KERAMIC STUDIO 
frame in the following manner: Take the frame apart and 
tack the ends of the burlaps pattern to the longer pieces of the 
frame, then roll the pattern around one of the bars until just 
the size of the frame, then put the frame together as shown in 
illus. No. 7. The burlaps should be stretched as tightly as 
possible. 
iVo. 7— FRAME WITH RUG PATTERN MOUNTED. 
The rug is now ready for "hooking." The flannel has 
alreadj'^ been prepared by tearing it into yard lengths, folding 
into four thicknesses and cutting it into strips lengthwise of 
the selvage and one-quarter of an inch wide. Hold the strip 
of flannel underneath the rug pattern with the left hand, take 
the rug hook in the right hand and push the hook through the 
burlaps as shown in illus. No. 8. Catching the strip on the other 
side draw it through, making loop after loop on the upper sur- 
face of the rug foundation. Always begin by outlining the 
design as it gives one a clearer idea of the pattern, and draw up 
the outline somewhat higher than the level of the other loops 
and somewhat more evenly. The general height of the loops 
should average about one fourth of an inch, and in order to 
secure an interesting texture, it is wise to make about one in 
three somewhat lower. Leave from two to three meshes of the 
burlaps between the holes made by the hook, in order that the 
loops may not be too near together. 
When fiUing in the frameful, be sure to work from the 
outside toward the center, as otherwise the edges of the rug 
are apt to be stretched. After the frameful is filled, it is ready 
to clip, which should be done before the rug is turned. In 
clipping the rug put the left hand underneath and raise the 
surface slightly, clipping with large shears the raised surface. 
It is not necessary to clip each individual loop, just about one 
in three makes the rug stronger and more durable. The sur- 
CR0SS^3ECTI0^{ 
OF RU& 
5TRIP OF 
face of the rug can be made uniform after it is taken out of the 
frame altogether by going over it and evening up any little 
irregularities in texture. There. can be no question that the 
finished rug is a durable and serviceable article and a perfectly 
professional looking piece of craftmanship. Indeed it seems a 
far cry from the rug which gave the inspiration, to the 
finished one shown here. The former came from Prince Ed- 
wards Island, Canada, and was indeed a curious product. 
Though seemingly full of hopeless crudities it embodied a 
simple technique and has shown itself susceptible to aesthetic 
influences bj^ becoming the basis of a new and interestitag 
branch of craftsmanship. 
No. 9— THE FINISHED RUG. Designed by A. M. HICKS. Worked by M. 
PACKER, School op Industrial Abts, Trenton. N. J. 
TREATMENT FOR LEATHER LETTER CASE 
Emily F Peacock 
USE a rich brown Russian calfskin. Make the back and 
two sides in one piece, and leave a good margin outside 
the design. Dampen the leather with a wet sponge on the 
back and put on a piece of stone or marble. Go over all the 
lines with a dull outlining tool, making them strong and firm. 
With a small flat tool rub down the background firmlj- always 
making the strokes follow the shape to be set down, and follow- 
ing each other closely. When this has been done once dampen 
the leather again and repeat the process until glossy and very 
smooth. 
Put down the centers of the flowers and leave the darlc 
part of the case perfectly plain. Use the same treatment in 
the partition, leaving the lower part plain. 
The case should be made up over heavy Bristol board and 
lined with thin leather. 
A BLOTTING PAD IN METAL 
Emily F. Peacock 
USE copper or brass about gauge 24. Cut each piece large 
enough to allow f of an inch margin all aromid the design. 
Trace the design on the back of the metal and jiut on cement 
as described in the June number, page 49. Go over all the 
lines with a broad outlining tool, taking care that the path- 
