These two tapestries are created from three different types of fiber. One, the warp which is linen. Taught. Rugged. Good because it does not give as you wrap other type yarn around its structure. Two, one of the wefts which defined the overall pattern is a rough nubby hand-spun wool of irregular fatness — hence, some imperfections in the final flatness of the work. Three, for most of the body I used a very fine two-ply cotton that is smooth and thin. About half the thickness of the wool. Both wool and cotton were hand-dyed by me with natural dyes and mordants of chrome, tin, and alum. Cochineal and madder root.
The basic structural bones — the warp of linen — is finely wrapped with both the wool in a soumak over, under, and around stitch, as well as a simple plain weave, under and over, under and over. Two for one. That is I had to use two runs of the cotton for every one run of the wool and meet and greet if that makes any sense!
Here are two final products. The first is formally framed. I named this tapestry Ziggurat, referencing a monumental staircase that enables one to move from the lowest to the highest edge of a steep pyramid. The second is much larger and actually a double weave. I named this Zig Zag Triangulated. this piece is quite large ( two feet by two or more so) and is hanging on a hand tempered copper rod, with fringe hanging naturally.
I am part of the Orange County Artists Guild, and you can see the lovely work of this group at this website.