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CORNELL UNIVERSITY LIBRARY 
 
 924 059 796 890 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924059796890 
 
Shuttle-Craft 
 Courses in Weaving 
 
 MARY M. ATWATER 
 
 BASIN, MONTANA 
 
 Copyrighted 1922, by Mar>' M. Atwate 
 
A Shuttle-Craft "Special" Iioom in the Workshop of the Seattle Light-House 
 
 for the Blind 
 
Hand Weaving for Pleasure and Profit 
 
 COLONIAL WEAVING 
 
 Weaving is an art as old as man himself. The very first man 
 of all must have had an instinct in his fingers that led him to 
 interlace twigs and grasses for shelter and covering. Without 
 this instinct he might never have been a man at all. So it is not 
 surprising that almost everyone likes to weave ! 
 
 I believe that the only reason so few — comparatively — know 
 the pleasure of weaving is the difficulty in getting information, 
 instruction, equipment and supplies. Following the introduction 
 of machinery, hand-weaving became among us almost a lost art. 
 Now, however, it is being revived, and I confidently look forward 
 to a day when a hand-loom will be as customary a piece of house- 
 hold furniture as it was in the days of our great-great-grand- 
 parents. 
 
 Many of the textiles of that day have come down to us. We 
 recognize in them a charm and beauty impossible in a machine- 
 made product. But we need not sigh over the ' ' good old days, ' ' — 
 there is nothing to keep us from producing today, in exactly the 
 same manner,, things just as beautiful. 
 
 Weaving for pleasure appeals more to women than to men, 
 for the simple reason that more women than men have leisure 
 for handicraft. It is, however, by no means an effeminate occu- 
 pation. The professional weavers of the Colonial period were, 
 as far as 'I know, all men. They traveled about from village to 
 village and from farm to farm, making into cloth the yarns 
 spun and dyed by the women. It seems also to have been cus- 
 tomary for men to do a large part of the domestic weaving during 
 the winter months. Many men are interested in the present re- 
 vival of hand-weaving — a great part of the constructive impulse 
 back of the movement comes from them. 
 
 Hand-weaving as a business appeals to certain groups of 
 men as well as to women — those, for instance, who after half a 
 
life-time spent in uncongenial work find themselves at liberty 
 to turn to something else. Then, too, there are many partially 
 disabled veterans of the great war who need an occupation that 
 may be carried on at home under the conditions of their dis- 
 abilities — men so crippled that heavy work is impossible, or so 
 subject to recurring illness that regular work or long hours are 
 out of the question. For such, and even for those who are partially 
 or totally blind, much hand-weaving is possible. 
 
 Then there are husbands. J\Iany husbands are apt to consider 
 feminine handicraft trifling and somewhat irritating; they take 
 a very different attitude toward weaving. A loom is interesting. 
 Real things can be made on it — big, useful, sensible things. The 
 suggestion of home-woven t%veed for a golf suit interests the 
 usual husband even to the point of enthusiasm. 
 
 The Colonial weaves, though often plainly of Scandinavian 
 origin, have a character all their own. They constitute a real 
 American national art. To us Americans this gives them a senti- 
 mental as well as an intrinsic value. I have therefore laid par- 
 ticular stress in my course on the Colonial weaves. This is the 
 more necessary as the majority of instructors in weaving being 
 Scandinavian women, the Swedish types of weaving rather than 
 our own Colonial weaves are at present being taught. 
 
 THE PLEASURE IN WEAVING 
 
 Weaving as a pastime has much to recommend it. What can 
 be more delightful than to sit at the loom and watch a beautiful 
 piece of material — of one's own design and personal manufacture 
 • — pile up in front of the reed ! The boat-shaped shuttles of smooth 
 wood, very pleasant to the hand, make a charming whirring noise 
 as they are thrown through the shed. There is satisfaction, too. 
 in the dull thump of the batten. And figure by figure the pattern 
 ^rows till behold ! a new masterpiece, worthy to be set beside the 
 treasured old weavings of an earlier day. 
 
 POSSIBILITIES OF A LOOM 
 
 There are many things one can make on a loom much better 
 — and faster — than in any other way. A woven decoration, too 
 is a part of the fabric itself — far more interesting and satisfactory 
 than a pattern in embroidery, applique, or batik applied to a 
 machine-made fabric. 
 
One may weave "linsey-woolsey" material for a sport skirt 
 in a day — a scarf in an afternoon — a coverlet in a week. All these 
 things with others too numerous to mention — smocks, children's 
 dresses, tweeds, bags, bits of trimming for hats and dresses, as 
 well as rugs, curtains, portieres, pillow-tops, tabls runners, couch 
 covers, towels and table-linen, in the greatest variety of materials 
 and patterns — all are within the scope of that fortunate being 
 who possesses a good hand-loom and who knows how to use it. 
 
 WEAVING FOR PROFIT 
 
 Weaving is for many reasons an ideal home-industry. It is 
 one of the very few things that can really be done at home better 
 than anywhere else, and that can be done irregularly and in 
 spare time. A paying business may be built up with a very small 
 outlay of capital. 
 
 In any community, no matter how small, there is an income 
 in the weaving of rag rugs. This is not very interesting work, 
 but it leads to better things. \ 
 
 The market for the finest pieces of hand-weaving is, naturally, 
 in the cities. I am preparing a list of agencies through which 
 hand-woven articles may be sold, so that those who live in isolated 
 places may have the advantage of the broader market. 
 
 In weaving for profit it is usually advisable to select some 
 one product — or type of product — and keep quite strictly to that, 
 building up a sales channel with due care. I know a woman who 
 makes money weaving light-weight all-wool dress materials with 
 a bit of pattern ornament. These materials she has made up into 
 simple one-piece dresses that are artistic and charming and sell 
 for a good price. A craft-shop and studio where people may come 
 and dabble a bit in weaving, and where articles are also shown 
 for sale, is a paying venture in many communities. Another very 
 interesting line of work is the weaving to order of entire sets of 
 draperies for Colonial rooms. Such orders may be obtained 
 through interior decorators. The line to choose depends on the 
 taste and ability of the individual weaver, and also on the char- 
 acter of the available markets. 
 
The Teaching of Weaving 
 
 To teachers in the manual training field a working knowl- 
 edge of weaving is essential. \Yeaving is being used more and 
 more in schools, hospitals, and correctional institutions. 
 
 It has till now been so difficult to obtain instructions, except 
 in the very simplest forms of hand-weaving, that many teachers 
 who are using it in their work are handicapped by insufficient 
 preparation. They are unable to get the most out of their looms 
 or their pupils. 
 
 My set of instructions with the accompanying blue-printed 
 diagrams are designed to serve as a practical shop-manual for 
 crafts-workers, teachers and occupational therapists — giving a 
 greater range of possibilities in class-work and curative work- 
 shop practice. 
 
 Tt is perhaps not out of place to say a word as to my own 
 qualifications as a teacher of weaving: I had a very complete 
 art-education — in Chicago and Paris — and later worked for sev- 
 eral years as a decorative designer. 
 
 Weaving I took up for pleasure, and also for social service, 
 while living in a small isolated mining camp in the mountains. 
 I organized and financed a "village industry"' that flourished and 
 produced good work. During this time I studied from all available 
 sources and did a good deal of research work in libraries and 
 museums all over the country. I collected a great deal of interest- 
 ing material which it is a pleasure to me to be able to pass on 
 to others, as I am doing through my courses. 
 
 There are, for instance, a number of ancient weaves, that, 
 though no more difficult to produce than the ordinary "overshot" 
 weaving, appear to be very little known. The so-called "Summer 
 and Winter'-' or "double-face" weave is to my mind the most sat- 
 isfactory for coverlets of all the old Colonial weaves. The coverlet 
 shown in the illustration as a background for the loom is in this 
 weave. The pattern of this particular coverlet is a "Blooming 
 Leaf" pattern, adapted from an old piece of weaving in the 
 Pennsylvania Museum. Notice it again on the lower right hand 
 side of the illustration showing the samples of Aveaving. The 
 
 6 
 
coverlet under the pillow, bottom center, of this last illustration 
 is in this same weave, but a different pattern. 
 
 I was in the midst of my study of weaving when the war 
 broke out, and later when the Government advertised the need 
 of women skilled in handicraft for hospital occupational therapy, 
 I enlisted. I served a number of months at Camp Lewis Base 
 Hospital, and later when that hospital closed, was transferred to 
 Letterman General Hospital at the San Francisco Presidio, where 
 I served for nearly a year. 
 
 After leaving army service I went into state hospital work 
 in Illinois. Later I came west again, and for the last two years 
 have been instructing, and practicing occupational therapy in 
 this part of the country. 
 
 Coverlet In "Summer and AVinter" Weave — a Simple "Snow-Ball" 
 Pattern With "Pino Ti-ee" Border 
 
The Shuttle-Craft Courses 
 
 The correspondence courses in weaving that I am offering are 
 the outcome of numbers of inquiries I received for information 
 about vpeaving. So many people vpant to weave, and it is so hard 
 to find how to go about it ! Some of the people qualified to give 
 information appear to be very chary of helping others — perhaps 
 in the mistaken idea that to make a mystery of weaving adds to 
 its value. I believe, on the contrary, that the more people know 
 about hand-weaving the better it will be appreciated. 
 
 I was uncertain at first whether or not weaving could be suc- 
 cessfully taught by means of written instructions and diagrams. 
 Through the kindness of the Home Economics Department of the 
 University of Washington, I was able to test my course before 
 offering it to the public. A group of students who knew nothing 
 of weaving were given a loom and my notes for the first lessons. 
 Without other instruction they produced creditable work, and 
 one of their number even "demonstrated" weaving for a week 
 in one of the down town department stores. 
 
 My students now number many, in all parts of the country, 
 and the excellence of the work sent in to me for criticism makes 
 it possible for me to say with assurance that weaving by mail is 
 a success. 
 
 The course in weaving on a loom is designed to cover a 
 period of six months. The work could be accomplished in less 
 time, and additional time may be arranged for when necessary. 
 
 The Course is divided into three sections, as follows : 
 
 SECTION I. 
 FOUR HARNESS "OVERSHOT" PATTERN WEAVING. 
 
 Lesson I. — Description of the loom; names and uses of various 
 parts ; notes on materials ; the knots ; how to hang the har- 
 nesses; warping; the "tie-up." 
 
 (2 blue-print diagrams.) 
 
 Lesson 2 — How to thread a loom for pattern weaving — known as/l''' 
 "drawing in" the pattern — "sleying," "tieing in" and > 
 weaving. Three pattern-drafts, illustrated, are furnished 
 
with this lesson. The patterns are : "Honeysuckle, " "Monli:'s 
 Belt," and "Diamonds." These three patterns may be woven 
 in a great many ways, a number of which are noted in the in- 
 structions. The student is expected to send in for criticism 
 three pieces of weaving : (1) a pillow-top ; (2) a table-runner 
 or a towel in plain weave with borders, and (3) a "sampler" 
 showing as many variations of the pattern as possible. 
 (3 blue-prints.) 
 
 Lesson 3. — Rug weaving. Materials for rug-work; how rags 
 should be prepared for rug weaving ; possibilities of the plain 
 or "tabby" weave — borders, arrowheads, set in figures, etc. 
 — overshot weaving adapted to rug-work. The "Wreath 
 Rose" pattern is furnished with this lesson. The student 
 should send in for criticism two rugs — one in plain weave 
 with borders and the other in pattern weave. Clear photo- 
 graphs, with a sample of weaving, will be accepted for credit. 
 (2 blue-prints.) 
 
 SECTION II.— DRAFT WRITING 
 
 Lesson 4. — Weaving on cross-section paper — how to develop a 
 pattern from a threading draft ; various ways of writing 
 drafts; how to transpose and correct faulty drafts; how to 
 increase or diminish patterns, and how to arrange borders ; 
 patterns on "opposites" for 4, 6, or 8 harnesses; to write 
 drafts from samples, or from photographs. 
 
 The student is expected to send in for criticism a num- 
 ber of drawings. 
 
 This work requires no previoiis training in drawing. It 
 is the most important part of the study of weaving to those 
 who intend to teach, and to those who aspire to do original 
 work in weaving. 
 
 (9 blue-prints, including a large number of drafts ac- 
 company this lesson.) 
 
 SECTION III.— VARIOUS WEAVES. 
 
 Lesson 5. — Special weaves for many purposes; some old blanket 
 weaves ; the three-harness weave ; weaves for linen ; for cur- 
 tains and hangings ; some Scandinavian weaves ; notes on 
 tufted weaving ; embroidery weaving, etc. 
 
 9 
 
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Various small articles are assigned as problems to be 
 sent in for criticism. 
 
 (4 blue-prints, many patterns.) 
 
 Lesson 6. — Gives a description of the little known "Summer and 
 Winter" weave, on 4, 5, 6, 7 and 8 harnesses. The blue-prints 
 include the famous "Pine Tree Border" and a large number 
 of unusual patterns. The problem assigned for this lesson 
 is the weaving of a coverlet. Directions are given for ar- 
 ranging a coverlet in the loom — whether for weaving in two 
 or in three strips — suggestions as to where to center the pat- 
 tern, arrangement and width of borders, etc. 
 (5 blue-prints.) 
 
 Lesson 7. — Patterns set in the warp as well as woven in the weft ; 
 double weaving ; the twill, and the broken twill or 4-heddle 
 damask weave ; a curious weave described in the old book on 
 weaving by "Bronson. " (This weave is useful in many ways 
 — especially for weaving little detached figures.) 
 
 Several small articles are assigned as exercises for this 
 lesson. 
 
 (5 blue-prints.) 
 
 Lesson 8. — Is a thesis problem, the designing of a bed-room set 
 of Colonial textiles — coverlet, curtains, rugs, scarves, towels, 
 portieres, pillow-tops, either in an original pattern or in an 
 adaptation of an old one. 
 
 The work assigned to be sent in for criticism includes 
 diagrams, drafts and samples of weaving. 
 
 A diploma is issued on satisfactory completion of the 
 course. 
 
 11 
 
Course in Card Weaving 
 
 Egyptian Type Card-Woven Girdles 
 
 Card-weaving, which I offer in a separate course, is an inter- 
 esting little handicraft, quite unlike any other form of weaving. 
 No loom is required. The equipment consists of a handful of 
 square cards with holes in the corners. When properly 'Strung 
 up these cards form an ingenious little loom on which narrow 
 textiles, such as girdles, hat-bands, neck-ties, etc., may be woven 
 in a highly remarkable and delightful manner. The fabric pro- 
 duced has a peculiar structure that makes it very firm, strong 
 and pliable, and of a grateful texture. A wide variety of pattern 
 and color effects are possible with this technique. 
 
 Card-weaving is not a new thing, though so novel. It is, in 
 
 12 
 
fact, one of the oldest of textile processes, having been used in 
 ancient Egypt for the weaving of the highly ornamented girdles 
 and bands found pictured in the wall-paintings of tombs. I 
 stumbled on it quite by chance in a rare and beautiful book — in 
 French — describing ancient textiles of this order. I experimented 
 and found this form of weaving fascinating. 
 
 In fact, to some people it is almost too fascinating ! I once 
 sent an unfinished bit of card-weaving and some directions to a 
 friend of mine. It was some time before I heard from her. She 
 wrote: "I don't know whether to bless or execrate you! Ever 
 since the package came my house has been all tied up with strings, 
 and no one has had much to eat — but I have had a wonderful 
 time!" 
 
 It happened, too, that I once set up a bit of card weaving to 
 entertain a sick child — with very good results. It was really this 
 experience that led me to enlist for hospital service. It seemed 
 to me that what had amused a little sick boy might be interesting 
 to a big sick one. This proved to be true. During my practice of 
 occupational therapy I have used card-weaving more than any 
 other one craft. 
 
 I make a practice of writing a new pattern for each patient, 
 so that I have collected a great amount of material. The fruits 
 of this experience I am offering in my course, which is — to the 
 best of my knowledge — the only thing published in English on 
 the subject of card-weaving. 
 
 The course as I send it out consists of a set of detailed direc- 
 tions, 12 blue-prints showing 75 of the best patterns from my 
 army note-books, together with a set of 100 weaving cards and a, 
 piece of work set up and partly woven. 
 
 Process of Card- Weaving 
 
 13 
 
m 
 
The Shuttle-Craft Drafts 
 for Hand Weaving 
 
 The Shuttle-Craft blue-printed pattern drafts, a list of which 
 follows, have been issued from time to time during the last six 
 years. They are intended for the use of those who know some- 
 thing of weaving. The drafts are uniform in make-up, consisting 
 of a threading draft written in the graphic manner, directions 
 for treadeling, and a diagram of the resulting pattern. It has 
 been my aim to include in this series as many as possible of the 
 historic patterns, and in qrder to give the purest form of each 
 pattern I have studied many examples of old weaving. 
 
 Two groups of drafts are of patterns from an ancient book 
 of designs by a weaver of the Revolutionary period,, preserved 
 in the Pennsj^lvania Museum. Many of these patterns are un- 
 usual and particularly pleasing. 
 
 SERIES A.— COLONIAL COVERLETS— GROUP I. 
 
 "Whig Ease" — with border. 
 
 "Double Chariot Wheels" or "Church Windows." 
 
 "The Cross of Tennessee." 
 
 "Boston" — a four harness pattern woven on "op- 
 
 posites. " 
 "Missouri Trouble," also "Tennessee Trouble." 
 "Mary Simmons." 
 "Double Bow Knot" or "Double Muscadine Hulls,"— 
 
 also simple form of "Blazing Star" — with border. 
 "Pine Bloom." 
 "Dog Tracks" — with border. 
 "Snail Trail." Winding Vine or "Cat Track." 
 
 SERIES A.— GROUP II. 
 
 "Single Chariot Wheels" — elaborate version, 2 drafts. 
 "Governor's Garden" or "Rocky Mountain Cucumber." 
 
 St. Ann's Robe," "Leopard Skin," etc., etc. 
 "Double Snow Flake." 
 "Blazing Star," also a form of "Sunrise." 
 "Forty -nine Snow-Balls," also "Nine Snow-Balls," or 
 
 'Scarlet Balls." 
 "Rose of Sharon," a "Governor's Garden" variation. 
 "Irish Chain" also "World's Wonder." 
 "Work Complete" or "Catalpa Flower," "Young 
 
 Man's Fancy," etc. 
 "Sun, Moon and Stars" — with border. 
 "Wheel of Fortune." 
 
 No. 
 
 1. 
 
 No. 
 
 2. 
 
 No. 
 
 3. 
 
 No. 
 
 4. 
 
 No. 
 
 5. 
 
 No. 
 
 6. 
 
 No. 
 
 7. 
 
 No. 
 
 8. 
 
 No. 
 
 9. 
 
 No. 10. 
 
 No. 
 
 11. ' 
 
 No. 
 
 12. ' 
 
 No. 
 
 13. ' 
 
 No. 
 
 14. ' 
 
 No. 
 
 15. ' 
 
 No. 
 
 16. ' 
 
 No. 
 
 17. ' 
 
 No. 
 
 18. ' 
 
 No. 
 
 19. ' 
 
 No. 
 
 20. ' 
 
 15 
 
SERIES B.— GROUP I. 
 
 Ten patterns from the "John Landes" book of Drawings, in 
 the Philadelphia jMuseum, arranged for 4-harness overshot weav- 
 ing. These are unusual and beautiful. 
 
 SERIES B.— GROUP U. 
 
 Ten patterns from the "John Landes" book, arranged for 
 6-harness overshot weaving on "opposites." 
 
 SERIES C— MISCELLANEOUS. 
 
 GHOUPS I., II. and III. (Not yet issued.) 
 
 GROUP IV. "304-4 Special." A group of simple patterns, intend- 
 ed for use on the "Wonder- Weaver" — 304-4 Loom. 
 
 No. 41. "Honeysuckle" or "Rose-Path," a simplified "Pine 
 Bloom." 
 
 No. 42. "Monk's Belt." 
 
 No. 43. "Oak Leaves," a detail from the "Johan Landes Book." 
 
 No. 44. "Wheat, " a fine weave without tabby. 
 
 No. 45. "German Star." 
 
 No. 46. "Maltese Cross." 
 
 No. 47. A Two-Block "Summer and Winter" Pattern. 
 
 No. 48. "Diamonds," or "Russian Diaper." 
 
 No. 49. "Laurel Blossom." 
 
 No. 50. "Stars and Squares." 
 
 SERIES D.— COLONIAL COVERLETS IN DOUBLE-PACE AND 
 DOUBLE WEAVE. 
 
 GROUP L Ten "Summer and Winter" drafts. 
 No. 1. "Whig Rose" — simple 6-harness ; also 10-harness draft. 
 No. 2. "Whig Rose," Elaborate— 7 harness. 
 No. 3. "Whig Rose," Variation, or "Lisbon Star" — 7-harness. 
 No. 4. "Snow-Ball," Simple^6-harness. 
 No. 5. "Snow-Ball," Elaborate— 7-harness. 
 No. 6. "Pine Tree" Border to be used with any of the fore- 
 going except No. 1. 
 No. 7. "Lover's Knot" — 6-harness. 
 No. 8. A Two-Block Pattern — 4-harness. 
 No. 9. "Blooming Leaf" — 5-harness. 
 No. 10. "Wheel of Fortune "—6-harness. 
 
 SERIES B. GROUP II.— (To be issued soon.) The same patterns 
 as Group 1, drafted for Double Weaving. 
 
 (Nos. 17 and 18, written for Double Weaving after 
 the Scandinavian system, are ready.) 
 
 16 
 
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