Judy P. Sopronyi - Basic Rug Hooking: * Complete guide to tools and materials * Step-by-step instructions and photos * 5 beginner projects

T hanks to Janet Stanley Reid for her rug hooking expertise, guidance, enthusiasm, and willingness to do whatever was necessary to help bring this book to rug hooking newcomers. As I worked with Janet on this book, I often thought of my late mother, Lorrene Mae (Moore) Patterson, who shared with me her love of working with textiles.

T here are many tools and materials available that add to the ease of rug hooking. However, keep in mind that the craft began with some imagination, a bent nail, a burlap feed bag, a pair of scissors, and the good parts of worn-out clothing. While we highly recommend that you scrap the idea of a bent nail and buy a hook, there are alternatives to high-priced gizmos. When youre just starting out, you might want to try some of the simpler tools before you launch into the purchase of such things as hooking frames and cutters.

Refer to the resources in the back of the book for companies that provide the more specialized rug hooking tools and materials.

Wool

Quality counts with the wool you select. The ideal weight is 12 to 14 ounces per yard. If youre uncertain of the weight, cut a piece 36 x 36 inches and weigh it on a postal or kitchen scale. The Dorr Mill Store, Woolrich, and the Wool Studio specialize in fabrics for rug hooking, as do rug hooking shops.

Blends of wool and man-made fibers such as polyester do not tear as well as 100 percent wool. Tearing determines the lengthwise or crosswise grain of the fabric prior to cutting.

By cutting strips from the different color areas of plaids, youll have hues that you can rely on to work well together.

The wool needs to be fairly tightly woven, or the strips you cut will simply separate into individual threads. This example (above) is too loosely woven for hooking strips, but it could be used as a backing.

Visit thrift shops to find clothing made of attractive wool, but keep in mind that the finish of worsted wool such as in mens suits is too flat, and the wool of a winter coat is too heavy. Thrift shop kilts and fabric from a pair of pants yield plenty of desirable, inexpensive wool.

Backings and Hooks

The foundation of your work should be of good quality. Hooked rugs can last for generations, so an investment in a good backing is well worth it. Buy backing from a rug hooking source to be sure youre getting the quality you need.

MONKS CLOTH

Although you can buy this even-weave cotton backing in fabric shops, the weight and strength may not be appropriate. The monks cloth available from hooking shops has a lighter-colored thread incorporated in the weave to aid in keeping patterns straight.

LINEN

This strong, durable fabric is ideal for rug hooking. Buy the type available from hooking resources to be assured of the appropriate weight and density. The color is usually unbleached and neutral. Its available in a smooth, hairless version as well as a rougher type.

POLYESTER

This is a fairly new material available for rug hooking.

It comes in several colors such as oatmeal, soft blue, and rose, which make it especially desirable for projects such as Red in where the background is left unhooked. Its also called Verel or panel fabric, owing to its use on cubicle dividers in offices.

RUG WARP

Rug warp is cotton and similar to monks cloth. The threads in the fabric are heavier than in monks cloth, and whereas monks cloth has two threads woven together, rug warp has one. Rug warp is especially good for larger rugs. Its shown at left lying beneath two varieties of linen backing.

BURLAP

Originally used as a backing when the craft of rug hooking developed, burlap has been found not to wear well and is not recommended for modern rugs. Burlap is made of jute with short fibers that dont interlock. The weave loosens when damp and contracts when dry, resulting in quick wearing and broken fibers.

SEWING MACHINE

While not necessary, a zigzag-equipped sewing machine can quickly protect the raw edges of the rug backing. Use the zigzag stitch to sew along the raw edges to keep them from fraying. The straight stitch of a sewing machine is also used for attaching the binding in , although the binding can be sewn on by hand.

MASKING TAPE

This is another way to keep the edges of backing fabric from fraying. Just fold it over the edge lengthwise.

HOOKS

This necessary tool pulls strips of wool from beneath the backing to form loops. Many different handle styles are available. Choose one that feels good in your hand. Hooks also come with a wider shank to aid in enlarging holes for wider wool strips, and some shanks are bent, which you may find more comfortable to use. Size medium or coarse hooks work well for strip width cut sizes #5 and up. For narrow cuts such #3 or #4, look for a fine hook, marked F on the end of the handle. (Page 11 shows cut sizes.)

Transfer Aids

There are several ways to copy a pattern onto a backing.

TULLE

This fine, transparent fabric associated with bridal veils can be used to transfer patterns from paper to backing. Just pin the tulle to the pattern, trace it with a marker, pin the traced tulle to the backing, and trace again.

PINS

Quilting pins work well for holding patterns in place and for use in finishing bindings and cording. Smaller dressmaker pins can also be used.

SCREENING

Gray (not black) window screening can also be used to transfer patterns from paper to backing. Its less stretchy than tulle, but the traced pattern is harder to see on the screening than on tulle.