First-person account by Roma Crow Walters of weaving small handbags and purses in the Rosengang (Rose Path) threading using wool yarns on a cotton warp. She gives the warp setup (cotton similar to Egypt 16-3, 10 ends per inch, 22 inches wide), the yarns used (Bernat Spanish Stocking, Shetland, Glow Crinkle), and a complete color sequence in throws for the pictured bag, woven on opposites. A short note describes a zippered purse woven on the same threading. The scan also includes a book review of The Game of Weaving, a children's weaving instruction book.

A Swatch Page column from Minnesota Weaver in which Joy Rosner introduces bound weave, a fully weft-faced structure that can be threaded on rose path, summer and winter, or overshot without long skips. It gives materials suggestions (carpet warp, wool or wool-like weft), a four-shaft threading and tie-up, and three treadling and color-order variations: Flame Point, Flame Bargello, and Italian Method. Comments on angle of the points, sleying, and color choice, plus a short bibliography, follow.

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

Part II of Paul O'Connor's series on drafting for weft-faced weaving, covering three-harness weaves. It explains a diamond-grid method for anticipating patterns in straight-draw twill and shows how two- and three-color weft arrangements (AB, A2B, A3B3, ABC and others) change the look of the fabric. A second section treats point twill threading, or Krokbragd, with its three-treadle sequence, color rotations, and the different design on the back of the fabric. Illustrated with drawdowns, a draft, and photographs of the front and back of a sample.

Third article in Esther Hoagland Gallup's series on the simple "Rosengang" (Rosepath) threading, applying it to a flame-stitch (Bargello/Florentine) effect suited to upholstery. She relates the technique to Italian canvas embroidery and explains that the flame effect comes from color order across four-pick "measures" woven on single harnesses 4, 3, 2, 1. Includes color suggestions, advice on restraint, and a large drawdown and smaller drafts of flame-pattern motifs, plus illustrations of a carpet-warp practice piece and a Rosepath stitch sampler.

Grace L. Brumbaugh describes a 36 x 72 inch pictorial wall hanging, "A Renaissance Procession," woven on a four-harness rosepath threading rather than in true tapestry technique. She covers the design inspiration (the Palio of Siena, Gozzoli's Magi, Italian buildings), the two-treadle pattern tie-up with a binder, the yarns used, and the cartoon and bobbin methods. The scan also includes a Q&A column on calculating yarn quantities from linen and cotton counts, applying warp dressing, and sources for rug gauge-bars and knives.

April 1963 issue of Warp and Weft, a monthly handweaving newsletter edited by Russell E. Groff of Robin & Russ Handweavers, McMinnville, Oregon. It includes an editor's column, a cover note on a tapestry by Helga Miles, and a review of Peter Collingwood's Shuttle Craft Guild monograph on rugs. The main projects are a three-harness weft-faced rug (Krokbragd) with threading, tie-up, and treadling suggestions, and a four-harness "Turntable" variation attributed to Bertha Grey Hayes, with threading, treadling, sample photo, and fabric cost figures. The issue ends with classified ads and a marketplace page.

Esther Hoagland Gallup describes using the Rose-Path ("Rosengang") threading on four harnesses to weave warp-covered, weft-faced striped textiles for hangings, upholstery, couch covers and rugs. She covers warp and weft choice, a six-pedal tie-up, design and color rhythm for stripes, and gives pick-by-pick harness and color sequences for seven border designs (Nos. I-VII) in a chocolate, bisque, vanilla, rust and dark brown scheme. The scan also includes continuation fragments of other articles from the same issue: Baby Blankets, The Weavings of Loja Saarinen, and Scandinavian Art Weaving.

Issue of The Looming Arts, a bimonthly handweaving magazine published by Mary Pendleton in Sedona, Arizona. It includes a 4-harness ribbon and wool fabric project with threading draft and tie-up, an 8-harness rigid weft project weaving a turtle design with matchstick, tips on using leftover quill yarns for a Rosepath skirt and stole, and advice on setting warp with a ruler and choosing reeds. Other features are Richard Landis's essay on weaving and finishing linen, a report on the 1968 Fabric Craft School, notes on natural dyeing and spinning, a poem, and advertisements for yarns and looms.

An issue of Lily Mills' Practical Weaving Suggestions by Ruth L. Barrett presenting six handwoven apron projects, all woven on one cotton warp threaded to 8-harness rosepath. Each project lists warp, weft and pattern-weft yarns (Lily pearl cotton and three-strand cotton, with color numbers), a weaving sequence, and sewing directions. The projects are a pink apron, gray bib apron, yellow apron, green poncho apron, child's pinafore, and denim aprons with handwoven pockets. It includes a draft sheet, 4-harness rosepath treadling for border bands, and tips on pocket construction, waistband fastening and shrinking cotton.

October 1985 issue of Warp and Weft, a monthly newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column, reviews of the book KLADER (Creating Fantastic Clothes) and the booklet Studies in Cantu Bobbin Lace, and a 4-harness 'bound' weave (double rosepath) sample in linen and worsted with a draft, treadling, notes and cost breakdown. Other items are an article on mohair and Angora goats, a proposed handweavers' tour of England, Scotland and Switzerland, and yarn advertisements and classifieds.

January 1953 issue of Warp & Weft, a monthly handweaving bulletin issued with a fabric sample, marking the start of its sixth year. The sample is a red winter cotton dress fabric woven on a rosepath variation on four shafts with a doubled novelty pattern weft and tabby, with threading, tie-up, treadling, sett, yarn sources, beat, and dress pattern advice. Anna B. Rogers reports on a Chicago Weavers Guild study group's nine tabby and pattern-thread experiments on overshot, followed by instructions for the pattern-with-tabby technique. Shorter items include fashion notes, a book review of Tour & Shop, a poem, a national craft exhibition announcement, and supplier advertisements.

December 1981-January 1982 issue of the Weavers Guild of Minnesota newsletter. It carries guild news (board minutes, treasurer's report, class schedule, new members, upcoming speakers Joyce Harter and Lila Nelson), a library review of The Fabric Catalog, classifieds, and member profiles of board directors. The main technical piece is Paul O'Connor's article on drafting for weft-faced weaving with three harnesses, covering straight twill and point twill (Krokbragd) with diamond-grid drawdowns and color-rotation motifs. Other features include a report on a Duluth fiber and quilt show, Cherilyn Nelson's article on textiles from the Abu Seiffein churchyard in Akhmim, Egypt, a piece on study groups, and the Guild's Dye Garden publication A Guide to Dye Plants.

April 1982 issue of the newsletter of the Weavers Guild of Minnesota. It announces the April lecture and workshop by Philis Alvic on multi-harness patterned wall hangings and a May talk and workshop by Mary Wovcha on cloth strip weaving. Features include Paul O'Connor's final article on weft-faced weaves (boundweave, with rosepath and overshot-based drafts), a Minneapolis Institute of Arts piece on tapestry manufacture with a mille-fleurs example, a report on the first Textile Council meeting, directions for natural-dyed Easter eggs, and an article on cane and rattan for basketry. The issue also carries guild business, committee notices, new member lists, exhibit listings and the calendar.

July 1954 issue of the Shuttle Craft Guild Handweaver's Bulletin, Portfolio Edition, edited by Harriet Douglas Tidball. It opens with a Forum note on changes to the Bulletin's format and price, then an article on functional design (form follows function). The main article follows a student's project designing a yellow and white summer dress fabric at the loom, developed from a Rosepath threading with 24/2 cotton at 36 ends per inch, with drafts and treadling. Also included are a summary of Trude Guermonprez's address on four stages of handweaving, a guild member comment, the first part of an article on how many harnesses a loom should have, and a page describing the Portfolio samples.

April 1959 issue of Warp and Weft, a monthly handweaving newsletter published by Robin & Russ Handweavers of Santa Barbara, California. It includes an editor's column, a profile of the Portland (Oregon) Handweavers Guild, and a monthly sample with a rosepath threading, tie-up and border treadlings for dry-spun 4/1 linen toweling, with notes on dry- versus wet-spun linen and towel costs. The cover feature describes two wall hangings by William O. Nelson, one a 12-harness summer and winter piece and one a reserve-warp pictorial hanging, with technique details. The issue also has notices of exhibitions and conferences, classified ads for yarns and equipment, and loom and yarn advertisements.

October 1963 issue of the monthly Warp and Weft, published by Robin & Russ Handweavers of McMinnville, Oregon. It gives a full draft for a 4-shaft all-wool twill sample ("Twill Diamonds", a rosepath variation) with warp and weft yarns, sett, tie-up for counterbalanced and jack looms, treadling, beating advice and a cost breakdown. It also gives a 3-harness rug project with treadlings for three rugs in wool, nylon and jute. Also included are the editor's column, a note on four rosepath threading variants, a review of Tapestries from Egypt (children's tapestries from Harrania), and classified ads and supplier advertisements.

June 1969 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. The editor reports on a trip to Switzerland to find silk and other yarns and describes a wall hanging with beads from a California conference cover photo. It also notes the death of Harriett Tidball and gives instructions for a plain-weave shag rug. The monthly fabric sample, Sun-Kissed Gold, is a wool suiting on a rosepath threading with a 4-shaft threading, tie-up for counterbalanced and jack looms, treadling, yarn costs and weaving tips. The issue ends with workshop listings for a Las Vegas festival, classified ads and the Weaver's Marketplace.

June 1983 issue of the monthly Warp and Weft from Robin & Russ Handweavers, McMinnville, Oregon. It includes the editor's note on a buying trip to Europe, a cover-photo analysis of a boundweave rug (overshot threading resembling double-pointed Krokbragd), and reviews of Clotilde Barrett's Boundweaves and Pamela Thompson's Hairpin Crochet. The "Lavender Light" fabric project gives a four-shaft, six-treadle tie-up, threading draft, warp and weft details, treadling, variations and yarn costs. The issue ends with classified yarn advertisements and an Oregon Trail Loom ad.

Issue of The Looming Arts, a handweaving newsletter edited by Mary Pendleton of Sedona, Arizona. It includes an editorial on visualizing uses for yarn, a tip on correcting skips by splicing, a four-harness lightweight clothing fabric in Swedish rosepath with Merino wool, and installments 36 and 37 of the 'Learning How to Weave' series on unweaving and correcting errors. It also has a scarf-knitting article, and a guest article by Inga Krook with a draft for an eight-harness Swedish dräll (Åseda drall) plaid, plus yarn and book notices and advertisements.

May 1963 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers in McMinnville, Oregon, edited by Russell E. Groff. It gives a Swedish apron project on a mixed four-color 20/2 cotton warp, and the "Shades of Brick" upholstery and drapery sample in rose-path on a 16/2 ramie warp with rayon boucle weft, including threading, tie-up, treadling, and a per-yard cost breakdown. It also has an editor's column, a note on the cover tapestry, reviews of three vegetable dyeing manuals, and classified and display advertisements for books, yarns, looms and accessories.

Volume XXII (1965) of Loom Music, the Canadian handweaving periodical edited by Mary Sandin (Edmonton) and Ethel Henderson (Calgary), bound as ten monthly issues and a final volume index. Issues give full drafts, tie-ups, treadlings, warp plans and sources for projects: Rosepath and Bronson lace table linens, Bedford cord and other upholstery fabrics, worsted and tweed apparel yardage, crackle coating, head bands and triangles, Indian bead weaving, Flossa rugs, red-themed items, Arctic finger-woven belts and mitts, place mats and a raffia mat. It also includes warp-setting advice, supplier lists, notes on the Guild of Canadian Weavers, an index to the 1944-1964 theory lessons, a survey of articles published, and the announcement that there will be no 1966 issue.

A two-page instructional article from Handweaving News (December 1947) by Nellie Sargent Johnson on designing original four-harness threading drafts by combining twill, herringbone and rose-path units. It explains how to write a draft up to a center and reverse it, how to treadle on the standard tie-up, and how pattern blocks overlap. The second page gives step-by-step instructions for drawing the woven effect (draw-down) of a threading on paper.

An article from The Weaver explaining how to weave small Christmas and birthday cards in the Dukagang technique on a Rose Path threading, using a small Structo loom with fine cotton warp. It gives warp and weft materials, shed sequences, step-by-step instructions for laying in the pattern, and tips on beating, finishing and hemstitching. Six designs with color charts are included, plus advice on designing your own cards and mounting the finished weaving in photo folders.

A January 1945 Handweaving News article by Nellie S. Johnson on designing four-harness threadings by combining twill, herringbone, and rosepath units. It explains how to vary centers, repeat twills in groups, enlarge pattern blocks, and draw down threadings to see the woven effect. The final page shows key drafts with threadings named Butterflies, Electric Lights, Water Lilies, Totem Poles, and Maple Leaf, by her students Marie Copeland and Laura Spalding.

A two-page June 1946 Handweaving News leaflet by Nellie Sargent Johnson on a four-harness threading that combines twill, herringbone, and rosepath in grouped sections. It gives the warp arrangement for a 390-thread rug warp, a method of counting heddles per harness by threading group, and treadling directions for two rugs and a drapery or upholstery fabric. Weft suggestions include heavy rug filler, cotton chenille, mercerized cotton, and rayon.

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.

A Lily Mills leaflet by Heather Thorpe of the Buffalo Museum of Science, giving directions for four colorful, absorbent hand-woven towels (Rose Border, Rose Bouquet, Rose Trellis, American Beauty). It lists the warp (Lily Art. 714 soft twist 10/3 cotton in five colors), weft (Art. 105 novelty cotton boucle and 10/2 mercerized), reed, a rose path threading with tie-up, and treadling for each towel. It also covers finishing, shrinkage, and color substitutions.

Fall 1951 issue of The Shuttle, a promotional newsletter from January & Wood Co. of Maysville, Kentucky, for Maysville Guild weavers using Maysville carpet warp and rug filler. It presents short profiles of weavers from several states who sell hand-woven rag and filler rugs, with advice on pricing rugs, displaying them for sale, and labeling them. It also promotes Alice K. Cripps's book Adventures in Weaving on a Two-Harness Loom. The main instructional feature is Cripps's article on four-harness Rose Path with four warp colors, including treadling, border, and bag directions on the last page.

October 1954 issue (Portfolio Edition) of the Shuttle Craft Guild Handweaver's Bulletin, edited by Harriet Douglas Tidball. It explains Bound weaving on Overshot threadings, a four-color rotation weave without tabby: tie-up, treadling, shuttle handling, block orders, warp settings and weft materials. It reprints Alan Mackenzie's article on weaving humanistic figures (Grenadier, Yeoman, Sailor and others) by Bound weaving on 4- and 5-shaft diamond drafts, with drafts and figure charts. It also describes a new tabby-surface Overshot rotation weave for upholstery, a Q&A on beat control, and a Threadbender newsletter about subscriptions and the Portfolio edition.

An instruction booklet from Cromaine Crafts of Hartland, Michigan, for the Lezur patent portable hand loom, a small frame loom with four heddle bars. It names the loom parts, then covers warp calculation, winding and tightening the warp, and picking up the threads onto heddle bars from a cross-notation pattern. It also explains weaving plain weave, pattern weave and the two combined, with the Rose-Path pattern as the worked example. The last page is a price list of threads and loom accessories sold by the company.

An issue of Practical Weaving Suggestions by Elmer W. Hickman on weaving cushions in the Scandinavian bound weaving (bunden vavning) technique, in which weft completely covers the warp to give a tapestry-like fabric. It gives general advice on warp, sett, weft yarns, finishing and pillow forms. It then offers instructions and drafts for five cushion designs: Bargello, Scania, Aurora Borealis, Domino and Moderne. Each includes warp and weft specifications, sley, treadling and color suggestions, using Lily Mills yarns.

A Lily Mills Practical Weaving Suggestions bulletin by Toni Ford on heavier table mats that lie flat and stay put. It recommends mat and hem sizes and describes four mats with warp, weft and color details. These are a ribbed mat of alternating heavy and light wefts, a two-size warp mat built of squares, a Rosepath mat in novelty cotton, and a six-harness block-unit mat by Harry Burkett with a threading draft and six-treadle tie-up. It also gives tips on squared texture, warp tension and napkins, and ends with a list of recommended Lily yarns.

Basic Project No. 12 from the Terrace Textures series, giving directions for nine handwoven upholstery and drapery warps (Deauville, Petite, Modern American, Fancy Free, Adventure, Bold Journey, Moon Bow, Sun Ray, Color Ray). Each entry gives a design theme, warp and weft yarns with sources, sett, threading, treadling and shots per inch, with photos of woven samples. Most use four-shaft twill-based threadings (Rose-Path, Bird-Eye) and textured yarns such as boucle, chenille, linen and metallics. The final note explains treadlings are for sinking-shed looms.

Issue of Warp & Weft, a monthly newsletter published by the Norwood Loom Company, Chicago. The issue's featured project is "Silken Rose," a silk dress fabric designed by Robin and Russ of Santa Barbara, with a rosepath threading, tie-up, sley, treadling, and notes on beat and tension. A corrected tie-up is given on page 2. Articles on the history of silk and sericulture and on silk yarn types and handling, a book review of Oelsner and Dale's Handbook of Weaves, guild news, a poem, and a marketplace page of yarns, books, and loom accessories fill out the issue.

Final article in a series on weft-faced weaves, explaining boundweave as a block weave based on twill in which the treadling stays constant (often 2/2 twill) while weft colors are rotated to form patterns. On a four-harness loom it gives four blocks. It covers sett (4 to 6 threads per inch), a rosepath threading and an overshot threading based on rosepath, and a four-color block rotation chart. The figures include drafts, block diagrams and drawdowns, with a design adapted from Else Regensteiner's The Art of Weaving. Boundweave is recommended for rugs, purses and wall hangings.

A three-page instructional article by Nellie Sargent Johnson (June 1941) introducing four-shaft twill, herringbone (reverse twill), and rosepath threadings. It explains the complete 14-treadle twill tie-up, plain-weave tabby treadles, the standard six-treadle tie-up, drawing down woven effects on paper, double-width cloth on four shafts, and weaving rosepath on opposites with two colors. It also compares different ways of writing drafts and tie-ups (numbers, dots, X's, O's, notes), lists Scandinavian and other reference books, and ends with four broken-twill drafts.

An article by Marguerite P. Davison on Monk's Belt and related small-pattern weaves such as Rose Path, Honeysuckle and Swedish Point with Twill. It gives the history and Scandinavian sources of the designs, the warp and yarn standards used for the sample illustrations, and an explanation of the draft notation. Handwritten drafts are labeled as plates (A, C, D+E, F, G) and drawn from Maria Collin, Hulda Peter, Johann Schleelein and Caroline Halvorsen. Photographic plates show numbered woven samples. The scan ends with a book review of Mary Phylinda Dole's autobiography and a continuation of an article on tufted weaving.

A Lily Mills pattern leaflet by Mary E. Snyder with projects for woven belts, girdles and sashes on four shafts. It opens with a short history of belts and ideas for their use, then gives warp, weft, reed, width, length, drafts, tie-ups and treadling for each project. Projects include twill and rosepath belts, a novelty texture belt, a Canadian ceinture fléchée sash and an adaptation of the Girdle of Rameses. Finishing methods such as macramé knots, braids, fringes and rings or buckles are described.

A self-published folio booklet by Elmer Wallace Hickman describing twelve handwoven rug techniques, with a companion technique sheet and sample-sheet specifications for each. Techniques covered include Double Krokbragd, Double Face Weave, Rollakan and Aklae, a modern cotton/rayon rug, Soumak, Imitation Tapestry (clasped weft), False Flossa, Flossa, Rya, Rya with Korndrall ground, Stuffer weave and Indian Saddle Blanket weave. It gives warp and weft yarns and suppliers, sett, treadling, tie-ups, knot-tying and selvage methods, and loom modifications such as an added Stuffer warp beam.

February 1960 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara. It includes the editor's column, a profile of the Arts and Crafts Center of Wichita, Kansas, and a dress fabric project (Chocolate Charcoal) with threading, tie-up and treadling on a rose-path threading using ribbon weft, plus costs and ribbon sources. It also has a note on the cover Bronson weave barbecue cloth, a piece on flax processing and linen seen in Scandinavia, classified ads, and loom and yarn advertisements.

June 1972 issue of Warp & Weft, the monthly newsletter of Robin & Russ Handweavers in McMinnville, Oregon. It features a full draft and weaving instructions for "Buttermilk Sky," a silk and tussah-rayon drapery or coat fabric combining one-spot huck and rosepath, including threading, tie-up, 36-shot treadling, sleying, and cost per yard. Editor Russell Groff also gives a critical report on the Convergence 1972 conference in Detroit, reviews Rene Gardi's "African Crafts and Craftsmen," and describes a tapestry bag by Lucy Delgado on the cover. The issue ends with classified ads for yarns and supplies and a marketplace page.

Bound volume of Loom Music for 1950 (Vol. VII, Nos. 1-10), a Canadian handweaving periodical edited by Mary Sandin (Edmonton) and Ethel Henderson (Winnipeg). Issues give complete project directions with threading drafts, tie-ups, treadlings, yarn quantities and supply sources: Rosepath and Gooseye table linens, tweed and homespun yardage, Crackle weave rug, coverlet and baby blanket, old overshot drafts from Ohio, Swedish lace curtains, Burnham linen towel, Navajo-style rugs, pillows and a vestee with Danish stitch. It also includes the editors' reports on Swedish study visits and weaving schools, the Banff School of Fine Arts summer session, Swedish rug techniques, book lists and a year-end index.

January 1958 Portfolio Edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild, issued from Nova Scotia. It features Harriet Tidball's article on four-block, four-harness Summer and Winter, which resolves a historical coverlet-draft puzzle using unit charts, profile drafts and drawdowns, and her short article on a jewel-tone skirt in a Honeycomb-variant Summer and Winter. Mary E. Black's fashion report covers luxury dress fabrics woven with overshot and metallic threads, and Joyce Chown's article covers Scandinavian bound weaving on rosepath threadings. The issue also has an editorial letter with plans for 1958, color-study advice, a Loom Language glossary, Boris Veren's book reviews, and advertisements.

Spring 1985 issue of The Weaver's Journal, with a loose Scandinavian theme alongside rugs and interiors. Features include the third part of a series on textile conservation, Märta Måås-Fjetterström's tapestries, the Finnish ryijy (rya) tradition and Irma Kukkasjärvi, the Norwegian braided fringe firfletting, Swedish Vadstena picture lace, and an immigrant weaving at the American Swedish Institute. Rag rug coverage includes Log Cabin rag rugs from the Two Harbors area of Minnesota, rag rug lore, and a Finnish-American memoir of a homemade loom. Technical articles cover double-faced krokbragd on six and eight shafts, shaft-switching with weighted floating heddles on rising shed looms, designing for an interior, and three-toned blocks with long-eyed heddles, with drafts. Also contains columns on fashion trends, letters, a calendar, publication notices, classifieds and many advertisements.

January 1937 issue of The Weaver, a quarterly published by Emile Bernat & Sons Co. It contains Nellie Sargent Johnson on free-weaving laid-in technique (hit-and-miss and square motifs), Esther Hoagland Gallup on color-and-harness border designs using the Rosengang threading, and Mary Atwater's Questions and Answers column. Further articles cover the Cranbrook weavings of Loja Saarinen, Veva Carr on Bronson-weave baby blankets, Elmer Wallace Hickman's introduction to Scandinavian art weaving techniques (Aklae, Rollakan, Dukegang, Krabba, Rya, Flossa and others), and Atwater on card-weaving special methods including braided belts and weaving around a square corner. The issue includes drafts, diagrams, photographs of woven pieces, and a Bernat loom advertisement.

A 1939 magazine article by Natalie T. Corbett urging handweavers to use color more boldly. It offers four suggestions: base table pieces on a specific piece of pottery, match bags to the season's fashion colors, take color cues from fabric swatches, and weave luncheon sets for particular dishes. Illustrated with table pieces woven on a Rose Path threading in Bernat wools, with yarn color numbers listed for each; no drafts or treadlings are given.

Nellie Sargent Johnson explains a method for designing four-harness threading drafts by combining and varying three basic threadings: twill, herringbone (reversed twill) and rose-path. She covers balancing a draft around center threads, avoiding doubled threads on one harness when repeating, and building pattern blocks of different sizes, with odd-numbered blocks at the reversal point. Draft examples designed by her students Evelyn Lauer and Marie Copland (Hearts and Flowers, Snow-Flake, Electric Light/Copland's Fancy) are given with threading, lever/treadling directions for a Structo loom, and suggested uses and yarns.

Ruby V. Harstine describes four coats she wove and tailored between 1928 and 1938, giving for each the reed, pattern, warp and weft yarns (mostly Bernat's), color notes, lining, interlining, tailoring details and how the coat wore. A short section gives the threading and treadling drafts used for the coats: rosepath, plain weave, a Flashman original draft, and broken diamond twill. Photographs of the coats are included, and a notice for a July 1939 weaving course at Kate Van Cleve's Brookline studio appears at the end of the draft section.

Instructions for weaving fabric and sewing a pouch-style handbag on a removable "curtain rod" frame, issued as Terrace Textures Basic Project No. 1. It gives four bag designs (the dressy "Elegance" bag with black corde, the "Bow-Knot Beauty" with inlaid wool knots, and two casual bags with multicolored warps). Each design lists yarns, colors, sett, amounts, threading and treadling, and the sewing instructions cover lining, buckram, shaping, handle and frame attachment.