US design patent D203,796 for an ornamental drapery fabric design by John R. Svancarek of Chicago Heights, Illinois, assigned to Svancarek Bros. Textile Mills. The single page has six drawing figures showing the fabric draped and flat in face, cross-section and top views, a single claim for the ornamental design, and the examiner's citations of earlier patents and a Sears catalog.

A short 1940 article by Doris McMullen on hand-woven curtains for a seaside home. She describes a striped bathroom curtain woven with linen floss in black and red, and a hall curtain using yellow Umbrian warp as filler with Vibbora strand in turquoise, brown and white. She reports that the colors did not fade in salt air and recommends heavy linen floss in lace weave or mercerized cotton in Bronson weave. A photograph shows the finished curtains; no drafts are given.

A first-person account by Eleanor Bontecou of weaving living-room draperies on a Structo loom for her Virginia home, colored to match a large Mosul-type Oriental rug. She used the 8-leaf Dornick twill threading from Mrs. Atwater's Shuttlecraft Book, with 40/3 linen warp and rough silk weft in blended shades, woven in Dornick bands on a modified tabby ground. It gives warp setting, color choices, and Structo lever treadling directions, and mentions a matching off-white silk fabric for a study.

An issue of Lily Mills' Practical Weaving Suggestions with Lillian Hunter's directions for weaving five café (tier) curtain designs, with matching valances. It explains a method of attaching curtain rings to the selvage during weaving, using a weft loop. Each design gives a threading and tie-up draft, materials (mercerized cotton, pearl cotton, linen, novelty yarn), warping plan, sleying, weaving sequence, and finishing and hemming notes. Photographs show the finished curtains and fabric swatches.

A 1930 Handicrafter article by Myra L. Davis on weaving upholstery and curtain fabrics, with six samples reproduced on four-harness looms from Danish hand-woven originals. It explains the requirements of each fabric type, such as firmness, closeness of weave, drape and fast dyes, and gives yarns, sett and treadling for each sample. Draft diagrams and photographs of the samples are included, along with a note on alternating heavy and fine warp threads to make a firm, non-porous upholstery fabric.

Mary T. Caum describes experiments weaving strips for the backs and seats of wooden slat porch and lawn chairs, using carpet warp with novelty cotton, Colonial "links", or Bernat's Smyrna rug yarn. She compares sett (12, 15 and 24 dents) and weft choices, citing Mary M. Atwater's "Clematis Vine" and crackle weave draft No. 112 and pattern 17b from the Recipe Book. The article gives treadling sequences with color numbers, an overshot-style draft, finished dimensions, and a sketch of how the strip is folded into a stuffed pocket and flap that holds it on the chair back.

A project article by Marie Phelps on linen draperies designed and woven for the first issue of Handweaver and Craftsman. It gives full instructions: warp colors and linen sizes, warping order, reed setting (16 dents per inch), a twill threading woven as tabby, weft color sequence, finishing, and approximate yarn quantities. The editor's note describes the cool and warm color groups and the way the draperies transmit light.

Article from The Weaver in which Veva (Vera) N. Carr describes household pieces woven on a long warp using Mrs. Atwater's "Drifting Shadows" draft. A 20/2 cotton warp in greens, lavender and yellow was threaded hit-and-miss at 30 epi. It gives treadling and color instructions for striped door curtains, jute curtains, portieres, a table runner, a couch blanket, sofa pillows, and bags with carved wooden handles. The final page has the tie-up and threading draft.

First-person account by Ruth Bolinger of restoring a set of 1860s black walnut furniture and covering it with her own handwoven upholstery fabric. She explains her yarn choices (Weaving Special warp, Homespun weft), sett, and the yardage calculations for warp and weft, then gives an eight-harness Swedish upholstery pattern with threading, tie-up and treadling. She also describes reusing a plain-weave wine-colored suit fabric for a rocker, weaving a narrow card-woven gimp, and working with the upholsterer.

Two pages from the October 1947 issue of Handweaving News by Nellie Sargent Johnson. The first gives threading drafts, a tie-up, reed sleying, warp and weft materials, and treadling orders for two drapery or curtain fabrics woven in plain weave with novelty wefts, from her class at Wayne University. The second gives suggestions for weaving a baby blanket or carriage robe on the Hearthside Portable Loom, covering yarns, warping order, weaving and beating, and brocading the year 1947 into the corner.

A Lily Mills Company leaflet by Harriet Tidball of the Shuttle Craft Guild giving complete directions for a striped, translucent handwoven drapery fabric. Alternating 1-inch stripes of Lily Pearl Cotton size 3 and 5-inch stripes of fine novelty yarn are woven as plain weave on a four-harness twill threading. The text covers yarn quantities, sectional-beam and chain warping, sleying, weaving technique, take-up, joining panels, and making tie-back bands, plus a variation design. The final page lists the colors of Lily Pearl Cotton and Novelty Yarns.

April 1952 issue of the Handweaver's Bulletin (Portfolio Edition) from the Shuttle Craft Guild, devoted to formal draperies woven in warp-pattern, where both base and pattern threads are in the warp and the weft is plain tabby. It describes two drapery projects (an 8-harness one with a vine and geometric pattern, and a 4-harness two-block one) with warp colors, yarns, sleying, threading profiles and treadling directions. It also includes the Guild's handweaver's calculation sheet for yarn, costing and labor, with an article explaining its use, and a list of sources of looms, yarns and publications for weavers.

A folio of 22 four-harness handwoven drapery and upholstery fabrics by Elmer Wallace Hickman, each shown with a mounted swatch and a draft. For each fabric the text gives the warp order, reed sleying, weft yarns, and treadling, with yarn suppliers coded by abbreviation. The closing 'Tabby Talk' sheet adds weaving notes on the 'backed' upholstery fabrics, shrinkage and take-up, continued instructions for The Bahamas, a decoded yarn-source list, and other available folios.

A 1939 article by Christine Ferry on the Willow Cottage Weavers of Nantucket, a home weaving industry run by Mr. and Mrs. Melville B. Melendy. It describes custom hand-woven upholstery fabrics made with wool and mercerized cotton, plus bathroom mats, table doilies and floor rugs. Photographs show a bathroom mat, a Martha Washington chair upholstered in a coverlet-derived pattern, rugs, and eight labeled upholstery samples. No weaving drafts are given.

Installment of a serial on upholstery fabric manufacture from Posselt's Textile Journal, covering a repp ottoman fabric. It gives a second sketch example (Fig. 14) and details the warp and filling arrangement (face and binder warp, binder and stuffer picks), fabric texture, and Jacquard requirements (900-hook machine, 480 cards cut on Royle Piano and Repeater machines). Point paper designs (Figs. 15 and 16) illustrate the working design and the introduction of stuffer picks. A short unrelated item follows on applying effects to artificial silk fabrics by steam treatment, per an English patent by Courtauld and Linfoot.

A 1958 issue of Lily Mills' Practical Weaving Suggestions by Edna Olsen Healey on weaving plain one-color upholstery fabrics from Lily 3 Strand mercerized soft twist cotton (Art. 714). It gives seven sample fabrics (A-1 through G-1) with photographs, threadings, tie-ups, treadlings, sett and yarn colors. The samples cover Bedford Cord stripes on 8 and 6 shafts, a four-shaft twill weftwise rib, a twill raised weft stripe, Swedish Droppdrall on 6 and 4 shafts, and a Bundendrall warp stripe. Notes on loom choice, width allowance for shrinkage, and a Lily yarn color list are included.

A Lily Mills Practical Weaving Suggestions leaflet by Ruth Jelks in which a Lion's Paw shell inspires four warps and many weft variations for drapery and upholstery fabrics. Each warp (one-color pink, pink gradation, complementary colors, neutral browns) gives a warp plan with Lily article numbers, yarn sizes and colors, and a sleying table for a 12-dent reed. Weft designs list yardage, shuttle order and treadling, and include a Brooks Bouquet design with step-by-step instructions. The leaflet ends with a Lily yarns and supplies advertisement.

A Lily Mills leaflet by M. Lillian Hunter presenting ten handwoven drapery and upholstery fabric designs built on traditional threadings rather than plain twills. Designs 1-5 use honeysuckle overshot, 6-8 use M's and O's, and 9-10 use summer and winter, with yarn lists, sleying, threadings and treadling or weaving directions. Photos of fabric samples accompany the drafts, and the text includes advice on planning fabrics for a room and hanging draperies.

Portfolio edition of the March 1952 Handweaver's Bulletin from the Shuttle Craft Guild (Virginia City, Montana). The main article gives instructions for translucent window draperies woven in linen with a compound warp of heavy and fine threads in 3-thread color stripes, with 4-harness rosepath and 5-harness point twill threadings, tie-ups, treadlings, yarn sources, sett, yardage and finishing. A second article explains how to warp and beam a compound warp of several materials and colors, and a list of supply sources for looms, yarns and books appears twice.

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.

March 1960 issue of the monthly Warp and Weft from Robin & Russ Handweavers, Santa Barbara. It features a drapery fabric called "Popcorn", with tie-up, threading, sleying, warp and weft materials with prices, and treadling sequence. It also includes an editor's column on shop orders, a review of Ronald Grierson's Woven Rugs, a profile of the Bobbin Winders weaving guild of Pomona and the San Gabriel Valley, a cover note on ramie and silk draperies, and advertisements for books, looms and yarns.

October 1962 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It presents a four-harness drapery fabric called Scallops, with threading, tie-up for counterbalanced and jack looms, a detailed reed sleying plan in a 12-dent reed, treadling, yarn specifications, cost per yard and selvage advice. The issue also has the editor's note on the move to a new shop, a review of a seed mosaic craft book, announcements of forthcoming sample folios, classified yarn advertisements, and a page of supplier ads.

March 1965 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. The main feature is a 4-harness semi-sheer drapery sample woven with 20/2 mercerized Egyptian cotton warp and 10/2 cotton and linen-rayon wefts, with tie-up, threading, sleying, treadling, finishing advice and a cost breakdown. Other items include the editor's column, a cover note on experimental weaving, notices of Nova Scotia and Northern California weaving events, a Pacific Northwest conference registration slip, a short article on mercerizing cotton, and classified ads for equipment and yarns.

October 1949 issue of the mimeographed monthly Warp & Weft, edited by Gladys Rogers Brophil in Chicago. It reports on a lecture by Osma Gallinger to the Weavers Guild of Joliet and on a Pennsylvania weavers' exhibit. The main project is sheer textured drapery fabric, with a broken twill threading, tie-up, treadling, weft shuttle scheme and hints on sett, color and laundering. Shorter items cover handwoven Christmas cards and bookmarks, weaving on narrow looms, a poem, a subscriber notice and an advertisement for weaving lessons.

April 1981 issue of Warp & Weft, the monthly sample bulletin from Robin & Russ Handweavers of McMinnville, Oregon. It features a 4-harness project, Mountain Cabin Curtains, woven in 45/3 raw grey linen and 16/3 natural white ramie, with a threading draft, tie-up, treadling sequence, yarn details and cost per yard. Other items are the editor's column, a review of June Beveridge's WARP/WEFT/SET, a cover photo of a honeycomb weave, a workshop announcement on designing handwoven clothing, and yarn classified ads.

Issue of The Looming Arts, a bi-monthly handweaving magazine published by Mary Pendleton in Sedona, Arizona. It includes two drapery fabric projects with threading drafts, tie-ups and treadling (a three-treadle warp-float fabric and an eight-harness overshot-type bordered/striped fabric), a knitted children's poncho pattern, and Part 6 of a Navajo weaving series on weaving design blocks with turn warp ends. Also contains a tip on strengthening broken edge threads, a report on rug reproduction at Hubbell Trading Post, conference reports (Texas, Midwest), reader letters, studio news, a book note, a poem, and advertisements.

Installment of Posselt's series on upholstery fabric manufacture, covering repp ottoman fabrics. It explains the plain repp structure with face, binder and stuffer warp and filling, rib weaves, figured repp effects based on a 5-harness satin motive, and dobby designs (Figs. 5-10) with their harness requirements. It closes with a Jacquard repp ottoman analysis giving yarns and texture, to be continued in the next issue. A separate short item gives full specifications for a reversible-stripe worsted trousering, including warp arrangement, draft, reed, picks and finish.

Two pages from Posselt's Textile Journal, August 1914 (pp. 23-24), continuing a series on the manufacture of upholstery fabrics with a section on Jacquard repp ottoman. It explains how to calculate the ruling of point paper from warp and pick counts, how stuffer picks and binder picks are shown in the design, and how binder warp threads are indicated for the card stamper. Figures show actual-size Jacquard repp ottoman samples and point paper designs and analyses, with the 6-harness satin used for the smooth parts. A short separate item by Dr. Heermann describes a chemical method of determining small amounts of wool in cotton fabrics using 80 percent sulphuric acid.

An illustrated 1941 article on the handwoven textiles at Timberline Lodge on Mt. Hood, Oregon, a W.P.A. project built in 1937. It describes the lodge's architecture and the Oregon Art Project's work under designer Margery Hoffman Smith, who also taught women to weave. The handwoven pieces include dining room curtains, bedspreads and upholstery fabrics, mostly herringbone twills and crackle weave in linen warp and wool weft. Photographs show the lounges and guest rooms with their upholstery, curtains, hooked rugs and furniture.

October 1959 issue of Warp and Weft, a monthly handweaving periodical from Robin & Russ Handweavers in Santa Barbara. It includes the editor's shop news (a 65-yard silk drapery order), a note on the leno/gauze cover sample, a profile of San Francisco weaver Edith Garland, and a project, "Kozy Korners", a plain-weave curtain fabric in doubled 8/2 drapery cotton and single 20/2 black Egyptian cotton with a four-shaft threading draft, tie-up, treadling and cost per yard. It also has a story on North Hollywood weaver Marie Walling, a reader's letter from a disabled weaver, a review of Zielinski's Encyclopaedia of Handweaving, and loom and yarn advertisements.

December 1965 issue of Warp & Weft, a monthly handweaving bulletin from Robin & Russ Handweavers in McMinnville, Oregon. It gives full directions for two fabrics: a black cotton twill-threaded ribbed upholstery fabric in the Swedish manner, and a semi-sheer linen drapery fabric with a striped boucle warp, each with drafts, treadling, yardages and costs per yard. It also includes the editor's column, a note on a beaded wall hanging on the cover, a review of Anni Albers's "On Weaving", and classified and display advertisements for yarns, books and equipment.

April 1969 issue of Warp & Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It includes an editor's column about a planned trip to Switzerland and new worsted yarns, a review of Constance Gallagher's book Linen Heirlooms, and a cover photo feature on English and Irish spinning wheels in Halifax museums. The main project is an all-linen "open and shut" drapery fabric on four shafts with threading, tie-up, an unusual reed sleying, treadling, tension advice and cost per yard. The issue closes with classified ads for yarns, tools and books and a marketplace page.

June 1971 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's notes on shop expansion and a summer buying trip to Europe, a review of Allen Fannin's book Handspinning, and an article by Cleo Francisco and Paula Simmons on stitchery with handspun yarn. The main weaving feature is a casement cloth in linen and nylon, with threading and tie-up drafts, a dent-by-dent sleying, a 14-step treadling sequence, warp tension advice, and cost per yard. The issue ends with classified ads and a marketplace page for looms, books and yarns.

June 1973 issue of Warp & Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. The main feature, "Three Thread Fancy," gives a three-shaft upholstery or drapery fabric with a threading and tie-up for counterbalanced and jack looms, treadling on a standard tie-up and a simplified three-treadle tie-up, yarn details, weaving tips (separate shuttles, temple use), and a per-yard cost breakdown. The issue also has an editor's note on rising wool prices and a trip to England, a cover photo of an inkle-woven wall hanging, a review of Verla Birrell's The Textile Arts, a profile of editor Russ Groff, and classified ads for yarns and equipment.

April 1950 issue of Warp & Weft, a monthly Chicago weaving newsletter edited by Gladys Rogers Brophil. The monthly sample is an upholstery fabric woven with carpet warp and rayon boucle and nub yarns, with a four-shaft threading draft, tie-up, treadling, yardage and cost figures, and a correction to the previous month's draft. Other items cover weavers' guild news and exhibits (Tampa, Chicago, Columbus, Pittsburgh, Seattle, Homewood), color planning from china patterns, the psychology of color, a poem, a review of Mary Black's Key to Weaving, reader questions, short tips, and classified ads.

May 1978 issue of Warp and Weft, a monthly newsletter from Robin & Russ Handweavers of McMinnville, Oregon, edited by Russell E. Groff. The main project, "Sculptured Snow," is a four-harness drapery fabric in ramie and linen with a threading draft, tie-up, special 16-dent sleying with skipped dents, a 22-shot treadling sequence, beating advice, and thread costs. A second project gives a threading for plain-weave throws and stoles in loop and brushed wool. The issue also has the editor's column on rising silk and linen prices, reviews of Marianne Straub's Hand Weaving and Cloth Design and Esther Holderness's Peasant Chick, and classified ads for equipment and books.

June 1978 issue of Warp & Weft, the monthly handweaving newsletter from Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's column, a cover note on a double-weave pick-up dress and jacket by Elizabeth Peters, and a review of Ida Grae's dye book Nature's Colors. The main project, 'Melted Snow', is a drapery fabric on four shafts using 16/2 ramie, 40/2 linen and ramie sliver, with a threading and tie-up draft, two treadlings, yarn sources and a cost breakdown per yard. A second project suggests a sheer gossamer scarf in fine worsted woven as plain weave, with finishing and decoration ideas. The issue ends with classified ads for yarns and books, and back-page advertisements.

May 1980 issue of Warp and Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's column, a note on the cover photograph (a painted-warp cotton coat by Carol Huntington), and the monthly sample "Spring Sunlight for a Country Kitchen", a cotton curtain fabric with a threading and tie-up draft, special reed sleying, cardboard weft spacers, yarn costs and fabric dimensions. It also has a book review of 200 Patterns for the Multiple Harness Weaver, a subscription price increase notice, classified ads for looms and yarns, and a marketplace page.

March 1981 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's column, a review of Kerry Evans's pattern book Treadled Togs on loom-shaped clothing, and a profile of Jewell Hall, who weaves Big Sur-style seascape hangings using tapestry techniques. The monthly upholstery sample, Pumpkin, Orange, and Gold, gives a 4-shaft threading with a special sleying, a treadling sequence, yarn details and a cost breakdown. The issue closes with classified ads for yarns and shop advertisements.

May 1981 issue of Warp and Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. It includes the editor's column, notes on the silk used for Lady Diana Spencer's royal wedding gown (Lullingstone Silk Farm), a card-weaving cover photo, and a follow-up on the 8-harness 'La Belle Creole' pattern from Atwater's Recipe Book. The sample is 'A Touch of the Grape', a 4-shaft upholstery fabric with a draft, tie-up, treadling, yarn details and cost per yard. Also included are reviews of three Frederick Gerber natural-dye booklets, a notice of a 1982 Australia/New Zealand tour, and pages of classified and display ads for yarns and books.

September 1951 issue of the monthly handweaving newsletter Warp & Weft, edited by Gladys Rogers Brophil and Anna Rogers. The issue centers on lamp shade fabrics and includes a 3-harness draft, "Farmer's Fences," woven in natural linen boucle with white acetate. Other items cover lamp shade sizing, trends from a Chicago home furnishings festival, a golden rod mat project, a book review of Palmetto Braiding & Weaving, reader questions, weaving hints, and guild and exhibition news.

December 1951 issue of the monthly newsletter Warp & Weft (Baldwin, Michigan), edited by Gladys Rogers Brophil. It features a textured upholstery fabric, "Black Olive Upholstery", woven on a black 10/2 mercerized cotton warp in the Thousand Flower pattern from Marguerite Davison's handweaver's pattern book, with a threading draft, tie-up, treadling, shuttle rotation and a mixed-yarn weft. The issue also has exhibition news, a 40-question weaver's pun quiz, a Christmas decorations article with directions for twisting cords, a question-and-answer on warp tension, and a review of Elizabeth Chesley Baity's Man Is a Weaver.

September 1959 issue of Warp and Weft, a monthly bulletin from Robin & Russ Handweavers of Santa Barbara, California. It includes an editor's column by Russell Groff, a review of the English translation of the Swedish book Small Webs with notes on others in the series, a profile of Belgian weaving instructor Elisabeth Hanappe, and a note on the cover's double-weave hot pads by E. E. Gilmore. The main project is "Tie and Cut," a 4-harness drapery fabric using cotton and chenille, with threading, tie-up and treadling, materials and costs. The issue ends with classified ads for yarns and equipment and a marketplace page of loom and yarn advertisements.

September 1978 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of McMinnville, Oregon. It includes the editor's summer news, a review of Candace Crockett's spinning book, and a sample project for an upholstery fabric woven with ramie and worsted on a 4-shaft threading, with tie-up, treadling sequence, yarn details and cost per yard. A second project covers tartan neckties, with cutting diagrams. The issue closes with classified ads for yarns, tools and books.

September 1980 issue of Warp & Weft, the monthly bulletin of Robin & Russ Handweavers in McMinnville, Oregon. The editor's column covers his upcoming trip to Japan, Hong Kong, Bali, Singapore, Manila and Bangkok to see weaving, ramie and silk production. The main feature is a semi-sheer Scandinavian-style drapery fabric woven with 45/3 Irish linen and 16/3 mercerized ramie, with a tie-up and threading draft, treadling sequence for a 50-shot repeat, sett, warp dimensions, weaving problems and fixes, and thread and fabric costs. It also includes a review of The Book of Bobbin Lace Stitches by Bridget M. Cook and Geraldine Stott, cover photo notes, classified ads and supplier advertisements.

May 1952 issue of the monthly newsletter Warp & Weft, edited by Gladys Rogers Brophil. It includes weaving news (a Wisconsin handweavers' exhibition, an English guild, the Chicago Natural History Museum fabric library) and the monthly sample, 'Centuria', a textured tabby upholstery fabric combining wool, leather lacing and jute, with a threading draft, tie-up, sley and yarn details plus variations for drapery and sheer fabrics. Other items are a review of Mildred Fischer's article on three Finnish weavers, a Questions and Answers piece on winding several yarns on one shuttle (with a multi-spool rug shuttle diagram), a poem, a review of Gladys Reichard's Navajo Shepherds and Weavers, and classified ads.

May 1954 issue of the handweaving newsletter Warp & Weft, published in Baldwin, Michigan. It reports on the Midwest Designer Craftsmen exhibition at the Art Institute of Chicago, covering silk, open-spaced and double-weave fabrics. The monthly sample is a sheer ribbed silk drapery fabric ("Idiot's Delight") from Robin & Russ of Santa Barbara, with threading, sleying, tie-up and treadling, yarn specifications, and instructions for measuring, cutting and sewing draperies. It also has spring fashion notes, a poem, a book review of Carol Curtis's Complete Book of Knitting and Crocheting, a question on setts for imported wool yarns, a workshop announcement, and supplier advertisements.

January 1956 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara, California. It includes editor's notes, exhibition news, a profile of natural-dye spinner Floss O. Snedden, and a cover note on a Finn-weave piece. The main feature is the editor's original four-shaft draft 'Flecked Diamonds' for upholstery or drapery, with threading, tie-up, treadling, an overshot treadling alternative, yarn handling notes and cost per yard. It also has a review of 'America's Fabrics' by Bendure and Pfeiffer, plus ads for Wade looms and equipment, yarns and metallics.

February 1956 issue of Warp and Weft, a monthly published by Robin & Russ Handweavers of Santa Barbara, California. It features the monthly fabric sample, Blue Glacier, an upholstery fabric with a silk warp and rayon and metallic weft, with threading, tie-up, treadling, yarn costs and weaving notes. Other items include a profile of weaver Berta Frey, a question-and-answer column on twice woven (chenille) rugs and spun silk yarn counts, a review of American Fabrics magazine, notice of the Banff weaving school, a handwoven play suit, and advertisements for looms, yarns and equipment.

June 1956 issue of Warp and Weft, a monthly handweaving newsletter from Robin & Russ Handweavers of Santa Barbara, California. The main feature is a draft and instructions for a contemporary upholstery fabric woven as a broken twill on four shafts, using 10/2 Egyptian cotton and rayon boucle in the warp and boucle and space-dyed metallic in the weft, with a colour key, treadling, shuttle-handling tips, colour-fastness notes and a cost per yard. Other items are the editor's column, a Questions and Answers piece on beating synthetic yarns, a profile of weaver Elsie H. Gubser of Tulsa, a review of the Swedish books Vavstolen, and advertisements for yarns, looms and weaving equipment.