A one-page technical note from the Master Weaver Information Service on weaving several colours in one row of Summer-and-Winter. It explains how many colours a given number of shafts allows, how weft shots are ordered across blocks, and why more colours make clean block colour harder to achieve. Four draw-down figures illustrate bound weave versus multicolour treadling, with advice on weft and warp choice, colour contrast, and carrying all colours through the whole pattern.

A three-page October 1941 Handweaving News issue by Nellie Sargent Johnson on designing eight-block Summer and Winter patterns for a 10-harness loom. It explains the key draft, the four-thread threading units for each pattern block, and the tie and pattern harnesses. It then shows how to vary the design by combining blocks into verticals, horizontals, checkerboards and stepped combinations (Figures 5-15). It also covers solid borders and weaving with several colors, and offers a sampler and photographs for sale.

An article from Master Weaver No. 35 (September 1957) describing a variation of Summer-and-Winter with floats of 5, 7, or 9 instead of the usual short floats. It requires at least 6 shafts for two blocks and 8 for three blocks. It gives drafts, tie-ups and treadling for each float length, discusses treadle counts for more blocks, and suggests uses in modern texture weaving with heavy yarns and in satin-like tissue effects. It ends with a practical project, a 24 by 36 inch wall hanging in linen and heavy wool, with warp, sett, weft and treadling instructions.

A short instructional leaflet by John S. Fishback on weaving Summer and Winter, issued by Lily Mills as part of Practical Weaving Suggestions. It gives a brief history of the technique and explains the four-thread unit, with a sample warp worked out and three weft methods (singles, pairs, and Dukagang-style repeated treadle). It then covers the sixteen-thread unit with diamond background, with a four-frame chair seat cover and an eight-harness chair seat cover with a central pattern. Yarn specifications, sleying, tie-ups, and treadling orders are included.

Third article in the Master Weaver series on spot weaves, covering double spot weaves that use two heddle frames for the ground. It explains Summer-and-Winter drafts and treadlings, including a twill-form transcription, its relation to crackle, and bound weaving with one to four colours. It then describes Paper Spots, a 6-frame double spot weave: how it is drafted, how it can be woven on four frames, how blocks can be turned, and its suitable uses. Threading, tie-up and draw-down diagrams accompany the text (figs. 1-7).

An article by Helen Louise Allen on designing variations in Summer and Winter weave, using the idea of "swing" music as a metaphor for personal improvisation on a given draft. It gives a checkerboard-block draft for ten- or eight-heddle looms, explains how to combine blocks and nine ways of treating each block (checks, lines, grills, solid), and discusses unit schemes, tie-ups for jack and lever looms, and color. Treadling directions are given for eight designs (I-VIII), with threading and tie-up diagrams and drawdowns.

A March 1941 Handweaving News article by Nellie Sargent Johnson explaining the summer and winter weave for readers who had asked about it. It covers the origin of the name, the structure and threading for two-block four-harness drafts (and extension to 6-10 harnesses), and ten ways of weaving it, including one-and-one, two-and-two, single-shed blocks, stripes, weaving on opposites, pick-up, Dukagang-style embroidery weaving, overshot effects and combined blocks. Page 2 has drawdown diagrams with treadling sequences.

Mary Meigs Atwater describes new ways of using summer and winter weave that old-time weavers did not practice. These include weaving a threading "on opposites" with pattern and background wefts and no tabby, which gives a heavy double-face fabric with reversed colors, and weaving several blocks independently in different colors for tapestry-like effects. She also explains a special tie-up that lets a jack loom produce many sheds through the foot treadles. The "Botanical Garden" couch cover, woven in black silk warp with rayon and wool wefts, serves as the worked example, with treadling directions for one section, a photograph, and a short draft with tie-up.

Mary M. Atwater's article explains summer-and-winter weave on six harnesses: its probable Pennsylvania origin, the name, and why it is more durable and more flexible in block size than overshot. It describes the unit structure (two tie harnesses plus pattern harnesses), the short-draft notation, tie-ups, treadling "one and one" and "in pairs", yarn choices and sett, and weaving in several colors. Three diagrams give a simple diamond pattern in short and expanded drafts, a Colonial pattern with variant tie-ups and treadlings, and pattern #46 from the Speck manuscript.

A short article in which Veva N. Carr describes handwoven wall hangings she made, mostly following Mary Meigs Atwater's designs, and argues they make distinctive decor and gifts. She gives warp and weft materials for each piece, with drafts for an eight-harness Summer and Winter 'Botanical Garden', a second Summer and Winter piece, and a Shuttle Craft Recipe for church weaving with a treadling sequence. She also discusses a Finn Weave wall hanging and the use of samplers as wall decoration.

A short article from Handweaving News (February 1939) by Nellie Sargent Johnson on deriving a two-block pattern from an old Swedish red and white table cloth woven on an 8-harness twill threading. She converts the block key draft into a four-thread "3 and 1" threading that weaves Summer and Winter texture, or Russian embroidery weave, on a regular four-harness tie-up. The article gives threading units, treadle sequences (one and one, in pairs, single treadle), and a full 359-thread draft. It closes with a plan for glass curtains in mercerized cotton with picked-up squares and heavy weft accents.

A three-page issue of Handweaving News by Nellie Sargent Johnson presenting modern, unbalanced two-block luncheon set designs in summer and winter weave, created by her Wayne University students. It gives key drafts, full-width threading drafts, drawdowns, materials, sett, and step-by-step weaving instructions for place mats and napkins woven with the 'one and one' method. The last page adds five more key drafts and an eight-harness damask version of a two-block pattern in linen.

Two projects by Norma R. Johnson published as a Lily Mills leaflet. The Paper Doll Wall-Hanging is a 10-harness Summer and Winter design that weaves small figures (little girls and boys, pine trees, a Guatemalan girl, a jumping boy, an 8-pointed star with cross) on a plain ground. It gives the warp and weft yarns, threading plan, tie-up, and unit-by-unit treadling for finger lever and foot treadle looms. The Upside-Down Mat is a 4-harness waffle-weave place mat in white, black and red cotton, with a threading plan, color sequence and shrinkage notes.

A 1962 issue of Lily Mills' Practical Weaving Suggestions in which Virginia M. West gives directions for three reversible chenille rugs (Mosaic, Tiles and Lichen) woven on one Summer and Winter threading on four harnesses. It covers the carpet warp setup, the unit threading and profile draft, the tie-up, and treadling and color sequences for each rug. It also explains a pick-up technique for asymmetric blocks, handling of weft ends, fringe finishing with the Philippine tie, and one more design idea on graph paper.

An article from Master Weaver (No. 39, May 1958) on weaving summer-and-winter (S-&-W) with a plain tabby ground, so that a block of pattern sits against areas of true tabby. It explains why the traditional draft fails, offers a modified 4-shaft draft that resembles Bronson lace, and gives yarn and treadling options. A second draft uses a fine binder on every shot. It includes a place mat project for 4 shafts, extensions to 8 shafts with 3 to 5 pattern blocks and the treadling needed, and a short 'Curiosity Shop' note on weaving two-block S-&-W with a single tabby shed on an 8-frame damask threading.

Article by Nellie Sargent Johnson on weaving a four-block summer and winter pattern on a six-harness loom. It starts from an ancient 'Whig Rose' fragment in her collection, explains the key draft, block threading units, tie-ups and weaving 'in pairs' and 'as drawn' (star fashion), and gives shot-by-shot directions for several original variations in colored linen floss. These variations include overshot-style skips combined with plain weave and mixed-color pattern rows, suggested for bags, upholstery and chair seats.

Berta Frey's article describes adapting summer-and-winter weaving to modern design by combining blocks and picking up parts of the pattern on a four-harness loom. She explains two samplers (X and Y) woven in stripes, giving lever sequences for tabby-bound and opposite-bound weaving, woven singly or in pairs, and how to bring the shuttle out and back into the shed to pick up blocks. She discusses designing from a draft versus fitting a draft to a design, using examples such as a bath mat and rug, a Monk's Belt foot stool upholstery, and suggestions for rug, luncheon set and silk-and-cellophane materials. Pages include drafts and pattern figures and photographs of the sampler cloths.

A study booklet prepared by Marian Powell for the Des Moines Weavers Guild on Summer and Winter weave. It covers unit structure, blocks and profiles, tie-ups, and weft variations. It then gives many treadling methods, including classical, six-shot rotation, one-and-one, four-and-four, two-and-two, opposites, huck, sequence and twill textures, lace texture, honeycomb, 3D, eyelashes, novelty, polychrome, part polly and spider webs. It closes with warp suggestions and references to sources such as Shuttlecraft Bulletins (Tidball), Master Weaver (Zelinski) and Frey's Designing and Drafting for Handweavers.

Issue No. 6 of the small weaving newsletter Warp and Weft, edited by Mary F. Bottlemy. It opens with an editorial on American responsibility and gives a project for a four-harness, two-block summer and winter rug woven with chenille on a carpet warp set 12 to the inch. The rug has a 400-thread threading with repeat table, tie-up and treadling notes (tabby on treadles 1 & 3, blocks on 2 & 6 and 4 & 5). A further article lists what to check when buying a loom: sturdy parallel beams, a heavy adjustable beater, free-moving harnesses and long heddles, easy tie-ups, loom depth and front-hinged treadles. The last page advertises a Chicago weaving studio and custom-built looms.

April 1967 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's note on his coming trip to the British Isles, Switzerland and Scandinavia, conference announcements, a review of Harriet Tidball's monograph on summer and winter and other two-tie unit weaves, and a project, 'Red and White, A Patio Delight', for patio place mats or a tablecloth. The project gives a four-harness threading, tie-up, two treadling sequences and cost figures. The issue ends with classified yarn and equipment advertisements.

Mary Meigs Atwater's continuation of her article on weaving pattern borders on all four sides of a plain center, from The Weaver. She describes methods for four-harness looms, including weaving in three strips that are sewn together and carrying a pattern shuttle across only the border section, and gives drafts for a summer and winter 'Pine-Tree' design and a double-weave 'Whirling Spindle' pattern. A separate Shuttle-Craft recipe covers a lunch cloth and mats in lace weave, followed by spot-weave borders and a Finnweave Scandinavian-type border.

Article profiling Mrs. Margaret Bergman of Poulsbo, Washington, a Swedish-born weaver and teacher in the Puget Sound region, and presenting her summer and winter draft "The Constellation Orion." It recounts her weaving history from Jemtland, Sweden, her rag rugs, her discovery of summer and winter through Mrs. Atwater's book, her folding loom, and her teaching. A table cover woven by her pupil Mrs. Gaudy illustrates the pattern, and the draft includes a Nebula border and a Tree border with tie-up.

Issue No. 35 (September 1957) of Master Weaver, a bi-monthly bulletin for handweavers published by Z-Handicrafts of Fulford, Quebec. It contains the last article in a series on designing, 'Numerical Patterns', which builds colour patterns on graph paper from counted sequences of squares. It also has a short quotation from C.C. Gilroy (1844) on pattern drawers, and 'Modern S & W', which describes a Summer & Winter variation with floats of 5, 7 or 9 on 6 or more shafts, with drafts, treadlings and a wall hanging project. The last article covers pile-warp velvet rugs, with profile drafts, warp calculations and a 4-frame rug project.

Issue of the Canadian bulletin Master Weaver (Z-Handicrafts, Fulford, Quebec) dated May 1958. It opens with an essay on weaving faster and easier, arguing that professional 18th-century handweavers worked at high speed and that modern weavers suffer from poor equipment and instruction. The main article presents a method of weaving Summer-and-Winter with a tabby ground, with drafts for 4 and 8 shafts, yarn options, a place mat project, and notes on multi-block versions. The issue ends with a short Curiosity Shop note on one-tabby S-&-W on an 8-shaft damask threading and an essay on how exhibitions and juries should be run.

A Lily Mills promotional booklet by Harriet Douglas Tidball of the Shuttle Craft Guild on planning a 30 to 60 yard sectional warp of 24/2 cotton threaded to a 2-block, 4-harness Summer and Winter draft. It explains the six textures woven on that threading (tabby, plain weave, pattern, background, rotation weaves and polychrome) with treadling directions. It then suggests ten projects: aprons, skirts, dress and shirt fabrics, table mats, buffet rolls, napkins, curtains, towels and bags. Detailed weaving directions are given for four aprons and a 16-border sampler, with Lily yarn article and color numbers.

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

Article by Clara M. Youse in The Weaver (July 1939) on a tree-like pattern she copied from an early 18th-century John Speck pattern book in the Pennsylvania Museum, Philadelphia. She gives drafts for 6-harness summer and winter (rose fashion and as drawn in) and 4-harness overshot. She also gives a free-hand weaving version and a Swedish Dukagång version of the tree motif. The text covers warp and weft yarns, colors, reed setting, a 58-thread repeat, and instructions for a Dukagång pillow top on a table loom. Pages show drafts, a tree detail diagram, and photographs of woven samples.

January 1968 issue of the monthly Warp and Weft, published by Robin & Russ Handweavers in McMinnville, Oregon. It presents a four-harness summer and winter upholstery sample in red, pink and orange, with tie-up, a 96-thread threading draft, yarn details, weaving tips and a cost breakdown per yard. Other items include an editor's note on delayed yarn shipments, a cover note on Dorset Down sheep, a review of Mary Meigs Atwater's Byways in Handweaving, a visit to Peter Collingwood's studio (slot-and-eye reed wall hangings, rug techniques), book and yarn advertisements, and notice of a subscription increase to $4.50 from February 1968.

June 1977 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers of McMinnville, Oregon, edited by Russell E. Groff. It includes an editor's column on weaving conventions in California, loom sales and a planned 1978 weaving tour, plus a cover photo of a slit tapestry wall hanging by Alix E. Peshette. The monthly sample is Lemon Peach Sherbet, a four-harness Summer and Winter cotton fabric with tie-up, threading, treadling, yarn amounts and cost per yard. Two book reviews cover H. Ling Roth's Studies in Primitive Looms and Glashausser and Westfall's plaiting book, followed by classified ads for yarns, looms and spinning wheels.

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

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

April 1958 Portfolio Edition of the Shuttle Craft Bulletin (Vol. XXXV, No. 4), published by the Shuttle Craft Guild in Bedford, Nova Scotia. It opens with Harriet Tidball's essay defending traditional weaving terminology (including her proposed name "Atwater Lace" for the Bronson weave), then gives an Atwater-based Summer and Winter recipe for church weaving. The main feature is Mary E. Black's beginner study "Experimenting is Fun", which works through seven experiments on one hybrid four-harness texture draft, varying weft threads, sett, and threading changes. It closes with Cliff Hotchkiss on weaving for the church (Summer and Winter altar hangings, reversible seasonal colors, 8-harness drafts) and the Loom-Side Market advertisements.

May 1958 Portfolio Edition of the Shuttle Craft Bulletin (Vol. XXXV, No. 5), published by the Shuttle Craft Guild in Bedford, Nova Scotia. It opens with an editorial on the cover photograph, then Mary Black's "Quickies": directions for easy summer projects in cotton on a simple twill threading (beach towels, beach mat, baby play mat, clothes pin apron, barbecue towels, garden apron and garden jacket). Harriet Tidball's article covers Summer and Winter pick-up and inlay for free designing, illustrated with photographs of woven panels and a tie-up diagram. Joyce Chown's Part II on Swedish Knot tapestry gives step-by-step directions for inking the design onto the warp and knotting the weft. The issue ends with book reviews, a "Learned at the Loom" tip on metallic threads, and advertisements.

January 1949 issue of the monthly Warp & Weft, published in Chicago. It opens with a reprinted short story, "The Second Christmas" by F. K. Foraandh, imagining the infant Jesus while Mary weaves. The main weaving content is a summer and winter damask block pattern for linen, with threading, tie-up, treadling for standard and rising-shed looms, warp and weft sizes, and block-size schedules for a luncheon mat. Short pieces cover tips for weaving with linen, how linen thread is made (retting of flax), a 1640 Connecticut order on growing hemp and flax, guild news, and a Christmas greeting page.

December 1967 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's letter, a cover note on Cheviot sheep, a review of Tadek Beutlich's The Technique of Woven Tapestry, and an account of a visit to the Speen Weavers in Buckinghamshire, where Joyce Coleman makes rugs from uncarded, unspun wool. The project is 'Mellow Yellow', a modified summer and winter variation with threading, tie-up and treadling drafts, yarn and reed details, and a per-yard cost breakdown. The issue closes with book notes, classified ads and supplier advertisements.

Issue No. 27 (May 1956) of Master Weaver, a bi-monthly bulletin for handweavers published by Z-Handicrafts, Fulford, Quebec. It concludes the series on weaving standards by quoting and answering reader letters on guild standards, hand versus fly shuttle, and a central sales and certification agency. It also introduces analysis of yarns (appearance, physical, burning and microscope tests for identifying fibers), and a lesson on Summer & Winter covering its relation to Crackle, compound tie-ups, 3D weft effects, simplifying traditional drafts, and a damask-imitation linen place-mat project.

February 1958 Portfolio Edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild, issued from Bedford, Nova Scotia by Mary E. Black and Joyce Chown. It includes a step-by-step illustrated guide to the French "Swedish Knot" technique on a frame loom, an essay on variables in weaving, Boris Veren's book column, and Harriet Tidball's article on Summer and Winter sequence weaves for color textures, with drafts, profiles and treadlings. It also contains Mary Atwater's Peruvian leno, a Loom Language column, a tapestry history, and advertisements.

October 1958 Portfolio Edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild (Bedford, Nova Scotia), devoted largely to Christmas weaving. Harriet Tidball presents Dr. William G. Bateman's eight-harness sample designs, related to three- and four-tie Summer and Winter, with profile drafts, tie-ups, treadlings and yarn details. The "What Can I Weave for Christmas" section covers Christmas aprons with flossa or dukagang tree borders, projects for young weavers (bean bag, catnip ball, sachets, scarf), striped skirt fabric with Lily yarns, bookmarks, tree ornaments, and three knee rugs in Tranquillity Studio homespun wool, including a 6-harness draft. The issue also has Boris Veren's book reviews, including the Swedish Monsterblad portfolios and a book of contemporary Swedish design, and advertisements.

May 1958 issue of Warp and Weft, a monthly handweaving bulletin from Robin & Russ Handweavers of Santa Barbara. It features the cover garment by Marie Walling (a silk rose-path cape, dress and coat shown at the Southern California Handweavers Conference), an article on weaving ecclesiastical fair linens in Atwater lace, and a Summer and Winter sample with threading profile, tie-up, treadling, materials and cost per yard. Also included are a review of Berta Frey's Designing and Drafting for Handweavers, classified ads for yarns and equipment, and loom advertisements.

Issue No. 3 (April 1952) of Master Weaver, a bi-monthly bulletin for handweavers published by Z-Handicrafts of Fulford, Quebec. It continues a series on analysing patterns, using short graphical and numerical drafts for overshot, crackle, spot weaves, lace and Summer-and-Winter. It also includes Spot Weaves part 3 (Summer-and-Winter and Paper Spots), an essay on who deserves the title Master Weaver, a glossary entry on Cape, a long article on the logic of tie-ups, and an Information Service piece on lappet weave with instructions for making a lappet needle.

Portfolio edition of the Shuttle Craft Bulletin for August-September 1957, the first issue under new owners Mary E. Black and Joyce Chown, who took over the Guild from Harriet Tidball. The main feature is Tidball's article on classical Summer and Winter weave, covering threading units, profile drafts, tie-ups, the eight-shot treadling sequence, needlepoint and cross-stitch textures, and coverlet examples with drafts. Other items are Joyce Chown's article on color inspiration from nature, Mary Black's directions for using odds and ends of linen in overshot-threaded towels and place mats, Boris Veren's book reviews (Atwater's Recipe Book and Black's New Key to Weaving), a 1929 Atwater essay on beauty, and a section of loom and yarn supplier advertisements.

October 1957 Portfolio Edition of Shuttle Craft, the monthly bulletin of the Shuttle Craft Guild, in its first issues under Mary E. Black and Joyce Chown. It includes a fashion report on weaving winter wools and tweeds, with sett and threading directions for Black Watch and Robertson tartans, overshot and Swedish lace dress fabrics, and a Barleycorn wool-and-metallic fabric for evening wear. Harriet Tidball's article covers polychrome Summer and Winter, with profile drafts (twill, point twill, interrupted twill and rose alternation orders of blocks) and polychrome drafts including Christmas tree and angel motifs and designs by Mary Atwater. Also includes an editorial, a note on Tidball's Handloom Weaves, Boris Veren's book reviews, and advertisements and supplier listings.

August 1954 issue of the Shuttle Craft Guild Handweaver's Bulletin (Portfolio Edition) devoted to modernizing the Summer and Winter weave. It covers the weave's history as a simplification of early double-woven coverlets, a review of the unit-weave threading, tie-ups and treadling rules, and a warp-stripe variation using supplemental heavy warp threads held by weighted chains. Profile drafts for 4- and 6-harness threadings, curtain suggestions, a weaver's knot, a Q&A on squaw marks, the 1955 Bateman Exhibit, loom harness capacity, and a Guild newsletter complete the issue; a photo page shows the two portfolio samples.

Issue of The Weaver (July-August 1940), published by Emile Bernat & Sons Co. It contains articles on modern textile design at Cranbrook and the world's fairs, weaving narrow bands on the inkle loom, new variations of Summer-and-Winter, summer weaving projects with yardage directions for jackets and skirts, design suggestions with Dukagang and Spanish stitch plates, linen and silver luncheon sets, ten miniature patterns, and a questions and answers column. Many pages have weaving drafts, photographs of samples, and charts.

A monthly archive of the WeaveTech email discussion list for October 1999, reproducing the messages with their mail headers. The sampled threads cover the debate over whether textiles are art or science and the pursuit of technical excellence, judging and juror practice at shows, standards committees and pricing of handwoven goods, and a lecture tour by Peruvian weaver Nilda Callañaupa. Other threads cover summer and winter, fine linen on a table loom, reed dents per inch, tracking and yarn twist, nylon, flat steel and Texsolv heddles, threading a drawloom, the Peter Collingwood retrospective at The Textile Museum, and loom-for-sale and website announcements. There are no weaving drafts; the content is conversational text.

A bulletin from Lily Mills showing how weavers can keep records of their work on notebook record sheets. Five sample records give warp and weft yarns, sett, width in reed, threading and treadling for a twill/basket weave drapery, a summer and winter cushion cover (Stars and Roses), a Monk's Belt overshot place mat, a warp-face Log Cabin place mat, and an Isles of the Sea crackle place mat. The records are by Mary Virginia Munford and Rupert Peters, and the back page is a Lily Mills yarn advertisement.

Issues No. 40 through No. 45 (January to June 1928) of Mary Meigs Atwater's Shuttle-Craft Bulletin, written for Guild members. They combine pattern drafts with practical advice: coverlet and upholstery choices, a special sale of strand silk, a new parlor loom, and notes on Summer and Winter weaving "on opposites". Drafts include the Rose-Diamond pattern with Bronson and overshot variations, eight-harness Summer and Winter patterns including the "Shuttlecock" draft, Lisbon Star coverlet patterns, and a Goose-Eye pattern. The June Summer Camp number covers camp weaving projects such as rugs, towels, scarves and bags, along with a note on occupational therapy careers.

A bound volume of twelve monthly Shuttle-Craft Guild Bulletins for 1946, written mainly by Mary Meigs Atwater with contributions by Harriet C. Douglas. It covers summer and winter coverlets, color patterns in twills, checks, plaids and tartan setts, weaving linens, inlay and leno curtains, two-warp rugs, double weave, and Guatemalan weaves. It also covers weaving in plastic, design and proportion, luncheon mats, metallic cellophane, shawls and dickies, and weaving in Quebec and the Gran Chaco. Many pages carry drafts, tie-ups and sketches, and the bulletins include news of Guild services, suppliers and exhibits.

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.

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.