A short Swatch Page column explaining how to make chenille yarn by weaving a spaced "blanket material" warp in groups of six threads, then cutting it into strips between the groups. It covers setup on floor looms and rigid heddle frame looms, weft choices, and cutting the strips. It also describes weaving the chenille as weft in a reversible rug with tabby spacing shots, and gives some history of chenille and a short reference list.

A two-page swatch page from the Minnesota Weaver explaining crackle weave as a 4-block, 3-harness point twill structure. It covers transition threads, which blocks weave together, a profile draft and a 4-shaft threading and tie-up for jack and counterbalance looms. Two sample grids are included, one with block treadling and tabby and one with random treadling, along with materials (10/2 cotton warp, Rya wool pattern weft), sett, uses, notes and a short bibliography.

A Swatch Page column from Minnesota Weaver in which Joy Rosner introduces bound weave, a fully weft-faced structure that can be threaded on rose path, summer and winter, or overshot without long skips. It gives materials suggestions (carpet warp, wool or wool-like weft), a four-shaft threading and tie-up, and three treadling and color-order variations: Flame Point, Flame Bargello, and Italian Method. Comments on angle of the points, sleying, and color choice, plus a short bibliography, follow.

A two-page Swatch Page article from Minnesota Weaver on M's and O's, a linen weave of alternating plain-weave and rib blocks with four-thread skips. It gives threading, tie-up and treadling drafts for four samples, a short theory section, materials (10/2 cotton perle, 7/2 wool, 10 dent reed sleyed double), and comments on variations. It closes with a bibliography and a question about the origin of the name.

A Swatch Page column from Minnesota Weaver explaining how to read an overshot pattern in both the weft and warp directions. It starts from a honeysuckle weft overshot draft and shows how to derive a warp-pattern draft (tabby on harnesses 1 and 2, pattern on 3-6, with the tie-up turned and x/o swapped). It then combines the two on 8 harnesses for pattern in both directions, with threading and tie-up drafts. Yarn, sett and notes on the sample photos are included, plus a short bibliography.

A swatch-page article from Minnesota Weaver explaining the satin weave and its extension to damask. It covers the theory of satin as a rearranged twill on 5 or more shafts, using a circle diagram to derive the 2,4,1,3,5 order, and gives drafts for weft-faced and warp-faced satin on 5 shafts. It then extends these to a 10-shaft block damask threading and tie-up. It also gives sett recommendations for linen, silk, cotton and wool, design variations, a glossary and references.

A one-page swatch page from Minnesota Weaver explaining shadow weave, a two-color extension of the log cabin system credited to Mary Atwater. It gives the warp, weft, reed and sley for the sample, plus threading rules for 4, 6 and 8 harnesses, tie-up, and treadling options. Three photographs show the sample fabrics, and the page includes drafts.

A Swatch Page column from Minnesota Weaver on designing with waffle weave, a point-twill-based structure with indented squares. It gives four-harness and eight-harness threading, tie-up and treadling drafts adapted from Mary Black, with yarn, sett and color details for three woven samples shown in photographs. A discussion section covers color effects, beat, fragile warps, edges, reversibility, and a Selander alternative draft, followed by a short bibliography.

A Minnesota Weaver swatch page by Joy Rosner explaining the warp pattern system, in which extra supplementary warp threads form patterns over a tabby foundation on looms with three or more harnesses. It covers threading (two 4-shaft alternatives), sleying, tie-up and treadling, and ways to manage tension between the two warps, including double beams and hanging weights on warp chains. It ends with a bibliography, a postscript on the M's and O's name reversal from a Handweaver and Craftsman article, and an erratum for a Waffle Weave swatch page.

A short column from the Minnesota Weaver's Swatch Page in which Joy Rosner summarizes tips for weaving linen drawn from articles by S. A. Zielinski (Modern Weaver, 1954-55) and Harriet Tidball (Shuttle Craft Guild Bulletin, 1956). Topics include warp preparation and beaming, loom tension, beating, broken warp ends, uneven selvages, unweaving, sizing with paraffin wax or starch, and finishing and ironing linen. No drafts are included.

A short article from the Minnesota Weaver swatch page describing how to weave a 40-inch triangular shawl on the loom in Bronson lace and plain weave. It gives the threading and jack-loom tie-up, materials (single-ply British tweed at 12 epi), and the method of breaking each warp thread in turn to use as the weft so the shawl takes shape. It also covers problems such as even beating, finishing and fringes, and ends with a reference list.

Joy Rosner describes how to weave a 40" x 40" triangular shawl on the loom using Bronson lace and plain weave in single-ply blue British tweed. The article covers the threading and tie-up, materials, a 12 epi sett, and a method in which each warp end is broken at the back and used as the weft. It also covers problems in weaving, finishing and washing, and ends with a reference list. Two photos show a detail and the full shawl, and a weaving plan page gives the threading, tie-up and warp layout.