Tapestry is a medium well-suited to site-specific installation. It is easily transportable and can be installed in a number of different ways to suit its location. Due to its labour-intensity, adequate time should be allowed for the design consultation process, as well as approximately two months for each square meter to be woven.
The process begins with an artist-client meeting (preferably on the proposed installation site) to discuss the desired size of the commissioned work, price, purpose for the tapestry, and any client preferences with regard to colour palette or formal themes. At this time, any other special concerns, such as direct sunlight shining on the wall in question, or options for hanging the tapestry, may be discussed as well.
Following initial contact, concept sketches are prepared and presented with a cost estimate at a second meeting. Based on the client's responses, the commission project progresses to another phase, in which the artist prepares a colour study and full-size working drawing or cartoon (from the Italian word cartone).
After receipt of the first financial installment, which is half of the full price, Jones and her assistants weave the tapestry. When the tapestry is cut from the loom, a finishing process commences. Slits formed during the weaving process are sewn up to reinforce the tapestry's hanging strength, and a hanging device is attached. Once the second payment is received, the tapestry is delivered to the site.
Jones uses a tapestry technique refined in France since Spanish and Moorish influence in the 13th century (Gothic period).
Her process involves weaving from the side of the image (across the width). And because her image is being woven upside-down, the cartone is a mirror-image of the colour study. Thus the weaving side is the reverse of the tapestry front side. Every visual element is executed backwards so as to translate correctly on the front surface.
She uses small amounts of hand-spun, hand-dyed wool and predominantly machine-spun yarn made for the tapestry industry in France from Australian sheep wool. Her warping thread is Bockens Bomullsmattvarp 12/6 from Sweden. Use of both high-warp and low-warp looms is made on a project-by-project basis. Colours are chosen by placing a variety of skeins on the colour study until a limited palette in wool thread emerges, with which to make the translation into cloth.