A 1938 article by Elmer Wallace Hickman describing how to weave thick rugs of cotton chenille weft in eight-harness double weave, whose surface resembles cut velvet. It explains the principle of double cloth on four and eight harnesses, including shed formation, treadling, selvage handling, and a 12-harness arrangement with long-eyed heddles for tabby. It gives practical notes on warp (24 ends per inch, two colors), reed, chenille choice, and color combinations. Four drafts, shed diagrams, and rug photographs are included.

A folio of 28 woven fabric samples for place mats and other household textiles, each shown with a photograph, threading draft, standard four-shaft tie-up, warp order, weft, and treadling instructions. Most samples use linen warps combined with rayon twists, metallic yarns and novelty wefts. Nos. 21-24 are plaids and a Log Cabin variation, and Nos. 25-28 are converted shadow weave by Marian Powers on one shared warp. An introductory "Tabby Talk" page gives warping notes, yarn supplier addresses, acknowledgments and ordering information.

A folio of 22 four-harness handwoven drapery and upholstery fabrics by Elmer Wallace Hickman, each shown with a mounted swatch and a draft. For each fabric the text gives the warp order, reed sleying, weft yarns, and treadling, with yarn suppliers coded by abbreviation. The closing 'Tabby Talk' sheet adds weaving notes on the 'backed' upholstery fabrics, shrinkage and take-up, continued instructions for The Bahamas, a decoded yarn-source list, and other available folios.

A folio of instruction sheets by Elmer W. Hickman for 24 handwoven table linen fabrics woven on four shafts, mostly twills, Norsk huck-a-back, and tabby/texture weaves. Each entry gives a threading and tie-up draft, warp and weft yarn specifications with sources, sleying in a No. 12 or 15 reed, and treadling, often combining linen with metallic and rayon novelty yarns. A cover letter to weavers and a 'Tabby Talk' section discuss yarn suppliers, handling heavy rayon yarns, multiple-warp construction and borders. Photographs of the woven samples appear with the drafts and on the last pages.

A 1955 folio of twenty woven linen samples with drafts and weaving instructions, mostly for place mats, table linens, towels and napkins, written by Elmer Wallace Hickman. The introduction ("Tabby Talk") explains a contemporary approach of "cheating the drafts": twill and reverse twill threadings altered by groups of 3, 5 or 7 warp yarns that differ in size, color or texture. It also gives color suggestions, reed sleying advice and yarn sources. Each sample lists warp, weft, sley, treadling and notes, with many using tabby treadling, metallic yarns and boucle. Contributions come from Mrs. Ella Bolster, Lillian Swawite, Mrs. Stanley Crowe, Mrs. C.W. Smith and others.

Folio 1 of Elmer Wallace Hickman's series presents ten hand-woven textile designs with yarn lists, threading, sleying, treadling and weaving notes. The projects are place mats, napkins, drapery and upholstery fabrics, a handbag material and a coverlet fabric, and most use four shafts. Included are Raspberry Sundae, Peasant Holiday, Snowflake, Golden Pheasant, Fantasia, Gray Dawn, Twinkle Lite (a 3-shaft Swedish Krokbragd draft), Coral Sea, Winter Moon and Wedgwood (8-shaft). Most designs have a photograph and a draft, and there are color suggestions, notes on handling metal and novelty yarns, and a section on Dutch warping of a plain beam single-handed. Plates of stripe layouts for drapes and a closing "Tabby Talk" note on the binder and the Scandinavian Art Weaving Packets complete the folio.

Folio 2 of Elmer Wallace Hickman's "New Weaves from Old" series presents twelve texture-weave fabrics, each with a threading draft, a woven sample photograph, and instructions on warp, weft, sleying, treadling and weaving notes. Projects include a broken-twill coat material, glass curtains, drapery, two twill upholstery fabrics, a honeycomb decorative fabric, Log Cabin and Swedish lace table linens, and a lamp shade fabric. The introduction explains how Hickman discovers new weaves by trying unusual treadlings on short sample threadings, and the final "Tabby Talk" page gives corrections to Folio I and supplier information.

Folio 3 of Elmer Wallace Hickman's 'New Weaves from Old' series gives instruction sheets for 18 woven samples, mostly four-shaft fabrics. Each entry lists warp, weft, threading, sleying and treadling, with a small draft, a photo of the sample and the author's comments on yarns, uses and finishing. The folio emphasizes patterned fabrics and spaced-warp weaves (Slat Happy, Sunburst, Normandy, Spring Bouquet), and also covers crackle, overshot-derived and bound weaves, Half-Krabba, upholstery and drapery fabrics, and novelty, metallic and nylon yarns. The back pages give a dyeing process for wool/rayon yarn and a list of the author's available publications.

Folio 5 of Elmer Wallace Hickman's series of sample folios, with twenty-seven handwoven fabric swatches mounted on cards, each paired with a printed page of directions. Entries give warp, weft, reed setting, threading and tie-up drafts, and treadling for table linens, men's and women's suiting and coating fabrics, upholstery, accessory fabrics and a rug. Many are by contributing weavers as well as Hickman. The folio also includes an introduction, a page of 'How to Go Modern' text on creativity and copying in weaving, and lists of yarn sources and books for weavers.

Folio 6 of the New Weaves from Old series presents twenty handwoven fabric samples with instruction sheets giving warp, weft, sleying, threading drafts and treadling. The samples are grouped as table linens, upholstery, suitings, dress and jacket fabrics, drapery and one decorative fabric. They are woven mostly on four shafts in huck, Bronson, Summer and Winter, twill and overshot drafts, with contributions from several named weavers. The introduction comments on pattern in handweaving and yarn choice, and the closing 'Tabby Talk' page discusses reader responses and requests for future contributions.

A folio of 24 plaid fabric patterns by Elmer W. Hickman, issued under the Onondaga Weavers Guild emblem, with woven swatches mounted on each page and drafts placed beneath them. Each entry gives the warp yarns, warp order, reed and sley, weft, and treadling. Most are tabby plaids; a few are twill or use other treadlings. The last page, titled Tabby Talk, explains the diffused construction in which the warp color counts are rotated to set the weft shot counts (illustrated with Thistle). It also gives helpful hints, thanks to contributing weavers, and a list of yarn suppliers.

A self-published folio booklet by Elmer Wallace Hickman describing twelve handwoven rug techniques, with a companion technique sheet and sample-sheet specifications for each. Techniques covered include Double Krokbragd, Double Face Weave, Rollakan and Aklae, a modern cotton/rayon rug, Soumak, Imitation Tapestry (clasped weft), False Flossa, Flossa, Rya, Rya with Korndrall ground, Stuffer weave and Indian Saddle Blanket weave. It gives warp and weft yarns and suppliers, sett, treadling, tie-ups, knot-tying and selvage methods, and loom modifications such as an added Stuffer warp beam.

An issue of Practical Weaving Suggestions by Elmer W. Hickman on weaving cushions in the Scandinavian bound weaving (bunden vavning) technique, in which weft completely covers the warp to give a tapestry-like fabric. It gives general advice on warp, sett, weft yarns, finishing and pillow forms. It then offers instructions and drafts for five cushion designs: Bargello, Scania, Aurora Borealis, Domino and Moderne. Each includes warp and weft specifications, sley, treadling and color suggestions, using Lily Mills yarns.

An issue of Lily Mills' Practical Weaving Suggestions in which Elmer W. Hickman presents nine four-harness decorative fabrics, designed mainly for handbag material but also suited to screens, room dividers and tray or table-top inlays. The introduction covers color planning, the use of metallic yarns, crackle weave and honeycomb-type drafts, and some hints for weaving with metallics. Each design (Silver Butterfly, Pagoda, Morocco, Aztec, Jewel Case, Jade Gem, Copper Sheen, Spring Orchid, Blue Gleam) has a materials list using Lily yarns, a set and warping plan, treadling by harness, color alternatives, and a draft.

A 1962 issue of Practical Weaving Suggestions in which Elmer W. Hickman discusses contemporary wool sportswear fabrics woven with Lily Art. 110 and 111 weaving wools. He covers color planning for multiple-color warps, a method he calls "cheating the drafts", finishing wool cloth, estimating yarn for multicolor warps, and weaving with three shuttles. Instruction sheets for nine fabrics (Sand Dune, Bronze Jade, Desert Flower, Blue Night, Brown Onyx, Bonnie Lassie, Gray Mist, Spice Red, Mardi Gras) give warp and weft yarns with color numbers, warping plans, sleying, treadling by harness pairs, and alternate color suggestions, with drafts on most pages.

A set of instructional weaving packets by Elmer W. Hickman (Homecraft Weaving Service, Emlenton, Pennsylvania) on Scandinavian art weaving, the 'laid-in' bobbin techniques woven on a loom. It covers bobbin winding, Monk's Belt, Krokbragd, Rosengang (Rosepath) with Swedish pine tree designs, Flossa, Rya and Sniljeflossa pile weaves, Arrow and Lightning weave, Aklae, Dukagang and Krabbasnar/Half-Krabba. Each section gives warp and weft yarn recommendations, threading, sleying and treadling directions, figures of techniques and tools, and many drafts and charted designs. Sample cards, supply sources and the author's commentary ('Tabby Talk') are included.

Introductory article by Elmer Wallace Hickman, the first in a planned series, urging American weavers to learn Scandinavian art weaving techniques. He recounts how he found Norwegian and Swedish teachers, comments on the Swedish Hemslöjd (home craft) movement, and catalogs about twelve principal techniques, including Äklae/Röllakan, Dukegång, Krabba, Flossa, Rya, Upphämpta, Flamskvävnad and Finnweave. Illustrated with photographs of wall-hangings and rugs woven by the author and his teachers, and ending with a list of Scandinavian reference books.

An instructional article by Elmer Wallace Hickman on Norwegian Lynildbordvevning (Lightning weave), a bobbin-woven tapestry technique that builds zigzag diagonals and is related to Åklae. It covers loom setup, yarns and warp, the sequence of interlocking and pattern sheds, and how to reverse the diagonal, add bobbins and drop bobbins. Three patterns are given (an experimental design, a nine-unit hanging and a more difficult colored design), with step diagrams and photographs taken from the wrong side of the textiles. Hickman also compares the technique to American Indian weaving and cites Scandinavian sources.

Instructional article by Elmer Wallace Hickman on Swedish dukagång, a laid-in (pick-up) technique worked from the back of a plain-weave web with design bobbins and tabby binder shots. It covers materials, reed and warp setup, bobbin winding and handling, the shed sequence on a four-harness table or floor loom, and 18 numbered troubleshooting tips. A worked example gives a color-by-color row sequence, and the article includes working-side sketches, photographs of experimental pieces, and charted Scandinavian border, pillow-top and spot motifs, with rosepath and twill threading drafts.

An instructional article by Elmer Wallace Hickman on Norwegian Åklae, a Scandinavian tapestry-like art weaving technique worked with many small hand-wound bobbins on a plain-weave (two-shed) warp. It covers loom, warp and weft choices, bobbin winding and tying, the Pattern and Interlocking sheds, how to advance or retreat design units, and tips for beginners. It gives step-by-step directions for weaving Pattern No. 1, plus charted patterns (including a Viking figure) with Bernat Peasant and French Tapestry wool color keys, and illustrations of finished pieces.

Article by Elmer Wallace Hickman introducing Scandinavian Spetsvav, which he calls "Lacey-weave", a technique he describes as a vertical counterpart of overshot. Heavier tabby shots pack down the pattern weft to form a pattern of depressions. It covers the weave's Scandinavian names, suggested yarns for table covers, evening bags, knitting bags and pillow tops, and treadling and set-up notes for five drafts. A page of seven drafts with a shared tie-up and a list of Scandinavian weaving books are included.

An article by Elmer Wallace Hickman on weaving large, openwork shawls from heavy woolen yarns as a source of income. It explains the openwork "windows" pattern borrowed from a Danish curtain draft, with advice on yarn and color choice, light beating, shuttles, selvages and joining weft ends. It closes with a draft explanation and warp, weft and reed details for three sample shawls, plus finishing notes.

A 1966 weaving folio by Elmer Wallace Hickman with instruction sheets for 20 hand-woven fabrics for stoles, scarves, throws, winter bonnets, jackets and quesquemitls. Each project gives the warp and weft yarns, reed and sleying, threading draft and treadling, mostly for 4-harness looms using new mohair, Orlon, acrylic and knitting yarns. It also includes a cover letter, a list of swatches, a 'Tabby Talk' section with weaving tips and yarn suppliers, and sketches and notes for making the garments.

A self-published folio of 24 mounted tweed and suiting fabric samples by Elmer Wallace Hickman, each with a standard four-shaft tie-up, threading draft, warp and weft yarn specifications, reed sleying, treadling and finishing notes. The samples (e.g. Spring Song, Woodpecker, Blue Nylon Check, Purple Iris, Silver Birch, Town and Country Plaid) are mostly twill or tabby on 4 shafts, using nubby, boucle, mohair and silk tweed wefts with worsted warps. A "Tabby Talk" page lists yarn suppliers, extra threading and treadling variations for 2/16 Botany yarns, and advice on laundering and steam pressing yardages.

A 1936 article by Elmer W. Hickman on weaving large knitting bags with "on opposites" treadling, in which a colored wool pattern shot alternates with a yellow Perle cotton shot on the opposite shed. He describes his color experiments, including a scheme taken from Czechoslovakian embroidered mittens, and explains the "on opposites" method for beginners. Full directions are given for two colorways, with warp, sleying, threading for the Maltese Cross draft, stripe-by-stripe treadling and yarn color keys. The article also covers handles, lining, finishing and shaping a boxed corner.

Article by Elmer Wallace Hickman describing "Waffle Lace," a semi-open, three-level fabric woven on a four-harness waffle weave threading (4-3-2-1-2-1-2-3) using nylon, linen, carpet warp, Tensolite and Beadette or metallic gimp. It gives warp and weft yarns, sleying, treadling and tie-up, weaving and finishing tips, color schemes, and supply sources. Suggested uses include handbags, lamp shades, screens, and tray or table-top decoration. A converted graphic draft and an actual-size sample are included, plus a short biography of the author.