William Watson's 1913 textbook continues his Textile Design and Colour, covering compound and special cloths in which two or more series of threads are used. It treats backed cloths, double and treble cloths, wadded and centre-stitched cloths, extra weft and extra warp figuring, special jacquard and harness mountings, figured muslins and damasks, tapestry and upholstery cloths, ingrain carpets, toilet and quilt fabrics, gauze and leno, Madras gauze, lappet and swivel weaving, and weft and warp pile fabrics including Turkish towelling, Wilton, Brussels, tapestry and Axminster carpets. The book is heavily illustrated with point-paper designs, weave plans, flat views, sections, loom mechanism diagrams and fabric photographs, and ends with an index.

A 1910 book on tatting by Katharin L. Hoare, with an introduction by Carmen Sylva (H.M. the Queen of Roumania). The text covers the history of tatting, the shuttle, and basic single- and two-shuttle technique, with diagrams of the stitch and hand positions. Most of the book is a series of collotype plates of tatted work, chiefly by the Queen of Roumania, with her own descriptions. Items include altar veils, a coverlet, an iconostasis curtain, dress trimmings, collars, bags, handkerchiefs and church work. A final section shows miscellaneous examples, including historic shuttles in the Wallace Collection.

A fifth-edition textbook on cotton weaving and designing by John T. Taylor, revised under F. Wilkinson of the Bolton Textile and Engineering School in 1905. It covers preparatory processes (winding, warping, sizing, beaming), hand and power looms, tappets, picking, drop-box and circular-box looms, dobbies, Jacquards and harnesses, leno and terry weaving, card cutting and lappets. The second half deals with the principles of designing (twills, satins, honeycomb, huck, double cloths, pile fabrics such as velvets and corduroys), figured design on point paper, and textile calculations including cloth costing. It is illustrated with many mechanical diagrams and point-paper weave drafts.

A late Victorian technical treatise on jacquard weaving and pattern design by T. F. Bell of Belfast. It covers the history of draw looms and the jacquard, the types of jacquard machine, harness mountings, designing and draughting on point paper, card cutting and lacing, and special jacquards such as pressure, twilling and open-shed machines. Later chapters cover gauze, double cloth, tapestry and pile work, carpets, and lappets and swivels. It is illustrated with many engraved figures and about 30 pages of drafts and design diagrams, and ends with an index and a publisher's catalog.

William Morris's essay on dyeing as an art, contrasting traditional natural dyeing with the commercial aniline dyes that he argues have nearly destroyed it. He describes the four base colours (blue, red, yellow, brown) and the dyestuffs for each: indigo and woad, kermes, cochineal, madder, weld, walnut and catechu. He also covers mixing for green, purple and black, the difference between substantive and mordant (adjective) dyes, indigo vat practice, alum mordanting, and the fading of dyes as seen in Gothic tapestries.

An essay by May Morris on the techniques and principles of embroidery, reprinted from a collection of arts and crafts essays. It surveys the main stitches and methods: chain stitch, tapestry stitch, appliqué, couching, patchwork, darning and running. It then discusses design, colour, materials and the shortcomings of modern needlework, with remarks on ecclesiastical embroidery and examples from Persian, Italian, Cretan and Turkish work.

A short historical essay on hand-made lace, distinguishing true laces from embroideries on net, cut work, drawn thread work and machine imitations. It separates needlepoint lace from bobbin or pillow lace, and traces the development of patterns from the sixteenth-century geometric bands to the filmy, naturalistic laces of the eighteenth century, then their decline. It ends with a brief note on where the industry survived in the early 1900s and on the competition from machine-made lace.

A short essay by Selwyn Image offering four principles for designing embroidery: consider where and how the finished work will be seen, treat all objects as lying on one plane, keep the motifs simple, and study old work while returning always to Nature. It argues for emphasizing main lines and masses over fine detail, especially in altar-cloths, banners and wall-hangings. The text is a general discussion of design with no technical stitch or weaving instructions.

A 1921 second edition of William Watson's textbook on the design and colouring of woven fabrics made from one warp and one weft system. It covers the construction of simple and special weaves (plain, twill, sateen, diamond, crepe, huckaback, corkscrew, Bedford cord, welts and piques), stripe and check combinations, calculations, colour theory, and colour-and-weave effects. It also treats Jacquard machines and harnesses and the designing of figured fabrics, with the arrangement of repeats and figures on point paper. Illustrated with hundreds of figures and drafts, and includes a new appendix on standard yarns, weaves and fabrics and an index.

An essay by William Morris on designing for textiles, covering five ways of ornamenting woven cloth: tapestry, carpet-weaving, mechanical weaving, printing or painting, and embroidery. Morris argues for Gothic and medieval models, clear structure and bold silhouette, and designs suited to each material and process. He criticizes commercial 'improvements', coal-tar dyes, Japanese imitations and 18th-century patterns. It closes with general maxims on pattern design.