Helen Louise Allen describes Tarascan Indian lace weaving she saw in Aranza, Michoacan, Mexico, and how she taught herself the technique at home in Wisconsin. She gives instructions for the single stitch and double stitch, which are picked up with a stick on a two-heddled loom, and for combining them into patterns. She also covers the scalloped edge that results when lace bands are used with plain weave bands, and three ways to avoid it. Illustrations show the gauze weave and the lace stitch sequences.

An issue of Lily Mills' Practical Weaving Suggestions explaining the profile system of writing weaving drafts, in which each block of a pattern is reduced to a single unit on a row of graph paper. It shows how to draw down a pattern on paper from the profile and how one 2-block design can be woven in five techniques: patch pattern overshot, summer and winter, Bronson lace weave, M's and O's, and 8-harness damask. Each technique has unit threadings, weaving plans, texture notes, and Lily yarn suggestions with sett. The last page is a Lily yarn advertisement.

A reprinted issue of Lily Mills' Practical Weaving Suggestions bulletin explaining the profile system of writing weaving drafts, devised by Helen L. Allen and presented with Osma Gallinger. It contrasts long drafts written with harness numbers against short profiles in which blocks are reduced to units on design rows, and shows how to draw down a pattern on paper and rearrange units to refine a design. The second half applies one 2-row profile to five two-block techniques: patch (on opposite) pattern, Summer and Winter, Bronson lace weave, M's and O's, and 8-harness damask. Each technique gets unit threadings, a weaving plan, texture notes, and Lily yarn suggestions for coarse and fine versions. The last page advertises Lily hand weaving yarns.

An article by Helen Louise Allen on designing variations in Summer and Winter weave, using the idea of "swing" music as a metaphor for personal improvisation on a given draft. It gives a checkerboard-block draft for ten- or eight-heddle looms, explains how to combine blocks and nine ways of treating each block (checks, lines, grills, solid), and discusses unit schemes, tie-ups for jack and lever looms, and color. Treadling directions are given for eight designs (I-VIII), with threading and tie-up diagrams and drawdowns.

A travel account by weaver Helen Louise Allen describing her visit to Temuco, Chile, to find the weaving of the Araucanian (Mapuche) Indians. She describes women's dress and belts, men's tied-and-dyed warp ponchos, double-weave men's belts, saddle blankets, pile-knotted choapina saddle rugs and saddle bags. She also covers the warp-faced weave structures, the upright looms and how pieces are woven complete from both ends. Illustrated with eight photographs of the textiles she collected; no drafts are given.

Helen Louise Allen explains how she learned to read Scandinavian weaving books and shares notes on Swedish, Norwegian and Danish grammar as it applies to draft descriptions, including plurals, passive verbs, attached articles, prepositions, and converting centimeter sett to threads per inch. She gives a sample bilingual description from Sigrid Palmgren. A comparative vocabulary table of weaving terms in English, Swedish, Norwegian, Danish, French, German and Dutch follows, covering loom parts, fibers, colors, and structures. A small Monk's Belt draft appears on the second page.

A short 1938 article by Helen Louise Allen on "woven lace," a loom-woven imitation of bobbin lace reportedly made in colonial America. She cites a Metropolitan Museum piece and descriptions by Francis Morris and Marie Schuette, then explains how she reproduced it: gauze-weave areas picked up on a flat stick, separated by three rows of plain weave. She gives advice on yarns, sett, design and outlining with running stitch, with illustrations of old and modern designs and the technique.