Kirsten Glasbrook was born in Denmark and trained as a weaver in John Becker's workshop in Copenhagen. After moving to London in the 1960s, she worked with Karen Finch, restoring antique tapestries. She currently works from her studio in Devon where she holds regular workshops. She exhibits widely and her work is held in numerous private collections both in the UK and abroad. Many of Kirsten's designs have a mystical, mythological, or meditative theme and some are inspired by the written word. She uses mainly wool, linen and cotton, finding the brilliant colours and the diversity of texture in the different yarns constantly challenging and exciting.

When modern crafters think of tapestry weaving, they often think of the large-scale medieval tapestries that hang in museums or historical landmarks, but the history of tapestry stretches back much further, to ancient Egypt and other world cultures. In her introduction to tapestry weaving, Glasbrook provides an overview of basic loom setup, weaving techniques, and tapestry design in the form of a sampler project featuring abstract designs. Unlike other forms of weaving, tapestry weaving does not require an expensive loom—one can be made from a simple frame or even stiff cardboard. Glasbrook covers loom preparation, including winding the warp and warping the loom, selection of warp and weft yarn, and techniques for weaving a variety of patterns via a small sampler project. A gallery of Glasbrook’s work, along with tips and techniques for weaving similar projects, follows. VERDICT Tapestry isn’t generally covered in beginner weaving books, and there’s plenty of information here to get novices started with this fascinating and ancient craft.

Kirsten Glasbrook was born in Denmark and trained as a weaver in John Becker's workshop in Copenhagen. After moving to London in the 1960s, she worked with Karen Finch, restoring antique tapestries. She currently works from her studio in Devon where she holds regular workshops. She exhibits widely and her work is held in numerous private collections both in the UK and abroad. Many of Kirsten's designs have a mystical, mythological, or meditative theme and some are inspired by the written word. She uses mainly wool, linen and cotton, finding the brilliant colours and the diversity of texture in the different yarns constantly challenging and exciting.

When modern crafters think of tapestry weaving, they often think of the large-scale medieval tapestries that hang in museums or historical landmarks, but the history of tapestry stretches back much further, to ancient Egypt and other world cultures. In her introduction to tapestry weaving, Glasbrook provides an overview of basic loom setup, weaving techniques, and tapestry design in the form of a sampler project featuring abstract designs. Unlike other forms of weaving, tapestry weaving does not require an expensive loom—one can be made from a simple frame or even stiff cardboard. Glasbrook covers loom preparation, including winding the warp and warping the loom, selection of warp and weft yarn, and techniques for weaving a variety of patterns via a small sampler project. A gallery of Glasbrook’s work, along with tips and techniques for weaving similar projects, follows. VERDICT Tapestry isn’t generally covered in beginner weaving books, and there’s plenty of information here to get novices started with this fascinating and ancient craft.