Kitabı oku: «How to make rugs», sayfa 3

The same plan can be carried out in larger rugs, by sewing breadths together and adding a border, but they are not easily lifted, and are apt to pull apart by their own weight. Still, the fact remains that very excellent and handsome rugs can be made from rags, in any size required to cover the floor of a room, by sewing the breadths and adding borders, and if care and taste are used in the combinations as good an effect can be secured as in a much more costly flooring.

The ultimate success of all these different methods of weaving rag rugs depends upon the amount of beauty that can be put into them. They possess all the necessary qualities of durability, usefulness and inexpensiveness, but if they cannot be made beautiful other estimable qualities will not secure the wide popularity they deserve. Durable and beautiful colour will always make them salable, and good colour is easily attainable if the value of it is understood.

There are two ways of compassing this necessity. One is to buy, if possible, in piece ends and mill waste, such materials as Turkey red, blue and green ginghams, and blue domestics and denims, as well as all the dark colours which come in tailors’ cuttings. The other and better alternative is to buy the waste of white cotton mills and dye it. For the best class of rugs—those which include beauty as well as usefulness, and which will consequently bring a much larger price if sold—it is quite worth while to buy cheap muslins and calicoes; and as quality—that is, coarseness or fineness—is perfectly immaterial, it is possible to buy them at from four to five cents per yard. These goods can be torn lengthwise, which saves nearly the whole labor of sewing them, and from eight to ten yards, according to their fineness, will make a yard of weaving. The best textile for this is undoubtedly unbleached muslin, even approaching the quality called “cheesecloth.” This can easily be dyed if one wishes dark instead of light colours, and it makes a light, strong, elastic rug which is very satisfactory.

In rag carpet weaving in homesteads and farmhouses—and it is so truly a domestic art that it is to be hoped this kind of weaving will be confined principally to them—some one of the household should be skilled in simple dyeing. This is very important, as better and cheaper rugs can be made if the weaver can get what she wants in colour by having it dyed in the house, rather than by the chance of finding it among the rags she buys.

CHAPTER III.
DYEING

In the early years of the past century a dye-tub was as much a necessity in every house as a spinning wheel, and the re-establishment of it in houses where weaving is practised is almost a necessity; in fact, it would be of far greater use at present than in the days when it was only used to dye the wool needed for the family knitting and weaving. All shades of blue, from sky-blue to blue-black, can be dyed in the indigo-tub; and it has the merit of being a cheap as well as an almost perfectly fast dye. It could be used for dyeing warps as well as fillings, and I have before spoken of the difficulty, indeed almost impossibility, of procuring indigo-dyed carpet yarn.

Blue is perhaps more universally useful than any other colour in rag rug making, since it is safe for both cotton and wool, and covers a range from the white rug with blue warp, the blue rug with white warp, through all varieties of shade to the dark blue, or clouded blue, or green rug, upon white warp. It can also be used in connection with yellow or orange, or with copperas or walnut dye, in different shades of green; and, in short, unless one has exceptional advantages in buying rags from woolen mills, I can hardly imagine a profitable industry of rag-weaving established in any farmhouse without the existence of an indigo dyeing-tub.

RED

The next important color is red. Red warps can be bought, but the lighter shades are not even reasonably fast; and indeed, the only sure way of securing absolutely fast colour in cotton warp is to dye it. Prepared dyes are somewhat expensive on account of the quantity required, but there are two colours, Turkey red and cardinal red, which are extremely good for the purpose. These can be brought at wholesale from dealers in chemicals and dye-stuffs at much cheaper rates than by the small paper from the druggist.

COPPERAS

The ordinary copperas, which can be bought at any country store, gives a fast nankeen-coloured dye, and this is very useful in making a dull green by an after-dip in the indigo-tub.

WALNUT

There are some valuable domestic dyes which are within the reach of every country dweller, the best and cheapest of which is walnut or butternut stain. This is made by steeping the bark of the tree or the shell of the nut until the water is dark with colour. It will give various shades of yellow, brown, dark brown and green brown, according to the strength of the decoction or the state of the bark or nut when used. If the bark of the nut is used when green, the result will be a yellow brown; and this stain is also valuable in making a green tint when an after-dip of blue is added. Leaves and tree-bark will give a brown with a very green tint, and these different shades used in different rags woven together give a very agreeably clouded effect. Walnut stain will itself set or fasten some others; for instance, pokeberry stain, which is a lovely crimson, can be made reasonably fast by setting it with walnut juice.

RUST-COLOUR

Iron rust is the most indelible of all stains besides being a most agreeable yellow, and it is not hard to obtain, as bits of old iron left standing in water will soon manufacture it. It would be a good use for old tin saucepans and various other house utensils which have come to a state of mischievousness instead of usefulness.

GRAY

Ink gives various shades of gray according to its strength, but it would be cheaper to purchase it in the form of logwood than as ink.

LOGWOOD CHIPS

Logwood chips boiled in water give a good yellow brown—deep in proportion to the strength of the decoction.

YELLOW FROM FUSTIC

Yellow from fustic requires to be set with alum, and this is more effectively done if the material to be dyed is soaked in alum water and dried previous to dyeing. Seven ounces of alum to two quarts of water is the proper proportion. The fustic chips should be well soaked, and afterward boiled for a half-hour to extract the dye, which will be a strong and fast yellow.

ORANGE

Orange is generally the product of annato, which must be dissolved with water to which a lump of washing soda has been added. The material must be soaked in a solution of tin crystals before dipping, if a pure orange is desired, as without this the color will be a pink buff—or “nankeen” color.

What I have written on the subject of home dyeing is intended more in the way of suggestion than direction, as it is simply giving some results of my own experiments, based upon early familiarity with natural growths rather than scientific knowledge. I have found the experiments most interesting, and more than fairly successful, and I can imagine nothing more fascinating than a persistent search for natural and permanent dyes.

The Irish homespun friezes, which are so dependable in colour for out-of-door wear, are invariably dyed with natural stains, procured from heather roots, mosses, and bog plants of like nature. It must be remembered that any permanent or indelible stain is a dye, and if boys and girls who live in the country were set to look for plants possessing the colour-quality, many new ones might be discovered. I am told by a Kentucky mountain woman, used to the production of reliable colour in her excellent weaving, that the ordinary roadside smartweed gives one of the best of yellows. Indeed, she showed me a blanket with a yellow border which had been in use for twenty years, and still held a beautiful lemon yellow. In preparing this, the plant is steeped in water, and the tint set with alum. Combining this with indigo, or by an after-dip in indigo-water, one could procure various shades of fast blue-green, a colour which is hard to get, because most yellows, which should be one of its preparatory tints, are buff instead of lemon yellow.

An unlimited supply and large variety of cheap and reliable colour in rag filling, and a few strong and brilliant colours in warps, are conditions for success in rag rug weaving, but these colours must be studiously and carefully combined to produce the best results.

I have said that, as a rule, light warps must go with dark filling and dark warps with light, and I will add a few general rules which I have found advantageous in my weaving.

In the first place, in rugs which are largely of one colour, as blue, or green, or red, or yellow, no effort should be made to secure even dyeing; in fact, the more uneven the colour is the better will be the rug. Dark and light and spotted colour work into a shaded effect which is very attractive. The most successful of the simple rugs I possess is of a cardinal red woven upon a white warp. It was chiefly made of white rags treated with cardinal red Diamond dye, and was purposely made as uneven as possible. The border consists of two four-inch strips of “hit or miss” green, white and red mixed rags, placed four inches from either end, with an inch stripe of red between, and the whole finished with a white knotted fringe.

A safe and general rule is that the border stripes should be of the same colour as the warp—as, for instance, with a red warp a red striped border—while the centre and ends of the rug might be mixed rags of all descriptions.

It is also safe to say that in using pure white or pure black in mixed rags, these two colours, and particularly the white, should appear in short pieces, as otherwise they give a striped instead of a mottled effect, and this is objectionable. White is valuable for strong effects or lines in design; indeed, it is hard to make design prominent or effective except in white or red.

THE LOIS RUG

These few general rules as to colour, together with the particular ones given in other chapters, produce agreeable combinations in very simple and easy fashion. I have not, perhaps, laid as much stress upon warp grouping and treatment as is desirable, since quite distinct effects are produced by these things. Throwing the warp into groups of three or four threads, leaving small spaces between, produces a sort of basket-work style; while simply doubling the warp and holding it with firm tension gives the honeycomb effect of which I have previously spoken. If the filling is wide and soft, and well pushed back between each throw of the shuttle, it will bunch up between the warp threads like a string of beads, and in a dark warp and light filling a rim of coloured shadow seems to show around each little prominence. Such rugs are more elastic to the tread than an even-threaded one, and on the whole may be considered a very desirable variation.

It is well for the weaver to remember that every successful experiment puts the manufacture on a higher plane of development and makes it more valuable as a family industry.

CHAPTER IV.
INGRAIN CARPET RUGS

Undoubtedly the most useful—and from a utilitarian point of view the most perfect—rag rug is made from worn ingrain carpet, especially if it is of the honest all-wool kind, and not the modern mixture of cotton and wool. There are places in the textile world where a mixture of cotton and wool is highly advantageous, but in ingrain carpeting, where the sympathetic fibre of the wool holds fast to its adopted colour, and the less tenacious cotton allows it to drift easily away, the result is a rusty grayness of colour which shames the whole fabric. This grayness of aspect cannot be overcome in the carpet except by re-dyeing, and even then the improvement may be transitory, so an experienced maker of rugs lets the half-cotton ingrain drift to its end without hope of resurrection.

The cutting of old ingrain into strips for weaving is not so serious a task as it would seem. Where there is an out-of-doors to work in, the breadths can easily be torn apart without inconvenience from dust. After this they should be placed, one at a time, in an old-fashioned “pounding-barrel” and invited to part with every particle of dust which they have accumulated from the foot of man.

For those who do not know the virtues and functions of the “pounding-barrel,” I must explain that it is an ordinary, tight, hard-wood barrel; the virtue lying in the pounder, which may be a broom-handle, or, what is still better, the smooth old oak or ash handle of a discarded rake or hoe. At the end of it is a firmly fixed block of wood, which can be brought down with vigour upon rough and soiled textiles. It is an effective separator of dust and fibre, and is, in fact, a New England improvement upon the stone-pounding process which one sees along the shores of streams and lakes in nearly all countries but England and America.

If the pounding-barrel is lacking, the next best thing is—after a vigorous shaking—to leave the breadths spread upon the grass, subject to the visitations of wind and rain. After a few days of such exposure they will be quite ready to handle without offense. Then comes the process of cutting. The selvages must be sheared as narrowly as possible, since every inch of the carpet is valuable. When the selvages are removed, the breadths are to be cut into long strips of nearly an inch in width and rolled into balls for the loom. If the pieces are four or five yards in length, only two or three need to be sewn together until the weaving is actually begun, as the balls would otherwise become too heavy to handle. As the work proceeds, however, the joinings must be well lapped and strongly sewn, the rising of one of the ends in the woven piece being a very apparent blemish.

Rugs made of carpeting require a much stronger warp than do ordinary cotton or woolen rugs, and therefore a twine made of flax or hemp, if it be of fast colour, will be found very serviceable. Some weavers fringe the rags by pulling out side threads, and this gives an effect of nap to the woven rug which is very effective, for as the rag is doubled in weaving the raveled ends of threads stand up on the surface, making quite a furry appearance. I have a rug treated in this way made from old green carpeting, woven with a red warp, which presents so rich an appearance that it might easily be mistaken for a far more costly one. It has, however, the weak point of having been woven with the ordinary light-red warp of commerce, and is therefore sure to lose colour. If the warp had been re-dyed by the weaver, with “Turkey red,” it would probably have held colour as long as it held together.

This cutting of ingrain rags would seem to be a serious task, but where weaving is a business instead of an amusement it is quite worth while to buy a “cutting table” upon which the carpet is stretched and cut with a knife. This table, with its machinery, can be bought wherever looms and loom supplies are kept, at a cost of from seven to eight dollars. If the strips are raveled at all, it should be at least for a third of an inch, as otherwise the rug would possess simply a rough and not a napped surface. If the strips are cut an inch in width and raveled rather more than a third on each side, it still leaves enough cloth to hold firmly in the weaving, but I have known one industrious soul who raveled the strips until only a narrow third was left down the middle of the strip, and this she found it necessary to stitch with the sewing machine to prevent further raveling. I have also known of the experiment of cutting the strips on the bias, stitching along the centre and pulling the two edges until they were completely ruffled. Although this is a painstaking process, it has very tangible merits, as, in the first place, absolutely nothing of the carpet is wasted—no threads are pulled out and thrown away as in the other method—and in the next the sewings together are overhand instead of lapped. The raveled waste can often be used as filling for the ends of rugs if it is wound as it is pulled from the carpet rags. Indeed, one can hardly afford to waste such good material.

It will be seen that there are great possibilities in the carpet rug. Even the unravelled ones are desirable floor covering on account of their weight and firmness. They lie where they are placed, with no turned-up ends, and this is a great virtue in rugs.

Of course much of the beauty of the ingrain carpet rug depends upon the original colour of the carpet. Most of those which are without design will work well into rugs if a strongly contrasting colour is used in the warp. If, for instance, the carpet colour is plain blue, the warp should be white; if yellow, either an orange warp, which will make a very bright rug, or a green warp, which will give a soft yellowish green, or a blue, which will give a general effect of green changing to yellow.

If the carpet should be a figured one, a red warp will be found more effective than any other in bringing all the colours together. If it should happen to be faded or colourless, the breadths can be dipped in a tub of strong dye of some colour which will act well upon the previous tint. If, for instance, it should be a faded blue, it may be dipped in an indigo dye for renewal of colour, or into yellow, which will change it into green. A poor yellow will take a brilliant red dye, and a faded brown or fawn will be changed into a good claret colour by treating it with red dye. Faded brown or fawn colours will take a good dark green, as will also a weak blue. Blue can also be treated with yellow or a fresher blue.

Of course, in speaking of this kind of dyeing, the renewal of old tints, it is with reference to the common prepared dyes which are for sale—with directions—by every druggist, and with a little knowledge of how these colours act upon each other one can produce very good effects. It is quite a different thing from the dyeing of fibre which is to be woven into cloth. In the latter case it is far wiser to use vegetable dyes, but in the freshening of old material the prepared mineral dyes are more convenient and sufficiently effective.