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THE ART CRAFTS
FOR BEGINNERS
THE ART CRAFTS
FOR BEGINNERS
BY a
sº
FRANK. G. SANFORD
DIRECTOR of ARTS CRAFTs, cHAUTAUQUA, N. Y.
ILLUSTRATED WITH WORKING
DRAWINGS BY THE AUTHOR
AND PHOTOGRAPHS
NEW YORK : THE CENTURY CO.

1913
N\,
& 2 ºr
(alſº
Copyright, 1904, by
THE CENTURY CO,
Published November, 1904
To those who feel the need of some art ea:-
pression, but who cannot attend an art.
school; to those who wish to follow the art
of the craftsman; to those teachers upon
whom demand is made for knowledge of
the crafts—this little volume is addressed.
CONTENTS
CHAPTER,
I
II
III
IV
VI
VII
VIII
DESIGN
THIN WOOD-WORKING
PYROGRAPHY
SHEET-METAL WORK
LEATHER-work
BOOKBINDING
SIMPLE POTTERY .
BASKETRY
EEAD-WORK
269 66
PAGE
57
69
. 137
. 173
. 207
. 227
. 261
INTRODUCTION
§
T often happens that young people with talent
and a strong feeling for art wish to go further in
their study than is possible within the limits of the
average School. There are two courses open to such
students. They can enter an art academy, or they
can acquire Such training as comes from the study
of books, works of art, and through private instruc-
tion. Of these two courses, the former is much to be
preferred, providing that the art School selected is
influenced by the modern art Spirit.
The old academic instruction differs from the new
in its recognition of historic styles as the basis or
foundation of design. In contrast to this, modern
academic instruction emphasizes the importance of
the greatest possible freedom of invention, such in-
vention, however, to be controlled by the laws of
IX
X INTRODUCTION
beauty. It can readily be Seen that the old academic
methods tend to crush individuality, and are in-
herently opposed to the very processes that called
into life the beautiful art known as historic styles.
The new academic thought insists that the designer
shall be himself; that he shall draw his inspiration
from nature and the immediate needs of his Sur-
roundings. The historic styles may be his grammar,
from which he may learn how to use the material
supplied by nature. Historic art may teach him
how to design ; it can never, alone, teach him design.
Not only do modern methods allow freedom of ex-
pression, but they urge actual construction. He who
would understand design must know the steps, by
actual experience, from the inception of the idea and
its expression on paper to the ultimate material com-
pletion of the object.
That there is danger of dissipating one's energies,
acquiring thus but a Superficial acquaintance with
many crafts and materials, is very true. But a know-
ledge of the possibilities and limitations of different
mediums, such as clay, leather, or wood, and a further
discovery of new combinations of materials widen
the artistic horizon to an almost limitleSS extent.
Moreover, the designer need go but a little way with
INTRODUCTION xi
numerous materials. A few elementary exercises
done in a workmanlike manner Will be Sufficient.
The experience thus gained should enable him to
make consistent designs. The true craftsman should
be able to express his idea upon paper, and to pro-
ceed to the actual carrying out of that idea in ma-
terial terms.
The potter may serve as an illustration of what a
craftsman should be. The potter has in mind, for
instance, a certain kind of vase or tile. Sometimes
he expresses his idea on paper, and Sometimes he
works from his mental image. But the joy of the
Work consists in making the yielding mass obey the
art impulse of the mind.
I stood in silence and apart,
And wondered more and more to see
That shapeless, lifeless mass of clay
Rise up to meet the master’s hand,
And now contract and now expand,
And even his slightest touch obey.
Not many years ago the study of the arts was
considered to be an ornament, rather than an essen-
tial, in education; but the growing interest in the
crafts, shown in our own and in foreign countries,
xii INTRODUCTION
proves the old idea to be erroneous. So rapid has
been the progress in the development of the desire
for beauty and its realizations in objects of our im-
mediate environment, that popular education can no
longer ignore the demands of the times. Some at-
tempt to teach at least the elements of the arts and
crafts is now made in nearly all Schools. --
The craft work in this book, while of such a nature
as will especially appeal to amateurs, is arranged in
progressive lessons of increasing difficulty, so that it
may easily be adapted to school conditions.
Many of the objects herein illustrated and devel-
oped have been successfully worked out by Seventh-
and eighth-grade and high-school Students, teachers
and pupils working together with equal interest.
This book does not enter the Wide realm of the
professional worker. The solution of his complex
and difficult problems is not attempted here. Its
mission will be accomplished if it serves to open the
mind of the student to the possibilities of his im-
mediate environment, and if the doing of the exer-
cises prepares the way for the more serious work of
the professional craftSman.
THE ART CRAFTS
FOR BEGINNERS
THE ART CRAFTS
FOR BEGINNERS
CHAPTER I
DESIGN 1
LD as the first mat-weaving is the principle that
design is the child of necessity; and in every
design I would ask myself these questions:
1. What is the purpose of this object that I am
about to make?
2. What is the form best suited to that purpose?
3. What is the best material—wood, metal, or clay
—for my purpose?
1 Those whose creative ability is so limited as to discourage them in
any attempt at original designing may yet be successful in craftsmanship,
relying more upon mechanical skill and artistic perception in the care-
ful copying or adaptation of such good designs as are available.
3
4 TEIE ART CRAFTS FOR BEGINNERS
4. How will the material and use of the object
Suggest and limit the ornament to be placed upon it?
Except for a few suggestions, I shall not treat
the Subject design in any general way, thinking it
better that each material shall deal concretely with
its own design according to
its natural strength or lim-
-ºff itations. The drawings are
mostly from the work of
the writer or his pupils,
L and they seem to him at
this present writing good
and consistent, but they are
only the result of a very
limited experience, and as
Such are offered to the
public.
Fig. 1 The desire for novelty
has been the impetus to much true progress in
design, yet in a superficial way it may be harmful.
To avoid eclecticism, and build, as far as we do build,
upon a solid foundation, should be our ideal, rather
than to attain the startling and the clever. The
principle learned from my first instructor in draw-
ing—Charles Fox—has seemed to me an eminently

DESIGN 5
safe one : above the historic schools, above the law
of abstract beauty, great as it may be, is the greater
law of special beauty, or harmony of character, including
the others as the greater includes the leSS.
Volumes have been and will be written upon de-
sign. They, and the schools
founded upon them, all
have Considerable truth
and may teach us much,
in spite of their inevitable
limitations. I say inevita-
ble, because in art, as in
ethics, no one has yet ^
found the Whole truth. |
The term “design” in - -
its broad Sense means to H @ C. |
plan, and includes not only
design in its constructive Fig. 2
and decorative sense, but all arrangements of lines
and masses in pictorial composition as well.
“Ornament” means that which is applied to embel-
lish, decorate, or beautify, and in its best sense must
always be subordinated to the purpose, material, and
structure of the object or building decorated, and
should never be treated as an independent or iso-

THE ART CRAFTS FOR BEGINNERS
1-1 lated thing. It is best where
© it is strictly dependent.
This is Solittle understood
by beginners that they con-
sider anything which is in
itself beautiful Or interest-
ing may be utilized as Orna-
ment. Hence the frequent
application of pictorial
– motives to pottery, frames,
sofa-pillows, and what not.
Fig. 3 Especially in the easily
learned art of pyrography is this noticeable.
A picture is an independent thought or aspect of
nature expressed in any medium one chooses—a thing
complete in itself.
It needs a volume to define and illustrate 45°
these things clearly, and the purpose here º
is rather to suggest, with specific and con- Af
crete illustrations to follow in several A
of the chapters. For the historic
development of ornament, con-
Sult
and
the books Of Walter Crane
Iewis F. Day, excel- **
30°
lent writers on this subject. Fig. 4




DESIGN 7
In touching on the machinery of design A
we consider ornament under three general A
heads: naturalistic, conventional, and
geometric.
The first is illustrated in the tree
and road pattern for the card-case
(see Leather), where the simple
lines of tree, road, and water are
placed in a pleasing proportion
but realistic arrangement.
This is the character of most /
of the art of the Japa- 4.- A
neSe and the art of those Fig. 5
who follow them (see also Figs. 7 and 12).
The second, or conventional method, is illustrated
in the taking of a flower or natural object; and set-
ting aside accidental variations of individual speci-
mens, the typic lines of growth and characteristic
curves are abstracted. This is shown in the tulip,
Fig. 8, the birds from Indian baskets, Figs. 9 and 10,
and the bead-belt design (see Bead-work).
The third, or geometric division, is where purely
abstract and geometric forms are used, straight-line
patterns and the like, some of them developed
from modes of working, structural necessities, or
70°





8 THE ART CRAFTS FOR BEGINNERS
weaving and knotting, as in
the Celtic interlaces.
In planning ornament the
first consideration should be
Subordination to use and
Construction in its amount
and distribution; following
- this, harmony of line. These
| / / we may call the special or
t
Concrete considerations of
º: º
k- rºadwººd-ºn --------
THE NATURAL FLOWER
Fig. 6
each design.
But beyond this are the
goncral rules of all GTIla-
ment, — the things usually
taught first in any School,
—and which we may call the abstract considerations.
First, proportion, or the pleasing arrangement of
parts as to Size and Space, and in such manner as to
avoid monotony or undue repetition. Second, and
related closely to the first, is balance, or the distri-
bution of parts and elements of a design so that the
interest shall not be centered unduly upon one point.
Balance of design is something found in all good
composition, from the frescos of Angelo to the Dutch
interiors and the landscapes of Corot, although in the

DESIGN
examples cited it is irregular,
as is the case in most of the
Japanese ornament, which is
pictorial in character.
In the example of the card-
case (see Leather) note that
the dark roadway and sky
are balanced by the decided
lines of the tree, which thus
become important in the
composition.
i
|
!
$
ſ
|
|
|
|
|
!
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ſ
#| ||
| || ||
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|
|
|
ſ
THE CONVENTIONAL
RENDERING
Fig. 8
THE CHARACTER LINES
Fig. 7
The greater part of the
designs in this book are in-
cluded in the Second divi-
sion under the heading Bal-
ance; that is, symmetrical
balance, or the exact balance
of one part to another, as
the two sides of the frames,
the Sconce, or as in Fig. 8.
Symmetrical balance is some-
times of two parts, as in the



10 THE ART CRAFTS
FOR BEGINNERS
THE CONVENTIONAL ORNAMENT AND
ITS DERIVATION
Eig. 9
examples above referred
to, or of three, four, or
any number of repeating
partS.
Here the principle of
radiation comes in, as
shown in Figs. 11 and 12.
The development of a
design from a single cen-
ter or many centers is
also illustrated here.
Fig. 11 is a conven-
tional stoncil pattorn
derived from the holly-
hock, and intended to
decorate some object in
leather or fabric which
Will lie flat and be seen
from any side. Hence
the advisability of a pat-
tern which Will look
equally well from all
Sides. For the Same
reason a radiating pattern is best for the tray (see
chapter on Metal-work).
Fig. 12 is an irregular

DESIGN 11
radiating pattern, realistic in treatment. The small
sketch shows the basic principle of leaf and stem
radiation.
Decoration which is to be applied to a flat surface
should Observe that Same flatness and reserve in color
that it does in line and form.
Color is touched upon in several of the chapters of
this book. Some of the crafts here treated, as leather
and metal, are colorful enough in their material.
Bead-work is most satisfactory in pure, bright colors.
In basketry, black and dull red, with the natural
tawny colors of raffia and reed, certainly give scope
enough to harmonize with the very restricted forms
which may be worked up in this material.
In Woodwork it is better to handle a few harmo-
nious stains, such as may be mixed from the list of
colors given,
than to risk
over-coloring
and pettiness
from using
many tints.
I do not
Wish to be Trl E.APP). EpoRNAMEry'r
dogmatic, but Fig. 10

12 THE ART CRAFTS FOR BEGINNERS
I regard three tones of color as sufficient on any one
piece.
Many valuable suggestions may be got from the
colored plates of the art magazines, like the “ Studio.”
The “School Arts Book” offers many ideas. If you
have the opportunity, study good Japanese prints
for their wonderful rich stains and delicate tints;
and, above all, nature, with her wonderful deep-
orange and brown scales, her staccatos of yellows
and pale greens, and the wealth of her gamut of red.
As this book is intended to reach those who have
little or no
knowledge of
design methods,
it seems best to
Fig. 11
CoNVENTion! Ali.
RADI ATI of $ Aºify
Four PART
SYM+1ETRY
Nº ( /.
3%
§ *>{
lº YZ-

DESIGN
!RREGVí, AR
RAbi Attor of
f{ATVRE
Tig. 12
—” yū ū Offer SOme ex-
es”. - ...’ *\\ \ Ps) planation of the
rºl. W.A.T. \ \ | simpler meth-
ods of drafting.
Following is a list of necessary drawing-tools, with
their approximate cost :
A pine drawing-board about 20' x 26" . $1.20
A T-square, 24" blade . . . .
A 45° amber triangle, length 8'
Or a 45° wood triangle, length 8”
A 300 x 600 triangle . tº gº & ©
A combination dividers and compass
A 1' boxwood beveled rule .
.25
.60
.25
.25
.50
.10
Some sheets of black carbon transfer-paper,
thumb-tacks, eraser, and pencils.

14 THE ART CRAFTS FOR BEGINNERS
It is an excellent thing to have a complete set of
drawing-instruments, such as may be purchased for
$4.50 or $5, but these are not necessary.
All horizontal lines are drawn with the T-square,
the head of which rests closely against the left edge
of the drawing-board (Fig. 1), and is held in place
firmly by the left hand, leaving the right hand free
to point and draw.
Horizontals are usually drawn along the upper side
of the blade of the T-square, as indicated by pencil,
Fig. 1. The T-square is used only from one edge of
the board, for this reason, that otherwise one cannot
be sure that all edges of the board are parallel or at
right angles each to each ; and unless they be so,
drawing by Squaring from any side at random would
not give a true line. All verticals are drawn by
placing the triangle upon the T-Square, and sliding
back and forth to the points from which lines are to
be drawn, as in Fig. 2. Angles are drawn similarly.
To adjust a paper to the board, place it at about
the center, and insert a tack in the upper left corner.
Place the T-square so that the lower edge touches this
point, and, bringing the other corner up against the
square, insert the second tack; lastly the two lower
corners (Fig. 3) are securely tacked.
CHAPTER II
*
THIN WOOD-WORKING
PROBLEM I — Calendar-back
PROBLEM II — Sun-dial
PROBLEM III — Picture-frame
TROBLEM IV- IJuvelup-liulder
PROBLEM W — Pencil-box
CELAPTER II
THIN WOOD-WORKING-
WORKING in wood, with the knife as a principal
'W' cutting-tool, has fallen into disfavor in some
places because it is thought to mean the old sloyd
system of copying a fixed set of colorless models.
Adhering to the sloyd constructive principles, which
are good, but introducing original design and color,
this work may be made very valuable in schools and
of interest to adults who wish to work with a few
simple tools. Some of the objects in the following
chapters were worked out very successfully by the
boys of Oak Park (Illinois) public schools.
Following is a special wood-working equipment,
which has been selected with a view to economy and
home conditions:

2 17
18 THE ART CRAFTS FOR BEGINNERS
SPECIAL EQUIPMENT
A No. 6 sloyd whittling-knife, 40 cents. In
place of this an ordinary jack-knife will do, if
the blade is ground to a point. The jack-knife
blade usually ends in a point like Fig. 1, a, but
for good work we need the blade pointed as
shown in Fig. 1, b, the form of the sloyd knife.
A small tack- or brad-hammer, 30 cents.
Some 3" and #" steel brads.
A can of Le Page’s liquid glue, 25 cents, to be
warmed before using.
Some sheets of 00 sandpaper.
A piece of clear wood, #" thick at least, |
9' x 12' in size, to be used as a cut- \!)
ting-board. CA-
An India combination oilstone,
having one side coarse for very
dull edges, and the other side fine. With
--- case, $1.
An oil-can filled with kerosene
or lard oil. Vegetable oil should
not be used, as it hardens and
clogs the stones. Some cotton
cloth or waste for wiping tools
and stone.
A bit of belt, or thick leather for
strapping your knife. This may be
covered with a mixture of emery
flour and oil.
Fig. 1




THIN WOOD-WORKING 19
A 6" try-square
as in Figs. 8, 9, 25
cents.
A y auger-bit, -
40 cents.
A small brad-awl, 10 cents.
Gº-
sº-3
ſº - wº
| 243.
: -- s. -ºr
Fig. 3
Some pieces of clear white basswood; these may be had
of any dealer in fine woods or veneering. Get some of them
planed down to #3", and for convenience some to #" thick-
ness, and cut to about 4' lengths.
4 wooden hand-screws (see Fig. 4), 35 cents each.
1 tube ivory black (oil color)
1
:
TOF COLORING
burnt umber “
light red § {
Brussian blue “
chrome yellow “
5C.
5C.
5C.
. . . . . . 5C.
. . . . . . 5c.
A cheap grade of col-
_ OFS will answer the
Bºº purpose.
Fig. 4
A Small tin or dish for
mixing colors.
A Small paint-brush
that will point well.
Some turpentine or
benzine.
A clean cloth.
A lump of beeswax.


20 THE ART CRAFTS FOR BEGINNERS
A sharp knife is of first im-
portance in this work, hence
the oilstone and strap. When
you purchase your knife it
will not have a good cutting-
edge, but will need whetting
upon the stone. Grind it upon
the coarse side, first putting a
few drops of oil upon the stone.
If you do not use oil, the fric-
tion of rubbing the blade will
heat and take out the temper
from the steel.
Notice the shape of the knife-blade (Fig. 2, b), and
that the bevel is held fiat on the stone c. Rub the
knife back and forth without lifting it from the
stone, and holding it at an angle of 459, as shown in
a, Fig. 2, first on one side the blade, then upon the
other, until you produce a wire edge. Next rub it
a little upon the smooth side of the stone; then
strap the blade to remove the wire edge. It is
obvious that you cannot rub the knife on the strap
in the same manner as you would on the Stone, or
you will surely cut the strap. Holding the knife as
shown in Fig. 2, pull it in the direction shown by the
Fig. 5


TELIN WOOD-WORKING 21
arrow a, Fig. 3, turn it on its back (not on the edge),
and pull it back along the strap ; it is precisely the
Same as Strapping a razor. Keep this up until the
wire edge disappears.
Sharpening tools is one of the most difficult things
in wood-working, and it is a question as to when
children can be taught to do this.
Be careful to strap your knife clear to the point,
because much important work is done with the point.
Now try a simple exercise in straight cutting. On
a piece of the basswood mark out a rectangle
4}'' x 1", long side running with the grain—that is,
with the fibers of the wood. Hold the knife as shown
in Fig. 5, and make a vertical cut on the line across
grain, drawing the knife toward you. Outside the
line make an oblique cut (Fig. 5, b), repeating this
until the wood is Sev-
ered. This cutting is
done upon your soft
wood-block. Cuttin
with the grain is much
easier; simply repeat
your vertical cut until
you pierce the wood.
With the rule draw Fig. 6
seasº

22 THE ART CRAFTS FOR BEGINNERS
a line parallel to the long edge, about y' (Fig. 6, a)
from it. Always try the wood before cutting into it,
to ascertain which way the grain runs. In clear
basswood it is usually quite straight, but sometimes
will run at a slight angle, as in Fig. 6, b.
In trimming a long edge like this it will readily
be seen that if the --> knife cuts in
split the wood.
* The edge must
therefore be
trimmed from
the opposite
edge. Holding
your knife as shown in Fig. 7,
, whittle carefully down to the
} line with a long even stroke, a
little at a time.
Prove your cut in the follow-
ing manner : With try-square across edge (Fig. 8),
and with rule along the edge, next draw a line as
close to the end of the piece as you can get a square
edge (Fig. 9). For fine work it is better to draw
this line with a knife, holding it firmly near the point
(Fig. 16), and pressing it close to the blade of the
try-Square.
Fig. 7


TELIN WOOD - WORKING 23
In squaring across the grain TTTTTTTTTTTTT d º
hold the knife as in Fig. 10, |
drawing it toward you, and |
keeping the thumb well below the end to 3
avoid cutting your hand. º
Pare a little at a time, and a little prae- K
- tice will enable One
Tº I - to make these cuts
Q | - with skill.
N | Remember that the knife should
be kept very sharp, and will re-
Quire frequent Strappings and whet-
tings. A great deal can be done
with this simple tool.
The foregoing paragraphs give in
' detail what seem to be the essentials.
Bractice will, of course, teach far
more than mere printed in- ſººn- ſº
structions, and a few finger-
cuts just at the first will
serve to show one that al- Y
though it is a little tool, and ſº
responding steadily to the *
touch, the knife must be
respected.
Fig. 8
Fig. 9




24. THE ART CRAFTS FOR BEGINNERS
PROBLEMI I- CALEND AIR, BACK
Following the method just explained, cut out a
piece of +” basswood, a little larger (say *" all
around) than the measurement given in Fig. 11, the
grain running as indicated by lines. Square this
piece to dimensions given. Now upon a piece of
Eig. 11
paper which is thin
* enough to allow of a line
| being easily transferred
: through it, and with
3- your instruments, draw
a rectangle with a verti-
| cal through the center,
* as shown (Fig. 11).
Upon one side of your
line draw the curves of the outline, avoiding long,
Sharp points or deep curves. Fold the paper upon
the vertical line, with curves outward, and cut to the
curves, thus producing an absolutely symmetrical
pattern. You may hold this firmly upon the wood,
and draw around it very carefully. Your paper must
not be too thin, or this will prove a difficult matter.
Common white drawing-paper or brown wrapping-
paper will do very well for this. If the paper is


TELIN WOOD-WORKING 25
tacked to the wood, it will leave a permanent scar;
so, if you cannot hold it firmly, put a touch of muci-
lage in two points upon the paper. The pattern may
afterward be separated by passing your knife between
it and the WOOd.
Proceed to cut out the curves, and if you under-
cut or split the wood, try again and do not be dis-
couraged. The sides C.
a, a, Fig. 12, across the
grain, will be pared
out as in Fig. 10. The
long side b with the
grain will be done with
the knife in the first
position (Fig. 7). The
Curvès on Side e will be Fig 12
cut mostly by carefully paring with the knife held
near the point in second position (Fig. 10). The
corner curves must be pared in the direction of arrow ;
for if done in the opposite direction, you will cut into
the grain, and will be sure to split off a little of the
corner. This principle is demonstrated at Fig. 13,
a showing the effect of cutting against or into the
grain at an angle, b showing the proper manner of
cutting at an angle with the grain. In working

26 THE ART CRAFTS FOR BEGINNERS
across the grain you must cut
... from both sides toward the cen-
ter. The effect of cutting all
! the way across from one side is
shown in Fig. 14. The wood is
split off just at the edge of the
* "' piece.
ºrs: It is very likely you will have
Fig. 13 to learn this by experience. Ac-
cidents of this kind are liable to happen in any piece
of whittling, therefore it is not wise to transfer the
decoration until after the piece is cut out. Now open
the paper pattern, mark out a Spacc to be UUUupied
by your calendar, 2" × 3", and around it upon one side
of the central line draw in some simple line-pattern
like the one shown in Fig. 15. Be careful to geta curve
with a good even sweep—a regular curve. You will
notice those in this design are long and Sweeping. A
short abrupt curve is difficult to cut by this method
with the knife. When the design is drawn upon one
side, transfer by folding and rubbing.
Whet the knife to a good point, and, holding it in
the position indicated in Fig. 16, make an incision a
little outside the pencil-line at an angle of about 450.
Cut in about $", slowly drawing the knife toward



THIN WOOD-WORKING 27
you, turn the wood, and cut on the other side of
the line, taking out a clean V-shaped groove (Fig.
16). Care must be taken to cut no more than
half through the wood, and it is well to practise
upon a scrap until you can make a clean cut. The
dots marked in Fig. 15 indicate the holes by
which the calendar may be suspended. Insert the
bit in the center of the hole, and twist it through
until the point appears at the back. Insert in this
hole at the back, sº a n d t; W i St,
through ; this pre- jºrrº-Th vents splitting the
Wood On either | side. Sandpaper
by Wrapping the paper around a
Smooth block and rubbing the fin-
ished work always ! with the grain.
Do not Sandpaper the edges, or in-
variably you will round them and spoil the clean-cut
appearance. -
The method of staining is as follows: For a green
background, mix a little chrome yellow, a little
Prussian blue, and some light red or black. Mix
this thoroughly with benzine or turpentine, and cover
the whole surface, back, face, and edges, soaking a
piece of cloth in the color and rubbing all over the
wood. A brush is likely to produce a streaky effect.
Fig. 14

28 THE ART CRAFTS FOR BEGINNERS
Eig. 15
Be sure to fill all the cuts, and leave no spots or
crevices white. Rub this down to an even, clean
tone. If there is any “figure” in the wood, this plu-
cess will bring it out. If your solution is too thick,
dilute it, and avoid by all means the effect of paint.
If too thin, apply another coat. Also cover both
sides as soon as possible with the stain, to save warp-
ing through uneven drying. It is unworkmanlike to
leave any part unfinished because it is not to be seen.
You may have to use your brush to reach the cuts,
but avoid this if possible, as it is liable to make the
work streaky.
Some of the inclosed spaces of your design may be
touched in with pure color, such as light red or
Prussian blue. It is best that the under-coat should

TEHIN WOOD-WORKING 29
nearly dry before applying the others. Also see that
the color is not thin enough to spread. This over-
color will sink partly into the background, and the
effect will be a harmonious blending. It will require
several days to dry the color; then finish by apply-
ing a thin coat of beeswax. Cut up the Wax in a
Small dish of turpentine, about five parts turpentine
to one of wax, and dissolve by heating. When cooled,
it should be about the consistency of vaseline. If too
hard to be easily spread with the fingers, put more
turpentine, and again heat. When cool and your
color perfectly dry, apply with your fingers or a soft
cloth all over, and rub off to a thin tone.

30 TEIE ART CRAFTS FOR BEGINNERS
While it is still soft, carefully remove the wax that
may have settled in the cuts. After the wax is dry,
finish with the palm of the hand. Water-color may
be used for staining, applied in same manner as oil-
paint, but is more likely to warp the wood.
The calendar may be attached by some small
escutcheon-pins or by gluing.
If glued, it may be necessary to scratch away the
stain and wax from the wood surface just beneath
the paper, to allow the glue to hold.
The calendar may be bored for hanging on the
wall, or it may be finished with braces like the pic-
ture-frame described in Problem III.
PROBLEM II–SUN-DTAT,
If you have a little piece of lawn, or a bit of a gar-
den spot, or, better still, a garden of roses, or indeed
any place whatever where the Sun may linger all
day, you will find much pleasure in a home-wrought
Sun-dial.
To construct a dial which shall be absolutely accu-
rate for any given latitude is a rather difficult piece
of work, requiring some knowledge of astronomy. I
have used a table taken from an article on sun-dials by
THIN WOOD-WORKING 31
Professor Jacoby, which was published in “McClure's
Magazine” Some time ago. Several dials made accord-
ing to this table have proved fairly accurate time-
keepers.
To those who may wish to study the subject of dials
more carefully, I would recommend the article in the
“Encyclopaedia Britannica.”
By referring to the table given on the following
page and to the dial which I have worked out for
the latitude of Chicago, you can easily construct the
plan for a dial in or near any of the cities in the table.
We shall use }" basswood, of which you will need
one piece cut to 64" square and another piece to 7”
Square. For this Small knife-work we are using just
One half the measurements given in the table.
Now with your instruments—that is, T-square,
rule, and triangles—work out your dial-plate upon
paper very accurately, according to the latitude of
your residence: New York, Boston, or Chicago, as
the case may be. You would better go over all
measurements at least twice, to make Sure of
accuracy.
The plan being drawn upon paper, cut it out on
the heavy outer line (Fig. 17). The pattern is then
fitted exactly into the middle of the smaller square
32 THE ART CRAFTS FOR BEGINNERS
TABLE SHOWING. HOW TO MARIK THE HOUR-LINES
Distance from O Distance from M
PLACE to the lime marked to the lime marked
VII VIII IX IX X XI
Inches | Inches | Inches | Inches | Inches | Inches
Albany . . . . . . . . 1 15–16|4 3-167 7–16 3 1-16|1 7–16
Baltimore . . . . . 2 1–8 |4 11-1618 2 7–8 |1 7–16
Boston . . . . . . . . 2 4 5-167 7–16 3 1-16|1 7–16
Buffalo . . . . . . . . 1 15–16|4 3-167 7–16 3 1-161 7–16
Charleston . . . . 2 7-165 3-8 4 3–8 |2 1-2 1 1-8
Chicago . . . . . . . 2 4 5-16|7 7–16 3 1-16|1 7–16
Cincinnati. . . . . 2 1–8 |4 11-168 2 7–8 |1 7–16
Cleveland . . . . . 2 4 5-167 7–16 3 1-161 7–16
Denver. . . . . . . . 2 1-8 4 1-2 7 11-16. 2 7-8 |1 7–16
Detroit . . . . . . . . 2 4 5-167 ?–16 3 1-16|1 7–16
Indianapolis. . . 2 1-8 4 11-168 2 7-8 1 7–16
Kansas City. . . 2 1–4 |4 11-168 2 7-8 |1 5-16
Louisville . . . . . 2 1–4 |4 11-168 2 7-8 1 5-16
Milwaukee . . . . 1 15-164 3-167 7–16 3 1-16|1 7-16
New Orleans . . 2 11-16|5 3-4 4 1-1612 5–16|1 1-8
New York . . . . . 2 4 5-167 11-16 3 1-161 7-16
Omaha. . . . . . . . . 2 4 5-167 11-16 3 1-161 7-16
Philadelphia. : 2 1-8 4 1-2 (7 11-16 2 7-8 |1 7–16
Pittsburg. . . . . . 2 4 5-167 11-16 3 1-16|1 W-16
Portland, Me...|1 15-164 3-167 1-8 3 3-16|1 1-2
Richmond. . . . . 2 1–4 |4 11-168 2 7–8 |1 5-16
Rochester . . . . . 1 15-164 3-167 7–16 3 1-16|1 7–16
San Diego. . . . . 2 7-16|5 3-8 4 3–8 |2 1-2 1 1-8
San Francisco. 2 1–4 |4 11-168 2 7–8 |1 5–16
Savannah . . . . . 2 9-165 9–16 4 1–4 |2 1–2 |1 1-8
St. Louis. . . . . . . 2 1–4 |4 11-168 2 7–8 |1 5-16
St. Paul. . . . . . . . 1 15–16|4 1-167 1-8 3 3-16|1 1-2
Seattle . . . . . . . . 1 13-163 15-166 5–8 3 3-8 |1 1-2
Wash'ton, D.C. 2 1-8 |4 11-168 2 7–8 |1 7–16
THIN WOOD-WORKING 33
TABLE SHOWING THE LENGTH OF THE SIDE b c
PLACE b c PLACE b c
Inches Inches
Albany. . . . . . . . . . . . . . 4 11-16||New York. . . . . . . . . . 4 3–8
Baltimore...........|4 1-16|| 9pmaha : . . . . . . . . . . . 4 3-8
Boston . . . . . . . . . . . . . . 4 1-2 || Philadelphia. . . . . . . . 4 3-16
Buffalo . . . . . . . . . . . . . . 4 11-16|| Pittsburg. . . . . . . . . . . 4 3–8
Charleston . . . . . . . . . . 3 1–4 || Portland, Me. . . . . . . . 4 13-16
Chicago . . . . . . . . . . . . . 4 1-2 || Richmond. . . . . . . . . . 3 15-16
Cincinnati. . . . . . . . . . . 4 1-16|| Rochester . . . . . . . . . . 4 11-16
Cleveland . . . . . . . . . . . 4 1-2 || San Diego: . . . . . . . . . 3 1-4
Denver. . . . . . . . . . . . . . 4 3-16|| San Francisco. . . . . . 3 15-16
Detroit. . . . . . . . . . . . . . . 4 1-2 || Savannah . . . . . . . . . . 3 1-8
Indianapolis. . . . . . . . . 4 1-16||St. Louis. . . . . . . . . . . . 3 15-16
Ransas City. . . . . . . . . 3 15-16|| St. Paul . . . . . . . . . . . . 5
Louisville . . . . . . . . . . . 3 15-16|Seattle . . . . . . . . . . . . . 5 9–16
Milwaukee . . . . . . . . . . 4 11-16|| Washington, D.C. . . . 4 1-16
New Orleans . . . . . . . . 2 7–8
of Wood. Attach it by means of four Small pins at
the corners of the inner square. Next, with another
pin punch through each hour-point upon the square,
and also each point where the lines touch the quarter-
This being done, remove the plan, and con-
nect the points with light pencil-lines drawn upon
the Wood.
The hour-lines, quarter-circles, motto, and two
inner Squares may now be carved in the same manner
as the calendar back. The figures for the hours may
also be carved, or they may be painted in black.
circles.
8
34 THE ART CRAFTS FOR BEGINNERS
It is necessary,
CŞ A X X X|| 1 || 3 (2 g
|X| f" || |M' in for a good piece
of work, to have
- ; all cuts of equal
g * width, and to fin-
V|| | |V| .
t - ish them neatly at
§ the inner end with
{} \ \, . V ©
V : a clean Straight
#|| & Cut a CrOSS.
VH-zº-ſº #—#M In carving the
TENAPVS FVLIT Roman numerals
| || care should be
©c. - Deº
sºngwº taken not to cut
Fig. 17 over the edge of
the wood, -to allow a small margin on either side the
figure, —and in the case of VIII it may be necessary
to break the inner Squares to accommodate it.
The Shadow-piece, or gnomon, is planned by the
second table, and cut as shown in Fig. 18. Note that
the grain runs parallel with the edge which is to be
fastened to the dial-plate. Edges a and b must be
perfectly true and straight, the one because it rests
upon the base, the other because it throws the Shadow
which shall mark the hour.
The back edge c is unimportant, and may be cut

THIN WOOD-WORKING 35
into a shallow curve to relieve the rigidity !,
of the piece. Procure some round-head
steel or brass screws, gº long. Next bore
with the Small brad-awl holes at a, b, Aft
c, d, Fig. 17, and placing the pieces Jº/ sº
So that the grain of the upper Æ
Square crosses that of the lower
(Fig. 19), set in the screws.
This crossing the grain : 2 : >
e Nz 2.
prevents warping to a large
degree.
The edges of both pieces may be slightly beveled
by passing the coarse Sandpaper Over them.
Upon the dial-plate, in the space left for fastening
the shadow-piece, bore two small holes a little smaller
than the screws to be used, being careful to penetrate
straight into the wood. The
screw must be placed far
enough back from the point of
the gnomon to avoid any pos-
sibility of its showing through
the shadow-edge.
After these holes are bored
(see Fig. 20), set the screws in
Fig. 19 from the back of the base piece,
Fig. 18





36 THE ART CRAFTS FOR BEGINNERS
allowing only the points to
appear. A g” or #" flat screw
mºsºmºſº. 2 will be
A needed here.
/ Pre S S the
ly shadow - piece
W’ down upon them,
SO that it is indented
-- by the Screw-points, as in
Fig. 20 Fig. 21. This shows you ex-
actly where to bore the holes, and it only remains to
fit the shadow-piece in place and set the Screws to
thcir heads. t
Next prove that your shadow-piece stands Square
with the base by using the try-square. Now finish
with a light stain or a coat of white shellac, which
may be obtained at any paint-store.
The dial must be set exactly level upon a post,
garden wall, or porch where it will receive the sun
from morning to night. You may either
Screw it down, or mark its place and
Set it out only in sunny Weather.
The method of adjusting is as |
follows: At the precise
Second of noon, standard Fig. 21
--~2
--~~" …A









TELIN WOOD-WORKING 37
time, turn the dial so that the shadow of the gnonom
shall fall exactly between the two lines M, M', Fig.
17,-that is, the hour marked XII, -and fix it in po-
sition. Watch it for several days to verify the time,
and your dial will continue to give correct solar time
throughout the year.
A Sun-dial nowadays is not a necessity in most
Fig. 22
places, but it may be useful in remote country dis-
tricts to regulate the clocks.
A more permanent one may be made of brass or
copper; but the little wooden one, if carefully made,
will do good service.
PROBLEM III—PICTURE-FRAME
This frame for photographs or small pictures may
be constructed to stand upon a table or mantel as

38 THE ART CRAFTS FOR BEGINNERS

- here given, or it may
E3 E 5. J|| be made to hang upon
L =lſ|| All the wall, in which case
|- r- - the Standards are
Omitted. The best
frame will be that One
which is designed with
reference to a special
picture.
[] [] Cut the stock of +//
[T] or #' basswood to #"
- |U|| H wider and +” longer
than the ſinished de-
sign. The pattern, of
course, should first be designed upon paper, as in
the previous problems.
Square to the dimensions given in Fig. 24, work-
ing in the regular way and proving with try-square
and rule. The best method of doing this is always
to square one side, then the opposite; then one end,
and the Opposite.
Measure 13" from the outer edge all around, and
then #" inside that, as in Fig. 24.
This inner square is to aid in cutting out the cen-
ter, and should have a hole bored in each corner.
Fig. 23
THIN WOOD-WORKING 39
The holes minimize the danger of splitting and of
cutting over the limiting line b. They also enable
you to cut from both sides and thus penetrate the
wood more quickly.
Trim the wood down exactly to the line b, taking
care to keep your cut across the grain deeper than
your cut with the grain, else there will be great
danger of Splitting out.
Upon another piece of wood lay out and cut two
pieces like Fig. 26, so that the edge a is perfectly
Square.
You will now need three short pieces #" wide by
3%;" long, and squared carefully, as in a, a, a, Fig. 25,
and one piece #" × 24” like b, Fig. 25.


A, e - - - - -
< 3+z >
* : 3. In
$32.9%.
$” | §§
& $ tº ca.
<> sº &.
8 Jº-
* 2 # * - 2
Y - - - - -
<. #" >
Fig. 24 Fig. 25
40 TELE ART CRAFTS FOR BEGINNERS
Upon the back of your frame draw a line just 4" from
the opening and all around it, as shown in Fig. 25.
Procure some small screws not greater than #"
diameter, and first boring holes with the brad-awl #"
from the ends of the strip-pieces, as in Fig. 27, back
view, set the screws in with their points just ap-
pearing, as before described. Prepare all pieces in
this way, pressing them upon the frame and thus
indicating where the screws will set in to the back.
Having heated the glue, prepare a small chip to be
used as a spreader. The chip is better than a brush,
because it spreads the glue evenly and thinly and
may he thrown away after using.
Spread all pieces, and place and set in the screws.
At this point it will be safe to carve the decora-
tion upon the front of frame, first, of course, trans-
ferring your lines with carbon paper. The width
and depth of the cuts is a matter of choice, but
care must be taken not to cut through the wood.
In attaching the standards the side a, Fig. 26, is, of
course, glued so that the frame shall set at an angle
as shown in Fig. 27, side view. In addition, a screw
should be inserted at c and another at d, or Small
brads would do in these places.
The picture is inserted in the rectangle formed by
THIN WOOD-WORKING 41.
&==
ll-l
3Ac K.
|Fig. 27
- |.
these back pieces, and is held in place by pins or
brads at the sides.
For another method of applying the design, see
chapter on PYROGRAPHY.
In the matter of color, some combination of brown,
red, and green toned to a unity would be satisfac-
tory here; say a tone of burnt umber over all, with
the conventionalized leaf touched in with pure green
and the blossom pure red. (See Fig. 23.)
The principle of harmony in the character of the
decoration and the Outline form is here illustrated :
a geometric rendering of a flower which repeats the
Square corners and angles of the frame. |
Although this principle may be carried to the
point of monotony, it is in general a Safe one to
follow.

42 THE ART CRAFTS FOR BEGINNERS
PROBLEM IV—ENVET.OP-HOLDER.
Of the many articles that can be made from thin
wood with the knife, I have selected this little object
as one to be developed here, because it has proved
very useful and can easily be made quite ornamental.
Five pieces are necessary in its construction, as
shown in the side and end views, Fig. 29.
The stock used is #" clear basswood. Cut and
Square up carefully the side pieces to the dimensions
given, 3' x 5”. The pattern is made by folding and
cutting as described in the making of the calendar-
back.
After cutting both sides, place them together and
trim so as exactly to match each other. The lower
edge, a, must be accurately squared to insure the
vertical Set of the Sides.
The bottom piece is
cut to exactly 2” x 5”.
In this it is important
that the long edges be
Quite true.
Now upon the paper
pattern place a point #"
Fig. 28 from the bottom and #"

THIN WOOD-WORKING 43
from the end, as
in Fig. 29, and
draw one half
the design here
given, or any
design not too . 5" >
difficult to carve Fig. 29
and that will fit the space well. Your experience in
carving up to this point will enable you to judge in
this matter.
One half the design being drawn, complete it by
folding on the center and rubbing over. Strengthen
all the lines with a clear black pencil and transfer
the whole to the wood by rubbing over the back of
the whole design.
Carve the design upon both side pieces.
For an object of this kind a symmetrical design is
better than an irregular pattern, and indeed this is
true in the majority of objects treated in this book.
Take the bottom piece and, placing it edge down
upon the side piece, as shown in Fig. 30, draw a line
close along the wood. At the points a, b make holes
through the side and insert #" brads. These pieces
—sides and bottom–are then glued and nailed in
the manner described in the preceding article on the


44. THE ART CRAFTS FOR BEGINNERS
frame. The glue which oozes out around the edges
must be scraped away while it is still wet ; a bit of
the basswood will do this very nicely. In the mat-
ter of gluing, it is better to have over-much than
Over-little, and therefore the oozing out around edges
is a good sign.
The two standards or legs are cut from the same
+” stock, the piece being first squared to 34" x 1"
(Fig. 31).
Find the center of this piece and lay off the width
Uſ your case ſroul the ceiller UII bolh sides. Fig. 31
shows the measurements of this piece, and Fig. 29,
elid view, Llie ullililale Slape.
The notch must be carefully cut down to fit the
body of the holder. Keep trying the two pieces
to avoid cutting too wide. Lastly, the corners are
rounded off Smooth and all parts finished with sand-
paper.
Brads or screws are inserted at c, c, Fig. 29, the
Cºle Å3- * * * ſº, o TTo ſºn
S | p E
Fig. 30 Fig. 31

TEIIN WOOD-WORKING 45
edges of the legs are covered with glue and the whole
put together.
The staining and waxing are done as before de-
Scribed.
In comparing the design given in Fig. 28 with
that of the frame or the calendar-back, you will
note the heavier curves of the tulip harmonizing
with the outer form. All Spaces are of necessity
kept large and simple. A little stronger group of
colors may be used in this article, giving to the whole
a greater aspect of Solidity—we will Say a dull green
background, a bright green leaf, and a full Orange-
bloSSom.
DROBLEM V-PENCIL-BOX
The length of the average pencil is about 7", but
in order that our box may be available for pens we
will make the inside measurements 8%". The stock
will be #" thick, and we must allow a little margin
on each end, so the side pieces will need to be each
97' long. As the height is to be 1;" exactly, we will
cut stock for the sides 9’ x 13”. There will be two
pieces of these dimensions. The width inside is to
be 2", therefore the ends must be cut 24" x 13”.
The grain will in every case run the long way.
46 TEIE ART CRAFTS FOR BEGINNERS
cº f !
| #d |
l-k |
< 3/2. >
Fig. 32
T] -TE
| Rv iſ:
--Tº-I. ITT
Fig. 33
2- Piº C G S.
Fig. 34
Square up the sides and ends so that all pieces
when placed together will prove absolutely true on
their long edges. Do not at this point square the
ends, for it will be labor wasted.
The joint used in this construction is called a
mortise and tenon, consisting of a, the mortise, and
b, the Leilon, Figs. 34, 35.
The mortise is cut in the side and the tenon upon
the end, and we will cut out the mortise as follows:
The distance between the cuts of the mortise, Fig.
34, is the inside measure of the box, 8%". This dis-
tance must be carefully measured so as to allow equal
distances on the ends (about 4'').

THIN WOOD-WORKING 47
Having Squared the lines upon one piece, Fig. 32,
place both sides together and mark the exact length
upon the Second piece.
Both for looks and for construction strength it is
better to have the Width of the mortise about One
half the width of the side, so we shall measure #"
from the side on each end and draw lines for the
mortise as shown in Figs. 32 and 33.
All four ends being accurately laid out upon the
wood, we shall cut the mortise after the method
demonstrated in Fig. 36.
Starting a small vertical cut at a, Fig. 36, cut in
obliquely to meet it, then on the other side, and so
on gradually cutting down to the line. All four
mortises should be trimmed to fit exactly before
proceeding with the tenons.
These last are laid out on the end &
pieces in exactly the same manner and
to the same size as the mortises, the dis- fº. 35
tance between cuts being 2", * |
which is the width of the box |||||| | W | |
(Fig. 35). Fig. 36 Fig. 37
5- _* <-
Do not fall into the easy F:
mistake of cutting a mortise º: ſ fiſſil
on all four pieces, or of cutting Fig. 38 Fig. 39



48 THE ART CRAFTS FOR BEGINNERS
a mortise on one end and a tenon upon the
Other.
In the tenon the corners are first trimmed, as in
Fig. 37, then the wood carefully notched out to the
line.
As you approach the line, however, keep trying
====
ºf T
H |
| H
Fig. 40
the tenon, to make sure of a tight fit. When you
have secured such a fit, mark that tenon and its cor-
responding mortise 1, 1, and proceed with the others,
2, 2, etc.
They should fit Snugly, but not so tight as to
endanger splitting. On the other hand, there should
be no gaps or angles between the fitted parts, so you


THIN WOOD-WORKING 49
will readily understand why this joint-making is the
most delicate work we have yet attempted with the
knife, and why it is placed in the last problem of this
chapter.
All work here should be done with the knife-point,
which must be kept very sharp, and any attempt to
Sandpaper out the corners will end in rounding them
and Spoiling the appearance of the joint.
This brings us to a point where it will be necessary
to use the hand-screws (Fig. 40). They are at first
puzzling little tools, and it is difficult to explain
their use on paper. If you can get some one familiar
with them, as a carpenter or furniture maker, to
explain their adjustment and use, that is the best
Way.
The jaws are opened or closed by holding the
Shorter handle in the left hand; then, grasping the
longer one in the right hand, turn the whole tool
about upon the shorter as a pivot.
Two of these tools should be adjusted to the height
of your frame, so that they may be slipped on
quickly.
All parts of the frame which are to come in con-
tact must be covered with glue and the whole frame
fitted together with the hand-screws adjusted as in
4
50 THE ART CRAFTS FOR BEGINNERS
Fig. 40. They are placed
at either end, to insure more
preSSure upon the joint.
E.--— The screw is set down firmly
Fig. 41 by turning the longerhandle.
Before tightening finally, true up the corners
inside in the manner shown in Fig. 41. It
is essential that at the final setting the screws should
grip evenly along the whole length of the jaw (Fig. 40).
Remove the surplus glue, and leave the frame in
the Screws for ten Or twelve hours.
While waiting for the glue to set, proceed with the
cutting of the cover and bottom piece. They are
both squared to the same size—that is, to project ſº."
beyond the frame upon all sides. If your measure-
ments have been accurate, 2}" x 94" will be the di-
mensions required for these pieces.
A bevel or Slanting edge is cut upon the up-
per Sides of both pieces. A line is run all around
#" upon the top and upon the edge, and the
wood cut away to © -
this. This is called
Sometimes a bevel
and Sometimes a
chamfer. - Fig. 42
-L-I-V-r-T-I-T-Y-TV-1


THIN WOOD-WORKING 51
&
Fig. 43
To complete the cover, cut a third piece, which
shall measure 2" x 8%", or just Small enough to slip
easily into the box frame. See section view, Fig. 43.
When the glue has become thoroughly dry, take
off the hand-screws and trim away the projecting
ends of the wood. Cut inward, or toward the center
of the joint, as is indicated by the arrows in Figs.
38, 39. This cutting inward is to avoid splitting of
the sides, a result which would inevitably follow cut-
ting from the center outward.
After these joints have been cut nearly down, finish
by Sandpapering upon a Smooth block covered with
00 sandpaper. This answers the double purpose of
cleaning and Smoothing the Wood.
As the more delicate parts of the construction are


52 THE ART CRAFTS FOR BEGINNERS
now completed, it will be better to decorate the
whole before gluing on the bottom.
The design given here (Fig. 43) is adapted to both
knife-carving and pyrography, although, from its
straight lines, it is best for the former method.
Place your frame upon the bottom piece in Such a
way as to leave an even margin all around, and make
a light pencil-line close against the sides to denote
their thickness. -
Make points for brads or very thin screws, as indi-
cated in Fig. 42. Cover the edges with glue, and
nail or screw on the bottom. It will not be necessary
to set this in the hand-screws, for the brads or Small
screws will hold the pieces while they dry. The
danger in using both brads and small screws in thin
wood is of two kinds: that of splitting, a danger
which may be avoided by boring small holes first ;
and that of driving them at an angle so that they
come out through the sides. It requires great care
to avoid this latter catastrophe.
The piece for the under side of the cover may be
glued on now. First measure, and very carefully
mark where it should be placed upon the cover.
Then spread thoroughly with glue, and clamp solidly
With the hand-Screws.
THIN WOOD-WORKING 53
Let us review the danger-points in this problem.
They are, first, cutting the joints loosely, or forcing
them too tightly together and splitting the sides;
second, driving the nails or screws out through the
sides; third, gluing the bottom, sides, or cover askew.
The box is finally thoroughly Sandpapered, and
stained and Waxed.

CHAPTER III
º, -
FYFOGRAPHY
Tesign for a Wooden Box
Design for a Picture-frame
Design for a Mirror-back
Design for a Chest
CHAPTER III
BYEOGRAPEIY
YROGRAPHY, or fire-etching, is the art of
burning a design upon wood or leather by means
of a red-hot point.
It has been remarkably popular during the past
few years, because it is an art presenting few difficul-
ties to the beginner and pleasing results may be
quickly obtained.
Although largely used upon leather, I think the
best results with this medium are to be had from
wood. Indeed, it is commonly spoken of as “burnt
wood-work.” It naturally follows the chapter on
wood-working, and the objects made with the knife
may be decorated in this manner; most of the de-
signs given in the previous chapters may be treated
by the pyrography-point.
57
58 THE ART CRAFTS FOR BEGINNERS
$=&
º A º =S W
|= \_ Se-SS
`s- \
\)
gºexas-a-E
Eis -ºšº ºr
*S*-sº
Fig. 1
So few difficulties arise in learning to handle the
tool that it will hardly be necessary to devote as
much space to the subject as I have found necessary
in the matter of wood- or metal-work; a few sugges-
tions and a start in the right direction will enable
one to go on and work out a mastery of this medium.
Let me further say that there is no method of
decoration that has been more abused. Various por-
traits, pictures, etc., have been caught up haphazard
and applied to all sorts of objects, without regard
to fitncSS Ol liarillony in any sense.
One should ever keep before one the distinction be-
tween a picture and a decoration, and remember
that the latter is a good decoration only when it is
carefully considered in its relation to the object upon
which it is placed, harmonious in idea, in line, and in
color-motive. You will discover that pyrography

PYROGRAPEHY 59
has its own particular beauties of expression, —char-
acteristics which nothing can usurp,-and let us be
content to limit its expression to these.
A fairly good machine or set may be purchased
for five dollars of any art-dealer or large department-
store. Printed instructions are supplied with each
set, and the sales-clerk is usually able and willing to
explain the method of working.
The principle of operating is this : A glass bottle
is partly filled with benzine (A, Fig. 1). This is con-
nected by a rubber tube with a bulb or bellows B, B,
and by another tube with a hollow aluminium point
C, surrounded by a
Cork handle D to
protect the hand
from the heat, and
to furnish a good
grip. In addition,
there is a Small
alcohol - lamp for
heating the point.
First, heat the
point C to a red
heat Over the flame ſº
of the alcohol- Fig. 2


60 THE ART CRAFTS FOR BEGINNERS
lamp. Then, by
Squeezing the first
bulb B with the left
hand, air is forced
into thc 3ccond bulb
Fig. 3 B, which acts as a
reservoir, and from this it passes to the benzine-
bottle A, where it forces the gas into the aluminium
point, which is thereby fed and kept hot.
The rest is simply a matter of drawing, lightly or
heavily, with the hot point upon the wood.
There are two tendencies with the beginner. The
first is to become so absorbed in the point that one
forgets to press the bulb, in which case the point
becomes cold. The second is to rest the heated point
upon the wood, with the result of burning a deep
hole.
But one soon acquires skill and facility in keeping
up the air supply mechanically, very much as one
almost unconsciously learns to ride a bicycle, etc.;
and the control of the burner is acquired with equal
readineSS.
The point is constructed as shown in Fig. 1, C, to
give a flat side for surfaces and an edge for lines.
Points of various sizes and shapes may be purchased,

PYROGRAPHY 61
but, as they are rather expensive, I would advise the
use of one point only for a time.
A fine-grained wood is the best for burning. Bass-
wood and whitewood are commonly used.
A great variety of articles for decoration may be
purchased at any art- or department-store—anything
from a napkin-ring to a piano-stool and a bogus
wooden tankard. The stamped designs purchasable
at these places are usually of wretched selection, and
have little or no decorative merit. It is better to
avoid these and buy a blank article; then draw
your own design upon it. Copy some good piece of
ornament, or get
SOme artist friend
to design for you.
Pyrography may
be used very effec-
tively with either
Oil- or Water-color.
(See Wood-work-
ing.)
Considering the
designs given here,
we find Fig. 2 is
adapted to a Square

62 THE ART CRAFTS FOR BEGINNERS
box, and requires that one should use outline only
as in the upper part, or else burn in a solid mass
either with the flat or the point, as in the lower cor-
ner. Fig. 3 is the side view of the same decoration.
The animal form in Fig. 4 is adapted to fit the
Same box and to occupy the same space. The adap-
tation of this creature to the Side of the box I leave
to the ingenuity of the student.
This free use of the animal form is perfectly allow-
able in ornament, and if one cares at all for the gro-
tesque, it is interesting to see into how many forms
one may fit the Snake, bird, and dragon. The Japa-
nese are past masters in this art.
Fig. 5 shows one quarter of a circular picture-frame,
So designed that the apples will fill in the space ex-
actly. This design may be easily
adapted to a larger frame by 21sº
widening the outer and inner …tº; ׺)
borders.
I have a fondness for the
apple leaf, fruit, and blos-
Som in decoration, be-
cause it has a certain
ruggedness, and lends it- & A
self to deep, rich color Fig. 5
3t
l!
t
*
ce ºs -- * * * * * * * * * *



FYIROGRAPEIY 63
in the fruit and leaf, and to delicate
effects in the blossom.
In this frame the background
may be burnt in a heavy, deep,
stippled manner, and the fruit
and leaf Stained with a mottled
red and green, which blend
into each other as they do in
nature.
The half of a mirror-back
(Fig. 6) is illustrative of the V
Same principle of line harmony, and N º
may be appropriately finished with a N
coat of wax over the rich brown burning.` \
The three objects here treated—box, mir-
ror, and frame—are articles naturally and
consistently made from wood, and do not vio-
late a Sense of fitness, as do the wooden
tankards and candlesticks in vogue.
As in the other crafts, it is well to try
Some preliminary work upon Scraps, and for
this purpose any clear, smooth wood will do.
Try the effect of dragging the flat side of
the tool across the woodlightly and quickly,
and again heavily and slowly. Experiment Fig. 6





64 THE ART CRAFTS FOR BEGINNERS
with fine light lines and deeply sunken lines. Other
effects may be obtained by stippling or dotting with
the point, and so on. With the flat, the edge, and
the point of one tool, and the infinite variety of
pressure that the hand is capable of, you will be able
to produce almost any effect of line or background.
You will probably find that in burning straight
with the grain there is a spasmodic tendency to hitch
as you go along, producing a broken, Spotty effect.
One should at first try to overcome this; but later
it may be used deliberately to produce certain heavy
backgrounds.
A characteristic effect of pyrography is that the
wood is scorched on both sides of the line burned, so
that an outline will be much heavier when executed
upon the Wood than in the design on paper.
To get the effect upon paper, draw your design
with a soft lead-pencil or a crayon-point, and then
rub over all the lines lightly with your finger, produc-
ing a slight blur, which will resemble the burnt line.
Ihave always felt that best results with this medium
could be obtained by rather rich and heavy line and
background burning. Yet on a small object One must
be careful not to overdo this to the degree of making
the Ornament too conspicuous.
PYROGRAPEIY 65
Many very delicate portraits have been burnt upon
wood by this means, but the danger here is in trying
to imitate laboriously effects much better left for the
brush.
To return to the designs. The easiest method of
Fig. 7
reproducing is to enlarge one section, such as one
quarter of the picture-frame (Fig. 5), or the box de-
sign (Fig. 2), then pin this to the object and transfer
to the three other sections by carbon-paper. The
pin-points should be put through some line of the
design, where they will be covered with subsequent
burning.

5
66 THE ART CRAFTS FOR BEGINNERS
The apple design is a repeat, in all of its lines, of
the outline of the frame which it decorates. This is
also true of the box Ornament.
The apple design applied to the box might be
pleasing, but would not be as harmonious, while the
same criticism would apply to the box design adapted
to the frame. -
Fig. 7 shows the three side-panels of a chest. This,
because of the size and the thickness of its frame,
would stand very heavy burning, and there would be
an affinity between this treatment and the character
of the oak-tree.
In conclusion, think well before you apply your
Ornament. The meanest material and the Crudest
methods in the hands of a master may be the means
for a wonderful and priceless art expression; while a
piece of Solid gold of the most elaborate workman-
ship, if it be poor and commonplace in design, is
worth only the intrinsic value of the gold.
CHAPTER IV
- *
SHEET-METAL WORK
PROBLEM I — A Small Copper Tray
PROBLEM II— A Brass Sconce
PROBLEM III— A Brass Lamp- or Candle-shade
PROBLEM IV—Lanterns
PROBLEM V — Letter-box
PROBLEM VI— Copper Bowl
CHAPTER IV
SHEET-METAL WORK
YORKING in sheet-metal has something sub-
stantial about it—Something masculine and
enduring which appeals to students and especially
to boys. f
It is also interesting to note how many young
women have begun a serious study of this craft quite
recently, and that many have produced work in
brass, copper, and silver of much artistic merit.
While the more advanced processes—such as heavy
forming, delicate embossing and chasing, and enamel-
ing—require an extensive outfit beyond the reach
of the many, a great deal may be accomplished with
a simple equipment at a comparatively low cost.
69
70 THE ART CRAFTS FOR BEGINNERS
This chapter is written
to aid those who, with lit-
tle or no technical Skill
and small purses, would
like to produce something
practical in this craft.
Tools and Equipment. —
~, While not absolutely ne-
* cessary, a regular work-
bench is very desirable in
this work. You may ob-
tain one, such as is sold to
manual training-Schools,
for about $6.
This will be equipped
with a wooden vise. In
place of the bench, a
heavy table, shelf, or win-
dow-ledge will do.
Without the bench it
will be necessary to pur-
CO chase a metal vise that
xmay be attached to the shelf or table.
Following is a list of the necessary tools, with their
approximate COSt : -


SHEET-METAL WORK 71
1. Small pair of metal shears . . . . .30.30
2. Small rivet set. . . . . . . . . . .20
3. Ball-peen hammer, medium size . . . .40
4. Hard-wood mallet, length of head 6 in.,
one end ground to a hemisphere . . . .25
5. Medium wood rasp . . . . . . . . .15
6. Medium half-round file . . . . . . .15
7. Rat-tail file . . . . . . . . . . . .20
8. Nail set . . . . . . . . . . . . .10
9. Flat pliers . . . . . . . . . . . .20
10. Round pliers . . . . . . . . . . .20
Necessary materials are:
Several sheets of fine emery-paper . . . .05
20-, 10-, and 6-penny wire nails.
Hard-wood block, oak or hickory, surfaces
squared to 12" x 4" × 3".
Soft-wood block, surfaces squared free
from knots, 9° x 12" x 2"
Soft sheet-copper, gage 21 . . . per 1b. .23
Soft sheet-brass, gage 24 . . . . per lb. .20
Small block of metal, 3' x 4" x 1", to be
used for riveting. This sometimes may
be procured from the scraps of an iron-
foundry or stove-store.
Small copper rivets . . . . . . per lb. .40
PROBLEM I-A SMALL COPPER TRAY
The making of a Small copper tray constitutes a
simple problem of hammering and bending. The
first consideration must be for the design.
72 THE ART CEAFTS FOR BEGINNERS
Take a sheet of paper large enough to allow for a
good margin all around, and draw the diagram Fig.
1 according to measurements given, being very
careful to get the lines at right angles. This can best
be done upon the drawing-board with T-square and
triangles.
Upon one side of the line A–B, within the smallest
rectangle draw a simple radiating pattern that will
repeat well as a symmetrical design. It is necessary
to draw only one half, as shown in Fig. 2.
Work in a single clear, clean line, remembering
that there is a difference between the line of a de-
signer and that of an artist. The line of the artist
A
A]
T
So
#
X
#

SHEET-METAL WORK 73
should be free and ſº E
e * |-A P
sketchy, but in this -
work a definite line is
best.
The method of fold-
ing and transferring
the pattern by rubbing
on the back has already
been explained in THIN
WOOD-WORKING.
Cut the paper upon
the lines marked
heavily In Fig. 3, leav-
ing a flap at the top.
We are now ready for the metal. Cut a piece of
copper to exactly 6" × 7", marking it out carefully and
cutting near the joint of the shears. If this is done
each time metal is cut, it will prove the easier way.
It will probably be necessary to smooth the metal
by laying it upon a hard-wood block and striking it
squarely with another block. Next round off the
corners slightly, as shown in Fig. 4, and draw a pencil-
line #" from the edge upon all sides. In the middle
of the border thus formed punch holes as indicated
in Fig. 4.
Fig. 3

74 THE ART CRAFTS FOR BEGINNERS

ſº-3 © 3. More holes than this are
not necessary; fewer will not
hold the metal firmly.
of Q. D |e The metal must next be
Screwed to the Soft-Wood
alA B |e block. Place it at about the
center, and start the screws
With the hammer in the
• E F is middle holes A–B. Set them
- down to the head with the
le l © z-, screw-driver, being sure that
- the metal lies flat between,
Tig. 4 thensetin C-D,E-F, and soon.
Should we set in the corners first, the metal might
bend up in the middle and when we began to stamp
would vibrate under the tool. -
Take care, then, that the metal lies as flat as possi-
ble between each Screw-head. -
Now adjust the design as shown in Fig. 5, so that
the paper comes well within the Screw-heads.
Put thumb-tacks through the flap at the top of the
paper into the wood, leaving three edges of the paper
loose.
Slip a piece of carbon-paper beneath, and transfer
by going over all lines with a hard pencil.
SHEET METAL work 75
You may, by this arrangement, lift the paper to
watch the transfer of lines, and the tacks at the top
will hold the design so that it will fall back in place.
As you work over the metal the passage of the
hand is likely to erase the carbon-lines; therefore it
will be necessary to scratch in or engrave them.
Take a 6-penny wire mail and, setting it in the vise
between two scraps of soft wood, file it to a conical
point with the flat side of the half-round file (Fig. 6).
The soft-Wood scraps
anSWertWO purposes :
they clutch the nail
more firmly and, if
the faces of the vise
are wood, prevent
scarring the vise. File
on the forwardstroke,
taking a long and
steady rather than a
short, jerky move-
ment.
With this little
Scratch-awl held near
the point, go over
your carbon-lines and

76 THE ART CRAFTS FOR BEGINNERS
set them in lightly, thus obviating all
out by stamping the background.
This process raises the design in
a Sort of embossing or repoussé.
Repoussé in its proper sense is
2. ' beating up from the back, and with
Fig. 6 metal-workers in a thoroughly
equipped shop this is done upon a bed of soft pitch.
But a low relief and a very interesting contrast of
texture may be obtained by using a piece of clear,
soft pille ſor a bed. -
For this Work two more tools will
be necessary, both of which can be ||
readily made by the student. File
a 10-penny nail straight across the
point so as to produce a small Square
stamp (Fig. 7, ay. Then file a 20-
penny nail to the shape indicated in
Fig. 7, b. Notice that this last tool
is not sharp on the edge, but has a k
slight thickness like the blade of a G+
screw - driver. If sharp the tool CN- Fig. 7
would be likely to perforate the metal.






SHEET-METAL WORK 77
Both tools should be care- ſº) ,-e
fully smoothed with emery- n: -º-
paper so as to get rid of any
Sharp or -
cutting
e d g e S. - señºse
The pro- Sea. Sº Y D.
C e SS Of <>
filing the Ji ES)
tool heats —rºss-
it. and Fig. 8
takes out the temper. To replace this, heat the
tool to a red heat through the point and then plunge
it into cold water at once.
Various sizes of tool steel may be purchased, and
metal-workers use this for making the many tools
needed for fine chasing. But in our simple work I
find that wire nails answer very well, and they cer-
tainly have the advantage of being cheap and easily
obtainable. The square-ended stamping-tool is held
in a vertical position in the left hand and struck
Squarely with the hammer held in the right hand
(Fig. 8). The whole background is covered in this
manner, care being taken not to punch too deeply and
to keep the stamping of an even depth throughout.

78 TEIE ART CRAFTS FOR BEGINNERS
Bemember that you are working in cold metal,
and that high relief is not possible or desirable in
this work. Beating up into high relief necessitates
frequent softening of the metal by heating or an-
nealing.
Under this stamping process the design rounds up
smoothly and presents a pleasing contrast to the
roughened background.
For stamping a piece that is no larger than this
tray, a small stamp is best.
A little preliminary practice, to accustom the
hand muscles to the tool, will be necessary.
This simple method is easily learned, and good re-
Sults can be got by young boys.
The second tool (b, 2s. Fig. 7) is used for ac-
/ ) centing the edges of
the background and
4°ºss Y for Sharpening
< RN the lines. It
NY should be used
# F# || || | *M sparingly and
| | | | only after everything possible
| has been done with the first
| | tool. • *
Fig. 9 The next step is to remove

* *
SHEET-METAL WORK 79
the metal from the block and
carefully trim off the rim
containing screw-holes.
Upon the back draw a
border line #" from the edge,
as Was done upon the face in
Fig. 1.
Place the hard-wood block
in the vise in such a position
that the #" line shall come
just over the angle of the
block. The embossed or
raised side will be next the
block. Then with the round
end of the mallet beat the
Center Of the Side Over the
edge of the block as in Fig. 9.
The following general rule
Should be Observed in this
Work : Never Strike the
metal with metal, or upon
metal when it can be
avoided.
Fig. 10
* ...”
)
.
sºº’s esse e see tº es so eNº
The use of a Wooden mallet upon a
wooden block keeps the metal soft and pliable;
whereas a hammer would rapidly stiffen it.



80 THE ART CRAFTS FOR BEGINNERS
Fig. 13
The work will now resemble Fig. 10. Should you
beat one side away to the corner, as in Fig. 11, the
tray would be Spoiled in its appearance and it would
be impossible to get a nicely rounded corner.
After each side has been beaten down in the mid-
dle, as in Fig. 10, work up the corner, first from one
side, then from the other, so that it shall close up
evenly, as in Fig. 12.
This should be done With the round end of the
mallet, which will fit nicely to the curves.
Now, if the edges are rough, file them with the
half-round file, using its flat side for convex curves
and its round side for concave. The corners may be
reached with the rat-tail file. The tray at this stage
should appear like Fig. 13.
To make it more ornamental in outline, hold it as
shown in Fig. 14, and beat the sides out slightly to
form an even curve. The amount of this curving
will be a matter of individual taste.

SHEET-METAL WORK 81
It is likely that the tray will not lie flat upon the
table, owing to the warping caused by the stamping
process. Place it upon the end of the block, as in
Fig. 15, and tap with the mallet upon the stamped
parts; this will gradually flatten it. By holding the
mallet near its head a light blow is obtained, and by
holding near the end of the handle a heavy blow is
the result. Let this, with the height to which the
mallet is raised, control the blow, and do not at-
tempt to force the tool down rigidly. This applies
to hammers and all tools of like construction.
Copper may be cleaned in several ways. (See for-
2-N
º
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s: - A $: $
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cº ſº
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R ºv'ſ º £º º Ǻ
wºn sº Wºº. " W
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Fig. 14 Fig. 15




82 THE ART CRAFTS FOR BEGINNERS
| Dr 3!, TRAW
2 PEN Q. 1 L TRAY
3 P 1 N or ASHTRAY
THESE TRAX D ESI C, NS
! LLNSTRATE • e-
R (RST ~
~ 1.] NE HAR Mon Y
SS Co ND ~
RAD (AT to N -
mulae at the end of this section.) It may be colored
either by slowly heating or by the use of acids.



SHEET-METAL WORK 83
The acid coloring is more permanent, but color
produced by heating slowly over a flame is very
beautiful, and may be renewed as often as desired.
PROBLEM II – A BRASS SCONCE
A most interesting problem to work out in the
method of the tray is a brass sconce or candle-holder,
Such as was used for lighting a century ago. As a
room decoration these Sconces make interesting bits
of color by day, and give out a softly reflected light
at night. They have proved a very popular prob-
lem with most students.
In preparing this design, as in all others, We must
first consider constructive necessities. What is the
purpose of a sconce—what its use, and what the
shape and placing of its principal parts?
In Fig. 16, we have all the essential parts: the
back piece, consisting of a, the reflector; and e,
the border; with d, the hole by which to hang it;
bracket b, composed of a lower part to attach to the
back; and a shelf (see side view, Fig. 16) to hold
the candle-cup, c, and the Saucer, 8.
All of these parts are necessary, and, however we
may change their size and proportion, or vary the
84 THE ART CRAFTS FOR BEGINNERS
lines, we must not omit any or change their relative
positions.
Let me here emphasize the fact that utility is the
first consideration ; beauty, design, and ornament are
Secondary.
We must now design a sconce which shall have
these parts in their proper
relations, but with the ele-
ment of beauty added.
Upon the paper draw
a rectangle exactly
8" X 11" (Fig. 17), al-
lowing a good margin
all around, as in the
|H==' tray, and on one side
| of the line A-B design the
Outline. Avoid complex
Fig. 16 curves and keep the outline
simple, varying enough only to make it interesting.
It is best to make the design the full height of the
space allowed, so that the reflector can accommo-
date a long candle; but the width of it is determined
by the number of candles used, or by the taste of
the individual.
A narrow border is allowed just inside the outline,
*



SHEET-METAL WORK 85
because the effect would be bad if you stamped the
background quite to the edge of the metal. Between
this border and the reflector, which should be kept
plain, is the space allowed for ornament.
The design of the dragon, or salamander, which I
have used, seems well adapted for this purpose; not
only because we may take
liberties with it and adapt
it to almost any space,
but because there is a
poetic or mythologic har-
mony of idea with the ele-
ment of fire (Fig. 18).
This design, it will readily
be seen, depends princi-
pally upon the dragon for
its interest; while Fig. 19, a
simple application of a lily Fig. 17
form, depends fully as much upon the shape of the
lower part, the bracket, etc.
Having completed one side of the drawing, fold it
upon its center line and transfer the other side by
rubbing, thus insuring a perfectly symmetrical pat-
tern. -
The brass, gage 21, is cut to exactly 9” X 12", or

86 THE ART CRAFTS FOR BEGINNERS
the same size as the Soft-wood block, and upon this
it is screwed, observing the same care as in the tray.
As the design is limited to 8" X 11", this allows #"
all around for the Screws to be inserted.
The stamped background is sufficiently indicated
in Figs. 18 and 19 by the shaded parts. A little
higher relief is desirable in the sconce, but otherwise
the methods are precisely the
same as in the tray.
_S So N Q.E.
DESIGNS
TVAſ o !
PART- ! (
schatte‘TRY || ||
!






SHEET-METAL WORK 87
This problem involves a A
new process in the attach-
ing of the bracket—that is,
riveting. - -
It also necessitates the S
drawing of three other pat- i
terns: the bracket or shelf,
the Saucer, the cup or ac-
tual holder. *—!--"
For the bracket, fold a Fig. 20
sheet of medium thick paper through the center
(A–B ; Fig. 20), and cross it with a horizontal, C–D.
Below C–D, on one side of A–B, design a curve
for the lower piece of the bracket (b, Fig. 16).
Above C–D, on the same side of A–B, draw a
Space, as shown, 1%;" wide. Fold on the line A–B and
cut through both thicknesses, thus giving the full
pattern A–D B–C.
This bracket, being for one candle only, does not
need to be very wide. A bracket for two candles
would require greater width to support the saucers.
The part above C–D supports the candles and is
bent out over the block to a right angle (see Fig.
16), and the part below C–D is riveted to the back-
piece of the Sconce.


88 THE ART CRAFTS FOR BEGINNERS
With the compass describe a 2//circle directly upon
the brass, and cut this out to form the saucer or drip-
cup. This should be hollowed to hold the grease,
and it is easiest done in the following manner : Set
the hard-wood block on end in the vise, and with
the ball end of the hammer strike it repeatedly upon
the end grain until an even hollow is formed, as in
IFig. 21, a.
Then with the round end
Of the mallet beat the metal
disk into the curve thus
formed, until it takes an
even, Saucer - like shape.
Keep turning the metal with
the left hand while you beat
_. With the right (Fig.
* 21, b).
º To finish the saucer,
hold it upon the flat end of
fºr-º-º/ the block in the position
º: shown in Fig. 22, beating
º With the round end of the
hammer just within the
w edge to round up and give
Fig. 21 more depth (Fig. 22).



SHEET-METAL WORK 89
A cross-shaped pattern (Fig.
23) is convenient for the candle-
holder. This may be drawn di-
rectly upon the metal, cut out,
and finished smoothly on e” Nº lºº
the edges with emery- ºr-rrºrſ";
paper. This will complete | :
the necessary pieces, and at
this point, before bending,
they should all be thor-
oughly cleaned with some good metal polish. Pow-
dered pumice or Putz Pomade does very well.
The next step is to punch and rivet all pieces, and
although this may seem a little difficult at first, some
previous practice upon Scraps *
of metal will enable even t º
very young students to do a
neat and strong piece of work. A
In the lower part of the 6
bracket-piece punch three
holes (Fig. 24), one hole in
the center of each Saucer and
candle-holder, and of course a wº
corresponding hole in the up- Fig. 23
per part of the bracket, as at a.


90 THE ART CRAFTS FOR BEGINNERS
alº
i **Pºº AW, Yºº A. A.Tº
----- d Fig. 25
This punching is done with 1" the nail set, and
upon the end of the hard-wood block; and the ham-
mer should be used in this case as a striking tool.
Small copper rivets may be purchased for about
forty cents a pound of any hardware dealer. The
washers which come with the rivets are not to be
used in this problem.
All holes should be punched a little larger than
the rivet. The process of punching will raise a slight
rim around the hole, and this rim should first be filed
a little and then beaten flat with the hammer upon
the metal block. Should this close the hole too much
you may twist it out with the punch or the reverse
end of the rat-tail file. The rivet should just slip
into the hole, for if it fits too loosely that means
trouble in riveting.

SHEET-METAL WORK 91
The hole a, Fig.
94, should he 4//
from the edge.
Bend the bracket to a right angle by setting it in
the vise just to the line C–D and beating it over
with the mallet.
Bend the candle-holder just enough to
Fig. 26
allow it to fit into the saucer, and set the (Tri-
rivet up through the three pieces, as X-ſº
shown in Fig. 25.
In the end
Of the rivet-Set,
(Fig. 26) you f & "º
hole. Fit this ſº
over the end -*
of the rivet, as *-*
in Fig. 27, a,
and tap the
set down so & A
as to close Sºº g
the several W
pieces of
metal well - 5
up together. Fig. 27
... s...º.º.










92 TEIE AIRT CRAFTS FOR BEGINNERS
The actual process of riveting is to tap the end of
the rivet down squarely and evenly, spreading it, as
in Fig. 27, b. -
Notice that the rivet is not beaten off close with
the surface of the metal, but some thickness is al-
lowed for strength. The rivet spreads, thus clench-
ing the two or more plates together. The result of
not hitting it squarely is shown in Fig. 27, c.
Finish by tapping it on the edge as shown in Fig.
27, d, thus producing a rounded head.
Rivet the three piccos — candle-holder, saucer,
bracket — together (Fig. 25), striking from above.
Then it, Will be
©e’ more Conveni-
<l. see & ent to form the
*ś holders before
| riveting to the
| back piece.
Bend the
holder at points
indicated by ar-
* row-heads (Fig.
| 28, a), so that
the width will
Fig. 28 just take an

SHEET-METAL WORK 93
ordinary candle—about
#/. This is done with
the flat pliers.
Next bend the edge
Of the sides With the
round pliers (Fig. 28,b);
then the points are rolled outward over the round
pliers to resemble c. The finished holder is shown at d.
The main part e should be straight, or nearly So, in
order to hold the candle firmly.
Rolling the points outward enables the candle to
slip in easily, and the curved edges clutch it and
hold it straight. - -
This holder may be varied by making three or
only two arms. If there are but two they should be
at a and b, Fig. 29.
The form of all these parts may be varied so long
as they answer the use to which they will be put.
Many of these slight changes will suggest themselves
to students, who will thus have opportunity to bring
individuality into the work.
There remains but to rivet the bracket.
Place it carefully upon the back piece and mark
the center hole (Fig. 24, b). Punch and rivet this
first ; then, the others. -

94 THE ART CRAFTS FOR BEGINNERS
The files and emery-paper should be used to finish
up all edges.
It is wonderful how much the color of the metal
and the difference of stamped and smooth texture
lends to the design. If the design be carefully spaced
with due regard for line harmony as well, crude
Workmanship is no detriment, and, indeed, in the
case where the grotesque animal form is used this
crudeness becomes a virtue. I have only to refer my
readers to the demons and gargoyles of Notre Dame
to illustrate this fact.
PROBLEM III—A, BRASS TAMP-OR CANDLE-SPHADE
The tray and the sconce have called for a rather
beavy metal, but the perforated shade should be
made of a somewhat thinner gage—28 or 30. (The
gage or thickness of the metal decreases as the num-
bers increase.)
In Fig. 30 we have what appears to be a rather
complex diagram, but I know of no simpler method
of developing the pattern for a shade upon any given
dimensions, and on analysis this method will be
found really simpler than it looks. g
Lay Out upon paper the diameters of the larger


Page Missing
in Original
Volume




Page Missing
in Original
Volume


SHEET-METAL WORK 97
and smaller circles of your proposed shade, which
must be determined by the size of the lamp it is to
fit. These circles are represented at A–D and B–C
(Fig. 30).
Draw the diameter A–D.
Project this downward to A/–D' and draw. L-M.
Project B and C to B' and C. From A' draw
Aſ–B' any length you choose. This is the Slant or
profile of the shade. Prolong to O. Draw O-C/—D'
and B-C-Aſ. B', C, D is the side view of the
shade; A, B, C, D is the top view.
From these must be developed the accurate pat-
tern.

With the triangle find 300, and i-
bisect this, giving 159, K, D, Fig. SA -*
30. This will be ºr of the circum- |A 6 X-
ference. \LM’ D
With O—A' as a radius, describe
a circle (Fig. 31), and another
circle from the same point with
O–B' as a radius. From any point, O
J, on the large circle lay off with 5 c’
the compass 24 equal spaces of the |
length of K-D (Fig. 30), and from , tº O’
the 24th point draw M–O (Fig. 31.) Fig. 30
98 THE ART CRAFTS FOR BEGINNERS
- - &
&\ –” WRNOLESTISKS ---,
*\ }•Rºmâx CE EITHER STArtPEP.
º Etc. Hec, or po Ng in REPov$5E
THE GASE (S 39: NT VR -
Ji ºil-like IHE. Tº
Mers ARE. Sq\ARED OVER
THE EDWAE OF 3.0CK •
.e. THE Line oftNAMENTTo
tºe ºrtrieb. Q. REPOVSSÉ’
.D. PA-ANS FoR CAN}\tº
*º--ºn Hoi-bêRs





















SHEET-METAL WORK 99
Add one Space for a
lap upon which to rivet
and draw A/—B/–O. Cut
out on the heavy lines,
Fig. 31, and this pattern,
When folded so that M
coincides with J, will
give the shade A–B–C–D
(Fig. 30).
With the two circles
and the length of side
given you may develop any shade in this manner.
In Fig. 32is given the pattern for one side of a square
shade, allowing a lap for riveting over each corner.
Or a square shade may be constructed of one piece,
as in Fig. 33. This last pattern wastes considerable
metal and is not as strong or as ornamental as the first,
but has the advantage of requiring rivets in only one
place.
The circular shade could be made of four pieces by
first constructing the entire dia-
gram, as explained, and then cut-
ting in fourths, afterward adding
\ upon the brass a lap at every
Fig. 32 Sixth Space. -
Fig. 31


100 TEIE ART CRAFTS FOR BEGINNERS
:
º
*
;
Of course, patterns can be made with three, five,
six, or eight faces, after the manner of Fig. 32.
Having cut the circular pattern as indicated, fold
under the flap, and then fold in thirds and again
double. Mark every other fold, as in Fig. 34. In one
of the sections formed by this folding draw one half
Tig. 33
the design. Then
bend inward on the
fold A–B, and trans-
fer by rubbing on
the back—finishing
One symmetrical unit.
SLI engthen the lines
and transfer the other
units by rubbing from
the first.
Another way is to
prick through the
lines With a pin-point. Or draw one unit on a separate
piece of paper and transfer into each space with car-
bon-paper.
A well-proportioned plain border, top and bottom,
adds to the finish.
Glue or paste the pattern upon the gage 28 brass,
and then carefully Scratch a line all around the edge.
* * * **
'v' &

SEIEET-METAL WORK 101
The perforating-tool is made from a wire nail by
Simply filing it to a long conical point, and the
punching is done upon a hard-wood block.
Perforate the whole outline and background with
holes of about uniform size and spread evenly over
the Surface. Of course it is not necessary or desirable
to arrange these perfor- ºr-. ...
ations in even rows. º
The outline may be cut
With a tool similar to the
Straight tool used in the -,
tray, filing it to a cut- / A
ting edge. If this is Gº
done, see that a suffi- Pig. 34
cient space is left between each cut to prevent their
uniting (Fig. 35).
The perforating finished, cut the brass along the
curves. The paper pattern may be washed off with
water, and it will be most convenient to remove this
after the outline has been perforated, as the back-
ground can then be completed without the drawing.
File the edges and finish smoothly with emery-
paper, so that if the finger is run all about the metal
it will not catch anywhere.
In the flap which has been left at one end, punch



102 THE ART CRAFTS FOR BEGINNERS
five holes for rivets. Bend the shade up as evenly
as you can with the hands, rough side outward, un-
til the ends overlap.
Mark carefully the position of the middle hole,
punch and rivet it, then proceed with the others,
punching and riveting one at a time.
With the hands and mallet bend and beat out the
shade to an even curve, taking care not to beat hard
enough to close the holes.
There is another way to fasten over the ends, but
it is neither as strong nor as ornamental as riveting.
For want of a better term I will call it a clutch-
Joint. It is made as follows: On either end of your
Shade leave a #" margin parallel to the edge. Bend
&
Q
& - tº º
zº &n º ºs
§ {º} tº § tº §
W ºss *.*.*.*.*.*.*, *:Sº sº; tº:
& º 'º, º 'º';
sº ºs ******* 3 as º º º: gº
4"º Sº, "Sººt ºr 24;’ ”
Nºss &n * @ sº ſ º;* 3:
Sºś vº ºf * 2°
§ §e. 27 &






SHEET-METAL WORK 103
ers Or Over the
A 36, a, the angles
\ ways. Bend them
hook together
/ mer together on
form the joint c.
There are many variations of the
form, proportion, and method of
perforating the c. shade that will
Surely suggest /*A themselves to the
Student as he Works.
A shade may , * be made from a
single piece of 4 * metal without
any joint what- ever, in Some-
thing the same manner as the tray. One of this sort
is shown in Fig. 37.
Cut out first a 12//square, with an additional +" left
for flaps all around. A 4 ( square is next cut out of
the center, except where #" is allowed for flaps (Fig.
37, a). All edges are then filed and emery papered, and
the flaps bent under with the pliers and then beaten
flat. This gives a needed extra stiffness to the edges.
Next transfer and stamp the design upon the mid-
dle of each side. Bend the metal upon the dotted
lines with round pliers and mallet to form Fig. 37,
this with the pli-
block, as in Fig.
facing Opposite
until they will :
likeb. Thenham- \
the metal block to
Fig. 36


104 THE ART CRAFTS FOR BEGINNERS
e; Fig. 37, b showing
the Side view.
In Fig. 40 is illus-
trated another form.
Four, five, or six sides
are cut out as in b, the
flaps bent under and
design perforated.
Then corner pieces, a,
are Cut and riveted to
each piece as shown
in the diagram d.
Or we may cut out
the open Spaces in
the design with a
straight-edged tool
and place colored
glass behind them as
shown in Fig. 40, c.
If the glass is used,
gage—21 metal will be
needed in the frame
to support the weight
of the glass.
Any glazier will cut


SHEET-METAL WORK 105
the glass for
this purpose, ºf S
If glass is Ҽ
used in the */
shade at Fig. 44 ºs
37, then the "ij" ; : X& gº º
tree pattern *—º-A
may first be Fig. 38
cut in four separate spaces (Fig. 38), a border al-
lowed all around, and the background perforated.
Still another way is to eat out the open spaces
With acid.
Mix the following solution :
3 parts clear water
1 part nitric acid
1 “ sulphuric acid
Place this in a large earthen crock or jar, and al-
ways keep it covered, for the fumes are disagreeable
and harmful.
Better keep it in Some out-of-the-way place apart
from the living-rooms. Cover all of the metal, ex-
cept those parts which are to be eaten through, with
black asphaltum varnish, Spread evenly on both sides.
Allow this to harden for twelve hours, then im-

106 TEIE ART CRAFTS FOR BEGINNERS
merse the metal in the acid, which will eat through
the exposed parts.
Keep close watch of the work while in acid, fish-
ing it out occasionally with a stick.
By no means allow your hand to remain in the
acid, and should a few drops Splatter upon the flesh,
wash them off immediately. A jar or pail of clean
water should be kept by the acid-tank.
The blackwarnish may be removed with turpentine,
or by immersing in a solution of hot water and lye.
Figs. 38 and 39 show the derivation of ornamental
conventional form from natural form.
The fir is one of the most symmetrical of trees.
Observe that its sharp angles harmonize well with
the bent-up form of the shade upon which it is used,
and that the heavier forms of the Oak are more read-
ily fitted into the obtuse angles and squarer forms of
Fig. 40.
IFig. 39

SHEET-METAL WORK 107
º &cſ;Ner;
i ſ&W $ºs :
-- ck- l
Fig. 40
PROBLEM IV—LANTERNS
In designing a lantern which shall meet the re-
Quirements of practical use the following points must
be considered :



108 THE ART CRAFTS FOR BEGINNERS
• First — size : in relation to whether it is to be car-
ried about or to be hung in a hallway.
Second —shape: according to the light to be placed
Within. - -
Third — openings or perforations: with regard to
the emission of light, and to the matter of sufficient
draft to prevent Smoking.
Fourth — proportion and decoration subordinated
to these.
At the risk of being tiresome, I speak again of
the necessity of decoration subordinated to use,
because I believe that this thing will keep art
healthy more than anything else, and even though
the object made is principally for ornament, the
fact of its taking the form of something which is
in common use demands that its construction be
practical.
The design upon this first lantern is. marked out
and made in the same simple way as the lamp-shade,
— by perforating with a round point, — but the plan-
ning and fitting together must be an accurate and
careful piece of work, although well within the abil-
ity of a boy of fourteen.
It is to be a cylindrical lantern, something in the
style of the old-fashioned watchman’s lantern of
ETCHED AND PERFORATED METAL-WoRK
(Chautauqua School of Arts and Crafts)

SHEET-METAL WORK 111
colonial days. This as well as the lamp-shade may
be made of tin with good effect.
The paper used for the pattern should be tough,
and of medium thickness to prevent easy Wrinkling.
The proportions of this lantern should be about
those given in Fig. 41. Height of cylinder 10", di-
ameter 54", slope of roof 5%", with an overhang of
1 //
2 *
Draw the front view and develop (Fig. 41), and
project the circles of the roof and of the bottom.
The pattern of the top is developed as already
explained in the shade, and as shown here in Fig. 43.
In the lantern we omit the opening that occurs at
the top of the shade and merely develop a cone.
The exact pattern for the lantern body is obtained
from the circle c (Fig. 41), which shows the diam-
eter of the cylinder. This circle is divided into
twenty-four equal parts, and these are spaced off
along a straight line, as in Fig. 42, adding one more
Space for a lap for riveting. It will give you a
length, in this case, of 16 '' without the lap. Com-
plete the pattern as shown in Fig. 42.
A simple geometric repeat may be used, first di-
viding the Space into Squares or diamonds and then
sketching in the units.
112 THE ART CRAFTS FOR B
EGINNERS
ºf:
2. Ҽ
• *
*il- sºs
<47–5 º
St. A NT or Roos -- º * , ;
1,2-2, FoR. THe in Sesſion of xxx Tº
F 13.5
|
‘. .
N. × tu
* } ". l: l
; :, ; 1: |
‘s. • * * dºw
*... Jº sº
fºr :TF f
ºi ( ^so 2
itſ <-- *-*I'--
uſ . 2 | <
o ; : lă
| :: * it: !
º |a ! º |F !
o ( |& , ; :
\*- łk- •----' {
ve & <> ** 1: … - - - - - - - - - - - - -#!-
ſº 3 > * # B | IF l-
Fig. 42
THIS, SHEET SHovis Tia. METHop
NS, or DEVELoping A PATTERN IN
\\ perail- FIRST DESIDE WPon
\\ Propowtions as awen in FA 4
Height, witH, SOPE of Rouſ;
' ', over HANG etc. TheN PRoceed
^S; as shown. IN THIS bestºn
? Note: THE portſNANce of cºls:
| Nt) RVC. Au- CVRV CS
























SHEET-METAL WORK 113
See Fig. 58 for an example of this kind, where the
straight-edged tool is used with the punch. Lan-
tern B is another example of this method of decora-
tion.
The +” margin at the top, and the #" margin at
the bottom, are for bending over and folding inward
to stiffen the edges. The #" margin on the side is
for riveting, and the square tabs are for attaching to
the roof.
Now draw the margin lines a and b, and it is be-
tween these that the design must come.
Several important considerations should influence
us in selecting a design for a lantern. There must
be sufficient surface perforated to let out a fair
amount of light — more than half of the inclosed
space. These perforations must be distributed well
for two reasons: first, a constructive one, that too
large a mass of holes in one space stretches and bulges
the metal; Second, from an ornamental view-point,
the effect would be bad if all the perforations were
maSSed together.
The design must be tied together, as it were, some-
What as in a stencil-pattern.
The tree design which I have used answers these
requirements. Sketch in the tree upon half of A–B,
114 THE ART CRAFTS FOR BEGINNERS
Fig. 42. Notice how it touches the side lines and
the top, thus Separating the larger and Smaller Spaces,
which will be perforated, and tying together the
whole design.
Having sketched half of a unit, the method of fold-
ing on A–B and transferring by rubbing is the Same
as previously explained.
Corrections will be needed here and there to bring
the whole together and fit it up accurately. The back-
ground Spaces are perforated as solid maSSes of holes.
Instead of gluing the paper upon the metal, the
whole pattern may be drawn in pencil directly upon
the brass, and the design unit drawn upon a separate
piece and transferred into each space.
The upper and lower borders, with the exception
of the tabs x X X, are beaten over before punching.
These borders, of course, are
… bent upon the inside of the
º lantern. The bending may be
*-seases sess _ Started over
\sºa bevel-edg-
ºf" led rule and
º beatendown
_L i with the
Fig. 45 mallet.


SHEET-METAL WORK 115
Punch the flap
FC for Seven riv-
ets and proceed
as in the Shade. zºº.
There maybe Gºl-es---a-lºss)
some difficulty 5- Rowºholes_2^
in getting at the Fig. 46
rivets in the middle, but it can be done quite readily
in the following manner: Secure a bar of metal, a
piece of water-pipe, or a bar of hard wood upon
which the riveting block of metal may be set, and
rest this bar across two tables, blocks, or boxes.
String the cylinder upon this, inserting the rivet
from the inside and riveting upon the outside, as in
Fig. 45. The lantern is bent rough side outward,
this being the easier way, and also, in my opinion,
the more ornamental. -
You may develop the pattern for the top in the
same manner as already explained in the shade, and
for this the dimensions are given in Fig. 41. The
complete pattern is shown in Fig. 43. One circle is
described upon a 5” radius and another upon a 3//
radius. Upon these circles the design is constructed
and the interspace perforated (see A in the plate).
Six holes are punched upon the 3' circle and filed
1 ºf 3 ºrridowerſ|
SECT Bev Torºv ||








116 THE ART CRAFTS FOR BEGINNERs
out to at least #" diameter.
These are for ventilation. , * * ~~
The space marked A–A is |
the part perforated as a -1.
solid mass. The center tº
of the pattern, C, is filed Fig. 47
out with a rat-tail to allow for the insertion of a Wire
after the roof has been bent up.
Four rivets will be needed on the flap, the first
One coming as near the center as it can be punched.
The slits 1, 2, 3 are punched with a straight-edged
tool at the thirds of the circumference. They are
intended to fit the three tabs x X x, and should be #"
wide or +" wider than the tabs. These slits will
come exactly upon the 5' circle.
Bend up the roof and rivet it over the bar.
Coming now to the pattern for the bottom, we shall
*s, find it necessary
* to Construct this
º #: from heavy metal,
ºS gage 21.
º PS) It is cut care-
fully according to
the heavy lines in
44, allowing the
º
:
º: Fig. 48



SHEET-METAL WORK 117
square tabs to \see F. H. A. Now B-
stick out . " iftſ; - c]
from the circle "X- —Tº- 3.
B, which repre- Fig. 49
sents the projection of the bottom. A is the size of
the lantern body, and D, the inner circle, is drawn
as a guide-line upon which to punch sixteen equi-
distant holes (see Fig. 46), rough edges upward.
The drip-cup with a diameter of two inches is next
cut out and hollowed, and the candle-holder formed,
as in the Sconce. These are then riveted to the Cen-
ter of the lantern bottom.
The three angle pieces, 1" x
#", are cut from heavy metal
and bent in the middle to a
right angle with the pliers.
* @NS They are then punched and
-* riveted at the base of the line
that passes through each tree—
that is, B, G, and L, in Fig. 42.
The manner of attaching
these is shown in Fig. 47. Fold
a scrap of heavy metal double
and beat it flat together; bend
Fig. 50 the tab of the bottom piece over

118 THE ART CRAFTS FOR BEGINNERS
wº this, and when the scrap is
N removed this bend should fit
~ over the angle piece easily, as
& sº | in Fig. 46. The bend should be
T^\"> adjusted so that the angle will
" just slip in.
For the hood cut a circular
piece of thin brass 2'' in diame-
ter, and perforate it in the
center. This may readily
\\ Sº be bent with the fingers
N. to resemble Fig. 48. Fig.
49 shows a pattern for
the heavy brass loop, which is
punched in both ends and bent
Over to a circle.
The loop, hood, and roof are
tied together by means of a nar-
row Strip of gage-21 metal, or
brass wire, º' wide and 2' long.
Bend one end of this to a Small
\ loop over the round pliers, in-
\ sert it from below through the
' hole in the apex of the roof,
the hood, and both ends of the
age tº º g== * * * * tº sº º ſº


SHEET-METAL WORK II9
loop-handle, and twist it
down tightly on top (Fig.
50).
To put the body and the
roof together, insert the
Square tabs x X x through
the slits 1, 2, 3, and bend
them down outside. The
slits are purposely made
wider than the tabs, to allow for any variation in the
pattern ; but if the measurements here given are
carefully followed there should be no trouble about
fitting.
In the plate A is the lantern which we have been
constructing. B is triangular, but the design, which
is composed of squares and triangles, may be equally
Well applied to a square lantern.
In making this triangular lantern a wooden bloc
planed to an equilateral tri- ſº ------sº
angle will be necessary for W
forming the corners. The roof -\ese
may be made in one or three Yºº
pieces and riveted. (See lamp-
shades.) C, D, and E, may also
be made in one or Several
a 2'- - - - - - - - - -, (- ;
Fig. 52
Fig. 53


120 THE ART CRAFTS FOR BEGINNERS
6
h
E-
º pieces. A little explanation is needed
| cº- about developing these roofs in one piece.
W First draw the front elevation of the lan-
tern to exact size (Fig. 51). c 25
In this case it is the hexag--Sº) a
i
:6
i
i
£ Q)” onal lantern C. Fºº
Fig. 54 Now, A is one surface of Fig. 55
the roof seen in perspective. The distance 1–2 is
projected to R-M, and is the same as 1–3, which is
seen in perspective.
The edge 2–R equals the edge 3, so drawing R–R
and R–2 we have the actual
length of the perspective
*_l length 1-4, giving Aſ the
Tº actual size of the perspective
A. Now describe a circle
with radius R–R, and on its
circumference space off six of
2–M-R, and add a lap for rivet-
ing, giving the pattern 51 b.
Attach the roof as previously
explained.
Lantern D Shows a door in
the side for inserting the lamp
or candle. In one side of the






<RĒĢº
*（3%
?<gºº
§§
° -ºſºț¢&ș№.
--◄-



122 TELE ART CRAFTS FOR BEGINNERS
lantern frame cut an opening (Fig. 52) with +” mar-
gin to be bent back to the dotted line inside, making
the size of opening, a, b, c, d, heavy lines.
Now cut out the door (Fig. 53), allowing #" larger
than the opening all around, and +” for bending
under.
For hinges, cut two strips of thin brass 1" x 3".
Make cuts in the door at 1 and 2 (Fig. 53) +" from
the edge. Bend the loop as at a, Fig. 55, around
through this, and put the two ends through a corre-
sponding slit in the side of the frame.
In the section sketch, Fig. 55, a is the loop, b b the
ends bent under, d d the frame, and e o the door.
Fig. 54 gives two ways of clasping. A wire is bent
_e=, to a loop, the two ends put
*Fi through a hole in the door, and
_º, the ends bent under the frame.
…, || The door is then locked by
| twisting the ends to a right
2|| angle with the edge of the door.
| or a clasp may be filed like
||||| Fig. 54, b, riveted to the door
<!!! loosely, and caught down over
=#| || a loop in the frame.
I have shown in Fig. 56 a




SHEET-METAL WORK 123
zºº \ simple way of setting the
$2 %Nº.$º light in through the bottom,
X% | \£º' N applicable for any lantern
§§§: Other than a cylindrical one.
&§ |X In cutting the sides allow
$2 3& 3-3, broad laps at the bottom, which
y|Y y \{ Y may be bent under and riveted
Lº Fº ' | N as shown here. Rivet the candle-
O §§ holder upon the center, or, if a
# º Small lamp is used, form a square
/ § % .. \ tray to hold it, and rivet this tray
6 ºv to the upper Square.
NOW the handle is riveted and the
M -* lower piece bent away from the upper,
to allow the edges of the lantern bottom to
slip between. Place the light in its holder,
set the upper square through the Opening, and give
the handle a turn so that the corners catch, as in
Fig. 56.
Lantern E is designed for stained-glass panels, to
be inserted in a riveted frame-work. (See Fig. 57.)
A sheet of brass or copper may be etched out,
leaving a frame, behind which we may place the
glass (lantern E). Other combinations and meth-
ods will suggest themselves to the ingenious worker.
Fig. 58




124 TEIE ART CRAFTS FOR BEGINNERS
PROBLEM V– LETTER-BOX
The hanging letter-box is another very useful and
attractive object to be made from either brass or
copper.
From a sheet of gage-21 metal cut a piece 6% " ×
11”, and within this draw a #" border, punch holes,
and screw upon the block as in the tray and Sconce.
Now upon a piece of paper draw a rectangle 5% ''
× 10”, and cut out of the paper, leaving a flap at
the top, as in the tray.
The design in Fig. 59 may be used, or any other
good design, preferably a two-part symmetrical pat-
| tern. This problem is to be finished
in repoussé or beating up from the
back. -
Fig. 59 is a conventional treat-
ment of the grape-vine, adapted to
this method of working with a
rounded tool. The space above,
| A, is left for lettering; the space
below will, of course, be covered
by the box.
! From a 4" length of +” bar
of tool-steel file a tool like Fig.
ſo."

SHEET-METAL WORK 125
60 d, smoothly rounded upon the end. The metal
should first be filed square, as in 60 a, then a
bevel taken from the edges as in b and c, finally
smoothed to d, and finished with emery-paper.
Let me repeat here about tempering a steel tool.
After the surface is polished smooth, heat the whole
end in a coal fire or over a flame until it glows rosy
red. Then plunge quickly into cold water, dry, and
polish again with emery.
This tool is held in the same manner as the
nail stamp, but the resulting impression should be
Smooth and unbroken. The design depends upon
its embossing or relief, rather than in the difference
of texture. Practise to move the tool along in a
continuous, even movement to cover the whole sur-
face of the design.
Beat in the grapes first, twirling the tool about to
insure getting a circular impression, next the stems
and branches in as smoothly continuous an impres-
sion as you can accomplish.
With a metal as heavy as gage 21 the forms of
the design should be quite clearly defined, avoiding
very small spaces; and the intervals between the
parts (i. e., the background) must be more open
than if a thinner metal be used. The beaten side
126 THE ART CRAFTS FOR BEGINNERS
tº e a will be the back of the holder, the
C Oraised surface forming the face.
| ſ Any letters or monogram must first
Fig. 60
*
5

* *
&
º
be carefully drawn upon a piece of pa-
per cut to fit the space allowed—A,
Fig. 59.
|But as the letters must be stamped in upon
the back they must first be drawn in reverse,
so that they can be read from the front or raised
side. The simplest way of reversing is this:
Fold a paper upon the line A–B, Fig. 61, and
within the upper half sketch the letters to be placed
within the space A, Fig. 59, in their proper size and
order. Outline them clearly with a black pencil
fold upon A–B, and transfer by rubbing.
This will give you the exact reverse of the letters
as in the lower space (Fig. 61). Transfer the re-
versed word into the given space and finish the
stamping.
The dimensions for the box part are given in Fig.
62, with the extra margin allowed for screwing upon
the block. -
Be careful to square all corners and to measure
very accurately. The design is drawn upon a paper
3"x4", allowing a margin above for tacking upon
Sł-
SHEET-METAL WORK 127
the block. The grapes and curved
stems are beaten in, and also the leaf grº É. §
around the Veins. A. t £3
The diagram at the lower part of | fê.
Fig. 62 shows how this piece should
be bent and riveted upon the back.
The bending is best done over the square angle
of a hard-wood block, using the mallet, and the
raised surface of the design, as in the other piece,
should face outward. In the narrow margin, g”,
punch three holes for rivets and insert the rivets
from the front, setting them down upon the back of
the holder.
One danger is that of getting the box unevenly
placed upon the back piece, and very careful measur-
ing will be necessary to avoid this error.
In the plan given the box
piece should Q: be riveted
about 1; ' || |* §: from the low-
er edge. go
Fig. 61
Finish by Tº curving the
edge from the i S-Fºº back, as shown in
the cross-section, sº * Fig. 62.
This style of box may be made
a little Smaller Fig. 62 and used for a

128 THE ART CRAFTS FOR BEGINNERS
->;--
LETTER HOLDERS
A To BE FINISHED As DESCRIBED
1N THETEXT IN REPºv$$5.
|Not E THE CHARACTER of THE
VAſ C}^ AS Jºš
match-box, or the design may be stamped as in the
SCOITCC.
This completed design and one other for the same
purpose are here illustrated.
The design B might be executed in metal and
wood, carving the outline decoration with the knife.
PROBLEMI VI— COPPER BOWL
Copper, being the more ductile metal, is better
adapted than brass for beating up as deep an object
as a bowl.

SHEET-METAL WORK 129
As the copper stiffens under the tool, it will be
necessary to heat or anneal it to get it again into a
pliable condition. This may be done by placing the
metal in a stove or furnace, or by forcing a gas flame
upon it in the method used by professional metal-
workers. Heat it to a rosy red and then cool slowly.
For this problem describe a 7" circle upon the
copper and cut it out with the shears, then describe
the other circles as in Fig. 63. The outer circle is
only the rim which is allowed for screwing to the
block, and is cut off later. Circle A is the real edge
of the bowl; within this comes a +” border and then
a #" band, bounded by circle B.
Within this band we place as ornament a repeat-
ing border. The circle at the center with a 1" ra-
dius is to define the bottom of the bowl, and the
other circle is simply a guide-line to aid in beating
up.
With the 30 o-60 o triangle divide the circle into
twelve parts, punch the holes within the outer bor-
der, and screw the metal to the soft-wood block as in
previous problems.
Upon a bit of paper describe circles and lay off,
Fig. 64, equal to one section of Fig. 63.
In the space allotted for the border draw. Some unit
130 THE ART CRAFTS FOR BEGINNERS
which will repeat well twelve times—something like
the pattern given.
Cut out the Wedge of paper, and, fitting it into the
corresponding Space upon the metal, transfer with
carbon-paper, holding the pattern by its apex.
The background of the border should be stamped
rather deeply with a medium-sized stamp. There is
the danger of perforating to be guarded against in
this.
The small rosette pattern for the center is punched
upon the reverse side, and it may be left out en-
tirely without seriously modifying the effect.
Trim the metal to circle A, Fig. 63.

SHEET-METAL WORK 131
You will need to purchase, make,
or have made, a stout canvas or \) >
leather bag, something like a pin-àA.-- **es
cushion, 6'' in diameter. It may \\º º
be either circular or square. *\\}_º
Or any large hardware dealer -
will order for you an engraver’s
pad, costing about $1.50.
Rest the disk of metal upon the
pad with the outer stamped side
downward, and with the round -
end of the mallet beat it in a Series Fig. 64
of circles from the inner circle outward, at the
same time gradually tipping the piece (Fig. 65).
As you go on with this “forming,” the metal will
wrinkle at the edge and stiffen quite rapidly. An-
neal or heat it, and beat out the wrinkles upon a
hard-Wood block.
In order to get the bowl the
zº- required depth, a block in shape
TZ like Fig. 68 must be rasped and
Sandpapered from hard-wood,
and another to the shape shown
in Fig. 67. -
Fig. 65 Beat the bowl down into the









132 THE ART CRAFTS FOR BEGINNERS
one block (Fig. 67), and over the
block (Fig. 68).
By this method of work the
ornamental band will be flattened,
but cannot be entirely beaten out,
so we shall always have a difference
in texture which will sufficiently
indicate the design.
These designs (Figs. 69 and 70) are both
\ extremely simple, with a minimum of
stamping.
They may be executed by etching
in acid, as already explained in the
º SNA problem of the lamp-shade, and
Nsee 2 TNN when completed the bowl may
ë be used for spring bulbs, for
nuts, or as a finger-bowl.
The page illustration of candlesticks
Fig. , 'involves no methods of working which
have not been explained in previous
problems. Surely the examples of
metal-work given will suggest to the
student other objects properly and
consistently to be constructed out of
this material.








SHEET-METAL WORK 133
Its durability and the richness of color and de-
sign obtained by very simple means have deservedly
made this branch of the crafts very popular.
fºrcRED or STANAPeo QPPERGRER&
Fig. 70 Fig. 71

CHAPTER V
§
LEATHER-WORK
PROBLEM I—IHow to make a Note-book
PROBLFM II–How to make a Card-case
PROBLEM III–How to make a Magazine Cover
PROBLEM IV— Carved Leather Napkin-ring
CHAPTER V
LEATHER-WORK
HE great popularity of leather-work among
amateurs is due in great measure to the ease
with which the art may be acquired, and to the fact
that a small and inexpensive equipment is all that is
required; and also because of the richness of the
material and its durability.
The art of modeling or embossing leather is little
more than drawing upon the dampened material,
and, therefore, a knowledge of design is of great im-
portance.
Of great importance, but not of absolute necessity;
for one may do as many students without oppor-
tunity for the study of design have done—one may
trace, copy, or adapt the designs of others. Here
137
138 THE ART CRAFTS FOR BEGINNERS
the critical faculty is necessary in order to know
what to select for a given object, and in this con-
nection it would be well to read carefully the chapter
on design.
There are various methods of manipulating leather,
Such as incising, carving, appliqué, staining, tooling,
burning, and embossing. The last-named, as it is the
simplest method, will first be explained here.
The selection of material for work in any craft
is of prime importance, and in leather-work it is
rather more difficult to distinguish between good
and inferior hides than it is to select a fine piece of
oak or a sheet of metal of the proper quality. One
has to take risks and learn by experience.
A test which will help somewhat is to indent the
hide with the thumb-nail, and if it retains the im-
pression thus made it will probably model well.
The highest grades of Russia calfskin, ooze calf-
skin, or split cowhide, ooze finish, should be secured
for modeling. Sheepskin will not model well, but
will do finely for perforating, burning, or inlaying.
There are comparatively few difficulties to over-
come, and we will meet them as they present them-
selves. Following is the necessary equipment:
Two modelers (Fig. 1), each having a tool on both
IEATHER - WORK 139
ends, one of the four ends sharp and three-cornered
in Section for incising lines and pointing, and the
other ends blunt, thumb-shaped modelers of various
sizes; and these are used for pressing down the Sur-
face of the leather.
A slab of marble, slate, or glass not less than 9" ×
Fig. 1
12", a triangle, a 1-foot rule, a Sponge, and a sharp-
cutting knife completes the list.
PROBLEMI I–HOW TO MAKE A NOTE-BOOK
Thus equipped, we may begin with something
which shall not be too difficult—say a pocket note-
or address-book.
Procure a small blank-book and remove the card-
covers, or make a book by sewing together leaves of
Some good paper. (See chapter on simple book-
binding.)
The book being 5" × 24" in size, we will cut the

140 THE ART CRAFTS FOR BEGINNERS
A 5:#" ;-)
\ 2-
cover so that it shall pro-
ject +” at either side and
end, with 4" allowed for
the back, thus giving us
# 53' x 5%" (Fig.2).
Measure this size care-
! fully, using the triangle
! to insure square corners,
f 3, 4 || and draw the lines With
| B * } the tool shown in Fig.
*ºtºr - 1, A.
Fig. 2
No cutting will be
done until the whole work is finished. During the
process of modeling, the leather must be kept in a
dampened condition. Wet the under or flesh side
with a sponge, being careful not to Saturate it so
that the water soaks through to the finished side.
In drawing or tracing straight lines always use
the rule or triangle and move the tool from left to
right (Fig. 3), and slanted back at an angle of about .
45 O.
Draw the line A–B, Fig. 2, with
the sharp point (Fig. 1, A) mid-
way between the sides of the
larger rectangle. Measure #"

IEATHER - WORK 141
from outside upper and lower edges and Hºs" from the
center line, and draw the oblong 1, 2, 3, 4 in the
right half of the piece of leather.
In this oblong the front cover design is to be
placed.
In tooling the corners there is a tendency to carry
the lines over into the mar-
gin. To avoid this do not
draw the lines quite to the Aff

corner at first and finish *
them afterward as follows: Sº
Iſold the sharp-pointed gº N.
tool in a more horizontal Sº, ſº
position, pressing the point 2.
down with the first two
fingers of the left hand,
and push the tool forward.
The under-Side Of the Fig. 4
tool will take a straight course, following the line
to where the corner is to be. At this point turn
it up, sharply, assuring a well-defined corner(Fig. 4).
It is of course difficult, even with the help of
drawings, to explain these details exactly in words,
and a little practice upon scraps of leather will be of
great value.
142 THE ART CRAFTS FOR BEGINNERS
A With the first handling of
the tools let your design be
ºcº simple. In such work ac-
curacy is important in laying
Out a skeleton plan or de-
B sign, and the 1-foot rule
should be used frequently.
Do not fear that by so doing

you will obtain a mechanical
effect, for the free-hand fin-
ish over the outlines is bound
to “loosen up' your work
Suſſicielilly. -
A simple interlacing pat-
tern is always effective.
Fig. 5 What can be more interest-
ing, for instance, than the Moorish patterns or the
Celtic knottings, which may be simplified for our
purpose?
With the piece of work in hand the oblong to be
filled is 5}/X 24". Measure such a Space upon pa-
per and adapt your design to it. It is well to cut
the paper upon two sides of the oblong, as A–B,
Fig. 5, so that it may be placed more accurately in
the given Space.
X
l
LEATHER - WORK 143
Trace carefully through the paper with the pointed
tool or tracer, holding it at an angle slightly below a
right angle.
Then remove your paper and strengthen the lines
where it is needful.
The hardest work will then be accomplished, and
you may proceed with the actual modeling or “lay-
ing down '' of the background, thus lifting or raising
the design in relief.
The laying down is done by pressing heavily and
evenly with the broad-pointed tool all around the
lines and working toward the part to be raised.
If the leather wrinkles you may know you are
pressing against the fibers,
and it will be necessary to
change the direction of
the tool So that the leather
takes the pressing in a ſº
smooth and glossy manner. /
Should the water comeº
to the surface during the `W
process, do not attempt to
proceed with the model- &
ing until it has somewhat Method of Holding the tool.
* WHEN PRESSING DOWN
dried out. Under proper BACKGROUND

144 THE ART CRAFTS FOR BEGINNERS
condition of dampness, the parts of
gºriºs= the leather pressed down will be
darker than the original skin color.
Use the soft point (B, Fig. 1) for
small places and corners, the larger
tools, C and D, being reserved for the
manipulation of larger Spaces.
The back of the cover may be left
plain, or may be finished in the fol-
lowing manner:
Mark out an oblong of the same
size and distance from edges as the
one on thc front cover; mea- .
sure g” inside each line, and
draw another rectangle, as in
Fig. 6, Or changing the pro-
portion, as Fig. 7, B.
The lines should be first
drawn with the sharp tool and
ruler lightly, afterward using
both hands to push the tool
over them. This makes a very
decided indentation. Model
down evenly the space within -º-
METHOD OF BIOLDING THE
the oblong. TOOL IN LINING:
Fig. 6

IEATHER - WORK 145
The cover being A.
now ready to adjust,
cut through the out-
side lines A, A, Fig.
7, with a sharp
knife.
As the book is
Small, the leather
Will make a cover
sufficiently thick
without any lining.
Sew the leaves of
the book to a strip
of thin Strong cloth as near the rº
color of the leather as may be, or,
if necessary, use white cloth and
stain it with water-color paint.
The band must be at least 4"
wide (Fig. 8, A).
Before the cover is perfectly
dry and before the edge is cut off,
fold it over on the Center line
and press firmly under heavy
books.
Det it dry thoroughly in this Fi


146 THE ART CRAFTS FOR BEGINNERS
position, then rub well into the fold,
with your fingers, some SPHINX
leather-paste, and paste the band A
evenly into the fold and press the
back tightly. Afterward open the
cover and remove any paste which
may have spread outside the cloth
back. Fig. 9 shows the book com-
plete.
In larger note-books it is advis-
able to line the covers, and when this
is dono the leaves are Sewed LU a
piece of skiver or very thin pared
sheepskin, as large as the covers.
Then this is pasted to the entire decorated cover,
the paste being well rubbed in over the whole sur-
face of the leather.
In this method of finishing the Superfluous leather
should not be cut away until the lining is in place
and the paste dry.
PROBLEMI Tſ—HOW TO MARKE A CARD-CASE
Good proportion is one of the first considerations
in all fine art, and a great deal of time may profit-

LEATHER - WORK 147
ably be spent in the nice adjustment of parts, orna-
ment, background, and border.
In this little card-case, for instance, simple as it is
and rather limited as to size, there is bound to be
Some relation of width to length, of cover and of
depth of pocket, which is better, and more satis-
fying to the Sense of balance, than any number of
other possible proportions.
It is well to fold a piece of paper
into the shape of a case like Fig. 10;
and Fig. 11 will give an idea of the
inside of the finished article, as well
as the decoration upon its cover.
In the making, this problem will
require a piece of leather as long as
four times A and as wide as B, with
at least #" all around for working.
The “laying out” or planning of the pattern, as
before stated, is a delicate piece of work, and should
be done with the utmost care. For this work the
triangle is a most necessary tool.
When the leather has been cut, with due allowance
for margin, and dampened upon the back, rule the
four Spaces required—two for the covers and two for
the flaps or pockets. Let us say that this case is
wº-rº z º.º.
Fig. 10



148 THE ART CRAFTS FOR BEGINNERS
==A 24" × 31', when folded, or
# that A, Fig. 11, is 24” and
B=34/.
Take the piece in hand
and fold it over evenly,
creasing it in the middle ;
then rule a line on this
middle fold. We Shall
call this the working line,
as all measuring will be
done from it. Draw the
line B C, Fig. 12, and
rº-s-ſ-ſ-s-ºl 34” below
-------> * ºt-, -, * * *- it D – E,
Squaring
from A
With the
triangle.
From A
Iſle 3, S ULT6:
24" to the
right and
to Llleleſt,
and from
these points draw verticals to D–E.













LEATHER-WORK 149
The outer divisions are to be the inside flaps or
pockets of the case, and they should be about four
fifths the width of the covers.
Fig. 13 Shows the complete shape, and x X x X are
the borders which shall be trimmed away finally.
Either space 2 or 3 may hold the front cover. If
2 be the smoother, turn the leather so that it will
come on the right-hand side. In the pockets one or
two lines, as in Fig. 11, tend to refine and finish the
Shape. *
Upon the front cover, the right-hand side, let us
put a simple landscape. The lines, of course, cannot
all be ruled, and therefore none of them, not except-
ing the horizon, should be, or the result will be dis-
cordant. There is a noticeable difference between
the rigid machine-line and the slight tremor or vibra-
$ &

10
150 THE ART CRAFTS FOR BEGINNERS

-*-
%. X.
ſ 2. 3 4.
Fig. 13
tion caused by even the steadiest human hand. It
is this thing which gives richness and artistic value
to hand-work. The lines upon the back and flaps of
the case, though first ruled to secure correct placing,
should be afterward gone over without the straight
edge to bring them into this harmony. The lines
of the cover design may be drawn through tracing-
paper. After this has been done, some spaces are
modeled up into relief by pressing down other
spaces. Every design, then, should be studied to see
which parts had better be depressed. The lines
alone might be incised or a slight space upon either
side modeled, but the effect is better if the whole
background surface is “layed.” Not only a relief,
but a dark and light effect is gained by this method.
In the design under consideration, the sky and
road may be made effective by this means, and
enough of the surface about the other lines “layed ”
to mark them distinctly.
LEATHER-WORK 151
Use the soft point of the tool, pushing it toward
the parts to be raised. Next press down firmly
upon the outside of the outline, and then press the
leather away from the raised part, in this manner
graduating the relief. The tree trunk is left raised, as
well as the foliage. The distant hills should be
raised above the sky, but less so than the tree; and
the land in front should be in higher relief than the
hills.
Sky and road may be pressed down smooth and
glossy, leaving one or two little irregularities or
ridges in the road to indicate the ruts.
But avoid too much detail. Do not attempt to
imitate the photograph or a
drawing in pencil; but treat TTTTTTTTTT
the material in a frankly flat
and decorative manner, striv-
ing only for enough detail to
break monotonous spaces.
Modeling is really good
drawing, and with continued
practice with the tool the
student will discover many
little touches of his own. |- - - - - - - - - - -
Upon the back of the case Fig. 14

152 THE ART CRAFTS FOR BEGINNERS
• * * * * * º dº tº dº ſº.
* sm º ºs, sº * * * * *
a monogram may be either raised
or depressed, either in an inclos-
ing space or without. (See Fig. 14.)
The effect of lines may be studied in Figs. 15, 16.
When the work has been carried to this point, the
leather is ready for lining.
Cut with a sharp knife the outlines of the flaps,
a,a, Fig. 11, but leave the other edges uncut.
The dotted lines in Fig. 17 indicate the proper
size for the lining, which should be a piece of soft
ooze sheepskin.
Note that at least +” is left at A.
Next rub the leather-paste well into the inside of
the case, and place the smooth side of the sheepskin
upon this pasted surface. Fold over on the center
line and press, then unfold and rub evenly over the
two pieces in the manner in which one mounts a
photograph. The leather being still damp, it will
Fig. 16




LEATEIFR-WORK 153
retain the final folded shape if placed under a weight
of books.
As soon as it has well dried under the weight, the
stitching may be done upon a common Sewing-
machine or upon a shoemaker’s machine, using a
medium-sized needle and twist or sewing-silk.
Fasten the ends of the thread under the flap, and
then with a sharp knife cut the superfluous leather
away with one Clean knife-
cut at least $" <-F º:#;" outside the
stitching. (See arrow, Fig.
18.)
The design which Wehave
been consid- ºy ering — tree,
road, and hills sº ºr º 18 — belongs to
that cl a SS 19. which may be

called naturalistic. It is taken directly from nature,
retaining the natural relation of parts, with irregular
shapes and some perspective ; but it has been simpli-
fied to cover a flat space ornamentally. I have given
it here as an example of one school of ornament, and
a large and important one, founded upon the art of
Japan. If we can acquire the delicacy of tint, the
expression of line, and the wonderful individual
character of plant and animal form in which the
154 THE ART CRAFTS FOR
BEGINNERS
Trlº SE CARD (A$5.5-
MAY BE FIN15 H E D J N → •
Mio D tº Llt N G, a o R tº o
PYR o GRAPHY, or 8 (e
STAM PyMC. THE BACK -
€ſto V N tº AS IN THE • e
Mt ra L e o TH+S LAST
tº ET Ho C 1s PRACT CAt-
Foº SC V E NTH AND e
E 16 HTH G R A DE wo Ryº
A ND lº Gº UYTE EFFEC-
Tive • * * A tºs • *
At A Pºrſ: D → R cººl A e
C E L T t (NTER LA tº:
• * B I S A to NVEN-
Tio N or ‘TH E Flew e R
Fe R M e o v o
rº IG5
rather to the Greek, the Gothic, the
Japanese excel,
we shall, indeed,
be far advanced
On the road of ar-
tistic expression.
Yet I cannot
but feel that as
ornament, to be
applied to a given
object, to be used
for a definite pur
pose, Japanese or-
nament IS In many
cases too abstract,
and approaches
more the pictorial
than pure subor-
dinatedecoration.
Study Japanese
art, for the quali-
ties above named ;
but keep it in its
place, and look
Scandinavian, and
the Celtic for true principles of decorative harmony.


LEATHER-WORK 155
PROBLEM III — HOW TO MAKE A.
MAGAZINE COVER
The perforated and inlaid magazine cover which
we are to develop in this present problem will carry
us into more advanced work and lead naturally to
the carving, which is to follow.
You will need a large piece of Russia calfskin or
sheepskin, a piece of soft sheepskin, of the same size
for lining, or one quarter yard of silk, or velvet if pre-
ferred, and the tools used in previous work. In addi-
tion, you must have two knives like those in Fig. 20.
Suppose the cover is for “The Century Magazine,”
we shall cut a piece 153/ × 103". This allows #" for the
back and an overlapping margin of $". Make the
design upon paper of the same size as the cover.
Start with the piece of leather perfectly square as
to corners and of equal sides; then find the center
line, and measuring #" from it each way rule the
lines which include the back piece (a, Fig. 21). We
have now the two separate sides 1 and 2 to consider.
Measure 1” in from the edge of each side all around,
and rule carefully the oblongs which are to contain
the designs. Lines will be a sufficient decoration
upon the under cover.
156 TEIE AIRT CRAFTS FOR BEGINNERS
Select the Smoothest Side
for the upper or front
cover, which will be upon
the right-hand side — 2 in
Fig. 21.
* The design (Fig. 22)
w should be accurately drawn
º upon paper of the same size
º as One cover, allowing a
# margin on two sides for
# holding or for tackingdown
! to a board. Then trace
carefully into the oblong
Space (Fig. 21).
The parts to be cut out should be well defined,
avoiding small irregular shapes. • 2
Treat the leather in the Same man-
ner as for modeling; in fact, the
leather should be modeled before it is
perforated.
In this design (Fig. 22) there are
eight curved spaces to be cut, and
these seem to grow out of the lines of
the design. These spaces should be
first worked over carefully with the
º
Fig. 19



LEATHER - WORK 157
& º 15*, —-

inſt
elº
O
Fig. 21
blunt tool, pressing them hard and sharply to the line.
The long lines and letters may be either depressed
with the V-shaped tool or raised by modeling the
leather around them. The little diagram at Fig.
24 shows how the lines may be raised into ridges.
The tooling, or lining, with the back of the sharp-
pointed tool, is simpler and as effective.
Finish all of the modeling and let the leather be-
come perfectly dry before any cutting is done.
When it is finally ready, place the leather upon a
158 THE ART CRAFTS FOR BEGINNERs
Fig. 22 Fig. 23
smooth board of soft wood, and with the sharp knife
(Fig. 20) cut out the spaces. If these spaces are
regular curves—that is, arcs of a circle—or straight
lines, chisels and gouges may be used to advantage.
But in the design in hand we must use one of the
knives in Fig. 20, the smaller one for smaller spaces
and sharp curves. Cut straight down, holding the
tool in a vertical position (Fig. 25).
Should your design include many openings placed
closely together you would need one quarter yard of

LEATETER-WORK 159
silk or panne velvet to place underneath. In this
case we shall use two strips of panne velvet or a soft,
harmonious shade of ooze sheepskin or silk. A varie-
gated design is often pleasing when the shapes admit
ſ. Of Such a combination.
assflee Lay the cover face downward upon a
ºf clean cloth and rub the paste well into
the leather all around the open Spaces;
place the velvet face downward over
º these spaces and smooth it across Several
** times with a cloth or the hand. This
will press the nap of the velvet to the edges of the
Openwork.
Any paste which oozes out may be removed with
the sharp modeling-tool, but be extremely careful
not to get the paste upon the front of the -
leather, or a dark spot will be left.
If we line the cover with soft sheepskin
either side may be used. The ooze is
perhaps the daintiest.
In lining, rub the paste well into the wrong side
of the cover, omitting the spaces 1 and 2, Fig. 26,
which are already lined with velvet.
Place the piece of lining (a little longer than
the modeled piece) upon the pasted part, and




160 THE ART CRAFTS FOR BEGINNERS
Fig. 26
rub the two gently to-
gether.
Fold the sides, then
Open again as you would
a book, to keep the
leather stretched at the
fold.
Place the cover on a smooth surface and press it
under a smooth object until perfectly dry.
The next step is the lacing of the edges.
When the Superfluous lining has been cut away
tool a line all around the cover 4" from the edge
(Tig. 27).
On this line, and beginning from the corner, place
points about 4" apart, and punch holes at these points,
taking care to place the points exactly in the center
of the punch.
A good wheel leather punch can be bought for 75
cents which will admit
Six Sizes of holes.
With a long rule and
very sharp knife, cut
narrow thongs of the
calfskin about #" wide.
This is a very difficult
Pi—
Fig. 27

LEATHER-WORK 161
=>=
26’2%/ 2 SPL. ( C E.
**@*- Fig. 28
matter, astheleather
slips from beneath
the rule, and two
pairs of hands are most useful to keep
it in place. These thongs may be
spliced placed together as in Fig. 28,
and pasted with leather-paste until you have a piece
twice and one half the distance to be bound.
Beginning at the fold of the cover, bind over and
over through the holes (Fig. 29), all the way around,
and tie the two ends at the top of the inside, leav-
ing one long thong hanging. Tie another thong at
the lower end of the fold and knot the ends of
both.
These thongs are to keep the magazine in place,
and may be tied at the lower opening of the maga-
zine. Finally, if large, heavy beads are hung on the
ends the result is most attractive.
Inlaying. —Suppose we wish to lay in a design of
various colored leather.
Trace the design and model to a finish as in pre-
vious work.
Place the leather which is to be inlaid beneath
Fig. 29


162 THE ART CRAFTS FOR BEGINNERS
the cover-leather and fasten both firmly to the
board.
Cut out the spaces through both pieces of leather.
I would advise that inlaying be done with chisels
and gouges, and of course the design would have to
be adapted to straight lines and regular curves.
Then the spaces of the one color may be fitted
into the openings of the other and both held firmly
by the lining, to which both are pasted.
A music-folio of larger dimensions may be finished
in this way.
In the thistle design (Fig. 23) the black spaces
may be perforated or inlaid; or some of the larger
Spaces about the border may be cut out and all of
the Center modeled.
PROBLEMI TV –CARVET) IEATHER, NAPKIN-RING
In any of our large museums, and in many private
collections, one will find old pieces of furniture deco-
rated with seats and panels of carved and stamped
leather.
In the Middle Ages, this was a favorite medium of
decoration in connection with woodwork, and the

164 THE ART CRAFTS FOR BEGINNERS
artisans of that time produced some rich and du-
rable pieces.
In the limited space of this chapter I can merely
touch upon the subject of carved leather-work, but
it is of such a nature that a few suggestions to the
student, if he have any initiative at all, will open up
to him an interesting field of labor.
s:
ſº
é" —x#.
Fig. 30
Some experimenting with the tools as to the best
means of working ought to yield a fair measure of
SUICCCSS.
Thick cowhide or sheepskin is excellent for this
work, and sheepskin may bepurchased for $1.50 a hide.
The making of a napkin-ring is a simple problem,
yet one that will give an idea of the general meth-
ods of working and the essential details.

LEATHER-WORK 165
The material is well suited to such an article; for
leather is tough, light, flexible and clean, not easily
broken or torn, and with reasonable care need not
become Soiled. g
Cut a piece of leather 64" × 2'' (Fig. 30), and
Square it carefully with the triangle as described in
previous problems.
Upon the finished or smooth surface, º' from one
end, rule a line with the pointed
tool, and another 2-s +", both parallel
to the end.
Fold both ends º º, º together, as in
Fig. 31, and - upon the #" line
punch four holes through both thicknesses.
Cut a paper pattern to the size of Fig. 30, draw
the horizontal lines, fold the paper in two or four
v N \, "T"




166 THE ART CRAFTS FOR BEGINNERS
parts, and
c draw either
Fig. 32 or
& 9 Fig. 33 as a
Fig. 34 unit, fold-
ing and rubbing, and SO completing the whole.
This pattern may be fastened securely upon the
leather by putting tacks or pins through the punched
holes in either end.
Then transfer the lines to the leather by pressing
through with the pointed tool.
The design here given is one that will explain it-
self from any viewpoint, and some such repeating
pattern of at least three units is better for this
problem.
The lines are cut straight into the dry leather,
one half way through (see Fig. 34, a). The diffi-
culty is to do this without going all the way through.
Of course this process weakens the leather, and if
it is used in a belt or any object which must Sus-
tain a strain, only heavy cowhide Will answer. e-
It is better to leave a slight interval or |HE
bridge between the cuts, especially where two
lines come together at a long angle, as they do f
at a, Fig. 33. IFig. 35





LEATHER-WOREC 167
After all the cuts have been carefully made, wet
the leather, and with the V-shaped tool spread them
as indicated in Fig. 34, b–c. This process will push
the leather upon either side to a slight ridge (c,
Fig. 34). Now, if desired, you may leave the design
in this condition, or the background spaces may be
first modeled and then stamped.
The little dia-
indicates the 63 É
ground stamp sº
filed from tool-
large Wire nail
ing). Several
C a n be pur-
large dealer in
(See Fig. 32.)
gram at Fig. 35
#º) form of a back-
which may be
| Steel or from a
(Metal - Work-
forms of Stamps
chased of any
h a r d W are Or
Special metal- Workers’ tools.
Another method of treatment is to carve only the
outlines, then tint the decoration with water-color or
diamond dyes.
Now cut a strip of leather #!/X 4", knot one end
of it, and starting with the upper hole thread it
through, bringing it out through the next hole, then
under again and back through the lower hole, fin-
ishing with a knot and completing the ring as it
looks in Fig. 36.

168 THE ART CRAFTS FOR BEGINNERS
Raffia or ribbon may be used in place of the leather
strip.
Any of the previous designs in modeled leather
may be adapted to carved work, and Fig. 23, the
thistle design, from the naturally stiff and pointed
character of the plant, would lend itself admirably
to this treatment.
Turning to the extra designs given, Fig. 37,
adapted from a South Sea carving, would naturally
be treated as a carved design. An examination of
Fig. 38 shows a number of Small round spaces into
which the modeling tools will readily fit, and the
background may be roughened with the stamp.
The same is true in greater degree of the ship
panel.
Enough has been said to show the possibilities of
leather-work, and to explain the simpler processes of
the craft. It remains for the student to go on from
FRota Sovrº SEA CARVING o ºffilſ of SiGNS o FRota w it. O QoS 6.
CARNEo (N HEAvv. Cowr Huoſi
Burnt, $tartPºp of Mopeleo
Fig. 37 Fig. 38

LEATHER-WORK 169
MODELED AND PRINTED PANEL
Fig. 39
this and develop his or her own ideas, perhaps work-
ing out simple and artistic results by entirely differ-
ent methods.

CHAPTER VI
*
BOOKBINDING
Forwarding, End Papers, Marking-up,
Sewing, Gluing-up, Rounding and Back-
ing, Cutting and Lacing-in Boards,
Lining-up, Head-bands, Paring, Cover-
ing, Assistant Finishing, Finishing
CHAPTER VI
BOOKIBINDING-
HE modern revival of bookbinding in the spirit
of thoroughness of the medieval craftsman, is
engaging the attention of many amateurs at the
present time so that no book on the art crafts is com-
plete which does not treat of the subject to some
extent. -
To do the work thoroughly requires an equip-
ment large and expensive in comparison with the
other crafts, and to do it in a makeshift way is most
unworkmanlike.
The best we can do with our limited space here
is to give the student Some Suggestions for simple
work such as can be performed by beginners, and
173
174 THE ART CRAFTS FOR BEGINNERS
then to explain, as clearly as is possible in print, the
“forwarding” and “finishing” of a book in the best
Imethod of the craft. - -
Let, it be understood from the first that we are
considering special binding in contradistinction to
trade or commercial binding.
The directions that follow are as clear as words
and working-drawings can make them ; but the
reader will come to a better understanding of each
step of the work of bookbinding by taking apart an
old copy of a hand-sewn book and comparing it with
the diagrams and the printed instructions. A visit
to a neighboring bindery will also prove of practical
interest.
Magazines in general, particularly the ten-cent
variety, are as a rule hardly worthy of the immense
amount of time required to do special binding. If
one's time is valued at anything one cannot afford
to undertake the work when a commercial binder
will bind, and bind well, for a dollar or less a
volume.
On the other hand, if you have a first or old edi-
tion of some standard or really good piece of litera-
ture, in which paper, type, and other features are
worth good binding, and which may need careful
TARR
s S
DESIGNED AND BOUND BY MIS

POOKBINDING 177.
thought and patient mending, you may not care to
intrust such a volume to the trade binder; and you
may find it a labor of love to undertake the job of
binding it yourself.
A simpler and less trying piece for a beginner
would be a book obtained from the publishers in
sheets, if possible. This will avoid any mending,
and will allow one to start with the first step in
binding, thus saving the work of undoing the orig-
inal binding.
In selecting such a book good hand-made paper,
correct margins, and satisfactory presswork in every
detail should be insisted upon, and the subject-mat-
ter of the volume assuredly should be of intrinsic
merit.
If we wish to emulate the craftsmanship of the
medieval binders, nothing but the best material and
most thorough methods will suffice.
For the special binding of books, at school or
in the home, the following equipment (p. 178), which
is kept as simple as possible, will be required. In some
cases ingenious and efficient substitutes may be found
to take the place of articles named. Any article on
the list with which the reader is not already familiar
may be obtained at any bookbinder's supply store.
178 THE ART CRAFTS FOR BEGINNERS
Sewing-frame (Fig. 5).
Pressing-boards.
Backing-boards.
Tins for pressing.
Celluloid sheets.
Letter-press (ordinary office press).
Finishing-press.
Lying- or cutting-press.
Plow.
Carpenter's square.
Dividers.
Straight edge or metal ruler.
Awl. -
Backing-hammer (Fig. 12).
Pagto brugh,
Ivory or bone folders.
1 ordinary cutting-knife (see LEATHER-WORK).
2 knives for paring leather (Fig. 15).
Band-nippers.
Band-stick.
Rnocking-down iron, also used as weights for less heavy
pressing. The actual k-d iron cannot be had in this coun-
try: a handleless flat-iron or other substitutes must be used.
Forwarding a Dummy Book.-By “forwarding,”
in bookbinding, is meant all the steps toward the
completion of a book, up to, but not including, “fin-
ishing,” or the lettering and decoration of the same.
A wise and eminently safe beginning in bookbind-
BOOKBINDING 179
ing is to practise first on a dummy or blank-book. This
may be planned, as to thickness and dimensions, to
meet the requirements of a journal, guest-book, or
Scrap-book, as the case may be. The quality of
paper used will depend, of course, on the nature of
the book. Ordinarily, you will do well to select a
medium-grade cream or white and a medium size
paper. Artist's charcoal-paper is excellent. These
sheets will be possibly eight times the size of the
book determined upon. Now carefully fold and cut
Once, then refold and cut each half until double the
Size of the final page is obtained.
Sections will be made up of from three to eight
folded sheets, depending on the weight and bulk of
paper, and as many Sections used as may be desired.
A book of medium thickness is somewhat easier to
handle, as well as more quickly sewn.
These sections, with the “end-paper” sections,
must now be pressed between pressing-boards and
tins, in the letter-press, preferably over-night.
End Papers.-The “end-papers” are blank sheets
occurring at the front and back of the book, and are
not only a protection to it, but also help to give it a
respectable appearance, and should be generously
allowed for.
180 THE ART CRAFTS FOR BEGINNERS
Always three or four end-
papers, not counting the paste-
downs, are to be found at either
end of a book, and are pre-
pared as follows:
Take two carefully folded sheets of paper slightly
larger than the book, mark them with dividers,
#" from the back, near the top and bottom (Fig. 1),
and paste the second folded sheet to the first as far as
these points (Fig. 2), and then press.
When the paste is quite dry, fold A1 back over
B1, and A2 the reverse way, when the sheets will
appear as in Fig. 3. Another folded sheet is inserted
at P, and the sewing passes through this, as well as
through P1.
When the paste-down B1 is to be pasted down to
line the inside of the board, the waste A1 is torn
out. This joint, known as Cockerall zigzag, is
Bl necessary to give
ſ' a spring to the
B2. board and to pre-
| vent its tearing
— | the end - paper
sºmemsstrºpº away from the
book. These


BOOKBINDING 181
two sections of end-papers
must be pressed with the book
before sewing. 2’.
Marking-up. – “Marking-P'.<
up” consists in determining /
and marking across the back Fig. 3
of the sections the position of the sewing-cord.
These are usually five in number, though they
vary with extreme sizes of books, at the discretion
Of the binder.
Divide the back of book with dividers (beginning
at the head) into six parts—five equal ones, with
that at the tail slightly greater. Having determined
the position of the cords, draw heavy pencil-lines
across the back, marking every Section.
Mark the position of the kettle-stitch (or catch-
stitch) about half an inch either end (KK, Fig. 4).
These are sawed or filed in to a depth of about one
eighth of an inch.
Sewing.—A sewing-frame Such as has been used
2 certainly since the sixteenth
century, and probably
earlier, is shown in Fig. 5,
and is still in use.
The best hemp cord should
* * *


182 THE ART CRAFTS FOR BEGINNERS
be used, the size varying somewhat according to the
size of book. Five cords are now tied to A and fast-
ened below B, on a special key made for that pur-
pose. Or, as the keys are not easily obtainable in
this country, a good-sized nail may be used, around
which the cords are twisted and firmly tied (Fig. 6).
Now adjust the cords to correspond to the marks on
the book, and tighten them by Screwing up the cross-
bar (Fig. 6).
The book will now be sewn, beginning with the
first section, which is laid face down, head to the
right, back against the cords on a pressing-board
which is larger than the book, and which raises the
Section from the bed of the frame and leSSens the
difficulty of inserting
the needle.
The needle, thread-
ed with a good linen
or silkthread, medium
weight, is inserted
from the outside first $
at the nearer 2".
right-hand ket- /
tle-Stitch. É= sº.
An end of, say, ‘T
*:
* * {} a, º,
* . . " . . *"s *
• * : c. * * * *
& * * ~ * * &s
tº ºf






BOOKBINDING 183
two inches is left at this
first kettle-stitch, to tie to
later, and the rest of the
thread pulled through.
The needle is now in
Fig. 6 the middle of the Section
and will be passed out at the left-hand side of the first
cord, the thread pulled taut, and the needle inserted
again into the hole out of which it came, but from the
opposite side of the cord, and so on around all the five
cords, and finally out at the kettle-stitch at the foot
(Fig. 7).
The next Section is laid on and is sewn from foot
to head, similarly, after which the thread is tied to
the loose end left at the first kettle-Stitch. The third
section is then laid on and sewn, but when its tail
kettle-stitch is reached, the under thread connections,
sections 1 and 2, are tied too, as shown in Fig. 8.
This kettle-stitch is repeated at each end through-
out the book. When the last end-paper has been
Sewn on, a double
Kettle-stitchismade, SECTI or S of TFAG, B, oots,
which completes the
* . * KETTLE
Sewing. The cords 5 §wlNG ARow ND coRos Stitch
may now be cut off, Fig. 7


12
184 THE ART CRAFTS FOR BEGINNERS
leaving about three
T. inches on each side of
- book, for fraying and
later lacing into the
boards.
Gluing-up. —For this operation the best cabinet-
makers' glue is used, prepared in the usual way, hav-
ing been soaked overnight and shortly before needed
cooked in boiling water to a smooth, clear, rather
thin consistency.
A large brush of good quality is used. The book
is knocked up squarely at the back and head, put
between two pieces of millboard or old cloth covers,
covering the cords, and screwed up in the lying-press,
exposing the back only (Fig. £º,
9). Hot glue is now daubed gºsº
thoroughly on to and into the
back of the book. The press . £ 3.
must not be screwed so tight "º
as to result in the glue re-
maining entirely on the sur-
face, nor left loose enough to
allow of its penetrating too
deeply between the sections. ** wº
Rounding and backing.—Be- Fig. 9
Fig. 8



BOOKIBINDING 185
fore the glue has hardened, but after it has ceased
to be “tacky,” the book is removed from the press
and rounded, during which process the back is curved
slightly and evenly.
The degree of curvature will depend upon the
natural disposition or tendency of the book, and par-
tially as well upon the taste or wish of the binder.
All books will be rounded somewhat, to prevent
the possibility of their later becoming concave.
Rounding consists in drawing the sections over
and tapping slightly with a hammer, first on One
side of the book and then on the other, resulting in
an even convex form at the back and a correspond-
ingly concave form of the fore edges of the book.
In Backing a book the rounding is completed,
made permanent, and the book given a firm, smooth
back. A backing-board is placed on either side of
the book, back from the edge, just the thickness of
the boards.
This projection of the book will cause a joint, into
which the boards should just fit. In placing boards
and arranging for screwing up in the press, firm
handling, endless pains, and no little patience are
required.
186 THE ART CRAFTS FOR BEGINNERS
Frequently one or both boards slip, leaving a
greater projection of the book at one end or side;
this must be carefully avoided.
When the book is ready, screw the press up very
tight. With a back-hammer—and it should not be
a heavy one — proceed gently and cautiously to start
the sections in the right direction, bringing them
over from the middle each way. Then with heavier,
firmer strokes go over the entire back, taking care
that the joint is as sharply defined as possible. Fig.
9 shows the rounded back, and the joint is indicated
by the arrow.
Cutting and Lacing-in Boards.--A good, firm mill-
or tar-board should be used for cover-boards.
Both come in several thicknesses, from which the
binder will choose, according to the size of the Vol-
ume in hand.
First cut the boards roughly to size of the book,
allowing, say, one inch beyond.
Plow.—This is the binders' cutting-knife, which is
now employed to obtain the exact size and perfectly
clean-cut, smooth edges. The two boards are placed
in the cutting-press against a piece of stiff mill-
board, or against a piece made by pasting together
two or three thinner pieces of millboard.
BOOKEINDING 187
The plow (with plough-knife extended about 1//
and screwed in) is placed in the groove of press
provided for it, held by the hand and screw, and
run slowly and smoothly backward and forward;
a slight turn of the screw brings the knife forward.
When the two thicknesses are cut through, remove
the boards and line them.
Lining-up. —With a piece of common white paper,
line One side of each board.
Paste Formula.--A good paste may be made to
use for bookbinding purposes, as follows: # pound
of flour (two cups); 2 teaspoons of alum, dissolved.
Mix the flour with a little cold Water, getting the
lumps out with the hands. Add 8 cups of hot water
and boil, stirring constantly. This becomes partly
clear when done. Add + teaspoon of essence of
wintergreen and Sassafras, which helps keep the
paste Sweet.
The paste is to be used cold, and applied with a
large brush. Cover the lining-papers evenly, and as
thinly as possible. Place on the board to be lined,
and rub perfectly smooth, using the palm of hands
and folder.
Be sure to have both the inner and double lining-
papers pasted down uniformly and perfectly smooth.
188 THE ART CRAFTS FOR BEGINNERS
The lined covers should be pressed for a few moments
only, and then stood up to dry.
Now if the boards are dry, continue cutting
them in the plow down to the size of the book.
Tecide upon the square or projection of board be-
yond the leaves of the book, usually " or less if
the edges are plow-cut ; more if they are rough or
deckled.
Mark this square accurately, using dividers and
try-square. Place in the press with double linings
together, and cut to the marks with plow.
Test again with the try-square, and by reversing
the position of boards; then mark and cut the
remaining sides. When perfectly square, and of the
required size, place the boards on the book in their
final position, hold firmly in place with the left
hand, and with the right mark accurately the posi-
tion of the cords on the back edge of the board.
Lacing-in Boards.-Remove the book from the
press and finish fraying or thinning the cords. Use
a knife for thinning or reducing the cords equally,
but leaving them strong and long enough to hold the
covers on to the book.
Mark both boards, and then cut accurately a V-
shaped groove or depression back to a line drawn
DESIGNED AND BOUND BY PETER, VERBURG

|BOOKBINDING 191
about 3" from the edge of the board (Fig. 10). Into
these depressions the cords will fit.
With hammer and awl two sets of holes are
punched—the first set at the point of the V-shaped
cut, and the second just above and inward from the
first (Fig. 10); these last to be
punched from i the under side of
the board at a > º slight angle.
These holes = g must be only
justlargeenough {} to allow for in-
Serting the #-sº cords, which are
now Smeared ſ * With paste and
twisted to a fº point.
Lace on One Pº board, inserting
the five cords into the first set
of holes (Fig. * Fig. 10 11, a). Draw the
cords through firmly, and re-
turn them through the second set at b.
The board should close down to the book stiffly
if the lacing is Snug enough. Lace in the other
board, then tap the cords slightly with a hammer to
prevent their slipping, and cut off the ends with a
knife very close to the book.
A knocking-down iron (Fig. 12, A) is placed in the
cutting-press and the lacings or cords hammered




192 THE ART CRAFTS FOR BEGINNERS
vigorously, matting them
into the boards and leaving
a Smooth surface inside and
out (Fig. 12).
The book must
now be pressed. Put
side of each board :
the Ones between the
board and the book
pushed quite up to the joint, and the outside tins
placed up to, or a little over, the same.
While in the press paste is applied to the back of
the book and allowed to Soak in for a few minutes.
This softens the surplus glue so that it may now be
scraped off with a palette-knife or a piece of wood.
Leave the book in the press over night at least,
after which it is ready for the head-bands.
Head-bands.-Cut two narrow strips of vellum, not
quite as wide as the projection of boards, and about
an inch longer than the book is thick. These are
to be buttonholed with silk upon head and tail of the
book at the back.
Stand the book in the finishing-press (Fig. 13),
v indicating the position of the vellum. Thread a

BOOKBINDING 193
needle with medium-heavy silkthread /ſ/
or floss and sew in the direction of the ſºlº-
arrow, through _-
the first two white –” 22°
end-papers, the
needle coming out
at the back of the
book below the
Come up over the vellum and re-
peat this first stitch, in the same |
place making a loop of silk over ****
the vellum. The silk is pulled Fig. 12
through the needle half and half, one half being
now at the back of the book and the other half in
front, on top. 4.
Bring the thread from the back forward, and
that from the front backward, crossing the other
and passing under the vellum and forward again.
This makes a buttonhole twist covering the vellum.
Repeat, keeping the threads taut and the stitches
close together, and the beading even and regular.
At frequent intervals—about every half inch—the
book is again sewn into below the kettle-stitch.
Finish the head-band, when the last section is
reached, by sewing down between the last end-pa-
kettle-stitch. |






194 THE ART CRAFTS FOR BEGINNERS
pers, tying threads securely at the back of the book.
Then cut off the surplus vellum and thread.
The silk is kept from a possible slipping off the
ends of the vellum by a slight touch of paste.
One must have studied the head-bands of a hand-
bound book to know the effect desired, as it is most
difficult to explain in words, or even with the aid of
drawings.
The head-bands are held in place and reinforced
by gluing to the back of the book a piece of good
paper cut just to fill in the space between head or
foot and the nearest cord, and just the width of the
book.
Preparing for Covering.—After Sandpapering away
any possible roughness which may º
have been left from the glue or
from other causes, and cutting
off a tiny triangle from the
four back corners of the
board (Fig. 14), the
book is ready for the
leather. §
The leather used for covering will “”,
probably be Morocco or Levant, possibly º
Niger. In any case the first quality should Fig. 18
º







BOOKBINDING 195

be used, and as Some experience f
is required before one can be- —
come a good judge of leather, he
will do well to patronize only a
thoroughly reliable dealer. º-sº
The skins may be purchased —
already pared little or much.
It is dangerous to get one too
thinly pared, for though it les- \,,
sens the labor of the binder, it Fig. 14
certainly weakens the leather.
Better select a thicker skin and do the necessary
paring where it is required, particularly around the
edges and also through the center portion which is
to COver the cords or back of the book and for this
reason must be thin and flexible.
Paring.—A lithographers' stone is convenient to
pare on, though a marble-topped table, if you have
one, will do nicely.
Various paring-knives are shown by the dealers,
and binders use different styles. I recommend a
small saddlers' knife, such as is shown in Fig. 15, and
this must be kept very sharp.
Cut from the hide a piece of leather large enough
to cover the entire book in hand, allowing an inch
196 THE ART CRAFTS FOR BEGINNERS
on all sides for turning in ; and pare the whole edge
for an inch at least, inward.
It should be very thin at the extreme edge.
Coarse Sandpaper may be used to good advantage
after a very little paring has been done, especially in
the middle part of
ing from top to
Covering.—What-
in the work of put-
should be at hand
is started, including
cloth, folders, nick-
band-stick, clean
water in Saucer,and
the leather, work-
bottom.
ever is to be used
ting on the leather
before the covering
paste, brush, paste-
eled band-nippers,
Sponge, a little
Celluloid Or Water-
size of the book.
proof sheets the
The leather is now covered uni-
formly with paste, which must be smooth and per-
fectly free from lumps.
The back of the book is placed in the center of
this pasted leather, the inch margin left at head and
foot. Bring the leather up on the sides, pull slightly,
and rub perfectly smooth with the palms of the
hands or bone folders. -
Stand the book upon its fore edge and nip up the
bands with the band-nippers, working down the

BOOKEINDING 197
leather between the cords with the band-stick—a bit
of Smooth, hard wood with straight edges.
Much time and pressure are required in this opera-
tion, and we shall return to it later. Before the
paste is too dry the leather on the head and tail must
be turned in, and then the leather on the fore edges,
and the corners mitered. Especial care must be taken
to have a sharp, Smooth edge.
At the head and tail a little paste will be needed
on that part of the leather which will turn in be-
hind the head-bands.
This fold of leather behind the head-bands is
brought forward slightly and tapped down to form
the head-cap, partly concealing the head-bands.
Now open the covers one at a time and cut off the
extra leather at each corner, tucking one edge neatly
under the Other.
Insert the Celluloid sheets between the covers and
the book, to prevent dampness being absorbed by the
latter. Close the volume and Stand it on its fore
edge, holding it firmly while the process of nipping
up the bands and Smoothing down the leather be.
tween them is completed.
A piece of cord is tied around the book at the
back (Fig. 16), causing the leather to adhere tightly,
198 THE ART CRAFTS FOR BEGINNERS
and accentuating the joint caused by the slight cut-
ting away of the corners at the back. The book is
now left under slight pressure until perfectly dry.
Assistant Finishing.—Trim the leather neatly to an
even margin on the inside of the covers, tear out the
waste end-paper, and line the board with the “paste-
down” provided in the end-paper section.
Finishing.—The decorating and lettering is usu-
ally done by means of tools; and the process is tech-
nically known as “tooling.”
These finishing-tools are stamps of metal held in a
Wooden handle. t
A unit of a design, letter, or other device is cut in
this tool-metal (Fig. 17). Tooling may be either
blind or gold; the first consisting of the mere or
blind impress of the tool upon the leather, while in
the latter, as you may infer, the gold-leaf is added.
The possibilities of tools 2*~
—their use in most elab- a’
orate combinations and de-
Signs—is very great, but I
shall undertake to describe
Only the simplest method
of finishing a book in this
Way, and the steps involved.

BOOKIBINDING 199
Tools.-At least two sizes of letters, both caps
and lower-case, must be owned by any finisher.
Fillets, or wheels on handles, for making lines,
Several gouges or curved-line tools, as well as a few
simple units, ---
Such as dots,
leaves, or other
standard forms, \
may be pur- Fig. 17
chased at first, and later added to with tools of one's
own design, cut to order as they are needed.
For the book in hand only three tools (besides
letters) are required: the fillet, a small leaf, and
tiny gouge.
It is a small volume and thin—so thin that the
title cannot go comfortably upon the back; hence I
must decide where to put it on the side and plan the
decoration with reference to this panel of lettering.
No more simple scheme could be devised than that
shown in Fig. 18 with the panel of lettering across
the top, and an “all-over’’ pattern filling the re-
maining Space. Diagonals are first drawn and the
leaf, with the tiny gouge forming the stem, placed at
each intersection. The title is in gold and the rest
in blind-tooling.

200 TEIE ART CRAFTS FOR BEGINNERS
A piece of thin bond-paper is cut just the size of
the book, and upon this the panel for lettering is
planned, border lines and diagonals drawn.
The leaf- and stem-tools used are slightly black-
ened in a candle flame and impressed upon the paper
at the diagonal intersections.
This pattern is then lightly pasted to the leather
at the four corners of the book, and the heated tools
applied. Tools are heated on a finishing-stove or
iron frame which will support them near a gas or
Other flame.
A wet sponge in a dish is
used as a cooling-pad, and
º upon which the hot tools are
*YXY tested. They should hiss
/*NA’ -
§
Y.& slightly and should be too cool
/ N rather than too hot, as the im-
&
pression may be deepened
after removing the paper.
The title to be finished in
gold must be painted in
“glaire.”
|- - Finishers' glaire is made by
beating well the white of an
Fig. 18 egg, which is then diluted


BOOKEINDING 201
With half the quantity of vinegar and allowed to
Settle. The cover is then washed with thin paste-
Water, then the glaire is applied to the blind impres-
Sions which are to be covered with gold with a small
finely pointed brush. When glaire has ceased to be
“tacky” the gold-leaf is laid on.
Gold-leaf may be purchased in booklets containing
a dozen or more small sheets. Only the best quality
Should be used.
Gold-leaf is
difficult to han-
dle—almost im- tº--.
possibleifthere
º Fig. 19
is any draft g
present or grease on the cushion or knife (Fig. 19).
A strip of gold-leaf as wide as the letters are high
and long enough to cover three or four is cut on
the cushion of chamois-skin (Fig. 19) and trans-
ferred by means of a bit of slightly oily cotton to
the letters.
The heated tools are again applied over the gold.
Before using any tool it should be rubbed off on a
strip of leather provided for this purpose, to insure
cleanliness and to polish the end slightly.
Often two or three or four thicknesses of gold are

13
202 THE ART CRAFTS FOR BEGINNERS
required before the pattern, or in this case the let-
ters, are uniformly covered.
When the tooling is finished and the surplus gold
removed with a bit of cotton the book may be
washed with benzine to remove any grease or soil.
This completes the processes without going into
more complications.
The reproductions of work here given illustrate
the possibilities of combining simple units into pat-
terns. &
The craft is very thoroughly discussed in “Book
Binding and the Care of Books,” by Douglass Cock-
erell.
Other books of interest to the amateur binder
3P6
“Book-Binding.” Hone.
“Book–Bindings—Old and New.” Matthews.
“History of Book Binding.” Brassington.
Turning now from the constructive or craftsman
side of bookbinding to the esthetic or fine-art side,
we find that, broadly speaking, there are two schools
of designers. On the one hand we find those who
hold that the binding of a book is a thing of beauty,
complete and Satisfying in itself, just as a picture is
BOOKIBINDING 203
tº 3
e
gº º
º
& 9
*
o
;
jº
g
;
º
COVER BY BLANCHE MCMANUS MANSFIELD

204 THE ART CRAFTS FOR BEGINNERS
complete, –a thing designed without necessarily hav-
ing any reference to the subject-matter of the book;
and, on the other hand, we have those who believe that
the decorative motive of the COver Should be Subor-
dinated to the character of the contents—like a page
standing, as it were, without an entrance and wearing
the livery of the master within.
The beautiful bindings of Miss Starr and Mr.
Verburg here shown are of themselves excellent in
design and workmanship; whether they typify the
highest art of the craft or not is to revive the old,
old controversy between the idealist and the realist
— abstract beauty or concrete development of
character.
CHAPTER VII
§
SIMPLE POTTERY
Clays Suitable for Pottery, The Chief
Tools, Method to be Followed in
Molding, Decorative Treatment, Kilns
CHAPTER VII
SIMPLE POTTERY
ECAUSE of its flexibility and simplicity as a
means of art expression, because of universal
use of its product, and from the fact that in its almost
identical present form it was one of the important
occupations of primitive man, the art of making pot-
tery lays claim to our interest.
It was when he had discovered (so tradition tells
us) that the clay which had formed the bed of his
fire was baked into a hard bowl-shaped object which
could be lifted about, that the idea of making fire-
baked pottery first came to the mind of prehis-
toric man. Later, when sand, accidentally present in
his material, melted in course of the baking and ran
down the sides of his vessel, he first conceived the
notion of glazing it.
- 207
208 THE ART CRAFTS FOR BEGINNERS
To the discoveries thus accidentally made ages
ago, no essentials have been added. The potters'
wheel facilitates the building of forms; the process
of casting makes possible the absolute reproduction
of them. Experiment and scientific research have put
into the hands of the potter such control of his mate-
rial that he became able to procure any quality of ware,
from that of the commonest flower-pot to that of the
finest china; but it is a truth that among the primi-
tive races of the earth to-day pottery is being pro-
duced which is equal in its artistic qualities to the
product of the best kilns of the civilized world.
Therefore will it be seen that the processes involved
and the materials employed in its manufacture must
be comparatively simple and accessible. * {
Clay is decomposed rock, containing, in addition to
those materials which give it substance, quantities of
water both in mixture and in chemical combination.
Water in the former state can be separated from the
Clay by heating the mass to the boiling-point of
Water—a process after which the clay, though dry, is
capable of being restored to its original condition.
The Water which is with the clay in chemical com-
bination can, however, be removed only by ignition—
a process commonly called baking or “firing.” After
COILED AND DECORATED PATTERN
(Work of Chautauqua School of Arts and Crafts)

SIMPLE POTTERY 211
being fired, clay cannot be restored to plasticity. Its
value in the manufacture of pottery is, of course, due
to this fact. Some clays, to be fired, require a greater
heat than others; these are called “hard clays” and
the process “hard-firing.” As this chapter has to do
with the use of pottery as a means of art expression
rather than with its more deeply technical phases,
we will consider here the treatment of soft clays
only—such as require for burning and decoration but
one firing in an overglaze (soft glaze) kiln. The
kilns commonly used for firing china decoration will
fire these soft clays. •
Clays suitable for pottery may be found in any of
the common earths having a considerable plastic
Quality. The process of separating the clay from the
other earth matters is simple. The earth is pulver-
ized and dissolved in water. Stones and heavy par-
ticles will sink. The milky fluid which remains—
water mixed with clay—may then be drawn off and
allowed to settle, the clear water finally collecting on
the top. This can be removed by a siphon. A repe-
tition of this process will refine the clay.
In certain localities, clays will not be found in suffi-
cient quantities or of suitable quality to warrant the
above process; and potters' clays can be purchased
212 THE ART CRAFTS FOR BEGINNERS
at the rate of one or two cents a pound “in the
dry.”
Clays in the dry come as a fine grayish or yellow-
ish powder. To prepare these for use it is of course
necessary to mix them with water. This is done by
putting about equal quantities of clay and water into
a basin and allowing to Soak for ten or twelve hours,
after which the mass must be kneaded thoroughly
so as to become of a uniform moisture throughout.
Kneading also works out air-bubbles, which if allowed
to remain in the clay would permit the generation
of steam in the firing, causing explosions fatal to the
work. In this connection, then, it may be said that
clay cannot be kneaded too much.
If clay is found too wet for satisfactory work (and
its proper consistency will be speedily discerned by
the person handling it), the Superfluous moisture
may be worked out over a dry-board or a plaster-of-
Paris bat. This is made by pouring plaster of Paris,
to the depth of half an inch or so, into the bottom of
an oiled pan. The bat is also useful as a bed upon
which to build pottery.
When the clay proves to be too cohesive, -that is,
not “short” enough for use, –the proper condition can
be brought about by the addition of fine sand. Clays
SIMPLE POTTERY 213
which are not tough enough, but inclined to crum-
ble in the handling, can be made more cohesive by
the addition of tannic acid, but they will hardly
repay the trouble.
The chief tools for clay-working are the fingers.
There are wooden tools, such as shown in cuts A and
B, partaking of the character of the fingers, which
are occasionally useful for making incisions for deco-
ration, etc. These can easily be made out of any


ſ
"..
lº
º
C.
£)
fairly hard wood. Other shapes may suggest them-
selves. At C is represented a loop tool which can
be made of a piece of large iron wire and twisted
with a finer wire. This will often be found useful
for scraping off superfluous clay where the thick-
ness of the work in hand has become too great.
The presence of the finer wire makes control
of the tool more easy. The drawing at D repre-
ents a tool made of a piece of Spring steel, cut
214 THE ART CRAFTS FOR BEGINNERS
so as to present a variety of edges. It will now and
then be useful in securing more regularity of contour
in a model. It is, however, always well to bear in
mind that a vessel which, while possibly just missing
absolute symmetry, bears the stamp of thoughtful
hand-work will usually have more
character than one made exactly true
by mechanical devices.
It is hard to lay out any particular
method to be followed in molding a
piece of pottery, but for such as are at
a loss how to go about it we suggest
the following course of procedure :
First, of course, start with an idea, and work upon
that. It is most strongly to be urged that the edu-
cative value of the work, and indeed the very success
of it, is in a large measure dependent upon the
worker's having some definite conception to follow out.
Beginning with a lump of clay about the size of a
small orange, and of a free and plas-
tic consistency, first model what is
to be the base of the proposed bowl
or vase form (Figs. 1, 2). Making
this rather heavy and thicker
than the proposed vessel is to be,
THE LvMP
Fig. 1


SIMPLE POTTERY 215
º,
we have a rude, somewhat he’ſº
lowed hemisphere or “nest” (Fig.
3). Upon this we build the sides,
adding pieces of clay Spirally,
pressing firmly together with the
fingers, and using the utmost care
to preserve uniformity of thick-
The NE 5T
Fig. 3
ness (Fig. 4). As our hands become more accustomed
to the clay, effort will become less noticeable and the
object will seem more and more to grow of itself. The
tendency should be always to keep the work Substan-
tial, as clumsiness is a safer fault than too great deli-
cacy, it being more easy to remove extra thickness
than to addit. Of course there Will be failures: Some-
times a vase form nearly complete will fall—a catastro-
phe wholly with-
until We discover
of inspiration we
a Wall some-
too thin, a hori-
extensive, or a
too moist. AC-
keep Watch
rence of this by
"THE QC l-
& © N Porl Titº GASE-
one hand inside, Fig. 4
Out explanation
that in the fever
have permitted
Where to become
ZOntal plane too
part of our clay
cordingly We
against a recur-
building with
withdrawingome


216 THE ART CRAFTS FOR BEGINNERS
f
finger at a time as the orifice at the top becomes
Smaller. Experience will show us things we have not
dreamed of—that with the clay more moist the ten-
dency to Sag will become more manifest; and again,
that as the clay finally dries shrinkage enters among
the influences playing upon the form. Certain shapes
Will be found impractica-
ble; we will ** discover, in
short, the lim- itations of Our
medium. It is the true artist
who, carefully considering
these and adaptinghim-
self to them, turns them
into advan- tages.
During the entire process
of building THE QotºPLETE Foſkha. the Workmust
y Fig. 5 º
never be per- mitted to dry
out. It must be kept covered with moistened cloths
when work is not going on.
When the greatest desired diameter is reached, the
model may be inverted upon the bed and the too
great irregularities in its contour removed. At this
time, too, the superfluous part of the original “nest”
may be scraped down and the desired form of the
base worked out (Fig. 5).

SIMPLE POTTERY 217
The adding of Spouts and handles scarcely needs
notice here. Hollow spouts can be modeled about a
straw or any other material which is stiff enough to
support the clay while light enough to burn out in
the firing. In the designing of spouts and handles
the idea of solidity should still be kept in mind, and
it would be best not to attempt such as stand far from
the body of the vessel without firm support. This
principle is true in an esthetic as well as a practical
sense; indeed, the addition of these parts gives a fine
chance for the exercise of the artistic judgment, as
they may be considered as much a part of the deco-
ration of the whole vase as the designs which are to
be later scratched or painted upon it.
Of the various kinds of decorative treatment for
pottery, the simplest is line incision (see specimens
I, II, and III of Arizona Indian pottery). This
had best be done with one of the wooden finger-
shaped tools described above, that the technic may
not be out of keeping with the modeling of the
vessel itself. Judgment and taste may be brought to
bear in the matter of depth of the lines, that being
in some measure dependent upon the thickness and
the uses of the vessel. As in the other branches of
the crafts, restraint rather than lavishness is here
218 THE ART CRAFTS FOR BEGINNERS
recommended, and a few experiments will teach more
than dozens of paragraphs.
Endless variations of mere line treatment will Sug-
gest themselves—lines used alone, lines bounding
spaces, combinations of lines for the treatment of Sur-
faces, or a combination of line incision with the use
of color. The examples by Arizona Indians here
given cannot be improved upon artistically. One
sees at once the crude, uneven outlines, but feels that
the stippled and incised decoration is applied to the
best advantage. And in the more elaborate decora-
tions (Figs. IV and V) a correct sense of proportion
is shown which, whether a matter of instinct or of
careful thought, is truly admirable.
As the purpose of this book is to treat the crafts
in a simple way, we have not touched upon wheel-
Work or casting, believing that the hand-molding
Offers a sufficient artistic field for the amateur and
the young craftsmen in the schools.
The methods of treating pottery as distinguished
by the appearance after firing are :
(1) Those which leave the surface comparatively
dull and porous.
(2) Those which give the surface a coating of
fused matter known as glaze.
SIMPLE POTTERY
ARIZ.<>NA thbl/AN POTERY
Žliſ,
(t § WWT
Wſ, t, {A},\ \
. Wºº ''': § tº \ \!
\\\'ſ § ſº M' , , 's -
NW Wºlyv d
º §§ vº. J * *A
º
'I', i.lt.", " '
U
§§§
i lºſſ) Wºº)
\}'}\,'" in '''' {{
s ~\, \ l, fl. tº 4 'ſ Wºº-
-º-,
[[Im. PRINATINE
Q Clu-ED AND1NDENTED
VVARE,
TVI.Y COILED AND
PANTED WARE e




















14
220 THE ART CRAFTS FOR BEGINNERS
For obtaining either of these effects the colors
used are the Same, being the ordinary substances
which are used for the color principle in the manu-
facture of all manner of artists' pigments—i.e.,
colors in their raw or “green” state. These colors
come in the form of powder, and must be combined
with a liquid in order to be applied to the clay.
This may be a solution of gum arabic in water, of
the consistency of cream, the addition to this mix-
ture of a Small quantity of dextrine making it more
adhesive. A list of colors quite broad enough for
the average reader follows:
Reds : Raw Sienna, a warm yellowish red; burnt
Sienna, a deeper red; maroon, a claret-brown.
Blues: Cobalt, a color too strong to be used alone;
Indigo, Prussian.
Greens: Oxide of copper, a blue-green; a dark
green may be made by a mixture of oxide of copper
and potassium.
Yellow : Raw Sienna.
White : Pipe-clay is a favorite substance with the
Indians for a dull, dead relief white.
Slip is a mixture of clay and water to the consist-
ency of cream. It is often used in applying color.
An inside glaze is necessary to vessels designed to
SIMPLE POTTERY 221
hold liquids. There are several substances particu-
larly suited to this purpose. Red lead, which in the
form of a powder can be dusted upon the moist clay,
is one ; it will fuse in the firing.
Marsching’s Soft Limoges glaze is designed for
Such purposes.
The ‘simplest method of coloring pottery without
the use of a glaze is to apply the color, mixed with
gum arabic and water, to the moist surface of the
clay. The vessel is then put aside for two or three
hours to allow the color to set. Before the clay
hardens, however, the color must be well worked
into it with some smooth instrument : the back of
the bowl of a spoon may be used, or a polished hard-
wood tool. The rubbing will impart a gloss to the
surface, which is unchanged by the firing. After
the color has been applied, the pottery must be set
aside for two or three days in order that it may dry
thoroughly before being fired.
So different are the various kilns that no definite
information can here be given concerning them. As
stated above, a simple overglaze kiln is sufficient
for all processes discussed in this chapter, and almost
every town will afford at least one of these, the use
of which may be secured by the amateur craftsman.
222 THE ART CRAFTS FOR BEGINNERS
For schools which include pottery in their curricu-
lum, Overglaze kilns using kerosine oil for fuel may
be purchased at a cost ranging from thirty to two
hundred dollars. Full instructions for their manipu-
lation should accompany them. *
After the pottery has been colored and fired, a
simple design may be carried out by scraping off the
Surface color so as to expose the original grayish or
creamy-white tint of the clay.
A second method of coloring is to mix the pigment
with the body of the clay from which the model is
to be built. Still a third way is to color the vessel
all over, or in design areas, with colored slip. A col-
ored slip is a solution of the clay and water mixed
to the consistency of cream, to which color has been
added.
Such unglazed pottery as We have been discussing
may be refined after firing by rubbing floor-wax on
the Outer surface. This fills up the pores and gives
a more uniform quality to the whole.
For the successful glazing of pottery, at least two
firings are necessary. A formula for glaze is to be
had manufactured in a powder, which is mixed with
the color, and fuses with it. Soft glazes, such as can
be fired in an overglaze kiln, may be purchased of
SIMPLE POTTERY 223
any potter. Their composition is usually kept Secret.
One part of dry color mixed with nine parts of dry
glaze, the whole to be dissolved in a solution of gum
arabic and water, will result in a medium tone of
that color. Such a solution is applied by means of
a No. 8 camel's-hair brush to the surface of a piece
which has been fired once. The color should be laid
on with the flat side of the brush without drawing
the brush upon the surface. Be sure to cover the form
evenly. Allow the color to dry, after which apply
a second coat in the Same manner.
Pottery offers so much opportunity for personal
experiment, that no set of rules can be made to cover
the entire field. Every worker makes discoveries,
finds new ways of working. A careful record should
be kept of every experiment. Note the kind of clay
and its condition, and the mixture and quantity of
color, the degree of heat in firing, and the place
occupied in the kiln. The piece should be marked
in some way, so that reference can be made to the
record. Do not trust to memory for any of these
items. It sometimes happens that an excellent bit
of color or technic is secured, and a repetition of
the same is impossible because all the conditions
have not been remembered.
224 TEIE ART CRAFTS FOR BEGINNERS
A room equipped with potter’s materials—which
include a kiln, so that the process of forming, col-
oring, and firing is wholly under the control of the
worker—constitutes a condition very nearly ideal.

CHAPTER VIII
§
BASKETRY
A Reed Mat, Small Reed Basket,
A Basket with Triple Twist, . A
Coiled Basket, Lazy-squaw Weave
—Sewed Basket, Samoan Weave,
Plant-basket, Work-basket of Green
Beed, Fruit Basket of Cattail-leaves,
Raffia, Basket in Bam-tush Weave.
CHAPTER VIII
BASKETRY
O work on the crafts is complete without a chap-
ter devoted to the primitive art of basketry.
The durability, cheapness, and lightness of the
material, and the ease with which a knowledge of the
weaves may be acquired, all commend it to the be-
ginner.
But before commencing a detailed description of
the weaves it may not be out of place to devote a
few paragraphs to this art as practised among the
primitive Americans, from whom we derive much
of our knowledge.
That basket-making is the oldest as well as one of
the commonest and most useful of the domestic arts
is now generally conceded.
The first use made of the basket was probably as a
227
228 THE ART CRAFTS FOR BEGINNERS
cover for water-gourds, to protect them from being
so easily broken when the early tribes moved from
place to place.
In time the basket became not only the commonest
domestic utensil, but its use was extended to all
social and religious functions.
The ever-faithful and industrious Indian woman
often worked for weeks, and sometimes for months,
on a single basket; her expert fingers not only wove
a mechanically perfect basket, but she has shown a
knowledge and appreciation of the beautiful in form,
color, and design that fill one with astonishment and
admiration. -
At the present time many persons are satisfied if
useful articles are cheap, and give no thought to their
beauty; not so the aboriginal woman : she wove her
joys and sorrows, her hopes and fears, into her
baskets.
They were the art expression of the people, their
poetry and religion. *
Even among the Nubians who live in rude huts on
the banks of the upper Nile, we find baskets of most
artistic form, beautiful design, and delicate coloring.
At present there is a strong effort being made by
those interested in the restoration and preservation
BASKETRY 229
of Indian art to have the people return to the use
of their vegetable dyes.
Every one who uses any basketry or weaving mate-
rials can help in this if they will, as far as possible,
refuse to use any that are aniline-dyed. Vegetable-
dyed materials give softer and more durable colors,
and, if properly done, will not discolor the fingers
while they are being woven.
Our study of the industrial arts of the Indians
has led to a better understanding of the character of
the people, as well as of their customs and occupa-
tions. They are highly imaginative, and a world of
legendary lore is expressed through their baskets.
One legend woven into the baskets used for carry-
ing infants on the mothers' back has it that the first
boy born was wrapped in a black cloud; a rainbow,
studded with stars, was represented by the hood of
his basket; the back part was a parhelion ; zigzag
lightning was on each side of the top and the fringe,
and straps signified Sun-beams.
So into everything they made this imaginative
people wove some fanciful story.
The materials used in modern basketry are prin-
cipally reed or rattan, raffia, corn-husks, Splints, and
natural graSSes.
230 THE ART CRAFTS FOR BEGINNERS
Rattan grows in tropical forests, where it twines
about the trees in great lengths. It is numbered by
dealers according to its thickness, and Nos. 2, 3, and
4 are the best sizes for Small baskets. For scrap-
baskets, 3, 5, and 6 are best sizes. It should be thor-
oughly soaked before using.
Raffia is the outer cuticle of a palm, and comes to
us mostly from Madagascar.
While only a few weaves are described in this
chapter, they are representative, and from them a
great number of forms may be constructed.
A REED MAT
Before beginning a reed basket the student should
make one or two centers in the form of a mat. The
start is so important that it is necessary to master
this before the subject of form has to be considered.
A very attractive whisk-broom holder can be made
by tying two of these mats together with ribbon.
MATERIALS
4 14” spokes of No. 3 reed
18" spoke of No. 3 reed
2 Weavers' No. 2 reed
BASKETRY 231.
Soak the reed about an hour in cold water. Find
the centers of the 14" spokes and arrange them in
pairs and cross them, placing the horizontal ones
uppermost ; place the 8' spoke between the two
vertical ones. These are held in place with the left
hand and the weaving is done with the right hand.
An end of a Weaver is
placed along the upperhor-
izontal Spoke in front of the
vertical ones, With the end
toward the fºll hiſ W. right (F, Fig.
1). Bring := Eºa the weaver
around back * JTW/*-* of the vertical
spokes, and . . . . With the fore-
finger of the right hand
to the Cen-
ter as it is brought over
the horizon- tal spokes at
the right of the center (bind in the end of the
weaver also); next pass under the lower vertical
spokes and Over the horizontal ones at the left.
Repeat this two or three times, and then, beginning
with the upper vertical spokes, separate the spokes
and press the weaver down, between each spoke, close
to the previous row of weaving (Fig. 2). It is very
preSS it close
Fig. 1

232 THE ART CRAFTS FOR BEGINNERS
important to press the weaver down every time it
crosses a spoke, and hold in position with the fore-
Fig. 2
finger of the left hand while it is pressed behind the
next spoke with the forefinger of the right hand.
(This applies to all reed-work.)
As Soon as possible separate the spokes evenly and
continue weaving until the mat is four inches in
diameter.
The Side of the mat or basket next to the worker
is the outside, and all ends of weavers must be left
On the inside.
To start a new weaver, place the end on top of

EASKETRY 233
the end of weaver just used, and behind the spoke
back of which it would naturally pass if the old
weaver had been long enough to continue. The next
row of weaving will hold these ends in place, and when
the work is finished they should be cut off quite short.
When the mat is a little less than four inches, it
should be bound off by passing the weaver under
the last row of weaving, behind the next spoke, in
front of the next and under the last row of weaving
again. Continue this once around the mat, and,
after cutting the spokes to an even length, Soak the
mat, and finish with an open border as follows:
Pass spoke No. 1 over spoke No. 2 at the right
and push down beside spoke No. 3; do the same
with each spoke in Succession, being careful that
at least one inch is pressed below the edge of the
mat.
SMALL REED BASKET
Most reed baskets have at least sixteen spokes, and
for Small baskets and where Small reeds are used
these spokes are often woven in pairs (Fig. 3). A
very pleasing effect is obtained by combining two
shades of colored reed.
For the little basket given below (Fig. 2, page
234 THE ART CRAFTS FOR BEGINNERS
237) natural-colored reed was used for the spokes
and a golden-brown reed for weaving. These are
the materials required for a small basket with six-
teen spoke center :
16 16” spokes, No. 2 reed
5 Weavers' No. 2 brown reed
Separate the sixteen spokes into groups of four
each. Mark the centers, and lay the first group on

BASKETRY 235
the table in a vertical position. Across the center
of this group place the second group horizontally.
Place the third group diagonally across these, having
the upper ends at the right of the vertical spokes.
The fourth group is laid diagonally with the upper
ends at the left of the vertical Spokes.
A well-soaked weaver is started by laying the end
over the group to the left of the vertical group, just
above the center; then bring it under the vertical
group, over the next, then under, and so on until
it reaches the vertical group again (Fig. 3). This weave
is repeated three or four times; then the spokes are
separated into twos and the weaver is brought over
the pair at the left of the upper vertical group, and
so on, over and under, until it comes around again,
when it is necessary to pass under two groups of
spokes and then continue weaving over and under
alternate spokes (Fig. 3, groups 1 and 2).
At the beginning of each new row the weaver
passes under two groups of spokes; always under
the last of the two under which it went before and
the group at the right of it. This is the method of
the Indians when they use an even number of spokes.
Weave the bottom until it is four inches in diam-
eter; then wet and turn the spokes gradually up and
15
236 THE ART CRAFTS FOR BEGINNERS
weave one inch; then turn the spokes in sharply
and draw them in with three rows of weaving. Now
weave four rows, going over and under the same
spokes, making an ornamental band; then weave
three rows of over- and under-weaving, followed by
four rows without changing the weave. Continue to
draw the side in with four rows of Over- and under-
weaving, and then bind off. Finish with the follow-
ing border:
Always wet the spokes till pliable before starting
the border; then each group is brought under the
first group at the right and over the next and inside
the basket; and cut long enough to allow it to rest
on the group ahead. {
Leave the first two groups a little loose, so the last
ones can be woven into them easily.
BASKET WITH TRIPLE TWIST
(Fig. 6, page 237)
MATERIALs
1624” spokes, No. 1 gray-green reed
8 Weavers' No. 1 natural-colored reed
4 weavers' No. 1 gray-green reed
Weave the center as in previous basket until it
measures two inches in diameter; then separate the
1. Coiled Basket of Natural Grasses 4. Sewed Basket, -
2 and 5. Reed Baskets 6. Reed Basket (triple weave)
3. Samoan Weave (openwork) 7. Flat Reed and Splint Basket

BASKETRY 239
pairs of spokes and weave over and under each spoke
separately until the bottom measures three and one
half inches. Now turn up sharply and Weave six
rows of under- and over-weaving. By this time the
spokes should stand quite straight, and the triple-
weave is commenced by inserting two new weavers
in addition to the one already started.
Insert a green weaver between the two spokes to
the right of the one already in use; then place an-
other natural-colored one between the two spokes to
the right of the green one; then pass the first
Weaver in front of the first two upright Spokes to
the right, behind the third spoke and out. Now
pass the colored weaver in front of the next two
spokes to the right, behind the third and out. Do
the same with the third weaver, and then begin with
the first one again and continue until the basket is
five inches high. Soak the mat and finish as follows:
(1) Pass each spoke in succession behind the one
at its left and out; press down close to the basket;
put the last spoke left standing under the first one
turned down.
(2) Pass each spoke in succession in front of the
one at its left and turn in ; put the last one under
the first one turned in.
240 THE ART CRAFTS FOR BEGINNERS
(3) PaSS each spoke in succession behind the
One at the left and out; then press down sharply
between the outside weave of the border and
the basket; cut off with wire-cutters close to
the border.
TO MAKE A COILED BASKET
(Fig. 9)
Sweet-grass, corn-husks, or any pliable grasses Fig. 4
can be used for these baskets, and with a contrast-
ing color for sewing, very charming effects can be
produced.
Cut off the hard ends of the grasses, and take only
a Small bunch for the center or start. Split the
raffia very fine, and use a sharp needle for the tool.
Hold the grasses and the end of raffia in the
#N left hand, about two inches from the end of
| \ the coil, and wind the raffia around the coil
słie to the end of the grasses (Fig. 5).
Şe Bend the end of the coil into a Small
UN round center and sew over and over,
N binding the first two coils very firmly together
* (Fig. 6). The next time around leave a very
| Small space between each stitch, and take the
Fig. 5 Stitch only through the upper protion of the






BASKETRY 241
coil below. It is necessary that the spaces between
the stitches be very regular in the first few rows, as
the regularity of the spiral is determined by them.
In sewing through the coil, place the needle diag-
onally from the right of the stitch through the coil
to the left of the stitch (Fig. 10).
When the bottom measures four inches across,
begin Shaping S the sides by
raising the coil | up slightly on
the coil below, 'A' and continue to
bind the coils together as be-
fore. When the basket mea-
Sures about Six inches across,
begin Shaping the sides by
holding the coil slightly in to-
Ward the cen-4 - c. ter.
To finish, Fig. 6 gradually de-
crease the size of the coil, but do not increase the
number of stitches; fasten the raffia, after taking the
last stitch, by running it through the coil, and cut
off close. If necessary to bind the ends more closely,
sew over and over with a fine thread of very fine
raffia the color of the grasses.
One should take great care to make a very neat
and strong finish.

242 THE ART CRAFTS FOR BEGINNERS
LAZY-SQUAW WEAVE – SEWED BASKET
TJse a No. 4 reed to Sew over. Trim the reed with
a sharp knife one and a half inches from the end,
gradually sloping to a flat point (Fig. 4).
Soak the reed in water about an hour. Use a No.
18 dull-pointed needle and thread with the end of
the raffia which has been cut from the palm (the
thick end).
Hold the reed in the left hand, draw it through
the fingers of the right, shaping the end into a round
coil. Hold the reed and the small end of the raffia
firmly in the fingers of the left hand, about one and
a half inches from the point. Wind the raffia around
the reed to the point (Fig. 5). With the right hand
force the end of the reed into the smallest possible
coil and sew firmly through the center, binding en-
tirely around the first coil. -
Eſold the Commenced coil in the left hand and
wrap the raffia from you and around the reed once;
then over the reed again and down through the
center of the coil (Fig. 6). This gives a long stitch,
while wrapping the reed gives a short one. Con-
tinue weaving in this way, first a long stitch and then
a short one, until the bottom is about five inches acroSS.
BASKETRY 243
Now we must plan for the design. In the basket
shown in the photograph (Fig.4) the soft green used in
the bottom is continued up the sides to form points.
An easy way to plan for the divisions of a design
is to place the basket on a piece of paper and mark
around it with a pencil, cut out, and fold into desired
divisions. Place the basket on the paper again and
mark the divisions with a pencil or thread. &
To apply the raffia or introduce another color, hold
the reed in the left hand, with the forefinger pressed
firmly on the ends of both the old and the new thread,
and wind the new thread tightly over the old thread;
then proceed to take the stitch as before.
When the old and new threads are sufficiently cov-
ered to hold firmly, cut off both ends and continue
weaving.
In the basket shown (the one with the star pat-
tern) the points are made by introducing one stitch
of natural color at each division for the last row of
the bottom. Now begin forming the sides by placing
the reed slightly over the last row. Each time the
white stitch is reached, this time around, cover
with three white stitches, and each time around in-
crease the number of Stitches, keeping the divisions
equal on both sides of the point and the line of de-
244 THE ART CRAFTS FOR BEGINNERS
sign straight. When the green points
\ have been reached, continue with the
Sº natural colorforabout two inches, when
a band an inch wide of the Samoan
stitch is introduced (see descrip-
tion on next page).
Continue now with the lazy-Squaw
Stitch for an inch and a half. Now
the sides are turned in by holding the
reed slightly inside the preceding one, and weaving
in this way for about an inch.
A roll of Sweet-grass is bound around the top, and
at the angle of the sides, with an overstitch of black
split raſſia. When it is necessary to splice on a
new reed, trim the ends to be 2 ~,
spliced to flat points, placing/6 \
together in such a manner \
that the uniform size of the
reed is kept. Prepare the
reeds for joining before it is
necessary to splice, and take
great care that they fit. Hold
the two reeds together care-
fully as you work over the
Splicing. Fig. 8


BASKETRY 245
SAMOAN WEAVE
The start is made in the same
N way as for the lazy-Squaw
\,.\ basket.
§2. A \ \ After the first coil is fin-
Jºl ished, the reed is held about
its Own Width from the coil.
The raffia is brought from
º the center, over both reeds,
| around the upper one and between the two
at the left of the wrapping; then passed
back, between the two reeds, at the right of the
Wrapping (Fig. 7).
Look at the wrong side to see that the needle
has passed to the right of the long
stitch. Bring the needle through
again, between the two reeds, at
the left of the wrapping (Fig. 8).
This completes the knot. Wind
the reed twice and make another
knot. Continue in the same way
until the bottom is as large as
desired, then turn up as previously
described. In the basket shown


246 THE ART CRAFTS FOR BEGINNERS
(in photograph, Fig. 3) the bottom is woven with
natural-colored raffia, and the sides with golden-
brown. The knots in the bottom are placed each
time at the left of the one on the row below, so that
a spiral effect is obtained, and on the sides the knots
are arranged in diamond shapes. Two reeds are
held side by side to give the heavy band at the top,
and are bound to the two below by a long and short
Stitch.
PLANT-BASECET
TMATERTATS
1642// spokes of No. 4 reed
About 40 weavers of No. 4 reed
About 4 weavers of No. 4 Indian red reed
2 Weavers of No. 4 black reed
It seems natural and fitting to use basket cover-
ings for flower-pots, since basketry and pottery have
always been closely associated. The basket covering
answers two purposes: first, it protects the pot, and
then it hides the angular form and brilliant color of
the red ware, which so rarely harmonizes with
flowering plants.
Let us choose a flaring jar form, such as the In-
dians of New Mexico often make in clay. One that
BASKETRY 247
2– TJ will hold a flower-pot 64!"
º i Y in diameter at the top will
require sixteen 42" spokes
Of NO. 4 reed.
The sixteen - spoke center
# / shown in Fig. 3, page 234, is first
* made, and the bottom is woven
to a diameter of 6//. The spokes
are then thoroughly wet and turned up with a
decided outward flare. (See Fig. 11.)
The sides are woven, still flaring, for 43", and
then one row is made with a black weaver. This
is followed by a band of Indian red in bam-tush
weave (see Fig. 18) #!' wide; and above it two rows
of the same weave, using a weaver of black and one
of Indian red. The spokes are now wet until quite
pliable, and bent in toward the center by rolling
them over the finger.
Three rows are woven without drawing the
weaver very tight, and then the spokes are brought
in decidedly with a tightly drawn weaver for 33",
pressing them with the hand at the same time.
Here the diameter of the top should be about 7+".
After wetting the spokes thoroughly the following
border is woven :
Fig. 11


248 THE ART CRAFTS FOR BEGINNERS
First row. Each pair of spokes is brought under
the pair on the right and outside of the basket.
Second row. Each pair of ends is brought across
two spokes, under the first end on the right and
pressed inside of the basket, where, when the border
is finished, they are cut so that each will lie against
the spoke ahead.
WORK-BASKET OF GREEN REED
MATERLALS
1628// pieces of No. 2 dark-green reed
32 11" pieces Uſ NU. 2 Ulalk-gleel1 1 eed
About 14 weavers of No. 2 light-green reed
16 large opaque white beads
16 large transparent green beads
An awl
Large kindergarten beads make an effective deco-
ration on a basket of No. 2 reed.
A work-basket of two shades of green, with green
and white beads, is woven as follows:
Sixteen 28' pieces of No. 2 reed are arranged in
the center, shown in Fig. 3, and a bottom 64" in
diameter is woven. The spokes will then be so far
apart that in order to continue the basket in firm,
BASKETRY 249
close Weaving additional spokes must be inserted.
Thirty-two 11" pieces of dark-green reed are cut and
two of these are pressed in between each pair of
spokes, which should first be separated by running a
sharp-pointed awl down between the weaving. This
will make four spokes in every group, which are wet
until soft and separated into twos by the next row of
weaving. The spokes are then turned up, away from
the worker, with a decided outward flare, and
the sides are woven 3' high. After wetting the
spokes until pliable, they are rounded in toward the
center by bending them over the middle finger of
the right hand. Seven rows of weaving are made,
and then, with a very pliable weaver, the spokes are
Separated into ones. Two rows are woven on the
Single Spokes, Separating them evenly and taking
care to press the weaver firmly down on the last row
of Weaving each time it crosses a spoke. At the end
of the second row the weaver is cut, so that it will
lie behind the last spoke in the row. An opaque
White bead is now slipped on to this spoke and
preSSed down until it lies on top of the weaving. On
the next spoke but one a transparent green bead is
strung in the same way (see Fig. 12), and on the
Second Spoke from it another opaque white bead.
250 THE ART CRAFTS FOR BEGINNERS
Thus continue around the
basket until there are thirty-
two beads,-sixteen green and
'the same number of white,
alternating on every other
Spoke of the circumference of the basket. A pliable
weaver is then started back of the spoke behind
which the last weaver was cut, and woven on the
Single spokes for two rows, pressing the weaving
down as far as the beads will allow. In the next
row the spokes are again brought together in pairs,
and eight rows, counting this one, are woven, bring-
ing the spokes in more and more. The edge is bound
off as already described, and the following border
Completes the basket :
Wet the spokes until pliable and bring each pair
in turn over the next two pairs on the right, under
the third pair, and over the fourth. The first three
loops of the bor-
der Should be left
loose and open, sº:
so that the last Zsºs/
spokes may be SãSS
easily woven in. Tº
(See Fig. 13.)
|
ſ
;
§
gº



BASKETRY 251
as they are, but when it
is possible go to nature's
Storehouse for Our ma-
terials, as the Indians
do. From the common
cattail-leaves which grow so plentifully in neighbor-
ing marshes charming things can be made. One of
these is a scoop-shaped basket for strawberries or
grapes (see Fig. 14), holding just enough for one
person. On an invalid's tray, or at the out-of-door
breakfast on a summer morning, this little basket,
With its lining of green leaves, brings a suggestion
of murmuring streams.
FRUIT-BASKET OF CATTAIL-IDEAVES
MATERIALS
A bunch of dried cattail-leaves
Two pieces of No. 5 reed 5// long
A bunch of gray-green raffia
A No. 18 tapestry-needle,
Gather the cattail-leaves for your basket in Au-
gust, when the tips are beginning to dry; if they

252 THE ART CRAFTS FOR BEGINNERS
are cut later they are apt to be too brittle, and if
earlier the color does not hold. Dry them in a
room where little or no sunlight comes, –an attic is a
good place,—spreading them on a floor or shelf, and
turning them occasionally that they may dry evenly.
When perfectly dry, or cured, lay them in a damp
cloth until pliable; or, if this process takes too long,
Wet them in lukewarm Water until Soft. Take three
full-length leaves and, tying the tips together with
raffia, braid them in a three-stranded plait, keeping
the strands quite flat and the edges straight and true.
When it becomes necessary to add a new piece, lay
it with its short end turning up over the old end, and
proceed with the plaiting. (See Fig. 15.) When about
four yards have been plaited, cut the ends of the
º leaves close to where they were bound at the
#|}} beginning, and, taking a needle threaded
with a fine strand of gray-green raffia, Coil
the plait on itself into the smallest possible.
} circle and stitch it firmly. Bring the long
end around, with its inner edge just under





BASKETRY 253
is 7// in diameter. At the end of the last row the
braid is brought gradually under the previous row,
where it is cut, and after binding the end with raffia,
to keep it from ripping, it is stitched firmly in place
against the under side of the mat. A handle is then
made as follows: v. 1
Take two 5" pieces of No. 5 reed which have
been soaked in warm water until pliable, and a full
length cattail-leaf, also wet. Place s ~.
the two pieces of reed together, and Sl *s
lay the short end of the leaf under ºf
the one on the left. Bring the long lº
end over the piece of reed on the
right, around it and over the left-
hand piece; around this, and again ||
over and around the piece on the right. Fig. 16
(A piece of raffia bound about the
handle at the start and tied securely will prevent
it from ripping. See Fig. 16.) This process
is continued, pressing the Stitches close together,
until the reed is entirely covered. A raffia bind-
ing also secures this end. One end of the handle is
sewed firmly against the under side of the mat
where the last row of plaiting ended, at half an inch
from the edge. The other end of the handle is wet







16
254 THE ART CRAFTS FOR BEGINNERS
until pliable, and bent over to meet the first end,
stitching it firmly in place. The sides of the mat
are then pinched together and sewed through and
through between the ends of the handle and in front
of it (See Fig. 14), So that it forms a scoop shape.
This completes the basket.
RAFFIA BASKET IN BAM-TUSH WEAVE
IMATERIALS
16 16” pieces of No. 2 reed
A bullcli Uſ iſatural-colored raffia,
A bunch of Golored raffia
A sharp-pointed awl
A No. 18 tapestry-needle,
One of the simplest and most satisfactory of the
Indian weaves is called by them bam tush. It may
be woven entirely of reed, or charming baskets are
made with it, using raffia and other soft vegetable
fibers on reed spokes. The Indians of Alaska use sea-
grass or bark in weaving this stitch, while those living
farther south employ glistening white Squaw-grass
and the stems of maidenhair fern. One of the great
attractions of the weave is that it is done almost en-
tirely with the hands, no needle being used except
BASKETRY 255
in binding the edge of the basket. The only tool
necessary is a sharp-pointed steel awl, such as one
can buy at a hardware-store.
It is advisable to Wash the natural-colored raffia,
with warm water and some pure white soap, rinsing
well and letting it get almost dry before using.
The center is a simple one. Sixteen sixteen-inch
pieces of No. 2 reed are cut and the center marked
with a pencil. Eight pieces are held together about
#" below the pencil-marks.
An end of a strand of raffia is doubled around the
pair of spokes next to those on the left of the group
(see Fig. 17); the short end is turned up and the long
one is brought over the pair of spokes on the right, un-
der and around the next pair and back, under and over
alternate spokes to the left side, where it is brought
ſ around the outside group and back again.
The groups should be drawn close together
and each stitch pressed down on the
§§§trº Tº weaving below so that no reed shall
||| ||||| show. When the center is as deep
#||ll as it is wide, eight more spokes are
§l ºn-S
| bound together, in the same way,
|||||||||||| with another strand of raffia. These
pig.17 are laid horizontally back of the first



256 THE ART CRAFTS FOR BEGINNERS
set, which is held vertically. Draw
the long end of raffia from each
group between the two halves
of the center, bringing one out
On the left of a pair of spokes
and the other on the right of the
Same pair. Taking the strand on the
left of the two spokes, bring it over
this pair, under the next, and hold it down in
front of the work with the left hand, while the right
brings the other strand over a pair, under one, and
down in front in the same way. (See Fig. 18.) This is
continued around the center, using always the strand
on the left and bringing it over a group, under the
next, and down in front. In the next row the spokes
are separated into ones and those at the corners
drawn close together with the weaving. The spokes
should almost touch ; and when, after a few rows, they
begin to be so far apart that the stitches are not as
Small as at first, new spokes are inserted. Prepare
eighteen or twenty of these spokes at a time, cutting
them about an inch longer than the distance from
the edge of the weaving to the ends of the ori-
ginal spokes. Whittle each to a long, Sharp point.
Lay the woven center on a table, and choosing a
Fig. 18






BASIKETRY 257
place where an extra spoke is needed, run the point
of the awl down between the weaving, beside a
spoke, draw it out and push in the pointed end of a
new spoke. This need not be done with absolute
regularity, but wherever the stitches seem too large
and the spokes too far apart. A little patience in
inserting enough spokes to make the work firm and
even will be amply repaid in the solid, substantial
weaving and even texture of the finished basket.
When it comes time to turn up the sides, the spokes
are wet until pliable and bent over the finger, as in
the all-reed baskets. Many designs may be wrought
by using one colored Weaver and one of the natural
color and combining triple twist with the bam-tush
weave. Straight lines of color are obtained by
using two weavers of different colors in bam tush on
an even number of spokes. With an uneven number
the lines will be diagonal.
To finish the top of the basket, cut every other
Spoke close to the weaving and whittle the alternate
ones to a long point about 14" above the weaving.
Now wet these pointed spokes until pliable and
bring each in turn back of the next spoke on the
right and outside of the basket, pressing it close
down on the weaving. Cut the ends so that each
258 THE AIRT CRAFTS FOR BEGINNERS
will lie against the spoke ahead. Lay a few strands
of raffia along over this border, and with a No. 18
tapestry-needle, threaded with raffia, bind the edge
over and over with stitches that pass under the last
row of weaving in the basket.
CHAPTER IX
*
BEAD-WORK
Simple Chain Patterns.
Simple Loom Pattorng.
Indian Designs for Loom Work.
CHAPTER Ix
EEAD-WORK
MONG the primitive arts lately revived, bead-
weaving holds a place of Secondary importance
indeed; yet it possesses distinctive artistic value,
especially in the making of Small articles. The
juxtaposition of Small spots of pure color, through
which the light plays, arranged in simple patterns
gives an effect unlike that of any other material, and
is especially appropriate for necklaces, watch-charms,
Small pouches, belts—things useful in themselves or
which Serve to relieve the dress.
The tools needed are simple and easily obtained.
For the first problems some strong linen thread and
No. 12 bead-needles are sufficient. Beads of any
size and price may be purchased at any kindergarten
261
262 THE ART CRAFTS FOR BEGINNERS
Sº Supply store, of any arts crafts dealer, the
" * dealers in Indian and Mexican goods, or at
5 some department store.
Ç Bead-work is very simple, but somewhat
R trying to the eyes, especially if the beads
2 are small and the colors not of the best.
A good problem for beginning is stringing
§ beads for a chain. A very effective way of
doing this is suggested in Fig. 1, and this
may be varied by the size, number, and
color of the beads and the length of the
loops.
Take two No. 12 bead-needles filled
with thread, and fasten the ends of both
securely to a single º
bead. On each thread
string five beads, or
more if the beads
are small, and then carry both
threads through a single bead
(Fig. 2). Again take the
Same number of beads on each
thread and carry the threads
through a single bead, and 2
So on, repeating the pro- Fig. 2
Fig. 1





BEAD-WORK 263
cess until a chain of the desired length
is completed.
In Fig. 3 both threads are
three beads at the -
center, to vary the
problem.
Another chain —OC
which is very delicate in
itself, is made with two ,
threads drawn through " º
a single bead in opposite Fig. 3
directions (Fig. 4)
–0– next a bead on each
thread, both threads
being again drawn through a single bead from
opposite sides, and so on, as in Fig. 5. In
332 this design two colors, a light and a dark,
$º should be used, and the units may be
sºp brought out as in Fig. 6, in this way making
a + or a × design.
An easier way of construct- & O
ing either of the previous * *
chains is to string a single S$2 *
strand first, this strand to be * *
O ©º
Fig. 5 made up of any number of C Fig. 6





264 THE ART CRAFTS FOR BEGINNERS
beads in groups of five forming one side of the loop,
alternated with the center bead or beads in the manner
of Fig. 7, a ; then taking the second thread, which
is attached to the first bead, string five beads and
Tºtt: 5ta\rt -
THE Statºr
º
Tºp Tarsab
p” sº tº
lsº raseAb sº Titºsºp
Fig. 7
carry the thread back through the next three beads,
thus taking the position b, Fig. 7. The principle is
the same as in the other method, but it is easier to
handle one needle at a time.





DEAD-WORK 265
There is another weave made upon diagonals and
requiring no loom. Let us Suppose the design calls
for a width of eight beads; for in the warp and weft
weaving an even number is best.
Fasten a bead securely to the end of the thread
and, counting it as one, string the required num-
ber—in this case eight beads. Now string a bead
and, carrying the needle through the seventh bead,
draw the thread tight. String another bead and pass
the needle through the fifth one. Continue in this
way, stringing a bead each time before passing the
needle through the next bead but one to the one it
just went through, until the end of the line is reached.
When the work is turned, a bead is strung and the
needle passed through the next bead but one to the
edge. This process is repeated until the entire
length is woven.

266 THE ART CRAFTS FOR BEGINNERS
With large beads, fine wire may
.* : § be used instead of thread, especially
& in work where strength is required.
& Fig. 10 suggests a design for this
& weave, and might be extended to
N. form a belt.
& For work on the loom, in addition
$383 to the No. 12 needle a spool of linen
S$ 3 machine-thread and a coil of fine
ſº linen thread are needed. Special
. bead-needles, which are ſine yel, long,
& can be procured for this purpose.
The loom is a very simple affair,
easily constructed. It consists of a stout piece of
wood 1" or 1%;" wide and 1’ long, supporting two
upright ends about 34" wide x 24" or 3' high.
Small headless nails or brads are driven across
these ends #3 apart (see Fig. 11) and an upholsterer's
tack fastened below on the outside for attaching
threads.
º
º º º r º: *: . . . . . . . . . . . . sº a ºn '. # ; : ..., ºº, ; ; tº ººgºº, ſº - -
º %2 ºtº-º-º-º: ſlºº tº º .* * * : , ". ſº §§
tº º
IFig. 11.


BEAD-WORK
267
For the first exer- ºft
long threads, (the
being one more than
in the Width. Of the
Fasten the knot on
for that purpose
bring the threads
loom, between the
to the opposite end,
ening them to the
If the piece of G
threads, these may
Supporting bar and
be tied to the tack
coil of paper or a
In this work an even number
of warp threads is advisable, as ©
this gives you a center row
of beads and makes the
designing simpler.
º
* #
Fig. 12
#3 cise, tie together the
warp) their number
the number of beads
band to be WOven.
the tack provided
(Fig. 11, a), and
over the top of the
nails, as in Fig. 12,
and then down, fast-
tack upon that end.
Work requires long
be Wound about the
tied. Or they may
and Wound up on a
Spool.
..T.T.s alsº aſ "Te o sº.
3–F # C.
We will suppose there are eight
threads Stretched acroSS the loom. | | | |
String Seven beads upon a long thread,
Reeping hold of its end; place the Seven
under the warp threads, so they may be


268 THE ART CRAFTS FOR BEGINNERS
pushed up between the threads and held with the
finger (Fig. 13); then carry the thread (the weft)
back through the beads but above the warp, and
tie the loose end to the thread in the needle.
The beads are thus securely fastened between the
warp threads. String seven more beads and repeat
the operation, and so on indefinitely, constructing a
watch-chain, or necklace, or what not.
We have now to face the limitations of our me-
dium in design.
Original designs are made by drawing lines to
represent the warp, and crossing them with lines
representing the weft threads, thus forming little
Squares of size corresponding to that of beads
used. The squares are then filled in with black and
white or color to represent the beads.
This limits the design to rather rigid abstract
forms, and simple units are most effective with ac-
cents of strong dark color.
Opaque white beads form the best background, as
a greater variety of color and quality of beads blend
and harmonize with them.
Indian designs, as is the case with all of the primi-
tive arts, furnish the simplest and best motives.
Plant forms and animals may be adapted, as in
BEAD-WORK 269
Figs. 14 and 17, and even the human form may be
broadly conventionalized. If you would go directly
to nature, I cannot think of any better material
than a snake-skin. Procure some of the squared
paper of about 4" squares, and if you are fortunate
enough to be near the Bronx Park in New York,
or similar collections, spend half a day with our
friends the diamond-back rattlers and their kind,
jotting down design motives copied from their backs.
Or perhaps you can overcome a natural repug-
nance sufficiently to study one of our common harm-
less black and yellow Snakes at close quarters.
The butterflies and moths are also unfailing
fºg. H.
tº EAD
ºl.I
fig. 16 - façº. 17


270 THE ART CRAFTS FOR BEGINNERS
sources of suggestion because of their many abstract
line combinations and multitude of rich colors in
harmonious relation.
And now finally let me say:
Every worker in the crafts who is not already
schooled in design, should begin at once some con-
tinuous study of the principles of structure and
decoration.
Without this knowledge you may indeed progress,
but you will be seriously handicapped in the prac-
tice of any craft.
To know his own work from A to Z is a cardinal
principle of every good craftsman.
If instruction under a good teacher is not pos-
sible, purchase one or two standard works on the
subject, or consult the books of your public library.
Set yourself to learn at least the rudimentary prin-
ciples of ornament, and then you can feel that your
work, from its inception to the last tool-mark, is
thoroughly your own.
Univ. of Michio Ars,
SEP 9 1914
UNIVERSITY OF MICHIGAN
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