Part I of Trude Guermonprez's series on tapestry weaving, published in the Shuttle-Craft Bulletin. It traces tapestry from the French royal tapissiers of the late 14th century and explains haute lisse and basse lisse looms, the lease rod and half-heddles, cartoon transfer, and building color areas with a comb and bobbins. It contrasts the reproductive French workshop tradition and Jean Lurçat's revival with the designer-weaver traditions of Precolumbian Peru, Coptic Egypt, and old Flemish, Polish and Scandinavian tapestry. It is illustrated with loom diagrams and reproductions of Coptic, Nazca, Lurçat and "Bal des Sauvages" tapestries.

Part II of Trude Guermonprez's article on tapestry weaving discusses how contemporary weavers can design wall hangings and screens in an age when textiles no longer serve a protective function in the home. It moves from plain-weave plaids and inlay to four-harness double weave for abstract compositions, then to brocading warp set-ups, and finally to Scandinavian tapestry approaches. Illustrations include tapestries by Anni Albers, Eva Antilla, Kay Sekimachi and Kaisa Melanton, a French liturgical ornament, and a grid of double-weave color-mixture diagrams. A short biography of the author closes the article.