[Illustration]
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.
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.
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.
The ordinary pupil is, and should be, an animated question mark. “Why?”
“What for?” and “What makes it do that?” 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.
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. 1. 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.
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.[1] 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.
Footnote 1:
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.
[Illustration]
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.
Figure 6 shows the double or pairing weave (_i. e._ 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.
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.
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.
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.
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.
[Illustration]
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.
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.
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 the ratio of the
stakes to the weavers and by using either one, two, or three colored
weavers.
[Illustration]
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.