Foreword |
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ix | |
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xi | |
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Introduction: Why Tapestry? |
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1 | (1) |
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2 | (1) |
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How to Be a Beginning Tapestry Weaver |
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3 | (2) |
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5 | (2) |
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7 | (10) |
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8 | (1) |
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8 | (2) |
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Tapestry's Storied History |
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10 | (3) |
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13 | (4) |
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2 Looms Large (and Small) |
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17 | (24) |
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Characteristics of a Good Tapestry Loom |
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17 | (3) |
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Anatomy of a Tapestry Loom |
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20 | (3) |
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23 | (6) |
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29 | (1) |
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30 | (4) |
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34 | (7) |
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41 | (16) |
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Fiber Common in Tapestry Yarns |
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42 | (1) |
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43 | (1) |
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44 | (2) |
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46 | (6) |
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52 | (1) |
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Other Yarn Considerations |
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53 | (4) |
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4 Only the Warped Can Weave |
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57 | (28) |
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58 | (3) |
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How Weft Size Influences Your Textile |
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61 | (3) |
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64 | (1) |
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65 | (1) |
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66 | (1) |
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67 | (16) |
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Warping a Pegged or Slotted Loom |
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69 | (6) |
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75 | (4) |
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79 | (4) |
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83 | (2) |
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85 | (22) |
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You're Not "Bad" at Color |
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86 | (1) |
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87 | (6) |
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Additive versus Subtractive Color Systems |
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93 | (1) |
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94 | (4) |
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Creating Color for Tapestry Weaving |
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98 | (5) |
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Creating Your Own Color Palette |
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103 | (4) |
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107 | (2) |
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109 | (36) |
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109 | (2) |
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111 | (9) |
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112 | (3) |
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115 | (5) |
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120 | (10) |
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122 | (5) |
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Making a Double Half-Hitch Header |
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127 | (3) |
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Weaving the Tapestry Body |
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130 | (15) |
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130 | (10) |
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140 | (5) |
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145 | (16) |
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Bubbling's Effect on Weft Tension |
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145 | (2) |
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How the Loom and Beating Affect Your Selvages |
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147 | (4) |
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Fixing Weft Tension Problems |
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148 | (3) |
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151 | (10) |
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151 | (10) |
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161 | (16) |
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Creating Color Illusions with Irregular Hatching |
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163 | (4) |
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Irregular Hatching Practice |
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164 | (3) |
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Creating Forms with Stripes |
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167 | (2) |
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Regular Hatching Practice |
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168 | (1) |
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Regular Hatching for Transparency |
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169 | (5) |
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Regular Hatching for Transparency Practice |
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170 | (3) |
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173 | (1) |
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Hachures: Formalized Hatching |
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174 | (3) |
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177 | (16) |
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178 | (4) |
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179 | (3) |
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182 | (5) |
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Meet-and-Separate Weft Interlock |
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184 | (2) |
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Weft Interlock with Wefts Traveling in the Same Direction |
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186 | (1) |
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187 | (3) |
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Practicing Warp Interlocks |
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188 | (2) |
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190 | (3) |
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193 | (12) |
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Determining the Steepness |
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193 | (3) |
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194 | (2) |
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Straight Angles, Hills, and Valleys |
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196 | (4) |
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Practicing Shallower Angles |
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198 | (2) |
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Using an Uneven Number of Sequences in Each Step |
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200 | (2) |
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Breaking Up Large Color Areas |
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202 | (3) |
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205 | (14) |
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205 | (7) |
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208 | (4) |
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Invisible Weft Sequence Join for Vertical Warp Wraps |
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212 | (2) |
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Invisible Weft Sequence join Practice |
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213 | (1) |
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214 | (2) |
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Cutting Off the Corners Practice |
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215 | (1) |
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Other Ways to Make Vertical Lines |
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216 | (3) |
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219 | (16) |
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219 | (1) |
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220 | (6) |
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Ways to Design for Tapestry |
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226 | (3) |
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229 | (1) |
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229 | (6) |
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235 | (16) |
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Weaving One Shape at a Time |
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235 | (1) |
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Bottom to Top: Shape Order |
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236 | (7) |
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Making and Using a Cartoon to Weave Curves |
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238 | (5) |
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243 | (2) |
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Weaving a Shallow Curve with Hill and Valley Threads |
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243 | (2) |
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Making Curved Vertical Shapes |
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245 | (2) |
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246 | (1) |
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247 | (4) |
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248 | (3) |
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251 | (12) |
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251 | (2) |
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253 | (5) |
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Outlining a Shallow Curve |
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254 | (2) |
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Shifting the Shed with an Eccentric Weft |
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256 | (2) |
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258 | (5) |
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Making an Outline Using Split Weft |
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259 | (4) |
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263 | (16) |
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263 | (14) |
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Finishing Tapestries with Hemmed Headers |
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266 | (4) |
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Finishing Non-Hemmed Tapestries |
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270 | (2) |
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Preparing a Tapestry for Display |
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272 | (5) |
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277 | (1) |
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Conservation Considerations |
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278 | (1) |
Appendices |
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279 | (1) |
Knots |
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279 | (5) |
Leashes |
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284 | (5) |
Making a Pipe Loom |
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289 | (6) |
Acknowledgments |
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295 | (1) |
Metric Conversions |
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296 | (1) |
Index |
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297 | |