A two-page finding aid for the periodical Practical Weaving Suggestions (1940-1971). Page 1 is a color-coded grid of years against issue numbers showing which issues are available on the site, with notes that publication began in 1940, that numbering from 1940 to 1954 is unclear, and that it was quarterly from 1955 to 1971. Page 2 lists the articles available online by date, with author, title and volume/issue, covering topics such as crackle weave, summer and winter, Bronson lace, double weave, rugs, upholstery and ecclesiastical weaving.

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.

An issue of Lily Mills' Practical Weaving Suggestions devoted to place mats and napkins, written by Colonel John S. Fishback. It presents four place settings woven by Penland weavers: plain-weave brown and gray perle cotton mats with solid-color napkins, an eight-harness Bronson Lace mat and napkin in linen, a Finnish lace two-block linen mat and napkin, and heavy jute mats on opposites. Warp counts, setts, yarns, threading, tie-up and treadling are given, with drafts for the lace and jute patterns. It closes with advice on trimming fringe to an even length.

An issue of Practical Weaving Suggestions (Lily Mills) devoted to original drafts by Winogene Redding for Lily Homespun wool yarns (Lamb's Wool, Tweed, Suiting) intended for suit and topcoat fabric. It gives warp plans, reed settings, sinking-shed tie-ups, treadling sequences and yarn order quantities for a green/black/gray warp, a black/brown warp and a gray warp, each with several weft variations for a 10-yard warp. It closes with advice on finishing and weaving handwoven wool cloth and a Lily Mills yarn advertisement.

A Lily Mills leaflet in the Practical Weaving Suggestions series, with sixteen sample swatches designed by Lili Blumenau. The opening sections discuss yarn qualities, weave structure and color interaction. Sixteen samples follow, all woven on one gold and black alternating warp (15 ends per inch, 120 ends, four-shaft straight threading, direct tie-up), grouped as tabby, even-sided twill, weft twill and mixed basket/plain weaves. Each sample lists its weft yarn sequence, Lily Mills article numbers and colors, and shaft order, with brief design comments. No weaving drafts are shown; swatch photographs illustrate the samples.

A Lily Mills leaflet issued as part of Practical Weaving Suggestions in which Lela Gordon explains how to weave baby blankets, carriage robes, bonnets and a sacque in wool. It opens with tips on handling wool (light beat, avoiding loom shrinkage, splicing Pompadour yarn, making several articles from one warp). It then gives four projects with materials, sett, threadings, tie-ups and treadling: texture and lace weave, surface weave and huck weave, a three-tone plaid blanket in plain weave, and a sheer blanket with sacque. The final page gives sewing directions and diagrams for an expandable bonnet.

An issue of Lily Mills' Practical Weaving Suggestions reprinting Mary Meigs Atwater's designs for no-tabby weave rugs and tufted rugs, woven with Lily Rug Weave Yarn on a beige carpet warp. It gives materials, sett, threading and tie-up drafts, and pass-by-pass color directions for three 19 x 36 inch rugs (Boy and Girl Figures, Vine and Trellis, Tulip Bed). A final section explains the pick-up tufted rug method on two or four harnesses, with a tuft-making diagram and a bath mat example. The last page is a Lily Mills yarn advertisement.

A short instructional leaflet by Elsie H. Gubser on weaving double woven cloth on a four-harness loom, issued by Lily Mills. It covers the equipment (pick-up stick, shed stick, round stick), the Finnweave and Mexican methods of picking up patterns, and treadling for jack and counterbalanced looms. It also gives tie-ups for double width cloth and tubing, and a list of general tips on yarn, sett, beating and closing edges. Photographs show a reversible wall hanging, handbag and pillow covers.

A booklet in the Practical Weaving Suggestions series by Margaret (Betty) Meinzer describing color projects first woven at the California State Fair. It gives instructions for four color gamps in warm, cool, and combined palettes, using Lily mercerized pearl cotton with colors listed by number, plus a threading plan, tie-up, and treadling sequences. It also covers three plaid place mats (two, three, and four colors) woven in straight twill, with warping sequences, sleying, and hemstitching notes.

Two projects by Norma R. Johnson published as a Lily Mills leaflet. The Paper Doll Wall-Hanging is a 10-harness Summer and Winter design that weaves small figures (little girls and boys, pine trees, a Guatemalan girl, a jumping boy, an 8-pointed star with cross) on a plain ground. It gives the warp and weft yarns, threading plan, tie-up, and unit-by-unit treadling for finger lever and foot treadle looms. The Upside-Down Mat is a 4-harness waffle-weave place mat in white, black and red cotton, with a threading plan, color sequence and shrinkage notes.

An issue of Lily Mills' "Practical Weaving Suggestions" bulletin in which Col. John S. Fishback describes a color blanket or sampler woven with Lily Art. 3343 rayon-jute novelty yarn, crossing each color with every other in plain weave and a Maltese Cross variant. He also discusses how warp and weft crimp and tension affect blended color. The issue also gives drafts, materials and sett for four sets of place mats by Geraldine Wood, using the novelty yarn with Lily linen warp and weft in twill, tabby, huck and summer and winter.

A Lily Mills weaving bulletin by Osma Gallinger Tod, inspired by a visit to Greece, giving directions for handwoven shifts, a bag and pull-overs. It covers a burnt orange shift with a black and white floss Diamond border, a chartreuse shift and bag with a laid-in Greek Key border, a black and white shaded plain-weave pull-over, a red pull-over with hit-and-miss borders, and a wool pull-over in brown, blue and black. Each project lists warp, weft, sett and a row-by-row weaving plan, mostly on a 20/2 cotton warp with the same short overshot Diamond threading.

Project instructions by Mildred Dexter for weaving six table mats on one plain-weave warp on a Lily two-harness table loom. The warp is four colors of Lily size 3 mercerized pearl cotton, with warp and weft details, reed and sleying, and two on-loom end finishes (hemstitching and overcasting) illustrated with diagrams. Each mat uses a different decoration: Danish Medallion (three variations), Brooks Bouquet, supplementary warp in open areas, and wrapped warps. It ends with references to Harriet Tidball's monographs and an Irene Francisco booklet.

Article by Mary E. Black describing the handwoven church vestments and hangings made by Mrs. Douglas (Bessie) Murray and Mrs. John (Evelyn) Longard of Halifax, Nova Scotia, after an exhibition at St. Mary's University. It discusses design sources, color choice, yarn quality and the practical demands of ecclesiastical weaving. It then gives weaving notes with warp, weft, sley, threading and treadling for a Rose Window wall hanging (12-harness overshot variation), a crackle-weave heavy fabric, and chasubles for King's College Boys' School and the Church of the Holy Spirit. Lily mercerized perle, Trinklette and metallic yarns are specified throughout.

A leaflet in the Lily Mills Practical Weaving Suggestions series by Nell Steedsman, describing a four-frame huck variation inspired by a six-frame spot weave in fine linen. It explains the structure, including double or triple ends on pattern frames and a 50/50 balance, then gives drafts for an afghan, two cushion tops, glass curtains, dress fabric, and a patio runner and mats. Each project lists Lily yarns, reed, threading and treadling, with rising shed and counter-balanced drafts and photographs of samples.

An eight-page Lily Mills leaflet of project instructions for weaving with the new Super-Sheen 50/3 mercerized cotton (Art. 215). Designs by Col. John S. Fishback and Mrs. Tina McMorran include a huck lace tray cloth with a short-form draft, place mats with pick-up lace (Brooks Bouquet) and laid-in cords, formal, lapkin and pink mats, a leno lace blouse, and two aprons. Each gives yarn materials, sett (typically 36 ends per inch, double sleyed in an 18 reed) and a weaving plan. The last page carries a Lily Mills advertisement for the yarn.

An instructional bulletin on analyzing handwoven cloth to recover yarn grist, sett, threading draft, tie-up and treadling from a finished sample. Rupert Peters works through four examples: an overshot runner (Bachelor's Button), a Finnish bird's-eye towel, a Bronson weave cushion (Rose and Compass pillow top), and a summer and winter stand cover. Each comes with a drawdown or profile, a threading and tie-up, and weaving directions with yarn and reed data. It also covers the profile method, tabby treadling, and tie-ups for counterbalanced versus jack looms.

An issue of Lily Mills' Practical Weaving Suggestions on designing handwoven blouse and skirt fabric. It gives advice on choosing commercial patterns, calculating yardage and shrinkage, and planning designs on the pattern tissue. Full work sheets cover four blouses (Danish Medallion, Half-Krabba, overshot and a laid-in band) with threading drafts, tie-ups, heddle counts, sett, yarn amounts and treadling. Directions also cover a formal skirt and stole, a banded skirt and a square dance skirt woven with Lily pearl cotton, floss, novelty bouclé and metallic yarns. The back page lists color numbers for Lily Art. 114 and Art. 105 yarns.

A 12-page instructional leaflet on crackle weave by Rupert Peters. It covers the origin of the name, how crackle differs from overshot, the four threading units (each a point twill on three harnesses) and the use of incidental threads. It explains how to transpose an overshot pattern (Honeysuckle) into crackle and how to analyze a woven crackle piece to derive threading, tie-up and treadling. It ends with several patterns with drafts, treadlings and yarn notes: Goose Eye, a diamond, Isles of the Sea, a Bergman adaptation, a Berger upholstery pattern and Rhythm.

A 1958 issue of Lily Mills' Practical Weaving Suggestions by Edna Olsen Healey on weaving plain one-color upholstery fabrics from Lily 3 Strand mercerized soft twist cotton (Art. 714). It gives seven sample fabrics (A-1 through G-1) with photographs, threadings, tie-ups, treadlings, sett and yarn colors. The samples cover Bedford Cord stripes on 8 and 6 shafts, a four-shaft twill weftwise rib, a twill raised weft stripe, Swedish Droppdrall on 6 and 4 shafts, and a Bundendrall warp stripe. Notes on loom choice, width allowance for shrinkage, and a Lily yarn color list are included.

A Lily Mills pamphlet by Colonel John Fishback giving directions for weaving four lightweight wool stoles and a quexquemetl on plain twill threadings. Each project lists warp width, sett, yarn amounts, sleying plans and weaving directions with treadling, open spaces, pick-up lace and metallic accents. A closing section covers general weaving notes, hemstitching on the loom and finishing worsted pieces.

An issue of Practical Weaving Suggestions (Lily Mills) in which Ella S. Bolster presents a Huck-derived variation that looks like honeycomb, with heavy deflected novelty threads in both warp and weft, for casement cloth and curtains. It gives materials, setts, threading drafts, tie-ups for a rising shed loom and treadling for samples I-A, I-B and II, plus Casement Cloth III with random stripe patterns and matching blinds woven with matchstick bamboo. The last page lists Lily unmercerized cotton and novelty yarn colors.

Instructions by Mae D. Aldrich for weaving six linen place mats in Lace Bronson on a single four-harness threading. Gives the threading draft, warp and weft specifications (20/2 linen, 10-dent reed), heddle counts, and yarn requirements for mats and matching plain-weave napkins. Border design drawdowns and block-by-block treadling directions for Place Mats 1 to 6 are included, with photographs of the finished mats and Lily Mills yarn advertising.

An issue of Lily Mills' Practical Weaving Suggestions devoted to ecclesiastical weaving. Colonel John Fishback describes designing and weaving a 12-foot dossal curtain in 16-thread Summer & Winter units on a 16-harness loom for St. Mark's Episcopal Church, Venice, Florida. Lela Gordon discusses making altar, pulpit and lectern hangings, including fitting them to different churches. Drafts and materials lists follow for a 3-piece altar, pulpit and lectern set (Bergman technique), a 7-step graded cross and a 4-harness cross in crackle weave, and a graded cross in Summer and Winter, with Lily yarn numbers and a source for bullion fringe.

An issue of Practical Weaving Suggestions from Lily Mills in which Mary E. Snyder presents five weaving projects inspired by natural objects such as shells, turquoise and rock. Each project has a tie-up, threading draft, treadling, and yarn and reed specifications using Lily yarns. The projects include a warp-pattern twill on five shafts, M's and O's textured weaves for upholstery and pillows, a deeply ribbed fabric, and a tubular padded rib.

An issue of Lily Mills' Practical Weaving Suggestions by Ruth L. Barrett presenting six handwoven apron projects, all woven on one cotton warp threaded to 8-harness rosepath. Each project lists warp, weft and pattern-weft yarns (Lily pearl cotton and three-strand cotton, with color numbers), a weaving sequence, and sewing directions. The projects are a pink apron, gray bib apron, yellow apron, green poncho apron, child's pinafore, and denim aprons with handwoven pockets. It includes a draft sheet, 4-harness rosepath treadling for border bands, and tips on pocket construction, waistband fastening and shrinking cotton.

An issue of Practical Weaving Suggestions by Virginia M. West giving instructions for three handwoven ponchos using Lily Mills yarns. Poncho No. 1 is a warm 40-inch square in plain weave with twill-threaded borders and tassels; Poncho No. 2 is a mohair and wool evening wrap woven as two 16-inch strips joined with the Ball Stitch; Poncho No. 3 is a cotton novelty-yarn beach poncho in warp-patterned Rosepath. Each project lists warp, reed, weft, threading, weaving and finishing directions. Variations include a bed jacket, a matching pillow, and a striped poncho on the same warp.

An issue of Practical Weaving Suggestions by Elmer W. Hickman on weaving cushions in the Scandinavian bound weaving (bunden vavning) technique, in which weft completely covers the warp to give a tapestry-like fabric. It gives general advice on warp, sett, weft yarns, finishing and pillow forms. It then offers instructions and drafts for five cushion designs: Bargello, Scania, Aurora Borealis, Domino and Moderne. Each includes warp and weft specifications, sley, treadling and color suggestions, using Lily Mills yarns.

A four-page leaflet from Lily Mills' Practical Weaving Suggestions in which Eunice Gifford Kaiser shows how the small Honeysuckle overshot threading can yield many designs just by changing the treadling. It explains enlarging a draft by substituting block numbers for harness numbers, then lists eight ways to vary treadling, with sample swatches A through E and their yarns and sett. It also describes applying a Bronson lace treadling to overshot threadings and a huck-like tie-up on four harnesses, with suggested uses such as curtains, bedspreads and towels.

A Lily Mills pattern leaflet by Mary E. Snyder with projects for woven belts, girdles and sashes on four shafts. It opens with a short history of belts and ideas for their use, then gives warp, weft, reed, width, length, drafts, tie-ups and treadling for each project. Projects include twill and rosepath belts, a novelty texture belt, a Canadian ceinture fléchée sash and an adaptation of the Girdle of Rameses. Finishing methods such as macramé knots, braids, fringes and rings or buckles are described.

A six-page leaflet from Lily Mills Company's Practical Weaving Suggestions series (Vol. 3, 1965) on corduroy, a weft pile weave made by cutting overshot pattern floats separated by tabby areas. Frances A. Morgan explains how to cut floats on or off the loom, how sett and float length affect pile, and lists possible uses. It gives a 4-shaft, 26-thread threading and tie-up with counterbalance and jack loom treadlings, followed by eight sample recipes with Lily yarns, colors, sett (18 ends per inch, 9-dent reed double sleyed) and treadling sequences. The cover shows a collage of the samples.

A Lily Mills Company leaflet by Heather G. Thorpe giving instructions for weaving heavy washable bath or bedroom mats on a four-shaft loom using the overshot draft "Pine Cone." It specifies warp, sett, width, and yarns (Lily rug filler and carpet warp), and gives treadling directions for four mat variations, including a twill treadling, a diamond variation, an "opposites" stripe, and a version with table, star and rose elements and a knotted fringe. Photographs of the finished mats and a tie-up and draft are included.

Berta Frey describes how to weave a modern twin-size cotton bedspread in a Swedish lace (turned) structure using Lily's Floss. It gives threading drafts for 40-, 30- and 20-inch looms, with the spread built from panels joined by decorative seams, plus tie-up, treadling units, finishing, yardage and shrinkage test results. A close-up photograph shows the finished spread.

An issue of Lily Mills' Practical Weaving Suggestions with Lillian Hunter's directions for weaving five café (tier) curtain designs, with matching valances. It explains a method of attaching curtain rings to the selvage during weaving, using a weft loop. Each design gives a threading and tie-up draft, materials (mercerized cotton, pearl cotton, linen, novelty yarn), warping plan, sleying, weaving sequence, and finishing and hemming notes. Photographs show the finished curtains and fabric swatches.

An issue of Practical Weaving Suggestions (Lily Mills) by Edna Olsen Healey introducing the Zig-Zag Weave, a four-harness Simplified Drall (Swedish) weave forming two reversible blocks, one shiny and one dull. It gives the basic draft, tie-up, treadling, reed setting, weaving and finishing advice, and full threading plans with Lily yarn specifications for four dinner place mats (aqua, crabapple and white, silver grey linen, cork linen). Further samples include a floss design and three small upholstery patterns, with drawdown grids on the last page.

Instructions by Mrs. Gordon C. MacDonald for weaving a four-harness sampler that combines eleven threadings on one warp, each with its classic tie-up and treadling, plus further treadlings on other tie-ups. It gives the warp and weft specifications (Lily mercerized pearl cotton, 40-inch and 30-inch widths), warping sequence, heddle counts, short threading drafts, tie-ups for counterbalance and jack looms, and treadling sequences. A foldout chart shows the finished sampler layout.

An issue of Practical Weaving Suggestions (Lily Mills) in which Geraldine Woods presents a set of handwoven summer cotton garments for timid weavers: peasant-style skirts, a plaid dress, and dress yardage in small checks and all-over spot patterns. Each project has a draft sheet giving warp and weft yarns (Lily Art. 114 Pearl Cotton 20/2 and Art. 215 Super-Sheen 50/3), color numbers, sett, ends per dent, width, and treadling notes, with threading and draw-down grids. Projects use overshot (Monk's Belt border), 8-harness twill, Hound's Tooth twill, tabby and twill combinations, and a 10-harness spot variation.

A 1962 issue of Lily Mills' Practical Weaving Suggestions in which Virginia M. West gives directions for three reversible chenille rugs (Mosaic, Tiles and Lichen) woven on one Summer and Winter threading on four harnesses. It covers the carpet warp setup, the unit threading and profile draft, the tie-up, and treadling and color sequences for each rug. It also explains a pick-up technique for asymmetric blocks, handling of weft ends, fringe finishing with the Philippine tie, and one more design idea on graph paper.

A Lily Mills leaflet from the Practical Weaving Suggestions series in which Geraldine Wood describes a sampler of point twill variations woven on an 8-harness threading with a red Lily Fine-Weave cotton warp. Each sample is named after a song title, with tie-up numbers, weft and tabby colors, and notes on stripe spacing and treadling. The leaflet includes a cover showing the nine swatches and a handwritten draft sheet with threading, tie-ups and treadlings I through VIII.

An issue of Lily Mills' Practical Weaving Suggestions in which Elmer W. Hickman presents nine four-harness decorative fabrics, designed mainly for handbag material but also suited to screens, room dividers and tray or table-top inlays. The introduction covers color planning, the use of metallic yarns, crackle weave and honeycomb-type drafts, and some hints for weaving with metallics. Each design (Silver Butterfly, Pagoda, Morocco, Aztec, Jewel Case, Jade Gem, Copper Sheen, Spring Orchid, Blue Gleam) has a materials list using Lily yarns, a set and warping plan, treadling by harness, color alternatives, and a draft.

A short instructional leaflet by John S. Fishback on weaving Summer and Winter, issued by Lily Mills as part of Practical Weaving Suggestions. It gives a brief history of the technique and explains the four-thread unit, with a sample warp worked out and three weft methods (singles, pairs, and Dukagang-style repeated treadle). It then covers the sixteen-thread unit with diamond background, with a four-frame chair seat cover and an eight-harness chair seat cover with a central pattern. Yarn specifications, sleying, tie-ups, and treadling orders are included.

A Lily Mills leaflet from the Practical Weaving Suggestions series giving instructions for an overshot table mat called Butternut with Border, woven with emphasis on tabby. It includes the threading draft, warp setting (32 per inch), mercerized pearl cotton warp and six-strand floss pattern weft, thread counts and yarn quantities for eight mats. Three treadling patterns with different hems and colors are given, along with advice on choosing tabby shots between pattern shots and a section on treadling the draft in Rose Fashion versus as drawn in (Star Fashion).

A leaflet from Lily Mills' Practical Weaving Suggestions by Margaret Newman on Satin Honeycomb, a six-harness colonial weave used for white cotton counterpanes. It gives a threading draft, tie-up, treadling, sett and yarn requirements for a 14" x 21" mat, plus advice on tension, beating, draw-in and edges. A second section offers three four-harness honeycomb variations (conventional, reversed tabbies, twill) woven on napkins in perle cotton, and general rules for weaving honeycomb.

A 1971 issue of Lily Mills' Practical Weaving Suggestions bulletin by Doris Clement on weaving quesquemitls (poncho-style capes) from a single striped Wintuk Orlon warp woven in tabby. It gives warp colors, sett, color sequence and weft combinations for two quesquemitls, methods for changing the selvage stripes (repair heddles, cut reed sections), and step-by-step assembly diagrams. It also includes patterns for a reversible feathered necklace, a blue necklace with Gordian knots, and a blue belt, with drafts for 4-shaft threadings.

A Lily Mills leaflet by Berta Frey on weaving a patterned warp-faced rep as an upholstery fabric on four harnesses. It covers yarn choices (pearl cotton and floss warp, heavy and fine weft), sleying and reed choices, take-up, tension, the threading draft, treadling order for sections A-D, and finishing by steam pressing. It also gives the statistics of the illustrated piece, four color combinations, and Lily yarn color charts for Art. 114 and Art. 814.

A Lily Mills Practical Weaving Suggestions leaflet by Ruth Jelks in which a Lion's Paw shell inspires four warps and many weft variations for drapery and upholstery fabrics. Each warp (one-color pink, pink gradation, complementary colors, neutral browns) gives a warp plan with Lily article numbers, yarn sizes and colors, and a sleying table for a 12-dent reed. Weft designs list yardage, shuttle order and treadling, and include a Brooks Bouquet design with step-by-step instructions. The leaflet ends with a Lily yarns and supplies advertisement.

An issue of Practical Weaving Suggestions, published by Lily Mills, presented as a rhyming story of two weavers planning Christmas gifts from two long warps. It gives directions for a green 18-inch warp threaded in Periwinkle overshot and a red 28-inch Summer and Winter warp, with yarn articles, sleying, threadings and treadlings. Projects include aprons, shoe bags, a book cover, bib, towels, table mats, tree sheets, napkins, a stole, evening blouse, mandarin jacket, cummerbund and cottage curtains. Color photographs show the finished items.

An issue of Practical Weaving Suggestions (Lily Mills) with an article by Susan R. Sherburne on weaving place mats from a single four-harness, 8-thread draft using different Lily cotton yarns. She describes experimenting with eight warps and different wefts, and gives instructions for hemstitching on the loom. Each mat (striped black weft, brown striped, natural, natural boucle, yellow, jade, rose, floss) has a materials list, sett of 32 ends per inch and treadling; the striped mats include warping plans.

A Lily Mills leaflet by M. Lillian Hunter presenting ten handwoven drapery and upholstery fabric designs built on traditional threadings rather than plain twills. Designs 1-5 use honeysuckle overshot, 6-8 use M's and O's, and 9-10 use summer and winter, with yarn lists, sleying, threadings and treadling or weaving directions. Photos of fabric samples accompany the drafts, and the text includes advice on planning fabrics for a room and hanging draperies.

A bulletin from Lily Mills showing how weavers can keep records of their work on notebook record sheets. Five sample records give warp and weft yarns, sett, width in reed, threading and treadling for a twill/basket weave drapery, a summer and winter cushion cover (Stars and Roses), a Monk's Belt overshot place mat, a warp-face Log Cabin place mat, and an Isles of the Sea crackle place mat. The records are by Mary Virginia Munford and Rupert Peters, and the back page is a Lily Mills yarn advertisement.