Blog
My first real education in tapestry weaving was at Northern New Mexico College in El Rito, NM. I was part of the Fiber Arts program which focused on traditional Hispanic weaving styles.* Our final weaving project of the course was to weave a large Saltillo.
Last weekend while reorganizing my studio, I found my Saltillo on a shelf. It is beautiful. And it is completely unfinished.
I have found weavers to be the most wonderful people. I suppose there are exceptions, but generally they are curious and able to ask questions. Sure, weavers also tend to like structure and can be slow to see around the rules they’ve made for themselves, but in general, the love of material and creating usually wins.
Weavers can generally also locate themselves in space. You have to have some spatial skills to figure out how to make weave structures, so the fact that they can also find their way to Taos, New Mexico from all over the Northern hemisphere doesn’t really surprise me.
There are only a few things that I’d say regularly frustrate new tapestry weavers and one of them is the final knot on the warping bar of a continuously warped tapestry loom. If that last knot doesn’t hold tightly, then your edge selvedge will be loose which affects your weaving. Using a double half-hitch knot allows you to adjust the tension on that last warp with a knot that will hold.
What does that mean? A continuous warp is one which wraps around the outside of a tensioned frame loom. Some common examples of this type of loom are the Schacht Arras and most Mirrix looms. These looms use a warping bar. The bar gives you a place to tie the beginning and ending warp securely as well as a rigid structure to help you turn the tapestry around the loom without distorting it. This type of loom can produce a tapestry that is longer than the loom is high.
I am frequently asked this question by readers of my book, The Art of Tapestry Weaving, and by students in my online classes. The best way to really know how tight the warp should be is to feel the warps of experienced tapestry weavers. But if you aren’t able to come to an in-person workshop or retreat any time soon, the video and discussion below will help you figure out what the right warp tension is for you.
When I got my first Mirrix loom I was thrilled with how tight I could make the tension. The looms come with a little wrench that you can use to tighten the wing nuts beyond what you can do with just your hands. I use a cotton seine twine warp which is very strong and can take a huge amount of tension. So I’d tighten that Mirrix warp very very tight. It was far tighter than I can get the tension on my beefy rug loom.
Many years ago I wove rugs on my shafted floor looms. I first bought rug yarn from Halcyon and then when I moved back home to New Mexico, I used rug yarn from Clasgens and then churro rug yarn which is particularly wonderful. I love how quickly rug-weight textiles weave up and how suited they are to tapestry techniques.
When I became the apprentice of James Koehler, I left rug weaving behind and focused on wall tapestries. But it is true that the very same techniques I use for my art tapestries can be used to make more functional rug-weight textiles. Of course rugs can also be hung on the wall and often are!*
In July I took a road trip.
To Indiana.
It wasn’t really planned but an opportunity came up for my wife and we decided to drive. I admit that I wasn’t looking forward to the part of the drive between the last of the Colorado Rockies and our friend’s swimming pool,* but it turned out to be just fine! Nebraska and Iowa are surprisingly beautiful and I had some fun with my little loom along the way.
