"I have been asked many times what is the best way to plan a color 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.
"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.
"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.
"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.
"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.
"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.
"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.
"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.
"The proper temperature for introducing the color in the bath is not over 150° 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."
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.
"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.
"'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.'
"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
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
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
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
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
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
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
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.
NO. 8. 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
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
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.
NO. 11. 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
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
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
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
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
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
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
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
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.
NO. 20. 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.
"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.]
Chapter Seven
METHODS OF SPLICING MATERIALS FOR WEAVING
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."
In splicing such materials as silkoline, rags, candle-wicking, chenille, and macremé 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.
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.
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.
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
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.
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. Portières are pretty made in this way. These rugs should always be plain—that is, without stripes.
Plain rugs with mottled borders, or mottled rugs with plain borders, are the delight of the children. Adjust the frame for the size required, and decide how wide the border is to be. It is necessary to have an extra pair of rods, if one desires a smooth and well-finished rug. The border of the rug represented in the illustration is two inches. This should be woven with a tape needle. Weave the border at the foot of the loom. This extends the entire width. Place the extra rods two inches toward the center from the side rods on the outside of the rug, keeping them back of the border already woven at the foot. This will outline the sides of the plain oblong in the center. Weave the left and right hand borders up to a point two inches from the head piece, taking care to go around the rods just placed. Then begin the plain center. As you come to the border on each side, run your tape needle through the loops of mottled silkoline which are around the rod, but do not go around the rod itself with the plain silkoline, since doing so would make a ridge in the rug. Draw the woof strips tightly and firmly, so that the work will lie flat and smooth when removed from the loom. Be sure to weave the center far enough, remembering that the upper woof strips in the border will crowd it down. When the center is finished, remove the extra rods and finish weaving the border to the head piece. In selecting a color for the center, match one of the colors in the figured silkoline. The color for the center in the rug of the illustration on page 90 is green, and the same color appears also in the mottled border, with yellow and brown. The ends should be left plain, the warp strings being concealed as directed. These rugs are very beautiful, and can be made in an infinite variety through the use of different colors, and by reversing the center and border. They can be made of carpet or Germantown wool, in two colors or in two tones of one color. In weaving rugs with centers and borders, weave a little farther than the exact measure, because the next woof threads will push down the woof already made, and you may find that you have not woven the correct measure. These rugs are useful as "heel rugs"; they are placed under the piano near the pedal to protect the carpet from the pressure of the heel. (See also page 82.)
Adjust the loom for the size required. The plaid effect in the holder illustrated on page 92 is obtained by stringing a close warp with green and white carpet wool, alternating two of white with four of green. In weaving, use two woof threads of white and four of green to make the square correct. The kindergarten designs make pretty holders. If you have woven a holder, it will be finished when it is removed from the loom and the warp strings have been fastened. If you wish your holder to be very thick, weave two of these pieces, lay a square of felt or flannel between and sew or crochet the edges together. If the work is to be a mat, knot a pretty fringe all around it. Many of these squares can be joined to make sofa pillows, afghans, slumber robes, and other dainty articles. With a continuous warp, one can weave long strips for the same articles. If a small rug for Miss Dolly's bedroom is desired, string the warp so that the two ends will have a fringe. Stair and hall carpets for the doll house can be woven in these pretty designs by adjusting the loom for a narrow strip, and, if necessary, a continuous warp.
Chapter Nine
HAMMOCKS
To weave a hammock, one must first adjust the loom to its full size. Tie two rings together and fasten them at the back of the loom, to head, foot, and sides, as in the illustration. One must then decide how close the warp is to be strung. Measure the string, which should be continuous, allowing enough to go to the rings at the back and make a buttonhole stitch each time. Then wind on a long thin stick or dress steel, in such a way that it will pass easily through the rings. In stringing the hammock in the illustration, a penholder was used. The rings are tied, with white cord, to the four sides of the loom. By doing this, all tangling of the warp string is avoided, and it is far preferable to splicing. Tie the first warp string to the top ring. Draw it tightly through the first groove, over the face of the loom to the opposite groove, then to the back of the loom through the bottom ring. Make a buttonhole stitch and return in the same manner over the face of the loom, around to the top ring, where you make a buttonhole stitch and return, until the whole warp is strung. Care should be taken to make it firm and tight. Hold the string and ring firmly in the left hand while making the buttonhole stitch with the right. Cut the woof cords long enough to allow a fringe on each side of the hammock. Weave each cord separately, tying in pairs around the rods. Stripes of one or more colors can be woven at each end or at intervals through the hammock. By weaving two colors alternately, the stripes will be lengthwise instead of crosswise. Knot the fringe at each side. To fasten the top and bottom woof cords so that they will not pull out of place, thread a tape needle with cord and tie each warp string close to the woof. Another way to secure the top and bottom woof cords is to weave two cords at one time, twisting one over the other between the warp strings. The bottom one should be woven before the hammock is commenced. The top one can be woven before the hammock is finished, and pushed up close to the head piece. Then fill up the space.
Instead of knotting the fringe as suggested, two cords can be twisted at each side of the hammock in the same way that the woof cords are secured at the top and bottom. This forms a heading for the fringe. Take up two cords of the fringe at a time. If desired, the strings which extend from the rings to the hammock may be woven for the space of an inch or so close to the rings instead of making a buttonhole stitch. Make a stretcher for the head by covering a piece of rattan with buttonhole stitch. Fasten this to the hammock. A head-rest can also be woven and adjusted. To remove the hammock from the loom, cut the two rings apart, and then lift the warp strings from the grooves. A very pretty hammock can be made by stringing the warp of different colors, in order to make lengthwise stripes. Weave a neutral color through them. In this case, have a close warp. Pretty hammocks can be made by knotting instead of weaving.
Cut two semi-circular pieces from light wood or pasteboard. These should suit the width of the hammock to be made. If this is the width of the loom, then 9-1/2 inches long and two inches at the widest part. Cut the curved edge in notches to correspond with the number taken in the head piece. These pieces will be firmer and more satisfactory if made of wood and finished at the lower edges like the metal head piece. This can be easily done by glueing them to a narrow piece of wood so that they will stand. If furnished with perforations, they can be laced to the head and foot pieces or the rods can be run through them. By stringing the warp in this way, the sides of the hammock will be shorter than the center, and there will be no danger of Miss Dolly falling out.
The warp can be strung more quickly and easily if hammock hooks similar to those in the two illustrations below are used. Measure the right length—22 warp strings 31 inches long for the metal loom, or 29 the same length for the wooden loom—and wind as before.
In using hammock hook No. 1, knot half the number of warp strings in the left-hand ring and half in the right-hand ring. If hook No. 2 be used, unpin the part at the right, knot the warp strings along the straight edge at the bottom, and then pin the right-hand part again. Weaving each cord separately across the loom makes a heavy fringe at the sides. If a lighter fringe be desired, cut the woof cords twice the width of the loom plus twice the length of the fringe. Weave across the loom, leaving enough for the fringe at the side, then around the rod and back again, drawing the cord through to the same length as the part left at first. Weave in the same way with the second color, having the loop on the same rod and the fringe at the same side as the other. Weave the next two cords with loops on the opposite rod and fringe on the opposite side. Continue in this way until the hammock is finished. Make a heading at the sides as described, only carry the two cords through the loops, crossing them between on top of the rods. The warp strings can be passed through the rings without buttonholing. A firm pretty finish can be made at the sides by cutting two cords—one of each color two yards long and buttonholing around the rods on top of the woof cords which extend at each side. Fasten these long cords at the bottom of the loom. After two pairs of woof cords have been tied, buttonhole the edge over them and around the rods and continue this until the hammock is finished.
Chapter Ten
FACE AND DISH CLOTHS AND BATH RUGS
The materials for making face and dish cloths are: cheese cloth cut bias, darning or knitting cotton, or candle-wicking. Those made from cheese cloth resemble the Turkish rags. Cut and splice the cheese cloth according to directions on page 83. The face cloth in the illustration is made from white cheese cloth, cut bias. String the warp 3/16 inch with white twine. It being desirable to have face and dish cloths as soft as possible, do not push the woof threads too closely together. When the cloth is removed from the loom, conceal the ends of the warp strings as previously directed. Fine white thread should be used. If preferred, the edges can be bound with tape. Cloths of candle-wicking are very quickly woven, but they are not so soft.
Face cloths of cheese cloth with borders of knitting cotton would be durable and satisfactory. Make them according to directions given for rugs with centers and borders.
Cross-barred face cloths made of knitting cotton No. 4, in two colors, are very pretty.