Part Two of Maria Steinhoff's essay in the first issue of The Weaver, discussing creative inspiration in weaving. She argues that yarn texture and color, not copied pattern-book drafts, should drive design, and she applies this to dress fabrics suited to the wearer's figure, coloring and personal versus collective taste, and to designing handwoven cloth that will sell. It closes with captions for five illustrations of her fabrics, giving the Bernat yarns used for warp and filler.

Part one of a two-part article by Maria Steinhoff arguing for the practical and economic value of hand-weaving fashion fabrics. She compares the cost of handwoven yardage with expensive designer and imported cloth, the speed of weaving versus knitting, and the mixing of different fibers. She then describes five illustrated sample fabrics for suits, dresses and coats, naming the Bernat yarns used for warp and filler and the colors. No threading drafts are given.

An essay by Maria Steinhof urging handweavers to stop copying traditional patterns such as Queen's Delight, Governor's Garden and Summer and Winter, and to create contemporary designs through direct experimentation with thread. She argues that handweaving must be judged by the effect of the fabric, not by being handmade, and predicts that handloom patterns will influence industrial textile production. The two pages are illustrated with a sample book of designs and photographs of handwoven napkin fabric and handbags made with Bernat yarns.