Mary Lois Kissell

Biographical details

Mary Lois Kissell Aboriginal American Weaving

These belts may be woven with two or four sheds according to the style of weaving desired, while another method of pattern work on two shed weaving has the addition of a round stick run into the warps so as to raise certain threads while the weft passes two or three times underneath producing a variety of damask weaving.
The stretch between these simple methods of primitive peoples and machine methods of modern life is great indeed and we will long continue to wonder that with such crude devices these people could produce results which compare favorably with our modern weavings.
Source: Gutenberg

Mary Lois Kissell Aboriginal American Weaving

In Figure 10 only a portion of a blanket from the Hopi Indians is shown, that the delicate design may be better seen. A number of Hopi patterns have this fine white line of tracery upon the dark background and it is this play of the fine line pattern on the fabric which is one of the chief beauties of Hopi weavings. The sparkle of white is even more brilliant in Figure 11, another smaller weaving from the same people.
Source: Gutenberg

Mary Lois Kissell Aboriginal American Weaving

These designs are first painted upon a pattern board the size and shape of those which are to appear upon the blanket, and it is from this pattern board that the squaw weaves her pattern. But although the woman (Figure 7) does weave the blanket, the man also has his part in the process as he furnishes the loom, the pattern board and the skin of the goat. The squaw prepares all the materials and collects the bark, for the warp is of shredded two-ply cedar bark wrapped with a thread of wool, while the weft is entirely of the soft wool of the mountain goat. [10]
Source: Gutenberg

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