Tapestry Weaving

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Continuous tapestry warp and tight selvedges: This is the knot to use.

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Continuous tapestry warp and tight selvedges: This is the knot to use.

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.

Continuous warping

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.

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How tight should my warp be?

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How tight should my warp be?

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.

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Dwella is here along with a new online course, Introduction to rug weaving

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Dwella is here along with a new online course, Introduction to rug weaving

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!*

Wedge weaving with Array: Indiana and a little loom (plus a bonus dog story)

Wedge weaving with Array: Indiana and a little loom (plus a bonus dog story)

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.

Ack!! My sheds are wrong AGAIN! What am I doing wrong?

Ack!! My sheds are wrong AGAIN! What am I doing wrong?

The good news is that you’re not doing anything wrong!

“My sheds are all messed up again! What am I doing wrong?!”

Does that sound familiar? The good news is that you’re not doing anything wrong! Shedding problems in tapestry weaving will always happen. Isn’t that a relief to know?

The other good news is that there are a handful of ways to fix shedding problems and once you understand what those are and when to use them, you can fix your shedding problems quickly and easily. Because the not as good news is, they’ll ALWAYS happen. There is no way you can plan your way out of shedding issues for an entire tapestry, so let’s just start by accepting that they will happen and that we have to know how to fix them.

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Practicing color: simplifying by focusing on color

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Practicing color: simplifying by focusing on color

Using colors we observe around us as subjects for our weaving or other artwork is something I find endlessly engaging. It has the power to pull even the biggest perfectionists among us away from self-criticism and dump us right into the joy of experiencing the color of almost anything.

Last week I on the blog I released a free mini-course where I talk about my sketch tapestry practice. Sketch tapestry is just my word for a practice of taking some time to observe something, make some notes about it, and then weave a simple tapestry about what I experienced.

The mini-course focuses on the colors of something. You can find the post, download your handout, and watch the videos from here: https://rebeccamezoff.com/blog/2025/5/8/practicing-color-a-free-mini-course

This week I wanted to focus on what you all are weaving. I haven’t seen a lot of finished tapestries yet, but I’m hoping many more of you will jump in and post your color weavings. Below are a few of the examples I’ve seen so far along with my own mini-course tapestry about a cactus flower.

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Practicing color: a free mini-course

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Practicing color: a free mini-course

Every year I run a class I call Summer of Tapestry. It revolves around a practice I’ve had for many years of bringing a small loom with me when I’m hiking or traveling and weaving something about what I experienced or saw. I call the practice sketch tapestry because my goal is to capture something interesting about the experience, not to replicate what I saw in a realistic way.

I find that the practice of really looking at something and then weaving about it makes me pay attention instead of just rushing blindly through the experience and more generally, my life. The inspirations I’ve woven something about are things that I remember months and years later.