[Illustration]
The first small basket is but little more difficult to make than the
first mat. The spokes are a little longer to allow for turning up, and
are of the same sized reed.
Figure 1 shows the successive steps in the construction of the simplest
basket. The weaving is started as in Figure 2, chapter II, and is
continued until it is about 1⅞ inches in diameter, when the spokes are
turned up and become stakes. A glance at Figure 1, a, will show why all
the stakes do not stay in a perpendicular position the first time the
weaver goes around them. Figure 1, b, shows the weaver twice around and
the stakes all standing erect.
The future shape of the basket is determined at this point in the
weaving. If a straight, perpendicular-sided basket is wanted, Fig. 1, e,
give the weaver tension enough to hold the stakes upright after three or
four rows of weaving. If a straight, flaring-sided basket is wanted,
Figure 2, a, do not give the first rows of weaving so much tension,
thereby allowing the stakes to flare. In weaving all straight-sided
baskets, after the stakes stand at a satisfactory angle, be very careful
to see that the weaver has no tension whatever. Personal taste and good
judgment are the factors which determine the angle of the flare. If a
curved-sided basket is wanted, Fig. 2, b, start with the stakes quite
flaring, and keep an even tension on the weaver as the weaving
progresses and until the desired curve is woven in. Always remember that
tension on the weaver will bring the stakes together. Figure 3 shows the
correct method of holding a small basket during the weaving of the
sides.
[Illustration]
When the basket is woven to the desired height, overcast the weaving
around the stakes just as it was done around the spokes of the mat. This
process was described and illustrated in chapter II, Fig. 7. The basket
may then be finished satisfactorily by using either border, a or b,
chapter II, Fig. 8. Make the stakes long enough to push through the
weaving, as shown in Figure 1, d. This will stiffen the sides of the
basket, and give it a more finished appearance. After all the stakes are
pushed through, get the curves and loops of the border all regular in
outline and the same height either by measurement or by turning the
basket bottom side up on a flat surface and making all the loops touch
the surface.
Figure 4, a, b, and c, illustrates another simple and very effective
construction. The bottom is made with the pairing weave as described and
illustrated in chapter II, Fig. 9. Four reeds cross four reeds, thus
giving sixteen spokes. When the bottom is woven to about two inches in
diameter, turn up the spokes as at a, bringing the weavers to the
outside. Behind these two and beside a stake, insert a third weaver as
shown at b, and weave three rows of triple weaving, chapter I, Fig. 9.
Stop this weaving by pushing each weaver down behind and beside a stake
and out through the bottom of the basket. Figure 4, c, shows the three
weavers as they stick out below the bottom of the basket.[4] Commence
the single weaving by the Indian method, chapter I, Fig. 4, and continue
it until the desired height has been woven. Insert two more weavers and
weave three rows of triple weaving before making the border. Notice the
bands formed by this triple weaving.
Footnote 4:
If the weaving is too tight to admit of pushing the weavers down
beside the stakes, use a common scratch awl to make room for them. One
cannot use the awl too freely in closing borders and making handles.
[Illustration]
The border may be closed by one or the other of the closed borders
illustrated in chapter III, Fig. 2. For small baskets, c is the best
closed border I have found. For baskets 5 to 7 inches in diameter b is
best, and for those up to 8 or 9 inches use d.
When the single weaving is used for the main body of the basket, and
bands of triple weaving are used at the top and bottom, a pleasing
variety of designs may be made by weaving either the bands of colored
weavers and the body of natural ones, or _vice versa_.
Figure 5 illustrates the consecutive steps in the making of the twisted
handles shown in the lower row of Figure 4. The illustrative work is
wound around a piece of wood which takes the place of the upper edge of
the basket. A piece of 4 reed is inserted beside the stakes on opposite
sides of the rim as shown at Figure 4e. This forms the foundation of the
handles, shown on f and j. For the other baskets in Figure 4 two pieces
are used. One is inserted beside a stake on one side of the basket, and
the other just opposite beside another stake. These are then curved over
and inserted beside the third and fourth stake from where they were
first inserted, thus forming the semi-circular foundation on which the
twisting is done.
[Illustration]
A reed, wet until very pliable, is now inserted to the left of the right
hand side of the foundation reed, Fig. 5, I. This is now twisted three
times around the foundation reed, and comes to the outside of the
basket, as shown at 2. It is now put through to the inside of the
basket, outside of the foundation reed, just below the closed border,[5]
and brought to the front just below the first twisting, as shown at 3.
Follow the first twist back to the starting point, keeping the weaver
beside the first twist. Do not let the weaver cross the first one. Keep
it beside the first at all times. It now goes to the inside, and is put
through to the outside to the right of the foundation reed, and brought
up as at 4, and twisted to the left beside the first two until it
reaches the point a, where the first, almost universal, error is made.
The reed should go to the left of the one already there, as shown at 5,
then to the inside of the basket and up to the front, as shown at 6.
Twist it back beside the others, put it to the inside and again to the
outside to the right of the second. Look out for error b at this point.
Figure 7 is correct. Go back and forth once more, and finish as shown at
8. Figure 9 shows the completed handle.
Footnote 5:
This is not absolute. It may be put through much further down if
desired, say two, three, or even four rows below the border.
[Illustration]
The secret of a good handle is in adjusting the ratio of the foundation
weaver, diameter of semi-circle, and number of twists so that when the
winding is completed the handle will have the appearance of a closely
twisted rope. The handle just described has a 1⅝ inch semi-circular
foundation of No. 4 reed, and is bound with No. 2 reed twisted three
times around to start with. Winding should always continue until the
foundation reed is completely covered. Figure 5, c, shows a handle with
a 2 inch semi-circular foundation of No. 4 reed twisted three times
around with No. 3 reed. D has a foundation of No. 5 reed twisted with
No. 2 reed four twists, and e is another, adapted to a larger basket as
a bail handle. Its dimensions and the number of twists are clearly
shown. The foundation is No. 5 reed, and the winding weaver is of No. 3.
These are sufficient to enable one to judge the ratio which will give a
good handle.
In order to take advantage of the constructive decorative features
spoken of in chapter I, it is necessary to know how to get the correct
number of spokes for any desired diameter of bottom, as the woven
figures spoken of in that article are dependent upon the ratio of the
number of stakes to the number of weavers. When the bottom of a basket
is less than 4 inches in diameter, it is well to have the stakes not
more than ½ inch apart, and in those from 4 to 6 inches not more than ¾
inch apart.
It is also my practice in making baskets less than 3 inches in diameter
to have the spokes turn up and form the stakes, and for those larger to
cut spokes only long enough for the bottom, and insert one stake each
side of each spoke after the bottom is woven. This gives twice as many
stakes as spokes. When you find out the desired size for the bottom of
the basket, decide on the number of stakes. An illustration or two will
give you the method of getting this number: For instance, if nine stakes
were wanted, have two long spokes cross two long spokes and insert one
short spoke, as shown in chapter II, Figs. 2, 3, and 4. Weave the bottom
the desired diameter, and turn up the nine spokes as stakes. If eighteen
stakes were wanted, cut spokes as above only long enough for the bottom.
When it is woven insert a stake each side of each spoke, and the result
is eighteen stakes.
[Illustration]
Three spokes crossing three spokes and turning up when the bottom is
woven gives twelve stakes, and if the spokes are cut only long enough
for the bottom and a stake inserted each side of each one the result
will be twenty-four stakes.
Four crossing four and turning up will give sixteen, and by insertion
thirty-two.
Five crossing five and turning up will give twenty, and by insertion
forty.
[Illustration]
Then, again, if one is not extra careful to get the spacing of the
spokes equal, it will be found easy, when the bottom is partly woven, to
insert a stake where two are too far apart or to cut out one where they
are too near together. This will never be noticed when the bottom is
fully woven. One can easily see that in this way one can get any number
of stakes on which to weave. By reference to chapter I, anyone can find
the ratio between stakes and weavers used in making the baskets shown in
Figure 4. All are made with the triple weave and colored and natural
weavers; f and j are about 1¾ inches in diameter at the bottom, g about
4 inches, and h and i about 3½ inches.
The decorative initial at the beginning of this chapter shows the
adaptation of decorative weavers in making a small demijohn. Its
foundation is a quart Vichy bottle. The weavers used can be easily seen,
also the proportionate spacing of bands. The handles are twisted just as
on a basket. Stakes and handle foundations are of No. 4 and the weavers
of No. 2.
Figure 6 shows a small jug covered with weaving part way up. This was
selected for its outline and covered, because it had a large “trade
mark” glazed upon its surface. The baskets shown in Figure 6 will be
described later.
I purposely omit detailed dimensions. They should be suggested by the
one making the basket. What would seem correct to me might offend
another, and I do not care to be misunderstood as wishing to force my
own taste in matters of proportion upon any one else.
Be yourself fully and completely, and let your work exemplify the fact
that you are doing your own thinking and simply using the information
you acquire as suggestive of greater possibilities.