RERAMIC STUDIO 
Fig. 3. 
then transferred upon the press-board. With a small pair 
of very sharp scissors the pattern is then cut out, leaving 
throughout the designs small strips of the press-board at 
close intervals in order to hold it together. By turning 
over and reversing the stencil the whole pattern can be 
marked out. 
Designs. — As to designs, there is a great difference 
of opinion. I find those that represent small masses of 
color, straight outlines^and simple elements, as in Fig. i , are 
best suited to the hooked rug; for, when working with strips 
from three-sixteenths to a quarter of an inch in width, it is ob- 
vious that fine details, scrolls and curves are not practicable. 
I especially recommend the study of savage ornament. 
North American Indians have shown much artistic skill in 
their basketry and pottery, and simple elements derived from 
these admit of new arrangement and combination that are 
quite unusual. In working out even the simplest pattern 
much depends upon the ingenuity one uses in coloring, con- 
trast, superimposed ornament, all of which affords a free 
play of the imagination. It is difficult to explain just what 
this involves; but a study of certain little cyclopaedias of 
Japanese ornament, to be found in most public libraries, 
will show in how many different ways the same design can be 
presented by subordinating or emphasizing any single por- 
tion of the pattern. I would especially caution persons 
against imitating foreign rugs, no matter how good they 
are. The whole value of any handicraft, either to the 
worker or the public, is in an individual expression along 
new lines. If people want Oriental rugs, they will buy the 
genuine article in preference to any imitation ; so all copying 
of familiar makes should be scrupulously avoided if one 
desires personal recognition in rug-making. 
Methods op Work. — In putting the frame together, 
adjust it so that it will be several inches wider than the 
stamped burlap to be tacked on. The pattern should fall 
well within the frame, as it is difficult to hook close up to 
the frame. Double the burlap under along the end and two 
sides when tacking on the frame, as in Fig. 2 , keeping the bur- 
lap taut, but not stretched so as to strain the threads. Place 
the frame in a horizontal position at such a height as to 
allow a worker to sit erectly with shoulders thrown back, 
and the arms in an easy unstrained position. (Fig. 3.) If 
placed too high the shoulder will be forced to assume an un- 
natural elevation, which soon tires both back and shoul- 
ders. A chair, table, box, barrel or window-sill can be 
used to support the ends of the frame. 
In stripping the cloth I find it better to stand, and 
having divided the flannel into yard lengths, each piece is 
doubled over twice on the lengthwise, making it four thick- 
nesses to cut through. Fold carefully so that the edges lie 
exactly together. Begin at the lower left-hand corner of 
this folded cloth, and with a pair of large sharp shears cut 
with long regular chps even strips not over a quarter of an 
inch wide. One is apt to cut them too wide at first, but a 
little practice soon enables one to cut these four-ply strips 
with exactitude. If one cuts a bit deeper at either end of 
the folded cloth, it can be corrected by turning it over and 
cutting from the other end. These strips must be cut per- 
fectly true, and on the lengthwise, for if allowed to run to 
a bias, such narrow strips of twill will pull apart, and can 
not give the firm loop that a straight one does. 
To begin work, take the hook in the right hand, with 
handle well within the palm, the forefinger extended along 
the upper edge of the hook as a brace, and the other fingers 
closed tightly about the handle. Do not clutch; it causes 
strained muscles in the wrist and arm. With the left hand 
take a strip of the cloth, holding the end between the thumb 
and forefinger, and the other fingers closing tightly about 
the strip as one gauges yarn or thread in crocheting. (Fig. 4.) 
Begin at the right hand corner of the stamped burlap, holding 
the end of the strip just under the place where the first stitch 
is to be taken. Thrust the hook through the burlap, and catch 
the end of the strip and bring it up to about a quarter of an 
inch above the burlap. In bringing up the hook hold it 
almost horizontally and press the hole open with a slight 
backward movement of the hook. Never draw it straight 
up from the hole. Thrust in the hook again, and this time 
the strip will come up as a loop. Keep the tip of the fore- 
finger of the left hand always on the last stitch underneath ; 
this prevents it being pulled out as the succeeding stitch is 
taken. Continue to bring up loops until the strip is used 
and bring the last of it to the top as an end. Avoid leav- 
ing any loose ends on the under side. Loops should have 
two or three threads of the burlap between them. Along 
the very margin of the design a straight row of loops should 
be worked so as to make a good edge to the rug when finished 
The straight row effect is also used to outline the general 
Fig, 4. — Showing the manner of holding a strip, tlie Iiand held under 
the frame in working. 
