Fig. 62
This tray is worked out in the natural reed and when completed dyed brown.
Material
After fastening the center with two rows of weaving, weave three rows, separating the spokes in twos; then weave fourteen rows in pairing. Insert the 96 spokes, placing three spokes by the side of each spoke of No. 4 reed. After all the spokes are inserted, weave three rows of triple twist, No. 2 reed; considering each group of three spokes as one spoke, weave five rows in double weaving. With No. 2 reed, weave three rows of triple, separating the spokes in groups of twos. Complete with the following border. Consider each group of twos as one spoke. Take one group and place it over the next two groups, under the next two, over the next two, under the next two, over the next two, under the next two and out in front. Do the same with each group of spokes. Allow the first groups to be woven loosely until all the groups are woven; then draw the loose groups tight. Make the border uniform throughout. You are now ready for the border on the base of the tray. Two rows are woven to make the stand for the tray. First row, each spoke is brought in front of next three spokes and back of next three. Second row, each spoke is brought in front of the next three spokes where they are cut off inside the weaving.
Handle
Insert the two pieces No. 6 reed between the border and triple twist. Leave about a two inch space between the inserted spokes. Fasten securely with No. 00 reed. With No. 2 weavers, weave three rows in twirl effect around one spoke, until about 41⁄2inches are woven up on the spokes, then considering both spokes of handle as one, continue the weaving until you are opposite to where the spokes are joined. Now coil the weaver around one spoke to the end of the handle, bringing the weaver each time down under the tray and up on the other side of spoke. Treat the other spoke in the same manner until both spokes are uniform. Hold the weaver tightly throughout the weaving of the handle. A loosely twisted coil makes a very poor handle.
If the handle is woven correctly, groups of three coils around the handle, with a space of about3⁄4inch apart, will be the result.
Fig. 63
The tray is made of natural reed No. 4 and No. 2. The inner base spokes are No. 4 reed, the inserted spokes No. 2 reed. Two spokes of No. 5 reed, twenty-eight inches long, are required for the handle—the weavers, No. 00 reed.
Fig. 64
Material
Insert and fasten the spokes in position with the cross weave. Weave four rows of No. 2 reed. Follow this with twelve rows of pairing and nine rows of double weaving.
Insert the 31 spokes and weave with No. 4 reed, four rows of three-rod coil. Pinch the spokes and set up three rows of triple twist. Weave eight rows of double weaving, holding the spokes slantingly outward. Finish with three rows of triple twist and the plaited border.
Handle
Insert the piece of No. 8 reed down through the border, through the weaving to the lower tripletwist. With No. 2 reed, coil eight rows around the handle making ten twists.
Fig. 65
Material
Over a 16 spoke center weave a base 31⁄2inches, separating the spokes into groups of twos. Insert the 30 spokes. This will make groups of fours.
Turn up with two rows of No. 3 reed in triple twist. While weaving, curve the spokes to correspond to the curve of dish, draw the weavers tightly to hold the dish securely.
Follow the upset with eleven rows simple weaving. Consider every group of fours as one spoke. With two rows of triple twist in No. 3 reed, separate the groups of fours into groups of twos. Weave twenty-eight rows in simple weaving.
For the sides, take one spoke of each group, passit back of next two groups, bring it down the outside of basket and through the triple twist at base. The spokes will run singly on the outside of the basket, but will pass through the triple twist at the base in groups of twos. After all the groups have been passed through the triple twist the border is made as follows:
First row, each group is passed back of the next two groups to the right.
Second row, each group is passed in front of the next two groups, back of the third group where the ends are cut off closely.
Border for Top of Basket
First row, each single spoke is brought back of next two spokes.
Second row, each group is passed in front of next two groups and back of third group where the ends are cut closely.
Handle
Insert the ends of handle through the weaving about 13⁄4inches apart. Coil six rows around the handle and fasten ends securely.
Fig. 66
Material
Make a four inch base in pairing. Turn sharply upward and slant inward with four rows of No. 3 reed in three-rod twist. Weave eight rows in No. 2 reed, over two, under one. Change the reed to No. 00. Weave six rows, over two spokes, under one, with three stands of No. 00 reed in slewing. The weaver must constantly keep drawing the reed tight and holding the spokes well in towards the center. With a strand of No. 00 reed, make eighteen rows in the plain weave. The diameter should be now 11⁄4inches. Hold the spokes slightly outward and with three weavers in slewing, make seven rows, weaving in front of 2 spokes, back of 1 spoke. The diameter should now be almost two inches.
Insert the 9 spokes, placing a single spoke by the side of every other spoke. Soak all the spokes well, pinch with pliers and bend the spokes straight outward.Hold them in this position until three rows of pairing, three rows of triple twist No. 2 reed and five rows of single weaving are completed.
Bend the spokes in a curved effect, hold them slightly outward and upward. In this position weave ten rows double weaving. Holding the spokes now in a pronounced upward curve, weave five rows of triple twist in No. 4 reed.
The following border completes the tray: Turn down three spokes—No. 1 spoke back of No. 2, No. 2 spoke back of No. 3, No. 3 spoke back of No. 4. Now place No. 1 spoke in front of the third and fourth spokes and back of the fifth spoke; likewise place No. 2 spoke in front of the fourth and fifth spokes and back of the sixth spoke. Continue this around the basket until all the spokes are woven in the border.
Material
A desk tray is a very useful article and is made as follows:
Bore 45 holes through the board about3⁄8inch in from the edge of the board. Insert the 45 spokes through these holes allowing 31⁄2inches for the bottom. Make a foundation stand by weaving these end spokes in front of 2 spokes and back of the third spoke.
The sides are woven with two rows of three rod coil, then in double weaving until the tray is 21⁄2inches high. Follow this with two rows of triple twist and the plaited border.
Fig. 67
Material
Bore 60 holes through the board large enough for No. 2 reed to slip through easily. The holes should be one-half inch apart—19 holes on each of the lengthwise sides and 12 on each end.
Pass the spokes through each hole. Allow 11⁄2inches for the bottom of tray. For the base border weave one row of pairing and the following border: Each spoke is passed in front of the first spoke toright and back of the second spoke. When all the spokes are woven in this way, place the tray on a flat surface and make sure the base border is perfectly even and level.
The cretonne and glass should be identical in size. Lay the cretonne on the board flat and even, and place the glass over it. The glass must fit snugly and tightly to make a perfect tray. Keep the spokes moist to allow easy weaving. The weavers must be soaked until very pliable. Weave1⁄2inch of pairing with No. 2 reed or nine rows. Follow this with one row of triple twist in No. 3 reed. The plaited border completes the tray.
A very pretty effect may be obtained by having a pale pink flowered cretonne and natural color reed. The cretonne and color of reed should always harmonize.
Material
Bore 99 holes through board equal distance apart. Stain the board brown. Insert the spokes and allow 31⁄2inches for the bottom stand. Make a border for this stand in the following manner:
First row, each spoke is brought back of next spoke to right.
Second row, each spoke is passed in front of the next spoke and in back of the next where the end is cut off.
The sides are now woven. A 4-rod coil No. 4 reed holds the glass firmly in place. Follow this with seven rows double weaving No. 2 brown reed and one row No. 4 reed in 4-rod coil. Complete the tray with the plaited border.
After the tray is finished, singe it to get rid of all the loose bits of reed—then polish the board with two or three coats of wax. The cretonne, reed and stain should harmonize in color. A soft brush produces best results in polishing the basket.
Material
The holes should be made about one inch apart. Insert the 52 spokes and make foundation stand as described under preceding model. Be careful that the board is perfectly dry before placing the cretonne upon it. Keep the spokes moist by using a wet sponge; be careful not to allow any water to get under the glass while weaving. Best results are obtained by staining the board first and then weaving a dyed reed; good results, however, may be obtained by making the tray in natural reed first and then staining the board and reed. Great care must be exercised in painting the tray after it is made.
The sides of the oval tray are woven two inches high. First weave one row of 4-rod coil then seven rows of double weaving in pairing. One row of 4-rod coil and the plaited border completes the tray. Polish as described under preceding model.
Material
Prepare the board by making 39 holes5⁄8of an inch from edge of board,3⁄4inch spacing between each hole. Insert the 39 spokes. Weave an under base stand in the following manner: First row, each spoke is brought back of next spoke to right and out in front. Second row, each spoke is passed in front of next spoke to right and in back of second spoke where it is cut off.
This base weaving should be uniform throughout so that the tray base may be perfectly even. Stand the tray on a flat desk and see that each spoke touches the desk. For the side of the tray weave one row of 4-rod wale and finish the ends in the usual way.
Insert one No. 4 weaver and weave nine rows around the tray. Introduce four weavers and work one row of 4-rod coil. Finish the tray with the plaited border.
Fig. 68
Material
Weave a base 53⁄4inches. Insert 31 spokes and weave the sides 81⁄2inches high, in the following manner:
Turn the spokes up with two rows of triple twist No. 4 reed, then six rows of double weaving in No. 2 reed. Change to blue No. 4 reed and make a coil of triple twist; then in blue and white check weave sixteen rows. Follow this with one row of No. 4 blue reed in triple twist. Change the reed to No. 2 natural and weave twelve rows in double weaving. One row of blue No. 4 reed, triple twist, follows this, then sixteen rows of blue and white check(2 checks) and one row of blue No. 4 reed in triple. Change the reed again and work five rows double weaving in No. 2 reed. Follow this with two rows of triple twist and the border described under Model 22.
Insert the ends of the handle well down amid the weaving and with No. 2 reed make four coils around the handle.
Fig. 69
Material
Weave a base 71⁄2inches. Insert 31 spokes and turn up with four rows of triple. Weave twelve rows single weaving in No. 4 natural reed, then one row in triple twist, No. 4 blue reed. Seven checks in blue and natural follow this. Weave one row in triple with No. 4 blue reed and twelve rows No. 4 natural.
Follow this with three rows of triple in No. 4 natural reed.
Complete the basket with plaited border described under Model 14.
Fig. 70
Material
Weave a base 6 inches. Insert 31 spokes. Pinch sharply and turn up with three rows of triple No. 5 reed. In No. 5 oval reed make forty-six rows, placing the weaver over 3 spokes and back of 2 spokes. Carry this weave throughout the basket. Finish with three rows of triple in No. 5 reed and the plaited border.
Handle
Make two rings for the ring handles and fasten them to the sides of the basket.
Fig. 71
Material
Over an 8 spoke foundation, weave a base 71⁄2inches in pairing, with No. 4 reed.
Insert 31 spokes No. 5 reed. Pinch sharply and turn the spokes upward with three rows triple twist in No. 5 reed. In single weaving, weave twenty rows of braided rush. Complete the sides with four rows of triple twist in No. 5 reed. The plaited border completes the basket.
While weaving, the spokes should be held slantingly outward. Care should be exercised not to spread the spokes outward too much as this will spoil the shape of basket. The diameter at the top of the basket, when finished, should be twelve inches.
Material
Weave a base in pairing, 33⁄4inches. Turn sharply upward with three rows of triple weave. Hold the spokes straight and weave, with No. 2 reed, three inches in pairing. Take a strand of No. 3 reed and weave six rows. Begin the shaping of the basket by holding the side spokes upright and bend the end spokes sharply down the outside of the basket. Continue the weaving until sixteen more rows are woven.
Insert the 11 spokes, between the end spokes of the basket—5 spokes on one end and 6 on the other.
Weave eight rows of triple twist and the border described under Model 22.
Insert the handle spoke, down the side of the basket. In the coil twist, weave five rows. Fasten the ends of the weavers securely.
Material
Complete a base five inches. Insert 26 spokes and turn sharply with three rows of triple weave. Hold the spoke straight upward, and make seventeen rows No. 2 reed, weaving over two spokes and under one spoke. Introduce slew wale with two weavers. Work twelve rows, over two spokes under one spoke.
Insert the 15 spokes, 8 at one end and 7 at the other end. Weave two rows of 3-rod coil. Wet the spokes well and bend the end spokes down the outside of the basket. Hold the spokes in this position during the rest of the weaving—that is, hold the side spokes erect and the end spokes in a downward flare. Introduce two No. 2 weavers and make fifteen rows in pairing. Open the end spokes and bend them down. Weave seven rowsin triple twist with No. 4 reed. Finish with the border described under Model 22.
Insert the 20 inch spoke for handle. Weave, in coil effect, four rows around the handle. Fasten the handle securely to the basket.
Fig. 72
Material
Make a bottom in the ordinary way, 51⁄2inches. Insert the spokes, pinch, and make an upsetting four rows in 3-rod coil. Hold the spokes in a slightly slanting outward direction during the weaving of the basket. In plain weave, make 21⁄4inches. Follow this with four rows triple weave and the border described under Model 22.
Lid
Arrange the spokes in position. In ribbon weave, work one row No. 00 reed. With No. 1 reed, weave four rows in pairing. Hold the spokesto secure a curved center for lid. Separate the spokes into groups of twos with five rows of pairing. Separate into single spokes with two rows triple twist No. 2 reed. Holding the spokes in an outward position, weave nine rows pairing. Wet the spokes and place the lid on a flat board or table. Press the spokes flat on the board and weave two rows of No. 4 reed in triple twist. In plain weave, work six rows. Complete the weaving with the following border: Turn the lid upside down. Take each spoke back of next spoke to the right, bring it to the front of the lid. Second row, each spoke is passed in front of next two spokes and back of the third spoke, where it is cut off.
Handle
Make a ring 11⁄4inches in diameter. Fasten it to the center of the lid by weaving the ends in and out amid the weaving of lid.
Fig. 73
The base spokes of this “Knitting Basket” are of No. 4 reed. The inserted spokes are of No. 3 reed, twenty-two inches long. The weavers are of No. 2 and No. 3 reed.
Fig. 74
Material
Weave a base seven inches in pairing. Insert the spokes, pinch, and turn with an upsetting of four rows 3-rod coil. Bend and hold the spokes outward. Work four inches in plain weave No. 4 reed. Wet the spokes, pinch and bend inward. Weave two inches plain weave. Make four rows triple twist. Complete the basket with the following border: First row, each group of spokes is brought back of the next group to the right and passed out to the front. Second row, each group is passed over the next four groups, back of the fifth group where it is cut off.
Fig. 75
Material
With No. 1 reed, fasten the spokes with three rows of pairing. Separate into groups of twos, with two rows of pairing. Separate into single groups, with two rows of pairing. Insert two No. 4 weavers and work ten rows in pairing. This makes a 61⁄2inch base.
Insert the spokes, two spokes each side of the base spokes. Turn up with an upsetting of four rows of triple twist No. 4 reed. The spokes are double and carried double throughout the basket. Hold the spokes so that the basket will slant outward. Weave four inches in plain weave. Wet the spokes and pinch sharply. Bend the spokes inward. Work one row in 3-rod coil. Follow this with fifteen rows in plain weave. Bending the spokes slightly upward, work five rows in triple weave. Cut off one spoke of each group. Complete the basket with the border described under Model 22.
Fig. 76
Material
Make a round bottom six inches in diameter. Insert the 31 spokes and make an upsetting of six rows of 3-rod wale No. 5 reed. Throughout the basket, hold the spokes equal distance apart; weave carefully and evenly.
Prepare the rush for weaving by soaking it in water until it is moist, or wet enough to keep it from cracking. Do not try to weave the braided rush dry as it cracks easily. Slant the spokes outward, introduce the rush and weave eight rows of simple weaving. Wet the spokes well and bend them in. Have the rush moistened and weave six rows, drawing the spokes in, to secure the rounded effect. Introduce three weavers of No. 4 reed, and work five rows of 3-rod wale. Complete the basket with the following border:
First row, each spoke is carried back of the next two spokes to the right and out to the front. Second row, each spoke is passed in front of the next two spokes to the right, and back of the third where it is cut off.
Fig. 77
Material
Make a round base seven inches in diameter. Insert the 62 spokes, placing two spokes each side of the base spokes. Weave two rows of triple twist. Turn the spokes sharply upward, weave four rows of triple weave and eight rows of plain weave. Insert three weavers and work two rows of triple.
Soak the rush a few minutes in cold water and with it work fourteen rows in single weaving. Where any ends of rush are joined sew them carefully with fine raffia.
Insert three weavers and make seven rows in triple twist. Throughout the basket each set of 2 spokes is treated as 1 spoke.
Do not cut any of the spokes off. Make a plaited border with the double spokes. The spokes should be held slantingly outward, while weaving, to obtain the desired shape.
This tray will not only be of use on the dressing table, but will add to its beauty and daintiness; it also serves for an ideal comb and brush tray. Dimensions 91⁄2inches by 61⁄4inches.
Material
Place the 9 spokes in a horizontal position, equal distances apart; or if two pieces of wood, nine inches long, are available, make 9 holes in each piece3⁄4inch apart. Through these holes insert the nine 15 inch spokes. This holds the spokes in a firm position and makes the weaving simpler.
Take two pieces of the 15 inch spokes and weave as 1 spoke, one row in simple weaving. Now insert a strand of No. 2 reed and make eleven rows simple weaving, working the first row under and over the same spokes as the two 15 inch spokes are woven.
Weave one 15 inch spoke, weaving from right to left, under the first spoke and over the second. Introduce a No. 2 weaver, and work eleven rows,beginning under the first spoke and over the second. Weave another No. 4 spoke. Continue in this way, first one No. 4 spoke, and then ten or eleven rows of No. 2 reed, until the thirteen pieces of No. 4 reed are woven. Both ends of the tray should have two No. 4 spokes woven as one. The weaving should now measure 9 inches by 6 inches.
Weave one row of triple twist around the tray. Wet and turn both end and side spokes sharply upward. Make an upset of three rows of triple.
With the spokes moist, weave the following border:
First row, each spoke is brought back of the next spoke to the right and out to the front.
Second row, each spoke is passed in front of next three spokes to the right and back of the fourth where it is cut off.
Material
Work a base 61⁄2inches in the usual way. Insertthe 31 spokes and make an upset of three rows of triple twist. Work nine rows of double weaving No. 2 reed. Introduce three weavers and make two rows of triple. With No. 2 reed, work nine rows more in double weaving. Follow this with two rows of No. 4 reed in triple, twelve rows double, three rows triple, twelve rows pairing No. 4 reed and seven rows No. 4 reed in 4-rod coil.
Complete the basket with the border described under Model 22.
The basket is enameled in white and gold and makes a very pretty effect. The base border and the top of the base are painted in gold.
Fig. 78
Material
Make a base 81⁄2inches in double weaving No. 4 reed. Insert the 31 29-inch spokes. Turn sharply upward and make one row of 3-rod coil. Insertthe 31 15-inch spokes and work three rows of triple twist. The spokes are now double and should be held straight. Make eight rows double weaving and four rows in triple. Leave one inch space open. Find the middle of a long weaver, place it around one of the double spokes and weave seven rows in pairing.
Now separate the double spokes into single spokes with two rows triple twist. Leave another inch of open space in the basket. Take the middle of another weaver and, holding the spokes double again, weave four rows in pairing.
Leave an open space of two inches. Weave three rows of pairing. Number the groups 1, 2, 3, 4, 5.
Hold the second spoke of No. 1 group straight. Cross the first spoke of No. 3 group over the second spoke of No. 2 group, and place it by the side of No. 1 group, where it is held in this position by placing the middle of a weaver around it, and drawing one end of the weaver to the inside of the basket, the other end to the outside of basket. Hold the second spoke of No. 2 group straight, cross the first spoke of No. 4 group over the second spoke of No. 3 group and place it by the side of the second spoke of No. 2 group. This is held in positionby another twist of pairing. Take the first spoke of No. 5 group, cross it over second spoke of No. 4 group, and place it in position by the side of second spoke of No. 3 group, where it is held in position by a twist of pairing. Weave one row of pairing around the basket holding the spokes in this position. The second spoke of each group is held straight, while the first spoke of the third group to the right is crossed over the second group and placed by the side of the first group, where it is held in position by pairing. Two more rows of pairing are woven holding the double spokes side by side. Follow this with three rows of 4-rod coil.
The basket is finished with border described under Model 22.
Make ring handles and place in position on opposite sides of basket.
Fig. 79
Material
Work a base 61⁄2inches. Insert the spokes and make an upset of four rows 3-rod coil. The basketis worked with double side spokes. Hold the spokes straight and weave twenty-nine rows in plain weave. Bend the spokes slightly outward. Weave two rows 3-rod coil, seventeen rows single, two rows 3-rod coil, sixteen rows single and five rows triple twist.
The plaited border completes the weaving of the basket.
Make ring handles and fasten on opposite sides of basket.
Fig. 80
This basket is first made, then enameled in white with suggestions of gold.
Material
In the ordinary way work a round base seven inches in diameter. Insert the 33 spokes. Make an upset of four rows 3-rod coil. Weave ten rows plain weave, eight rows double, and twelve rows pairing. Introduce three weavers and work threerows 3-rod coil. The following design is worked in the basket on opposite sides: Number the spokes 1 to 33. The design is inserted between the spokes Nos. 11 to 17 (eleven to seventeen) inclusive, and between the spokes Nos. 27 to 33 (twenty-seven to thirty-three) inclusive. Insert a weaver back of any spoke, which may be called No. 1 spoke, and work one row around the basket in plain weave. In the second and third rows, between the spokes Nos. 11 to 17 (eleven to seventeen) and Nos. 27 to 33 (twenty-seven to thirty-three) the weaver should pass back and in front of the same spokes as in No. 1 row. That is, in the first three rows the weaver should pass back of Nos. 11, 13, 15, 17 spokes, in front of Nos. 12, 14, 16 spokes, back of Nos. 27, 29, 31, 33 spokes, in front of Nos. 28, 30, 32 spokes. In the fourth, fifth and sixth rows the weaver passes back of Nos. 12, 14, 16 spokes, front of Nos. 13, 15 spokes, back of Nos. 28, 30, 32 spokes, in front of Nos. 29, 31 spokes. In the seventh, eighth and ninth rows the weaver passes back of Nos. 13, 15 spokes, in front of No. 14 spoke, back of Nos. 29, 31 spokes, in front of No. 30 spoke. The tenth, eleventh and twelfth rows of weaving pass over and under the same spokes as the fourth, fifth and sixth rows. Likewise thethirteenth, fourteenth and fifteenth rows correspond to first, second and third rows, which complete the design.
Between Nos. 1 to 10 spokes and Nos. 18 to 26 spokes, the weaving is the simple over and under weave. Owing to insertion of design it is sometimes necessary to pass the weaver back of two spokes to get the correct weave. Follow the fifteen rows of weaving with three rows of triple twist. Bend the spokes inward while making the triple twist. Holding the spokes in the same position work twenty rows plain weave. Follow this with five rows triple twist. Complete the basket with the border under Model 14.
Fig. 81
Material
Make a seven inch base No. 4 reed. Insert the 31 spokes and turn up with five rows of upsetting No. 5 reed. Weave fifteen rows single weaving.Insert four weavers and work four rows, each weaver passing in front of three spokes and back of one spoke. From the beginning hold the spokes outward. In plain weave, work twenty-six rows. Wet the spokes well now and bend them in. Introduce three weavers and work three rows of triple twist. Drop two weavers and work eleven rows in plain weaving. The weaver should be drawn tightly from now on. Weave two rows in 3-rod coil. Drop two weavers and work sixteen rows in plain weaving. Wet the spokes again and with the plier press the spokes well and bend them outward for a slight flare. Work seventeen rows in plain weave. Bend the spokes down and make three rows of triple twist No. 5 reed. Finish with the following border:
First row, place each spoke back of the next spoke to the right.
Second row, carry each spoke over the next 3 spokes and down to the outside of basket where it rests under the fourth spoke. Cut off the ends sharply.
The art of dyeing has been of interest to the peoples of all nations and in all ages. History shows us that just so soon as man’s covering or clothing, the furs and skins of animals, was discarded for wool, linen or cotton materials, just so soon was the desire or want for colors made manifest. Man began the study of coloring, of staining and dyeing; he experimented, and in his new need he worked to reproduce the reds, the purples, the blues and the yellows of nature’s exquisite canvas, with what success and failure we have a fair knowledge.
Nothing appeared too small or too unimportant to put in use in order to gain the desired results. Vegetables, fruits, plants, barks of trees and sometimes ludicrous mixtures were part of the workings for this purpose, all of which did meet with rewards—for dyes and beautiful colors were discovered.
From the plantindigoferaewas obtained a blue stain, known as indigo. Specimens of dyeing found in the Egyptian tombs show examples ofindigo dye. This plant (indigoferae) grows and is industriously and profitably cultivated in South America and India. It was imported by the Romans from India, getting its name from that country. Two other important dyestuffs discovered in the early ages were saffron, which gives yellow shades, and madder-root, or to be more specific, the roots of madder, which produces brown and purple shades.
Thus was obtained and supplied the blue dye from vegetable or plant life; and from animal life came the most beautiful red dyes.
Cochineal, lac and kermes better known as “grain colors” and called so because of their general resemblance to grain, are really the dried bodies of insects, minute in size, called “cocci” berries, which lived and thrived on certain kinds of bushes and trees and which, after months of care, were taken from their berths and dried.
These dyestuffs, used of course with a mordant, produce beautiful shades, which are fast to water and light.
Perhaps no greater nor more remarkable changes have been made in any industry than in that of dyeing, for, the saving of labor, energy, time and money by the use of modern chemical agencies isof a magnitude not easily appreciable. New ways have completely supplanted the old. This revolution was due to the accidental discovery of mauveine by Sir William Henry Perkin, who by this and his later experiments enriched the world with one of its most important discoveries. After his discoveries became known great factories sprang up throughout Europe manufacturing coal-tar dyestuffs, shortly producing the “Basic dyes.” Perkin’s discovery served as a stimulus to other chemists, who, working unceasingly, soon produced quantities of dyestuffs, which are designated as “Aniline Colors.”
Though progress has been made and the discoveries have simplified greatly the processes of dyeing, this does not mean that experimenting has ceased. By no means. Today interested and enthusiastic workers are anxiously and patiently experimenting, and hoping to find something new; perhaps they will, or it may be you, who, through your experimenting, will uncover to the world a new wonderful dyestuff.
In preparing raffia for work, take care to shake it well. You will find that the best and easiest way to make it take the dye will be to soak it over night. If this is not practicable then soak it atleast three hours. Dissolve the dye in vinegar—the dye bath should be warm.
The “Basic Colors” will give satisfaction, but I would suggest in cases where a great deal of work is to be done that the fast acid colors be used.
The color work in basketry plays a very important part as well as a fascinating one. There are numerous ways in which a basket or tray may be touched up, giving a charm to it that is most pleasing to the eye and attractive to the craftsman.
The entire basket may be made first, and then either dipped, allowed to stand in the dye a few minutes, or boiled five to thirty minutes; it may be painted with Easy dye, stained with any desirable furniture stain, varnished and waxed up. The basket may be finished off by using either fine sandpaper, or powdered pumice stone, but in finishing colored baskets, it will be found that singeing will be the most successful method.
Again to have a contrasting color with the natural or two tints of the same color, the reed should be dyed first and then the desired effect worked out.
In dyeing reed allow it to soak in a mordant for two hours. This opens the pores and makes the dye a permanent part of the basket. Three ouncesof alum to one quart of water makes a good mordant for many vegetable dyes.
Beautiful shades of brown, green, blue and red may be obtained by using logwood, indigo, fustic, cutch, madder, cochineal, and copperas. A very pleasing finish is secured by painting or staining the article with Light Oil Finish, combining it with turpentine in whatever proportion desired. Malachite green stain used with turpentine and Light Oil Finish make a very attractive pale green. The alert basket maker, who desires to experiment, must be on the watch in the autumn for natural dyeing material. The leaves and flowers of plants, the bark of trees, berries, etc., may be used most successfully in obtaining very desirable dye, and with patience and care beautiful and delicate shades may be obtained from vegetable dyes.
The following recipes may be used for vegetable dyeing:
Brown
Dissolve two teaspoonfuls of madder in one quart of water. Allow the reed to soak in it five hours.
Yellow Brown No. 1
Soak the reed for several hours in logwoodextract—obtained by boiling logwood chips in water twenty minutes.
Yellow Brown No. 2
Mix in a quart of water two tablespoonfuls of cutch extract, adding one and a half tablespoonfuls of fustic. Boil the reed in this solution for two hours, but test.
Olive Brown No. 1
Dissolve two tablespoonfuls of cutch, two tablespoonfuls of fustic, and one-half spoonful of logwood in a quart of water. Boil the reed two hours in this composition.
Olive Brown No. 2
Boil the material several hours in a composition of one and one-half pounds of walnut bark, five teaspoonfuls of washing soda and one-half cup of rock alum.
Yellow No. 1
A good yellow can be obtained by experimenting with smartweed.
Yellow No. 2
Mordant the reed in a solution of alum, and boil it in an extract of fustic, a half hour.
Green
Mordant the reed in a solution of alum and water, and then dye it in the solution composition—three teaspoonfuls of indigo, a small crystal of copperas, and three pints of water. After the material is removed and washed dip it in a solution of bark extract and water.
Olive Green
Mordant the reed in a solution of two teaspoonfuls of copperas in one quart of water. Boil the reed then in the following solution: To three teaspoonfuls of bark extract in a quart of water, add a half teaspoonful of indigo and a small quantity of logwood.
Indian Red
Dissolve in about a quart of boiling water two tablespoonfuls of cutch extract and a small crystal of blue-stone. Boil the material in this solution until the desired color is obtained.