Hli

Baskets & Beyon,

by Lucele Coutts

Here is the book that brings the ancient art of

basketry into the 20th century—a book that
encourages the fiber artist to create beauti¬
ful and versatile baskets using elements
such as leather, linen cord, plastic tubing,
strips of satin, fur, and feathers.
The author, a talented and imaginative
fiber artist and basketmaker in her own right,
teaches the reader techniques such as plait¬
ing, twining, twisting, ribbing, coiling, and
wrapping (using both flexible and rigid
materials) through step-by-step pictorial
demonstrations. She deftly incorporates her
own basketweaving discoveries, variations,
and innovations into traditional techniques.
First introducing basketmaking through
historical examples, the author outlines the j nsT or DAMAGES .ITBRARY MATERIALS.
basic equipment and materials needed to
make baskets. Many tips are given on the
types of materials to use, their suitability for
various weaves, and their durability. THE CARE OF LIBRAS'' MATERIALS IS THE
DPCPAMSIRII ITY Or T-E^ BORROWING PATRON.
Chapters on simple techniques cover ^USED TO RE-
PLACE OR REPAIR MATERIALS ABUSED BY
plaiting and twining — including twill, wrap, INDIVIDUALS, A FEE SCHEDULE HAS BEEN
and checked weaves, and surface textures SET TO REFLECT TF£ C2SIS TO TEE LIBRARY

—and information on shaping a basket and OF RFPI AGING OR SSSAL HAfffiUffi OF

UOST AND DAMAGED MATERIALS.
finishing off. Coiling techniques are em¬
MATERIALS WERE SELECTED AS AN INTEGRAL
phasized because they are best adapted to PART OF THE LIBRARY COLLECTION, AND
contemporary materials. Simple coiling FOR THE USE OF ALL PATRONS. IF A BOOK
IS OUT OF PRINT, TFE SUBJECT AREA WILL
weaves are discussed in a section including STILL NEED TO BE RESTORED DUE TO THE
starting a basket, figure-eight weaves, and LOSS OF THE MATERIAL,.

adding new wrap, center, and lift-point FEES WILL BE CHARGED AS FOLLOWS:
lines. Decorative techniques for coiling and
plaiting include ripple, blanket, cycloids, DAMAGE

filigree looping, pleated weave, imbrication, 1, V1SIR1F. DAMAGE (.WATER, COFFEE,

INK! ETCV) WHICH REDUCES LIFE
and low twist. OF MATERIAL BUT STILL CAN CIR~ „
More advanced chapters show how to CULATE.....-.

embellish by incorporating beads, feathers, 2, DAMAGE REQUIRING MLSEEOIAL

and bells, and decorating by fringing and hanging (sand, pencil marks, ^ ^
surface weaving. A final chapter presents
sculptural techniques and ideas —- free 3, DAMAGE REQUIRING THE BOOK BE
REBOUND.. ou
sculpture, hair and body ornaments, and
design ideas—showing the work of a variety mss.
of fiber artists. THE REPLACEMENT COST 3F I* MATERIAL

This book combines traditional elegant WILL BE CHARGED, PLUS A 3>Z.UU

MATERIALS AND HAi®UN6 FEE.
weaves with surprising materials, inspiring
the fiber artist to create stunning multipur¬ IF THE MATERIAL ITSELF CANNOT BE
REPLACED: 1.)
pose baskets—and beyond. BE CHARGED PLUS A S2..JL) PROCESSING
AND HANDLING FEE FOP £ ©I BOOK.
164 pages. 8Va x 11 (21 x 27.9 cm). 4 pages 2.) A FLAT FEE OF SlG.QU WILL BE
CHARGED TO REPLACE THE LOSS TO THE
of full color. 150 black-and-white illustra¬ COLLECTION.
tions. Glossary. Suppliers List. Index.
IRAGE PER-VOLU'E COST OF A BOOK

On the jacket: Untitled basket by Cynthia Linkon-Drennon.

Photo by James Randkleve.

WATSON-GUPTILL PUBLICATIONS
 r~

Withdrawn from
collection

746.41 119535
Coutts, L.
Baskets & beyond.

DATE DUE

SEP 1 6 1995
MAY 7 3 IQQfi
npr 4 G
Uf v f V

MAY 2% 200P
OCT 3 1 2000
MAR 0 6 2083
JUL 1 1 2006

GAYLORD PRINTED IN U S.A.

 Digitized by the Internet Archive
in 2018 with funding from
Kahle/Austin Foundation

https://archive.org/details/basketsbeyondOOcout
Baskets & Beyond
by Lucele Coulis

WATSON-GUPTILL PUBLICATIONS, NEW YORK

Edited by Sarah Bodine and Donna Wilkinson
Designed by Bob Fillie
Composed in 11/13 Century Medium by Copy Prep Company
Printed and bound by Interstate Book Manufacturers

Copyright ©1977 by Lucele Coutts

First published 1977 in the United States and Canada

by Watson-Guptill Publications,
a division of Billboard Publications, Inc.,
1515 Broadway, New York, N.Y. 10036

Library of Congress Cataloging in Publication Data

Coutts, Lucele.
Baskets and beyond.
Includes index.
1. Basket making. I. Title.
TT879.B3C68 746.4'1 77-22379
ISBN 0-8230-0455-4
All rights reserved. No part of this publication may be
reproduced or used in any form or by any means—graphic,
electronic, or mechanical, including photocopying, recording,
taping, or information storage and retrieval systems—
without written permission of the publishers.

Manufactured in U.S.A.

First Printing, 1977

J
5
 I dedicate this book
to the people who have helped me most
Marion, Bill, and Stuart
ACKNOWLEDGMENTS
I wish to thank all the people named and unnamed who were helpful,
tolerant, and lifted my spirits during the time I was researching and writ¬
ing this book.
First, Doris Dietiker who started me in basketry, my students who were
the guinea pigs for many of my theories, and some of my friends who
proved helpful when instructions were too complex.
Marion Taylor Ward who had faith in my ability to write the book,
Greta Jones and Carol Tickner who helped iron out a few wrinkles,
Clinton MacKenzie who boosted my morale and gave me access to some
student work, and the artists who have assisted me in completing the book
by allowing me to use their work.
Most of all, I wish to thank my husband, Bill, who had ability to know
what I needed in photography when I sometimes didn’t, and my son,
Stuart, who helped in proofreading, metric conversions, ideas, and all those
unmentioned things which gave me the time to do what I did.
Most of the photography was shot by Bill Coutts; a few by Bob Burn-
ingham; and one by James Randkleve. Illustrations by Lucele Coutts.

6
 Contents

PREFACE 9

INTRODUCTION 11

1. TOOLS AND MATERIALS 15

2. INFORMATION AND ADVICE 31

3. PLAITING AND TWINING 39

4. SIMPLE COILING WEAVES 69

5. DECORATIVE TECHNIQUES FOR COILING AND PLAITING 91

6. MORE DECORATIVE ELEMENTS 115

7. BEYOND BASKETS 147

GLOSSARY 160

SUPPLIERS LIST 162

INDEX 163

7
Chinese Basket and Antique Chinese Tea Basket. The small piece shows
the interesting base used for both baskets, in which the warps are ex¬
tended out into a flat loop. The basket is plaited and twined. The large
piece is an antique tea basket brought to this country by the China Clipper
sailing ships. The tea basket is carried by the pickers who tie it over their
shoulders with a cloth. It is plaited, with a three-strand twist weave used
as a decorative element at the top, and the edge is wrapped.

8
 Preface

When a friend suggested basketweaving as having possibilities for a con¬

temporary sculptural medium, I became interested. After a few pieces, I
found I was hooked.
Although my beginning pieces contained several complex ideas and
sculptural problems that I ultimately solved, I felt I needed to go back to
the simple beginnings to develop each facet of the craft step-by-step to
build a good foundation. In so doing, I would be able to more thoroughly
understand, and more properly use and teach it.
Incorporating only one color to a piece, I worked on many shaping and
simple construction ideas before I felt satisfied enough to add each new
dimension of color, texture, decorative materials, etc.
During this exploration period, I found a number of questions kept
recurring, and I turned to the few available books for help. They were of
substantial reputation in traditional basketweaving, but I was frustrated
to find many of my questions went unanswered. For instance, not one
book told how to finish a coiled basket. Searching the local museums
helped little, and, in the end, I found most of the answers had to come
from within myself.
As I developed new ideas and methods, I gave them to my students for
testing. Adding, discarding, and refining as I moved along, I began to
develop a system which seemed to work. I found, too, some people
seemed to work well one way and some another, and so I have included
duplicate systems which have worked successfully with both novice and
experienced basketweaver.
While working on the book, more and more new ideas for weave varia¬
tions and different uses for each technique kept flooding my mind. I have
included all the new ideas I have tested and found workable.
With a happy heart I present this book to you with the hope you will
find the excitement and fulfillment I have found in this reborn craft.

9
Chinese Sewing Basket. This type of basket was popular in the early
1900s. Some were decorated with money and beads; this basket has a
scene painted on the lid. It is twined on the outside for strength and
plaited on the inside for smoothness.

10
 Introduction

Basketweaving, probably the oldest known textile craft, is coming of age.

It is recognized as a link from the past that can be developed in a con¬
temporary way.
Few materials and tools are needed. Anyone, anywhere, with access to
a store or catalog can make a contemporary basket. Rope, yarn, a needle,
a pair of scissors, and a happy heart are all that is needed. The beginning
of a basket can be carried in a small bag, and as the work progresses, the
materials may be carried in the basket itself.
Weaves may be few or many. Anything can be made with one or two
weaves, but the more weaves and techniques learned, the more interesting
and varied the results can be. A simple classic shape can become a textural
experience with the addition of several weaves or a sprinkling of orna¬
ments.
A Brief History. Basketweaving became highly developed in the primitive
cultures, because the people were forced by necessity to construct houses,
clothing, containers, and equipment from the materials found nearby.
They had to make them with a limited number of tools, and oftentimes
used parts of the body such as teeth, fingernails, hands, and feet.
Early in man’s culture, basketweaving developed quickly to a fine
degree of complex skills. Plaited baskets, simple and temporary, led the
way to complex plaiting, as well as to twining and coiling. Coiling, the
technique believed to be the highest degree of development in the craft,
is not found in all cultures or tribes, but has been found throughout the
world. Beautiful examples of coiled baskets that date back as far as
9000 B.C. have been found in North America and Africa.
The materials available were an important factor in the type of baskets
made. In North America, two areas with widely varying climatic condi¬
tions had few types of basket fibers. Their differing solutions were deter¬
mined by need, as well as the kinds of materials available.
The Aleutian Islands were abundant with good quality grasses. Since
little else was available for their needs, the Aleuts made beautiful, deli-

11
cately textured baskets. They were made to be used in varied ways.
On the mesas of the arid Southwest the few twigs and grasses were
supplemented by an abundance of clay which would make fine containers.
Here, baskets tended to be made for temporary use and for religious
purposes.
In the area from San Francisco Bay north to Alaska many basket fibers
were abundant. Grasses, reeds, roots, twigs, canes, split bark, leaves, and
many other materials were available. Baskets were as abundant as the ma¬
terials, and the need dictated the technique. Burden baskets were twined
from large caned materials. Religious baskets or those which would be
carefully handled were made slowly in the coiled technique of the finest
materials and decorated with shells and feathers. Plaiting was rarely used.
It was in this area that basketweaving reached its zenith in the Western
Hemisphere.
Oneness with nature played an important role in the lives of the primi¬
tive basketweavers. They felt they were borrowing the materials needed,
and returning them when finished with them. They gathered only what
they needed; nothing was wasted. Present-day refuse: urine, animal drop¬
pings, ashes from the fire, were used as mordants to set the dye in the
fibers or to dye the fibers for the new baskets. The only permanent tool,
the sturdy awl, was made from leftover animal bone.
Basketmaking continued on through man’s history, but, as he became
industrialized, it was replaced by other crafts which could be mechanized,
thus producing items more quickly. It was soon to become a lost art in
most of the industrial world.
In the recent past in America when therapists began to recognize the
need for people to work with their hands, basketweaving was introduced
into programs for physical and mental rehabilitation. Playgrounds and
schools included basketmaking as a “fun” project for children, but it was
taken no further. The work produced this way was “pseudo-traditional,”
a copy of the past, with little or no thought of its meaning or the culture
it represented. People felt the ultimate in basketweaving had been
reached. There was a belief among authorities that any divergence from
just “baskets” was wrong.
Basketweaving is a very personal craft. The piece of work grows out of
and becomes an extension of the maker. To the traditional basketweaver
it was and is a personal or religious experience understood only by the
maker. Some weavers will not allow others to watch while they work.
Many American Indian and African craftsmen are reluctant to teach out¬
siders or discuss their feelings about the work they do. Fortunately, a few
of the native basketweavers are beginning to teach their craft. As they do,
they are giving an understanding of their people and beliefs.
What Is the Future in Basketry? Today a new revival of basketweaving has
come. It has been found again, but in a different way. It is a craft built
from an essence of the past but growing out of today. Today’s basket-
weavers are looking to the present for inspiration, to the life they live and
understand. A new culture is developing. Hopefully, a growing together of
the two cultures can be achieved as well, with a deeper understanding for
all.
As mentioned before, there are three methods of basketweaving: plait¬
ed, twined, and coiled. All three will be covered in the book, but the

12
emphasis will be on coiling techniques because they are best adapted to
the contemporary materials available to most people.
In traditional basketweaving, all three of the methods made satisfactory
baskets that were practical and structurally sound. In contemporary
basketry, specific needs are not present, and the reeds, grasses, and roots
have been replaced with contemporary materials. These materials have a
control over the techniques used and over the final results.
Traditionally, plaiting is made by weaving with flat leaves or split
woods. In this type of basketweaving, the material used gives the basket
its form and structure. When switching to soft yarn fibers, woven fabric is
the result. Therefore, choices of material must be made with this method
in mind.
Twining, like plaiting, employs more of a weaving technique in the
work. Traditionally, reeds, roots or grasses were woven or twined over a
warp of canes or heavy grasses. Again, the material gave substance and
body to the work. Lovely soft pieces can be achieved using this technique
with yarns, but other warp materials will have to be used if sturdy baskets
are to be the final outcome.
The ideal of all the basket techniques for contemporary materials is
the coiled method. As coiling traditionally uses many kinds of plant
fibers to produce a basket, it adapts easily to many kinds of ropes and
yarns as well. Few variations are required in making the adjustment, and
the structural strength is not impaired by the change to soft materials.
With all of the types of commercial yarns and core materials available, the
variations can be almost unlimited.
Since the native basketweavers tended to call all weaves basketweaves,
there was a definite need for classification. Many of the weaves were
classified by white Americans; therefore, most of the names assigned came
from American Indian culture, although some came from Europe and
Asia. Many of the names given were those of the tribes who worked most
with a particular technique, although the weave may have been used else¬
where in the world. Some names came from the use of the weave. In this
book, an attempt has been made to simplify classification and techniques
in order to simplify instruction. The glossary of terms will give the com¬
mon names and clarify their positions.
Basketweaving can be simple or complex. It can be practical or a flight
into fancy. The projects included are for all degrees of difficulty. From
simple and useful to fun and decorative, the directions are clear and con¬
cise enough to be understood by novice or experienced basketweaver.
With a little experience, the basketweaver will be able to move beyond
baskets to make practical pieces that are not baskets, and useful items
that are not containers. To those who want to be challenged further, the
most exciting facet of all, sculptural basketry, is a complete free flight.
The only remaining connection with the past is the technique which is
making it possible, and the only remaining obstacle is how far one’s
imagination can reach. Now basketweaving has become an artform. It is
contemporary, exciting, and mind-expanding.

13
Hanging Basket. 22W* x 13%” x 12” diameter (57.05cm x 34.29cm x
30.48cm). This is a coiled work basket to hold materials near the loom
while weaving. The wrap is shades of brown cowhair-wool mix and varie¬
gated yellow to orange mohair over seven pieces of Vi” (.64cm) sized jute.
The weaves are basic and pierced figure-eight.

14
 Tools
and
Materials

Four things are important in the making of good baskets: the right atti¬
tude, the right materials, the right tools, and good craftsmanship.
There is a belief among traditional basketweavers that it is a privilege
to make baskets. They feel they must be well and in a happy mood to
produce the best work. This is very true. After the learning period is
over, your hands seem to know what to do. As you work, your mind turns
to other things. Good thoughts make your fingers fly and everything falls
into place.
These first two chapters are probably the most important in the book.
Your choices here will determine the end results of your work. All the
tools and materials suggested for use in the book are good and useful, but
they must be selected with the right techniques in mind to bring the
expected results.
Chapter 1 discusses tools and equipment, and the myriad materials
available today for making baskets. Chapter 2 covers items of interest for
all types of basketweaving, instructions for making devices to aid your
work, and general comments and advice to help you over the rough spots
so you will bring a positive attitude to basket weaving.
You need few tools in basketweaving but each is important for its
specific job. Equipment varies with the technique—plaiting, twining, or
coiling—but some items can be used in all three. You probably have most
of the necessary tools; and some of those suggested here are optional.

CUTTING TOOLS (PLAITING-TWINING-COILING)

If you are planning to focus your attention on one technique rather than
on all three, choose the proper cutting tool for that technique as described
below.
Blades. A cutter is a necessity in all three techniques. Use a sharp knife,
single-edge razor blade, or X-Acto knife for leather, reed, and rope that are
too heavy for scissors. Plant materials like reed, rope, and twine are very
hard on blades. Do not use your kitchen knives unless you can sharpen
them.

15
Scissors. Very sharp scissors made of a special alloy that does not have to
be sharpened are available now in department, fabric, and hardware stores.
They cut anything from fine fabrics to jute and other heavy rope prod¬
ucts. Do not use scissors or similar cutters on reed, as they crush the
material while cutting.
Wire Cutters. Another good tool for use on rope and twine is the versatile
6” to 7” (15.24cm to 17.78cm) wire cutter. Made of carborundum steel,
this tool does not have to be sharpened and is very useful if you have good
scissors that you do not want to use for cutting heavy materials. It is
readily available in hardware stores.

PIERCING TOOLS (PLAITING-TWINING-COILING)

In contemporary basketry piercing tools are used to form a hole or to go
through an existing opening. Find the proper tool for the technique you
are employing.
Awls. In traditional basketry an awl was used to open a hole in the coiled
baskets making way for the material to be pushed through. In contempo¬
rary basketry the awl is no longer used in coiling. It is used primarily in
plaiting, but it can be used in twining to pierce a warp material to carry
the weft material through. This is rarely done and can be handled in other
ways.
To keep the awl point sharp in the tool box or work basket and protect
yourself as well, keep a large cork on the tip. Awls can be purchased in
hardware stores.
If you are a leather worker, you can use your leather punch instead of
an awl in plaiting.

Needles. Needles are used for all three techniques. A needle is used to add
edgings and decorative objects in plaiting. It is used to needle down or
needle through in twining.
Primitive basketweavers used thorn needles in coiled basketry for fine
materials which were difficult to push through the awl-punched holes.
Some fine old baskets were wrapped 100 wraps to the inch (1” = 2.54cm).
In contemporary basketry the traditional awl has been replaced by
tapestry needles for coiling. Since basketry is a weaving and not a sewing
process, the use of needles is confusing to people. The needle allows two
operations to be replaced by one. The needle forces an opening in the
basket and carries the material through at the same time.
Needles are both blunt and sharp. The size of the basket and the type
of material being used determines the length of the needle and the size
of the eye. A rule of thumb is to choose a needle with an eye size large
enough to carry the material and no more. The larger the eye the more
difficult it is to pull through a tight place; and the more the basket is
pulled apart to allow the needle to pass, the more it is weakened. If the
material is flattened before threading on to the needle, heavier material
can be threaded through than expected. Choose a needle long enough to
handle easily when pulling through. Several blunt needlepoint and tapes¬
try needles from 114” to 4” (3.81cm to 10.16cm) in length are good to
have on hand to use on different size baskets.
Sharpened tapestry needles with larger eyes are necessary for pierced

16
Tools and Equipment (left to right, top row). Pinch-type clothespin,
bulldog clamp, orange stick from manicure set, tapered popsicle stick,
orange stick, binder clamp. (Second row). Long-nose pliers, single-edge
razor blade, beeswax, textile glue, sharp knife, X-Acto blade. (Third row).
Scissors, sharp point tapestry needle, 4” (10.16cm) blunt tapestry needle,
2V2” (6.35cm) blunt tapestry needle, 2V2” (6.35cm) blunt needlepoint
needle, 2” (5.08cm) blunt needlepoint needle, cork and awl, heavy
shafted pin, push pin, T-pin, blunted curved needle, sharp curved needle,
wire cutter. (Bottom center). Handmade wing-nut clamp.

17
weaves. An awl can be used to prepare the hole for a blunt needle to pass
through, but this is a slow process.
Curved upholsterer’s needles are very helpful in adding surface weaving,
rya, or when working in tight corners. Curved needles are available in
some needle kits in notions departments, but they tend to be rather
small, are awkward to handle in tight places, and the eye is very narrow.
The diameter of the curved needle remains the same within the area of the
eye instead of swelling to allow more space for a larger eye as in the
tapestry needle. A curved needle 2V2” to 3” (6.35cm to 7.62cm) measured
across from eye to tip is fine. Anything larger does not increase the eye
size, and the extra length is awkward to control.
An upholsterer’s shop will usually sell tools and supplies if they have
extra on hand. They will sometimes order them for you when they place
an order. Some upholsterer’s supply houses will retail. Use your telephone
book and be sure to call first.
Harness needles, bodkins, and balled-tip bent needles do not work
in basketry. They are too wide, catch as they go through, and cut and
tear.
All curved needles are sharp. To blunt a curved needle carefully cut off
the tip into a wastebasket, shielding your eyes. A metal file stroked
toward the tip will smooth off the rough edges.

MISCELLANEOUS TOOLS AND EQUIPMENT

There are various kinds of tools and equipment that do not fall into any
specific category. These can be used in any one of the three techniques.

Pins (Plaiting-Twining). Heavy-shafted pins, T-pins, or wig pins about

IV2” to 21/2” (3.81cm to 6.35cml long or pushpins with very long shafts
are necessary to keep materials in place while plaiting or twining basket
centers.
Pliers, optional (Twining-Coiling). A small pair of pliers is very helpful
when pulling needles through tight places. The best type of plier is the
long-nose variety because it slips into odd corners, but a small pair of any
type will work. When pulling the needle through, keep it straight. Twisting
or bending the needle when the eye is passing through a tight area can
break it.

Prying Tools and Beaters (Plaiting-Twining). A prying tool is very helpful

when reweaving in plaiting, whether inside the basket or on the decora¬
tive row on top of a previously woven row. An orange stick from a mani¬
cure set or a popsicle stick that has been narrowed and flattened make the
best tools. They are easy to obtain, inexpensive, and most of all, they are
gentle to the basket material.
An orange stick, a tapered popsicle stick, or a heavy tapestry needle
make good beaters for twining.

Clamps (Plaiting-Twining-Coiling). Clamps hold plaiting on the frame,

keep wefts and wraps from loosening while not working in twining and
coiling, hold glued areas in plaiting until set, as well as many other little
odd jobs that might come up.
The simplest and cheapest clamp that is universally available is the
ordinary wooden pinch-type clothespin. Bulldog and binder clamps,

18
available at stationery or office supply stores, cover more area when
clamping plaited edges.
You can make a simple clamp for holding longer plaited edges. Use two
thin, narrow boards, and two small bolts held by wing nuts. Drill two
holes through both boards 1” (2.54cm) from each end, place the bolts in
the holes, and fasten them with the wing nuts. Be sure to smooth the
boards with sandpaper. The wing nuts can be fastened and unfastened
with the fingers very quickly when in use.

Glue (Plaiting-Twining-Coiling). Use glue to splice leather and vinyl in

plaiting, as well as to splice warps and cores in twining and coiling. In
general, glue adds an extra hand to keep things under control until they
can be completed in problem situations.
Textile glue is especially good to use because it remains flexible after
drying, but any white glue can be used in moderation. Too much white
glue will harden and become rigid. Do not use any kind of glue on the
surface of the basket. It causes a color change and has a shiny look. When
using glue on wefts and wraps, be sure the glued area is placed so it will
not show on the surface.

Working Boards and Framing Materials (Plaiting-Twining). Celotex wall-

board, acoustical tiles, heavy cardboard, corrugated cardboard boxes,
Styrofoam, or a hard flat pillow made of sawdust or similar material make
good working boards.
Fibers from wallboards rub off on clothing and materials. To keep
them under control, cover the board with self-adhesive shelf or wall
paper.
Chipboard, backs of writing tablets, corrugated boxes, old gift boxes,
or popsicle sticks are good materials to use for plaiting frames.

MATERIALS
As the traditional basketweaver had to seek out, gather, properly pre¬
pare, and season the right materials to do a particular job, today’s basket-
weaver must choose the proper materials that are available from the
merchant’s overflowing shelves to make the pursuit of basketweaving a
joy. Wherever you go, whatever you are doing, keep an eye out for pos¬
sible materials. You will find them in the most unlikely places. When you
have to search for materials, you will become more inventive, and you
will find things you might otherwise overlook. It is quite exciting to find
surprises around every corner.
Some materials are inexpensive and some expensive. Do not ignore the
expensive materials. Use them in small amounts to make an ordinary
basketform extraordinary.
Since specialty shops are located in some large cities, the materials
available through them are described on p. 21. Without personally visiting
each store across the country, it is difficult to give an honest assessment
of the inventories available, and even familiar shops change their inven¬
tories frequently. The telephone book is a great help in finding specialty
shops. Your local high school or adult school craft teachers can be a help
in locating specialty shops in your area, especially if you live in a small
town.
A short list of stores and companies that handle specialty materials is

19
Materials for Plaiting. The top butterfly is synthetic macrame braid. The
background materials are (clockwise from left), vinyl upholstery fabric,
wallet weight cowhide, wallet weight goat. The braids and ribbons are
(clockwise from top left), synthetic coiled braid, lace gimp braid, gold
metallic braid, velvet ribbon, woven braid, plastic woven braid, woven
braid, synthetic and metallic woven braid, grosgrain ribbon. In the center
is a spool of linen thread, and the bottom butterfly is leather lacing.

20
given in the back of this book. These stores will mail order; some have
catalogs and some do not.
More good places to investigate are: grocery, department, hardware,
marine hardware, boat supply, fabric, plastic, and variety stores; weaving,
needlework, needlepoint, macrame, knitting, yarn, art supply, thrift,
upholstery repair, antique repair, hobby, leather, and welding shops; farm,
building, rope, upholstery, and medical supply houses; lumberyards,
garage, and rummage sales.
Each of the basketweaving techniques described in this book is covered
in relation to contemporary materials. There has been no attempt to
develop traditional concepts or methods unless they have a direct rela¬
tionship to contemporary basketweaving. In order to break away from
traditional thinking in basketry, it is necessary to break away from tradi¬
tional materials. We must look for new ways to use this marvelous ancient
craft in today’s world with today’s ideas. After this is learned, we may
turn to the more traditional materials to use them in a contemporary way.
The size, weight, flexibility, and content of the materials can direct,
help, or hinder the basketweaver. Materials are divided into three general
categories: materials for plaiting, materials for warps and cores, and
materials for wefts and wraps.

MATERIALS FOR PLAITING

Plaiting, the simplest and probably earliest known technique, is a woven
method using torn and cut ribbonlike leaf strips. Its construction requires
attractive material because every strip is visible. Leaf strips are attractive
and practical and hold onto each other during the weaving process. After
the basket is finished, an overnight soaking releases the cellulose material
which hardens and helps to fasten the strips together even tighter. Tradi¬
tionally plaiting material is abundant and is structurally strong enough to
make a useful basket.
Today’s plaiting materials are not as abundant, are not as easily con¬
trolled, and most are fairly expensive, but there are some fine materials
which work well. Although a personal preference leaves most of plaiting
within the traditional area, there are some interesting things that can be
done. Your basketforms will be rich and extraordinary.
Possible materials for plaiting are: leather, vinyls, ribbons, braids,
metallic bands and braids, and strips of metal, precious and nonprecious.
Not all of these materials are strong, but they can be used in various
ways successfully.
Leather. Leather is attractive, comes in many colors, is easily available,
can be cut without difficulty, and handles nicely. It comes in many
weights, and it can be marked and cut into any desired width and
length. It has enough body to make a structurally sound piece. The
results are rich and beautiful.
Leather is cheapest by the hide or hide piece. It can be purchased in
strips, although the sizes are limited, the type of leather is limited, and
it is expensive. Hides can be cut with sharp scissors or a sharp single-edge
razor blade according to the weight of the leather. Leather has rough and
smooth surfaces.
It is available through leather shops, supply houses, and hobby shops.
These stores are in larger cities primarily, but there is a chain of leather
shops throughout the country. They are in smaller towns and they sell

21
 leather supplies by mail (see the Suppliers List). Leather can be found at
thrift shops, garage sales, and rummage sales.
Vinyls. Vinyl plastics come in many forms. The most common and most
attractive is the vinyl upholstery fabric that simulates leather. It is strong,
sturdy, and easily cut. It is available in upholstery and fabric shops, de¬
partment stores, and through catalogs.
Decorative Materials. Decorative braids are flexible, fairly strong, and
heavy, but they are expensive. Ribbons, laces, and other similar materials
are soft and flexible. These materials do not work well by themselves
because the result is soft like cloth, but they can be introduced into leath¬
er and vinyl baskets and handbags as a decorative material without weak¬
ening the structure. Some of these specialty materials can be used in
coiling for plaited areas or imbrications. The notions department of fabric
and department stores carry many decorative materials for plaiting.
Heavy braided macrame cords also make beautiful decorative accents in
coiled baskets.
Metal Strips. If you like working in metals, strips of metal can create
beautiful basketforms. This material is expensive, but the baskets made
from it can be useful in a number of ways: interior and exterior planters
(hanging and standing), kitchen baskets, and wastebaskets. Charming

Using Metal in Basketweaving.

This plaited basket IV2” x 4”
x 4” diameter (3.81cm x
10.16cm x 10.16cm) is a satis¬
factory experiment to show
what can be done with soft
flexible V4” (.64cm) metal
strips using only basketweav¬
ing tools. The little coiled
starts are made with 18 gauge
copper wire for the core and
24 gauge copper wire for the
wrap. Metal tools produce
more finished looking pieces.

22
little boxes and containers for practical or ornamental use make an
interesting change of pace.
Jewelers can work with precious metals using basketry techniques with
really exciting results. This area will be only lightly touched in this book
because it is an entirely different field using different tools, equipment,
and materials.

Lacing Materials. Leather and plastic lacing, round braids, and heavy linen
cords are the best materials for lacing and edging. Leather lacing is best
to use with leather, but other materials are attractive as well, if the colors
and materials work together.
Linen cords, crochet thread, cotton rug warps, and other heavy ma¬
terials that will not break easily when tightened will work, but linen will
withstand time best. Waxing these materials before using eliminates
tangling and breaking.
Leather and plastic lacing can be found at leather stores and some
hobby shops. Braids, threads, and cords can be found at macrame stores,
sewing notion counters, and some catalog houses. Beeswax is available at
sewing notions counters and upholstery supply or repair shops.
If you have trouble finding round braids, you can spool knit or spool
braid your own with crochet thread of any color.

MATERIALS FOR WARPS AND CORES

There are many cylindrical, ropelike materials available for warps in twin¬
ing and for cores in coiling. Since the base materials are usually covered
completely with both techniques, they do not have to be attractive.
Twining requires a beating process to force the woven wefts together on
the warps. Therefore the material used for the warp must be almost fiber
free. The cores in coiling can be any type of ropelike material that is
fibrous, flexible, and not necessarily attractive. Plied material allows for
strand separation when working with freeform sculpture in coiling and
twining.
Materials available are: jute, manila and sisal hemp, plastic and braided
clothesline, polyvinyl tubing, fiber rush, sea grass, reed, plastic-covered
wire, cotton seine cord, synthetic ropes, brazier rods, and heavy gauge
flexible wire.

Jute (Coiling). Jute is a medium weight, inexpensive plied rope. It has a

smooth surface. It is flexible, fibrous, and comes in many sizes. Its quality
ranges from a rough and uneven material filled with plant impurities to a
bleached and tightly twisted high-quality material. Jute ropes can be
grouped together to make a core of a larger size. Although smooth, most
of it is too fibrous for twining; high-quality jute can be used with care.
However, it is excellent for cores in coiling. A slight stroking of the jute
away from the wrapping will keep the fibers under control. It is available
in macrame supply shops, art stores, marine hardware and rope supply
stores, hardware stores, some department stores, and some weaving shops.
Sisal and Manila Hemp (Open-Coiled Weaving, Twining, and Coiling).
These materials come from the same plant family, although the Mexican
sisal is lighter in color than the Asian manila or hemp, as it is sometimes
called. They are usually plied and have a rough rippled surface. Less
fibrous than jute, the stiff fibers are more easily controlled in weaving.
These materials are rigid and strong, and attractive.

23
 Materials for Warps and Cores.

high quality 1” (2.54cm) jute

poor quality 3/s ” (.95cm) jute

high quality Va” (.64cm) jute

3-ply munj (Pakistan)

sea grass
coir (Srilanka)

3-ply manila

2-ply sisal

single ply sisal

braided clothesline
seine cord
braided clothesline

fiber rush

two thicknesses
of polyvinyl tubing

plastic clothesline

plastic covered wire

brass brazier (welder’s) rod

16 gauge brass wire

two thicknesses of reed

24
 Sisal is available in single ply (used for tying newspaper bundles, etc.)
and in loose bulk form. The loose sisal can be hand spun to any size.
These ropes are heavier in weight and cleaner than jute and thereby more
expensive.
In coiling, the stiffness of these materials can make starting a basket
difficult. If it is too hard to bend the material around, use a softer prod¬
uct, like jute, as the core until the material can be bent easily. Splice the
stiffer material on to the softer material as soon as possible (see Tapering
and Splicing in Chapter 2). This technique was used by traditional basket-
weavers.
On the finishing of a basket the stiff fibers may give you some diffi¬
culty. Taper the material very gradually, and lay some glue along the
tapered edge. Let it dry. This will keep the stiff fibers under better control
while wrapping over them.

Clothesline Ropes (Twining and Coiling). Clothesline is available in many

forms and colors. Plastic lines come with hollow centers, fiber-filled cen¬
ters, and wire-reinforced fiber-filled centers. Cotton braided ropes come
in several forms as well. Some are loose fiber-filled and others have plyed
material in the center. Some are covered with a synthetic braiding. Large
smooth plastic-covered ropes can make beautiful core materials.
Both plastic and cotton clotheslines are clean, smooth, light in weight,
flexible, and in the medium price range. The plastic line splices and tapers
easily, while the braided material needs a little more care (see Tapering
and Splicing in Chapter 2).
These materials are available in hardware, grocery, department, drug,
and variety stores.

Polyvinyl Tubing (Open-Coiled Weaving, Coiling, and Twining). This

material is attractive, clean, clear, hollow, and flexible. Sometimes it has a
slight color cast toward yellow or blue-violet. It comes in many sizes and
weights, and the walls of the tube can be thick or thin. The heavier the
weight, however, the more expensive it is and the less readily available.
Polyvinyl tubing can be found in plastic supply stores and medical supply
houses.
It can be used in either technique, but it is especially good for open-
coiled weaving. Strands of yarn can be threaded through the tubing for
extra effect.
Fiber Rush (Twining and Coiling). Fiber rush, also known as paper rush,
is used primarily for woven rush seats. It is a heavy, treated paper ma¬
terial, twisted into a single ply. Light in weight, it is rigid, strong, and
medium priced. It can be found in basket supply, upholstery supply,
craft, and weaving supply, or antique repair shops.

Plastic-Covered Wire (Coiling). Plastic-covered wire is a material found in

hardware stores, nurseries, building supply, and department stores. It is a
strong material used to tie up objects which need to be protected at the
same time, such as support lines for young trees. It must be cut with wire
cutters, and pliers are needed for tight bends. This material is rigid,
comes in colors, usually green, is heavy in weight, and expensive. It is
recommended only for special heavyweight coiled pieces. It has to be
taped to be spliced, and finishing off takes extra care. A good material to
use in stress areas for extra strength, plastic-covered wire works well for

25
very large pieces that have open spacing in the body of the basket (slits,
gaps, etc.).

Cotton Seine Cord (Twining and Coiling). Seine cord comes in many sizes,
is lightweight, clean, inexpensive, flexible, and plyed. It is available in
hardware, drug, and variety stores, and marine hardware and macrame
shops.
Upholsterer's Roving (Coiling). Roving is deceptive. Although it is large
in size, it packs down when wrapped. In the medium to high price range,
roving is lightweight and works well when combined with stiffer material
for a larger core in coiling. It is available in upholstery supply and repair
stores.
Synthetic Rope (Coiling and Twining). Synthetic rope is strong, easily
unraveled, medium priced, and medium to heavy in weight. It is best used
in coiling because it can be difficult to finish off the ends in twining, al¬
though the ends can be left uncovered as part of the basket design (see
Chapter 7). It is available at boat supply, marine hardware, and hardware
stores.
Reed, Rattan (Coiling and Twining). Reed, also known as cane, comes in
many sizes, and is strong, rigid, attractive, durable, and lightweight. It
splices easily, but must be soaked to bend well. Since it is difficult to bend
for basket centers, you must use a softer fiber to start a coiled basket. In
the medium price range, reed is available in basketry supply, antique, and
upholstery repair stores.
Sea Grass (Open-Coiled Weaves, Coiling, and Twining). Sea grass is attrac¬
tive, fragrant, and lightweight. It is a plied material, comes in limited
sizes, is expensive, and has limited availability. It is available at basketry
supply stores, upholsterer’s, and antique repair shops.
Munj (Coiling and Twining). Munj is a special plied material made from
palm leaves. It comes in different sizes, is a light creamy color, and is very
attractive. It is available through specialty shops.
Heavy-Gauge Flexible Wire (Coiling and Twining). Aluminum, copper,
brass, and steel wire require wire cutters for cutting. This wire is available
at hardware stores, welding shops, building suppliers, and some lumber¬
yards. It should be used with a finer-gauge wire as the wrap. Pliers are
needed for tight bends.

MATERIALS FOR WEFTS AND WRAPS

Materials for the wefts in twining and the wraps in coiling must be flexible
enough to twist and wrap tightly. There are many types of yarn materials
available which are strong, attractive, come in many colors, and are good
for both techniques.
These materials can be found in department stores, needlework, weav¬
ing, knitting, yarn, and thrift shops, garage and rummage sales, macrame
shops, and basketry supply stores.

Animal Fibers (Twining and Coiling). There are many animal fibers
available for use in baskets. The largest group of animal fibers, wool,
comes in many weights, types, and colors, As yarns are spun with specific
uses in mind, the materials should be chosen to fit a specific technique.

26
Materials for Wefts and Wraps

24-gauge copper wire

plyed plastic twine

tussah (wild) silk

synthetic-linen mix

hard twist linen

hard twist weaving rayon

synthetic imitation chenille

loose spun synthetic

partially looped synthetic

acrylic

loose spun synthetic

uneven spun synthetic

mohair-wool mix

looped mohair

mohair

cow hair-wool mix

goat hair-synthetic mix

goat hair

Norwegian rug wool

domestic rug wool

Berber wool

two thicknesses
of Pakistani
handspun wool

hard twist dyed jute

Swiss straw

raffia

hard twist linen (heavyweight)

tweed wool 14” (.64cm)

dyed craft jute 14” (.64cm)

27
 Elastic yarns work well in twining, but nonelastic yarns should be
used in coiling, if possible. The warp in twining must be quite strong in
order to carry the weight of the piece, but any type yarn can be used in
the weft. In coiling, however, the wrap is the glue that fastens the basket
together, and the weight of the basket and its contents are carried by the
fastening wraps; therefore these must be the strong elements.
If elastic yarns are used in coiling, you can strengthen the basket in
several ways: wrap the material very tightly; double or triple the strands
of material; use a,strand of nonelastic yarn with a strand of elastic yarn.
There are many nonelastic yarns available so the problem is not great.
While knitting yarns are elastic, the best overall nonelastic yarn for
strength is rug wool. Rug wools come in many weights and sizes, both
domestic and imported. Also there are handspuns, Mexican yarns, and
weaving wools of many weights.
Silk, camelhair, mohair, angora, cowhair, and goathair are some other
animal fibers. Some of these fibers come in pure form, others will be com¬
bined with other fibers to strengthen them, due to the fact that some
fibers cannot be spun alone because they are too short, too coarse, or too
smooth to spin well. These fibers are combined with wools, synthetics,
and linens. Special animal fibers come in many weights and sizes from
very fine to heavy handspuns. They are available in bulk as well if you
want to spin your own fiber.
Plant Fibers (Twining and Coiling). The plant fibers are cotton, linen,
ramie, jute, raffia, coir, and munj. Cotton comes in many forms: rug
warps, rug yarn, handspuns, and in bulk for spinning. Cotton is used to
blend with other fibers, such as cottolin, a mixture of cotton and linen.
Cotton shreds off when used in coiling unless the material is a hard twist.
Linen comes in different weights, sizes, and textures. There are some
fine cords and hard twist linen thread available in macrame shops. They
make beautiful, natural baskets.
Ramie is a material with the strength of linen and the sheen of cotton.
It is difficult to process and thus rare. It can be found in some mixes, and
is available occasionally in bulk. Weaving and yarns shops are the best
source.
Raffia is a specialty leaf material. Available in colors including its
original creamy color, it will give a natural look to your work. It is usually
recommended that the fingers be dampened when using raffia. Personal
experience has found this unnecessary, although the raffia must be con¬
stantly twisted as you work or it has a tendency to split and break. The
twisting gives a smoother look as well. Strong, smooth, slightly shiny,
raffia has a waxy feel. It is available in basketry or macrame stores, hobby
shops, and specialty craft shops.
Coir is an inexpensive plyed cord made of coconut fiber. Coarse like
twine, it has a very natural look and is available in some basketry, macra¬
me, and weaving shops.
Munj (palm leaves made into twine) can be used as a weft or wrap
in the lightweight size.

Synthetics (Coiling and Twining). Synthetic yarns are extremely varied.

Industry has been able to create chemically almost every natural fiber and
the end results are pleasing and useful. From exciting specialty yarns to
sturdy rug yarns, the choice is great. The synthetic yarns are both elastic
and nonelastic.

28
Specialty Yarns (Twining and Coiling). There are some interesting special¬
ty yarns that can be used in baskets. Mohair, boucle, looped yarns, thick
and thin, bumpy and nubby yarns, and unusual mixtures of all types can
be found in yarn stores. These yarns are more fragile than the smooth
yarns and must be handled in special ways. Twining is less abusive to
delicate yarns than coiling. With care, some of these yarns can be used in
coiling with beautiful results, but not in pierced weaves. The constant
pulling and dragging tears the yarns apart and they become ragged. Direc¬
tions for handling delicate yarns are found in Chapter 2.

Swiss Straw (Coiling and Twining). Swiss straw is a synthetic material

which can be used in the same way as raffia. It is very shiny, comes in
bright colors, and is inexpensive. It is available in needlework, fabric,
yarn, and specialty craft stores. Like raffia, it will split and needs to be
twisted as you work.
Fur (Coiling and Twining). Fur can be obtained from pelts, such as rabbit
pelts which can be found in some novelty stores. Look for old fur coats
at rummage sales, garage sales, and thrift shops. Some thrift shops have
pieces of fur that cannot be used by furriers. Ask friends for castoffs.
If you cannot find real fur or do not want to use it, there are many
kinds of artificial furs that are interesting. These are available in uphol¬
stery shops, department stores, and fabric stores.
Small Gauge Flexible Wire (Coiling and Twining). Small gauge wire in
copper, brass, aluminum and steel can be found in hardware stores. It can
be cut with wire cutters and worked by hand. However, it must be han¬
dled carefully to keep it from twisting or knotting. If bent in the same
place too many times it will break.

29
Peacock Feather Basket. 17” x 11” (43.18cm x 27.94cm). This attractive
multiarrangement basket was made by Nancy Kull of Long Beach, Califor¬
nia. Woven in basic figure-eight, it is braided clothesline wrapped in green
acrylic rug yam. After separating the barbs of the peacock feathers, she
wrapped them with monofilament fishing line and fabricated them onto
the basket.

30
 Information
and
Advice

The following list will provide you with a few simple rules for basket¬
weaving.

1 .Start small. Your work will grow in strength and control. Watch the
improvement piece by piece. Save your ambitious pieces until your
muscles become stronger and your techniques are at your fingertips.

2. Learn a technique well and develop it further. Try to work at length in

different weaves. This will educate your fingers to do the job. Once the
technique is learned, your hands will know what to do.
3. Be flexible in your ideas.
4. Turn out a product that is as well-crafted as your present ability al¬
lows. As your ability grows your craftsmanship should grow as well.
5. Choose the proper materials for the techniques and the weaves.
6. Enjoy your work as it progresses.

HANDEDNESS IN BASKETRY
Plaiting and twining work easily whether you use the dominant hand or
not, but coiling can become a problem if you try to work with the other
hand. Left-handed people have a tendency to try to work in crafts with
the right hand because the directions are always for the right hand. In
coiling, this can prove difficult because a certain strength is needed that
only the dominant hand can provide.
Although the illustrations in this book are made for right-handed
people, the written directions deal with the working hand and the holding
hand. This eliminates one problem. Of course, all of these problems are
solved if you have the ability to reverse the illustration mentally. If you
are not able to do this, hold the page up to a strong light and look through
the back of the page. The illustration will be reversed.

31
 Ehd B

Making a Butterfly, Step 1. Make figure-eights Step 2. Wrap strand B over the index finger and
around the little finger and thumb until about 12’ around butterfly. Continue wrapping strand B
(30.48cm) remains on B end. around the butterfly under index finger until 6”
(15.24cm) remains.

loop l

Loop 1

Step 3. Slip index finger out of the loop, but do Step 4. From the front pull strand B through loop
not release the strand from fingertips. Carry strand 1 which will form loop 2.
B around loop to the back.

32
PREPARING WEFTS AND WRAPS
To begin a plaited or twined basket, all the warps are cut and ready before
the center of the basket is woven. In coiled basketry, the ball or reel of
core is ready for use. Why not ready the wefts and wraps in the same
way? It saves time and effort later, and the work goes ahead more smooth¬
ly without interruptions.

Preparing Wefts for Plaiting and Twining. The wefts can be cut and ready
to weave into a plaited basket when needed because the total amount to
be used is known ahead of time, unless the shape is unusual or asym¬
metrical.
To plan the amount of material needed in twining is not as easy, but if
you make several butterflies (see below) ahead of time, they will then be
ready for use when needed.

BUTTERFLIES
Butterflies are used for three things in basketweaving. In twining, they are
used as weavers. In coiling, particularly in Method 2 of the ripple weave,
one piece of core and one piece of wrap must be held out of the way
while working with the other two pieces in each row. The butterflies keep
the extra material out of the way. Also in coiling, the strands of a multi¬
strand core must be kept straight to keep a smooth surface on the row. If
each strand is made into a butterfly, the strands are less apt to twist and
tangle. When they do tangle they can be straightened out quickly.
The following method of making a butterfly was learned from Helga
Miles, a master weaver from Germany. It is a different and practical way
to produce a secure butterfly that will stay fastened in position by itself
without other devices. When undone, it leaves no knot. This butterfly
requires a little patience to learn, but once learned you will see it is as
easy as tying your shoe when one shoestring is too short to make a com¬
plete bow.

Making a Butterfly. You will be working with two types of material:

attached (to the basket in progress) and unattached. If you are working
with attached material, start the directions at the end closest to the
basket.
Step 1. Wrap end A of the material around the thumb two or three
times (this end will be the working end of the butterfly). Now make figure
eights around the little finger and the thumb (this end will be used to
fasten the butterfly together and will be called B).
If the material is about the weight of four-ply knitting yarns, stop
making the figure eights when about 12” (30cm) extends out from the
B end (more length is needed for a heavier material, less for lighter ma¬
terial).
Step 2. Grasp the butterfly by the center crossing from the top with the
working hand, and carefully remove the butterfly from the holding hand
without letting it slip apart. Let the end A strand fall free. Firmly grasp
the butterfly with the holding hand between the thumb and the third
finger leaving the index finger free. Extend the index finger over the
crossing, toward the B end of the butterfly.
Pick up the end B strand and place tightly between the index finger
and the tip of the thumb making sure the strand is slightly separated from

33
the body of the butterfly. Do not release this strand during the whole
operation. Loop the end B strand over the index finger and on around the
butterfly. Now wrap under the index finger and around the butterfly
until there is about 4” to 10” (10 to 25cm) left (according to the weight
of the material).
Step 3. Slip the index finger out of loop 1 without releasing the strand
from the fingertips. Take the end B strand around the holding hand side
behind loop 1 and drop.
Step 4. Pull the end B strand through loop 1 from the front to form loop
2. Pull loop 2 and loop 1 to tighten. To use, pull the material from end A.
If the butterfly is thick, it will eventually loosen as the material is
pulled out of it. Undo the bow when this happens, tighten the wrapping,
and retie the bow as before.

PREPARING WRAPS FOR COILING

In coiling, lengths must be cut to use in wrapping the core. Although you
will not know exactly how much material you will need for the entire
basket, you can cut enough lengths to make up a ball or two that will
keep you supplied for some time.

Planning the Wrap Length. The length of the material to be used in

coiling is determined by a number of things: your experience as a basket-
weaver, the size of the core, and the stability of the material.
The usual length of the coiling wrap is three to four lengths. A length
is the distance you can pull the material out to the side or an arm length.
This length is about a yard (meter). Since the wrap in coiling has a ten¬
dency to tangle, it is recommended that inexperienced basketweavers use
shorter lengths until they learn how to handle this problem. One arm
length is fine to start.
If the core is larger than V2” (12.7mm), more length should be measured
off. Large cores eat up the wrap quickly. A small basket with core under
V2” (12.7mm) might take 3A” (19.05mm) of the material for each wrap,
but a large piece of core 1” (2.54cm) or more in diameter will use 21/2”
(6.35cm) or more per wrap. Measure off four to six arm lengths for use
with large cores—more than six arm lengths is awkward to use.

How to Control the Wrap Tangling. The wrapping motion in coiling

twists the material. This twisting either causes the material to unply or
overply according to the direction of the yarn twist in the original spin¬
ning. Left- and right-handed people twist in opposite directions as they
work. Watch the material as you work. If the material untwists and the
plys begin to loosen, twist it back. If the material kinks up, you have
overtwisted it, and must allow it to untwist. Twirling the needle between
the fingers or allowing the material to hang loose, weighted with the
needle, will return it to its proper position again.
The material always has a tendency to catch a little as it is being pulled
through. Be careful that the yarn does not unply too far, as the extra
yank needed to pull it through may break it.

PREVENTING FRAYED ENDS AND DAMAGE

Besides the problem of yarns unplying too far and thereby breaking, there
are other characteristics of basketweaving materials which may cause
them to break or fray.

34
Frayed Rope Ends. Some rope materials untwist easily. Synthetic ropes,
cotton seine cord, and similar materials can be a problem. In thin ma¬
terials it is possible to tie a knot in the end, but thicker materials must be
wrapped with tape to keep the ends intact. When tapering the ends, glue
will keep the end fibers in place and out of the way of the wrapping.
Touching the ends of synthetic materials with a match or gas flame will
melt the ends together. However, be careful because too much heat for
too long a time will darken or burn the plastic material.

Protecting Delicate Materials from Damage. It is easy to damage loose and

uneven yarns while coiling. Handspuns, yarns with uneven spinning,
boucles, looped and nubby yarns, and yarns that are spun with unlike
materials (for instance wool and plastic), are especially susceptible. The
constant dragging of the materials as they are drawn between the rows
tears at the loose and fragile material and causes it to become ragged. The
result can be a sad looking basket. There are several solutions to eliminate
most of this problem.
If short lengths of a yard (meter) or less are used, the damage is mini¬
mal. The longer the strand, the more the problem seems to compound.
Some fragile yarns cannot be used in coiling, but are acceptable in twin¬
ing. Do not use fragile yarns in pierced weaves. If you are not sure wheth¬
er a yarn will survive, drag your fingernails across it to test for tearing or
make a small sample piece.
Handspuns that are loosely spun do not survive very well in coiling.
Fine handspuns, however, can be overtwisted and doubled to strengthen
and make them more durable using the following method. Cut off more
than double the length you plan to use. Holding onto each end, twist the
yarn until it kinks. Fold it in half without releasing the ends and the
material will twist around itself. You now have a two-ply yarn that is
stronger and will withstand more punishment than the original strand.
If the yarns become frayed in use, a little glue at the end of the ma¬
terial will keep the ends in place. Some yarns will take more glue than
others. You will have to experiment with each type of yarn to find out
how much is needed. Try to use as little glue as possible, especially white
glue. Be sure to let the glue dry before wrapping the lengths into the
ball. The glued ends will not show as they will be covered by succeeding
wraps.
Nubby, rough textured yarns will work well in twining and fairly well
in coiling except for pierced weaves.
If any of these materials seem to break very easily when pulling through
and tightening, double or triple the yarn to make a stronger strand.
Mohair comes in several weights. Use more than one strand of the lighter
weights.

GENERAL INFORMATION ABOUT CORES

The core size determines the size of wrap that should be used, because the
core is the dominant member of the basket. Small cores must be wrapped
with thin wraps. Heavy wrap on small cores will make a soft spongy bas¬
ket because the wrap is difficult to get tight and it does not allow the core
to keep a straight line while wrapping.
Large cores, on the other hand, will accept any size wrap. The fastening
back might be a little weaker with a thin wrap, but the fastenings occur so
often that this balances out. Very thin wrap will make a smooth looking

35
basket with a large core. If the basket seems to go very slowly when using
thin wrap on large cores, double or triple the wrap. This will cover more
area quickly, will make the material stronger, and will equalize the heavy
look of the core.
Heavy wraps on large-cored baskets will give a big, strong look to the
baskets. Anything that can be done in a small basket with a small core can
be done in a large basket with a large core. It is only a difference in scale.
The work is more difficult to achieve on a large core due to the difference
in size, weight, and flexibility of the core material.
Large cores are difficult to find. If you desire a larger core, you can use
several smaller cores together. Any core materials can be used together,
but the softer the material used on the surface of the core group, the
smoother the surface of the basket. Row shaping with a multiple core is
simple. The individual units can be moved to allow the shape of the row
to be round, oval, asymmetrical, or flat. The separate units can be divided
and used for intricate decorative portions of the basket or edgings. These
units can remain apart or be rejoined.

TAPERING WARPS AND CORES

Tapering the material in warps and cores is fairly simple except when
using braided clothesline.
To taper a single-ply material, flatten the rope out and cut off at an
angle. If there is more than one ply, unply the rope and lay the plys
flat. Cut off each ply at an angle and re-ply the rope.
When tapering braided clothesline, the tapered end can break off if not
treated properly. The material inside the braiding is usually a soft, short-
fibered material that is easily broken up, and the braiding is fragile when
cut at an angle. There are two ways to handle braided clothesline. You
can paint the outside of the line with glue the length of the taper and
allow to dry. Then cut the line at the desired angle. Or, if the filler is
plyed material, do not glue the outside of the braiding. Instead, roll back
the braided covering and unply the material, being very careful as it is
fragile. Cut the taper and re-ply. Then roll the braided material back into
place.
In tapering fiber rush, untwist the paper and lay it flat. Cut at an angle
and twist back into place. In tapering reed, cut at an angle with a sharp
knife or blade.
When cutting off a piece of core from the ball or reel, it is a good
practice to cut it at an angle because more angle cuts are used than
straight cuts.

SPLICING WARPS AND CORES

The general procedure for splicing is to taper the end of each piece of
material to be spliced together. Glue the tapered edges with textile or
white glue and hold together until set.
The glue has a dual purpose. It holds the ends together until they can
be wrapped (the wrapping is the true fastening over the splice), as they
can become a problem when wrapping over a splice area, especially if the
core is fibrous. And the glue helps to keep the splice area under control.
When splicing reed the glue again becomes a third hand, making the
splice easier to control. Hold the pieces together tightly while weaving
over the splice, as the splice can break due to the stiffness of the core

36
material. Here again the wrapping is the true fastening. If the glue does
not seem to hold, use a tiny piece of masking tape over the separation.
Do not splice material that is going to show. It will not be attractive
and the area will be weak. With open weaving, use sufficient length to
finish the piece without splicing, or use materials which do not need to
be spliced (pine needles, small reeds, etc.). These materials can be placed
together in groups, and the new added ends are placed at irregular in¬
tervals and tucked into the bundle of existing pieces. This allows the
ends to be hidden in the group.
When weaving over a splice, weave a little tighter to keep the splice
from showing as a lumpy area. This is especially true in twining. When
splicing ends in twining, try not to have all the splices occur in a line.
Staggering will eliminate any heavy look if the splices are a little thick.

FIBER CHARACTERISTICS AND LONGEVITY

How the product you are planning to make will be used influences the
materials chosen. Are you making samples, experimenting, or creating an
art form? If you are making samples or experimenting, you should choose
a material that is inexpensive and workable. If you are creating a piece for
sale or exhibition, you should choose the proper materials to insure good
craftsmanship and the longevity of the piece.
Warp and core materials, such as reeds, have proven themselves over the
centuries as long lasting. Sisal, manila, and other similar rope products
will survive very well when not subjected to water or chemicals. Syn¬
thetics and plastics are seemingly indestructible.
Jute on the other hand is more destructible. Exposed to the air, it
begins to break down in a few years. Jute has the amazing property of
responding to temperature and humidity. In dry conditions, it contains
about .06% moisture, but in damp air, such as summer humidity or
air-conditioned buildings, it absorbs up to .23%. This softens weak work
made from jute and allows it to sag under its own weight, especially pieces
with heavy extensions. When dried out again, the piece returns to the
proper position. Softening is slight if the core is tightly wrapped because
tight wrapping keeps the work firmer and allows less movement.
Living in a damp locale near the beach makes rust a problem. Recently,
a steel armature that had been tightly wrapped for 8 years was dismantled.
The steel was still highly polished, while similar bare rings left in the same
room for a much shorter period were rusted. If jute is protected from the
air by tight wraps it can last for many years. Only time will tell.
Wefts and wraps should be scrutinized as well. Linen, cotton, wool, and
silk all have staying powers, as do all of the other animal fibers. Linen has
the strongest properties of the plant fibers. Any materials will break
down and rot if subjected to strong chemicals or water. Commercial
animal fibers are mothproofed, but make sure that handspuns have been
treated. Synthetics are strong materials and long lasting, except-some
rayon fibers.
Check your materials out before using them in a piece for sale or exhi¬
bition. If any materials are used which are of questionable longevity, make
this known.

37
 Wheels. 13” x 10” diameter (33.02cm x 25.40cm). Many little coiled
starts in figure-eight weave are placed on a large coiled base to make an
interesting basketform. The wheels are ornamented with rya and gold
painted wooden beads. The material is a green gold synthetic rug yam
over jute.

38
 Plaiting
and
Twining

Plaiting and twining are very similar in technique. Forerunners of textile

weaving, they both contain a warp and a weft. They both also afford a
slightly rounded bottom to a piece, which gives it a light, floating quality.
Both techniques as covered in this book contain only two crossing ele¬
ments. Simplicity of element and design rather than complexity of tech¬
nique is the keynote.
The major difference between plaiting and twining is in the weft ele¬
ments. Weft materials in plaiting move in straight lines crossing the warp
materials in a perpendicular fashion. Any bending of the materials is done
in the general shaping of the piece. The preferred material is flat and
ribbonlike.
Twining requires a weft material that can be twisted and bent easily in
any direction around heavy warps. The weft material usually totally
covers the warp, and therefore it must be quite narrow and flexible, and is
often cylindrical in shape. The flat, smooth look of plaiting contrasts
sharply with the ribbed look of twining.
The materials used in both warp and weft are the major determination
in the rigidity of the work. Both techniques, but especially plaiting,
develop less support in the weaving process than coiling (see Chapter 4).
Therefore the warp and weft materials must be chosen with the degree of
firmness desired in the final product in mind.
Traditionally, throughout the world, cylindrical material (such as rattan
or osier) is woven using a combination of plaiting and twining techniques
into baskets, furniture, and many other practical items. This combination
of methods will not be discussed further in this book, because the tradi¬
tional materials that work best for it are specialized as to locale and there¬
fore are not universally available. Plastic tubing and clothesline will work
for this technique, but the resultant basket is not as strong as one made of
natural materials, and the ends are difficult to disguise. Many good books
are available to aid the craftsman wanting to make this type of basket.

39
PLAITING
In plaiting, the feeling is fluid and light. The work has movement because
the construction allows freedom within the piece.
Plaiting weaves are: plain, check, diagonal, doubled plain, and twill.
Different textures and materials make these weaves interesting and excit¬
ing. The more complicated plaited weaves are not included in this book
because they are better served by using natural materials.
Over time the traditional plaiting technique used for baskets evolved
into a technique for making fabric; therefore the terms used for plaiting
are weaving terms. The vertical elements are called warps, and the hori¬
zontal elements are called wefts. As the basket sides begin to rise from the
base or center, the wefts as well as the warps of the basket center become
warps, and new strips are added as wefts. The weft piece being woven into
the basket is called the weaver.
Plain Weave. This is the simple intersection of one element over another.
The weaving is simply over one, under one.
Check Weave. This is plain weave using one color for the warp and an¬
other for the weft. This gives the weave a different look.

Diagonal Weave. This is plain plaiting turned diagonally to the shape of

the basket after the center is woven and before weaving the sides (see
Weaving the Sides of a Diagonal Basket). Check plaiting makes an interest¬
ing diagonal plaited basket.

DOUBLED VARIATIONS OF THE PLAIN WEAVE

These are two methods of changing plain plaiting for added effect. The
first involves carrying two warps at a time in the weave, and the second
carries two warps over two wefts at a time.
Method 1. The Single Row Variation Using Two Warps. Weave over two
warps at a time alternating the weave in each row.
Method 2. The Double Row Variation Using Two Warps. Weave over two
warps at a time for two rows before alternating. This gives a block effect
to the weave.
Twill Weave. This is usually woven over two warps at a time. The pattern
moves over one warp in each new row making a diagonal stairstep pattern
across the basket. This pattern can move to the right or the left (as shown
in the demonstration) and back and forth.
Twill can be used to make several variations of the diamond pattern.
The pattern can vary from a straight over two and under two to as high as
over three or four. Graph paper can be a great help in planning designs
such as the diamond. Use one square on the paper to indicate one warp
wide and one weft high.
Using one color in twill weave will give a textural look, while adding
another color will add contrast and give a damask effect.

THE WORKING BOARD

When using contemporary materials like leather, plastic, or braids, the
material has a tendency to slip. Pieces must be anchored down to keep
them in place. Use a heavy piece of cardboard, Styrofoamf a hard flat
pillow or Celotex board as a pinning base. Do not stick the pins through

40
 Plain Plaiting

Plain Weave. A pattern of over

one, under one every row.

Check Weave. Uses the plain

weave with two colors.

Doubled Variation of the Plain

Weave, Method 1. Weaves over
two warps at a time every row.

Doubled Variation of the Plain

Weave, Method 2. This varia¬
tion weaves over two warps at
a time for two rows before
alternating to the opposite
weave.

mm ^
.« -■wm

mm kfirnml

41
 Twill Weaves

Right Diagonal Twill Weave.

The direction of the steps
moves right.

Left Diagonal Twill Weave.

The direction of the steps
moves left.

Zigzag Diagonal Twill Weave.

The direction of the steps
moves back and forth. The zig¬
zags can be short or long.

Diamond Pattern in Twill

Weave. The diamond pattern
uses twill plaiting to create
shapes. The weaving alters the
over two, under two whenever
necessary to create the desired
pattern.

42
the material unless the holes will not show. Leather and plastics cannot
be pinned, although braids and fabrics can. Directions in plaiting are
primarily for leather because it is the material most available.

MEASURING MATERIAL
Strips of material for a basket need to be long enough to cover the entire
center, reach up both sides, and finish the edges. Since the pieces lie
tightly together in the weaving, the width of the pieces will determine
the size of the basket. For instance, for a basket 4” x 4” x 4” (10.16 x
10.16 x 10.16cm), using 14” (6.35mm) material, you will need 32 strips
12” (30.48cm) long, plus edges.
A square basket will require pieces all the same length, but a rectangu¬
lar basket must allow for extra length one way and extra pieces the other.
More lightweight materials will be needed if materials of different weights
are used in the same basket. Weaving small sample pieces helps to deter¬
mine how much material will be needed. The length of the side wefts for
a straight-sided basket is the total length of all four sides plus the width of
four warp strips. For a 4” x 4” x 4” (10.16 x 10.16 x 10.16cm) basket
using 1/4” (6.35mm) strips, you will need 16 to 17 strips, each 17”
(43.18cm) long.
A diagonal basket does not need any strips other than those measured
1 *
6 7
for the basket center because when the center is turned diagonally, the
warps crisscross each other and become the wefts as well as the warps for 3
✓
the sides. To find the measurement of the strips for a diagonal basket,
decide the distance the center of the basket will be from corner to corner
and multiply that distance by 3. Then add enough to finish the edges as
desired. The corners of the basket center are situated at the center point i
\ 4-

of the woven sides (see Weaving the Sides of the Diagonal Basket). 5 8

STARTING A BASKET CENTER

7*
nn nr
This center will apply to all weaves. The example uses plain weave, but Starting a Basket Center.
the basic method applies to all by changing the weaves. Place the pieces on Weave four warp strips as
shown. Beat them together
the working board face down. This allows the sides to be bent upward
and pin at the comers. Weave
without turning the woven center over to do so. the next four warp strips as
Following the illustration, take four pieces of material. Lay 1 on the shown. Beat together and pin
working board vertically with the center of the strip near the center of at the comers and along sides
the board. Now lay 2 across 1 horizontally with the lower edge of 2 at if needed. Continue weaving in
this manner for the basket
the center line. Lay 3 over 2 parallel to 1. Last, place 4 parallel to 2,
center.
weaving it over 3 and under 1. Beat or push the strips together with the
fingers until the sides touch. Place pins at the outside corners of the
weaving next to the strips.
Now weave 5 under 4 and over 2. Weave 6 over 5, under 1 and over 3.
Next weave 7 over 6, under 2 and over 4. Last, weave 8 over 7, under 3,
over 1, and under 5. Beat in with the fingers and move the pins to the
outside corners. Add pins in other places around the edges if needed to
hold in place. Keep adding weavers in groups of four until the planned size
of the basket center is reached.
To keep the sides even in a rectangular basket, add the extra weavers
evenly on both sides of the center.

43
 MAKING THE FRAME
Since plaiting tends to move quite easily, a frame is a great help in con¬
trolling the basket shape. The frame forms a base on which the warps can
be fastened. The frame gives tension to the side warps which helps during
weaving and beating the wefts into place. A box or frame can be made by
taping pieces of cardboard or popsicle sticks together in the desired size
and shape. Since sizes will vary, one frame will not work for all plaited
baskets, but the sections can be reused.

I
Bending the Warps for the
Sides, Step 1. Cut through the
BENDING THE WARPS FOR THE SIDES
Thin flexible leather can conform to any angle desired or it can bend from
a rounded bottom edge to a straight wall to form cylindrical basket sides.
Heavy leather will not make an angled edge unless properly prepared. The
back of the leather must be skived (trimmed away).
leather part way.
Step 1. To do this use a very sharp blade to carefully cut through the back
of the leather strip about one third to one half the depth at the fold line.
Step 2. Then hold the blade at an angle to the leather and cut toward the
incision carefully from each side to trim away the edges. This leaves a
Step 2. Place the glue in the V-shaped incision across the back of the strip. Lay glue in this incision
V-shaped incision and bend
and press the strip together at the angle desired. This will create a good
the leather to create the
proper angle. bond. Place on the prepared frame to allow the glue to dry.
Plastic strips can be creased with an iron. Be sure to test the material
for heat saturation before working into a basket. Too low heat only
softens the plastic while too high heat can melt it. Be sure to protect your
iron from melting plastic.

FASTENING WARPS TO THE FRAME

Place the frame on top of the woven center. Hold it in place while lifting
and fastening the strips at the top edge with:
1. A very strong rubber band.
2. A strong piece of yarn or cord.
3. Cloth or masking tape.
4. A bulldog or binder clip.
5. A wing nut clamp described in Chapter 1.

WEAVING THE BASKET SIDES

The warps and wefts of the center become the warps for the basket sides.
Be sure the warp strips are tightened into place before and during the
weaving process.

SPLICING WEFTS FOR PLAITED BASKETS

Unless the weft material will adhere to itself, as natural leaf materials do,
gluing will be necessary to splice the wefts. Make all the splices on one
side of the basket.

Step 1. Choose a weaver. Weave the first row starting near the center of
one side of the basket. Work around the basket leaving the last two warps
unwoven. Leave both ends of the weaver extending over these warps.

44
 Splicing Wefts for Plaited
Baskets, Step 1. Skive the
backs of the strip ends at an
angle.

Step 2. Glue the facing sur¬

faces.

Step 3. Place the splice behind

a warp. Press ends together
and hold or clamp until dry.

To eliminate thickened splices, skive off the backs of the extending tips.
Step 2. Glue the facing surfaces of the weaver ends.
Step 3. Weave the ends into place making sure the splice is hidden under
the warp. Tighten the row and press the ends together. Hold or clamp
until dry.
Weave several rows before beating down. The top row of weaving will
release and slip up a little each time, so weave the rows in groups before
beating down. Continue weaving to the top of the basket.

WEAVING THE SIDES OF A DIAGONAL BASKET

A diagonally woven basket is not much more difficult to complete than a
straight-sided basket and it affords'a pleasing, different result.
Step 1. Place the frame diagonally on the basket center with the corners
of the frame at the side center points. Bring up the woven corners and
fasten them at the center points of the frame sides with a clip or clothes¬
pin.
Step 2. Starting at the bottom of one of the frame corners, pick up the
weaver 1 on the left side and weave it along the right woven edge of the
corner.
Step 3. Now pick up weaver 2 on the right side and weave it along the
left woven edge of the corner and fasten in place as before. Continue al¬
ternating with each weaver left and right of the corner until the top of the
corner is reached and all of the weavers have been woven in. Fasten in
place securely and weave the other corners in the same way. Leave the
clamps in place on the basket, but remove the frame.

45
W£W£ft *1 Weaver *2

Weaving the Sides of the Diagonal Basket, Step 1. Bring up the comers of
the woven center and clamp at the frame center points.
Step 2. Weave across the right side of the corner with weaver #1.
Step 3. Weave across the left side of the corner with weaver # 2. Alternate
sides to the top.

46
COMPLETING THE EDGES
There are two ways to prepare the edge of a basket for the finishing proc¬
ess. The edge can be trimmed off or it can be folded and rewoven.

The Trimmed Edge. Use this basket edge when more materials are to be
added for strength. Use it for all types of materials and all kinds of plait¬
ing, including diagonal plaiting.
Glue the weft and warp ends together along the edge and allow to set.
Trim away the excess. The basket is now ready to add any finishes de¬
sired.

The Folded Edge. This edge is not as strong as one with added material,
but it is neat and smooth. Use this edge when you are planning to make a
lid for the basket, because it allows the lid to slip on easily. If you plan to
use this edge for a simple basket without a lid, be sure the basket is very
lightweight. A heavy basket needs a stronger edge.
For plain plaited baskets, allow for an extra row of weft. Glue the extra Using an Orange Stick as a
weft row and the warp ends as above and allow to set. Fold down the Reweaving Tool, Step 1. Pull
extra row inside the basket and reweave the warp ends into the basket. out the weft until the folded
Trim off any exposed ends. warp can be slipped beneath
For diagonal plaited baskets, fold the edge at the line and reweave the it.
ends on the inside of the basket. Trim off ends.
If decoration is desired, it may be added around the edge of the basket.
If the basket is to have a lid, add the decoration below the line of the
lid. The decoration can be matched to that on the lid.

Using an Orange Stick as a Reweaving Tool. It can be difficult to weave

the warp ends back into the inside of the basket without a tool. An
orange stick is a very good aid in reweaving. Choose one with a flat end.
Step 1. Fold the warp end placing the fold slightly below the edge of the
weft row. Slip the orange stick under the weft and pull the weft away.
Push the warp fold into the pocket.
Step 2. Put the orange stick into the warp fold and push it under the
weft and smooth out. Trim off the excess warp end below the weft. The
warps can be glued, but this is not necessary.

STRENGTHENING THE EDGE

Since the edge of the basket is the part most handled, it must be the
strongest. Unfortunately, it is the weakest part, therefore it must be Step 2. Push the warp strip
strengthened. through the weft opening with
A single weft strip can be placed either inside or outside of and parallel the stick.
to the basket edge over the last weft row. The ends should be skived,
glued, and spliced. This weft row can be touched on the back with glue
several times in order to fasten it temporarily in place along the edge
until it can be permanently fastened down.
Two strips can be added to the basket both inside and out, or one
extra wide strip, which will fold over the edge and cover both sides the
width of the first weft row can be used.
If leather is used for the extra strips, the cut edges may be stained with
leather stain to disguise them before fastening to the basket.

47
 ADDING DECORATIVE KNOTS
Choose the lacing for decorative knots from such material as leather
lacing, heavy linen cord, or attractive round braids. Make holes with a
piercing tool through the basket at the center of each warp end making
sure they are centered on the extra strip. Make the holes large enough to
Adding Decorative Knots —
allow the threaded needle and lacing material to pass.
the Overhand Knot. The over¬
hand knot is a simple tie made Measure the amount of lacing needed to tie a single or double overhand
in a strand of material as knot. Multiply the amount needed to make the knot by the number of
shown. punched holes and add the basket circumference. Add 12” (30.48cm) or
more for extra working length.
Glue the end of the lacing and place it between the extra strip and the
basket, press together, and let set. Needle through the first hole. Tie the
overhand knot carefully so it lies tightly against the surface of the basket
and will not pull back through the hole. Now needle back through the
hole, and continue the row in the same way. If using two-sided material
like leather lacing, make sure the surface of the material shows in the
knot. Needle between the extra strip and the basket after the last hole,
glue the lacing, and pull through. Hold until set, then cut off the end.
Adding Bells and Beads. Measure two times the circumference of the
basket and cut a corresponding length of lacing. Punch holes around the
edge and fasten the end of the lacing as above. Thread the lacing onto a
tapestry needle, needle through the first hole from inside the basket, and
pull through. Thread a bell or bead onto the lacing and needle back
through the same hole. Pull tight. Continue to add bells or beads through¬
out the row. Finish off as above.

TRADITIONAL FINISHES WITH A NEW TWIST

Traditionally, to finish off a basket, rigid strips of material are placed
around both sides of the edge and flexible strips of material are wrapped
Single Wrap Finish. Pierce around them and through the top of the basket in several ways.
holes at 14” (.64cm) intervals
or more beneath the edge strip
WRAPPED FINISHES
with a sharp tool. Make sure
they are large enough to allow This finish is begun by following the directions given above for strengthen¬
the needle and lacing to pass. ing the edge of the basket by adding strips. The lacing material should
Overcast the edges entering blend with the basket material. If a contrasting material is used, make sure
the holes from the front.
the color and the type of edge finish chosen do not detract from the
Glue and conceal the ends be¬
tween the edge strips and the basket.
basket.
Single Wrap. Punch evenly spaced holes through the warps below the
added strips at no less than 1A” (6.35mm) intervals, including the spaces
between the warps as holes. Measure the length needed to wrap around
the strips from the first to the second hole. Multiply this length by the
number of holes in the basket. Add some extra working length. Fasten
the end of the lacing under the inside strip with glue and let set. Thread
Double Wrap Finish. Pierce the lacing on to a tapestry needle. Overcast the lacing around the edge,
the holes twice as far apart as needling through the holes from the outside of the basket. Do not let flat
the single wrap. Follow direc¬ lacing material twist. Finish off by fastening the lacing under the extra
tions for single wrap to the
strip inside the basket with glue. Trim off the end.
end of the row. Reverse direc¬
tion and rewrap using the
same holes making sure the Double Wrap. Punch holes in the same way as the single wrap at no less
wraps cross at the top edge of than Vi” (12.7mm) intervals. After wrapping the edge with the single
the basket. wrap, turn and wrap in the opposite direction needling through the same

48
holes. Make sure the second wrap crosses the first wrap at the top edge.
Finish off in the same way as the single wrap.

FEATHERSTITCH BRAIDING
Punch holes at 14” (6.35mm) intervals. These holes may be placed in a
straight line at the base of the added strip or staggered alternately below
and in the center of the strip. Be sure the hole is large enough to allow the
needle and lacing to pass through easily. Use a needle with as slim an eye
as possible.
The amount of lacing required is determined by the number of holes
and the type of material. Make a sample sequence, remove, and measure
the length. Make sure there is enough to finish the lacing without splicing.
Allow extra length for working.

Step 1. Thread the lacing on the needle, glue the end of the lacing, and
place it between the strip and the basket. Allow to set. Needle through the
first hole from the front and leave a loop.

Step 2. Needle between the lacing and the top of the basket and pull
through without twisting, leaving a small loop.

Step 3. Now needle through the loop and pull the lacing through without
twisting, leaving another loop.

Step 4. Pull the first and second loops tight. Pull the third loop tight.

Step 5. Repeat this braid sequence around the top of the basket. After
finishing the last sequence, needle through the first loop and pull the lac¬
ing through. Enlarge the first hole and needle through. Pull the lacing
through and slip the needle under the lacings inside the basket up close
to the braiding for about V2” (12.7mm). Glue the lacing, pull through, and
cut off.

Featherstitch Braiding Finish, Step 1. Needle through the first hole from
the front, pull through leaving a loop.
Step 2. Needle through the loop without twisting material leaving another
loop.
Step 3. Needle through the second loop without twisting the material
leaving another loop.
Step 4. Tighten the first and second loops.
Step 5. Tighten the third loop and needle through the next hole.

49
MAKING A LID
The lid is made in the same way as the basket itself, except that the lid
often has decorative elements in the center, and it needs to be slightly
larger than the basket to slip over the basket edge easily. The decorative
elements are put on before the edge is finished off. Leave the basket on
the frame while adding the decoration to make working easier. See Chap¬
ter 5 for imbricated weaves that can be used as lid decoration in plaiting.

Adding Bells or Beads. Place the object on the lid in position. Thread a
strip of weaving material through the object and weave each end through
the adjacent rows on the lid to the edges. If the object has a small hole,
punch two holes through the strip of weaving material and tie the object
onto it with waxed linen. Now weave the strip into place. The extra ends
will be included in the edge finishing. Remember there must be an uneven
number of rows on the lid to allow a single object to be placed in the
center of the lid if it is to be woven in place.

Adding a Handle. Make a coil of rigid material and weave the ends into the
selected woven rows as above. A ring can be wrapped with flexible ma¬
terial and attached to the lid with the wrapping material in the same way.
The fastening material for any decorative object can be the material
used in the basket or a contrasting material that can be included in the lid
design.

TWINING
Two things are added in twining: a twist and another strand of weft. The
twist in the wefts gives more strength and requires less rigid materials. Any
type of material that will satisfy the desired end result can be used for the
warps regardless of look. Since twining requires a beating process to force
the elements together, fibrous materials like jute make poor warps. The
fibers become dislodged and work to the surface of the basket. Plastic or
braided clothesline work well. Beating is done with the fingers, a tapered
popsicle stick, an orange stick, or a heavy tapestry needle.
Twining weaves are plain (single and double), twill, and wrap. Similar
in appearance to plaiting, they allow more freedom in pattern and design.
Twining is worked with two strands of weft at the same time. The two
strands of material are twisted together as they are woven across the row.
The twists are either a half or a full twist. Each warp is covered back and
front in the same weaving operation.
The half twist is the more common of the two techniques. A simple
crossover, it is used to create a vertical stripe. An uneven number of warps
will produce a checked look with two colors (see the illustration of
weaves and color patterns later in this chapter).
The full twist is used when a definite pattern or design is planned for
the basket surface. The desired color can be brought to the surface when
needed.

TWINING WITH THE HALF TWIST

When working on the body of the basket, the work progresses in one
direction. At the basket base or center, separate units or straps are twined
independently and then joined to make the body of the basket. When
working on the center straps, it is necessary to weave back and forth.

50
Twining Weaves

Plain Twine. Uses one warp.

Diamond Pattern. Alters the

use of two warps in the twill
weave when needed to create
the pattern.

Left Diagonal Twill. Moves the

two warp pattern over one
warp to the left each row to
create the pattern.

Zigzag Twill Weave. Uses the

left and right diagonal twill
weaves moving back and forth
the desired number of times.

Right Diagonal. Uses the twill

twine moving over one warp
to the right each row.

Checked Plain Twine. Uses the

half twist with two colors.

Broken Vertical Stripe. Made

in the same way as checked
plain twine, except a full twist
is used at the beginning of the
row to control the stripe.

Loop variations (left and right

strap). The placement of the
loops can be varied as well
as the color used.

51
 Method 1 (below) is the preferred direction and is used throughout the
basket unless the weaving direction is reversed. Method 2 is used to
reverse direction when weaving the center straps or when a design is being
developed separately (see Chapter 6). Method 2 retains the directional
slant of method 1.

Method 1 (Moving toward the Wbrking Hand Side). The weft strands are
called A and B. Make butterflies at the end of each strand (see Chapter 2
for directions). Weave strand A under warp 1 and drop it down (Step 1).
Pick up strand B and weave it over warp 1 and under warp 2 and drop it
down (Step 2). Continue this sequence across the row or around the
basket (Step 3).

Method 2 (Moving toward the Holding Hand Side). Weave A under warp
1 and place up (Step 1). Pick up B and weave over warp 1 and under warp
2 and place up (Step 2). Continue this sequence across the row (Step 3).

Twining with the Half Twist, Method 1, Step 1. Twining with the Half Twist, Method 2, Step 1.
Weave A under warp 1 and drop down. Weave A under warp 1, and place up.
Step 2. Weave B over warp 1 and under warp 2 and Step 2. Weave B over warp 1 and under warp 2, and
drop down. place up.
Step 3. Alternate across the row or around the Step 3. Continue this sequence across the row.
basket.

52
TWINING WITH THE FULL TWIST
While the strands in the half twist alternate front and back by crossing
each other, the strands of the full twist never cross over to the other side
of the warp. This allows two colors to be controlled when making designs.

Method 1 (Working toward the Working Hand Side). Weave A under

warp 1 and drop it down (Step 1). Lay B across warp 1 (Step 2). Pick up
A, wrap it around B, and weave it under warp 2 (Step 3). Hold B and pull
on A until the twist is hidden under warp 2 (Step 4). Repeat this sequence
across the color pattern.

Method 2 (Working toward the Holding Hand Side). Weave A under warp
1 and place up (Step 1). Lay B across warp 1 (Step 2). Wrap A around
B and weave it under warp 2 (Step 3). Hold B and pull on A until the
twist is hidden under warp 2 (Step 4). Repeat this sequence across the
color pattern.

Twining with the Full Twist, Method 1, Step 1. Twining with the Full Twist, Method 2, Step 1.
Weave A under warp 1. Weave A under warp 1 and place up.

Step 2. Place B over warp 1. Step 2. Place B across warp 1.

Step 3. Wrap A around B, weave under warp 2. Step 3. Wrap A around B, weave under warp 2 as
shown.
Step 4. Hold B and pull A until the twist is hidden
under warp 2. Step 4. Hold B and pull A until the twist is hidden
under warp 2.

53
 TWINING WEAVES
Three types of twining weaves are plain, twill, and wrap.

Plain Twining (Single and Double). This kind of twining can be woven
over one warp (single) or two warps (double) at a time as in plaiting. The
resultant pattern is respectively , narrow or wide ribbing. Used for the
basic weave of a basket, this is the best weave to use for basket centers as
it is the strongest of the twining weaves. A pattern can be developed by
using a different color for each strand.

Twill Twining. This is woven over two warps at a time as in plaiting to

develop the pattern. In order to allow the pattern to work out naturally
without having to use the full twist or alter the pattern at the end of the
row, it is best to add an extra warp to keep the warp count odd. If new
warps are added to enlarge the basket, keep the total count uneven.

The twined patterns are the same as the plaited twills: left and right
diagonals, zigzag, and diamond. The change of direction of the pattern is
achieved by using the full twist. When the end of each row is reached,
adjustments will need to be made to develop the pattern. It is a good idea
to make graph paper drawings of the proposed patterns until you can
work them out in your head as you weave.

Wrap Twining. In this kind of twining a horizontal piece of warp is added

either to the surface of the basket as a decorative element or to the
inside for extra strength.

ADDING A HORIZONTAL WARP

Taper a piece of warp. Following the illustration, lay the warp on the
surface of the basket with the tapered end extending about 1” (2.54cm)
beyond the holding hand side of the working point. Make a half twist at
the vertical warp, wrap the horizontal warp with the front strand the
number of times needed to carry it to the next vertical warp. Make a half
twist, weave around the vertical warp and make another half twist. Wrap
the horizontal warp again with the front strand covering it up to the next
vertical warp. Be sure to wrap the horizontal warp carefully to cover it
completely. Continue around the basket in the same way until reaching a

Adding a Horizontal Warp.

Make a half twist on the
working hand side of the verti¬
cal warp. Place the taper of
the horizontal warp in front of
the vertical warp. Carry B
around the horizontal warp
the number of times needed to
carry it to the next vertical
warp. Half twist the strands,
twine around the vertical warp
and make another half twist.

54
point about 1” (2.54cm) from the tip of the taper cut. Cut and splice the
horizontal warp and finish the row.
When placing a horizontal warp inside the basket, follow the same
directions except the horizontal warp is wrapped with the back strand.

ADDING NEW WEFTS

New weft strands are necessary when either weft strand gets short.

Step 1. Needle the new weft strand under the twining next to the holding
hand side of the warp after passing over the front of the previous warp.

Step 2. Needle the new piece of weft which will replace it in the same
space and weave this new weft behind the next warp.

Step 3. If the other weft is being replaced as well (for a color change),
take the second strand in front of the next warp, needle down in the
same way as the first strand, and cut off.

Step 4. The second strand is replaced in the same way as the first.

Adding New Wefts, Step 1. Needle the end of the weft down on the
holding hand side of the warp.
Step 2. Needle the new wrap beside the old for 1” (2.54cm). Weave be¬
hind the next warp.
Step 3. Repeat step 1 with the alternate old strand.
Step 4. Repeat step 2 with the alternate new strand.

55
THE CENTER
Two methods are used for basket centers: cross warping and woven. Both
methods work with groups of warps. The number of groups varies from
two to six, and they can be handled in many ways. The number of warps
to a group varies from three to eight.
One way to place the basket center warps is to think of the working
board as a map. North-south is the vertical placement and east-west is
horizontal.

CROSS WARPING
Cross warping is a simple technique for making the basket center.

Method 1 (Using Two Groups of Four). Measure the warps by adding the
length of the center, both sides, and the amount needed to finish both
edges.
Cut eight lengths of warp. Following the illustration, place the first
group of four warps North-South on the working board, pinning them
top and bottom. The pinning marks will not show because the weft covers
the warps. Lay the second group East-West across the first at the center
point. Mark each warp with a pen at the edge where the warp intersects
the other group (see the dotted lines in illustration). The center straps
will be twined between these markings on each group (see below).

Method 2 (Using Four Groups of Four). Cut 16 warps. Following the

illustration, place the first group of warps in a Northwest-Southeast
direction and pin in place. The second group is placed Northeast-South¬
west, the third group East-West, and the last group North-South. Mark
the intersecting edges with a pen (see dotted lines in illustration). Remove
the pins from one end of the top three groups and lay these groups back
out of the way.
Twine each group from the bottom markings to the top (see below)
needling the ends down in all groups except the last (North-South). Leave
the butterflies on the North-South group attached to the North working
hand side (see arrow 1 in illustration).
Starting at arrow 2, weave around the center for two rows following the
dotted line in the illustration. Remember to pull the warps into the
spaces between the straps to even them. Now the center can be removed
from the board.
There are many variations beyond this for cross warping groupings.

TWINING THE CENTER STRAPS

Measure about six arm lengths on a piece of weft. This single strand will
become two strands after warp 1. Make butterflies at each end (see
Chapter 2 for directions). The butterflies will be used as weavers.
Since twining, like plaiting, is a weaving operation, it is best done with
the warps under tension at the outset. Remove the pins from one end of
the East-West group and lay the warps back out of the way.
Starting at the bottom markings, weave one end of the weft strand
under warp 1 (this is Step 1 of Half Twist, Method 1). Now the single
strand becomes strands A and B. Pick up B, weave over warp 1 and under
warp 2 and place down. Continue Method 1 to warp 4.
To reverse direction and begin with Method 2 you must half twist the

56
 Cross Warping, Method 1.
Place the warps as shown, pin
both ends, and mark the inter¬
sections. Unpin one end in the
top group and lay aside. Twine
from the bottom lines to the
top markings. Half twist the
strands around the last warp,

w needle down 1” (2.54cm) and

cut off. Lay the bottom group
aside, and replace the top
group. Twine the top group as
before leaving the butterflies
attached at arrow 1. Replace
both groups in order. Twine
along dotted lines starting at
arrow 2.

Cross Warping, Method 2.

Place the groups starting with
the northeast-southwest group
Pin in place and mark the
warps. Unpin one end and lay
top groups aside. Twine each
group as in method 1, leaving
only the top butterflies at¬
tached at arrow 1. Replace the
groups and pin down. Twine
in method 1 for two rows
along dotted lines starting at
arrow 2.

57
Woven Center, Method 1.
Place the bottom triangle
weaving the group together
as shown. Pin in place. Place
and pin the top triangle, and
mark the edges as shown. Re-
move the pins from one end of
the top five groups and lay
aside. Twine each of the W
groups as in cross warping,
leaving the butterflies attached _
to the top group at arrow 1.
Replace and reweave the tri¬
angles and pin in place. Twine
two rows along the dotted
lines starting at arrow 2.

Woven Center, Method 2.

Place the warp groups on the
board weaving them together
as shown. Mark the intersec¬
tions. Twine each group sepa¬
rately leaving the butterflies
attached only to the top group
at arrow 1. Replace the
groups. Twine for two rows
starting at arrow 2 along the
dotted lines.

58
end. Leave B down and pick up A. Weave A under warp 4 and place it up.
Pick up B and weave over warp 4 and under warp 3 and place it up. Con¬
tinue Method 2 across to warp 1 and place B up.
To half twist this end, weave A back under warp 1 and place it down.
Now you are ready to start back with Method 1 again.
Continue weaving the strap back and forth in this way. Beat the weav¬
ing together tightly so none of the warp shows and it is firm to the touch.
When you reach the top markings, half twist the strands and needle down
1” (2.54cm) and cut off. Unpin one end and lay back.
Pin the East-West group back in place. Turn the board, placing the
working hand side down. Twine this group in the same way ending with
the butterflies attached to the working hand side. Turn the board back to
the original position which now places the butterflies on the North hold¬
ing hand side (see arrow 1 in illustration for Method 1).
Replace the two groups in their proper positions. Pick up the butterflies
and weave from arrow 2 around the basket center following the dotted
line in the illustration. Weave two rows in this manner. As you work, pull
the warps toward the corner spaces. After this the center is fastened to¬
gether and can be removed from the board to finish the basket.

WOVEN CENTERS
Woven basket centers are especially exciting in twining for their appear¬
ance of movement. They are beautiful in wall hangings. Below are two
examples.

Method 1 (Using Six Groups of Three). This center made in two triangular
groupings has a very unusual look. When placed together, the two tri¬
angles become a six-pointed star. As in cross warping, the numbers can
vary in the groups as long as the numbers in each group are the same.
Cut 18 warps. Following the illustration, lay the first group on the
board East-West above the center point. Lay the second group across it
Southwest-Northeast, and the third group Northwest-Southeast, weaving
the warp pieces over the second group and under the first. Even up the
legs of the triangle. Invert the second triangle placing the point up when
pinning it over the first. Evenly space the triangles and mark the warps at
the points where the groups meet. Mark straight lines across each group
of warps from point to point (see the dotted lines in the illustration).
Remove the pins from one end of the top five groups and put them
out of the way. Twine five groups and needle down the ends. Weave the
top group and leave the butterflies attached to the North working hand
side of the group (see arrow 1 in the illustration). Weave around the center
for two rows using cross warping, Method 1, following the dotted lines in
the illustration starting at arrow 2. Pull the end warps into the spaces to
even them up. Remove the center from the board and begin weaving the
basket.

Method 2 (Using Four Groups of Four). Cut 16 warps. Following the

illustration, lay the first group North-South on the board on the holding
hand side of center and pin in place. Lay the second group on top East-
West above the center point. Lay the third group North-South parallel to
the first group and over the second group at the working hand side of
center. Weave the last group over the third group and under the first
group below the center and parallel to the second group. Mark the warps

59
 at the intersecting edges (see dotted line in illustration).
Remove the end pins from one end of groups four, three, and two and
lay out of the way. Weave each center strap as above and needle down the
ends of the first three groups. Leave the attached butterflies on the last
group at the North working hand side (see arrow 1 in the illustration).
Weave around the center, starting at arrow 2, following the dotted lines
in the illustration for two rows. Pull the edge warps into the spaces. Re¬
move from the board to weave the basket.
To make a rectangular basket, add another group of four warps. Place
it parallel to groups 1 and 3, making sure these groups are centered on the
East-West groups. Group 5 would weave under group 2 and over group 4.

ADDING EXTRA WARPS

To enlarge the size of the basket, extra warps can be added. Taper the end
of the warp and place it beside an existing warp. Weave as if these warps
were one piece for 1” (2.54cm) before separating into two warps. Extra
warps must be added evenly around the basket to keep the shaping even.
If warp material has a filler, glue the taper to the existing warp to keep
the filler inside. A little glue applied at the taper is handy to keep the
extra warp from slipping out of position for the first few rows as well.
Be sure to weave two rows around the basket center before trying to
add extra warps.

SHAPING THE BASKET

Shaping to increase the size, add new warps, or make the weave a little
looser is easy in twining. However, do not loosen the weave too much or
the basket will be weak. To decrease the size, tighten up on the twining
or taper off the warps evenly and weave them into another warp. This
latter procedure is essentially a reversal of adding new warps.

PREPARING THE EDGE

At the top of the basket needle one strand 1” (2.54cm) under the twining
and cut off. The other strand will be used to fasten the edging to the basket.
Edgings are needed to strengthen the top of the basket, protect it, and
decorate it. These include: straight or wrapped edge, looped or scalloped
edge, and fringed edge.

Straight or Wrapped Edge,

Method 1. Trim the warps off
to lA” (.64cm) around the top
Undo the butterflies. Needle
one strand down and cut off.
Thread the other on a needle.
Lay the tapered warp on top
of the basket above the re¬
maining butterfly end. Over¬
cast the edge with the weft
entering the basket about 1A”
(.64cm) into the twining.
Keep the overcasting pushed
together and tightly wrapped.

60
STRAIGHT, OR WRAPPED EDGE
This is the simplest edge technically and it provides a clean, strong top to
the basket.
Cut off the ends of the warps to 1A” (6.35mm) above the twining. Place
the remaining butterfly from the warp weaving on the inside of the
basket edge. Taper the end of a piece of warp. Unwind the butterfly and
thread on to a tapestry needle (blunt or sharp). As in the illustration, lay
the extra warp on top of the warp ends with the end of the tapered cut
above the threaded weft end.
Pierce the outside of the basket below the warp ends and about 1A”
(6.35mm) into the twining. Pull through and tighten. Overcast or wrap the
entire edge tightly, keeping the wraps close together to completely cover
the edge warp. Pierce the basket evenly whether through warp or weft. If
the warp is hard, like reed, pierce the warp with a sharp tool. If you do
not want to go through the reed warp, pierce the basket between the
warps the number of times needed to overcast the edge warp. Keep the
wraps and needled areas smooth and even.
At 1” (2.54cm) before the taper cut, fasten with a clothespin. Cut off
the warp and taper the end. Splice the warp ends and finish the edge in Wrapping the Looped or Scal¬
the same way. Needle under the twining for 1” (2.54cm), pull through, loped Edges, Step 1. Wrap
and cut off. the nearest loop tightly and
Alternatively, you can taper the ends of two pieces of warp. Place one evenly, covering it well.
piece inside and one outside the edge of the basket. Then follow the
directions above, wrapping the edge and the two pieces of warp tightly,
and finish off.

LOOPED AND SCALLOPED EDGES (Single, Double, and Triple)

The looped edge is simple but attractive for a twined basket. Each warp
end is bent, inserted in, and attached to the first, second, or third warps.
The illustration shows the three methods.
Bend one warp end to determine the proper length needed and trim
away the excess from each warp end on the basket. Taper, glue, and
insert the end into the warp space. Now it is ready to be wrapped. On Step 2. Wrap both loops as
double and triple loops, overlap the warps the same way each time. one moving quickly to the
base of the ends without
The scalloped edge is very similar to the looped edge, except the loops
covering them completely, as
are layered. They are wrapped in the same way. Attach the first row of
shown.
warps to every second warp space in a single line. Attach the second row
of warps on top of the first row to every second warp space in the same
way.

Wrapping the Looped or Scalloped Edge. As in the wrapped edge, leave

one of the butterflies attached to the basket edge. Thread the weft from
the butterfly onto a tapestry needle.

Step 1. Needle down one strand and thread the other on a needle. Bend
the first warp end around to the desired position and cut off excess. Cut
all the warp ends the same length and taper. Glue, bend and insert into the
proper space. Wrap the first loop tightly keeping the wraps pushed to¬
gether.
Step 3. Wrap up again tightly,
Step 2. When you reach the next loop, wrap over both pieces of warp covering the bases completely
several times, not completely covering the warp until you reach the edge Step 4. At the separation
of the basket. point, wrap the next loop.

61
Looped and Scalloped Edges for Twining. The beautiful looped edges
make an attractive way to finish off the twined basket.

62
Step 3. Reverse direction and wrap carefully up the two pieces of warp
again until they separate.

Step 4. Now wrap over the next loop as before.

Continue wrapping the loops until all are covered. You will find the
wrapping direction changes with each loop. Needle under the twining
1” (2.54cm), pull through, and cut off.

Adding New Weft on the Loops. Here is the procedure to follow if you
run out of wrapping weft.

Step 1. Lay the end on top of the warp loop; fasten with a clothespin.

Step 2. Needle the new piece of weft W* to 1” (1.27 to 2.54cm) under

the previous wrapping. Carefully pull the weft through until the end is
hidden under the wrapping. Continue wrapping as before, covering the
end of the old wrap that was laid on the warp.

FRINGED EDGES Adding New Weft on the

These are two methods of fringing edges that require splicing. Loops, Step 1. Lay the end of
the weft on the loop, and
Method 1. Cut the warps about 3” (7.62cm) from the end of the twining. fasten with a clothespin.
Taper the ends. Following the splice directions in Chapter 2, layer 9” to
12” (22.9 x 30.5cm) weft pieces to make a taper of the weft and splice
this onto the tapered warp end. Be sure to add enough weft pieces to
make the tapered end and the added weft the same wrapped diameter as
the warp.

Step 1. Thread a tapestry needle with three arm lengths of weft. Wrap
each warp end tightly covering the splice making sure there is no lump
at the splice point. Bring the wrapped warp down on to the basket surface
below the basket edge forming a loop with the wrapped piece. Continue
to wrap the extended warp and fasten it to the basket surface at the same
Step 2. Thread a new piece of
time. Needle through to the inside of the basket, around the warp and
weft on the needle, and needle
back out at each wrap of the loop piece. Watch the inside of the basket to under the previous wraps.
keep the work neat and even. A curved needle can be used to pierce the
basket warp piece instead of encircling it, if desired.

Step 2. When the loop is securely fastened with 6 to 10 wraps or more,

needle the wrapping weft under the twining 1” (2.54cm), pull through
and cut off, leaving the fringe hanging. Repeat this process for every
warp end in the basket, making sure the loops are even. Trim the fringe
the length desired.

Method 2. Taper the ends of the warps 1” (2.54cm) below the planned
edge of the basket. Splice weft materials to the tapered ends as in the first
method. Finish twining the basket—tightening the splice area, keeping it
smooth, even, and without lumps.
Needle the warp ends back into the next warp space (never its own)
about W* to 1” (1.27 to 2.54cm) and pull through (see illustration). Trim
the warp fringe as desired for a decorative effect.
Fringed edges are especially attractive on handbags, tote bags, pillows,
etc. If desired, a beautiful soft bag can be made using many strands of
weft material as the warp. In this instance, the fringe does not need to be
spliced.

63
Fringed Edge, Method 1,
Step 1. Splice weft material
onto tapered warps about 3”
(7.62cm) from basket edge
using enough weft to duplicate
the warp diameter.

Step 2. Wrap the extended

warp ends and fasten each to
the basket as shown in this
side view.

Fringed Edge, Method 2.

Needle the ends of the multi¬
strand warps down in the
spaces occupied by the next
warps for about W” to 1”
(1.27cm to 2.54cm). Bring the
ends to the basket surface as
fringe.

SAMPLE PROJECTS
An excellent way to learn weaves without having to develop each into a
separate basket is by making a sample piece. It will give you an idea how
each weave is made, and it will be something to which you can refer at a
later time.
Narrow plaiting samples can be made that are long enough to complete
the number of patterns you plan for the sample. The edges can be glued
and trimmed off or folded to experiment with different edging tech¬
niques. Using two colors of material will bring out the patterns.
In twining, a sample can be made using eight to twelve warps and two
colors of weft. By making a strap-like sample, you can try both methods
of the half twist (see page 52). By using two colors and making twill
patterns, you can practice both methods of the full twist (see page 53).
The photo of the twining patterns is one such sample piece. The ends in
the photo sample are done in wrapping and looping techniques (see page
61). The looping techniques are variations of the ones in the book to ac¬
commodate the uneven number of ends.

64
Project 1: Diagonal Checked Basket. This sample is made with cow and
goat wallet leathers in black and tan. Color A—black, color B—tan.

1. Cut 12 lengths color A and 14 lengths color B 12” (30.5cm) long and
14” (,64cm) wide.

2. Lay the 12 strips of color A vertically as warps on the working board.

3. Weave the strips of color B as wefts in check weave keeping the strips
centered on the board.

4. Make a cardboard frame 4” (10.2cm) long by 2” (5.1cm) wide and 2”

(5.1cm) high. Lay the frame on the woven center diagonally and fasten
the corners of the center at the center points on the frame sides with a
clothespin at each point.

5. Weave the corners, moving the clothespin over with each row woven.

6. Glue the edge warps and wefts at the 2” (5.1cm) edge line and let set.

7. Remove from the frame and trim the edges.

8. Cut two strips of black leather 14” (.64cm) wide and 14” (35.6cm)
long. Glue these strips on the edge of the basket inside and out. Skive,
glue, and splice the ends.

9. Punch holes every *4” (.64cm) in staggered pattern below and in the
center of the edge strips.

10. Finish with the featherstitch braid using leather lacing to match
either the black or the tan leather.

Project 1. Diagonal Checked

Basket. Made with cow and
goat wallet leathers in black
and tan.

65
Project 2: Double Triangle or Starred Basket. Plastic clothesline is used for
the warp and beige and green rug wool is used for the weft in this sample.
Color A—beige, color B—green.

1. Cut 24 warps 13” (33.02cm) long. Work out the basket center as in
Method 1 of the woven basket centers (see page 59), using color A.

2. After fastening the center pieces together, add an extra warp and weave
in plain twine (see page 54) for 1” (2.54cm).

3. Take the back strand of color A and pin it to the closest warp with a
clothespin so it will be carried along the warp (do not cut off). Needle in
a strand of color B at the same point to take its place.

4. Weave in diagonal twill twine (see page 54) for 13 rows. Take the
strand of color A from the warp where it is fastened and fasten up color
B in its place.

5. Weave 11 rows of plain twine with color A.

6. Remove the strand of color B from the warp and pin up both strands of
color A on two separate warps adjacent to each other, and needle in
another strand of color B. Weave 5 rows of plain twine in color B.

7. Remove one strand of color A from the warp and replace it with one
strand of color B. Weave in diagonal twill twine for four rows.

8. Remove the color B strand from the warp and replace it with the color
A strand. Weave 3 rows of plain twine in color B.

9. Needle down one strand of color B for 1” (2.54cm) and cut off. Re¬
move both strands of color A from the warps and replace one strand with
the remaining color B strand. Weave for 5 rows in plain twine. Needle
both color A ends down 1” (2.54cm) and cut off.

10. Trim warp ends to x4” (,64cm). Edge the basket with the straight or
wrapped edge (see page 61) in either method using the attached strand of
color B to wrap the edge. Begin wrapping at the point where the color B
strand is attached. Finish off.

66
Project 2. Double Triangle or Starred Basket. Plastic clothesline is used
for the warp, and beige and green rug wool is used for the weft.

67
 Paint Pot. 6” x 6V2” x 614” diameter (15.24cm x 16.51cm x 15.87cm)
This coiled piece is a study in form, color, and texture. The colors are
shiny lime green, and textured shades of violet and blue-violet. The sur¬
face design was influenced by the shaping of the piece. It is coiled in
figure-eight weave.

68
 Simple
Coiling
Weaves

The rather vertical characteristics of plaiting and twining become modified

in coiled basketry. The serpentine effect of the coiled spiral adds a multi¬
directional aspect to the baskets as well.
Before you learn the various weaves, you must learn how to start a
coiled basket. There are two basic shapes in coiled basketry: round and
oval. These shapes can be varied in many ways after you gain experience
working with the basics.

STARTING A ROUND BASKET

Although there are many ways to start a round basket, each traditional
basketweaver learned one particular way to begin. The contemporary
weaver can make the choice of how to begin, and may even develop some
individual or new techniques. It is good to know several ways to start
because needs can change in contemporary basketry.
For now, however, choose one of the methods discussed here (the other
ways can be mastered at a later time). First cut off several lengths of
wrap material as explained in Chapter 2 so more material will not have
to be measured off while working.

Method 1. Thread a tapestry needle with precut wrap. Wind the end of the
wrap material around a pencil until the thickness is about half the diam¬
eter of the core material.

Step 1. Slip the circle off the pencil, keeping the wrap end tucked inside
the circle.

Step 2. Now wrap the circle, using the needle to carry the material
through the hole. Keep the wrap even and smooth, and be sure to cover
the circle completely. Use a clothespin to keep the last wrap in place.
Taper the end of a length of core material (see Chapter 2) so the taper will
reach completely around the circle. Remove the clothespin and lay the
tip of the core taper at the stopping point on the circle. A touch of glue
will hold the core to the circle so it will not slip. Wrap the tapered core

69
Starting a Round Basket,
Method 1, Step 1. Begin to
wrap around the circle. Use a
tapestry needle to carry the
wrap through the hole.

Step 2. Wrap a length of core

with a tapered end around the
circle as shown. Begin to
wrap both the original circle
and the taper cut.

on to the circle in the same way the original circle was wrapped. Now
weaving can begin.

Method 2. Make a short taper on the end of a piece of core (see Chapter
2). Thread a tapestry needle with a precut length of wrap.

Step 1. Lay the wrap on top of the core with the end positioned about
PA” (3.81cm) beyond the taper cut.

Step 2. Hold the core and the wrap in the holding hand, and wrap away
from the body with the working hand. The wrapping moves from the
taper cut down the core toward the holding hand.

Step 3. Inching the holding hand ahead of the working hand, cover
enough of the core to make a circle. The last wraps on the core should
touch the unwrapped tip of the taper cut without making too big a hole
in the center. Now hold the unwrapped tip and the core together and
wrap over both, using the needle to take the wrap through the center.

Step 4. There should still be a little space in the center when the tip is
covered because a hole will be needed when the weaving begins. If the
hole seems too large on the first try, the start can be adjusted each time
until the right size is found (the size of the wrap will also influence the
size of the hole).

70
TAAEA
Starting a Round Basket,
Method 2, Step 1. Overlap the
ends of a piece of tapered core
and a piece of wrap by about
IV2” (3.81cm) as shown.

Step 2. Wrap the core at the

taper cut, and move down
toward the holding hand.

Step 3. Wrap enough of the

core to make a circle. Needle
the wrap through the center.

Step 4. Wrap over both the

taper tip and the core until
they are wrapped together.

71
 I

Method 3. Tie several strands of wrap material together with a loose over¬
hand knot so the knot is about half the thickness of the core material.

Step 1. One of the strands will become the precut piece of wrap and be
threaded on the tapestry needle. The other strands can be of varying
lengths. Hold all the short strands out of the way and wrap the knot with
the long strand of wrap. Make a complete circle, going through the center
of the knot for each wrap.

Step 2. Taper off the short ends and splice them together with a tapered
core end. Now the center is complete for this method.

Step 2. Go through the center

of the knot and around the
strands until you have a small
circle.

72
Method 4. This is the most difficult of all the round starts because it needs
to be handled more carefully. However, it is important to learn because
there are times when it is the best way to begin.

Step 1. The core has a blunt end. Put a length of wrap on top of the core
and begin wrapping at the end of the core.

Step 2. Moving toward the holding hand, wrap enough core so a little snail
can be made. Push the end of the core past the last of the wrapping by at
least W’ (1.27cm).
Step 3. Hold the circle tightly and needle through the center from the
back of the work so the wrap is now going around two rows of core. Bring
the wrap back up to the top of the core and the weaving can begin.

Starting a Round Basket,

Method 4, Step 1. Overlap
a length of blunt-ended core
with a piece of wrap, and be¬
gin wrapping at the end of the
core as shown.

Step 2. Wrap the core so a

little snail can be made, and
push the end of the core past
the last wrap by about V2”
(1.27cm).

Step 3. Needle through the

center from the back and wrap
around both rows of core.

73
 STARTING AN OVAL BASKET
Use a piece of core with a blunt end, and fold it down about 114” to 2”
(3.8 to 5.1cm) (this short end should be kept on the working hand side all
the time the initial weaving is done).

Step 1. Take uncut wrap directly from the ball, and place it on the core
on the holding hand side so the end is 114” (3.8cm) below the arch.

Step 2. Wrap around the core away from the holding hand until the top of
the arch is covered (a hole will be formed below the arch if the wrapping
is too long). Bring the wrap between the two pieces of core to the front of
the work.

Step 3. Wrap around the holding hand side and bring it back between the
pieces again. Wrap around the working hand side and bring it back be¬
tween. Alternate sides in this way until the short side is covered to the
end.

Step 4. Hold the remaining core in the holding hand, and wrap enough of
the core so it can be curled around the end of the short piece and 14”
(1.27cm) beyond (as in method 4 of the round baskets). Fasten in place
with a clothespin. Now cut a working length of wrap from the ball, and
thread it on to the tapestry needle. Remove the clothespin. Hold the core
tightly against the previous work, and needle through from the back be¬
tween the previous rows at the X point. Bring the wrap back up to the top
of the core. Now the weave can begin.

Starting an Oval Basket,

Step 1. Place the end of the
wrap V/2” (3.8cm) below the
core arch on the holding
hand side as shown.
Step 2. Wrap the core cover¬
ing only the arch.
Step 3. Wrap around each
piece of the core alternately
below the arch until the short
end is covered.

Step 4. Wrap around the core

moving toward the holding
hand, until the wrapped core
will reach the X when bent
around the short wrapped end
of the core. Needle through at
the X using either the wrap or
figure-eight weave.

74
THE WRAP WEAVES
Although the basic weave of contemporary basketry is the figure-eight,
the plain wrap weave is easier to learn because there is no reversal of
weave.

Plain Wrap Weave. Hold the core, and wrap it three times, moving toward
the holding hand.

Step 1. On the fourth wrap, needle through from the back and under the
previous row. Bring the wrap back up and around the core so the long
wrap fastens the two rows together.

Step 2. Wrap three times and needle through below the previous row from
the back.

Step 3. The long wrap that fastens the core back on to the previous row
creates a lovely random basketweave effect.

Plain Wrap Weave, Step 1.

Wrap around the core three
times working toward the
holding hand. Needle through
the center of the circle from
the back of the work.

MRfiPQ

Step 2. Continue wrapping

three times and needling
through below the previous
row from the back for this
weave sequence.

Step 3. This weave produces

a random pattern on the
surface of the basket.

75
 Patterned Wrap Weave. Start the patterned wrap weave in this manner.
Step 1. Follow the same instructions as in Step 1 of the plain wrap weave
(see page 75).

Step 2. Follow Step 2 of the plain wrap weave in the same way to com¬
plete the first row. >

Step 3. Position the long wraps in the succeeding rows so an even pattern
results regardless of the number of wraps made on the core. In the illustra¬
tion, the long wraps are placed to the left of the previous long wraps each
time. They can be placed to the right or zigzagged back and forth for
interesting patterns. The long wraps create a raised surface pattern.

The lines of long wraps begin to move apart as the size of the basket in¬
creases. Introduce new lines of long wraps or use figure-eights between the
old lines of the pattern. Either will help to strengthen the basket wall.

Patterned Wrap Weave, Step 1.

Follow Step 1 of the plain
wrap weave.

Step 2. Follow Step 2 of the

plain wrap weave.
Step 3. Position the long
wraps in each row so the re¬
sult is a definite pattern.

76
Traditional Wrap Weave. The traditional wrap weave differs from the plain
wrap weave in several respects. It consists of a continuous series of long
wraps over two rows. The core is not wrapped between long wraps. Fol¬
lowing the illustration, wrap toward the body. Needle between each wrap
of the previous row from the front. A space will remain on the core
between each wrap.
It is best to use firm wraps such as rug yarns, raffia, flat reed, plastic
tubing or strips, but softer yarns can be used with a little more effort. The
traditional wrap weave has a smooth, even look, and it is a much stronger
weave than the plain wrap weave.

Traditional Wrap Weave. Fas¬

ten both rows together on
each wrap by needling below
the lower row from the front.
A small space remains between
each wrap until the next row
is worked.

VARIATIONS ON THE WRAP WEAVE

Four more variations can be developed from the plain wrap weave: peb¬
ble, knot, lace, and wigwam weaves.

Pebble Weave. Make the plain wrap weave sequence, but before beginning
to wrap up and around the core in the next sequence, needle around the
long wrap or post. Make sure to encircle both the back and front strands
of the post with the wrap. Pull through and bring the wrap around to the
front again between the core and the previous row. Continue the plain
wrap sequence* wrapping the post in the same way. Do not spread the
rows apart while doing this weave. The result will be a pebbly surface
texture.

Knot Weave. Follow directions for the pebble weave, but hold the two
rows slightly apart while the fastening is made. This will give an open
look.

Lace Weave. Follow directions for the knot weave, but wrap the post
twice for a lacy result. These weaves work better with heavier materials,

77
 I

Pebble Weave. After making

the wrap weave sequence,
needle around the post enclos¬
ing both front and back long
wraps and pull through. Bring
the wrap between the two
rows to the front again before
wrapping the core in the next
weave sequence.

Wigwam Weave, Step 1. Place

one wrap slightly to the right
and one to the left in making
this variation of the wrap
weave.

Step 2. Needle around both

posts as shown.

Step 3. This variation of the

wigwam weave has three posts:
left, center, and right. Needle
the wrap around all three posts
as shown.

78
but if you want to use lightweight wraps, then wrap several times for a
heavier post, and wrap around the post several times for strength.

Wigwam Weave. You can make a particularly beautiful decorative pattern

with a variation of the pebble weave. Named by one of my students, the
wigwam weave should be done with two colors to be really effective.

Step 1. Follow directions in Chapter 2 for adding new wrap, and add a
new color. Fasten the long wrap to the previous row, but do not place the
needle straight down from the top. Place the needle slightly to the work¬
ing hand side.

Step 2. Pull wrap through, bring it up and over the core. Needle through
under the previous row slightly to the holding hand side and bring back
up and around the core. Needle around both posts as in the pebble weave,
and continue with the next sequence.
Step 3. This weave can be done with three posts as well. Needle the wrap
right, center, and left, and then wrap the posts together in the same way.
When either of these variations is done correctly, the weave looks like
little rows of wigwams.

FIGURE-EIGHT WEAVES
There is a good reason that the figure-eight weave is the basic weave of
contemporary coiled basketry. It has a smooth, even look that combines
with all the other decorative weaves easily. It is strong because the core is
held tightly in place with a reverse weave.
In method 4 of the round basket starts (see page 73), one change must
be made before the figure-eight weave can be done. After Step 2, hold the
circle tightly and bring the wrap between the wrapped and unwrapped
core to the front of the work. Needle through the center from the front
and pull through very carefully. Bring the wrap forward between the rows
again. Now you are ready to do the figure-eight weaves.
Basic Figure-Eight Weave. Wrap the core three times in the same way as
the wrap weave, and bring the wrap between the core and the previous
row to the front of the work.
Step 1. With the needle, pass under the previous row from the front and
pull through.

Step 2. Bring the wrap forward between the rows before wrapping the
core again.
Some people like to wrap long sections of core without fastening back
with the figure-eight weave. This is especially true when colors are in¬
volved in the design. These long unfastened areas can give a very interest¬
ing look to the piece, but they weaken the work. If the piece were to be
used as a workbasket, it would soon lose its strength. If used as a sculp¬
tural piece, the basket must be stuffed or supported from the inside. It is
preferable to build the sculptural effects into the piece so it will with¬
stand time and use. A better solution for a clean color line is the pierced
figure-eight weave.
Although the usual number of wraps on the core is three, you can
occasionally extend the wraps to as many as six without problems if the
work is really tight. If the work seems to need extra strength, reduce the

79
Basic Figure-Eight Weave,
Step 1. Wrap the core three
times. Bring the wrap be¬
tween the two rows to the
front and needle through
below the previous row.

Step 2. Bring the wrap be¬

tween the rows to the front
before wrapping again.

Pierced Figure-Eight Weave.

Wrap the core three times.
Pick up a strand of wrap at the
top of the previous row, or
pierce the top of the core of
the previous row with a sharp
needle to fasten the rows
together. After pulling
through, bring the wrap be¬
tween the rows to the front
before wrapping again.

number of wraps to two, or eliminate them entirely, thus using the

figure-eight continuously. Use this extra strength at points of stress as on
the lift point row (see page 82) or at the base of narrow neck curves in
large, heavy pieces. In workbaskets, the edge must be strengthened.

Pierced Figure-Eight Weave. If a new color is being added, the pierced

figure eight is used so the new color does not cross over the previous row.
Thread the wrap onto a sharp tapestry needle. Wrap the core three times,
and bring the wrap between the core and the previous row. Use the point
of the needle either to pick up a strand of wrap on top of the previous
row or to pierce the top of the core ever so slightly. Pull the wrap through
to the back, and then bring it forward between the rows to the front of
the work as in the regular figure-eight before wrapping the core again.
This will leave a clean color line between the rows.

80
Plaque using Figure-Eight and Wrap Weaves. The figure-eight weave has a
smooth, even look that combines with all the other decorative weaves
easily.

81
 ADDING NEW WRAP MATERIAL
A good place to add new wrap is after wrapping the core. There should be
1” to IV2” (2.54 to 3.8cm) remaining at this point. Place the end of the
old wrap on top of the core and fasten with a clothespin so it will not slip
while threading the new wrap on the needle. Remove the pin. On top of
the core, place the end of the new piece of wrap on top of or beside the
end of the old wrap.
Adding New Wrap Material, If you are working in the figure-eight weave, bring the wrap down,
Figure-Eight Weaves. Wrap the around, and forward between the rows. Needle through below the previ¬
core three times, and lay the ous row in front of the work. Pull through, and bring the wrap up and
end of the old wrap on top of between the two rows again. Now the new wrap is fastened well. Continue
the core. Cut off any excess weaving in the usual manner.
leaving 1” to IV2” (2.54cm to
If you are working in the wrap weave, bring the wrap down and needle
3.8cm). Lay the new wrap
parallel to the old wrap. Wrap below the previous row from the back. Pull through and bring the wrap up
around the core from the back and over the top of the core. Now bring the wrap between the rows again
and between the rows to the before starting to wrap the core for the next wrap sequence.
front. Then needle through When needling through the first time, pull slowly and carefully. A big
below the previous row, pull
yank will sometimes pull the wrap loose and it must be started over
through and bring the wrap
back between the rows to the again. When covering the wrap ends, keep them on top of the core and in
front before wrapping the sight so the little ends are always tucked in and are fastened down under
core. the wrap.

THE CENTER POINT AND LIFT POINT LINES

Now some points about making the basket. The first thing you need to do
is find a point of reference, whether working flat or sculpturally. The
beginning point of the basket is the end of the core. From that point an
imaginary line can be drawn all the way to the edge of the piece (see
center point line illustration). This is the center point line—everything
(each row of design, regular color rows), starts and ends at this line. This is
where the basket begins to lift up from the base (see the illustration of
lift point).
As the wall of the basket begins to rise, the lift point line (an imaginary
line drawn from the lift point at the base of the basket) takes over as the
point of reference from the center point line. The side of the basket with
the lift point line has a definite tilt, while the other side appears more
Wrap Weaves. Wrap three
times, and lay the end of the even. The basket should be finished off at the lift point line.
old wrap on top of the core. The lift point is quite drastic in a cylindrical basket. It moves directly
Cut off any excess leaving 1” on top of the last row which creates the floor of the basket immediately.
to IV2” (2.54cm to 3.8cm).
A rounder shape allows the lift point to move up more slowly.
Lay the new wrap parallel to
the old wrap. Carry the wrap Achieving the Lift Point. Hold the core above the previous row while
down the back, and needle fastening the wrap. Some people have trouble making the lift hold its
through under the previous
position the first few times it is fastened. This is especially true for a very
row from the back. Wrap up
over both rows, and then bring slight lift. Take the core in the holding hand and the basket in the working
the wrap down and under the hand and give a slight yank. If a lift does not automatically appear, the
core before wrapping again. work is firmer than that of most beginners and you must pull harder.

SHAPING A BASKET
Shaping is simple. All you need to do is place the core in the direction
that the basket will go, then fasten the wrap to the previous row. Put the
core on top of the flat base for a cylindrical basket. To decrease the

82
Center Point Line. The beginning of the basket coil is the starting point
for the center point line. Begin the lift point on this line.

Lift Point Line. The point of reference on the side of the basket is the lift
point line. Rows of designs and colors begin and end here. The basket
is finished off at this line.

83
 basket size or to move inward, place the core toward the inside of the
previous row. The outward placement of the core will enlarge the basket
size or form a lip at the top.
Some basket shapes are more beautiful than others. Baskets with round
or curved sides are more graceful but not always the easiest to achieve.
The slower the lift, the more oblate the curve. The faster the rise, the
more conical or cylindrical.
Cylindrical shapes are the easiest to make, but they present a problem.
The steepness of the lift point is accentuated on that side of the basket.
All of the rows have a slanted appearance, giving the lift point side the
look of the Leaning Tower of Pisa.

Solutions for the Cylindrical Basket. One way to help the problem is to
make designs on the side opposite the lift point to direct attention away
from the problem area. You can also break the line by changing directions
on the basket (see the illustrations).

STRENGTHENING THE BASKET WALLS

Wrap the core as tightly as possible. Pull tightly on the wrap after fasten¬
ing to the previous row. If the basket seems soft no matter what is done,
pull gently on the core with the holding hand every few wraps in the same
Solutions for Cylindrical
Baskets. 1. The straight sides way the lift point was achieved. This helps to strengthen the basket by
of the basket can flare out tightening the wrap on to the core. As more baskets are made, the muscles
into a spherical shape at the of the hands, wrists, and arms will become stronger, and better controlled
top. baskets will be the result.
Since most people have to build up their knowledge and strength, their
work varies a good deal in the beginning. It is best to plan small projects
first, and the improvement will be seen from basket to basket. Sometimes
students will be overcome with enthusiasm and want to take on a large
project right at the start. As the basket progresses, the work becomes
firmer, stronger, and tighter, and the piece becomes misshapen. If a large
project must be done, choose a strong core material such as those men¬
tioned in Chapter 2. The structural strength of the material cannot be
affected as much by the weaver’s change in ability. Also, choose a strong
wrap material that is not elastic. Work as tightly and firmly as possible.
2. The straight sides turn at Traditionally, basketweavers have worked on the outside of baskets as
right angles to move outward one would work on the outside of ceramic pots. There are good reasons
before turning upward at right
for this. First, there is better control of the shaping. Second, as the
angles again. A looped edge
softens the look of the basket makes an abrupt turn toward the center, or the basket opening
cylindrical basket. becomes quite small, it is easier to work from the outside. Third, the
weaves tend to look better on the outside of the work. Reasons for break¬
ing this rule will be discussed in Chapter 7.
Although the work looks better on one side, great care should be taken
to make both inside and outside look neat and attractive when doing an
open basket that will be viewed from both sides.

FINISHING OFF THE BASKET

In traditional basketry, the basket is often finished with the core stopping
abruptly along the edge. However, in contemporary basketry, this type of
ending looks rather unfinished. The general consensus is that the edge
should be as smooth and straight as possible.
Since coiled basketry is formed as a spiral, the edge has a tilted look as

84
 Finishing Off the Basket.
Taper the end of the core at
the lift point line. Work up to
the edge of the taper. Wrap
the taper and the previous row
together until this wrapping
has passed the tip of the core
by V2” (1.27cm). Needle under
the wrap, pull through, and
cut off to fasten the wrap end.

it moves up. When you reach the last row, work around the top until
within 2” to 3” (5.1 to 7.62cm) of the lift point line. Lay the core along
the top, and cut off the end of the core slightly beyond the lift point
line. Taper the end of the core with a long gradual taper. If the piece is
flat like a trivet, use the center point line instead of the lift point line.
Be sure the working wrap is long enough to cover the taper plus about
3” (7.62cm) more. If the wrap is beginning to get too short, cut it off be¬
fore the taper begins and add a new piece. It is better to cut it off at this
point, where it is easy to add on, than to run out at a very awkward point.
Wrap the last of the core until it becomes difficult to work (see the
illustration). If worked too close to the end, the tip of the core may come
loose, and the end can look very thin and spindly. Wrap the tip of the core
end and the previous row together. Continue needling around the top row
for about V2” (1.27cm) or more past the tip. If the core is large, wrap
%” (2cm) or more. Needle under the wrap for about an inch (2.54cm),
pull through, and cut off the remaining wrap (see illustration). If it is
difficult to work the needle under the wrap because the wrapping is good
and tight, use a smaller diameter needle.

Making a Lid. The shaping of the lid should accent and enhance the
basket. It is easy to design a lid for the cylindrical basket, but the spheri¬
cal shape can be a little more challenging. The top can fit into the basket
like the top of a jack-o-lantern, fit over the edge like a cap, or lift up at
the edge in a reverse curve. A lid must have a central point of interest,
whether it be a handle or a decorative object. This point of interest can be
functional or not.
In making the lid, the process is the same as making a basket with the
exception of the start. If the handle or decorative object is to be closed
like a basket start, begin there first. The lid then becomes an extension of
this object.
If the decorative object is to be a sculptural experience on the basket
lid incorporating surface coiling, leave an unwrapped extension at the
center to be completed later (see Chapter 7 for ideas).
The lid can be formed to fit the basket opening, or a base extension can
be formed after it is finished.

85
SAMPLE PROJECTS
A good project is a flat plaque using all of the different weaves. Use each
weave for three to five rows. It will give practice in making each weave,
and it will be a good reference when you wish to use a particular weave or
technique later. The piece can be made gradually as new weaves are
introduced in the book. In making a plaque, you can focus on the con¬
struction of the weaves without having to concentrate on shaping, too.

Project 1. Looped Edge Basket. This sample basket is made with #120
% ” (9.5mm) jute for the core. Any type of rope will do. The wrap is
heavy yellow and orange rug wool. Color A—orange, color B—yellow.

1. Using any type circle start, work three rows of figure-eight in color A.

2. Cut off color A, and add color B. Make one row with the following
variation of the plain wrap weave: wrap three times, needle back to the
previous row twice, making two long wraps parallel to each other. Repeat
this variation to the end of the row.

3. Using color B, make two rows of figure-eight weave.

4. Cut off color B, and add color A. Make one row of the wrap weave
variation in Step 2.

5. Using color A, weave two rows in figure-eight, beginning the slight lift
for a curved base in the first row. Cut off color A.

6. Adding color B, make a row of knot weave with two parallel posts.

7. Using color B, make one row of figure-eight weave. Cut off color B.

8. Add color A. Follow the directions in Step 6.

9. This edging example has six loops around the edge. More or less may be
desired according to the size of the core and wrap. Divide the distance
into equal spaces. Mark them with yarn, if necessary. These will be the
fastening points for the loops.

10. Using color A, wrap enough of the core to make a shallow V from the
edge that will reach the first fastening spot. Fasten down with three con¬
tinuous figure-eights. Continue around the edge in the same manner to the
last loop. Cut off the core so the taper will lie on the beginning of the rise
of the first loop.

11. Work to the taper, and finish off.

86
 Project 1. Looped Edge
Basket. Made with jute for the
core, but any type of rope will
do. The wrap is heavy yellow
and orange rug wool.

87
Project 2. Spiral Basket. This sample basket is made with #72 V2”
(1.27cm) jute for the core, but any type of rope will do. The wrap is a
shiny acrylic yarn (single ply) with a smooth finish. Color A—deep gold,
color B—brown.

1. Using any circle start, weave in the basic figure-eight weave with color
A, until the base measures about 3V (7.62cm) in diameter.

2. Planning for an angle about 50° from the base, begin to raise the sides
in a gradual curving slope. Work three rows in this manner.

3. Cut off color A. Add color B, and do three sequences of the three post
wigwam weave. Cut off color B.

4. Add color A, and continue the row in basic figure-eight weave, until
you reach color B. Cut off color A.

5. Add color B. Work across the color B area with basic figure-eight weave,
making sure the fastenings fall between the wigwam knots. Now add three
more wigwam weave sequences. Cut off color B.

6. Add color A. Work in basic figure-eight weave until you reach the edge
of the color B area. Now work in the pierced figure-eight weave across the
top of the block above the first three wigwam sequences (this block is the
first step of the spiral that will curl up the side of the basket). Cut off
color A.

7. Add color B. Work across the color B area with the basic figure-eight
weave, adjusting the fastenings as in Step 5. Add three more wigwam
sequences. Cut off color B.

8. Add color A. Work in basic figure-eight weave until you reach the edge
of the next color B block. Now work in pierced figure-eight weave across
the top of the block (three wigwam sequences). Cut off color A.

9. Repeat Steps 7 and 8 until all the blocks or steps have been com¬
pleted.

10. Add color B and work across the next block and add three more wig¬
wam sequences. Cut off color B.

11. Add color A. Work around the row in the basic figure-eight weave to
the lift point line. At this point you will begin to decrease the size of the
basket by placing the core inward so the angle will be about 60°. This is a
flatter angle, and the basket will decrease in size more rapidly. Continue
working in the figure-eight weave to the edge of the next color B block.
Change to the pierced figure-eight weave to the end of the block as before.
Cut off color A.

12. Repeat Steps 7 and 8 as you continue to decrease the size of the
basket until the 13th block has been completed. Cut off color A.

13. Add color B. Work across the solid color B area with basic figure-eight
weave, making adjustments for the wigwam knots. Now make continuous
wigwams around the row until the edge of the 14th block is reached.

14. Using color B, weave two rows in basic figure-eight, and finish off.

88
Project 2. Spiral Basket. Made with jute for the core, but any type of
rope will do. The wrap is shiny acrylic yarn (single ply) with a smooth
finish. Colors are deep gold and brown.

89
Leather Imbricated Basket. 3%” x 814” x 5V2” diameter (9.52cm x
26.67cm x 13.97cm). This coiled basket was woven by Carol Large of
Huntington Beach, California, in wools ranging from yellow to rust over
braided clothesline. Dark brown leather was looped before it was im¬
bricated in the beading weave.

90
 Decorative 5
Techniques
for Coiling
and Plaiting

Exciting textural effects can be introduced into coiled basketry by using

decorative techniques and weaves. Although these techniques have a com¬
plex look, they are not necessarily more complicated to do. Some of
these techniques can be used as a basis for adding further decorative
elements.

THE RIPPLE WEAVE

The ripple weave creates a textural effect by using two cores of different
diameters. The difference in the core sizes gives the basket surface a wavy
or rippled look. The basket may be made entirely in this technique, or
the weave may be added for interest in an otherwise plain surface.
There are two ways to achieve the ripple weave. In the first method,
which is the more traditional, the different sized cores are added at the
same time. In the second method the rows are added one at a time. The
second method is easier, but the core sizes have a tendency to be more
concealed in the work. The greater the difference in the core sizes, the
more definite the rippled look.
Since the basket pattern depends on double rows, the best shaping for
an entire basket of ripple weave is a spherical shape. The lift transition of
the double row is too wide to lift drastically (as in the typical cylindrical
basket) without giving the piece a misshapen look. The edge must be
rounded before moving up into the straight sides.
The core material should be smooth with no fibers. The technique is
much like twining, and the beating and sliding of the wrap material over
the core will raise the fibers to the basket surface. Material like jute can
cause problems, but smooth clothesline rope would be excellent. Check
Chapter 1 for other materials to use.

Starting the Ripple Weave Basket. Choose two different sizes of core
material. Taper the ends of both pieces of core, then place them together,
with the larger piece on top. Thread your needle with a piece of wrap
material. Treating both cores as a single piece, make a circle start using

91
Method 2 (see page 70). Keep the larger piece of core on the outside of
the circle. Measure several yards of each core and cut off with a taper
(this will aid in splicing, if necessary).
For simplification, the larger core will be core 1 and the smaller core
will be core 2. Following directions in Chapter 1, make butterflies with
the core pieces. This keeps the cores short and up out of the way so the
work can be done by weaving in and out with the wrap. Otherwise, a
needle has to be used for each intersection with the core and makes the
work slow and tedious.

Method 1. Hold the two cores together as described above. Then bring the
wrap up and over the top of core 1.
Step 1. Make a figure-eight, fastening cores 1 and 2 together. Tighten the
wrap carefully at each intersection by pulling the wrap against the covered
area. When tightening the ripple weave, hold on to both pieces of core
firmly. The small core has a tendency to buckle unless held tightly.

Step 2. Now take the wrap over core 1, between cores 1 and 2 to the
front, and then between core 2 and the previous row to the back. Tighten
each intersection. Needle below the previous row and pull through to the
front. Weave the wrap over the previous row, under core 2, and over core
1 up to the top again. Tighten the intersections. This completes the entire
ripple weave sequence.
Repeat the two parts of the entire sequence for the ripple weave. Check to
be sure the wrap is covering the core back and front. If not, beat back
against the work with a needle or your fingernails.
As the basket increases in size, adjust the ripple weave sequence to keep
the weaving in a straight line and to be sure that all of the areas are
covered. It may be necessary to use two continuous figure-eights over
cores 1 and 2 between the ripple weave fastening, and occasionally an
extra wrap may need to be made on core 1. It will be obvious to the eye
when these adjustments need to be made. After the basket stops increas¬
ing in size, drop all of the extra wraps and figure-eights, if necessary, to
keep the work uniform. This is the stronger of the two ripple weave
methods.

Method 2. Bring the wrap forward between core 2 and the previous row.
Work around the row using the basic figure-eight weave to attach core 2
to the circle. When you reach the unwrapped edge of core 1, make a
butterfly of the core 2 wrap, leaving the needle threaded on the wrap.
This will keep the length of wrap out of the way while working on core 1.
Take a new length of wrap and thread this on another needle. Needle
under the wrapped section of core 1 about 1” (2.54cm) back from the un¬
wrapped edge of the core. Pull through until the end disappears under the
wrap. Now work around core 1 using the basic figure-eight weave to fasten
core 1 to core 2. When you reach the end of this row, make this wrap,
including the needle, into a butterfly, and work with core 2 as before.
Continue alternating this way throughout the basket.
This method tends to be slower and more cumbersome, and it is not
as strong as the other method, but it covers the core more easily. Choose
the method that seems better for you.

92
 Ripple Weave, Method 1, Step
1. Use cores of different diam¬
eters, keeping the larger core
on the outside as shown. Make
a figure-eight, fastening cores
Cor, 1 and 2 together. Tighten the
wrap at each intersection.

Step 2. Weave the wrap over

and in back of core 1, between
and down in front of core 2,
then between and in back of
the previous row. Needle
through under the previous
row and pull the wrap
through. Weave in back of
core 2 and to the front of core 1.

93
The Ripple Weave, Comparison of Methods 1 and 2. The ripple weave
creates a textural effect by using two cores of different diameters.

94
Finishing Off the Ripple Weave Basket. Do not carry the smaller core
through to the end of the basket. Finishing off using only the larger
core gives a stronger edge and a smoother look. The basket should have
an extra row of the larger core at the top edge.

Method 1. Work to within 2” (5.08cm) of the lift point line where core 2
is to be cut off. Place core 2 on the previous row to the lift point line,
then cut off the core slightly beyond that point and taper the end. Work
to the beginning of the taper cut. Following the illustration, do continu¬
ous ripple weave fastenings to about 14” (6.35mm) from the tip of the
taper, holding the taper and core carefully. This work must be done by
needling through each intersection while holding the taper between the
fingers so it cannot bend or come loose. Now hold the taper against core 1
and work in continuous figure-eights over the tip and beyond until the
row begins to flatten out on to the previous row. Work one more row of
core 1 and finish off.

Finishing Off the Ripple

Weave, Method 1. Cut core 2
off beyond the lift point line,
and taper the core. Hold the
2 cores and the previous row
and weave continuous ripple
weave fastenings to within 14”
(.64cm) of the tip of the taper
cut. Hold the tip next to core
1. Do continuous figure-eight
fastenings until the row begins
to level out.

Method 2. Work the basket up to the last row of core 2. Cut off the core
slightly past the lift point line as in method 1 and taper the end. Finish
the row up to the beginning of the taper cut. Cut off the wrap for core
2 leaving about 1” to PA” (2.54 to 3.81cm) and place this alongside the
tapered end of the core. Pick up core 1 and work the row up to this point.
Hold the wrap end, the tapered core, and core 1 together as a unit and
work the figure-eight weave to within 14” (6.35mm) of the taper tip. Now
do continuous figure-eights until the core has lots its angled look and is
flattened out against the previous row. Work one more row and finish off.
The Ripple Weave as an Accent. Use a smaller core than the basic core size
when adding ripple weave accents. The addition of a smaller core will be
less obvious in the continuing spiral of the basket.
Adding the Second Core. Taper the end of the smaller core. Make several
continuous figure-eights prior to the lift point line to open up the space
a bit between the core and the previous row. Following the illustration,
place the tapered end of core 2 below core 1 at the lift point line, and
continue working in continuous figure-eights until the ripple weave can

95
Adding the Second Core for
the Ripple Weave as an
Accent. Taper the end of a
smaller piece of core. Place
the tip of this core at the lift
point line between the core
and the previous row. Hold
the cores together and work in
continuous figure-eights until
the two cores can be pulled
apart and woven separately
without pulling the smaller
core out.

be worked without pulling core 2 loose when separating from core 1.

If carefully worked, the chosen ripple weave can begin before the tapered
end is covered. This helps to make the transition look more even and
gradual. Work until you are ready to discontinue core 2. Finish off core 2
using the method described earlier.

THE BLANKET WEAVE

The blanket weave is similar to the blanket or buttonhole stitch in sewing
or embroidery. It makes an interesting edging for an opening or along the
lip of a basket. It makes an excellent ridge for attaching decorative
material or fringes (see Chapter 6).
Making the Blanket Weave. Make a figure-eight fastening, and lay the
wrap on the front of the core as if making another wrap.
Step 1. Place the holding hand thumb against the core and hook the
wrap around the thumb toward the front. Needle through under the pre¬
vious row from the front and pull through until the loop is almost tight.
Slip the needle through the loop on the thumb from the back.
Step 2. Slip out the thumb and pull the wrap tight. Make a figure-eight
fastening and wrap the core once. This is the blanket weave fastening
sequence.

Repeat the blanket weave sequence across the opening or around the top
of the piece as often as desired. The number of wraps between the knots
can vary as long as they are the same distance apart or make a pattern.
There should be a space of at least three wraps between the knots, or they
will not show up very well. Use figure-eight fastenings between for
strength if the spaces between the knots are more than three wraps. Use
the blanket weave over the previously wrapped row around the edge of
the basket to keep the look even.

96
Blanket Weave, Step 1. Bring
up the wrap and hook over the
thumb as shown. Needle under
the previous row, and pull
through. Bring the wrap up
and needle through the thumb
loop from the back.

Step 2. Pull the thumb loop

tight. Make a figure-eight fas¬
tening, and wrap the core one
time.
The Open Cycloids, Step 1.
Make three continuous figure-
eights at the shaded area. Wrap
enough core to make a coil.

Step 2. Shape the coil and

place in back of and a little
ahead of the ascending leg
as shown. Fasten down with
three continuous figure-eights

Step 3. Wrap the core for a

second coil and place it in
back of and overlapped by the
first coil as shown. Fasten in
place with three continuous
figure-eights.

98
 Keep the knot positioned at the top of the core for an edging decora¬
tion. The wrap material should be smooth and hard-surfaced. Handspuns
and fuzzy materials cover up the little ridge knots and make them un¬
recognizable. See Chapter 1 for types of materials to use.
Place the knots on the basket surface if the blanket weave is being
used for attachments. Place the knots as close together as needed. You do
not have to be concerned about patterning because the ridges will be
covered with the attachments. The knots can be placed anywhere. The
blanket weave can be used to attach all types of decorative elements such
as beads, shells, feathers, as well as fringe, embroidery, and surface
weaving. The best place to add new wrap in the blanket weave is after
making the knot.

THE CYCLOIDS
The three cycloid weaves are both decorative and functional. Except for
the intertwined cycloid, they are not weaves in the true sense, but they
can be used in the body of the basket for an interesting effect.
The cycloids can be used as decorative rows or as beautiful edgings.
All three methods can be used within the same basket, but not in the
same row or you will twist the basket out of shape.
Make three continuous figure-eights prior to the lift point line before
starting any of the cycloids. This gives strength to the ascending leg of the
coil. In the cycloid illustrations, continuous figure-eights are shown as
shaded areas.

The Open Cycloids. First make three continuous figure-eights.

Step 1. Wrap the core until there is enough length to curl the piece around
in a single coil that has a round and comfortable shape without being
cramped or sprawled.

Step 2. Be sure to wrap the core tightly. Push the wraps close together or
spaces will appear between the wraps when the core is bent. Place the
descending leg of the coil behind the ascending leg and a little ahead of
the takeoff point. Fasten the coil to the previous row with three continu¬
ous figure-eights. Finishing Off the Open Cy¬
cloid Row. Place the last
Step 3. Wrap the core again to make another coil. Place this coil behind coil between the previous coil
the first so the first coil partially overlaps it. Check to see that the size and and the first coil. Taper the
shape is the same as the first, then fasten down in the same way. Repeat end of the core allowing the
tip to lie on the ascending leg
this sequence the desired number of times. Slightly decrease the height
of the first coil as shown.
of the cycloids so the height of the last coil will be as high as the begin¬ Fasten the core in place with
ning coil. This gives a more even look to the edge or the row. three continuous figure eights,
and wrap the tapered tip of
Finishing Off the Open Cycloid Row. Place the last coil between the
the core to the ascending leg
adjacent coils, making sure they overlap it equally. Taper the core at the of the first coil. Needle under
end so it lies on top of the takeoff point of the first coil (see the illustra¬ the wrap, pull through and
tion). Wrap the tapered core on to the ascending leg at the takeoff point cut off.
in the usual way to finish a basket.
The Closed Cycloids. Make three continuous figure-eights.
Step 1. Wrap enough core to make the first coil. Place it in the same way
as the first open cycloid coil. Before starting the second coil, shape the
unwrapped core in a coil so the sides of the coils touch. These coils do

99
 I

The Closed Cycloids, Step 1.

Complete the first coil, place
on the previous row and fasten
down as shown. Place the
unwrapped core on the pre¬
vious row and make a coil to
check shape and size. Make
continuous figure-eights to the
point the ascending leg leaves
the previous row.

Step 2. Wrap enough core to

reach the place where the
coil touches the side of the
first coil. Make three continu¬
ous figure-eights at this point.
Wrap the rest of the coil and
fasten onto the previous row
with three continuous figure-
eights.

not overlap. Gauge the distance needed on the previous row to reach the
takeoff point of the second coil. Work in continuous figure-eights to that
point.
Step 2. Wrap enough of the core to take it around to the point on the side
of the first coil where the coils are to be fastened together. Make three
continuous figure-eights at this point. Continue wrapping the core until
you reach the fastening point on the descending leg of the coil. Fasten
with three continuous figure-eights. Repeat this sequence throughout the
row. Finish off the row in the same manner as the open cycloids.
The Intertwined Cycloids. This technique looks more complicated than it
is. Determine both the length of the piece required to make each coil and
the space the coil will fill in the row. Then measure the circumference of
the basket to find out how many coils will be needed. Measure this length
on the core plus one circumference length and cut off. The core, needle,
and wrap must be threaded through the previous row each time before
fastening the new coil to the row.
Make the first coil and fasten down as with the open cycloids. After
wrapping the length for the next coil, thread the end of the core and the
needle through the previous coil opening from the front. As this is done,
hold on to the piece where the wrapping stopped so it will not slip. This
must be held by hand because a clothespin will not slip through the coil.
After pulling through, always check the size and shape of each new
coil before fastening down. It is harder to determine the length of the

100
 The Intertwined Cycloids,
Step 1. Complete and fasten
the first coil down to the pre¬
vious row. Measure enough
core to complete the row and
cut off the core. Make the
second coil. Thread the core
and the needle and wrap
through the front of the pre¬
vious coil. Pull through.

Step 2. When the sides of the

first and last coils meet, wrap
enough core for another coil.
Thread the core and the
needle and wrap through the
last coil and then the first coil
from the front as shown.

101
Continuing the Basket Beyond
a Cycloid Row. Place the
tapered end of a new piece of
core on top of the first cycloid
coil as shown. Make three con¬
tinuous figure-eights. Wrap
enough core to reach the
second coil and fasten down.
At the end of the row hold the
tapered core together with the
core and continue working as
usual.

coil for this technique. Wraps may have to be added or removed after
threading through and before fastening down.
Step 1. Place the coil on the previous row, tighten the wrapping on the
core, and fasten down with three continuous figure-eights. Continue
working the row in the same way until the sides of the first coil and the
last coil meet.
Step 2. Wrap the core and place it through the last coil from the front
and then through the first coil from the front. Bring the core forward
between the two coils and fasten down with three continuous figure-
eights. Taper the end and finish off in the usual way.
When following the above instructions, the surface result is convex. If the
same directions are reversed by threading through from the back each
time before fastening down, the surface will be concave. A completely
different look can be achieved this way.
Continuing the Basket Beyond a Cycloid Row. After finishing the cycloid
row, taper a new piece of core. Following the illustration, place the core
on top of the first coil with the taper cut extending beyond the fastening
point toward the working hand. Place a piece of wrap on the core and
make three continuous figure-eights on top of the coil. Wrap the core until
you reach the top of the second coil. Hold the core and the second coil
together, and fasten with three continuous figure-eights. Continue the row
in this manner until you reach the tip of the unwrapped taper of the core.
Hold the tapered end and the core together, and wrap the pieces together
as you finish the row. Continue with the basket using the desired weave.
The cycloid has now become a decorative row in the body of the basket.

Cycloids as a Decorative Edging. Any of the three cycloid techniques can

be made continuously throughout the row for the top edge of the piece.
The coils may be placed in groups along the edge as well. They can be
used as decorative handles when placed in groups of one or more at each
side of the basket edge. When the coils are placed in groups, the areas
between the coils are woven in the usual way with the figure-eight weave,
stopping and starting the coils when desired. Other weaves can be used
between the coils for an attractive edging. The knot and lace weaves are
beautiful when used in this way.
FILIGREE LOOPING
A simple technique that is similar to the cycloids will produce an open¬
work effect in the basket. This technique can be put to many uses. It is
easy to do, but needs careful planning and measurement to complete pro¬
perly. The first project in Chapter 4 used this technique around the
edge of the basket.
The loops can be open or closed, close together or far apart. They can
be tall or short, rounded or squared. They can be used alternately with
cycloids. They can be used along the edge or in the body of the basket.
Although the variations seem endless, the general directions will be given
as two groups: open loops and closed loops.
As mentioned in the cycloids, in any openwork technique it is impor¬
tant to wrap the core tightly and keep the wraps pushed together. If this
is not done, spaces appear when the core is bent. Also, since the fastening
back is the “glue” that holds a basket together, it is the most important
point of all. So, fasten tightly and often while working in the openwork
parts of the basket. Filigree looping also requires strong wrapping material
without elasticity.

Planning and Measuring. The illustration shows some filigree looping

pattern ideas. You can choose a pattern or make up your own design. The
loops used in the body of the basket can be flattened into squared shapes
if they are fastened securely at the top and bottom.
Measure the circumference of the basket row. Then divide the row into
quarters and mark these divisions with contrasting wrap. Usually it is best Filigree Looping Designs.
to use the eye to judge most divisions in basketry, but division by There are many possibilities
for design patterns in Filigree
measurement is quite satisfactory for these techniques. Now break down
Looping.
the quarters into individual areas. Keep the markers at the same place in
each division (for example, all the markers are placed at the takeoff point
or at the center position of the loop). You can develop a personal marking
system you prefer.
An alternate method is the cartoon used in weaving. Decide on the
height of the loops to be made. Cut a piece of graph paper wider than the
height of the loops and the length of the circumference of the basket.
Make a design plan on the graph paper to scale. Remember that the height
of the loops must be decreased slightly as the row progresses so the first
and last loops are the same height. Fasten the graph paper on to the row
with pins when the loop is to be placed on the previous row. Form the
loop around the graph paper pattern. This will keep the design even with¬
out markers.

Making Open Loops. Make three continuous figure-eights at the lift

point line. Wrap enough of the core to make the entire loop. Wrap the
core tightly and push the wraps together to eliminate wrap separation
when the core is bent. Hold the loop in the desired shape and fasten the
descending leg down to the previous row with 3 or more continuous Making Open Filigree Loops.
figure-eights (see illustration). If the bottom arch is narrow, 3 figure-eights Make three continuous figure-
will be enough, but if the arch is wider, use the number needed to fasten eights. Wrap enough core to
make the planned loop. Place
it to the previous row. Wrap another section of core for the next loop.
on the previous row and fasten
Shape, place and fasten it to the previous row in the same way as before.
down with the needed number
Continue around the row in the same manner. of continuous figure-eights to
The loops will remain rounded on top until the next row is added. make the planned shape for
Then the arches can be squared if desired. the pattern.

103
 Making Closed Loops. First make the three continuous figure-eights.
Step 1. Wrap enough core for the ascending leg and the arch of the loop.
Step 2. Work in continuous figure-eights below the arch, attaching the
descending leg of the loop to the ascending leg. The bottom arch is made
in the same way as the open loops .according to the pattern chosen.

All or part of the loop can be closed off in this manner. If the top of the
loop below the arch is to be left open, wrap the descending leg down to
the point where the loop is to be fastened together. If an open slit is
desired on the lower part of the loop, fasten the top of the loop together
and wrap the core for the remaining distance to the base of the descending
leg.

Finishing Off the Filigree Looping. If the loops are rounded, taper off the
Making Closed Filigree Loops, core as in the cycloids so the taper lies on the lower part of the ascending
Step 1. Wrap enough core to leg of the first loop. If the loops are squared, taper the core so the tip ends
complete the arch on top of
before the corner angle of the first loop.
the loop.
Finish off the row in the same way as with the cycloids. Make the taper
area pleasing to the eye.

Adding the Next Row. After finishing the row, taper the end of a new
piece of core. Place the core on top of the first loop. Lay the wrap on the
core and fasten it with three or more continuous figure-eights. The num¬
ber of figure-eights are determined by the width of the loop. Shape the
loop into the desired rounded or squared form while fastening. Tightly
wrap enough of the core to reach the next loop, and repeat the fastening
process. Continue working the row in the same manner until you reach
the tip of the taper cut.
Holding the taper end and the core together tightly, treat them as one
piece until the taper is covered. Continue with the next row in the
planned weave.
When fastening the top row to the loops, the work must be tight and
firm to give the basket strength. Shape the loops to keep them straight
and in position. Smooth the top row as well. The looping row will have to
Step 2. Weave continuous
figure-eights over the area to be adjusted for several rows before it will keep its proper position.
be closed. If any part of the
loop is to be left open, wrap
IMBRICATION
the descending leg in that area.
At the base of the descending The word imbrication means an overlapping of materials. In nature the
leg, fasten the core in place scales of a pine cone are imbricated. In fact, one traditional type of basket
with the number of continu¬ imbrication comes from an area of North America where pine cones are
ous figure-eights needed for
prevalent.
the planned shape.
The final weaves in this chapter are imbrications or surface techniques
for coiling and plaiting. All the techniques are worked on the surfaces of
the previously finished rows.

Coiled Imbrication. The materials used for this technique include single
strand yarns, doubled strands laid parallel to each other, laces, ribbons, or
braids. Fabric or leather strips cut the width of or a tiny bit wider than
the row can be used. These materials should be of contrasting colors to
the basic basket surface to show up well.
Coiled imbrications can be added as a single interest area on the basket,
or the entire basket can be imbricated.

104
THE BEADING WEAVE
In beading, a piece of contrasting material is laid flat on the previous row
and fastened down with the next row so bits of color sparkle through the
fastenings in a way that resembles beads.

Estimating Material for a Basket. If you want to use one continuous piece
of fabric for the beading weave, estimate the length of the largest circum¬
ference of the basket. Wrap a piece of core to determine the diameter for
the row height. Estimate the basket height, and multiply the number of
rows by the circumference to get an estimate of the linear length. To
estimate the length needed for looped beading, multiply the entire length
by three to allow for the loops.

Making the Beading Weave. Four wraps before the lift point line, place the
decorative material on the surface of the previous row.

Step 1. Make four continuous figure-eights to fasten down the end of the
material. This will keep the end from loosening and will cover the cut end.

Step 2. Now wrap the core three times. Hold the material flat against the
basket and fasten down with a figure-eight. Continue working in the
figure-eight weave in the usual way, allowing a short strip of the contrast¬
ing material to show through in the spaces formed between the fastenings
of the figure-eight weave. Wrap the core the number of times necessary to
keep the spaces the same size. The number of wraps depends on the size
of the wrap material.

The spaces between the fastenings can be adjusted to show more or less of
the decorative material. To show longer lengths, lay the decorative

The Beading Weave, Step 1.

Place the decorative material
on the previous row at a point
four wraps before the lift
point line. Fasten the end in
place with four continuous
figure-eights.

Step 2. Wrap the core three

times and make a figure-eight
fastening over the decorative
material.

105
material aside and continue the figure-eight weave one or two times. Re¬
place the decorative material on the basket surface and fasten with a
figure-eight. Repeat this sequence for the desired pattern. Short and long
lengths can be made as well.
An interesting variation of the beading imbrication is made by pulling
the beading strip into a loop before the fastening is tightened against the
basket surface.
After the last beading area, fasten the end down with four continuous
figure-eights. Be sure the length of the decorative material is long enough
to complete the entire row. If large areas are being covered, splicing may
have to be done, but it is easier not to splice unless absolutely necessary.

Adding New Decorative Material. If splicing is necessary, leave enough on

the end of the piece of decorative material for a beading area, plus enough
to be covered by four figure-eight fastenings. Cut off any excess. Leave
the wrap hanging on the core row because it will not be used right now.

Step 1. Thread an extra piece of wrap on a needle. Needle under the wrap
of the decorative row, starting about 1” (2.54cm) over on the working
hand side and coming out at the point where the next figure-eight fasten¬
ing will be. Pull the wrap through just until it disappears under the wraps
of the row.

Step 2. Now place the end of the new piece of decorative material face
down at the end of the old piece. Wrap around the decorative row four
times until the ends are covered tightly. Needle through under the wraps
ahead of the ends on the decorative row about 1” (2.54cm), pull through,
and cut off.

Step 3. Now fold the decorative material down flat and crease it with your
fingernail to flatten the fabric as much as possible. Pick up the original
wrap and continue the figure-eight weave, making sure the first figure-
eight fastening lies solidly over the splice joint. This will hide the splice
well.

THE PLEATED WEAVE

The Klikitat Indians worked with roots and barks to produce this weave
until their hands were cut and bleeding. If this basically slow technique
seems to progress at a snail’s pace compared to other weaves, remember
that all we lose today is a little time, and the result is certainly worth the
extra effort.
Traditionally, the pleated weave was folded and fastened only one time.
Natural materials would stay in place because the materials themselves
would not release after being folded. With soft contemporary materials,
the pleating can work loose or be pulled out without a second fastening,
and this extra fastening is well worth the effort because the resulting look
is quite beautiful.
To estimate the amount of material needed, follow the directions for
estimating looped beading.

Step 1. Fasten down the decorative material in the same way as the bead¬
ing weave. Determine the length of the pleats or folds desired. Lay the
decorative material flat and hold in place. Wrap the core to the first pleat
point.

106
 Step 2. Fold the decorative
material at the second pleat
point and lay it back. Fasten
the doubled material at the
first pleat point with a figure-
eight.

Step 3. Wrap the core up to

the second pleat point. Make
a figure-eight, but pass the
needle through the fold before
needling under the previous
row as shown.

Step 4. Fold the decorative

material at the first pleat point
and crease with the fingernail.
Make another figure-eight at
the second pleat point over
the fold and the new layer of
decorative material.

107
Adding New Decorative Mate¬
rial, Step 1. Lay the wrap ma¬
terial and needle aside, but do
not cut off. Needle a new
piece of wrap under the wraps
on the previous row four
wraps from the end of the
piece of decorative material as
shown. Pull through.

Step 2. Lay the new piece of

decorative material face down
on top of the old piece with
the ends touching. Wrap
around the previous row four
times covering both ends of
the decorative material and
needle under the wrap, pull
though and cut off.

Step 3. Make a figure-eight

fastening over the splice of the
two pieces of material as
shown.

108
Step 2. At the second pleat point, fold the decorative material back and
crease with the fingernail. Wrap the core enough times to reach the first
pleat point, then make a figure-eight fastening.

Step 3. Leave the decorative material in this position and wrap the core
enough times to reach the second pleat point. Make another figure-eight
fastening at this point, but needle through the fold of the decorative ma¬
terial before needling under the previous row.

Step 4. Fold the decorative material forward from the first pleat point,
creasing with your fingernail to flatten it. Find the third pleat point.
Fold the decorative material back at this point. Make another figure-eight
fastening over the top of the decorative material at the second pleat point.
Wrap the core up to the third pleat point and needle through the fold
and fasten below the previous row as before. Continue repeating Steps
2, 3, and 4 throughout the pattern area. Fasten down the end of the
decorative material in the same way as the beading weave.

Adding New Decorative Material. As in beading, the material can either be

taken from a continuous piece or it can be spliced. The splicing in this
technique is done in the same way as Steps 1 and 2 of the beading weave
splice. When splicing is done, the pleating weave should be in Step 4 of
the weaving sequence. After the pieces are fastened to the decorative row,
continue the pleating weave with Step 2. When you reach Step 3 of the
pleating sequence again, needle through the space between the old and
new pieces at the splice instead of the fold before needling below the pre¬
vious row.

DECORATIVE PLAITING TECHNIQUES

The smooth and low-keyed look of plaiting can be made more exciting
when you add some decoration. This extra surface technique gives a bas-
relief effect to the plaited basket. The decorative row can be added at the
same time as the lower row or just before the basket edge is finished. If
added later, there is a more secure surface on which to work.
The overlapping row is twisted in such a way that it is lifted away from
the surface of the basket to make designs or special effects. These designs
work especially well on lids or basket sides. Although the same basic
basket material is used, using this technique makes a plain basket look
quite different.

Estimating the Length of the Material. Make a sample twist to determine

the extra amount of material needed for the decorative weave. Multiply
that extra amount by the number of twists planned for the row. Add that
extra amount to the length needed for the woven row.

Low Twist. The low twist weave is done by twisting the weaver a com¬
plete turn to the right or left before weaving it under the next warp strip.
Designs can be made with the low twist. If the designs are planned on
graph paper, they can be worked out on the surface of the basket by
following the graph paper design.
Using an orange stick, lift the woven material to allow the extra weaver
to pass under. Twist the weaver a complete turn either to the right or
left so the face of the material has returned to the front before weaving
under the next row. The ends of the extra weaver are taken to the edge

109
 Decorative Plaiting

Right Low Twist and Left

Low Twist. This weave is done
by twisting the weaver a com¬
plete turn to the right or
left before weaving it under
the next warp strip.

Double Twist. The weaver is

turned either right or left for
a complete twist and then
turned for a complete twist
in the other direction.

High Twist. Uses the same

technique as low twist but the
loop is looser and larger.

4 ‘ Vv'V m \
[,V/V;
I _• " ij *.Tj 11 0 <■ 3.- ’ V1
*I
I. 1 1
P®,v/' !» " .‘ p i

110
of the basket with the previous row or are spliced together at the row
ends on the basket sides.

High Twist. The high twist weave is made in the same way as the low
twist, except the loop is looser and larger. It requires a more rigid material
to hold its shape.

Double Twist. The double twist weave is a particularly beautiful technique

that can change the whole surface of the basket, make interesting areas
or rows, or make an exciting lid for a simple basket.
To make the double twist, turn the weaver either right or left for a
complete twist as in the low twist, (see A). Hold this twist down with the
fingers and turn the weaver a complete twist in the other direction (B).
Hold down the double twist and take the weaver under the next warp (C).
This will hold the double twist in place. The effect of this technique is
somewhat like the scale of a pine cone.

Low Twist. Lift the warps

with the orange stick and slip
the weaver under them until
you reach the point where the
twists are to be placed. Twist
the weaver to the right or the
left and weave under the next
warp.

Double Twist. Lift the warps

with the orange stick and slip
the weaver under them until
the design area is reached.
Twist the weaver to the right.
Hold down the twist, and
twist the weaver to the left.
Hold down both twists and
weave under the next warp.
This sequence places the point
down. Reverse the direction
for an upper point.

Ill
 SAMPLE PROJECTS
Now is the time to make more sample weaves to add to your group of
reference pieces. Making samples in decorative plaiting and another plaque
for the coiled decorative weaves can be very helpful before starting a
basket.

Project 1. Cylindrical Ripple Weave Basket. This sample was made with
two different diameters of clothesline for the core. Any type of rope will
do as long as the two cores have enough contrast in size to be definite
and the surface of the rope is smooth. The wrap material is turquoise
polyester rug yarn.

1. Taper both core ends. Place them together with core 1 on the top. Use
method 2 of the circle starts. Start the basket, making sure to keep the
large core (core 1) on the outside of the circle.

2. Weave four double rows of ripple weave.

3. Turning the cores slightly at the lift point, gradually lift from the basket
floor so the double row 5 appears round when looking at the bottom of
the basket. If this is not done, the basket will have a misshapen look.

4. Place double row 6 on top of row 5 to make the sides cylindrical.

Continue weaving in the ripple weave for four more double rows to make
a total of nine rows in ripple weave. Taper off core 2 and finish off core 2.

5. Work one row in figure-eight weave.

6. Add one row of filigree looping in small triangular shapes.

7. Finish off the basket.

Project 1. Cylindrical Ripple

Weave Basket. Made with two
different diameters of clothes¬
line for the core, but any type
of rope will do (the two cores
must have size contrast and
smooth rope surface). The
wrap material is turquoise
polyester rug yarn.

112
Project 2. Filigree Banded Basket. This sample basket is done with V2”
(1.28cm) jute, but any rope will do. The wrap was heavyweight rug wool.
Color A—orange-brown, color B—turquoise.

1. Using color A, choose a circle start and weave the basket in figure-eight
weave to a diameter of about 5” (12.5cm).

2. At the lift point line, make a very slight lift. Work gently up and out for
six rows.

3. Measure the circumference of the basket.

4. Plan your loop size (loop height about IV2” (3.82cm), loop width % ”
(2.22cm)). Remember the loop decreases slightly in width as it decreases
in height. You may gauge the loops by eye if desired, or plan by measure¬
ment.

5. Using color B, wrap enough core for the planned size of the simple
filigree loop. Form the loop.

6. Fasten down with five continuous figure-eights. Continue the row in

the same manner, keeping the loops in a vertical position from the base.

7. On the last loop, taper the core so the tip of the taper will end about
halfway up the ascending leg of the first loop. Finish off.

8. Place the tapered core on top of the first loop. Using color B, fasten
down with five continuous figure-eights. Wrap the core until you reach the
next loop. Continue fastening and wrapping throughout the row.

9. Change to color A. Curving gently inward at the same angle as the part
below the filigree looping, work one row in the pierced figure-eight and
five rows in basic figure-eight weave. Finish off.

Project 2. Filigree Banded

Basket. Made with jute, but
any rope will do. The wrap is
heavyweight rug wool. Colors
are orange-brown and tur¬
quoise.

113
Double Wall Fur Basket. 3” x 5” diameter (7.62cm x 12.70cm). A basket
created by Mary Temple as a “hand warmer, soul restorer—the bright
colors of sunlight or fiery coals inside for these cold snowy Minnesota
February days when we forget what the sun looks like.” It is coiled over
cotton clothesline with shiny rayon and wool in bright yellow, gold,
orange, and brown in figure-eight weave. The basket turns down and paral¬
lels the first wall. It was difficult to work on the second wall because
there was little room to manipulate the needle between the layers. (Photo
by Dr. Robert Bumingham.)

114
 More 6
Decorative
Elements

Using just a single weave, it is possible to develop a great many types of

baskets by simply changing the shaping. As new weaves are introduced,
the basket forms vary even more, but by adding color, surface design, and
other decorative elements, a whole new world is opened up.
These decorative additions can be simple and direct or quite complex.
A beautiful feather or single colorful bead can be dramatic when placed
on the proper background. Beads or shells sprinkled over the surface of a
basket in a graceful pattern can be exciting. Color can make the plain sur¬
face of a basket come alive.
These additions must be chosen with thoughtfulness and care—you
should have a reason for making them part of the basket. A special decora¬
tive weave is better served by one or two selected colors than chopped up
with too many. Added baubles can be hidden by a busy pattern or detract
from the simple beauty of a decorative weave. Remember that adding
decorative elements will accent rather than cover up mistakes.
Among the possible decorative elements are: color, feathers, beads,
bells, shells, fur, leather, braiding, ribbon, imitation rya knots, and surface
coiling. Plaiting and twining used with coiling, and open coiled weaves
used over attractive cores, can further enhance the baskets.
Think about the final use of the basket when using decorative elements.
What would happen to fragile materials and objects on a working basket?
Would an attractive design be more practical and make a beautiful basket
as well?

COLOR
The beautiful colors we have available today are both exciting and fun to
use. There are a number of ways to help yourself in choosing color com¬
binations, and there are several ways to apply these colors to the basket.
A good color sense can be innate, but it can be learned as well. There
are three ways to develop a color sense: making a color wheel, looking at
designer fabrics, and observing nature (always your very best teacher).

115
 Making a Color Wheel. The color wheel is a basic way to develop color
knowledge. Although it seems like a mechanical exercise at first, if you
regularly use your color wheel, an understanding of color will begin to
develop. The color wheel not only shows how colors are mixed, but it
shows their interrelationships. By learning to mix colors, we begin to
recognize color mixes when we see them in the materials we use.
To make a color wheel, draw a large circle and divide it into 12 equal
segments (see the illustration). Starting at the top of the wheel, place the
primary colors as follows: (clockwise) segment 1 is yellow, segment 5 is
red, and segment 9 is blue. Use paints from an inexpensive watercolor
set. All of the other colors in the wheel are mixed from these primary
colors.
Secondary colors are mixtures of any two primary colors. Yellow and
red is orange, red and blue is violet (purple), and blue and yellow is green.
If you have never mixed colors before, it is a good idea to try mixing the
colors from the primary colors in the paint set. Paint in the secondary
colors as follows: segment 3 is orange, segment 7 is violet, and segment 11
is green.
Next are the tertiary colors. These colors are further mixings of one
primary color with one neighboring secondary color. Yellow and orange
is yellow-orange, orange and red is red-orange, red and violet is red-violet,
violet and blue is blue-violet, blue and green is blue-green, and green and
yellow is yellow-green. These colors should be painted in order in seg¬
ments 2, 4, 6, 8, 10, 12. The warm colors range between 1 and 6 and the
cool colors between 7 and 12.
You can see by this intermixing that some of the colors are related and
some are opposites. In using the colors together, the best blends come
from using relatives together, while accents are made by using opposites.
In addition to the colors from the basic color wheel there are the neu¬
tral colors: black, white, gray, and brown. As you know, there are many
shades of gray depending on the amount of white and black used in the

Making A Color Wheel. Make a

circle and divide it into twelve
segments. Paint in the pri¬
mary, secondary, and tertiary
colors as shown.

116
mixture. Whites can vary greatly as well, from pure white to many shades
of off-white.
Browns are mixtures of one primary color with the opposite secondary
color. The range of browns include: yellow and violet makes yellow-
brown (tan, sand, etc.), orange and blue makes red-brown (terra-cotta,
chocolate, etc.), and red and green makes dark brown (deep, muddy, etc.).
Although browns are considered “neutral,” they only work with related
colors. But since they contain two unrelated colors, they work in two
directions and will accept more colors (hence the “neutral” tag). For in¬
stance, red-brown will work with both orange and its relatives and blue
and its relatives.
You can, if desired, make a larger circle than the original color wheel
and paint in the different browns. Cut out the two circles and fasten them
together in the center with a paper fastener. The wheels can be rotated
to match the browns with their close relatives.
Use pure white with care. It can be an asset if contrast is the goal, but
it can be uncomfortable to use when trying to blend colors together in
a piece. For blends use an off-white.
To soften any color, add a bit of white, gray, or some other neutral
color. This will give it a muted look. If several colors are being used
together, two colors can be mixed at the junction between them to make
the transition more gradual.
Using the Color Wheel. Here are some suggestions on ways to choose
colors from the wheel:

1. Choose one color and use it in many shades from light to dark. For
instance, start with a base of dark red and add lighter and lighter shades
until you end with light pink at the top of the basket. The spread of color
shades can be shortened (for instance: dark red to medium red, medium
red to pink, etc.).

2. Vary the same color back and forth from light to dark throughout the
basket.

3. Choose one color and use many kinds of textures and materials: shiny,
dull, smooth, nubby, boucle, looped, chenille, mohair, etc.

4. Choose two or three relatives on the color wheel as the main colors in
the piece. Then choose an accent color straight across from the most
basic color of the group.
5. Choose relatives for a gradual flow of color from one to the next with¬
out any accent color.
6. All the colors can be used if the colors move from one to the next
through a relative color. This would give a rainbow effect.
When colors don’t seem to work together even though you have followed
all the rules, check each color you are using with related and unrelated
color. For instance: gold is usually warm, but sometimes green is intro¬
duced into the dye. When gold is pulled over into the cool range this way,
it can’t be used with reds and oranges.
Have you ever purchased yarns only to find the color seems to have
changed later? Most stores have fluorescent lighting that has a blue cast.
In daylight or under the tungsten light of most homes, colors will become

117
warmer or yellower in tone. When choosing your colors, look at them
under the type of light in which they will be used. If a store has fluores-
cents, ask to take the material to a window or doorway to check for
color.
Check all the colors you plan to use with your wheel to see how they
work together. Store your yarns together in color groups and working
groups. This will make it easier to find colors when you need them.

DESIGNER FABRICS
Let professionals work for you by looking at well-designed fabrics. Find
upholstery and dress fabrics that have interesting color combinations.
Designers are paid well to plan colors for fabrics. They have used beautiful
blends that work well together. Take small swatches of fabrics with you
to choose your colors. Pull off color strands from the swatches to check
individual colors if necessary. Study the fabric swatches with the color
wheel rules and see how they compare. If rules are broken, how? What
are the results?

COLOR FROM NATURE

The finest source for color inspiration is nature. Look around you at the
rocks, tree bark, flowers, leaves, sunsets, desert soils, and road cuts. Isolate
the colors you see within an object or area. You will be surprised to dis¬
cover some of the color combinations you will find. What is the basic
color? Are there relative colors or accents? Are all of the colors bright and
intense, or are some grayed, softened, or darkened?
Look at the leaves in a plant or tree. Even a bright green leaf has differ¬
ent degrees of color. The stems of the fuschia or red maple are brilliantly
red, and this flows up into the veins of the leaves. Some trees like the
camphor have new leaves of red which turn different shades of green dur¬
ing their lifetime only to return to the red coloring again before falling
to the ground. Ask yourself what kinds of reds or greens? Do they work
together? Are both bright or is one color softened? Pick up an autumn
leaf from the ground and take one from a tree and study the nuances of
color that from a distance become something else.
Look deeply into a flower. What colors do you see? Is there only one
color or has nature combined many colors within one small nasturtium or
pansy?

USING COLOR IN BASKETWEAVING

Each basketweaving technique from plaiting to coiling uses color in its
own way. Plaiting uses color in the most rigid sense, while twining and
coiling allow more flexibility. Colors can be planned in a design or added
to a basket in a totally random way. Color can be completely independent
from the shaping of the basket, or it can accent or enhance the shape.
Color in Plaiting. The use of color in plaiting is simple and to the point.
Color occurs as broken lines, checks, and patterns. The color patterns are
controlled by the method of weaving. Since the warps and wefts are equal¬
ly visible in the weaving, the colors assume blocklike shapes and create a
color study in contrasts with little opportunity for blending. There are
several interesting color variations possible in plaiting:

118
1. Start the center with one color. Add a new color for the side wefts. This
will give the base a plain look and the sides will be checked.

2. Start the center with two colors. Choose one of the colors for the side
wefts. Two sides and the base will be checked while the other two sides
will be one color.

3. Start the base with two colors, and choose a third color for the side
wefts. This will give three completely different checked patterns on the
basket.
4. Start the base with two colors and alternate these colors for the side
wefts. The base will be checked and the sides will be checked and striped.
5. Do patterned weaves of plaiting in two colors to make the patterns
more obvious.

6. Add one or more strips of color to the base with the warps or to the
sides with the wefts for broad or narrow striped plaids.
Color in Twining. As in plaiting, all the woven patterns—such as vertical
lines, checks, twills, etc.—can be emphasized with color, but more varia¬
tions are possible as well. The nature of the twining process and the type
of material used allows for a better blending of color.
You can add color as detailed abstract forms, as erratic twining, or as
abstract color lines. Any color plan used when twining in tapestry weaving
can also be used in twining baskets because the process is the same. This
allows a flexibility not possible in plaiting.

Color in Coiling. The basic color elements in coiling are lines and blocks.
These basic shapes can be grouped together to develop curved lines, tri¬
angles, or flowerlike designs, as well as figures of people and animals.
Traditionally, these designs were used to develop personal, tribal, or
religious ideas. Today we can use these same shapes to develop different
aspects and ideas, and we can add asymmetrical shapes as well. In addition,
we can add horizontal or vertical abstract color groupings that are very
exciting and beautiful.
Since the basket is constructed in a continuing spiral, the color is either
added as needed or carried along with the core to be brought to the sur¬
face when necessary. When color changes are some distance apart, the new
colors are added one at a time. Colors are carried along with the core
when there is only a short distance between color changes. This eliminates
the problem of covering many old and new color ends. Colors that are in
short supply and will be wasted by carrying them along with the core
for long distances can be cut off.

SURFACE DESIGN
Color and surface design are close partners in basketry. Color can affect
the design and the design can affect the color. Each needs the other to
be complete.
You do not have to be able to create a picture on paper to create sur¬
face designs for basketry. Your designs can be realistic or abstract, simple
or complex. Design comes from within. It is a summation of all the things
you are, see, and feel. The work is an extension of you and you put part
of yourself into it.

119
 Color and design work together in nature. Flowers are designed by
nature to attract insects, which perform certain functions that benefit
the flower. These colors and designs are beautiful as well as useful, and
they therefore attract the eye as well as the bee.
How are the colors used? Are they large solid blocks or smaller areas
that seem to blend into the whole? What does the flower show at a
distance, as you walk nearer, and close by? Do the lines of color encircle
the flower or climb vertically up the flower sides?
As nature uses color and design to attract pollinating insects to a
flower, you can use color and design to attract attention to the basket-
form.

SURFACE DESIGNS IN TWINING

Plan your designs on graph paper or work them out from a mental picture
as the basket progresses. Any shape can be used in the design, but curved
lines produce a stepped edge as in any weaving process. Designs on graph
paper flatten out as they are twined into the basket due to the differences
between the physical shapes of the graph paper and the twined row. Any
change of the basket circumference will require a change in the design.
Designs can be worked out on the basket in different ways.
If only two colors are being used, follow the design plan row by row,
twining with two different colored strands. Change the colors when
needed with full and half twists.
Carrying Extra Color Strands Along Warps. If more colors are needed,
extra strands can be carried along the warps in specific areas and ex¬
changed with the working strands when needed in the design (see the illus¬
tration). These strands can be fastened to the warps with clothespins
above the working area to keep them stationary and out of the way. Since
these strands remain in one position, they are used for row and block de¬
signs only.
No adjustments are needed when using warp strands for row designs be¬
cause the color used returns to the same warp position each time before
being placed out of the way.
In block designs, the color moves across the design block to a new
position in each row. Therefore, it is better to work out each block of
color separately using twining methods 1 and 2. These blocks must be
interlocked at the color junctions.
For more flexibility in block designs, needle in each new color needed,
and needle out and cut off the extra strand.

Carrying Extra Color Strands

Along Warps. When making
block or row designs in twin¬
ing, extra strands of color can
be carried along the warps to
be used as needed. These
strands can be fastened out of
the way as you work with
clothespins.

120
Interlocking Colors with Method 1. Weave across the color block row in
twining method 1. At the finished side of the design block, each row
contains a pair of strands that will be used in the interlocking process.
At the finished side of the design block, drop strand B (see the illustra¬
tion). Needle strand A through the lower strand of the pair from the top.
Pull through and weave back under the first warp and place up. Pick up
B. Needle through the top strand of the pair from the bottom. Pull
through and weave back over the first warp and under the second and
place up.

Interlocking Colors with Method 2. Weave across the row in twining

method 2. At the finished edge of the design block, place strand B up (see
the illustration). Needle strand A through the bottom strand of the pair
from the top. Pull through and weave back under the first warp and place
down. Pick up B. Needle through the top strand of the pair from the
bottom. Pull through and weave back over the first warp and under the
second and place down.

Interlocking Colors with

Methods 1 or 2. After twining
across the row using either
Method 1 or 2, needle strand
A through the top of the
lower strand of the row pair
weaving it under the first
warp as shown. Needle strand
B through the bottom of the
upper strand of the row
pair and weave over the top of
the first warp. Now you are
ready to twine back across the
row using the opposite
method.

Adding Color in Erratic Twining. Erratic twining is an exciting idea bor¬

rowed from tapestry weaving. It is a weaving technique that uses curved
lines rather than straight lines.
To create the proper base for the curved row, areas must be shaped over
which the curved lines are formed. The curved lines can be even and
regular, continuing around the basket in the usual way. The curves can
also be uneven and have broken lines of color if desired.
To shape the base areas, twine back and forth using twining methods 1
and 2. Drop a warp or two at the end of each row evenly or unevenly as
desired. At the top of each shaped area, needle the wefts down 1”
(2.54cm), pull through, and cut off. Do not allow the sides to be too
steep. These areas can be the same height for the even line or different
heights for the uneven line.
Abstract Horizontal Lines. Abstract horizontal lines make an interesting
pattern similar to individual brushstrokes of color on a canvas. Two or

121
 three colors can be used. If three strands of color are used, two of the
strands are carried in back and one in front. The colors are controlled by
the use of full and half twists in almost the same way as the two-strand
twining. Either of the back strands can be brought forward when needed.
Making the Full Twist with Two Back Strands. When making the full
twist, treat the two back strands as a single strand.
Making the Half Twist with Two Back Strands. The half twist can be
handled in two ways:
1. Do nothing to the extra strand. It moves as a floating strand from one
warp to the next.
2. Half twist the back strands before the working color is brought forward
to half twist with the front strand. This fastens the back strand at each
warp row. If the basket is open and the inside is visible, handle the inside
colors carefully to make them as attractive as the outside colors.

SURFACE DESIGN IN COILING

The development of color design in coiling is horizontal or vertical using
lines and blocks of color. These shapes are grouped together to create
many interesting forms that can be either realistic or abstract. The color
junctions can be smooth or feathered.
Horizontal Color Patterns. If you look at the illustration you can see a
horizontal line can mean a number of things. It can be one or more lines
of one color in a larger body of another color. It can be the dividing line
between two bodies of color. It can be rows of different colors building
on top of each other. It can be long and short dashes of different colors
Surface Design in Coiling. overlapping each other at random.
Surface designs in coiling are
A horizontal line can be bent into angles as a single line of color or as
achieved with lines and blocks
of color, which can be used to the base of a body of color.
develop many shapes and Horizontal blocks can be used alone, floating in a body of another
forms. color, or they can be used as building blocks to create other shapes. A
group of blocks can form steps, flowers, people, or other realistic or
abstract shapes.
Blocks can vary in size and shape. The shape of the block can be altered
to make triangles, diamonds, and other design forms. Blocks can be used
to make curving lines of color on the basket surface. Small blocks stair¬
stepping up the basket create a spiral (see Project 2 in Chapter 4). Several
of these spirals will form spokes or winged shapes. Other arrangements
will make arches, flower petals, or free flowing design elements. These
spirals can also be zigzagged back and forth for a change of design.
The edges of both the lines and blocks can be smooth and straight or
feathered. The smooth lines are achieved by using the pierced figure-eight
weave, and the feathered edges are made by using weaves that cross over
the previous row of color. The traditional wrap weave will give a slightly
feathered edge, but not quite as pronounced as the other wrap weaves
because the crossovers are closer together.
The larger the core of the basket, the more prominent the design ele¬
ments.
Vertical Color Patterns. Stripes and flowing lines can be achieved with
vertical color patterns. Stripes are made by changing the colors at the

122
Erratic Twining. Twine back and forth across the row dropping off warps
at each edge until a raised area has been shaped on the warps. Needle
down at the top and cut off. Using contrasting color, twine over the raise
to make a curved line.

Abstract Horizontal Lines in Twining. A second color can be brought

forward to be twined the desired length using half and full twists. The
lines are not patterned or continuous.

123
Uneven Vertical Triangles in
Coiling. Two colors can be
carried along at the same time,
wrapping the unused color
with the core, exchanging the
colors when desired. The edges
of the color stripes can be
even or uneven. The triangles
can be the same or a different
length. These shapes can be
developed into flower petals.

Vertical Stripes in Coiling.

This basket, “Dripping Color”
5V4” x 4V2” diameter (13.97
cm x 10.80cm), uses the verti¬
cal stripe. It can help to dis¬
guise the tilt of the cylindrical
shape. This piece is gold and
brown mohair woven over jute
using the basic figure-eight
weave.

124
same time in each row. They can be narrow or wide. Stripes help to dis¬
guise the “Leaning Tower of Pisa” look in cylindrical baskets. Stripes can
move spirally by picking up the stripe color just before or just after the
last color change in the row. A zigzag effect can be made by changing the
direction of the spiral.
Another vertical effect is made by dropping off one wrap at each side
to decrease a color, or picking up one wrap at each side to increase the
color area. These color areas can be closed off as triangles or left open for
diagonal line effects.
An uneven flowing line, like dripping wax or flowing water, can be
created by dropping off or picking up uneven numbers of wraps along
the color edges. These shapes are closed off completely at the ends and
create triangles of different lengths and widths. This technique is quite
beautiful.

DECORATIVE SURFACE ELEMENTS

Add extra elements to your basket surface only if the addition will en¬
hance the piece. Both the basketform and the decorative element have
merit, and each must complement the other.
As mentioned before, a basket cannot be saved by the addition of a
bauble or a bead. A little rya here and there can sometimes help to dis¬
guise a shape, but you shouldn’t depend on these elements to cover mis¬
takes (try to correct them if you can). Mistake baskets make good samples
to keep and study, and they can be useful at the same time. Strange little
shapes make great holders for paper clips, rubber bands, hair pins, pencils,
and other odds and ends. These baskets can remind you of your humbler
beginnings as well.
Some of the extra decorative elements that can be used are: beads,
bells, shells, feathers, fur, and rya. This chapter will also include several
new kinds of decorative techniques not discussed before: plaiting and
twining techniques used with coiling, surface cycloids, surface coiling on
finished baskets, and open coiled weaves.

Beads, Bells, and Shells in Plaiting. As mentioned before, bells and beads
can be added both as edging and lid decorations. Shells can be used the
same way.

Beads, Bells, and Shells in Twining. Add these objects to the surface of
the basket whenever desired by threading them on the weft and placing
them while weaving. Add them along the edges of the basket in the same
way.
If you are making a twined piece that uses many yarn strands for the
warp, the ornaments can be threaded in several ways:
1. Thread on to one to three warp strands before they are needled under
the end twining for the fringe.
2. Place on the warp during the weaving process.

3. Tie on to the fringe using overhand knots.

Beads, Bells, and Shells in Coiling. Add your ornaments as the work pro¬
gresses. Thread each object on the wrap as needed and wrap into place.
Slip the next wrap under the object and pull especially tight to insure

125
Adding Shells. The openings on one side of this coiled basket called “Shell
Shower” 5” x 6” diameter (12.70cm x 15.24cm) push the alignment up¬
ward unevenly to force the mouth to one side. The white pointed shells
are scattered around the mouth contrasting with the bright shiny red of
the synthetic wrap. This piece is an abstraction of a sea anemone. The
weave is basic figure-eight.

126
good coverage of the core. If the wrap remains loose, the hard edge of the
object can wear through the wrap.
If you add ornaments after a piece is finished, use strong material like
waxed linen to fasten them securely.

Feathers. Add feathers to coiled baskets or along the wrapped edges or

fringes in twined baskets. There are three steps required: placement,
preparation of the feather, and fastening the feather on to the basket.
Step 1. A feather has two parts: the barbs and the quill or shaft (see the
illustration). Place the feather on the basket to find the proper position.
Arrange the feather with the barbed end toward the working hand. This
makes it easier to handle and helps to eliminate tangling in the barbs.
Place the quill end parallel to the core or wrap. Do not try to bend the
feather into an unnatural position. A feather will return to its natural
position when it is wrapped, and forcing it can break the quill. It is better
to choose another feather that will curve in the proper direction.

Step 2. The best feathers for baskets are small ones, but they have very Feathers. The feather consists
short quill ends. Since the feathers need to be wrapped on to the basket of two parts: the barbs and
tightly, the quill of the feather needs to be lengthened or the end will the quill (or shaft).
pull loose from the wrap. Leave the barbs on the quill. If you remove
them, you also remove part or all of the quill surface, and this weakens
and often breaks the feathers. Before wrapping the feather on to the
basket, dampen your fingers and twirl the quill end of the feather. Twirl
until you have enough of the barbs twisted tightly against the quill to
wrap the feather between six and twelve times. The number of wraps is
determined by the size of the feather. The larger the feather the more
wraps needed.

Step 3. Place the feather back in position and wrap on to the basket
starting at the end closest to the barbs. Wrap tightly enough to keep the
feather in place, but not so tight that the quill is broken.

Feathered Nest. 3” x 8V2” x

10” diameter (7.62cm x
21.6cm x 25.40cm). This
coiled piece is waxed natural
linen over jute with grouse
feathers. The weave is basic
figure-eight.

127
 Great care must be taken when working around feathers. Try not to
allow the wrap to tangle or damage the delicate feathers. Before tighten¬
ing each wrap, check to see if the barbs are tangled. If so, pull them
loose very carefully with the tip of the needle. Hold them out of the way
and pull the wrap tight.
Caution: It is important to remeifiber when wrapping feathers to needle
from the basket toward the feather. Needling from the feather into the
basket carries the barbs into the basket, and they are very difficult to ex¬
tricate without tearing. You may have to change your wrapping direction
to allow for this throughout the feather section of the basket.
This is not a speedy operation. Work slowly and carefully. When you
are finished, dampen your fingers with very light oil (sewing machine oil
is good) and stroke or preen the feathers into position. If they are broken
off now, they can’t be replaced easily.
Fur in Plaiting. Fur is a beautiful addition to plaited pieces. Some of the
same problems encountered with feathers are found when working with
fur.
Flat fur is woven in the usual way, but if it is fluffy, it can be handled
in two ways. One way is to weave in the fur in the usual manner, either
horizontally or vertically, pulling the trapped hairs loose with a blunt
needle or pointed stick.
The second way allows all of the fur to be seen. Cut fur strips the width
of the basket material. The strips should be 1” (2.54cm) longer than
needed for the row. Thread a tapestry needle with waxed linen in a color
that closely matches the fur. Glue the end of the thread and slip under
the warp nearest the proposed fur row. Allow the glue to set, and needle
through the adjacent hole between the woven strips to the front. Pull
through. Place the end of the fur strip 1” (2.54cm) from the linen thread.
Slip the needle under the fur hairs but on top of the hide and pull the
thread across the fur strip carefully. Needle through the hole at the other
edge of the strip and pull through to the back. Move over to the adjacent
hole and repeat the sequence again. Continue repeating this sequence
throughout the row until you are within 1” (2.54cm) of the end of the
strip.
Skive or trim off the fur at one end of the strip the length of the
splice. Skive the backs of both pieces at the splice area. Glue the piece,
tighten the row, fasten together, and let set. Finish the row as before.
Fasten the linen thread with glue under an adjacent warp inside the basket
and cut off.

Fur in Twining. I do not suggest that you use fur in twining because the
strips must be narrow in order to be twisted and they are too easily
broken.

Fur in Coiling. Cut the fur into strips the width of the core row. Make the
strips the length of the row circumference, if possible. Place a strip on the
row below the previous row, with the hairs hanging down. Hold the
fingers over the fur to keep it from tangling in the wrap.
Using a sharp needle, catch the hide V8 ” (3.175mm) down from the top
when fastening back with a figure-eight. Before tightening the wrap, check
to see if any of the fur has become tangled. If so, pull out the delicate
hairs carefully with the tip of the needle.

128
Three Silver Pieces, (from top) Silver Jinn Bottle.
1314” x 614” diameter (34.29cm x 15.97cm);
Silver Pitcher. 10” x 9'4” diameter (25.40cm x
23.49cm); Silver Filigree Dish. IV2” x 12” x 10”
deep (3.81cm x 30.48cm x 25.40cm) These
pieces are from the Silver Collection. All are
made with the gray goat hair-synthetic mix over
jute. The bottle has overlaid rows and a stopper of
wool-lurex mix. The pieces are examples of filigree
looping, sculptural design, and freeform openwork.
The handle of the pitcher is an extension of the
pitcher itself. The dish has a row of lace weave in¬
side the looping.
Squash Blossom Necklace.
( right) Coiled necklace cre¬
ated by Teri Obole, a fiber
artist from Garden Grove, Cali¬
fornia. She used waxed rayon
thread for the core and pearl
cotton for the wrap. The de¬
sign was chosen from several
Navaho necklaces. It is woven
in basic figure-eight and the
patterned wrap weave. The
twists are fabricated onto the
Naha.

Tesserae Weaving “Torn.”

(above ) 11’ x 4’ (3.35m
x 1.22m) A fiber structure
woven in knotless netting over
a yam and steel armature. The
bright blue resin inlay is
framed by coiled basketweav¬
ing in basic figure-eight weave.
The material is gray goat hair,
and gray goat hair-synthetic
mix.
In Russet Mantle Clad,
(right) 8” x 12” diameter
(20.32cm x 30.48cm) A clas¬
sic basket from her sun/fire
series was created by Mary
Temple of St. Paul, Minnesota.
It was woven in figure-eight
weave with rug wools over a
nylon core, using her method
of making rya. A snitch (lark’s
head knot) is made on the
core, then pushed tightly
against the previous work fol¬
lowed by a figure-eight. This
basket appeared in Midwest
Crafts Magazine (S’74).

130
 Clarence. 5”x8”xl3”
deep (12.70cm x 20.32cm
x 33.02cm) Clarence is coiled
in figure-eight weave with rug
wools and a variegated wool
over jute. The variegated color
gives him a speckled look. Sep¬
arate pieces of the top shell are
are fastened together with a
single core. The legs and top
shell are pushed into position
by the cross structuring of the
lower shell.

Mandala Shield, (above) 35” x

20V4” x 5” deep (88.90cm
x 52.07cm x 12.70cm) This
coiled wall hanging is made of
domestic and Pakistani hand-
spun wools with five pieces of
jute for the core which sep¬
arate and are wrapped at the
side. It is woven in basic
figure-eight.

Murphy. 15V4” x 8” x 12”

deep (39.37cm x 20.32cm
x 30.48cm) I enjoy working
in my garden. Every summer,
my friend the tomato worm
and I square off to see who
will control the family toma¬
to crop. It has been through
this .lengthy relationship I
have developed a hardy re¬
spect for this amusing fellow,
therefore—Murphy. Heavy syn¬
thetic rug yarn and mohair
over a jute core, he is coiled in
basic figure-eight.

131
 V

Coir Shield. 18” x 12” x 9”

deep (45.72cm x 30.48cm
x 22.86cm) Made of heavy
split reed, this piece is twined
with coir fiber. The reeds
protruding from the base of
the piece are stained brown,
and are decorated with large
olive wood beads.
 It’s a Fur Piece. 3x/2” x 8”
diameter (8.9cm x 20.32cm).
This little coiled piece is made
in brilliant colors of yellow
and orange covered with mink-
dyed rabbit. The weave is the
basic figure-eight, and the fur
is attached with this same
weave using a sharp needle.
The strip is held below the
previous row catching the top
of the hide Vs ” (.32cm) down
from the edge. This piece is
to be incorporated into a wall
hanging.

Fur in Plaiting. Fur can be

added to a plaited piece by
weaving in the usual way. It
also can be added laying the
strip on the basket surface and
weaving a waxed linen thread
over the hide under the fur
hairs at each intersection of
warp and weft.

133
 If you have to add to the length of the fur within a row, place a new
strip of fur tightly against the end of the last strip without overlapping
and continue the row. The hairs will cover the junction if the strips are
placed properly.
Position the rows of fur close enough together so both the cut edges of
the strips and the basketry rows ate hidden between the fur pieces. The
number of basketry rows between the strips will vary according to the
length of the fur hairs.
To give the top edge of the basket a finished look, take two strips of
fur and place them fur sides together. Fasten the top edges of the strips
with an overcasting wrap using a fine waxed linen thread. If the top edge
of the basket curves in or out, the convex side of the curve will require
more material to cover. Make the piece for the convex side a little longer,
and as you overcast the edge, ease the longer side into slight gathers to
allow a little more space.
Finish off the basket in the usual way. Place the overcasted seam on the
finished edge of the basket. Using basket wrap or linen thread, fasten in
place. Pull the bottom edges of the fur strips apart, pulling one strip over
into the inside of the basket edge. Stroke all the fur down to smooth it.
Use the tip of the needle to pull out any hairs that may be caught in the
seam.

Rya. Although this technique looks like rya knotting, it is slightly differ¬
ent. It can be used as an accent or to further develop the shaping of the
basket in twining and coiling. Rya gives a smooth flowing line to a design.
If a definite plan for the rya areas is known while the coiled basket is
being woven, blanket weave ridges can be made in the areas where the rya
will be placed. Rya can then be needled under the ridges after the basket
is finished.

Making Rya. After the basket is finished, thread a curved needle with
three or four strands of weft or wrap material. (Using several strands will
make the fastenings very tight and the strands will not pull out.)
In twining, needle through under the weft next to, or through, the
warp. In coiling, needle through around the fastenings strands between the
rows, around the row itself, or under the blanket weave ridges.
To begin, pull the material through, leaving the ends extending the
length desired. Hold these ends down with the holding-hand fingers, and
needle through the same place and pull tight. Keeping the ends out of the
way with the holding-hand fingers, needle through another place adjacent
to the last. Pull the material through, catching it with the holding-hand
index finger making a loop. Adjust the loop to the desired length. Hold
the loop as you needle through the same place again and pull tight.
Always work adjacent to the last loops, and move in the same direction.
In this way you can keep the previous loops out of the way with the
fingers as you work. Continue in the same way until the rya area is
finished.
The loops can be left as they are, or they may be trimmed with scissors.
Sculpturing the ends (cutting the loops to different lengths) can create an
interesting effect on the basket surface and can affect the basket shape as
well.

134
 Puff. 3” x 3V2” x 4V2” diameter (7.62cm x 8.9cm x 11.43cm). The
vertical stripes of this little coiled piece help to disguise the tilted leaning
tower look in the cylindrical shape. The rya was added as a decorative
puff to break the straight line of the basket. The material is orange and
wood green mohair over jute.

135
COILING WITH DECORATIVE PLAITING MATERIALS
Flat ribbonlike plaiting materials can be used very effectively in coiling.
Use ribbons, braids, or leathers, with filigree looping and open or closed
cycloids to further decorate the baskets. You might also use fabrics, vinyl
upholstery, or wrapped core pieces.
There are two types of materials to be considered: fabric and non-fabric
materials. Each needs to be handled in slightly different ways. Both the
width of the material and the type of pattern also need to be considered.

Using Fabrics. The cut ends and/or the cut sides of laces, braids, ribbons,
and fabrics must be specially handled.
If there is no pattern, or the pattern is not prominent, measure the
width of the material and plan the size of the loop or coil to accommo¬
date it. Remember the loop and coil rows decrease slightly in height at the
end. Allow the decorative material a little breathing room in the begin¬
ning, and keep it as tight as possible at the end without cramming it.
Allow 1” to 2” (2.54cm to 5.08cm) extra length for splicing.
If the edges of the decorative material are cut, double the width of the
material and add enough for seam allowance. Fold the material inside out
and stitch the seam lengthwise by hand or machine. Turn the tube right
side out and press flat, placing the seam in back.
Finish the basket before attempting to weave any decorative plaiting
material, unless it would be difficult to work .inside the finished basket
due to a small neck or awkward angle. In this case add the material after
weaving a few rows beyond the decorative row.
Weave the material through the loops or coils starting at the lift point
line. Fold and overlap the ends and sew them with a hidden stitch. Stretch
the decorative material tightly around the basket before fastening to¬
gether. Make sure the folds are hidden under the loops or coils of the
basket.
Prominent repeating patterns need planning. Measure the distance
needed between the patterns and plan the loops and coils accordingly.
Some of the loops may have to be closed to frame the pattern properly.
Closed filigree loops may have to be used between the coils of the cycloids
to achieve the right spacing.
When planning the pattern placement, remember that the distance
taken up by the thickness of the wrapped core in the loops and coils
must be allowed for.
Weave the patterns in their proper places. Fold the ends of the material,
tighten in place, and sew together. If the inside of the basket is open, the
inside seam must be hidden as well.

Using Non-Fabric Materials. The general directions for measuring and

weaving leather and vinyls are the same as for fabrics. The edges, however,
require no special treatment.
In splicing the strips of material, leather needs to be skived (shaved)
before gluing the splice together, while vinyl can be trimmed at an angle
with scissors to remove the blunt end. If vinyl has a cloth backing, re¬
move the backing from the splice area and then angle trim with the
scissors before joining.

Cylindrical Plaiting Material in a Coiled Basket. When weaving a wrapped

core through loops and coils in plaiting fashion, the cylindrical cores will

136
 Coiling with Decorative Plait¬
ing Materials. There are many
variables possible with this
type of plaiting. Place the
loops and coils far apart or
close together. Make the weav¬
ing regular or irregular. Pat¬
terns 1 and 2 can be made
with loops or coils. Other vari¬
ations are possible with these
patterns as well: skipping
loops and coils or irregular
groupings (2 and 3, 1 and 3,
etc.). Vary pattern 3 by
placing coil groups in between
areas of the loose loops.

Maytime (below). 3” x
8V2” x 714” diameter (7.62cm
x 21.59cm x 18.42cm). This
coiled basket was wrapped in
light orange linen. The open
filigree loops at the base were
plaited while the ones at the
top were made to change the
coiling line of the basket.
Several types of lavender rib¬
bon were tried for the plait¬
ing, but they were not right.
A ribbon was woven using a
lavender shade of the linen
basket material.

137
require more space than flat materials. Measure the width of the core.
Determine the height necessary to make the loops or coils big enough to
receive one or two of the wrapped cores.
After finishing the row of loops or cycloids, do not cut off the core.
Change the wrap to a contrasting color behind the leg of the first loop or
coil. Wrap the core until there is enough to reach once or twice around the
basket according to the plan for a single or double row. Fasten the wrap
with a single blanket weave or half hitch at the end of the wrapping to
keep it from slipping loose during the weaving process.
Measure another circumference length, plus several inches more of the
unwrapped core, and cut off at a taper. Weave one or two rows of core
into the loops or coils, keeping the core straight. Remove the half hitch
from the end of the wrapping. You may need to add or remove some
wraps at the end of the core to adjust to the space. When the end of the
contrasting color is behind the last leg of the loops or coils, change to the
original color. Wrap enough core to reach the top of the first loop or coil.
Fasten in place with continuous figure-eights. Continue the row fastening
to the loops or coils in the usual way. Finish the basket.
Smaller core can be used for this technique if desired. If so, taper the
regular core at the end of the last loop or coil, and splice on the tapered
end of the smaller core. At the end of the weaving process, taper the end
of the smaller core, splice on the regular core, and continue the basket.
The splice points should be hidden behind the first and last loops or
coils. These loops can be closed if desired to cover the splices.

TWINING ON COILED BASKETS

This technique is an open twist, and can be either double or triple.
Measure the circumference of the basket. Divide the distance into even
divisions plus one extra space for the double twist or a number divisible
by three plus one extra space for the triple twist. Mark each one of these
points. These are the fastening points for the wrapped core. Make the
first row like a row of filigree looping, fastening the loops at Point A (see
the illustration) in either method. Now place the loops at every other or
every third marked point, making sure the tops are even. When the first
row is finished, measure the length of the core material required for the
first row. Multiply this by three or four according to the chosen method.
Cut off the core at a taper.
In making the second row, wrap enough length on the core to cross
over the first loop to the front of the work. Fasten down at Point B with
continuous figure-eights. Thread the core, then wrap and needle through
the loop to the back. Wrap enough core to cross over to the front of
the second loop to the next fastening Point B. Continue the row in the
same way, making sure the tops are even.
If doing the triple twist, fasten the wrapped core at the remaining
marked points (C), going in front of two loops and threading under
and behind them after fastening down.
These techniques make beautiful edges. When using twining as an edge,
taper the end and finish off (see the dotted line in illustration). If the
twining is used as a decorative row, do not finish off. Instead carry the
wrapped core over and start weaving the next row on top of the first
loop (see the illustration). After making the row on top of the decorative
row, finish the basket.

138
 Twining on Coiled Baskets.
Divide and mark the circum¬
ference into spaces divisible by
two or three and add one
extra space. Make filigree
A 0 BA) looping fastening the loops at
the A markings. Cut the core
Double Tw'sr leaving more than enough
length for the chosen method.
At the lift point line, place the
wrapped core in front of the
previous loop, and thread
through under the loop after
fastening down at Point B.
Continue the row in the same
way. In the triple twist, add
Txiplz Tw/sr the third row. Fasten the core
at Point C going in front of
two loops and threading under
the same two loops after
SURFACE CYCLOIDS fastening down. At the end of
False handles or small groups of decorative cycloids can be made on the both methods, taper the core
surface of the basket as the basket is woven. At the point where the and finish off (see dotted line)
or continue into the next
coils are to be placed, make the desired number of cycloid coils, and
row as shown.
continue weaving the row in the chosen basket weave.
In the next row before reaching the coils, make three or more continu¬
ous figure-eights to strengthen the edge. Wrap the core the length required
to stretch behind the coils and fasten down with three or more continu¬
ous figure-eights on the row beyond. Continue the row as usual. The coils
will tilt out from the side of the basket.

SURFACE COILING
Surface coiling can be attached to the basket with a straight or curved
needle. A straight needle can be used if the inside of the basket is acces¬
sible, but if not, you will have to work on the basket surface with a
curved needle.
The wrapped core must be fastened tightly to the basket as often as
necessary to make a snug connection, but you can make interesting loops
and coils. The coiling can be fastened into the wrapping or weaving sur¬
face of the basket. It can be attached to the fastenings between the rows
or around the rows themselves. Fasten down with a wrap or figure-eight.
If the surface coiling on a basket started with an unwrapped tapered
end, come back to this point to end it. Taper the end and splice it to the
beginning taper. Finish wrapping the core, needle under, and cut off.
Twining can be spliced together in the same way after finishing the surface
design, if desired.
If you have one or more separate ends to finish off, taper the ends, coil
them around, and fasten them to an existing surface piece by wrapping
the two pieces together. Needle under the wrap, pull through, and cut off.

OPEN COILED WEAVING

Open coiled weaving was an important method in traditional basketry.
It was fast and used less wrapping material than closed weaving. This was
important to people who had to collect and prepare all the materials they

139
 used. The preparation of most natural materials takes several months to a
year.
In contemporary basketry it is often difficult to find an attractive core
that is as strong as necessary for good open weaving. For that reason it is
being included here as a decorative weave rather than as a basic weave.
To use this technique it is necessary to find materials that are strong
enough to support the basket, since the open weave is not structurally
sound in itself. Sisal, manila, reeds, and sea grass are available in some
areas and are ideal for open coiling.
The long needles of the black pine and some other coniferous trees
make attractive cores. The pine needles can be worked either green or
aged. Green needles are easier to work with, and if your work is extremely
tight, shrinkage is minimal. Place the finished piece in a dry, dark place to
, age the needles.
If you wish to age the needles before using them, put them in a paper
bag in the garage. Keep the needles straight and flat. Needles aged in the
dark stay green, and when they do begin to fade, remain an attractive
color. Aged needles must be dampened to make them workable.
Plastic tubing is an exciting material to use in open weaves. It is like
something from the space age.

Pinkie. 4” x 5V4” diameter

(10.16cm x 13.34cm). A coiled
basket made of sisal core
wrapped with pink jute. It is
woven in double open wrap
weave and basic figure-eight.

140
Starting an Open Weave Basket. Choose any of the basket starts in
Chapter 4. Work in basic figure-eight for several rows before starting the
open weaves.
Use a soft material like jute or clothesline to start the basket if the
material used for the basket core is too stiff to bend into a tight circle.
Taper the end of the core material at a point where it will be hidden under
the figure-eight weave. Splice the tapered end of the basket material on to
the tapered end of the soft core. If using pine needles or reeds, add a few
at a time over this tapered area until only pine needles remain before start¬
ing to weave in the open weave.
The same weaving procedure is used for a single or multiple core,
except the multiple material is added a piece at a time when needed. The
pieces overlap and appear to be a continuous piece of material. Pine
needles can be arranged to allow one end to appear on the surface at each
wrap fastening point for a special touch.
At the lift point line, needle through on the working hand side of the
last figure-eight fastening and pull the wrap to the back of the work. This
places the wrap in the position to wrap toward yourself in order to needle
through from the front.

Single Open Wrap Weave. Starting at the lift point line, wrap over the top
of the core at a 45° angle (see Row A). Needle under a strand of wrap on
the previous row. Pull through to the back of the work. Continue the row
to the lift point line. Keep the first row wraps close together to allow for
separation as the basket increases in size. On succeeding rows fasten the
wrap by needling under the single wrap on the previous row (see Row B).
On the last row, taper the core at the lift point line and continue wrapping
past the taper point. Now rewrap the last row over the previous wrapping,
covering the core completely without fastening back to the previous row.
Wrap V2” (1.27cm) past the tip of the taper cut, needle under the wrap,
pull through, and cut off. This will strengthen the basket edge.

Single Open Wrap Weave.

Make a round start and weave
in figure-eight for 2 to 3 rows.
Bring the wrap to the front.
Needle around the last figure-
eight fastening on the working
hand side and pull through to
the back. Now wrap each row
B as shown catching the wrap
at the top of the previous row
from the front (see Row A).
In each succeeding row, needle
/) into the previous single wrap
from the front (see Row B).

141
 Double Open Wrap Weave. Start the basket as before. Work the first row
in single open wrap weave to the lift point line. Needle under the top of
the wrap at the lift point line and reverse directions. Wrap back over the
same row toward the beginning (see Row A). Cross the single wraps at the
top, forming an X. Needle into the same places as the single wraps to keep
the angles even. '
You must adjust the wrap into working position again before beginning
the next row. When you reach the lift point line, needle under the last
Single Wrap on Row A. Now bring the wrap between Rows A and B
to the front. Needle around the fastening at the lift point line, carrying
the wrap to the back again (see the illustration). Now you are in position
to begin the single wrap in the next row.
Each succeeding row is made in the same way as the second row, with
’ two exceptions. First, fasten the wraps at the cross points on top of the
previous row. Second, the starting point in each new row shifts slightly
to the working hand side of the last starting point.
When you are ready to finish the basket, the row beginning may have
shifted some distance away from the lift point line. If this is true, and the
basket will not even out at the top edge at this point, you will need to
make an adjustment by making a partial row to complete the basket to
the lift point line.
Start the row and work to the lift point line in single open wrap weave.
Reverse and work back to the beginning of the row. Needle under the
top of the row 1” (2.54cm), pull through, and cut off. Now needle under
1” (2.54cm) on top of the row at the lift point line. Weave this row
in single open weave and finish off as in the single open wrap weave.

Double Open Wrap Weave.

Complete a row of single wrap
weave. Now wrap back toward
the beginning of the row cross¬
ing over the single wrap at the
top of the row making an X.
Needle into the same places as
the single wrap (see Row A).
At the lift point line bring the
wrap forward between Rows
A and B. Needle around the
last fastening point to the 3
back and pull through. Con¬
tinue each row in the same
way fastening the wraps at the
top crossings of the previous
A
rows (see Row B).

142
Nine By Seven. 7” x 9” diameter (17.78cm x 22.86cm). After making
a simple oblate form, the core was wrapped to make a large coil on the
top fastened at two sides. More rows were added to the coil, and then it
was brought up and fastened together at the top with the last row. The
weave is double open wrap weave over 8 mil plastic tubing with three
strands of purple rayon weaving yam.

143
 Furcated Double Open Wrap Weave. Make the single wrap weave around
the row. Now reverse as in the double weave. After making the first cross¬
ing, needle under the row and pull through. Bring the wrap up over the
core and straight down over the front of the row to needle under the row
again (see Row A). Continue the row in the same way.
In succeeding rows, the single and double wraps are fastened under the
top of the straight wrap. When the straight wrap is made, needle directly
into the center of the previous straight wrap, splitting it (see Row B). This
forms the furcated weave.

Adding New Wrap in the Open Weave. If you run out of wrap material
when you are making the single wrap, lay the end on top of the core.

Step 1. Needle the new piece of wrap under the last two wraps and con¬
tinue on with the single wrap, making sure to wrap over the old end at
least twice.

Step 2. If you are making the double wrap or furcated double wrap when
you run out of material, needle the old wrap under the wraps in the direc¬
tion you are working, and needle the new wrap under the wraps in the op¬
posite direction. Be sure the new wrap is tucked under the working wrap
to hold it in position when you make the next angled wrap, since each
wrap shows up well in this weave and must be carefully placed.

Furcated Double Open Wrap

Weave. After completing the
single wrap weave row, reverse
direction and needle under for
one double wrap weave. Pull
through and bring the wrap
straight up over the center
between the two crossings on
top of the row. Needle down
through the center again and
wrap over the next single
wrap. Continue the row in this
manner to the lift point line
(see Row A). Encircle the last
fastening point to adjust the
wrap as before.

Adding New Wrap in the Open

Weave, Step 1. Needle the end
of the wrap under two single
wrap crossings as shown.

Step 2. After needling under

the last two double wrap
crossings as shown, bring the
wrap down over the front and
needle under the row. Con¬
tinue the row.

144
SAMPLE PROJECTS
For this chapter, I suggest that you make small samples of the open
weaves for future reference rather than follow actual projects. The possi¬
bilities are too varied to narrow down to specifics. Good weaving, and
have fun!

Open Wrap Weave Project. The

upper plaque is woven in the
single open wrap weave. The
lower plaque is woven in the
furcated double open wrap
weave. The wrap is black jute
over a sisal core.

145
Seashore Sunset. 62” x 29”
x 7” diameter (157.48cm x
73.66cm x 17.78cm). Worked
over a steel armature, this
fiber structure includes weav¬
ing, basketweaving braiding,
wrapping, macrame, knotting,
and looping. The material is
jute in natural colors and
shades of gold to rusty orange.
It is ornamented with red-
orange beads, bells, and os¬
trich feathers. The coiled
basketforms are in basic
figure-eight.

146
 Beyond 7
Baskets

Two of the marvelous things about people are their individuality and
versatility. If a group of people visit the deserts of Utah, each one will
carry away a different feeling, a different idea, for each person looks at
the world in his own way. What each person sees is influenced by who and
what he is. It is these personal influences that direct one person to feel the
warmth of the sun, or another to see the brilliant colors in the rocks and
sand, or yet another to seek out interesting rock formations.
Give this same group of people instruction in one basketweaving tech¬
nique, one weave, and identical materials, and each will produce a differ¬
ent basket. One might produce a classic basket, another a handbag, and
still another an item to wear on the body. Others will use the technique to
create artforms. In so doing, each one will receive a completely different
feeling of fulfillment.
Where are you now? What are your goals? How do you plan to reach
them? Do you need to stay in a secure place right now, or are you willing
to forge ahead into something new? Are you a practical person who finds
it difficult to create something unless it has a definite function, or are you
one who creates for the sheer delight of creation?
If you do not want to leave the realm of baskets, there are endless ways
to vary them. With new weaves, new shapes, different colors, and new
designs and ornamentation, you can create a steady flow of beautiful
baskets with endless variation.
Variations on a design theme can be an interesting study. A lifetime
can be spent this way. Datsolalee, the famous Washoe Indian basket-
weaver, spent her life preparing excellent materials, improving her tech¬
nical skills, and telling stories with her simple designs. Today, her flawless
baskets stand out above all the rest.
If you want to go beyond baskets, you can still remain in the world of
practical function with hair and body ornaments, miscellaneous bags,
pillows, clothing, clothing ornaments, household accessories, and furni¬
ture.

147
 If you want to venture out into the world of fanciful design, you can
leave “containers” behind and use only the techniques themselves to
break all traditions. Imaginative sculptural experiments can be totally
abstract, or they can become a personal characterization of a familiar
object. The only limitation in this journey is the limitation of the craft
itself. '
It is not necessary to know what you plan to do. You can simply gather
materials you like and begin. Some of the most imaginative pieces evolve
from this procedure. It is a sort of mindless doodling with your materials
that grows and develops into something great.

BUILDING AN IDEA STOREHOUSE

Remembrances of past experiences will influence your work—places you
have been, things you have seen, things you have done, even people and
animals you have met. You don’t have to bring the entire experience into
being, only its essence—the colors of the Southwest mesa country, the
curves of the ox-bow lakes along the Mississippi, the smell of the northern
pine country, the mystery of the Louisiana bayous.
Textures can come from trees thick with moss or eroded rocks of the
arid southwest. Surface designs might come from flowing lines of water or
trees bending in the wind, the shape of an interesting leaf or a fallen pine
cone. What do you see in the shape of a fuschia or a jack-in-the-pulpit?
Do you remember the fairyland that last winter’s snowstorms made
in the barren garden outside?
Color can be taken from a canna, the roof of an ice cave, or a favorite
lake.
For shaping, watch the movement of an athlete seen through the eye
of the slow motion camera, a gnarled or twisted tree, the flight of a bird,
a fat ripe melon, or the inching of a tiny caterpillar.
Even in the depths of the city you will see frost on the window, paint
peeling from a fence, shiny new buildings reaching high in the sky, iron
rust at the docks, a saucy pigeon, or the mix and flow of colors as groups
of dancers flash by on television.
No matter where you are, stop, take time to look, time to absorb what
you see. Take time to hear, to feel, to smell. Begin to use your senses to
the fullest. Use these impressions to bring forth new expressions from
you.

PUTTING THIS INF'ORMATION TO WORK

When moving away from simple basket construction, certain questions
present themselves. How can each technique best be used? What limita¬
tions should be placed on it? Will your ideas work in basketry? What is the
final use for the basket? Will it work as a completed product?
Structural principles must be followed to make the piece work. Some
rules can be bent or broken if other rules are followed. Surface weaving
and coiling, leaving open areas, special shaping, and other problems must
be considered now.

CHOOSING THE RIGHT TECHNIQUE

To use a technique best, thought must be given to the ways each tech¬
nique works. What are the special characteristics of plaiting, twining, or

148
coiling? Which technique assumes an oblate shape best? Which works
best in tall vertical pieces? Which will accept your color design best?
Which technique will produce your idea in the strongest way?
If you want to combine techniques, how do you go about it? What do
you do with the warp ends of the twining? How do you join the tech¬
niques together?
If you have not made samples in the technique you plan to use, do it
now. Try your ideas in small pieces or samples. Don’t waste your time on
a large piece until you are sure it will work. If your idea doesn’t work,
find out why. Would it work better in another technique, another weave,
another material? Are the materials unbalanced (core to wrap, warp to
weft, wrap or weft materials to each other)? Are the cores or warps too
rigid, too soft, too small, too large?

DEVELOPMENT OF SCULPTURAL IDEAS

People often ask how to work sculpturally. If you have been able to form
a simple basket, you have made your first step in the right direction. You
do not have to be a sculptor to work out sculptural pieces.

SCULPTURAL TWINING
The construction of twining is somewhat limiting as to direction, but
many things can be done within the shape itself. Finish a basket center
plus about V2” to 1” (1.27cm to 2.54cm) more. Grasp the warp ends and
move them about to see what they will do. Stretch them tall, squash them
flat, separate them, braid them.
Slits, wrapped warp, exchanged warps, braiding, and surface weaving
with the warp ends are a few of the ideas that can be used.

Slits. To make slits, twine the warps up to the planned slit, reverse, and
twine back around to the other side of the slit. Twine back and forth in
this manner until the slit is long enough. It can be as long or short as you
desire.
Wrapped and Exchanged Warps. Twine areas leaving lengths of warp un¬
woven. Wrap these warps separately with the same weft material or a
contrasting color. Needle the ends of the wrapping into the twined areas
above and below the wrapping.
Extend or pull warps out of the piece and bring them back in when
desired. Take the free warps from one area and place them in another
for a different look, or twine as a strap.

Braiding. Twine or wrap the separate straps or warps, then braid them
before the basket is woven in the usual twining again.

Using Warp Ends. The problem of finishing warp ends on a twined basket
becomes an experience in sculptural work. Fringe or use the ends as sur¬
face weaving. If you leave the warps free at both ends of the work, eli¬
minating the basket center, these free ends can be joined in circles (see the
photo on bottom of page 151).
Twining is especially good to use with vertical ideas in sculpture. Sur¬
face designs are not a visual problem in cylindrical twining as they are in
cylindrical coiling.

149
 Twining with Stiff Spines. Stiff spines can act as a base or as a decorative
element within the twined piece.
Add the spines after the basket center is finished. They may protrude
at the bottom of the work as a stand, end within the basket structure or
protrude at the top as a decorative element. They may be wrapped, dyed
or stained and used as an extension 'from the piece (see the color photo on
page 132).

Coiled Base Extensions for Twining and Coiling. Since the twined piece
has a rounded bottom, you may want an extension on the base to make it
more stable. Start a coiled extension with a tapered end and work around
the piece, building it up as desired. Finish off in the usual way. Make a
base extension for a coiled piece in the same way (see the photo on
’ top of page 151).

SCULPTURAL COILING
Coiling lends itself to more freedom sculpturally because it can move in
any direction you desire. To use coiling you must simply learn how to
alter the original basket shape.
Use the following techniques for abstract sculptured pieces as well as
realistic forms.
Slits. Make slits by wrapping a length of core tightly without fastening
back until the slit is as long as desired. Make other openings by wrapping
lengths of core to loop up, inward, or outward from the row, or to arc
across the inside edge of the basket before fastening down. In succeeding
rows work around these changes to form extensions, depressions, or
openings.
In making openings, always strengthen each end with a number of con¬
tinuous figure-eights. Wrap very tightly around openings and on the cores
that extend across or loop around the openings. Push the wraps together
tightly on the core to make the wrapping stronger.
Adding Extensions. To add a piece to an opening for an extension, tube,
or neck, taper the end of a piece of core and work around the opening.
This becomes a new basket form attached to the main piece.

Multiple Necks. Add several necks to an existing base by wrapping the

attached core the length you need to make the base of the first neck.
Coil the wrapped piece around and fasten it down at the proper point on
the previous row. Continue adding rows to this base until the neck can be
finished off.
Add other necks, one by one, by fastening the tapered ends on to the
adjacent surfaces of the base or bases of previously finished necks. Placing
the tapered start on the adjacent surfaces will hide the starting pieces (see
the photo on page 152). Be sure to join them with continuous figure-
eights to make the joinings stronger. Make each succeeding neck as you
made the first, forming it as desired.
You may have to work on the necks simultaneously because shaping or
ornamentation might make later work difficult or even impossible. If this
is necessary, make butterflies of the core and wrap material not being
used and tuck into the neck structure.
Lengthening Areas Without Leaving an Opening. To raise one side of the

150
 Silver Fountain. 9” x 16”
x 9” diameter (22.86cm x
41.91cm x 22.86cm). This
twined piece from the Silver
Collection is composed of a
series of circles. It is wrapped
and twined with a gray goat
hair-synthetic mix over reed.

Chinese Vase. 5%” x 5V2”

diameter (13.34cmx 13.97cm).
This coiled basket is made of
Swiss straw in shades of violet
and chocolate brown. The
added base follows the lines
of the filigree looping and
duplicates the top of the
basket. The weave is basic
figure-eight. If baskets Eire
used as plant holders, they
must be protected from damp¬
ness. It is best to use water¬
proof materials.

151
Sparkle Plenty (above). 5V&” sculptural piece without leaving an opening, add short lengths of core in
x 4V2” diameter (13.97cm x that area. The regular core is not cut off. Add the pieces between the
11.43cm). The dual necks in rows while the regular core is set aside.
this coiled piece are fastened
When making Murphy (see the color photo on page 131), the outside
together on adjacent sides.
The second neck was started curves of his body needed to keep up with the inside curve visually, and
at the inside base of the first. short lengths had to be added to lengthen the curves.
The material is wool-lurex mix Taper the core pieces on both ends. Wrap the first tapered end on to
in magenta and blue-black the existing row until it can be worked separately without pulling loose.
over jute.
Weave up to the other tapered end and finish off. Do not place two added
African Head (above right). pieces of the same length together in adjacent rows. The pieces should
22” x 12” x 17” diameter vary in length to keep the wrapped sections from being too visually
(55.88cm x 30.48cm x prominent. If you need two pieces the same length, add a regular row
43.18cm) Black jute over a between them.
jute core, this coiled piece
shows examples of ornamenta¬ Separate Shapes. Make separate pieces to create certain shapes when these
tion with shells, bells and
shapes cannot be made in the line of work. Then add these pieces to the
beads. Separate pieces were
made for the cheeks and main form and continue working.
chin and then added to the Clarence’s top shell is made of many little separate pieces fastened to¬
main basketform. The weave gether (see the color photo top of page 131). His legs, head, tail, and
is the basic figure-eight. lower shell were made separately and then added as well.
Certain areas of the African Head, such as the cheeks and chin, were
made separately and then inserted where needed (see the top right photo
on page 152).

Open Areas. In open areas, extra strength must be built in to make the
piece stable. Wrap the work very tightly. Adding a second row to a loop or
coil makes it stronger, but allows it to remain an open area (see the bot¬
tom photo on page 152). Making double rows by placing the second row
on top or at an angle strengthens and gives a bas-relief effect.

152
 Aladdin’s Lamp. IIV2” x
141/2” x 41/2” diameter
(29.21cm x 36.83cm x
11.43cm). Coiled piece from
the Scheherazade series of the
Silver Collection, made of
gray goat hair-synthetic mix
over jute. Lid and handle deco¬
rations are extensions of the
piece itself, and open areas
are strengthened by doubling.
Weave is basic figure-eight,
figure-eight.

Making a Clay Model. If you are not sure about the shape you want to
make, and how it will work out, use a lump of clay to shape into the
object. Look at it carefully, and find the point where the basket center
will be. Sketch the lines of the core rows with a pointed stick. Is the
center an oval, a circle, a square, or asymmetrical? Sketch the lines around
in the same way as you would work out a basket.
Decide at this time whether unusual spaces will be left as openings or
filled in with short lengths of core. Does an area seem to require a separate
piece? How will you make extensions, depressions, or other unusual
shapings? Where will extra structural strength be needed?

Doodling. As mentioned before, some of the most exciting pieces of

abstract work can evolve with basketry “doodling.”
First, take your core and let it coil around and fall by itself. Look at
the shapes. Do this a number of times until you see how the material
wants to shape itself. If you see something you like, try to duplicate it
as a basket.
Start out with a circle or an oval center. Make a basket base if you wish,
or make several little shapes that can be incorporated into a larger piece.
Build two or more rows for a base before you begin to work out some
“doodling” ideas. Weave around the center, loop or coil around it or on
one side, reverse direction, or work on top of the center piece spilling off
on the other side in loops and coils. Follow some of the loops and coils
more than once, either on top or around the edge. Let things happen.
Allow the unwrapped core to loop and coil on the piece to see how it will
look before you wrap and fasten.
From an ordinary basket base, work the core vertically, looping and
coiling the top edge of the basket. Make the rows uneven, beside, under,
or on top of each other. Leave openings and build up areas.

153
 “Doodling” can follow lines of flowing water around and over rocks,
gnarled tree bark, or twisted roots as they appear above the surface of the
ground.
Begin coiling with any shape and develop it into any shape. Since the
base is a single core, it can go in any direction—up, down, back, forth, in a
spiral, or around the surface of the piece. It is not limited to a single
space, row, or shape.
An example of the “doodling” process is Silver 2000. With a general
idea of the completed work in mind, loops, coils, vertical rows, and
twisting and turning in single and multiple rows were used to make up
this piece (see the photo on page 154).

Educating Your Hands to Feel Shapes. Have you ever tried to feel shape?
Blind people have an advantage in this. They have to learn what shape
looks like by touching it. You can do the same thing, but being sighted
you tend to use your hands less to distinguish shape. Hold an orange, a
vase, or a pitcher. Run your hands over the object. Close your eyes, and
feel the shape, the texture. Smell the fragrance. Feel a carved figure of a
person or animal. Can you distinguish the shape with your fingers? Do the

Silver 2000. 11” x 17” x

11” diameter (27.94cm x
43.18cm x 27.94cm) This
coiled piece is an artform of
complete fantasy made with
the twists and turns of “doodl¬
ing.” It is gray goat hair-
synthetic mix over jute core
woven in basic figure-eight.

154
feelings change when you close your eyes? Learn to make your hands see
for you.
Take a lump of clay. Can you duplicate one of the simple shapes you
have seen or felt? Compare your clay piece with the original object. Feel
both. See what your touch tells you about the two pieces. What are the
differences? Now take the clay and form something from your mind. Feel
the bulges and depressions. Run your hands over a basket. How does it
feel? What are your impressions?

Reversing and Changing Directions. A rule of basketweaving that needs to

be broken in sculptural basketry is the one which tells you to work always
on the outside of the basket. Since the core must be bent back upon itself
at times and taken back across the row in the opposite direction, you will
have to work on the inside of the basket, difficult though it can be. To do
this, you must watch the shaping carefully, and give the basket extra sup¬
port. Do not hold on to the weaker edges. Work slowly and carefully.
Support Aids for Working Baskets. To support a weak area in awkward
positions, place something inside the basket if it is upside down, or place
supports at either side. You may have to suspend it. You can use boxes,
other basketforms, or books. Empty weaving cones are excellent because
they are narrow, come in many heights, and can be taped or nailed to a
board to keep them stable. You have to be very flexible in finding the
proper support aid for the particular situation.

STRUCTURAL PRINCIPLES IN BASKETRY

It is necessary to understand a number of structural principles in sculp¬
tural basketweaving: balance, stress, weight, and strength.
The foundation strength, basket weight, and basic structural strength
needed in simple baskets still apply, but now there are the principles of
the center of balance, cross structuring, and the extra stresses imposed by
working in asymmetrical form.

Center of Balance. The center of balance is very important when building

an asymmetrical piece. As the central axis changes, the weight shifts.
Equal weight must be planned for each side. More weight must be placed
on the light side of the central axis area to compensate for the extra
weight or extensions on the other.
To find the center of balance of the axis, a line can be drawn up
through the piece, and the weight must be equal on both sides. If you
have extensions on one side and not on the other, make the extended side
more open, and the other side more solid and heavy. If the piece will not
balance properly, see if you can add extra weight to the light side.
Murphy presented two problems in weight and center of balance (see
color photo page 131). First, in order to equalize his center of balance,
his body had to be extended over the top of the tail section. Extra weight
was added to the light side by bringing the head back over the upper body
again. Second, although he could sit in the proper position with his
cylindrical body, he was precarious. The many false legs of the caterpillar
were incorporated into long ridges that were placed along Murphy’s base
to provide the needed support for his fat round body.
If you are not sure how to balance the weight, use clay to find a
balance point in your form. Duplicate the shape, and see what you can

155
add to the light side of the clay form that can be transferred to the basket.
The clay will help you to get the feel of the weight and the balance in¬
volved. Bending coat hanger wire into shapes will help you with balance as
well in a more open structure. Try some asymmetrical shapes to see what
has to be done to equalize the center of balance. You may have to com¬
promise your original idea somewhat to work it out.
When making a basketry piece, you usually hold it in your hands or lap
as you work unless it is very large. Place it down from time to time to
check the balance and planned direction.
Weight and Foundation Strength. Although foundation strength is neces¬
sary for any piece that has size and weight, it is even more important in
freeform pieces. The weight in contemporary work can become a problem
with some materials, and sufficient foundation strength must be built in.
This can be handled in several ways.
Since some core materials are heavier than others (although the diame¬
ter may be the same), the core chosen for the foundation or stress areas
can be heavier than those chosen for the upper portion of the work. If the
allover core material is light, will the base be heavy enough to anchor
down a piece of some size? Larger cores can be used with the change of
size in mind. The piece must be planned so the core change is expected
and pleasing to the eye. If you do not want to make an apparent change in
look, but you need more weight, an inner shell of heavier material can be
made either before or after the foundation is made. This inner shell can be
attached as often or seldom as desired. If you wish to use the same ma¬
terial throughout the basket for the core, be sure the base is structured to
carry the weight and balance.
Wrap materials must also be chosen for strength. If the core is heavy,
the wrap material must be heavy enough to support the core weight. Since
wrap is the “glue” that holds the piece together, choose heavy nonelastic
materials. The wrapping must be tight. If the chosen wrap is light, double
or triple the strands for more strength.
Use more fastenings in the rows that are strategic. Continuous figure-
eight rows should be used at critical points such as: lifting from the base,
surrounding the base of the neck, supporting an extension from the piece,
or any point where weight is being carried above, and any point where
openings occur.
The strongest weave is the basic figure-eight. Since the wrap weaves
move, if they are used for decorative patterns they must be supported by
accompanying figure-eights where extra strength is needed. The exclusive
use of figure-eights in sculptural work eliminates extra difficulties and
helps you to concentrate on the structuring problems involved without
having to worry about special weaves. Special weaves can be saved for
special effects and textures.
Stress and Cross Structuring. Cross structuring is one of the ways to
support the basket in points of stress. It is the process of working rows
back and forth across an area perpendicular to the surrounding work.
Cross structuring was needed in making both Sidney and Clarence.
Sidney’s shell was made in two pieces. If the connecting rows had been
woven in the same direction, the weight of the shells would have folded
and collapsed at the junction area. Cross structuring was used to push the
shell sides apart. The outside edges further helped to strengthen the junc¬
tion areas (see the top photo on page 157).

156
 Sidney (above). 16” x 8” x
7” diameter (40.64cm x
20.32cm x 17.78cm). The
natural progression of coiled
basketry develops into the
snail shell shape. Woven in
basic figure-eight over jute
core, it is constructed in five
separate pieces which are
woven together. The shell
shows the cross structuring
which is used to strengthen
the shell construction.

Twined Plaque with Looped

Edge. 10” diameter x 1”
(25.40cm x 2.54cm). This
twined piece is an experiment
to show the beauty of the
basket center, and how it can
be incorporated into a wall
hanging. Although this piece
is only twining with looped
warp ends, it suggests ideas of
how it can be used with coil¬
ing and plaiting.

157
 Clarence’s lower shell was cross structured to push out his legs as well
as the sides of the upper shell.
Doubling the thickness of walls at points of stress will provide extra
support. This extra support gives a bas-relief look to the basket if the
doubling is on the surface.

USING COLOR IN SCULPTURAL WORK

As stated before, color can detract from work if it is not handled proper¬
ly. Nature gives the male bird bright plumage to make him attractive, but
the female is dressed in neutral colors to help her hide and protect herself
and her brood from predators.
Bright colors can make a basket a focal point. If the contents are to be
more important than the basket, the basket should move into the back¬
ground by using more neutral colors.
When working sculpturally, the activity of the work itself can become
confusing when adding too many colors. It is best to use only one color
and sometimes two in busy sculptural pieces. More colors can be incor¬
porated if they are used as a surface design when the activity of the coil¬
ing occurs on the same plane.
Surface design used on the slightly convex plane of the Mandala Shield
works well. When the colors spill over into the separate units at the side,
the separation between the units allows more colors to be accepted (see
right side photo on page 131).
If the activity is built up on the surface in a twisted bas-relief effect,
more than one color can become confusing.

COMBINING DIFFERENT TECHNIQUES

Twining can be used for the centers of wall hangings with coiling on the
outside edge. After the beautiful twined center begins to flatten out
about an inch (2.54cm) or two beyond the strap joinings, the coiling can
begin (see the bottom photo on page 157).
The warp ends can be finished off on the back of the work, or they can
rise out of the surface or be brought back to the surface through slits.
These ends can be used in surface weaving on the coiled edge.
It would be difficult to build a twined piece on the outside of a coiled
start, but warps could be wrapped and used as surface coiling that would
then extend over the edge as twined work. A strip of coiling could be
placed between the basket center and the outside edge of a twined piece.
There are many ways these two techniques can be used.
Plaiting can be used as a weaving process with the coiled and twined
techniques. Flat leather plaiting could be surrounded by coiling, or used
as a liner for a coiled basket. Many of the ancient baskets were double-
walled using two different techniques. The beautiful fishing boats used on
the lakes of southern India are twined on the outside for strength and
plaited on the inside for comfort.
Basketweaving can also be used with tapestry weaving in many ways.
Placing it on the weaving surface, forming the weaving around it, or weav¬
ing in a basketwoven frame are but a few ideas. Braiding, macrame, knot¬
ting, and laces can be combined with it as well (see the photo on
page 146).

158
BUILDING RAPPORT WITH YOUR WORK
There are times when you will want to use an idea that, no matter how
hard you try, does not work. When this happens, you need to stop and
listen to your piece. Put it where you can see it often. Every time you
pass, stop and look and listen. The piece will communicate with you.
This advice may sound strange if you have never done it, but you and
your work do cooperate to create something beautiful. As a child is
created by his parents to become a separate individual, not an extension
of his parents, so your work becomes something separate and individual,
not just an extension of you. You must become very objective.
Sometimes the piece will tell you to continue in the way you are going,
but with a slight variation. Sometimes you must remove parts that do not
work.
Moving away from the piece allows your influence to dissipate, and the
personality of the piece becomes stronger as it is able to be seen and heard.
Listen to it. Learn to feel your work both tactually and emotionally.
When you come back to work, you will be better able to listen, to see,
and to feel. You and your piece will become equalized again, and you
will be able to work better together. Together you will create something
you both like, something with which you both can feel comfortable.

159
Glossary

Basic Figure-Eight. Coiled weave in which the Cross Warping. Twining technique in which the
wrap material is formed into a figure-eight shape center straps are placed like spokes of a wheel be¬
around two rows of core to fasten them together. fore fastening them together.
Basket Base. Base of a coiled basket. Cycloids. Coils made perpendicular to the previous
row creating a decorative row or edge for the
Basket Center. Beginning of a twined basket.
coiled basket.
Basket Start. Beginning circle or oval in a coiled
Erratic Twining. A regular or irregular design which
basket.
undulates on the surface of a twined basket.
Beading Weave. Overlay of material fastened to the
Fastening Down. Process of fastening two rows to¬
previous rows in coiled basketry.
gether in coiled basketry.
Blanket Weave. Also known as the buttonhole
Featherstitch Braiding. Type of leather lacing
weave, similar to the blanket or buttonhole stitch
which makes a beautiful edge for a plaited basket.
in embroidery.
Filigree Looping. Series of perpendicular loops
Butterfly. Figure-eight grouping of materials keep¬
placed on a coiled basketry row to form a decora¬
ing them workable without tangling.
tive row or edge.
Center Point. Point where the end of the core
Full Twist. When a pair of strands are twisted a
meets the working core for the first time in a
full turn to keep the back color in place in twin¬
coiled basket.
ing.
Center Point Line. Imaginary line drawn from the
Half Twist. When a pair of strands are twisted a
center point to the outside edge of the base.
half turn to bring the back color forward for a
Coil. A loop of wrapped core which crosses over it¬ design change in twining. The process used in
self. weaving a twined row.
Coiled Basketry. Technique which is made by Holding Hand. The nonwriting or nondominant
building one row on top of the last in a continuing hand.
spiral.
Imbrication. Overlapping of materials on a coiled
Core. Cylindrical material which is wrapped in or plaited basket.
coiled basketry.
Interlocking. When weft materials approach each
other from opposite directions and loop around
each other before reversing direction.

160
Knot Weave. Variation similar to the traditional Ripple Weave. Also known as the Shi-lo, a weave
knot or mariposa weave, except a knot is formed made with two cores of different diameters.
on the inside as well as the outside of the basket.
Surface Coiling. Decorative bas relief composed of
Lace Weave. This weave is also known as the loops and coils fastened to the basket surface.
Samoan weave.
Taper Cut. Warps and cores cut at an angle.
Lift Point. Point where the coiled basket begins
Traditional Wrap Weave. Wrap fastened around or
to lift from the base.
through the previous row every wrap.
Lift Point Line. Imaginary line drawn from the lift
Twining. Weaving with two strands of weft which
point to the top of the basket.
twist around each other between each warp and
Long Wrap. Wrap which crosses over and fastens then separate to pass the warp on opposite sides.
the new core to the previous row in the coiled
Warp. The vertical skeleton of the plaited or
wrap weaves.
twined basket.
Loop. Wrapped core bent or curled without cross¬
ing itself. Weft. The weaving material used in plaited or
twined baskets.
Open Wrap Weaves. Weaves used over attractive
cores to allow the core to show through. Wigwam Weave. Wrap weave variation with several
posts.
Patterned Wrap Weave. This weave is also known as
the Peruvian coil. Working Hand. The dominant or writing hand.

Pebble Weave. Knot weave made without holding Woven Center. The center straps of the twined
the rows apart. basket are woven before they are fastened to¬
gether.
Plaiting. Weaving technique in which the warp and
weft cross each other in perpendicular fashion. Wrap. Material which covers the core in coiled
baskets.
Pierced Figure Eight. A weave similar to the bee-
skep. Figure-eight which picks up the wrap or Wrap Weave. Coiled weave which wraps the new
pierces the top of the previous row core. core to the previous row without a change of direc¬
tion. The random placement of the wraps is also
Pleated Weave. Variation of the Klikitat weave; known as the Lazy Squaw, and the patterned
pleated material which overlays the previous row in placement is also known as the Peruvian coil.
a coiled basket.
Post. Long wrap in the wrap weave variations in
coiling which are wrapped to make the knot.

161
Suppliers
List

Cane and Basket Supply

1283 South Cochran Avenue
Los Angeles, California 90019
(catalog) cane, reed, rattan,
sea grass, raffia, etc.

Creative Handweavers
P.O. Box 26480
Los Angeles, California 90026
(catalog) unusual items, imported
yarns, munj, coir, jute, etc.

International Handcraft & Supply

1550 Westwood Boulevard
Los Angeles, California 90024
(no catalog) jutes, macrame
braids, linens, waxed linens,
coir, etc.

Tandy Leather Company #7307

7661 Grapevine Highway
Fort Worth, Texas 76118
(catalog) complete leather
supply stores throughout the
country

All these stores will mail order.

162
 Index

Baletka-Jones, Karan, see back center point, 82, 83; cycloids, 134-136; shells, 125-127; sur¬
jacket 98-102; cylindrical baskets, face coiling, 139; surface cy¬
Basket Centers, 43, 56 84; figure-eight weaves, 79; cloids, 139; twining on a
Plaited, 43; filigree looping, 103, 104; coiled basket, 138; vinyls, 138
Twined, center straps, 56; finishing off, 84, 85; imbrica¬ Diagonal Plaiting, 40
cross warping, 56, 57; woven, tion, 104; lid, 85; lift point, Double Open Wrap Weave, 141,
58, 59 82, 83; open wrap weaves, 142
Basket Edges, 47, 60 141; ripple weave, 91-94; Double Plain Twining, 50
Plaited, decorative elements, shaping, 82, 84; starting a Double Twist Imbrication, 111
48; finishes, 48; folded, 47; round basket, 69-73; starting Doubled Plain Plaiting, 40, 41
strengthening, 47; trimmed, an oval basket, 74; wrap
47 weaves, 75-79 Equipment for Basketry, 18
Twined, fringed, 63, 64; Color, 115; in basketweaving, Extensions, adding, 150
looped, 61, 62; new weft on 118; in coiling, 119; in plait¬
loops, 63; preparation, 60; ing, 118; in sculptural work, Fibers, 37; animal, 26; charac¬
scalloped, 61, 62; straight or 158; in twining, 119; surface teristics and longevity, 37;
wrapped, 60, 61; wrapping design in coiling and twining, plant, 28
looped or scalloped, 61, 62 122, 120; taking color from Figure-Eight Weaves, basic, 79;
Basket Starts, round, 69-73; nature, 118; using designer pierced, 80
oval, 74; ripple weave, 91 fabrics, 118; wheel, 116, 117 Filigree Looping, 103; adding
Basketweaving rules, 31 Combining Basketweaving with next row, 104; closed loops,
Beading Weave, 105; adding new Other Techniques, 158 104; finishing off, 104; meas¬
material, 106; estimating ma¬ Cores, 35; splicing, 36, 37; taper¬ uring for, 103; open loops,
terial, 105 ing, 36 103; planning, 103
Blanket Weave, 96, 97 Cycloids, 98, 139; adding the Finishes for basket edges, 48;
Bumingham, Dr. Robert, 114, next row, 102; as a decorative double, 49; featherstitch braid¬
130 edging, 102; closed, 99, 100; ing, 49; single, 48; wrapped,
Butterflies, 32-34 finishing off, 99; intertwined, 48
100,101;open, 99 Finishing off, coiling, 84, 85;
Center Point, 82, 83 cycloids, 99; filigree looping,
Check Plaiting, 40, 41 Datsolalee, 147 104; ripple weave, 95
Choosing the Right Technique, Decorative Elements, 125; beads, Furcated Double Open Wrap
148 125, 127; bells, 125, 127; Weave, 144
Closed Cycloids, 99, 100 cylindrical plaiting, 138; dec¬
Closed Filigree Looping, 104 orative plaiting, 136, 137; Handedness, 31
Coiling, 69; adding new wrap, feathers, 127, 128; fur, 128, High Twist Plaiting Imbrication,
82; blanket weave, 96, 97; 133, 134; leather, 138; rya, 111

163
History, see Introduction, 11 es, 48; basket frame, 44; bend¬ 104; intertwined cycloids, 100,
ing side warps, 44; check, 40, 101; open cycloids, 99; open
Imbrication, 104; adding new 41; diagonal, 40; doubled filigree looping, 103
materials, 106, 109; beading plain, 40, 41; fastening to Temple, Mary, 114, 130
weave, 105; double twist, 111; frame, 44; measuring material, Tools, 15; awls, 16; beaters, 18;
estimating material for, 105, 43; plain, 40, 41; twill, 40, blades, 15; clamps, 18; cutters
109; high twist, 111; low 42; weaving sides of basket, (wire), 16; glue, 19; needles,
twist, 109; pleated weave, 44-46 16; orange stick, 47; piercing,
106, 107 Plaiting Materials, see Materials 16; pins, 18; pliers, 18; prying,
Intertwined Cycloids, 100, 101 Pleated Coiling Imbrication, 106, 18; scissors, 16
107 Traditional Wrap Weave, 77
Klikitat Indians, 106; weave, 106 Projects, 64-67, 86-89, 112, Twill Plaiting Weave, 40, 42
Knot Weave, 77 113,145 Twill Twining, 54
Kull, Nancy, 30 Putting your Ideas to Work, 148 Twining, 39, 50; adding extra
warps, 60; adding new wefts,
Lace Weave, 77 Randkleve, James, see jacket 55; basket center, 56; cross
Large, Carol, 90 cover warping, 56, 57; full twist,
Lids, coiled, 85; plaited, 50 Ripple Weave, 91-94 53; half twist, 50, 51; hori¬
Lift Point, 82, 83 zontal warp, 54, 55; plain
Linkon-Drennon, Cynthia, see Sculptural Basketweaving, 149 (double and single) 50, 54;
jacket cover Coiling, adding extensions, shaping the basket, 60; twill,
Low Twist Plaiting Imbrication, 150; doodling, 153, 154; edu¬ 54; woven center, 58, 59;
109 cating your hands to feel wrap, 54
shape, 154; lengthening closed
Materials, animal fibers, 26; bells areas, 150; making clay mod¬ Variations, Wrap Weave, 77
and beads, 50; cotton seine els, 153; multiple necks, 150;
cord, 26; clothesline, 25; dec¬ open areas, 153; reversing Warps, 36; splicing, 36, 37;
orative, 22; fiber rush, 25; work directions, 155; separate tapering, 36
flexible wire, 26, 29; fur, 29; shapes, 153; slits, 150; sup¬ Weaves, blanket, 96, 97; check
jute, 23; lacing, 23; leather, port aids, 155 plaiting, 40, 41; diagonal plait¬
21; metal, 22; munj, 26, 28; Twining, braiding, 149; slits, ing, 40; double open wrap,
plant fibers, 28; plastic-cov¬ 149; using stiff spines, 150; 141, 142; doubled plain plait¬
ered wire, 25; polyvinyl tub¬ using warp ends, 149 ing, 40, 41; figure-eight, basic,
ing, 25; preventing frayed ends Shaping in Coiling, 82, 84 79, pierced, 80; furcated dou¬
and damage, 34, 35; reed, rat¬ Shaping in Twining, 60 ble open wrap, 144; knot, 77;
tan, 26; sea grass, 26; sisal and Single Open Wrap Weave, 141, lace, 77; patterned wrap, 76;
manila hemp, 23; specialty 142 pebble, 77, 78; plain plaiting,
yarns, 29; Swiss straw, 29; Single Plain Twining, 50 40, 41; plain single and double
synthetic rope and yarns, 26, Slits, 149, 150 twining, 50, 54; plain wrap,
28; upholsterer’s roving, 26; Structural Principles, 155; center 75; ripple, 91-94; single open
vinyls, 22 of balance, 155, 157; stress wrap, 141, 142; traditional
and cross structuring, 156, wrap, 77; twill plaiting, 40;
Obole, Teri, 130 158; weight and foundation twill twining, 54; wigwam, 78,
Open Cycloids, 99 strength, 156 79; wrap twining, 54
Open Wrap Weaves, 141; adding Suppliers List, 162 Weft Preparation, 33
hew wrap, 144; double, 141, Surface Coiling, 139 Wefts, 44, 45
142; furcated double, 144; Surface Design, 119 Wigwam Weave, 78, 79
single, 141, 142; starting a Coiling, horizontal patterns, Working Board, 19, 40, 41
basket, 141 122; vertical patterns, 125 Wrap Coiling Weaves, 75,140
Twining, abstract color lines, Wrap Length, 34
Patterned Wrap Weave, 76 122, 123; erratic twining, 122, Wrap Preparation, 33, 35
Pebble Wrap Weave, 77, 78 123; full twist with two back Wrap Tangling, 34
Plain Plaiting, 40, 41 strands, 122; half twist with Wrap Twining Weave, 54
Plain Twining, double and single, two back strands, 122; inter¬ Wraps, 34
50, 54
locking color, 121
Plain Wrap, 75 Yarns, elastic and nonelastic, 26,
Plaiting, 39; basket center, 43; 28; specialty, 29; synthetic, 28
Techniques, closed cycloids, 99,
basket edges, 47; basket finish¬ 100; closed filigree looping,

164
' ■ l
i

'V.
*
 Lucele Coutts’ career, like her sculptural
basketry, has many facets and textures —
teacher, artist, writer, lecturer, musician. As
an artist, she works in many media —
basketry and all the fiber techniques,
mosaics, and resin. Her particular interest is
in combining various techniques. This has
resulted in the development of her Tesserae
weavings in which basketry forms are inlaid
basketsbeyondOOcout
with resin and used in dramatic wall hang¬
ings. She has exhibited in California, includ¬
ing the invitational Fiber Allusions 74 show
in San Francisco and the Downey Museum
of Art.
An exceptional teacher as well as an out¬
standing craftswoman, Lucele Coutts has
taught all ages, from kindergarten to senior
citizens. Recently her efforts have centered
on classes for Pepperdine University and La
Verne College. She has been a contributing
editor for Textile Crafts magazine, and her
work has appeared in Woman's Day. She
has served as editor for the Southern
California Handweavers’ Guild publication
Tie-Up. She also is a member of the Ameri¬
can Crafts Council, World Crafts Council,
and Southern California Designer Crafts.
Early childhood gave Mrs. Coutts expo¬
sure to the arts and crafts of the Indian cul¬
ture. While drawing on its influence she con¬
tinually interprets the past in contemporary
ways. Although adept at spinning and
natural dyeing, she prefers to use commer¬
cial products that reinforce her commitment
to updating traditional crafts.
When not working on commissions,
teaching or lecturing, Mrs. Coutts can in¬
dulge in her favorite basketry diversion, the
development of her delightful animal cari¬
catures.'She lives in Manhattan Beach,
California with her photographer husband
and teenage son.

On the back jacket; M:sck!ace by Karan Baletka-Jones.

Jacket design b 'IfThiie

ISBN 0-8230-04 >:

WATSON-G J,r,l. r
PUBLICATIONS
Tools and Information Plaiting
Materials and Advice and Twining

Simple Decorative Techniques

Coiling weaves for Coiling and Plaiting

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Elements

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