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diff --git a/old/53288-0.txt b/old/53288-0.txt deleted file mode 100644 index 38e83ea..0000000 --- a/old/53288-0.txt +++ /dev/null @@ -1,2646 +0,0 @@ -The Project Gutenberg EBook of Seat Weaving, by L. Day Perry - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Seat Weaving - -Author: L. Day Perry - -Release Date: October 15, 2016 [EBook #53288] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK SEAT WEAVING *** - - - - -Produced by Chris Curnow, Sam W. and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - -Transcriber's Note - -Bold text is marked with =equals signs=, italic text is marked with -_underscores_. - - - - - SEAT WEAVING - - - BY - - L. DAY PERRY - _Supervisor of Manual Training, Joliet, - Illinois, and Instructor, Department - Esthetic and Industrial Education, - Summer Quarters, The University of Chicago_ - - - [Illustration] - - - THE MANUAL ARTS PRESS - PEORIA, ILLINOIS - 1917 - - - Copyright, 1917, by - L. Day Perry - - - - -FOREWORD - - -Woodworking shops in manual training schools far outnumber those for -other manual activities, and as a result, courses in woodwork have -come to be termed the stable courses in a handwork curriculum. -However, experience in woodwork alone is not sufficient, and needs to -be supplemented by other and more varied activities to give to the boy -a proper foundation for choice of vocation. - -A definite way to produce necessary variety as applied to woodwork, -especially if woodwork is the only course offered, is thru the use of -such mediums as cane, reed, rush, splints and allied materials in -correlation with the wood. These materials add life to the problems -and generally arouse interest and enthusiasm in the work at hand. The -result is careful application to construction details, with resultant -appreciation of constructive design. - -It would prove a difficult task to make a fair estimate of the value -such mediums have in manual training shops. Their use produces very -definite reactions upon boys who could not be reached by woodwork -alone, awakening them to a new interest in their work and making them -more workmanlike and exacting in construction. - -There exists some element in such mediums which cannot be defined, but -which nevertheless stimulates the average or mediocre boy, as well as -the exceptional one, to produce the best work of which he is capable. -Experience with these materials utilized in correlation with wood will -prove the truth of these statements and demonstrate that they are not -only worth while, but necessary to any well-rounded course in wood. - -The originals of the projects illustrated by the photographs were, -with few exceptions, constructed by boys of average ability in the -eighth grade. They indicate the character of work which may be -expected of boys in that grade, and, in a measure, the first two years -of high school. - -Practically the entire emphasis is laid upon weaving as applied to -some form of seat, either as a decorative feature or as a necessary -part of the structure. These materials may be utilized in various ways -on varied types and forms of furniture other than seats, a few of -which are suggested. Experience with them will lead the worker to new -and interesting fields of a distinctly educational nature. - - Joliet, Illinois, November, 1916. - L. DAY PERRY. - - * * * * * - -ACKNOWLEDGMENTS - -Acknowledgments are hereby made to The Bruce Publishing Co., for -permission to re-use the material in Chapters I and II which appeared -in _The Industrial Arts Magazine_ in a modified form; to The -Periodical Publishing Co., for the photograph shown in the -frontispiece; to M. F. Gleason, Joliet, for the sketches shown in -Figs. 5, 6 and 8; to T. S. Moore, Joliet, for his cooperation in all -the photographic work; and to the instructors in the Joliet Department -of Manual Training who have assisted in working out a number of the -problems. - - L. D. P. - - - - -CONTENTS - - - PAGE - Foreword 3, 4 - - Acknowledgments 4 - - Chapter I.--Caning; The Seven Steps 7 - Cane 7, 8 - Equipment 8, 9 - Beginning the Operation 9, 10 - The Seven Steps in Caning 10-14 - - Chapter II.--Caning Suggestions 15 - Irregular Areas 17-21 - Five-Step Caning 21, 22 - The Design Element 22-25 - - Chapter III.--Reseating a Chair; Hand Caning 26 - The Process 27-31 - Refinishing 31-33 - - Chapter IV.--Reseating a Chair; Cane Webbing 34 - The Process 35-40 - - Chapter V.--Rush Seating 41 - Historical 41-42 - Rush 42-43 - Other Materials 43-44 - Preparation of Materials 44-46 - The Weaving Process 46-49 - Rectangular Seats 49-50 - Irregular Seats 50-51 - Suggestions 51-54 - Finish 54 - - Chapter VI.--Reed and Splint Weaving 55 - Primitive Methods 56-57 - Bleaching 57-58 - Staining 58-59 - Other Materials 59-62 - - Chapter VII.--Seats of Reeds and Splints 63 - Indian Splints 72-79 - A Rustic Chair 79-80 - A Woven Table 81 - Willows 81-82 - - Weaving Materials: Where to Obtain 84 - - - - - [Illustration: A TYPICAL ALLEY SCENE IN HONG KONG SHOWING NATIVE MEN - AND WOMEN SORTING AND STRIPPING RATTAN. - _Courtesy, Periodical Publishing Co._] - - - - -CHAPTER I - -CANING; THE SEVEN STEPS - - -That caning has not been undertaken to any appreciable extent in -school shops is due to the fact that instructors are unfamiliar with -the weaving processes. Caning is not difficult. It, in common with -many other lines of activity, is best learned thru observation. -However, it may be undertaken by the average person after careful -study of printed directions and illustrations. If the worker will -closely observe his own work as it progresses, and follows -instructions carefully, he should have no unusual difficulty in caning -an area very acceptably in the initial attempt. Particular attention -should be paid to directions which tell of errors to avoid. Errors -creep in, in a very unobtrusive manner at times, and the amateur will -find them hard to detect. - - -=Cane.=--Cane is the name applied to a great number of plants which -possess long, slender, reedlike stems. The name should apply only to a -class of palms called rattans. These plants are found thruout the -Indian Archipelago, China, India, Ceylon, and the Malay Peninsula. -They grow in dense, dark forests and form a matted undergrowth which -makes passage difficult or impossible. These palms are trailing in -tendency, yet frequently grow to tree height. They then fall over and -lie on the ground. The stem is covered with beautiful green foliage, -grows to a length of 100 to 300 ft., and rarely exceeds 1 in. in -diameter. The stems are cut into lengths of 10 to 20 ft. for export. -The outer bark is stripped into widths varying from ¹⁄₁₆ to ³⁄₁₆ in. -These strips are put into hanks of 1,000 lineal feet each. The cane is -then ready for the cane weaver. A hank of cane costs from 60 cents to -$1. The width of the cane and its quality determines the price per -hank. It may be purchased from any upholstery supply house. - -Cane is named from the narrowest to the widest in order: carriage, -superfine, fine-fine, fine, medium, common, narrow binder, and wide -binder. Cane from India has a very glossy surface, while that from -other localities is duller. The right side of the cane is easily -determined by this glossiness. - -Cane for weaving purposes should not be confused with the popularly -called cane or bamboo of our southern states, where it forms the well -known cane-brakes. This cane rarely exceeds a height of 20 ft. It -grows rapidly and very straight, and to an appreciable diameter. Such -cane is used for bamboo furniture, walking sticks, poles, etc. The -ordinary domestic sugar cane, also, should not be confused with -seating cane. - - [Illustration: FIG. 1. THE CANING NEEDLE.] - - -=Equipment.=--The tools needed in cane weaving are few in number. A -special one is called the caning needle. This may be made in the -school shop. Fig. 1 shows a working drawing of the needle. Its length -is variable, depending upon the work at hand. It is desirable to have -a number of different lengths. The tool is made of good flexible steel -wire. This is flattened at one end, an eye cut in it, blunt pointed, -and slightly curved as indicated. The other end is inserted in an -ordinary small tool handle, extended thru and riveted. The riveting -prevents the wire from drawing out of the handle under a pulling -strain. - -The other tools needed are a scratch awl, and a pair of scissors or -knife. A button-hook with the hook straightened or cut off may take -the place of the awl. A pair of dividers and rule are necessary for -marking. Several wood pegs are needed. These may be classed with the -tools. They are made from a ¼ in. dowel rod, or the equivalent. Cut -them about 4 in. long and point them as you would a lead pencil. The -amateur is inclined to use a number of pegs. Four should prove amply -sufficient. - - -=Beginning the Operation.=--Fig. 2 is a photograph of an upholstered -leg rest with caned sides. This rest will be used for our initial work -in cane weaving, inasmuch as the area for caning is rectangular. It is -not advisable for the beginner to have his initial experience on a -chair seat, for the area is usually of an odd shape, and arms, legs, -and back interfere. However, any rectangular area on which there are -no projections to bother may be used for the first trial. - - [Illustration: FIG. 2. LEG REST.] - -It is assumed that the sides of the rest have been fitted. The rails -and stiles are then assembled with glue, without the posts. When the -glue has set the proper length of time, and the frame is cleaned and -sanded, the rails and stiles are ready to dimension. - -Draw pencil lines entirely around the inner sides of the rails and -stiles, ½ in. from the edges. This distance remains constant, usually, -on all areas and with canes the various widths. With a pair of -dividers set at ¼ in. space off points on the pencil lines, starting -from the intersection of the extended lines on each rail. Fig. 3 is a -working drawing of a corner, dimensioned as suggested. It will make -clearer the directions. It is fundamental that the spacing be done in -the same direction on parallel rails, for at times the last space -will be a short ½ in. or whatever dimension is used. In such cases it -is necessary to redivide the last several spaces into divisions as -near ½ in. as possible. It thus becomes obvious why spacing must be -done in one direction as stated. This applies to all rectangular -frames. - - [Illustration: FIG. 3. SKETCH OF CORNER FOR CANING.] - -With a ³⁄₁₆ in. wood bit bore holes thru the rails and stiles at the -points marked. Countersink the holes slightly on the underside of the -frame. This is not absolutely necessary but aids considerably in -locating the holes, and in other ways. In shops where power machinery -is available a vertical borer may be used for this purpose. It is best -to carefully mark the points for boring with a center punch. The twist -bit will then start accurately and the danger for getting out of line -will be reduced to a minimum. The dimensions given here are for -fine-fine cane. Use sandpaper to remove pencil lines and rough edges -left from boring; then clamp the frame over the edge of a table or -bench with a carriage clamp; sit while doing the weaving. - - -=The Seven Steps in Caning.=--Fig. 4 shows the seven steps in caning. -Refer to this photograph thruout the following directions. The numbers -on the photograph refer to the steps. - - [Illustration: FIG. 4. THE SEVEN STEPS IN CANING.] - -_Step 1._ A hank of cane should be soaked for a few minutes in warm -water, or longer in cold. Do not soak it too long. Start a strand by -drawing one end thru a hole next to a corner hole, and let it project -about 3 in. below. Fasten with a peg. Then starting at the peg, pull -the entire strand thru the thumb and forefinger to prevent twisting, -and pull the end down thru the hole on the opposite parallel rail next -to the corner hole, and then up thru the hole next to it. See that the -right side of the cane is out on the underside of the frame as on the -top. Pull the cane reasonably taut, and fasten with a peg to prevent -the strand from slipping back and becoming loose. Draw the cane thru -the thumb and forefinger again; pull it across the frame and down thru -the hole next to the peg and up thru the hole next to it. Pull taut -and fasten with the second peg. This operation is repeated until all -holes have been utilized on the two parallel rails, except those on -the corners. Thruout the seven operations it is necessary that the -cane be kept from twisting by drawing the remaining part of the strand -thro thumb and forefinger. - -_Step 2._ The second step is identical with the first, with the -difference that the other two parallel rails are used, and that the -canes run over the first set of parallel canes. If the first strand of -cane has not been entirely used up in the first step, the remainder is -used to begin the second step. - - [Illustration: FIG. 5. METHOD OF TYING ENDS OF CANE.] - -_Step 3._ This step is a repetition of the first two. The canes of -this series run _over_ the first and second series and parallel with -the first. As each strand is used up bind the end by pulling it under -a cane, crossing from one hole to another underneath the frame and -cutting off about ¼ in. from the cane. Fig. 5 shows how this binding -is done. The loose end at the starting point is tied in this way, and -all subsequent ones should be tied as they come, thus avoiding -interference by many pegs, and insuring neat binding. - -_Step 4._ The actual weaving begins with this step. It may be done -entirely by hand, without resort to the needle, but it is slow work. -The needle should be used. Start at a hole next to a corner on either -rail that has been used but _once_, working from caned side toward the -open frame. Go over and under the strands necessary to form the weave, -turning the needle from side to side in order to catch the canes -behind the point. When across thread the needle with the strand and -pull thru, being careful to avoid a twist. Pull the end down thru the -hole, pairing the canes. Pull the cane up thru the next hole; then -start the needle from the opposite side of the frame and repeat the -first operation, thus pairing another set of canes. Continue until all -canes are paired and all holes used. Soak the woven cane with a wet -sponge, and with two pegs straighten the strands of cane and force all -pairs together. Small, open squares are thus formed over the area -being caned. Unless the cane is soaked it will prove rather difficult -to pair the canes. - -_Step 5._ This step is the weaving of one set of diagonals. Start the -strand at any corner hole. Use one hand over and one under the frame. -As the worker becomes skilful he will find it easier to give the cane -a slight curve and work with both hands on the upper surface. Use an -end of cane long enough for convenient handling; then pull the entire -strand thru the length of the frame, provided the area is not too -great. Care must be taken to avoid twisting the cane. The cane will -run easily, and partially under a cane at the corners of the squares, -if correctly done. Fig. 6 shows this clearly, as does the illustration -in Fig. 27. The second illustration is a photograph of a strip of cane -webbing, is approximately half size, and will supplement the freehand -sketch. The corners will bind, and the strand will pull with -difficulty if the cane is incorrectly woven. On parallel canes note -that the canes either run _over_ or _under_ the pairs. - - [Illustration: FIG. 6. FREEHAND SKETCH OF CANING.] - -_Step 6._ This step is identical with the preceding one. The canes are -at right angles to the first diagonals. In this step and the preceding -one note that two strands run into the corner holes. This holds true -in all rectangular frames where a corner hole is bored. It permits the -strands to run in as straight a line as possible. If it is necessary -to turn abruptly to enter a hole it is obvious that an error has been -made by the weaver. - -_Step 7._ Pull a cane of the same size as used in the other steps up -thru a hole, over the binder cane and down thru the same hole. A loop -is thus formed and the binder secured. Pull taut, then enter the next -hole, pull up the cane over the binder and down, and so on. This -operation may be repeated at every other hole when the holes are close -together. The two ends of the binder are finally overlapped and -secured, and the operation thus completed. At times, when the last -strands are woven, it may prove advisable to secure canes underneath -the frame by plugging the necessary holes; at least in instances where -the canes have a tendency to work loose. - - [Illustration: SUGGESTIVE PROJECTS.] - - - - -CHAPTER II - -CANING SUGGESTIONS - - -As weaving progresses difficulty will be experienced in inserting cane -ends in the holes, due to their becoming filled. Force the scratch awl -thru and turn it several times. This will effectively force an -opening. - -In many instances long ends of cane remain from one series to another. -These generally, as previously mentioned, should be used in succeeding -steps. There is one limitation. They should be used provided it is not -necessary to carry them over more than four holes on the under side of -the frame. The fewer loose ends left, the better, for the caning is -thereby neater and better. It is generally advisable to use a full -length strand to avoid a number of loose ends. - -The amateur will find his greatest difficulty in properly weaving the -diagonals at the edges; that is, immediately upon entering or leaving -a hole. Many commendable pieces of caning are spoiled by ragged, -improperly woven edges. Care must be taken to see that the cane goes -_over_ and _under_ the proper strand or strands at these points. Fig. -6 clearly shows how the diagonals should run. Study it carefully. - -The addition of a binder is generally a matter of taste. Perhaps 50 -per cent of modern hand caned furniture does not employ a binder of -any description. The series of regularly exposed holes are rather -pleasing and in no way detract. However, in chair seats a binder is -essential to protect the ends of canes, for they are subject to hard -wear. - -Binders of reed or of wood called "splines" may be used on hand-caned -frames. If either is used a groove ¼ in. deep and ³⁄₁₆ in. wide is -cut coincident with the holes before weaving is begun. After the area -is caned the strips are fitted and glued in. Use little glue. Tap the -splines firmly with a mallet used over a block of wood, until they are -flush with the woven cane. Chapter IV gives the method in detail. - -The size of the holes and the distance between them is determined -largely by the size of the cane used. Some prefer coarse meshed areas, -while others desire them closely woven. There is, however, what we may -term a standard mesh. The individual may vary the dimensions given to -suit himself. The Jacobean or early caning was invariably of coarse -mesh. - - [Illustration: FIG. 7. WINGBACK CHAIR.] - -Carriage and superfine cane require ⅛ in. holes and ⅜ in. spaces; -fine-fine cane requires ³⁄₁₆ in. holes and ½ in. spaces; fine cane -requires ³⁄₁₆ in. holes and ⅝ in. spaces; medium, ¼ in. holes and ¾ in. -spaces. Fine-fine and fine cane are the best sizes for shop use. A -small amount of medium binder is desirable. - -One hank of cane will ordinarily be sufficient for a half-dozen areas -of approximately 12 in. by 12 in. - -Most old pieces of period furniture utilizing cane employ a -particularly narrow split horizontally and vertically, and a wider -split diagonally. The opposite practice may be employed--a finer split -of cane being used diagonally than horizontally and vertically. Both -effects are pleasing. - -In all illustrations of rectangular areas shown herein, corner holes -are bored and utilized in the cane weaving. These are not absolutely -necessary; in fact caned areas on many pieces of period and modern -furniture do not utilize corner holes. In such instances two diagonal -strands are run in each hole on either side of the corner. A -comparison of the areas, the one employing a corner hole, and the -other not, will lead the observer to conclude that the former appears -complete while the latter appears unfinished. - - [Illustration: FIG. 8. SKETCH OF STRIP TO COVER CANE ENDS.] - -It is frequently necessary or desirable to cover up the cane on the -back or inside of an article. This is true of places exposed to view, -and is especially advisable on such pieces of furniture as the -wingback chair shown in Fig. 7. This chair of William and Mary design -was made in a school shop, is hand caned, and of mahogany. The exposed -cane is covered with strips of mahogany ¼ in. thick and 1 in. wide in -which a groove ⅛ in. deep and ⅜ in. wide has been run. This groove may -be made with saw, chisel, or combination plane. Fig. 8 shows a sketch -of such a strip. It makes a neat, pleasing cover. Many pieces of -so-called expensive furniture have ragged, exposed caning. This is -unsightly and is not to be commended. - -Wherever it is found desirable to leave cane natural, it is necessary -that the frame be stained before caning is begun. Box fuming will not -permanently color cane. Oil stains make no appreciable impression if -rubbed off at once. But water, acid, and alcohol stains produce -decided colors. If the worker desires to color the cane approximately -the same shade as the article, the caning may be done on the white -wood and the entire article stained at the one operation. Cane may be -shellacked or varnished or left natural, as desired. - - -=Irregular Areas.=--Fig. 9 shows a close view of the back of the -chair illustrated in Fig. 7. This is a typical example of an -irregular-shaped area for caning. The principles of weaving remain -the same in areas of any shape, yet each requires slightly different -treatment. Each has its individual problem. It is necessary to skip -some holes altogether. This is never done in rectangular shapes. A -close inspection of the photograph will reveal many skipped holes. -This is necessary to keep parallel strands equidistant, and diagonals -straight. - - [Illustration: FIG. 9. BACK OF CHAIR SHOWING ODDLY SHAPED AREAS.] - - [Illustration: FIG. 10. METHOD OF LOCATING HOLES ON WING OF CHAIR.] - -To clearly understand how the holes are located on a wing of this -chair refer to Fig. 10. The left upright and lower rails are at right -angles to each other. The upper rail is curved and the right upright -slanted. Measurements are begun at the lower left hand corner and -proper distances spaced on the left upright. With the arm of a -try-square against this upright, points are marked on the opposite -upright in line with those on the former. This operation is repeated -on the lower rail and the upper curved one. Strands of cane will then -obviously run parallel. Inasmuch as there are five holes in the base -and eight in the top it is necessary that three vertical strands be -run into the slanting upright in any holes which will permit the -strands to run parallel to each other. The photograph of the caned -wing, shown in Fig. 11, should make very clear the foregoing -explanation. Experience with several unusual shapes is necessary -before the weaver feels confident of readily caning any area of odd -shape. - - [Illustration: FIG. 11. CLOSE VIEW OF WING.] - -In weaving the diagonals it is frequently necessary to run several in -one hole in order to keep the canes as straight as possible. Just when -this should be done can only be determined by the worker. A diagonal -should never be permitted to swing to any great degree out of a -straight line. A close observation of the photograph of the wing will -reveal many diagonal canes in one hole, and several holes skipped -entirely. - - [Illustration: FIG. 12. CANING OF FIVE STEPS.] - - -=Five-Step Caning.=--Cane weaving of five steps is not common. It may -be done in many cases where it will not be subject to hard wear. It is -neat in appearance and is much simpler than seven-step caning. The -presumption should not be made that this weave will in any way -supplant the regular weave, but in instances where decoration is the -object, and not service particularly, this weave will prove sufficient -and effective. - -Fig. 12 illustrates a frame caned with the five steps. The distance -between holes was purposely made greater than usual, to show the weave -clearly. The first strands are strung in, in the same manner as -described in the seven steps. The second series of strands are -interwoven with the first. The over and under weave is used. Each -alternate row of each series is either over or under. The first -diagonal strands run _over_ the preceding two series. They are not -woven as in seven-step caning. The second diagonal strands run _over_ -the first diagonals and _under_ the intersection of the other strands, -including every alternate first diagonal. This resolves itself into -simple over and under weaving. Note that but one strand of a diagonal -enters a corner hole. This is not true of seven-step caning, as -elsewhere indicated. It is advisable to utilize a wider cane in the -first two steps, than is used in the subsequent ones. - - [Illustration: FIG. 13. DAVENPORT WITH CANED PANELS.] - - -=The Design Element.=--Caning is not a fad. Cane was commonly used in -Carolean furniture in England about 1660, and has continued in use for -seating purposes thru the various subsequent periods. The application -of cane as used today on French furniture, as in panels, is -historically wrong. However there can be no valid objection to its use -in panels if no attempt is made to name it a true period style. Also -it must be conceded that period furniture was not always well -designed, and there can be no well sustained objection to the use of -cane in panels, provided it is in keeping structurally and -decoratively with the particular piece of furniture. - -The introduction of cane at first was undoubtedly brought about by a -desire for something light, substantial and serviceable, and it -blended well with the oak of the period. Cane is much used on modern -furniture, and without doubt it adds to the beauty of the given -pieces. In many cases the decoration is overdone and instead of -improving the article the cane in reality detracts. Properly used, it -enriches by breaking up flat uninteresting areas, and lightening the -appearance of otherwise massive, cumbersome articles. - - [Illustration: FIG. 14. ROCKER WITH CANED SIDES.] - - [Illustration: FIG. 15. BOOK SHELVES WITH CANED PANELS.] - -Under proper correlation with wood in school shops it promotes an -appreciation of constructive design in which the element of beauty is -a prime consideration. It is a practical medium in which the aspect of -design as an element of utility is paramount. It has distinct -commercial value, for the boys who have had training in the shops may -do chair seating outside and earn considerable money. By such work -they come to see a distinct relation between the commercial field and -their shop experiences. This is a point of view which is very -desirable in present-day industrial education. - -Figs. 13, 14, 15, and 17 show pieces of furniture made in manual -training shops by eighth grade boys. These pieces comprise a group, -with the addition of the leg rest shown in Fig. 2 for a library or -living room. The cane in each instance adds materially to the artistic -effect of the problems; they have tone. The cane forms pleasing groups -well related to the wood mass. The cane is natural, the wood fumed and -finished flat. The two tones of color are in perfect harmony. - - [Illustration: FIG. 16. LIBRARY TABLE.] - - [Illustration: FIG. 17. TABLE. SIDES CANED.] - -Fig. 16 shows a library table of oak constructed by an eighth grade -boy. The lines are very pleasing and the long vertical caned panel -adds a distinct note to the structure even tho purely decorative. - -Many modifications of the standard weave in caning are in vogue, but -are more or less fads. A "rotary" weave is rather prevalent on certain -types of furniture, as is what may be termed the "spider-web" weave. -These are mentioned merely to suggest that caning is subject to -variation. However, the standard weave, of seven steps, will not be -supplanted to any appreciable degree, for it adapts itself to almost -all types of furniture both decoratively and structurally. - -It must not be presumed that the method described in Chapter I is the -only one which may be employed in weaving this standard weave. There -are several methods of weaving which arrive at the same ultimate -result, but the one described is the simplest, and the most direct, -and withal the one best adapted to general use, particularly to -school-shop pupils. - - [Illustration: SUGGESTIVE PROJECTS.] - - - - -CHAPTER III - -RESEATING A CHAIR; HAND CANING - - -In many localities it is impossible to find a professional to reseat -caned chairs either by hand or with cane webbing. Many chairs in good -repair and worthy are relegated to the attic because of broken or -sunken seats. Upholsterers generally will not be troubled with such -jobs of caning for the work does not pay unless there is an amount -sufficient to keep them steadily employed. Usually they are not adept -enough to do such odd jobs as may come to them, even tho willing to do -the work, within a time consistent with sufficient money returns. - -Chairs of ordinary size may be caned for a minimum of $1 and a maximum -of $2. If the holes have previously been bored, much labor is thus -avoided, and the charge is naturally made less. The professional cane -weaver has various ways by which he determines the cost for recaning a -given seat. Perhaps the most common method employed is that of -charging so much per hole. This is from 1 to 2 cents. The difficulty -in handling very fine cane is also a factor in deciding what to -charge. Usually a casual looking over of the chair by the expert is -all that is necessary to fix a price. No charge of less than $1 on a -hand caned seat will sufficiently remunerate the worker. Fig. 18 shows -a hank of cane and rolls of machine woven cane. - -Any boy who has had instruction and sufficient experience in caning in -the manual training shop may readily undertake jobs of caning. The boy -who will investigate will find that he may work up a sizeable trade in -chair seating in a short time. In fact several boys will not overcrowd -a given field. Such work will pay the amateur well. He does not, nor -cannot expect professional wages. It is of considerable value from the -pupil's standpoint alone, that is, this correlation with his manual -school activities. The amount of pay initially is not the main -question; it is the educational value derived. He would undoubtedly -find willing help at his shop at any time a job of peculiar treatment -presented itself. - - -=The Process.=--Many chairs which the owners would wish hand caned -have no holes bored for the work. They previously held machine woven -cane. Fig. 19 shows a sketch of a chair bottom of ordinary or standard -shape. The area is irregular. The sketch shows the method of -determining the location for the holes. - - [Illustration: FIG. 18. HANK OF CANE AND ROLLS OF MACHINE WOVEN CANE.] - -As stated in the discussion of the seven steps in caning, the holes -are invariably ½ in. from the inner edges of the rails. In this -instance the line from which the holes for the front rail are located -is parallel with the front rail; it is coincident with the line on -which the holes are bored. The line on the back rail must be parallel -with it; the line runs thru the center of the center hole. The lines -on the side rails are parallel to each other and at right angles to -the first two. These four lines are shown as dash lines on the -drawing. Their function is simply to determine the location for the -holes to be bored on the lines ½ in. from the inner edges of the -rails. Those lines are shown in the sketch as full lines. - - [Illustration: FIG. 19. SKETCH OF CHAIR SEAT OF ODD SHAPE, SHOWING - METHOD OF FINDING LOCATION OF HOLES.] - -When the working lines are determined, the centers of the front and -back lines are located. The lines connecting corresponding holes on -the front and back rails must be parallel to the line connecting the -center holes on these rails. This rule applies to the locating of the -holes on the side rails. It also applies to any seat of odd shape. The -distance between holes will vary somewhat at different places on the -seat frame. This is the result of working to rule, and is necessary to -keep strands equidistant and parallel. At times respacing at several -places will be necessary. When it is, simply redivide into as nearly -the given dimensions as possible. - - [Illustration: FIG. 20. FIRST STEP HALF COMPLETED.] - - [Illustration: FIG. 21. FIRST STEP COMPLETED. SECOND BEGUN.] - -After the holes have been bored and cleaned the seat is ready for -caning. Start at the center hole in the back. Pull the cane up thru -this hole and across the frame, and down the center hole in the front. -Work both ways on the frame. Fig. 19 shows a cane started in this -manner. It is best that the amateur work from the center, both ways. -He may begin otherwise when he understands the work better. The caning -operations on the seat to be shown are the same as those described in -the seven steps in caning. They never vary. The only new thing -involved here is the shape of the seat. Fig. 20 is a photograph of a -chair seat of an odd shape, an irregular ellipse. It shows the first -step half completed. Note here that the last strand skips two holes, -one at the front and one at the back. This is necessary to keep -strands as nearly the same distance apart as possible. Fig. 21 shows -the first step completed and the second partially so. It is not -necessary to start at the center with this series, altho it is -advisable with the beginner. Note that two holes have been skipped -here, as in the first step. Fig. 22 shows the second step finished and -the third under way. These strands run directly over those of the -first series. Pegs are always used to keep strands taut. Their proper -use has been explained. Fig. 23 shows the third step completed and the -fourth under way. This shows the actual weaving, and the method of -using the needle. It has been pushed thru in the manner previously -described; and is shown threaded, ready to be pulled back, thus making -the weave. The needle may not be used, but will do the work rapidly. -Handwork alone here is tedious. Fig. 24 shows the diagonal weave under -way. In Fig. 25 this weave is completed and the second diagonal -started. Fig. 26 shows the method of fastening the binder. This has -been described. - - [Illustration: FIG. 22. THE SECOND STEP FINISHED AND THE THIRD UNDER - WAY.] - - [Illustration: FIG. 23. THE THIRD STEP COMPLETED AND THE FOURTH UNDER - WAY. THE CANING NEEDLE IN USE.] - -The first three series of strands should not be pulled very tight, -otherwise the final weaving will prove difficult. The finished seat, -when dry, should ring when struck sharply with the fingers. - -The method of tying cane, preventing twists, etc., has been explained. -Reference should be made to these points, when anything is not fully -understood in this discussion of chair seating. - - [Illustration: FIG. 24. THE FIRST DIAGONAL WEAVE UNDER WAY. THE FIFTH - STEP.] - - [Illustration: FIG. 25. FIRST DIAGONAL COMPLETED AND THE SECOND BEGUN. - THE SIXTH STEP.] - -Note that many holes have been skipped in each series, especially in -the last two, and also that more than one diagonal of a given series -enters the same hole. In every case it will enter that hole which -leaves its course in as straight a line as possible. In rectangular -areas it is never necessary to run two diagonals into the same hole, -except at the corners. This applies to two diagonals of the same -series. - - -=Refinishing.=--The refinishing of a chair is a distinct problem, and -one which the cane weaver should understand. He should acquire ability -for finishing along with skill in caning, inasmuch as a chair which -needs a new seat invariably is in need of refinishing. The method is -as follows: Remove the cane from the seat. If the finish is in fair -condition merely wash the chair with warm water and soap. When dry -sand the surface somewhat, wipe clean, and follow with a coat of good -varnish. In forty-eight hours rub with pumice stone and oil, and -follow with an application of furniture polish, well rubbed. A good -polish which may be made in school shops is composed of two parts of -raw oil, two parts of turpentine, one part vinegar, and a very small -amount of alcohol. Boiled oil may be used in the absence of the raw -product. Shake the container constantly when using, for the parts are -almost all merely held in suspension. - -Should the chair be in poor condition, remove all varnish with any -good varnish remover found on the market. Apply as directed with a -stiff brush, running the solution well into all crevices. Later rub -off the softened finish with excelsior or burlap. A scraper, an old -plane bit, or a rather dull chisel will prove effective in corners and -recesses. Apply a second coat of remover if conditions warrant it and -clean again, then when the surfaces are dry, sand until clean and -smooth. Follow with a coat of oil stain of the color desired; then two -coats of varnish, allowing each coat to dry 48 hours. Sand the first -coat lightly, and rub the second with pumice stone and oil. A filler -is not generally necessary in refinishing. The ground coat may be of -shellac instead of varnish if the worker prefers it. The chair need -not be stained if it was finished natural originally. - - [Illustration: FIG. 26. METHOD OF FASTENING BINDER. THE SEVENTH AND - LAST STEP.] - -In caning the seat special care must be exercised to avoid marring -the varnished frame. If the needle is used in the fourth step the -frame needs protection from it. Pieces of bristol or card board may be -placed under the needle on either side of the frame. The needle is -bound to mar the surface of the frame if this precaution is not taken. - -In many instances it is policy to cane the seat after the old finish -has been removed; this to avoid any possibility of marring the seat -frame later. However, it is better practice to refinish the chair -first, and cane the seat last. - - [Illustration: SUGGESTIVE PROJECTS.] - - - - -CHAPTER IV - -RESEATING A CHAIR; CANE WEBBING - - -The seating of chairs with machine woven cane is a much simpler -process than that of hand caning them. Under similar conditions less -time and skill are required on areas of like dimensions. Machine woven -cane, as its name implies, is a manufactured product made on power -looms or machines. Commercially it is sold under the name of cane -webbing. It is obtainable in widths ranging from 8 in., increasing by -2 in., to 18 in., and in rolls of indefinite lengths. It may be -procured in meshes of varying fineness, utilizing cane of various -sizes. In specifying open woven cane it is necessary that the -purchaser indicate his wants in essentially this way: Ten feet medium -open woven cane webbing, of No. 1 fine cane, 12 in. wide. A roll of -such cane has been referred to in Fig. 18. - -Cane webbing may also be purchased in close woven, in both the plain -and diagonal weaves. The specifications for purchasing are identical -with the open woven except that the term close woven is specified -together with the character of weave. Fig. 27 shows cane webbing -approximately half size, in open and close woven meshes. - -As in hand caning, any boy with proper inclination who has had the -necessary experience in the shops, may avail himself of the -opportunities for seating chairs in his community. The educational and -pecuniary advantages are identical to those mentioned in relation to -hand caning. The relative ease with which he may acquire skill in -handling the materials precludes satisfactory workmanship for -prospective customers. - -The cost of jobs is readily determined, for the amount and cost of -webbing is easily ascertained, and experience soon determines the -length of time required. Cane webbing costs approximately as follows: -For 12 in. widths, 21 cents; 14 in. widths, 26 cents; 16 in. widths, -30 cents; and 18 in. widths, 38 cents. This cost applies to open woven -and is the charge per running foot. Close woven is sold by the square -foot at about 30 cents, regardless of width. It is possible to procure -special wide widths, but these are not generally found on the open -market. - - [Illustration: FIG. 27. OPEN AND CLOSE WOVEN CANE.] - - [Illustration: FIG. 28. THE SEAT FRAME WITH WEBBING AND TOOLS.] - -For example, a chair seat which requires a 12 in. square of open woven -webbing, and which has the groove made, may be reseated for 50 cents. -The entire job could be finished in about half an hour. This may be -made less if several chairs are to be reseated at a time. However, it -may be termed the minimum charge consistent with fair money returns. -There are instances when the seat frame requires grooving, and -inasmuch as running it in by hand is a laborious and tedious process -the worker must of necessity carefully estimate time before he -determines upon charge. - - -=The Process.=--The following may be termed the steps in inserting -cane webbing. No special difficulty should be encountered in properly -seating the frame at the first attempt. - -_Step 1._ Fig. 28 shows a commercial chair seat with groove cut by a -router after it has been assembled. There are no angles on the seat. -The groove is standard, with dimensions ¼ in. deep and ³⁄₁₆ in. wide. -This groove may be cut by hand with a universal plane and chisel -before permanently assembling the parts. In fact this is a necessary -procedure in grade schools and other schools where special machine -tools are unavailable. The necessary tools for pressing in the webbing -lie near the frame, Fig. 28. These are a small mallet, a chisel, and -several hard wood wedges. The wedges are made in several widths, to -enable them to enter the groove at the abrupt curves, are 4 in. long -of ¼ in. stock, tapered to ⅛ in. on the faces. - - [Illustration: FIG. 29. INSERTING THE CANE WEBBING.] - - [Illustration: FIG. 30. TRIMMING THE EDGES.] - -_Step 2._ The cane should be boiled in water for a minute or so, or -allowed to soak for several minutes in warm water until thoroly -pliable. Then lay it on the frame and cut it to the shape of the seat, -allowing half an inch excess around the entire piece. A pattern of -card or bristol board will prove of material assistance to the amateur -as well as the expert. The front line or edge of the pattern must run -parallel with the horizontal or vertical strands of cane. Pull out all -weavers at the edges of the piece of cane where they run over and -parallel with the groove. Then lay the webbing over the frame, and see -that the weavers run parallel with the front of the frame. With wedge -and mallet as illustrated in Fig. 29 begin at the front and force the -webbing into the groove. Insert on the opposite side next, then the -other two sides in order. The curves may be done last. - -_Step 3._ The edges of the webbing will project up beyond the groove. -These are cut off as illustrated in Fig. 30 by means of a mallet and -chisel at the outer edge in the bottom of the groove. Run either -liquid or hot glue into the groove. An oil-can with large holed nozzle -is excellent for this purpose. The liquid glue should be heated if -used in this way so it may flow easily. This glue is to be recommended -for the amateur in that no great haste is required as in the case with -hot glue. A small stiff round brush will serve the purpose very well -in absence of the oiler. - - [Illustration: FIG. 31. INSERTING THE SPLINE.] - - [Illustration: FIG. 32. SKETCH OF A PORTION OF A SPLINE.] - -_Step 4._ Fig. 31 shows the method of inserting the spline. Splines -may be had either of wood or reed, are curved on the upper edge and -wedge shape in cross-section. They are standard in width and thickness -and will fit a groove of the size indicated in _Step 1_. Fig. 32 is a -freehand sketch of a spline, showing particularly its shape in -cross-section. Wood splines, preferably of hickory, may be purchased -in 5 ft. lengths, and reed splines in lengths of 8 or 10 ft. Both -hickory and reed are recommended because of their pliability and ease -in handling. Steam or soak them in hot water until thoroly pliable; -then insert in the groove as illustrated. Note that the joint is made -at the rear of the seat. The mallet used is of rawhide and will not -mar the spline. A wooden mallet of small size is a satisfactory tool. -Cut off the extra length of spline with the chisel, force the spline -down nearly flush with the frame with mallet and wedge, sponge off the -excess glue from the surface, and allow the webbing to dry. - -_Step 5._ The finished seat is shown in Fig. 33. As the cane webbing -dries it becomes taut, and irregularities of the surface, if not too -pronounced, will disappear entirely. Therefore, the worker need not -consider them primarily. Light sanding of the cane when thoroly dry -will eliminate the small hairlike projections on the surface. Singeing -the surface with a blow torch or gas flame will do the work more -effectively, but great care must be exercised to avoid burning the -webbing itself. The singeing must be done rapidly and the flame not be -permitted to remain at one spot more than an instant. Dampen the -surface to minimize the danger of burning. - - [Illustration: FIG. 33. THE FINISHED SEAT.] - - [Illustration: FIG. 34. CHAIR WITH CANED PANEL.] - -The chair shown in Fig. 34 was made by an eighth grade boy. The slip -seat is upholstered, and a panel of cane webbing utilized on the back. -In instances of this character where the area is rectangular, splines -are cut, mitered, and fitted previous to inserting the webbing. The -splines are used dry. Manufacturers, in instances where the seat area -is all curved, generally fit the pliable spline, allow it to dry, -and then insert it with the webbing. This assures tight joints. This -procedure is not recommended for the ordinary shops for the simple -reason that the shrinkage is not appreciable. - - [Illustration: FIG. 35. FRAME ILLUSTRATING STEPS IN INSERTING WOVEN - CANE.] - -The frame illustrated in Fig. 35 is purely supplementary to the steps, -but as with the Seven Steps in Caning, it should be used in -demonstrating the processes to classes. It materially assists in -making the processes clear to the students, previous to allowing work -on their projects, and assures a general understanding, at least, of -proper procedure. The different panels are lettered for convenience -and need no elaborate explanation: - -_A_ is the open frame with grooves cut for the webbing. - -_B_ is the webbing inserted with ragged edges exposed, ready for -cutting. - -_C_ is the webbing with edges properly trimmed and a spline inserted. - -_D_ is the completed panel. - -Inserts of cane webbing may be utilized on pieces of furniture other -than seats. These inserts could be used on every article illustrated -in Chapters I and II, with similar pleasing effects, and with less -labor. However, there is an obvious element in hand caning which -naturally and logically gives it precedence over the inserted cane. - - - - -CHAPTER V - -RUSH SEATING - - -Rush seating, employing either genuine rush or substitutes, may be -done to good advantage and with excellent results in manual training -shops. No equipment is needed to maintain such work. The addition of a -woven seat to a chair or stool constructed in the shops will -necessarily employ a new, interesting medium in conjunction with -woodwork; and materially increase the pupils' knowledge of materials -and possible combinations. And, as with caning, the resultant interest -in the work at hand more than justifies its introduction in manual -training shops. Rush seating employs a very simple weave. Different -materials employed in weaving naturally require different degrees of -skill, and the difficulties encountered are those resulting from -handling materials and not because of the complexity of the weave. One -may very readily undertake the rushing of ordinary seat frames after a -study of printed directions and illustrations. It should be understood -at the outset that, in discussing rush seating, materials other than -genuine rush are included in the term. - - -=Historical.=--In the British Museum in London is a seat of curious -shape of Egyptian manufacture, which, it is estimated, was made -previous to 4000 B.C. A small amount of rush still clings to the seat -frame. The relative date of the construction and weaving of the chair -seat would indicate that rush seating is by no means a modern art, -altho at present rush is extensively employed in furniture. - -The use of rush in England dates no earlier than 1720. Several types -of chairs were made there between that date and 1870. In France rush -was used extensively in the seating of furniture of Normandy and -Brittany about 1750. Flanders produced rush seated chairs at an early -date, and many were constructed in this country in early colonial -days, prior to 1776, as well as later. Such chairs were undoubtedly -patterned after those brought over from Holland, France, and England -to the early settlements in America both before and after the -Revolutionary War. - - [Illustration: FIG. 36. ADAPTATION OF LADDER BACK CHAIR.] - -In early times rush always served a function in the seats of chairs -and stools, and was very seldom if ever used on the better class of -furniture. The use of cane or rush on furniture for decorative -purposes only is distinctly a modern idea. Utility rather than beauty -prompted the introduction of seats of rush. - -Modern furniture of excellent design and workmanship employs rush -seats. These are either woven over a separate frame and inserted or -are an integral part of the chair, being woven over the seat rails of -the chair itself. Fig. 36 shows a modern adaptation of a ladder back -chair with rush seat. The rush on this chair is woven over the rails. -Fig. 37 shows a flat view of the seat. - - -=Rush.=--Rush is the name applied to many fistular, stemlike plants of -similar or like growth. Properly, rush belongs to the sedge family. -The different species vary greatly in appearance; some are low and -slender, some are tall and leafless, and some are broad leaved. They -are found in wet places thruout the northern hemisphere, along banks -of sluggish streams, and in lowlands and marshes. The great bulrush -is common and familiar, while the chair-maker's rush is not as well -known. The plants most commonly known as rush are called by the names -of flag and cattail. In fact, flag and cattail are very generally used -for rush seating. The technical names of the different species of rush -are not pertinent or desirable here. - - [Illustration: FIG. 37. SEAT OF LADDER BACK CHAIR.] - - -=Other Materials.=--Materials other than rush may be used for rush -seating, as has been stated. Rush is rather hard to manage in that no -appreciable length may be handled because of the shortness of the -leaf. Twisting is necessary. Fiber, or similar materials, is to be -recommended for shop use because a great length is procurable, and the -twist is made. It is made of machine-twisted paper, and comes in long -indefinite lengths. It is tough, strong, and serviceable, and -procurable in spools of about one hundred pounds each. Fig. 38 shows -such a spool together with a bundle of rush. It is manufactured with -or without a flexible wire center and costs from 10 to 15 cents a -pound. It may be had in several colors and sizes. - -Raffia is well known thru its general use in basketry and allied work. -In rush seating it has no conspicuous place, altho it may be utilized -to great advantage. Raffia is the leaf of a certain palm, cut in -narrow widths and varying in length from 2 to 5 feet. It is bought in -hanks by the pound, bleached or unbleached, and in colors. The natural -unbleached raffia costs about 25 cents per pound; colored about 75 -cents. The hanks should not be untied, but as strands are needed they -should be pulled out from the head end of the hank. If improperly -handled, raffia will become badly tangled. - - [Illustration: FIG. 38. SPOOL OF FIBER AND BUNDLE OF RUSH.] - -Corn husks, taken from close to the ear, may be used, particularly for -seating chairs of toy furniture. The husks near the ear are not as -coarse and brittle as those outside. The shortness of the husks -precludes their general use, altho they produce an excellent seat when -properly woven. - -The materials mentioned by no means exhaust the list of available -mediums for rush seating, but will give considerable and sufficient -variety for shopwork. As the weaver comes to appreciate the limits and -advantages of the various mediums for certain grade work, he may -utilize local plants and grasses suitable for such work. - - -=Preparation of Materials.=--Rush--and in the term are included -cattail and flag--is common to almost any locality in our northern -states. It should be gathered when full grown and still green. It is -ready for cutting when the tips of the leaves begin to turn brown. -This is usually about the middle of August. The leaves are tied in -loose bundles for convenience in handling, and dried in the shade, -preferably a darkened room. They should remain here until thoroly dry. -Before using, soak the rush about ten hours in water. Less time is -required if warm water is used. When it is soft and pliable it is -ready for weaving. - - [Illustration: FIG. 39. ISOMETRIC DRAWING OF FRAME FOR RUSH SEATING.] - -Before weaving, the butt ends of the leaves are cut off about a foot -from the base. These are too coarse and stiff to weave properly. One -leaf may be used or two leaves may be twisted together to make a -strand. Three leaves make a coarse strand, two a medium, and one a -fine strand. A long, tight twist is necessary to produce an even, -smooth strand. The twisting is always done in one direction. One leaf -is recommended for beginners in rush seating, for adding to one is -much simpler than adding to several. The under side of the seat need -not be as smooth and as well woven as the top. In fact, twisting need -not be done underneath at all unless the individual worker so desires. - -Raffia is easy to manipulate because of its pliability, even when dry. -Several lengths will need to be twisted together to produce a strand -of sufficient size. It requires little soaking to make it ready for -use. Raffia produces an even, smooth surface of pleasing appearance, -and is very desirable in a seat. - - [Illustration: FIG. 40. METHOD OF WEAVING THE FIRST STRAND.] - -Fiber may be woven as it comes from the spool. However, it is better -to dampen it by plunging a quantity in water and removing at once. -When it dries after weaving, a slight shrinkage results, thereby -making a tauter seat than could be woven with dry strands. Inasmuch as -the fiber is paper, it cannot be soaked in water. - - -=The Weaving Process.=--With the frame ready and rush in proper -condition the weaving may be started. Fig. 39 shows an isometric -drawing on which corners are lettered and the rails numbered in order. -Fig. 40 shows another drawing on which the corners and rails are -similarly lettered and numbered, showing graphically the method of -weaving the first strand. The arrows indicate the direction of weave. -The operation is practically complete once around the frame. Reference -may be made to either drawing in the following detailed directions for -weaving. - -Start arbitrarily at any corner--in this case, _A_. A strand of rush -tightly twisted is laid over rail 1 next to the cap with its short end -turned down. The beginner may find it advantageous to tack the end in -place. Draw the strand over the edge and bottom of rail 1 and up at -the inner corner, then over the top and edge of rail 2. This binds the -loose end in place if it has not been previously tacked. Pull the -strand directly across the frame opening to the top of rail 3 at -corner _B_. Draw it over the edge of the same rail and under, then up -at the inner corner and over the top and edge of rail 1. Pull directly -across the frame opening to the top of rail 4 at corner _C_. The -operations at corners _C_ and _D_ are identical to those at _A_ and -_B_, and these repeat themselves indefinitely at each corner, or until -the seat is completed. This applies to square seats only. The end of -the last strand may be secured with a tack under the proper rail, or -twisted around a strand underneath the seat. - - [Illustration: FIG. 41. STICK FOR STUFFING INTERIOR OF SEATS.] - -The strand is twisted as the weaving progresses. This may be done with -the palm of the hand and thigh, in much the same manner as a shoemaker -waxes his thread. If one leaf of rush is used to make the strand, new -leaves are added by tying the two ends in a square knot at a corner, -or wherever such joining will not show on the finished seat. When more -than one piece of rush is used for a strand the pieces should be of -uneven lengths initially. One leaf or piece at a time is then added. -The upper or top end of the leaf is used to begin the seating and each -leaf added is attached at its top end. - -Some expert rush seaters do not tie knots in making strands, but add -leaves by twisting the end of the preceding leaf about the added one, -"like the color on a barber pole," as one old rush weaver remarked. -Adding by twisting only is difficult, and requires great patience and -dextrous handling of the material. In fact rush should be used by the -more skilful boys only. Others may use the excellent substitute, -fiber. - -Care must be exercised to keep the strands from overlapping -improperly at the corners. The strands should fit snugly where they go -over the rails. To assure this, tap them sharply with a mallet used -over a block of soft wood. This may be done at frequent intervals or -when several strands have been woven over each rail. Uniform tension -on the strand is desirable and this should be tight. - - [Illustration: FIG. 42. METHOD OF FILLING IN CENTER.] - -As the work progresses the interior between the upper and lower rows -of strands is stuffed. This is done with the same material as that -used in the weaving. The butt ends of rush are used to stuff the seat -of rush; raffia is used to stuff a raffia seat; craft paper to stuff a -fiber seat; and so on. The packing should be done in a thoro manner, -for it builds up the seat and prevents its breaking down at the inner -edges of the rails, and sagging with continued use. A slightly curved -hardwood stick about 12 in. long may be used to advantage to do this -work. Fig. 41 shows a sketch of such a stick. It is ¾ in. in diameter -at one end and tapered to ½ in. by ⅛ in. at the other. Considerable -force needs to be exerted in packing, and caution used to avoid -breaking strands. - - -=Rectangular Seats.=--As stated, in weaving a square seat the initial -process is repeated at all corners until all openings are filled. In -rectangular seats the spaces on the short rails will fill before those -on the long rails. Weaving around corners is then manifestly -impossible. Fig. 42 shows a partly woven seat with the short rails -filled, and the process of filling up the remaining area under way. -The method is this: Go over and under a long rail, across half the -frame opening and up thru, then across the remaining distance, and -over and under the other long rail. Repeat until the seat is -completed. Fig. 43 is a sketch of a partly woven seat, illustrating -the method of filling in the center just described. It supplements the -photograph and makes the method clearer. - - [Illustration: FIG. 43. METHOD OF FILLING IN CENTER.] - -It should be noted that the strands in crossing at the center must be -compressed one-half of their diameters. They will need to be tapped -sharply with a small mallet or hammer to produce proper crowding. Fig. -44 shows a stool seat of fiber woven by an eighth grade boy. Fig. 45 -shows the complete stool. The seat is woven over a separate frame and -inserted. Fig. 46 is a child's chair of oak, with a seat of fiber -woven over the rails of the chair. - - -=Irregular Seats.=--The usual or standard shape of chair seat is like -the one illustrated in the drawing, Fig. 47. The front rail is longer -than the back, and the side rails are equal in length. Seats of this -shape are rather difficult to weave because special treatment is -necessary to fill up portions of certain rails. - - [Illustration: FIG. 44. COMPLETED TOP OF FIBER.] - -With reference made to the drawing, the method employed in locating -lines for rushing, and for rushing such a seat is this: With the beam -of a square laid against rail 4 with its corner against the cap at -corner _A_, scribe a pencil line across rail 2. Similarly, mark the -same rail using the square against rail 4 at corner _D_. Stated in -other words, these lines may be obtained by determining the difference -in length between the front and back rails, and laying off one-half -this difference from each corner on the front rail. This distance is -indicated by the brackets in the drawing. - - [Illustration: FIG. 45. COMPLETED RUSH SEATED STOOL.] - - [Illustration: FIG. 46. CHILD'S CHAIR WITH FIBER SEAT.] - -Now tie with a string as many strands of rush as will be needed to -fill in this difference between front and back rails. Fasten them -underneath the rail at corner _A_. Then use one strand, twisted, and -weave around corners _B_ and _C_ and fasten under the rail at corner -_D_. The weaving is identical to that described in square seats. Weave -in each strand in the bundle at the same corners and tie under the -rail at corner _D_; or until the spaces marked off on the front rail -are filled. It may be necessary to add to or to remove strands from -the bundle if calculations as to number of strands necessary were -inaccurate. Tie all loose ends together at corner _D_, fasten securely -and cut off all extra lengths. - -Start now as in beginning a weave on a square seat, weaving around all -corners in the regular way. The first strand around will effectively -bind the bundles of ends at corners _A_ and _D_. - - -=Suggestions.=--In using paper fiber or similar materials which come -in long lengths, a strand 20 or 25 ft. in length may be used at one -time in weaving. For convenience in handling it should be formed in a -loop and held together with a strong rubber band. The strand may be -unlooped a little at a time as the weaving progresses. In using rush, -raffia, and like materials, the strand is made as the weaver works, so -at no time is there a strand exceeding 5 ft. or so in length to -handle. No special expedient is therefore needed. - - [Illustration: FIG. 47. METHOD OF STARTING WEAVE ON SEAT OF IRREGULAR - SHAPE.] - -Raffia, fiber, etc., may be purchased from supply houses and in many -cases direct from the manufacturers. Rush may be gathered in many -communities by an energetic instructor and pupils, and properly cured. -In fact, gathering the raw material and preparing it for use is -desirable in many ways, and is to be encouraged. Ordinarily rush may -be obtained from manufacturers of rush seats. It costs 15 cents per -pound, dry. - - [Illustration: FIG. 48. WORKING DRAWING OF A STOOL FOR RUSHING.] - -Fig. 48 is a working drawing of a stool or seat. The constructed -problem would appear very similar to the one shown in Fig. 45. The -seat frame is fastened to the base with concealed screws. The upper -caps are temporarily fastened until the weaving is completed, when -they are removed and the frame fastened to the base as indicated. The -caps are then replaced permanently. Generally speaking, for initial -work in rush seating it is advisable to weave over a separate frame. -Such a frame is conveniently handled, and better work will result. - - -=Finish.=--Some agent to preserve a rush seat is necessary. Rush -should be coated with equal parts of oil and turpentine, followed by -two coats of tough, elastic varnish. The necessary time should elapse -between coats. Some manufacturers do not use oil, and apply varnish -only. Raffia and husk seats should be treated as rush. Fiber is -varnished only. A brittle varnish is to be avoided, for it will chip -off with a little use, and a seat is subject to hard wear. - - [Illustration: SUGGESTIVE PROJECTS.] - - - - -CHAPTER VI - -REED AND SPLINT WEAVING - - -Reeds which are used extensively for basket-making and weaving in -general are procured from the species of palm described in Chapter I. -These reeds should not be confused with the term reed applied to -several distinct species of large water loving grasses. Such reeds are -usually designated under the name of grasses. There are a thousand -species of palm distributed over the tropical regions of the entire -world, but only a few are native in the United States, and these are -of no distinct commercial value. The rattan or cane palms of India and -the Malay Islands grow to an unusual height, and are imported into -this country in great quantities. These rattans and the trailing palm -of the species _Calamus_ have as main export centers Singapore and -Calcutta. These palms are stripped of leaves and bark and split into -round and flat strips of different diameters and widths. The outer -bark, when stripped into proper sizes, is known as chair cane; the -entire palm, with leaves removed, is commercially known as rattan; and -the flat reeds are frequently sold as flat rattan and pith cane. -Inasmuch as these flat and round strips, split from the palm plant and -exported under the name of rattan are called reeds, we shall refer to -them under that name in all discussions to follow. There are two -qualities of reed on the market sold under the names of China reed and -German reed. The former is inferior in quality and the latter is -superior, being strong, tough and durable. The Philippine Islands give -promise of producing a liberal supply of reed of good quality that is -claimed to equal the German product. The problem, however, is one of -gathering and marketing the product. The government has made a partial -survey of the rattan supply, and this justifies the belief that the -Islands will eventually compete with the world market. - - -=Primitive Methods.=--Briefly the primitive process of converting the -rattan, or raw material, into cane and reeds, or the finished product, -is this: The rattan stems are thoroly dried or seasoned, and the -nodules are pared off with a peculiar native knife. Then the rattan is -sorted into sizes and selection made as to grade. The sorting is based -upon external color and diameter of the rattan. The rattan is then -immersed in water, and the stem is rubbed vigorously with sand and -cocoanut husks to remove dirt and foreign substances. It is then -bleached by means of sulphur fumes, either in the stem or after the -peel and core have been prepared. - -The method of preparing the peel and core is this: The peel, or outer -covering, is removed with a heavy knife; it is then stripped to -selected thicknesses and widths by drawing it by hand thru two knives -set at required distances apart. This peel is commercially called -cane. The core is then stripped into as many strands as necessary, -depending upon the diameter of the cores required. These are rounded -by drawing them thru a sheet of tin or iron perforated with holes of -different diameters. The rounded cores are called reeds. - -Considerable rattan is still converted into the finished products by -hand processes thru these laborious stages. Machines have been -perfected which do practically the entire work. Particularly have the -Germans brought this industry to a perfected state. Still in various -sections of India, China, and the Philippines hand working of rattan -is a thriving industry; an industry seemingly peculiarly adapted to -the natives. The Philippine method of preparing the raw material -varies somewhat from the Chinese method in that the natives do not -bleach the rattan. - -Reed may be procured in large or small hanks, in coils and in bundles, -with the cost determined by weight. Schools generally will find it -advantageous to buy it in small hanks, because of ease in handling and -for economic reasons. Round reeds are shown three-fourths size in Fig. -49, from No. 0 to and including No. 7, also winding, half-round and -flat reeds. Winding reed is thin and slightly rounded on one surface. -Half-round is as its name implies. Flat reed may be obtained in -several widths from ¼ in. to ½ in., and if of good quality, one -surface will show a decided bevel on the edges and appear much -smoother than the other. Thus the right side is determined. There are -many more sizes on the market than are indicated in Fig. 49, but those -shown should supply adequate, if not liberal variety for the ordinary -school shop. The cost of reed cannot be given with any degree of -accuracy at present. The price is determined by the quantity bought, -and by the quality and size. Under normal commercial conditions round -reeds will cost from 30 cents to $1 per pound for Nos. 1 to 8, and -flat reed about 25 cents per pound. - - [Illustration: FIG. 49. SPECIMENS OF REEDS, THREE-FOURTHS OF ACTUAL - SIZE.] - - -=Bleaching.=--Reed is procurable either bleached or unbleached. -Ordinarily it is better to buy the bleached product. However, if the -worker desires to bleach the reed, the method for small quantities is -as follows: In a tub two-thirds full of water dissolve ten pounds of -chloride of lime. Immerse the reed in this solution, weighting it down -to insure covering it all, and let it stand about 4 hours. Remove it -from the tub and wash thoroly in running water. The best way to do -this is to lay the reed on an inclined surface and turn a forceful -stream of water upon it. Chloride of lime has a bad effect upon the -hands in that it makes them sore and tender, so care must be taken to -properly rinse the reed. A little tallow rubbed over the hands will -materially offset the tendency to tenderness, and generally keep them -in good condition. - - -=Staining.=--Bleached reed takes stain much more readily and evenly -than does the natural or unbleached. It may be stained any color with -prepared stains, but ordinarily these leave the reed muddy in -appearance due primarily to the difficulty in brushing in or wiping -off the stain in the recesses which weaving leaves. Perhaps the best -agent for coloring reed, and at least a very desirable one, especially -after it has been woven, is naptha. The preparation of the stain and -the process of coloring is as follows: Obtain the necessary amount and -variety of colors ground in oil; mix the required colors with a little -naptha; then to determine the shade of color test with a reed. Reed -absorbs a given amount of color, therefore the shade will prove out -practically the same when tested with a small quantity of naptha, as -when tried out with a greater amount. Add the required amount of -naptha to the solution, avoiding thinning too much; otherwise the -color produced will be "sickly" in appearance. Five pounds of color to -about 3 gallons of naptha will prove about the right ratio. For -instance, to obtain a rich nut brown mix 1 pound of chrome yellow and -5 pounds of burnt umber with a small amount of naptha. Stir until the -colors are liquid, then gradually add 4 gallons or so of naptha, and -stir well. The intensity of the brown may be varied by using more or -less chrome yellow. - -Coiled hanks of reed may be immersed in the solution, immediately -withdrawn and hung to drain dry above the receptacle, thus permitting -surplus stain to drain back into it. The stain may be used repeatedly, -and as it is very volatile it should be kept in a tightly corked red -can when not in use. It is also highly inflammable, and should be -used in a room in which there is free circulation of air. If colors -have been mixed properly and thinned to the right consistency, the -reed will dry rapidly and the color will be sharp and clear, free from -muddy effects. - -A woven article such as a basket or woven top footstool may be dipped, -or the color poured over and allowed to drip dry. In some instances it -is good policy to wipe surplus stain off lightly. Then, in the case of -the footstool or similar project, if the worker so desires he may -stain the wood a darker shade than the top with a prepared stain. Reed -is very effective without stain; many of the stools shown herewith are -left natural. Reed may be shellacked or varnished. Because of its -porosity it soils very easily unless some finishing agent is used, and -a good grade of elastic varnish is recommended as a finish, especially -when the woven article is subject to severe use. - - -=Other Materials.=--Reed is not the only good medium adapted to -weaving, either in correlation with wood or when used alone. On the -stools illustrated several other materials have been used, as inner -hickory bark and Indian splints and fiber. Binding cane, rope, and -even willow may be utilized with success. Paper fiber was discussed in -detail in Chapter V and needs no elaboration. Fig. 60 shows a stool -partly woven with this serviceable material. Sufficient to say that -this fiber adapts itself admirably to almost all work where reed is -commonly employed, and in many instances is, commercially, supplanting -reed. - -Inner hickory bark may be obtained of manufacturers of rustic -furniture either directly or indirectly. They may be obtained first -hand if hickory trees grow in the locality, thus enhancing the -educational value of weaving. In the spring or early summer when the -sap is up and the bark slips easily, a hickory tree may be cut down, -and the rough outer bark shaved with a draw knife from the top of the -log the full length of the trunk, leaving a surface from 8 in. to 10 -in. wide. With a heavy knife split the inner bark on either side of -the shaved strip; then beginning at one end peel back the inner bark -the full length of the log. This process may be repeated until the log -is stripped. The thickness of the inner bark depends upon the size of -the tree and the species. Manufacturers of hickory furniture claim -that the pignut possesses a thicker bark than any other species, the -bark running from ¼ in. to ¾ in. in thickness, and they accordingly -use this tree in preference to others when available. The rolls of -thick inner bark are allowed to dry for several weeks. Then they are -placed in water, to remain until pliable. They are then split into -strips of proper thickness and width. Factories use a very simple -motor driven machine for making the strips, and any manual training -shop can devise some scheme for accomplishing this work. These strips -cut in indefinite lengths must be made pliant by a thoro soaking just -previous to use. In weaving they should be pressed close together with -the fingers or with the aid of a hammer, as there is an appreciable -shrinkage especially in their width upon drying. Such strips are used -mainly by builders of rustic outdoor and porch furniture for the -weaving of the backs, arms and seats of chairs, and have at present no -general use in school shops. Their use here should be encouraged. If -bought of the manufacturer these strips cost 40 cents per pound, dry. -They are put up in coils, and are ¾ in. wide and ¹⁄₁₆ in. thick. They -may be stripped into narrower widths by means of a hand stripper, soon -to be described. - - [Illustration: FIG. 50. SKETCH OF HAND STRIPPER AND GAGE.] - -Indian splints of ash and hickory may be obtained from dealers in the -raw products. These strips are cut from the wood of the tree in long -shavings in a manner similar to obtaining the inner hickory bark, and -stripped into desired widths and thicknesses. One kind of ash splint -is made in three weights or thicknesses, fine, medium and heavy, and -in strips 1½ in. wide. It is sold in coils of 200 ft. each at $8.00 -for 4,000 ft. The strips are a number of feet in length. Hickory -splints are sold in coils of a dozen strands each. These strands are 8 -ft. to 10 ft. long by ½ in. wide, and slightly less than ¹⁄₁₆ in. -thick. A coil weighs about three-fourths of a pound and costs 5 cents. - - [Illustration: FIG. 51. WORKING DRAWING OF HAND STRIPPER AND GAGE.] - -The ash splints particularly, need to be restripped to widths needed -by the worker. For ordinary purposes the hickory strips are right for -seating purposes. The stripping is done by means of a combination hand -stripper and gage shown in Fig. 50. A working drawing of it is shown -in Fig. 51. It is made of maple preferably. The cutters are of a watch -spring, pointed and sharpened as indicated. The end piece is removable -to permit changes of the cutters. To use, merely hold the splint flat -between the right hand and stripper, press the strand down on the -cutter and pull it across the cutters with the left hand. Two persons -may do the operation more readily and speedily than one. It is a good -policy to make several of these devices with cutters at different -distances apart so splints of various widths may be cut without -resort to a change of cutters. - -Splints need to be soaked in water for a number of minutes before -using. They will be found to be somewhat less pliable than inner -hickory bark, and different in color, varying from almost white to a -light brown. Inner bark is a nut brown in color. The splints stain -well, and may be dipped in identically the same manner as reeds. Inner -bark needs no stain; in fact is more pleasing if left natural. - - [Illustration: FIG. 52. ROLLS OF SPLINTS, INNER BARK, AND REED.] - -Ash splints are extensively gathered and prepared by the Indians in -certain sections of Canada and the northern states. There they are -woven into baskets of intricate design and beautiful colors, usually -in combination with other materials, as sweet grass. Splints may be -used for almost every purpose for which flat reed is utilized, and in -numerous cases is superior and preferable to reed. - -In Fig. 52 is shown in order, two rolls of hickory splints, a bundle -of inner hickory bark strips, and a small hank of flat reed. These are -in the original bundles as they come from the dealers. - - - - -CHAPTER VII - -SEATS OF REEDS AND SPLINTS - - -The discussion of the weaving processes to follow is confined, in the -main, to stools or seats. Fig. 53 shows several stools different in -design both in wood construction and in weaving. In two instances it -will be noted that weaving is done over a separate frame, one being -inserted between the rails, the other fastened on top, leaving a -little projection. Reference is made to several possible weaving -designs and the use of various mediums and combinations. The possible -combinations of materials are merely suggestive of possible other -ones, and the individual worker will find that many designs of varying -complexity may be worked out. An excellent method for working out -possible designs is that of using black and white paper strips ½ in. -in width. The design will show up very clearly because of the contrast -of the black and white. Experimenting with the weave on the seat -itself is rather tedious and unsatisfactory. The paper strips are an -excellent means to an end. - -The stool top illustrated in Fig. 54 employs a simple over-and-under -weave, utilizing flat reed. The worker needs to decide at the outset -on the character of weave to be used unless it be of unusual design. -In this instance the weaver runs over _three_ and under _three_ -strands, and the wrapping done in a series of _three_. To begin the -operation tack an end of flat reed under a short rail at a corner, -then bring the strand out and over the rail, across the frame opening -to the opposite rail, under this rail, across underneath the frame -opening to the bottom of the first rail. This completes the process -once around. Repeat three times; then wrap the strand around the two -rails, without running it across the top. Thus every fourth strand -across the top is omitted. It is not necessary to cut the strand; the -wrapping is continuous. Repeat these series of three strands until -opposite short rails are entirely wrapped. When a strand runs out tack -the end with the beginning of a new one underneath a rail. Use a one -ounce flat head wire tack for this purpose if available, otherwise a -one ounce cut tack will do. The weaving proper now begins. - - [Illustration: FIG. 53. WOVEN TOP STOOLS.] - -Tack a strand underneath a long rail at a corner, then weave _over -three_ strands and _under three_. Repeat in the same manner three -times, then weave _over_ the series which were woven _under_ before -and repeat alternately until the top is entirely woven. In weaving the -top of this stool one strand is woven in the last series of three, and -to balance it a single strand is run in on the opposite side. The ends -of this strand are not fastened in any particular way; the weaving -holds them in place. The spaces next to each short rail may be filled -in a like manner if desired. Strands crossing underneath the frame -must be woven in some manner to produce a seat of maximum strength. -The character of the weave here is not pertinent; in this instance it -might take the same form as the top. - - [Illustration: FIG. 54. WEAVING IN SERIES OF THREE.] - -Fig. 55 shows a stool top woven of inner hickory bark strips employing -what is termed a diagonal weave. Begin the wrapping on either the -short or long rails. In this instance we will assume that the short -rails have been wrapped; then the weaving will begin over the long -rails, and as indicated, at the upper left hand corner. The strands -have been numbered to make the description clearer. The "diagonal" is -determined at the edges of the upper rail. The method of weaving may -be expressed in the following manner: - - Strand 1--Over 1, under 2, over 2, under 2, and so on. - - Strand 2--Over 2, under 2, over 2, under 2, and so on. - - Strand 3--Under 1, over 2, under 2, over 2, and so on. - - Strand 4--Under 2, over 2, under 2, over 2, and so on. - - [Illustration: FIG. 55. STOOL TOP OF INNER HICKORY STRIPS.] - -This completes the series or unit, and this unit repeats itself until -the area is woven. For instance, the fifth weaver follows the same -course as the first; the sixth weaver follows the same course as the -second; the seventh the same as the third; and so on. The diagonal -effect will remain the same were the weaver to run over three strands -or more, providing the right start is made at the edges of the frame. -In using inner hickory bark care must be exercised to keep the strands -close together, for they shrink appreciably in drying. A brad hammer -with square face is an excellent tool to use for keeping the strands -snugly together. - - [Illustration: FIG. 56. STOOL TOP OF FLAT AND HALF-ROUND REEDS.] - -A combination of half-round and flat reed is illustrated in Fig. 56. -The half-round reed is wrapped about the frame first, and in this case -every other strand is wrapped around the opposite rail, crossing -underneath the frame only. The diagonal weave is employed, and is -identical to the one just described in general effect. However, the -weaver runs over three and under three in the body. Note the -difference in the weave at the edges of the rails. When using -half-round reed it is necessary that every other strand be wrapped -completely around the rails, for otherwise it would prove practically -impossible to weave the area because of the thickness of the reed. A -winding reed as shown in Fig. 49 or binder cane could be run -continuously, inasmuch as either is relatively thin. Weaving with two -kinds of reed will produce an area of pleasing high relief. - - [Illustration: FIG. 57. DIAMOND DESIGN IN FLAT REED.] - -Fig. 57 illustrates a stool woven in flat reed. The diagonal weave is -used running toward a common center, and it forms a diamond pattern or -design. Begin wrapping on the long rails, skipping every other strand -on the top as indicated. To weave this pattern it is necessary to -locate the center of the short rails and the center strand of those -running across the frame. In this instance the strands are even in -number, so the pattern does not begin at the actual center, but a -little to the right or left as the case may be. Beginning at the -center, count by twos, _over_, _under_ and _over_, _under_ and so on -to determine the number of strands to go over or under at the edge of -the frame. The first strand runs over _one_ at the center, and over -two and under two on either side. The second strand runs under _three_ -at the center, and over two, under two on either side; the worker must -again count to the edge of the frame to determine the beginning weave, -until the unit of four strands has been woven. Then the unit repeats -itself _at the center_ and _at the edges_ of the frame. Beginning at -the right side of the illustration the weaving is as follows: - - Strand 1--Over 2, under 2, over 2, under 2, over 2, under 2, - then over 1, and repeat across the other half of the frame. - - Strand 2--Under 1, over 2, under 2, over 2, under 2, over 2, - then under 3, and repeat across the frame. - - Strand 3--Under 2, over 2, under 2, over 2, under 2, over 2, - then under 1, and repeat across the frame. - - Strand 4--Over 1, under 2, over 2, under 2, over 2, under 2, - then over 3, and repeat across the frame. - - [Illustration: FIG. 58. DIAMOND WEAVE IN FLAT AND HALF-ROUND REEDS.] - - [Illustration: FIG. 59. WOVEN DESIGN IN FLAT REED.] - -These four strands comprise the unit, and it is repeated until the -frame is entirely woven. Complete half of the frame first, then weave -the other half, which is just the reverse of the first half. In -starting the weave for the second half, strand 1 is omitted, for it is -the center of the frame. After the worker has worked out the unit -according to the method described, he will find it good practice to -write it out graphically as above to use in weaving the seat. The unit -above applies to the particular stool, and will not hold good on seats -utilizing more strands, or fewer. Errors are easily made in weaving -this pattern for the reason that strands need watching at two places. -The seat of the stool at the top of the group shown in Fig. 61 has a -pattern identical with this one, except that the strands both ways are -close together. - -The top illustrated in Fig. 58 is practically the same in design as -the one just described. The weavers run over the long rails in this -instance, instead of the short ones, and half-round reed is used for -the weavers, with flat reed utilized for the wrapping. The first -weaver of half-round reed runs _under_ the center strand, and the two -second weavers run _over_ three strands on either side of the first, -at the _center_ of the area. The combination of the half-round and -flat reeds produces a seat both pleasing and serviceable. - - [Illustration: FIG. 60. STOOL TOP WOVEN WITH FIBER.] - -Fig. 59 illustrates a stool top woven with flat reed entirely, in a -design the very opposite in effect of that shown in Fig. 57; instead -of evolving a diamond effect the diagonals appear to radiate from a -common center. The method of weaving is identical to that of Fig. 57 -in that the operation begins at the center of rails instead of next to -the posts. The first weaver is woven over the center strand at the -center of the top, and the second weaver, on either side, is woven -_over three_ strands, at the center. These three weavers practically -determine the design and effect produced. An error of no vital -importance exists in this particular stool top. It will merely -emphasize the fact that particular care is necessary to avoid -mistakes. - -Fiber is the material used for the top of the stool shown in Fig. 60. -The diagonal weave is employed. The process of weaving has been -explained and needs no further discussion. The fiber is the same as -that discussed in Chapter V. It adapts itself admirably to this form -of weaving, and when properly finished with varnish makes a -serviceable seat, pleasing in every particular. The strands which run -across the frame in the wrapping must be some distance apart, -otherwise weaving would prove impossible. The thickness of the strands -preclude their being wrapped close together as in the case of thin -materials. In this case a space equal to the width of three strands is -left. The weaver runs over two and under two strands in the body. - -While reeds and inner hickory bark shrink in drying, they will shrink -mostly in width and not much in length. Therefore it is necessary to -pull all strands, both in wrapping and in weaving, rather tight at all -times. Only by doing this will the worker be assured of an ultimately -taut seat. This applies also to the Indian splints now to be -discussed. As fiber is woven practically dry it needs to be pulled -particularly tight. - - -=Indian Splints.=--Fig. 61 shows a group of stools and a waste basket -constructed in eighth grade shops. The tops of the stools and the -panels of the basket are woven of hickory splints ½ in. in width. A -variety of patterns is shown, and these will suggest other ones. One -of the stools has turned posts and the splints are carried over the -sides of the rails. With slight modification of the structure, the -sides might be woven in a similar manner to the top. The panels of the -basket were woven over a separate frame, then they were cut to fit the -frames of the basket, and finally tacked on the frames. The edges of -the splints were covered with thin wood strips held in place with -brads. These panels should be inserted and secured while damp to -assure proper tautness, and to prevent as far as possible splitting -the ends of the splints in tacking them to the frames. - - [Illustration: FIG. 61. GROUP OF STOOLS. TOPS WOVEN WITH INDIAN - SPLINTS.] - -It is not advisable to tack splints onto seat frames, either as an -insert or slip seat, or on the rails of the structure itself. The -splints split easily when tacked, the strands are bound to pull -loose, and the seats break down under continued use. On such articles -as waste baskets, boxes, screens and the like, tacking the panels in -place is necessary and proper, for no appreciable wear or service -comes to them. The weaving on seats needs to be continuous over and -under the frame. - - [Illustration: FIG. 62. METHOD OF FASTENING ONE STRAND TO ANOTHER.] - -When a strand of usual length has been wrapped about the rails of the -seat a second strand needs to be added to continue the wrapping. -Tacking the strands to the under side of the rails, as in the case of -reeds, cannot be resorted to with splints for the reasons just -explained. Therefore some method of fastening strands to each other is -necessary. Fig. 62 is a freehand sketch showing a good method. As -indicated, a small rectangular piece is cut out of the used strand at -_B_, one inch from the end. A chisel or chip carving knife is good for -the purpose. Cut across the grain of the wood first to avoid splitting -the splint. The end of the new strand _A_ is notched as shown an inch -back from the end, and is then inserted thru _B_ and the two strands -thus secured. All subsequent strands are secured in the same manner. - - [Illustration: FIG. 63. METHOD OF OVERLAPPING WEAVERS.] - -Another method which works well and involves less labor than the one -just described is that of fastening the strands together with metal -staples. Any type of small hand stapler will accomplish the result. -The splints must be very pliable when the staple is inserted and -clinched, for if they are not, the splints are certain to split. Clips -used in Venetian ironwork are excellent for this purpose also. It -should be understood, for reasons very obvious, that these fastenings -are made underneath the frame. - - [Illustration: FIG. 64. WOVEN DESIGN IN HICKORY SPLINTS.] - -After the wrapping of the opposite rails is completed, the weaving is -begun. The use of tacks here is also unnecessary and is inadvisable. -Fasten a new strand by overlapping the end of the old one for several -inches either on top or underneath the frame. The ends of each will be -hidden under cross strands or spokes. Fig. 63 is a sketch illustrating -the method of overlapping. _AA_ shows strands running _over_ the -weavers, and _BB_ strands running _under_. _D_ is the end of the old -or used strand, and _C_ one end of the new one. _C_ is pulled until -the end is hidden under _A_. It is advisable to overlap the distance -of a number of strands and not merely two as the sketch indicates. The -sketch merely shows the method. The end of the strand which completes -the weaving of the seat is secured underneath the frame by weaving for -a short distance in the usual manner. - -Fig. 64 is merely Fig. 59 repeated as far as the weaving processes -are concerned. In this instance hickory splints are used, and the -rails are wrapped continuously across the top. Note the different -effects produced, by comparing the two figures. - - [Illustration: FIG. 65. WOVEN DESIGN. DIAMOND EFFECT.] - -Fig. 65 shows a rather unusual weave. The effect is that of a number -of diamond areas over the entire surface, one of which is marked to -make the unit or design evident. This design need not begin at the -center, but may begin at the edge of the frame as in regular diagonal -weaving shown in Fig. 55. The strands comprising the unit are numbered -for convenience. The process of weaving is as follows: - - Strand 1--Under 1, over 2, under 1, over 2, and so on. - - Strand 2--Over 2, under 3, over 3, under 3, and so on. - - Strand 3--Over 1, under 2, over 1, under 2, and so on. - - Strand 4--Under 2, over 3, under 3, over 3, and so on. - - Strand 5--Under 1, over 2, under 1, over 2, and so on. - - Strand 6--Under 2, over 3, under 3, over 3, and so on. - - Strand 7--Over 1, under 2, over 1, under 2, and so on. - - Strand 8--Over 2, under 3, over 3, under 3, and so on. - - Strand 9--Under 1, over 2, under 1, over 2, and so on. - -Nine strands comprise the unit. One half of the unit from strand 5 is -a repetition of the first half except that the order is reversed. Thus -strands 4 and 6, 3 and 7, 2 and 8, and 1 and 9 are identical in weave. -Repeat the unit until the seat is completed. - - [Illustration: FIG. 66. DESIGN OF INDIAN SPLINTS.] - -The design produced in Fig. 66 is obtained by skipping certain strands -for rather unusual distances. This may be done in instances where the -pattern is begun at the center of the area. No strand should be -omitted its entire length however. Any number of designs may be worked -out, limited only by the patience and ingenuity of the individual -worker. - -A design for a seat or panel not illustrated herein, but which is -particularly pleasing in its general effect, is produced by a unit of -six strands repeated indefinitely. The weaving is started as in the -diagonal weave and the process may be indicated as follows: - - Strand 1--Over 1, under 3, over 3, under 3, and so on. - - Strand 2--Over 2, under 3, over 3, under 3, and so on. - - Strand 3--Over 3, under 3, over 3, under 3, and so on. - - Strand 4--Under 1, over 3, under 3, over 3, and so on. - - Strand 5--Under 2, over 3, under 3, over 3, and so on. - - Strand 6--Under 3, over 3, under 3, over 3, and so on. - - [Illustration: FIG. 67. METHOD OF WEAVING SPLINTS.] - -The isometric sketch of a stool, Fig. 67, shows the structure partly -woven. It will be noticed that the splints or reeds run both ways -underneath the frame as they do on top. As indicated previously these -strands underneath should be woven in some manner to assure a seat of -maximum strength for the material used. The diagonal weave was -arbitrarily chosen to illustrate the method of weaving the seat frame. -The weaving underneath is not shown on the sketch. If the rails on any -seat are run flush with the inside corners of the posts the woven -strands will fill the entire space. On the other hand, if they are -permitted an offset, a series of open spaces are left as shown on the -first woven seat illustrated. The sketch shows the rails flush with -the inner corner of the posts. - - -=A Rustic Chair.=--The type of chair which is particularly adapted to -splint weaving is illustrated in Fig. 68. The construction is simple, -and the necessary bending of pieces is readily done if a suitable -steaming chest is available in the shop. Such a chest may be made of a -6 in. gas pipe cut the required length and threaded at both ends. Cap -one end permanently. Have the cap for the other end removable, with a -gasket in it to prevent the escape of steam, and a suitable handle -attached for ease in removing. Set the pipe upon a standard, then make -the necessary steam connections at the closed end and the drain at the -other. Place the wood in the chest, screw on the cap, and turn on the -steam. The length of time the wood should remain in the steam depends -upon the wood and the size of the piece. - - [Illustration: FIG. 68. PORCH CHAIR WITH BACK AND SEAT WOVEN WITH - SPLINTS.] - -Suitable wood forms are easily made for bending stock. Their -construction needs no elaboration. When the pieces are removed from -the chest, clamp them over the forms immediately, and allow them to -remain clamped in this manner for several days in a dry, warm room. If -steam coils or hot air registers are handy the forms may be placed -over or near them to expedite the drying. - -Rock elm is a good material from which to construct such a chair. The -wood may be procured in the round, of different diameters. The tenons -on the straight pieces may be made on the wood lathe; on the curved -ones with spokeshave or draw knife. The short thin pieces on the sides -should be fully housed. On a chair of this description it is good -policy to assemble the sides first. Finish both the frame and the -splints with a good paint composed of white lead and oil. - -Another excellent material for chairs of similar design and purpose is -hickory. It is the best material for the construction of furniture for -lawns and porches where weathering is constant, and it is peculiarly -adapted to splint and inner bark weaving. If a person lives in the -right locality he may gather young second growth hickory saplings in -the fall. An instructor could very readily take his classes out on -such a wood-gathering expedition. The educational gain in gathering -raw materials to be fashioned into finished articles of use and beauty -will justify all efforts. In the fall the bark of the saplings will -adhere firmly to the wood. Trim and assort the different pieces in -accordance with plans, cut them into approximate lengths, and steam -and bend those desired. Sand each piece smooth, and proceed to -construct the chair according to previous plans. Glue and nail all -important joints to prevent any possibility of separation under any -weather condition. No finish of any description is necessary or -desired on hickory furniture. Weathering will naturally darken both -frame and splints, but will not detract in any way from the rugged, -pleasing appearance of the article. - -Sassafras is a very desirable wood for rustic furniture, and well -adapted to splint weaving. The methods of gathering and finishing are -identical to hickory. It is much lighter in weight than hickory, but -is quite as serviceable. No finishing agent is necessary, altho the -worker may oil or varnish it at his discretion. - - -=A Woven Table.=--The table illustrated in Fig. 69 is a commercial -product, evidenced by the machine turned posts and crosspieces. In -school shops the posts may be made of rock elm rounds previously -mentioned, or square tapered, and the rails of rounds or squares. The -posts mortise in a frame underneath the top. The framework of the top -is made of ⅜ in. dowel rods housed in a 6 in. round piece of ¾ in. -wood, and radiating from it equal distances apart. The number of -spokes needs to be odd, and cut to even lengths. The weaving is done -with about a No. 6 reed, running over one, under two, over one, under -two, and so on. The odd spoke permits the weaver to run continuously -without skipping a spoke. A new strand is begun underneath the spoke -where the last strand ends. When the top has been woven to the ends of -the spokes a strip of braided No. 2 reed is nailed to each spoke with -a round head, galvanized nail. The braid is made in the usual manner, -as in basketry, with three series of strands of four each. When the -shelf has been constructed in the same manner as the top, and both top -and shelf have been fastened in their respective places, the table may -be stained with naptha by pouring the stain over it. This method has -been described in Chapter VI. Commercially, such articles are sized -before staining. However, staining direct is the proper procedure in -school shops. Use no shellac if the table is to be used on the porch -or in the open where exposed to the weather. - - -=Willows.=--Willows are imported normally from Germany, Holland, -Belgium and France. Because of their scarcity and demand for them, -willow growing is fast becoming a thriving industry in the United -States. Many experimental farms are under the direct supervision of -the federal government. These have demonstrated that willows can be -grown to advantage in many localities in this country. In many -instances manufacturers have abandoned rattan in favor of willows for -certain articles of furniture where rattan was formerly used -exclusively. Willow possesses all the attributes necessary for such -furniture, being light in weight, durable, and strong; and it takes a -good finish. - - [Illustration: FIG. 69. A WOVEN CENTER TABLE.] - -Willow stems or rods are cut when several feet long. They are then -soaked in water and the outer bark peeled. The rods are then sorted, -bundled and shipped to the dealer or user. The peeling is generally -accomplished by hand with a peculiarly forked stick or rod. -Commercially there are what are termed dry peeled rods and steam -peeled rods, with the former in favor for furniture of the better -class. They sell for from 6 cents to 15 cents per pound, depending on -quality, length and method of peeling. Willow stems are used -extensively in basketry, and for porch and summer furniture. They -could be used effectively on such a table as shown in Fig. 69, but -cannot generally be utilized advantageously in school shops for -seating purposes only. However, they have very definite uses on some -structures, and an adequate supply should be kept on hand for use when -opportunity offers. - - * * * * * - -Within the confines of this book a variety of materials has been -suggested, and many demonstrated, for seat weaving of various kinds -and for weaving on structures other than seats. These will ordinarily -afford sufficient latitude for classes of different grade in the -school shops, but the instructor or worker should not infer that those -indicated include all. Experience in weaving with these materials will -suggest new mediums and combinations without number, and -experimentation with new materials by both instructor and pupil should -be encouraged. - - [Illustration: SUGGESTIVE PROJECTS.] - - - - -WEAVING MATERIALS: WHERE TO OBTAIN - - -The following firms and individuals can furnish the various weaving -materials indicated. They may undoubtedly be procured locally in the -larger cities. - - - CANE - LUSSKY, WHITE AND COOLIDGE Chicago, Ill. - AMERICAN REED AND RATTAN MFG. CO. Brooklyn, N. Y. - HOOVER BROS. Kansas City, Mo. - L. S. DRAKE, INC. West Newton, Mass. - - CANE WEBBING - LUSSKY, WHITE AND COOLIDGE Chicago, Ill. - RESTMOER MFG. CO. Vancouver, B. C. - - FIBER - THE FIBER GRAND CO. Grand Rapids, Mich. - J. L. HAMMET CO. Brooklyn, N. Y. - - RUSH - L. S. DRAKE, INC. West Newton, Mass. - GUSTAV STICKLEY Eastwood, N. Y. - - INDIAN SPLINTS - C. N. SABA AND CO. 84 Wellington St. West, - Toronto, Ontario. - DAVID HARDIN Patesville, Ky. - - REEDS - LUSSKY, WHITE AND COOLIDGE Chicago, Ill. - AMERICAN REED AND RATTAN MFG. CO. Brooklyn, N. Y. - J. L. HAMMET CO. Brooklyn, N. Y. - - INNER HICKORY BARK - THE OLD HICKORY CHAIR CO. Martinsville, Ind. - - - - -BOOKS ON THE MANUAL ARTS - - -=DESIGN AND CONSTRUCTION IN WOOD. By Noyes.= A book full of charm and -distinction. It illustrates a series of well-designed and attractive -projects, and gives suggestions for other similar projects, all -suitable for home use, together with information regarding tools and -processes for making. A pleasing volume abundantly and beautifully -illustrated. $1.50. - -=HANDWORK IN WOOD. By Noyes.= A comprehensive and scholarly treatise, -covering logging, saw-milling, seasoning, and measuring, hand tools, -wood fastenings, equipment and care of the shop, the common joints, -types of wood structures, principles of joinery, and wood finishing. -304 illustrations--excellent pen drawings and many photographs. The -best reference book for teachers of woodworking. $2.00. - -=WOOD AND FOREST. By Noyes.= A reference book for teachers of -woodworking. Treats of woods, distribution of American forests, life -of the forest, enemies of the forest, destruction, conservation and -uses of the forest, with a key to the common woods by Filibert Roth. -Describes 67 principal species of wood, with maps of the habitat, leaf -drawings, life-size photographs and microphotographs of sections. -Profusely illustrated. $3.00. - -=CARPENTRY. By Griffith.= A well-illustrated textbook for use in -vocational schools, trade schools, technical schools and by -apprentices to the trade, presenting the principles of house framing -in a clear and fundamental way. It treats of the "every-day" practical -problem of the carpenter and house-builder from the "laying of -foundations" to the completion of the "interior finish." $1.00. - -=WOODWORK FOR SECONDARY SCHOOLS. By Griffith.= A textbook for high -schools, colleges and technical schools. It contains chapters on -woods, tools and processes, joinery, turning, carving, inlaying, wood -finishing, pattern making, and the use of woodworking machines. It is -a well-balanced and authoritative text, presupposing a knowledge of -elementary tool processes. Specially adapted to secondary schools. -$1.75. - -=CORRELATED COURSES IN WOODWORKING AND MECHANICAL DRAWING. By -Griffith.= Contains reliable information concerning organization of -courses, subject-matter, and methods of teaching. It covers -classification and arrangement of tool operations, stock bills, cost -of material, records, shop conduct, the lesson, maintenance, equipment -and lesson outlines for grammar and high schools. The most complete -and thoro treatment of the subject of teaching woodworking ever -published. $1.50. - -=ESSENTIALS OF WOODWORKING. By Griffith.= A textbook written -especially for grammar and high school students. The standard textbook -on elementary woodworking. A clear and comprehensive treatment of -woodworking tools, materials and processes, to supplement, but not to -take the place of the instruction given by the teacher. The book may -be used with any course of models. 75 cents. - -=WOODWORK FOR BEGINNERS. By Griffith.= A textbook for students in the -seventh and eighth grades. In a remarkably simple manner it presents -only the fundamental facts regarding tools and tool processes which -should be thoroly mastered by the grammar grade boy. It is technically -correct, well illustrated and is adapted for use with any course of -models. 50 cents. - -=PROJECTS FOR BEGINNING WOODWORK AND MECHANICAL DRAWING. By -Griffith.= A collection of 50 working drawings and working directions -of projects which have proved of exceptional service where woodworking -and mechanical drawing are taught in a thoro, systematic manner in the -seventh and eighth grades. 75 cents. - -=FURNITURE MAKING--ADVANCED PROJECTS IN WOODWORK. By Griffith.= A -collection of problems in furniture making selected and designed with -reference to high school use. On the plate with each working drawing -is a good perspective sketch of the completed object. In draftsmanship -and refinement of design, these problems are of superior quality. An -excellent collection. 75 cents. - -=FURNITURE DESIGN FOR SCHOOLS AND SHOPS. By Crawshaw.= A manual in -furniture design containing a collection of plates showing perspective -drawings of typical designs, representing particular types of -furniture. Each perspective is accompanied by suggestions for -rearrangements and the modeling of parts. The text discusses and -illustrates principles of design as applied to furniture. Should be in -the hands of every teacher of cabinet making and design. $1.00. - -=PROBLEMS IN FARM WOODWORK. By Blackburn.= A book of working drawings -of 100 practical problems relating to agriculture and farm life. Each -problem is accompanied by text treating of "Purpose," "Material," -"Bill of Stock," "Tools," "Directions," and "Assembly." Of special -value to the pupil and teacher of agriculture and manual arts in rural -schools, and to the boy on the farm. $1.00. - -=PROBLEMS IN FURNITURE MAKING. By Crawshaw.= Contains 43 full-page -working drawings of articles of furniture. In addition to the working -drawings, there is a perspective sketch of each article completed. -There are 36 pages of text giving notes on the construction of each -project, chapters on the "Design" and "Construction" of furniture, and -one on "Finishes." The last chapter describes 15 methods of wood -finishing, all adapted for use on furniture. $1.00. - -=PROBLEMS IN WOODWORKING. By Murray.= A collection of 40 plates of -working drawings of problems in bench work that have been successfully -worked out by boys in grades seven to nine, inclusive. 75 cents. - -=PROBLEMS IN WOOD-TURNING. By Crawshaw.= Contains 25 full-page plates -of working drawings covering spindle, faceplate, and chuck turning. It -gives the mathematical basis for the cuts used in turning. A valuable -textbook for students' use. 80 cents. - -=WORKSHOP NOTE-BOOK--WOODWORKING. By Greene.= A note-book which -furnishes a few general and extremely important directions about tools -and processes, and provides space for additional notes and working -drawings. It is essentially a collection of helps, ideas, hints, -suggestions, questions, facts, illustrations, etc. It is full of -suggestions; shows a keen insight into subject-matter and teaching -methods, and is an effective teaching tool. 15 cents. - -=SHOP PROBLEMS. By Siepert.= Portfolios of plates--working drawings of -projects printed on tracing paper and adapted to be blue-printed for -students' use. The plates are taken from the Shop Notes and Problems -department of the _Manual Training Magazine_. The problems include a -wide variety of good design and adapted for shop use. Series I, II, -III and IV have been published. Price per series, 35 cents. - -=GRAMMAR GRADE PROBLEMS IN MECHANICAL DRAWING. By Bennett.= A -remarkably simple and carefully graded textbook on the fundamentals of -mechanical drawing for the use of students in the seventh and eighth -grades. It combines an abundance of text and simple problems, -accompanied by notes and directions. Its use insures the early -formation of correct habits of technique and makes possible the -development of a standard in grammar grade mechanical drawing parallel -with woodworking. Abundantly and well illustrated. 38 cents. - -=PROBLEMS IN MECHANICAL DRAWING. By Bennett.= A students' textbook -consisting of 80 plates of problems classified into groups according -to principle, and arranged according to difficulty of solution. Each -problem is given unsolved and, therefore, in proper form to hand to -the pupil for solution. The best collection of problems for first-year -high-school students available. 75 cents. - -=MANUAL TRAINING TOYS FOR THE BOYS' WORKSHOP. By Moore.= A popular -boys' book. It contains 35 pages of full-page plates of working -drawings illustrating 42 projects. All the projects are overflowing -with "boy" interest, and are well adapted to the upper grades of the -elementary school. The text treats of tools and tool processes, and -gives instructions for making each project. $1.00. - -=KITECRAFT AND KITE TOURNAMENTS. By Miller.= Authoritative and -comprehensive. The book deals with the construction and flying of all -kinds of kites, and the making and using of kite accessories. Also -aeroplanes, gliders, propellers, motors, etc. Abundantly illustrated -and attractively bound. $1.00. - -=BIRD HOUSES BOYS CAN BUILD. By Siepert.= A book of rare interest to -boys. It is written in the boy spirit and combines the charm of nature -with the allurements of continuation work in wood. It illustrates -hundreds of bird houses and shows working drawings of various designs; -also feeders, shelters, sparrow traps, and other bird accessories. The -common house nesting birds are pictured and described with information -regarding houses, foods, etc., suitable for each. A pleasing and -practical book for wide-awake boys. Price, 50 cents. - -=LEATHER WORK. By Mickel.= A manual on art leather work for students, -teachers and craft workers. It gives detailed descriptions of the -various processes of working, treating of flat modeling, embossing or -repoussé, carved leather and cut work. It is well illustrated with -photographs of finished work and working drawings of twenty useful and -beautiful articles suitable for school and home work. 75 cents. - -=BOOKS ON THE MANUAL ARTS.= A bibliography listing and describing 400 -books mailed free. - - -_Published by_ The Manual Arts Press _Peoria, Ill._ - - - - -Transcriber's Note - -Variant spelling is preserved as printed. - -Minor punctuation errors have been repaired. - -The following amendments have been made: - - Page 41--trainig amended to training--... more than justifies - its introduction in manual training shops. - - Page 84--the transcriber has added the omitted chapter heading, - 'WEAVING MATERIALS: WHERE TO OBTAIN.' - - - - - -End of the Project Gutenberg EBook of Seat Weaving, by L. 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