When the children have learned to weave the small mats, further practice can be had by weaving long slats into a warp of cord on the loom. It is better to conquer the mystery of "over and under" in this way than to undo the work and wear out the material after making a mistake.
Many teachers prefer to make the practice mats of paper because they are cheaper. Heavy paper, in desirable colors, can be obtained at the wholesale paper houses, and for a small sum can be cut in squares of any required size. Mats can be made more durable by pasting them on heavy muslin before cutting. In many schools children in grades above the entering room prepare their own mats by measuring with tablets or rulers and then drawing and cutting on the lines. When they have learned to do them well, let each child make one for the entering room. Nothing strengthens the community feeling so much in a school as to encourage the older pupils to help the younger.
The mat-weaving, as it is done in the kindergarten, is very beautiful and fascinating work. The mats can be obtained in any size and any width of strips at the supply stores. The weaving is done with a long steel needle which has a spring at one end to hold the strip. After preliminary work with the felt mats and slats the children find themselves able to weave quite independently, particularly if demonstration cards or sample mats are placed before the class. An infinite variety of patterns, which later will be useful in wool-weaving, can be found in the "Kindergarten Guides." In weaving patterns having a center, it is better to weave two strips at once, pushing one to the top and one to the bottom of the mat. The old numbers of the Godey and Peterson magazines have patterns for Berlin wool and bead work which can be used for the paper mats with good effect. Mrs. Kate Douglas Wiggin (Mrs. Riggs) has some good suggestions for invention in weaving, in her "Republic of Childhood" (Occupations). The value of weaving in number work is also admirably set forth in this book.
At Christmas time many charming little gifts can be made of these mats. Sachet cases made of a six or eight inch square, with four corners folded to the center, are attractive. Inclose a square of wadding, in which a pinch of heliotrope or white rose perfume powder has been hidden, and fasten the corners together with a scrap picture of old Santa Claus.
Slat work is useful in learning the fundamental principles of weaving, although this work is more closely related to basket than to rug weaving. It is an excellent preparation for the free-paper weaving, and is also a step toward basket work.
In interlacing slats the mystery of "over and under" is solved and the dependence of one slat upon another in making a perfect whole is shown in a forcible way, particularly when the form falls to pieces in the attempt to lift it from the table. Edward Wiebe says in his "Paradise of Childhood": "It was the one slat which, owing to its dereliction in performing its duty, destroyed the figure and prevented all the other slats from performing theirs." One experience of this kind will teach more than a thousand precepts. The geometrical forms learned in the sense-training lessons can be reproduced with the slats and will thus be impressed upon the mind during the period of busy work at the desk. A series of beautiful designs is published by E. Steiger, New York. Many designs may be grouped for decoration, and single symmetrical figures can be mounted upon heavy paper.
Free-paper weaving requires quite a little skill of hand and a great deal of patience before the child can achieve a successful result. Perhaps a few words regarding it, and information about a simple sequence of paper patterns, will not be out of place, since so many are to-day taking it up. Strips of manilla paper forty inches long and one inch wide are used. These are cut into strips eight inches, sixteen inches, twenty inches, and twenty-four inches in length. For the first pattern of the sequence take four strips eight inches long and double each one. Hold two of them side by side in the left hand, so that the open ends of the outer strip are at the top while those of the other are at the bottom. With the right hand inclose the first strip in the left hand with one of the remaining double strips and pass the ends of the latter between the two ends of the second strip. Then hold the work in the right hand and proceed in the same way with the left hand. When both strips are in, draw them tight and they will be firmly woven. The ends can be cut in any way desired. These little forms can be used for bookmarks. They are very attractive when made in two tones of one color.
The second pattern of the sequence is made with sixteen-inch strips. The first part is woven like the bookmark. Four double strips now project from the square. Begin at the bottom and fold back the upper one of each of these double strips. As you do this you will find that you are weaving another square on top of the first one. To secure the last strip pass it under the square next to it and pull it through. You will now have eight single strips, two on each side. To form these into points for a star proceed as follows: Begin with the right-hand strip at the top and number all the strips from one to eight. Fold number one back toward the right, making at the fold a right-angled triangle. Fold the strip down again towards you, making another triangle which is folded back to the left on the first one. Slip the end of the strip under the square next to it and cut it off. Proceed in the same way with three, five, and seven. Then turn the form over and fold the strips two, four, six, and eight in the same way, cutting off the strips when finished. Many of these stars can be joined to make mats, baskets, picture frames, etc. They are pretty when made of gilt or colored paper for Christmas decorations.
Pattern number three, a bookmark, is made like the first, except that eight strips of sixteen-inch length are used and the strips woven at right and left are finished as directed for the mat. Number four is another form like this, with the long ends back and front slipped through squares to form a napkin ring. Number five is a six-inch mat made of twelve twenty-inch strips. Weave six double strips left and right into two strips and then add four to make the square. To finish the edge cut off the under one of each double strip, fold the upper one over it and then slip it under the square which comes next, cutting it off even. Strips of felt can be woven in this way for table mats or holders.
The sixth pattern is a pencil holder or a basket, as you may wish. It may be round or square on the bottom—in the latter case the sides are creased to form a square prism. Double twelve twenty-four-inch strips, weave eight right and left into four; finish one long edge for the top of the basket as you did the edge for the mat. Bend in the form of a ring and slip the ends as you did for the napkin ring, cutting them off. To make the bottom, crease all the projecting ends in and weave together as you did the second part of number two only double, and fasten the strips on the outside of the basket. This makes a good waste basket for the doll house. With a cover it would make a fine hamper for Miss Dolly's clothes.
This free weaving leads directly to weaving with splints. These are much thinner than slats and can be obtained at the kindergarten supply stores. Many beautiful things can be made with splints. They are easily dyed at home and many pleasing combinations of color can be obtained in this way. Celluloid strips make beautiful boxes and baskets.
A delightful exercise with the small children is the making of a "Jacob's ladder," or "Pussy-cat stairs," as they are often called. Fold a forty-inch strip of paper, one inch wide, so as to form a right-angle in the middle. Or, if a longer ladder be desired, place one end of a forty-inch strip over the end of another one, at right angles, and fasten with a drop of paste. Fold from left to right, one strip upon the other, until you come to the end; then pull out, and behold the stairs! The fat and clumsy little fingers will work patiently a long time to achieve this charming result, and much skill of hand will be gained in the doing. Use colored paper for this whenever possible.
The illustrations on this and on the following page show some fascinating work for little hands. The looms are made of heavy pasteboard cut in notches, in which the warp of the same material as the woof is strung. Care should be taken to keep the warp straight, and to finish all the edges well. The articles in the illustrations were made by first-grade children in the Ericcson School, St. Paul, Minn.
Chapter Four
METHODS OF STRINGING WARP
The adjustable loom can be strung with warp of three widths, one-half inch, three-eighths inch, and three-sixteenths inch, thus giving opportunity for a variety of materials.
For heavy rags, candle wicking, etc., wind the warp strings around three teeth in the head and foot pieces. This will give a warp of one-half inch—that is, one-half inch from one string to the other.
For silk, silkoline, finer rags, carpet ravelings, double wool, etc., wind the warp strings around two teeth, thus making a warp of three-eighths inches.
For double wool, worsted, rope silk, chenille, or raffia, where one wishes to reproduce kindergarten designs, as in paper-weaving, place the warp strings around one tooth only. This makes a close warp of three-sixteenths inch, which helps to form the design with the woof threads. In this case the warp should be of the same material as the woof. In kindergarten patterns the woof threads determine the color effect. It is better to have the children weave the pattern first with practice mats and slats, particularly if they have never had experience in the kindergarten. Suggestions for weaving kindergarten designs are given under the head of Raffia.
For a plaid effect, string the warp at regular intervals, with different colors. Then weave the same colors at equal intervals to form the plaid. (See illustrations, pages 92, 98, and 101.) Shawls, carriage blankets, etc., woven in this way are very attractive.
A striped warp is strung in the same way. (See illustrations, pages 101 and 117.) The stripes could be continued through the mat, if desired, by weaving only one color in the woof. By weaving two colors squares are obtained such as those seen in the corners.
For weaving with carpet ravelings or rags, and sometimes double wool, where a plain effect is desired, the warp should be of common twine, as near the color of the work as possible. Carpet thread is good, especially for the double warp in Turkish rugs. Balls of warp string can be obtained at department stores. Oriental cord comes in several colors, and can be had at a few cents a ball at the notion and stationery counters in department stores.
The warp should always be one continuous string, and several inches should be left at each end in order to fasten securely when the work is finished. If preferred, the warp ends can be fastened before the weaving is commenced. Care should be taken to place the first and last strings of the warp directly over the rods, and, in weaving, to pass the woof threads entirely around the rods and strings to insure straight edges. The ends of wool warp threads should be wound in and out of the notches to the right and left of rods, to fasten them until the weaving is finished. It sometimes happens that little children, and more especially those who are blind, pull up the warp strings when near the end of the work. In such cases it is a good plan to pass a rubber band over the warp strings at the top of the loom and behind the bars, back of the head piece, making it set up close by putting it around one tooth at each end. In this way the warp strings cannot possibly slip out of the notches.
Some teachers splice the warp with a weaver's knot, an illustration of which can be seen in any large dictionary. The continuous string is to be preferred, however, as experience has proved that even a weaver's knot will sometimes fail to stand the stress of weaving. It is very difficult to splice a warp of raffia. It is better to knot the warp threads in pairs (see directions, page 46), leaving two or three inches beyond the head and foot. These ends may be used for a fringe by tearing very fine, or they may be run down in the woven part with a darning needle, as rattan is run down in basket work.
When the weaving is done and the mat lifted from the loom, the ends of the wool warp strings can be run in along the sides with a tape needle. If the warp be of twine, it is better to tie the end to the next warp string and allow the fringe to cover the knot; or, as in the case of silkoline, the woof strips can be caught over the warp strings with silk of the same color in order to hide them. Only experience can teach the tightness with which a warp should be strung. Worsted, carpet thread and twine will stretch as the work progresses, and raffia will not. If the warp be too loose the work will be uneven and the strings will slip out of the notches. If it be too tight it will be difficult to finish the last two or three inches and the woof threads will look crowded. The best test is to place the hand upon the warp before commencing to weave. If it feels firm and does not push down too easily, but springs slightly beneath the hand, it is probably correct.
Where the warp is of the same material as the woof and it is desired to 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.
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.
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.
Patterns for Navajo blankets are usually triangular. Draw on unlined paper and fasten under the warp as before.
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.
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.
By making several of these long strips and fastening them together one can have a table cover, afghan, slumber robe, or a large rug.
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.
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.
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
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.
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.
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.
Pieces of old silk can also be prepared in this way. One can often obtain new pieces at dressmaking establishments.
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."
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.
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.
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.
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.
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.
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.
Macremé cord is the best material for hammocks. It comes in many beautiful colors, at a few cents a ball.
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.
Celluloid strips may be treated in the same way. Leather and celluloid strips can be woven free-hand like the paper strips.
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.
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.
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.
Angora wool makes pretty Tam O'Shanters. Initials can be woven in any article.
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
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.
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.
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:
"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 reëstablishment 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.
"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.
"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.
"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.
"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.
"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.
"Carding together gives a very much better effect in wool, while twisting together is preferable in cotton.
"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."
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, Abnákee Rugs. This little manual treats fully of the "Abnákee 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:
"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.