A booklet of 24 miniature overshot patterns for four-shaft hand weaving by Josephine E. Estes of the Weavers' Guild of Boston, distributed by Bare Cove Weavers in Hingham, Massachusetts. Each page gives one pattern with a threading repeat, a drawdown, and treadling in the form of harnesses down and number of times. Short notes cover balancing the design at the web edges, twill borders, color suggestions, and uses such as bookmarks, pincushions, runners and upholstery. Patterns include Bower of Roses, Chariot Wheel, Lovers' Knot, Pond Lily, Snowball, Star of Bethlehem and Wheel of Fortune.

A one-page article from The Handicrafter giving an adaptation of the old Honeysuckle overshot pattern. It describes a two-part treadling: a four-change element repeated in four or five graduated shades of green, followed by a three-change flower motif. A photograph of a woven bag shows the result, and a small four-shaft diagram and treadling directions are included.

A short article by Rose S. Shapiro describing a book cover-carrier made as a gift from a leftover warp of 40/3 linen threaded in a miniature Maltese Cross pattern. It gives the materials used (brown novelty yarn for pattern, gold perle 20 cotton for tabby), sewing instructions with dimensions, a threading draft and treadling sequence, and a diagram of the carrier.

An article from Master Weaver describing a method of weaving coded messages in overshot. A code table assigns each letter of the alphabet to a float length (3-7) and a number of weft picks per block (2-7), with floats of 2 used as word spacers. The article works through the name A.M.Purcell, showing how to derive the threading and treadling and how to decode a woven piece. It also suggests placing short messages such as 'Merry Xmas' in borders, and says a second method for any overshot draft will follow in the next issue. A short editor's note on the out-of-print Encyclopedia of Handweaving and back issues follows.

A three-page 1940 Handweaving News article by Nellie Sargent Johnson presenting three four-harness overshot patterns designed by Helen Hill, a student in her Wayne University class. Each pattern has a drawdown and threading draft with key-draft markers, plus warp arrangements for 420 or 600 threads. The text gives the standard four-harness tie-up with tabby treadles and notes on weaving the patterns on a Structo loom.

A two-page July 1944 issue of Nellie Sargent Johnson's Handweaving News presenting modern two-block designs woven in overshot, adapted from the work of her student Loretta Loughney. It gives key drafts, threading drafts and thread counts for a place mat on a 420-thread warp (20/2 mercerized cotton at 30 epi), with lever directions for Structo looms and the materials used. It also describes 5-and-1, 7-and-1 and 9-and-1 block threadings and mentions that the designs could be woven in summer and winter, M's and O's, and Bronson weave.

Nellie Sargent Johnson introduces a "four and one" variation of overshot in which each pattern block has four threads plus one, producing a nearly solid band effect. She gives a 420-thread warp layout for a modern luncheon set and place mat on a Structo loom, with a threading draft, tie-up and treadling. Weft suggestions cover linen floss, mercerized cotton and color combinations, plus lever sequences for end borders and heavier mats.

Fourth article in Josephine E. Estes's series of miniature overshot-style threading patterns for hand weaving. It gives ten patterns (Quilt Squares, Tile, Lover's Knot, Flower of Flanders, Square and Compass, Small Single Snowball, Double Cones, Mariner's Pride, Magnolia Star, Chariot Wheel), each with thread counts and repeat directions for warps of 72 to 600 ends, plus suggestions for borders, colors and use. Five pages of drafts and drawdowns illustrate the patterns.

A short piece from the Master Weaver posing a puzzle about overshot: how many symmetrical variations can be woven from a very small pattern of four equal blocks. It shows the six traditional variations (three on the face, three on the back) and proposes extra variations G to J, with a draft and treadling for G and H. It ends by asking readers to send in answers, and it opens with the end of an article on tie-ups for huck, lace and symmetrical patterns.

A Swatch Page column from Minnesota Weaver explaining how to read an overshot pattern in both the weft and warp directions. It starts from a honeysuckle weft overshot draft and shows how to derive a warp-pattern draft (tabby on harnesses 1 and 2, pattern on 3-6, with the tie-up turned and x/o swapped). It then combines the two on 8 harnesses for pattern in both directions, with threading and tie-up drafts. Yarn, sett and notes on the sample photos are included, plus a short bibliography.

A three-page article from Master Weaver describing "texture overshot," a way of weaving overshot threadings without a binder so the pattern shows in relief rather than in colour. It explains the treadling blocks (34/43, 23/32, 12/21, 41/14), how to choose treadlings, and why a sample should be woven first. It also covers made-up threadings and ends with a practical project for yardage in 10/2 mercerized cotton warp with doubled rayon weft.

A 1940 article in which Marguerite P. Davidson describes weaving coverlet samplers, threading six overshot coverlet patterns side by side on one warp and treadling each pattern's draft in turn so the other patterns take on hybrid variations. She describes the patterns chosen from Lou Tate's Kentucky Coverlet Book, her own collected drafts, and Philadelphia Museum of Art coverlets, plus the color choices and what she learned. Three pages include photographs of the first, second and third samplers; no drafts are printed.

A two-page article from Handweaving News (August 1943) by Nellie Sargent Johnson giving four-harness adaptations of overshot tree designs taken from the Speck Book, following up on patterns in the June 1943 issue. It supplies threading key drafts and drawdowns for three threading drafts, with instructions for arranging a 420-thread warp (No. 20/2 cotton at 30 ends per inch), border and repeat thread counts, and treadling orders keyed to the levers of a Structo loom. The designs are suggested for borders, towels, luncheon sets, place mats and runners.

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 January 1942 Handweaving News feature by Nellie Sargent Johnson explaining how to turn a name into a four-block overshot pattern using an alphabet code. Letters are assigned to the four pattern blocks, a balanced key draft is written, the pattern effect is drawn down, and a threading draft with check draft is derived. Examples are worked for 'Francis Scott Key' and 'Nellie Sargent Johnson' in three different codes, with tie-up instructions for a four-harness loom and Structo loom.

A January 1944 Handweaving News article by Nellie S. Johnson on designing original four-harness overshot drafts from a code that assigns the letters of a name or phrase to the four pattern blocks. It defines key draft, pattern effect, threading draft and check draft, and gives three letter codes with worked threadings for the phrases "Johnny Got a Zero" and "Their Either Too Young or Too Old." Treadling sequences are given, with instructions for converting them for sinking-harness and rising-harness looms.

A July 1938 installment by Nellie Sargent Johnson in Handweaving News on turning unit-block pattern designs into actual four-harness overshot threading drafts. It explains the four pattern blocks (1&2, 2&3, 3&4, 4&1), how adjacent blocks overlap by one thread, keeping plain-weave alternation correct, and breaking up long skips with single threads or shorter blocks. It also covers weaving as drawn, loom tie-up for treadle and jack looms, weaving on opposites, accidentals, and fitting a draft to a given number of warp threads. A page of figures gives the key draft and threading drafts Nos. 3-9.

A three-page article in Handweaving News on three methods of designing four-block overshot patterns. The first builds the threading from a simple twill order of blocks (the colonial 'Sunrise' patterns), the second uses a herringbone block order (1,2,3,4,3,2), and the third designs 'on opposites' with paired blocks. Each method includes key, threading and check drafts, with warp-count instructions for 400- and 420-thread warps and suggestions for uses such as runners, bags and towels.

A one-page Information Service piece from Master Weaver (1952) on writing overshot drafts for 8 frames. It explains overshot on opposites, where each block uses two frames, so four blocks need eight frames, and why the long back floats need stitching ties in addition to the pattern ties. Three figures show a 4-block diagonal draft, the same draft written in twill-style notation, and an 8-block diagonal. The author argues that 8-frame overshot gave weavers little design freedom, since blocks cannot be combined, and compares it unfavorably with 6-frame summer and winter.

Fred L. Copp describes a method for designing new four-harness overshot patterns by threading an experimental warp with three or four different drafts and weaving them side by side. He recommends weaving each block in both "star" and "rose" fashion, using leftover yarns and a different color for each pattern, and keeping records. He illustrates the method with a sequence of figures (Figures 1-6) that enlarge a butterfly-wing motif derived from Big Pine Burr, Honeysuckle and a Swedish pattern, and argues weavers should adapt Colonial drafts rather than just copy them.

Part II of Josephine Estes's article on miniature overshot patterns for four-harness hand-weaving. It explains what makes a true miniature (a complete pattern reduced to fewer threads and shorter floats) and gives treadling tables for miniatures of Wreath Rose, Maltese Cross, Wheel of Fortune and the Cross (Cross of Tennessee), plus sampler borders. Thread counts and overshot lengths are compared with the originals, and a table of suggested linen and perle cotton warp, sley and weft sizes closes the article. The drafts use a direct tie-up on four treadles.

An article from the Master Weaver newsletter (Fulford, Quebec, November 1954) arguing that colonial overshot can be made modern by using simple block patterns, short uniform floats and a single colour for pattern and binder. It explains the colonial "table" unit drafting method that keeps floats to 5 or 7, the incidental heddles needed to join blocks, and treadling without binder using four coloured shuttles in rotating order. Draft diagrams and treadling tables illustrate the examples.

A short two-page article from Master Weaver on eight-shaft overshot. It contrasts the Colonial transcription of 4-block patterns onto 8 shafts (overshot on opposites) with overshot that has as many pattern blocks as shafts. Drafts show the use of stitching ties and the effect of leaving them out, and the text discusses design possibilities such as multicolor Italian overshot and threading two different patterns on shafts 1-4 and 5-8.

Josephine E. Estes explains four formulas (A-D) for developing several true all-over designs from a single four-harness overshot threading, so weavers need not rely on trial and error. Each formula is explained step by step using patterns from Atwater's Shuttle-craft Book, including Honeysuckle, Solomon's Delight and Morning Glory. A final section adapts Formulas A, B and C to four-block Summer and Winter patterns on six harnesses, using the Wheel and Star pattern. Illustrations 1-5 show the drafting steps and resulting drawdowns.

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

A short column by Mary M. Atwater answering a reader's question about "miniature patterns," which are overshot drafts condensed onto as few threads as possible for upholstery and hangings. Atwater says she dislikes them and prefers keeping the traditional patterns intact, such as Whig Rose. The page also carries a brief book review of the revised edition of Helen Louise Allen's American Hand-weaving, with its added illustrations, tapestry and primitive techniques section, prices and ordering source.

A one-page question-and-answer column by Mary M. Atwater explaining the difference between 'patterns on opposites' and 'weaving on opposites.' She describes how overshot blocks written on opposite sheds (such as Monk's Belt and Pine Bloom) behave, then gives the method of weaving any overshot or summer and winter threading on opposites, with background-color shots on the opposite shed, optional tabby, and use of a template.

Issue of a monthly weavers' bulletin from Cromaine Crafts in Hartland, Michigan. It offers news of weavers and clubs, notices of Conference of American Handweavers sample folios, and three pattern leaflets: the small overshot 'Waldenweave' by Bertha Hayes, a Wheel-of-Fortune coverlet/bedspread pattern for a 32-inch loom, and instructions for piecing weft threads. Threading, tie-up and treadling plans and warp specifications are included.

An article from Master Weaver describing a variant of overshot with six pattern blocks woven on four shafts, using the two tabby sheds as additional pattern sheds. It explains the resulting texture without tabby, with an opposite-shed binder, the eight threading units for floats of 4, 6 and 8, and how to use profile drafts and treadling. It ends with a project for "Gothic" place mats in cotton, giving warp, sett, threading, tie-up, treadling and weft details.

An article from Master Weaver (No. 43, January 1959) on weaving small, widely spaced pattern figures on a plain background using overshot. It explains threading blocks as ground and pattern, treadlings, and ways to weave the ground between figures. It includes two practical projects (cotton place mats and linen place mats) with warp, weft, sett and treadling details, and a variant using six-block overshot with binder treadles. Drafts and figures accompany the text, and the first page also carries the end of a preceding warping instalment.

A short mathematical analysis showing that any two four-shaft overshot threadings of the same length can be blended onto eight shafts, and that only two mappings accomplish this. Using a digraph notation that pairs a shaft from draft I with a shaft from draft II, the author works through the twill-order rule of overshot threading in tables. The result is a summary table giving which eight-shaft mapping to use based on the first warp thread of each draft.

A short 1938 article by C. M. Youse presenting two old four-harness coverlet-style patterns, Mountain Honey Comb (dated 1877, from West Virginia) and Double Peach Seed (dated 1838). Each has a draft, suggested warp, tabby and pattern yarns, sett, and treadling sequences for table looms. The article includes a color suggestion for a plaid effect and instructions for a 36 x 18 inch table scarf.

Article by Osma Couch Gallinger that classifies the overshot patterns in Mary Meigs Atwater's Shuttlecraft Book into Series I-VI (Diamond and Cross, Star and Rose, Wheel, Radiating, Patch, Miscellaneous). It explains the basic motifs (Cross, Diamond, Star, Rose, Wheel, Table) and how they combine, using block notation such as 1&2, 2&3, with skeleton diagrams on check paper of sample patterns for each series. The last page has an unrelated fragment on weaving color-block borders with pattern-shot sequences.

A 1936 article by Elmer W. Hickman on weaving large knitting bags with "on opposites" treadling, in which a colored wool pattern shot alternates with a yellow Perle cotton shot on the opposite shed. He describes his color experiments, including a scheme taken from Czechoslovakian embroidered mittens, and explains the "on opposites" method for beginners. Full directions are given for two colorways, with warp, sleying, threading for the Maltese Cross draft, stripe-by-stripe treadling and yarn color keys. The article also covers handles, lining, finishing and shaping a boxed corner.

A 1931 article from The Handicrafter by R. F. Heartz on alternative treadlings for overshot drafts, inspired by Scandinavian practice. It covers the Pine Cone pattern and Monk's Belt drafts, with treadling directions for a lace-like effect (pattern weft treadled singly with tabby only between blocks) and for building colored blocks on a plain-weave ground. It includes materials and sett suggestions (fine cotton warp at 32 epi, Perle cotton wefts), draft figures and photographs of sample fabrics.

A short pamphlet by Helen Daniels Young, written for novice weavers, explaining how to weave an overshot pattern "on the diagonal" by reading the design-spaces in the warp rather than following a written draft or treadling directions. It includes a practice project (a short warp with sett, threading plan and materials), step-by-step instructions for squaring blocks along the diagonal, and a weaving theory section covering drafts, tabby, pattern harness pairs, blocks, threads-in-common, half-tones, units, and 2-block (Swedish, "on opposites") overshot. The last page lists other Helen D. Young monographs and publications available from Two Cape Cod Weavers.

A booklet of four-harness overshot coverlet drafts collected by Florence Mackley from older weavers on Cape Breton, Nova Scotia, and presented by the Little Loomhouse in Kentucky. The drafts, mostly Scottish in origin, cover chariot wheel, diamond-and-square, snowball, sunburst and bowknot patterns. Each draft page gives the donor, a threading, tie-up and treadling diagram or drawdown, warp and sett figures, and suggestions for place mats, skirts, stoles, baby shawls and drapery. Other pages explain the Scottish way of writing drafts, how to balance a draft and how to reverse the treadling, and the booklet ends with photographs of finished pieces and a cross-index.

Mary Atwater describes a four-harness towelling weave in soft unmercerized cotton, based on Italian and Swedish pieces, in which small overshot threadings are treadled as plain twill with colored borders and tufted bands. She discusses suitable cottons (Bernat's Perugian and Vittoria Strand), warp setting, and gives detailed treadlings for sections (a) through (j) of two illustrated towels. Three threading drafts with sinking and rising shed tie-ups are included (Sweet-Briar Beauty, Dog Tracks, Queen's Delight), along with suggestions for other overshot patterns. The last page carries a notice for the 1941 National Conference of American Handweavers.

A two-page article from Handweaving News (April 1945) by Nellie S. Johnson presenting four-harness Colonial coverlet patterns adapted as overshot rugs. It centers on Sample No.20, "Reflections," and gives key drafts and threading drafts (Figures 2-5) with star, diamond and table figures. Instructions cover warp and sett for a coverlet and a rug, thread counts, treadling sequences for each figure, and how to adjust for rising-harness looms. It ends with an announcement of a summer weaving class at Wayne University.

A February 1941 article by Nellie Sargent Johnson explaining how to write key drafts, check drafts, and actual threading drafts for three-block overshot patterns on four harnesses. It works through five figures, showing how to arrange threadings for a given number of warp threads (for example 600, 240, 420 and 720), including worked arithmetic for selvages and the starting point of the repeat. It also gives rules for writing overshot selvages and for threading blocks "on opposites".

A four-page July 1939 issue of Handweaving News by Nellie Sargent Johnson presenting several four-harness threading drafts for small pieces. It gives drafts for a small three-block pattern by Erma Cox, 'Lindy's Invitation' by Ruth Lindeman, and 'The Spider's Web' by Lillian Dowley, with warp counts for different widths, sett, yarn sizes and lever or treadle weaving sequences. Photographs show a place mat border with napkin, a green fabric sample and a silk and gold thread bag, with color and picked-up motif notes.

Two-page issue of Handweaving News (June 1947) by Nellie Sargent Johnson presenting two 4-block pattern designs by Lillian Cowley, usable as 4-harness overshot or 6-harness summer and winter threadings. It gives threading drafts, heddle counts per harness, tie-up, and treadling orders for each pattern, with warp and weft specifications (20/2 cotton warp, 15-dent reed). The text suggests uses such as borders for towels, bags, luncheon sets and place mats, and includes guild and exhibit announcements.

A three-page article from Handweaving News (March 1945) by Nellie S. Johnson giving two-block weft-pattern threadings for the Hearthside Loom, a small loom threaded in heddle holes and slits. It includes the 'Lasting Beauty' pattern from an old coverlet sample, with threading counts, weaving method using two weft shuttles, and three further threadings (Figures 2-4). It also quotes a reader's letter about rugs and a bag woven on this threading, and gives color sequences for a rug.

A two-page article from Handweaving News (May 1946) by Nellie Sargent Johnson presenting a four-harness Colonial overshot pattern derived from drawings in the Speck Book of the Pennsylvania Museum, first published in the August 1943 issue. It gives the threading draft for a 390-thread carpet-warp rug (12 epi), heddle counts by group, tie-up, treadling orders for border and center, and weft suggestions. It also offers variations for towel and luncheon set borders using fine linen warp.

An article from Master Weaver explaining how to find treadlings for "rose-fashion" patterns, which are symmetrical patterns without a diagonal and so cannot be woven as drawn in. It gives simple rules for converting the basic (as-drawn-in) treadling into Rose 1, 2, 3 and so on by renumbering blocks and treadles. Worked examples are given for 4-block Overshot in swivel effect and for Barley Corn, with threadings, tie-ups and treadling sequences.

An article from The Weaver (April 1937) on a single-harness overshot-type weave, presented as a follow-up to an earlier article on weaving 'on opposites' with a rosepath threading. Gallup explains the loom requirements (a four-harness table loom is preferred), the choice of warp and weft, and the 4-3-2-1 treadling used throughout. She gives color-by-color pick instructions for borders (Diagrams B, B-1, B-1A, B-2) and a large Diagram C of further designs. The last page has charted tapestry-wool patterns (No. 3 peasant, No. 4 French tapestry) with color numbers, and notes on a 'Viking' weaving of 23 colors by Gene Johnson.

An article from The Weaver (October 1936) by John H. Clayton presenting small four-harness projects based largely on colonial overshot-style patterns. It gives drafts with warp-end counts, sleying and finished widths for Orange Peel, Hope, Diamond, Maltese Cross, Church Windows, Rings and Flowers, and a pillow pattern. The text also names the yarns used (Bernat cotton, linen floss, Perleen, Vittora Strand, Weaving Special wool, Homespun) and suggests uses such as place mats, runners, pillows, dress goods and a baby sacque.

Booklet of 24 miniature four-harness overshot patterns by Josephine E. Estes of the Weavers Guild of Boston, completing a set of forty-eight small-scale drafts begun in Part One. Most are reductions of old Colonial patterns, and some are new developments given new names. Each page gives a threading draft with repeat counts, a drawdown, and treadling sequences written as harnesses down and number of times, with border instructions. Short notes give historical background and suggested uses such as bookmarks, upholstery, linens and runners.

Mary M. Atwater's 1937 article on pattern weaving in overshot on six harnesses. She covers using the two extra harnesses for tabby borders around four-harness overshot, six-block patterns (a six-block Lovers' Knot, Diamond and Chariot-Wheel), and overshot woven "on opposites" written for six harnesses, which gives a reversible fabric with stars on one side and roses on the other. Drafts and tie-ups are given, including the 'John Landes' pattern with warp arrangements for a coverlet strip and a pillow top, plus a Monk's Belt stripe arrangement. The scan also includes the end of a different article and a Questions and Answers column.

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