Transcriber's Note
Bold text is marked with =equals signs=, italic text is marked with
_underscores_.
SEAT WEAVING
BY
L. DAY PERRY
_Supervisor of Manual Training, Joliet,
Illinois, and Instructor, Department
Esthetic and Industrial Education,
Summer Quarters, The University of Chicago_
[Illustration]
THE MANUAL ARTS PRESS
PEORIA, ILLINOIS
1917
Copyright, 1917, by
L. Day Perry
FOREWORD
Woodworking shops in manual training schools far outnumber those for
other manual activities, and as a result, courses in woodwork have
come to be termed the stable courses in a handwork curriculum.
However, experience in woodwork alone is not sufficient, and needs to
be supplemented by other and more varied activities to give to the boy
a proper foundation for choice of vocation.
A definite way to produce necessary variety as applied to woodwork,
especially if woodwork is the only course offered, is thru the use of
such mediums as cane, reed, rush, splints and allied materials in
correlation with the wood. These materials add life to the problems
and generally arouse interest and enthusiasm in the work at hand. The
result is careful application to construction details, with resultant
appreciation of constructive design.
It would prove a difficult task to make a fair estimate of the value
such mediums have in manual training shops. Their use produces very
definite reactions upon boys who could not be reached by woodwork
alone, awakening them to a new interest in their work and making them
more workmanlike and exacting in construction.
There exists some element in such mediums which cannot be defined, but
which nevertheless stimulates the average or mediocre boy, as well as
the exceptional one, to produce the best work of which he is capable.
Experience with these materials utilized in correlation with wood will
prove the truth of these statements and demonstrate that they are not
only worth while, but necessary to any well-rounded course in wood.
The originals of the projects illustrated by the photographs were,
with few exceptions, constructed by boys of average ability in the
eighth grade. They indicate the character of work which may be
expected of boys in that grade, and, in a measure, the first two years
of high school.
Practically the entire emphasis is laid upon weaving as applied to
some form of seat, either as a decorative feature or as a necessary
part of the structure. These materials may be utilized in various ways
on varied types and forms of furniture other than seats, a few of
which are suggested. Experience with them will lead the worker to new
and interesting fields of a distinctly educational nature.
Joliet, Illinois, November, 1916.
L. DAY PERRY.
* * * * *
ACKNOWLEDGMENTS
Acknowledgments are hereby made to The Bruce Publishing Co., for
permission to re-use the material in Chapters I and II which appeared
in _The Industrial Arts Magazine_ in a modified form; to The
Periodical Publishing Co., for the photograph shown in the
frontispiece; to M. F. Gleason, Joliet, for the sketches shown in
Figs. 5, 6 and 8; to T. S. Moore, Joliet, for his cooperation in all
the photographic work; and to the instructors in the Joliet Department
of Manual Training who have assisted in working out a number of the
problems.
L. D. P.
CONTENTS
PAGE
Foreword 3, 4
Acknowledgments 4
Chapter I.--Caning; The Seven Steps 7
Cane 7, 8
Equipment 8, 9
Beginning the Operation 9, 10
The Seven Steps in Caning 10-14
Chapter II.--Caning Suggestions 15
Irregular Areas 17-21
Five-Step Caning 21, 22
The Design Element 22-25
Chapter III.--Reseating a Chair; Hand Caning 26
The Process 27-31
Refinishing 31-33
Chapter IV.--Reseating a Chair; Cane Webbing 34
The Process 35-40
Chapter V.--Rush Seating 41
Historical 41-42
Rush 42-43
Other Materials 43-44
Preparation of Materials 44-46
The Weaving Process 46-49
Rectangular Seats 49-50
Irregular Seats 50-51
Suggestions 51-54
Finish 54
Chapter VI.--Reed and Splint Weaving 55
Primitive Methods 56-57
Bleaching 57-58
Staining 58-59
Other Materials 59-62
Chapter VII.--Seats of Reeds and Splints 63
Indian Splints 72-79
A Rustic Chair 79-80
A Woven Table 81
Willows 81-82
Weaving Materials: Where to Obtain 84
[Illustration: A TYPICAL ALLEY SCENE IN HONG KONG SHOWING NATIVE MEN
AND WOMEN SORTING AND STRIPPING RATTAN.
_Courtesy, Periodical Publishing Co._]
CHAPTER I
CANING; THE SEVEN STEPS
That caning has not been undertaken to any appreciable extent in
school shops is due to the fact that instructors are unfamiliar with
the weaving processes. Caning is not difficult. It, in common with
many other lines of activity, is best learned thru observation.
However, it may be undertaken by the average person after careful
study of printed directions and illustrations. If the worker will
closely observe his own work as it progresses, and follows
instructions carefully, he should have no unusual difficulty in caning
an area very acceptably in the initial attempt. Particular attention
should be paid to directions which tell of errors to avoid. Errors
creep in, in a very unobtrusive manner at times, and the amateur will
find them hard to detect.
=Cane.=--Cane is the name applied to a great number of plants which
possess long, slender, reedlike stems. The name should apply only to a
class of palms called rattans. These plants are found thruout the
Indian Archipelago, China, India, Ceylon, and the Malay Peninsula.
They grow in dense, dark forests and form a matted undergrowth which
makes passage difficult or impossible. These palms are trailing in
tendency, yet frequently grow to tree height. They then fall over and
lie on the ground. The stem is covered with beautiful green foliage,
grows to a length of 100 to 300 ft., and rarely exceeds 1 in. in
diameter. The stems are cut into lengths of 10 to 20 ft. for export.
The outer bark is stripped into widths varying from ¹⁄₁₆ to ³⁄₁₆ in.
These strips are put into hanks of 1,000 lineal feet each. The cane is
then ready for the cane weaver. A hank of cane costs from 60 cents to
$1. The width of the cane and its quality determines the price per
hank. It may be purchased from any upholstery supply house.
Cane is named from the narrowest to the widest in order: carriage,
superfine, fine-fine, fine, medium, common, narrow binder, and wide
binder. Cane from India has a very glossy surface, while that from
other localities is duller. The right side of the cane is easily
determined by this glossiness.
Cane for weaving purposes should not be confused with the popularly
called cane or bamboo of our southern states, where it forms the well
known cane-brakes. This cane rarely exceeds a height of 20 ft. It
grows rapidly and very straight, and to an appreciable diameter. Such
cane is used for bamboo furniture, walking sticks, poles, etc. The
ordinary domestic sugar cane, also, should not be confused with
seating cane.
[Illustration: FIG. 1. THE CANING NEEDLE.]
=Equipment.=--The tools needed in cane weaving are few in number. A
special one is called the caning needle. This may be made in the
school shop. Fig. 1 shows a working drawing of the needle. Its length
is variable, depending upon the work at hand. It is desirable to have
a number of different lengths. The tool is made of good flexible steel
wire. This is flattened at one end, an eye cut in it, blunt pointed,
and slightly curved as indicated. The other end is inserted in an
ordinary small tool handle, extended thru and riveted. The riveting
prevents the wire from drawing out of the handle under a pulling
strain.
The other tools needed are a scratch awl, and a pair of scissors or
knife. A button-hook with the hook straightened or cut off may take
the place of the awl. A pair of dividers and rule are necessary for
marking. Several wood pegs are needed. These may be classed with the
tools. They are made from a ¼ in. dowel rod, or the equivalent. Cut
them about 4 in. long and point them as you would a lead pencil. The
amateur is inclined to use a number of pegs. Four should prove amply
sufficient.
=Beginning the Operation.=--Fig. 2 is a photograph of an upholstered
leg rest with caned sides. This rest will be used for our initial work
in cane weaving, inasmuch as the area for caning is rectangular. It is
not advisable for the beginner to have his initial experience on a
chair seat, for the area is usually of an odd shape, and arms, legs,
and back interfere. However, any rectangular area on which there are
no projections to bother may be used for the first trial.
[Illustration: FIG. 2. LEG REST.]
It is assumed that the sides of the rest have been fitted. The rails
and stiles are then assembled with glue, without the posts. When the
glue has set the proper length of time, and the frame is cleaned and
sanded, the rails and stiles are ready to dimension.
Draw pencil lines entirely around the inner sides of the rails and
stiles, ½ in. from the edges. This distance remains constant, usually,
on all areas and with canes the various widths. With a pair of
dividers set at ¼ in. space off points on the pencil lines, starting
from the intersection of the extended lines on each rail. Fig. 3 is a
working drawing of a corner, dimensioned as suggested. It will make
clearer the directions. It is fundamental that the spacing be done in
the same direction on parallel rails, for at times the last space
will be a short ½ in. or whatever dimension is used. In such cases it
is necessary to redivide the last several spaces into divisions as
near ½ in. as possible. It thus becomes obvious why spacing must be
done in one direction as stated. This applies to all rectangular
frames.
[Illustration: FIG. 3. SKETCH OF CORNER FOR CANING.]
With a ³⁄₁₆ in. wood bit bore holes thru the rails and stiles at the
points marked. Countersink the holes slightly on the underside of the
frame. This is not absolutely necessary but aids considerably in
locating the holes, and in other ways. In shops where power machinery
is available a vertical borer may be used for this purpose. It is best
to carefully mark the points for boring with a center punch. The twist
bit will then start accurately and the danger for getting out of line
will be reduced to a minimum. The dimensions given here are for
fine-fine cane. Use sandpaper to remove pencil lines and rough edges
left from boring; then clamp the frame over the edge of a table or
bench with a carriage clamp; sit while doing the weaving.
=The Seven Steps in Caning.=--Fig. 4 shows the seven steps in caning.
Refer to this photograph thruout the following directions. The numbers
on the photograph refer to the steps.
[Illustration: FIG. 4. THE SEVEN STEPS IN CANING.]
_Step 1._ A hank of cane should be soaked for a few minutes in warm
water, or longer in cold. Do not soak it too long. Start a strand by
drawing one end thru a hole next to a corner hole, and let it project
about 3 in. below. Fasten with a peg. Then starting at the peg, pull
the entire strand thru the thumb and forefinger to prevent twisting,
and pull the end down thru the hole on the opposite parallel rail next
to the corner hole, and then up thru the hole next to it. See that the
right side of the cane is out on the underside of the frame as on the
top. Pull the cane reasonably taut, and fasten with a peg to prevent
the strand from slipping back and becoming loose. Draw the cane thru
the thumb and forefinger again; pull it across the frame and down thru
the hole next to the peg and up thru the hole next to it. Pull taut
and fasten with the second peg. This operation is repeated until all
holes have been utilized on the two parallel rails, except those on
the corners. Thruout the seven operations it is necessary that the
cane be kept from twisting by drawing the remaining part of the strand
thro thumb and forefinger.
_Step 2._ The second step is identical with the first, with the
difference that the other two parallel rails are used, and that the
canes run over the first set of parallel canes. If the first strand of
cane has not been entirely used up in the first step, the remainder is
used to begin the second step.
[Illustration: FIG. 5. METHOD OF TYING ENDS OF CANE.]
_Step 3._ This step is a repetition of the first two. The canes of
this series run _over_ the first and second series and parallel with
the first. As each strand is used up bind the end by pulling it under
a cane, crossing from one hole to another underneath the frame and
cutting off about ¼ in. from the cane. Fig. 5 shows how this binding
is done. The loose end at the starting point is tied in this way, and
all subsequent ones should be tied as they come, thus avoiding
interference by many pegs, and insuring neat binding.
_Step 4._ The actual weaving begins with this step. It may be done
entirely by hand, without resort to the needle, but it is slow work.
The needle should be used. Start at a hole next to a corner on either
rail that has been used but _once_, working from caned side toward the
open frame. Go over and under the strands necessary to form the weave,
turning the needle from side to side in order to catch the canes
behind the point. When across thread the needle with the strand and
pull thru, being careful to avoid a twist. Pull the end down thru the
hole, pairing the canes. Pull the cane up thru the next hole; then
start the needle from the opposite side of the frame and repeat the
first operation, thus pairing another set of canes. Continue until all
canes are paired and all holes used. Soak the woven cane with a wet
sponge, and with two pegs straighten the strands of cane and force all
pairs together. Small, open squares are thus formed over the area
being caned. Unless the cane is soaked it will prove rather difficult
to pair the canes.
_Step 5._ This step is the weaving of one set of diagonals. Start the
strand at any corner hole. Use one hand over and one under the frame.
As the worker becomes skilful he will find it easier to give the cane
a slight curve and work with both hands on the upper surface. Use an
end of cane long enough for convenient handling; then pull the entire
strand thru the length of the frame, provided the area is not too
great. Care must be taken to avoid twisting the cane. The cane will
run easily, and partially under a cane at the corners of the squares,
if correctly done. Fig. 6 shows this clearly, as does the illustration
in Fig. 27. The second illustration is a photograph of a strip of cane
webbing, is approximately half size, and will supplement the freehand
sketch. The corners will bind, and the strand will pull with
difficulty if the cane is incorrectly woven. On parallel canes note
that the canes either run _over_ or _under_ the pairs.
[Illustration: FIG. 6. FREEHAND SKETCH OF CANING.]
_Step 6._ This step is identical with the preceding one. The canes are
at right angles to the first diagonals. In this step and the preceding
one note that two strands run into the corner holes. This holds true
in all rectangular frames where a corner hole is bored. It permits the
strands to run in as straight a line as possible. If it is necessary
to turn abruptly to enter a hole it is obvious that an error has been
made by the weaver.
_Step 7._ Pull a cane of the same size as used in the other steps up
thru a hole, over the binder cane and down thru the same hole. A loop
is thus formed and the binder secured. Pull taut, then enter the next
hole, pull up the cane over the binder and down, and so on. This
operation may be repeated at every other hole when the holes are close
together. The two ends of the binder are finally overlapped and
secured, and the operation thus completed. At times, when the last
strands are woven, it may prove advisable to secure canes underneath
the frame by plugging the necessary holes; at least in instances where
the canes have a tendency to work loose.
[Illustration: SUGGESTIVE PROJECTS.]