A short two-page web document by Ralph E. Griswold, the second in a series on crackle weave, covering tie-ups and treadlings. It lists recommended twill-type tie-ups for 4 to 10 shafts that keep floats to a maximum of 3, and describes treadling approaches: traditional block treadling with binding picks, Summer and Winter style, treadling as drawn in, and using different crackle sequences for threading and treadling. Draft examples with drawdowns illustrate each method, and references point to Part 1 and the Master Weaver Library.

A pattern book by Ralph Griswold presenting thumbnail drawdowns of computer-generated crackle weave designs, each labeled with the number of its downloadable WIF file at handweaving.net. The patterns come from a program that randomly varies motif, tie-up, and path, and are grouped by shape (square, wide, tall) and then by size, from about 92 x 92 up to 599 x 599. A short introduction explains the method and cites Griswold's three-part Crackle Weave series.

A pattern book of computer-generated extended crackle weave drawdowns by Ralph Griswold, dated April 27, 2005. A short introduction explains that a program varied the motif, tie-up and path at random, which produced somewhat longer floats than conventional crackle. The remaining pages are thumbnail drawdowns grouped by shape (square, wide, tall) and sorted by size, each labeled with the number of its downloadable WIF file on handweaving.net.

A two-page article from Handweaving News (April 1943) by Nellie Sargent Johnson offering a new crackle weave border draft, with a drawdown and a photograph of four woven borders. It gives treadling sequences for five borders, written in Structo loom lever notation, and describes five methods of weaving crackle drafts: overshot-style with tabby, summer-and-winter-style alternation, three colors without tabby, weaving on opposites, and stripes from single sheds.

A two-page article from the May 1944 Handweaving News in which Nellie Sargent Johnson summarizes earlier issues on crackle weave and gives new four-harness threading drafts. It includes a correction to a threading draft from the May 1941 issue, plus Pattern No. 1 and Pattern No. 2 with drawdowns, tie-ups, and warp arrangements for 420 and 600 threads. Notes cover tie-up conversion for Structo looms and a use of Pattern No. 1 for a luncheon set in dark grey linen and white rayon.

A short 1936 article in The Weaver in which Veva N. Carr describes upholstery fabric woven for a studio chair, using Mary M. Atwater's crackle-weave Draft No. 112. She gives the warp and weft materials, the threading counts, and the X and Y treadling sequences, and also describes a second version on a fine tussah silk warp. A second section gives stripe-by-stripe weft instructions for a plain-weave knee blanket with occasional pattern-shot stripes, along with finishing notes. Two photographic illustrations and a small draft are included.

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 short 1942 article in Weaver describing two handwoven shoulder bags for carrying reading material, woven in crackle weave with carpet warp. The weft strips are cut from the tops of discarded hosiery, which are stretched into tubular cords and re-dyed red and blue. The article gives the construction method, treadling sequences for both bags, threading notes for Structo Spools on a 15-inch reed, and a draft with tie-up.

A short article from Master Weaver No. 67 on using colour in Crackle weave, especially bound Crackle for rugs. It explains how a four-block draft can be woven in different colour orders, how blended and pure colour areas arise, and how to design colour patterns using profiles and short drafts. It ends with a practical rug project (36" by 45", 8/4 cotton warp, heavy 2/2 wool weft in black and white) with threading and treadling, plus an erratum correcting a tie-up in the previous issue's project.

A two-page article from Master Weaver on combining crackle weave with diamond twill in one draft. It explains why the two can be mixed (similar float lengths, so no visible demarcation), and when it is useful: reducing overshot patterns and drawing miniature patterns. Four threading drafts with treadling sequences are given, plus a table cloth project (10/2 cotton warp and weft, 20/2 binder) and advice on avoiding and detecting weaving mistakes.

An article from the Master Weaver explaining crackle weave on four harness frames, comparing it with overshot and summer-and-winter. It covers the four threading units, the incidental heddles needed between blocks, and three basic treadling methods (traditional, summer-and-winter style, and woven as drawn in). It also gives a tie-up for upholstery fabric with long floats on one side, hit-and-miss treadling experiments, and a project for an upholstery fabric in linen with full threading and treadling directions.

A short article by Ralph Griswold on designing crackle weave, a version of point twill, using blocks and motifs. It gives the four-shaft block threadings (A-D), the rules of Berta Frey and Harriet Tidball for inserting incidentals or deleting ends at block boundaries, and extends the approach to six or more shafts. It also presents a motif-along-a-path approach to design, illustrated with drawdowns, and ends with a large sample pattern image.

Part 3 of Ralph Griswold's crackle weave series explains designing with a 1,2,3,2 motif placed along a path. It defines path properties (connected, disconnected, friendly, unfriendly, extent) and shows how flats, friendly paths and disconnected paths affect the resulting drawdowns. It also covers float lengths, palindromic enhancement, modular reduction to fit a given number of shafts, and the very large number of possible paths to explore.

A three-page instructional article from February 1940 by Nellie Sargent Johnson on designing crackle weave threadings for four harnesses. It explains the weave's Scandinavian (Jamtlandsvav) origins, the four overlapping pattern blocks (1&2, 2&3, 3&4, 1&4) built from three- and four-thread units, and how to draw down and key-draft them. It also covers building twill, herringbone and rose-path orders, repeating unit blocks, and the tie-up, including the Structo loom, with threading drafts, drawdowns and key drafts.

A March 1947 issue of Handweaving News by Nellie Sargent Johnson explaining how to design crackle (Jamtlandsvav) threading and key drafts following twill order of pattern blocks 1-2-3-4. It covers key drafts, overlapping two-thread-spaced pattern blocks, check drafts, a short notation using repeat multipliers, and variations such as unequal block sizes and reversing at a center. It closes with an experimental sampler plan for a 240-thread warp of 20/2 cotton with a heddle count table.

A two-page article from the September 1945 Handweaving News by Nellie Sargent Johnson presenting three crackle weave patterns for four-harness looms. It gives threading drafts, key drafts, treadling orders and warp counts for rugs and luncheon sets, including sett, warp size and suggested yarns. It also refers readers to earlier issues of the News with more crackle patterns.

Mary Atwater discusses planning handwoven draperies for a room, covering room size, style, use, pattern versus stripes versus texture weaves, color and material choice. She then presents an original crackle-weave draft, "Rain on the River," for a modern informal room, with a six-treadle tie-up and drawdown. She describes three treadlings, each illustrated by a woven sample: a twill-order block treadling with colored tabby, a summer-and-winter style treadling with coarse brown weft, and an Italian-manner treadling without tabby. She also gives threading variations, color-shading suggestions, warp setting and suitable materials.

Mary Meigs Atwater's leaflet explains the crackle weave, a four-block, four-harness weave she named after a Swedish Jamtlandsvaev structure. It covers the weave's origin, block structure, drafting rules, materials and sett, treadle and table-loom tie-up conversions, and three treadling methods (normal, summer-and-winter style, Italian no-tabby). Drafts include 'Three Flowers', 'Cottage Windows', a modern arrangement, 'Rain on the River' with color-shading instructions, and two rug patterns. The last page advertises Lily Mills hand weaving yarns.

September 1981 issue of Warp & Weft, a monthly from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on a buying trip and a planned reprint of Marta Hoffman's The Warp Weighted Loom, an article on selvage problems and remedies, and the month's project: a rectangular pumpkin pattern in crackle weave on 4 shafts, with a threading and tie-up draft, treadling, and materials. It ends with classified yarn advertisements and a notice for a 1982 weaving tour of Australia and New Zealand.

Veva N. Carr describes weaving a coordinated set of bedroom furnishings in the "Right and Left" crackle weave, based on Mary M. Atwater's 1931 article "The New Crackle Weave." She gives threading counts, sett, yarns and treadling sequences for twin bed spreads, rugs in two color schemes, window curtains, a dresser scarf and towels. Two threading drafts with a tie-up and four illustrations of borders and finished pieces accompany the text.

Part 7 of Ralph Griswold's Code Drafting series applies code drafting to crackle weave using the motif-along-a-path method. A text string such as HELEN OF TROY is converted to a path of numbers with a 4-shaft code table, the crackle motif 1, 2, 3, 2 is placed at each path point, and incidentals are added. Modular reduction then brings the values into range for 4 shafts. The article shows the resulting draft on a 2/2 twill threading and tie-up with its drawdown, and a reflected drawdown. A reference list points to the earlier parts of the series and to Griswold's crackle articles.

A three-page article from Handweaving News (May 1941) in which Nellie Sargent Johnson presents crackle weave patterns for four-shaft looms, adapted from pattern #219 in the old Schleelein book at the Pennsylvania Museum and from a Waern-Bugge damask pattern. Each design comes with a threading draft, key draft, drawdown, warp counts, border arrangements, tie-up, and treadling directions, including notes for Structo looms. Suggested materials are 20/1 mercerized cotton or 40/2 linen warp at 30 epi, with raw silk, rayon or linen wefts, for luncheon sets, runners and table covers.

A three-page article from Handweaving News (November 1940) by Nellie Sargent Johnson presenting pine-tree patterns in crackle weave, adapted from key drafts in an old German pattern book held in a Pennsylvania museum. It gives threading drafts, key drafts and check drawdowns for patterns No. 183, 196 and 192, and explains which of the pattern blocks are woven and how they overlap. It also gives a summer and winter threading alternative on five harnesses and step-by-step instructions for planning a pine tree border.

Article describing how to weave modernistic wall hangings ("harness tapestry") on a four-harness loom using the crackle weave, with pattern weft cut from discarded silk stockings and a contrasting binder of wool or silk floss. It explains the structure, warp and binder choices for two hangings woven by J. B. Cathcart, how to cut and wind the stocking weft, how to manage width and draw-in, and finishing. Treadling tables for both illustrations are given, along with a tabby pattern draft and threading draft.

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.

W. Clyde Dunbar describes three handweaving projects using coarse materials. The first is a rag rug in a Mary M. Atwater crackle-weave pattern on black carpet warp, with threading and treadling directions. The second is a fine-yarn experiment in colors on the same warp set at 24 ends per inch. The third is a pair of drapes in a six-harness Summer and Winter variation of "Star of the Sea", woven in dyed homespun yarn, which he also used for wool rugs and bath mats. Drafts, treadling sequences and photographs of the finished pieces are included.

October 1973 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. The main feature is the monthly sample, a crackle weave called "Fruits of the Harvest", with threading and tie-up drafts for counterbalanced and jack looms, unit-by-unit treadling, warp and weft yarns, reed, and a fabric cost breakdown. Other items include the editor's column, a review of Seonaid Robertson's "Dyes from Plants", a cover photo note on a weft-faced rug, an announcement of the subscription increase to $6.00 as of 1974, and classified and display ads for yarns, looms, and books.

A 1932 Handicrafter article in which Ruby V. Harstine revisits Mary N. Atwater's crackle weave (Jaemtlandsvaev) drafts and reports on cotton runners, towels, rugs and coverlets woven from them. It gives detailed materials, sett, treadling and finishing instructions for Cotton Runners Nos. 1-3 (Diamond and Right and Left crackle patterns, with a pick-up border on No. 3) and for Towels 4-5 and Runner 6 on a Swedish draft from Sigrid Palmgren's Vavbok II. It includes drawdowns of the two crackle patterns and the Swedish pattern, plus photographs of the finished runners.

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 1954 article from Master Weaver explaining how a four-harness-style draft can be woven using a simple tie-up with two tabby treadles, producing crackle, summer-and-winter, swivel and embroidery weaves from 1:3 turned twill threadings. It covers treadling for crackle with binder shots, summer-and-winter float lengths and binder use, the modified tie-up for swivel, and two embroidery weave examples. Six figures give tie-ups and draw-downs.

April 1961 issue of Warp & Weft, a monthly handweaving newsletter published by Robin & Russ Handweavers of Santa Barbara, California. It features a four-harness crackle weave draft in alternating color squares (20/2 Egyptian cotton warp, cotton floss pattern weft) with notes on materials, reed, treadling and cost per yard. Other contents are a profile of Spokane weaving teacher Adeline C. Snyder and her work on small two-harness Peacock looms, a description of the cover placemat in linen pick-up lace and Danish Medallion, two book reviews (Handweaving Patterns from Finland; How to Tailor), and classified ads for yarns and supplies.

A weaving supplement from The Handicrafter (Vol. VI, No. II, Part II) with several articles. Mary Atwater's "Warps and Wefts" covers warp settings, yarn choices and fabric texture for coverlets, linens, tweeds and suitings. Veva Carr describes a bedroom woven in "Right and Left" crackle weave (spreads, rugs, curtains, dresser scarf, towels), and Florence Crocker writes on hand weaving for the house. Atwater's "New Techniques in Summer and Winter Weave" gives drafts and treadlings, including the "Botanical Garden" couch cover, and Waldon Fawcett profiles the Willow Cottage Weavers of Nantucket.

Issue No. 24 (November 1955) of Master Weaver, a bi-monthly bulletin for handweavers published by Z-Handicrafts of Fulford, Quebec. It opens with an editorial on the need for standards and guild certification of weaving teachers and of hand-woven goods sold to tourists, including four categories of handwoven goods. A long article explains crackle weave: threading units, incidental heddles, three treadling methods, upholstery variations, and a practical linen project. The issue also has a drafting lesson on profile variations for two-block patterns (Bronson lace) and an item on converting weft-face drafts into warp-face patterns.

September 1973 issue of Warp & Weft, a monthly newsletter from Robin & Russ Handweavers of McMinnville, Oregon. Editor Russell Groff reports on a buying trip to Europe and the rising cost of imported yarns, and reviews the book Our Scottish District Checks by E. S. Harrison along with Mary E. Snyder's companion booklet. The issue's sample fabric, "Sienna, Sage and Sand," is a crackle weave on 4 shafts and 6 treadles in 20/2 Egyptian cotton with rayon chenille weft, with a 32-shot treadling sequence, sett, and cost per yard. It closes with a co-publishing appeal, a list of incoming yarns, classified ads, and advertisements.

March 1954 issue of Warp & Weft, a small handweaving newsletter from Baldwin, Michigan. The featured sample is a luncheon set in Jamtlandsvav (crackle weave), with a threading draft, tie-up, sleying, warping and treadling for linen warp and green silk floss, plus notes on materials, the pattern source and uses for upholstery. Other items include Anna Rogers's review of the fabrics painted by Mary Cassatt at an Art Institute of Chicago exhibition, craft exhibition announcements, an article on hobby centers and weaving for older adults, a review of Mountain Homespun, anecdotes, a poem, a questions-and-answers column on designing a pictorial tapestry rug, and supplier advertisements.

Bound volume of Loomcraft, a British handweaving quarterly published in Canterbury, Kent, covering Volume 3 from April 1962 to Winter 1965 (Numbers 1-12). Each issue has an editorial, project instructions with threading drafts, weaving lifts and pedal tie-ups for 2- and 4-shaft looms, and sample-bearing tweed articles. Projects include place mats, aprons, tray cloths, bath mats, cushion covers, scarves, head squares, evening bags and dresses, in crackle, overshot, huck, summer and winter, rosepath, bound weave and plain weave. Issues also carry yarn special offers, tuition notices, book notes, reader letters, and Sales and Wants listings.

Bound volume of Loom Music for 1951 (Vol. VIII, nos. 1-10), a Canadian monthly of weaving instruction written by Mary Sandin (Edmonton) and Ethel Henderson (Winnipeg). Each issue is a themed project set with full warp, threading, sleying and treadling details, tie-ups for counterbalanced and jack looms, and yarn sources. Topics include fine and heavy linen table pieces with spaced denting and crackle, upholstery fabrics in overshot, aprons in rosepath and snowball with Italian-style treadling, Flossa and half-Flossa rugs, warp-stripe belts and bags, boucle drapery fabrics with a Swedish pattern translation, card (tablet) weaving, boucle inlay place mats, M's and O's and other towels, and bags. The volume ends with an annual index.

Volume XXI (1964) of Loom Music, a monthly handweaving bulletin by Mary Sandin (Edmonton) and Ethel Henderson (Calgary), bound as ten issues with an index. It gives project instructions with warp, threading, tie-up and treadling details for counterbalanced and rising shed looms. Projects include crackle weave place mats, huck and linen mats, summer and winter, M's and O's tea cloth, semi-circular double width table cloths, Mattor-type rainbow stripes, 8-harness polychrome and double weave, Bronson towels, Monk's belt, barleycorn lace, shadow weave from Gewebe Technik, and inlay Christmas cards and bookmarks. Wall hangings (Soumak, laid-in, Flamsk tapestry) and ecclesiastical weaving (vestments, paraments, symbols and silk sources) are also covered.

A bound volume of the 1930 Shuttle-Craft Bulletin, Mary Meigs Atwater's monthly newsletter for Shuttle-Craft Guild members, running from No. 64 (January) through December 1930. Issues cover a plan for weaving for profit and a cooperative selling group, warp-pile and tufted rug weaving, the new 'Garden Wall' crackle weave pattern and other crackle weave drafts, pick-up weaving (Monk's Belt, Sugar-loaf), Christmas weaving, and linen towels. Many pages carry drafts, treadlings, and Structo loom transpositions, along with Guild news, travelling exhibit notices, and bargain yarn offers.

Bound issues of the Shuttle-Craft Guild Bulletin for 1949 (Volume XXVI), published from Basin, Montana. Topics include colonial all-wool and double-width blankets, a multi-issue treatment of crackle weave theory and table mats, a Peruvian pick-up weave, padded baby blanket and double-woven baby bonnet, Mexican warp-pattern weaves, Summer and Winter aprons, Scottish district checks, and dress fabrics. The issues also carry a directory of Guild members and local weaving guilds, book reviews, a Guild message and price notices, and evaluations of looms and equipment with sources, with many weaving drafts throughout.

Portfolio edition of the Shuttle Craft Bulletin for November 1959, published by Mary E. Black and Joyce Chown in Bedford, Nova Scotia. It contains Joyce Chown's instructions for the Swedish H. V. technique (an inlay/tapestry-like weave on 50-50 tabby), Evelyn Longard's Christmas card insert with a cellophane tree, and Part II of her Variations on a Profile Draft, which gives crackle and summer and winter samples on a four-block profile. Mary Black begins an Aprons International series with three apron designs (including candy stripe and spot Bronson). Other items are a Finnish/Mexican double weave turkey cover by Elizabeth Wittenberg, a Loom Language glossary, a book review column by Boris Veren and advertisements.

Mary T. Caum describes experiments weaving strips for the backs and seats of wooden slat porch and lawn chairs, using carpet warp with novelty cotton, Colonial "links", or Bernat's Smyrna rug yarn. She compares sett (12, 15 and 24 dents) and weft choices, citing Mary M. Atwater's "Clematis Vine" and crackle weave draft No. 112 and pattern 17b from the Recipe Book. The article gives treadling sequences with color numbers, an overshot-style draft, finished dimensions, and a sketch of how the strip is folded into a stuffed pocket and flap that holds it on the chair back.

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.

Mary Meigs Atwater discusses how to choose and design borders for coverlets, table pieces, rugs, runners and hangings. She covers twill, twill-succession, diamond and Russian diaper border threadings for overshot, including forms written on opposites, and how to join border and main pattern. She also explains how to produce a simulated Pine-Tree border in four-harness crackle weave and a true Pine-Tree border in summer and winter, with threading diagrams, tie-ups and treadling directions.

An article describing a method for designing "loom controlled" patterns on a four-harness loom, starting from a key draft of pattern blocks and units that is drawn down on paper to preview the effect. The key draft is then converted into threadings such as 3 and 1 (crackle), 4 and 1, 5 and 1, 6 and 1, 7 and 1, overshot, and summer and winter on six harnesses. Block threading orders are given, along with photographs of woven samples and several key and threading drafts. The authors urge weavers to experiment rather than copy traditional drafts.

Issue No. 67 (January-February 1963) of Master Weaver, a bi-monthly bulletin for handweavers published by Z-Handicrafts in Fulford, Quebec. It continues a series on unusual yarns with a detailed guide to weaving with ribbon (warping, threading, sleying, beating problems and fixes). It also opens a series on twills, covering notation, balanced, biased and reversible twills, warp-face and weft-face types, and false twills. A third article covers colour in Crackle weave and bound crackle, with a rug project (36 x 45 in.) and an erratum for the previous issue. The last page advertises individual weaving lessons.

A 1956 Master Weaver lesson on Summer & Winter weave and its close relationship to crackle. It explains that the two differ mainly in treadling, then covers tie-ups for 4-frame and multi-block drafts, compound tie-ups for looms with few treadles, and deriving a tie-up from a pattern by analysis. It also describes using S-&-W for 3D weft effects, simplifying traditional drafts by eliminating a block, and imitating damask in linen, with a practical place-mat project and threading profile.

An article from The Weaver (1937) on teaching hand weaving to blind and visually impaired adults, drawn from the author's seven years of experience. It describes how students use Braille directions and mark shuttles by touch, and gives case examples with projects: a seersucker rug, a Panama weave cloth rug, linen tray cloths and napkins, and a modernistic crackle-weave rug. Threading and weaving instructions are included, along with a reproduced Shuttle-Craft recipe by M. M. Atwater for a three-strip rug in crackle weave.

Mary Atwater's article on weaving pattern borders on all four sides of a plain center, for lunch cloths, place mats, curtains, shawls and baby blankets. It explains multi-harness solutions and two four-harness methods: weaving in three strips that are sewn together, and carrying the pattern weft across the border sections only. Five diagrams give drafts and treadling directions: a summer and winter 'Pine-Tree' pattern, a crackle-weave 'Whirling Spindle' lunch cloth, a lunch cloth and mats draft, a spot weave border, and a Finnweave Scandinavian-type border.

First article in a series by Lucy Morgan reporting on classes at Edward F. Worst's summer weaving institute at Penland. It covers woven pillow tops, with threading drafts, tie-ups and treadling (tramping) sequences for Pine Trees and Snow Balls in summer and winter, a 16-harness double weave version, Whig Rose, Spring Flowers, and Crackle weave. Warp and weft materials, sleys, and sett are given for each, mostly using Bernat cottons, Perle, Senna and homespun yarns.