The weaving process from now on is just the same as for that of round bottoms described in the chapter on Weaving Foundations. E, Fig. I, shows the proper relative position of the spokes at the beginning of the separation of the end ones into singles. If it is thought more desirable to have the sides of the bottom a little curved rather than straight, the straight part may be filled in after all the spokes are separated into singles. This is illustrated, and is done with the colored weavers in order to show it more clearly. This filling in process is done with the single weave, over and under five spokes for the first two pieces, then three, two and one. If this does not round the sides to suit the taste fill in again after one or two rows of regular weaving.
Figure III.
When the bottom is woven, insert one stake each side of each spoke and weave the sides as in the usual way. One can easily figure out the proper number of stakes required, in order to take advantage of the decorative features of triple weaving, in these baskets as in the round ones. Figure III shows some elliptical baskets of different designs and proportions as to major and minor diameters and also two kinds of twisted handles, small and large. Basket No. 3 has a bottom with but one single spoke between its ends as shown in Figure I, D and E. Basket No. 2 has two as shown at C. Basket No. 1 has three, and No. 4 and No. 5 have six.
The edge finishes are all as described in chapter III, Fig. [II], B, and the twisted handles are all as described in chapter IV. A pleasing decorative feature is shown in the large wastebasket in the left hand foreground of Figure III. Two natural and one colored weaver are used and the stakes are equally divisible by three, the number of weavers. Three rows are woven around, then the green weaver changes places with a white one and three more rows are woven. This process is kept up until the desired height is reached, resulting in a spiral arrangement of spots. Figure III shows progress in working out some simple designs, A showing a large hollow diamond (as easily made solid). Smaller hollow diamonds would look well around an elliptical basket. B also shows hollow diamonds and the Indian “good luck” symbol. This work is done with the single weave on stakes not more than one-half inch apart.
Many fine designs may be “worked up” on plotting paper. Use paper which is lined off about as far apart as the diameter of the weaver to be used and draw vertical lines across this about as far apart as the distance between the stakes.
VII. MELON SHAPED BASKETS
A melon shaped basket seems to me to be the most fascinating of all in its method of construction. Figure I shows the material necessary with the exception of the weavers. Figure II shows the method of determining the shape of the slices or ribs on which the weaving is done.[[6]] The material with which the two circular ribs are made is stout ash splint. Take two straight pieces the length required for the circumference of the circle allowing about three-fourths of an inch for lap. These may be fastened together to form the two circular rings either by a small bent iron fastener or with fine string. These rings are then placed in the position shown in Figure III, No. 1, perpendicular to each other. The weaver is then placed behind the vertical ring on top of the horizontal ring with its ends projecting toward the right in the direction of A-B. The weaver is then brought over from A to D in front of the vertical ring.
[6]. Note.—Let AA represent the orthographic projection of the two rings. From the point x, with a radius equal to xy, draw the quarter circle. Divide this quarter circle into three equal parts from 1 to y, and connect the points of division with lines to point x. Lay off lines parallel to these one-eighth inch apart to represent the space to be allowed for the weavers. This will show the projection of one side of the basket with the ribs in position. Draw a quarter circle on the right hand side. From the center line, at point 2, lay off distances on this quadrant about an inch apart as shown at 2-a-b-c-d. Project these to the left on to the line xy, and with x as a center, continue these projection lines with arcs crossing the center rib, as shown. Draw chords 4, 5, 6, 7, and 8. Take a piece of stiff paper or of the material to be used as ribs and bend around from 1 to 3 to get the true length which will be the distance 1 2 3 as shown above at B. Draw the two center lines at right angles, crossing at 4. Lay off distances 4 5, 5 6, 6 7, 7 8 on either side of 4 corresponding with the distances 2a, ab, be, and cd. On these, by means of arcs, lay off distances equal to the lengths of the corresponding chords 4, 5, 6, 7, and 8 in the view AA. A curve tangent to these arcs shows one contour of a rib.