AFFI
AS
FINE AR'
5RT
STATE NORM A L SCKOOI/
LOS ANGELA CALIFORNIA
RAFFIA BASKETRY AS A FINE ART
JAPANESE LANDSCAPE BASKET
13 inches in diameter. 8 inches high.
RAFFIA BASKETRY
AS A FINE ART
By
GERTRUDE PORTER ASHLEY
$
MILDRED PORTER ASHLEY
With Illustrations from Baskets
made by the Authors and
Natalie May Ashley
DEERFIELD
PUBLISHED BY THE AUTHORS
1915
40343
COPYRIGHT 1915 BY
GERTRUDE P. ASHLEY
THE MONTAGUE PRESS
TS
To
NATALIE M. ASHLEY
In loving remembrance of the many happy hours we three have spent
weaving our baskets in the Cubby, " while the scent of the flow-
ers comes in at the windows, and the squirrel chatters on the elm
bough overhead, this book is affectionately dedicated by the Authors.
PREFACE
TT is the aim of the authors of this book to make it of practical value
* in developing interest in Raffia Basketry. The directions for mak-
ing a basket have been arranged in text-book form. In this way it is
hoped that the details of the work may be readily mastered.
We wish first to give credit to Mrs. Madeline Yale Wynne, who
was the pioneer in Raffia Basketry. Through her great interest in the
Annual Exhibitions of the Deerfield Industries, she has been quick to
recognize and encourage originality in all branches of our craft work.
We wish also to acknowledge our obligations to Miss Mary E. Allen,
for the illustrations. Her untiring efforts for the high ideals for which
the Deerfield Industries have stood for so many years, have been an
inspiration to those who have carried on the work.
As a fine art, Raffia Basketry has been slow in developing, partly
from want of proper material, and partly from lack of opportunity for
study. The idea of arranging in concrete form the many details nec-
essary to produce a basket which is worth while, has been suggested
by pupils from time to time. The result may be seen in the following
chapters. These details, which may seem complicated and perhaps
trivial, have grown out of long experience, both in making baskets
and in imparting the knowledge of the art to others. The Raffia Bas-
ket in its highest development, as to Workmanship, Form, Design
and Color, is an expression of true art. This may be obtained through
the study of other forms of art, such as Painting, Tapestry, Pottery
and the like. Much has been done in copying baskets made by various
xiv RAFFIA BASKETRY
tribes of Indians. Why shall not we, who have the advantages of a
higher civilization, carry into wider fields the work they so well began?
The development of the dye industry reveals new possibilities and
colors have been created which have never been named. The study
of Japanese prints is of great value. Nature has also done her part,
and many a color scheme has been developed from the hills, rivers,
clouds and sunsets. She has also provided abundant material with
which to work, from her fields and meadows. Shall we not use these
opportunities wisely? It is our earnest desire to give some helpful sug-
gestion which prompts us to place these pages before the public,
hoping that others may feel such joy in the work, as has been ours.
In the words of Carlyle, Blessed is he that has found his work ; let
him ask no other blessedness."
TABLE OF CONTENTS
PART FIRST
Chapter. Page.
I. Materials and Tools. 1
II. The Beginning of a Basket. 4
III. The Lazy Squaw Stitch. 5
IV. The Winding Stitch. 8
V. The Block Stitch. 10
VI. Turning Up the Basket. 12
VII. The Knot Stitch. 14
VIII. Handles and Finishing a Basket. 16
IX. Other Varieties of Handles. 18
X. Suggestions for Design. 23
XI. The Landscape Basket. 24
XII. Form. 28
XIII. Color. 29
PART SECOND
I. The Grass Basket. 31
II. The Grass and Husk Mat. 35
III. The Introduction of the Corn-husk. 37
IV. The Grass Tray. 39
V. The Covered Basket. 40
VI. After-thoughts. 43
ILLUSTRATIONS
Page.
1. The "Cubby" or Studio. 2
2. Lazy Squaw and Winding Stitches. 6
3. Baskets. 10
4. Knot Stitch. 14
5. Handles. 16
6. Handles. 20
7. Handles. 20
8. Design for Baskets. 22
9. The Church Basket. 24
10. Landscape Basket. 25
11. A Study in Lavender and Green and The Bittersweet. 27
J2. The Gray Bowl. 32
13. The Grape Vine. 32
14. The Covered Grass Basket. 40
15. Grass Work Basket with Cover. 41
16. Frame for Raffia 44
IN COLOR
I. Japanese Landscape Basket. Frontispiece.
II. The Sunset Basket and The Blue Moth Basket. Opposite 16
III. Deerfield Meadows. 24
IV. The Pansy Bowl. 30
r
CHAPTER I
Materials and Tools.
Materials: Raffia and Reeds.
Tools: Blunt-pointed carpet-needles, size No. 20; thimble and
small scissors.
RAFFIA
AFFIA is the product of the Raffia palm, which grows in the
Island of Madagascar. The outer husks are stripped from the
long leaves, and tied in bunches at the stem end. For convenience
they are braided into hanks weighing from one to four pounds, and
then shipped in bales. Raffia is used by market-gardeners and florists
for tying vegetables and flowers. The better quality is an ideal ma-
terial for basket-making. The strands average three feet in length,
taper to a point, and are strong and pliable. It lends itself to dyes of
every hue, and it is possible to create many new shades.
_
The color schemes of Raffia Basketry are a fascinating study and
are without limit. Great care should be used in the selection of the
raffia, as frequently it is stiff, badly torn, or has many blunt ends.
Choose that which is soft, long and light-colored, as it grows darker
with time. Some of the darker shades, however, of the natural color,
serve well as a background, and may even be used for delicate tints,
RAFFIA BASKETRY 3
as in cloud effects of a Landscape Basket. It may also be used in lead-
ing from the natural color to a darker background,
f Before using, the natural raffia should be soaked for several hours
in clear water. On taking ** frnm thp w-itpj-^ it shoiild^V)f_[gjd across
frame__Qr_-ciQthes-line. instead of allowing it to hang down. This
tends to prevenMJie edge from curling and making
a cordjjn selecting colored raffia, choose medium shades in perma-
nent dyes. The following suggestions may be useful to a beginner:
soft neutral tint of gray or tan ; two shades of old rose ; blue and green.
Many pleasing combinations may be worked out from them. As col-
ored raffia is more expensive it is well to use only a little at first. A
basket with a small design in color may be made quite as attractive
as one with a large color design, if it is well made.
REEDS
Reeds are also the product of a palm tree which grows to a great
height in China and the Philippine Islands. They may be obtained in
eight sizes, the most convenient for raffia baskets being Split Reed
No. 3 and Round Reeds Nos. 4 and 6. No. 3 is especially well adapted
to the beginning of most baskets, as it may be used first single and
then double, thus giving the effect of a round reed.
RAFFIA BASKETRY
CHAPTER II
The Beginning of a Basket.
IF the raffia is inclined to be stiff and dry, as is often the case when
kept in a warm room, each strand should be drawn through a damp
cloth as used. It must not be too damp, however, as this will cause
the raffia to shrink when dry, making the basket less firm.
The width of a strand of raffia should be in proportion to the size
of the reed.jThe ordinary piece of raffia is wide enough for two strands,
even after taking off the edge, if curled. No. 3 reed is the size used
for all beginnings of baskets, as a larger one is too stiff to use around
a small center.
DIRECTIONS
1. Thread the needle at the small
end of the raffia, and tie a loose knot
about four inches from the stem end.
2. Sew over and over through this
ring, working towards the left, car-
rying the end along, until once around.
3. Do not make the hole too large.
4. Use a long reed, as a single split reed is difficult to join.
5. Moisten the end of the reed.
6. Take the reed in the left hand, flat side down.
7. Place the reed over the small beginning, holding it in place with
thumb and finger.
8. Continue sewing over and over, until the reed is fastened in place.
RAFFIA BASKETRY
CHAPTER III
The Lazy Squaw Stitch.
(See A and B, Illustration No. 2.}
fin HE pupil is now ready for the stitch known as Lazy Squaw which
-* is made as follows :
1. With the left hand, hold the reed just above the button.
2. With the right hand, wind the raffia once and a half around the
reed, holding the raffia near the ring.
3. With the left hand, hold the button between the thumb and
fore-finger.
4>. Pass the needle through the hole from the under side. This com-
pletes the stitch.
5. Before preceding to the next stitch, give the button a slight
turn to the right, to make room for the new stitch.
6. Repeat this stitch until the hole is filled.
7. The raffia must be kept untwisted from the needle, as otherwise
it will become frayed.
8. Continue this stitch for several rows except that, the hole being
filled, the needle is now passed through the hole between the stitches.
The following rules are to be observed throughout the entire basket :
(a). Do not split the stitches on either side,
(b). Make all stitches perpendicular to the center, and close to-
gether.
(c). Remove all frayed ends and strands, after fastening,
(d). Keep the reed well covered,
(e). Use raffia of uniform width and proper size.
(f). Make the spaces between stitches even.
RAFFIA BASKETRY 7
(g). Keep the raffia untwisted.
As the button increases in si/e, it will be necessary to widen, which
may be done in t\vo ways :
(a). Wherever there is space for two stitches in the same hole
they should be taken.
(b). If there is too much space for one stitch, and not enough
for two, wind the reed once after taking the stitch.
A new strand may be added in the following way :
(a). Tear the strand the correct width and thread the needle.
(b). Place the strand parallel to the reed, with stem a short dis-
tance to the right.
(c). Pass the old strand over the reed as usual, holding it fast
between the fingers of the left hand.
(d). Bring the new strand up over the stitch, and pass it through
the hole as before.
(e). Take two or three stitches before removing the stem end
and the old strand.
8 RAFFIA BASKETRY
CHAPTER IV
The Winding Stitch.
(See C, D, E, F and G, Illustration No. 2.)
THE entire basket may be made of Lazy Squaw stitch, as was done
in the early days of Raffia Basketry. If, however, after making
a few rows, one wishes a variety, the stitch which naturally follows
is the Winding stitch. This is very simple to understand, but more
difficult to keep firm and even. An infinite variety of designs may be
wrought out from this stitch, and one soon discovers many new figures.
1. Instead of winding as in Lazy Squaw stitch, wind for a distance
of one-fourth of an inch (four or five times), and finish as in Lazy
Squaw stitch.
2. Continue the Winding stitch for three rows or longer, if the space
is not too wide to keep firm.
3. Place the stitch at the left of the stitch in the previous row. If
the last stitch should make the design more even by placing it at the
right, instead of the left, it may be done.
The spaces are now too wide to continue, and a new design is started,
by taking a stitch each side of the one in the previous row. Each row
must now of necessity be different.
Complete the design by placing one stitch between the group of
two. The design from this point may readily be followed from the
carefully prepared illustrations.
Continue the Winding stitch until the figure has developed into a
single stitch, as it reaches the point of the diamond.
RAFFIA BASKETRY <>
A NEW REED
A NEW reed may now be introduced, where the new design is be-
gun. As was elsewhere stated, a single round reed is difficult to join,
and this may be avoided by taking a long one in the beginning.
Match the two ends by cutting a long slant, in opposite directions.
Use a strand of raffia as a support, while holding the slant ends to-
gether. Take a new stitch where necessary, as a support.
DOUBLE REED
A DOUBLE reed is introduced by placing the flat sides together, thus
giving the appearance of a round reed. Do not allow the reeds to be-
come twisted.
10
RAFFIA BASKETRY
D
No. 3.
CHAPTER V
Block Stitch.
{See E, Illustration No. 3.)
SINGLE BLOCK STITCH
fT^HE single Block stitch is made by binding the raffia over tin-
reed and the last row, between stitches. Bind them over and
over neatly until the space is filled. Be sure that the space is covered
but do not crowd the raffia. This stitch mav be of colored raffia.
RAFFIA BASKETRY 11
DOUBLE BLOCK STITCH
(See D, Illustration No. 3.)
THIS can only be accomplished when the number of points and
spaces is even. It is also a good opportunity to introduce two con-
trasting colors, and makes'an attractive finish for the bottom of a bas-
ket. A pleasing combination may be made of gray and rose, or blue
and green, if they are of the same quality.
Having arrived at the point of the diamond, with winding stitch
between, proceed as follows:
1. Thread the needle with gray of proper width, and make a solid
block over two rows.
2. The strand of color is introduced in the same manner as the nat-
ural color.
3. Bring the gray strand up from the under side, over the reed and
under the top row, sewing over and over until the space is filled.
4. Each alternate space is to be made a gray block with Winding-
stitch of gray between.
5. As the natural raffia is no longer necessary, it may be cut off
after the gray has been firmly fastened.
h\ The old rose strand is introduced in the next row, and the gray
may be discontinued after fastening the rose strand.
7. The block of old rose now alternates with the gray, but instead
of winding the reed between the blocks with the rose, the natural
colored^raffia should be introduced.
8. The strand not in use should be dropped and wound with the
reed.
9. Whichever strand is to be used, must be brought up from the
under side and wound over the reed.
RAFFIA BASKETRY
CHAPTER VI
t Turning Up the Basket.
(See E, F and G, Illustration No. 2.}
AT this stage of the work the basket may be turned up. A gradual
curve is more beautiful than one which is abrupt. The beginning
of the curve is so gradual for several rows that it is scarcely perceptible.
It is accomplished by slightly raising the reed above the preceding
row. It is somewhat difficult to keep the curve the same throughout,
but this may be overcome by gently pressing it into shape.
Meanwhile the Winding stitch must be continued from the Block
stitch.
The colored raffia is now discontinued, using only the natui'al strand.
It will be seen that the Block of rose is wider than the gray block,
because of being one row higher. From this may be developed a spi-
ral line which is broadened at the top and finished with a point.
THE SPIRAL LINE DESIGN
START the design by placing a stitch at each end of the Block.
1. Make a stitch at the left of the stitch in the previous row.
2. Make three or more rows like the last row.
3. Widen the spiral line just before the close, by making a stitch
each side of the one at the end of the line.
4. Complete the line by a stitch between the two, thus forming a
point.
RAFFIA BASKETRY
DESIGN IN COLOR
SINCE a long straight row of one color is not desirable, the gray is
introduced gradually, by means of three Lazy Squaw stitches placed
in groups about an inch apart, with Winding stitch between of natural
color.
Second row: Gray raffia a stitch at each end of the design in the
row above.
Third row : Gray a stitch at each end of the design in row before,
with one of rose in the middle of each gray design.
Fourth row: The designs may meet in the third or fourth row.
They may be continued in the darker rose color for one row.
The fourth row may be completed as follows : Cut the reed on a
slant, and end with one or two Lazy Squaw and then Block stitches
on the slant. Fasten the end by concealing it in the row before.
RAFFIA BASKETRY
No. 4. KNOT STITCH
CHAPTER VII
Knot Stitch.
(See edges qf A, B and C, Illustration No. 4-)
A3 the basket approaches completion, the shape which has up to
this time been somewhat flaring, is improved by drawing it in a
little. This is done by working from the outside, the reverse of the
previous manner.
The stitch often employed in finishing a basket is Knot or Lace
stitch, as it is sometimes called, from its more open appearance.
RAFFIA BASKETRY 15
If the basket is to be small, use round reed No. 8. If of medium
size, No. 1, and for a large basket, No. 6.
1. Slant the end and begin the row about half an inch to the right
of the place where the row was finished.
1. Take the first stitch about half an inch from the end of the reed.
8. Pass the needle through from the inside, and carry the end along
with the reed.
4. Make half of the Lazy Squaw stitch, after which pass the rafFa
across the front of the stitch between the rows, and around the right
side.
.5. Wind to the next stitch, perhaps a quarter of an inch. Continue
the row in this manner, until the slant end is reached.
6. Join by holding the slant end close to the reed, and binding
smoothly over and over.
The basket may be finished by means of this stitch, but a pleasing-
variety is made by introducing handles, of which there are many in-
teresting developments.
Hi
RAFFIA BASKETRY
No. 5. HANDLES
CHAPTER VIII
Handles and Finishing the Basket.
HE handles for raffia baskets, were, for many years, made sepa-
rate from the basket and then fastened on. This method was not
altogether satisfactory, on account of the difficulty in fastening them
neatly and firmly. Since the invention of handles by continuing the
reed, these difficulties have been removed. The simplest form of handle
may be made as follows :
RAFFIA BASKETRY 17
HANDLE No. I
{See A, Illustration No. -5.)
1. Dampen the reed.
2. Take three Knot stitches close together, when half way round
the row.
3. Wind the reed for about four inches, keeping it well covered.
4. Make an outward curve of about four inches in the widest part.
5. Complete the handle by fastening the reed to the previous row
with three Knot stitches.
6. Continue the row of Knot stitch, until nearly opposite the point
where the handle was started.
7. Repeat the directions for handles as given above.
FINISHING THE BASKET
1. Slant the reed to match the other end.
2. Make two or three Lazy Squaw stitches.
3. Finish by binding the reeds until completely covered.
4. Fasten the strand by winding it around the nearest knot, and
drawing the needle through.
5. When firmly fastened, the raffia may be cut off close.
If these directions are carefully followed, there will be no difficulty
in making the handles opposite each other.
18 RAFFIA BASKETRY
CHAPTER IX
Other Varieties of Handles.
HANDLES with their graceful curves make an attractive finish to
a basket. They may be made in endless variety, a few of which
will be described in this chapter.
HANDLE No. II THE PORRINGER HANDLE
(See B, Illustration No. --J.)
THIS handle is similar to No. I.
Follow instructions for Handle No. I as far as 4.
1. Make a ring in the widest part of the curve of No. I by crossing
the reed and forming a ring.
I. Leave the ring on the outside, or if so desired, it may be curved
more and remain on the inside.
3. Fasten the reed where the ring is formed.
4. Wind the reed for the remainder of the handle, and fasten firmly.
HANDLE No. Ill THE TWISTED SIDE HANDLE
(See C, Illustration A'o. J.)
Handle No. I may be still further elaborated as follows :
1. Add another row to the basket already described.
2. At the point where the handle is started, the reed is wound as
before, and twisted through the handle of the preceding row.
RAFFIA BASKETRY 19
HANDLE No. IV TWISTED HANDLE No. II
(See A, Illustration No. 4.)
Two round reeds, one above the other, on the last row of a basket.
This when wound gives the appearance of a flat reed.
1. At the point where the handle is to be started, fasten a strand
of contrasting color.
2. Wind the reed separately with the two colors.
3. Twist them loosely together, and fasten at the end of the handle.
This style of handle is well adapted for wafer and sandwich trays.
HANDLE No. V THE LOOP HANDLE
(See C, Illustration No. 4.)
THIS handle requires a single round reed.
1. Wind the reed as in the previous description.
C 2. Give the handle a downward curve to the right and bring it up,
leaving a space of two inches.
3. Fasten the reed with a Knot stitch to the top row.
4. Continue to wind the reed.
5. Make an upward curve to the left, to correspond with the one
below.
6. Finish in the usual way with Knot stitch, over the point where
the handle was begun.
HANDLE No. VI LOOP HANDLE No. II
(See B, Illustration No. 4.}
THIS Handle is an elaboration of the Loop Handle, by adding a row
and winding it through the loop.
No. 6. HANDLES
No. 7. HANDLES
RAFFIA BASKETRY 21
HANDLE No. VII TWISTED HIGH HANDLE
(See A, Illustration No. 6.)
1 . Wind the reed for the handle sufficiently long to extend over the
top of the basket.
C 2. Join the reed on the opposite side.
3. Continue the row in the opposite direction. (Towards the left).
4. Continue until near the point where the handle was begun.
5. Join the two handles by Knot stitch.
G. Leave sufficient space on the opposite side to balance the space
between the two parts of the handle.
HANDLE No. VIII TWISTED HIGH HANDLE No. II
(See C, Illustration No. 6.)
THIS handle much resembles the preceding design.
In place of joining the reeds over the top by Knot stitch, they may
be twisted. This makes a very strong handle.
HANDLE No. IX TWISTED HIGH HANDLE No. Ill
(See Illustration No. 7.)
WIND the reed to extend over the top of the basket.
1. Fasten to the opposite side with Knot stitch.
2. Continue winding, giving the reed a downward curve.
3. Fasten the reed to the lower part of the basket.
4. Wind further, and fasten the reed to the top row.
5. Wind for a long space, twisting the reed several times around
the single handle.
6. Fasten the reed to the opposite side and finish.
There are many more varieties of handles, but these may serve to
show the manner of their development. The illustrations may suggest
other forms of the same idea.
RAFFIA BASKETRY 23
CHAPTER X
Suggestions jor Designs as Applied to Basketry.
A S has before been intimated, the lines of the stitches in Raffia Bas-
* * ketry naturally lead in a diagonal direction, though they may
be also horizontal. Taking advantage of this they may be combined
in many ways. The following suggestions may be of assistance.
1. These diagonal lines may be adapted to geometrical figures,
forming many star and diamond designs. These are often carried out
into very elaborate and complicated patterns which may be continued
indefinitely.
2. Conventional designs of flowers in Basketry, as in Embroidery,
are frequently of great interest.
3. Designs of butterflies, moths or dragon-flies, are well adapted to
this purpose.
4. One may find suggestions for designs in visiting Art Museums,
and studying designs of Pottery, Tapestries, and Fabrics from foreign
lands. The unconscious habit of looking for designs in every line or
figure, leads to many ideas.
5. Perhaps the most ambitious design which has yet been attempted
is that of the Landscape, of which there are several examples in this
book. The following chapter will to some extent explain the details
of this variety of design.
24
RAFFIA BASKETRY
No. 9. THE CHURCH BASKET
CHAPTER XI
The Landscape Basket.
EFORE attempting a Landscape Basket, the important thing is
to decide upon the subject. The average length of a row around
a basket sufficiently large for the subject, is at least a yard and a quar-
ter. It requires a series of pictures which must be interesting from
every point of view. It requires much study to find pictures which
from their nature may be adapted and combined.
This problem solved, the design is sketched in water colors or cray-
DEERFIELD MEADOWS" BASKET
13 inches in diameter, 7 inches high.
RAFFIA BASKETRY
No. 10. LANDSCAPE BASKET
ons. It should be simple, with little attention to detail. The bottom
may be started with a small reed. After a few rows a larger one may
be substituted, followed later by No. 6. The bottom should be large
enough to allow the sides to be nearly perpendicular. Any neutral
color may be used which harmonizes with the foreground. Either Lazy
Squaw or Winding stitch may be used. The size of the strand of raffia
must be suited to the size of the reed. As many colors are required
for the sides, a smaller reed, No. 4, is used. A larger reed would make
the stitch too coarse, as there are many strands carried along with it.
The stitch for the sides is usually Lazy Squaw throughout.
The first few rows are very wearisome, as one seems to be accom-
plishing little. As the basket increases in size, however, the design
is more apparent, thus adding to the interest.
26 RAFFIA BASKETRY
As in a painting, the Landscape Basket is best seen at a distance.
This adds to the difficulty, and it is only when the work is nearly
completed that it has seemed worthwhile.
As the basket progresses, more colors are required, in some designs
as many as eight at one time. This constant changing of strands great-
ly retards the work, so that it may take four hours to complete one
row. A thorough knowledge of the technical part of the work is nec-
essary, before undertaking this type of basket.
28 RAFFIA BASKETRY
CHAPTER XII
Form.
A BASKET was originally for use, and to this end it should be
shaped. A work basket with broad flat base, sides gently curved
upward, and of suitable height, is well adapted to serve its purpose.
A work basket to be used for convenience while travelling, has a
well-fitted cover. A sandwich tray is broad and has low sides and
handles. A scrap-basket must be broad and high.
The shape of basket No. 15 provides a place for spools around the
edge. This rather unusual design was copied from an illustration of a
Japanese basket, on request. Fanciful shapes, however, are as a rule
to be discouraged.
RAFFIA BASKETRY 29
CHAPTER XIII
Color as Applied to Basketry.
ri 1HAT which first attracts attention to an object is color. It is there-
-*- fore of great importance that the colors be of pleasing quality and
permanent. It matters little by what means they are produced, if the
result be satisfactory. The natural or vegetable dyes are used by
many, but they are perhaps less permanent in some colors than the
German dyes.
How shall we learn to use colors? " pupils sometimes ask, and the
reply might be Turn to Nature." Where shall we find gray in such
varied shades as are in clouds and distant mountains : such blues as
are in sky and water: such green, brown or russet as are in our
meadows? Study the colors in a sunset, and one can scarcely tell where
they begin or end. What is seen at one moment has, during the next,
entirely disappeared or changed. This is a lesson upon which the
greatest master of painting cannot improve. These combinations of
color may be used in simple conventional designs or massed in irregu-
lar shapes. Many a color scheme has been made from a sunset. The
blue and green of ocean waves as they dash against the rocks, reflect-
ing shades of every color, may also serve this purpose.
Interesting color schemes can sometimes be made from flowers. A
charming basket was made from the colors of a tulip petal. A wonder-
ful array of colors may often be seen in a vegetable garden. The back-
ground may perhaps be a row of waving tassels of corn. The various
shades of green, interspersed with the rich wine colors of beets and
cabbages, with here and there a bit of the garden path showing, at-
80 RAFFIA BASKETRY
tracts the eye which is trained to see beauty in even humble surround-
ings.
The study of color brings much of interest into our lives, and Bas-
ketry, as a medium of expression, may be carried to a high degree of
development.
"THE SUNSET BASKET"
"THE BLUE MOTH" BASKET
l H HH I _^^, I yinii muggi m ! 1
CHAPTER I
The Grass Basket.
A NOTHER means of expressing Art in Basketry, through materials
** which Nature has provided in abundance, and which are furnished
for our use, simply by gathering them from our meadows, is that of the
Grass Basket.
Many experiments have been made in using materials which grow
in our neighborhood. Some, however, have proved too fragile for prac-
tical use. Those grasses which time has shown to be most serviceable,
and at the same time decorative, are Swale Grass, Sweet Vernal, In-
dian Sweet Grass, Rye-straw, Red-top and Fox-tail.
These may be combined with corn-husks in varying shades of pink
and tan. These grasses and corn-husks are used in their natural colors,
which they retain for years. It may be said of corn-husks that the
oolors are permanent.
SWALE GRASS
SWALE grass grows to a height of four or more feet. The color is a
rich green, which when dried in the shade, in the course of time turns
to a soft gray. The basket may, however, be made still more attractive
by combining the grass with colored designs in raffia.
Swale grass grows in swamps and must be handled with caution,
No. 12. THE GRAY BOWL
No. 13. THE GRAPE VINE
RAFFIA BASKETRY 38
as the edges are very sharp. It is possible to gather it by the middle
of May, though it is then rather short. It is at that time, however,
of a most brilliant color, and the seed vessels are an added decoration.
After cutting a bunch, shake out the dead grass, and spread it in even
rows to dry. Turn it each day until dry, when it can be tied in bundles
ready for use.
SWEET VERNAL GRASS
WE may smell the Sweet Vernal grass in the hayfield, after it is
cut, for the time to gather it for fragrance is when the blossom is
green. At this time, too, the color is ravishing in its tender silvery
green, and may be distinguished by the tuft of blossom at the top of
the stalk. It cannot be found by its fragrance, however, as that is per-
ceptible only when cut. Sweet vernal grass is quite short at this sea-
son, so it is rather laborious to use, as each tuft must be cut off. This
variety of grass may also be gathered later, when dried to a straw
color, and it makes a pleasing variety in color, though it has no longer
any fragrance.
INDIAN SWEET GRASS
SWEET Grass such as is used by Indian tribes, is desirable both for
fragrance and color. It is found in the salt marshes near the coast,
and though rather expensive, a little of it goes a good ways. Sweet
vernal, red-top and fox-tail consist almost entirely of stems, which
woven into the coil of the basket, produce the effect of burnished
metal. This in contrast with swale and Indian sweet grass, is very
effective.
CORN-HUSKS
OCTOBER, when the corn is ripe, is the time to haunt the corn-fields.
Do not wait for a hard frost, as the juices of the husk are then dried,
34 RAFFIA BASKETRY
and the color soon fades. Choose husks in all shades, from white to
deepest crimson, and from tan to deepest brown. The variety of corn
seems to make little difference in the color, though the texture of
pop-corn may be a little finer. Spread the husks in a dark place to dry.
They will at first lose a little of their brilliancy, but afterwards will
not change.
RAFFIA BASKETRY 35
CHAPTER II
The Grass and Husk Mat.
(See A, Illustration No. 4 Mat before edge was added.)
rT^HE center of the mat is more pleasing if made of raffia, with
*- simple design and few colors. A small mat does not need corn-
husk, and if it were used, it might result in over-decoration. The mat
for this lesson will be sufficiently large to use corn-husk and is made
as follows :
1. Split the raffia as fine as can be used without breaking.
2. Select raffia which is long and strong, and of a good color, as
used in the center.
3. With the right side towards the worker, take the first stitch
through the edge of the raffia center, just before the end of the reed.
4. Select a bunch of sweet vernal grass, about the size of the reed.
Remove any roots or leaves, using only stems.
5. Place the grass over the reed where the first stitch was taken,
stem end to right.
6. Bind the second stitch over the grass and reed, about half an
inch to the left, and after each stitch hold the raffia firmly between
the second and third fingers of the left hand.
7. Pass the needle through every third stitch of the entire row.
8. Complete the row in this manner, holding each stitch fast.
9. Cut the blossoms from the stems where necessary.
10. In the second row, take the first two or three stitches in the
same place as in the previous row, in order to tighten them.
11. Take each stitch at the left of the stitch in the previous row.
36 RAFFIA BASKETRY
12. Keep the coil of equal size, adding more grass wherever neces-
sary, and tuck all ends inside.
IS. When the strand must be renewed, repeat the last three stitches,
drawing the strand to within a short distance of the end.
14. Do not tie a. knot, as these three stitches will hold the work in
place. Do not remove the end of the raffia for a few rows, after which
it may be cut close to the grass.
15. After a few rows of sweet vernal, the sweet grass may be sub-
stituted.
16. Swale grass may be used next in order.
RAFFIA BASKETRY 37
CHAPTER III
The Introduction of the Corn-husk.
~t IF the mat is to be nine or more inches in diameter, the husk
may be introduced about three inches from the center.
2. Select husks in shades from white to crimson of deepest shade,
or from white to deepest brown.
3. Dip the husks in water and roll in a towel.
4. Plan three designs of husks, by dividing the row into three sec-
tions.
5. Tear or cut a husk lengthwise, about three-quarters of an inch
in width.
6. Fold the edges underneath, slanting the right hand end to a
point on the lower edge.
7. Tuck the pointed end out of sight from either side, between the
rows, and place it over the grass. Bind it to the previous row at the
left of the stitch as before.
8. The husk may extend over several stitches, according to the
length.
9. Slant the husk at the left end, leaving the point on the upper
side which will be covered by the next row.
10. Repeat this process for the three designs.
11. The husk in the next row is started a short distance to the left
of the first husk.
12. Make two or three rows of white husk. A light shade of husk
is used in the next row, with deeper shades in the following rows.
38 RAFFIA BASKETRY
13. To make the design more effective, two or more rows of the
deepest shade are used to balance the white husks.
14. At least five TOAVS of husks are desirable, and more are prefer-
able for a large mat.
15. These designs are improved by making each row of husks some-
what longer, thus giving a swirl effect.
16. After completing the husk design, the mat is finished by two
or three rows of swale grass.
17. The husks are to be seen on the right side only, and all ends
of grass are to be concealed.
18. A perfect basket must have neatness added to its other qualities
necessary for good craftsmanship. They may be summed up as fol-
lows: Good Workmanship, Good Form, Good Design, Good Color,
and Neatness.
RAFFIA BASKETRY
CHAPTER IV
The Grass Tray.
(See A, Illustration No. 4-}
fTTHE grass mat may be made into a tray, if so desired, by making
a perpendicular edge of Knot stitch. It may be finished with side
or high handles.
1. Place two small round reeds, one above the other.
2. Slant the ends.
3. Bind the reeds to the mat, with edge towards the worker, and
with the mat right side up.
4. Work towards the left, following the directions for Knot stitch
and handles.
Rye-straw, cut while of that rare blue-green color, may be used,
but on account of its stiffness, it is best adapted to large baskets. The
following illustrations show three views of a basket made of raffia,
grass, and rye-straw.
RAFFIA BASKETRY
No. 14. THE COVERED GRASS BASKET
CHAPTER V
The Covered Basket.
/COVERED baskets as a rule are not common in Raffia Basketry.
^-" / This may be because of the difficulty in fitting the covers, or be-
cause a cover hides much of the design. The basket in the illustration
is made of grass and raffia. As there is to be a cover, the raffia center
may be all of one color, though of interesting designs in lines and
figures. The bottom is three and a half inches in diameter, which in-
cludes also the grass.
Follow the directions for making a grass mat. To finish it, continue
42 RAFFIA BASKETRY
the stitches when nearly large enough, without adding more grass,
until the grass is all used. The husk designs are placed on the sides
in three divisions. In the reverse order, work from the outside.
1. Make the first row or two almost flat, after which, curve gently
upward.
2. Start the husk design as soon as the curve is well established,
making the sides straight, where the design is widest.
3. Shape the basket constantly with the hands, making each row
near the top somewhat smaller, until the opening at the top is a little
larger than at the bottom.
4. Finish the top with one row of raffia, removing all loose ends.
THE COVER
THE cover is begun like a mat, w T ith a more elaborate design in the
raffia center.
1 1. Bind the grass around until somewhat larger than the opening
at the top of the basket.
2. The rim is made on the under side near the edge.
(a). Hold the cover with the reverse side upwards and the edge
towards the worker.
(b). Use two round reeds, cut on a slant.
(c). Pass the needle downwards at a point a quarter of an inch
from the edge where a stitch was taken before, and return it so that
the stitch will be concealed.
(d). Wind the reed on the back side and fasten as before.
(e). After passing halfway around, fit the cover to the basket fre-
quently, and join by binding to the slant end.
(f). Three rows will be sufficient, and if tried on the basket fre-
quently, the result should be a perfect fit.
RAFFIA BASKETRY 43
CHAPTER VI
After-thoughts.
HE somewhat crude device shown in the illustration serves as
a convenience upon which to hang the raffia while working, with-
out occupying much space. It consists of a standard attached to a pole
about five feet long, upon which revolves a wheel. At the margin of
the wheel are placed hooks spaced two inches apart. This serves the
same purpose for the worker in Basketry that a pallette does for an
artist. The colors to be used may be hung in close proximity, and thus
serve the double purpose of studying the harmony of color, and con-
venience in reaching the raffia.
The illustrations contained in this volume have been selected from
a large number of baskets, and may serve to show in some degree the
development of Basketry as a Fine Art.
The baskets described in the previous chapters were planned with
the idea of teaching all stitches used for practical purposes both in
Grass and Raffia Basketry. Each step of the way [has been followed
while the work was in process of construction.
Other stitches have been used to some extent, but for obvious rea-
sons have been discontinued, except occasionally. Some, while inter-
esting, do not lend themselves readily to design. Others are too slow
in their progress, and perhaps too clumsy for a basket of this variety.
Basketry as taught in the public schools, may not arrive to a very
high degree of art, as a general rule. It has its value, however, in
training both hand and eye in work of this nature, which otherwise
might fail to interest them. Pupils may, in this way, learn to discrim-
RAFFIA BASKETRY 45
inate between good and poor craftsmanship something of Form,
Design and Color. These, as a refining influence alone, are sufficiently
valuable to justify the course of study in our schools. The possibilities
of the Raffia Basket are unlimited, as to design and color, and who
shall say that it may not find a place among art treasures?
This book ; " ^' T * 7 > *^" last date stamped below
UC SOUTHERN REGIONAL LIBRARY FACILIT
A 000 537 604 1
I
