A short article by needle lace artist Aurelia Loveman on the traditional lace 'modes' and 'jours', the small decorative fillings used to relieve large open areas in needle lace. It explains the ring, bar, and picot as basic elements and the seed, chain, and star arrangements for combining them, with line drawings of a chain of rings, rings on festoons, and picoted bars with chained rings. It closes with a quotation from Marian Powys on lace fillings, an author biography, and a bibliography of Carlier, Lovesey, and Powys.

A two-page illustrated article by Aurelia Loveman showing step by step how a lace design was derived from an Arabic geometric hexagon pattern. Figures 1-5 move from the hexagon to polar-coordinate graph paper, then to selected lines that are softened into curves. Figures 6-8 turn the curves into a stylized flower, arrange it in a fan-shaped lace design, and show a needlepoint fan worked from it. The text is limited to figure captions and a note on earlier publication.

A two-page historical essay on the rise and decline of handmade lace, written for the Needle Arts journal. It discusses definitions of lace, the difference between needle lace and bobbin lace, why the baroque and rococo laces of the seventeenth and eighteenth centuries cannot be reproduced, and the competition from machine-made lace. It also covers punto in aria, the Venice and France rivalry, Point de Gaze, the early twentieth-century Ars-Aemilia revival, and the current state of lacemaking. Illustrated with photographs of Alencon of Burano, Point de Gaze, and Rose Point de Venise.

Article by Aurelia Loveman describing a bobbin lace filling stitch she identified in an early Valenciennes flounce at the Walters Art Gallery, Baltimore, and named l'étoile en carré double. It reviews lace-structure books (Whiting, Henneberg, Cook and Stott), then explains step by step how the pairs move through the star, the inner square 'double' frame and the surrounding carré, with a basic étoile drawing and a schematic diagram. A table shows that the stitch appears in almost none of twelve standard lace books, and the notes describe the Walters flounce and cite sources.

First-person article by lace artist Aurelia Loveman describing how she designed and worked a needle lace fan leaf, "Ortolan Pie," for a set of painted ivory fan sticks. She traces the design of a crouching fire bird adapted from a Utamaro bird book, and explains the stitches used: knotted double buttonhole, cloth stitch, Alen\u00e7on mesh, the "Les Venises" band, and a festoon-stitch ground with a running-stitch armature that she claims as her own invention. Illustrated with photographs of the finished lace and details; includes a short bibliography and author note.

A condensed version of a 1985 lecture to the North Downs Lacemakers of Surrey, England, in which Aurelia Loveman argues that contemporary lace need not be large to count as mainstream art. She holds that lace appeals chiefly to the tactile sense, which favors small, intricate work rich in texture over the "think big" approach. She also discusses color and iridescence, especially in needle lace, using her needle lace fan "Espalier" as an example. The article ends with a short author biography and a note on the International Old Lacers.

A two-page article in the International Old Lacers Bulletin by Aurelia Loveman about the lace snowflake ground (fond de neige) found in Binche and Valenciennes laces. She recounts a workshop by Vera Cockuyt, her own identification of an antique Valenciennes snowflake at the Walters Art Museum, and its publication by the Needle and Bobbin Club. She explains that all snowflake grounds rest on a hexagonal grid and that dropping the weaver pair produces the variations. Illustrated with photographs of Valenciennes and Flemish lace details, a strip of snowflake-ground variations, and the hexagonal grid.

An essay by lace scholar and lacemaker Aurelia Loveman on the future of lace as a contemporary art form. She considers how scale, color, materials and authenticity define lace, and argues that artists should master traditional bobbin and needle techniques and then let the technique guide new designs. It is illustrated with contemporary lace works by Inge Vahle and Eileen Phipps and others, and ends with a biographical note on the author.