Part 2

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.