
I consider it my mission to educate the public about tapestry weaving, so we won’t have to read any more newspaper articles about the dead art of tapestry. (I guess they don’t know about the 500 members of the American Tapestry Alliance!)
The black and white tapestry that is on my vertical Glimakra loom in the above photo, had 7 inches left to weave after the studio tour. I wanted to enter it in a juried show with a deadline of Monday, October 31. Today.
I had planned to work on it the week before the tour, but it was more work than I expected, cleaning up the studio and hanging tapestries everywhere.
I figured out that if I could weave one inch per day it would be finished in time. It’s only 24” wide, but I do a lot of picky stuff, like twisting my black and white blended wefts to line up every spot exactly where I want it, at exactly the right angle.That takes a lot of time.
Then I missed 2 days of weaving because life happened. I was determined to finish it, and in the end, I wove through the night, finishing at 5.30 this morning. Luckily I am a night owl, and never felt sleepy. Yay! I did it!
How did I miss seeing this for so many years? I was in Paris in 2000, but for some reason this was not on my MUST SEE list…I was in Paris in 1972, while I was an art student, and spent every day in the Louvre, but that was before I knew anything about tapestry. This time I had only one day to visit museums, and this was my top choice.
Even though the guide books now tell you that The Lady and the Unicorn is in the Musée Nationale du Moyen Age, in fact, you won’t find that on a map. They still call it the Cluny.
The Cluny Abbot Hotel was built, as a residence for the abbots, at the end of the 15th century, next door to the “thermes,” Gallo-Roman Baths dating to the 1st-3rd centuries. The building is beautiful, in that magical medieval style.
Before we found the Lady and the Unicorn Tapestries we were pleasantly surprised by an exhibit of Coptic tapestry fragments from 5th and 6th century Egypt.
What a treat! These tiny tapestries are so finely woven and so expressive.
I know that many tiny Coptic tapestries were either applied to, or woven into garments. They are well known for their use of eccentric wefts.
The Copts were (and are) a population of Christians living in Egypt, and their tapestries are legendary in textile history. What a thrill to see these up close.
Finally, the Lady and the Unicorn tapestries. I was practically speechless (which anyone who knows me would realize is quite unusual!)
As a tapestry weaver I am so impressed with the technical virtuosity necessary to achieve the designs (like the patterns in the Lady’s dresses, for example). As an artist it is clear that these tapestries were designed by a master of composition.
They are so well preserved, the colors are bright and most of the silk yarns are still there, and still lustrous (silk can often become brittle and just fall apart over time). That said, the bottom edges had rotted and been replaced at one time.
(please excuse the poor quality of the photos…the light in the gallery is very low, to protect the tapestries from further fading, and flash photography is forbidden)
As is often the case with old tapestries, there is a lot of uncertainty and controversy about their exact meaning. 
Experts believe that these tapestries are about the 5 senses: Touch, Taste, Smell, Hearing and Sight, plus a sixth sense: The Heart, or perhaps, Understanding. “A Mon Seul Désir” (To My Only Desire) is inscribed on a banner in this sixth tapestry. The symbolism is far too complex for me to write about. Apart from the lady herself, the lion, the unicorn, the trees, and her lady in waiting, there is a mille fleurs background, and many animals. Nothing is insignificant.
The designer has been established as the Master of Anne de Bretagne, but apparently there is no certainty about exactly where the tapestries were woven. It’s likely that they were designed in Paris and woven in Flanders (or perhaps Paris) around 1490-1500. They were commissioned by the Le Viste family of Lyon.
You can get some information, and see complete photos on Wikipedia. I love that it says it “is often considered one of the greatest works of art of the Middle Ages in Europe.” YEAH!
There is also information on Tracy Chevalier’s website (she wrote the novel “The Lady and the Unicorn”).
I bought a book in the gift shop: The Lady and the Unicorn, by Elisabeth Delahaye, Director, Musee de Cluny, 2007. ISBN: 978 2711 850358. The photos are wonderful, and the author does a good job of explaining things in just 96 pages.
It is not available on Amazon.com. There are 2 copies at www.abebooks.com, the English one is about $30, but the French one is $668.75 (???). You might be able to order the book from the museum gift shop for 18 Euros, but I don’t know if they will ship to the USA, or how much that would cost. Make sure you order the English version, unless, of course, you prefer French.
