An article by Harriet Tidball on the classical four-harness M's and O's weave, a balanced two-texture structure in which tabby and weft-rep oppose each other. It covers the character of the fabric, yarn selection (especially soft Lily 8/2 cotton versus hard-twisted linen), and the history of the technique in Swedish, Finnish and early American sources. It explains the A and B threading units, tie-up, profile drafts and the four main pattern arrangements. It also surveys published drafts from Worst, Perheentupa, Cyrus, Ingers and others, and ends by proposing a 1,4 threading to add true tabby stripes.

A three-page portfolio accompanying Shuttle Craft Guild Monograph Sixteen, Color and Dyeing by Harriet Tidball (1965). It consists of a cover, a diagram titled 'The Dyer's Color Wheel' showing yellow, red and blue primaries with dyed wool tufts, and a photograph of hand-dyed and handspun yarn samples. It has no weaving drafts.

Portfolio supplement to Harriet Tidball's Shuttle Craft Monograph One, The Double Weave: Plain and Patterned (1960). It consists of a cover page, two pages of photographed woven swatches pinned to mounting sheets, and a text page describing each sample, including yarns, sett and tie-ups. The sample notes cover a polychrome sampler, a Pringle of Inverness wool blanket sample, and seven worsted study swatches (two-block double weave, 1/3 twill variations, fringe and quilting). The last page also gives Shuttle Craft Guild subscription plans, prices and ordering addresses.

Harriet Tidball's article from the Multiple-Harness Weaver series in the Shuttle-Craft Bulletin explains how to expand the four-harness M's and O's weave to six or more harnesses. She analyzes Finnish drafts by Perheentupa and Pyysalo, then proposes a consistent unit system with foundation harnesses 1 and 2 and pairs of pattern harnesses for each block. It gives a unit draft, a twelve-harness tie-up for five blocks, profile drafts for the Finnish examples, and full directions for a six-harness two-block transparent curtain in 8/2 cotton with chenille tabby separators.

A 1954 promotional brochure for the Shuttle Craft Guild, run by Harriet Tidball at Kelseyville, California. It describes the Guild's history, membership, the monthly Handweaver's Bulletin and Portfolio edition, Styles sheets, the Home Study Course with a lesson-by-lesson outline, and priced lists of Guild publications and back issues. It also gives a list of recommended yarn sources, a loom testing service, and studio instruction at Clear Lake. It contains no weaving drafts.

Short article by Harriet Tidball on weaving drapery and bedroom fabrics in the M's and O's technique with Lily 8/2 cotton (Art 108) set at 24 ends per inch. It covers the fabric's qualities, shrinkage allowance, yardage for sectional warping from two-ounce tubes, and a colour variation with gold warp and alternating gold and salmon-red wefts. The treadling is given in prose, and a detail photograph shows the rep texture of short repeats. The article ends by promising further variations the next month.

An article from the Shuttle-Craft Bulletin explaining how multiple-harness handweavers can read the square-diagram draft notation used in professional and industrial weaving books. It walks through finding the repeat, numbering threads and shots, reading the tie-up, and converting a sinking-shed tie-up to a rising-shed one, using a worked example of a 10-harness braided twill from Hauptmann. Further figures interpret sample diagrams from Oelsner, Poma, Strong and Watson, including fancy, broken, uneven, combination and waffle weave twills.

An article from the Shuttle-Craft Bulletin by Harriet Tidball on jaspé, the resist-dyed (tie-dyed, ikat, chiné) yarn technique, with emphasis on weft jaspé for handweavers. It surveys examples from Turkestan, Mexico, Guatemala, Okinawa and Japan, then gives instructions for winding and tying skeins, four tie arrangements, dyeing, and placing spots in tabby-woven borders. It also covers selvage handling, design and balance advice, a stripe-by-stripe weaving sequence for a Japanese-style fabric, and practical uses.

An article by Harriet Tidball on systematically sampling M's and O's for interlacement-texture variations by changing only the treadling, so the design emphasis falls on the weft. It sets out five stages of sampling (pattern, interlacement texture, thread texture, color, and combined design) and describes the warp used: 24/2 cotton at 30 ends per inch with 10/3 mercerized cotton weft. Seventeen treadling sequences are listed with drawdowns, including twill, point twill, huck, spot weave, summer and winter, and overshot sequences, using six treadles (four M's and O's sheds plus two pseudo-tabby sheds). A photograph shows a woven sample.

A five-page portfolio of mounted textile sample photographs accompanying Harriet Tidball's Shuttle Craft Monograph Six, "Mexican Motifs" (1962). It consists of a cover with the title and pages of photographed woven samples, including striped, black-and-white geometric, openwork and plaited examples. There are no weaving drafts and almost no printed text.

An article from Shuttle-Craft Bulletin's "Multiple-Harness Weaver" series introducing the idea of basic drafts for eight-harness looms. It reviews the versatility of the four-harness twill and its shed combinations, then extends the principle to eight-harness threadings. The main example is the four-block opposites threading (1,2,1,2; 3,4,3,4; 5,6,5,6; 7,8,7,8), with a draft and a woven sample of alternating tabby and basket-weave blocks, suited to blankets.

An article from the Multiple-Harness Weaver series by Harriet Tidball on braided twills, patterned twills with a double-diagonal design in which no float exceeds three threads. It gives drafts, tie-ups, treadling orders and weaving directions for braided twills on four, six, seven and eight harnesses, with sinking-shed and rising-shed tie-ups. It also advises on yarns and warp set. Most pages are weaving diagrams, and the last page shows a woven sample in red-orange and yellow-green.

Harriet Tidball reports on the skirt-designing system of Esther Hudson, a Santa Rosa, California weaver and teacher. Skirts are woven on a fine four-harness twill warp, with all color design done through weft stripes. The article covers choosing warp and weft colors from a color wheel, proportioning stripes with a Fibonacci-type Summation Curve, three stripe arrangement types and how to match them to the wearer, and treadling for color effects. It ends with warp specifications and a worked example skirt plan with a stripe diagram.

A portfolio of mounted textile samples from Peru, issued as an accompaniment to Shuttle Craft Guild Monograph Twenty-Five by Harriet Tidball. It consists of a cover and photographs of swatches on colored cards, including ancient Chancay cotton fragments, modern Andean wool and alpaca weavings, edging tapes, and a strip of feathers. A caption page describes each sample's structure, fibers, origin and maker, including weft-face point-twill, floating-weft patterns and warp-stripe designs.

A Lily Mills Company leaflet by Harriet Tidball of the Shuttle Craft Guild giving complete directions for a striped, translucent handwoven drapery fabric. Alternating 1-inch stripes of Lily Pearl Cotton size 3 and 5-inch stripes of fine novelty yarn are woven as plain weave on a four-harness twill threading. The text covers yarn quantities, sectional-beam and chain warping, sleying, weaving technique, take-up, joining panels, and making tie-back bands, plus a variation design. The final page lists the colors of Lily Pearl Cotton and Novelty Yarns.

A Lily Mills promotional booklet by Harriet Douglas Tidball of the Shuttle Craft Guild on planning a 30 to 60 yard sectional warp of 24/2 cotton threaded to a 2-block, 4-harness Summer and Winter draft. It explains the six textures woven on that threading (tabby, plain weave, pattern, background, rotation weaves and polychrome) with treadling directions. It then suggests ten projects: aprons, skirts, dress and shirt fabrics, table mats, buffet rolls, napkins, curtains, towels and bags. Detailed weaving directions are given for four aprons and a 16-border sampler, with Lily yarn article and color numbers.

A bound run of Shuttle-Craft Guild Bulletin issues from 1951, edited by Harriet Douglas Tidball in Virginia City, Montana. The issues cover Summer and Winter weave (profile drafts, tie-ups, polychrome), linen towels, Brooks Bouquet, rug weaving (two-harness weft-faced rugs, Flossa, rag rugs, chenille), handweaving versus machine weaving, and casual decorative weaves. Later issues include an annotated weaver's bookshelf, color styles for 1951-52, bag fabrics and styles, and open work weaves (eyelet table mats, leno stoles). Drafts, tie-ups, and weave diagrams appear throughout, along with a reprinted Atwater tie-up page.

April 1957 issue of the Shuttle Craft Bulletin (Portfolio Edition), the monthly bulletin of the Shuttle Craft Guild. Harriet Tidball's lead article sets out 17 treadling sequences for texture sampling on an M's and O's threading, including twill, huck, spot weave, summer and winter and overshot. Trude Guermonprez begins a history of tapestry weaving, covering looms, technique and Jean Lurçat. Tidball also writes a how-to on threading the loom, Natalie White describes woven tweed car coats, and Boris Veren and Marie Murelius review a book of Pre-Inca textile plates. The issue ends with the Loom-Side Market, a section of loom and yarn advertisements and a services directory.

December 1960 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. The lead article discusses Ghanaian Kente cloth as a design trend reported in American Fabrics, and proposes adapting it in double weave. It gives instructions for two Christmas party strips (festremsa): a silk four-harness double weave with warping hints, and a quick pearl cotton version. The issue also has book and periodical news, a list of Shuttle Craft Guild publications, correspondence course news, and guild business such as binders, renewals and a Peru trip.

December 1961 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. It opens with a cross-stitch skater chart from a Danish Handcraft Guild 1962 diary, then offers a gift guide to books, shuttles, yarn suppliers and finishing services, along with a plea for a horizontal warping reel. The issue ends with an apron fabric from Doris Clement, given as both a 7-shaft extended point twill draft and a simplified 3-shaft lace-weave draft, with sett, yarn and warp color stripe details.

December 1962 issue of the Shuttle Craft Guild Handweavers Bulletin edited by Harriet Tidball. It gives directions and a diagram for a cover-all apron woven in 8-harness twill with mercerized cotton warp and cotton weft, and reports on Peter Collingwood's rug workshop at Waldenwoods, Michigan, with captioned photographs of participants. The Miscellany page covers guild renewals, upcoming Monographs on Collingwood's weaves and handwoven specialties, Elmer Hickman's suiting textiles, rug yarn sources, and The Handloom Weaves.

February 1957 issue (Vol. XXXIV, No. 2) of the Shuttle Craft Bulletin, Portfolio Edition, edited by Harriet Tidball. The lead feature covers the M's and O's weave: its balanced tabby/weft-rep structure, history in Sweden, Finland and colonial America, drafts from Swedish, Finnish and Danish sources, a century-old linen towel, interior decorating fabrics woven in Lily 8/2 drapery cotton, and expansion to six and twelve harnesses. Other articles include a reed-holding tip by Ruth Sikes, an excerpt on tapestry in Egypt by Adele Coulin Weibel, Rupert Peters on getting new patterns by changing the tie-up on an 8-harness Bronson twill, book reviews, and a Loom-Side Market section with supplier advertisements and a directory of handweaving services.

February 1962 issue of the Shuttle Craft Guild Handweavers Bulletin, written by Harriet Tidball. It announces two October 1962 rug designing and weaving classes taught by Peter Collingwood at Waldenwoods, Michigan, with schedule, fees and loom arrangements, and notes the editor's three-month textile-focused trip through Asia and Europe. The main article asks why handweavers neglect towels and other small household textiles and criticizes sealed guild traveling exhibit swatches. It closes with photographs and notes on tartan-pattern towels of silk noil and Swedish cottolin, with setts, shrinkage and finishing details.

February 1964 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. The main article describes the cotton aprons woven by Erasto Leiba and sold by his wife Amelia in Oaxaca, Mexico, with apron dimensions, an original 90-end and a reduced 68-end overshot-type border draft, and shuttle-by-shuttle directions for a seven-part pattern border and waist band. Other pages announce the August 1964 Shuttle Craft Guild workshop at Waldenwoods, Michigan, with staff and fees, and carry announcements about a new horizontal warping reel by E. E. Gilmore and Tidball's expanded textile library and collection.

January 1957 issue (Vol. XXXIV, No. 1) of the Shuttle Craft Bulletin, the Portfolio Edition, devoted to jaspé (ikat, tie-and-dye resist) weaving. Harriet Tidball's lead article covers jaspé textiles from Turkestan, Mexico, Guatemala, Japan and Okinawa, preparing tie-dye weft skeins, weaving borders, designing with weft jaspé, and combining jaspé with overshot patterns, with a Mary Meigs Atwater reprint from March 1943. Other items include Elmer Hickman's four-harness Waffle Lace with drafts, a book review column by Boris Veren, a sampling article by Grayce Perk, a fashion report on handwoven dinner skirts, and the Loom-Side Market with supplier notes and a directory of handweaving services.

January 1963 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. It announces two summer 1963 tapestry workshops taught by Eva Anttila (Hartland, Michigan, and Boulder, Montana), with fees and registration details. It also covers the delayed Monograph 8 by Peter Collingwood on rugs and special weaves, book notes (Malin Selander's swatch book, Weigert's French Tapestry, and other tapestry histories), and a source for Swedish yarns. The last page reprints ten miniature overshot coverlet drafts by Mary Atwater from the January 1936 Bulletin, with her comments on treadling lists.

Double issue (June-July 1957) of the Shuttle Craft Guild's monthly bulletin, Portfolio Edition. It includes Harriet Tidball's article on designing striped twill skirts using Esther Hudson's proportion and color-wheel system, and Trude Guermonprez's Part II on weaving tapestries with photographs of contemporary work. Tidball also writes on a basic eight-harness draft and on interpreting multiple-harness drafts from professional books (Oelsner, Poma), with drafts and tie-up conversions. The issue closes with a book column on bobbin lace and Finnish loom lace, a market and directory section, and the editor's letter.

March 1957 Portfolio edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild, edited by Harriet Tidball. The issue centers on variations of the M's and O's technique (balance units, odd-numbered rep ribs, honeycomb fabrics, the hollow square multiple-harness pattern, and sport coat tweeds). It also reprints Mary Meigs Atwater's 1941 article on tapestry rugs in an ancient Peruvian design, and includes Mary E Black's step-by-step article on working out an unknown Swedish overshot/daldrall draft. Regular features include a loom-language glossary, book shelf notes, an editor's letter, and the Loom-Side Market with loom, yarn, and service listings.

Issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. The main article covers Ecuadorian faja (belt) weaving adapted to frame looms, including faja-woven furniture, warp-pattern technique with fine cotton base warp and heavier pattern warp, sett and reed advice, and three ways to handle tension differences between the two warps. It gives design principles and the draft for an eight-shaft Portfolio sample, with a four-shaft simplification. Shorter items cover a new two-shaft ribbon loom from Norwood Loom Co., binders for publications, subscriptions, the correspondence course, and a review of Russell Groff's Card Weaving booklet along with an announcement of Tidball's The Weaver's Book.

May 1957 Portfolio edition of Shuttle Craft (Vol. XXXIV, No. 5), the monthly bulletin of the Shuttle Craft Guild. It opens with Harriet Tidball's article on seven tapestry edge and color-joining methods, followed by Grethe Poul Poulsen's instructions for khelim, aklae and rollakan. Tidball also writes on braided twills for 4 to 12 harnesses, with drafts, tie-ups and treadling. Berta Frey covers transposing warp and weft, with huck bound weaving and a warp-faced belt. Other items include book reviews, a 1929 Mary Meigs Atwater reprint on commercial versus amateur weaving, a Van Allen note on sleying, Tidball's letter, and advertising and directory pages.

September 1960 issue of the Shuttle Craft Guild Handweavers Bulletin, marking Harriet Tidball's return as owner and editor from Mary Black and Joyce Chown in Nova Scotia. It explains true five-harness satin and four-harness false satin (broken 3/1 twill), with threading and tie-up notes. It also covers Lily Mills' Super-Sheen 50/3 mercerized cotton, an essay on tension as a textile engineering problem (warp and weft tension, balance, selvages), and an announcement of the Japanese sample book Nippon Hand Weaves in Kusakizome Dyes.

September 1961 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. The main letter describes her summer trip to Copenhagen, Stockholm, Helsinki, Amsterdam and Switzerland, covering craft shops, department stores, yarns, looms, tapestry lessons with Eva Anttila, and the status of crafts in Scandinavia. A short article, "A Color Study from an Apron Fabric," gives a bound overshot draft with a four-color weft sequence on a red 24/2 cotton warp, with a discussion of color harmony. The issue ends with subscription and book-sales announcements.

Four-page issue of the Shuttle Craft Guild Handweavers Bulletin for September 1962. It opens with an editorial on the new weaving season and upcoming Guild monographs (Contemporary Satin, a Collingwood rug monograph). The main article describes a visit to a Tibetan refugee camp where weaving is the main activity, and gives instructions for making a Tibetan Snow Jacket from heavy fulled 2-2 twill with inkle-woven bands, including two band color plans and finishing and fulling advice. The closing Weaver's Talk column covers the correspondence course and reviews or announces several books, including Estes miniature patterns, Pohja-Ompelua, and Rammevaev.

A reprinted September 1963 issue of the Shuttle Craft Guild Handweavers Bulletin, edited by Harriet Tidball. It opens with a history of the Guild (founded 1922 by Mary Meigs Atwater), its Bulletins, Monographs, Portfolios, workshops and membership terms, then gives a travel account of Oaxaca and the weaving village of Mitla, Mexico. The issue includes the article "A Bath Huipil from Mexico", with a three-shaft twill draft with red and white warp stripes, warp and weft specifications, tie-up and treadling, and instructions for weaving the head slit. It ends with descriptions and prices of Monographs 1-11 and other Tidball publications.

January 1952 issue of the Shuttle Craft Guild's Handweaver's Bulletin (Portfolio Edition), the first issue of the revamped format. The main article covers damask woven in linen on 10 or more harnesses: block profiles, satin tie-ups, warp setting, mat and napkin dimensions, plus double damask, eight-harness false damask and a reverse twill alternative for four harnesses. Other items include a Goose Eye linen draft from Martha Colburn's Weaver's Guide series, an article on dressing the loom with an economical tie-in method, an announcement of the Portfolio Edition with fabric samples, a guild price list, a list of back issues, and a list of supply sources.

October 1952 issue of the Shuttle Craft Guild's Handweaver's Bulletin, published by Harriet and Martin Tidball. The main article, "Handwoven Wool Yardages," covers worsted versus woolen yarns, sampling, planning yardage, warp length and width, warping, beaming methods (raddle, reed-spread and others), sleying, warp settings, selvages, weaving rhythm, finishing and fulling, and tailoring. The issue also has the concluding part of "The Classification of Handloom Weaves" (Class VI double weaves through Class IX rhythmic weaves) and a list of sources of looms, materials and services for weavers.

November 1952 Portfolio Edition of the Shuttle Craft Guild's Handweaver's Bulletin. It gives a primer on the 4-harness twill (threading direction, tie-ups for counterbalanced and jack looms, treadling, broken twill, herringbone, twill with tabby) and a section on color-effect weaves such as hairline, log cabin, shepherd check, Glen Urquhart and step figures. Also included are a twill color-effect gamp warp plan, a 3-color twill sampler with treadling for seven borders, a list of supply sources for looms, yarns and books, and Paul L. Swisher's article on narrowing the section spacing on sectional warp beams.

December 1952 portfolio issue of the Shuttle Craft Guild's Handweaver's Bulletin, devoted to fancy twills as texture weaves. It explains how to read full-draft diagrams of fancy twills and convert them to threading, tie-up and treadling, then classifies straight twills (normal diagonal, shaded, spotted, reclining, steep, crepe twills) with long lists of treadle tie-ups for 4, 6 and 8 harnesses. It also gives directions for a double-faced fancy twill afghan on 8 harnesses, with original and revised tie-ups, notes on the sample swatches in the portfolio (including a color-fastness warning), a list of weaving suppliers, and a critique of a loom advertisement's claims about warp waste.

February 1952 issue of the Shuttle-Craft Bulletin (Portfolio Edition) from the Shuttle Craft Guild, edited by Harriet D. Tidball. It opens with a systematic check-list for designing handwoven draperies, then gives a project for transparent window curtains in 4-harness doupe leno, with warp, weft, color, threading, tie-up and weaving directions for Curtain I (variants a-c) and Curtain II (boucle plain-weave stripes with leno stripes). Shorter pieces cover spreading the warp, testing warp tension, the monthly Threadbenders notes (portfolio contents, yarn note, designing service), a message to students of the Course of Instruction, and a list of supply sources for weavers.

Portfolio edition of the March 1952 Handweaver's Bulletin from the Shuttle Craft Guild (Virginia City, Montana). The main article gives instructions for translucent window draperies woven in linen with a compound warp of heavy and fine threads in 3-thread color stripes, with 4-harness rosepath and 5-harness point twill threadings, tie-ups, treadlings, yarn sources, sett, yardage and finishing. A second article explains how to warp and beam a compound warp of several materials and colors, and a list of supply sources for looms, yarns and books appears twice.

April 1952 issue of the Handweaver's Bulletin (Portfolio Edition) from the Shuttle Craft Guild, devoted to formal draperies woven in warp-pattern, where both base and pattern threads are in the warp and the weft is plain tabby. It describes two drapery projects (an 8-harness one with a vine and geometric pattern, and a 4-harness two-block one) with warp colors, yarns, sleying, threading profiles and treadling directions. It also includes the Guild's handweaver's calculation sheet for yarn, costing and labor, with an article explaining its use, and a list of sources of looms, yarns and publications for weavers.

May 1952 issue of the Shuttle Craft Guild's Handweaver's Bulletin (Portfolio Edition), edited by Harriet Tidball. It gives directions for an heirloom automobile robe woven as a true double-faced twill cloth on 8 harnesses, with a Wallace Tartan top surface and plain green underside. It covers warping, beaming two warps, the draft, tie-up and treadling, the sewing ties, double-woven hems, tension, weaving and finishing. A four-harness alternative in 3/1 double-faced twill follows, then an article on the advantages and use of double warp beams. The issue closes with Threadbenders news on a Guild membership price increase, Correspondence Course certificates, and inkle weaving notes.

June 1952 issue of the Shuttle Craft Guild's Handweaver's Bulletin (Portfolio edition), edited by Harriet Tidball. The lead article covers the Open-shed Warp Bouquet weaves, including Brooks Bouquet, plain and split bouquets, warp settings and the shuttle technique. Other items include suggestions for weaving informal window curtains (plaids, single linens, sleys), a book review of Color Harmony, notes on a yarn measurer and handwoven labels, and guild news about yarns, the portfolio samples and Styles subscriptions.

July 1952 issue (Portfolio Edition) of the Shuttle Craft Guild's Handweaver's Bulletin, edited by Harriet Tidball. It explains the Weft Bouquet weaves (Danish Medallion and Danish Stitch) on tabby, with step-by-step instructions, spacing variations, color use, and applications such as fringes, stoles and casement curtains. A second article on threading schedules for Overshot patterns works through an example of dresser scarves in Double Orange Peel, comparing published drafts and calculating the warp threading. The portfolio includes mounted samples and photographs of the technique.

August 1952 issue (Portfolio Edition) of the Handweaver's Bulletin from the Shuttle Craft Guild, Virginia City, Montana. It opens a classification of handloom weaves, explaining why power-loom classifications don't suit handweavers, and sets out Classes I-III (plain, twill, twill derivative weaves such as overshot, hybrid and crackle). It also gives instructions for a supplemental-thread weave (used in a barbecue apron) with drafts for 2-, 4- and 6-shaft looms, and a loom-dressing article on comfortable heddle threading and dismantling various looms. The portfolio included a fabric sample and photographs of students threading looms.

September 1952 issue of the Shuttle Craft Guild's monthly bulletin (Portfolio Edition, with mounted fabric samples), published in Virginia City, Montana by Harriet and Martin Tidball. It continues the classification of handloom weaves with Class IV (the unit weaves, including Summer and Winter, Bergman, Combination, Atwater/Bronson Lace and warp-pattern weaves, double twill, double weave pattern, damask) and Class V (texture contrast weaves such as spot weave, Swedish lace, huck, canvas, waffle, M's and O's). It also includes an article on spaced-warp stoles, a history of the Shuttle Craft Guild and its transfer from Mary Meigs Atwater to Harriet Tidball, and a directory of US yarn and equipment dealers for handweavers.

Annual subject index for the 1953 volume (Vol. XXX) of the Shuttle-Craft Bulletin and its companion Shuttle Craft STYLES sheets, giving month and page or STYLES number for each entry. Topics include Atwater/Bronson lace, shadow weave, inlay, basket weave, two-, four- and eight-harness weaves, Scotch tartans, warping and beaming, stoles, table mats and the Ceylon Fund. The last page is a price list of Shuttle Craft Guild publications, memberships and courses for 1954.

January 1953 issue of the Handweaver's Bulletin (Shuttle Craft Guild, Virginia City, Montana) with three technical articles. The first covers Combined weaves (tabby-and-basket, tabby-and-twill, twill-and-basket) and how to manage the uneven warp take-up they cause, including elastic warps, two warp beams, and makeshift tensioners. The second treats Broken Twills, including the Dornik herringbone, and the third covers Curved or Undulating Twills, with threading methods and tie-ups for 4 to 8 harnesses. Numbered drafts (1-25) are on two pages.

Portfolio insert for the January 1953 Shuttle-Craft Bulletin (Vol. XXX, No. 1) holding two mounted woven samples with notes. The notes give draft and tie-up numbers that refer to the Bulletin, and describe the yarns and sett used. The first sample is woven with 18/2 worsted at 28 ends per inch, and the text discusses its poor elasticity and warp breakage. The second uses a 10/3 cotton warp at 20 per inch with a rayon-mohair weft for draperies.

October 1953 issue of the Shuttle Craft Guild Handweaver's Bulletin, continuing a series of lessons for two-harness weaving. Lessons VI to X cover a baby bonnet with Danish Medallions in Nylkara, a two-strip stole in colored checks, buffet roll mats with metallic Guimpe, a sampler of open work weaves, and cocktail or tea napkins with open work borders. The open work lesson gives step-by-step directions for Brookes Bouquet, Spanish Eyelet and pick-up Leno, with diagrams. Each project lists materials, warp setup, sley and weaving sequence for plain tabby on two harnesses.