DEVELOPMENT OF AN INSTRUCTIONAL
PACKAGE ON MACRAME
by
Richard Bruce Simonds
A project
submitted in partial fulfillment of the requirements for the degree of
Master of Arts in the Department of
Industrial Arts and Technology
California Stats University, Fresno
April 1975 ACKNOWLEDGMENTS
I would like to extend my sincere thanks to my committee chairman, Dr. Chester Christison, and committee members, Dr. Ray Loyd and Ronald Blanton, for their invaluable assistance and encouragement throughout the design and construction of this project.
A special word of thanks goes to my wife Darcy for her understanding and encouragement.
A final word of thanks to my Aunt Beth Hegarty for her assistance in typing the preliminary copies of this proj ect.
iv TABLE OF CONTENTS
Page ACKNOWLEDGMENTS iv
LIST OF FIGURES vii
INTRODUCTION 1
BACKGROUND OF THE PROBLEM 1
STATEMENT OF THE PROBLEM 2
SIGNIFICANCE OF THE PROBLEM 2
ASSUMPTIONS 3
LIMITATIONS 3
SOURCE OF DATA 3
DEFINITIONS 3
REVIEW OF LITERATURE 5
HISTORICAL BACKGROUND 5
PRACTICAL APPLICATION OF BASIC KNOTS 8
Overhand Knot 8
Lark's Head Knot 9
Half Hitch 9
Half Knot 9
Square Knot 10
Wrapping Cords 10
Josephine Knot 10
Turk's Head Knot 11
Oriental Matting 11
v vi
Page REPORT OF THE PROJECT . . 12
Background Information 12
Macrame Index File . 14
Synchronized Slide Tape Presentation 18
Overhead Transparency Set 23
IMPLEMENTATION OF INSTRUCTIONAL MACRAME PACKAGE . . 25
Macrame Index File 25
35 MM Synchronized Slide-Tape Presentation ... 27
Overhead Transparency Set 27
SUMMARY 28
CONCLUSIONS 28
RECOMMENDATIONS 29
BIBLIOGRAPHY 30 LIST OF FIGURES
Figure Page
1. Complete Instructional Package on Macrame, Which Includes, from Left to Right, Overhead Transparency Set, Macrame Index File, and the Synchronized Slide-Tape Program 13
2. Macrame Index File 15
3. Details of Typical Macrame Index File Drawer 17
4. Specific Components of Macrame Index File Drawers 17
5. Copystand and Camera Setup 19
6. Details of Copystand Construction 20
7. Floodlight Positioning for Taking Slide Sequence 20
8. Typical 35 MM Slide Closeup ...... 22
9. Synchronized Slide-Tape Program 22
10. Layout of Transparency Set 24
11. Typical Transparency Details 26
vii INTRODUCTION
In recent years the industrial crafts field has been experiencing a "twentieth-century renaissance." With this revival, many of the old world crafts have come to life, one of which is the art of creative knot tying known as macrame. As in all crafts, macrame must be presented in a manner that can be easily understood. Due to the complexity of the various knots , verbal communication is not adequate in conveying the concepts for a complete learning experience.
BACKGROUND OF THE PROBLEM
With the increasing enrollment in the public schools, it is necessary for the crafts instructor to develop and utilize more efficient means of instruction.
Programs in industrial crafts have been influenced in many ways and at all levels through the use of visual aids in conjunction with individualized instruction. The project, or learning by doing, method of instruction is used extensively in industrial arts. Unfortunately, the teaching of macrame has been largely neglected because teachers generally do not have an adequate background or proper teaching aids.
1 2
STATEMENT OF THE PROBLEM
The problem was to develop an instructional package dealing with the art of macrame consisting of four parts: (1) To design and construct a Macrame Knot Index
File including a step-by-step progression of the actual knot accompanied by a written procedure for self-
instruction; (2) to develop a complete set of 35 MM slides
from the Macrame Knot Index for group instruction; (3) to
develop a set of overhead transparencies; (4) to show how
the package could be implemented into an industrial crafts
program.
SIGNIFICANCE OF THE PROBLEM
A review of master's theses previously completed
in the field of industrial crafts revealed that, as of
this writing, there exists no thesis or project that deals
specifically with the art of teaching macrame. It was
believed that, through the development and use of this
instructional package, this researcher would accomplish
the following goals: (1) Give to the area of macrame a
more efficient means of instruction, (2) promote both
individualized and group instruction, (3) allow students to
work at their own learning pace, (4) allow new students
to adjust and fit into the crafts program, and (5) inspire
and encourage teachers of industrial crafts to develop
effective ways of teaching the art of macrame. 3
ASSUMPTIONS
The following assumptions were considered:
(1) That individualized instruction is significantly more
successful than the lecture-discussion method and (2) that
the knots used in the project are those generally accepted
as basic knots in beginning macrame.
LIMITATIONS
This project was limited to the construction of
the Instructional Package. It was not the intent of this
project to test the effectiveness of the package. The
content of the package is directed for the junior high
school level of instruction.
SOURCE OF DATA
Reference material for this project was obtained
from books, professional publications, and periodicals
located in the Diablo Valley College Library and the
California State University, Fresno, Library. Material
from the researcher's personal library was also used.
DEFINITIONS1
Alternate Square Knots (also called alternating squareTuiots). Squire knots tied in horizontal rows
1Susan S. Lampton, Macrame, Creative Knot-Tying, Techniques and Projects (Menlo Park, Ca. : Lane Book Company, 1972). 4 alternating so as to form a row of knots below and between the knots of the previous row.
Double Half Hitch (also called clove hitch). Two loops over a stationary cord or support.
Double Half Hitch Bars (also called cording). Several double half hitches tied in horizontal rows.
Half Hitch (also called buttonhole knot, tatting knot, simple knot, blanket stitch). A single loop over a stationary cord or support.
Half-Hitch Chains (also called sennits, see-saw knots). Half hitches or dotible half hitches tied vertically in succession.
Half Knot (also called macrame knot). The first or last part of a square knot.
Half-Knot Chain (also called half-knot sennit, spiral). Several half knots tied in succession vertically.
Josephine Knot (also called carrick bend, Chinese knotj"! A flat oval-shaped knot formed by cords woven over and under each other.
Mounting Knot (also called Lark's head, reverse Lark's head). A-method of securing cords onto a cord or support from which a knotted piece is begun.
Oriental Matting (also called Chinese matting). A form of Josephine knot using two loops and weaving the ends of each through the knot. Overhand Knot (also called thumb knot, shell knot). A simple looped knot using one or more tying cords.
Reverse Double Half Hitch (also called Lark's head, mounting knot on its side). The mounting knot just tied vertically. Square Knot (also called flat knot, reef knot, Solomon's knot). Two or more cords tied over many- cords or none. Square-Knot Chain (also called square-knot sennit, Solomon' s bar, flats)". Several square knots tied in succession vertically. Turk's Head. A further developed knot stemming from Josephine knot but using one end to weave continuously over and under throughout the knot.
Vertical Double Half Hitch. A double half hitch using what is normally the tying cords as holding cords and the one holding cord as a tying cord.
Wrapping. A method of securing many cords into one unit by binding them with one cord.
REVIEW OF LITERATURE
Since this project dealt primarily with the • development of an Instructional Package on macrame, set rules and procedures were not easily applied.
Information gained from a review of literature served two important functions by providing: a factual historical background on macrame that could be implemented into lectures; and a basic knowledge of the knots that would enable each knot to be broken down into a simple step-by- step progression that could be utilized throughout the entire macrame package.
HISTORICAL BACKGROUND
Macrame,- which is pronounced mak-re'-ma, comes from the Arabic word migramah, which means oriental fringe O and braid. Macrame is an international art that has been O found to exist from Europe to Asia. It dates back to the
2Mary Walker Phillips, Step-by-Step Macrame (New York: Western Publishing Company, 1970), p. 6.
^Lampton, p. 5. 6
13th century, when the Arabic culture developed one of the earliest forms of the square knot. The Spaniards in the 4 14th century acquired the art from the Moors.
During the 15th century knots were used by the
Incas of Peru to aid in recording and conveying informa tion. This device was called a quipu, which was made of a series of overhand knots. In the time of classical Greece, knots were employed in medicine to serve as slings for broken bones.
The "Hercules" knot (square knot) was believed to possess magical or religious connotations by both the early
Egyptians and Greeks, who utilized it in their clothing, g jewelry, and pottery. Knotting techniques in most cases were spread to
the different continents of the world by sailors. These
sailors on ancient sailing vessels sometimes carried a
knotted cord which legend claims witches had tied. The
cord mystically bound the winds and therefore controlled
the destiny of their sailing ships.7 On long voyages the
sailors found themselves with much spare time; thus many
took to tying various knots. The rigging on the ships was
changed periodically due to weather damage. This damaged
^Phillips, p. 6. "'Lampton, p. 5.
^Lampton, p. 5. Lampton, p. 5. 7 rigging provided the sailor with plenty of cord for tying g his knots.
Macrame is believed to have been introduced to
England by Queen Mary, who learned the art while living in g Holland in 1600. Evidence of macrame reaching the North
American continent can be seen in the work of the northern
California Indians after contact with the Europeans. Many of their intricate head-dresses are splendid examples of the esthetic use of macrame.^ In the closing years of the Victorian era,
European society used macrame knots to adorn the stylish gowns and cloaks of the gentry. Macrame, like many other ancient crafts, suffered a loss in popularity from time to time and almost became a lost art. As previously stated, macrame was reintroduced toward the end of the Victorian
period, when people enthusiastically adopted it as a new
craft.11 Then again the craft slowly began to die out.
Not until the present has macrame enjoyed a twentieth-
century renaissance," and as in earlier times people are 12 enthusiastically adopting it.
^Clifford W. Ashley, The Ashley Book of Knots (Garden City, N.Y.: Doubleday and Company, 19757J7~p. 2.
9Ashley, p. 399. 10Lampton, p. 5.
11Phillips, p. 6. ^Lampton, p. 5. There are only two basic knots found in macrame, the hitch and the square knot; but the combinations and variations of these two knots are endless and lend them- 13 selves to many designs in both two and three dimensions.
PRACTICAL APPLICATION OF BASIC KNOTS
Although macrame today is viewed by many as primarily an esthetic form of art, it still maintains its utilitarian heritage in many industries. Knotting has served as an important function in
the daily lives of all people since the earliest days of recorded history. There are still primitive races which fasten huts, traps, and canoes together, and make harness
with knotted thongs and wither. But civilized man is no
less dependent on knots than his more primitive brother,
even though knots today are much less apparent in
sophisticated surroundings. Thus it seems appropriate
to discuss the practical application of each knot.
Overhand Knot The overhand knot is used as a stopper knot on the
end of a rope or cord to prevent the end from unraveling.
It- can also be used to join two cords by tying both ends
together.
13Lampton, p. 5. Ashley, p. 1.
15Charles E. Gibson, Handbook of Knots and Splices (New York: Emerson Books, Inc., 1967), pp. 31, 46. 9 Lark's Head Knot
The lark's head knot is also known as a tag knot or ring hitch. It is used to secure a line to any object that has a ring such as a fish hook or a small boat anchor.
Half Hitch
The half hitch is used to prevent a rope from slipping. The hitch holds because of the friction that is set up between the two surfaces of rope that are pressed together. Small boats are secured to turnbuckles on the docks with the half hitch. It is also used by mountaineers to belay each other up the side of mountains. The more pressure that is applied to this knot, the tighter the knot will become; thus it should not be used where a quick release is desired.^
Half Knot The half knot is a binding knot, which is the first part of the square knot. It is tied with two ends around
an object and is used in reefing, which is the taking in or letting out of a part of a sail. It is also used to gather and secure sails with stops; this is called furling.
^Ashley, p. 51 •^Gibson, p. 28. 10 Two common household uses of the half knot are the tying up of parcels and shoestrings. 1 R
Square Knot
The square knot is supposed to have originated in
Arabia. 19 It was used in the middle of the nineteenth
century by the crews of both American and British navies.
But most of the work had more esthetic value than
utilitarian. The square knot was incorporated into many
objects, such as chest covers, tablecloths, shelf covers,
wheel covers, and bell covers. A more utilitarian use of
the square knot is found in the medical profession: it . , . _ 20 is used by surgeons to tie ligatures.
Wrapping Cords Wrapping can be used on the end of a rope or cord
to keep it from unraveling. It is also used to secure a
loop on the end of a rope where the strain upon both ends
is either equal and light or equal and heavy.21
Josephine Knot The Josephine knot, which is also known as a
carrick bend, provides a way of joining two ropes of
unequal size. The advantage of the carrick bend is that
it forms a flat knot that does not slow the progress of
-^Ashley, p. 399. 18Ashley, p. 14. 21Gibson, p. 84. 20Ashley, p. 75. li the ropes around a capstan or winch.22 This knot is utilized by some truckers to secure light loads on their trucks.
Turk's Head Knot
The Turk's head is known as a crown knot and is considered a fancy knot by today's standards. It was 23 originally used to find the strands at a rope's end.
It was used years ago by sailors when the rigging and
anchor cables of the ships were all constructed from hempen
rope. It provided a secure handhold on manropes, handrails,
and life lines for the sailors who worked in all weather
conditions. The Turk's head was also used as hand guards
on many items such as oars and ships' wheels.
Oriental Matting Oriental matting can be tied either on a loom or
by hand if the work is small enough. Years ago mats were
used aboard sailing vessels to protect gear. They were
secured to the decks and gangways to prevent slipping.
They also protected the sides of the ships from being
pounded and scraped against the side of the docks.
22Gibson, p. 25. 23Gibson, p. 53.
2^Ashley, p. 228. 25Ashley, p. 361. REPORT OF THE PROJECT
Background Information
An Instructional Package on macrame that is to be used in the industrial crafts class should perform specific functions to meet the learning needs of the students. Research indicates that students retain 10 percent of what they read, 20 percent of what they hear,
30 percent of what they see, 50 percent of what they see and hear, 70 percent of what they say as they talk, and O C. 90 percent of what they say as they perform. Therefore, it was important to utilize these facts in the design and development of this Instructional Package. First in a series of events leading to the completion of the
Instructional Package was the idea (see Figure 1). Ideas came from a need for a more efficient means of communi cating the basic knots that are used in macrame. Once the ideas had been formulated, numerous sketches were drawn to reflect a consideration of the specific function that each part of the Instructional Package would perform.
In this type of Instructional Package, format played an instrumental role in the final design selection.
Therefore, the format allows for a systematic progression
26Bavid McLelland et al. , "Reflections" (Fresno, Ca.: Fresno Unified School District Instructional Media Center, 1972), p. 1- (Mimeographed.) 13
Fisure 1. Complete Instructional Package on Macrame, Which Includes, from Left to Right, Overhead Transparency Set, Macrame Index File, and the Synchronized Slide-Tape Program 14 that a student can follow to complete the various knots used in macrame.
Equally important to the success of the
Instructional Package was the development of simple, concise instructions that would coincide with the various
illustrations of the knots whether displayed, photo
graphed, or drawn on transparency film. These simplified
instructions were designed with versatility in mind so
that they could be applied to either individualized or
group instruction.
Macrame Index File The Macrame Index File shown in Figure 2 was
designed and developed as a result of a need for a more
efficient means of individualized instruction for macrame.
A practical solution for the Index File was the utilization
of a plastic Stac-a-Drawer file unit that was developed
by Geffco Industries Incorporated of Middlesex, New
Jersey (see Figure 2). There are two main reasons for
the selection of this specific file unit that should be
considered: It provides an inexpensive yet practical
method of displaying the various knots and would allow a
crafts instructor with limited school facilities to
construct a duplicate index. The first step in the construction of each drawer
was to glue % inch square oak standoff blocks to the bottom
of each corner of the drawer; these would later be used for Figure 2. Macrame Index File final assembly purposes. White bulletin board material was then cut and notched to fit snugly in the bottom of each drawer, to serve as a mounting board for each of the knots.
lo isolate each knot from the others, a piece of masonite was cut to fit over the bulletin board material
(see Figures 3 and 4). Holes were then cut into the masonite with a fly cutter bit, which provided enough room to display each knot. It should be noted that the size of the holes varied according to the size of the knot. The masonite divider was then sprayed flat black, providing a good contrast against the white background of the bulletin board material. Red, white, and blue three-ply cotton seine cord was then used to tie each knot progression. The colors were selected to identify the specific cords involved in tying each knot. To prevent any movement or the knot, small pins were used to mount it to the bulletin board material. Directions were typed on self-sticking permanent labels and mounted over a two-color contrasting background as shown in Figures 3 and 4. Rub-off numbers were applied to 5/8 inch diameter self-sticking permanent labels to identify the progression of each knot. A strip of 1/16 inch white charting tape was used to connect each knot to its corresponding numbered direction. 17
Figure 4. Specific Components of Macrame Index File Drawers 18 To complete each Index File file drawer, a piece of 1/8 inch scratch resist acrylic plastic was mounted with screws to the oak stand off blocks, thus providing a clear protective covering over the entire contents of each drawer. The completed drawers were then labeled and indexed according to the complexity of the specific knot contained. Each completed drawer measures 9% inches wide,
11% inches long, and 1% inches deep, as shown in Figure 3.
Synchronized Slide Tape Presentation
The synchronized slide tape presentation was developed to provide a more efficient means of learning the knots through group instruction. The cassette tape synchronizer performed an important function: it allowed a narrative of the instructions for each slide of the knot progressions to be recorded and synchronized automatically with each other. Before the slides were taken a copy stand was constructed from a sketch provided by Dr. Chester
Christison, professor of industrial arts and technology
(see Figures 5 and 6). It was constructed from available scrap plywood and then painted flat black to cut down on any possible glare. The only dimension that was critical was the vertical movement of the camera, which was 2 feet. A 35 MI! Maraiya Sekor single lens reflex camera with a 52 MM closeup lens set was used for all of the closeup shots. The shutter speed was set at 1/125th of a second, while the focal length was set at 18. The working range 19
Figure 5. Copystand and Camera Setup 20
Vl x. 4"
A" X 2." JSo-THetAP' f5c\_T, MOT" A,MP vvMs^t-JS.
TO Figure 6. Details of Copystand construction. Z FLCOt? \ , \ X AOA5?4--^ -y \ '/ \X I */ M- t 7 — I /•/ I^MOT P>ELTAAt~£>:T" \|// /> 7. Flood light positioning for taking slide sequence. Figuro was from 4 inches to 10 inches, which utilized two photo floodlights mounted on either side of the camera at approximately a 45° angle to the center of the copy, as shown in Figure 7 (page 20). The floods were adjusted to provide both an even light source for the copy and a good depth of field. A special 35 MM high speed tungsten color slide film was used to produce all of the slides. As each knot progression was set up on the copy stand, a black mat made of masonite was used to isolate each knot, as shown in Figure 8. To eliminate duplication of work, the knot progressions used in the Macrame Index File were also used to produce the sequential slides. Titles for each knot were then laid out with 3/4 inch white raised letters and shot on a black background to provide a good contrast. The developed slides were then sorted and locked into carousel slide trays. The narration of the instructions to the various knots was then recorded on the cassette synchronizer and synchronized with each of the slides in the carousel projector. Then, as the slides were presented, they would automatically advance at times previously selected. The completed synchronized slide tape presentation as shown in Figure 9 represents many hours of painstaking preparation. Two persons were essential in the taping of the narrative synchronization portion of the slide presentation. One person operated the synchronized tape Figure 9. Synchronized Slide-Tape Program 23 and carousel slide projector while the other person read the narrative manuscript. A technical problem was encountered when the automatic focus on the carousel projector transmitted interference to the audio portion of the tape in the form of static. To eliminate this, a pause in the narration was made while the slide was brought into focus. Overhead Transparency Set The overhead transparency set, shown in Figure 10, was developed to provide still another means of group instruction. It would allow a class to observe each complete knot progression on an overhead movie screen while simultaneously tying the knots. Layout was a critical problem. Each specific knot was broken down into the same sequence that was developed for the Macrame Index File, but the spacing varied according to the size of each knot because the entire sequence had to be drawn on one piece of transparency film. Considerable difficulty was encountered in locating a colored transparency pen set that would provide a clear, distinct line. After various types of permanent ink pens were experimented with, Stablio medium point pens were selected because they not only provided the clarity which was needed but also came in assorted colors which Figure 10. Layout of Transparency Set 25 made it possible to effectively distinguish filler cords from knotting cords. Because construction lines could not be drawn on the transparency film, all knot layouts had to be drawn on vellum drafting paper before the final inking could be completed. To complete the transparencies, the film was taped over each knot layout and carefully inked in. A typical transparency is shown in Figure 11. IMPLEMENTATION OF INSTRUCTIONAL MACRAME PACKAGE f This researcher does not intend to evaluate the effectiveness of the complete macrame package as shown in Figure 1, but rather to describe how each part of the package could be implemented into a crafts program. Macrame Index File The macrame index in Figure 2 is composed of eighteen drawers, each of which contains a specific knot that is broken down into a simple step-by-step progression which is accompanied by a written procedure for instruction. The Macrame Index File is designed specifically for individualized instruction. This would allow students to work at their own learning rates according to varying abilities. It would also provide a method of assimilation for the new student. It would, in addition, eliminate the pressure that is put upon both the instructor, who must Figure 11. Typical Transparency Details 27 provide the student with a worthwhile learning experience, and the student, who is usually forced to try to catch up with the rest of the class. 35 MM Synchronized Slide- Tape Presentation The 35 MM slide-tape synchronization set, as shown in Figure 9, in composed of eighteen knots, each of which includes a step-by-step slide progression of the actual knots accompanied by a synchronized cassette tape with specific instructions. It was designed primarily for group instructions but could also be adapted to an individualized learning program. The cassette tape machine can be adjusted to any specific time span between each slide, thus providing time for the students to complete each knot. An alternative would be to use the slides without the cassette tape machine, thus allowing the instructor to narrate each slide at his own pace. Overhead Transparency Set The overhead transparency set, as shown in Figures 10 and 11, is composed of eighteen overhead transparencies, each of which contains a simple step by step progression of each specific knot. The set is designed for group instruction. This method would allow the instructor time to circulate around the classroom to help those students having difficulties .in tying the 29 alternative methods of instruction, a logical and orderly method of presenting material, and a means of motivating students toward learning new skills. It should be noted that the use of these learning aids should not relieve the instructor of his responsi bility of guiding the learning experience. Neither should they be used as a substitute for an unprepared lesson. Instead, they should be used as a supplement which would serve to enrich and provide new experiences. This project proved to be a rewarding experience. Information gained during its research and construction was utilized in industrial crafts classes taught by the researcher. RE COMMENDATIONS This researcher recommends that graduate industrial arts students, especially those planning to teach, give serious consideration to doing an instructional package as a project. The possibilities in the various industrial arts areas are unlimited. This researcher further recommends an evaluation of the effectiveness of instructional packages as a successful teaching method. BIBLIOGRAPHY Ashley Clifford W. The Ashley Book of Knots. Garden City, N.Y. : Doubleday and Company^ 1944. Gibson, Charles E. Handbook of Knots and Splices. New York: Emerson Books, Inc. , 19671 Graumont, Raool, and Elemer Westrom. Square Knot Handicraft Guide. Cambridge, Md.: Cornell Maritime Press, 1949. Graumont, Raool, and John Hensel. Encyclopedia of Knots and Fancy Rope Work. Cambridge, Md. : Cornell" Maritime Press, 1952. Groves, Sylvia. The History of Needlework Tools and Accessories . London: Country Life" Ltd" 19W&~. Harvey, Virginia I. Macrame, The Art of Creative Knotting. New York: Nostrand Reinhold Company, 1967. Lampton, Susan S. Macrame, Creative Knot-Tying, Techniques and Projects. Menlo Park, Ca.: Lane Book Company, 1972. McClelland, David, et al. "Reflections." Fresno, Ca.: Fresno Unified School District Instructional Media Center, 1972. (Mimeographed.) Phillips, Mary W. Step-by-Step Macrame. New York: Western Publishing Company, 19701 30