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diff --git a/75361-0.txt b/75361-0.txt new file mode 100644 index 0000000..2fff9e3 --- /dev/null +++ b/75361-0.txt @@ -0,0 +1,1173 @@ + +*** START OF THE PROJECT GUTENBERG EBOOK 75361 *** + + + + + + The Basket Maker + + + LUTHER WESTON TURNER + Director of Manual Training + The Hill School + Pottstown, Pennsylvania + +[Illustration: [Icon]] + + Published by + THE DAVIS PRESS + Worcester, Mass. + + Reprinted from The School Arts Book + + + + + Copyrighted by + THE DAVIS PRESS + Worcester + 1909 + + + + + BASKETRY + + +Basketry has been called one of the fads of the newest education. It was +one of the essentials of the oldest education. Basketry still holds a +commanding position among the arts of men, even in countries called +highly civilized. Its place in schools is still somewhat in dispute, but +unquestionably it offers to children a clean and educative handicraft. +Properly taught, it vitalizes certain periods in history, fosters motor +control, develops judgment and taste, and familiarizes the pupil with +one of the ancient and honorable occupations of mankind. + +Mr. Turner knows his subject thoroughly, having tramped with Indians for +materials, worked with Indians for processes, practised with pupils for +methods, and studied with specialists for tasteful results. The chapters +of this booklet appeared first as illustrated articles in The School +Arts Book, beginning in April 1905. The demand for them has been so +great that the supply of magazines is exhausted, and this reprint is +made to meet what is evidently a wide-spread demand for first class +instruction in the basic principles of this important kind of manual +art. + + HENRY TURNER BAILEY + + + + + THE BASKET MAKER + + + + + I. INTRODUCTORY WORK + + +[Illustration] + +The fruition of thought is expression. Thought along the lines of manual +training is susceptible of expression in many ways and through many +mediums. The expression of thought through wood and iron necessitates a +more or less elaborate equipment of tools, and for this reason those +mediums of expression are denied younger pupils. But the expression of +thought through basketry, requires almost no tools (a knife and scratch +awl), has variety as to form and color and almost unlimited +possibilities in design. + +It is my aim in this booklet to give in simple English and with +illustrations which may be comprehended by the youngest pupil, the +results of my thought and teaching of basketry. + +I believe the poor results seen in many places are due to poor teaching. +Teachers are not, as a rule, insistent enough at the beginning. Good +results can only be secured by close attention to basic details. A pupil +should not be allowed to progress who cannot make the bottom of a basket +and have it strong and closely woven. He must understand that no basket +can be firmly made unless its foundation is right. + +The ordinary pupil is, and should be, an animated question mark. “Why?” +“What for?” and “What makes it do that?” are the ever recurring +questions. “Why do you have to have an odd number of spokes with a +single weaver?” was the first question asked in the class this year. + +In order to answer this and many other questions which arise, I have +found it necessary to devise some means by which a verbal explanation +can be demonstrated to the satisfaction of the dullest pupil. The device +is a small piece of board, any size and thickness, on which a circle of +any size is drawn. The circumference of this circle is divided off into +spaces about ⅝ of an inch apart, and holes are bored, into which pieces +of willow or reed are inserted, Fig. 1. The spacing would better not be +equal, as one hole is to contain a peg which may be taken out in order +to get an odd or an even number of uprights. By this device a pupil can +answer his own question, and discover much about different weaves. The +uprights will hereafter be known as stakes. Figure 2 shows the single +weave with an odd number of stakes. Figure 3 shows the same with an even +number. Figure 4 shows the Indian method of weaving with a single weaver +and an even number of stakes. When the weaver gets around to where it +started, it is passed behind two stakes, and the weaving is continued as +before, the weaver passing behind the next two stakes on each course. + +The illustrative weaving in this chapter is done in colors, in order +that the course of one weaver may be followed more easily, and also to +suggest from the beginning the possibilities of design and decoration by +the use of a combination of plain and colored weavers.[1] If the +essential elements of construction, (the stakes and weavers) are used as +decorative features wherever possible, much of the trouble about +decoration and design in basketry will be done away with. + +Footnote 1: + + Mr. Chas. E. Mather, Braggville, Mass., has the finest variety of + colors for weavers which I have as yet found. Both the aniline and + vegetable colors do not run while working and they both seem to be + permanent. + +[Illustration] + +Figure 5 shows a decorative feature made possible by the use of a single +weaver and an even number of stakes. At A may be seen the method of +changing from one course to another. Either two, three, or four rows may +be woven before changing courses, and as many courses may be woven as +the design of the basket may require. This of course is left to the +judgment of the pupil or teacher. + +Figure 6 shows the double or pairing weave (_i. e._ weaving with two +weavers) and Figure 7 suggests the possibilities in decoration, when one +weaver is colored and an even number of stakes are used. + +Figure 8 shows the design when the pairing weave is used with an odd +number of spokes and also the method of joining weaves in either double, +triple or quadruple weaving. The end of the new weaver is inserted +behind and beside the end of the one already woven in, and the weaving +continues as if the weavers were continuous. The end of the old weaver +can then be cut off flush with the outside of the basket, and the end of +the new one flush with the inside. + +In weaving with two, three, or four weavers the left hand one of the +group is always known as the rear weaver and the right hand one as the +forward weaver, and weaving is always done from left to right except in +cases of special design. Such cases will be spoken of in a later +chapter. + +Figure 9 shows the starting of the triple weave. Three weavers are put +behind three consecutive stakes and project toward the right. The rear +one goes over the other two and in front of two stakes, behind one +stake, and out between the next pair of stakes to the right of the +forward weaver. The one that was the middle weaver now becomes the rear +one, and it in turn is treated as the other rear one was. This process +is continued as long as triple weaving is needed. Always be sure to take +the rear weaver and have it come out between the pair of stakes to the +right of the forward weaver. + +Decorative features of triple weaving follow: Figure 10 shows the result +when one colored weaver and two natural ones are used and the number of +weavers (3) is equally divisible into the number of stakes. Each color +forms in a vertical stripe. Using two colored and one natural weaver +gives the same result but with a different proportion of color. + +[Illustration] + +Figure 11 shows the result when the number of stakes is divisible by the +number of weavers with a remainder of one. This gives the variegated +effect outside and the spiral effect inside. + +Figure 12 shows the result when the number of stakes is divisible by the +number of weavers with a remainder of two. This gives the variegated +effect inside and the spiral effect outside. + +Figure 13 shows the starting of the quadruple weave. With the decorative +features already shown in other weaves, each student can find out for +himself the possibilities of this weave by varying the ratio of the +stakes to the weavers and by using either one, two, or three colored +weavers. + +[Illustration] + +In the next chapter I will give a detailed description of the +construction of several mats which embody some of the ideas here +presented, and shown in the group picture, Fig. 14. + + + + + II. WEAVING FOUNDATIONS + + +[Illustration] + +The one great aim of manual training is to combine judgment, a purely +mental function, and execution, a purely physical one. There seems to be +no work so efficient in combining the two from the beginning as +basketry. The material varies so in texture that care and judgment are +required in its manipulation, and so few tools are used that the hand +must do all or a greater part of the work. + +In all teaching the “character of work” should be emphasized rather than +the intrinsic value of that which is produced by work. The aim should be +to have work complete in all its parts, relatively perfect[2] as to +beauty of design and workmanship, and finished, in so far as the +completed work coming from the pupil can show his intention and evince +careful and diligent work. + +Footnote 2: + + I say “relatively perfect” feeling that while there is nothing + absolutely perfect possible to the hand of man, the term may be used + relatively for whatever makes the nearest approach to perfection. + +In manual training work the procedure should be from the simple to the +complex. The teacher should never hurry the different stages of the work +faster than the young mind can go. The pupil must comprehend each step. +Let the motto be “Not How much, but How well.” + +In order to make use of the features of weaving spoken of in the first +chapter it will be necessary to have a simple problem on which to work. +Mats of various sizes are useful, may be made beautiful, and as they +embody all the constructive features found in the bottom of a basket, +may well be taken as the first problem. + +The foundation pieces on which the weaving of a mat or the bottom of a +basket is done are known as spokes because during the weaving, they +radiate from a common center like the spokes of a wheel. + +[Illustration] + +A finished mat of the simplest construction is shown in Figure 1, A. For +this we use an odd number of spokes and a single weaver. The material +required is as follows: Four pieces of No. 3 reed 12 inches long, one +piece 7 inches long and a weaver of No. 2 reed. These are held together +in the left hand and grouped as shown in Figure 2. + +The short odd one is between the upper end of the two vertical ones and +the horizontal pair is behind the vertical group. This brings the three +vertical spokes above, and in front of the horizontal pair. The weaver +of No. 2 reed is placed as shown, Figure 2, behind the vertical group +and along the top of the horizontal pair with its right hand end +projecting about ¾ of an inch to the right of the vertical group. + +[Illustration] + +The weaver is then brought to the right in front of the vertical group, +back and down behind the horizontal group, thereby binding its own end +to the spokes. (Figure 3, A, shows the exact position of the weaver at +this stage.) + +It next comes to the left in front of the vertical and below the +horizontal group, and up behind the horizontal group to the position +from which it first started. It now follows the same course once more +until it has been around the group twice as shown in Figure 3, B: but +the next time instead of coming down across the horizontal spokes as +shown in that figure, the spokes are separated and the under and over +weaving commences as seen in Figure 4. + +The left hand does the holding and the right hand the weaving. Be sure +to hold the spokes out straight as the weaving is done around them in +order that the weaver may be made to conform to the spokes, and not the +spokes to the weaver as shown in Figure 5, A. Figure 5, B, shows the +correct method. The spokes are approximately in the same horizontal +plane. + +[Illustration] + +When the spokes are all the same distance apart at the weaving, hold the +mat down on a flat surface, Fig. 6, and continue the weaving until it is +3 inches in diameter. Figure 6 illustrates the correct position of the +hands when holding the work down on a surface. Hold the spokes down with +the left hand and weave with the right. This figure illustrates the +weaving of a much larger mat but the principle is exactly the same. If +one weaver is too short to bring the weaving to the desired size, join +the weavers as shown in Figure 3, D, and continue the weaving as though +the weaver were continuous, being careful to keep the weaving close +together with the left hand each time it goes over and under a spoke. + +[Illustration] + +Right at this point insist upon the pupils’ going slowly and weaving +closely. The later satisfaction of knowing how to weave correctly will +more than offset any discouragement at not seeming able to produce great +results at once. + +[Illustration] + +Next cut off the weaver long enough to go a little more than once around +the circumference and overcast the weaving in the following manner: As +the weaver comes from behind a spoke, put it over the next spoke to the +right and through the last row of weaving just before it gets to the +following spoke. It then goes behind that spoke, over the next and +through the weaving, as before, just before it gets to the next spoke. + +Figure 7 shows one stitch of overcasting and the second stitch just +ready to be pulled through. This process continues once around, when the +weaver is cut off on the back side of the last spoke as shown in Figure +1, B. Finish the mat with an open border, Figure 8, A, by turning in the +ends of the spokes. + +[Illustration] + +Figure 8 shows another “device” to illustrate the construction of some +simple open borders. These may be woven left-handed or right handed as +is most convenient. In “A” one spoke goes in front of the next and +inserts just before it gets to the third. In “B” one goes in front of +two and inserts just before it gets to the fourth. In “C” one goes in +front of three and inserts just before it gets to the fifth. In “D,” in +front of four and just before the sixth. Judgment is required to get the +right sized loop. The length of spoke required after overcasting can be +found by trial. All spokes must be cut the same length, sharpened, and +inserted equally. In these borders if the spokes are approximately an +inch apart “A” will require about 2¾ inches outside of the overcasting, +“B” about 4¼ inches, “C” 5½ to 6½ inches, and “D” 6½ to 8½ inches. These +lengths allow for insertion. + +In Figure 3, A, B, and C illustrate another method of starting a center +with one weaver. In this case two pieces are split in the center and the +other two are put through them with the odd one inserted as shown at A. +The weaving proceeds as by the first method until two courses are woven +when, instead of separating the three spokes and beginning the single +weaving, the weaver is reversed as shown at B and two courses are woven +the other way. The separation into singles then begins as at C. This +method of splitting half of the spokes and putting the others through +them is the better method of the two as it is the less difficult to hold +the group while the first two rows are woven. + +[Illustration] + +Figure 1, B, shows a mat the center of which was started by the second +method. The spokes are of No. 4 reed and the weavers of No. 3. Four +spokes are 12½ inches long and one, 7½ inches. The border is illustrated +at A, Figure 8. The weaving was 3¼ inches in diameter before +overcasting. + +Figure 9 shows the method of starting a center with the pairing weave. +At A three pieces pass through two pieces giving ten spokes. At B three +going through three give twelve spokes. The split pieces are held +horizontally, and the weaver, doubled in the middle, is started around +the vertical group above the horizontal ones as shown at A; one end +being in front of the other behind the vertical group, thus forming the +two weavers. The front weaver then comes to the right across the +vertical group, and down behind the horizontal group. The rear one goes +to the right across the back of the vertical group and down in front of +the horizontal group. (B shows the weaving at this stage.) The whole +group of spokes is now revolved from right to left until the horizontal +group becomes vertical, C, and the weaving proceeds as before, holding +the work with the left hand, weaving with the right, and revolving so +that a vertical group is woven over each time. Notice that the +revolution is from right to left and weaving from left to right. In the +illustrated weaving, spokes of No. 4 reed are used and a weaver of No. 2 +reed.[3] + +Footnote 3: + + It is wise to have the reed for the spokes and stakes two sizes larger + than the weaver except in cases where the bottom is less than three + inches in diameter, when a difference of one size is sufficient. + +When three pieces cross three pieces it is necessary to go around the +groups three times before separating into singles, Fig. 9, D. As soon as +it is possible after separating, get the spokes the same distance apart +at the weaving. If they are spread apart as at E, this can be done in +two courses and single weaving can be commenced. Take the rear weaver +and bring it over one spoke and under the next, and so on once around +until coming to the other weaver. F shows it at this stage. Notice that +when a course is woven once around, the weaver comes outside of the +other weaver and stops. The inside one now weaves around until it comes +to the same position, with reference to the first one, that the first +one held to it. Continue to weave first one and then the other, each as +in single weaving, until the desired diameter is reached. Overcast as +shown in Figure 10. The weavers are stopped on opposite sides of the +weaving, A, and the top one is overcast to the other, B. The lower one +is then overcast until it comes opposite to where the other overcasting +stopped, C. Weavers can then be cut off on the back side of the weaving. +If the bottom of the basket is to be woven, it must be crowned slightly, +and the weaving may be done over the knee, as shown in Figure +#11:di_011. (See initial.) This figure also shows the correct method of +holding the hands when weaving either a bottom or a small mat. + +[Illustration] + +[Illustration] + +Figure 12 shows the method of starting a sixteen spoke center. Four +pieces cross four pieces, and two rows of pairing are woven around the +groups of fours before they are separated into twos, A. Two rows are +then woven around the pairs before separating them into singles, B. When +the desired diameter is woven, overcast as shown in Figure 10. + +Figure 12, C, shows the method of weaving a center having 20 spokes. +Here five cross five. Three rows of pairing are woven around the groups +of fives and then a pair is separated from each side of the center one +of each group, forming eight pairs and four single spokes. These are +woven around twice and then separated into singles. C shows the work +just before the separation into singles. + +The large mat, Fig. 1, C, with open border is made as follows: Cut 10 +pieces of No. 5 reed 23 inches long. Split five in the center and put +five through them. Weave center 2½ inches in diameter, as described in +Figure 12, C, with a No. 2 weaver. Cut off the weavers on opposite +sides, Fig. 10, A, and start with 2 No. 3 weavers, weaving until the +work is 4½ inches in diameter. Notice in Figure 6 how the left hand +holds the work down to the surface and the right hand does the weaving. +When the weaving is 4½ inches in diameter stop the weaving as before and +insert two colored weavers, weaving four rows, two on each side of the +spokes. Then start the natural weavers again and weave until the weaving +is seven inches in diameter. Overcast as shown in Figure 10 and finish +the edge as in C, Fig. 8. Spokes want to be about 7¾ inches long outside +of the overcasting and must be sharpened on the end and inserted about +1¾ inches into the weaving. + +Whenever the word “about” is used the subject requires the personal +judgment of the one doing the work. If there is any difference in the +texture of the reeds, always select the hardest ones for the spokes and +use the softest ones for weaving. + + + + + III. MATS + + +This chapter contains all that will be said, in this booklet, about +mats. But let me say,—“Not half has been told” of the designs which +might be woven into mats and basket covers. Read over the first chapters +on weaving and then see how many designs can be thought out by one who +does some thinking for himself. + +Figure 1 shows six mats. A and B are the same diameter, of equally good +workmanship, and are woven with the same kind of weaving. So are C and +D. To be critical, A lacks color. It is supplied in B. The spirals in C +seem to be “in the air,” neither starting from anything nor ending +anywhere. In D this is overcome by starting them from a band of color +and having them die into a similar band, thus giving unity to the whole +design. Woven bands in poor proportion are worse than plain weaving. +Just enough color must be added in the right place to give proper tone +and balance. + +Figure 2 shows another device for illustrating work. This gives the +construction of closed borders. The four illustrated are the simplest +which can be made. In weaving them around the edge of a mat the weaving +is started either at the top or right hand side and continued around in +the direction of the movement of the hands of a clock. When using these +borders on a basket the weaving is started on the side nearest to you +and continues from left to right, while the basket itself is moved from +right to left. In A and B the left hand figure shows the starting of the +first row of the weaving and the right hand figure the finished row. + +[Illustration] + +Let us suppose the left hand spoke in each case is No. 1 and that the +others follow to the right in order. In A, No. 1 goes behind No. 2 and +out; No. 2 behind No. 3 and out; and so on around the circumference, the +last spoke going behind No. 1 and out of the loop left by it in going +behind No. 2. Pull all ends tightly to the right, finishing the first +row as at A, (left). For the second row, start with any spoke, put it in +front of the next to the right and through the loop, into the inside of +the basket just before getting to the next spoke. A (right) shows a +portion of the finished border. The ends of the spokes are next cut off +just inside of the border and close to it. In B, in the first row each +spoke goes to the right behind two and out. In the next row in front of +two and through to the inside just before getting to the next. In the +first row of C, each goes behind one and out and in the second row, in +front of two and to the inside. In D, each goes behind two and out in +the first row, and in front of three and in, in the second row. If the +spokes are approximately one inch apart A will take 3½ inches outside of +overcasting, B 5½ inches, C 4½ inches, and D 6½ inches. + +[Illustration] + +Mat B, Fig. 1, is made as follows: For material—Eight pieces of No. 5 +rattan 17½ inches long and some No. 2 natural and colored weavers. Split +four of the No. 5 pieces and put the other four through them. + +The center is started with a colored weaver, as shown at E, Fig. 3. +Double the weaver near its center and put the loop back of the +horizontal group and to the left of the vertical group, having one +weaver come to the front above the horizontal group and the other to the +front below it. Bring the lower one to the right and up diagonally +across the vertical group, and then down behind the horizontal group and +to the front. Then bring the upper one to the right, diagonally across +the vertical group, and to the left behind the vertical group below the +horizontal. This will bring the weavers in the exact position shown in +the cut. The whole thing may now be revolved until the weavers come +above the horizontal group, and the weaving may progress according to +the directions for a sixteen spoke center (Figure 12, previous chapter). +When the spokes are evenly separated into singles the weaving should be +about 1½ inches in diameter. + +Cut off the weavers on the back side and start a natural weaver as shown +in Figure 4. Weave with this until the work is about four inches in +diameter, using the decorative feature spoken of in chapter I, Fig. 5, +Indian method. Figure 5 shows the weaver passing behind two spokes in +order that it may start on the second row of double weaving. + +Figure 6 shows the stopping of this weaving and the starting of the band +of color. Weave five or six rows of the color and then two rows of +natural weaving. Instead of overcasting all around as described in the +previous chapter, the weaver may be stopped by tucking it through the +last row of weaving once, as shown at A, Fig. 7. In Figure 7 notice also +the single spiral made by the consecutive crossing of two spokes by the +weaver as the weaving changes from one course to the next. This is a +result of the Indian method of working one weaver with an even number of +spokes. If the above single overcast of one stitch does not seem +satisfactory, overcast the edge of the mat as shown in Figure 7, chapter +II. + +Mark off the spokes with a pencil 4½ inches from the overcasting and +finish with open border, B, Fig. 8, chapter II, inserting each spoke to +the mark. In this way the loops of the border can be made the same size. + +[Illustration] + +For mat C, five spokes of No. 5 reed 17½ inches long pass through five +similar spokes. A No. 3 natural weaver is started either as shown in +Figure 3, or in Figure 9, chapter II, and woven until the spokes are +evenly separated into singles. The weaving will then be about 2½ inches +in diameter. Lay the work on a flat surface, bring both weavers above +the spokes and insert a colored weaver between the next two spokes to +the right, as shown in Figure 8. Weave with the triple weave until about +5¾ inches in diameter. Cut the colored weaver out and insert a natural +one in its place. Weave two courses of natural weaving and stop the +weavers, as shown in Figure 9, A. Push them down close to the other +weaving. (These are left up in the illustration simply to show the +method of insertion beside the stakes.) + +With the mat still down on a surface, commence to bind off the edge, +Fig. 9, B, using close border, B, Fig. 2. The last two spokes are put +through the loops left by starting the first two, Fig. 9, as shown in +Figure 10. All are pulled tightly to the right, the second row is woven, +pulled tightly, and the spokes cut off on the back side close to the +border. + +Figure 11 shows the under side before the spokes are cut off. Notice the +difference in the effect of the weaving on the two sides and reflect +upon it. You may want just that effect sometime as a decorative feature. +Learn to take advantage of things that only seem to “happen so.” + +Mat D is started the same as mat C and woven with the same stitch. Two +rows of colored weaving are woven before starting the spirals, and two +rows after the spirals are the desired size. The border may be any of +the closed borders in Figure 2. + +Mat E is made with the thirty-two spoke center, illustrated in Figure 3. +The following material is required: Sixteen spokes of No. 6 natural reed +24 inches long and weavers of Nos. 2 and 3 reed. The weavers are of +three tones, light (natural), dark (colored), and a middle value +(colored). Eight spokes are put through eight spokes, as shown at A, +Figure 3. A No. 2 weaver of the neutral shade is bent in the middle and +the pairing weave is started, as follows: The loop of the weaver is put +through the spokes between groups 1–8, Fig. 3, A, and the pairing weave +goes diagonally around from 1–8 to 2–3, 4–5, 6–7, and from between 6–7 +one weaver goes across the back of 2–7 and out to the left below the +horizontal group, as shown, and the other goes diagonally across the +face of 2–7, between 1–8 and up behind group 1, as shown. + +[Illustration] + +The weavers next go through stages B and C as follows: The upper one is +brought diagonally down across the horizontal group of eight and to the +left behind the vertical group; the lower one diagonally up, across the +face of the vertical group of eight, then down behind the horizontal +group and to the left across the face of the vertical group to the +position shown at C. The pairing weave now commences around the groups +of eight until two rows have been woven, when they separate into groups +of fours, and the weaving continues three times around before separating +into pairs. It will be found necessary to weave around the pairs four or +five times before separating into singles. D shows the separation into +fours and the beginning of the separation into pairs. The singles should +be sufficiently far apart after five or six rows have been woven around +them to allow the triple weaving to be commenced. + +Up to this stage the weaving is all done in the hands, and great care +must be taken to keep it close together. Every time the weaver is put +between two spokes, from the front to the back side, it must be pulled +down with the right hand on to the weaving already done, as shown in +Figure 12, holding the “tension” thus gained with the middle finger of +the left hand until the other weaver is brought across it to the front +between the same pair of spokes. The weaver which has just been brought +to the front must now be pulled down, as shown in Figure 13. The tension +is still held with the middle finger of the left hand until the weaver, +shown in Figure 13, is put back between the next pair of spokes to the +right. + +If a little care is given to this matter of “tension” the weaving can be +very closely done. Cut off the No. 2 weaver on the back side and take +three dark No. 3 weavers and insert, as shown in Figure 14, holding the +ends of the weavers with the left hand until two or three stitches are +taken. (This Figure shows natural weavers, in order to more clearly +illustrate the starting of the triple weave.) The work is now held down +on a flat surface, as shown in Figure 15. Weave two rows of dark and +then cut out two of the dark weavers and insert natural ones in their +places, weaving eight rows of triple weaving. Cut off all three weavers +and start the weaving the other way, inserting the new weavers, as shown +in Figure 16. These push down into the weaving, to the right of and +beside the spokes, and are brought behind the spokes and out where the +others stopped. Do not get the colors mixed. Weave eight rows the other +way and then cut the two natural ones out, inserting two dark ones in +their places, and weaving two rows to form the outer band. Cut off all +three weavers and insert the ends as shown in Figure 9, A. Then start +three natural weavers and weave the three outer rows to form the outer +band of natural color. Start these as in Figure 16 and end them as in +Figure 9, A. + +[Illustration] + +[Illustration] + +Figure 17 shows the mat, about eleven inches in diameter, ready to close +the border. Use border C, Fig. 2, starting at the top. This design may +be known as the “Indian arrow head” design. + +By finishing the edge of mat C, Fig. 1, illustrated in the previous +chapter, a mat similar to F, Fig. 1, of this chapter would be the +result. + +The design is shown on a basket illustrated in Figure 14, chapter I, at +A. + +At B, Figure 14, chapter I, the same ideas carried further give the +“Lightning Flash” design. + + + + + IV. THE SIMPLEST BASKET + + +[Illustration] + +The first small basket is but little more difficult to make than the +first mat. The spokes are a little longer to allow for turning up, and +are of the same sized reed. + +Figure 1 shows the successive steps in the construction of the simplest +basket. The weaving is started as in Figure 2, chapter II, and is +continued until it is about 1⅞ inches in diameter, when the spokes are +turned up and become stakes. A glance at Figure 1, a, will show why all +the stakes do not stay in a perpendicular position the first time the +weaver goes around them. Figure 1, b, shows the weaver twice around and +the stakes all standing erect. + +The future shape of the basket is determined at this point in the +weaving. If a straight, perpendicular-sided basket is wanted, Fig. 1, e, +give the weaver tension enough to hold the stakes upright after three or +four rows of weaving. If a straight, flaring-sided basket is wanted, +Figure 2, a, do not give the first rows of weaving so much tension, +thereby allowing the stakes to flare. In weaving all straight-sided +baskets, after the stakes stand at a satisfactory angle, be very careful +to see that the weaver has no tension whatever. Personal taste and good +judgment are the factors which determine the angle of the flare. If a +curved-sided basket is wanted, Fig. 2, b, start with the stakes quite +flaring, and keep an even tension on the weaver as the weaving +progresses and until the desired curve is woven in. Always remember that +tension on the weaver will bring the stakes together. Figure 3 shows the +correct method of holding a small basket during the weaving of the +sides. + +[Illustration] + +When the basket is woven to the desired height, overcast the weaving +around the stakes just as it was done around the spokes of the mat. This +process was described and illustrated in chapter II, Fig. 7. The basket +may then be finished satisfactorily by using either border, a or b, +chapter II, Fig. 8. Make the stakes long enough to push through the +weaving, as shown in Figure 1, d. This will stiffen the sides of the +basket, and give it a more finished appearance. After all the stakes are +pushed through, get the curves and loops of the border all regular in +outline and the same height either by measurement or by turning the +basket bottom side up on a flat surface and making all the loops touch +the surface. + +Figure 4, a, b, and c, illustrates another simple and very effective +construction. The bottom is made with the pairing weave as described and +illustrated in chapter II, Fig. 9. Four reeds cross four reeds, thus +giving sixteen spokes. When the bottom is woven to about two inches in +diameter, turn up the spokes as at a, bringing the weavers to the +outside. Behind these two and beside a stake, insert a third weaver as +shown at b, and weave three rows of triple weaving, chapter I, Fig. 9. +Stop this weaving by pushing each weaver down behind and beside a stake +and out through the bottom of the basket. Figure 4, c, shows the three +weavers as they stick out below the bottom of the basket.[4] Commence +the single weaving by the Indian method, chapter I, Fig. 4, and continue +it until the desired height has been woven. Insert two more weavers and +weave three rows of triple weaving before making the border. Notice the +bands formed by this triple weaving. + +Footnote 4: + + If the weaving is too tight to admit of pushing the weavers down + beside the stakes, use a common scratch awl to make room for them. One + cannot use the awl too freely in closing borders and making handles. + +[Illustration] + +The border may be closed by one or the other of the closed borders +illustrated in chapter III, Fig. 2. For small baskets, c is the best +closed border I have found. For baskets 5 to 7 inches in diameter b is +best, and for those up to 8 or 9 inches use d. + +When the single weaving is used for the main body of the basket, and +bands of triple weaving are used at the top and bottom, a pleasing +variety of designs may be made by weaving either the bands of colored +weavers and the body of natural ones, or _vice versa_. + +Figure 5 illustrates the consecutive steps in the making of the twisted +handles shown in the lower row of Figure 4. The illustrative work is +wound around a piece of wood which takes the place of the upper edge of +the basket. A piece of 4 reed is inserted beside the stakes on opposite +sides of the rim as shown at Figure 4e. This forms the foundation of the +handles, shown on f and j. For the other baskets in Figure 4 two pieces +are used. One is inserted beside a stake on one side of the basket, and +the other just opposite beside another stake. These are then curved over +and inserted beside the third and fourth stake from where they were +first inserted, thus forming the semi-circular foundation on which the +twisting is done. + +[Illustration] + +A reed, wet until very pliable, is now inserted to the left of the right +hand side of the foundation reed, Fig. 5, I. This is now twisted three +times around the foundation reed, and comes to the outside of the +basket, as shown at 2. It is now put through to the inside of the +basket, outside of the foundation reed, just below the closed border,[5] +and brought to the front just below the first twisting, as shown at 3. +Follow the first twist back to the starting point, keeping the weaver +beside the first twist. Do not let the weaver cross the first one. Keep +it beside the first at all times. It now goes to the inside, and is put +through to the outside to the right of the foundation reed, and brought +up as at 4, and twisted to the left beside the first two until it +reaches the point a, where the first, almost universal, error is made. +The reed should go to the left of the one already there, as shown at 5, +then to the inside of the basket and up to the front, as shown at 6. +Twist it back beside the others, put it to the inside and again to the +outside to the right of the second. Look out for error b at this point. +Figure 7 is correct. Go back and forth once more, and finish as shown at +8. Figure 9 shows the completed handle. + +Footnote 5: + + This is not absolute. It may be put through much further down if + desired, say two, three, or even four rows below the border. + +[Illustration] + +The secret of a good handle is in adjusting the ratio of the foundation +weaver, diameter of semi-circle, and number of twists so that when the +winding is completed the handle will have the appearance of a closely +twisted rope. The handle just described has a 1⅝ inch semi-circular +foundation of No. 4 reed, and is bound with No. 2 reed twisted three +times around to start with. Winding should always continue until the +foundation reed is completely covered. Figure 5, c, shows a handle with +a 2 inch semi-circular foundation of No. 4 reed twisted three times +around with No. 3 reed. D has a foundation of No. 5 reed twisted with +No. 2 reed four twists, and e is another, adapted to a larger basket as +a bail handle. Its dimensions and the number of twists are clearly +shown. The foundation is No. 5 reed, and the winding weaver is of No. 3. +These are sufficient to enable one to judge the ratio which will give a +good handle. + +In order to take advantage of the constructive decorative features +spoken of in chapter I, it is necessary to know how to get the correct +number of spokes for any desired diameter of bottom, as the woven +figures spoken of in that article are dependent upon the ratio of the +number of stakes to the number of weavers. When the bottom of a basket +is less than 4 inches in diameter, it is well to have the stakes not +more than ½ inch apart, and in those from 4 to 6 inches not more than ¾ +inch apart. + +It is also my practice in making baskets less than 3 inches in diameter +to have the spokes turn up and form the stakes, and for those larger to +cut spokes only long enough for the bottom, and insert one stake each +side of each spoke after the bottom is woven. This gives twice as many +stakes as spokes. When you find out the desired size for the bottom of +the basket, decide on the number of stakes. An illustration or two will +give you the method of getting this number: For instance, if nine stakes +were wanted, have two long spokes cross two long spokes and insert one +short spoke, as shown in chapter II, Figs. 2, 3, and 4. Weave the bottom +the desired diameter, and turn up the nine spokes as stakes. If eighteen +stakes were wanted, cut spokes as above only long enough for the bottom. +When it is woven insert a stake each side of each spoke, and the result +is eighteen stakes. + +[Illustration] + +Three spokes crossing three spokes and turning up when the bottom is +woven gives twelve stakes, and if the spokes are cut only long enough +for the bottom and a stake inserted each side of each one the result +will be twenty-four stakes. + +Four crossing four and turning up will give sixteen, and by insertion +thirty-two. + +Five crossing five and turning up will give twenty, and by insertion +forty. + +[Illustration] + +Then, again, if one is not extra careful to get the spacing of the +spokes equal, it will be found easy, when the bottom is partly woven, to +insert a stake where two are too far apart or to cut out one where they +are too near together. This will never be noticed when the bottom is +fully woven. One can easily see that in this way one can get any number +of stakes on which to weave. By reference to chapter I, anyone can find +the ratio between stakes and weavers used in making the baskets shown in +Figure 4. All are made with the triple weave and colored and natural +weavers; f and j are about 1¾ inches in diameter at the bottom, g about +4 inches, and h and i about 3½ inches. + +The decorative initial at the beginning of this chapter shows the +adaptation of decorative weavers in making a small demijohn. Its +foundation is a quart Vichy bottle. The weavers used can be easily seen, +also the proportionate spacing of bands. The handles are twisted just as +on a basket. Stakes and handle foundations are of No. 4 and the weavers +of No. 2. + +Figure 6 shows a small jug covered with weaving part way up. This was +selected for its outline and covered, because it had a large “trade +mark” glazed upon its surface. The baskets shown in Figure 6 will be +described later. + +I purposely omit detailed dimensions. They should be suggested by the +one making the basket. What would seem correct to me might offend +another, and I do not care to be misunderstood as wishing to force my +own taste in matters of proportion upon any one else. + +Be yourself fully and completely, and let your work exemplify the fact +that you are doing your own thinking and simply using the information +you acquire as suggestive of greater possibilities. + + + + + V. CIRCULAR BASKETS + + +This chapter deals with the construction of the basket usually called a +workbasket, but it may be taken as typical of all circular baskets +without handles. Figure I, A and B, shows a view looking into the +basket. Notice that a portion of the weaving about the center of the +bottom is done with the pairing weave, until the spokes are separated +sufficiently to allow triple weaving. The bottom is then completed with +the triple weaving making it much finer in appearance. B shows the +effect of using one colored weaver and two natural ones. + +[Illustration] + +When the bottom is woven, cut four times as many stakes as spokes, +one-half colored and one-half natural. These stakes should be about six +inches longer than twice the finished height of the basket. Insert one +colored and one natural, as a pair, each side of each spoke in the +bottom, as shown in Figure II, A, being careful to keep the colored ones +either to the right or left of the natural ones. After turning up these +stakes weave three rows of triple weaving, and finish this weaving by +pulling the weavers through, as shown in Figure II, B. These three +weavers which form the lower band of weaving may be of natural or +colored weavers. This of course depends entirely upon the ideas one has +concerning the appearance of the finished basket. + +[Illustration] + +[Illustration] + +Allow the stakes to flare a little more than is desired in the finished +basket, as the turning over of the stakes draws the top in slightly. If +an open space is wanted between the bands of triple weaving, weave one +or two rows of flat weavers before weaving the second row of triple +weavers, as shown in Figure III, A. This may be cut out after the basket +is completed if one desires to insert a ribbon. Figure III, B, shows a +basket just before the stakes are turned and with the space between the +two rows of triple weaving filled up with single weaving. Figure IV, A +and B, shows the method of turning over the stakes. The ends are +inserted through the outer loops of the triple weave three and one-half +spaces to the right or left of where the stake itself comes through the +upper row of triple weaving. By turning to the right or left the colored +weaver may be brought outside, regardless of how it may be inserted in +the bottom. When the colored bands are used it is well to have the outer +stake of the colored, as at B. The tucking in of the stakes is now +continued until all completed when the basket is turned bottom side up +and the loops all made to touch a flat surface. Great care must be taken +in doing this, as the finished appearance of the basket may be greatly +marred by lack of attention to this particular point. + +[Illustration] + +At this point decide whether the bottom rows of weaving are to be +colored or natural; if colored, cut away the natural weavers at the +bottom of the basket, as shown at Figure V, A. Next insert three weavers +and weave one row of triple weaving in order that the remaining stakes +may be brought to an upright position, as shown at Figure V, B. The +bottom of the basket is now ready to close in. Take one upright stake, +pass it in front of two, and to the inside and let it lay along the +inside edge of the bottom; take each successive stake and do the same +thing, as shown at Figure V, B. Figure VI, A, shows the appearance of +the ends of these stakes as they lay along the inside edge of the +bottom. This view also shows the space which may be used for the +insertion of ribbon, after cutting out the filling of flat weavers. +Figure VI, B, shows the appearance of the basket when completed with the +single weaving as a filler between the two rows of triple weaving. + +[Illustration] + +The basket illustrated in Figure VI, chapter 4, was made by this +process; it was eight inches in diameter at the bottom and had a twenty +spoke center. + +The basket illustrated in Figure I, B, of this chapter has a sixteen +spoke center and a bottom five and one-half inches in diameter. The +height of the loops in baskets of this kind is something that each +worker must settle for himself. The tendency at first will be to get +them too high. The combinations of color and proportion which may be +worked out in baskets of this description are innumerable. I know of no +construction which requires more artistic taste and a finer sense of +correct proportion. + + + + + VI. ELLIPTICAL BASKETS + + +When one has attained a certain degree of proficiency in making round +baskets it is but natural that he should desire to make those which are +elliptical in shape. The making of these baskets presents a problem +which has been difficult to solve and the solution of which renders +their construction practical for school uses. In a circular basket, +where an even tension is kept on the weaver during the weaving process, +the sides come up with an even flare but the stakes have a tendency to +lean. This is due to the constant tension from left to right and works +havoc in the construction of elliptical baskets. Unless great care is +taken the upper edge of the basket will be shaped like the unfinished +one illustrated in Figure II. + +This tendency troubled me for a long time until I noticed that this +warping commenced in the weaving of the bottoms and increased as the +sides of the basket were woven. If the bottoms are woven left-handed or +bottom side up, without regard to this warping, and then, after the +stakes are inserted, the weaving of the sides proceeds as usual, but +little care need be exercised in order to get an even basket as shown in +Figure II. The warping tendency produced by weaving the sides offsets +that produced by the left-handed weaving of the bottoms. + +Since the discovery of this little trick the weaving of elliptical +baskets has been a constant pleasure and has been carried on with marked +success. + +Figure I represents the consecutive steps in the construction of +elliptical bottoms. Cut four spokes of No. 4 or No. 5 reed the length of +the major diameter of the bottom, and as many as are desired, the length +of the minor diameter. By analysis it will be seen that these bottoms +are half round at each end and filled in straight between; therefore, +each end requires half as many spokes as would be required in a round +bottom, and as many in between these as is necessary in order to get the +bottom the required length. + +[Illustration: Figure I.] + +Another important point,—if the spokes on each end are to be one inch +apart when the bottom is all woven, the spokes between must be a little +more than that distance apart as these side spokes remain parallel +during the weaving of the sides while the end ones radiate somewhat with +the flare of the basket. Split all the short spokes and string them on +the four long ones. Take a pair of the short spokes and put them near +the end of the long ones as shown at A, Fig. I. Place a weaver of No. 2 +or No. 3 reed, diagonally behind the group from 1 to 2 and bring it +diagonally across the front from 2 to 1, then back of the group of four +and to the left from 1 to 3, parallel with the short pair of spokes. +Next, diagonally across the face from 3 to 4 and down behind the short +pair from 4 to 1. Now the winding of the four long spokes commences as +shown. This should continue for about 1³⁄₁₆ inches, if the end spokes +are to be one inch apart when the bottom is finished. + +[Illustration: Figure II.] + +Bring in the next spoke and bind it into its place. This binding is so +clearly shown as to require no explanation. When all the short single +spokes are bound in, bind in the last pair as shown, turn the bottom and +insert the second weaver in order that the pairing weave may be started. +D, Fig. I, shows just how this weave is inserted. + +The weaving process from now on is just the same as for that of round +bottoms described in the chapter on Weaving Foundations. E, Fig. I, +shows the proper relative position of the spokes at the beginning of the +separation of the end ones into singles. If it is thought more desirable +to have the sides of the bottom a little curved rather than straight, +the straight part may be filled in after all the spokes are separated +into singles. This is illustrated, and is done with the colored weavers +in order to show it more clearly. This filling in process is done with +the single weave, over and under five spokes for the first two pieces, +then three, two and one. If this does not round the sides to suit the +taste fill in again after one or two rows of regular weaving. + +[Illustration: Figure III.] + +When the bottom is woven, insert one stake each side of each spoke and +weave the sides as in the usual way. One can easily figure out the +proper number of stakes required, in order to take advantage of the +decorative features of triple weaving, in these baskets as in the round +ones. Figure III shows some elliptical baskets of different designs and +proportions as to major and minor diameters and also two kinds of +twisted handles, small and large. Basket No. 3 has a bottom with but one +single spoke between its ends as shown in Figure I, D and E. Basket No. +2 has two as shown at C. Basket No. 1 has three, and No. 4 and No. 5 +have six. + +The edge finishes are all as described in chapter III, Fig. II, B, and +the twisted handles are all as described in chapter IV. A pleasing +decorative feature is shown in the large wastebasket in the left hand +foreground of Figure III. Two natural and one colored weaver are used +and the stakes are equally divisible by three, the number of weavers. +Three rows are woven around, then the green weaver changes places with a +white one and three more rows are woven. This process is kept up until +the desired height is reached, resulting in a spiral arrangement of +spots. Figure III shows progress in working out some simple designs, A +showing a large hollow diamond (as easily made solid). Smaller hollow +diamonds would look well around an elliptical basket. B also shows +hollow diamonds and the Indian “good luck” symbol. This work is done +with the single weave on stakes not more than one-half inch apart. + +Many fine designs may be “worked up” on plotting paper. Use paper which +is lined off about as far apart as the diameter of the weaver to be used +and draw vertical lines across this about as far apart as the distance +between the stakes. + + + + + VII. MELON SHAPED BASKETS + + +[Illustration] + +A melon shaped basket seems to me to be the most fascinating of all in +its method of construction. Figure I shows the material necessary with +the exception of the weavers. Figure II shows the method of determining +the shape of the slices or ribs on which the weaving is done.[6] The +material with which the two circular ribs are made is stout ash splint. +Take two straight pieces the length required for the circumference of +the circle allowing about three-fourths of an inch for lap. These may be +fastened together to form the two circular rings either by a small bent +iron fastener or with fine string. These rings are then placed in the +position shown in Figure III, No. 1, perpendicular to each other. The +weaver is then placed behind the vertical ring on top of the horizontal +ring with its ends projecting toward the right in the direction of A-B. +The weaver is then brought over from A to D in front of the vertical +ring. + +Footnote 6: + + NOTE.—Let AA represent the orthographic projection of the two rings. + From the point x, with a radius equal to xy, draw the quarter circle. + Divide this quarter circle into three equal parts from 1 to y, and + connect the points of division with lines to point x. Lay off lines + parallel to these one-eighth inch apart to represent the space to be + allowed for the weavers. This will show the projection of one side of + the basket with the ribs in position. Draw a quarter circle on the + right hand side. From the center line, at point 2, lay off distances + on this quadrant about an inch apart as shown at 2-a-b-c-d. Project + these to the left on to the line xy, and with x as a center, continue + these projection lines with arcs crossing the center rib, as shown. + Draw chords 4, 5, 6, 7, and 8. Take a piece of stiff paper or of the + material to be used as ribs and bend around from 1 to 3 to get the + true length which will be the distance 1 2 3 as shown above at B. Draw + the two center lines at right angles, crossing at 4. Lay off distances + 4 5, 5 6, 6 7, 7 8 on either side of 4 corresponding with the + distances 2a, ab, be, and cd. On these, by means of arcs, lay off + distances equal to the lengths of the corresponding chords 4, 5, 6, 7, + and 8 in the view AA. A curve tangent to these arcs shows one contour + of a rib. + + If many baskets of this size are wanted it will be found convenient to + make a pattern for each size and mark it properly. If the basket + wanted is more than six inches in diameter more ribs will be needed, + and the small lay-out C will give the proper suggestion. + +[Illustration] + +Then behind the horizontal ring and up to B, in which position it is +shown at No. 1. From thence it goes diagonally across the vertical ring +from B to C and upward behind the horizontal, from C to A and assumes +the position shown at No. 2. It now goes across from A to D as before, +and behind the vertical ring from D to C, below the horizontal; which +position is shown at No. 3. From there it goes across the vertical ring +from C to B, then behind the vertical from B to A. This method of +winding is kept up, as shown at 4, 5, and 6, until a little pocket is +formed, as shown at E and F. This process takes place on both ends of +the rings. The center ribs on either side are now put into this pocket +and the single weaving is commenced, as shown at Figure IV. + +Weave three or four rows on one end, then three or four on the other +end. This weaving, first on one end and then on the other, must be kept +up during the whole construction of the basket. + +[Illustration] + +In the construction of these baskets many will place all the ribs in the +pocket at once, but this method of construction is too difficult for an +amateur to attempt. + +[Illustration] + +After these two middle ribs have been placed in position and three rows +of weaving completed, the other four ribs should be tucked into the +pocket on one end and the single weaving continued until four or five +rows are woven, as shown in Figure V. + +This process has been found to be much easier than to place the ribs in +both pockets, because of the fact that in weaving on one end the other +ends of the ribs are continually flying out. + +After four or five rows are woven the other ends of the ribs may be +placed in the opposite pocket and the weaving continued as on the +opposite end. Great care must be taken in the shaping of these ribs to +see that there is a proper distance between them so that the weaver may +not be cramped. + +The final shape of the basket depends almost entirely upon the nicety +with which these ribs are constructed. + +[Illustration] + +If one wishes to construct the basket so that it will be more than a +half-sphere in depth, it can be easily done by making a plan of rings +and ribs of the shape wanted and laying out these rings and ribs from +that. It may be necessary in teaching younger pupils the construction of +these baskets for the teacher to do the drawing and laying out of the +size and shape of these ribs, but this process should be thoroughly +explained. + +If difficulty is found in getting heavy ash splint for the rings and +ribs, they may be easily constructed from the hoops of a sugar barrel or +even wood from a cheese box, both of which must be soaked and whittled +down thin, say to one-sixteenth of an inch in thickness. One of the best +melon shaped baskets which I have seen had its rings and ribs +constructed from wood taken from a butter box which was about eight +inches in diameter. Too much emphasis cannot be placed on the necessity +of getting the foundation features of this construction absolutely +accurate. This is truer of this shape than of almost any other. + +Where it seems impossible to get either the ash splint or other material +spoken of, No. 8 or 10 round reed may be split lengthwise and used in +the construction of the rings. If these are to be used it will be found +necessary to have a greater number of ribs on which to weave than has +been spoken of previously. It does not seem wise, however, to attempt a +melon shaped basket over four or five inches in diameter with half round +reed as a foundation. + +“Think it up a little” and see how broad the field of basketry really +may become. + +------------------------------------------------------------------------ + + + + + TRANSCRIBER’S NOTES + + + ● Typos fixed; non-standard spelling and dialect retained. + ● Enclosed italics font in _underscores_. + + + +*** END OF THE PROJECT GUTENBERG EBOOK 75361 *** |