CANING SUGGESTIONS
As weaving progresses difficulty will be experienced in inserting cane
ends in the holes, due to their becoming filled. Force the scratch awl
thru and turn it several times. This will effectively force an
opening.
In many instances long ends of cane remain from one series to another.
These generally, as previously mentioned, should be used in succeeding
steps. There is one limitation. They should be used provided it is not
necessary to carry them over more than four holes on the under side of
the frame. The fewer loose ends left, the better, for the caning is
thereby neater and better. It is generally advisable to use a full
length strand to avoid a number of loose ends.
The amateur will find his greatest difficulty in properly weaving the
diagonals at the edges; that is, immediately upon entering or leaving
a hole. Many commendable pieces of caning are spoiled by ragged,
improperly woven edges. Care must be taken to see that the cane goes
_over_ and _under_ the proper strand or strands at these points. Fig.
6 clearly shows how the diagonals should run. Study it carefully.
The addition of a binder is generally a matter of taste. Perhaps 50
per cent of modern hand caned furniture does not employ a binder of
any description. The series of regularly exposed holes are rather
pleasing and in no way detract. However, in chair seats a binder is
essential to protect the ends of canes, for they are subject to hard
wear.
Binders of reed or of wood called "splines" may be used on hand-caned
frames. If either is used a groove ¼ in. deep and ³⁄₁₆ in. wide is
cut coincident with the holes before weaving is begun. After the area
is caned the strips are fitted and glued in. Use little glue. Tap the
splines firmly with a mallet used over a block of wood, until they are
flush with the woven cane. Chapter IV gives the method in detail.
The size of the holes and the distance between them is determined
largely by the size of the cane used. Some prefer coarse meshed areas,
while others desire them closely woven. There is, however, what we may
term a standard mesh. The individual may vary the dimensions given to
suit himself. The Jacobean or early caning was invariably of coarse
mesh.
[Illustration: FIG. 7. WINGBACK CHAIR.]
Carriage and superfine cane require ⅛ in. holes and ⅜ in. spaces;
fine-fine cane requires ³⁄₁₆ in. holes and ½ in. spaces; fine cane
requires ³⁄₁₆ in. holes and ⅝ in. spaces; medium, ¼ in. holes and ¾ in.
spaces. Fine-fine and fine cane are the best sizes for shop use. A
small amount of medium binder is desirable.
One hank of cane will ordinarily be sufficient for a half-dozen areas
of approximately 12 in. by 12 in.
Most old pieces of period furniture utilizing cane employ a
particularly narrow split horizontally and vertically, and a wider
split diagonally. The opposite practice may be employed--a finer split
of cane being used diagonally than horizontally and vertically. Both
effects are pleasing.
In all illustrations of rectangular areas shown herein, corner holes
are bored and utilized in the cane weaving. These are not absolutely
necessary; in fact caned areas on many pieces of period and modern
furniture do not utilize corner holes. In such instances two diagonal
strands are run in each hole on either side of the corner. A
comparison of the areas, the one employing a corner hole, and the
other not, will lead the observer to conclude that the former appears
complete while the latter appears unfinished.
[Illustration: FIG. 8. SKETCH OF STRIP TO COVER CANE ENDS.]
It is frequently necessary or desirable to cover up the cane on the
back or inside of an article. This is true of places exposed to view,
and is especially advisable on such pieces of furniture as the
wingback chair shown in Fig. 7. This chair of William and Mary design
was made in a school shop, is hand caned, and of mahogany. The exposed
cane is covered with strips of mahogany ¼ in. thick and 1 in. wide in
which a groove ⅛ in. deep and ⅜ in. wide has been run. This groove may
be made with saw, chisel, or combination plane. Fig. 8 shows a sketch
of such a strip. It makes a neat, pleasing cover. Many pieces of
so-called expensive furniture have ragged, exposed caning. This is
unsightly and is not to be commended.
Wherever it is found desirable to leave cane natural, it is necessary
that the frame be stained before caning is begun. Box fuming will not
permanently color cane. Oil stains make no appreciable impression if
rubbed off at once. But water, acid, and alcohol stains produce
decided colors. If the worker desires to color the cane approximately
the same shade as the article, the caning may be done on the white
wood and the entire article stained at the one operation. Cane may be
shellacked or varnished or left natural, as desired.
=Irregular Areas.=--Fig. 9 shows a close view of the back of the
chair illustrated in Fig. 7. This is a typical example of an
irregular-shaped area for caning. The principles of weaving remain
the same in areas of any shape, yet each requires slightly different
treatment. Each has its individual problem. It is necessary to skip
some holes altogether. This is never done in rectangular shapes. A
close inspection of the photograph will reveal many skipped holes.
This is necessary to keep parallel strands equidistant, and diagonals
straight.
[Illustration: FIG. 9. BACK OF CHAIR SHOWING ODDLY SHAPED AREAS.]
[Illustration: FIG. 10. METHOD OF LOCATING HOLES ON WING OF CHAIR.]
To clearly understand how the holes are located on a wing of this
chair refer to Fig. 10. The left upright and lower rails are at right
angles to each other. The upper rail is curved and the right upright
slanted. Measurements are begun at the lower left hand corner and
proper distances spaced on the left upright. With the arm of a
try-square against this upright, points are marked on the opposite
upright in line with those on the former. This operation is repeated
on the lower rail and the upper curved one. Strands of cane will then
obviously run parallel. Inasmuch as there are five holes in the base
and eight in the top it is necessary that three vertical strands be
run into the slanting upright in any holes which will permit the
strands to run parallel to each other. The photograph of the caned
wing, shown in Fig. 11, should make very clear the foregoing
explanation. Experience with several unusual shapes is necessary
before the weaver feels confident of readily caning any area of odd
shape.
[Illustration: FIG. 11. CLOSE VIEW OF WING.]
In weaving the diagonals it is frequently necessary to run several in
one hole in order to keep the canes as straight as possible. Just when
this should be done can only be determined by the worker. A diagonal
should never be permitted to swing to any great degree out of a
straight line. A close observation of the photograph of the wing will
reveal many diagonal canes in one hole, and several holes skipped
entirely.
[Illustration: FIG. 12. CANING OF FIVE STEPS.]
=Five-Step Caning.=--Cane weaving of five steps is not common. It may
be done in many cases where it will not be subject to hard wear. It is
neat in appearance and is much simpler than seven-step caning. The
presumption should not be made that this weave will in any way
supplant the regular weave, but in instances where decoration is the
object, and not service particularly, this weave will prove sufficient
and effective.
Fig. 12 illustrates a frame caned with the five steps. The distance
between holes was purposely made greater than usual, to show the weave
clearly. The first strands are strung in, in the same manner as
described in the seven steps. The second series of strands are
interwoven with the first. The over and under weave is used. Each
alternate row of each series is either over or under. The first
diagonal strands run _over_ the preceding two series. They are not
woven as in seven-step caning. The second diagonal strands run _over_
the first diagonals and _under_ the intersection of the other strands,
including every alternate first diagonal. This resolves itself into
simple over and under weaving. Note that but one strand of a diagonal
enters a corner hole. This is not true of seven-step caning, as
elsewhere indicated. It is advisable to utilize a wider cane in the
first two steps, than is used in the subsequent ones.
[Illustration: FIG. 13. DAVENPORT WITH CANED PANELS.]
=The Design Element.=--Caning is not a fad. Cane was commonly used in
Carolean furniture in England about 1660, and has continued in use for
seating purposes thru the various subsequent periods. The application
of cane as used today on French furniture, as in panels, is
historically wrong. However there can be no valid objection to its use
in panels if no attempt is made to name it a true period style. Also
it must be conceded that period furniture was not always well
designed, and there can be no well sustained objection to the use of
cane in panels, provided it is in keeping structurally and
decoratively with the particular piece of furniture.
The introduction of cane at first was undoubtedly brought about by a
desire for something light, substantial and serviceable, and it
blended well with the oak of the period. Cane is much used on modern
furniture, and without doubt it adds to the beauty of the given
pieces. In many cases the decoration is overdone and instead of
improving the article the cane in reality detracts. Properly used, it
enriches by breaking up flat uninteresting areas, and lightening the
appearance of otherwise massive, cumbersome articles.
[Illustration: FIG. 14. ROCKER WITH CANED SIDES.]
[Illustration: FIG. 15. BOOK SHELVES WITH CANED PANELS.]
Under proper correlation with wood in school shops it promotes an
appreciation of constructive design in which the element of beauty is
a prime consideration. It is a practical medium in which the aspect of
design as an element of utility is paramount. It has distinct
commercial value, for the boys who have had training in the shops may
do chair seating outside and earn considerable money. By such work
they come to see a distinct relation between the commercial field and
their shop experiences. This is a point of view which is very
desirable in present-day industrial education.
Figs. 13, 14, 15, and 17 show pieces of furniture made in manual
training shops by eighth grade boys. These pieces comprise a group,
with the addition of the leg rest shown in Fig. 2 for a library or
living room. The cane in each instance adds materially to the artistic
effect of the problems; they have tone. The cane forms pleasing groups
well related to the wood mass. The cane is natural, the wood fumed and
finished flat. The two tones of color are in perfect harmony.
[Illustration: FIG. 16. LIBRARY TABLE.]
[Illustration: FIG. 17. TABLE. SIDES CANED.]
Fig. 16 shows a library table of oak constructed by an eighth grade
boy. The lines are very pleasing and the long vertical caned panel
adds a distinct note to the structure even tho purely decorative.
Many modifications of the standard weave in caning are in vogue, but
are more or less fads. A "rotary" weave is rather prevalent on certain
types of furniture, as is what may be termed the "spider-web" weave.
These are mentioned merely to suggest that caning is subject to
variation. However, the standard weave, of seven steps, will not be
supplanted to any appreciable degree, for it adapts itself to almost
all types of furniture both decoratively and structurally.
It must not be presumed that the method described in Chapter I is the
only one which may be employed in weaving this standard weave. There
are several methods of weaving which arrive at the same ultimate
result, but the one described is the simplest, and the most direct,
and withal the one best adapted to general use, particularly to
school-shop pupils.
[Illustration: SUGGESTIVE PROJECTS.]