How to make rugs
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Supposing that the material, in the shape of coarse cotton warp, black, red or white, has been secured, or that a wool filling in the colours and shades I have described has been prepared for weaving; the loom is then to be warped, at the rate of fifteen or less threads to the inch, according to the coarseness or fineness of the filling.
It is well to weave a half-inch of the cotton warp for filling, as this binds the ends more firmly than wool. Next to this, a border of black and gray in alternate half-inch stripes can be woven, and following that, the body of the rug in dark red, clouded with white. After five feet of the red is woven, a border end of the black and gray is added, and the rug may be cut from the loom, leaving about four inches of the warp at either end as a fringe. If the filling yarn is of good colour, and has been well packed in the weaving, so as to entirely cover the warp, the result will be a good, attractive and durable woolen rug, woven after the Navajo method.
In this one example I have given the bare and simple outline by following which a weaver whose previous work has been only rag carpet weaving can manufacture a good and valuable wool rug. The difference will be simply that of close warping and a substitution of wool for rags. Its value will be considerably increased or lessened by the choice of material both in quality and colour and the closeness and perfection of weaving.
The example given calls for a rug six feet long by three feet in width. To make this very rug a much more important one, it needs only to vary the size of the border. For a larger rug the length must be increased two feet, and the border, which in this case must be of plain or mixed black—that is, it must not be alternated with stripes of gray—must measure one foot at either end. When this is complete, two narrow strips one foot in width, woven with mixed black filling, must be sewed on either side, making a rug eight feet long and five in width. It is not a disadvantage to have this border strip sewn, instead of being woven as a part of the centre. Many of the cheaper Oriental weavings are put together in this way, and as many of the older house-looms will only weave a three-foot width, it is well to know that that need not prevent the production of rugs of considerable size.
Endless variations of this very simple yarn rug can be made with variation in size as well as in colour. Two breadths and two borders, the breadths three feet in width and the borders one foot and six inches, will give a breadth of nine feet, which with a corresponding length will give a rug which will sufficiently cover the floor of an ordinary room. If the centre is skilfully mottled and shaded, it will make a floor spread of beautiful colour, and one which could hardly be found in shops.
ISLE LA MOTTE RUG
The border can be made brighter, as well as firmer and stiffer, by using two filling threads together—a red and a black; or an alternate use of red and black, using two shuttles, will give a lighter and better effect than when black is used exclusively.
After size and weight—or, to speak comprehensively, quality—is secured in this kind of simple weaving, the next most important thing is colour. Of course the colour must be absolutely fast, but I have shown how much variety can be made by shading and mixing of three fast colours, and much more subtle and artistic effects can be produced by weaving alternate threads of different colours. Indeed, the effects obtained by using alternate threads can be varied to almost any extent; as, for instance, a blue and yellow thread—provided the blue is no deeper than the yellow—will give the effect of green to the eye. If the blue is stronger or deeper, as it will almost necessarily be, it will be modified and softened into a greenish blue.
Red and white woven in alternate threads upon a white warp will give an effect of pink, and with this colour for a centre the border should be a good gray.
Of course, alternate throwing of different coloured yarns makes the weaving go more slowly than when one alone is used, and something of the same colour effect can be produced by doubling, instead of alternating. It is, of course, not quite the same, as one colour may show either under or over the other, and the effect is apt to be mottled instead of one of uniform stripes.
The end in view in all these mixtures is variation and liveliness of colour, not an effect of stripes or spots; indeed, these are very objectionable, especially when in contrasted or different colors. A deepening or lightening of the same colour in irregular patches, as will occur in clouded yarns, gives interest, whereas if these cloudings were in strongly contrasted colours they would be crude and unrestful. For this reason, if for no other, it is well to work in few tints, and use contrasting colours only for borders.
To show how much variety is possible in weaving with the few dyes I have named, I will give a number of combinations which will produce good results and be apt to harmonize with ordinary furnishing. By adding orange yellow, which is also one of the simplest and safest of dyes, we secure by mixture with blue a mottled green, and this completes a range of colour which really leaves nothing to be desired.
No. 1. Colours black and red. Border, alternate stripes of black and dark red, as follows: First stripe of black, one and a half inches; second stripe of red, one inch; third stripe of black, one inch; fourth stripe of red, one-half inch; fifth stripe of black, three-quarters inch; sixth stripe of red, one-half inch; seventh stripe of black, half-inch; centre of light red clouded with dark red; reversed border.
No. 2. Colours black and red. Border one foot in depth, of black and red threads woven alternately. Centre dark red, clouded with light red. Woven six feet, with one-foot border at sides as well as ends.
No. 3. Colours red and white. Border seven inches of plain red. Centre of red and white woven alternately.
No. 4. Colours red and black. Border black and red, threads woven alternately, one foot in depth; centre of alternate stripes, two inches in width, of dark red and light red; eight feet in length, with foot-wide side borders, woven with alternate threads of red and black.
No. 5. Colours red and black. Border eighteen inches in depth, of alternate red and black, half-inch stripes. Centre of dark red, clouded with light.
No. 6. Colours gray, red and white, to be woven of doubled, slightly twisted threads. Border one foot in depth at ends and sides, woven of red and gray yarn twisted together. Centre of red and white yarn in twisted threads.
No. 7. Colours red and white. Border of plain red, twenty inches in depth. Centre in alternate half-inch stripes of red and white.
No. 8. Colours blue, red and black. Border four inches deep of black, two inches of plain red, one inch of black. Centre of clouded blue.
No. 9. Colour blue. Border eight inches of darkest blue. Centre of clouded medium and light blue.
No. 10. Colours blue and white. Border of very dark and medium blue woven together. Centre of blue and white yarn woven together.
No. 11. Colours blue and white. Border of medium plain blue. Centre of blue, clouded with white.
No. 12. Colours blue and white. Border of medium blue. Centre of alternate stripes of one inch width blue, and half-inch white stripes.
No. 13. Colours blue and white. Border twelve inches deep of dark blue, clouded with medium. Centre of alternate threads of medium blue and white.
No. 14. Colours blue, black and orange yellow. Border eight inches deep of black, one inch of orange, two of black. Centre, alternate threads of blue and orange.
No. 15. Border of doubled threads of dark blue and orange. Centre of alternate stripes of inch wide light blue and orange woven together, one-half inch stripes of clear orange and white woven together.
In the examples I have given, wherever doubled threads of different colours woven together are used, it must be understood that they are to be slightly twisted, and that the warping for double-filling rugs need not be as close as for single filling. Twelve threads to the inch would be better than fifteen, and perhaps ten or eleven would be still better. Doubled yarn of different colours produces a mottled or broken effect, and this can often be done where the colours of the yarns do not quite satisfy the weaver. If they are too dull, twisting them slackly with a very brilliant tint will give a better shade than if the original tint was satisfactory, but in the same way yarns which are too brilliant can often be made soft and effective by twisting them together with a paler tint. Minute particles of colour brought together in this way are brilliant without crudeness. It is, in fact, the very principle upon which impressionist painters work, giving pure colour instead of mixed, but in such minute and broken bits that the eye confounds them with surrounding colour, getting at the same time the double impression of softness and vivacity.
These examples of fifteen different rugs which can be woven from the three tints of blue, red and orange, together with black and white, do not by any means exhaust the possibilities of variety which can be obtained from three tints. Each rug will give a suggestion for the next, and each may be an improvement upon its predecessor.
CHAPTER VII.
COTTON RUGS
The warp-covered weaving which I have described in a previous chapter as being the simplest and best method for woolen rugs, is equally applicable to cotton weaving. It is, in fact, the one used in making the cotton rugs woven in prisons in India, and which in consequence are known as “prison rugs.” They are generally woven in stripes of dark and light shades of indigo blue and measure about four by eight feet. They are greatly used by English residents in India, being much better adapted to life in a hot climate than the more costly Indian and Persian rugs, which supply the world-demand for floor coverings.
In our own summer climate and chintz-furnished summer cottages they would be an extremely appropriate and economical covering for floors. The warp is like that of the Navajo blanket, a heavy cotton cord, the filling or woof of many doubled fine cotton threads, which quite cover the heavy warp, and give the ridged effect of a coarse rep.
As I have said, they are woven almost invariably in horizontal stripes of two blues, or blue and white, with darker ends and a warp fringe. Simple as they are and indeed must be, as they are the result of unskilled labour, they are pleasant to look at, and have many virtues not dependent upon looks. They are warm and pleasant to unshod feet, and therefore suitable for bedroom use. They are soft to shoe tread, and give colour and comfort to a summer piazza. They can be hung as portieres in draughty places with a certainty of shelter, and can be lifted and thrown upon the grass to be washed by the downpour of a thunder shower, and left to dry in the sun without detriment to colour or quality.
Surely this is a goodly list of virtues, and the sum of them is by no means exhausted. Their durability is surprising; and they can be sewn together and stretched upon large floors with excellent colour effect. They can be turned or moved from room to room and place to place with a facility which makes them more than useful. The manufacture is so simple that a child might weave them, while at the same time, by a skilful use of colour and good arrangement of border, they can be made to fit the needs of the most luxurious as well as the simplest summer cottage. In short, they are capable of infinite variation and improvement, without departure from the simple method of the “prison rug.”
Of course the variation must be in colour and the arrangement of colour; and in studying this possible improvement it must be remembered that cotton will neither take nor hold dyes as readily as wool or silk, and that certain dyes which are very tenacious in their hold upon animal fibre cannot be depended upon when applied to vegetable fibre. There are, however, certain dyes upon which we can safely rely. Indigo blue, and the red used in dyeing what is called Turkey red, are reliable in application to both wool and cotton, and are water and sun proof as well. Walnut and butternut stains will give fast shades of brown and yellow, and in addition there is also the buff or nankeen-coloured cotton, the natural tint of which combines well with brown and blue.
In giving directions for rug colourings in cottons, I shall confine myself to the use of black, white, blue and red, because these colours are easily procurable, and also because rugs manufactured from them will fit the style of furnishing which demands cotton rugs.
The examples I shall give call for graduated dyeing, especially in the two tints of red and blue.
Any one expecting to succeed in rug weaving must be able to procure or produce from two to three planes of colour, as well as two mixtures in each. These would be as follows:
In blue:—1st, dark blue; 2d, medium blue; 3d, light blue.
After these three tints are secure, three variations of blue can be made by knotting the skeins more or less closely and throwing medium, light blue and white together into the dye-tub. Here they must remain until the white skeins show an outside of light blue; the light blue skeins are apparently changed to medium, and the medium to dark. When they are untied and dried they will show three clouded mixtures:
1st, the medium blue clouded with dark; 2d, light blue clouded with medium blue; 3d, white, clouded with light blue.
Here we have six variations of the one tint. Red can be treated in the same way, except that a rather light and a very dark red are all that can be counted upon safely as plain tints. A very light red will not hold. Therefore we have in reds:—1st, dark red; 2d, light red; 3d, light red, clouded with dark; 4th, white, clouded with light red.
This gives ten shades in these two tints, and when we add the variations which seem to come of themselves in dyeing, variations which are by no means subject to rule, we shall see that with these two, and black and white, we are very well equipped.
The more irregular the clouding, the better the results. The yarn may be made into large double knots, or small single ones, or into more or less tightly wound balls or bundles, and each will have its own special and peculiar effect. Perhaps it is well to say that in clouding upon white the colours should be kept as light as is consistent with the tenacity of tint.
After clouding, still another process in cotton mixtures is possible, and this is in “doubling and twisting,” which has the effect of darkening or lightening any tint at will, as well as of giving a mottled instead of a plain surface.
Having secured variety by these various expedients, the next step is to make harmonious and well-balanced combinations, and this is quite as important, or even more so, as mere variety.
There is one very simple and useful rule in colour arrangements, and this is to make one tint largely predominant. If it is to be a blue rug, or a pink, or a white one, use other colours only to emphasize the predominant one, as, for instance, a blue rug may be emphasized by a border of red and black; or a red rug by a border of black and white, or black and yellow.
The border should always be stronger—that is darker or deeper in colour—than the centre, even when the same colour is used throughout, as in a light red rug, with dark, almost claret-red ends, or a medium blue rug with very dark blue ends.
White, however, can often be used in borders of rather dark rugs in alternation with black or any dark colour, because its total absence of tint makes it strong and distinct, and gives it force in marking a limit.
One successful combination of colours will suggest others, and the weaver who has taken pains to provide herself with a variety of shades, and will follow the rules of proportion, will be at no loss in laying out the plan of her weavings.
The examples for fifteen weavings given in the paper on wool rugs are equally available in cotton. I will, however, add a few variations especially adapted for cotton rugs:
No. 1. Colours blue and white. Border six inches of plain dark blue. Six inches of alternate half-inch stripes of dark blue and white. Four to five feet of clouded blue, border repeated, with four inches of warp fringe as a finish.
No. 2. Colours blue and white. Border eight inches wide of plain medium blue. Centre, six feet of light blue, clouded with medium. Two side borders eight inches wide; finish of white warp fringe.
No. 3. Colours black, white and red. Border twelve inches of alternate half-inch stripes of black and white. Centre, four feet of light red, clouded with dark. Repeat border, and finish with warp fringe.
No. 4. Colours red and white. Border, twelve inches of dark and light red, in twisted double thread. Centre, light red and white twisted double thread. Repeat border and finish with four-inch fringe.
No. 5. Colours butternut-brown, walnut-yellow, red, and white. Border of six inches of brown and yellow, twisted together. Centre, five feet of light red and white, twisted together. Repeat border, and finish with fringe.
No. 6. Colours brown, blue, and clouded-white. Border, half-inch stripes of medium blue and brown alternated for six inches. Centre, five feet of light blue, clouded with medium. Repeat border and finish with warp fringe.
These six examples may be varied to any extent by the use of clouded, plain or mixed centres. Borders, as a rule, should be woven of unclouded colours.
A natural development of the cotton rug would be the weaving of coarse cotton yarns into piece lengths which could be cut and sewn like ingrain carpet, or like the fine cotton-warped mattings which have been so popular of late years. They would have the advantage over grass-weavings in durability, ease of handling and liveliness of effect. Indeed, the latter consideration is of great importance, as cotton carpets can be woven to harmonize with the chintzes and cottons which are so much used in summer furnishings. This is especially true of indigo-blue floor covering, since so few things are absolutely perfect as an adjunct to the blue chambrays, striped awning-cloths, denims, and India prints so constantly and effectively used in draperies. Indeed, such excellent art in design has been devoted to blue prints, both foreign and domestic, that one can safely reckon upon their prolonged use, and this being taken for granted, it is well to extend the weaving of mixtures of white and blue indefinitely.
Although the warp-covered method described for woolen and cotton rug weaving can very well be used for carpets, the still simpler one of the alternate thread, or basket-weaving, when warp and filling are of equal weight and size, can be made to answer the purpose quite as well. In fact, there is a certain advantage in the latter method, since it makes the warp a factor in the arrangement of colour.
It is necessary in this style of weaving that the filling should be a hand-twisted thread of the same weight and size as the warp, and of a lighter or darker shade of the same colour. If the warp is dark, the filling may be light, or the reverse. It should be warped at the rate of about twenty-four threads to the inch.
In this kind of weaving the colours must be plain—that is, unclouded—as the variation is obtained by the different shades of warp and filling. Still another variation is made by using a closer warp of thirty threads to the inch and a large soft vari-colour filling which will show between the warp threads with a peculiar watered or vibratory effect. A light red warp, with a very loosely twisted filling of black and white, or a medium blue warp with a black and orange filling, will give extremely good results.
GREEK BORDER IN RED OR BLACK
BRAIDED FRINGE
DIAMOND BORDER IN RED OR BLACK
What I have said thus far as to the weaving of woolen and cotton rugs, and of cotton carpets, gives practical directions for artistic results to women who understand the use of the loom in very simple weaving. Of course, more difficult things can be done even with ordinary looms, as any one who has examined the elaborate blue-and-white spreads our grandmothers wove upon the cumbrous house-loom of that period can testify. In fact, the degree of skill required in the weaving of these precious heirlooms would be quite sufficient for the production of rugs adapted to very exacting purchasers.
Perhaps it is as well to add that the directions given in this and the preceding chapter for rug weaving are designed not only or exclusively for weavers, but also for club women who are so situated as to have access to and influence in farming or weaving neighbourhoods.
Home manufactures, guided by women of culture and means, would have the advantage not only of refinement of taste, but of a certainty of aim. Women know what women like, and as they are the final purchasers of all household furnishings, they are not apt to encourage the making of things for which there is no demand.
I am often asked the question, How are all of these homespun and home-woven things to be disposed of? To this I answer that the first effort of the promoters or originators must be—to fit them for an existing demand.
There is no doubt of the genuineness of a demand for special domestic weavings. Any neighbourhood or combination of women known to be able to furnish such articles to the public would find the want far in excess of the supply, simply because undirected or commercial manufactures cannot fit personal wants as perfectly as special things can do. It must be remembered, also, that the interchange of news between bodies of women interested in industrial art will be a very potent factor in the creation of a market for any domestic specialty. In fact, it is in response to a demand that these articles upon home-weavings have been prepared, and a demand for technical instruction presupposes an interest in the result.
CHAPTER VIII.
LINSEY WOOLSEY
It has often been given as a reason for the discontinuance of home weaving, that no product of the hand loom can be as exact or as cheap as that of the power loom. The statement as to cost and quality is true, but so far from being a discouraging one, it gives actual reasons for the continuance of domestic weavings. The very fact that homespun textiles are not exact—in the sense of absolute sameness—and not cheap, in the sense of first cost, is apt to be a reason for buying them. Hand-weaving, like handwriting, is individual, and this is a virtue instead of a defect, since it gives the variety which satisfies some mystery of human liking, a preference for inequality rather than monotonous excellence.
Every hand-woven web differs from every other one in certain characteristics which are stamped upon it by the weaver, and we value these differences. In fact, this very trace of human individuality is the initial charm belonging to all art industries, and even if we discount this advantage, and reckon only money cost and money value, durability must certainly count for something. A thing which costs more and lasts longer is as cheap as one which costs less and goes to pieces before its proper time.
In a long and intimate acquaintance with what are called “art textiles”—that is, textiles which satisfy the eye and the imagination and fulfill more or less competently the function of use, I have learned that certain very desirable qualities are more often found in home-woven than in machine-woven goods. Something is wanting in each of the excellent and wonderful variety of commercial manufactures which would fit it for the various decorative and art processes which modern life demands. To perfectly satisfy this demand, we should have a weaving which is not only in itself an artistic manufacture, but which easily absorbs any additional application of art.