knot in the thread and string four green beads. Hold this down between
the thumb and forefinger of the left hand. Thread one green bead and
pass through the third of the four beads. Thread another green bead and
pass through the first bead. Thread one white bead and pass through the
green one on the left. Thread another green bead and pass through the
green one to the left (Figure 216).
Third row--Thread a green, pass into a green to the left. Now thread a
white bead and pass in through the first white bead.
[Illustration: Fig. 216. A woven daisy chain]
Fourth row--Thread a yellow bead and pass through last white, and a
green bead through the green.
Fifth row--A green bead through the last green, a white through the
yellow.
Sixth row--A white bead through the last white, a green through the
last green.
Seventh row--A white through the last green, a green through the last
white of the sixth row.
Then three white beads on the needle and pass through the first white
on the second row. Carry the thread through the daisy thus formed till
you have it again in same position as it was before you threaded the
three beads.
Eighth row--One green into the last green, one white into the last
white. (Note that you are now starting another daisy on the left-hand
side).
Ninth row--One yellow into last white, one green into last green.
Tenth row--One green into last green, one white into yellow.
Eleventh row--One white into last white, one green into green.
Twelfth row--One white into last green, one green into white.
Repeat the directions from the second row. Note that though the chain
is four beads wide there are only two beads that you work on in each
row.
If the thread breaks, start the new one, two or three rows back and go
through the different beads.
The above directions are for a chain that is worked without a loom.
Now-a-days it is quite possible to buy a little loom for about fifty
cents, but you can make one at home that will not cost you a penny. The
size of the loom will depend on what you are working but we presume
that it is a chain. Should you ever make a purse it would pay you to
buy a loom.
To make the home-made loom get a piece of card and a wooden meat
skewer such as butchers use. Fasten the skewer down on both ends to
the cardboard about two inches from the upper edge. One inch above the
skewer in the direct centre make a hole and one inch from the bottom
edge of the cardboard make another hole. Cut six pieces of No. 90
linen thread, thirty-six inches long. This measurement is sufficient
for a chain twenty-seven inches or under. Tie one end of each thread
to the skewer. Now holding the six threads together, carry them down
through the bottom hole across the back of the cardboard and tie in a
loose knot to the top hole.
[Illustration: Fig. 217. A home-made loom]
Thread a bead needle with a thread of No. 100 linen thread that has
been well waxed. Tie the thread to the extreme right hand thread of the
warp. Now we are ready to make the chain (Figure 217).
First row--Thread the needle with five yellow beads. Pass the needle
toward the left under the warp threads, letting one bead slip in every
space. On the left hand side bring the needle up to the right side and
slip it through the five beads.
[Illustration: Fig. 218. The design for the chain described]
Second row--Thread five blue beads and fasten them in the same way.
Third row--Thread five yellow beads.
Fourth row--Five red beads.
Fifth row--Five red beads.
Sixth row--Two red, one blue and two red.
Seventh row--One red, three blue, one red.
Eighth row--Five blue.
Ninth row--One red, three blue, one red.
Tenth row--Two red, one blue, two red.
Eleventh row--Five red.
Twelfth row--Five red.
[Illustration: Photograph by Mary G. Huntsman. The Fascinating Task
of Making Bead Chains]
Continue in this manner for as many inches as needed (Figure 218).
When you have used up all the warp threads on the upper side of the
cardboard roll the finished chain over the skewer and fasten the
remaining threads in the lower hole.
[Illustration: Fig. 219. Another design for chains]
To make a belt or purse the larger loom will be necessary. Designs used
for cross stitch are suitable for bead work.
[Illustration: Fig. 220. A third design for a chain]
Before I tell you how to make any more bead chains and the other
articles that may be made with beads, I want to tell you how to make a
dainty purse that is illustrated in this chapter. It is made of gold
and rose-coloured glass beads and it belongs to a bright little girl I
know who has been using it for the past three years. A spool of heavy
buttonhole twist of a colour to correspond to one of the coloured beads
is needed (Figure 221).
Take eighteen strands of silk, each a yard long. See that the ends are
all even. Tie a tight knot through the centre of the threads. Thread a
bead needle with one of the strands of silk. Put on two pink beads then
three yellow, five pink, three yellow, five pink, three yellow, five
pink, three yellow, five pink, five yellow, one pink, seven yellow, one
pink, seven yellow, one pink, seven yellow, one pink, five yellow, five
pink, three yellow, five pink, three yellow, five pink, three yellow,
five pink, three yellow, seven pink. This completes the first string.
Do not allow any beads to drop, which they are very apt to do while you
are working on another row. It is suggested that the strand of silk on
the left of the beads should be knotted closely to the beads to prevent
them from slipping.
[Illustration: Fig. 221. The bead bag described]
Unthread your needle and take the next strand; thread two pink, one
yellow, then slip your needle through the second yellow bead of the
first row, thread one yellow, five pink, one yellow, now slip your
needle through the middle yellow bead of the first row or in other
words slip your needle through every eighth bead on the first row. The
colouring remains the same. I will start the instructions again for the
second row which is to be threaded, two pink, one yellow, slip needle
through bead on first row, one yellow, five pink, one yellow, slip
needle through bead, one yellow, five pink, one yellow, slip needle
through, one yellow, five pink, one yellow, slip needle through bead,
one yellow, five pink, one yellow, slip needle through bead, three
yellow, one pink, three yellow, slip needle through, three yellow, one
pink, three yellow, now slip needle through bead, three yellow, one
pink, three yellow, slip needle, three yellow, one pink, three yellow,
slip needle, one yellow, five pink, one yellow, slip needle, one
yellow, five pink, one yellow, slip needle, one yellow, five pink, one
yellow, slip needle, one yellow, five pink, one yellow, slip needle,
one yellow, six pink, slip needle into last bead of first row and knot
the two threads close to the bead. Be sure that the knot is large
enough not to slip through the hole of the bead.
Thread your needle with the third strand. Put on two pink, three
yellow, two pink, slip needle through third bead of first group of five
pink of the second row. (For the rest of the row "slip needle" means
slip the needle through the fourth bead below the one slipped through
on the second row) two pink, three yellow, two pink, slip needle, two
pink, three yellow, two pink, slip needle, two pink, three yellow, two
pink, slip needle, two pink, five yellow, slip needle, seven yellow,
slip needle, seven yellow, slip needle, seven yellow, slip needle, five
yellow, two pink, slip needle, two pink, three yellow, two pink, slip
needle, two pink, three yellow, two pink, slip needle, two pink, three
yellow, two pink, slip needle, four pink.
The fourth row is the same as the second. Every other row from the
third is also worked like the third.
The last row which joins the bag--Two pink, slip needle into fourth
bead of next to last row, thread three more beads, slip into centre
bead of the group of sevens of the first row. The pattern is
diamond-shaped as you will note, therefore after threading your needle
with three beads of the shade to correspond with the previous row slip
your needle in the centre bead of the groups of seven of the preceding
row and the first row. Work first to the right and then to the left.
Every two strands of silk must be knotted together to keep the beads
from slipping off. Braid the threads extending beyond the bead work in
groups of three. A large bead or slide will be necessary to make the
purse a practical money bag. Get two big beads that have openings large
enough to pass all the silk threads through. Take a knot on the silk
thread after the first large bead is in position. This knot should be
two inches at least from the beads. The silk threads may now be cut
quite close to the knot or they may be cut one inch from the knot to
form a tassel.
If the little purse was left without any further work it would look
quite top heavy and unfinished, for that reason a bead tassel is
suggested as shown in the illustration of the bead purse.
Thread your needle with a long strand of the buttonhole twist. String
about two and a half inches of pink beads. Before commencing to string
the beads fasten the thread in the heavy knot at the bottom of the
purse. Catch the thread with the beads also in the knot. Make two pink
strings this length and two yellow. Then make four strings, two pink
and two yellow, that are not more than an inch and a half long. Fasten
off the threads securely and the bag is complete.
Three bunches of pink beads and two bunches of yellow will make two
purses as have just been described. The beads vary in price from six
cents a bunch to twenty-five cents. Sometimes the more expensive kind
have only half the number of beads that the cheaper bunches have. Do
not get too small a bead or the work will become very tedious. The
large beads for the slides are more expensive. They cost four cents
apiece or more.
Of course other colour combinations can be made, also other patterns.
Silver and blue is another pretty combination for a bead purse.
Now while we are on the topic of beads, I would like to tell you
about some sensible portières and cushion tops that I recently saw at
an Arts and Crafts exhibition made of an inexpensive background and
beads. Monk's cloth was used for one of the portières. Monk's cloth
is somewhat like burlap but the weave is coarser and more even. A hem
was turned on one short side and one of the long sides and the thread
drawn out for a space of about two inches. The threads were hemstitched
and then a design of beads worked between the groups of threads. To
accomplish this the design was well planned out before commencing the
work. The number of beads needed to fill out the space can be judged by
placing the beads in the opening and testing that for yourself. After
the design has been selected make a pencil copy of it. It is better to
restrict yourself at first to just two colours. Fasten your sewing
thread securely to the threads of the material. Use carpet thread for
the weaving. Let us suppose that you have selected a pattern that is
seven rows of beads deep and you have chosen tan as the background and
red and chalk white beads for the decoration:
First row--Thread one red bead, six white, one red, six white. As we
will only work a section at a time, let us secure the beads. Slip your
thread under the hemstitching. Now let each bead come between two
consecutive groups of hemstitching. Bring your thread to the right
side. Be careful not to disturb your beads. Now carry the thread
through the beads again. The thread should be drawn tight but not so as
to pucker the hem.
Second row--Work this by stringing one white, one red, four white, one
red, one white, one red, four white, one red. Fasten as described in
the first row.
Third row--One red, one white, four red, one white, one red, one white,
four red, one white. Fasten.
Fourth row--One red, one white, one red, four white, one red, one
white, one red, four white. Fasten.
Fifth row--One red, one white, four red, one white, one red, one
white, four red, one white. Fasten.
Sixth row--One white, one red, four white, one red, one white, one red,
four white, one red. Fasten.
Seventh and final row--One red, six white, one red, six white. Fasten.
After this section is worked slip your needle through the beads to the
last one on the first row and continue to weave.
The beads to use for portières or large pillows are round ones that are
three eighths of an inch in diameter.
For curtains, table covers or any article where the weight of the
large bead is not desirable use a smaller bead that is not more than a
quarter-inch in size.
Scrim curtains with a single row of the smaller beads add a pretty
touch of colour to the otherwise plain window. Almost any shade can be
had in the beads, but the trouble is that they can not be bought at
every store. A bead supply house is the one from which to get them.
They cost only one-quarter as much as when bought in a department store.
Ecru scrim with a row of turquoise blue, canary yellow and sage green
beads and the simple twist stitch such as described in the chapter on
"Simple Stitches in Drawn Work," makes a curtain suitable for a simple
room. The way to accomplish this work, is to take a stitch on the drawn
thread, in the regular way for the twist stitch, then slip a bead on,
then take another stitch, then a bead, so on to the end.
If a skeleton square of beads is desired on a sofa cushion it is
advisable not to draw it out in the same manner as for a curtain.
For a two-inch border to be set in four inches from the edge, crease
the cushion through the direct centre. Measure four inches from the
edge and cut the material on the crease for two inches. Treat each side
like this. Draw the threads out on each side of the cut, stop when
you get four inches from the edge. Of course the material must be in
a perfect square and just the size you want for the pillow before you
begin any of the work. Place the beads as explained for the portière.
Do not cut the threads you drew out but, threading a needle with two
or three at a time, carry them through the beads. In this way there is
no necessity for cutting and buttonholing the corners where the border
intersects, as in drawn work. Loose woven materials such as monk's
or arris cloth are extremely hard to buttonhole and even after very
careful work they are apt to fray.
If a fancy edge is desired for the pillow one made of beads is far more
appropriate than anything else. After the pillow is complete and made
up, put on the bead edge by catching a bead to the material at a short
distance from each other.
For a canoe or porch pillow there is nothing more durable than bead
pillows of a dark colour worked with gay coloured beads.
XXVI
BRAIDING AND WEAVING FOUR AND SIX STRANDS
WEAVING ON LOOMS
Braiding or plaiting can be done in any materials and may be used for
shopping bags or circular rugs. Raffia, corset laces, heavy silk floss
or rags can be utilized for the braiding.
It is extremely difficult to conceal the ends when three strands are
used so for that reason I have selected four strands to commence with.
[Illustration: Fig. 222. The strands crossed]
When working with cords or very long strands of material, knot the four
ends together. Pin the knot to your knee and proceed to weave. Take the
extreme left-hand strand and weave under the next strand. At the same
time weave the extreme right-hand strand over the next. Cross the two
strands in the centre. (See Figure 222.) If a knot is not desired at
the start the cords may be commenced as shown in the Figure 223.
To braid with six strands take the extreme left-hand strand and weave
under and over to centre and with the right-hand strand weave over and
under to centre and cross the left-hand strand (see Figure 224).
[Illustration: Fig. 223. The way to commence braiding without a knot]
After the braid has been made it can be sewed together for a mat. In
joining a strand insert the new piece so that it extends a little
beyond the braid. If a long braid is desired it is best to have the
strands of different lengths so that the joinings will not be all in
one place (Figure 225).
When braiding or weaving with rags cut the strips about three quarters
of an inch wide. Old rags can be used for this, cutting out the weak
parts. Cheap cotton fabrics when new make excellent mats.
Weaving on frames is very interesting and not such a difficult task
as you imagine. There are hand and treadle looms. The following
instructions will be for the former. A stretcher such as artists use
for painting can be used or four pieces of board twenty-four inches
long by four inches wide and one inch thick. Take the four pieces to
form a frame.
[Illustration: Photograph by Eddowes Co. A Cushion Top Can be Woven on
a Simple Hand Loom]
Buy three half-inch dowels or long round sticks; which may be bought
from a hardware shop; and sand-paper till they are quite smooth. Screw
in four large picture rings two on each side of the frame, one at each
end. Slip one dowel through the rings at each end and tie to picture
ring.
[Illustration: Fig. 224. Braiding with six strands]
The warp may be cord which is sold by the pound or a heavy soft twine.
A wholesale cord or rope house will be the best from which to buy the
warp.
A thin board such as you have in your window shades and to which
the string is attached makes a good shuttle. Cut it so that it is
twenty-two inches long and wind the warp on it lengthwise.
Tie one end of the warp thread to the lower left-hand picture ring.
Lay the warp threads over the lower dowel, up through the frame and
over the upper dowel. Remember always to lay the thread outside and
over each dowel. The first six threads are placed very close to each
other. After that the threads are laid half an inch or a little more
than a quarter of an inch apart. The finer the weaving the more warp
threads will be needed. The usual allowance is from four to eight
threads to an inch.
[Illustration: Fig. 225. The way to join a braid]
Two plain boards that are as long as the dowels and three inches wide
by a quarter of an inch deep will be required now. Slip into one of
these boards at each end between the warp threads and bring the boards
to the centre and tie together to keep them from slipping.
Take a piece of cord nine inches longer than a dowel and tie to the
throat of the lower left-hand screw. Make a knot at first warp string
and slip it over dowel. Twist the double thread two, three or four
times. Repeat slipping over dowel and twisting between every two warp
strings until you reach the right hand screw. Tie the threads to the
screw. This is called pairing the threads. Repeat the pairing at the
other dowel. When the pairing is finished slip the lower dowel out of
the rings and tie the dowel again to the screws.
To space the warp threads an upholsterer's needle and carpet thread
will be needed.
If the weaving occupies the full size of the frame, hitch or tie the
carpet thread to the lower left-hand screw, while if the warp threads
do not extend very far over place an extra screw on the outside of the
frame where the warp threads begin.
Buttonhole stitch over the dowel keeping the lower thread down and the
upper thread on top.
Hold the warp threads apart with finger of the left hand while
buttonholing. Pull your stitches tight. Two or three stitches should be
made between each two warp threads. The stitches must be an eighth of
an inch apart.
Now we are ready for the bridge.
Two feet, as they are called, will be necessary to support the bridge.
A carpenter will make them for a small amount. They should be seven
inches high by three inches wide at the base (Figure 226). One foot is
placed in the centre of opposite sides of the frame and the third dowel
run through the holes.
Loosen the two boards at the centre and place them close to the dowel.
Place the bridge over the set of threads nearest you. Take a six-inch
piece of cord and catch up first warp thread. Tie thread to bridge.
All knots should be made like a weaver's knot. The loop should not
extend lower than two inches below the bridge.
[Illustration: Fig. 226. The foot]
This completes the setting up of the loom. To weave, the material may
be cut as stated before or raffia or Indian fibre may be used. If the
weaving is to be in one colour only, it is well to join the pieces
together and wind on a long shuttle. If short pieces are used a hook
will be required. It can be made of a strip of wood taken from the hem
of window shades. Notch one end of it.
A selvage will be necessary at the beginning and the end of the weaving
and is done in a fine cord.
Start at left-hand corner and tie the thread to warp. Pass the shuttle
to right-hand side between the threads. Lower the bridge and pass the
shuttle back again between the threads to left-hand side. Raise the
bridge again and repeat as just explained. It will be best to comb down
the woof to keep it straight and regular. A regular weavers' comb can
be bought, but a coarse hair comb may be substituted. Six rows will be
sufficient for the selvage. The regular weaving is worked the same
only in coarse warp. Remember the bridge must be lowered every other
time.
In weaving a new thread or strand commence a little way back from where
the last strand stopped.
Learn to weave and you get much more artistic effects in rugs than
ordinary rug or portière weavers obtain.
Beautiful cushions and other useful articles can be made by weaving.
It is a great mistake to think that all cast off clothing can be woven
into handsome rugs or portières. True it is possible to weave them, but
it is almost a hopeless task to get artistic effects from old coats or
a lot of dark articles.
The modern rug weavers get a few yards of cheap muslin in two or three
shades and make a rug that can be sold for two or three dollars. Silk
is not like old woollen materials, it can be utilized to the last thread
because it is soft and works to good advantage.
Two old silk petticoats will make two pillow tops that are artistic as
well as useful. One of the most beautiful examples of silk weaving was
a cushion I saw made from two old silk petticoats; one was sage green
and the other Delft blue. The strips were about one inch wide. All the
worn parts were cut out. No piece was considered too small to use.
Every pattern of rug has a name given it by the weaver. The most common
pattern is the hit-and-miss. The name aptly describes it. There are
never two hit-and-miss patterns that are exactly alike. To look at a
collection of hit-and-miss rugs one is reminded of the Croton shrub
which has no two leaves alike. As children, we used to call them
Match-me-if-you-can trees.
A hit-and-miss pattern is a good one to learn on.
Do not weave first one green strip then one blue and so on, because you
will get a jumble of blue that is neither interesting nor pleasing.
Decide on which colour you would like for the background, then use most
of that shade.
I have heard an old weaver say that when she works the hit-and-miss
pattern she will carry first one stripe of the background the entire
way across and probably start the second row. A little strip of the
second colour is then used and then the background again. The good
worker never cuts her strips all the same length but strives to get the
effect of little slashes of colour against a solid background. A rug
made of medium blue and white rags suggests the sea with white caps on
it.
When an Indian weaves a rug, he sits on the floor and weaves, till he
has to stand to work.
Tapestry is woven almost the same as described for rugs; instead of
the loom having a bridge that has to be moved by hand to regulate the
threads, a treadle is used.
The wrong side of weaving is always facing you on the loom and all ends
are fastened afterward with a needle and thread. Perhaps you would be
interested to know how a weaver makes a set design in tapestry. Usually
an artist designs a piece, say a design for the back of a chair. Often
the artist is the weaver himself. He will make two sketches in colour
one to put under the warp threads and the other to keep in sight. He
then starts to weave the design in as many colours as desired, then the
background is worked.