THE BASKET MAKER
I. INTRODUCTORY WORK
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.
[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.