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American Indian Beadwork
A handicraft guide to American Indian beadwork for those seeking the fundamentals of construction and ideas of design—fully illustrated throughout.
American Indian Beadwork
-Directions for beading stitches
-Directions for making and stringing a loom
-Fifty-four black-and-white photographs of actual Indian beadwork
-Thirteen full-color pages of 132 authentic Indian patterns for your own beadwork
American Indian Beadwork
-Directions for beading stitches
-Directions for making and stringing a loom
-Fifty-four black-and-white photographs of actual Indian beadwork
-Thirteen full-color pages of 132 authentic Indian patterns for your own beadwork
64 pages, Paperback
First published March 1, 1971
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About the author
W. Ben Hunt
43 books6 followersWalter Bernard “Ben” Hunt (March 13, 1888 – March 30, 1970) was an American artist, outdoor educator and author whose books and articles covered topics such as Native American arts and performance, woodworking, whittling, scoutcraft, pioneering, jewelry making, metalworking, and calligraphy.
Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee’s South Division High School, but did not graduate, dropping out to become “a lithographic engraver” (now graphics designer) at the Bruce Publishing Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin behind his home. The cabin, a 16x28-foot structure made of tamarack logs, was the subject of Hunt’s first article, “How We Built Our Log Cabin.” During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000 articles, an average of three to four per issue. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.
Hunt was born in Greenfield, Wisconsin and grew up in a log cabin. He attended Milwaukee’s South Division High School, but did not graduate, dropping out to become “a lithographic engraver” (now graphics designer) at the Bruce Publishing Company. Hunt moved to Hales Corners, Wisconsin with his wife, Laura, in 1920. In 1924, Hunt, along with his father-in-law and brother, Edwin C. Hunt, built a log cabin behind his home. The cabin, a 16x28-foot structure made of tamarack logs, was the subject of Hunt’s first article, “How We Built Our Log Cabin.” During the late 1930s, Hunt began to study the work of Native American artists. As part of his research, Hunt met with artists and leaders such as Nick Black Elk, Frank Smart (or Chief Gogeoweosh), and James F. "Buck" Burshears. Hunt shared his knowledge of "Indian lore" with Milwaukee's boy scout leaders and, in 1942, Hunt started writing articles for Boy's Life. He became a regular member of its staff, ultimately writing over 1,000 articles, an average of three to four per issue. Hunt's work for Boy's Life, led him to serve on the staff of the National Boy Scout Jamboree in 1950, 1953, 1957, and 1960.
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Displaying 1 of 1 review
October 3, 2015
This book was written in 1951, with the aim of presenting in a simple, straight-forward fashion, information about American Indian beadwork. The intended audience was probably Boy Scouts, and part I includes information on making simple looms, and producing beaded belts and so forth. Some of the how-to illustrations include a young man in a Boy Scout uniform, his pack number visible on his sleeve. It brought back very distant memories of my family - I think my brother actually made a beaded belt when he was a Scout many years ago.
Part II gives examples of different patterns and styles; toward the end of this section there is some identification of what some motifs are actually supposed to represented, such as the Sioux Star; an obvious motif is the tepee, there is also the 4 winds motif.
This book is useful from the standpoint of giving basic technical information on how the beaded designs are produced, how quills were integrated into designs, and so forth. It's written from the standpoint of the mid-20th century - reading it today, a reader has to place it in perspective of that era.
Part II gives examples of different patterns and styles; toward the end of this section there is some identification of what some motifs are actually supposed to represented, such as the Sioux Star; an obvious motif is the tepee, there is also the 4 winds motif.
This book is useful from the standpoint of giving basic technical information on how the beaded designs are produced, how quills were integrated into designs, and so forth. It's written from the standpoint of the mid-20th century - reading it today, a reader has to place it in perspective of that era.
Displaying 1 of 1 review