The difference between a tapestry and an embroidery

Let me start with an example of a make your own tapestry I wove when I Lived in Santa Fe. Before I show it to you, bear in your mind, I spun this bit that year (Emergence VII). I mention that because I want you to know I can weave art tapestry… you may wonder that after you see the reddish soul below.

The problem I have with this weaving Isn’t the red heart And green trimming. It may do the job very well for either Christmas or Valentine’s Day (though it isn’t quite my usual style). The problem is that the mismatch between the sett and the yarn.

If You Can feel that this bit you would find it seems very loose. I predict fabric similar to this sleazy. It was stitched six epi on 12/6 cotton seine twine using Harrisville Highland weft. This worsted-weight* weft is far too thin for a six epi weaving on such a small warp. This bit would have been a lot more potent with a thicker weft, and I should have used a thicker thread at six epi (such as 12/15 cotton seine twine perhaps–though warp is too fat for the slots on a Hokett loom).


Tapestry weaving generates a fabric, and the caliber of this fabric is essential. It’s probably most important in more prominent functions that aren’t installed onto another surface. However, it’s a critical concern in almost any size tapestry. It’s significant because a sleazy, unstable fabric isn’t at all something which will endure for quite a while. If the weft can maneuver on the warp alot, this is a shaky fabric.

On the other end of the spectrum, then It’s possible to produce a Fabric that feels very much like cardboard. In the event the weft is very thick and stiff and packed in very tightly, the fabric will be inflexible and unyielding. This might be fine but take into account the demonstration you want the job to get in the wall.

I want my tapestries to seem like textiles. I enjoy them to Hang freely because I need them to be from the world in every their textile-ness. The way a little if you walk through them, of course, if you feel them, then they have been quite soft and pliable.

Perhaps not everyone has the same targets. If You’re Looking for Something besides I am, the combination of the sett, twist, and weft that you opt for will need to become different than mine.

Let me say that again in the event you glossed right over it.

In case you don’t know what I believe by sett, Return, and read the last few posts. They genuinely are linked at the end of this post. It’s well worth understanding sett.

From the very first article of this series, I spoke about that which sett Was and said just one of the ways you can determine how big of weft to use since in the image below.

The above picture shows one great way to quickly judge if Your weft is all about the right size. Hold it up to your warped loom and see whether it fits visually between the warps. Though that’s a fantastic start, the matter is more complicated than that.


Archie Brennan wrote a favorite post called Space Between the Warps. It is possible to examine the whole item, print it out, and then find several other articles about tapestry on these pages of the American Tapestry Alliance’s website (rabbit hole alert! You might be there for a little while. Don’t forget to return !)

As usual, Archie has was able to give us the core of the issue in several sentences.

The space between the warps is significant –possibly more so Compared to sett. But there are many other variables. I frequently have students ask me to get a list of wefts to utilize at a specific sett. Though I can make suggestions, that is simply a starting point. One other variable must be considered.

To be clear. Inch. But the distance BETWEEN the warps can differ depending on the thread you are using. If your twist is swift, the space between adjoining warps will probably be far less.

In the photo below, the loom is warped for both samples epi. See that the distance between the warps is entirely different. There’s not any Space together with the fatter wrinkle.