A June 1951 Handweaving News article by Nellie Sargent Johnson explaining how to work a backstitch ("Brook's bouquet" type) with a flat netting shuttle on the open plain-weave shed. It gives step-by-step instructions for a square and diagonal pattern combined with Spanish weave (Figure 1) and a diagonal backstitch variation (Figure 2). It also covers materials such as 20/2 linen at 20 threads per inch and carpet warp, and advice on planning designs on cross-section paper. Two photographs show place mats with backstitched borders.

A short magazine article by Marguerite G. Brooks giving instructions for adding hand-manipulated stitches to plain tabby weaving on a two-harness loom. It explains how to make a place mat with 18 Danish Medallion (Danish Diamond) stitch diamonds, and a runner combining Danish stitch with Mexican openwork (Mexican lace). Directions cover linen yarn sizes, sett, thread counts, stitch placement with pins, and row-by-row diamond construction using a crochet hook and shed stick.

Berta Frey describes a hand-manipulated leno (gauze) technique inspired by Peruvian and Guatemalan weaving, worked without doups on an ordinary twill-threaded loom, and it also works on two harnesses. She explains how to pick up and twist warp threads by hand, how to plan designs in units of two squares, and how to lay in pattern blocks, comparing the method to the Spanish 'Red-de-Telar' loom-net. Examples include a fish motif from a tapestry belt and a llama design after D'Harcourt, shown in a sampler photographed in two illustrations and in four figures.

Article by Nellie Sargent Johnson on Spanish weave, a lacy weft-grouping technique worked on a plain weave ground in which weft passes through groups of warp threads to form slanting stitches. She describes how she encountered the technique, gives step-by-step instructions for the basic stitch, and presents variations: pyramid and small figures, tightly pulled borders with open warp spaces, large groups on a picture frame loom, and an overlay stitch. Illustrated with photographs of samplers, towels and runners and with line drawings of weft courses; one page contains a diagram-style draft.

Folio 17 from the Osma Gallinger Tod Studio presents the Spanish openwork weave, a lace-like technique woven on a plain-weave ground using zig-zag weft stitches over groups of warp threads. It gives warp and weft plans, row-by-row directions for four methods, and notes on designing with cross-stitch charts. Most of the folio is charted motifs for lace borders and inserts: baskets, vases, lovers, birds, animals, religious emblems, crosses, and wreaths.

Gertrude Whitman Howells describes the Spanish stitch, a lacy, open weft technique woven on a tabby shed, which she revived after finding an old linen strip in Seville. She gives its history in the Toledo region, the three-movement method, and step-by-step directions for a row of pyramids. She also covers common mistakes, suggested reed, warp and weft yarns, and her use of a colored foundation warp. Illustrations include cross-stitch pattern charts, a sample strip drawing, and photographs of a runner with a fringed end and a corner.

A short 1939 article by Nellie Sargent Johnson explaining how to work the Danish stitch, a blanket-stitch-like technique, on the loom over a plain weave ground. It describes sleying with skipped dents versus freely placed stitches, and spacing and staggering the stitches to form borders. Instructions are given for a place mat in carpet warp and candlewick cotton and for a raw silk bag woven on a 12-inch heddle loom. Four photographs and diagrams illustrate the method and the finished pieces.

A short instructional pamphlet from the Tucson Public Schools Art Department on finger weaving, a tool-free braiding or plaiting method for making bands, belts and straps. It covers choosing yarns, preparing and attaching the warp (knots on a dowel or ring, overhand loops), and four weaving methods: from one side, with one warp thread, with an added weft thread, and from the center. It closes with ways of ending (overhand knots, Guatemalan braid, beads, fringes), helpful hints and a short reference list. Line drawings illustrate the knots and techniques.

A folio of hand-woven lace techniques by Osma Gallinger Tod, worked on a plain-weave (tabby) background on 2- and 4-harness looms. It gives warp plans, threading and weaving directions for Mexican lace stitch (single and double), leno with half-heddles (doupes), Danish medallion stitch, European buratto mesh, simple laid-in and openwork texture rows, nub-type Brooks Bouquet effects, and Spanish openwork doilies. It also includes charts of lace initials, cross-stitch-style motifs and Christmas card designs.

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.

An issue of Lily Mills' Practical Weaving Suggestions in which Berta Frey explains how to weave initials and monograms into lace-weave cloth. It covers picked-up Bronson (Bratton lace), square and diagonal Brooks Bouquet (backstitching on the loom), and a combined Brooks and Danish Medallion technique, with notes on sampler making, yarn choice, sett, and charting letters on squared paper. It includes a simple practice design, photos of a sampler, towels and a blouse, and ends with Lily yarn color and size listings.

June 1952 issue of the Shuttle Craft Guild's Handweaver's Bulletin (Portfolio edition), edited by Harriet Tidball. The lead article covers the Open-shed Warp Bouquet weaves, including Brooks Bouquet, plain and split bouquets, warp settings and the shuttle technique. Other items include suggestions for weaving informal window curtains (plaids, single linens, sleys), a book review of Color Harmony, notes on a yarn measurer and handwoven labels, and guild news about yarns, the portfolio samples and Styles subscriptions.

May 1983 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on yarn arrivals and warehouse work, a cover-photograph discussion of a Brook's Bouquet lace curtain fabric with weaving instructions, and a four-shaft point twill draft called Cedar Wax Wing with sample details, yarn costs and substitution advice. Two book reviews (Straw Work and Corn Dollies; The Self-Sufficient Weaver) are followed by classified yarn advertisements and a marketplace page for spinning, bobbin lace and dye books.

A Lily Mills Company instruction booklet for weaving on a two-harness 14-inch table loom, in four sections. It covers lace techniques (leno, Spanish lace, Danish medallion, Brooks Bouquet, pick-up Bronson lace) with a sampler and six place mats, simple inlay (squares, rectangles, diamonds, designs), Monk's Belt mats, and Dukagang mats. It gives step-by-step directions, weaving plans, yarn specifications (Lily mercerized and unmercerized cottons and floss), and many diagrams and pick-up grids.

The December 1957 Portfolio edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild, now run by Mary E. Black and Joyce Chown. Articles cover Harriet Tidball's prize-winning open-work room divider "Tracery" (Spanish eyelet, wrap stitch, Brooks bouquet), a chiné technique for Christmas tree greeting cards with warp painted on the loom, and bound weaving with humanistic figures (Grenadiers) on overshot diamond threadings in 4 and 5 shafts. Mary Black also reconstructs an old dimity counterpane weave from a coverlet clipping. Other items are a hemstitching tip, filing advice, Boris Veren's book reviews, back-bulletin and advertising pages, photographs of woven portfolio samples, and a 1957 index.

July 1952 issue (Portfolio Edition) of the Shuttle Craft Guild's Handweaver's Bulletin, edited by Harriet Tidball. It explains the Weft Bouquet weaves (Danish Medallion and Danish Stitch) on tabby, with step-by-step instructions, spacing variations, color use, and applications such as fringes, stoles and casement curtains. A second article on threading schedules for Overshot patterns works through an example of dresser scarves in Double Orange Peel, comparing published drafts and calculating the warp threading. The portfolio includes mounted samples and photographs of the technique.

October 1953 issue of the Shuttle Craft Guild Handweaver's Bulletin, continuing a series of lessons for two-harness weaving. Lessons VI to X cover a baby bonnet with Danish Medallions in Nylkara, a two-strip stole in colored checks, buffet roll mats with metallic Guimpe, a sampler of open work weaves, and cocktail or tea napkins with open work borders. The open work lesson gives step-by-step directions for Brookes Bouquet, Spanish Eyelet and pick-up Leno, with diagrams. Each project lists materials, warp setup, sley and weaving sequence for plain tabby on two harnesses.

December 1982 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column on a California conference trip, a cover feature on a white cotton blouse with Brooks Bouquet pick-up lace with row-by-row instructions, and a four-shaft shadow weave wool tweed draft called Carrickmacross with yarn costs. Two book reviews cover Japanese Ikat Weaving by Jun and Noriko Tomita and One Hundred Traditional Bobbin Lace Patterns by Geraldine Stott and Bridget Cook. The issue ends with classified yarn advertisements and shop ads.

October 1955 issue of Warp & Weft, a monthly handweaving bulletin from Robin & Russ Handweavers in Santa Barbara. It includes a profile of Washington weaver Hella Skowronski, a sample feature on the "Brooks Bouquet" hand-manipulated lace weave with a tie-up draft and step-by-step instructions, and a description of the Norwood folding jack loom. It also has reviews of the Swedish crackle-weave book Jamtlandsdrall and of The Scottish Clans and Their Tartans, a Q&A on converting Swedish thread counts, a Swarthmore Check canvas weave note, and loom and yarn advertisements.

March 1956 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara, California. The main feature is the "Danish Medallion" stole, with a four-shaft threading and tie-up draft, special sleying, and step-by-step directions for making raised loop-wool medallions outlined in natural wool, plus notes on stole sizes and a cost breakdown (about $4.28 in yarn per stole). Other items include a profile of weaver and folio publisher Elmer Hickman, a review of his folio "Linens on Parade", a description of the Gilmore loom, a rosepath vest (jerkin) on the cover, and advertisements for looms, Wade speed-warp equipment, and yarns.

February 1956 issue of the Shuttle Craft Guild Handweaver's Bulletin (portfolio edition), edited by Harriet Tidball. It gives a plan for linen kitchen curtains with warp stripes gathered into Brooks bouquets, with four- and six-harness drafts. It continues the series of red and white checked linen designs (18-22): checks outlined in black and white, Atwater-Bronson squares, tabby and basket, Jeans twill, and double twill. It also reprints Mary Atwater's 1926 notes on thin curtains and false ties for counterbalanced looms, a history of the early Bulletins, and a Guild letter. The portfolio page describes the sample swatches, including a 4-harness Rain Drops huck variation.

A two-page instructional leaflet by Nellie Sargent Johnson on weaving gauze or leno, a free pick-up technique done on a plain weave shed. It lists equipment (a small 13-inch heddle loom, netting shuttle, pickup stick) and suitable carpet warp, cotton or linen threads. Step-by-step directions cover the single stitch, single stitch on the top shed only, staggered single leno, and leno combined with Spanish weave, with photographs and a pickup diagram. It also mentions earlier Handweaving News issues on the subject and includes product prices.

An article from Master Weaver on net weaves, in which the warp ends cross over an area wider than one dent of the reed. It describes a hand-made wooden cross-comb with blades that pick up, move and push down groups of warp ends to open a small shed, and a flat picking stick that enlarges the shed. It gives blade dimensions, comb construction, finishing, how to use the comb, and suggestions for weft such as rigid reeds or bamboo alternated with plain tabby. It promises a follow-up article with practical projects.

A short 1940 article by Nellie S. Johnson on how to weave a signature, such as initials, a monogram, or a name and date, into handwoven cloth. It explains planning and reversing a design on cross-section paper, then gives instructions for combining plain weave with laid-in brocading, simple brocading, embroidery weave (dukagang), and Spanish weave. Figures include an alphabet chart and grid plans for initials.

Article by Berta Frey on Greek Lace, a twisted-warp (leno) technique found in Greek handwoven towels and bedspreads from the collection of Florence E. House. It describes the Greek weavers' freedom of design, then gives simplified directions for weaving it on a tabby shed, covering twisting with a pick-up stick, heavy pattern shots, odd numbers of fine tabby shots, and designs charted on cross-section paper. Illustrations show specimens (birds, ducks, grapes, a large bedspread-like cloth) with a draft and design figures. The scan ends with a Questions and Answers column by Mary M. Atwater on rusted and bent heddles and reeds.

Nellie Sargent Johnson describes a form of gauze weave, a loom-woven lace, that she found on an old Roumanian silk head scarf at a 1934 exhibit in Detroit. She explains how a gauze twist is combined with a heavy weft worked in Spanish-stitch fashion, separated by rows of fine plain weave, and she gives the pick-up stick procedure. She also gives her sample's warp and weft materials and sett, and design planning advice using cross-section paper. Photographs show the original scarves and her modern sample, with an enlarged detail and a design drawing.

Short article by Dorothy S. Roberts describing how she wove a long pile string rug for the bathroom on a two-harness colonial loom, tying knots around two warp threads and cutting the pile over a flat stick. It also shows guest towels woven in Spanish lace weave on a fine linen warp, each with a different border design. Material, sizes and sett details are given for the rug and towels, illustrated with photographic plates.

A 1952 instructional handbook by S. M. Mead on taniko, the Maori technique of finger-twined weaving used for decorative borders on cloaks, kilts and belts. It gives step-by-step illustrated instructions for making a sampler: preparing warps and wefts, casting on, twisting the wefts to weave the design, and casting off, plus alternative casting-on and casting-off methods. It also provides graphed patterns with Maori names, instructions for making and lining a taniko belt with leather, and suggestions for other items such as headbands, purses and table mats.

A 1940 Weaver article by Clara M. Youse offering ready-made counted-grid motifs for hand-manipulated weft techniques on the loom. The text explains how to use the motifs from Plates 1 and 2 for luncheon sets, towels, curtains, bath mats and monograms, and gives formulas for the Woven Sheaf Stitch, Spanish stitch, French embroidery weave and Dukagang. Three plates of X-marked grid motifs and an alphabet follow, and the Dukagang formula includes a Rosengang threading.

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.

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.

Issue of The Weaver (Vol. 1, No. 2, March 1936), a handweaving magazine published by Bernat. It includes weaving directions for "on opposites" knitting bags, advice on handwoven clothing fabrics with drafts, a column of questions and answers by Mary M. Atwater, and an article on the Spanish stitch, a rare Spanish technique with open-hole patterned borders. It also covers Scotch tweed drafts, seamless afghans, pillows and bags woven as double-width cloth and tubing, and Atwater's piece on ancient Peruvian textiles with patterns adapted from d'Harcourt. The issue ends with an advertisement for a Bernat yarn sale.

Issue 90 (April 1950) of Ciba-Rundschau, the German-language edition, devoted to the textile techniques of the Maori of New Zealand. Dr. Walter G. Fischel covers the discovery and settlement of New Zealand, Maori culture, clothing (flax and feather cloaks, dog-hair cloaks, rain capes, belts and skirts), plaiting and twining techniques, the taniko border technique, and dyeing methods using bark and mud mordants. The text is illustrated with engravings, photographs and schematic diagrams of twining and taniko, and ends with a bibliography. The issue closes with Ciba company sections on dyes and finishing (a resin catalyst, camaieu effects on natural silk, new dyestuffs) and advertisements.

A two-page article by Karen Searle in the Rigid Heddle column of Minnesota Weaver explaining how to make leno (crossed-warp) lace on a rigid heddle loom with a pickup stick. It covers suitable yarns, tension, single and double leno, Mexican Lace variations, and design ideas such as alternating leno and plain weave groups, with small diagrams and a reference list. The second page also carries notices of regional fiber exhibits and yarn shop advertisements.

A one-page article from the Master Weaver series on net weaves, describing whip net, in which all warp ends cross each other at the same rate with no gauze or tabby ground. It explains a slow pick-up method on a loom set up for open gauze (8/2 mercerized cotton, 16 ends per inch, No. 8 reed) and a faster method using a net-stick with doups, similar to traditional bead lamms. It also mentions making the weave with a net comb. A diagram labeled A through G shows the warp crossings.

A two-page newsletter article explaining how to use a pickup stick (shed stick) on a rigid heddle loom to create extra sheds. It gives step-by-step instructions for picking in front of the heddle and behind the heddle, including the "stick" and "up and stick" sheds. It also covers surface texture, designing pickup patterns on graph paper, uses such as borders and sampling, and a short reference list of books.

Helen Louise Allen describes Tarascan Indian lace weaving she saw in Aranza, Michoacan, Mexico, and how she taught herself the technique at home in Wisconsin. She gives instructions for the single stitch and double stitch, which are picked up with a stick on a two-heddled loom, and for combining them into patterns. She also covers the scalloped edge that results when lace bands are used with plain weave bands, and three ways to avoid it. Illustrations show the gauze weave and the lace stitch sequences.

A one-page instruction sheet on Swedish embroidery weave, a plain-weave technique in which blocks of two to four warp threads are picked up with a sail needle and a design thread, then followed by a binder. It explains how to place cross-stitch-style designs, which materials to use, and how to raise blocks on a twill-threaded loom or with a wide flat stick. Project directions are given for a luncheon set and a bureau set with pincushion, along with six block design charts.

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.

A January 1939 article from Handweaving News by Nellie Sargent Johnson on using texture as a design element in handweaving. It reviews her earlier yearly design articles (1934-1938), then suggests texture experiments: striped samplers combining different yarns and threads, and weaving one simple abstract motif in techniques such as laid-in, embroidery weave, tufting, Spanish weave and Ghiordes knot rugs. It also explains how to enlarge designs on squared paper and argues for abstract rather than naturalistic design.

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.

Article by Nell Steedsman describing a method of weaving Bronson lace on a four-harness (counter-balanced) loom using pick-up sticks, so that designs are not limited to two blocks. It explains the equipment, the Bird's Eye threading used in place of a Bronson threading, pick-up procedures for warp floats, weft floats, and both together, and how to prepare the graph-paper cartoon. Six linen samples (10/2 and 40/2 Lily linen) show borders, corner motifs, monograms, and designs adapted from Mexican and Ojibway sources, with setts and warp counts given.

Mary Atwater describes a "Two-Warp" rug technique woven on a loom with two warp beams, in which a weaving warp interlaces with the weft over a slack-tension stuffer warp that adds thickness. She explains threading in a summer-and-winter style unit, warp lengths and sleying with carpet warp, suitable weft yarns, and treadling for rising and sinking shed looms. She also describes a pick-up method for Finnweave-style pictorial motifs (Peruvian birds, cat, pelican, Guatemalan duck). The article has photographs of sample rugs and a page of drafts, tie-ups and motif charts.

A Lily Mills booklet on making twined bags on the Lily bag loom, a simple finger-weaving technique like that used by American Indians. It covers suitable warp and weft yarns, warping the frame with lark's head knots, making butterflies, half and full twists, color patterning, and finishing with fringes and handles. Project instructions are given for the Bag for Beginners, Jute-Tone Bag, Beige and Coral Bag, and Bird Bag, with a pattern chart for the bird motif and photographs of finished bags.

October 1977 issue of Warp & Weft, a monthly newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's note on his buying trip to England and Europe, a profile of 92-year-old weaver Doris Shattuck, and a 5-shaft project in 2-ply alpaca with tie-up, threading, treadling, yardage and cost details. It also has notes on a coiled basket on the cover, suggestions for weaving worsted stoles with Mexican lace, leno or Danish medallion borders, and classified ads for yarns and books.

Issue No. 58 (July-August 1961) of Master Weaver, S. A. Zielinski's bi-monthly bulletin for handweavers, published by Z-Handicrafts in Fulford, Quebec. It opens with an essay urging handweavers to do individual research in technique, designing and history, with suggested topics and advice on collecting books, drafts and samples. Two technical articles follow: one on combining locked wefts with swivel (a four-shaft weave with a special two-colour treadling notation), and one on multishaft (eight-shaft) overshot with stitching ties. The issue ends with an advertisement for Zielinski's Encyclopaedia of Handweaving, and an advertisement for Handweaver & Craftsman is bound in.

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 short instruction leaflet by Osma Gallinger Tod presenting a four-harness lace sampler on a special threading, a National Conference pattern credited to Mrs. Loraine Kessenich. It gives the warp and threading plan (16/4 cotton or Perle 5, 20 epi, 192 threads) and treadling and weaving directions for fourteen borders, including overshot, Bronson, dropdrall, Spanish lace, leno, Danish medallion, basket weave and Monk's cloth variations. It ends with a list of related lace-weave leaflets and folios offered by the publisher.

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.

A bound run of Shuttle-Craft Guild Bulletin issues from 1951, edited by Harriet Douglas Tidball in Virginia City, Montana. The issues cover Summer and Winter weave (profile drafts, tie-ups, polychrome), linen towels, Brooks Bouquet, rug weaving (two-harness weft-faced rugs, Flossa, rag rugs, chenille), handweaving versus machine weaving, and casual decorative weaves. Later issues include an annotated weaver's bookshelf, color styles for 1951-52, bag fabrics and styles, and open work weaves (eyelet table mats, leno stoles). Drafts, tie-ups, and weave diagrams appear throughout, along with a reprinted Atwater tie-up page.