Rag work -Basic Techniques
There are many techniques that can be used; each technique has its own characteristics and each is suitable for different items.
Some of them are: Hooking, Prodding, Plaiting, Crochet, Knitting and Wrapping. Here I am going to give you instructions on how to use all these techniques.
HOOKING
This is the most common technique used in rag work, and also the most versatile. It lends itself to recycling and can revitalize many redundant materials, including plastics and foil as well as a huge range of fabrics, both natural and synthetic.
Strips of these materials are worked, or hooked, through a hessian backing cloth. They can be left as a loop pile surface, or sheared with scissors to create a cut pile surface. An effective use of hooking is to combine cut and loop pile within one piece. This gives a sculpted, three-dimensional appearance, as you can see in the Queen of Hearts and Mythological Beast projects.
1. Place one hand underneath the frame, and loop a strip of fabric between your thumb and forefinger. With your other hand above the frame, push the hook through the hessian. Feed the fabric loop on to the hook.
2. Pull the hook back up through the hessian, bringing the end of the strip of fabric through to the top.
3. Leave 1-2 warp threads of hessian to keep the loops close together. Push the hook back through the hessian and feed the fabric loop on to the hook, as before. Pull the hook back up through the hessian to make a loop, approximately 1 cm high. Continue. Bring the ends of fabric through to the top, and trim to the same height as the loops.
4. To create a cut pile surface, repeat steps 1-3 but hook the loops to a height of approximately 2 cm. Shear across the top of the loops with a large pair of scissors.
Sample Swatches of Hooked Materials
The most unlikely fabrics and materials can be incorporated within your work, and recycling is a natural, traditional approach to exploring the technique of hooking.
- Sea Green Knitted Cotton Jersey T-Shirt Fabric
Works well for both cut and loop pile surfaces. Results in a highly durable surface, suitable for rugs.
- Red Foil Crisps Packets
Loop pile gives the most interesting results. Good for jewellery and other fashion accessories.
- Tan-coloured Nylon Tights
It works with both surfaces, quite diverse results. Suitable for most projects. Try other colours.
- Petrol Blue Knitted Woollen Dress Fabric
This fabric felts when machine-washed on a high temperature setting. Versatile, good for use in any project.
- Rust-coloured Satin Coat Lining Fabric
Look beyond a coat's exterior - linings are available in many colours. It is most suitable for hats, bags and wall hangings.
- Denim Jeans
Denim can be used by itself to great effect; combining washed and faded denim with darker indigo shades. Very hard-wearing, hooked denim floor rugs have a long lifespan.
- Mint Green Patterned Crimplene Dress Fabric
Not known for its beauty in its former life but very effective here. Numerous uses in interior and fashion projects.
- Green Plastic Carrier Bag
Slips through the hessian with the greatest of ease! Waterproof - suitable for bathmats, jewellery, wall pieces.
- Lemon Yellow Acrylic / Wool Blanket
Cut thicker, heavier weight fabric into thinner strips. Excellent wearing properties, this is most suitable for floor rugs.
- Red Tartan Kilt Fabric
Woven and printed fabrics help to break up areas of flat colour. Little difference between the look of the loop and cut surfaces. Good for decoration..
PRODDING
The prodding technique is also known as proggie, peggy, tabbie, poked and brodded, to name but a few of the regional variations. Traditionally wool clippings from old, worn clothing and blankets were used to make "clippy" mats.
This technique is worked from the reverse side of the backing. Prodding creates a deep, shaggy surface and works well for soft, thick textured rugs or wall hangings. Designs tend to have an impressionistic look, as the details are blurred due to the surface pile.
1. Prepare the fabrics by cutting them into clippings 7 x 1½ cm. Working on the underside of the frame, make a hole with the tapered end of the prodder. Take a clipping and prod it halfway through the hessian, using the prodder. Use your other hand on the other side to catch and pull the fabric down to approximately half its length.
2. Make another hole with the prodder a bit less than 1 cm away, or 4-5 warp threads of hessian.
3. Prod the other end of the clipping through this hole. Using your hand underneath, tug both ends of the clipping until they are of even length. Continue by prodding the next clipping through the same hole as the end of the first clipping.
PLAITING
Plaiting is strongly associated with American folk art. Three strips of fabric are first plaited together. The plaits are then joined by machine or hand stitched. They can be wound into circular shapes or worked into square or rectangular rugs.
1. Plaiting is much easier if you first fasten the ends of the fabric strips together with a safety pin, and hook this over a cuphook screwed into the wall. Start the plaiting near the safety pin. Bring the right-hand strip over the middle strip, then bring the left-hand strip over the new middle strip. Continue plaiting, turning the raw edges under as much as possible, until you are left with about 20 cm unplaited. Secure the end with a pin.
2. Remove the safety pin and taper the beginning of the plait, trimming as necessary. Stitch neatly to conceal the raw edges when joining the plaits.
CROCHET
In recent years, experimental crochet work has moved away from the tradition of using wool. Using fabric strips creates beautifully subtle changes within colour tones, and the technique works well in three-dimensional projects, such as the Crochet Duffel Bag.
Crochet is also useful for joining knitted pieces together.
Abbreviations
ch: chain
dc: double crochet
lp: loop
sc: single crochet
st: stitch
sl st: slip stitch
tr: treble
yoh: yarn over hook
Making Foundation Chain
Chain stitch is the foundation stitch on to which further stitches are worked. Make a slip loop to form first stitch. Yoh, draw through lp. Repeat until ch reaches desired length.
Slip Stitch
This is used for joining pieces. Sl st, skip 1 ch, insert hook under top lp of next ch. Yoh, draw through ch and lp on hook (1 sl st formed). Repeat to end of ch. Turn, make 1 ch and continue, working next sl st under both lps of 2nd st from hook. Work last sl st of row into last ch.
Double Crochet
This is used to edge knitting. Skip 1 ch, insert hook under top lp of next ch. Yoh, draw through ch only. Yoh and draw through both lps on hook (1 dc formed). Repeat to end of ch. Work last dc of row into last ch. Turn, make 1 ch and continue, working the next dc under both lps of 2nd st from hook.
Treble
Very durable, this is ideal for the bases of various bags. Skip 3 ch, yoh, insert hook under top lp of next ch, yoh and draw through ch only (3 lps on hook). Yoh, draw through next 2lps on hook (2 lps on hook). Yoh, draw through 2 remaining lps on hook (1 tr formed). Repeat to end of ch. Turn, make 3 ch and continue, working next tr under both lps of 2nd st from hook. Work last tr of row into the last ch of previous row.
Knitting
Knitting with fabric strips is an interesting and fun alternative to using wool. Patterned cotton fabrics work particularly well - as the number of stitches grows on the needles, both the top and underside of the fabrics are exposed, revealing softer tones within the colour variations. For a patchwork effect, knit squares of different fabric strips and join together with crochet.
Casting on
Make a slip loop on the left needle to form the first stitch. Insert the right needle through the loop. Wrap the yarn forward, under and over the right needle. Draw the new loop through the slip loop and pass it on to the left needle. Repeat to create as many stitches as you need.
Plain Knit or Garter Stitch
Plain knit, or garter, stitch is the simplest of all knitting stitches. Every stitch of every row is knitted. Hold the working needle in your right hand like a pencil.
Insert the right needle through the first loop on the left needle. Wrap the yarn forward, under and over the right needle. Draw the stitch forward and under and slop it off the left needle on to the right. Repeat to the end of the row, then turn the work and knit the next row.
Casting off
Knit the first two stitches as usual. Insert the left needle under the first stitch made, from left to right. Lift the stitch up and over the second stitch and over the point of the needle. Knit the next stitch from the left needle and repeat the process to the end of the row. Cut the end of the yarn and draw it through the final stitch to finish off.
WRAPPING
This technique uses very little material. Strips of fabrics are bound together with coloured embroidery threads to create wallhangings. Wire can be added to create beautiful, sculptural jewellery.
1. Select three different fabrics, and cut into strips 1 cm wide. Choose a coloured embroidery thread to enhance the fabrics' colours. Pinch the strips tightly together in one hand. Working from the right, with the other hand start to bind the thread closely around the fabric strips.
2. Continue binding with the thread until you wish to change the fabric. Add a loop of thicker yarn, with the loop facing the end you have been working from. Continue to wrap the thread around this.
3. Thread the remaining embroidery thread through the loop. Pull the two ends of the thicker looped yarn towards the left until the thread is fastened off.
Thursday, October 25, 2007
Sunday, October 21, 2007
Creations...
I love creating new things, especially in Christmas. It is special to create something for your love ones. I have a few good ideas for Christmas presents, I hope you like them.
Crispy Jewellery
- Even crisps packets can be recycled in rag-work! The shiny foil is perfect for modern jewellery, and it can be cut into strips and hooked to make a loop pile surface just like fabric or yarn. Here the foil in the middle of the heart-shaped brooch contrasts beautifully with the dark fabric border. The matching ring is made following the same instructions. The card templates used for both shapes are very easy to make. You could also design other simple brooch shapes, such as a star, a crescent moon or a flower.
Materials and Equipment you will need:
- Card
- Scissors
- Hessian, 30 x 30 cm
- Marker pen
- Embroidery hoop
- Dark Fabric
- Hook
- Foil crisps packets
- Latex carpet adhesive and applicator
- Clear-drying impact adhesive
- Black felt, 12 x 12 cm
- Needle and matching thread
- Brooch clip fastening
- Ring fitting
- Superglue
Steps to follow:
1. Make a card template for the brooch. Draw a heart shape approximately 8 cm across. Place the template on the hessian and draw round it, using a marker pen. Put the hessian into the embroidery hoop.
2. Cut the dark green fabric into strips 1 cm wide. Begin hooking, following the outline of the heart shape. make close loops, approximately 1 cm high.
3. Cut the crisps packets into strips 1 cm wide. Fill in the centre of the heart shape with loops of the same height as the fabric loops. Bring all the ends through to the top of the work, and trim any excess lengths.
4. Remove the hessian from the hoop and cut around the shape, allowing a border of 2.5 cm. Apply a thin layer of latex adhesive to the back and the border. Leave to dry for 3 - 5 minutes.
5. Using scissors snip the border in towards the design at regular intervals. Turn in the edges and press down firmly. Apply small dabs of clear adhesive to the back of the work, and then cover with the black felt. Slip stitch around the edge.
6. Place the clip fastening on the back of the brooch. Stitch, using double thread. To make the ring, use a 2.5 cm diameter circle for the template. Attach the ring fitting with superglue.
Geometric Hairband
- The long, rectangular shape of this hairband lends itself to a bold repeat pattern of squares or triangles. Alternatively, you could work out your own design and colour scheme on graph paper. Try hooking small flowers or heart shapes for a completely different look. Nylon fabrics have been used in this project, but you could use cottons or a mixture of fabrics. The hairband is fastened very simply with matching ribbon ties.
Materials and Equipment you will need:
- Card
- Scissors
- Hessian, 61 cm x 30 cm
- Marker pen
- Staple gun
- Wooden frame
- Ruler
- Nylon fabrics, in assorted colours
- Hook
- Latex carpet adhesive and applicator
- Clear-drying impact adhesive
- Black felt, 33 cm x 5 cm
- Needle and matching thread
- Dressmaker's pins
- Ribbon, 1 m
Steps to follow:
1. Make a rectangular card template measuring 32 x 4 cm. Place in the centre of the hessian and draw round it, using a marker pen. Use a staple gun to attach the hessian to the frame.
2. Cut the fabrics into strips 1 cm wide. Begin by hooking the outline of your chosen design, working in close loops. Shear across the tops of the loops to create a cut pile surface.
3. Fill in the shapes, using contrasting fabrics alternately. Shear across the tops of the loops periodically as the work progresses.
4. When the design is completed, remove the hessian from the frame. Cut round the hooked rectangle, allowing an extra border of at least 2.5 cm. Apply a thin layer of latex adhesive over the back, including the border. Leave to dry for 3 - 5 minutes.
5. Turn in the border and press down firmly. Apply small dabs of clear adhesive on the back, and then cover with the black felt. Slip stitch the felt in place, turning under any excess fabric.
6. Pin the ribbon along the centre back of the hairband, leaving equal lengths at each end to make the ties. Stitch the ribbon in place.
Crispy Jewellery
- Even crisps packets can be recycled in rag-work! The shiny foil is perfect for modern jewellery, and it can be cut into strips and hooked to make a loop pile surface just like fabric or yarn. Here the foil in the middle of the heart-shaped brooch contrasts beautifully with the dark fabric border. The matching ring is made following the same instructions. The card templates used for both shapes are very easy to make. You could also design other simple brooch shapes, such as a star, a crescent moon or a flower.
Materials and Equipment you will need:
- Card
- Scissors
- Hessian, 30 x 30 cm
- Marker pen
- Embroidery hoop
- Dark Fabric
- Hook
- Foil crisps packets
- Latex carpet adhesive and applicator
- Clear-drying impact adhesive
- Black felt, 12 x 12 cm
- Needle and matching thread
- Brooch clip fastening
- Ring fitting
- Superglue
Steps to follow:
1. Make a card template for the brooch. Draw a heart shape approximately 8 cm across. Place the template on the hessian and draw round it, using a marker pen. Put the hessian into the embroidery hoop.
2. Cut the dark green fabric into strips 1 cm wide. Begin hooking, following the outline of the heart shape. make close loops, approximately 1 cm high.
3. Cut the crisps packets into strips 1 cm wide. Fill in the centre of the heart shape with loops of the same height as the fabric loops. Bring all the ends through to the top of the work, and trim any excess lengths.
4. Remove the hessian from the hoop and cut around the shape, allowing a border of 2.5 cm. Apply a thin layer of latex adhesive to the back and the border. Leave to dry for 3 - 5 minutes.
5. Using scissors snip the border in towards the design at regular intervals. Turn in the edges and press down firmly. Apply small dabs of clear adhesive to the back of the work, and then cover with the black felt. Slip stitch around the edge.
6. Place the clip fastening on the back of the brooch. Stitch, using double thread. To make the ring, use a 2.5 cm diameter circle for the template. Attach the ring fitting with superglue.
Geometric Hairband
- The long, rectangular shape of this hairband lends itself to a bold repeat pattern of squares or triangles. Alternatively, you could work out your own design and colour scheme on graph paper. Try hooking small flowers or heart shapes for a completely different look. Nylon fabrics have been used in this project, but you could use cottons or a mixture of fabrics. The hairband is fastened very simply with matching ribbon ties.
Materials and Equipment you will need:
- Card
- Scissors
- Hessian, 61 cm x 30 cm
- Marker pen
- Staple gun
- Wooden frame
- Ruler
- Nylon fabrics, in assorted colours
- Hook
- Latex carpet adhesive and applicator
- Clear-drying impact adhesive
- Black felt, 33 cm x 5 cm
- Needle and matching thread
- Dressmaker's pins
- Ribbon, 1 m
Steps to follow:
1. Make a rectangular card template measuring 32 x 4 cm. Place in the centre of the hessian and draw round it, using a marker pen. Use a staple gun to attach the hessian to the frame.
2. Cut the fabrics into strips 1 cm wide. Begin by hooking the outline of your chosen design, working in close loops. Shear across the tops of the loops to create a cut pile surface.
3. Fill in the shapes, using contrasting fabrics alternately. Shear across the tops of the loops periodically as the work progresses.
4. When the design is completed, remove the hessian from the frame. Cut round the hooked rectangle, allowing an extra border of at least 2.5 cm. Apply a thin layer of latex adhesive over the back, including the border. Leave to dry for 3 - 5 minutes.
5. Turn in the border and press down firmly. Apply small dabs of clear adhesive on the back, and then cover with the black felt. Slip stitch the felt in place, turning under any excess fabric.
6. Pin the ribbon along the centre back of the hairband, leaving equal lengths at each end to make the ties. Stitch the ribbon in place.
Friday, October 12, 2007
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Wednesday, October 3, 2007
HouseCarers
HouseCarers invites you to join one of the fastest growing popular trends in the world today - House Sitting.
HouseCarers provides the most comprehensive information available on house sitting. We guide you through the process of successfully matching homeowner with sitters. Housesitters list their preferences through a simple registration process. Homeowners communicate with sitters through our confidential message system to preserve privacy and security. Whether you’re a house sitter or a homeowner, HouseCarers brings peace of mind closer to home.
Just visit:
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HouseCarers provides the most comprehensive information available on house sitting. We guide you through the process of successfully matching homeowner with sitters. Housesitters list their preferences through a simple registration process. Homeowners communicate with sitters through our confidential message system to preserve privacy and security. Whether you’re a house sitter or a homeowner, HouseCarers brings peace of mind closer to home.
Just visit:
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Tuesday, October 2, 2007
Rag work
Some years ago I thought that rag work was something I will never try. I thought that it would be very difficult. One day I visited a friend. In her house I saw exquisite pieces of rags. I asked their origin and the answer was not what I expected. She made them herself!!! I was so surprised because I could never imagine that a hobby could produce so fine results. When she saw how surprised I was, she offered to show me the basic techniques. Believe me I was willing to learn much more than that and I did. Now I am in the position to tell you what she taught me back then. Try rag work, it is more than a hobby...
Here I will start with the materials. Do not think of something expensive, the materials are recycled and therefore very inexpensive. Even the most unlikely fabrics, such as crimpling or unfashionable prints, are transformed when cut into strips and mixed with other colors and textures. Modern rag makers even use discarded plastic carrier bags, crisps and sweets packets. The other inexpensive material widely used in rag work is Hessian.
You can find below all the details that you will need concerning materials to use for rag work.
Cotton Fabrics
In particular old printed shirts and dresses or remnants, are ideal for rag work and particularly suitable for plaiting, crochet and knitting.
Jersey Fabrics
Cotton T-shirts are lovely to work with, fray very little and are good for cut or loop pile surfaces.
Fabric strips
A wide variety of fabric can be recycled, including old clothing, curtains and bedclothes. Cut off any fastenings and seams.
Plastic strips
These are a modern option to use with or instead of fabric. Plastic carrier bags slip easily through the Hessian and create unusual textures.
Foil strips
Add sparkle with foil-backed crisps packets and gift wrap.
Black felt
It is used as a smart backing cloth to finish jewellery, mirror frames and tablemats. Cut offcuts into strips and use in another project.
Calico
This is cheap, lightweight cotton very suitable for internal covers for cushion pads. It can be used as a backing cloth.
Hessian
Originally old sacking cloth was used to hook or prod through. Hessian, made from jute, has a pliable, woven construction and the warp and weft threads open and close easily. It is available in different weights. 250gr is perfect for rag work.
Tapestry canvas
It has a more rigid construction and can therefore be worked without a frame. For a rug, choose a weave of three holes to 2.5cm
Carpet webbing tape
This one is a heavy-duty woven calico tape, used to cover the edges of rugs. It comes in various widths.
Carpet binding tape
This is also used to bind edges and seams on the back of rugs.
Thin wire
It is useful in sculpted pieces. It is often used in the wrapping technique.
Latex carpet adhesive
It is used in backing finished pieces of rag work. Use in a well-ventilated area and avoid contact with clothing.
Clear-drying impact adhesive
It can be used in small amounts to stick backing cloth such as felt to smaller pieces of work.
Superglue
It is a very strong, quick-drying adhesive that is used to secure jewellery findings, such as ring fittings etc.
Brooch clip fastenings
These are available in metal in several designs. The two pictured are suitable for rag work jewellery. The brooch bar-style fastening is sewn to the back of work, while the round-shaped fastening is best stuck on.
Hair clip fastenings
They are available in several sizes. Measure the finished hairslide shape to determine the length of the bar needed.
Ring fittings
Made in metal, these are available in silver and gold finishes. Adjustable styles are best.
Drinks can ring pulls
They make ideal hangers for picture and mirror frames.
Elastic hair bands
These are available in a variety of colors so you can coordinate hair accessories.
Black sewing thread
It is used to tack down edges and to slip stitch black felt backing cloth into position.
Invisible thread
It is very strong. It is used to hem finish any color.
Colored sewing threads
For hard-wearing projects, use double-thickness cotton or a polyester mix sewing thread.
Colored viscose / rayon embroidery threads
They come in a selection of bright, acidic colors. Use to bind strips of fabric in wrapping.
Colored cotton embroidery thread
It is thicker than general sewing thread and suitable for hand-sewn decorative finishes.
All the above are basic the materials that you will probably need for rag work. You can use other materials as well, if you think they match.
Besides the materials you will need equipment as well. Rag work requires very few specialist tools. The equipment needed depends on which rag work techniques you are using. Plaiting and wrapping need least equipment of all; little more than a needle and thread. Knitting and crochet are done with ordinary needles. For hooking or prodding, you need a frame of some kind. Small projects can be worked in an embroidery hoop.
Here you can find a list of equipment that you will probably need.
1. Masking tape is used to stick down a tracing, prevent the raw edges of Hessian fraying, or to tape the rough edges of tapestry canvas, to avoid skin irritation.
2. Tape measure. This is an essential item and more flexible than a ruler.
3. Dressmaker’s pins are handy to hold fabric in place before stitching.
4. Safety pin. This is used in the plaiting technique.
5. Sewing needles are constantly used for finishing, especially when attaching the backing cloth. Also they are important in plaiting.
6. Crochet hook (10 mm size) is needed for the crochet technique and it can also be used in the hooking technique.
7. Knitting needles (10 mm size) are used for the knitted patchwork rug.
8. Drawing paper. It is always a good idea to draw the design first.
9. White card is used for making templates.
10. Cutting mat. A plastic self-healing cutting mat prevents marking your table.
11. Tracing paper is used to sketch and transfer the design.
12. String is used in setting up a frame. By using a large-eyed needle, stitch the string through the Hessian and around the frame edge to get the Hessian taut.
13. Craft knife. Use as an alternative to scissors for cutting out templates.
14. Scissors are essential in all rag work projects. You need two pairs: a sharp pair for cutting fabric and a pair for cutting paper, foil and plastic, as these materials will blunt the blades.
15. Marker pen. A large, black, indelible marker pen works best for marking out the design on the Hessian
16. Transfer pencil. This is used to transfer the design on to the Hessian. Draw over the reverse of the artwork, and then iron on.
17. Prodder. This is a blunt-ended wooden tool used in making a prodded mat. An alternative is a large, smooth-ended wooden peg.
18. Hook. This has a hand-turned yew handle with a tapering brass sharp-ended hook. It is pushed through the Hessian up to the wooden handle, leaving a large hole.
19. Metre rule. Use this to mark out the outline of a large rug on to Hessian.
20. Ruler. Use this to measure straight edges for small-scale design work.
21. Large adjustable frame and pegs. The traditional wooden mat-making frame is adjustable, with two pieces of wood for the length, two) with drilled holes in which to position the pegs) for the sides, and four turned wooden pegs, one for each corner. The length can be wrapped round the frame so that you can continue working on the next area, approximately 56 cm deep. Hessian is stapled or strung on to the frame and the pegs are then positioned one at each corner, keeping the Hessian very taut. Use this for larger rugs and wall hangings.
22. Embroidery hoops are used to stretch Hessian for making smaller items.
23. Artist’s stretchers make a good portable frame and are available in pairs in many different lengths. Always use a frame larger than the finished piece of work.
24. Pliers are used to cut wire, particularly in the wrapping technique.
25. Sewing machine. This is not an essential item, but very helpful for stitching appliqué and hems.
26. Rotary cutter. This is useful for quickly cutting layers of fabric into strips.
27. Staple gun. This can be used to attach the Hessian to the frame quickly.
28. Iron. Hessian is usually supplied either rolled or folded, so you may need to iron out any creases.
So, all you have to do is to gather all the materials and equipments that you will need (it is not necessary to have everything) and we will start together. Later I will give you the basic techniques and then I will tell you how you can make yourself rugs, jewellery, handbags, cushions and many more things that you probably would like to have or to give to your love ones.
Here I will start with the materials. Do not think of something expensive, the materials are recycled and therefore very inexpensive. Even the most unlikely fabrics, such as crimpling or unfashionable prints, are transformed when cut into strips and mixed with other colors and textures. Modern rag makers even use discarded plastic carrier bags, crisps and sweets packets. The other inexpensive material widely used in rag work is Hessian.
You can find below all the details that you will need concerning materials to use for rag work.
Cotton Fabrics
In particular old printed shirts and dresses or remnants, are ideal for rag work and particularly suitable for plaiting, crochet and knitting.
Jersey Fabrics
Cotton T-shirts are lovely to work with, fray very little and are good for cut or loop pile surfaces.
Fabric strips
A wide variety of fabric can be recycled, including old clothing, curtains and bedclothes. Cut off any fastenings and seams.
Plastic strips
These are a modern option to use with or instead of fabric. Plastic carrier bags slip easily through the Hessian and create unusual textures.
Foil strips
Add sparkle with foil-backed crisps packets and gift wrap.
Black felt
It is used as a smart backing cloth to finish jewellery, mirror frames and tablemats. Cut offcuts into strips and use in another project.
Calico
This is cheap, lightweight cotton very suitable for internal covers for cushion pads. It can be used as a backing cloth.
Hessian
Originally old sacking cloth was used to hook or prod through. Hessian, made from jute, has a pliable, woven construction and the warp and weft threads open and close easily. It is available in different weights. 250gr is perfect for rag work.
Tapestry canvas
It has a more rigid construction and can therefore be worked without a frame. For a rug, choose a weave of three holes to 2.5cm
Carpet webbing tape
This one is a heavy-duty woven calico tape, used to cover the edges of rugs. It comes in various widths.
Carpet binding tape
This is also used to bind edges and seams on the back of rugs.
Thin wire
It is useful in sculpted pieces. It is often used in the wrapping technique.
Latex carpet adhesive
It is used in backing finished pieces of rag work. Use in a well-ventilated area and avoid contact with clothing.
Clear-drying impact adhesive
It can be used in small amounts to stick backing cloth such as felt to smaller pieces of work.
Superglue
It is a very strong, quick-drying adhesive that is used to secure jewellery findings, such as ring fittings etc.
Brooch clip fastenings
These are available in metal in several designs. The two pictured are suitable for rag work jewellery. The brooch bar-style fastening is sewn to the back of work, while the round-shaped fastening is best stuck on.
Hair clip fastenings
They are available in several sizes. Measure the finished hairslide shape to determine the length of the bar needed.
Ring fittings
Made in metal, these are available in silver and gold finishes. Adjustable styles are best.
Drinks can ring pulls
They make ideal hangers for picture and mirror frames.
Elastic hair bands
These are available in a variety of colors so you can coordinate hair accessories.
Black sewing thread
It is used to tack down edges and to slip stitch black felt backing cloth into position.
Invisible thread
It is very strong. It is used to hem finish any color.
Colored sewing threads
For hard-wearing projects, use double-thickness cotton or a polyester mix sewing thread.
Colored viscose / rayon embroidery threads
They come in a selection of bright, acidic colors. Use to bind strips of fabric in wrapping.
Colored cotton embroidery thread
It is thicker than general sewing thread and suitable for hand-sewn decorative finishes.
All the above are basic the materials that you will probably need for rag work. You can use other materials as well, if you think they match.
Besides the materials you will need equipment as well. Rag work requires very few specialist tools. The equipment needed depends on which rag work techniques you are using. Plaiting and wrapping need least equipment of all; little more than a needle and thread. Knitting and crochet are done with ordinary needles. For hooking or prodding, you need a frame of some kind. Small projects can be worked in an embroidery hoop.
Here you can find a list of equipment that you will probably need.
1. Masking tape is used to stick down a tracing, prevent the raw edges of Hessian fraying, or to tape the rough edges of tapestry canvas, to avoid skin irritation.
2. Tape measure. This is an essential item and more flexible than a ruler.
3. Dressmaker’s pins are handy to hold fabric in place before stitching.
4. Safety pin. This is used in the plaiting technique.
5. Sewing needles are constantly used for finishing, especially when attaching the backing cloth. Also they are important in plaiting.
6. Crochet hook (10 mm size) is needed for the crochet technique and it can also be used in the hooking technique.
7. Knitting needles (10 mm size) are used for the knitted patchwork rug.
8. Drawing paper. It is always a good idea to draw the design first.
9. White card is used for making templates.
10. Cutting mat. A plastic self-healing cutting mat prevents marking your table.
11. Tracing paper is used to sketch and transfer the design.
12. String is used in setting up a frame. By using a large-eyed needle, stitch the string through the Hessian and around the frame edge to get the Hessian taut.
13. Craft knife. Use as an alternative to scissors for cutting out templates.
14. Scissors are essential in all rag work projects. You need two pairs: a sharp pair for cutting fabric and a pair for cutting paper, foil and plastic, as these materials will blunt the blades.
15. Marker pen. A large, black, indelible marker pen works best for marking out the design on the Hessian
16. Transfer pencil. This is used to transfer the design on to the Hessian. Draw over the reverse of the artwork, and then iron on.
17. Prodder. This is a blunt-ended wooden tool used in making a prodded mat. An alternative is a large, smooth-ended wooden peg.
18. Hook. This has a hand-turned yew handle with a tapering brass sharp-ended hook. It is pushed through the Hessian up to the wooden handle, leaving a large hole.
19. Metre rule. Use this to mark out the outline of a large rug on to Hessian.
20. Ruler. Use this to measure straight edges for small-scale design work.
21. Large adjustable frame and pegs. The traditional wooden mat-making frame is adjustable, with two pieces of wood for the length, two) with drilled holes in which to position the pegs) for the sides, and four turned wooden pegs, one for each corner. The length can be wrapped round the frame so that you can continue working on the next area, approximately 56 cm deep. Hessian is stapled or strung on to the frame and the pegs are then positioned one at each corner, keeping the Hessian very taut. Use this for larger rugs and wall hangings.
22. Embroidery hoops are used to stretch Hessian for making smaller items.
23. Artist’s stretchers make a good portable frame and are available in pairs in many different lengths. Always use a frame larger than the finished piece of work.
24. Pliers are used to cut wire, particularly in the wrapping technique.
25. Sewing machine. This is not an essential item, but very helpful for stitching appliqué and hems.
26. Rotary cutter. This is useful for quickly cutting layers of fabric into strips.
27. Staple gun. This can be used to attach the Hessian to the frame quickly.
28. Iron. Hessian is usually supplied either rolled or folded, so you may need to iron out any creases.
So, all you have to do is to gather all the materials and equipments that you will need (it is not necessary to have everything) and we will start together. Later I will give you the basic techniques and then I will tell you how you can make yourself rugs, jewellery, handbags, cushions and many more things that you probably would like to have or to give to your love ones.
Monday, October 1, 2007
Building Fixed-Glass Windows
While building a house a few years ago, we experienced the usual number of surprises at material costs and delivery times. One of the worst surprises concerned fixed-glass windows. The home is a passive-solar design, so it includes many such windows. We reasoned that because these windows were substantially simpler in construction than the wooden casement windows used elsewhere, they would cost less.
A typical wooden casement is a marvel of precision construction, maintaining airtight weather-seals over many linear feet of sash and through years of winter storms and summer heat. In the San Francisco Bay Area, casement windows typically cost $20 to $30 per sq. ft. of glazed area, including screens. Although window wholesalers told us not to rely on this approximation, we found it to be generally accurate.
We were shocked to discover that a fixed-glass equivalent would run $35 to $45 per sq. ft. of glazed area - an assembly without moving parts or weather-stripping. Adding insult to injury, the first company we contacted quoted a 14 week delivery time. Other companies promise slightly better delivery times, but could not break the $35 per sq. ft. price barrier.
We did not consider ourselves window craftsmen. And it remains true that casement window require so much special tooling that we could not reasonably compete with a production window shop. But the project architect convinced us that we could build quality fixed-glass window in a reasonable amount of time and do so at a price (including our labour, of course) far below the alternatives.
Simple frames
The house is a single-story contemporary with opposing shed roofs and a clerestory. Because the fixed-glass windows follow the roof lines they are trapezoidal. Altogether there are 12 of these windows scattered around the house. We started by laying out all the windows full-scale on the sub-floor.
By far, the most important detail in any window is the sill. The sill is the last stopping point for water before it either drips harmlessly off the house, or is pulled destructively into the walls by capillary action. The 15o bevel on the front of the sill directs water away from the building, while the drip kerf underneath the sill guarantees that capillary action will not pull the water into the house. Milling the jambs and sills from solid stock and incorporating integral stops (rather than using applied stops) similarly prevents water from migrating past the glazing.
The window sills are 1.75 inch thick altogether, with a 0.75 inches thick integral stop, a 0.75 inches thick centre section and a 0.25 inches rabbet in the bottom that fits over the rough opening and further discourages water from entering the house. The head and jamb pieces, which are identical to each other in cross section, are essentially sill pieces without the bevel and kerf details, but they are only 1.50 inches thick altogether because they do not need the 0.25 inches rabbet. The jambs and sills are made of #1 clear white pine and were milled on a table-saw with a dado blade.
All the surfaces that would show after installation were first sanded, and then the pieces were cut to the proper length and angle. The integral stops on the end of each piece had to be cut back (notched) in order to butt the side jambs into the headers and sills. We cut the sills so that the bevelled portion extended past the side jambs on both sides by the width of the exterior trim. The frames were glued and screwed together, and then each was laid on top of its respective chalk-line template on the sub-floor to check the dimensions.
Setting the frames
After the glue had cured, we painted the window frames, the exterior stop and the exterior trim with two coats of primer. After cutting the exterior trim, we attached it to the jambs and heads with a pneumatic finish nailer, driving 8d aluminium finish nails. We stay away from electroplated galvanized nails because they seem to lose their plating and eventually bleed. If we were hand-nailing, though, hot-dipped galvanized 8ds would have been fine. The nail holes were puttied and sanded smooth.
The finished (but unglazed) frames were then set in the rough openings, plumbed and nailed into place. We use standard flashing details, but for good measure, we always run a bead of caulk between the top of the trim and the building paper. After installing the siding, we caulked again between the siding and trim.
Fitting the glass
To make sure the insulating glass would fit into our frames, we cut cardboard template 3/8 inches smaller than the width of the window opening and 3/16 inches smaller than the height and gave them to a glass company. When installing the glass, you can either seal it with glazing tape or with caulking. But if you use caulking, make sure it is compatible with the seal used by the insulating-glass manufacturer. In this case, we used caulk and applied it against the vertical face of each integral stop. We followed with a second application on the outside between the glass and the exterior stops. We used redwood for the exterior stops and nailed them up with 6d aluminium nails. For extra protection, we cut 15o bevels in the sill stops.
We set the glass directly on the sill and have had no problems with it in the two years that the windows have been in place. We have since learned, however, that the Sealed Insulating Glass Manufacturer's Association (SIGMA) recommends setting fixed glass on a pair of small neoprene blocks (called setting blocks), which help distribute the weight of the glass and prevent water from being trapped behind the glass. SIGMA also recommends drilling a pair of weep holes in the exterior sill stops.
Corner sidelight
At the front entrance of the house we built a large sidelight with two panes of glass meeting at right angles. In this case only one header - supported by an exterior wall on one end and by an interior partition on the other - was needed to carry the roof loads. It is conceivable that two headers could be required in circumstances where two load-bearing walls intersect at the window. Several manufacturers of metal connectors make a framing clip for headers that intersect other headers. Because of the unusual glazing detail, it was critical that the rough opening be plumb on either side of the window's corner.
The corner unit was built with the same jamb, sill and head sections as the other windows. First the sill and jamb stock were fabricated as described in the previous sections. Then the sills and heads were mitered and cut to length in matching pairs. Accuracy in cut length was important to guarantee a square opening for the glass. The jambs were cut to matching lengths and the whole unit was assembled near the rough opening.
Before the glue had a chance to set, we placed the unit in the rough opening, aligned the corner of the sill with the corner of the framing, shimmed it level and tacked it in place. We used a plumb bob to align the mitered corner of the head jamb to the identical point on the sill below. Next, the sill was tacked near each jamb and the head adjusted in or out until plumb. Then we stepped back and double-checked that everything was plumb and level.
It was not critical that the corner be exactly 90o. The critical requirement was that the jambs were plumb so that the two panes of glass would meet neatly at the corner. If small adjustments were needed, this was the time to make them. Once everything was plumb and level, we set the nails, puttied the holes and sanded them smooth.
Because of the proximity of the window to the door and to the floor, we had to use safety glass. And to achieve a clean line at the intersection of the glass, we used single panes (1/4 inches thick) rather than double-pane insulating glass, which would have made an awkward corner. We installed the glass exactly as before except that we applied a bead of clear silicone between the mating glass surfaces at the corner. After the silicone set, we trimmed off the excess inside and out with a razor blade. The final step was to miter the exterior stops and nail them into place.
Number crunching
When the windows were finished, I calculated how much they had cost us. We paid $4.34 per sq. ft for the insulating glass, $3.29 per sq ft for the tempered glass and billed our time at $40 per hour. The cost for all 12 windows and the corner side-light averaged just under $15 per sq ft.
Building fixed-glass windows is simpler than you might think. After making and installing the window frames, a bead of caulk is run around interior stops and the double-pane insulating glass is set in the opening and held in place with wooden stops.
Tip: Working on the job site with the tools at hand, you can easily beat the cost of special orders.
A typical wooden casement is a marvel of precision construction, maintaining airtight weather-seals over many linear feet of sash and through years of winter storms and summer heat. In the San Francisco Bay Area, casement windows typically cost $20 to $30 per sq. ft. of glazed area, including screens. Although window wholesalers told us not to rely on this approximation, we found it to be generally accurate.
We were shocked to discover that a fixed-glass equivalent would run $35 to $45 per sq. ft. of glazed area - an assembly without moving parts or weather-stripping. Adding insult to injury, the first company we contacted quoted a 14 week delivery time. Other companies promise slightly better delivery times, but could not break the $35 per sq. ft. price barrier.
We did not consider ourselves window craftsmen. And it remains true that casement window require so much special tooling that we could not reasonably compete with a production window shop. But the project architect convinced us that we could build quality fixed-glass window in a reasonable amount of time and do so at a price (including our labour, of course) far below the alternatives.
Simple frames
The house is a single-story contemporary with opposing shed roofs and a clerestory. Because the fixed-glass windows follow the roof lines they are trapezoidal. Altogether there are 12 of these windows scattered around the house. We started by laying out all the windows full-scale on the sub-floor.
By far, the most important detail in any window is the sill. The sill is the last stopping point for water before it either drips harmlessly off the house, or is pulled destructively into the walls by capillary action. The 15o bevel on the front of the sill directs water away from the building, while the drip kerf underneath the sill guarantees that capillary action will not pull the water into the house. Milling the jambs and sills from solid stock and incorporating integral stops (rather than using applied stops) similarly prevents water from migrating past the glazing.
The window sills are 1.75 inch thick altogether, with a 0.75 inches thick integral stop, a 0.75 inches thick centre section and a 0.25 inches rabbet in the bottom that fits over the rough opening and further discourages water from entering the house. The head and jamb pieces, which are identical to each other in cross section, are essentially sill pieces without the bevel and kerf details, but they are only 1.50 inches thick altogether because they do not need the 0.25 inches rabbet. The jambs and sills are made of #1 clear white pine and were milled on a table-saw with a dado blade.
All the surfaces that would show after installation were first sanded, and then the pieces were cut to the proper length and angle. The integral stops on the end of each piece had to be cut back (notched) in order to butt the side jambs into the headers and sills. We cut the sills so that the bevelled portion extended past the side jambs on both sides by the width of the exterior trim. The frames were glued and screwed together, and then each was laid on top of its respective chalk-line template on the sub-floor to check the dimensions.
Setting the frames
After the glue had cured, we painted the window frames, the exterior stop and the exterior trim with two coats of primer. After cutting the exterior trim, we attached it to the jambs and heads with a pneumatic finish nailer, driving 8d aluminium finish nails. We stay away from electroplated galvanized nails because they seem to lose their plating and eventually bleed. If we were hand-nailing, though, hot-dipped galvanized 8ds would have been fine. The nail holes were puttied and sanded smooth.
The finished (but unglazed) frames were then set in the rough openings, plumbed and nailed into place. We use standard flashing details, but for good measure, we always run a bead of caulk between the top of the trim and the building paper. After installing the siding, we caulked again between the siding and trim.
Fitting the glass
To make sure the insulating glass would fit into our frames, we cut cardboard template 3/8 inches smaller than the width of the window opening and 3/16 inches smaller than the height and gave them to a glass company. When installing the glass, you can either seal it with glazing tape or with caulking. But if you use caulking, make sure it is compatible with the seal used by the insulating-glass manufacturer. In this case, we used caulk and applied it against the vertical face of each integral stop. We followed with a second application on the outside between the glass and the exterior stops. We used redwood for the exterior stops and nailed them up with 6d aluminium nails. For extra protection, we cut 15o bevels in the sill stops.
We set the glass directly on the sill and have had no problems with it in the two years that the windows have been in place. We have since learned, however, that the Sealed Insulating Glass Manufacturer's Association (SIGMA) recommends setting fixed glass on a pair of small neoprene blocks (called setting blocks), which help distribute the weight of the glass and prevent water from being trapped behind the glass. SIGMA also recommends drilling a pair of weep holes in the exterior sill stops.
Corner sidelight
At the front entrance of the house we built a large sidelight with two panes of glass meeting at right angles. In this case only one header - supported by an exterior wall on one end and by an interior partition on the other - was needed to carry the roof loads. It is conceivable that two headers could be required in circumstances where two load-bearing walls intersect at the window. Several manufacturers of metal connectors make a framing clip for headers that intersect other headers. Because of the unusual glazing detail, it was critical that the rough opening be plumb on either side of the window's corner.
The corner unit was built with the same jamb, sill and head sections as the other windows. First the sill and jamb stock were fabricated as described in the previous sections. Then the sills and heads were mitered and cut to length in matching pairs. Accuracy in cut length was important to guarantee a square opening for the glass. The jambs were cut to matching lengths and the whole unit was assembled near the rough opening.
Before the glue had a chance to set, we placed the unit in the rough opening, aligned the corner of the sill with the corner of the framing, shimmed it level and tacked it in place. We used a plumb bob to align the mitered corner of the head jamb to the identical point on the sill below. Next, the sill was tacked near each jamb and the head adjusted in or out until plumb. Then we stepped back and double-checked that everything was plumb and level.
It was not critical that the corner be exactly 90o. The critical requirement was that the jambs were plumb so that the two panes of glass would meet neatly at the corner. If small adjustments were needed, this was the time to make them. Once everything was plumb and level, we set the nails, puttied the holes and sanded them smooth.
Because of the proximity of the window to the door and to the floor, we had to use safety glass. And to achieve a clean line at the intersection of the glass, we used single panes (1/4 inches thick) rather than double-pane insulating glass, which would have made an awkward corner. We installed the glass exactly as before except that we applied a bead of clear silicone between the mating glass surfaces at the corner. After the silicone set, we trimmed off the excess inside and out with a razor blade. The final step was to miter the exterior stops and nail them into place.
Number crunching
When the windows were finished, I calculated how much they had cost us. We paid $4.34 per sq. ft for the insulating glass, $3.29 per sq ft for the tempered glass and billed our time at $40 per hour. The cost for all 12 windows and the corner side-light averaged just under $15 per sq ft.
Building fixed-glass windows is simpler than you might think. After making and installing the window frames, a bead of caulk is run around interior stops and the double-pane insulating glass is set in the opening and held in place with wooden stops.
Tip: Working on the job site with the tools at hand, you can easily beat the cost of special orders.
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