Definitely bear claws though lots of toes! I know nothing about basket illusion but would have thought you’d do all the lines first and then color in the little “boxes.” Surprises me that you ink first. And all off the lathe?
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Black Locust Basket Illusion Series
- Thread starter trc65
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- #62
Yes, all off the lathe. This one I did pop back on the lathe, but just to draw a single radial pencil line as an index line.
With this style of Basket Illusion, where all the "stitches" or "cells" are the same size, burning the lines has to be freehand. The density of stitches is the same for the smallest ring all the way out to the rim. All are around 36-38 lines per inch on this form.
A woven basket uses the same width material throughout, and to imitate that, the density of burn lines needs to stay the same.
In contrast, the type of BI that uses burned radial lines, the cell size changes with the diameter, but the number of cells remains constant for each bead/ring.
The only way to accurately lay out detailed designs is to measure, burn and color the elements off index lines and then come back and fill in the burn lines.
I have been using such a high line/burn/stitch count as that is the only way to get finely detailed designs. It also allows the fine points on the "claws". Imagine what the design I used would look like if the density was only 16 lines per inch vs the 36-38/ inch I used.
Actually, you don't have to imagine it, tonight, I'll draw a design to simulate the look using 8, 16 and 32 lines per inch and show the difference.
With this style of Basket Illusion, where all the "stitches" or "cells" are the same size, burning the lines has to be freehand. The density of stitches is the same for the smallest ring all the way out to the rim. All are around 36-38 lines per inch on this form.
A woven basket uses the same width material throughout, and to imitate that, the density of burn lines needs to stay the same.
In contrast, the type of BI that uses burned radial lines, the cell size changes with the diameter, but the number of cells remains constant for each bead/ring.
The only way to accurately lay out detailed designs is to measure, burn and color the elements off index lines and then come back and fill in the burn lines.
I have been using such a high line/burn/stitch count as that is the only way to get finely detailed designs. It also allows the fine points on the "claws". Imagine what the design I used would look like if the density was only 16 lines per inch vs the 36-38/ inch I used.
Actually, you don't have to imagine it, tonight, I'll draw a design to simulate the look using 8, 16 and 32 lines per inch and show the difference.
Yes, I think much of your realism is due to the high density of cells. I thought an index wheel was used. Didn’t know it was all freehand. Even more impressive!
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- #64
A couple illustrations to show how density of lines/stitches per inch can affect the type of design that is possible. In modern terms think of pixels per inch. The more pixels, the better the picture. There isn't anything you can do to change the bead size other than get a smaller bedding and burning tool. I use 1/8", but am considering going down to a 3/32" bead to get more resolution.
The one thing you can do is increase the density of lines per inch. When I first started I was using somewhere around 12-16 lines per inch. That is fine and some spectacular baskets can be made that way. However, curves are difficult and fine details are not possible.
Here is a picture of a woven basket that has a lower density
It is a nice old basket, but if you zoom in, you can see the relatively "coarse" stitch count, probably around 12-16 per inch.
In contrast, Dat So La Lee used a stitch count that approached 36 per inch. That density allowed her to create very intricate designs.
To be able to use some of her designs, I've gradually used a higher and higher density.
Here is a picture showing how stitch count can affect design. On the left is the actual size of the "triangle" element in using. About 32 stitches per inch. Also shown is how the same element might appear if only 16 or 8 stitches per inch were used. The graph paper has 1/8" squares.
Recently I've started using this graph paper to sketch out designs. It is mostly used to get a decent height to width ratio and determine vertical spacing. It doesn't take into account the curvature of the wood, but for these designs that isn't important. The top of the page is the last one I finished, the bottom left is the current design.
The one thing you can do is increase the density of lines per inch. When I first started I was using somewhere around 12-16 lines per inch. That is fine and some spectacular baskets can be made that way. However, curves are difficult and fine details are not possible.
Here is a picture of a woven basket that has a lower density
It is a nice old basket, but if you zoom in, you can see the relatively "coarse" stitch count, probably around 12-16 per inch.
In contrast, Dat So La Lee used a stitch count that approached 36 per inch. That density allowed her to create very intricate designs.
To be able to use some of her designs, I've gradually used a higher and higher density.
Here is a picture showing how stitch count can affect design. On the left is the actual size of the "triangle" element in using. About 32 stitches per inch. Also shown is how the same element might appear if only 16 or 8 stitches per inch were used. The graph paper has 1/8" squares.
Recently I've started using this graph paper to sketch out designs. It is mostly used to get a decent height to width ratio and determine vertical spacing. It doesn't take into account the curvature of the wood, but for these designs that isn't important. The top of the page is the last one I finished, the bottom left is the current design.
Graph paper rules! Density of weave (finess of reed diameter) is what makes the best grade Panama hats so expensive too.
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- #66
Just a brief update, about half done with burning stitches.
This one shows how much it darkens and changes the look.
This one shows how much it darkens and changes the look.
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- #67
A little bit of a teaser for the next one. Not quite a spiral, but a nice curved line. Took a little bit to figure out the curve. First I was going to use a nice "S" curve drawn on the lathe, but figured out that wouldn't work for these tall offset elements. Finally just used 5 index marks on the bottom and used dividers to offset each to the left and up from the previous one. Have four of the five design curves done.
Any guesses what these symbols represent? I have no idea.
Any guesses what these symbols represent? I have no idea.
Great form Tim plus the design.
As to the design, instructions for the “walk like an Egyptian” dance? I know, dumb…..
As to the design, instructions for the “walk like an Egyptian” dance? I know, dumb…..
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- #69
I like that! Now I'll never get that song out of my head.
You’re welcome!
Strange concidence ... just after I first looked at your pic this morning, I heard somebody tapping on the door. Looked to see who it was, and there was a turkey on the deck, red wattle throat and it's tail fanned out.
I'm not saying that's what the symbols represent - but it would not surprise me if they do
I'm not saying that's what the symbols represent - but it would not surprise me if they do
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- #72
The world works in mysterious ways!Strange concidence ... just after I first looked at your pic this morning, I heard somebody tapping on the door. Looked to see who it was, and there was a turkey on the deck, red wattle throat and it's tail fanned out.
I'm not saying that's what the symbols represent - but it would not surprise me if they do
The world works in mysterious ways!
That was my uneducated guess. We could probably research it, but where's the fun in that?Strange concidence ... just after I first looked at your pic this morning, I heard somebody tapping on the door. Looked to see who it was, and there was a turkey on the deck, red wattle throat and it's tail fanned out.
I'm not saying that's what the symbols represent - but it would not surprise me if they do
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- #75
Exactly!
On a side note, Dat So La Lee never named or referred to her baskets by names, rather they were just numbered. With every one of her baskets originally sold, an authentication certificate was included that defined her stitch count (per inch), size, materials and a drawn graphic of the different shapes used. She was illiterate, so "signed" these certificates with a palm print. Having said all that, she created her own designs, but relied heavily on her heritage and symbols meaningful to her culture.
Probably could find mention of this symbol with enough research but it's much more fun to discuss baseless speculation!
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- #76
Preview of the sixth and final one in this little series. I'll be doing more little forms this size, and probably more Dat So La Lee design adaptations, but this is the last of the ones I have turned.
Saving the best for last. Can’t wait to see the final product!
Nice!
Brilliant!