The Country Seat - Basketweaving Tips - basketry and basket weaving helpful hints for basket making fun. "A knot in the handle brings good luck and assures that your basket will always be full, never empty. It may be full of love, and hope, good health and other things we oft times cannot see, but never empty." Author Unknown Lashing Made Easier Try these special tools: ~ the Weaverite tool letter B, it's a flat tipped awl. Slide the tip in between the last row of weaving and the rim to create just enough space for your lasher. ~ and the Lash Buddie, which allows your lasher to slide along the smooth metal instead of rubbing against the rim and weaving. Lashing with Cane When lashing with natural or bleached cane (or weaving a cane seat) look for the tiny nodules along the length. These nodules are where the thorns were removed (cane is the bark of the rattan plant, reed comes from the core of the plant). The cane should ALWAYS be pulled though with the high side of the nodules coming first. If it is pulled in the other direction, the nodules can catch and may rip or shred the cane.

Oval Core Oval core makes a nice substitute for round reed ribs in ribbed baskets. Oval core is cut from the core of the rattan plant and is slightly oval on both sides (think of 2 pieces of flat oval pasted together). If you like the look of old oak melon baskets with the flat spokes, you will probably like using oval core. Oval core can also be carved for handles. Packing Rows Reed and wood have a tendency to shrink as they dry. Allow your basket to dry overnight before tucking down the stakes and lashing the rim. If you have extra space between your rows the next day, you can easily adjust the weavers to ensure a tightly woven basket. The Weave-Rite heavy duty packing tool (H) is excellent for this job and saves your finger nails. Even when you don't see spaces between the rows before you pack, you might be amazed at how much space is revealed once you start packing down the rows. Pencil Marks Marking some of the spokes on the wrong side in the center helps to line up the base quickly and easily.

The Central Pennsylvania Basket Weavers' Guild December 2000 newsletter gives this tip to remove the pencil marks; After the base is woven, "Use your finger to rub off pencil marks on your reed while the spokes are still wet and they will come right off." Plato Shear The Platoshear Diagonal Cutter is a good tool for cutting the ends of round reed on the inside of baskets. The Platoshear can also be used to cut the inside spokes flush with the top of the row under the rim for flat reed baskets (works best for spokes 3/8" or smaller-wider spokes need to be cut once from each side because the blade on the shear is not very long). The angled blade of the Platoshear makes these tasks much easier. Help - I got reed that's very thick or very thin - what do I do with it? Just because you received a coil of reed that doesn't meet your imediate needs doesn't make it a bad coil of reed. Brittle or splitting reed is bad, too thick or too thin reed is just not what you need at that time. Someone else may be desperately looking for exactly what you have.

A good coil of reed should have pieces of varying thickness, some thicker, some thinner. This give you weavers and stakes. Please don't throw away thicker pieces of reed! They are perfect for stakes and the very thickest pieces are great for rims. Even the short pieces 6" or longer are great for slotted bases and the heavier, thicker pieces make the best spokes. Even the super paper thin pieces are perfect for plaited ornaments like the reindeer. I've been making larger ones with 3/8 and 5/8" flat and they are a lot of fun. It can be frustrating when you don't have the right piece of reed for the project that you are working on but if you keep what doesn't work for the current project, you will have what you need the next time. We're happy to look for �longer lengths� or �thin and flexible�, etc. just let us know. We'll do our best. Shaker Tape Instead of sewing together the ends of Shaker Tape on the bottom of a basket, carefully glue the ends together with super glue. Be careful not to get the glue on anything other than the cloth. The gel and liquid seem to work equally well.

After the glue sets, the joint can be hidden between overlapped spokes. How to keep Reeds & Cane from Tangling CANE - Tie a piece of string or twist tie around the "loop" of cane (all hanks of cane are tied in the center, doubled over and then coiled so that there is a "loop" on the outside of the hank). Always keep this center "loop" secure. Hang the hank of cane from the ceiling or a hook on the wall. Put the hook through the loop, leave one or more ties right below the loop and remove all other binding from the hank. Allow the cane to relax and straighten. When removing pieces of cane from the hank, always pull pieces of cane from the loop. DO NOT try to pull a piece cane from the loose ends, it will tangle. REEDS - Place two rubber bands, twist ties, hair bands, etc. (using two bands is a safety measure, just in case one breaks - the bands will allow easy removal and insertion of reed ends) around the ends of the reed, before you snip the last of the ties that hold the coil together.

Hang the reed from the ceiling or a hook on the wall and allow the reeds to relax and straighten. Try to pull round reed from the end or close to the end of the coil. Try stretching the long reeds out over the back of a chair or table and then pull out one or two pieces at a time. Taking Classes ~ Student Tips Here are some tips on how to be a good student and how to get the most enjoyment and learning from your basket classes: Always check the weaving level of the class before you sign up. If it says advanced, then it means advanced in that style of weaving, not just that you have woven lots of baskets. You should have woven or taken classes that were intermediate level in that style already. Pay attention when the instructor speaks. You may not be as far along as others, but you will need the instructions when you get to that point in the basket. Stop what you are doing and watch what she/he is demonstrating. Try to weave in the manner and with the methods that the instructor demonstrates. It may not work for you and you may like a different method better, but you took the class to learn. You may be surprised at how changing one little technique can improve your basket.

Give it a try! Do not be easily frustrated. There will be others in the class that will be faster (or maybe slower) than you are. The instructor is there to help all of you. Slow down, take a deep breath, ask for help. Often there are many students in a class and it's hard for the instructor to notice everything. If you are not sure of the next step, ask. But, be patient if she/he is working with another student. You will get your turn. Arrive early or on time for class. It's frustrating and time consuming when the instructor has to repeat the introduction and beginning instructions several times. If you are late, you have now lost valuable time that you have paid for. The instructor is not required to stay after the class to continue to teach. Many will stay, but many will not. Respect your neighbor's space. Sometimes there will not be extra room between students. Place only what you need on the table in front of you, the rest should go under the table or in the hallway or other open space approved by the instructor. Clean up after yourself, this includes any drink containers or food wrappers. Look for recycling bins for cans and bottles.

If you have large pieces of reed left over, see if the instructor wants them back. Always be considerate of your other students, the instructor and the people and building hosting the class. Class Checklist: Know which class you are taking as well as the day and time the class starts. Know how long it will take you to get to the class and leave extra time. Check the required tools and supplies list, each class is different. Make sure that you have everything listed or that you can purchase them the day of class. Mark your initials with a woodburning tool or permanent marker on everything you bring to class. If you leave something behind, it will be much easier to return it to you. Know what the lunch plans are, will there be a break or will the teacher expect you to pack a lunch and eat and weave. Know if there is a refrigerator available and what type of restaurants or take out is available locally. Relax, learn and have fun! Time Savers If you weave a lot of a particular basket, cut enough stakes for several baskets at the same time. A lot of time is wasted with the coiling and uncoiling of reed.

Open a coil of reed and use the whole coil for stakes (save any thin pieces for weavers and recoil them with a tag saying "weavers" and the size of the material). Twist tie the stakes together, one bundle for each basket. Don't forget to make a tag for each bundle (so you know later on, what they are for!) or tie the bundles together with one tag. Twist Ties Some of our handles are held together with long green twist ties. Some produce also come with long thick twist ties. Save these ties. Place two rubber bands around the ends of the reed, before you snip the last of the ties that hold the coil together (using two rubber bands is a safety measure, just in case one breaks - the bands will allow easy removal and insertion of reed ends). Recoil the reed. Hold the coil together with the long green twist ties or other long twist ties. They can be reused many times. The "D" handles can be hung by a loop of twist ties. Just untwist and remove the handle that you need. Look around your workspace. You might be surprised at all the things that can be held together with twist ties.

Weaving Table Our weaving table is wonderful for starting spoked bottom and double spoked bottom baskets. The table is 14" square with a 1" square grid marking. The grid also has 1" apart circles for measuring the rows of twining. The spokes are laid out in a pin wheel fashion and a T-pin is inserted into the center and through the hole in the weaving table to hold them all in place. Then you can begin twining and be sure that all the spokes are spaced evenly. The table is mounted on a ball-bearing base so it spins as you work. The surface of the table is treated with a waterproof finish. The weaving table can also be used for laying out square or rectangle bases, no measuring, just use the 1" grid markings. The table also works great for slotted bases. You can turn the base (actually the weaving table) while weaving the first couple of rows, without knocking any of the stakes out of the groove. When working on a spoked bottom basket- if it is hard to get the T-pin through the reed spokes, turn the table over and tap the T-pin through the reed with a small hammer.

Once the tip of the T-pin is through the reed, you can place the pin into the center hole of the weaving table. This way you will not put extra holes into the weaving surface of the table. The Country Seat, Inc. - Basketweaving Frequently Asked Questions 1/8" Flat Reed Q: I have some patterns that call for 1/8" flat reed, where can I buy this? A: 1/8" flat reed is not commercially available. The pattern authors are cutting 1/4" flat reed in half. You can do this or try 11/64" flat reed or try natural cane or bleached cane in the Medium (3 mm) size. 1/8" half round is available and is used for rims on miniature Nantuckets and other baskets, it can also be used as an interesting weaver. 1/8" / 3mm Flat Oval is available in 1/2 pound coils and can be used for many projects. It works great for weaving, lashing and wrapping handles! Adding a New Weaver Q: I have never used round reed as the weaver before.

To start/stop the weaver, do I just the old and new side by side for awhile, or do I push the old end down a spoke, as well as the new end? A: The answer will depend on who you ask :o) 1) It is an accepted method to lay the ends side-by-side, on the inside of the basket, across a spoke (whether the basket is constructed entirely of round reed or just the weavers are round reed). The ends are generally cut on an angle so they lay as flat as possible. 2) You can taper each piece for a few inches and then weave the two as one (trapping the ends between the spoke and weaver). 3) The method that I personally use (because I hate to see ends of any kind and I feel that loose ends weaken the basket, esp. if it will be used with anything that can catch on those loose ends and break them, OK I'm off my soapbox) is to bury the ends into the weaving.

The old weaver is brought in front of a spoke (#1) and is crimped or bent at a 90 degree angle (a bent-nose pliers works great) and the end is inserted, down into the weaving, to the left side of the next spoke or rib (#2) , the new piece is crimped and the end is inserted into the weaving to the right side of the previous spoke (#1) and brought behind the next spoke (#2) and out towards you and weaving continues as usual. This allows for a most natural looking joint. The method that you use is really up to you and your preferences. Flat and flat oval weavers are overlapped for the distance of 4 stakes, the ends are hidden between the weaver and the stake. It's always a good idea to shave down the end of the old flat oval weaver or the end of the new weaver (the shaved end is placed behind the unshaven weaver) so the overlap is less noticeable and bulky. See Overlapping Reed Ends for more joining information.

Attaching Handles Before the Rim is Lashed in Place - Bushel Basket Handles , Push In "U" or Notched Handles , Swing Handles , Ears , Square "U" w/Center Grip etc. Q: How do I attach these handles to my basket? A: First look at your handle, does it have any kind of a ledge or notch near the ends of the handle? If it does not and your handle has nothing to hold it into the basket you have an Un-notched "U" or "U" Shaped Handle , click HERE for the information on attaching this style. Now decide if the handle has a ledge (that the rim will sit on top of) or if the handle has a notch (sometimes called a "closed notch") that has a top and bottom that the rim will fit into. Remember that Bushel Basket Handles will be placed against the inside or outside of the wall of the basket while the other styles will staddle or go across the top or opening of the basket and the tips are inserted to the inside of the basket. Handles with a ledge: First look at the tips of the handle. They may need to be trimmed with a knife so they are thinner.

Only the tips of the handle are inserted into the weaving, usually behind 1 - 3 rows of weaving. Every basket is different, so judge accordingly. This will stabilize the handle. If you try to force too much of the handle into the weaving, the basket will become distorted. The inside rim is placed against the inside of the basket. The rim will lay tight against the handle and sit on top of the ledge. Attach the outside rim. Make sure the rim overlaps are not at the handle. Lash your rim. It always looks nice to "X" lash at the handle, even if you only single lash the rest of the basket. (When the lasher comes into the space before the handle spoke, do not bring it to the front (toward you), instead take the lasher behind the handle, up and out to the front on the right side. Bring the lasher across the rim in front of the handle and into the space on the left. Bring the lasher straight up and out to the front. Make the "X" by crossing the front of the rim (weaving to the right) and insert into the space on the right of the handle. Continue single lashing around the basket.

Repeat on the other side.) Your handle is now held in place by the rim. Handles with a notch: First look at the tips of the handle. They may need to be trimmed with a knife so they are thinner. Only the tips of the handle are inserted into the weaving, usually behind 1 - 3 rows of weaving. Every basket is different, so judge accordingly. This will stabilize the handle. If you try to force too much of the handle into the weaving, the basket will become distorted. These handles are most commonly placed on the inside of the basket, but may be placed on the outside if it is pleasing to the eye. The inside rim is placed against the inside of the basket. The rim will lay tight against the handle and sit into the notch. The notch may not be large enough for the rim. Two choices, cut the rim or cut the notch. In almost all cases it is easier to cut the rim material. With a sharp knife, trim just enough off the rim so that it fits snugly into the notch. You can taper the cut or confirm the cut to the exact shape of the notch. Attach the outside rim. Make sure the rim overlaps are not at the handle. Lash your rim.

See above for lashing suggestion. Natural Cane Q: I see that there are different types of cane, what can I use on a basket and what is used for chairs? Are they the same? A: All cane (Hamburg & Natural) can be used for basketweaving while only the Natural (also called Long Select, Strand cane, Chair Cane, etc.) can be used for chairs. The Hamburg cane (also called Bleached cane) goes through a bleaching process that makes the cane initially whiter in color (it will oxidize and darken over time just as all reed and cane does) and more flexible than Natural cane. It will take a dye more evenly than the Natural cane. Hamburg cane is available in 500 ft coils. Stencils Q: I have seen many baskets over the Internet that have stenciling on them, but I can't find any information about the stenciling. Do you have any tips? A: To stencil a basket you need a smooth, dry surface for the best results. If you use flat reed you may want to lightly sand it first. Our tulip poplar stencil strips, maple or thin ash work very nicely for stenciling.

We carry Paint Crayons which work on well on baskets since the paint will not run . The method that works well on baskets is to rub the crayon on a palette (a piece of waxed paper, etc.) Then wearing disposable rubber gloves, dab the paint on the palette with your finger. Drug stores carry individual rubber fingers, called finger cots, that work great. The stencil needs to be held firmly against the surface to be stenciled, then just dab the paint from your gloved finger into the opening of the stencil using a tapping motion. Carefully lift the stencil away from the surface of the basket. The stencil strip can also be stenciled before weaving it into the basket. It is kind of tricky to get the stencils in the proper position this way, though. You need to measure the spaces on your basket carefully, so the designs line up correctly or stencil a continuous design so the spacing won't matter. Look for the mini stencils in the on-line catalog. Rub-on Paint Designs Another option for those of us who don't paint or stay in the lines very well, are the Rub-on Paint Designs in over 30 designs, many new smaller designs are available. These work like transfer letters.

Just rub the pre-painted design onto the basket using a wooden popsicle stick. The rub-ons can be applied to handles as well as stencil strips. Hint - when applying the transfer to a finished basket, place a hard surface (such as a coffee can or block of wood) on the inside of the basket for support. Flat Bottoms Q: I would like some suggestions on keeping the bottom of my baskets flat after they are made. I have soaked them and reshaped them but they do not always sit flat, they wobble a bit. What can I do? A: This is a common problem in baskets made with overlapped and stapled "D" handles . For a square or rectangular basket, put 2 skids on the bottom running parallel to the handle nearest to the outside edges of the basket. Use flat oval the same width of your stakes and the length of the side of the basket and "X" lash in place with natural cane , bleached cane or flat reed . Shave down each end and slip it under the last spoke on the bottom that goes over the row where the skid is to rest. Not only will this level the basket, but adds support to the base of a basket.

Stapled handles are the oldest style around, long before the new dovetailed kind being sold today. There are still many people who swear by them as being the best. Also, whereas the newer style handles are all machine made, the overlapped and stapled kind are splits peeled from a log, bent around a frame and allowed to dry in place. They are then stapled to hold their shape. Many times, they will list to one side after being removed from the frame, but usually can be rocked back to an upright position. To level without runners,wet the bottom of the basket, place your thumbs to the inside of the corners and push up. Do this on each corner so the corners rest on the table. Push the center up, leave the basket upside-down to dry with a weight on the bottom. Getting Started Q: I want to learn basket weaving, how do I get started? A: The best way to start weaving is to purchase a kit , the directions and all the supplies are included. You won't have lots of supplies left over. A wide variety of baskets can be found in kit form. Almost all the kits that we sell are geared toward beginner weavers.

Try any of the Burgundy Hill Collection , Easy Country (enough materials to make two of the same baskets), Blue Ridge or Jadvick and new Coiled Kits. If you are interested in a ribbed style basket, start with a Melon , then Potato . The only kits from the above collections that we wouldn't recommend starting with are: the Gran's Cotton, Stairstep, & Potato. These are all great baskets and the instructions are written for beginners, but it's best to develop some weaving skills before you try these baskets. To view the kits we carry, please visit the secure on-line catalog . Some good books to start with are: Basket Beginnings (a classic) by Grace Kabel, Pine Needle Basketry (coiling pine needles) by Mallow, Wicker Basketry (the round reed Bible) by Flo Hoppe, and many more - see the secure on-line catalog for a complete list of all the books we carry. Gourd Cleaning and Decorating Q: How can I clean the outside of my dried gourds? A: Run the gourd under warm water for a few minutes (or hold under water in a bucket), the outer epidermis will soften and you can start scraping it off.

I mostly use a potters tool (bent metal - a round loop on one side and a squared loop on the other side). After the peeling, waxy layer is removed, let dry and sand with fine sanpaper if needed. Now I cut open the gourd. You may or may not have to clean the inside, just depends on the look you want. Sometimes the pulp is very smooth and attractive. I use the scraping tool again to clean the inside. You may want to dampen the pulp. ALWAYS wear a mask while working with gourd dust. Sometimes I use my dremel tool to finish cleaning the inside. You can use a variety of products to color a gourd, basketry dyes, acrylic paints, leather dye, etc. Experiment to see which you like best. Next time you dye reed, throw some gourd scrap in and see what they look like. I like inks and the reed dyes. How Much Reed is Needed to Weave a Basket Q: I want to weave a basket, but the pattern doesn't tell me how much reed I will need. How do I know?

A: Our print catalog and on-line catalog list the approximate number of feet per one pound coil for each size of reed. For example: 1/2" flat reed has approximately 185 feet per one pound coil. The way to approximate how much you need for a particular basket is to take the number of stakes times the length and divide by 12 to get the number of feet needed. For example: 5 stakes at 20" and 7 stakes at 18" = approximately 19 feet. Now divide 185 by 19 = 9 baskets. For each size of reed on the sides of the basket, take the number of rows of weaving, times the diameter of the basket (add 4 inches to the diameter for the overlap) divided by 12 to get the number of feet needed. If you do not know the diameter of the basket, take the base measurement and add together. For example: the base measures 10" x 12", so take 10" + 10" + 12" + 12" = 44" + 4" overlap = 48" approximate diameter.

Q: I'm in charge of the bible school craft projects this year, what is a good basket weaving project for kids? A: For a quick, easy and cheap project; try the drilled wooden bases. These are great for even the youngest children because you can set up the spokes ahead of time and the weaving can be done with colorful string, yarn, grasses or anything flexible. The top can be dunked into water and a simple rolled border added or the spokes can be pushed down into the weaving for a quick finish. See the books: Basketry by Christopher and Earth Basketry by Tod for instructions on using drilled wooden bases. (also available in oval and heart shaped) Weave place mats from heavy paper or flat reed. The pattern can be a simple plait of over 1, under 1 or more complicated twills depending on the age group. String can be used to stitch the edges of paper together or lash a "rim" in place. See the free pattern: Carolina Candy Basket: freepatterncandy.htm . Weave around a Styrofoam cup. Round reed can be inserted across the cup near the bottom.

A base can be twined for a couple inches or start weaving up the sides right away, using the shape of the cup as a mold. After the weaving is finished and secured, break away the Styrofoam. Voila', a finished basket. Try Plastic Strapping - no water needed. Plastic strapping works great in a hexagonal (or Shaker) weave or try diagonally plaited baskets. Will also work as a reed substitute or for placemats. Mostly white to gray in color, sometimes mixed color (blues, reds, yellows) bundles are available. Lashing a Rim Q: Is there a formula for determining the length of reed needed to lash a basket? A: You can figure 2½ - 3 times the distance around the rim of the finished basket. To double lash (or X lash) the rim, figure 4 - 5 times the circumference of the basket. Marbled Strips Q: Help, I bought some marbled strips of wood, now what do I do with them? A: Please follow this link to see the patterns that we carry that use marbled strips: Marbled Patterns . You can use the strip as is in many baskets around the center.

Just use it to replace several rows of weaving in the center or above the center of the basket side. If you want to cut it into more narrow strips, mark the backside with a pencil where you want to cut. Put the strip into water for about a minute. Dry off in a towel and use a scissors or rotary cutter, etc. to cut down the pencil marks. Always cut the strips while damp or they may decide where to split rather than where you want them to. You can use them alone in a basket or sandwich them between a couple rows of dyed reed, totally up to your taste and preferences If you'd like to try marbling wood strips yourself, the Marbling for Baskets and Fabric Pattern - by Venie Hinson gives all the directions and lists the supplies needed to marble fabric and wood strips. Making an evenly shaped basket involves a great deal more than hand movement. Part 1: Choosing the Correct Weight Materials Shaping begins with choice of materials. The stakes must be the correct weight (thickness and stiffness) for the size and proposed use of the basket. Weavers are usually thinner and more flexible than the stakes, but not so thin and flexible as to be overwhelmed by the strength of the stakes.

As a general rule, the smaller the spaces between the stakes are, the thinner and more flexible the weaver should be. When the spaces between the stakes are large, strong and thicker weavers are required to hold the stakes in place and maintain the shape of the basket. Shaping continues in the mind of the basketmaker. Good shaping demands knowing and understanding what determines shape and how the elements used in constructing the basket interact to produce the conditions necessary to achieve a desired shape. Part 2: Making the Spaces Even Shape has two components: the position of the stakes and the size of the spaces between them. If you have chosen your stakes carefully they should be equal to each other in their widths and weight. The variable in the shape of a basket is the spaces between the stakes. when the spaces are kept even throughout the weaving process, the resulting basket will be evenly shaped. When the spaces are closer on one side of the basket and correspondingly farther apart on another, a curved basket will have bulges and flat places; a flared basket will list to one side. Closely spaced stakes turn upward and change direction much more readily than stakes with distance between them.

No amount of adjustment to the finished basket can ever make a basket with unevenly spaced stakes appear well shaped. Evenly maintained spaces in combination with properly conceived and executed weaving techniques produce well shaped baskets. Part 3: Rows of Weaving Should Touch Each Other Correct weaving for shape has its own particular mind set. Throughout the weaving of any basket, think of placing each stake in its proper position then placing the weaver on the stake in such a way as to hold it in that position. To do this it is necessary to understand how weavers hold stakes in place. Twining holds stakes the best of all weaves because the two twiners "lock" as they pass each other traveling in and out between each stake. The over/under strokes of plain weave do not lock the stakes in place. The ability of plain weave to hold stakes in place can be enhanced by carefully making certain that each weaver touches the previous waving every time it passes in or out between the stakes. That touch is the closest over/under weaving can come to the "lock" of twining. When a weaver does not touch the existing weaving, the stakes are not necessarily held in place: they, and the entire basket, can easily become distorted.

Because the weaver passes over and under groups of stakes in twill weaves, the need for it to touch the previous weaving becomes even more critical. Part 4: Don't Pull That Weaver! It is rarely, if ever, necessary or useful to pull on a weaver to achieve a change of direction while weaving a basket. The forces that result from pulling on a weaver are much too variable to be consistent with precise shaping techniques. The degree of dampness in both the stakes and the weaver, the amount of space between the stakes, and the type of weave being used all influence the distance tension from a pull can travel around a basket. If both the stakes and weaver are fairly dry and there is space between the stakes, a pull can tighten the far side of the basket. Even if the stakes and weaver are both quite damp, a twill weave can allow tension from pulling to travel farther than intended. Damp, close-spaced stakes in combination with plain over/under weaving and a damp weaver can cause a healthy pull to have little or no effect.

Part 5: Turning the Basket Up or In Manipulating the stakes and using the weaver to hold them concentrates all of the changes in shape immediately under the fingertips and right in front of eyes. The actual technique for turning a basket inward is far simpler than the conceptual considerations that precede its use would indicate. The over stroke of weaving controls inward or upward changes of direction. Push inward on each stake in turn as the weaver passes over it. This is accomplished more easily with finesse than force. Choose a moderately stiff weaver if the spaces between stakes will permit it. Spritz the unwoven part of the stakes if they feel stiff. Pushing inward on the outside stakes lessens the distance the weaver needs to travel between the backs of the two stakes on either side of the pushed in stake. The effect is the same as pulling: less weaver is placed in the basket. The effect, however, involves only the pushed stake. The force of the push is determined by the intended shape of the basket. If the turn inward is to be abrupt, push almost to horizontal; if the turn is to be more gradual, push correspondingly less. As the shaping continues, the push will ever more vigorously approach horizontal.

After a round of pushing in on the outside states and placing just enough weaver over them to hold them, there should be a distinct difference of angle between the stakes that have been pushed and those that have not. Ideally the pushed stakes will maintain their angle while the pushed stakes from the next round lean even farther into the basket. As the stakes turn ever more inward and the spaces between them become smaller, the weaver must be increasingly thinner and more flexible. To avoid pitfalls, make certain that the pushed stake bends inward right at the top of the previous row of weaving. Under no circumstances should pushing in on the stake involve the existing weaving. If the stake merely leans inward pulling weaving with it when pushed, the basket will merely lean inward. If the top part of the weaving also bends inward when the stake is pushed on or below the top row of weaving, the area to be woven is actually stretched so that the diameter of the basket will continue to expand. The area to be woven also stretches if the stake is pushed past horizontal. Over/under baskets with stakes that are far apart and twill baskets are more difficult to turn up or in than over/under baskets with normally placed stakes. In both cases the existing weaving almost always bends with the pushed stake.

Supporting the stake that is being pushed by holding it against the last row of existing weaving will force a bend at the top of that row and facilitate the change of direction. Using the stiffest weaver allowed by the stake spaces on the rows just before the change of direction will also aid in shaping these baskets. Part 6: Flaring the Basket Out The under stroke controls the weaving of outward flaring baskets and outward changes of direction. Generally this type of shaping is much more difficult than turning a basket inward because of most basketmakers' innate tendency to pull on the weaver. Flaring a basket outward requires absolutely no tension on the weaver. The stakes are merely held at the desired angle while the weaver is made to curve around over and under them. To turn a basket outward, reverse the process described above for turning it inward: pull each inside stake outward at the desired angle and place the weaver under it to hold it in place. Part 7: Straight Sided Baskets Straight sided baskets are shaped more like baskets that flare outward, especially since it is usually necessary to hold the stakes of a straight sided basket slightly outward as they are woven. The spaces between the stakes still determine the shape.

A space the same size as the other spaces in the basket must be developed at each corner. The weaver should move in and out, over and under the stakes holding them in place, but never binding or bending them. The wider the weaver is, the more it becomes imperative that the weaver touch the previous weaving and bend as it moves in and out between the stakes. Ed. Note - original note from the Northeast Basketmakers Newsletter: Judy writes: "This article is not under copyright, so anyone may use it, but I would, out of curiosity, like to know when and how it is used." If you reprint this in any way, please contact Judy and tell her how you used it. Basketmaster's Weavings: Back to Basics of Basket Weaving - Basket Making Terminology and ♥ MAKING OUR HOME A HAVEN PODCAST ♥ where we're weaving a bit of joy into every day. May Your Life Be Like A Basket...Useful...Bountiful...Beautiful... Basketmaster's Weavings is about my passions, much of which revolves around basket weaving. I weave with reed and I love teaching others to weave.

Many of the patterns and styles that I show in the blog are geared to the beginning weaver, or even the brand new weaver. If you have been thinking about wanting to learn to weave, then this blog is for you. Throughout the blog and videos I take you step by step through each and every process of weaving. I want you to be successful in weaving the very first time you try. For the intermediate and advanced weaver, my wish is that you take ideas that I show, mix them up a bit, and incorporate them into your own beautiful creations. Happy Weaving and Baskets of Blessings to all my visitors, Nancy 1000+ images about Ribbed Baskets on Pinterest | Ribs, Billy ray and Antiques Small Hand Woven Egg Basket with Twisted Reed Handle, Brown, Rust and Black Accents Rib Baskets,Ribbed Baskets,Baskets Boxes,Woven Egg,Hand Woven,Twisted Reed,Reed Handle,Basketry Ribbed,Handle Brown 2 Weaving a wicker basket; the most comprehensive basket tutorial on the internet- jonsbushcraft.com Typically, commercial growers sell willow shoots which have been graded into bundles of different lengths (measured in feet).

You can buy whatever quantity you like, the willow is weighed out in kilograms and tied in bundles of different weights for sale. There will likely be many types of willow for sale, as they treat the willow in different ways such as stripping the bark and steaming it etc, mainly to give different aesthetics. But as a beginner, to keep things simple you might want to just buy 'brown' willow. 'Brown' simply means that the willow has been harvested and then dried out with it's bark left unstripped, simple! In terms of the actual variety of willow, the most common is called 'Black Maul', which is incredibly flexible and durable; great for beginners. So, if you're going to buy willow, for the project that follows in this article, I'd recommend a single 5kg bundle of 4-foot 'brown' willow of the variety 'black maul'. 5kg is way more than needed, but this will give you a good selection of rods (they vary slightly in thickness) and you'll have spare for extra practice. Preparing the Willow - Drying If you have freshly picked your own willow, then you will ideally want to Dry it.

Baskets made from freshly cut willow will shrink and the structure will become all loose. This is because Willow shrinks the most the first time it dries out. It may take several weeks to dry completely. If you have purchased 'Brown' willow from a grower, this has already been dried. - Soaking In order for the willow to be flexible enough for weaving, Your dry willow needs to be submerged in water and left to soak. A good rule of thumb for the soaking time is one day per foot of length, i.e. If the length of your Willow shoots is 4 foot then soak for four days. Some willow can take a bit longer and it depends a bit on the water temperature too. When you think the willow is probably soaked enough, as a test bend a rod and see how it responds. Note: At the start of the actual project below, you will be informed of how much willow to actually sort out and soak. Tools You wont need many tools for this project: a knife e.g. a bushcraft knife or pen knife; a pair of secateurs; a weight e.g.

a cobble stone; a ruler/tape measure; and a basket maker's 'Bodkin' (a simple pointed tool used for separating the weave). However for this simple project a pointed stick or 6 inch nail will work plenty well enough as an improvised bodkin, If you don't have a proper bodkin, Just get weaving and you'll work something out when it comes to it. Half of these sticks need to be split at their centre using a knife. Working onto a surface, push the knife into the stick as central as possible. Then pick the stick up and push the blade through. Now turn the knife to open out the split, which needs to be about 2" (5cm) long. The non-split sticks are now threaded through the centres of the split sticks to form a cross called a ï¿½slathï¿½. This is most easily done by first threading the three split sticks onto one non-split stick, then simply push the other two through into place. Note, it can be a good idea to alternate the thick and thin ends to keep things balanced. Weaving the base: The base is woven with a ï¿½pairingï¿½ weave.

To begin, youï¿½ll be weaving clockwise around each of the four ï¿½armsï¿½ of the slath to hold it tightly together. Select your two thinnest longest rods to use as weavers. Youï¿½ll Start with their tip ends (the thinner ends). Trim a couple of inches off if they are damaged or very wispy. Insert the tips into the split of the slath as shown. Then, position the weavers so that the next arm of the slath is between them, as shown. Now, bring the weaver from the back up and over the next arm, and the top weaver down behind. Do the same again around the next arm, bringing the weaver from the back up and over, and the top weaver down behind... Rotate the slath as you go (anticlockwise) so that the handling is the same with each stroke. This will help a lot. Keep the weavers pulled in tightly as you go. Note that when the weaver from the back comes up, it should come under the weaver resting at the top, and then the top weaver goes down over it. You will need to continue in this way until you have completed two rounds.

Continue weaving around and around... Splice in new weavers as shown, simply adding a new weaver alongside the old one and continuing. Butt ends are replaced with butt ends and tips with tips. After replacing one, weave ahead at least a few moves before replacing the other. The protruding stubs should be trimmed after completing the base. Note, you can weave quite far towards the tip end (the thinner end) of a weaver, leaving only about 4" (10cm) before replacing it. *KEY TECHNIQUE* As well as doing the weave correctly, you need to focus on spacing the spokes evenly and keeping them level like a disk. To achieve this, hold the spokes where you want them to be while you weave around them, thus locking them in position. You are aiming for a base which is either flat or ï¿½crownedï¿½. Crowned means that the underside will be slightly concave. Crowning the base makes it stronger and also gives the basket a rim to sit on. To do this, when the woven area is about 3" (7- 8cm) wide, hold and flex it as shown, pushing the centre in with your thumbs.

Turn the base around a little and repeat. Weave another row or two and then repeat this procedure again. The crowing can be worked toward or away from you as you weave. Monitor the shape as you go, you donï¿½t want the crowning to be too extreme either. Note: While weaving, if you end up with one weaver working towards its tip end and the other working towards its butt, when you replace one of them, add the new weaver in so that it evens things out. Continue weaving until the base is 8.5" (22cm) wide. It is preferable to finish with tip ends. Lock them off with a single move, threading the weaver which would go next, between the weavers of the previous row. This will keep the other end held in too. The weaver ends should now be cut off very close to the weave. However, the ends must still be resting against a spoke, or have no way of flicking out to the other side of the base. Base complete. If yours does not look like this, that is totally normal for a first attempt; do not feel hopeless. If you are not satisfied you could always weave another now that you know how...

Stage 2 - Staking Up At this stage, you now need to insert new rods into the weave of the base alongside each spoke. These will then be turned up vertically, giving you ï¿½side stakesï¿½ around which to weave. Use your medium-thick rods for this. Remember, the stake material must always be thicker than the weaving material. Before we start, you should notice that each willow rod has a natural curve in it. The outside of the curve is known as the ï¿½backï¿½, and the inside is the ï¿½bellyï¿½. A basket of this size with spokes spaced as they are will require two side stakes inserting next to each spoke, a total of 24. *Insight for future projects* If there was only one stake per spoke, the overall spacing of the side stakes would be much wider. As a result, the weave on the sides would be very loose. Too many stakes can also be a problem. With you own projects in future, you will need to carefully judge how many stakes a basket requires to achieve a nice tight weave.

It can often be the case that for example, only a few of the spokes need to have two stakes inserting next to them in order to tighten up the overall spacing; the others needing only one. Note, no more than two stakes can be inserted next to any one spoke. You will learn more about all this in the projects to follow. In order to insert the stakes, you will need to ï¿½slypeï¿½ the butt end of each, that means to make a long point. This can be done with a knife or a skilful snip of the secateurs. The cut surface should be on either the back or the belly, and not sideways. Be consistent. While holding the base with the concave side facing down (the underside), push the bodkin deep into the weave beside a spoke as shown. Remove, and then insert a stake belly side down into the weave as far as it will go. Repeat on the other side of the spoke. In this way, insert two stakes next to every spoke. Inserting the stakes belly side down means they will be bent up against their natural curve, which will result in straighter sides.

Note, Inserting the stakes back side up instead, gives sides which bow out more like a bowl. The stakes are now bent up, known as ï¿½pricking upï¿½. To do this, make a kink in each one slightly away from the edge of the weave, about 5mm (3/16"), no further. Use your thumb nail as shown. Let the rods relax back until youï¿½ve kinked them all, then bring them all up in one go. The stakes are held up with either a hoop as pictured (which is tied in place), or by simply tying them tightly together. If simply tied, do this high enough that the stakes are not leaning inwards. Also ensure they are not being held in a lopsided manner. The base spokes can now be trimmed back level with the edge of the weave, ensuring that their ends are now further back than the turn-up of the stakes. Stage 3 - The Upsett During the ï¿½upsettï¿½, a weave called ï¿½walingï¿½ is used as a transition between the base and the side.

The main purpose of this is to begin to secure the stakes upright and also to space them more evenly. The method of ï¿½walingï¿½ to follow involves weaving with three rods; it is called a ï¿½3 rod waleï¿½. Use your average thickness weaving material for this. To begin with, work with the basket lying down on your lap as pictured. 1. Take three similar rods and cut them to the same length. Start with the tip ends. Insert them a couple of inches deep (5cm) into the weave of the base on the left hand side of three consecutive uprights, as shown. Note, for the first round, you will be weaving not on the side, but on the edge between the base and the side. 2. Begin by taking the leftmost rod over two stakes, behind the next and out to the front, as shown. 3. Now take the next leftmost rod and weave it in the same manner; over two stakes, behind the next and out to the front. 4. Continue in this manner around the basket, always weaving the next leftmost rod. Note, the rod in use must always pass over the top of the other rods.

See in the photos how the uprights are starting to be spaced more evenly by pulling and holding them in place while weaving around them. Once youï¿½ve gone around the basket once, switch to working with the basket upright on a flat surface such as a table. *KEY TECHNIQUE* This photo shows correct weaving technique. The rod is brought across, pinched and held in place against the stake, before being taken behind the next stake. Note: avoid threading the end of the rod through the stakes like a needle; that is hard work. When you come to your ends, leave at least some length on the outside as shown. Add new rods in one by one starting with the left one as usual. The old end is pulled back slightly and then the new rod is simply inserted alongside as shown. Weave the new rod one stroke, before replacing the next, and so on... Note, when inserting a new rod, the end must go in far enough to be held behind the stake so that it canï¿½t flick back out once woven. Finish when the rods come to their tip ends and the pattern cannot continue. Squash the weave down to make sure it is firmly seated.

Note, by both starting and finishing the waling with tip ends, the pattern fades nicely in and out. All the ends are cut off about half way between the stakes. Stage 4 - Weaving the Sides There are many types of weave which can be used on the side of a basket. Being as this is your first, itï¿½s good to keep things simple and do a ï¿½randingï¿½ weave. With randing, the weaver/s simply goes around the stakes, in-front, then behind, in-front, then behind, and so on... If you had an odd number of stakes then youï¿½d weave with just one rod going around and around (obviously joining in new rods when necessary). However, because you have an even number, two rods need to be used, one ï¿½chasingï¿½ the other. Before you begin, place some kind of weight inside the basket, this will hold it steady and give you more control. Begin by placing the butt end of a rod behind an upright, lying directly on top of the wale. Now weave it simply around the stakes; in-front, behind, in-front, behind. Do this for just a short distance.

Now, the second weaver is added in behind the stake previous to where the first weaver started. Switch between weaving one weaver a little and then the other. It is important that one does not overtake the other at any point. Remember to use good weaving technique as explained in the precious 'key technique' box. Also, continue to work on positioning the stakes evenly by holding them where you want them to be while weaving around them. When weavers run out, add in new ones as shown. Join butts to butts and tips to tips. Note, trim some off tip ends so as not to weave with incredibly thin material. By now the stakes will most likely be supported. Undo the tie (or remove the hoop). If they now lean too far out, re-tie temporarily. Weave 3 1/2" (9 cm) high or a little more if you wish. Firm down as you go. When thatï¿½s done, weave a band of three rod wale on top. Same method as for the upsett, except the tip ends start simply resting behind the uprights as shown. Sides complete...

Before moving on to weaving the finishing border, ensure the weave is firmed down and level on top. Push on the weave with your thumbs. Stage 5 - The Border To complete the basket the upright stakes are turned down and woven into a border. The kind detailed below is a ï¿½tracï¿½ border. There are many possible versions of this, you will be starting with a fairly simple one. In preparation, a kink needs to be made in each stake slightly higher than the top of the weave. This ensures that each rod will bend at exactly the right point when turned down. The space below the kink allows room for woven rods underneath. It is very important that the kink is made at the correct height. In this version, it is made at the height of three rod thicknesses. As a measure, hold three rods (off-cuts as thick as stakes) on top of one another, then bend a stake over them to the right as shown. Let the stake stand back up again, then do the next, and so on... Take care in getting them all the same. You may find it less fiddly to bend them over something else of equal size. Each stake is woven in the same manner.

To begin, take one down to the right in-front of two uprights, behind the next, then out to the front as shown. The next stake to the right is then woven in the same manner, and so on... Ensure each stake is fully down before taking the next. When only three stakes remain upright, they continue to be taken in the same pattern, except youï¿½ll now need to thread them into place under the already woven stakes where you started. If you find it difficult to see how they should be threaded, look back at a complete portion and use it as your guide. Also remember that each rod lies on top of the one before it. When complete, trim all the ends off with a slanted cut, making sure they still rest on the outside against an upright. Stage 5 - Picking Off The last stage is to trim off any other excess ends anywhere on the basket. This is called ï¿½picking offï¿½. Make slanted cuts so they lie as flush as possible. Ensure they are not cut back too far, which would allow them to flick out to the other side. Congratulations on completing your first basket! You covered some really fundamental techniques and principles in this project.

If you feel that you need more practice to remember them, you may want to make a second attempt. If you like, you could always use different types of willow to spice things up a bit. The project you have just finished is one of the many diverse tutorials which feature in my book 'Willow Basketry: A How-To Guide', available to purchase from Amazon, or in eBook form on my website, see here for either .

Question: Spokes, Ribs, Rim Row and Lashing are all terms used in which handicraft?
Answer: Basket weaving