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[Illustration]
KITECRAFT
AND KITE TOURNAMENTS
BY CHARLES M. MILLER
ASSISTANT SUPERVISOR OF MANUAL TRAINING
LOS ANGELES, CALIFORNIA
[Illustration]
THE MANUAL ARTS PRESS
PEORIA, ILLINOIS
COPYRIGHT,
CHARLES M. MILLER,
1914.
_The North Wind is my prancing steed,
The Bridle is my kite;
I’ll harness him, I’ll drive him,
’Till my kite’s most out of sight._
M.
_I saw you toss the kites on high,
And blow the birds about the sky,
And all about I heard you pass,
Like ladies’ skirts across the grass._
Stevenson.
INTRODUCTION.
Perhaps the one word that best expresses the trend of education at
the present time is the word life-likeness. The trend is toward
more and more life-likeness in organization and methods. The effort
toward diversification which has resulted in putting manual training
into courses of study, in multiplying courses in high schools, in
providing ungraded and other special rooms in elementary schools, in
breaking grades up into groups for teaching and promotions, in keeping
playgrounds and shops open afternoons and Saturdays, in opening the
school buildings evenings for social centers or socialized evening
schools,--which has resulted in all these changes and others that might
be mentioned,--is simply an effort to make the schools like life. The
theory behind this is that if a school is like life, children will
like school for the same reason that they like life, and the theory
is sound. Before these changes were introduced, our public schools
were a composite structure, made up nearly altogether of two elements,
neither of which was in any degree life-like. These two elements were
the medieval monastery, for order, and the 19th century factory, for
process.
Kite-making in connection with schools is in line with this trend
toward life-likeness. As the ideas and plans contained in this book
have been worked out and carried into execution in the schools of Los
Angeles by the author, they have demonstrated a wonderful socializing
power. By recognizing kite-season in the schools and carrying the
discussion of it into the shop and classrooms, ending with a great
kite-tournament each year, not only have very many boys been reached
who would not have responded to other influences, but the whole
community has been stirred to sympathetic interest in the schools. This
is the kind of influence which causes children to feel that school is
life, and therefore makes tremendously for wholesome education. If the
ideas and plans of the author can be carried out elsewhere as they have
been in Los Angeles for several years, they must prove a help to the
cause of education.
M. C. BETTINGER,
_Assistant Superintendent of Schools_.
PREFACE.
When we started kite work in the Los Angeles City Schools, we little
thought that so great an opportunity for awakening latent power in a
certain class of boys was being initiated, nor did we dream of any such
kite tournaments as have been developed during the past six years.
Starting with half a dozen plans, sent out on mimeographed sheets to
the various schools from time to time during the spring of 1907, the
number of kinds and designs have increased to a hundred or more. Other
cities desiring information regarding the work, a reprint was published
and has been in such demand that it was thought advisable to write a
more comprehensive text on the subject. Many of the former designs have
been included, but none but what should be put in more permanent form,
and most of these have been redrawn for the new work. The plans are not
complete in every detail, something being left for the boy to work out,
but there is enough in the suggestions so that by reasonable planning,
most of the forms can be made by the average boy and still something
will be left for the expert.
The greatest number of kites will be made by fifth and sixth year
boys, but the spirit holds over into seventh and eighth for the larger
and more complex forms, and even into the high school with model
aeroplanes, etc.
It is the hope of the writer that this little book may be instrumental
in giving our boys and girls suggestions for many happy hours in the
construction and flying of kites, and that it may also serve a good
purpose to teacher and pupil in reaching a common ground, and that it
will help some mother in furnishing a good healthy pastime sport for
boys who sometimes try the limit of one’s patience for the lack of
something to do. It is a home construction work largely, and it has
succeeded oftimes much better than was anticipated, for whole families
have become interested in the development of OUR boy’s kite. Mother
generally is interested first, while father looks with disfavor on
so much time being spent on a kite; but before it flies, father gets
very enthusiastic, suggests here and there, and furnishes material for
string, etc., with pleasure, and they all go to the tournament to see
Jack win a first prize. This is one case, there are others.
I believe there is need for such books, and this subject is without
such a text, therefore, this little treatise.
CHARLES M. MILLER,
_Los Angeles, California_.
_November 5, 1912._
[Illustration: CHARLES M. MILLER.]
CONTENTS
CHAPTER PAGE
Introduction 5
Preface 7
I. General Kite Construction 11
II. Kite Accessories 16
III. Kinds of Kites 20
IV. Plain Surface Kites 23
V. Box-Kites 39
VI. Combined Kites 48
VII. Decoration of Kites 61
VIII. Messengers 69
IX. Moving Devices 75
X. Suspended Figures and Appliances 82
XI. Balloons and Parachutes 92
XII. Reels 97
XIII. Aeroplane Models 103
XIV. Gliders 108
XV. Model Aeroplanes 112
XVI. Propellers, Motors, Gears, and Winding Devices 121
XVII. Tournaments 127
XVIII. Tournaments, Continued 134
XIX. Conclusion 140
XX. Bibliography 142
CHAPTER I.
GENERAL KITE CONSTRUCTION.
The kite is usually made of a framework of wood, is lashed together
with cord, strung with cord according to design, and finally is covered
with paper; but in each case some other material might be substituted.
The drawings in this book have the framework represented by full lines
and the string by slant dotted lines. The framework must be kept light
and strong. It is usually made of wood, the pieces varying in number
from two in the plain tailless, to sixteen in a good box-kite, and to a
great many in a large tetrahedral kite.
The soft tough woods are better than the hard, heavy woods. Spruce is
considered the most satisfactory, but yellow pine, basswood, and even
white cedar will do. For a three foot kite, the California redwood
shake is very satisfactory. It is a kind of long shingle of uniform
thickness thruout, is six inches wide and three feet long. The shake is
split into strips about 7/16” or ½” wide, and bends sufficiently for
the bow. Some box factories will rip out spruce sticks in 25c. bundles
for boys at about one penny each. Some good sizes are 3/16” × ⅜” × 3’,
¼” × ½” × 4’ and ⅜” × ¾” × 5’. These should be straight grained and
well seasoned.
Sticks should be uniform in weight and bending qualities. Where
sticks are to be centered, careful measurements must be made, then by
balancing over a knife-blade the difference in weight can be detected
and the heavy end reduced by whittling off some. Some try to find
center by balancing, but this is very inaccurate; a string may be used
for measuring.
[Illustration: FIG. 1.]
Aluminum tubing is used, especially for parts of model aeroplanes, but
it is not available in many places. Some make frames of paper, but
they are more for curiosity than utility. For large frames bamboo is
excellent, but requires a different fastening of joints than sawn out
material, Fig. 1. Split bamboo is excellent for curved outlines and
for light framework of butterflies and bird kites, and for Japanese,
Korean and Chinese kites. Wire can be used for frames of small kites.
[Illustration: FIG. 2.]
[Illustration: FIG. 3.]
=Lashing.= When two sticks are to be fastened together, instead of
nailing with a small brad, they should be lashed. First wind diagonally
around both sticks in both directions, Fig. 2; then wind between sticks
around the other windings. This draws all the cord up tight, Fig. 3.
Coat over with glue or shellac.
[Illustration: FIG. 4.]
Large box-kite frames with sawn out material should have the upright
posts let into the long horizontal pieces a little, Fig. 4. If a brace
is notched at the end to fit over another piece, Fig. 5, and is liable
to split out, it can be wound just back of the notch with thread, Fig.
6, and coated with shellac. All windings should be neatly done without
criss-cross windings as in Fig. 7. Which do you like best Fig. 6 or
Fig. 7?
[Illustration: FIG. 5.]
[Illustration: FIG. 6.]
[Illustration: FIG. 7.]
=Collapsible Frames.= Folding frames can be made for most kites.
Large tailless kites have either a removable spine or bow, the
square box-kite has braces that spring into shallow notches, and the
triangular box and house kite combination can be rolled by having a
removable cross-stick. It is a great advantage to have folding kites.
=Stringing.= Symmetry is so necessary in the making of a good kite,
that the stringing becomes an important factor; for if two opposite
sides are made unequal, there will be more pressure on one side of
center than the other, the kite will be pulling off to one side or
darting down and perhaps will refuse to fly at all. A small hard
twisted cotton cord is good for stringing as it does not stretch.
[Illustration: FIG. 8.]
[Illustration: FIGS. 9, 10.]
On kites where the string passes around the entire frame, Fig. 8, it is
best to fasten at the end of one stick only, as at _a_, then pass in
the notches of the ends of the other sticks at _b_, _c_, _d_, and tie
again at _a_. We must assume that the horizontal stick in Fig. 8 has
been measured accurately for center as that is a part of the framing
process. The sticks can be notched with a knife, Fig. 9, or a saw-cut
can be made in the end, Fig. 10. The latter is less liable to split
out, but the first is more convenient, for every boy is likely to have
a knife or can borrow one.
[Illustration: FIG. 11.]
After the string is secured around the entire figure, adjustment
between points is made. If a tailless kite is being strung up, the
two upper portions are shifted until the right and left sides are
equal. The ends are then wound with another cord, Fig. 11, to prevent
slipping. The two lower sides are then spaced and the lower end of the
spine is secured in the same way. Some may think it a waste of time
to measure the lower strings after the upper ones have been adjusted,
but very often there is quite a little difference, due to a springing
of the spine. A six pointed star kite would have six, instead of four
spaces to even up. Some stringing is used for inside designs, and some
is used for strengthening frame.
=Covering.= Probably more tissue paper is used in covering kites than
any other material. There are a number of kinds of tissue papers, but
the cheapest, because it is the cheapest, is used most. These cheap
tissue papers are now found in all shades and tints of colors.
The French tissues are more durable, and as a rule, more brilliant in
color. A kite covered with this paper can be used from time to time
without being disabled.
[Illustration: FIG. 12.]
The Chinese tissue paper is the strongest of all tissues in one
direction, and should be used so as to bring the length way of the
paper in the direction of greatest strain. This paper only comes in a
cream color, but is very satisfactory where strength and hand color
work are desired. In Los Angeles we get two sheets for five cents,
and the size is 22” × 23”. There are some wrapping papers that are
pliable and strong enough to be used, especially on box-kites, but only
a few of these are of much service on plain surface kites. The tight
covering on a box kite is an advantage. Some boys use a paper that is
commonly known as a butter paper, and others find orange wrapping paper
serviceable.
Of the cloth coverings, cambric is the most popular. The sizing is
sufficient to keep the covering in shape during construction, it is
light in weight, comes in variety of good colors and is cheap. When
cloth is used on plain surface kites, care must be observed that
the goods are not used on the bias, as the unequal stretching would
unbalance the poise of the kite. Silk is excellent, but ----!! it isn’t
used much by boys.
Most coverings are turned over the outer strings, and are pasted or
sewn down. In representative figure kites, the edge of the paper is
sometimes left free, while the string is made fast by extra strips of
paper pasted fast over the string and to the back of the cover, Fig.
12, thus leaving the edges to flutter in the breeze. Some large kites
can be covered with paper, if a network of string is used at the back
to give support to the covering.
Tailless, and some other kites require loose coverings, this looseness
should be planned for in a systematic manner. If the cover of a 3-foot
kite is placed on a table or the floor with the frame laid on top, the
edge of the cover may be cut one inch or one and one-half inches to
the outside of the string. Instead of turning in this whole amount,
only turn in one-half inch of the outer edge. This leaves plenty of
looseness for bagging of cover, and is regular.
CHAPTER II.
KITE ACCESSORIES
=The Bridle.= The kite is not supposed to be finished until the bridle
(or belly band) is attached. Nearly all kites require a bridle, a
very few have the kite line tied directly to some one point of the
framework. The bridle is a very important part of the kite equipment,
as the kite is dependent on it for the proper distribution of pull by
the kite line, it also gives the inclination of the exposed surface to
the breeze. The inclination is varied slightly for various purposes,
such as high flying, strong pulling, steady flying, etc. To make the
kite fly directly over head, the kite line is attached above the normal
point, and to make it fly low, the attachment should be below normal.
If the single line can be attached to the framework so as to give this
inclination, no bridle is needed but it is usually difficult to locate
the right point.
[Illustration: FIG. 13.]
[Illustration: FIG. 14.]
[Illustration: FIG. 15.]
Many kites need attachment of bridle in but two places, while others
require three, some four, and some are benefited by the use of many
strings to the bridle, but the last may be used for strengthening the
framework of the kite more than for general poise. The Chinese say
there should never be more than three strings to the bridle, while the
Japanese use many.
The tailless kite may have the bridle attached at the bottom and top
of the spine (the vertical stick of the frame) or the bottom and at
the crossing of bow and spine. In either case the bridle must be long
enough so that when it is drawn over to the side of the kite, the loop
will just reach the outer points of the bow, Fig. 13; _ac_ should be
the same length as _ab_, and _cd_ the same length as _bd_. The normal
point of attachment of kite line is at _c_, the point that just reaches
_b_ or _e_ when drawn to the side. Some bird kites have a similar
bridle but much shorter between attachments. More of the form kites
have three and four strings to the bridle. The three string bridle is
usually two strings above and a longer one below, Fig. 14. The four
string bridle has two short uppers and two long lowers, Fig. 15. For
the poly string bridle, see Fig. 16. Some have advocated an elastic
bridle but the writer has never found it of any great advantage.
[Illustration: FIG. 16.]
[Illustration: FIG. 17.]
A double bridle with a kite line to each, makes a dirigible kite
possible, which may be useful in a number of ways and which can give
much amusement in kite antics that is not possible with a single kite
line. A double bridle is illustrated in Fig. 17. Such a kite can be
driven at will. The kite becomes a sail and can be pulled to right and
left, in circles and various contortions, out of the ordinary.
=Kite Lines.= A three or four ply cotton wrapping string is used more
than any other and is very satisfactory for three-foot kites and
smaller. The hard twisted cotton seine twine comes from six to over a
hundred ply, and is excellent for kite lines. It is strong and does not
burn the hands, nor kink as much as hemp twine.
For high flying or racing work, a light strong cord is necessary. A
small kite can carry up a great amount of silk or linen thread but
one should have a reel and gloves to handle it. Shoemakers thread and
upholstering twine are also used. Some think that waxing a string makes
it stronger, but by actual tests before and after waxing, there was
no appreciable difference in the amount of endurance of strain before
breaking. Waxing does preserve the string and prevents fraying and
untwisting.
When kites are put up in tandem, the string need only be as strong for
the first kite as is ordinarily used for one of its size, but as other
kites are added the size of the cord must be increased. This grading of
the string, greatly reduces the total weight and cost of the kite line.
=Reels.= You can fish without a reel and you can fly a kite without
one, but the reel is a great convenience and an absolute necessity at
times for both. The reel in brief is a large spool with flanges on both
ends, a central axle fixed to the spool, a frame for supporting the
axle, a guide for the string to prevent its running off the reel, and
a brake to prevent too rapid unwinding when letting out the string. A
reel can be made without a crank, by having the axle supported at one
end only, and a knob handle fastened to the outer face of the reel for
winding purposes. For further directions, see chapter on Reels.
[Illustration: FIG. 18]
=Tails.= A tail and other balancers are used to give poise to an
otherwise unsteady kite. When a kite is constructed in such a way as to
present a broad flat surface to the breeze, it will sway and dive and
no matter how carefully you attach your bridle it cannot be supported
in the air.
[Illustration: FIGS. 19, 20, 21.]
For kites that represent irregular forms, there must also be a special
balancer. The tail is usually resorted to in such cases. The tail
is more than a weight. A foxy kite refuses to come to terms by the
addition of a thread and lead or other weight. The weight drops so
quickly to its plumb line that the kite has not come to poise, and
makes another pitch in some other direction. The value of the tail
depends not so much on weight as on its pulling capacity while being
drawn thru the air. The tail, usually consisting of a string with a
number of pieces of paper folded and tied thereon, Fig. 18, and with
cloth streamers at the end for weight, exerts considerable pull for
long enough time to give steadiness to the kite. A kite must have poise
in the air just as we balance a board on the end of a finger--if the
finger is not centrally located, the board will fall to the left or
right, front or back; so with the kite, if the pressure of the air
is not centrally located it will glide to left or right, or pitch
forward or tumble backwards. The tail helps most in remedying the two
latter troubles. Almost any light surface can be supported in the air
by proper attachment of bridle and tail. The Japanese use two or more
tails on their square kites consisting usually of long cotton ropes
with large tassels on the end. These look very beautiful trailing out
in long graceful parallel lines.
Another form of air resistance found serviceable, is hollow cones or
funnel shaped devices of light cardboard attached by cords to the kite
in place of tails, Fig. 19.
A Chinese boy had a colored paper ball about 8” in diameter attached by
a string to one of the kites last year, Fig. 20. Another form is the
intersected cardboard discs, Fig. 21. Other forms can be used.
Christmas and other paper rope used for decoration purposes could be
used to advantage for tails of kites. They will catch the breeze and
can be festooned into pretty designs but will need cord supports to
give strength.
Don’t throw away a kite because it has to have a tail. The tail is
sometimes the most beautiful part.
CHAPTER III.
KINDS OF KITES.
Kites are so numerous in kinds and design nowadays that, in order to
get at any kind of intelligent discussion of them, it will be necessary
to segregate them into classes and varieties as the scientist does in
his investigations of nature study. There is the great big subject of
constructive sport called kite making. The name kite strikes joy to any
live boy’s heart and it does him good too. But kite making is too big,
so we will try running some cross-roads thru, thus dividing it into
smaller groups.
A large number of kites can be classed together as having the same
general make-up and we will call the first, Class A, Plain Surface
Kites. These kites have one general surface without any built out
parts, and can be subdivided into two divisions: 1. Geometric and
regular forms, 2. Irregular and representative forms.
There are two divisions of the geometric and regular forms:
a. Tailless kites.
b. Kites with tails, regular in form.
The two divisions of irregular forms are:
a. Set pieces of design.
b. Insect, bird, animal, and man kites.
This brings the analysis for Class A down to variety which will be
discussed in succeeding chapters.
Class B. Box-Kites, has six subdivisions:
1. Square.
2. Rectangular.
3. Triangular.
4. Cylindrical.
5. Hexagonal.
6. Tetrahedral.
Class C. Combined Kites. Box-kites may have additions of plain
surfaces, or combinations of curved surfaces and plain ones, giving
shapes that represent hollow forms of fish, animals, etc.
1. Straight extensions of plain surfaces.
2. Hollow shapes representing animal and mechanical forms.
Class D. Kites in Series. These are made up of combined kites also,
but the combinations are so different that they belong in a class by
themselves.
1. Compound kites.
2. Kites in tandem.
a. Connected directly to one line.
b. Connected by individual lines of some length to one main line.
3. Dragon Kites.
The plain kites are the more numerous for several reasons. They are
more easily constructed, take less time, use less material, fly in
lighter breeze, and are usually more stable in air. The construction as
a rule consists of two or three sticks as a framework with a covering
stretched over it so as to form a simple plane that is exposed to the
breeze. Of course, there are tricks in making the plain kites, but
almost any of them can be made to fly by either warping the surface or
attaching a tail.
Box-kites require considerable time and are more difficult in
construction. They are a built up framework with cloth or strong paper
coverings. The frames must be kept light and strong, and a process of
trussing is necessary to accomplish this. The covering seldom covers
the whole framework but usually is made in bands. The space enclosed
by a band is called a cell. Most box-kites consist of a forward and
rear cell, that is a band is found at each end around the framework,
transversely to the length of the kite. Some of the most practical
working kites are of the box-kite type. By working kite, I mean kites
that are used for a purpose other than pleasure.
Some box-kites have extended wings of plain surfaces to gain more
lifting power, or for poise, and the application of these appendages
serves to explain the combination of kinds that form this group.
In the group “Kites in Series” we have kites of the same kind fastened
rigidly together making one kite, called a compound kite, also kites
fastened one after the other a few feet apart on one line and all
started up at one time, and still another set of similar kites in which
a number of kites are put up on individual strings, one at a time,
for perhaps 300 feet, and are then attached to the main kite line.
Boys sometimes succeed in pulling up as high as forty kites on one
line by this method. Another very interesting and beautiful series is
the Chinese dragon kite type. In this a number of kites are harnessed
together with about three cords running from head to tail.
These various groups will receive more explicit directions in separate
chapters as we proceed. So far in our analysis we have been dealing
with kinds of kites as to construction. There will be a number of
chapters on various other features of kite work and accessories,
including, Kite Decoration, Messengers, etc. The Chinese and Japanese
people have been making kites a great many years and have become very
skilful workers and decorators. Their decorations seem to tend more
toward the depicting of ugliness and fierceness instead of beauty and
color harmony, altho many of the color combinations are very effective.
The tendency toward fierceness can well be understood when we consider
that it has a part in their religion, it being supposed that such ugly
monsters helped to drive away the evil spirits.
The large Japanese square kite, which is rectangular in shape instead
of square, usually has a big head with plenty of the whites of the eyes
and teeth showing. Some very fine specimens have been exhibited at our
“Kite Tournaments”. They expend quite freely in making up their kites,
use costly ornaments and considerable gilt and black. The gilt is
usually very good that is used.
While the orientals have shown us some stunning effects in decoration,
I believe that the future will show some results of color harmony and
artistic spacing that will be much superior to theirs. We are busy as
yet trying to master the kite craft from the constructive and flying
side, but we are getting on, even on the decorative side as well.
We are now ready to discuss variety in the next chapter.
CHAPTER IV.
PLAIN SURFACE KITES.
[Illustration: FIGS. 22, 23, 24, 25.]
The tailless continues to be the most popular of all the kites. No
matter how artistic, how representative, how curious, or how mechanical
the new kites may be, the tailless is the first and last out every
season. It flies in a very light breeze, and is so steady in the air.
There are several kinds of tailless, but the two stick Eddy Kite seems
to be the winner. These kites are made from five inches to thirty feet
in height. This kite, Figs. 8 and 22, has two sticks of equal length,
the vertical stick is called the spine, and should be straight, while
the bow is placed about one-fifth the distance down from the top of
the spine. This bow stick is bent backward by inserting a brace stick
as shown by Fig. 23. The advantage of a removable brace stick will be
recognized when a person tries to carry several kites to a field at one
time. If the brace stick is out, the kites lie flat and do not injure
each other, so that twenty-five or more might be carried by one person,
but if the kite is bowed, there may be great difficulty in carrying two
or three. Most boys bow about three inches for a three-foot kite. See
Chapter 1 for the stringing of this kite.
=The tailless kites= are nearly all constructed so as to have a keel
projecting out to the front. In order that the keel may be of more
service, the covering is not stretched tight, but is left loose.
Perhaps an inch along each side would be allowed for bagging or
pocketing. See Chapter I on covering. If the covering is drawn tight,
the kite will dodge and will probably dive to destruction.
[Illustration: FIGS. 26, 27, 28, 29.]
Now we can modify this type form of kite. We can use two spines and two
bows, Fig. 24. In this kite the upper bow should be bent more than the
lower, and the bridle will be of more service if attached to the upper
bow at two points about midway from spine to end of bow. The covering
should not be quite so loose on this kite as on Fig. 22 but should not
be tight. Another variation is given in Fig. 25, in which two spines
are used and one bow. Sometimes the spines are crossed as shown in
Fig. 26, the distance being much greater at the bottom than at the top
between the ends of the spine sticks. A modification of the last two is
shown in Fig. 27, in which a built out keel is shown. Two small braces
project from the bottom of each spine with a third stick connecting
their meeting place with the center of the bow stick.
[Illustration: FIGS. 30, 31, 32, 33.]
Still one other combination is a form that can be used as a foundation
for many outline shapes. It is shown in Fig. 28, and has two spines
and two bows; but where much modification is made, a tail or other
balancers must be used. A kite with a broken bow is like a bird
with a broken wing, but if broken in the center it can be redeemed
for service by the addition of a cross-stick, as shown in Fig. 29.
The broken part should be well lashed together. A kite could be
successfully planned in this way from the beginning. It is possible to
make a number of geometric or representative forms as tailless kites,
but representative forms as a rule need tails.
[Illustration: FIG. 34.]
[Illustration: FIG. 35.]
The shield, Fig. 30, is one of the tailless kites and the writer
succeeded very well with a two bowed tailless in the shape of a six
pointed star. See Fig. 32.
Perhaps the largest group in real variation is that in which kites with
tails or other forms of balances are found. And first and foremost,
comes our grandfathers’ old English bow kite, Fig. 18, having a bow
that curves upward, but not backward, over the end of a single spine.
Tassels were added at each side of the kite at the termination of each
end of the bow, and a long tail of rolled papers tied to a string with
a cloth hanging at the end was attached to the bottom of the spine.
[Illustration: FIG. 36.]
The great class of star kites, with varying numbers of points, and the
geometric, hexagonal, octagonal, and other forms belong to this group.
A three string bridle is most satisfactory for most of these forms. The
two upper strings of bridle should be the same length but shorter than
the lower string. The latter should be attached at a central point at
the bottom. In case there is no stick to anchor to at the center of
the bottom, four strings may be necessary or two longer ones may be
used at the bottom and one shorter one at the top. However the bridle
is attached, the shorter strings are always at the top, and the single
string must be centrally located to right and left, whether at the top
or bottom, and the double portions on equal distances to each side of
center line.
[Illustration: FIG. 37.]
The bridle for a single spine and bow tailless is something attached at
top and bottom of spine, or at the intersection of bow and spine, and
at bottom of spine. In either case the bridle should be long enough so
that when stretched out to the side of the kite while attached at the
two points named, it will just reach out to the end of the bow; and
at this point the kite line is attached; see Fig. 13. Fig. 33 shows a
hexagonal kite. The same framework could be covered as a star kite,
Fig. 34. There may be any number of points to a star kite, but most
boys make the six-pointed ones. Sometimes the points are arranged as
in Fig. 35, and again as in Fig. 33. Fig. 36 shows a very interesting
tail for smaller star kites. Fig. 37 has another arrangement of stars
for the tail. Fig. 38 shows a pentagonal kite and its construction.
The bridle might be attached at one upper point and the two lower
points. Fig. 39 shows an addition to the six-pointed star, in the shape
of a crescent. Note that two sticks are longer, extending across the
crescent, thus giving more rigidity to the surface. The outline of the
crescent was made of split bamboo. In a similar manner, a broad circle
could be formed about Fig. 38. See 38a.
[Illustration: FIGS. 38, 38a, 39, 40.]
Star and hexagonal kites are not the only members of the regular
shapes with tails. The Japanese square kite, Fig. 40, which is usually
rectangular in shape, has a vertical spine, two diagonal spines, and
several horizontal ribs that are lighter in weight than the spines.
The larger the kite, the more horizontal ribs will be required. By
making removable spines the kites can be rolled up and the Japanese
have exhibited some very beautiful ones that have been imported. Some
of these cost as high as $30.00 or more. The two long ropelike tails
swinging in graceful, parallel curves give a beautiful effect to the
whole kite. The bridle is usually attached at many places on this kite.
[Illustration: FIG. 40a.]
Regular forms of kites are many. In Fig. 41 the circle is of reed or
split bamboo. It would be well to fasten the bridle at four points.
Fig. 42 needs no special explanation as the construction is similar
to Fig. 41. The balloon kite is another modification. The ship kites,
Figs. 43, 44, 45, 45a, show the construction in the drawing. A piece of
pasteboard is used for the hull. They make pretty kites.
[Illustration: FIGS. 41, 42.]
[Illustration: FIG. 46.]
[Illustration: FIG. 43.]
[Illustration: FIG. 44.]
[Illustration: FIG. 45.]
[Illustration: FIG. 45a.]
The irregular forms are more representative, and to many, more
interesting, because with patience and ingenuity almost any form can
be made to float in the air. Soaring birds, Fig. 46, are attractive
and their construction is unique. Split bamboo is mostly used for the
framework. The Chinese boys take small strips of the Chinese tissue
paper to lash the pieces of frame together. It is very light and if
twisted while wet, becomes tight and strong when dry. The covering is
also of Chinese tissue and colored with a water color brush. A group
of about five of these kites is very interesting when soaring about
on high. A pleasing modification is an ingenious tail attachment that
is hinged to the body so that the tail drops and is raised again by
the breeze, giving the appearance of fluttering when a little distance
away. Fig. 47 is a photograph of three that were flown at one time and
were mistaken by many for real birds, while Fig. 48 is a photograph
of a pair with fluttering tails. In each picture the back of one bird
is shown. In Fig. 47 the birds are flat but in Fig. 48 the bodies are
rounded out, giving a keel to the kite. This is done by making a light
framework of small split bamboo. Notice the little patches of paper
on the back that hold the string, allowing the edge of the covering
to float and flutter as feathers. The bridle attachment may be two
strings, as in Fig. 13, and may be three, as in Fig. 14. A set piece
is shown in Fig. 49, with an American flag fluttering as a balancer.
This makes a very beautiful kite when enough time is put on it to make
the bird stand out clear and real in appearance. One boy cut papers and
stuck on to a background for feathers and while he succeeded well it is
not necessary and not as effective as a few good strokes with a water
color brush.
Butterflies offer a great variety in design and color, the best
results being obtained by pasting the striking colors over the general
covering. A more permanent kite can be made by using the Chinese tissue
with strong water colors, and it is more a work of art. A kite thirty
inches across, made of bamboo and Chinese paper will last for years
if it has good care. Butterfly kites have been made to fly without
tails but nearly all need one. Two drawings are shown, Fig. 50 shows
the double tail of ribbon and button of cardboard at bottom. The body
is curved like the bird form, Fig. 48, and the edge of the wing is
scalloped but the waves are longer than for feathers. A Chinese boy
made this and placed a small silk Chinese flag on one side of the
head and a like American flag on the other. The antennae were pieces
of small reed with silk balls that are sometimes used in ornamenting
draperies and gowns.
[Illustration: FIG. 47.]
[Illustration: FIG. 48.]
[Illustration: FIGS. 49, 49a, 50, 51.]
=Animal Forms.= The animals are not limited to bears, but horses,
elephants, etc., can be outlined in kite forms. Fig. 52 shows a
standing bear with little bears swinging between ropes as balancers for
the large bear. The ropes in the kite may be strips of cambric. Small
strips of wood should cross from one rope to the other back of the
little bears which are made of medium thick cardboard. The bridle can
be attached from the bear’s shoulders to the bottom of the spine stick.
The bridle is attached only to the large bear.
[Illustration: FIG. 52.]
[Illustration: FIG. 53.]
A horse carrying a knight in armor, or horses hitched to a chariot,
would take much planning but are within reach. An elephant with
splendid equipment of royal hangings would make a gorgeous appearance.
When difficult problems of this kind are attempted it should be by kite
makers of experience as much adjusting will be necessary, and plans for
framework will be needed that will give rigidity and lightness. Some
parts in a complex design will need stiffening with reed bent out and
around from the framework. Sometimes a small outline may be effected
by means of stiff paper and again a string may be stretched from some
distant stick of the framework so as to carry the covering out to
certain lines. By careful planning some very complicated forms can
be worked out. In the mounted knight, Fig. 53, the nose of the horse
will be a straight stick, but the upper line of neck and lower part of
head will be bent reed, and of good weight. The raised knee and foot
are reed, while the under side of neck changes from the line of the
breast by means of a string. The back of the foreleg on the ground is
of string, while the extension of the stirrup might be of stiff paper.
Much can be done with the brush. For instance, the dropping down of the
rump to the tail would be curved, let the outline run angular, then
with a heavy streak of color, give form. A little silver paper on the
armor will spice it up wonderfully.
We might consider a mechanical model, an electric coupe, Fig. 54. The
tires may be somewhat exaggerated and stationary, while the inside
spokes and hub could be in the form of a small windmill so as to turn
around, giving the effect of running. In such case, the fans should be
so turned as to turn the wheels in the same direction. By the use of
a double bridle and two kite lines, it would be possible to cause the
auto to travel across the sky. Electric cars and locomotives might be
similarly made and manipulated.
[Illustration: FIG. 54.]
[Illustration: FIG. 55.]
When reed or bamboo are to be bent for some very particular form, it
might be well to lay it out on a board with brads on each side, leaving
it to dry. In this way a truer form may be secured. Bamboo can be bent
into shape by a little heating over a flame.
[Illustration: FIGS. 56, 57, 58.]
The human kite has all the possibilities of caricature in it, and
there are some very funny attempts. “Just Boy,” Fig. 55, is a good
one, and “Foxy Grandpa” is popular. Fig. 56 is the “Squared Chinaman”.
The “Clown and Donkey,” Fig. 57, is rather easy, being a combination
of three tailless kites. The “Dutch Girl” makes a good kite, also “Me
Happy,” Fig. 58. In these as in the previous sub-group, much of the
effect is dependent on skilful handling of brush, after the kite has
been constructed. The flying depends much on the attachment of bridle
and balancers.