A four-page portfolio insert from the November 1953 Shuttle-Craft Bulletin, made up of mounted fabric samples and brief notes. The text describes two samples of the 2-harness Log Cabin weave: a pot holder fabric woven with Lily cotton yarns in black and wine, and a small comparison sample in 18/2 worsted at 24 ends per inch. The other pages hold a decorated cover, a card with yarn tassels, and a magenta and dark gray woven sample.

A short web article by Ralph Griswold on designing color patterns that are guaranteed to be weavable in color-and-weave work. It defines color patterns as arrays of colored cells with labeled rows and columns, discusses how many cells are needed for k colors, and gives a coloring algorithm for balanced patterns. It lists eight transformations that preserve weavability, such as duplicating, deleting, rearranging, rotating and flipping rows and columns, and illustrates them with grid figures and example patterns.

Part of a serialized German-language article from Melliand's Textilberichte on patterning pullover fabrics. Loescher describes houndstooth/ice-weave (Eisbindung) weave designs, numbered 1 to 7, several requiring 16 shafts, and explains how colour arrangement in warp and weft changes their appearance, and how designs can be turned or used for stripes. The drafts are illustrated as black-and-white pattern grids. The scan begins with the end of an unrelated article on cloth presses with electric heating and ends with the start of a section of E. Frotscher's article on crepe weaves.

A single-page installment of Posselt's "Color Effects" series from Posselt's Textile Journal, February 1919, giving rules and 38 numbered illustrations of how color arrangements in warp and filling combine with weave to produce color effects. Examples cover plain weave in 2 and 3 colors, four-harness even-sided twill, four-harness basket, broken twill, a twill stripe, and a fancy weave. The rule given is that warp color shows where there are risers and filling color where there are sinkers.

A one-page plate from Posselt's Textile Journal giving rules and illustrations for working out color-and-weave effects in textile fabrics. Figures 1 to 38a show how warp and filling color arrangements combine with plain weave, four-harness even-sided twill, basket weave, broken twill and a twill stripe, using two or three colors. The text explains that warp color shows where there are risers and filling color where there are sinkers.

A single-page installment of E. Bittner's series on the construction of weaves, covering color effects. It explains how to work out in advance the look of a weave with colored warp and filling threads, including finding the pattern size as the least common multiple of the weave and color repeats, and drafting on cross-section paper. Figures 517 to 526 show color effects on plain weave, such as cross stripes, warp stripes and block effects, each with a caption giving the color order.

A single page from E. Bittner's series on the construction of weaves, showing figs. 527-535 with their captions. It covers color effects on plain weave, made by offsetting the weave with warp and filling arranged 1 light 1 dark, and introduces color effects on twill weaves, with 3-leaf warp twill and 4-leaf filling twill examples. The page mostly consists of drawdown-style drafts with short explanatory text.

May 1985 issue of Warp and Weft, a monthly newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column about handweavers' conferences in California and upcoming travel, a cover photo note on a finger-manipulated lace transparency woven by Kayo Nakamura, and a list of editor's notes on color theory for weavers. The main project is a color-and-weave plain weave sample in rose pink and white 2/12's worsted, with tie-up, threading, treadling, reed, and cost breakdown. The issue closes with a fly shuttle notice, classified yarn advertisements, and marketplace ads.

Ralph Griswold explains how to decide whether a color pattern, treated as a grid of colored cells, can be woven on a loom as the interlacement of warp and weft threads, each of which has one color. He describes a heuristic method (developed by Gregg Townsend) built on a "forcing pattern", mentions an alternative 2SAT solution, and sketches the program and a proof of correctness. He then shows how to turn a solution into a draft, handling option points by warp, weft, alternating, or random choice, and compares float lengths and shaft and treadle requirements. The last two pages repeat the figures in color.

Two pages from The Textile Mercury of 17 May 1890 with a "Designing" column on new worsted designs and a short item on Russian wools. The column discusses the use of colour with weave, with warp and weft colour schemes (Patterns I-IV) for worsteds in 2 and 2 twill and for check and stripe effects. It gives drawdown designs 95-99, some requiring sixteen shafts. It also gives instructions with threading and pegging plans for a cotton shirting, a vesting and three fancy zephyr tartan dress goods in cotton. The Russian wools item reports wool deliveries at Rostov in 1889 and prices.

A single page from Posselt's Textile Journal that ends the discussion of color-and-weave effects and then gives a full fabric specification for a fancy worsted trousering with a stripe effect. The first part describes color arrangements on point paper and a set of standard color-effect diagrams (plain weave, 4-harness twill, basket and broken twill). The second part gives the warp of 7560 ends, a 56-end by 6-pick weave drawn on a 13-harness fancy draw, the reed, the warp color and yarn arrangement, the filling and the finish. It includes a fabric photograph and a weave and drawing-in draft.

February 1967 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of McMinnville, Oregon. The main feature is a tweed fabric woven in a log cabin weave, with tie-up and threading drafts, yarn and reed details, a 24-pick alternating-weft treadling sequence, notes on gluing broken warp ends, and a cost breakdown per yard. Other items are the editor's column about a planned weaving tour of Britain and Scandinavia, a cover description of a woven and a stitchery wall hanging, a review of A Treasury of Scandinavian Design, and classified ads for yarns, looms and books.

February 1973 issue of the monthly Warp & Weft from Robin & Russ Handweavers of McMinnville, Oregon. The editor announces the purchase of the rights and patents to the Walling floor loom and opens a contest to name it. The main weaving feature is a 4-shaft log cabin draft called 'Lincoln Logs', with tie-up for counterbalance and jack looms, a 32-shot treadling sequence, and notes on using single-ply tweed warp. It also covers fabric cost per yard, a review of Molly Duncan's 'Spin, Dye & Weave Your Own Wool', 1973 weaving conference dates, and classified ads for linen, wool and mohair yarns and books.

March 1979 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It contains the editor's column, a review of Irene Waller's "Design Sources for the Fiber Artist," and a note on the cover tapestry of the Leslie Salt Beds woven for a memorial scholarship fund. The sample, "Mossy Rocks," is a four-shaft log cabin variation in worsted and space-dyed wool, with threading, tie-up, an 18-shot treadling sequence, sett, weaving notes, and cost per yard. The issue also has a workshop announcement for Malin Selander on thick and thin weaves (transparencies), classified yarn ads, and book ads.

February 1953 issue of Warp & Weft, a small American handweaving newsletter published in Baldwin, Michigan. It features a monthly sample, "Ribbon Candy", with a threading draft, tie-up, treadling, colour rotation, yarn and sley details for a rayon/cotton ratine and crochet cotton fabric, plus a follow-up discussion of its log cabin and summer-and-winter effects. Other items include a report from the Cape Guild of Weavers in South Africa, an article on British coronation robes, a review of Adele Coulin Weibel's 2000 Years of Textiles, weaving trivia, advice on earning income from weaving, guild and workshop notices, and supplier advertisements.

A short article from Master Weaver (No. 5, August 1952) on how alternating two or three colours in warp and weft can create pattern effects in simple weaves such as tabby, basket weave and twill. It explains how two-block summer-and-winter patterns can be transcribed into coloured tabby or twill, how to make colour draw-downs, and how colour arrangement can imitate more complex weaves needing more heddle-frames. Twelve figures show drafts and draw-downs. The scan also includes a 'From the Classics' excerpt from Clinton G. Gilroy (1844) on striking up the weft, loom mounting and the swing of the lay.

Two pages from The Textile Mercury, 21 March 1891, with a 'Designing' column of colour-and-weave patterns for woollen and cotton cloth. It gives warp and weft colour arrangements for galateas and spring shirtings (four shafts, cassimere twill), then fancy dress stripes and fashionable checks on six shafts with pegging plans and drafting instructions, and a worsted coating check (Design 23). The pages also include the continuation of an article on the finishing of woollens (raising, cutting, boiling and crabbing, pressing) and short news items on Levant wool and spider silk.

November 1953 issue of the Shuttle Craft Guild Handweaver's Bulletin, continuing a series of lessons on two-harness weaving. Lesson XI covers pot holders in Log Cabin weave, including how to read a color-arrangement draft, with yarn quantities and warp setup. Lesson XII gives six Scottish clan tartan setts (MacIver, Barclay, Ramsey, Cameron, Duncan, MacIntyre) for tabby scarves and explains weaving plaids on a 45-degree diagonal. Lesson XIII describes handwoven Christmas cards using tabby inlay and Calabrian (Italian) inlay with sequins, with step-by-step instructions for three designs, and closes with remarks on the value of two-harness weaving.

December 1977 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on a yarn-buying trip to England, a review of Paula Simmons's Spinning and Weaving With Wool, and a full project, 'Sunny Side Up', a four-shaft color-and-weave twill in 10/2 linen for place mats, with threading, tie-up, treadling, sleying, yardage and cost details. A second project is a miniature overshot bookmark, 'Circle Overshot'. The cover note discusses a Finnweave-style double-weave pickup piece by Terri Albright, followed by classified ads and product notices.

March 1982 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers of McMinnville, Oregon. It includes a staff column, a cover photo note on an ikat silk jacket from the 1982 Northern California Handweavers Conference, and reviews of a Swedish clothing-weaving book and Linda Knutson's book on synthetic dyes. The main project is a log cabin fabric in vicuna tan and natural worsted, with tie-up, threading, 42-shot treadling, materials and cost per yard. A second project is a 4-color twill tartan men's scarf. The issue ends with classified ads for yarns (silk, linen, wool, cotton) and books.

A three-page "Designing" feature from The Textile Mercury, 10 May 1890, giving colour-and-weave designs for worsted and woollen suitings (Designs 90-95) with warp colour orders and weave notes. It also gives a Niger Stripe cloth for the African market, with reed, sett, shaft and colour details and pegging plans, and describes an Indian silk counterpane from the Punjab. Pages 2-3 carry the drawdowns, pegging plans and design diagrams. Page 1 also holds unrelated items on a German factory bill and a letter on West Indian cotton growing.

Two pages from The Textile Mercury of 14 May 1892 containing the weekly 'Designing' column plus unrelated items. The column gives a matting cloth specification with a colored stripe pattern, figured worsted mantling woven with warp and weft weaves and an 8-end diagonal, cotton blouse and dress fabrics on 8 shafts with pegging plans, and a 17-shaft gingham diagonal with warp and weft colour-repeat calculations. The first page also carries a note on new Geranine direct dyes, a patent-dispute letter about card-clothing side grinding, and short news items on fibres and a silk exhibition.

A German-language instruction book by Franz Donat on creating fabric patterns through the colored arrangement of warp and weft threads, using two to six colors. The text covers mixed-color effects and pure color effects (stripes, cross stripes, checks, diagonals, figured patterns), then figured patterns built from compound weaves, motifs, double cloths and triple or quadruple cloths, with notes on color order, binding repeats and Jacquard card punching. About 76 plates present 580 weave drafts (Bindungen) with matching fabric-appearance drawings, plus the five fabric samples mentioned on the title page.

March 1973 issue of the monthly Warp & Weft from Robin & Russ Handweavers, McMinnville, Oregon. It includes the editor's news on a new loom, imported English yarns and an antique dobby loom, a review of Beryl Anderson's Creative Spinning, Weaving & Plant Dyeing, a cover photograph note, and dates for three 1973 weaving conferences. The main project is English Holiday Tweed, a four-harness Log Cabin weave with threading, tie-up, treadling sequence, yarn details and a cost breakdown per yard. The issue ends with classified ads for linen and other yarns and display advertisements.

January 1979 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's account of a trip to Scotland (the Galashiels textile college, Scottish tartan and dye firms, tapestry weaver McDonald Scott), a review of Laya Brostoff's book on professional handweaving on the fly-shuttle loom, and the monthly sample "Rich as Croesus," a four-harness log cabin (rep-type) plain weave suiting fabric with threading, tie-up, 22-shot treadling sequence, yarns, and cost breakdown. The rest is an announcement of two Malin Selander workshops on thick and thin weaves (transparencies), classified yarn ads, and marketplace ads.

February 1980 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It features a heavy linen log-cabin fabric for patio tablecloths and place mats, woven in plain weave with color-and-weave effect, and gives the threading and tie-up draft, warp and weft threads, a 22-pick treadling sequence, and cost per yard. A note explains how to warp a 26-thread pattern repeat on a 2-inch sectional warp beam. The issue also has an editor's column, a review of Eileen Chadwick's The Craft of Hand Spinning, a notice of a September 1980 handweaving tour to the Orient, a cover photo of a 3-harness rug, and pages of yarn and book advertisements.

October 1984 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. It features a log cabin (shadow weave variation) project called Double Parquetry in tussah silk noil, with tie-up, threading, treadling and cost figures, plus a second project for a Swedish Lace baby blanket in Superspun Superwash wool. Also included are an editor's letter on yarn buying, a cover note on Princess Diana's sweaters and the differences between knitting and weaving yarns, a review of Hugo Munsterberg's The Folk Arts of Japan, and classified ads for yarns and books.

A browsing index to the patterns in G. H. Oelsner's A Handbook of Weaves, prepared by Ralph Griswold in 2004. Small black-and-white drawdown thumbnails are grouped by size (width first) and labeled with the numbers of the corresponding WIF files on handweaving.net, which Kris Bruland digitized. The first section of 15 pages covers color-and-weave effect patterns, and the second, much longer section covers all other patterns, from 2 x 2 up to 80 x 88.

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.

Basic Project lesson No. 8 from Terrace Textures giving instructions for two four-harness afghans ("Autumn" and "Cloisonne") and two stoles ("Fantasy Plaid" and "Peridot" with four variations). Each project lists yarns, yardage, sett, color arrangements, threading, treadling and finishing notes such as fringes and a flat-fell seam for joining two loom-width sections. Pages include photographs of the finished pieces and drawdown simulations for Peridot Variations A to D.

A visual pattern book by Ralph Griswold showing thumbnail drawdowns of color-alternate weaves, produced by rearranging the rows and columns of base patterns. The patterns are grouped by size (width first, from 3 x 6 up to 60 x 48), and each is labeled with a five-digit number matching a WIF file on handweaving.net. It serves as a browsing index for finding and downloading the corresponding drafts.

Ralph Griswold's first article in a series on patterns that cannot be woven as sound fabrics when drawn with black warp and white weft. He shows that using both black and white threads in warp and weft, as in color-and-weave effects, can often yield an interlacement that hangs together. A stripe pattern is worked through step by step with pattern, interlacement and draft grids, and a three-step general approach (find colors, choose an interlacement, test soundness) is outlined.

A March 1948 Handweaving News article by Nellie Sargent Johnson on weaving warp pattern rugs, chiefly the two-block "Log Cabin" type, woven on two, four or six harness looms. It covers sett, warp colors, heavy and fine weft alternation, planning block sizes in inches, a key draft, threading and tie-up, and a complete two-figure rug adapted from a Swedish draft with a treadling sequence. Two pages of drafts and figures are included.

A 1932 Handicrafter article by Alma W. Lewis on weaving handwoven bags and matching scarves for sale. It gives warp and weft counts, reed sizes, yarns and weaving sequences for a Rosengang (Rose Path) scarf and bag, a warp-faced Log Cabin bag woven on two harnesses with carpet warp, and a bag using the Queen's Delight pattern. Advice covers choosing colors for the market, linings, interlining, pressing and attaching wood tops and handles, with photographs and a bag pattern diagram.

A browsing catalog of thumbnail drawdowns derived from the WIF files of Ferdinand A. Langewald's rare German pattern book on hand and machine loom weaving (Neueste praktische Lehr-Methode der Weberei). Patterns are grouped by size (width first, then height) and labeled with the WIF numbers used at handweaving.net. The first section covers regular drafts and the last section covers color-and-weave effect drafts, with some three-color drafts shown with gray as the third color. Griswold's introduction explains that Kris Bruland digitized the patterns.

A two-page continuation of M. Loescher's article on designing patterns for pullover fabrics, published in Melliand's Textilberichte in 1927. It discusses weave diagrams (Bindungspatronen, Abb. 8-15) on 16 shafts, including houndstooth variants, ice weaves that alternate warp and weft floats, and the windmill (Mühlen) pattern achieved with 8 or 16 thread colour arrangements and plain-weave tie-downs. The page also opens with the end of a separate piece advocating a German fine gauge (deutscher Feinstich) for knitting cylinders.

Two pages from the Textile Mercury of 16 May 1891, in its designing column. They describe a new jacquard figure for dress or mantle cloth (Figure E, Design 43), built from circular arrangements of graduated spikes, with suggested cotton warp and woollen weft constructions. The pages also give ten plain-weave and ten four-shaft twill colour-and-weave gingham stripe patterns with warp counts, sett and colour sequences, and a new all-over figured design for silk and cotton dress goods with a pegging plan, a 28-shaft straight draft and colour suggestions.

Part one of a German trade-journal article by M. Loescher on designing pullover fabrics in 1927. It explains that Hahnentritt (houndstooth-like), windmill and ice weaves, which are variants of waffle weave, dominated the season. It shows how to build them on point paper by alternating warp and weft floats, and how different warp and weft color arrangements produce checks and stripes from one weave. A 12-shaft example in black and white is described, with sketches a-i and pattern drawings I-IV. The scan also includes parts of two other articles: the end of a piece on a Jacquard card-saving device for Gobelin picture weaving (Max Goll) and a piece on machine-made wire heddles.

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.

November 1952 Portfolio Edition of the Shuttle Craft Guild's Handweaver's Bulletin. It gives a primer on the 4-harness twill (threading direction, tie-ups for counterbalanced and jack looms, treadling, broken twill, herringbone, twill with tabby) and a section on color-effect weaves such as hairline, log cabin, shepherd check, Glen Urquhart and step figures. Also included are a twill color-effect gamp warp plan, a 3-color twill sampler with treadling for seven borders, a list of supply sources for looms, yarns and books, and Paul L. Swisher's article on narrowing the section spacing on sectional warp beams.

A reference collection of color-and-weave twill patterns for straight draw threadings on 2 to 8 harnesses, with over 1800 computer-generated drawdowns. The introduction explains how the number of distinct twills is counted (1 for 3 shafts, 2 for 4, 4 for 5, 14 for 6, 52 for 7, 320 for 8). Each treadling sequence is shown with several warp and weft color arrangements in black and white (W, B, BW, BWWB, BBWW and others). A closing section of photographs of woven samples refers back to the drawdown pages.

December 1959 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara. It includes an editor's column, the start of a series on linen and flax (fiber types, history, glossary of terms such as lea, tow, retting, hackling), and a full draft for 'Royal Dell', a log cabin upholstery fabric in blue cotton and spun viscose, with threading, tie-up, treadling, yarn costs and notes on log cabin weaves. It also covers the cover purse (Summer and Winter clasped weave), classified ads for yarns and equipment, and loom advertisements.

Instructional article by Anna R. Cole on warp-face weaving, in which two contrasting warp colors form reversible patterns while the weft is hidden. It covers materials (carpet warp, Bernat's Rugro, perle cotton), warping, threading for two- and four-harness "Log Cabin" patterns, weaving with alternating pattern and tabby wefts, and finishing fringes. Drafts are given for Log Cabin table mats with six treadling variations, Log Cabin rugs, and a Whig Rose rug. It closes with advice on adapting overshot, crackle, summer and winter, and double weave patterns, plus references to earlier issues of The Weaver.

July 1953 issue of the Shuttle Craft Guild Handweaver's Bulletin, devoted mainly to the Shadow weave. It explains how the weave derives from 2-harness Log Cabin, the paired harness groups and circle diagrams, tie-up, treadling, and drafting from twills or profile drafts. It gives variations, including Mary Atwater's drafts, and a worked example of a baby blanket in nylkara yarn with warp, sett and cost details. The issue also has a report on the Shuttle Craft Ceylon Fund for a village workshop in Ceylon and a description of Irma Green's homemade lease holder for sleying.

April 1977 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes an editor's column on ramie and upcoming conferences, a note on a warp-faced log cabin cover photo, reviews of two books (Crafts of the North American Indians; Carding, Spinning, Dyeing), and a draft for a four-shaft worsted fabric called Burgundy Basketry with threading, tie-up, treadling, sett and cost. The issue ends with a spinning wheel article and classified ads for yarns and books.

January 1955 issue of the handweaving newsletter Warp & Weft, announcing that Robin & Russ Handweavers of Santa Barbara, California have bought the magazine from retiring editor Gladys Rogers Brophil. It includes a profile of the new owners, an overshot Log Cabin bedspread project woven in Orlon with a threading draft, tie-up, treadling and yarn details, and notes on making the spread. Shorter items cover a report on a Cape Town handspun and woven exhibition, a review of Mary Meigs Atwater's Byways in Handweaving, a questions-and-answers column on sewing thread for synthetic handwovens, a poem by Edward Taylor, and classified ads.

November 1978 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It presents a four-harness shadow weave scarf/skirt fabric woven in 2/18's worsted, with tie-up, threading, treadling, reed, and a cost breakdown per yard. The editor writes about the work of producing the bulletin and a weaving tour visit to Moxon's mill in Huddersfield. The cover note covers the Scandinavian Mattor (log cabin) warp-faced technique, and there is a review of The 1979 Craftworker's Market. The issue also has 1851 English cotton mill rules, a conference announcement, and classified yarn and book advertisements.

Issue 28 (June 2001) of the Complex Weavers Medieval Textiles Study Group newsletter. It includes Jacqueline James's account of weaving a red madder-dyed 2/2 twill wall hanging for the Jorvik Viking Centre, modeled on a Coppergate textile, and Nancy McKenna's article on medieval color-and-weave (plaid) textiles with drawdowns of London finds. Charles Kightly surveys textile wall hangings in late medieval York wills and inventories (tapestries, says, painted cloths, embroidered hangings, prices, hanging methods). Other items cover woad pigment, a Renaissance cheese, and Carolyn Priest-Dorman's article on Icelandic shaggy supplementary-weft pile cloaks, with a weaving reconstruction, bibliography and a catalogue of finds.

Winter 1981 issue of The Weaver's Journal, devoted largely to handwoven clothing and accessories. It includes the new cocoon wrap jacket with several woven variations, vests, cardigan and other jackets, a ruana, an oval cape, a child's tulip outfit with loom-controlled inlay, a jacket inspired by West African strip weaving, bags, slippers and a sheepskin-and-weaving article. Technical pieces cover choosing commercial patterns for handwoven fabric, the multiple harness course (crepe weaves, fancy twills), color-and-weave effects on twill, and shaft-switching on boundweave rugs. The issue also has product reviews (Glimåkra looms), book reviews, and advertisements, with many threading, tie-up and treadling drafts and garment layout diagrams.

Ralph Griswold describes an interactive computer application for designing color patterns that are guaranteed to be weavable, without working through threading, treadling and tie-up drafts. The article explains the interface, design and palette windows, symmetry options, layouts (including a Fibonacci-based layout), toggles for enforcing weavability and showing legal colors, and the menus. It closes with notes on user experience and five example designs created with the program.