Today will be more than a stash enhancement lesson, I promise you,
Design Elements
I only want to touch on the element of design for two reasons: (1) I'm not a designer, and (2) Flory is going to handle that in her program. It seems to me that the most successful designs are those that maintain some equilibrium between the principles of contrast, and symmetry. Many Aran stitch motifs rely heavily on the distinction between the moving stitches and their background. Combining a lot of pattern motifs tends to make the design appear too "busy" and the pattern look less distinct. Here is an example of a design submitted by Jane Bynum, who says
The wool in the gray sweater was a mixture of black merino and something white that's almost as fine. It came from my mother's friend's daughter's sheep, and was custom spun on an antique mule. The heathery nature makes it hard to photograph, but you can see that the simpler pattern on the back has much better definition than the more complicated one on the front, and the small cables just disappear. The sweater is about 12 years old, and has been washed fairly frequently. It hasn't pilled, but it has fulled enough to cover a lot of detail.
Here is the back view: 
We need contrast to draw our eye to the pattern, and symmetry to tie it all together for us. All that said, sometimes the knitter may well have a more subtle vision, wanting just the hint of a symbol. Here is a Classic Elite pattern knit from La Gran mohair --
Plenty of symmetry there, but contrast has been manipulated to achieve a particular look. While we think of the traditional Aran "look" as being tightly knit, sharp stitches, that certainly isn't the only Aran vision.
The Hapless Knitter : Happy still seems to have some contrast issues 
Spinning Yarns
Now, I wouldn't have to write two sentences before you would realize that I don't know a thing about spinning. I know some people who are very knowledgeable on the subject, however, and I've studied a bit, so I'll pass on what I've learned, and what I'm still learning about yarns.
Suzanne Correira from Fire Ant Ranch in Elgin Texas who spun the beautiful Corriedale yarn wrote:
Relatively firm twist, and firm plying contribute to stitch definition definitely. And a worsted spun yarn, as opposed to a woolen spun yarn (combed as opposed to carded). Some carded can show definition and be nice too, but ballpark, the combed yarns do it better. On the other hand, carded yarns, being fluffier, are warmer because they hold more air.
Firmly twisted yarns that are plied, are generally thought to contribute the most to stitch definition, especially when knit firmly, for the traditional Aran style. You can see from the various photographs, that other styles may also be very pleasing. One good source for a bit of basic information regarding the spinning characteristics of yarns, is "Knitting in the Old Way," the new edition by Priscilla Gibson-Roberts. She discusses the woolen and worsted twists. Most of the yarns used for this presentation are worsted twists.
We all long for buttery soft yarns that will show off pattern beautifully, but if sharp stitch definition is the objective, some of the softness may need to be sacrificed. You can compare the visual differences in the photo galleries:
100% Wool
Superwash
Wool Blends
Non-wools
Color Characteristics:
This is Erica Raspberry's dramatic Alice Starmore Memorial Cardigan.
Here is a close-up of the cables: 
Light and Dark
We all know the frustration of looking in the knitting magazine or book, only to find that a particular design has been knit in so dark a shade of navy, or worse-yet black, that we can't make out the pattern motifs. Of course, choosing patterns is very different from wearing a finished sweater, so navy or black may be exactly right. I always wonder though, "What didn't they want me to see?" about a particular design when it is obscured by dark color. The traditional bainin, off-white, color was ideal for showing off a particular pattern motif, but knitters have a full palate of colors for textured knitting.
I think color is another case where, "The knit's the thing." The old rule of thumb, that if a yarn won't show off pattern in a knit and purl pattern, it won't do well for other more complex motifs, works here. Take the guernsey (or gansey, I never know which) yarns, for instance. They are perfectly spun for patterning. The only variables to manipulate with them are color and pattern. The navy is a little dark for pattern, but very popular in ganseys for subtle patterning, just the same. The mid-range of colors, though they are sometimes limited, maintain a very high level of stitch definition, and the red shades, seen to soak up the pattern, depending on the light environment. Go back and look at the Gansey Yarn gallery again, and compare the effects of color, especially light and dark, on pattern clarity.
Here's another perspective: 
Three swatches, all knit from Plymouth Encore, the only difference is the color. Submitted by Patricia.
Heathers & Tweeds
Heathers and tweeds can be used to marvelous advantage in textured knitting, and there are a number of examples in the galleries. All of the Shetland yarns have wonderful ranges in heathers, and some tweeds. Notice how they deal with pattern, making it slightly more subtle, but still clearly visible.
Yarn Finish
Whether the yarn finish is shiny or dull will affect the ultimate appearance of the garment. Although one might reason that a shiny yarn would show off the pattern, that may not be the case, as with this bit of Wensleydale longwool, an extremely shiny, soft 100% wool. It is gorgeous to touch, but light seems to bounce right off that shiny surface.
Now, compare that to cables knit in the same wool, only in navy: 
The Hapless Knitter View image
Happy is back with her color swatch! 
Techniques for Enhancing Stitch Definition
Once the knitter has carefully considered all the design elements, the characteristics of the yarn, etc., there is still one more little thing that can be done to enhance stitch definition: Selective Twisting of Stitches
Twisting for Enhancement:
Twisting, or knitting the back leg of the knit stitch, causes the stitch to become slightly more prominent vertically (embossed). Twisting a purl stitch causes it to become more prominent horizontally. Thus, if a vertical column of stitches is selectively twisted, it will be more prominent -- right? True, but only if that great old principle contrast is observed. You don't want to twist too many stitches, or naturally they'll all look alike! Here is an example of selective twisting of stitches, the front of Alice Starmore's Fern design, from the Stillwater collection.
It is pretty easy to see the difference between the highly twisted diamond stitches and ferns, and the hearts, which are not twisted. The large hearts might well overwhelm the other motifs, without the twisting, but that's what designers are for -- right?
Twist after a Cable:
Often, there is a slightly looser purl stitch following a cable, due to the tension caused by the movement of the cable stitches. There are some techniques to help that:
(1) Purl the first stitch after the cable as you normally would, purl the second stitch. pulling it a bit more tightly, snugging it up. That is about the most I ever do, since I've noticed over the years, that with washing, those looser purls tend to equilize and look fine.
(2) Often, we speak of wanting the cable to "pop," and many knitters will twist the first purl stitch after the cable, which gives it what? A horizontal pull -- that's right! -- and the cable will likely stand up just a little more. I do this at times, depending on the cable. Look back through the cable pictures and see if you can tell which swatches have a twisted stitch after the cable and which don't. I know, but only because I wrote it down! I think this works well for me in somewhat "busy" patterns, to help differentiate one group from another.
(3) I understand that some people also wrap the yarn opposite from the usual wrap on the first purl stitch after the cable, and here I must completely display my ignorance. I tried it and can't make it work, so I must not be doing it correctly. Anyone who wants to explain or demonstrate is more than welcomed to add their part. I'll be happy to download it. I kept coming up with something I'd rather not discuss, though!
Yarn Content
I have created some photo galleries of yarns that display four types: 100% wool, superwash, wool blends, and non-wools. Please take a look at them and see what you think. It is hardly fair to look at yarn content online, with the differences in monitors, etc., and as much as I'd love to bring the swatches to everyone's house -- let's don't even go there. Clearly, the big thing you miss is being able to feel the yarn, and I am reluctant to say, "scratchy" or "soft," being aware how subjective that is. One person's scratchy is fine to someone else.
100% Wools: What can I say, these are my all-time favorites for knitting. I love them better than any other yarns, and they hold up over time so well. Of course, living in Texas, I have about a 1/2 day chance of ever getting to wear them, and I recognize that there are people who can't wear wool, and/or people who can't wash wool. Thus, the
Superwash Wools: This group actually surprised me. There are several yarns in this group that not only patterned beautifully, but felt good in my hands as I knit. There is quite a range for superwash, and it is a good choice for people who just can't be trusted with a washing machine and a sweater in the same house, and young moms with babies, who just don't have the time.
Wool Blends: Some of these wools+ turned out very well, too.
Non-Wools: Not my favorite for knitting, but there is a bit of cotton. My hands don't hold up to knit cotton anymore, so there isn't much of it in this study. I have seen Arans made with Brown Sheep Cotton Fleece, and they looked very good. If anyone has a cotton Aran they'd love to show off, send in a photo, and I'll add it to the gallery.
Chunky/Bulky Wools: I have had a request for some swatches in chunky yarns, and a supplier has sent me some, so I will do a few swatches, to be added in a couple of days. This program will remain open for your perusal for some time.
Happy knitted us one closing swatch, and she says she twisted all the right stitches: 
Summing It All Up, or You Can't Really Sum It Up!
There is a yarn and a stitch pattern for every Aran knitter's vision of their "perfect" Aran. Those visions range from the very traditional to the far-out ('Way beyond the Hebrides?), and it is up to us whether we start with a broad vision, that refines to become more traditional, or whether we enlarge an exclusively traditional vision to include other possibilities. One way or another, most of us will meet in the middle somewhere, and continue to create masterpieces, whatever they are. To quote Maggie Righetti one more time:
And the results are textured treasures, some serving very useful and practical purposes, some simply delightful because they're fun to look at, all of them interesting.
I wish you interesting knitting.
MEM
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