scheme for a rug. This is a point I cannot determine for another. Some
may find help in making water color sketches of what they wish to do. In
my own work I never use them, as it requires making a reduced drawing of
great accuracy, and much time to color it. Often I plan a combination
mentally, and match it up from the dyed flannels I always have on hand.
Other times I vary the scheme of some rug I have already made,
experimenting with different combinations, using other rugs as if they
were books of reference. I have discovered one rather curious thing,
which is, that when all my experimenting is done I find some particular
color scheme fits a certain rug as no other does. It seems to clothe or
to fulfill the pattern as if it belonged personally to it. When I once
discover this elective affinity of a pattern for its special coloring, I
never make it again save in that one guise.
[Sidenote: _Shading_]
[Sidenote: _Directions for shading_]
"Much skill can be shown by an artistic worker in the use of slight
shades of difference in the same color. For example, in the plain center
of a rug, several tones representing shades of the same color will give
the effect of a play of light on a silky surface, which is very
beautiful. By using material that has been dyed a trifle darker at one
end of the rug, and working in gradually lighter tones, the result is
surprisingly effective. To do this, each three or four yards should be
dyed with these slight differences of tone; then when within thirty
strips of the end of one color (more or less, according to the width of
the rug), work in a broken line of the next tone all across the rug.
Then use a few rows (not worked in single rows, however) of the first
color across the entire rug, then a wider broken line of the second
color. Broken lines blend better than continuous lines do. The portions
of the second line should fall above the broken spaces left in the first
line (in the same way that masons lay bricks), then a little more of the
first color, using less and less of it, and increasing the width of the
second in masses, until the first color has become only broken lines
upon the ground of the second color. All the way through, any changes
of color should be merged in this way. Be sure to work this method from
side to side across the rug, as the frameful is filled.
[Sidenote: _Coloring_]
"This is the most difficult feature of the whole handicraft, the actual
coloring, and yet for fine effects I should recommend only the use of
hand-dyed materials. Goods dyed by professional dyers are perfectly
uniform in color throughout, and rugs made of such material will have
nothing of that difference of tone, that play of color, that is
absolutely necessary for beauty.
[Sidenote: _Dye kettles_]
"In dyeing use only brass, copper, granite, or porcelain kettles, unless
one goes into it on a large scale and uses regular machinery. Brass and
copper vessels are to be preferred, while iron, or tin showing iron, are
to be carefully avoided, as the mordants have a great affinity for iron
and ruin the color. I use a large brass kettle holding about five
gallons.
[Sidenote: _Mordants_]
"For mordants I use Glauber salts and sulphuric acid, and with the
weight of cloth I use, it takes 3 oz. of Glauber salts and 3/4 oz. of
sulphuric acid (full strength) to each six yards of flannel. I use a
one-ounce Phenix graduate (American standard) measuring glass, and as
full strength sulphuric acid has about twice the specific gravity of
water, one should measure by the scale engraved on the right-hand side
of the glass. The left-hand scale is based upon the standard unit of
weight, which is water.
[Sidenote: _Uses of acids_]
"In using sulphuric acid I dilute it in a little cold water in a cup by
pouring the acid on to the water, as sulphuric acid in uniting with
water causes a chemical reaction. Where a large quantity of acid is used
this reaction is accompanied by a sudden burst of steam, if the water
falls upon the acid. But in a small quantity as this, there is no
possible danger of accident if the acid is poured on the water.
Sulphuric acid should be closely stoppered and used with care, as it is
corrosive, eating holes in cotton or linen fabrics. With ordinary
precautions it can be used without the least difficulty.
[Sidenote: _Salts set the dyes_]
"Glauber salts are too well known in commerce to need description, and
are used to neutralize the acid. The two in combination do not injure
woolen fabrics, but merely set the dyes.
[Sidenote: _Preparation of a dye bath_]
"In preparing the dye bath allow three gallons of water, and 3/4 oz. of
sulphuric acid; stir thoroughly and add 3 oz. Glauber salts to six yards
of cloth. Then add the dyestuff in required proportions. Stir thoroughly
as each ingredient is added, for the evenness of the dye depends upon
the thorough distribution of the mordants and color in the dye bath.
Generally it is advised to strain the dye before it is added, but, as an
even tone is not the desired result for this special handicraft, I never
follow this suggestion.
[Sidenote: _Coloring depends on temperature_]
"The proper temperature for introducing the color in the bath is not
over 150 deg. F., but if one has not a bath thermometer, the temperature
must be very hot, yet far below boiling point. Temperature plays a great
part in dyeing, for if the dye bath is too hot when the cloth is
introduced, the dye, having a great avidity for wool, will be absorbed
unequally by the cloth, the ends and outside folds of the cloth
absorbing more color than is desired, and the inner folds will have
less. I am not discussing the process of dyeing as it should be done on
a large scale with vats and suitable reels, etc., but as it is likely to
be done by an amateur, in a small way. When the bath is too hot, the
cloth takes the dye unequally and is quite spotted. A little
irregularity is necessary for a play of color, but it should be secured
in a definite way and only to a certain degree, and not as the result of
accident. If the cloth has come out spotty, it may be redipped, having
added more dye and mordants to the bath, but it will come out a darker
shade. If the bath is anywhere near the boiling point before the cloth
is dipped, reduce it by adding a quart or two of cold water."
[Sidenote: _Process of dyeing yarn or raffia_]
[Sidenote: _Clear days are best for dyeing_]
Before dyeing yarn or raffia, bind the skeins loosely in several places
to prevent tangling. "Having prepared the bath, gather the cloth in the
right hand at half a dozen places along one selvedge, and drop it in,
spreading it at once, using two stout sticks, lifting it up and down
continually so as to expose all parts to the dye. The temperature should
be increased to the boiling point and continued for three-quarters of an
hour. Then lift the cloth up and drain it, then rinse in cold water,
wring dry, but do not press with an iron, as the soft wooly texture is
very desirable. When a quantity of the same color is desired, the same
water can be used again by adding acid and Glauber salts, together with
more dyestuff with each fresh dip of cloth. It must be stated, however,
that the color will not be so clear with succeeding dips, but that does
not matter, as a difference is desired. The process of dyeing is very
delicate, and the utmost precision must be observed in following
proportions and directions regarding temperature, etc. Dyeing is more
successful in clear weather than on rainy days, and soft water is
required to get good results. If water contains much lime or earthy
salts it is unfit for dyeing, and must be neutralized by acetic acid. In
such cases it would be still better to use rain water.
[Sidenote: _Vegetable dyes and chemical dyes compared_]
"There is a curious conviction prevailing in some quarters that
beautiful durable colors are obtainable only from vegetable dyes. My
first experiments were with barks, mosses, etc., but the difficulty of
getting them, the enormous amount necessary to dye any quantity of
goods, the tedious process in their use, and the fact that after all
only a narrow range of colors is obtainable from them, compelled me to
abandon them altogether. I began to investigate chemical dyes, and to
gain information I applied to one of the largest woolen mills in New
England, one which maintains a high reputation for the class of goods it
manufactures; also to two wholesale houses dealing in all kinds of
dyestuffs; and finally to one of the best experts in color in the
country. Their verdict was unanimous, and is summed up in the opinion of
the expert which he expressed in a letter to me on this question:
"'In regard to the use of vegetable dyes, I would say that they have
almost disappeared from commerce, certainly for the purpose of dyeing
fabrics.
[Sidenote: _Aniline colors_]
"'We know, of course, that there are strong prejudices still existing in
the layman's mind in regard to the use of aniline colors, who supposes
that they are not only fugitive, but that the resulting tones are harsh
and unattractive. This, unfortunately, was so twenty-five years ago, and
the impression made then upon the layman's mind has not been changed
during all these years; but I can assure you that all the beautiful silk
goods, tapestries, cloths, and all the colors which we see in fabrics
to-day, are made, without exception, from aniline colors, which are
immeasurably more permanent than are the vegetable dyes used up to, say,
1875.'
[Sidenote: _Formulas to be followed_]
"In using my range of eight colors I provide myself with large, strong
glass bottles in which I keep my diluted colors. I use a pint measure
for diluting the dyes. In preparing the fluid I put one half or one
quarter of an ounce of dry color, whichever amount the formula calls
for, into the pint measure and mix it thoroughly with a little cold
water. The reason for using cold water is that the dyes are a tar
product, and if mixed with hot water first, they are apt to grow waxy
under the heat and not dissolve readily. Having dissolved them, I fill
up the measure with hot water, stirring all the time. This makes a pint
of liquid which is of uniform strength under all circumstances, and
every formula is based upon this invariable pint measure of water. These
formulas I have tried over and over again. They are made with special
reference to the grade of flannel I have adopted, and doubtless will
vary in results if used on other weights or weaves of wool goods."
DYE FORMULAS
NO. 1. DARK TERRA COTTA
[Sidenote: _Dark terra cotta_]
Dissolve 1/2 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Take full pint measure of dull red dye and 4 tablespoonfuls of green dye
to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts. Boil 3/4 of an
hour.
NO. 2. FULL TERRA COTTA
[Sidenote: _Full terra cotta_]
Dissolve 1/2 oz. of dull red in 1 pint of water.
Use full pint measure of dull red dye to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.
NO. 3. LIGHTER TERRA COTTA
[Sidenote: _Lighter terra cotta_]
Dissolve 1/2 oz. of dull red in 1 pint of water.
Use 22 tablespoonfuls of dull red dye to 6 yds. of cloth.
Mordants: 3/4 oz. sulphuric acid and 3 oz. Glauber salts.
NO. 4. RICH OLD RED
[Sidenote: _Rich old red_]
Dissolve 1/2 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 24 tablespoonfuls of dull red dye and 3 tablespoonfuls of green dye
to 6 yds. of cloth.
Mordants: Same as No. 1.
NO. 5. DULL OLD ROSE
[Sidenote: _Dull old rose_]
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of bright blue in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Use 16 tablespoonfuls of dull red dye, and 1 tablespoonful of bright
blue dye, and 3 tablespoonfuls of dull yellow dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 6. OLD PINK
[Sidenote: _Old pink_]
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Use 6 tablespoonfuls of dull red dye, and 3 tablespoonfuls of dull
yellow dye, and 1-1/2 teaspoonfuls of dark blue dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 7. FULL YELLOW
[Sidenote: _Full yellow_]
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 6 tablespoonfuls of bright yellow dye, and 5 tablespoonfuls of dull
yellow dye, and 2 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 8. RICH DULL YELLOW
[Sidenote: _Rich dull yellow_]
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 12 tablespoonfuls of yellow dye and 6 tablespoonfuls of dull red dye
to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 9. DARK TAN YELLOW
[Sidenote: _Dark tan yellow_]
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Use 14 tablespoonfuls of dull yellow dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 10. LIGHT OLIVE TAN
[Sidenote: _Light olive tan_]
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Use 6 tablespoonfuls of bright yellow dye, 4 tablespoonfuls of dull
yellow dye, 1-1/2 tablespoonfuls of dark blue dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 11. OLD IVORY
[Sidenote: _Old ivory_]
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of drab in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 1 teaspoonful of yellow dye, and 1 teaspoonful of drab dye, and 1/4
teaspoonful of dull red dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 12 RICH NAVY BLUE
[Sidenote: _Rich navy blue_]
Dissolve 1 oz. of dark blue in 1 pint of water.
Use full pint measure of dark blue dye to 6 yds. of goods.
Mordants: 1 oz. sulphuric acid, 3 oz. Glauber salts. Boil 1 hour.
NO. 13. DARK PERSIAN BLUE
[Sidenote: _Dark Persian blue_]
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 10 tablespoonfuls of dark blue dye, 6 tablespoonfuls of green dye to
6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 14. GOBELIN BLUE
[Sidenote: _Gobelin blue_]
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 6 tablespoonfuls of dark blue dye, 4 tablespoonfuls of green dye to
6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 15. LIGHT GRAY BLUE
[Sidenote: _Light gray blue_]
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 3 tablespoonfuls of dark blue dye, 2 tablespoonfuls of green dye to
6 yds. of cloth.
Mordants: Same as in No. 12.
NO. 16. LIGHT SAGE GREEN
[Sidenote: _Light sage green_]
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 10 tablespoonfuls of green dye, 2 tablespoonfuls of bright yellow
dye, and 1-1/2 tablespoonfuls of dull red dye to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 17. LIGHT OLIVE
[Sidenote: _Light olive_]
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Use 16 tablespoonfuls of green dye, 4 tablespoonfuls of bright yellow
dye, and 3 tablespoonfuls of dull red to 6 yds. of cloth.
Mordants: Same as in No. 1.
NO. 18. DARK MOSS GREEN
[Sidenote: _Dark moss green_]
Dissolve 2 level teaspoonfuls of green in 1 pint measure of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Use full pint measure of green dye and 15 tablespoonfuls of bright
yellow dye to 6 yds. of cloth.
Mordants: 3 oz. of Glauber salts and 1 oz. of sulphuric acid. Boil 3/4
of an hour.
NO. 19. GOLDEN BROWN
[Sidenote: _Golden brown_]
Dissolve 1/4 oz. of dull yellow in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1/4 oz. of green in 1 pint of water.
Use 20 tablespoonfuls of dull yellow dye, 5 tablespoonfuls of dull red
dye, 15 tablespoonfuls of green dye to 6 yds. of cloth.
Mordants: Same as in No. 18.
NO. 20. DARK BRONZE
[Sidenote: _Dark bronze_]
Dissolve 1/4 oz. of green in 1 pint of water.
Dissolve 1/4 oz. of dull red in 1 pint of water.
Dissolve 1 oz. of dark blue in 1 pint of water.
Dissolve 1/4 oz. of bright yellow in 1 pint of water.
Use 8 tablespoonfuls of green dye, 12 tablespoonfuls of dull red dye, 4
tablespoonfuls of dark blue dye to 6 yds. of cloth.
Mordants: Same as in No. 18.
Redip in 4 tablespoonfuls of green dye and 5 tablespoonfuls of bright
yellow dye.
Mordants: Repeat the one above.
[Sidenote: _These formulas are the basis for numerous tones_]
"These formulas can be taken as the basis of many other tones and shades
which can be secured by a slight alteration of proportions. By adding a
trifle more dull red, green, indigo, or drab liquid dyes, a color can be
darkened. By using less of these than the formulas call for, the colors
will be lighter. By using more of dull or bright yellow a color can
often be made richer without darkening it. Beginners are cautioned
against making changes until they become familiar with the dyes. In
making new experiments, try them on yard lengths, carefully subdividing
any given formula for both dyes and mordants, and increasing the
proportion of any particular color desired. If the cloth should fail to
take up the dye properly after boiling the full time, increase the
quantity of acid, lifting the cloth out when adding the acid to the dye
bath."
Excellent suggestions by Miss Albee for color schemes in stripes may be
found on pages 64 and 65.
[Mrs. Albee is prepared to furnish any of the foregoing dyes at 20 cents
an ounce. Her address is Mrs. Helen R. Albee, Pequaket, Silver Lake P.
O., N. H.]
[Illustration: _A deep blue wool rug made of carpet yarn_]
Chapter Seven
METHODS OF SPLICING MATERIALS FOR WEAVING
[Sidenote: _Woolens, fine worsteds, ravelings, and cottons_]
Such materials as carpet and oriental wools, fine worsteds, carpet
ravelings, darning and knitting cotton should, in splicing, be run past
each other. In weaving, run the wool through the warp to the very end.
Start the new piece a few warp threads back, being careful to go over
and under exactly the _same_ warp threads as you did when finishing the
end. As you pass these threads you will find that you are taking up the
right warp threads, and that no mistake has been made. It is best to run
the threads past each other in the _middle_ of the mat rather than on
the _sides_. The children learn this method of splicing very quickly and
the result is much more satisfactory than knotting, because the back of
the rug or mat will be smooth. As Mrs. Wiggin says: "There should never
be a wrong side to work any more than there should be to folks."
[Sidenote: _Silkoline, cheese cloth, rags_]
[Sidenote: _Candle-wicking, chenille, and macreme cord_]
In splicing such materials as silkoline, rags, candle-wicking, chenille,
and macreme cord, lay the end of one piece over another, each lapping
about one-quarter inch, and sew securely with silk or thread of like
color. Cut off the selvedge ends of rags. These strips can be run past
each other, but the work will not be so smooth.
[Sidenote: _Germantown wool, heavy worsteds, and rope silk_]
In splicing Germantown wool, heavy worsteds, or rope silk, thread a
worsted needle with one strand obtained by unwinding the wool or silk,
lay one end over the other, and sew over and over. Twist the part just
sewn between the thumb and finger and the splicing will be hardly
visible.
When weaving stripes, splice the wool so that the piecing will come on
top of the rod. In this way the new color will start at the edge of the
rug, as it should, and the number of loops on the rod will be the same
on each side. Consider the _under_ side of the weaving as the _right_
side. It is always smoother and cleaner, and the splicing can be done
more neatly on top of the rod.
[Sidenote: _Raffia_]
Splicing raffia is the most difficult of all, and the method used in
braiding and basket weaving is the best. As you near the end of a strip
in weaving it usually becomes narrower. Find another strip having a
narrow end, and place one over the other, securing, if necessary, by
winding a very narrow piece--just a thread torn from a long piece--and
fastening this by sewing a few times over and over. Or, the two narrow
ends may be run past each other, as in carpet ravelings. Care should be
taken to have the splicing the same width as the other parts of the
weaving, so that the spliced parts will not be noticeable.
[Sidenote: _Leather, leatherette, and celluloid strips_]
Leather, leatherette, and celluloid strips should be long enough to
extend the entire width and length of the frame without splicing. The
ends can be cut, as is done in paper weaving, or turned in some pretty
way like that in the splint work.
Chapter Eight
WOOL AND SILKOLINE RUGS OR MATS
[Illustration: _Silkoline rug with three white stripes_]
[Sidenote: _Plain rug with end stripes_]
[Sidenote: _Finishing the ends_]
Silkoline rugs or mats are by far the prettiest for doll-house use. The
method of preparing the strips is explained under Materials (page 51).
Make the warp with twine of the same color as the silkoline. It should
be a three-eighths-inch warp. Choose a plain color for the body of the
rug, and a short distance from each end weave several stripes of a
contrasting color. The rug in the illustration is of deep cardinal. The
stripes can be of olive green, black, or any preferred color. Mottled
stripes are also attractive and effective. When the stripes at the foot
are woven, ascertain the distance from the foot piece to the last one.
To know where to commence the first stripe at the head, measure the
distance just found from the head piece down, and mark on both rods by
tying or sewing a colored string to the warp. This helps the child to
understand where the stripe should begin, which he soon learns to
measure for himself; and this training in accuracy and independence is
most excellent. There is nothing better than learning self-reliance, and
the child who has been taught it, is not apt to ask others to do his
examples for him. To learn the manner of making the stripes and spaces
each of the same width, count the loops on the rods (one has to weave
twice across the loom to have one loop on a rod), and have the same
number on each side. Care should be taken not to _twist_ the strips in
weaving. The method of splicing the strips and fastening the warp
strings is explained in Chapter V. The rug may be finished with a wool
or silk fringe of the predominating color, or a fringe of the combined
colors. If desired, it may be left plain, catching the woof strips
together at each end to conceal the warp strings. When a mistake has
been made, run the needle back under the same strings instead of pulling
out what is wrong. It prevents stretching and a destruction of the
material.
[Sidenote: _Mottled rugs made of figured silkoline_]
Mottled rugs are made of figured silkoline. Choose oriental colors, no
matter how gaudy the silkoline may look in the piece. It will have a
beautiful effect when woven. Portieres are pretty made in this way.
These rugs should always be plain--that is, without stripes.
[Illustration: _A mottled rug of figured silkoline, in which the colors
brown, blue, and old gold predominate_]
[Sidenote: _Plain rugs with mottled borders, or mottled rugs with plain
borders_]