Enough Time to Weave

The best things take time. Time (years) to know what you want to learn. Time to study, time to practice, time to put into practice what you’ve studied. By the time you finish a work of art you have invested more hours than most observers will ever realize. If you have ever made anything, you know the most common question you are asked: How long did it take you to make that? Answer: A lifetime, really.

Tapestry progresses row by row.
Cartoon under the warp is held in place with a plastic clip on each side. Center warp end is marked so I can line up the cartoon horizontally. Horizontal marks on the warp and on the cartoon provide for accurate vertical alignment.
Boat shuttle with 6/1 tow linen rests on the side frame. Linen picks are woven between pattern rows of wool colors in this style of tapestry.
As I weave, I pay attention to the cartoon that is visible beneath the warp to see where to make color changes.
At the end of my time at the loom I stand back and look at the progress. And then, I stand up on a stepstool to get a good view from above. And then, I pull out my little monocular and look through the back of it to see what I can see from a distance. What I see: one cut fig and a couple more figs emerging. You will see what I see when this is off the loom and hanging on the wall across the room. All it takes is time.

Time is the greatest gift. We always have enough time. How will we invest it?

May your lifetime reveal the good investments you’ve made.

Happy weaving all the time,
Karen

Image in the Cloth

I am starting to see a fig. This tapestry is a short story about fresh figs and a cup of coffee. My full attention is on weaving while I’m at the loom. I’m always looking for the moment that a recognizable image forms in the woven wool and linen cloth. Attention flows from desire. And when I am weaving, there is no other place I’d rather be.

When I look through my monocular I get a distinct view of the first part of the fig.
Colors of wool (primarily 6/2 Tuna and 6/1 Fårö) are combined in butterflies to represent color values and hues that will become an image of a cut fig–mostly recognizable from a distance. An exciting challenge!

When our affections are set on the Lord Jesus, there is no other place we’d rather be than sitting in prayerful conversation with him. And, I imagine he is delighted when he sees his own image formed in us.

May you desire the best things.

Happy Weaving,
Karen

Tapestry that Tries to Copy

The jumble of yarn looks like a random play of colors. But if you look a little closer, and push the yarn butterflies out of the way, you can tell that the color choices are deliberate. You see only a hint of the image, though, until you look through the back end of the monocular, or step up on the step stool to have a look from up above the weaving. That’s when you get an overview of what’s on the loom.

New tapestry project.
Yarn butterflies each have a mix of wool, mostly 6/2 Tuna and 6/1 Fårö yarn.
Weaving a new tapestry on the floor loom.
The mix of colors in each yarn butterfly is a deliberate selection for the specific hues, values, and intensities I want to portray.
Tapestry of a butterfly wing.
View from my seat on the loom bench.

This warp is a study project. I want to test some tapestry techniques to help me develop my style. I made the cartoon by cropping and enlarging a photograph I took years ago. The butterfly had just emerged from its chrysalis! The subject for my study: the butterfly’s intricate wing.

Tapestry on the floor loom, and how to view it.
Peering through the *wrong* end of the monocular gives me a distant view of the tapestry in progress.
Get a view from higher up to get a better perspective on life.
I stand on a stepstool near the loom to get an even broader view of the tapestry from a distance. This perspective shows me how effective my yarn selections are (or are not) for the image I want to create.
Intricate butterfly wing - subject for tapestry study.
Cartoon in a reduced size helps me see the color distinctions. Photo in black and white helps me see value contrasts.

Who designed the butterfly wing? A stained-glass artist may conceive it. A tapestry weaver may copy it. A silk dyer may imagine it. But only our Creator could bring it to life. God makes himself known. Push the obstacles out of the way. Look for design. Gain a higher perspective. With each woven row, the image becomes more and more clear. When the butterfly wing begins to flutter you know you are witnessing something from the mind of God.

May you see what is hidden.

Happy weaving,
Karen