The book Fingerwoven Sashes Basic Techniques provides detailed instructions for three forms of fingerweaving that were developed by the people of the First Nations and the settlers of North America. Warpface, openface, and interlanked are the three forms of fingerweaving included in this book¬¬. These instructions present the information needed to identify and reproduce these three styles of historic sashes.The warpface style of fingerweaving has only the warp strands visible on the surface of the sash. The weft strands are hidden. Warpface fingerweaving was the last style of fingerweaving developed and frequently the first style of fingerweasving taught to beginning weavers. As a result, many people assume that the term fingerweaving referes only to the warpface style.The openface style of fingerweaving has no clear warp and weft strands. The basic structure of the sash is composed of two sets of strands that are diagonally woven in an over/under fashion. In this style of fingerweaving, small white beads are woven into the fabric to create numerous geometric patterns. Other names for this style of fingerweaving are: oblique, diagonally interlaced, basket weave, and plainface. Sometimes this style of weaving is referred to as braiding or plaiting.The interlinked style of fingerweaving has only warp strands. Each strand forms a coil that is linked to the coils of the adjacent strands. The linked structure allows the sash to be stretched from side to side giving it a net like appearance. Sometimes the interlinked style of fingerweaving is referred to as sprang weaving. Howeve, sprang weaving is a method of weaving that can be used to produce several styles of weaving, not just interlinked weaving. The interlinked style of weaving is associated with late 18th and early 19th century military sashes.The three styles of fingerweaving included in Fingerwoven Sashes Basic Techniques may be the most common styles of fingerweaving. Due to the lack of documentation the origins of these styles of fingerweaving are unclear. It is possible that as more people learn how to fingerweave, their knowledge will enable them to recognize clues about the origins of fingerweaving that are hidden in letters, journals, trade list, museum catalogues, and other historic documents.

Learn the basic techniques for fingerweaving, the art of making textiles without a loom. Learn how to reproduce Native American styles and designs or create original pieces of your own. Each technique is simply described, step-by-step, with a color illustration for each move.

Rope Works is a book of knots, hitches, splices, lashings and rope making. Rope Works presents a series of intructions illustrated in a knotboard format. The instructions are especially helpful for individuals or groups intrested in learning to tie knots with confidence. In addition, Rope Works contains plans for several different hand operated rope machines.

This delightful book, amply illustrated with color and black-and-white photographs, captures the significant role such traditional arts as basketmaking, needlework, and decoy carving continue to play in the daily life of many Wisconsinites. Several chapters by folklorists provide a context for understanding the ways folk artists use their work to connect the past and present, express ethnic identity, celebrate community, and live creatively off the land. This book is a companion to an exhibit that appeared at the Cedarburg Cultural Center (Dec. '97-Feb. '98), the Neville Public Museum in Green Bay (March-May '98), the State Historical Museum in Madison (June-Oct. '98), and the Chippewa Valley Museum in Eau Claire (Nov.-Feb. '99). Distributed for the Cedarburg Cultural Center.

Directions for using finger weaving, or flat braiding, to make belts, hair ties, collars, neck-ties, and other items with designs created by North American Indians and ancient Peruvians.

The craft of fingerweaving is becoming a lost art. This great how-to book contains comprehensive instructions and wonderful color photos that show all there is to know about fingerweaving. Traditional Indian patterns, weaving techniques and materials, beginner to advanced weaving projects, historical photos, and more.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.