extend it to form a fringe, it can be done in the following manner:
After the loom is adjusted for the size required, cut the warp strings
so as to allow two or three inches beyond the head and foot pieces. If
you intend to knot the fringe in some fanciful way after the weaving is
finished, allow four or five inches. Take two threads, knot so as to
leave the required length for fringe below the foot piece, then pass
around one or two teeth, as the case may be, draw tightly to the head
piece and knot firmly on the upper side, leaving a fringe of the same
length there. Knot the strings in pairs in this way until the whole warp
is strung. It will be noticed that the rods are placed beneath the
notches of odd numbers. In knotting warp strings in pairs it will be
found necessary, when the last tooth is reached, to do one of two
things--either allow one string to lie beyond the rod, or, having strung
the warp within one tooth of the rod, to start the next string in the
_same_ notch, bringing the two strings together. This will bring one
string on top of the rod and none beyond. In the first case, the string
beyond the rod must be taken up in weaving with the one on top of the
rod. Experience has proved the second method to be the better one.
[Sidenote: _Double warp for Turkish rugs, etc., with fringe_]
Kiz-Kilim rugs have perforated or open-work patterns. To produce this
effect string a _double_ warp through every notch in the foot and head
pieces; that is, use two strings in each notch, tying in pairs for
fringe as before. Use a brownish white carpet thread. With strong black
thread string through every other notch to outline perpendicular sides
of squares in the pattern. Your warp will be strung three-sixteenths
inch, but the black threads will be three-eighths inch. This will enable
you to keep the patterns straight as the work progresses.
[Illustration: _A Kiz-Kilim rug pattern_]
[Sidenote: _Patterns for Turkish rugs_]
In drawing designs for Turkish rugs, where the pattern is to be placed
under the warp, it is better to make a squared paper first. Lay the head
piece of the loom upon unlined paper. Place a dot at every other notch.
Draw perpendicular lines first, then dot for horizontal lines. The
result will be a foundation to fit your loom. If the squared paper of
the kindergarten be used the squares will be either too large or too
small to correspond with the notches in the loom. It will be found very
easy to transfer a pattern from a rug to the paper. Fasten the pattern
under the warp by overhanding to the rods, taking care to have the black
strings directly over the perpendicular lines in the pattern.
[Sidenote: _Patterns for Navajo blankets_]
Patterns for Navajo blankets are usually triangular. Draw on unlined
paper and fasten under the warp as before.
[Sidenote: _To string a continuous warp for long strips_]
Rugs and similar articles may be made of any length by stringing a
continuous warp. After the length has been decided upon, cut the warp
strings _twice_ as long. Place the middle of one string around the first
tooth of the foot piece (or two or three, according to the width of warp
desired) and bring up the two ends firmly to the first tooth in the head
piece. Knot securely and let the long ends extend beyond the head piece.
If desired they can be wound on spools, or around the tops of the rods,
to prevent tangling. Continue until all the warp is strung. Observe the
instructions given before for stringing warp strings in pairs. It is not
necessary to weave the loom full each time, as the last inch is very
slow work, but when the weaving is near the head piece draw out the
rods, lift it from the notches, pass it down to the foot piece so that
the part which was at the head is now at the foot, untie the knots so
that the work will lie close to the foot piece and knot the warp strings
as before at the head piece. This can be done as many times as desired.
[Sidenote: _Methods of fastening long strips together_]
For afghans, slumber robes, couch covers, etc., crochet with plain
stitch or baste on oil-cloth and weave together with tape needle, making
it as nearly like the original weaving as possible. By studying Turkish
rugs and curtains one can learn how to put strips together with a fancy
stitch somewhat like our feather stitch.
Strips for floor rugs should be basted on oil-cloth and the warp strings
in the two edges caught together at intervals, running the connecting
thread _through_ the loops so as to be invisible. Finish the outside
edges by stitching on a tape of the same color, by machine.
[Sidenote: _Table covers, afghans, slumber robes, or large rugs_]
By making several of these long strips and fastening them together one
can have a table cover, afghan, slumber robe, or a large rug.
[Sidenote: _Floor rugs_]
The floor rug shown in the illustration on page 100 (1-1/4 yards by 3/4
yard) is woven in strips with a continuous warp. The center strip is
one yard long and nine inches wide. It is made of deep cardinal carpet
wool. The strips of black, nine inches wide at the sides and ends,
terminate diagonally, as seen in the illustration. The black diagonal
lines show where the weaving ends. The warp is then tied and cut close
to the weaving. The strips are to be sewn or crocheted together.
[Sidenote: _Fine weaving_]
[Sidenote: _To produce a design with the woof_]
For very fine weaving, where it is necessary for the warp threads to
_touch_ each other in order to produce a design with the woof, string a
_double_ warp in every notch with the same material. Then, with a tape
needle, separate the warp threads, twist one over the other so that all
will lie side by side, and secure them by weaving a few times across the
loom. By using this method, one can have a close warp on the wooden
looms.
[Sidenote: _Warp for doll towels_]
In stringing warp in pairs for doll towels, have two strings on each bar
and one extending one notch beyond at each side. This makes a good
fringe for the edges of the towel.
Chapter Five
MATERIALS
[Sidenote: _Silkoline_]
Plain and figured silkoline should be cut in bias strips one-half inch
wide. Stretch and pull through the hands until both edges are raveled.
When these strips are woven, the rug or mat will be reversible. Figured
silkolines give a pretty mottled effect, especially those in which
Turkish colors predominate. Rugs having plain centers and mottled
borders are beautiful. A full-sized rug requires nearly two yards of
material.
[Sidenote: _Cheese cloth_]
Strips of cheese cloth can be prepared in the same way. Cut them
three-fourths inch wide on account of the tendency to ravel. Serviceable
face and dish cloths can be made of white cheese cloth. Some of the
colored cheese cloths make pretty rugs. When a desirable color cannot be
found, the white cloth can be dyed at home.
[Sidenote: _Dress linings_]
Soft dress linings come in many beautiful colors. Old pieces may be
utilized by cleaning and dyeing. The pieces are cut in bias strips,
one-half inch in width.
[Sidenote: _Silk_]
Pieces of old silk can also be prepared in this way. One can often
obtain new pieces at dressmaking establishments.
[Sidenote: _Candle-wicking_]
Table mats, wash cloths, and similar articles can be made from
candle-wicking. For lamp mats, cushion covers, and other articles the
material may be dyed and woven in two colors, or in two tones of one
color. A number of squares can be joined to make a hammock pillow. By
stringing a close warp with white or colored wicking and weaving over
and under one string with the same material, a coarse canvas can be
made, upon which the children can cross-stitch a pretty border and
center piece, or an all-over pattern by copying the kindergarten
designs, or even initials and monograms. Most of the canvas sold at the
stores, even the old Java canvas of our childhood days, is too fine for
little children to work upon. In canvas made of candle-wicking by the
child himself, the squares are large, and to this there is the added
pleasure of the child being able to say when the work is finished, "I
did it all myself."
[Sidenote: _Rope silk, or ropetine_]
Beautiful silk canvas can be made of rope silk and cross-stitched with
another color or tone, or with chenille, making a velvet figure. This
material is, of course, more expensive. Two colors or two tones may be
woven with chenille and silk in a kindergarten design. Beautiful holiday
and birthday gifts can be made from these materials, such as mats,
cushion covers, and sachet cases. Glove, mouchoir, necktie, fan, and
trinket boxes can be made by weaving the top, bottom, and sides in
panels. Foundation boxes, which may be purchased for a few cents, are
excellent for this purpose, or they can be made very well at home from
three-ply cardboard. Make the hinges of ribbon and line the boxes with
silk of a corresponding or contrasting color.
[Sidenote: _Carpet ravelings_]
Carpet ravelings may be obtained from the carpet stores, or pieces of
carpet can be raveled by the children. Let them have the pleasure and
benefit which come from sorting the ravelings. It is an excellent lesson
in color, besides developing the patience, concentration,
discrimination, and judgment so much to be desired in other work. After
the wool is sorted--not before, because it is not all fast color--dip in
water, wring, and let the children straighten it gently, one piece at a
time. This will make it as smooth and soft as new wool. Procure some
small boxes--shoe boxes are a good size--place one color in a box with a
sample fastened outside at one end, and pile them upon a low shelf or
window sill. Train the children to go to the "play store" to match their
own wool. If they go quietly, one at a time, no one is disturbed and
each child gains in knowledge of color as well as in independence. A
little management of this kind helps the teacher as well as the child.
[Sidenote: _Carpet wools_]
New wools of various kinds and beautiful colors can be bought in large
quantities from dealers in materials for industrial work. In some carpet
departments you will find oriental wools which are used to mend rugs,
and a small quantity can be bought. Some of the kindergarten supply
stores and decoration companies have already advertised a stock of these
materials.
[Sidenote: _Double Germantown wool_]
[Sidenote: _Germantown knitting yarn_]
An ideal material for little folks is double Germantown wool. The soft
wool, used for both warp and woof, is excellent for weaving kindergarten
designs. This should be done with a close warp, which may be extended
each side of the head and foot piece as a fringe. By extending the warp
any length desired beyond the head piece, long strips for slumber robes,
afghans, and such articles can be woven. The warp may be strung with
twine as near the color of the wool as possible, and a plain rug be
made, with colored stripes at each end. A very pretty and easy gift for
a little child to make is a holder for the teapot, as described on page
92. The Germantown knitting yarn, which is more tightly twisted, makes
very pretty rugs and mats. It is sometimes used for Navajo blankets.
[Sidenote: _Darning cotton_]
White dolls'-towels, with red or blue stripes, are made of darning
cotton. Baste a small piece of canvas at one end and cross-stitch Miss
Dolly's initial.
[Sidenote: _Knitting cotton_]
Plain white bedspreads, or white combined with a color in a kindergarten
design, can be made of knitting cotton which is a little coarser than
darning cotton. Knot a fringe on all sides. Lunch cloths and table
covers for Miss Dolly can be made in the same way.
[Sidenote: _Macreme cord_]
Macreme cord is the best material for hammocks. It comes in many
beautiful colors, at a few cents a ball.
[Sidenote: _Leather strips_]
To weave a kindergarten design in two colors of leather strips, have the
leather cut the desired width, and fasten them to a piece of strong
muslin at the top and bottom of the mat or panel. Fit the muslin over
the teeth in head and foot pieces by cutting a small opening.
[Sidenote: _Celluloid strips_]
[Sidenote: _Leather strips_]
Celluloid strips may be treated in the same way. Leather and celluloid
strips can be woven free-hand like the paper strips.
[Sidenote: _Raffia_]
Many beautiful articles can be made of raffia, which is a palm fibre
brought from the island of Madagascar. It can be obtained in the natural
color at most of the department stores, the kindergarten supply houses,
and the florists. The cost is usually 20 cents or 25 cents per pound,
although the florists will sell a few cents' worth. It can be dyed
easily, and with little expense, with Diamond or aniline dyes. It should
first be washed. Care should be taken, in the selection, to obtain long,
smooth pieces which will be at least one-half inch wide when wet, and of
an even color. Some of the raffia is musty and badly spotted. It is well
to wet all of it first, then straighten and allow it to dry. While
weaving, keep the raffia moist by dipping the fingers now and then in a
cup of water. Experience has proved this method to be more satisfactory
than to allow the raffia to remain in water and become thoroughly
soaked, particularly the colored raffia. If one cares to expend money
instead of time and trouble, the raffia can be dyed in very beautiful
colors at the dye houses.
[Sidenote: _Shetland wool_]
Blankets for Miss Dolly can be made of the soft Shetland wool and
Germantown zephyr. For bed blankets, cream color, with stripes of two
or more colors, are very attractive. Carriage blankets made with white
centers and colored borders, or with a tone for the center and a shade
for the border, are a great addition to the carriage, as well as a
source of comfort to the little occupant. Bind the edges with ribbon and
run a narrow one through the beading formed by taking out the extra
rods. This ribbon can be run all around the center part by leaving out a
few woof threads at the top and bottom.
[Sidenote: _Knitting silk_]
By stringing a close warp of knitting silk and extending it the required
length, shawl-straps, suspenders, belts, and garters can be woven. The
rods should be adjusted for the desired width. Finish at each end with
pieces of silk elastic of the same color, and with buckles.
[Sidenote: _Angora wool_]
Angora wool makes pretty Tam O'Shanters. Initials can be woven in any
article.
[Sidenote: _Books of patterns_]
Small books containing cross-stitch designs can be found at the German
and French embroidery stores in large cities--sometimes, but rarely, at
the art counter in department stores. The "Kindergarten Guides" can be
obtained at most public libraries, or a kindergartner friend will be
glad to loan one.
Chapter Six
DIRECTIONS FOR DYEING
[Sidenote: _Diamond dyes_]
A few hints with regard to dyeing raffia, cheese cloth, white cord for
hammocks, and other materials, may be found useful. For raffia use the
Diamond dyes which are intended for wool or silk. Wash the raffia first.
The color will be improved by soaking the raffia a day in alum water,
one-half pound to the gallon. Dye once used can be kept in an air-tight
dish and reheated whenever needed.
[Sidenote: _Vegetable dyes_]
Should one be interested in vegetable dyes much information can be
obtained at the public libraries. Dr. Washington Matthews speaks of
Indian dyes in his article on the Navajo weavers mentioned in this book.
"How to Make and How to Mend" also contains some good suggestions about
dyes.
[Sidenote: _Mrs. Candace Wheeler's pamphlet_]
In her little pamphlet, _Home Industries and Domestic Weavings_,
published by the Associated Artists, 115 East 23d Street, New York City,
Mrs. Candace Wheeler has an interesting chapter on "Rag-Carpet Weaving."
Her suggestions for dyeing rags apply equally to yarns and to other
materials which may be used on hand looms for children. Through her kind
permission I am allowed to quote the following suggestions:
[Sidenote: _Uses of the indigo tub_]
"In the early days of this present century a dye tub was as much a
necessity in every house as a spinning-wheel, and the reestablishment of
it in houses where weaving is practiced is almost a necessity; in fact,
it would be of far greater use at present than in the days when it was
only used to dye the wool needed for family knitting and weaving. All
shades of blue, from sky-blue to blue-black, can be dyed in the indigo
tub; and it has the merit of being a cheap as well as an almost
perfectly fast dye. It could be used for dyeing warps as well as
fillings, and I have before spoken of the difficulty, indeed almost
impossibility, of procuring indigo-dyed carpet yarn.
[Sidenote: _Blue universally used_]
[Sidenote: _Green_]
"Blue is, perhaps, more universally useful than any other color in
rag-rug making, since it is safe for both cotton and wool, and covers a
range from the white rug with blue warp, the blue rug with white warp,
through all varieties of shade to the dark blue, or clouded blue and
green rug, also, upon white warp. It can also be used in connection with
yellow or orange, or with copperas or walnut dye, in different shades
of green; and, in short, unless one has exceptional advantages in buying
rags from woolen mills, I can hardly imagine a profitable industry of
rag-weaving established in any farmhouse without the existence of an
indigo dyeing tub.
[Sidenote: _Red_]
[Sidenote: _Copperas_]
[Sidenote: _Dull green_]
"The next important color is red. Fortunately, red warps can be bought
which are reasonably fast, but the only way to procure red rags in
quantity is to dye them, and, although the dye is somewhat expensive,
there are two colors, turkey red and cardinal red, which are extremely
good for the purpose. Probably these could be bought at wholesale from
dealers in chemicals and dyestuffs at much cheaper rates than by the
small paper from the druggist or the country store. Copperas gives a
fast nankeen-colored dye, and this is very useful in making a dull green
by an after dip in the indigo tub.
[Sidenote: _Domestic dyes_]
[Sidenote: _Nut stains_]
[Sidenote: _Leaf stains_]
[Sidenote: _Iron rust_]
[Sidenote: _Ink stains_]
"There are some valuable domestic dyes which are within the reach of
every country dweller, the cheapest and best of which is walnut or
butternut stain. This is made by steeping the bark of the tree or the
shell of the nut until the water is dark with color, and setting it with
alum. It will give various shades of yellow, brown, dark brown, and
green brown, according to the strength of the decoction or the state of
the bark or nut when used. If the bark of the nut is used when green,
the result will be a yellow brown; and this stain is also valuable in
making a green tint when an after dip of blue is added. Leaves and
tree-bark will give a brown with a very green tint, and these different
shades used in different rags woven together give a very agreeably
clouded effect. Walnut stain will itself set or fasten some others; for
instance, pokeberry stain, which is a lovely crimson, can be made
reasonably fast by setting it with walnut juice. Iron rust is the most
indelible of all stains, besides being a most agreeable yellow, and it
is not hard to obtain, as bits of old iron left standing in water will
soon manufacture it. It would be a good use for old tin saucepans, and
various other house utensils which have come to a state of
mischievousness instead of usefulness. Ink gives various shades of gray
according to its strength, but it would be cheaper to purchase it in the
form of logwood than as ink.
[Sidenote: _Vegetable dyes_]
"There is a strong and well-founded preference among art producers in
favor of vegetable dyes, and yet it is possible to use certain of the
aniline colors, especially in combination, in safe and satisfactory
ways.
[Sidenote: _The variety of shades_]
"Everyone who undertakes domestic weaving must know how to dye one or
two good colors. Black, of course, and the half-black, or gray, which a
good colorist of my acquaintance calls _a light black_. Indigo blue
equally, of course, in three shades of very dark and light. Here are
seven shades from the three dyes, and when we add white we see that the
weaver is already very well equipped with a variety of color. The eight
shades can be still further enlarged by clouding and mixing. The mixing
can be done in two ways, either by carding two tints together before
spinning, or by twisting them together when spun.
[Sidenote: _Carding and twisting_]
"Carding together gives a very much better effect in wool, while
twisting together is preferable in cotton.
[Sidenote: _Blue_]
[Sidenote: _Pink_]
[Sidenote: _Gray_]
[Sidenote: _Clouding_]
"Dark blue and white and medium blue and white wool carded together will
give two blue grays which cannot be obtained by dyeing, and are most
valuable. White and red carded together give a lovely pink, and any
shade of gray can be made by carding different proportions of black and
white or half-black and white. A valuable gray is made by carding black
and white wool together, and by black wool I mean the natural black or
brownish wool of black sheep. Mixing of deeply dyed and white wool
together in carding is, artistically considered, a very valuable
process, as it gives a softness of color which it is impossible to get
in any other way. Clouding, which is almost an indispensable process for
rug centers, can be done by winding certain portions of the skeins or
hanks of yarn very tightly and closely with twine before they are thrown
into the dye pot. The winding must be close enough to prevent the dye
penetrating to the yarn. This means, of course, when the clouding is to
be of white and another color. If it is to be two shades of one color,
as a light and medium blue, the skein is first dyed a light blue, and
after drying, is wound as I have described, and thrown again into the
dye pot, until the unwound portions become the darker blue which we call
medium."
[Sidenote: _Mrs. Albee's manual_]
Through the courtesy of Mrs. Helen R. Albee, who has done much to revive
an interest in rug-weaving, I am allowed to quote the following detailed
suggestions on the subject of dyeing from her helpful manual, _Abnakee
Rugs_. This little manual treats fully of the "Abnakee Rug Industry,"
the "Materials," "Methods of Work," and "Dye Formulas." It was issued
through the Riverside Press in 1901.
Speaking of combinations of color, Mrs. Albee says:
[Sidenote: _Combinations of color_]
[Sidenote: _Safe tones_]
[Sidenote: _Colors in rugs_]
[Sidenote: _Use of white_]
"A careful study of the effects of colors upon each other will show that
colors which are in themselves beautiful are often inharmonious when
combined. Also, a little of a color may be good, when a larger
proportion seems to destroy the balance or harmony. Success in this
matter is largely a matter of close observation and experience, although
some persons have a natural feeling or instinct regarding color which is
seldom in error. Strong colors should never be used, especially greens.
Though they may be modest in the piece, when worked in with other
colors, they have an unfortunate way of becoming intensified tenfold.
The safest tones for an amateur to deal with are dull gray green, yellow
green, and a soft, full, but dark olive. In striking a certain key in
color it should be maintained throughout. Thus, if a full rich color
predominates, rich dark colors should be used through the whole scheme.
If a light tone is the body color, soft light tones of other colors will
be found most harmonious. Thus, for example, a rug for a library, or a
hall, in which a good deal of rich terra cotta appears, should have a
border or design worked in dark blues, full shades of olive green, and
dull yellow. There is an apparent exception to this in the use of dull
reds, old ivory, and black as seen in Bokhara rugs. But if studied, the
cream color is very dull, and is used in such small quantities as to be
quite subdued by the black that is used freely in the pattern. Old rose,
warm golden browns, and olive may be used effectively. A light Gobelin
blue may be worked with ivory, old pink, light dull olive, and the
outlines can be either a dark yellow brown or very dark bronze green. An
ivory center is lovely with an old pink border worked in green. A tan
center may be combined with old rose, sage green, bronze green, light
yellow, cream color, and dark brown outlines. Indigo blue, forest green,
and dull yellow are excellent colors when combined. A great variety of
beautiful rugs may be made by using only blue and white, and unless one
wishes to go extensively into dyeing, it might be well to choose a
certain simple color scheme such as blue and white, red, black, and
ivory, and abide by it. Let it be remembered that white in rugs is not
white, neither is it a delicate cream. Unless it is decidedly yellowish
or even grayish in tone, when in combination with other colors, it
becomes a staring white that is anything but artistic. I dye my cream
colors, just as much as I do dark reds or greens.
[Sidenote: _Planning a color scheme for a rug_]