[Sidenote: _Sequence weaving_]

The second pattern of the sequence is made with sixteen-inch strips.

The first part is woven like the bookmark. Four double strips now project from the square. Begin at the bottom and fold back the _upper_ one of each of these double strips. As you do this you will find that you are weaving another square on top of the first one. To secure the last strip pa.s.s it under the square next to it and pull it through. You will now have eight single strips, two on each side. To form these into points for a star proceed as follows: Begin with the right-hand strip at the top and number all the strips from one to eight. Fold number one back toward the right, making at the fold a right-angled triangle. Fold the strip down again towards you, making another triangle which is folded back to the left on the first one. Slip the end of the strip under the square next to it and cut it off. Proceed in the same way with three, five, and seven. Then turn the form over and fold the strips two, four, six, and eight in the same way, cutting off the strips when finished. Many of these stars can be joined to make mats, baskets, picture frames, etc. They are pretty when made of gilt or colored paper for Christmas decorations.

[Sidenote: _Sequence weaving_]

Pattern number three, a bookmark, is made like the first, except that eight strips of sixteen-inch length are used and the strips woven at right and left are finished as directed for the mat. Number four is another form like this, with the long ends back and front slipped through squares to form a napkin ring. Number five is a six-inch mat made of twelve twenty-inch strips. Weave six double strips left and right into two strips and then add four to make the square. To finish the edge cut off the _under_ one of each double strip, fold the upper one over it and then slip it under the square which comes next, cutting it off even. Strips of felt can be woven in this way for table mats or holders.

The sixth pattern is a pencil holder or a basket, as you may wish. It may be round or square on the bottom--in the latter case the sides are creased to form a square prism. Double twelve twenty-four-inch strips, weave eight right and left into four; finish one long edge for the top of the basket as you did the edge for the mat. Bend in the form of a ring and slip the ends as you did for the napkin ring, cutting them off.

To make the bottom, crease all the projecting ends in and weave together as you did the second part of number two only double, and fasten the strips on the _outside_ of the basket. This makes a good waste basket for the doll house. With a cover it would make a fine hamper for Miss Dolly's clothes.

[Ill.u.s.tration: _Examples of splint work_]

[Sidenote: _Weaving with splints_]

This free weaving leads directly to weaving with splints. These are much thinner than slats and can be obtained at the kindergarten supply stores. Many beautiful things can be made with splints. They are easily dyed at home and many pleasing combinations of color can be obtained in this way. Celluloid strips make beautiful boxes and baskets.

[Sidenote: "_Jacob's ladder_"]

A delightful exercise with the small children is the making of a "Jacob's ladder," or "p.u.s.s.y-cat stairs," as they are often called. Fold a forty-inch strip of paper, one inch wide, so as to form a right-angle in the middle. Or, if a longer ladder be desired, place one end of a forty-inch strip over the end of another one, at right angles, and fasten with a drop of paste. Fold from left to right, one strip upon the other, until you come to the end; then pull out, and behold the stairs!

The fat and clumsy little fingers will work patiently a long time to achieve this charming result, and much skill of hand will be gained in the doing. Use colored paper for this whenever possible.

[Ill.u.s.tration: _A skirt for winter_]

[Ill.u.s.tration: _A mitten and a cap_]

The ill.u.s.trations on this and on the following page show some fascinating work for little hands. The looms are made of heavy pasteboard cut in notches, in which the warp of the same material as the woof is strung. Care should be taken to keep the warp straight, and to finish all the edges well. The articles in the ill.u.s.trations were made by first-grade children in the Ericcson School, St. Paul, Minn.

[Ill.u.s.tration: _A sweater for the doll_]

Chapter Four

METHODS OF STRINGING WARP

[Sidenote: _Warp of three widths_]

The adjustable loom can be strung with warp of three widths, one-half inch, three-eighths inch, and three-sixteenths inch, thus giving opportunity for a variety of materials.

For heavy rags, candle wicking, etc., wind the warp strings around three teeth in the head and foot pieces. This will give a warp of one-half inch--that is, one-half inch from one string to the other.

For silk, silkoline, finer rags, carpet ravelings, double wool, etc., wind the warp strings around two teeth, thus making a warp of three-eighths inches.

[Sidenote: _Kindergarten patterns_]

For double wool, worsted, rope silk, chenille, or raffia, where one wishes to reproduce kindergarten designs, as in paper-weaving, place the warp strings around one tooth only. This makes a close warp of three-sixteenths inch, which helps to form the design with the woof threads. In this case the warp should be of the same material as the woof. In kindergarten patterns the woof threads determine the color effect. It is better to have the children weave the pattern first with practice mats and slats, particularly if they have never had experience in the kindergarten. Suggestions for weaving kindergarten designs are given under the head of _Raffia_.

[Sidenote: _Plaids_]

For a plaid effect, string the warp at regular intervals, with different colors. Then weave the same colors at equal intervals to form the plaid.

(See ill.u.s.trations, pages 92, 98, and 101.) Shawls, carriage blankets, etc., woven in this way are very attractive.

[Sidenote: _Stripes_]

A striped warp is strung in the same way. (See ill.u.s.trations, pages 101 and 117.) The stripes could be continued through the mat, if desired, by weaving only _one_ color in the woof. By weaving _two_ colors squares are obtained such as those seen in the corners.

[Sidenote: _Materials for warp_]

For weaving with carpet ravelings or rags, and sometimes double wool, where a plain effect is desired, the warp should be of common twine, as near the color of the work as possible. Carpet thread is good, especially for the double warp in Turkish rugs. b.a.l.l.s of warp string can be obtained at department stores. Oriental cord comes in several colors, and can be had at a few cents a ball at the notion and stationery counters in department stores.

[Sidenote: _How to string a warp_]

The warp should always be one continuous string, and several inches should be left at each end in order to fasten securely when the work is finished. If preferred, the warp ends can be fastened before the weaving is commenced. Care should be taken to place the first and last strings of the warp directly _over_ the rods, and, in weaving, to pa.s.s the woof threads entirely around the _rods and strings_ to insure straight edges.

The ends of wool warp threads should be wound in and out of the notches to the right and left of rods, to fasten them until the weaving is finished. It sometimes happens that little children, and more especially those who are blind, pull up the warp strings when near the end of the work. In such cases it is a good plan to pa.s.s a rubber band _over_ the warp strings at the top of the loom and _behind_ the bars, back of the head piece, making it set up close by putting it around one tooth at each end. In this way the warp strings cannot possibly slip out of the notches.

[Sidenote: _Splicing with a weaver's knot_]

[Sidenote: _A raffia warp_]

Some teachers splice the warp with a weaver's knot, an ill.u.s.tration of which can be seen in any large dictionary. The continuous string is to be preferred, however, as experience has proved that even a weaver's knot will sometimes fail to stand the stress of weaving. It is very difficult to splice a warp of raffia. It is better to knot the warp threads in pairs (see directions, page 46), leaving two or three inches beyond the head and foot. These ends may be used for a fringe by tearing very fine, or they may be run down in the woven part with a darning needle, as rattan is run down in basket work.

[Sidenote: _To fasten wool or silk warp strings_]

[Sidenote: _When the warp is correct_]

When the weaving is done and the mat lifted from the loom, the ends of the wool warp strings can be run in along the sides with a tape needle.

If the warp be of twine, it is better to tie the end to the next warp string and allow the fringe to cover the knot; or, as in the case of silkoline, the woof strips can be caught over the warp strings with silk of the same color in order to hide them. Only experience can teach the tightness with which a warp should be strung. Worsted, carpet thread and twine will stretch as the work progresses, and raffia will not. If the warp be too loose the work will be uneven and the strings will slip out of the notches. If it be too tight it will be difficult to finish the last two or three inches and the woof threads will look crowded. The best test is to place the hand upon the warp before commencing to weave.

If it feels firm and does not push down too easily, but springs slightly beneath the hand, it is probably correct.

[Sidenote: _To string a warp for fringe_]

[Sidenote: _To string the warp threads in pairs_]

Where the warp is of the same material as the woof and it is desired to extend it to form a fringe, it can be done in the following manner: After the loom is adjusted for the size required, cut the warp strings so as to allow two or three inches beyond the head and foot pieces. If you intend to knot the fringe in some fanciful way after the weaving is finished, allow four or five inches. Take two threads, knot so as to leave the required length for fringe below the foot piece, then pa.s.s around one or two teeth, as the case may be, draw tightly to the head piece and knot firmly on the upper side, leaving a fringe of the same length there. Knot the strings in pairs in this way until the whole warp is strung. It will be noticed that the rods are placed beneath the notches of odd numbers. In knotting warp strings in pairs it will be found necessary, when the last tooth is reached, to do one of two things--either allow one string to lie beyond the rod, or, having strung the warp within one tooth of the rod, to start the next string in the _same_ notch, bringing the two strings together. This will bring one string on top of the rod and none beyond. In the first case, the string beyond the rod must be taken up in weaving with the one on top of the rod. Experience has proved the second method to be the better one.

[Sidenote: _Double warp for Turkish rugs, etc., with fringe_]

Kiz-Kilim rugs have perforated or open-work patterns. To produce this effect string a _double_ warp through every notch in the foot and head pieces; that is, use two strings in each notch, tying in pairs for fringe as before. Use a brownish white carpet thread. With strong black thread string through every other notch to outline perpendicular sides of squares in the pattern. Your warp will be strung three-sixteenths inch, but the black threads will be three-eighths inch. This will enable you to keep the patterns straight as the work progresses.

[Ill.u.s.tration: _A Kiz-Kilim rug pattern_]

[Sidenote: _Patterns for Turkish rugs_]

In drawing designs for Turkish rugs, where the pattern is to be placed under the warp, it is better to make a squared paper first. Lay the head piece of the loom upon unlined paper. Place a dot at every other notch.

Draw perpendicular lines first, then dot for horizontal lines. The result will be a foundation to fit your loom. If the squared paper of the kindergarten be used the squares will be either too large or too small to correspond with the notches in the loom. It will be found very easy to transfer a pattern from a rug to the paper. Fasten the pattern under the warp by overhanding to the rods, taking care to have the black strings directly over the perpendicular lines in the pattern.