Materials and Equipment

The basic materials and equipment required for making rag rugs or wallhangings are relatively inexpensive. The frame and hook are probably the most costly items, but they do not wear out, so you will not need to replace them. Obviously, if you do not have a rotary cutter and mat, a pair of scissors will suffice. If you become increasingly fascinated by this craft, you can add to your aids, possibly acquiring some of the more expensive items which are available in the US but not the UK, such as a gadget which cuts several strips of material at the same time, or a frame which sits comfortably on your lap.

MATERIAL

Rag rug making is a thrift craft, which provides and ideal opportunity to use up any materials you have available, such as remnants left over from dressmaking, rummage sale bargains, or old blanket.

You will see by looking at the projects and the items illustrated in the Gallery that a wide selection of materials can be used in rag rug making. Mostly woollens, jersey, felted jumpers and cardigans, worsteds, synthetics and blankets are used for rugs, but for other items such as wallhangings, cushions or jewellery, the fabric world is at your dispposal. Cotton has been used in one or two of the projects but it is not advised for hooked or prodded work as it flattens and picks up the dirt easily. However, when used thickly as in the Garden Wallhanging project, it has a charm of its own.

Woollen material is a wonderful medium in which to work when making rugs, but it is becoming an expensive commodity. Pure wool blankets were once often used but, since the introduction of continental quilts and duvets, they are getting scarcer. Scrap materials such as felted sweaters and other discarded clothes are also used-these should always be washed before using them for making rugs. Synthetic are often used nowadays but they have a much springier feel than wool.

If you are making a rug, you obviously need to use hard-wearing materials of similar thickness to keep the pile fairly level, but if you are making a wallhanging, you can use whatever you wish to achieve the intended effect.

Lurex, netting, organza, sweet/candy wrappers, leather, metallic foil, raffia, crisp/chip packets, polythene and Lycra have all been used by rag rug makers. The possibilities are indeed endless and it is often a matter of experimenting to see what can be used.

If wondering whether a material is suitable, just 'hook it and see'!. If using discarded clothing, first remove all the buttons and other fastenings, and unpick the scams. Always wash any material that has been used. (Before putting old blankets in a washing machine, make sure that the edges are not frayed as loose fibres could clog up the machine).

FRAMES

Three types of frame can be used, all of which are illustrated in the different projects in this book. Frames should always be larger than the dimensions of your rug to allow for hems and turnings. The cheapests and easiest frame is formed from four artist's stretchers, which are available from any good art and craft supplier. They are already mitred and just have to be fitted together. You must remember however, that you have to be able to reach into the centre of the frame when hooking rugs. You can make a rug as long as you like but the width is limited to the length of your arm. Creating a particularly large rug can be a problem unless you have a special large frame. One solution is to work one area, and then remove the hessian/burlap from the frame and reposition the unworked area of hessian over the frame, repeating the process as necessary to complete the rug. Or, you could work your rug in sections and sew them together afterwards. This does mean that there would be a weak spot where the material has been joined together. However, if you leave an unworked border all around a completed section, then lay the border of a second completed section on top of the first and hook through these two layers, this weakness will be avoided. (A word of warning though: hooking through two layers of hessian is not easy). Another type of frame is comprised of four pieces of wood, two with holes punched at varying intervals and two made of heavier wood with channels for the hessian and dowelling. These frames are available in various sizes. They are very useful because of the ease of putting in the hessian and the fact that the material can be rolled over one end so that rugs of varying lengths can made. The third type of frame is similar to the above but has strong braid attached to the two short ends, like an embroidery slate frame. The hessian is sewn on to the braid on two sides, then the two stretcher bars are attached on the remaining sides. It is not advisable to use an embroidery hoop, except when working small pieces such as jewellery.

BASE AND BACKING MATERIAL

The material used most frequently is hessian (know as burlap in the United States, and brin in Newfound-land). Always buy the best quality you can obtain; do not be tempted to use cheap upholstery hessian. For hooking and prodding, any even-weave material can be used providing the mesh is not too tight. If you want to fill in a design but not its background, in a particular project, furnishing fabrics are worth considering as a base. Grey polyester is sometimes used for hooking . It is slightly more expensive than hessian but some people are opposed to the latter on the grounds that it is possibly not as long-lasting as other materials-nonetheless, a hessian base will last many years. Rug and tapes try canvas are used, but again do not be washed before use. Backing fabrics can be used, though they are not crucial - carpet binding around the edges is usually sufficient. However, backing fabrics can be latexed on to the back of a completed piece to tidy and secure it if desired. Choose a material appropriate to the use-often hessian is used, or a polyester. A dual argument applies to the use of backing fabric: some say that by backing your rugs, grit can build up and act as an abrasive; others feel that it makes the rug longer-wearing.

HOOKS

The implement used for hooked rugs is similar to a crochet hook but has a much sharper point, like a barb. The ones illustrated in this site are handmade from yew and brass and fit nicely into your hand. Occasionally old hooks can be found in junk shops.

PRODDERS

The prodders illustrated are similar to the hook bur without the barb. A sharply pointed piece of wood was often use as a prodder; this can be whittled from thick dowelling.

LATCH HOOK

The latch hook is the hook many people associate with rug making, but not necessarily with rag rugs. As the latch hook has a deeper hook than the traditional one used for hooked rugs, it enables much wider pieces of cotton to be pulled easily through the rug canvas (it is not appropriate for use with hessian/burlap). A much bulkier effect is therefore achieved with this technique.

SHUTTLE HOOK

A shuttle hook is simple articulated wood and metal tool which is used to make a series of loops through a hessian/burlap background. It is considered quicker than using the traditional hook. Little is known about the origin of this implement, but it was popular in the early part of this century, and in recent years there has been a revival of interest in this type of rug hooking. More difficult to obtain, shuttle hooks can be found in specialist suppliers.
A shuttle hook in action: the design is worked from the reverse side of the base material. The shuttle is threaded with a strip of material, then operated by pushing first one section then the other into the base. The action is repeated with a 'walking' motion to produce a series of loops on the right side of the base material

LOCKER-NEEDLE HOOK

The locker-needle hook is relative newcomer to rag rug making, having come on to the scene in the 1921s. Similar to crochet hook at one end and large-eyed darning needle at the other, it makes a series of loops by pulling up fabric on the hook which are then 'locked' by pulling yarn through the loops with the needle., thus preventing the loops falling back through the base material. This method gives a more woven appearance than the traditional hooked rug. Locker-needle hooks come in two sizes, one for finer work and one for rug-making.

CARPET BINDING

Often used for finishing off the edges of rugs, carpet binding can be obtained commercially or made at home. The binding should blend in with the colours used in your rug. If you cannot obtain the colour you require, then you can always dye the binding. Always wash commercial binding, remembering to purchase more than you require to go around the edge of your rug as it shrinks by up to 7.5 cm (3in) per metre (yard) when washed.

If you want to make the binding yourself, use a strong material, always cut it on the bias and ensure that it is wide enough to allow for hemming on both sides and generous overlap.

DYES

You can dye or overdye any material if liked, either by using a proprietary household brand or a more expensive professional dye. Dyeing for rag rug making is generally not carried out as extensively in the UK as in North America. Some people use natural dyes but the process is time-consuming and not convenient for everyone.

LATEX/PVA GLUE

Latex can be used to seal the back of the rug. Polyvinyl acetate (PVA) woodworking glue, also known as white glue, can be used for the same purpose. One school of thought maintains that it is better not to used it because we do not know the long term effects it will have on rugs; the other says the latex holds the loops in well and gives a longer-wearing surface. Some of the makers of these projects have used latex; others have not.

ROTARY CUTTER AND MAT

Available from patchwork suppliers, a rotary cutter and mat are considerable help in cutting up material. Rotary cutters are made in two sizes and it is advisable to use the larger size for cutting any material thicker than cotton. The rotary mat is self-scaling and is a necessary adjunct to the cutter. Again the mat is produced in two sizes, with marked divisions to act as guidlines for cutting material straight. The larger size is more useful.

TRANSFER PENCILS

These resemble old-fashioned transfers and are used to draw a design on tracing paper which is then transferred to the base fabric by pressing the design transfer-side down with hot iron.

SCISSORS AND SHEARS

A sharp pair of scissors is essential for cutting out material and snipping off ends. Some shears can also act as scissors.

STAPLE GUN, STAPLES OR DRAWING PINS

Some people find a staple gun and staples very useful when fixing backing material to artist's stretchers, but others either do not want to go the expense or find they are a little hard to use. Drawing pins can be used instead. Make sure that you place the staples or pins very close to each other and pay particular attention to the corners.

If you had used staples, you will find a staple remover a great help; and old screwdriver is useful for removing drawing pins.

MISCELLANEOUS

For some projects a sewing machine is useful. An iron is used for pressing (for which you need a pressing cloth). Other necessary items of equipment are needles, including a large-eyed carpet needle; strong thread for sewing on bindings and hemming; string; a compass for drawing circles; wooden knitting needle; tape-measure; dressmaker's pins; sticky and cotton tape; drawing, graph and tracing papers; thimble; thin and medium card; waterproof felt-tip pens (for outlining the dimensions of your rug or wallhanging, drawing round templates, and touching up any faint lines when using a transfer pencil or making out centres). In one project white chalk is used for marking out a design.