Two pages from the August 1913 issue of Posselt's Textile Journal (pp. 33-34). They continue the series on honeycomb weaves, describing Figs. 1-12 of fancy honeycomb designs with check, checkerboard, diamond and rectangular effects, with repeat sizes given for each. The pages also open a section on weaves and effects in ribbons, covering point paper and weave plans, and include a short note on testing foods and wines for aniline dyes.

A short Shuttle-Craft Bulletin article describing how to weave Honeycomb fabric on an M's and O's threading of two equal alternating blocks. It covers a classical rep-rib version with a heavy chenille outline thread on a light cotton warp, and a second version from von Schimmelmann's Volkstümliche Handwebtechniken in which the heavy thread replaces the first and last shot of each block. Suggested uses are draperies and baby blankets. Two pages of sample photographs accompany the text; no drafts are printed here, but the text refers to the February 1957 issue.

A short article from Master Weaver explaining distorted (deflected) weft, where the pattern comes from weft or warp shifting out of its straight path rather than from a conventional interlacement. It covers colonial honeycomb with alternating tabby and 4:4 basket blocks, sett recommendations (50 to 80 percent closer than for tabby), and Bronson and Overshot based drafts in which heavy pattern weft floats over a fine ground. It includes seven figures with drafts, a variant with long and short floats, and a practical project for a centerpiece in 10/2 cotton with warp and weft details.

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 one-page note from Master Weaver (February 1952) on weaving terminology. It argues that Honeycomb and Waffle are the same weave and that the Swedish "hålkrus" is not honeycomb, suggesting the French "ondulé" as a better equivalent and giving a hålkrus draft. It then distinguishes Dornick weave (the original turned twill from Dornoch, Scotland) from Dornick twill (herringbone twill), with small pattern grids for each.

Part 7 (1901) of Charles G. Petzold's serial textbook on weave construction for textile schools, designers, overseers and loom fixers. It covers honeycomb weaves, several methods of building granite weaves (from plain and rep, sateen with added binders, cross twill with lines removed, and broken twill parts), and Mockel's weaves with four changes built on twill and sateen foundations. It closes with a section on how regular and reversed yarn twist affects light and shade in plain, sateen and twill fabrics, illustrated with photographs. Figures 451-624 are drawdown-style grids, and the issue includes advertisements for Lawrence, Mass. mill suppliers.

Five pages from the July 1913 issue (Vol. XIII, No. 1) of Posselt's Textile Journal. They open with a worsted men's suiting specification (warp and filling details, reed, finish) and then give the first installment of an article on honeycomb weaves, covering ordinary and Brighton honeycomb construction, harness and Jacquard use, and color effects. The issue also includes a continuation of the article on crêpe weaves, here dovetailing twills, with 5-harness twill examples. Many weave draft grids and fabric reproductions are included.

Issue of a small handweaving magazine published by Mary Pendleton in Sedona, Arizona. It gives a draft and directions for a honeycomb coat fabric using Nordic Homespun wool and mohair loop, and a sleeveless wool jacket with side fringe woven on eight treadles. Other items include an editor's reply explaining direct tie-ups for four-harness looms, a piece on figuring yards per pound for cotton, linen, worsted and novelty yarns, a humorous account of weaving in a household with pets, studio news, yarn offerings and equipment advertisements.

February 1939 issue of the Creative Crafts leaflet series from Howell, Michigan. Page 1 has an editorial section with a weaving poem by Ann Campbell, a note on the growing popularity of handweaving, a report on rug weaving opportunities as Japanese cotton rug imports fell, and an announcement of the 1939 National Conference of American Handweavers. Page 2 gives instructions for weaving a honeycomb-technique purse or vase mat on an overshot-style draft, with warp plan, materials and treadling. Page 3 gives a striped or plaid warp plan for kitchen or cottage curtains in cotton, with color sequences and thread counts.

January 1958 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of Santa Barbara, California. The main feature is a project for an "Unconventional Honeycomb" drapery fabric on four shafts, with threading and tie-up drafts, treadling, yarns (20/2 Egyptian cotton warp, plied sufortified rayon and cotton wefts), loom notes for jack and counterbalanced looms, and a cost breakdown. Also included are an editor's column, a cover note on a conventional honeycomb, a review of Rug Weaving for Everyone by Gallinger and Del Deo, a recommended basic library for four-harness weavers, and classified and loom/yarn advertisements.

April 1958 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of Santa Barbara, California. It includes the editor's column, a profile of the Black family's weaving business on Cape Cod, and a four-harness conventional honeycomb draft in cotton and silk with tie-up, threading, treadling, materials and cost per yard. Two book reviews (Mary E. Black's New Key to Weaving and the Swedish text Smavavar) are followed by classified ads for looms and yarns and a loom and yarn supplier marketplace page.

September 1972 issue of the monthly Warp & Weft from Robin & Russ Handweavers, McMinnville, Oregon. It includes the editor's column on summer activities, price increases, new yarns and an upcoming buying trip to Europe, plus a review of Eileen Bolton's Lichens for Vegetable Dyeing. The weaving sample, "Creamy Pink," is a four-shaft honeycomb/waffle weave derived from twill, with tie-up, threading, 24-shot treadling sequence, yarn details and a cost breakdown per yard. The issue closes with a cover photograph note on a Milliken patchwork fabric designed by Eloise Cunningham, classified ads for yarns, books and equipment, and a marketplace page with loom and book advertisements.

February 1982 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It includes an editor's column covering a New Mexico weaving conference, an incoming yarn shipment from England and a planned weaving tour to Australia and New Zealand, plus a review of Lydia Van Gelder's book "Ikat." The main sample is "Pockets of Silver," a 4-harness honeycomb fabric with a draft, treadling sequence, yarn details, a cost breakdown and weaving notes on handling silver lurex. The rest of the issue is yarn lists, classified ads and marketplace ads.

December 1984 issue of Warp & Weft, a monthly from Robin & Russ Handweavers of McMinnville, Oregon. The main feature is a 4-harness Staggered Honeycomb sample with tie-up, threading draft, treadling sequence, yarns used, cost per yard, weaving notes and shuttle tips. It also has the editor's column, a note on the undulating-weft cover photo, reviews of The Craft of Tatting and An Illustrated Guide to Making Oriental Rugs, an announcement of two summer workshops with Jack Womersley, and classified ads for weaving equipment.

Issue of The Looming Arts, Mary Pendleton's bi-monthly handweaving newsletter from Sedona, Arizona. It includes a 4-harness honeycomb pillow fabric with threading, tie-up and weaving directions, Part 8 of the Navajo weaving series on weaving diagonal lines and diamonds, and an 8-shaft wool draper fabric from Ireland with draft. Shorter items cover bell pull wall hangings, a stitchery article on Sedona, a note on bear grass, a rope-making gadget, studio news, reader letters and shop advertisements.

November/December 1971 issue (Vol. 6 No. 6) of The Looming Arts, a bimonthly weaving magazine published by Mary Pendleton in Sedona, Arizona. It contains two multi-harness weaving projects with threading drafts, tie-ups and treadling directions: a four-shaft upholstery chair cover fabric and a ten-shaft honeycomb cross for church paraments. Other items include a Navajo-type handbag woven on a Navajo loom with rope-machine braid trim, a knitted owl Christmas ornament pattern, a new wool yarn (Umatilla), needlepoint workshop news, studio notes, reader letters, and advertisements for looms, yarns and supplies.

An issue of Practical Weaving Suggestions (Lily Mills) in which Virginia M. West explains honeycomb as a treadling method on a Monk's Belt-style two-block threading and presents four projects with yarn, color, and treadling directions. The projects are a bedspread, five sofa pillow designs, three drapery designs adapted from a Swedish Gagnefkrus draft in Palmgren's Vavbok, and two upholstery fabrics. It closes with sections on weaving honeycomb on Summer and Winter and on Overshot or Crackle, including a student's metallic evening purse sample.

January 1967 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It has an editor's letter about a planned European buying trip, a review of Harriet Tidball's monograph Color and Dyeing, and a note on the cover weave "Cannelle" from Oscar Beriau's Home Weaving. Two projects with drafts are given: a semi-sheer Scandinavian-style rib linen fabric for curtains, with warp, weft and cost breakdown, and a honeycomb and plain weave upholstery fabric with a 38-step treadling. The issue ends with classified ads for looms, yarns and equipment, and the Weaver's Marketplace advertisements.

July/August 1971 issue of The Looming Arts, a bimonthly handweaving newsletter edited by Mary Pendleton of Sedona, Arizona. It gives drafts and directions for a four-harness chenille warp-float stripe/plaid drapery fabric, a two-harness weft-float honeycomb, and an eight-harness 'Un-Damask' damask-threaded sample in heavy textured yarns. It also has a tip for improvising a second warp beam with a weighted beaming stick, a report on the 1971 Pendleton Fabric Craft School (Navajo and Hopi weaving classes), the 1972 school schedule and application form, conference dates, and advertisements for looms, yarns and supplies.

Three pages from the September 1913 issue of Posselt's Textile Journal (pp. 62-64), continuing a series on honeycomb weaves. This installment covers their use in Jacquard bedspreads and draperies, with a worked example of a 1200-machine point tie-up: 2399 ends, 28 ends per inch, an 86 inch finished width and 1162 cards cut. Figs. 13-15 show the bedspread sketch and point-paper drawdowns on 8x8 paper, using 8-harness satin, twills, plain weave and honeycomb. Short items follow on natural dyeing with algarobilla resin and on testing the fastness of dyeings.

March 1939 issue of The Shuttle Service, a bulletin from Creative Crafts in Howell, Michigan. It announces the renamed weaving school, the new block-printed cover, equipment for card weaving, inkle and Finnweave, and the 1939 National Conference of American Handweavers at Waldenwoods, led by Mary Meigs Atwater. It includes two instruction leaflets: raffia and carpet-warp porch mats, pillows and bags (Leaflet 1101), and honeycomb-technique bedspread panels with a draft and warp plans (Leaflet 918).

November 1948 issue (Vol. 2, No. 1) of a short monthly newsletter for handweavers published in Chicago. It includes a four-shaft honeycomb-type draft with tie-up and treadling for a washable scarf or stole in cotton, rayon and chenille, with notes on fringe finishing. Other items cover Christmas decorations made from thread cones, a short essay on plain-weave design variations and laid-in techniques, guild and reader news with a loom gadget tip, a note on Scottish cottage weaving, and an advertisement for foot-operated electric bobbin winders.

November 1982 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes an editor's column, a cover photograph note on a 12-harness twill wall hanging shaded from dark to light, and a draft and costing for "Forever Lavender," a honeycomb fabric in worsted wool, chenille and silver gimp on four shafts. Three book reviews cover plaited basketry, knitting with handspun yarns, and embroidery stitches. The issue ends with classified ads and yarn advertisements.

December 1950 issue of Warp & Weft, a monthly published by the Norwood Loom Company of Chicago. It presents the monthly pattern "Hostess Delight," a seven-shaft tablecloth design with a honeycomb and block effect woven in jute and viscose rayon on a 20/2 cotton warp, with threading, treadling and tie-up. Other items include a technical page on cotton threads (sizes, ply, yardage formula, sleying), a review of Sigrid Palmgren's Swedish weaving book Vavbok, a report on a Dorothy Liebes talk on color, a question-and-answer box on treadle arrangements, a note on jute, news of weavers, and a subscription and back-issue order form.

A December 1939 Handweaving News article by Nellie Sargent Johnson describing several ways to weave overshot threading drafts beyond using written treadling directions. It explains weaving "as drawn in", striped pattern-block exercises for beginners, "rose" fashion, "on opposites" with two colors, tabby-free weaving on twill-based patterns, and honeycomb (Halkrus/Spetsväv) treadling. Page 1 includes a key draft and a threading draft, and the text gives Structo loom lever instructions.

A short article from Master Weaver explaining hålkrus (also called Gagnefkrus, spetsväv, lacey weave or colonial honeycomb), a "distorted weft" weave in which tabby and unwoven areas make the pattern weft curve. It covers the structure of the draft, the classical two-shot pattern weft method versus the modern single heavy weft, threading on overshot or plain twill drafts, and limits on use of the fabric. Five draft figures illustrate two-block and four-block versions and twill-threaded variants.

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.

A short article from Master Weaver (No. 15, May 1954) explaining waffle weave, which it equates with industrial honeycomb. It classifies waffle weaves as single or double and as single-face or double-face, and discusses nine drafts (Figs. 1-9) for four and five harnesses, including huckaback-based threadings. It also covers the distortion of squares, asymmetrical drafts, and float strength. A preceding paragraph gives a classroom exercise using graph paper and paper strips to help students link the draw-down to the actual weaving.

An issue of Master Weaver, a bulletin for handweavers published by Z-Handicrafts in Fulford, Quebec. It contains an editorial against advertising that calls weaving easy, an article on weaving coded messages using block patterns, and a piece on three-dimensional texture weaving with irregular yarn mixes, mixed-weave drafts and chenille. It also includes a teaching lesson on drafting symmetrical treadling variations (the 'rose' variation) and an article on Hälkrus (lacey weave or colonial honeycomb), with drafts and drawdowns.

January 1934 issue of a small weaving-service quarterly by Myra L. Davis and Kate Van Cleve. It gives instructions for Danish looped weaving, including history, the rod technique for picking up loops, a draft, and a table cover project in blue cotton. It also has a page of colored counted-grid motifs for Swedish embroidery weave and French tapestry weave, with suggested uses and yarn sizes, and a honeycomb draft for a narrow runner taken from an 1840 Virginia bed cover, with materials and threading directions.

Folio 2 of Elmer Wallace Hickman's "New Weaves from Old" series presents twelve texture-weave fabrics, each with a threading draft, a woven sample photograph, and instructions on warp, weft, sleying, treadling and weaving notes. Projects include a broken-twill coat material, glass curtains, drapery, two twill upholstery fabrics, a honeycomb decorative fabric, Log Cabin and Swedish lace table linens, and a lamp shade fabric. The introduction explains how Hickman discovers new weaves by trying unusual treadlings on short sample threadings, and the final "Tabby Talk" page gives corrections to Folio I and supplier information.

October 1964 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It gives two projects with drafts, treadling, yarn costs and weaving tips: "Buff and Pink," a canvas weave in ramie and silver-twist rayon boucle for drapery and place mats, and an area rug in honeycomb weave using linen rug warp and wool weft. It also has an editor's column, a note on the Dukagang wall hanging on the cover, a review of Elsie Davenport's "Your Handspinning," and pages of classified ads for yarns and books.

Part No. 6 of Charles G. Petzold's serial textbook on the construction of weaves for textile schools, designers, overseers and loom fixers. It covers drafting and the reduced draft, classes of drafts (straight, point or diamond, broken, stepping-up, section, two-division, irregular and mixed), and calculating harness eyes per inch. It also gives a tartan plaid dressing plan and the construction of checkerboard, ray-like and honeycomb weaves from twill, sateen, rep and basket foundations. Most pages carry numbered drawdown figures (about 347 to 450), and the issue includes advertisements for Lawrence, Mass. loom and mill suppliers.

December 1908 issue (Vol. 3, No. 6) of E. A. Posselt's monthly Philadelphia textile trade journal. It carries technical articles on Jacquard designing of honey-comb bed-spreads, suspender webs and horse reins, plush and carpet manufacture, granite weaves, double-cloth weaves for overcoatings and double-faced terry pile, and silk cost sheets. Other articles cover silk throwing, wild silks, wool fibre analysis, loom fixing, cotton spinning devices, silk conditioning, dyeing and finishing of knit goods, and a textile dictionary. The issue also includes mill news and many machinery and supply advertisements.

Two pages of an alphabetical dictionary of textile terms from Posselt's Textile Journal, June 1917, continuing from the May issue and covering entries from Hard Water through Hwayong. Entries define fibres, fabrics, sheep breeds, laces, dyes and chemicals, finishing processes and machinery, with notes on weave constructions for fabrics such as Henrietta, herringbone, honeycomb, hopsack and huck.

A March 1898 article from a Bradford correspondent of the Indian Textile Journal on making cheap low worsted coatings in Yorkshire's heavy woollen district. It gives layouts for three classes of cloth (worsted warp with shoddy weft, with cotton and shoddy weft, and with worsted and cotton warp), including ends, reed, picks, yarn counts and 10- and 12-shaft weave drafts. It closes with 12-shaft honey-comb and related designs for ladies' dress goods, with warp and weft colour orders.

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 two-page excerpt from Posselt's Textile Journal (June 1912) explaining spider weaves, which use floating warp and filling threads to form a net-like honeycomb or hexagon effect over a plain-weave ground. It gives construction rules and describes weaves Figs. 1, 3, 4, 6 and 8 with repeat sizes (e.g. 24 x 28, 28 x 32), their fabric sketches, and a 9-harness dobby drawing-in draft. The scan also opens with the end of a piece on distributing figures in satin settings with the Royle card stamper and repeater, and closes with the start of a section on faults in cotton fabrics (reedy cloth, floats).

A March 1898 article by the Bradford correspondent of the Indian Textile Journal on making cheap low worsted coatings in the Yorkshire heavy woollen district. It describes three constructions (worsted warp with shoddy weft, worsted warp with cotton and shoddy weft, and a two-beam cloth with worsted and cotton warp), giving ends, reeds, picks, yarn counts and drawdowns for 10- and 12-shaft weaves. It also covers the origin of mungo and shoddy and gives 12-shaft honeycomb-type dress goods designs with colour and yarn details.

August 1955 issue of the Shuttle Craft Guild Handweaver's Bulletin (Portfolio Edition) devoted to the waffle weave. It explains the structure of waffle cloth, how to derive a draft and tie-up from a texture diagram, and gives 4-, 5- and 8-harness waffle drafts with rising-shed tie-ups. It also covers designing with waffle weave (materials, sett, take-up, color effects, coat fabric, towels), an article on Dorothea Hulse's imaginative panel WATER, an explanation of tie-up conventions, and the Threadbender newsletter. Mounted woven samples are shown on the final pages.

Issue 24 (June 2000) of the Complex Weavers Medieval Textiles Study Group newsletter. It covers subscription business, member sample updates, and weaving drafts of 2/2 broken twill, honeycomb/Wabengewebe and related structures from NESAT III finds at Coppergate, York. Carolyn Priest-Dorman writes on the kreuzköper (cross twill) with thread counts and comparative finds from Britain, Germany, Sweden and Lithuania. Lynn Meyer contributes a research paper on the textiles of Islamic Spain (linen, cotton, wool, silk, dyes, trade) with bibliography, and the issue ends with upcoming events.

September 1963 issue of Warp and Weft, a monthly handweaving bulletin published by Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's column, a review of Harriet Tidball's monograph on honeycomb weaves (Undulating Weft Effects), and a 5-rib M's and O's place-mat project on four shafts with a linen warp and rayon weft. The featured sample is a four-harness basket and twill hybrid in linen and ramie, with threading, tie-up, treadling, a towel warp plan and a cost breakdown. The issue also has a cover note on a Texas double-weave wall hanging, a cover photograph contest, classified ads for yarns and books, and a marketplace page.

May 1953 issue of the handweaving newsletter Warp & Weft, whose monthly sample is an all-silk shirting woven by Robin & Russ Handweavers of Santa Barbara. The issue gives the 4-shaft threading and tie-up (counter balanced or rising shed), yarns, sett and weft sequence, along with costs and weaving tips for silk. It also has tailoring hints for making a man's sport shirt from handwoven fabric, a report on a round robin traveling exhibit, a review of Rosemary Brinley's Rugmaking, a reader question about a rippling herringbone jacket, a poem, and advertisements.

November 1957 Portfolio Edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild (Vol. XXXIV, No. 11), now run from Bedford, Nova Scotia. It contains Mary Black's study of old pioneer druggets (warp-face rugs), Harriet Tidball's Summer and Winter sequence weaves for contemporary upholstery with thirteen drafted textiles (NF-1 to NF-13), Joyce Chown's two-color plain weave gamp for suiting and coat fabrics, and a cellular blanket weave article with drafts for two samples. It also has Boris Veren's book reviews, the Loom-Side Market advertisements and a Christmas gift list of drafting supplies, plus a Loom Language note on the word 'curtain'.

An article by Marguerite P. Davison showing how varied textures can be obtained by changing the treadling of a few small four-harness threadings. Three plates of woven samples are paired with handwritten drafts for Weaver's Fancy (Forrest C. Crooks, Cliveden Bulletin No. 43), A Finnish Diamond (Anna Henriksson) and a Swiss Twill Design (Helen Seaforth Sedgmer). The brief text gives the warp and weft yarns and sett, explains how tabby use is indicated, and comments on individual treadlings, including honey-comb effects, color use and a sample resembling embroidery.

Volume 6 (September 1963 to June 1964) of the monthly newsletter Drafts and Designs, a guide for 5 to 12 harness weaves published by Robin & Russ Handweavers of McMinnville, Oregon. Each issue presents one pattern with threading and tie-up drafts, treadling sequences, warp and weft yarns, reed and sleying, notes on weaving the fabric, yarn costs, and a photographed swatch. Patterns include Squares, Staggering Stars, Embossed Stars, Starfire (summer and winter), Spots Before Your Eyes, a two-block damask, Gold Diamonds, Parquetry, Swirling Queues and Norwegian Honeycomb.

Lesson 2 of the series "Problems in Teaching" explains how to make a draw-down from the threading, tie-up and treadling drafts. It gives a step-by-step reading of a four-frame draft pick by pick, and suggests a paper-strip exercise to help students connect the draft to the cloth on the loom. The issue also has a short section on waffle weaves (honeycomb), covering single and double waffles, single and double face, four- and five-frame drafts, and huckaback-based threadings.

Article by Elmer Wallace Hickman introducing Scandinavian Spetsvav, which he calls "Lacey-weave", a technique he describes as a vertical counterpart of overshot. Heavier tabby shots pack down the pattern weft to form a pattern of depressions. It covers the weave's Scandinavian names, suggested yarns for table covers, evening bags, knitting bags and pillow tops, and treadling and set-up notes for five drafts. A page of seven drafts with a shared tie-up and a list of Scandinavian weaving books are included.

Issue 26 (December 2000) of the Complex Weavers Medieval Textiles Study Group newsletter. It reproduces workshop notes on weft, warp and compound ikat: definitions, the types of ikat, methods for making weft skeins, warp ikat procedure, dyeing experiments and warp shifting devices. It also gives technical details for the year's calendar samples (Rippenkoeper, 3/3 and 2/1 twill, 3/1 twill, broken diamond twill, and a Wabengewebe honeycomb with twill ground), with drafts for the Coppergate samples, and lists upcoming events and newsletter deadlines.

An article from Master Weaver (June 1952) explaining how to weave lace effects with huckaback, using 6x6 and 10x10 huck threadings on a counterbalanced loom. It covers threading and treadling drafts, tie-ups, edge treatments, slaying (reed denting) sequences, multi-block patterns on eight frames, simplified tie-ups, colour choice and beating. A short note on weaving terminology follows, clarifying the names Halkrus, honeycomb and waffle, with a quoted comment from Marguerite Davison.