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max-width: 100%; + max-height: 100%; } + h1 {line-height: 150%; } + .footnote {font-size: .9em; } + div.footnote p {text-indent: 2em; margin-bottom: .5em; } + .chapter { clear: both; page-break-before: always; } + body {font-family: Georgia, serif; text-align: justify; } + table {font-size: .9em; padding: 1.5em .5em 1em; page-break-inside: avoid; + clear: both; } + div.titlepage {text-align: center; page-break-before: always; + page-break-after: always; } + div.titlepage p {text-align: center; text-indent: 0em; font-weight: bold; + line-height: 1.5; margin-top: 3em; } + .ph1 { text-indent: 0em; font-weight: bold; font-size: xx-large; + margin: .67em auto; page-break-before: always; } + .ph2 { text-indent: 0em; font-weight: bold; font-size: x-large; margin: .75em auto; + page-break-before: always; } + .x-ebookmaker p.dropcap:first-letter { float: left; } + </style> + </head> + <body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 75361 ***</div> + +<div class='tnotes covernote'> + +<p class='c000'><strong>Transcriber’s Note:</strong></p> + +<p class='c000'>New original cover art included with this eBook is granted to the public domain.</p> + +</div> + +<div class='titlepage'> + +<div> + <h1 class='c001'>The Basket Maker</h1> +</div> + +<div class='nf-center-c0'> +<div class='nf-center c002'> + <div><span class='xlarge'>LUTHER WESTON TURNER</span></div> + <div>Director of Manual Training</div> + <div>The Hill School</div> + <div>Pottstown, Pennsylvania</div> + </div> +</div> + +<div class='figcenter id001'> +<img src='images/i_001.jpg' alt='[Icon]' class='ig001'> +</div> + +<div class='nf-center-c0'> + <div class='nf-center'> + <div>Published by</div> + <div><span class='large'>THE DAVIS PRESS</span></div> + <div>Worcester, Mass.</div> + <div class='c003'>Reprinted from The School Arts Book</div> + </div> +</div> + +</div> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div><span class='small'>Copyrighted by</span></div> + <div><span class='small'>THE DAVIS PRESS</span></div> + <div><span class='small'>Worcester</span></div> + <div><span class='small'>1909</span></div> + </div> +</div> + +<div class='chapter'> + <h2 class='c005'>BASKETRY</h2> +</div> + +<p class='c006'>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.</p> + +<p class='c007'>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.</p> + +<div class='lg-container-r'> + <div class='linegroup'> + <div class='group'> + <div class='line'><span class='sc'>Henry Turner Bailey</span></div> + </div> + </div> +</div> + +<div class='chapter ph1'> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div>THE BASKET MAKER</div> + </div> +</div> + +</div> + +<div> + <span class='pageno' id='Page_5'>5</span> + <h2 class='c005'>I. INTRODUCTORY WORK</h2> +</div> + +<div id='di_005' class='figleft id002'> +<img src='images/di_005.jpg' alt='' class='ig001'> +</div> +<p class='c006'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>The ordinary pupil is, and should be, an animated question +mark. “Why?” “What for?” and “What makes it do that?” +<span class='pageno' id='Page_6'>6</span>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.</p> + +<p class='c007'>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. <a href='#di_005'>1</a>. +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.</p> + +<p class='c007'>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.<a id='r1'></a><a href='#f1' class='c008'><sup>[1]</sup></a> 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.</p> + +<div class='footnote' id='f1'> +<p class='c007'><a href='#r1'>1</a>. 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.</p> +</div> +<div id='i_007' class='figcenter id003'> +<span class='pageno' id='Page_7'>7</span> +<img src='images/i_007.jpg' alt='' class='ig001'> +</div> + +<p class='c007'><span class='pageno' id='Page_8'>8</span>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.</p> + +<p class='c007'>Figure 6 shows the double or pairing weave (<em>i. e.</em> 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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'><span class='pageno' id='Page_9'>9</span>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.</p> + +<div id='i_009' class='figcenter id004'> +<img src='images/i_009.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_10'>10</span>the ratio of the stakes to the weavers and by using either one, +two, or three colored weavers.</p> + +<div id='i_010' class='figcenter id003'> +<img src='images/i_010.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<div class='chapter'> + <span class='pageno' id='Page_11'>11</span> + <h2 class='c005'>II. WEAVING FOUNDATIONS</h2> +</div> + +<div id='di_011' class='figleft id002'> +<img src='images/di_011.jpg' alt='' class='ig001'> +</div> +<p class='c006'>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.</p> + +<p class='c007'>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<a id='r2'></a><a href='#f2' class='c008'><sup>[2]</sup></a> +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.</p> + +<div class='footnote' id='f2'> +<p class='c007'><a href='#r2'>2</a>. 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.</p> +</div> + +<p class='c007'>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.”</p> + +<p class='c007'>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 +<span class='pageno' id='Page_12'>12</span>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.</p> + +<p class='c007'>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.</p> + +<div id='i_012' class='figcenter id004'> +<img src='images/i_012.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>The short odd one is between the upper end of the two vertical +ones and the horizontal pair is behind the vertical group. This +<span class='pageno' id='Page_13'>13</span>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.</p> + +<div id='i_013' class='figcenter id004'> +<img src='images/i_013.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.)</p> + +<p class='c007'>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 +<span class='pageno' id='Page_14'>14</span>separated and the under and over weaving commences as seen in +Figure 4.</p> + +<p class='c007'>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.</p> + +<div id='i_014' class='figcenter id004'> +<img src='images/i_014.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_15'>15</span>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.</p> + +<div id='i_015a' class='figcenter id004'> +<img src='images/i_015a.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<div id='i_015b' class='figcenter id004'> +<img src='images/i_015b.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_16'>16</span>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.</p> + +<p class='c007'>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.</p> + +<div id='i_016' class='figleft id005'> +<img src='images/i_016.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'><span class='pageno' id='Page_17'>17</span>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.</p> + +<div id='i_017' class='figcenter id004'> +<img src='images/i_017.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_18'>18</span>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.<a id='r3'></a><a href='#f3' class='c008'><sup>[3]</sup></a></p> + +<div class='footnote' id='f3'> +<p class='c007'><a href='#r3'>3</a>. 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.</p> +</div> + +<p class='c007'>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.</p> + +<div id='i_019' class='figcenter id003'> +<span class='pageno' id='Page_19'>19</span> +<img src='images/i_019.jpg' alt='' class='ig001'> +</div> + +<div id='i_020' class='figcenter id004'> +<span class='pageno' id='Page_20'>20</span> +<img src='images/i_020.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_21'>21</span>single spokes. These are woven around twice and then separated +into singles. C shows the work just before the separation into +singles.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div class='chapter'> + <span class='pageno' id='Page_22'>22</span> + <h2 class='c005'>III. MATS</h2> +</div> + +<p class='drop-capa0_0_6 c009'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div id='i_023' class='figcenter id003'> +<span class='pageno' id='Page_23'>23</span> +<img src='images/i_023.jpg' alt='' class='ig001'> +</div> + +<p class='c007'><span class='pageno' id='Page_24'>24</span>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.</p> + +<div id='i_024' class='figcenter id004'> +<img src='images/i_024.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_25'>25</span>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.</p> + +<p class='c007'>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. <a href='#i_007'>5</a>, Indian method. Figure <a href='#i_007'>5</a> shows the weaver +passing behind two spokes in order that it may start on the second +row of double weaving.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div id='i_026' class='figcenter id003'> +<span class='pageno' id='Page_26'>26</span> +<img src='images/i_026.jpg' alt='' class='ig001'> +</div> + +<p class='c007'><span class='pageno' id='Page_27'>27</span>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.)</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.”</p> + +<p class='c007'>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.</p> + +<p class='c007'>Mat E is made with the thirty-two spoke center, illustrated +in Figure 3. The following material is required: Sixteen spokes +<span class='pageno' id='Page_28'>28</span>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.</p> + +<div id='i_028' class='figcenter id004'> +<img src='images/i_028.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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. +<span class='pageno' id='Page_29'>29</span>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div id='i_030' class='figcenter id003'> +<span class='pageno' id='Page_30'>30</span> +<img src='images/i_030.jpg' alt='' class='ig001'> +</div> + +<div id='i_031' class='figcenter id004'> +<span class='pageno' id='Page_31'>31</span> +<img src='images/i_031.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>By finishing the edge of mat C, Fig. <a href='#i_012'>1</a>, illustrated in the previous +chapter, a mat similar to F, Fig. 1, of this chapter would be +the result.</p> + +<p class='c007'>The design is shown on a basket illustrated in Figure 14, +chapter I, at A.</p> + +<p class='c007'>At B, Figure <a href='#i_010'>14</a>, chapter I, the same ideas carried further +give the “Lightning Flash” design.</p> + +<div class='chapter'> + <span class='pageno' id='Page_32'>32</span> + <h2 class='c005'>IV. THE SIMPLEST BASKET</h2> +</div> + +<div id='di_032' class='figleft id002'> +<img src='images/di_032.jpg' alt='' class='ig001'> +</div> +<p class='c006'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_33'>33</span>will bring the stakes together. Figure 3 shows the correct method +of holding a small basket during the weaving of the sides.</p> + +<div id='i_033' class='figcenter id004'> +<img src='images/i_033.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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. <a href='#i_016'>7</a>. 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.</p> + +<p class='c007'>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. <a href='#i_019'>9</a>. 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 +<span class='pageno' id='Page_34'>34</span>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.<a id='r4'></a><a href='#f4' class='c008'><sup>[4]</sup></a> 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.</p> + +<div class='footnote' id='f4'> +<p class='c007'><a href='#r4'>4</a>. 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.</p> +</div> + +<div id='i_034' class='figcenter id004'> +<img src='images/i_034.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>The border may be closed by one or the other of the closed +borders illustrated in chapter III, Fig. <a href='#i_024'>2</a>. 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.</p> + +<p class='c007'>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 <em>vice +versa</em>.</p> + +<p class='c007'>Figure 5 illustrates the consecutive steps in the making of the +twisted handles shown in the lower row of Figure 4. The illustrative +<span class='pageno' id='Page_35'>35</span>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.</p> + +<div id='i_035' class='figleft id005'> +<img src='images/i_035.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_36'>36</span>to the inside of the basket, outside of the foundation reed, just +below the closed border,<a id='r5'></a><a href='#f5' class='c008'><sup>[5]</sup></a> 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.</p> + +<div class='footnote' id='f5'> +<p class='c007'><a href='#r5'>5</a>. This is not absolute. It may be put through much further down if desired, say two, +three, or even four rows below the border.</p> +</div> + +<div id='i_036' class='figcenter id004'> +<img src='images/i_036.jpg' alt='' class='ig001'> +</div> + +<p class='c007'><span class='pageno' id='Page_37'>37</span>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_38'>38</span>short spoke, as shown in chapter II, Figs. <a href='#i_024'>2</a>, <a href='#i_023'>3</a>, and <a href='#i_026'>4</a>. 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.</p> + +<div id='i_038' class='figcenter id003'> +<img src='images/i_038.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>Three spokes crossing three spokes and turning up when the +bottom is woven gives twelve stakes, and if the spokes are cut +<span class='pageno' id='Page_39'>39</span>only long enough for the bottom and a stake inserted each side +of each one the result will be twenty-four stakes.</p> + +<p class='c007'>Four crossing four and turning up will give sixteen, and by +insertion thirty-two.</p> + +<p class='c007'>Five crossing five and turning up will give twenty, and by +insertion forty.</p> + +<div id='i_039' class='figcenter id004'> +<img src='images/i_039.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>The decorative <a href='#di_032'>initial</a> 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 +<span class='pageno' id='Page_40'>40</span>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div class='chapter'> + <span class='pageno' id='Page_41'>41</span> + <h2 class='c005'>V. CIRCULAR BASKETS</h2> +</div> + +<p class='drop-capa0_0_6 c009'>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.</p> + +<div id='i_041' class='figcenter id004'> +<img src='images/i_041.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_42'>42</span>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.</p> + +<div id='i_042' class='figcenter id003'> +<img src='images/i_042.jpg' alt='' class='ig001'> +</div> +<div id='i_043' class='figcenter id003'> +<span class='pageno' id='Page_43'>43</span> +<img src='images/i_043.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_44'>44</span>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.</p> + +<div id='i_044' class='figcenter id004'> +<img src='images/i_044.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>At this point decide whether the bottom rows of weaving are +to be colored or natural; if colored, cut away the natural weavers +<span class='pageno' id='Page_45'>45</span>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.</p> + +<div id='i_045' class='figcenter id004'> +<img src='images/i_045.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>The basket illustrated in Figure <a href='#i_015b'>VI</a>, chapter 4, was made by +this process; it was eight inches in diameter at the bottom and had +a twenty spoke center.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_46'>46</span>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.</p> + +<div class='chapter'> + <span class='pageno' id='Page_47'>47</span> + <h2 class='c005'>VI. ELLIPTICAL BASKETS</h2> +</div> + +<p class='drop-capa0_0_6 c009'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_48'>48</span>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.</p> + +<div id='i_048' class='figcenter id004'> +<img src='images/i_048.jpg' alt='' class='ig001'> +<div class='ic006'> +<p>Figure I.</p> +</div> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_49'>49</span>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.</p> + +<div id='i_049' class='figcenter id004'> +<img src='images/i_049.jpg' alt='' class='ig001'> +<div class='ic006'> +<p>Figure II.</p> +</div> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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. +<span class='pageno' id='Page_50'>50</span>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.</p> + +<div id='i_050' class='figcenter id004'> +<img src='images/i_050.jpg' alt='' class='ig001'> +<div class='ic006'> +<p>Figure III.</p> +</div> +</div> + +<p class='c007'>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 +<span class='pageno' id='Page_51'>51</span>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.</p> + +<p class='c007'>The edge finishes are all as described in chapter III, Fig. <a href='#i_013'>II</a>, +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.</p> + +<p class='c007'>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.</p> + +<div class='chapter'> + <span class='pageno' id='Page_52'>52</span> + <h2 class='c005'>VII. MELON SHAPED BASKETS</h2> +</div> + +<div id='di_052' class='figleft id002'> +<img src='images/di_052.jpg' alt='' class='ig001'> +</div> +<p class='c006'>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.<a id='r6'></a><a href='#f6' class='c008'><sup>[6]</sup></a> 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 +<span class='pageno' id='Page_53'>53</span>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.</p> + +<div class='footnote' id='f6'> +<p class='c007'><a href='#r6'>6</a>. <span class='sc'>Note.</span>—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.</p> + +<p class='c007'>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.</p> +</div> + +<div id='i_053' class='figcenter id004'> +<img src='images/i_053.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<div id='i_054' class='figcenter id003'> +<span class='pageno' id='Page_54'>54</span> +<img src='images/i_054.jpg' alt='' class='ig001'> +</div> + +<p class='c007'><span class='pageno' id='Page_55'>55</span>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.</p> + +<div id='i_055' class='figcenter id003'> +<img src='images/i_055.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>After four or five rows are woven the other ends of the ribs +may be placed in the opposite pocket and the weaving continued +<span class='pageno' id='Page_56'>56</span>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.</p> + +<p class='c007'>The final shape of the basket depends almost entirely upon +the nicety with which these ribs are constructed.</p> + +<div id='i_056' class='figcenter id004'> +<img src='images/i_056.jpg' alt='' class='ig001'> +</div> + +<p class='c007'>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.</p> + +<p class='c007'>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 +<span class='pageno' id='Page_57'>57</span>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.</p> + +<p class='c007'>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.</p> + +<p class='c007'>“Think it up a little” and see how broad the field of basketry +really may become.</p> + +<div class='pbb'> + <hr class='pb c003'> +</div> +<div class='tnotes x-ebookmaker'> + +<div class='chapter ph2'> + +<div class='nf-center-c0'> +<div class='nf-center c004'> + <div>TRANSCRIBER’S NOTES</div> + </div> +</div> + +</div> + + <ul class='ul_1 c002'> + <li>Typos fixed; non-standard spelling and dialect retained. + </li> + </ul> + +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 75361 ***</div> + </body> + <!-- created with ppgen.py 3.57e (with regex) on 2025-02-13 09:12:39 GMT --> +</html> + diff --git a/75361-h/images/cover.jpg b/75361-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..3c165c2 --- /dev/null +++ b/75361-h/images/cover.jpg diff --git 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