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The article discusses how to apply the Corris effect to a design. The Corris effect entails using three parallel warps, each one three shafts apart. Each warp has a distinct color; hence three colors interchange in the warp. Due to optical blending, it often appears as if there are more than three colors interacting.

The article discusses Threading and sleying mistakes can show up during winding, and most can be easily found and fixed. Begin by grasping the warp and putting it under tension. Step on the first treadle and look through the shed from the side to see if it is clear. If not, two ends may be twisted between the heddles and the reed.

The article discusses about the creators and original owners of the exquisite Maya clothing on display at Museo Sergio Castro, an unassuming but surprising museum in San Cristóbal de las Casas, Mexico may well have been early fashionistas of the Americas. Though the traditional Maya clothing, labeled with yellowed and curling paper signs, hangs on rudimentary wood mannequins in a room of cracked and crumbling corn-colored stucco.

The article discusses that most handwoven fabrics are two-dimensional, with rectilinear motifs, but textured fabrics have a three-dimensional look and feel, and some even have curves, poufs, and pleats that seem to appear magically during the wet-finishing process. Many of these textural effects can be achieved with "energized" yarns that are overtwisted (such as crêpe) or elasticized.

The article discusses about the Traditional mattress ticking which was made of tightly woven herringbone fabric, usually in cotton or linen. This densely woven fabric was very necessary to prevent straw or feather quills from poking through as one slept. Ticking fabric often has many variations today.

The article discusses a shawl which is the author's interpretation of the brickwork at the Birmingham Civil Rights Institute. The brick patterns are a representation of the woven basket patterns of West Africa—threads from the past that will hopefully reach the future.

The article discusses the pattern of beautiful flowing pointed peaks. The pattern you see is the result. Not only does it have the mountain peaks but also the flowing river.

The article discusses Grand Canyon Ruana. The ruana is plain weave, but the variegated yarns and puffy, lofty warp create an interesting cloth with the color and texture differences between warp and weft. One of the benefits of this piece is that the author can fold it up and stuff it in a nylon tote bag to create the perfect pillow.

The article discusses about dune grass blowing in the wind and lots of places to walk and paths to explore—but always the wind. A scarf or shawl is often a welcome comfort. This Swedish lace and plain-weave scarf is lightweight and delicate yet provides protection from the elements. You can vary the look of the scarf by weaving just one block to create stripes, changing the size of the blocks, doubling some and not others.

The article discusses Shades from Gist's Duet, Beam, and Mallo yarns mapped perfectly to the sandy cliffs, dark-as-a-well caves, and fragile green vegetation. The combination of thick and thin, slubby and smooth generates wonderful textural dimension dotted with blocks of solid color. The square shape of the mats and repeated squares in the patterning mimic the cave openings as seen from a distance.

The article discusses that even if you are not a professional weaver building a résumé, entering juried shows will encourage you to become more professional in your work and in your presentation.

The article discusses "string yarn," a heavyweight weft yarn made from multiple strands of threads wound together. These weft yarns were used to weave fabrics intended for bedspread material, and there was another sample for rep-weave fabric for a jacket. Selander also gives directions for the number of strands of each color to be combined on a bobbin to create the string yarn.

The article discusses Morning Glory Pool, Emerald Pool, Opal Pool, and Grand Prismatic Spring hot springs. Each hot spring is uniquely shaped with its own distinct colors depending upon underground water temperatures, minerals, and microbes. Author purchased a postcard of the Grand Prismatic Spring intending to create a handwoven scarf in the same colors.

The article discusses about keeping a piece of paper by the loom and recording how much time it takes to design, wind the warp, dress the loom, weave, and finish the piece. You will quickly see that weaving one piece per warp is neither time efficient nor cost-effective. Instead, wind a warp on which you can weave several pieces.

The article discusses the small ceramic hippo gained a large following and maintained the name given him by the Raleigh family so that the current museum display label reads, "Hippopotamus (‘William')." According to Isabel Stünkel, Associate Curator of the Department of Egyptian Art, the ancient Egyptian hippo was placed in a tomb around four thousand years ago.

The article discusses if weaving can build character. Enthusiasm leaves no room for hesitation; the project is filled with the promise of pushing author's weaving horizon into unexplored land.

The article discusses finishing techniques in weaving like Twisting (or plying) the fringe.

The article discusses that It wasn't until the Great Depression that a young mother with a flair for interior design— and not much money—revived ticking and many other traditional fabrics and designs. That young woman was Dorothy "Sister" Parish, an interior designer whose aesthetic inspired Martha Stewart, Chip and Joanna Gaines, and other modern celebrity interior designers.

The article discusses a project which is specifically designed to demonstrate a specific skill, structure, or technique. Many of the projects feature weave structures most often associated with Sweden and other Scandinavian countries, such as rya, halvdräll, flossa, and rölakan. It is also in the project section where the authors' personalities really come out to play.

The article discusses the basics of weaving: tools, looms, warping, yarns, etc. As with other Swedish weaving books, To Weave gives instructions for countermarch looms and warping reels, which many American weavers do not have. Each project is specifically designed to demonstrate a specific skill, structure, or technique. Many of the projects feature weave structures most often associated with Sweden and other Scandinavian countries.

The article discusses Clever and creative tools that help you warp, weave, and add some whimsy to your studio.

The article discusses the ways in which they artists modified their weaving practices to reflect changing physical needs.

The article discusses Plain and Fancy Twills Some twills are so simple they can feel almost ordinary—until you realize that all those little floats add texture, drape, stretch, and lots of design opportunities. On the opposite end of the spectrum are the fancy twills that have all those same characteristics, while looking anything but simple.