Hand weaving is considered one of the oldest arts associated with humankind since its earliest beginnings. It has served as an expressive, aesthetic, and functional medium that contributed to shaping a diverse cultural heritage reflecting the features of human identity. This art has evolved alongside human development across different eras, becoming one of the most significant fields of visual arts that merge functional and expressive dimensions. Hand weaving holds a remarkable capacity for creativity and innovation through its rich structural, technical, and decorative possibilities, granting it wide formative potentials. Its importance lies in being a medium capable of conveying human emotions and aesthetic messages, contributing to the refinement of public taste and establishing itself as a channel of communication with both the emotions and intellect of the recipient. Moreover, it constitutes an open field for continuous experimentation, generating renewed creative formulations—whether through traditional materials, contemporary artistic media, or through the woven design itself, which integrates aesthetic, structural, and technical values simultaneously. The human face stands as one of the most prominent visual elements that has inspired artists throughout history, carrying profound expressive connotations that embody human identity and reflect diverse emotional states. The human face has received particular attention in the visual arts, where approaches to its representation have varied and expanded across artistic movements—from Coptic art, which highlighted the human face in its handwoven textiles inspired by Greek and Roman mythology, to modern art, which employed the face as a symbol of identity, history, and politics. Accordingly, the human face represents a vital means of self-expression and documentation of emotional states, while serving as a visual symbol rich with aesthetic and artistic values. This has rendered it an inexhaustible source of inspiration for artists and creators across different eras. Building on this vision, the present research seeks to examine the formative dimensions of the human face as an entry point for expression in textile artworks. This is achieved by utilizing the artistic potentials offered by hand weaving, including its diverse structures and techniques that allow for multiple chromatic and compositional treatments. The study also explores the use of advanced methods, such as the pictorial tapestry technique with non-extended wefts, which is distinguished by its ability to achieve subtle tonal gradations and precise control of light and shadow. Such techniques endow textile artworks with expressive and structural power, capable of embodying the artistic configurations of the human face. The research, therefore, draws on an aesthetic reading of the face’s formative dimensions, encompassing composition, lines, spaces, and expressive features, to transform the face into a contemporary creative entry point that enriches textile art with expressive and aesthetic values. From this perspective, the idea and philosophy of the exhibition entitled “Faces” emerged, carrying rich expressive meanings and connotations. The exhibition served as a platform for experimental practices in the field of hand weaving. It showcased a collection of ten textile artworks, exhibited at the Fine Arts Gallery, Faculty of Specific Education, Zagazig University, all of which embodied the researcher’s vision of employing the human face as a contemporary visual element capable of enhancing the expressive dimension of hand weaving.