[Illustration]
The one great aim of manual training is to combine judgment, a purely
mental function, and execution, a purely physical one. There seems to be
no work so efficient in combining the two from the beginning as
basketry. The material varies so in texture that care and judgment are
required in its manipulation, and so few tools are used that the hand
must do all or a greater part of the work.
In all teaching the “character of work” should be emphasized rather than
the intrinsic value of that which is produced by work. The aim should be
to have work complete in all its parts, relatively perfect[2] as to
beauty of design and workmanship, and finished, in so far as the
completed work coming from the pupil can show his intention and evince
careful and diligent work.
Footnote 2:
I say “relatively perfect” feeling that while there is nothing
absolutely perfect possible to the hand of man, the term may be used
relatively for whatever makes the nearest approach to perfection.
In manual training work the procedure should be from the simple to the
complex. The teacher should never hurry the different stages of the work
faster than the young mind can go. The pupil must comprehend each step.
Let the motto be “Not How much, but How well.”
In order to make use of the features of weaving spoken of in the first
chapter it will be necessary to have a simple problem on which to work.
Mats of various sizes are useful, may be made beautiful, and as they
embody all the constructive features found in the bottom of a basket,
may well be taken as the first problem.
The foundation pieces on which the weaving of a mat or the bottom of a
basket is done are known as spokes because during the weaving, they
radiate from a common center like the spokes of a wheel.
[Illustration]
A finished mat of the simplest construction is shown in Figure 1, A. For
this we use an odd number of spokes and a single weaver. The material
required is as follows: Four pieces of No. 3 reed 12 inches long, one
piece 7 inches long and a weaver of No. 2 reed. These are held together
in the left hand and grouped as shown in Figure 2.
The short odd one is between the upper end of the two vertical ones and
the horizontal pair is behind the vertical group. This brings the three
vertical spokes above, and in front of the horizontal pair. The weaver
of No. 2 reed is placed as shown, Figure 2, behind the vertical group
and along the top of the horizontal pair with its right hand end
projecting about ¾ of an inch to the right of the vertical group.
[Illustration]
The weaver is then brought to the right in front of the vertical group,
back and down behind the horizontal group, thereby binding its own end
to the spokes. (Figure 3, A, shows the exact position of the weaver at
this stage.)
It next comes to the left in front of the vertical and below the
horizontal group, and up behind the horizontal group to the position
from which it first started. It now follows the same course once more
until it has been around the group twice as shown in Figure 3, B: but
the next time instead of coming down across the horizontal spokes as
shown in that figure, the spokes are separated and the under and over
weaving commences as seen in Figure 4.
The left hand does the holding and the right hand the weaving. Be sure
to hold the spokes out straight as the weaving is done around them in
order that the weaver may be made to conform to the spokes, and not the
spokes to the weaver as shown in Figure 5, A. Figure 5, B, shows the
correct method. The spokes are approximately in the same horizontal
plane.
[Illustration]
When the spokes are all the same distance apart at the weaving, hold the
mat down on a flat surface, Fig. 6, and continue the weaving until it is
3 inches in diameter. Figure 6 illustrates the correct position of the
hands when holding the work down on a surface. Hold the spokes down with
the left hand and weave with the right. This figure illustrates the
weaving of a much larger mat but the principle is exactly the same. If
one weaver is too short to bring the weaving to the desired size, join
the weavers as shown in Figure 3, D, and continue the weaving as though
the weaver were continuous, being careful to keep the weaving close
together with the left hand each time it goes over and under a spoke.
[Illustration]
Right at this point insist upon the pupils’ going slowly and weaving
closely. The later satisfaction of knowing how to weave correctly will
more than offset any discouragement at not seeming able to produce great
results at once.
[Illustration]
Next cut off the weaver long enough to go a little more than once around
the circumference and overcast the weaving in the following manner: As
the weaver comes from behind a spoke, put it over the next spoke to the
right and through the last row of weaving just before it gets to the
following spoke. It then goes behind that spoke, over the next and
through the weaving, as before, just before it gets to the next spoke.
Figure 7 shows one stitch of overcasting and the second stitch just
ready to be pulled through. This process continues once around, when the
weaver is cut off on the back side of the last spoke as shown in Figure
1, B. Finish the mat with an open border, Figure 8, A, by turning in the
ends of the spokes.
[Illustration]
Figure 8 shows another “device” to illustrate the construction of some
simple open borders. These may be woven left-handed or right handed as
is most convenient. In “A” one spoke goes in front of the next and
inserts just before it gets to the third. In “B” one goes in front of
two and inserts just before it gets to the fourth. In “C” one goes in
front of three and inserts just before it gets to the fifth. In “D,” in
front of four and just before the sixth. Judgment is required to get the
right sized loop. The length of spoke required after overcasting can be
found by trial. All spokes must be cut the same length, sharpened, and
inserted equally. In these borders if the spokes are approximately an
inch apart “A” will require about 2¾ inches outside of the overcasting,
“B” about 4¼ inches, “C” 5½ to 6½ inches, and “D” 6½ to 8½ inches. These
lengths allow for insertion.
In Figure 3, A, B, and C illustrate another method of starting a center
with one weaver. In this case two pieces are split in the center and the
other two are put through them with the odd one inserted as shown at A.
The weaving proceeds as by the first method until two courses are woven
when, instead of separating the three spokes and beginning the single
weaving, the weaver is reversed as shown at B and two courses are woven
the other way. The separation into singles then begins as at C. This
method of splitting half of the spokes and putting the others through
them is the better method of the two as it is the less difficult to hold
the group while the first two rows are woven.
[Illustration]
Figure 1, B, shows a mat the center of which was started by the second
method. The spokes are of No. 4 reed and the weavers of No. 3. Four
spokes are 12½ inches long and one, 7½ inches. The border is illustrated
at A, Figure 8. The weaving was 3¼ inches in diameter before
overcasting.
Figure 9 shows the method of starting a center with the pairing weave.
At A three pieces pass through two pieces giving ten spokes. At B three
going through three give twelve spokes. The split pieces are held
horizontally, and the weaver, doubled in the middle, is started around
the vertical group above the horizontal ones as shown at A; one end
being in front of the other behind the vertical group, thus forming the
two weavers. The front weaver then comes to the right across the
vertical group, and down behind the horizontal group. The rear one goes
to the right across the back of the vertical group and down in front of
the horizontal group. (B shows the weaving at this stage.) The whole
group of spokes is now revolved from right to left until the horizontal
group becomes vertical, C, and the weaving proceeds as before, holding
the work with the left hand, weaving with the right, and revolving so
that a vertical group is woven over each time. Notice that the
revolution is from right to left and weaving from left to right. In the
illustrated weaving, spokes of No. 4 reed are used and a weaver of No. 2
reed.[3]
Footnote 3:
It is wise to have the reed for the spokes and stakes two sizes larger
than the weaver except in cases where the bottom is less than three
inches in diameter, when a difference of one size is sufficient.
When three pieces cross three pieces it is necessary to go around the
groups three times before separating into singles, Fig. 9, D. As soon as
it is possible after separating, get the spokes the same distance apart
at the weaving. If they are spread apart as at E, this can be done in
two courses and single weaving can be commenced. Take the rear weaver
and bring it over one spoke and under the next, and so on once around
until coming to the other weaver. F shows it at this stage. Notice that
when a course is woven once around, the weaver comes outside of the
other weaver and stops. The inside one now weaves around until it comes
to the same position, with reference to the first one, that the first
one held to it. Continue to weave first one and then the other, each as
in single weaving, until the desired diameter is reached. Overcast as
shown in Figure 10. The weavers are stopped on opposite sides of the
weaving, A, and the top one is overcast to the other, B. The lower one
is then overcast until it comes opposite to where the other overcasting
stopped, C. Weavers can then be cut off on the back side of the weaving.
If the bottom of the basket is to be woven, it must be crowned slightly,
and the weaving may be done over the knee, as shown in Figure
#11:di_011. (See initial.) This figure also shows the correct method of
holding the hands when weaving either a bottom or a small mat.
[Illustration]
[Illustration]
Figure 12 shows the method of starting a sixteen spoke center. Four
pieces cross four pieces, and two rows of pairing are woven around the
groups of fours before they are separated into twos, A. Two rows are
then woven around the pairs before separating them into singles, B. When
the desired diameter is woven, overcast as shown in Figure 10.
Figure 12, C, shows the method of weaving a center having 20 spokes.
Here five cross five. Three rows of pairing are woven around the groups
of fives and then a pair is separated from each side of the center one
of each group, forming eight pairs and four single spokes. These are
woven around twice and then separated into singles. C shows the work
just before the separation into singles.
The large mat, Fig. 1, C, with open border is made as follows: Cut 10
pieces of No. 5 reed 23 inches long. Split five in the center and put
five through them. Weave center 2½ inches in diameter, as described in
Figure 12, C, with a No. 2 weaver. Cut off the weavers on opposite
sides, Fig. 10, A, and start with 2 No. 3 weavers, weaving until the
work is 4½ inches in diameter. Notice in Figure 6 how the left hand
holds the work down to the surface and the right hand does the weaving.
When the weaving is 4½ inches in diameter stop the weaving as before and
insert two colored weavers, weaving four rows, two on each side of the
spokes. Then start the natural weavers again and weave until the weaving
is seven inches in diameter. Overcast as shown in Figure 10 and finish
the edge as in C, Fig. 8. Spokes want to be about 7¾ inches long outside
of the overcasting and must be sharpened on the end and inserted about
1¾ inches into the weaving.
Whenever the word “about” is used the subject requires the personal
judgment of the one doing the work. If there is any difference in the
texture of the reeds, always select the hardest ones for the spokes and
use the softest ones for weaving.