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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

WEAVING
sa   AFGHAN -- WOVEN
sa   BABY BLANKET -- WOVEN
sa   BASKET -- CANE, REED, SPLINT, WICKER, WILLOW, ETC.
sa   BEAD WEAVING
sa   BED LINEN -- WOVEN
sa   BEDSPREAD -- WOVEN
sa   BLANKET -- WOVEN
sa   BOOKMARK -- WOVEN
sa   BOX -- WOVEN
sa   BRAIDING
sa   CANED FURNITURE
sa   CARD WEAVING
sa   CHRISTMAS DECORATIONS & ORNAMENTS -- WOVEN
sa   CHRISTMAS STOCKING -- WOVEN
sa   CHRISTMAS TABLE LINEN -- WOVEN
sa   CLOTHING -- WOVEN
sa   DRAPERY -- WOVEN
sa   IKAT
sa   LEATHER BRAIDING, LACING & WEAVING
sa   LOOM
sa   PICTURE -- WOVEN
sa   PILLOW -- WOVEN
sa   POTHOLDER -- WOVEN
sa   POUCH -- WOVEN
sa   PURSE -- WOVEN
sa   RAG RUG -- WOVEN
sa   RELIGIOUS DECORATIONS & ORNAMENTS -- WOVEN
sa   RUG -- WOVEN
sa   SHUTTLE (WEAVING)
sa   SPRANG
sa   TABLE LINEN -- WOVEN
sa   TAPESTRY WEAVING
sa   TOTE BAG -- WOVEN
sa   TOWEL & WASHCLOTH -- WOVEN
sa   UPHOLSTERING FABRIC -- WOVEN
sa   WALL HANGING -- WOVEN
sa   WEAVING -- BASKET WEAVE
sa   WEAVING -- BEDFORD CORD
sa   WEAVING -- BOUNDWEAVE
sa   WEAVING -- BROCADE
sa   WEAVING -- BRONSON LACE
sa   WEAVING -- COLOR & WEAVE
sa   WEAVING -- CRACKLE WEAVE
sa   WEAVING -- DAMASK
sa   WEAVING -- DOUBLE WEAVE
sa   WEAVING -- DUKAGANG
sa   WEAVING -- FINNWEAVE
sa   WEAVING -- GAUZE WEAVE
sa   WEAVING -- HONEYCOMB
sa   WEAVING -- HUCK LACE
sa   WEAVING -- LENO
sa   WEAVING -- M'S & O'S
sa   WEAVING -- NAME DRAFT
sa   WEAVING -- OVERSHOT
sa   WEAVING -- PLAID & TARTAN
sa   WEAVING -- SATIN & SATEEN
sa   WEAVING -- SHADOW WEAVE
sa   WEAVING -- SPOT BRONSON
sa   WEAVING -- SUMMER & WINTER
sa   WEAVING -- SWEDISH LACE
sa   WEAVING -- TIED LITHUANIAN
sa   WEAVING -- TWILL
sa   WEAVING BUSINESS
sa   WEAVING EQUIPMENT
sa   WEAVING FOR CHILDREN
sa   WEAVING GUILDS & EXHIBITIONS
sa   WEAVING HEMMING, EDGING & FINISHING
sa   WHEAT & STRAW WEAVING
x   HANDWEAVING
x   TEXTILE -- WOVEN
xx   TEXTILE CRAFT

How to weave using corrugated cardboard instead of a loom.
BETTER HOMES & GARDENS Aug 1971 (v.49#8) pg. 22

Ten projects that are made from ordinary household throwaways. (1) Pillows from old shirts, (2) hanging planters, (3) decorative glass bottles, (4) woven brown paper placemats, (5) rug crocheted from plastic wrappers, (6) rug braided from pantyhose, (7) pillow tops appliqued with lingerie trim, (8) canister set from coffee cans, (9) patchwork coverlet from old scarves, and (10) weaving with old neckties.
BETTER HOMES & GARDENS Apr 1974 (v.52#4) pg. 52, 102

Craft projects from castoffs include instructions on weaving on a homemade frame loom using old neckties for the warp.
BETTER HOMES & GARDENS Apr 1974 (v.52#4) pg. 55, 103

How to do punjabi weaving (Indian bed weaving). Article shows how to weave several patterns to make a chair seat, a back for an old wicker chair, cover a simple stool, a seat for a sling yard chair, a seat for an aluminum frame lawn chair, a seat for a rustic arm chair, and a cover for a folding cot.
BETTER HOMES & GARDENS Jun 1975 (v.53#6) pg. 58, 100

A weaving simulator. A North Star BASIC program which will produce a printer image of the woven pattern when provided with the tie-up, threading, and treadling configuration of a loom. Handles both coarse and fine-thread patterns.
BYTE Sep 1982 (v.7#9) pg. 513

How to weave with unspun wool. Step-by-step instructions for sorting and washing the fleece, carding the wool, and weaving the unspun wool into rugs or blankets.
COUNTRYSIDE Mar 1978 (v.62#3) pg. 34

Weaving. Part 1. A look at weaving kits, packaged yarns, simple looms, and project books. Includes general weaving instructions.
CREATIVE CRAFTS #65 Oct 1978 (v.6#5) pg. 36

Weaving. Part 2. A look at weaving on tapestry looms and rigid heddle frame looms.
CREATIVE CRAFTS #66 Dec 1978 (v.6#6) pg. 36

A look at weaving in America and instructions for off-the-loom weaving on a canvas-stretcher frame.
DECORATING & CRAFT IDEAS Mar 1976 (v.6#5) pg. 64

A look at ribbon weaving and instructions for decorating desk accessories with ribbon weaving.
DECORATING & CRAFT IDEAS May 1977 (v.8#4) pg. 34

The Family Circle "Wonder Loom". Use a cardboard loom to make squares of yarn that are then attached together to make afghans, scarves, potholders, etc. Similar to making "Granny squares", but easier.
FAMILY CIRCLE Apr 7 1981 (v.94#5) pg. 68

Wonder wheels. A circular cardboard "loom" is used to weave yarn circles, stars, pinwheels, etc. which are joined together to make sweaters, placemats, decorations, etc.
FAMILY CIRCLE Apr 27 1982 (v.95#6) pg. 91, 128

Color sampler wall hanging to weave. Requires a 4-harness loom at least 15" wide. Resulting piece shows over 180 different color squares.
HANDWOVEN Fall-Winter 1979 (v.1#1) pg. 8

The value of making samples. Includes guidelines for weaving and experimentation.
HANDWOVEN Spring-Summer 1980 (v.1#2) pg. 12

Graphic brocade weaving for special occasions. A system that allows pictorial motifs to be worked up quickly, even on simple looms. The surface effect is similar to needlepoint. Wedding sampler is shown.
HANDWOVEN Spring-Summer 1980 (v.1#2) pg. 38

Handwoven fabrics that are good for spring and summer clothing. (1) 8-harness plaid. (2) Spaced-warp sheer. (3) Nubby cotton-linen blend. (4) 8-harness textured fabric. (5) Searsucker.
HANDWOVEN Spring-Summer 1980 (v.1#2) pg. 40, 60
Correction HANDWOVEN Fall-Winter 1980 (v.2#1) pg. 4

How to read a weaving draft.
HANDWOVEN Fall-Winter 1980 (v.2#1) pg. 12

Designer fabrics to weave. (1) 2/2 twill with overcheck in 1/3 twill. (2) 2/2 twill (3) Two sizes of checks. (4) Vertical staggered herringbone twill with 2/2 basket weave stripes.
HANDWOVEN Fall-Winter 1980 (v.2#1) pg. 50, 62

How to weave seersucker.
HANDWOVEN Mar 1981 (v.2#2) pg. 37

How to produce big work on small looms.
HANDWOVEN Mar 1981 (v.2#2) pg. 61

Twill woven in Summer & Winter weave. Woven with five colors of weft. A weave designed by E.E. Gilmore.
HANDWOVEN May 1981 (v.2#3) pg. 28

Loom-controlled leno (bead leno). Instructions for weaving it on a four-harness loom, using short sections of plastic straw instead of beads.
HANDWOVEN May 1981 (v.2#3) pg. 38

More harnesses make the differences. How to recognize blocks . Instructions on how to turn designs into threading blocks.
HANDWOVEN May 1981 (v.2#3) pg. 40

Pattern weaving, Laotian style.
HANDWOVEN May 1981 (v.2#3) pg. 54

The historical origins of damask.
HANDWOVEN May 1981 (v.2#3) pg. 68

Handwoven swatch collection. Five fabrics suitable for clothing.
HANDWOVEN May 1981 (v.2#3) pg. 87
Correction HANDWOVEN Sep 1981 (v.2#4) pg. 22

Tips on how to plan striped warps using experimental color cards.
HANDWOVEN Sep 1981 (v.2#4) pg. 30

How to apply color theory in designing a plain weave fabric.
HANDWOVEN Sep 1981 (v.2#4) pg. 33

The making of a swatch collection. How to keep samples and records. Includes five fabrics for fall clothing.
HANDWOVEN Sep 1981 (v.2#4) pg. 36

Color and design advice from Nell Znamierowski.
HANDWOVEN Sep 1981 (v.2#4) pg. 40

How to take the guesswork our of color selection using personalized color systems.
HANDWOVEN Sep 1981 (v.2#4) pg. 44

Instructions for weaving Karellian Red Pick projects. Includes block diagrams for several designs.
HANDWOVEN Nov 1981 (v.2#5) pg. 36

How to avoid and repair weaving errors.
HANDWOVEN Nov 1981 (v.2#5) pg. 60

A guide to the variety of design possibilities that can be achieved using plain weave.
HANDWOVEN Nov 1981 (v.2#5) pg. 73

Guidelines on planning a weaving project.
HANDWOVEN Jan 1982 (v.3#1) pg. 22

How to develop a weaving cartoon. Includes a cartoon for a dress yoke.
HANDWOVEN Jan 1982 (v.3#1) pg. 26

Two overshot patterns adapted for small items. Includes draft for "Wandering Vine" and its reduction, "Wandering Sprout".
HANDWOVEN Jan 1982 (v.3#1) pg. 68
Correction HANDWOVEN May 1982 (v.3#3) pg. 87

Swatch collection. Part 5. (1) Waffle weave. (2) Dornik twill. (3) Bronson II spot. (4) Plain weaves.
HANDWOVEN Mar 1982 (v.3#2) pg. 8, 78

Name drafting. How to transform a person's name, a song title, etc. into an overshot draft.
HANDWOVEN Mar 1982 (v.3#2) pg. 34

Tips on how to weave when you don't have the time to weave.
HANDWOVEN Mar 1982 (v.3#2) pg. 38

Summary of things to look for when shopping for a computer for the fiber professional.
HANDWOVEN Mar 1982 (v.3#2) pg. 72

How weavers can avoid back problems.
HANDWOVEN May 1982 (v.3#3) pg. 41

Antique Madras plaid fabric woven in plain weave.
HANDWOVEN May 1982 (v.3#3) pg. 53, 91

Fabrics for interiors. Part 1. Five designer fabrics to weave including: (1) Casement cloth. (2) Drapery fabric. (3) Accent fabric. (4) Two upholstery fabrics.
HANDWOVEN Sep 1982 (v.3#4) pg. 33, 84

Swatch collection. Part 6. Clothing fabric. (1) Worsted skirt. (2) Cotton skirt or dress. (3) Wool/mohair coat fabric. (4) Worsted dress. (5) Double-faced fabric. (6) Woolen jacket.
HANDWOVEN Sep 1982 (v.3#4) pg. 41, 94

A guide to weaving double-faced cloth.
HANDWOVEN Sep 1982 (v.3#4) pg. 61

Historical fabric swatches to weave. (1) Embossed silk. (2) Wool plaid. (3) Cotton candlewicking. (4) Linen bed ticking.
HANDWOVEN Nov-Dec 1982 (v.3#5) pg. 30, 98

How to weave the black and red check fabric for a woolen lumberjack shirt.
HANDWOVEN Nov-Dec 1982 (v.3#5) pg. 52, 89

Literacy in weaving. Part 1. How to read weaving drafts.
HANDWOVEN Nov-Dec 1982 (v.3#5) pg. 73

Literacy in weaving. Part 2. Deciphering the threading and treadling necessary to achieve a particular pattern.
HANDWOVEN Jan-Feb 1983 (v.4#1) pg. 24

How to weave a transparency.
HANDWOVEN Jan-Feb 1983 (v.4#1) pg. 27

Fabrics for interiors. Part 2. Four designer fabrics to weave. (1) Curtain or drapery. (2) Twill upholstery. (3) Honeycomb upholstery. (4) Basket weave accent.
HANDWOVEN Jan-Feb 1983 (v.4#1) pg. 66, 90

Stripes. SPECIAL SECTION on the use of stripes in weaving design. Includes a look at the Fibonacci mathematical series and its application to design. Several projects included.
HANDWOVEN Mar-Apr 1983 (v.4#2) pg. 40+

Wrapping your stripes. A yarn study technique which can simulate how colors will affect each other in a woven piece. These wrapped studies can also be framed and used as works of art.
HANDWOVEN Mar-Apr 1983 (v.4#2) pg. 48

Swatch collection. Part 7. Use only two yarn colors combined with plain weave and twill to generate 6 different fabrics suitable for use in a woman's jacket, skirt or dress.
HANDWOVEN Mar-Apr 1983 (v.4#2) pg. 58, 90

Texture as stripe. How to create stripes in handwoven fabric by varying the texture, weight and direction of the yarn.
HANDWOVEN Mar-Apr 1983 (v.4#2) pg. 66, 98

Using finger-controlled or finger-manipulated techniques to produce interesting textures and designs such as soumak, leno, Brooks bouquet, etc.
HANDWOVEN Mar-Apr 1983 (v.4#2) pg. 70

Block drafting, profile drafts, and a few other related things.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 19

Tips on cutting and sewing handwoven fabric.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 29

Fabrics for interiors. Part 3. Four white fabrics to weave for slipcovers, patio furniture covers, and directors chair seat and back.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 51, 84

Wedding dress fabric is handwoven from 10/2 bleached white pearl cotton.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 55, 82

On the double. An introduction to double weave on the rising shed loom.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 64

Technique for patterned double weave on the 4-shaft loom without the use of a pick-up stick.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 67

Warp stuffer weave with shaft switching applications. Uses same threading as summer/winter.
HANDWOVEN May-Jun 1983 (v.4#3) pg. 72

How to calculate the width and length of tubular weaving needed in order to cut them open in a spiral fashion to produce a required amount of bias.
HANDWOVEN Sep-Oct 1983 (v.4#4) pg. 37
Correction HANDWOVEN Nov-Dec 1983 (v.4#5) pg. 94

Swatch collection. Part 8. Weaving wool fabric for fall clothing, including a corduroy.
HANDWOVEN Sep-Oct 1983 (v.4#4) pg. 53, 95

How to weave wool corduroy fabric.
HANDWOVEN Sep-Oct 1983 (v.4#4) pg. 54

How to use the name drafting technique, and the name "MERRY CHRISTMAS", to produce a table linen.
HANDWOVEN Sep-Oct 1983 (v.4#4) pg. 74

SPECIAL ISSUE on weaving tartans and plaids.
HANDWOVEN Nov-Dec 1983 (v.4#5) pg. 33
Correction HANDWOVEN Jan-Feb 1984 (v.5#1) pg. 7 (Plaids).

Fabrics for interiors. Part 4. How to weave tartan (plaid) yardage for use in curtains, upholstery, bedspreads, etc.
HANDWOVEN Nov-Dec 1983 (v.4#5) pg. 70, 102

Weaver's challenge. How to make blocks of a unit weave normally possible on four shafts, appear like more. Two solutions are given. One is three block M's & O's. The second is color-and-weave-effect in a Bronson lace structure.
HANDWOVEN Jan-Feb 1984 (v.5#1) pg. 27

Weave a herringbone twill fabric suitable for use in a mans sport jacket. Instructions are for weaving the fabric only.
HANDWOVEN Jan-Feb 1984 (v.5#1) pg. 47, 94

The warp/weft calculator for the Apple II computer. Program is written in Applesoft Basic and computes the yardage necessary for a given sett.
HANDWOVEN Jan-Feb 1984 (v.5#1) pg. 84

Some of the problems of beating in weft.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 14

Weaver's challenge. Color-and-weave effects with at least two colors in both warp and weft. Three examples are shown.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 36

Weaving a twill plaid.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 41

Six fabrics coordinated to be used in decorating a room. Fabrics are designed by Constance LaLena. They include (1) leno curtain fabric, (2) goose-eye twill cushion fabric, (3) doubleface twill afghan fabric, (4) optic twill upholstery fabric, and (5) monk's belt drapery fabric.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 65, 100

A collection of six coordinated fabrics for decorating a room. Designed by Katheryn Wertenberger. They are (1) pleated curtain fabric, (2) houndstooth double weave upholstery, (3) bedford cord upholstery, (4) summer and winter accent fabric, (5) plain weave upholstery, and (6) nubby fabric.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 66, 103

Coordinated fabrics for an office or contemporary home designed by Sharon D. Alderman. (1) Border squares curtain fabric. (2) Two twill accent fabrics. (3) Mattweave upholstery fabric. (4) Tickweave upholstery.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 68, 105

Pick-up patterned double weave. Includes information on the history of the weave, suitable designs, equipment, yarns, warp preparation, threading and treadling. Also includes a pattern for a wall hanging and step by step instructions for weaving it.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 80

First steps to buying a home computer for weavers. Includes a weaving software source list.
HANDWOVEN Mar-Apr 1984 (v.5#2) pg. 90

Draft and instructions for weaving a nubby wool using heavier yarns to create the nubbiness. Structure is a six-shaft point twill.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 22

Learning to weave. This article concentrates on selvedges, warp problems and tension.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 28

A guide to weaving and craft schools.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 33

A collection of summerweight fabrics to weave. (1) Plain weave with contrasting color and texture in warp stripes. (2) Plain weave with an overcheck of heavier, textured threads (3) Hircord. (4) Plain weave plaid with two blocks of Bronson II lace. (5) Two-block broken twill.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 63, 108
Correction HANDWOVEN Nov-Dec 1984 (v.5#5) pg. 7

Boiled wool. How to combine pre-shrunk weft and unshrunk commercial wool warp. After weaving, the resulting fabric is shrunk and machine washed to create a nubby texture.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 85

Using light as a design element. Suggestions on how to weave translucent fabrics and reflective material.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 88

Some common graphic features of home computers that handweavers need to know.
HANDWOVEN May-Jun 1984 (v.5#3) pg. 89

A bumpy stripe weave that creates the effect of spots.
HANDWOVEN Sep-Oct 1984 (v.5#4) pg. 36

Handwoven fabrics have Ethnic roots (1) Broken twill warp stripes on a plain weave ground. (2) Plain weave with monk's belt pattern. (3) Plain weave with warp stripe. (4) A plain weave in Shetland yarns. (5) Plain weave with warp stripes.
HANDWOVEN Sep-Oct 1984 (v.5#4) pg. 57, 100

A guide to double weave. Includes 5 drafts.
HANDWOVEN Sep-Oct 1984 (v.5#4) pg. 81
Correction HANDWOVEN Mar-Apr 1988 (v.9#2) pg. I-4

A look at what is available in computer drawdown programs.
HANDWOVEN Sep-Oct 1984 (v.5#4) pg. 86

Three color schemes (complementary, monochromatic, analogous) for weavers to use when designing their work.
HANDWOVEN Sep-Oct 1984 (v.5#4) pg. 88

Five rustic fabrics suitable for a den. Includes drapery fabric, a tweed upholstery, a tweed stripe upholstery, and two accent fabrics.
HANDWOVEN Nov-Dec 1984 (v.5#5) pg. 33, I-4.

Draft for a three-thread basket weave.
HANDWOVEN Nov-Dec 1984 (v.5#5) pg. 34

How to speed up weaving design by using a computer drafting program. Includes draft for "Squareknot" fabric suitable for jacket or cloth coat.
HANDWOVEN Nov-Dec 1984 (v.5#5) pg. 47

Handwoven, four shaft interpretation of a commercial weave.
HANDWOVEN Jan-Feb 1985 (v.6#1) pg. 12

Exercises and other ideas to prevent physical pain when weaving.
HANDWOVEN Mar-Apr 1985 (v.6#2) pg. 26
Added Info HANDWOVEN Sep-Oct 1985 (v.6#4) pg. 7

How to thread a blended draft (integrated draft, composite draft). A blended draft is two four-shaft drafts mixed into one eight-shaft threading which can be woven as either of the original components.
HANDWOVEN Mar-Apr 1985 (v.6#2) pg. 37

Swatch collection #11. Weave a collection of ten swatches on a four or eight shaft loom.
HANDWOVEN Mar-Apr 1985 (v.6#2) pg. 47, I-5, I-6

How to weave, prepare and use bias strips on handwoven fabric.
HANDWOVEN May-Jun 1985 (v.6#3) pg. 24

How to cut, spin and weave shifu (a paper textile).
HANDWOVEN May-Jun 1985 (v.6#3) pg. 69

Turned drafts. Tips on how to turn drafts and two sample swatches to weave.
HANDWOVEN May-Jun 1985 (v.6#3) pg. 90

How to do plain weave with "tracking". Tracking is the change in the surface and apparent structure that takes place during wet finishing.
HANDWOVEN Sep-Oct 1985 (v.6#4) pg. 31, I-4

Weave fabrics for "country home" interiors including curtains, cushions, mat fabric, and hand and dish towels on a two or four shaft loom.
HANDWOVEN Sep-Oct 1985 (v.6#4) pg. 46, I-5
Correction HANDWOVEN Sep-Oct 1986 (v.7#4) pg. I-3

An introduction to twill weave basics, structures, projects, etc.
HANDWOVEN Nov-Dec 1985 (v.6#5) pg. 26+

Weft-faced plain weave. Choosing yarns, determining sett and technical considerations for color effect.
HANDWOVEN Nov-Dec 1985 (v.6#5) pg. 12
Correction HANDWOVEN Jan-Feb 1986 (v.7#1) pg. I-3

Getting it straight. How to plan, weave, cut and sew handwoven fabric to achieve straight seams in clothing.
HANDWOVEN Nov-Dec 1985 (v.6#5) pg. 23

Tips on how to design undulating twill.
HANDWOVEN Nov-Dec 1985 (v.6#5) pg. 31

Tweed fabric swatches for city clothing woven on a four shaft loom.
HANDWOVEN Nov-Dec 1985 (v.6#5) pg. 49, I-9, I-10

How to weave delicate dotted patterns by using petit point treadlings on twills or overshots. Three treadlings are furnished. Instructions for making an evening purse and eyeglasses case from petit point fabric are included.
HANDWOVEN Jan-Feb 1986 (v.7#1) pg. 66, I-12, I-15
Correction HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 91

A fabric analysis computer program written in BASIC. It analyzes a pattern of up to 80 warp and weft threads and up to 32 shafts and treadles. The threading, tie-up and treadling by which that fabric pattern could be woven are displayed.
HANDWOVEN Jan-Feb 1986 (v.7#1) pg. 76

How to weave with supplementary warps to create warp brocade. Five sample drafts are furnished, three for eight-harness, one for six-harness and one for four-harness looms.
HANDWOVEN Jan-Feb 1986 (v.7#1) pg. 80

How to cut handwoven fabric when making garments from commercial patterns. Includes tips on fabric fulling, marking, stay stitching and pressing.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 27

Traditional ways with Dukagang. A general explanation of the technique.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 42

Weaving a transparency background in plain weave with a pattern inlay. Four inlay methods are described. Patterns and instructions are furnished for three-panel "Anemone Garden" transparencies. Each panel measures 10"x24" before framing. Project is woven on four harnesses.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 45, I-6

Drawloom basics and tips on how to weave damask on countermarch or counterbalance looms using a pick-up stick.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 61

Contemporary damask fabrics for interiors designed by Constance LaLena. Instructions are included for: (1) A striped upholstery fabric woven in six-shaft satin requiring 12 treadles. A four-shaft variation requiring eight treadles is furnished. (2) An all-purpose plain-weave fabric, dented to produce vertical stripes. (3) Patterned damask upholstery or bed covering fabric woven on a draw loom or that can be woven on four- or six-harness looms using a pick-up stick.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 64, I-12

Counterchange: the reversal of figure and ground in weaving. Drafts for four samples are furnished. Three are four-harness, the fourth is eight-harness.
HANDWOVEN Mar-Apr 1986 (v.7#2) pg. 75, I-16

Six summer-weight clothing fabrics to weave. (1) Silk plain-weave skirt fabric. (2) Six-harness silk and cotton overchecked plain weave with two end/pick floats where the overchecks cross. (3) Linen tri-colored jacket fabric in plain weave. (4) Cotton and tussah silk blouse fabrics with warp and warp/weft stripes in plain weave. (5) Plain-weave, complex balanced stripe fabric with cotton warp and silk weft. (6) Cotton and silk plain-weave fabric with asymmetrical stripes.
HANDWOVEN May-Jun 1986 (v.7#3) pg. 28, I-4

Color-and-weave effect fabrics for a three-piece woman's suit ensemble. Suit uses a commercial pattern. Crepe jacket and scarf fabrics are an eight-harness weave. Plaid skirt is in plain weave.
HANDWOVEN May-Jun 1986 (v.7#3) pg. 34, I-6

How to weave lightweight fabric on a rigid heddle loom. Includes information on threading two rigid heddles at once. Also includes instructions for a woman's blouse with drop-sleeves and a scoop neckline. Blouse is in plain weave with five vertical stripes of Bronson lace around the neckline in front and back. Neckline, sleeves and bottom are edged with picot crochet. Draft is for a seven-harness pattern.
HANDWOVEN May-Jun 1986 (v.7#3) pg. 68, I-16

Swatch collection of six fall-weight fabrics suitable for clothing. (1) Tweed plain-weave jacket fabric. (2) Jacket or vest fabric in a four-harness plain weave ground with areas of warp threads grouped and woven as one. Unwoven intervals form ovals of yarn on the surface of the cloth. (3) Dress or light jacket fabric in a tweed color-and-weave effect fabric. (4) Soft vest or sweater fabric is woven in a four-harness modification of plain weave so that each yarn in the warp comes to the surface of the cloth to produce dotted lines. (5) Coat fabric in overchecks created by a variation of plain weave and basket weave. (6) Cotton dress fabric in plain weave with canvas weave squares in the center of larger squares.
HANDWOVEN Sep-Oct 1986 (v.7#4) pg. 25, I-4

Suggestions for experimenting with unusual materials (Christmas tinsel, rickrack, rice-straw braids, leather lacing, lace, ball fringe, etc.) for warp or weft. Includes drafts for (1) Six-harness weave that uses 12" long pine needles in the weft. (2) An eight-harness fabric with a plain-weave backing to provide support for soft, delicate weft materials. (3) A four-harness backed ribbon fabric. (4) A four-harness zigzag pattern.
HANDWOVEN Sep-Oct 1986 (v.7#4) pg. 78

Choosing computer software for use in weaving. Suggestions on where to find comparative information on computer programs.
HANDWOVEN Sep-Oct 1986 (v.7#4) pg. 82

Designing handwoven garments. Tips are excerpted from "Designing to Weave and Sew" by Handwoven Designer Patterns. Instructions are included for weaving the fabric for five projects. Patterns for each must be ordered from Handwoven Designer Patterns. (1) A woman's jacket in plain weave fabric with twill stripes and inlaid V-motifs. (2) Woman's blouse with a square neckline, drop shoulders and elbow-length sleeves is sewn from fabric woven in spot Bronson with a silk warp and textured cotton warp. (3) Woman's tube dress with a boat neckline and long sleeves is made from a silk fabric woven in shadow weave on an undulating twill threading. (4) Fabric for a woman's dress-length ruana is woven in Dornick twill. (5) Dornick twill and basket weave fabric for a woman's skirt.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 41, I-3, I-4, I-8
Correction HANDWOVEN Jan-Feb 1987 (v.8#1) pg. I-16

Five silk fabrics designed by Diana Sanderson. (1) Basket weave with boucle tussah. (2) Basket weave with a fine boucle weft. (3) Twill with tussah silk boucle weft. (4) Textured silks used randomly in both warp and weft. (5) Textured silks used randomly in 2/2 twill.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 46, I-4

Color design for garments. Nell Znamierowski explains how to wrap yarns around a strip of white matboard to evaluate color mixtures, proportions and textures.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 54

Malin Selander's designer collection of four fabrics. (1) Blouse fabric in plain weave with weft floats has cotton warp and tussah and slub silk weft. (2) Wool winter coat fabric is woven in four-harness demi-damask. (3) Wool jacket fabric in plain weave with inlaid weft floats. Occasional pattern rows are woven in pick-up with thick unspun roving. (4) Wool skirt fabric in plain weave with weft floats that create irregular slashes of contrasting color.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 60, I-5

Five silk fabrics designed by Virginia West. (1) Huck lace for blouse or dress uses two natural shades of silk. (2) Plain weave plaid for suit fabric. (3) Striped fabric for a blouse is woven with a shiny, unevenly spun silk in the warp and a matte nubby silk weft. Random floats of a brown silk weft and occasional shots of blue silk tweed are used with the regular weft. (4) Dornick twill combined with basket weave in vertical stripes for a suiting or coat fabric. (5) Interlocking plain weave medallions are woven in two sizes and colors of silk. Floats of the lighter silk surround darker medallions, making the fabric appear three-dimensional.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 62, I-6

Five fabrics designed by Lillian Whipple. (1) Wool coat fabric is woven in a 2/2 twill with a color-and-weave effect based on log cabin. (2) A lightweight wool suit fabric in six-shaft broken twill blends five colors in each warp stripe. One color is changed at a time so the color changes very gradually. Several very different fabrics can be woven on the same warp by varying only the weft color. (3) Cotton dress fabric in plain weave has varying denting to give open spaces as well as firmness. (4) Linen suit fabric has both vertical and horizontal panels of Bronson lace. (5) Silk blouse fabric in honeycomb (undulating weft) and plain weave.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 64, I-7

On designing fashion fabrics. Points to keep in mind. Includes drafts for five fabrics designed by handweavers. (1) A six-harness fabric in black rayon and novelty cotton. A four-harness alternative is furnished. (2) Brushed wool with ribbon pinwheels fabric in an eight-harness weave. (3) Blue windowpane fabric woven on four harnesses. Warp and weft floats of macrame yarn forms the windowpane effect. (4) Enlarged hopsack fabric woven on four harnesses. (5) A heavy upholstery fabric is translated into a dress fabric. Three strands of yarn were used as one instead of one heavy yarn in this four-harness weave.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 66

Notes on designing for drape (the ability of a fabric to fall on the body and create a fit compatible with the particular style of a garment). Suggestions on designing and testing swatches.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 76

How to use a rigid-heddle loom to make samples quickly.
HANDWOVEN Nov-Dec 1986 (v.7#5) pg. 78

Suggestions on what weavers should consider before purchasing a computer.
HANDWOVEN Jan-Feb 1987 (v.8#1) pg. 68

Shadow weave. Basic fabric construction and treadlings explained. Six drafts are included: two 2-shaft, three 8-shaft and a 12-shaft.
HANDWOVEN Jan-Feb 1987 (v.8#1) pg. 76
Correction HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 91

Swatch collection #15. (1) Plain weave fabric appropriate for a skirt or dress uses the stripe sequence of an old Guatemalan fabric. (2) Checked fabric in plain weave, appropriate for a dress, uses a slightly heavier textured yarn to outline warp and weft stripes. (3) Fabric for a skirt or dress has warp-faced twill stripes on a plain weave ground and is based on an old Peruvian mantle. (4) Fabric designed for a vest has alternating bands of stripes and checks. (5) Spiderweave fabric for a blouse has an all-over, web-like texture.
HANDWOVEN Mar-Apr 1987 (v.8#2) pg. 38, I-4
Correction HANDWOVEN Sep-Oct 1987 (v.8#4) pg. I-3

Five textiles designed for using in a baby's room. Three are woven in plain weave with accent threads producing stripes and checks. A fourth is in a honeycomb weave that is suitable for a coverlet. The fifth is a four-shaft texture weave suitable for toweling.
HANDWOVEN Mar-Apr 1987 (v.8#2) pg. 52, I-9

A computer program to generate a blended weaving draft. Written in Microsoft BASIC.
HANDWOVEN Mar-Apr 1987 (v.8#2) pg. 68

How to weave a fine wool fabric in spot Bronson. Uses 40/2 worsted yarn on a 30 ends-per-inch sett. Drafts for both four and eight shafts included.
HANDWOVEN May-Jun 1987 (v.8#3) pg. 98

Fabrics for interiors #11. Southwest collection. (1) Rug fabric in weft-faced plain weave. (2) Upholstery or cushion fabric in point twill. (3) Striped upholstery fabric in plain weave. (4) Upholstery and accent fabric in striped plain weave. (5) Curtain fabric in plain weave with bands of weft-face plain and basket weave.
HANDWOVEN Sep-Oct 1987 (v.8#4) pg. 36, I-3

Two coordinated fabrics for blouse and jacket. Jacket fabric is a shadow-weave twill. Blouse fabric is woven in huck.
HANDWOVEN Sep-Oct 1987 (v.8#4) pg. 42, I-6

Swatch collection #16. Fabrics for fall. (1) Jacket/coat fabric in four-shaft twill. (2) Double-weave vest fabric for eight shafts. An alternative four-shaft bedford cord draft is furnished. (3) Lightweight wool dress fabric in plain weave. (4) Suit or jacket fabric in 2/2 twill stripes alternating with 2/2 basket weave. (5) Skirt or suit fabric in striped 3/1 twill.
HANDWOVEN Sep-Oct 1987 (v.8#4) pg. 52, I-8

The challenge of the ugly color. How to create color combinations that will intermix a seemingly unworkable color of yarn so that it results in interesting cloth.
HANDWOVEN Sep-Oct 1987 (v.8#4) pg. 70

Waffle weave. A look at seven alternative fabrics that can be woven on four-, eight- and sixteen shafts.
HANDWOVEN Sep-Oct 1987 (v.8#4) pg. 83

How to gather a "library" of favorite block patterns that can speed the weaving design process.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 22

How to introduce variations into a woven piece to avoid repeated patterns.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 26

An exploration of block weaves. Projects in this issue are based on block designs.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 41

Lessons in profile drafting. Includes instructions for tea towels in three weaves: Summer & Winter, block twill and Bronson lace.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 44, I-6
Correction HANDWOVEN Mar-Apr 1988 (v.9#2) pg. I-4

How to use a profile draft to create original designs. Suggestions on developing the tie-up and design variations using one profile draft. Includes instructions for three-tie unit twill table mats.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 46, I-8

Weaving block twills. Instructions for translating a profile draft to twill block threading and treadling. Includes block threading for single-tied unit weave (Bronson lace) woven on eight shafts. Includes instructions for a block twill and plain weave suit fabric.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 52, I-12

Diversified plain weave, a modified plain weave that uses fine and heavy threads in both warp and weft. Fine threads, threaded on shafts 1 and 2, form the ground. Heavy warps threaded on upper shafts form the pattern. Six sample drafts for six through ten shafts are furnished. Includes instructions for two pillows.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 62, I-15

How to create alphabet drafts to incorporate letters in woven fabrics. Includes three-block patterns for 17 letters.
HANDWOVEN Nov-Dec 1987 (v.8#5) pg. 90

Some textile design ideas for juxtaposing contrasting elements in a way that can enliven a piece of cloth.
HANDWOVEN Jan-Feb 1988 (v.9#1) pg. 24

Weaving movement into cloth. Covers garment design, yarn decisions, dyeing, designing the weave and garment cut.
HANDWOVEN Jan-Feb 1988 (v.9#1) pg. 35

Double weave pickup is the focus of two articles and four projects. Both four- and six-shaft double-weave are explained.
HANDWOVEN Jan-Feb 1988 (v.9#1) pg. 41, 47

Fabrics for interiors designed by Constance LaLena. A collection of four fabrics for pillows or upholstery. (1) Double weave pickup. (2) Two-block, double-faced twill (point twill in four-harness). (3 and 4) Ombre fabrics in plain-weave.
HANDWOVEN Jan-Feb 1988 (v.9#1) pg. 88, I-13

Fabrics for interiors, designed by Constance LaLena. (1) Curtain fabric in plain weave with stripes created by dense areas of sett and beat. (2) Warp rep rug woven in a block design in three colors. (3) Slipcover fabric woven in Ms and Os. (4) Plain-weave accent fabric in a plaid.
HANDWOVEN May-Jun 1988 (v.9#3) pg. 18, 76

Textures and brocades. Four swatches woven on a point-twill threading all resemble brocade. Treadling is varied to produce short floats in both warp and weft. A fifth swatch, with a windowpane texture, has a vertical texture stripe that is crossed periodically with accentuating horizontal floats.
HANDWOVEN May-Jun 1988 (v.9#3) pg. 56, 85

Four swatches designed around stripes and squares. (1) Plain weave with basket and corded stripes. (2) Plain weave ground with columns of floats which change color. (3) Log-cabin plain weave with a colorshift from square to square. (4) Plain weave with supplementary warp floats.
HANDWOVEN May-Jun 1988 (v.9#3) pg. 58, 87

Designing to control the visual weight of a handwoven project. Looks at thickness, weave structure and color.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 11

Special issue on warp rep weaves. Five articles look at designing and weaving projects in warp-faced plain or near-plain weave (Ripsmatta in Swedish).
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 17

Designing and drafting color in warp rep weaves.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 17

Four clothing fabrics for fall. (1) Plain weave with color-and-weave effect stripes. (2) Plain weave with twill check. (3) Plain weave with warp and weft floats. (4) Six-shaft waffle weave.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 26, 92
Correction HANDWOVEN Jan-Feb 1990 (v.11#1) pg. 87

How to weave six-block rep weave on four shafts.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 40

Draft blending to combine weave patterns or structures. An explanation of how a weaver combined an undulating twill and a diamond motif. The resulting 13-shaft fabric is woven for a woman's jacket with elbow-length sleeves and a deep V-neck. Instructions describe how to weave the fabric and gives the layout of pieces for a commercial pattern.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 83, 105

How to use cloth analysis to create any fabric you visualize.
HANDWOVEN Sep-Oct 1988 (v.9#4) pg. 86

Understanding color values. Tips on how to isolate lightness-darkness from intensity or hue.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 22

Special issue explores the use of color in weaving.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 45

Fabric, suitable for a jacket, has a warp of 16 colors and four weights of yarn that create a pointillist color effect. It is woven in a plain weave with two wefts alternating in a pick-and-pick sequence.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 48, 79

Fabric for a woman's bomber-style jacket is woven in crackle and overshot. A commercial pattern was used for the jacket, but the article does describe how to consider the shape of a garment when selecting an appropriate weave structure and yarns.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 50, 80

"Out of a Flower Garden" yardage, woven in two-block double-faced twill, creates the illusion of more than the three colors used. Dark blue lobelias inspired this study in color value.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 54, 83

Fabrics for interiors designed by Constance LaLena. Theme is an English country boudoir. (1) Striped fabric in plain weave with a somewhat open sett. (2) Plaid woven in a broken reverse twill. Both fabrics are appropriate for blankets or throws.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 56, 84

Ten ways to produce mixed color effects in weaving. Includes tips on selecting a weave structure that will optimise a color scheme.
HANDWOVEN Nov-Dec 1988 (v.9#5) pg. 70

Tip: Transfer threading drafts in segments onto flip-style (Rolodex) file cards.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 8

Tip: Folded loop of rag in each shed makes an easily removed header.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 9

Tip: How to use a pre-measured guide string to identify weaving length.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 9

Textile art for architecture. How to study the room where the piece is to be installed, looking for shapes, color, size, mood and operational considerations.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 26

The Theo Moorman technique, a method of inlay in which free design can be placed on the surface without distortion to the cloth. Basic technique is explained, along with a series of studies that can be explored in a sampler.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 61

Designing surface-interest fabrics. Includes instructions for a woman's jacket and matching hat in a plain-weave fabric with layered spots of angora.
HANDWOVEN Jan-Feb 1989 (v.10#1) pg. 67, 83

Special section on sharing the love of weaving with children.
HANDWOVEN May-Jun 1989 (v.10#3) pg. 17

Tips for marking the front side of handwoven yardage so the sides won't be confused when it is cut into garment pieces.
HANDWOVEN May-Jun 1989 (v.10#3) pg. 50

Three-shaft weaves. Threadings given for jeans twill, rosepath, herringbone, point twill, summer & winter weave, lace weave, rib weave, bronson lack, waffle weave and two supplementary warp weaves (warp floats and deflected warps). Swatches are shown that combine threadings to create a variety of textiles.
HANDWOVEN May-Jun 1989 (v.10#3) pg. 89

Sixteen-shaft "unblocked" damask. An exploration of the weave and instructions for weaving placemats with an all-over zigzag motif.
HANDWOVEN May-Jun 1989 (v.10#3) pg. 92, 85

Suggestions for fulling handwoven fabric in an automatic washer and dryer.
HANDWOVEN May-Jun 1989 (v.10#3) pg. 105

Twill fabrics for fall and winter. (1) Worsted wool four-shaft twill in a large check with warp stripes in the color of the weft and weft stripes in the weft color. (2) Jacket-weight fabric in an eight-shaft undulating twill. (3) Dress-weight fabric with contrasting-color twill stripes on plain-weave ground. (4) Coat-weight fabric has alternating warp- and weft-faced twill stripes crossed by weft-faced twill stripes in a third color.
HANDWOVEN Sep-Oct 1989 (v.10#4) pg. 38, 77

Details of how to handspin a singles wool yarn from medium fine wool and weave it into enough cloth for a pair of woman's slacks.
HANDWOVEN Sep-Oct 1989 (v.10#4) pg. 65

Coat-weight collapsed fabric with backing. Due to shrinkage differentials, the face fabric collapses along zigzag lines where it is attached to the backing fabric.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. Cover, 40, 75

An exploration into the production of collapse fabrics, their structures, sett, fibers and finishing processes.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 31

Escaping the grid. A study of deflected wefts, float structures, slubs and other eccentric warps and wefts that create texture and "motion" in textiles.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 37

Pique, a woven structure with a quilted appearance. Three types of pique (ribbed, waved and figured) are described. Drafts are included for all three, along with instructions for two pillows made from pique fabrics. One fabric is a seven-shaft waved pique with isolated diamond-shaped motifs. The second is a 12-shaft, single color diamond motif.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 43, 76

General descriptions of some unusual techniques that achieve unique textile effects. (1) Supplementary warp stripe woven as separate layer, pulled up into a loop or twisted and then held in place by weaving it back into the ground cloth. (2) Use of yarns that exaggerate the three-dimensional character of a weave. (3) Use of yarn substitutes (wire, dowels, etc.). (4) Using discharge paste, a color remover, on fabric to change colors. (5) Transfer a color photocopy image to cloth using Stripeze paint remover. (6) Strip quilting of dispersal-dyed fabric.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 50

Tip: Linked-warp-and-weft technique can be used to create a balanced check in plain weave with a missed-pick effect.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 57

Basic description for triaxial weaving on any hand loom. Three sets of yarns interlace at 60-degree angles.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 59

Undulating twill, an analysis of the structure and factors that will make the slope of the twill line flatter or steeper. Includes drafts for two eight-shaft undulating twill fabrics. The first has a herringbone effect; the second has ovals. Also includes instructions for an undulating-twill shawl and a scarf with undulating twill and spaced warp.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 87, 81
Correction HANDWOVEN May-Jun 1993 (v.14#3) pg. 76

"Caribbean Sea" coat fabric in undulating twill uses a multicolored warp of blues and greens, silk, boucle, ribbon and a sprinkling of metallic threads. Uses a 16-shaft straight twill threading and a pattern treadling interspersed with tabby.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 90, 84

Draft for a jacket fabric in undulating twill. The undulations are created in the treadling of a regular eight-shaft straight twill.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 91, 84

A new twist on bead leno. Two blocks threaded on eight shafts. Includes instructions for (1) a sampler showing half-basket and leno variations and (2) two evening bags woven on four or eight shafts using gold and silver wefts.
HANDWOVEN Nov-Dec 1989 (v.10#5) pg. 92, 83

Swatch collection #21. (1) Fabric for a skirt or dress has strong vertical lines and is woven in plain and basket weaves. (2) Fabric for a blouse or T-top has strong line in three-end huck lace weave. (3) Fabric for a cardigan jacket with a diagonal line is woven in 8-shaft corkscrew twill. (4) Fabric for a vest, light jacket or culottes is woven in plain weave with 4/4 basket weave checks.
HANDWOVEN Mar-Apr 1990 (v.11#2) pg. 38, 81

How to weave elephant motifs using a 16-shaft dobby loom.
HANDWOVEN Mar-Apr 1990 (v.11#2) pg. 96

Handwoven casement cloth replicates a textile style from the 1950s. White and off-white warp stripes with metallic accents are accented by bands of novelty yarns that create textured weft stripes.
HANDWOVEN May-Jun 1990 (v.11#3) pg. 69, 93

Swatch collection No. 22. (1) Plaid suit or jacket fabric in an 8-shaft plain weave with an overcheck of 2/2 basket weave that intersects to form double-weave pockets. (2) Eight-shaft jacket fabric features double-weave vertical stripes in a striped plain-weave ground. (3) Six-shaft reversible coat fabric has brushed mohair on one side with vertical double-weave stripes. The other side has vertical stripes but isn't fuzzy. (4) Two-block double plain-weave coat fabric in a large check is woven on 8 shafts.
HANDWOVEN Sep-Oct 1990 (v.11#4) pg. 44, 76

Designing Rosepath figures on eight shafts. Includes patterns for Santa head, candlestick, snowmen, maple tree and yule tree motifs.
HANDWOVEN Sep-Oct 1990 (v.11#4) pg. 70

Reflection and rotation. Two easy ways to vary repetitive arrangements. Techniques for designing handwoven or hand-printed fabric.
HANDWOVEN Nov-Dec 1990 (v.11#5) pg. 22

Turning a pattern into a weaving project. Discusses selecting a weaving draft and translating it into a project of a specific size by considering symmetry, borders, repeats and balance.
HANDWOVEN Nov-Dec 1990 (v.11#5) pg. 44

How to use a computer to design cartoons for weaver-controlled fabrics.
HANDWOVEN Jan-Feb 1991 (v.12#1) pg. 40

How to weave two coordinating cloths together in a single backed fabric. Warp-backed and weft-backed fabrics, and double cloth. Advice on designing a stitched fabric. Includes instructions for a 2/2 twill scarf decorated with 1/3 and 3/1 twill weft-backed bands. Also includes drafts for two textiles: (1) Warp-backed vest fabric is striped in four colors and backed in a solid color and (2) interlaced double-cloth coat fabric has a mohair/wool-blend upper layer backed with plain weave.
HANDWOVEN Jan-Feb 1991 (v.12#1) pg. 64, 79

Reflections of a stormy beach. Swatch collection No. 23. (1) Plain weave ground with stripes in various weaves. (2) Honeycomb four-shaft weave variation that creates slightly undulating stripes, with novelty cotton used to suggest sea foam. (3) Dress or shirt fabric in a plain weave with an overcheck. (4) Warp-faced, 3/1 twill in tailored stripe.
HANDWOVEN Mar-Apr 1991 (v.12#2) pg. 34, 94

Symmetrical designs. Suggestions on how to translate a design into weaving (inlay, pick-up double weave, tapestry or summer & winter blocks).
HANDWOVEN Mar-Apr 1991 (v.12#2) pg. 58

An overview on the use of computers as a design aid in weaving. Advice on choosing software and a computer.
HANDWOVEN Mar-Apr 1991 (v.12#2) pg. 72

Computer-assisted weaving design with a mat-board loom.
HANDWOVEN Mar-Apr 1991 (v.12#2) pg. 78

Fabrics for interiors No. 17, (1) Bathmat fabric woven in a two-block Swedish weave called half drall. (2) Towel fabric in a six-shaft huck weave. (3) Semisheer curtain fabric.
HANDWOVEN Mar-Apr 1991 (v.12#2) pg. 82, 95

Swatch collection No. 24 featuring autumnal colors. (1) Lightweight coat fabric in a large plaid is woven in 2/2 twill. (2) Jacket outerwear fabric in basket and plain weave is woven on six shafts. (3) Plaid suit or skirt fabric woven in an eight-shaft twill variation. Color and weave create a strong diagonal. (4) Jacket fabric with strong vertical stripes made by weaving a Bedford cord.
HANDWOVEN Sep-Oct 1991 (v.12#4) pg. 38, 87

Rediscovering plain weave. Three fabrics that rely on the use of color to create pattern. (1) Fabric with shaded stripes. (2) Warp-dominant striped fabric has 3" wide bands of alternating blue and green strips between wider bands of multi-color stripes. (3) Log cabin fabric with blocks of black and white stripes that alternate between horizontal and vertical. The blocks are set off in both directions by red.
HANDWOVEN Nov-Dec 1991 (v.12#5) pg. 41, 84

Pedigree tabbies. A weaver's glossary of plain-weave fabrics.
HANDWOVEN Nov-Dec 1991 (v.12#5) pg. 45

Diversified plain weave. An explanation of the weave and possible tie-up and treadling variations.
HANDWOVEN Nov-Dec 1991 (v.12#5) pg. 57

Tracking (random diagonal ridges that can occur in plain-weave fabrics). Includes a napkin project woven in cotton that will result in tracking. Napkins have bright stripes around all borders.
HANDWOVEN Nov-Dec 1991 (v.12#5) pg. 72

Eight-shaft basics A look at the range of design possibilities. Includes drafts for end borders in weft-faced twill and a check that combines plain weave and basket weave in one cloth. Threading and treadling show four variations of a supplementary-warp pattern on four different ground structures.
HANDWOVEN Jan-Feb 1992 (v.13#1) pg. 75

Start with a drawdown. An explanation of how a cloth diagram is used to develop threading, tie-up and treadling.
HANDWOVEN Mar-Apr 1992 (v.13#2) pg. 21

Swatch collection No. 25. (1) Fabric for a striped jacket in a 3/1 twill woven on four-shafts. (2) Reversible skirt or jacket checked fabric woven in summer & winter pattern. (3) Asymmetrically striped fabric for a dress or shirt with white stripes against a twill background. (4) Tattersall check fabric woven on six shafts.
HANDWOVEN Mar-Apr 1992 (v.13#2) pg. 36, 80
Correction HANDWOVEN May-Jun 1992 (v.13#3) pg. 79

How to calculate the necessary width and length of a weaving project to compensate for weaving take-up and shrinkage in finishing.
HANDWOVEN May-Jun 1992 (v.13#3) pg. 19

Fabrics for interiors No. 19. (1) Semisheer curtain fabric in plain weave with double-weave blocks. (2) Table runner fabric in eight-shaft double weave in two blocks. (3) Upholstery fabric in a striped plain weave. (4) Rug fabric has alternating warp- and weft-faced areas.
HANDWOVEN May-Jun 1992 (v.13#3) pg. 32, 79

Swatch collection No. 26. (1) Plain-weave coat fabric with bright dots against a black background. (2) Outerwear fabric in warp-striped plain weave with a textured diamond overpattern created by floats. (3) Two-block twill suit fabric in a small diamond motif. (4) Plain weave fabric for an evening jacket has supplementary weft floats that are cut before washing to create pile.
HANDWOVEN Sep-Oct 1992 (v.13#4) pg. 20, 80

How to design and draft borders for block weaves.
HANDWOVEN Nov-Dec 1992 (v.13#5) pg. 41

Fabrics for Interiors No. 19, Striped fabrics in rich colors for a bedroom are all woven on four shafts. (1) Pillowcase fabric in plain weave with a chenille honeycomb border. (2) Duvet or comforter cover in plain weave with heavy warp accent threads. (3) Accent fabric for pillow shams, draperies, dust ruffle or upholstery in a summer & winter threading chenille blocks of texture on the border. (4) Upholstery fabric uses chenille in a traditional summer & winter pattern.
HANDWOVEN Nov-Dec 1992 (v.13#5) pg. 52, 87

Five experiments in texture and cord weaves for eight shafts.
HANDWOVEN Nov-Dec 1992 (v.13#5) pg. 59, 91

Wide cloth from a narrow (20") loom. Suggestions on design and seaming panels together.
HANDWOVEN Jan-Feb 1993 (v.14#1) pg. 52

How to weave tucks.
HANDWOVEN Mar-Apr 1993 (v.14#2) pg. 51

Patterned handwoven, eight-shaft fabric in yellow and denimy blue plaid.
HANDWOVEN Mar-Apr 1993 (v.14#2) pg. 52

Record keeping for beginning weavers. How to keep track of a project's details. Sample weaving record sheet included.
HANDWOVEN Mar-Apr 1993 (v.14#2) pg. 63

Swatch collection No. 27. (1) Jacket fabric is woven on five shafts in a color-and-weave-effect novelty weave. (2) Jacket fabric is woven on six shafts in a striped color-and-weave-effect plain weave with 2/2/ twill squares. (3) Lightweight plaid fabric suitable for skirt, blouse or dress is woven on four shafts in plain weave with three-end huck lace squares. (4) Striped jacket fabric is woven on five shafts in a warp-striped satin.
HANDWOVEN Mar-Apr 1993 (v.14#2) pg. 76, 90

How to adapt two-, three- or four-shaft floor loom projects to rigid heddle looms.
HANDWOVEN May-Jun 1993 (v.14#3) pg. 63

Fabrics for interiors No. 20. (1) Rug fabric in a weft-faced herringbone twill, treadled to be double-sided. (2) Throw fabric is woven in double-faced broken reverse twill. (3) Curtain fabric in a fairly wide set plain weave. Gauze-lace leno, worked with a pick-up stick, is used to create horizontal stripes and a geometric motif to accent the border. (4) Pillow or cushion fabric is a weft-faced stripe with a beaded design. (5) Upholstery fabric woven in diamond twill.
HANDWOVEN May-Jun 1993 (v.14#3) pg. 74, 91

Seventh Avenue swatch designs. (1) Chenille houndstooth six-shaft novelty weave. (2) Ombre plaid in four-shaft plain weave, 2/2 twill and eight-shaft crepe weave. (3) Vintage log cabin plain weave in a plaid. (4) Tweed in a six-shaft basket weave variation.
HANDWOVEN Sep-Oct 1993 (v.14#4) pg. 37

Swatch collection #28. (1) Suit fabric with a strong diagonal is woven in eight-shaft interrupted twill. (2) Skirt or slacks fabric is woven in a four-shaft 2/2 twill with color-and-weave-effect. (3) Jacket fabric in an six-shaft 2/2 twill is woven in an ombre plaid with overcheck. (4) Coat fabric in Curly Stars eight-shaft pattern is woven in color-and-weave-effect.
HANDWOVEN Sep-Oct 1993 (v.14#4) pg. 47, 84
Correction HANDWOVEN Jan-Feb 1994 (v.15#1) pg. 83
Correction HANDWOVEN Sep-Oct 1994 (v.15#4) pg. 82

Blanket weave. Six distinct blocks on four shafts. Threading, treadling and advice on yarn and color choices.
HANDWOVEN Sep-Oct 1993 (v.14#4) pg. 68

Tips on weaving projects that can be worked on in grab-time, those five-minute periods of time between life's other demands.
HANDWOVEN Nov-Dec 1993 (v.14#5) pg. 30

Suggestions on how to alter the color, size, yarn, pattern, etc. of a project in a weaving magazine or book.
HANDWOVEN Nov-Dec 1993 (v.14#5) pg. 32

A room for weaving. Tips on turning a bedroom into a weaving studio with lighting, storage and work space that meets a weaver's needs.
HANDWOVEN Nov-Dec 1993 (v.14#5) pg. 36

Fabrics for interiors No.21, all based on traditional four-shaft weaves. (1) Cotton toweling in M's & O's. (2) Cotton toweling in a reverse skip twill. (3) Carpeting fabric in Summer & Winter weave structure. (4) Plain-weave, warp faced carpeting.
HANDWOVEN Nov-Dec 1993 (v.14#5) pg. 74, 91
Correction HANDWOVEN Mar-Apr 1994 (v.15#2) pg. 79

Swatch collection #29 of fabrics inspired by natural dyestuffs. (1) Lacy blouse or dress fabric. (2) Plain-weave jacket fabric with an overcheck of fine threads in three colors. (3) Two-block twill fabric for dress, skirt or light jacket, features alternating blocks of color and weave. (4) Plain-weave jacket or skirt fabric with a fine overcheck.
HANDWOVEN Mar-Apr 1994 (v.15#2) pg. 62, 87

How to weave pick-up Beiderwand.
HANDWOVEN May-Jun 1994 (v.15#3) pg. 56
Added Info HANDWOVEN Sep-Oct 1994 (v.15#4) pg. 8

A guide to some weaving terminology. (1) Standard 2/2 tie-up. (2) Pass. (3) Woven in the overshot manner. (4) Blocks. (5) Profile notation. (6) Shrimp crochet.
HANDWOVEN Sep-Oct 1994 (v.15#4) pg. 34

Some essentials of weaving. (1) How to increase the number of projects you can make from one warp. (2) How to "read" a fabric to determine its weave. (3) Understanding take-up and shrinkage.
HANDWOVEN Nov-Dec 1994 (v.15#5) pg. 34

Swatch collection #30. (1) A dress- or skirt-weight cotton fabric woven in two colors in interleaved twill. (2) Coat-weight fabric woven in undulating twill. (3) Suit fabric woven in three colors on six shafts has a plain weave ground with a surface texture formed by warp floats. (4) A skirt or jacket fabric woven in 2/2 twill using two sizes of worsted yarn and loop mohair.
HANDWOVEN Nov-Dec 1994 (v.15#5) pg. 64, 94

Cutting handwoven fabrics. Three methods to try. (1) Stitch before cutting. (2) Cut and then stitch. (3) Anticipating the edge finish.
HANDWOVEN Mar-Apr 1995 (v.16#2) pg. 25

Rag weavers' tips for creating successful rag-woven clothing. Shares information on selecting and preparing rag fabric. Includes instructions for making bias-cut strips.
HANDWOVEN Mar-Apr 1995 (v.16#2) pg. 49

Lots of dots. An introduction to ways structures can be used to produce dots. Instructions are furnished for weaving nine fabrics. (1) Twill variation. (2) Plain weave with warp floats. (3) Spot Bronson. (4) Plain weave with warp and weft floats. (5) Lace Bronson. (6) and (7) Plain weave with three-end huck lace squares. (8) Plain weave with supplementary warp. (9) Plain weave with supplementary warp floats.
HANDWOVEN Mar-Apr 1995 (v.16#2) pg. 66, 97

Boulevard weave, an eight-shaft unit weave that produces cloth with distinctly different sides.
HANDWOVEN Mar-Apr 1995 (v.16#2) pg. 71

More dots. Eight fabrics based on four weaves that create "dots" (small areas in the cloth that are separated from each other by a ground of some other color, yarn or weave structure). (1) Color-and-weave effects. (2) Double-weave dots. (3) Dots made with floats. (4) Dots made of floats formed by supplementary warps or wefts.
HANDWOVEN May-Jun 1995 (v.16#3) pg. 80, 85

Cloth of the Anasazi. Analysis of the techniques used and information on how to replicate Anasazi textiles.
HANDWOVEN Sep-Oct 1995 (v.16#4) pg. 44

Tip for faster method of handling fabric strips when doing California rag weaving.
HANDWOVEN Mar-Apr 1996 (v.17#2) pg. 29

Weaving charted designs in pick-up broche. Includes complete directions for preparing a design chart, dressing the loom, weaving and finishing. Also explains how to transform any picture into a chart.
HANDWOVEN Mar-Apr 1996 (v.17#2) pg. 53

Four-, six- and eight-shaft variations of plain-weave fabrics use areas with floats to create interest.
HANDWOVEN Mar-Apr 1996 (v.17#2) pg. 56

Designing stripes. Exercises working with black and white and colored paper or yarn wrapping described.
HANDWOVEN May-Jun 1996 (v.17#3) pg. 36

Checks and plaids, inspired by antique fabrics, are woven in lace Bronson and plain weave. Drafts and instructions for six fabrics.
HANDWOVEN May-Jun 1996 (v.17#3) pg. 43, 85, 86
Correction HANDWOVEN Sep-Oct 1996 (v.17#4) pg. 7

Norwegian danskbrogd and krokbragd. Danskbrogd is pickup on a plain-weave ground. Two pattern sequences detailed. Krokbragd is pickup on three-shaft point-twill ground. Three pattern sequences described.
HANDWOVEN Sep-Oct 1996 (v.17#4) pg. 56

Organic structure. The art of overtwist. Using overtwisted yarns to create crepes and pleats in handwoven cloth. How to analyze yarn twist. Includes tips on weaving, wet finishing and dyeing.
HANDWOVEN Nov-Dec 1996 (v.17#5) pg. 32

Handwoven velveteen. Four 4-shaft drafts that can be used to produce velveteen. Advice on yarn selection, weaving and cutting the weft floats.
HANDWOVEN Jan-Feb 1997 (v.18#1) pg. 62

Square of cardboard serves for weaving samples off the loom.
HANDWOVEN May-Jun 1997 (v.18#3) pg. 25

Weaving with Poppana (bias-cut cloth strips from Finland).
HANDWOVEN May-Jun 1997 (v.18#3) pg. 38

How to keep records during travel so that souvenir memories can be turned into weaving.
HANDWOVEN May-Jun 1997 (v.18#3) pg. 42

Diamondo. Jacket-weight fabric is woven in triple goose-eye 2/2 twill with areas of weft-faced 1/3 twill inlay that form diamond patterns. Complementary dress-weight fabric is woven in plain weave with streaks of color created by supplementary warp floats.
HANDWOVEN Sep-Oct 1997 (v.18#4) pg. 61, 74

Ginger Snap fabrics. Vest-weight fabric, woven in extended twill and plain weave. Pants-weight fabric is striped, alternating huck and 3/1 warp-faced twill.
HANDWOVEN Sep-Oct 1997 (v.18#4) pg. 62, 76

Using algebraic expressions to design weave structures. Includes drafts for three scarves.
HANDWOVEN Jan-Feb 1998 (v.19#1) pg. 48

Pattern continuity with space-dyed wefts. A technique for maintaining a color sequence throughout the entire length of weft.
HANDWOVEN Mar-Apr 1998 (v.19#2) pg. 25

Suggestions on weaving mug rugs and a fringed tape to show how colors interact in a woven structure before weaving a larger project.
HANDWOVEN Mar-Apr 1998 (v.19#2) pg. 27

White Light woman's jacket fabric has streaks of space-dyed yarn that define rectangles, some of which are filled with huck lace. It is woven on six shafts in plain weave and huck lace.
HANDWOVEN May-Jun 1998 (v.19#3) pg. 39, 99

Turned drafts. Includes threading and treadling drafts for a six-shaft, four-treadle draft and its turned four-shaft, six treadle version, as well as a four-shaft, eight-treadle draft and its turned eight-shaft, four-treadle version.
HANDWOVEN Sep-Oct 1998 (v.19#4) pg. 48

Big and little threads. Fabrics that rely on using contrasting sizes of threads to add textural interest. (1) Plain log cabin weave color-and-weave effect fabric woven on four shafts. (2) A simple windowpane overcheck in plain weave on four shafts. Vertical and horizontal lines of heavier thread outline areas of finer thread. (3) Six-shaft 3/3 basket weave. (4) Shadow weave based on twill structure and woven on eight shafts has raised diagonal ridges.
HANDWOVEN Nov-Dec 1998 (v.19#5) pg. 50, 72

Impressive hangings using three Andean weaving techniques. Advice on how to incorporate the techniques in other weaving projects. (1) Four-shaft, double-faced weave. (2) Clasped warps. (3) Andean pick-up.
HANDWOVEN May-Jun 1999 (v.20#3) pg. 44

Fabrics for clothing designed by Sharon Alderman. (1) Suit fabric in plain weave with weft floats on one side and warp floats on the other is woven on eight shafts. (2) Coat fabric woven on eight shafts in a twill with supplementary warp and weft. (3) Jacket fabric woven in block twill on eight shafts. (4) Dress fabric woven in an eight-shaft point twill variation.
HANDWOVEN Sep-Oct 1999 (v.20#4) pg. 52, 76

Pushing the creative process in weaving. Six steps recommended.
HANDWOVEN Sep-Oct 1999 (v.20#4) pg. 60

The basics of how to read a weaving draft.
HANDWOVEN Nov-Dec 1999 (v.20#5) pg. 76

How to plan a weaving studio.
INTERWEAVE Spring 1980 (v.5#2) pg. 56

How to manage your time. Part 1.
INTERWEAVE Spring 1980 (v.5#2) pg. 64

Ideas on combining weaving, applique, and stitchery.
INTERWEAVE Summer 1980 (v.5#3) pg. 41

How to combine felting and weaving.
INTERWEAVE Summer 1980 (v.5#3) pg. 43

Managing your time. Part 2.
INTERWEAVE Summer 1980 (v.5#3) pg. 60

A Paracus needle technique: the use of wrapping stitches around warp ends.
INTERWEAVE Fall 1980 (v.5#4) pg. 34

A look at Peruvian warp patterned, spaced-weft twining.
INTERWEAVE Fall 1980 (v.5#4) pg. 42

Tip: An alternative Summer & Winter pickup technique.
INTERWEAVE Fall 1980 (v.5#4) pg. 69
Correction INTERWEAVE Winter 1980-81 (v.6#1) pg. 11

Twill variations. Broken twill, undulating twill, and Mexican Leaf design.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 26

Twill color and weave effects.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 28

How to design undulating twill.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 31

Damask. Using a straight twill threading, with satin weave tie-up, to create complex designs on only four or five harnesses.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 46

Designing fancy twills in double two-tie unit weave.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 49

Draft for an 8-shaft twill sampler.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 52

Pattern for a 4-shaft undulating twill.
INTERWEAVE Winter 1980-81 (v.6#1) pg. 55

Tips on interweaving fabric strips and tubes to create unique fabrics for vests and jackets.
NEEDLE & THREAD Mar-Apr 1986 (v.6#2) pg. 10

An introduction to small scale weaving. Instructions for a rya weaving, a wrapped warp weaving, a circular swirl woven in a 5" ring, and a mini mirror weaving.
NEEDLECRAFT FOR TODAY Jan-Feb 1982 (v.5#1) pg. 3, 39

"Smaland" weave, a five-block weave that uses two shafts for the tabby and five shafts for the pattern. Includes yarn requirements for each meter of woven yardage.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 3/1989 pg. 12

Linen and cotton suit fabric is woven in four-shaft point twill and tabby.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 2/1990 pg. 16

Waffle weave constructions are explained and drafts are provided for three variations. (1) Five-shaft waffle weave. (2) Four-shaft waffle weave. (3)Twelve-shaft honeycomb. A second article describes how to use the four-shaft waffle weave and tabby weave to produce yardage for suit and blouse fabric.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 2/1990 pg. 24, 29

Four fabrics for jackets and skirts. (1) Checked jacket fabric in four-shaft reversible twill and (2) a solid-color, matching skirt fabric. (3) A checked jacket fabric woven in four-shaft balanced twill and (4) a solid-color, matching skirt fabric.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 3/1990 pg. 14, 16

Linen check, woven in tabby, is suitable for women's suit fabric.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 3/1990 pg. 27

"Opphamta" woven with a draw device requires 12 pattern shafts and an extra shaft for the tabby center and edges. Instructions are furnished for weaving a square with two pattern rows on each edge.
SCANDINAVIAN WEAVING MAGAZINE (VavMagasinet) 3/1990 pg. 28

Double weave for fiber arts. General instructions for planning sculptural weaves. How to plot shuttle path and use weft as a flying bridge between layers.
SHUTTLE, SPINDLE & DYEPOT #34 Spring 1978 (v.9#2) pg. 19

Modern interpretations of ethnic garments. Analysis of ways to change design.
SHUTTLE, SPINDLE & DYEPOT #34 Spring 1978 (v.9#2) pg. 28

Triple weave pick-up woven on 6 harnesses.
SHUTTLE, SPINDLE & DYEPOT #34 Spring 1978 (v.9#2) pg. 99

Some Norwegian methods of finishing wool and linen handwoven textiles.
SHUTTLE, SPINDLE & DYEPOT #35 Summer 1978 (v.9#3) pg. 41

How to bind weaving records (pictures, drafts, textile samples, etc.) with a piece of woven fabric and make them into a notebook.
SHUTTLE, SPINDLE & DYEPOT #35 Summer 1978 (v.9#3) pg. 66

Supplementary weft float patterning.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 63

An analysis of star and diamond weave structures.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 71
Correction SHUTTLE, SPINDLE & DYEPOT #37 Winter 1978 (v.10#1) pg. 101

Weaver's notebook sample. "Antique Rose". Old Swedish Rosepath done on a 4-harness loom.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 100

Weaver's notebook sample. "Surface Interest Textile" using novelty synthetics, ribbon, and chenille. Done in 2-harness tabby.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 101

Weaver's notebook sample. "Asian Hill Tribe Motif". 10-harness weave using 16 treadles.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 101
Added Info SHUTTLE, SPINDLE & DYEPOT #37 Winter 1978 (v.10#1) pg. 98

Weaver's notebook sample. "Summer and winter". Six color blocks on a 4-harness loom.
SHUTTLE, SPINDLE & DYEPOT #36 Fall 1978 (v.9#4) pg. 101

Weaver's notebook. "Turned overshot" draft, a variation of 4-harness overshot that requires 6-harnesses. Based on an original draft by John Schlelein (#123).
SHUTTLE, SPINDLE & DYEPOT #37 Winter 1978 (v.10#1) pg. 32

Weaver's notebook. One warp, one threading, and three different treadlings for a variety of fabrics. Threading is known as point twill, single huck, or bird's eye.
SHUTTLE, SPINDLE & DYEPOT #37 Winter 1978 (v.10#1) pg. 33

Warp faced patterning. Covers design, selection of yarn and sett, and tips on selvedge treatment.
SHUTTLE, SPINDLE & DYEPOT #38 Spring 1979 (v.10#2) pg. 40

Weaver's notebook sample. Shadow weave on 4-harness loom.
SHUTTLE, SPINDLE & DYEPOT #38 Spring 1979 (v.10#2) pg. 52

Weaver's notebook sample. Waffle weave on 5-harness loom.
SHUTTLE, SPINDLE & DYEPOT #38 Spring 1979 (v.10#2) pg. 52

Weaver's notebook sample. Lace weave on 6-harness loom.
SHUTTLE, SPINDLE & DYEPOT #38 Spring 1979 (v.10#2) pg. 53

Weaver's notebook sample. Atwater's Folly on 4-harness loom.
SHUTTLE, SPINDLE & DYEPOT #38 Spring 1979 (v.10#2) pg. 53

Drafting. Part 1. Drafting as a design tool. Covers threading the loom, tie-up, treadling, design, relation of draft to fabric, and adapting the tie-up for counterbalance.
SHUTTLE, SPINDLE & DYEPOT #39 Summer 1979 (v.10#3) pg. 18

Summer and winter weaves and a look at 12 options.
SHUTTLE, SPINDLE & DYEPOT #39 Summer 1979 (v.10#3) pg. 42

Satin, the designer weave. Analysis of satin weaves for 5 or more harnesses and some design considerations for the weaver.
SHUTTLE, SPINDLE & DYEPOT #39 Summer 1979 (v.10#3) pg. 77

A look at Hungarian weaving, a simple method of warp twining.
SHUTTLE, SPINDLE & DYEPOT #39 Summer 1979 (v.10#3) pg. 93

Designing damask. Weave structure and characteristics explained. Drafts furnished for satin weave design, double damask and false damask.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 16

Drafting. Part 2. How to choose a treadling, incorporating floats and interlacings, designing the draft, determining tie-up and treadling, weaving samples, and weaving "unweavable" designs.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 28

How to weave circles and cones.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 58

Weaver's notebook sample. Supplementary warp patterned fabric for four harnesses.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 102

Weaver's notebook sample. 8-harness huck curtain material.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 103

Weaver's notebook sample. "Stained glass windows" waffle weave for 4-harness.
SHUTTLE, SPINDLE & DYEPOT #40 Fall 1979 (v.10#4) pg. 103

Drafting with color. Covers drafting with solid colors, manipulation of color on 2-harness and 4-harness, drafting with three or more colors, control of patterning, and aesthetic color considerations.
SHUTTLE, SPINDLE & DYEPOT #41 Winter 1979 (v.11#1) pg. 10

How to weave pick-up damask. Method described for a 5-harness satin weave using 10 treadles.
SHUTTLE, SPINDLE & DYEPOT #41 Winter 1979 (v.11#1) pg. 38

A look at revival of interest in weaving overshot patterns, especially as miniatures. Includes information on star and rose treadling.
SHUTTLE, SPINDLE & DYEPOT #41 Winter 1979 (v.11#1) pg. 40

Designing block weaves.
SHUTTLE, SPINDLE & DYEPOT #42 Spring 1980 (v.11#2) pg. 5

Exercises in design.
SHUTTLE, SPINDLE & DYEPOT #42 Spring 1980 (v.11#2) pg. 55

Overshot: the weave and the designs.
SHUTTLE, SPINDLE & DYEPOT #42 Spring 1980 (v.11#2) pg. 74

Wadmal, a felted fabric. Description of weaving, fulling, and finishing.
SHUTTLE, SPINDLE & DYEPOT #42 Spring 1980 (v.11#2) pg. 89

Ways to weave overshot. Part 1. (1) Star fashion. (2) Shadow. (3) Weaving on opposites. (4) Italian. (5) Gagnefkrus.
SHUTTLE, SPINDLE & DYEPOT #43 Summer 1980 (v.11#3) pg. 6

Using color in pattern weaves. Instructions for the beginner.
SHUTTLE, SPINDLE & DYEPOT #43 Summer 1980 (v.11#3) pg. 22

Effective designing. The basic principles of variation, gradation and texture.
SHUTTLE, SPINDLE & DYEPOT #43 Summer 1980 (v.11#3) pg. 36

Chained weft for surface technique.
SHUTTLE, SPINDLE & DYEPOT #44 Fall 1980 (v.11#4) pg. 26

How to teach young children (ages 3-8) to weave.
SHUTTLE, SPINDLE & DYEPOT #44 Fall 1980 (v.11#4) pg. 30

Weaving on a diamond grid, Bedouin style. Madakhel pattern is used to weave a horse halter/bridle.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 20

Ways to weave overshot. Part 2. (1) Boundweave. (2) Flamepoint. (3) Twill rotation (4) Swivel. (5) Adding decorative beads.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 36

Weaving of the plaid. How to weave Scottish Tartans.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 59

Reversible waffle-weave pattern suitable for blankets.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 62

Summer & Winter suiting on seven harnesses.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 62

A variation of double weave pick-up that allows the weaver to change colors in individual areas of the pattern.
SHUTTLE, SPINDLE & DYEPOT #45 Winter 1980 (v.12#1) pg. 64

Ways to weave overshot: Part 3. An Overshot lace effect woven using Stars and Roses Draft and Double Roses Draft.
SHUTTLE, SPINDLE & DYEPOT #46 Spring 1981 (v.12#2) pg. 6

Four examples and drafts of "color and weave" effects. (1) Two-harness Log Cabin, (2) Two- or four-harness Check, (3) Four-harness Check, and (4) Eight-harness Check.
SHUTTLE, SPINDLE & DYEPOT #46 Spring 1981 (v.12#2) pg. 28

Studies in Boundweave. Instructions for weaving a sampler that illustrates several patterns, shapes and shadings.
SHUTTLE, SPINDLE & DYEPOT #46 Spring 1981 (v.12#2) pg. 50

A new HGA name draft. A four-harness overshot name draft designed by Ena Marston for a jack loom. Includes table of three formulas for producing letters.
SHUTTLE, SPINDLE & DYEPOT #47 Summer 1981 (v.12#3) pg. 12

Sett and the Hand of the Fabric. Guidelines on how to determine how many warp threads per inch and the balance of warp and weft to achieve the correct density of finished cloth.
SHUTTLE, SPINDLE & DYEPOT #47 Summer 1981 (v.12#3) pg. 16

Computerized weaving calculations. Programs for the HP-41C, the TRS-80 and Apple II that compute yardage and cost of materials for a given weaving project. Compares the cost of several alternative materials.
SHUTTLE, SPINDLE & DYEPOT #47 Summer 1981 (v.12#3) pg. 46
Correction SHUTTLE, SPINDLE & DYEPOT #48 Fall 1981 (v.12#4) pg. 8

Multi-harness shadow weave techniques developed by Pat Richardson to adapt traditional quilt patterns to the loom. Includes threading draft and treadling sequence for "Dark Flower" and "Sea Star".
SHUTTLE, SPINDLE & DYEPOT #47 Summer 1981 (v.12#3) pg. 54

Four weaves that were used in Colonial fabrics. (1) Popcorn Weave. (2) Plain Weave on Spaced Warp. (3) Linsey-Woolsey. (20) Blouse Fabric. Includes drafts and treadling for each.
SHUTTLE, SPINDLE & DYEPOT #47 Summer 1981 (v.12#3) pg. 66

Color-and-Weave on a dark-light sequence, a survey of possibilities
SHUTTLE, SPINDLE & DYEPOT #48 Fall 1981 (v.12#4) pg. 24

Moorman weave variations.
SHUTTLE, SPINDLE & DYEPOT #49 Winter 1981 (v.13#1) pg. 6

A guide to Tartan weaving. Includes specifications for (1) Graham of Montrose, (2) MacLeod, (3) Menzies, (4) Stewart, (5) Lenox, and (6) Scott.
SHUTTLE, SPINDLE & DYEPOT #49 Winter 1981 (v.13#1) pg. 24

Drafting: A personal approach. Covers the major principles governing the way blocks function.
SHUTTLE, SPINDLE & DYEPOT #49 Winter 1981 (v.13#1) pg. 32

How to do loom-controlled (pick-up-stick controlled) weaves on a rigid heddle loom. Includes instructions for weaving Bronson Lace.
SHUTTLE, SPINDLE & DYEPOT #49 Winter 1981 (v.13#1) pg. 72

Computerized analysis of the drawdown. A discussion of a simple algorithm developed to determine whether a given weave structure will or will not separate into layers. Includes program in Applesoft BASIC and flow chart for other computers
SHUTTLE, SPINDLE & DYEPOT #49 Winter 1981 (v.13#1) pg. 76

Color-and-weave effect in Rosepath.
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 8

Swatch notebook. One fabric, two faces. Three samples to weave: (1) 1/3 twill. (2) A 6-(or 4-)harness suit fabric. (3) Linear surface weave.
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 16

Making a color draw-up (a diagram on paper of the color effect you will get when you weave).
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 37

Drafting: A personal approach. Part 2. Block weaves. Includes drafts for 16-harness Tied Lithuania, 8-harness Bergman, 10-harness summer and winter and 16-harness Beiderwand.
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 46

Take advantage of turned drafts. How turning a draft so that threading and treadling are transposed can give the weaver the ability to weave complex patterns on fewer harnesses.
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 58

Fiber properties that affect weaving.
SHUTTLE, SPINDLE & DYEPOT #50 Spring 1982 (v.13#2) pg. 72

Couturier fashions. Part 1. Couturier fabric design.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 8

Hazards faced by weavers.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 15

Swatch notebook: Some light behind the weave. Some weaves not traditionally used in casement curtains that can provide interesting effects. Includes dimity, fancy twill and spot weave.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 16

The Posneg program. The use of a computer program to design block weaves in multicolor. Written in Applesoft BASIC for use on an Apple II computer with a color monitor.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 26

Weaving with computers. The Portland Handweavers Guild study project described.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 30

Drafting: A personal approach. Part 3. Includes drafts for twill diaper and damask.
SHUTTLE, SPINDLE & DYEPOT #51 Summer 1982 (v.13#3) pg. 40

Swatch notebook. Six different point twill patterns use simple loom threading.
SHUTTLE, SPINDLE & DYEPOT #52 Fall 1982 (v.13#4) pg. 12

Block patterns program for weavers written in Applesoft BASIC for use on an Apple II computer.
SHUTTLE, SPINDLE & DYEPOT #52 Fall 1982 (v.13#4) pg. 16

How to line overshot fabric with rya knots made of fleece.
SHUTTLE, SPINDLE & DYEPOT #52 Fall 1982 (v.13#4) pg. 64

Notes of a pattern weaver. Small wall hangings that investigate weave structure.
SHUTTLE, SPINDLE & DYEPOT #52 Fall 1982 (v.13#4) pg. 76

Computerized fabric analysis. Simple program written in Applesoft BASIC for an Apple II Plus.
SHUTTLE, SPINDLE & DYEPOT #53 Winter 1982 (v.14#1) pg. 26

How to weave a two-faced false double weave. Requires 8 harnesses.
SHUTTLE, SPINDLE & DYEPOT #54 Spring 1983 (v.14#2) pg. 16

How to weave the ridge twill of the Hopi Indians.
SHUTTLE, SPINDLE & DYEPOT #54 Spring 1983 (v.14#2) pg. 53

Kente cloth weaving (African strip weaving). Includes instructions for plain weave with a weft stripe and a bird-design inlay.
SHUTTLE, SPINDLE & DYEPOT #54 Spring 1983 (v.14#2) pg. 60

A look at Philippine weaving that incorporates the 8-pointed star motif. Three versions described: (1) finanauer, (2) Yakan, and (3) Tausug.
SHUTTLE, SPINDLE & DYEPOT #55 Summer 1983 (v.14#3) pg. 57

A look at the advantages and shortcomings of using computers to design a pattern.
SHUTTLE, SPINDLE & DYEPOT #55 Summer 1983 (v.14#3) pg. 62
Correction SHUTTLE, SPINDLE & DYEPOT #56 Fall 1983 (v.14#4) pg. 4

Designing handwoven fabric with blocks.
SHUTTLE, SPINDLE & DYEPOT #55 Summer 1983 (v.14#3) pg. 72

Four weaves with floats on the surface. (1) Tufted fabric, (2) deflected-thread block weaves, (3) eyelash, and (4) cannele ondule (warp and weft overshot).
SHUTTLE, SPINDLE & DYEPOT #55 Summer 1983 (v.14#3) pg. 90

How to adapt large overshot patterns to smaller looms.
SHUTTLE, SPINDLE & DYEPOT #56 Fall 1983 (v.14#4) pg. 16

Warping in color. Tips on weaning away from white warps.
SHUTTLE, SPINDLE & DYEPOT #56 Fall 1983 (v.14#4) pg. 24

On-loom cardweaving as a pickup technique. Part 1. A warp rep, or mattor, design.
SHUTTLE, SPINDLE & DYEPOT #56 Fall 1983 (v.14#4) pg. 64

Notes of a pattern weaver. How to develop patterns on graph paper which is faster and less expensive that weaving a test pattern.
SHUTTLE, SPINDLE & DYEPOT #56 Fall 1983 (v.14#4) pg. 82

Verticals. Part 1. Weaving techniques to create a vertical design in handwoven fabric.
SHUTTLE, SPINDLE & DYEPOT #57 Winter 1983 (v.15#1) pg. 8

Warmables. Three patterns for weaving warm handwoven fabric. (1) One-block Summer & Winter, (2) novelty block, and (3) flame point on overshot.
SHUTTLE, SPINDLE & DYEPOT #57 Winter 1983 (v.15#1) pg. 80

Curves and circles. How simple point twill threading can produce the illusion of curves and small circles.
SHUTTLE, SPINDLE & DYEPOT #57 Winter 1983 (v.15#1) pg. 84

On-loom cardweaving as a pickup technique. Part 2. Single-weft, double weave pickup.
SHUTTLE, SPINDLE & DYEPOT #57 Winter 1983 (v.15#1) pg. 92

Weave design. A computer program for the Commodore VIC-20 computer helps design handweaving patterns.
SHUTTLE, SPINDLE & DYEPOT #57 Winter 1983 (v.15#1) pg. 94

Knotting stitches for weavers.
SHUTTLE, SPINDLE & DYEPOT #59 Summer 1984 (v.15#3) pg. 6

How to make felted fabric.
SHUTTLE, SPINDLE & DYEPOT #59 Summer 1984 (v.15#3) pg. 46

Weaving project ideas. Includes a blanket, "woven" fringe, fabric reproduction, and long-eyed heddles.
SHUTTLE, SPINDLE & DYEPOT #59 Summer 1984 (v.15#3) pg. 66

Tips on weaving coordinating fabrics. Block diagrams included.
SHUTTLE, SPINDLE & DYEPOT #60 Fall 1984 (v.15#4) pg. 46

The 2-tie threading unit for rugs: Part 1: The double-faced stuffer weave and summer-and-winter.
SHUTTLE, SPINDLE & DYEPOT #61 Winter 1984 (v.16#1) pg. 82

Weaving huck on a four harness loom.
SHUTTLE, SPINDLE & DYEPOT #62 Spring 1985 (v.16#2) pg. 53

How to weave West African "Kente" on a four harness loom. Kente consists of narrow strips of cloth sewn together at the selvages to form the fabric.
SHUTTLE, SPINDLE & DYEPOT #63 Summer 1985 (v.16#3) pg. 7

How to do "meet and separate" and "crossed wefts" plain weave techniques.
SHUTTLE, SPINDLE & DYEPOT #63 Summer 1985 (v.16#3) pg. 17

Weaving music. Transform the song "Amazing Grace" into an original draft.
SHUTTLE, SPINDLE & DYEPOT #64 Fall 1985 (v.16#4) pg. 6
Added Info SHUTTLE, SPINDLE & DYEPOT #67 Summer 1986 (v.17#3) pg. 9

How to design with modules.
SHUTTLE, SPINDLE & DYEPOT #64 Fall 1985 (v.16#4) pg. 54

Weaving transparent textiles.
SHUTTLE, SPINDLE & DYEPOT #65 Winter 1985 (v.17#1) pg. 10

How to weave transparent textiles in the Finnish inlay method, on a four harness loom.
SHUTTLE, SPINDLE & DYEPOT #65 Winter 1985 (v.17#1) pg. 14

Techniques of extra-warp, woven-pile handweaving.
SHUTTLE, SPINDLE & DYEPOT #65 Winter 1985 (v.17#1) pg. 21

Weaving as drawn in. Part 1. How to weave overshot and summer-and-winter in the "drawn in" technique.
SHUTTLE, SPINDLE & DYEPOT #65 Winter 1985 (v.17#1) pg. 29

Weaving as drawn in. Part 2. Classic styles that produce squared blocks when treadled in an order that corresponds to the threading. Includes drafts for huck lace, Swedish lace, twill blocks, lightning twill and broken twill.
SHUTTLE, SPINDLE & DYEPOT #66 Spring 1986 (v.17#2) pg. 38

How to use a computer to reconstruct the textile pattern from the holes in an old set of Jacquard cards.
SHUTTLE, SPINDLE & DYEPOT #67 Summer 1986 (v.17#3) pg. 78
Added Info SHUTTLE, SPINDLE & DYEPOT #68 Fall 1986 (v.17#4) pg. 10

Scandinavian weave drafting. Complete draft consists of four parts: the cloth diagram, the threading draft, the treadling draft and the tie-up draft.
SHUTTLE, SPINDLE & DYEPOT #68 Fall 1986 (v.17#4) pg. 61

Horizontal ribs and vertical cords: fabrics with a three-dimensional look that can be woven on four harnesses.
SHUTTLE, SPINDLE & DYEPOT #68 Fall 1986 (v.17#4) pg. 84

Drafts for six textiles for a "Learning Exchange" swatch-swap for Handweaving Guild of America members. Two are eight-harness weaves: Bronson II lace and quilted double weave. The rest are four-harness weaves: Snail Trail, two overshot weaves and a double weave.
SHUTTLE, SPINDLE & DYEPOT #69 Winter 1986 (v.18#1) pg. 63

Ribbed pique weave. Includes drafts for three- and four-shaft ribbed pique, two 1/2 twills and two basket weaves, all of which can be done on a four-shaft loom. Includes instructions for weaving a table runner.
SHUTTLE, SPINDLE & DYEPOT #71 Summer 1987 (v.18#3) pg. 30

Two drafts for fabrics used in a seven-piece traveling costume woven in silk and wool.
SHUTTLE, SPINDLE & DYEPOT #71 Summer 1987 (v.18#3) pg. 49

Dini Moes demonstrates the optical effects possible with monk's belt woven on a four-harness loom. Suggestions on the optical effects and perspective achievable using color.
SHUTTLE, SPINDLE & DYEPOT #72 Fall 1987 (v.18#4) pg. 52

Designing for warp-face weaves. Covers loom-controlled warp-face lines and finger-manipulated warp-face shapes. Includes instructions for weaving a belt.
SHUTTLE, SPINDLE & DYEPOT #73 Winter 1987-88 (v.19#1) pg. 15
Correction SHUTTLE, SPINDLE & DYEPOT #74 Spring 1988 (v.19#2) pg. 72

Crackle weave. Two approaches to threading systems, the traditional or rotating float sheds.
SHUTTLE, SPINDLE & DYEPOT #73 Winter 1987-88 (v.19#1) pg. 21

Crackle weave. Part 2. Two unique ways to use crackle threading. (1) Large groupings are threaded in one block for a large surface area of bold color. (2) Fifth harness is warped for a tie down for pattern inlay.
SHUTTLE, SPINDLE & DYEPOT #74 Spring 1988 (v.19#2) pg. 9

Ripsmatta. Basic rules for this Sandinavian weft-faced, block weave. Includes profile and threading drafts for two-, three- and four-block designs.
SHUTTLE, SPINDLE & DYEPOT #74 Spring 1988 (v.19#2) pg. 36

Six three-shaft weaves that incorporate the number 30 in some manner. Samples were woven to mark the 30th anniversary of Cross Country Weavers.
SHUTTLE, SPINDLE & DYEPOT #74 Spring 1988 (v.19#2) pg. 61

Six weaving patterns with vertical emphasis. (1) Supplementary warp as surface fringe. (2) Tabby with skipped dents that allows weft to show as a vertical line. (3) Swivel treadling on Spot Bronson threading. (4) Floating warps. (5) Tabby with a twill vertical stripe. (6) Warp stripe surface texture.
SHUTTLE, SPINDLE & DYEPOT #76 Fall 1988 (v.19#4) pg. 29
Correction SHUTTLE, SPINDLE & DYEPOT #77 Winter 1988-89 (v.20#1) pg. 68

A look at the four design elements that are basic to any successful handwoven garment.
SHUTTLE, SPINDLE & DYEPOT #76 Fall 1988 (v.19#4) pg. 51

Application of the Fibonacci series when designing stripes, checks and blocks or color in handwoven fabric. Includes a project for warp-dominant striped fabric.
SHUTTLE, SPINDLE & DYEPOT #77 Winter 1988-89 (v.20#1) pg. 21

Complementary patterning on a plain ground weave. A description of the alternatives in yarn, threading and sett. Instructions for using floating selvages to catch the supplementary wefts. Includes drafts and treadling for four samples.
SHUTTLE, SPINDLE & DYEPOT #78 Spring 1989 (v.20#2) pg. 55

Scottish tartans. A look at their history, colors and weaves.
SHUTTLE, SPINDLE & DYEPOT #80 Fall 1989 (v.20#4) pg. 36
Added Info SHUTTLE, SPINDLE & DYEPOT #82 Spring 1990 (v.21#2) pg. 57

Painted twill imagery. How to plan and weave a a graphic using a range of twill threadings and a painted warp.
SHUTTLE, SPINDLE & DYEPOT #80 Fall 1989 (v.20#4) pg. 53

Four handwoven fabrics for clothing that use canvas-weave threadings. Very different textiles are created by varying the choice of yarns, color, threading, denting, beating and treadling. (1) Skirt fabric features open bands that resemble leno are backed by plain weave in a layered structure. (2) Blouse fabric in textured canvas weave uses two sizes of yarn in both warp and weft. (3) Heavily textured skirt fabric is achieved by the choice of yarns. (4) Jacket fabric uses a single yarn for both warp and weft but appears to be woven from two different values of the color because of the structural depth of the weave.
SHUTTLE, SPINDLE & DYEPOT #83 Summer 1990 (v.21#3) pg. 59

How to make a video of spinning or weaving techniques as a teaching tool or for entertainment. Advice about things to consider about purpose, audience, market, equipment, planning, preparation, scripting and editing.
SHUTTLE, SPINDLE & DYEPOT #85 Winter 1990-91 (v.22#1) pg. 26

The sheer delight of handwoven transparencies. A description of the technique and a cartoon for a Purple Iris transparency (9"x9"). Instructions for a project for a first-time transparency weaver include how to make frames and lace the transparencies into them.
SHUTTLE, SPINDLE & DYEPOT #86 Spring 1991 (v.22#2) pg. 28

An inlay technique for weaving transparencies.
SHUTTLE, SPINDLE & DYEPOT #86 Spring 1991 (v.22#2) pg. 41

The role of twist direction in fabric design.
SHUTTLE, SPINDLE & DYEPOT #86 Spring 1991 (v.22#2) pg. 50

Special feature on computers and software for use in weaving. Advice on how to select a computer to buy and how to choose software.
SHUTTLE, SPINDLE & DYEPOT #88 Fall 1991 (v.22#4) pg. 31

Computer aided design. An explanation of how it can be used in creating and altering a weaving design.
SHUTTLE, SPINDLE & DYEPOT #89 Winter 1991-92 (v.23#1) pg. 30

Surface weaves in four shafts. Threading and treadling drafts are furnished for three samples.
SHUTTLE, SPINDLE & DYEPOT #89 Winter 1991-92 (v.23#1) pg. 36

Pushing a weave. How to experiment with changes in colors, textures, yarn sizes, sett, etc. Five samples based on a four-shaft double-faced weave are described.
SHUTTLE, SPINDLE & DYEPOT #89 Winter 1991-92 (v.23#1) pg. 40

Fiber properties and fabric characteristics. How they impact spinning and weaving. Includes a chart of characteristics of 10 common fibers.
SHUTTLE, SPINDLE & DYEPOT #92 Fall 1992 (v.23#4) pg. 51

Network drafting. A description of a system which enables weavers with multi-shaft looms to produce fabrics with curved designs, free of block constraints. Drafts are included for 8- and 16-shaft versions of a satin weave used to create curving, swirling motifs in the woven fabric.
SHUTTLE, SPINDLE & DYEPOT #99 Summer 1994 (v.25#3) pg. 28

A simple weaving worksheet for use when planning a project.
SHUTTLE, SPINDLE & DYEPOT #100 Fall 1994 (v.25#4) pg. 20

Inlay. Various ways to achieve discontinuous-weft patterning. Includes instructions for making a 12-pattern gamp (sampler).
SHUTTLE, SPINDLE & DYEPOT #101 Winter 1994-95 (v.26#1) pg. 50

Pattern theory. An approach for developing concepts, ideas and ways of thinking when constructing two-dimensional patterns for use in weaving. Part 1.
SHUTTLE, SPINDLE & DYEPOT #104 Fall 1995 (v.26#4) pg. 42

The simple elegance of shadow and light. The use of matte and shiny yarns of the same color and the weave structures that are typically used to achieve this effect.
SHUTTLE, SPINDLE & DYEPOT #105 Winter 1995-96 (v.27#1) pg. 26

Pattern theory. Part 2. An explanation of how the first 12 individual pattern types are constructed.
SHUTTLE, SPINDLE & DYEPOT #105 Winter 1995-96 (v.27#1) pg. 36

Pattern theory. Part 3. Designing weaving drafts for five hexagonal symmetries.
SHUTTLE, SPINDLE & DYEPOT #106 Spring 1996 (v.27#2) pg. 30

Pattern theory. Part 4. Analysis of patterns, point and border pattern types, and other ways of covering a plane with pattern.
SHUTTLE, SPINDLE & DYEPOT #107 Summer 1996 (v.27#3) pg. 55

Wrapping for color studies, a quick way to assess color combinations.
SHUTTLE, SPINDLE & DYEPOT #109 Winter 1996-97 (v.28#1) pg. 43

The potential of poppana. The use of bias strips of fabric in weaving. Advice on fabric selection, ways to cut it, poppana's use as weft or warp and points to consider about the fabric woven from it.
SHUTTLE, SPINDLE & DYEPOT #111 Summer 1997 (v.28#3) pg. 27

Weaving with cotton. A summary of cotton's characteristics, yarn structure and eight project ideas for exploring the interaction of yarn, sett and beat.
SHUTTLE, SPINDLE & DYEPOT #113 Winter 1997-98 (v.29#1) pg. 37

Just add color for complex designs. How to develop designs in four-shaft, warp-faced, two-block rep weaves by varying weft color and weight.
SHUTTLE, SPINDLE & DYEPOT #113 Winter 1997-98 (v.29#1) pg. 49

Ways to create a profile draft and how to use them creatively.
SHUTTLE, SPINDLE & DYEPOT #115 Summer 1998 (v.29#3) pg. 39

Right from the start. An explanation of tabby and other plain weaves.
SHUTTLE, SPINDLE & DYEPOT #117 Winter 1998-99 (v.30#1) pg. 12

Pick-up weaves. A look at adding supplementary weft designs to plain or pattern weave ground, at tied unit weaves, double weave pick-up and supplementary and complementary warp pickup.
SHUTTLE, SPINDLE & DYEPOT #117 Winter 1998-99 (v.30#1) pg. 52

Right from the start. Learning about grouped weave structures.
SHUTTLE, SPINDLE & DYEPOT #118 Spring 1999 (v.30#2) pg. 12

A look at a Quebec catalogne (rag weaving) and instructions on how to build a frame loom to weave cotton strips into placemats.
SPHERE Jan-Feb 1978 (v.7#1) pg. 38

Finishing handspun cotton. How to set the twist, size warp and weft, and finish the cloth.
SPIN-OFF 1978 (v.2) pg. 30

Weaving and tailoring handspun yardage. Includes plans for a yarn blocker and a pattern for a blouson jacket.
SPIN-OFF 1978 (v.2) pg. 48

Coping with frayed warp ends.
SPIN-OFF Spring 1985 (v.9#1) pg. 47

Weaving a length of Buchanan tartan. Describes dyeing the wool with natural dyestuffs, blending colors, spinning the yarn, weaving the cloth and sewing it into a shirt.
SPIN-OFF Summer 1986 (v.10#2) pg. 36
Added Info SPIN-OFF Winter 1986 (v.10#4) pg. 5

How to spin overtwist and weave with the resulting yarn to create collapse, undulating fabrics.
SPIN-OFF Winter 1986 (v.10#4) pg. 28

How to spin a high-twist silk yarn and weave it into silk crepe fabric.
SPIN-OFF Winter 1986 (v.10#4) pg. 36

Warping and weaving with overtwisted yarns to produce a crinkling, collapse fabric. Includes instructions for a sleeveless vest sewn from a collapse fabric made of karakul wool and alpaca yarns.
SPIN-OFF Summer 1987 (v.11#2) pg. 43

How to label handspun products to comply with federal laws.
SPIN-OFF Winter 1988 (v.12#4) pg. 50

Crepe and shape. How to combine high-twist weft yarns with a woven structure that produces elastic fabrics. Includes a four-shaft draft that produces weft-wise channels and an eight-shaft draft that produces warp-wise channels.
SPIN-OFF Fall 1999 (v.23#3) pg. 77

Taaniko, a variation of weft twining devised by the Maori of New Zealand.
THREADS #2 Dec 1985-Jan 1986 pg. 69
Correction THREADS #7 Oct-Nov 1986 pg. 5

From baskets to blankets. Geometric twining returns to the Northwest Coast. Description of the two-strand twining techniques used to reproduce an old-style Kotlean robe.
THREADS #5 Jun-Jul 1986 pg. 30

Painting and brocading on the loom. Methods for painting the warps are described as are weaving techniques that create brocading (wrapping, tie down skips, satin weave and sateen pickup). An insert gives a recipe for thickened Procion dyes.
THREADS #6 Aug-Sep 1986 pg. 42

Techniques from industry and production weavers that can make handweaving faster, better and more pleasurable. Includes suggestions on the sett, warping, threading, tie-up, selvages and heading. Instructions for a sampler in plain weave and five twills incorporate some of the techniques. An insert gives a formula for calculating warp sett for a balanced-looking warp that is denser in the warp than a true balanced weave. Another insert includes the basics for reading a weaving draft.
THREADS #7 Oct-Nov 1986 pg. 42
Correction THREADS #8 Dec 1986-Jan 1987 pg. 4
Correction THREADS #9 Feb-Mar 1987 pg. 4

Designing with color on a four-harness loom using double-weave pick-up.
THREADS #8 Dec 1986-Jan 1987 pg. 36

How to use a computer as a design tool in weaving.
THREADS #9 Feb-Mar 1987 pg. 51

Finger weaving. A description of the technique and instructions for weaving the diagonal, chevron, double chevron, lightning and dancing eagle motifs.
THREADS #12 Aug-Sep 1987 pg. 46

Mount your weaving draft on a magnetic board set up near loom. This allows a weaver to mark progress or a stopping point with a magnet. Also use magnets for counting metal heddles.
THREADS #14 Dec 1987-Jan 1988 pg. 12

How to identify coverlet motifs and weave structures. Insert describes how to read an overshot draft.
THREADS #14 Dec 1987-Jan 1988 pg. 32
Correction THREADS #16 Apr-May 1988 pg. 4

Beduin weaving. A look at traditional work still being done in Saudi Arabia and a description of how to weave seven Beduin patterns on a frame loom.
THREADS #21 Feb-Mar 1989 pg. 48

How to weave strips of printed fabric without losing the patterns printed on them. The result is a clothing-weight fabric. Detailed instructions for strip cutting, weaving, finishing and sewing using the fabric. Diagram for a simple boat-neck blouse is included.
THREADS #28 Apr-May 1990 pg. 48

How to handspin yarn and weave it into collapse fabric.
THREADS #35 Jun-Jul 1991 pg. 38

The basics of pin weaving. Instructions for weaving garment details (yokes, cuffs, pockets, etc.) with fabric strips and yarns.
THREADS #51 Feb-Mar 1994 pg. 54
Added Info THREADS #53 Jun-Jul 1994 pg. 8

How to create knit/woven fabric.
THREADS #52 Apr-May 1994 pg. 70
Added Info THREADS #53 Jun-Jul 1994 pg. 6

Operation ravel control. A collection of techniques and guidelines for working with loosely woven fabrics.
THREADS #66 Aug-Sep 1996 pg. 41
Added Info THREADS #68 Dec 1996-Jan 1997 pg. 6

Multiple harness weaving course. Part 1. Practical uses for more than 4 harnesses. Fundamental twills.
WEAVER'S JOURNAL #15 Jan 1980 (v.4#3) pg. 14

Space-dented warp. Experiments in weaving gauzy fabric.
WEAVER'S JOURNAL #15 Jan 1980 (v.4#3) pg. 26

Computer weaving. Description of the steps involved and of a program that can be purchased for an Apple II system with a disk drive and at least 32K of memory.
WEAVER'S JOURNAL #15 Jan 1980 (v.4#3) pg. 35

Pattern weaving. A look at the primary elements.
WEAVER'S JOURNAL #16 Apr 1980 (v.4#4) pg. 6

Geometric proportions as a design tool. Emphasis is on the Fibonacci series.
WEAVER'S JOURNAL #16 Apr 1980 (v.4#4) pg. 8

Multiple harness weaving course. Part 2. Twills and satins.
WEAVER'S JOURNAL #16 Apr 1980 (v.4#4) pg. 16

Complimentary-weft plain weave, a pick-up technique.
WEAVER'S JOURNAL #16 Apr 1980 (v.4#4) pg. 22

Corkscrew weave, a twill derivative woven into a warp face fabric. Includes instructions for (1) Corkscrew rug woven on 4 harnesses. (2) Corkscrew placemats woven on 7 harnesses. (3) Corkscrew wall hanging on 12 harnesses.
WEAVER'S JOURNAL #17 Summer 1980 (v.5#1) pg. 16

Four harness damask: a pick-up weave. Includes pick-up patterns for several designs.
WEAVER'S JOURNAL #17 Summer 1980 (v.5#1) pg. 20

Finnish transparent weaving.
WEAVER'S JOURNAL #17 Summer 1980 (v.5#1) pg. 34

Multiple harness weaving course. Part 3. Twill derivatives. Steep twills and interlocking twills.
WEAVER'S JOURNAL #17 Summer 1980 (v.5#1) pg. 40

Multiple harness weaving course. Part 4. Twill derivatives (continued). Overshot.
WEAVER'S JOURNAL #18 Fall 1980 (v.5#2) pg. 19

Color and weave effects with four harness summer and winter.
WEAVER'S JOURNAL #18 Fall 1980 (v.5#2) pg. 24

Karelian red-picking, a Finnish-Russian weft brocading technique. Six-harness pattern furnished.
WEAVER'S JOURNAL #18 Fall 1980 (v.5#2) pg. 34

Wedge weaving, a new approach.
WEAVER'S JOURNAL #18 Fall 1980 (v.5#2) pg. 49

Multiple harness weaving. Part 4. Twill derivatives (continued). Covers crepe weaves and fancy twills.
WEAVER'S JOURNAL #19 Winter 1981 (v.5#3) pg. 12

Color and weave effects. Examples of five 7-harness twills that produce interesting color and weave effects when there is a 1-1 order of color arrangement in both warp and weft.
WEAVER'S JOURNAL #19 Winter 1981 (v.5#3) pg. 14

Multiple shaft weaving. Twill and satin blocks, damask. Three-, four-, five-, and eight-shaft groundweave in twill and satin. Also includes instructions for weaving a pattern on a drawloom.
WEAVER'S JOURNAL #20 Spring 1981 (v.5#4) pg. 10

Decorative weft on a plain weave ground. Two shaft inlay and brocade. Covers supplementary weft, Dukagang, inlaid spots, loom embroidery and complementary weft inlay.
WEAVER'S JOURNAL #20 Spring 1981 (v.5#4) pg. 15

Modern Overshot. Suggestions for block arrangement and color effects.
WEAVER'S JOURNAL #20 Spring 1981 (v.5#4) pg. 28

A simple method of obtaining the threading, treadling and tie-up sequences for any satin weave, using a double threaded warp with long-eyed heddles on a rising shed jack loom.
WEAVER'S JOURNAL #21 Summer 1981 (v.6#1) pg. 25

Multiple shaft weaving. M's & O's with two foundation shafts.
WEAVER'S JOURNAL #21 Summer 1981 (v.6#1) pg. 27

The use of long-eyed heddles for patterned double weave.
WEAVER'S JOURNAL #22 Fall 1981 (v.6#2) pg. 35

Multiple shaft weaving. Threading for 2-or-more-tie block weaves.
WEAVER'S JOURNAL #22 Fall 1981 (v.6#2) pg. 42

The very basics of weaving. Understanding the principles of drafting. Covers two and three shafts.
WEAVER'S JOURNAL #22 Fall 1981 (v.6#2) pg. 50

From sheep to shawl. Handspun singles warp woven in Dornick twill is used to make skirts and vests.
WEAVER'S JOURNAL #22 Fall 1981 (v.6#2) pg. 57

Weaving textured cottons. Five different weaves that can be woven on looms from 2 to 12 shafts. Includes instructions for weaving enough fabric to make seven tops. Commercial patterns were used for 5 of them.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 20

How to plan yardage for several garments.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 29

Weaving the fabric for an 18th century Mollie costume. Costume consists of 2 linsey-woolsey petticoats, linen apron and kerchief, felt hat, linen chemise and waistcoat.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 38

Multiple shaft weaving. Tie-ups for 2 or more tie block weaves.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 41

Short and sweet drawdown program for computers. Runs on Sinclair ZX-80 computer with integer BASIC in ROM and only 1K of user RAM.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 42
Correction WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 36B

A new look at twills, the "twillin" class of weaves introduced by Grunbaum and Shephard.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 46

A special Andean tubular trim woven without heddles. Used for edge binding, belt ties and bag straps.
WEAVER'S JOURNAL #23 Winter 1981-82 (v.6#3) pg. 54

Weaving in Quebec. A look at the traditions and efforts to preserve the craft.
WEAVER'S JOURNAL #24 Spring 1982 (v.6#4) pg. 8

Travail a la planche weaving technique explained.
WEAVER'S JOURNAL #24 Spring 1982 (v.6#4) pg. 13

Card-weaving patterns on a 4-shaft loom. How to convert card-weaving drafts.
WEAVER'S JOURNAL #24 Spring 1982 (v.6#4) pg. 36

How to weave a Guatemalan brocade border on any 2-shaft loom. Includes instructions for the "pie de chucho" design.
WEAVER'S JOURNAL #24 Spring 1982 (v.6#4) pg. 39

Interview with Jack Lenor Larsen on design.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 10

A wire weaving using copper wire warp and electronic components.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 20

How to weave Matelasse, a type of stitched double cloth with a quilted look.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 37

Loom controlled quilted fabrics.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 39

Simple Matelasse woven by the pick-up method on a 4-shaft loom.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 40

How to analyze woven fabric to determine threading, treadling and tie-up.
WEAVER'S JOURNAL #25 Summer 1982 (v.7#1) pg. 45

The weaving of linen. Suggestions on ways to handle the warp and weaving, along with ideas on selection of weave structure.
WEAVER'S JOURNAL #26 Fall 1982 (v.7#2) pg. 18

How to weave a profile or block draft.
WEAVER'S JOURNAL #26 Fall 1982 (v.7#2) pg. 33

A study of the various ways the "Whig Rose" overshot pattern can be woven. Part 1.
WEAVER'S JOURNAL #26 Fall 1982 (v.7#2) pg. 40

Warp boutonne: A pick-up supplementary warp-looped fabric.
WEAVER'S JOURNAL #26 Fall 1982 (v.7#2) pg. 64

A study of the various ways the "Whig Rose" overshot pattern can be woven. Part 2.
WEAVER'S JOURNAL #27 Winter 1982-83 (v.7#3) pg. 23

Double two-tie twills and basket weave.
WEAVER'S JOURNAL #27 Winter 1982-83 (v.7#3) pg. 38

Complementary-warp weave. A description of the technique used by the Canari weavers of Ecuador.
WEAVER'S JOURNAL #27 Winter 1982-83 (v.7#3) pg. 53
Correction WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 4

Textured weaving for fabrics to be fashioned into garments. Includes instructions for a jacket, a cocoon, and a bateau.
WEAVER'S JOURNAL #27 Winter 1982-83 (v.7#3) pg. 58

How to weave silk rags into elegant fabric for clothing.
WEAVER'S JOURNAL #27 Winter 1982-83 (v.7#3) pg. 64

An introduction to warp faced and weft faced rep weaves (weaves with a ribbed effect). Seven articles including rug weaving, computer design, etc.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 8+

An introduction to computers for weavers. Part 1. A look at input and output devices.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 25

Designing four-shaft double weaves.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 56

How to produce double weave pick-up with straight diagonal lines.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 61

A look at interesting and unusual ways to work with color in Summer and Winter weave.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 64

How to weave plaited twills. Includes suggestions for upholstery fabric and linen towels.
WEAVER'S JOURNAL #28 Spring 1983 (v.7#4) pg. 76

An introduction to computers for weavers. Part 2. A look at what goes on inside a typical personal computer
WEAVER'S JOURNAL #29 Summer 1983 (v.8#1) pg. 45

A discussion of vocabulary, conventions for drafting and spelling of weaving terms in an effort to bring consistency.
WEAVER'S JOURNAL #29 Summer 1983 (v.8#1) pg. 85

A look at factors to consider when planning a weaving project using handspun yarn. Tips on weaving yardage for a matching dress and jacket.
WEAVER'S JOURNAL #30 Fall 1983 (v.8#2) pg. 21

An introduction to computers for weavers. Part 3. More on memory, I/O and communication codes.
WEAVER'S JOURNAL #30 Fall 1983 (v.8#2) pg. 24

Name draft, an overshot draft designed around a name. Program for the Apple II and TRS-80 computers are included which give draft and drawdown. Includes instructions for weaving name draft pillows.
WEAVER'S JOURNAL #30 Fall 1983 (v.8#2) pg. 40

Transparent weaving with handspun cotton weft.
WEAVER'S JOURNAL #30 Fall 1983 (v.8#2) pg. 44

How to weave seersucker yardage for a blazer.
WEAVER'S JOURNAL #31 Winter 1983-84 (v.8#3) pg. 22

How to apply computer programing to weaving. Includes a program to develop block patterns from a profile.
WEAVER'S JOURNAL #31 Winter 1983-84 (v.8#3) pg. 28

Computer control of loom tie-ups and treadling sequences.
WEAVER'S JOURNAL #31 Winter 1983-84 (v.8#3) pg. 32

How to weave boutonne fabric in a 10-point star pattern.
WEAVER'S JOURNAL #31 Winter 1983-84 (v.8#3) pg. 74

Shaft-switching. A description of technique, weave, structure, devices used and tips on selecting weaves and patterns.
WEAVER'S JOURNAL #32 Spring 1984 (v.8#4) pg. 28

Turned drafts in double two-tie unit weave. Including drafts and treadling plan for all weave structures.
WEAVER'S JOURNAL #34 Fall 1984 (v.9#2) pg. 13

An ounce of prevention. Measures that can be taken before and during the weaving process that will retard or prevent fabric deterioration. Part 1.
WEAVER'S JOURNAL #34 Fall 1984 (v.9#2) pg. 39

Weaving materials, tools and methods of the salish people of British Columbia.
WEAVER'S JOURNAL #34 Fall 1984 (v.9#2) pg. 65

Analysis of the weave structure of "Tied Lithuanian", a block weave also known and "Dimai" and used for coverlets.
WEAVER'S JOURNAL #35 Winter 1985 (v.9#3) pg. 51

Tips on weave structure and traditional striped fabrics for the Middle Eastern kaftan.
WEAVER'S JOURNAL #37 Summer 1985 (v.10#1) pg. 33
Correction WEAVER'S JOURNAL #38 Fall 1985 (v.10#2) pg. 6

Analysis of the Bergman system, a three-tie block weave.
WEAVER'S JOURNAL #37 Summer 1985 (v.10#1) pg. 64

Color theory for handweavers. Part 1. The basics.
WEAVER'S JOURNAL #38 Fall 1985 (v.10#2) pg. 40

Demystifying complex weaves. A step-by-step exploration of four- to 16-harness patterns.
WEAVER'S JOURNAL #39 Winter 1986 (v.10#3) pg. 8
Correction WEAVER'S JOURNAL #41 Summer 1986 (v.11#1) pg. 82

Designing name drafts. Covers the basic method for deriving drafts and weaving rules that must be acknowledged.
WEAVER'S JOURNAL #39 Winter 1986 (v.10#3) pg. 15

How to weave and full vadmal, woolen fabric that is finished so that it shrinks by 50 percent.
WEAVER'S JOURNAL #39 Winter 1986 (v.10#3) pg. 26

Finishes for vadmal. Tips on cutting out a garment, joining pieces, lining, finishing edges and adding closing and other embellishments.
WEAVER'S JOURNAL #39 Winter 1986 (v.10#3) pg. 30

Color theory for handweavers. Part 2. How to integrate color theory with specific textile techniques. Includes tip for making a cardboard disc that can be spun to determine the results of mixing colors.
WEAVER'S JOURNAL #39 Winter 1986 (v.10#3) pg. 47

Multi-harness huck. Basics of four-harness, 6-end unit huck are explained and then expanded into multiple harnesses beyond four. Explains how to design plain weave, lace, weft spot and warp spot areas. Drafts for each are included in four-harness, as are drafts for (1) an eight-harness plain weave diamond on a lace ground, (2) an eight-harness weave of weft-spot diamonds and zigzags on a lace ground, and (3) a 14-harness lace star on plain weave background.
WEAVER'S JOURNAL #40 Spring 1986 (v.10#4) pg. 11
Correction WEAVER'S JOURNAL #41 Summer 1986 (v.11#1) pg. 82

Color theory for handweavers. Part 3. How to create visual illusions with color.
WEAVER'S JOURNAL #40 Spring 1986 (v.10#4) pg. 40

Boundweave. Includes Rosepatch threading, tie-up and treadling for boundweave and examples of Norwegian and Swedish coverlets and wall hangings.
WEAVER'S JOURNAL #40 Spring 1986 (v.10#4) pg. 44

Point block progression. Four patterns in 16-harness Tied Lithuanian weaves.
WEAVER'S JOURNAL #40 Spring 1986 (v.10#4) pg. 67

Weaving warp-faced double cloth. An Andean technique is adapted for the treadle loom.
WEAVER'S JOURNAL #40 Spring 1986 (v.10#4) pg. 72

Color theory for handweavers. Part 4. More visual illusions with color.
WEAVER'S JOURNAL #41 Summer 1986 (v.11#1) pg. 37

Draft for jacket fabric woven in M's & O's in natural brown and white handspun cotton.
WEAVER'S JOURNAL #42 Fall 1986 (v.11#2) pg. 21

Brushing handwoven cotton fabrics, the potentials and limitations.
WEAVER'S JOURNAL #42 Fall 1986 (v.11#2) pg. 38

Four examples of borders woven in 16-harness Tied Lithuanian weave.
WEAVER'S JOURNAL #42 Fall 1986 (v.11#2) pg. 55

Excerpt from "Geometric Design in Weaving" by Else Regensteiner. Explains ratios and dynamic symmetry and constructing divisions of space. Experiments with design approaches are suggested using a basic rectangle, compound rectangle, tessellation (tile design), modules and grids.
WEAVER'S JOURNAL #44 Spring 1987 (v.11#4) pg. 13

An introduction to Finnweave. Includes an explanation of Finnweave graphs and instructions for weaving a sampler. Four- and eight-harness loom-controlled patterning are explained.
WEAVER'S JOURNAL #44 Spring 1987 (v.11#4) pg. 25

A look at how an experienced weaver can continue when vision is impaired. A suggestion on tools and adaptive modifications that help discern pattern or design placement.
WEAVER'S JOURNAL #44 Spring 1987 (v.11#4) pg. 59

Working with tie bias of the fabric. Includes drafts for five fabrics, four twills and a diagonal Bronson, that can be woven on eight harnesses, give good diagonals and can be woven to achieve 45-degree angles.
WEAVER'S JOURNAL #45 Summer 1987 (v.12#1) pg. 9

An investigation of new ways to use four-harness overshot threadings.
WEAVER'S JOURNAL #46 Fall 1987 (v.12#2) pg. 25

Warp color variation possibilities in double or multi-layer weaving.
WEAVER'S JOURNAL #46 Fall 1987 (v.12#2) pg. 55

Technique for designing a warp-faced krokbragd textile.
WEAVER'S JOURNAL #46 Fall 1987 (v.12#2) pg. 62

How to do ribbon weaving. Instructions for making a fish and a bird.
WORKBASKET Sep 1978 (v.43#12) pg. 38