Make your own nightlights, Napkins, Tablecloths and many more...!
Creating anything is exciting! Imagine creating things for your own house, office or even your car... You will not only entertain yourself by doing that, but you will save money as well. Not to mention that everything that you do it is going to be unique, even if you follow instructions. Just try this experience and believe me it is going to be an addiction for you. Here you will find several ideas that you might like. Try them, enjoy and good luck!
Nightlights from tin cans
Candles at the table always create an intimate atmosphere and make an unusual centrepiece. These nightlights are based on Shaker-style punched-tin lanterns.
You will need:
- Plain tin cans of varying sizes, used for fruit or vegetables (not soft drinks)
- Tracing paper
- Masking tape
- Drill with a metal bit
- Candles
1. Take the top off the can using a traditional can opener with a butterfly side handle that leaves the rim intact.
2. Cut the tracing paper to match the depth and circumference of the can. Work out the pattern on the tracing paper - keep to simple shapes that are easily identifiable, such as stars, hearts or fish.
3. Mark dots at intervals along the outline of the shapes - not too close together - and tape the tracing-paper image around the outside of the can.
4. Using a metal bit on your drill, drill holes where you have marked the dots. Be careful not to let the can or drill slip. The can may buckle under the pressure, but it is easily straightened.
Remnant napkins
Napkins are the easiest thing in the world to make. If you use leftover fabrics they can match the rest of the room. Just make sure that any fabric you use is washable.
You will need:
- 50 cm cream fabric for each napkin
- 2 m ribbon for heart napkin
- Matching thread
- Contrast fabric for heart, patchwork and appliqué napkin
- 4 m ribbon for buttonhole napkin
Heart napkin
1. Cut the napkin fabric to 50 cm square. Turn a 1.5 cm hem on to the right side of the fabric and iron to keep in place.
2. Cut four 50 cm lengths of ribbon, allowing for a 1.5 cm hem on each length. Pin the ribbon to each hemmed edge of the napkin, turning under the hem and overlapping the ribbon at each corner. Stitch the ribbon in place.
3. Trace a heart shape on to contrasting fabric. Cut it out and pin it on to the corner of the napkin. If you have a sewing machine you can satin-stitch around the edge of the heart. If you are sewing by hand, use two strands of thread together for a more substantial edge.
Patchwork napkin
1. Cut four 15 cm squares from four complementary fabrics.
2. Sew four of the squares - one of each fabric - together in a strip, with a 1 cm hem on each seam.
3. The next three strips are sewn together in the same way but each square moves along one place horizontally.
4. The four strips are then sewn together to make a square.
5. With right sides facing, sew the square to plain fabric the same size, leaving an opening to turn the napkin right sides out. Press and sew up opening.
Appliqué Napkin
For this one I used a wavy flower pattern, cutting the pattern to follow the design of the fabric. You could use any fabric with a simple pattern - maybe leftover curtain fabric.
1. Cut the napkin fabric to 50 cm sq and cut two wavy strips in contrasting fabric for the appliqué following the printed pattern.
2. Pin the appliqué fabric to the napkin fabric, keeping the design towards the centre so that it can be seen when folded. Carefully satin stitch the appliqué in contrasting thread.
3. Turn a hem on the reverse side to hide the raw edges.
Ribbon and buttonhole napkin
1. Cut the napkin to 50 cm sq and turn under and machine a narrow hem.
2. Mark out the position of the buttonholes with a pencil - one on each corner and four along each side of the napkin - so that the ribbon threads through the holes and ties in a knot at the corner.
3. Sew each buttonhole by hand or by following the instructions given with your sewing machine. The length of the buttonhole will depend on the width of the ribbon you intend to use.
4. Cut four equal pieces of ribbon, at least one and a half times the length of the napkin. Thread through the buttonholes, with two ends coming out at each corner and tie in a loose knot or a bow if the ribbon is long enough.
Pleated tablecloth for a round table
Tablecloths never seem to fit round tables properly. This pleated cloth fits perfectly and uses about two metres of fabric, depending on the size of the table. Be sure to choose contrasting complementary fabrics for the cloth and internal pleats.
You will need:
- 2 m fabric
- 50 cm contrasting fabric
- Matching thread
- Sewing machine
1. Measure the dimensions of the table top - the one I used had a 104 cm diameter and 320 cm circumference. The drop of the tablecloth is to be 20 cm.
2. Cut a circular piece of fabric for the table top, adding a 2 cm hem allowance. Cut four rectangles of the same fabric, 82 cm x 22 cm for the drop. Also cut four 22 cm squares of fabric from a contrasting fabric for the inverted pleats.
3. Join all eight pieces together alternately, giving each join a 1 cm seam.
4. With right side facing, place a pin vertically in the centre of the contrast fabric pleat and fold the border fabric in towards the pin and then back on it. Pin the fabric in place and repeat on the other side. Pin the other three pleats this way.
5. Pin and tack the border on to the circular top and sew in place.
6. Turn up a 1 cm hem and press. The cloth should fit the table exactly.
Variation:
1. To make the border, instead of cutting four rectangles of fabric, cut one strip, 15 cm by the circumference of the table, plus 1 cm seam allowance at each end.
2. Cut another strip of cream contrast fabric, 7 cm deep by the same length.
3. With right sides together, sew them horizontally with a 1 cm seam and press the seam open. Then join the two sides together with a 1 cm seam. Press this seam open. Join the border to the top fabric with a 1 cm hem.
Painted glasses
Paint glasses to match your china or decorate them for a special occasion such as a birthday or wedding. Glass paint is reasonably permanent so wash glasses by hand using a soft cloth or sponge and do not rub the design.
You will need:
- Glasses
- Pearle-scent glass paint
- Paintbrushes
1. Wash the glasses in hot soapy water and dry with a glass cloth. Remove any glue from price labels with methylated spirits.
2. Use one colour at a time or the paints will run into each other. To make the spots, dot blobs of paint and leave to dry.
3. Outline the spots in a different colour and leave to dry. Continue building up the layers of paint until you get the intensity of colour that you want. I usually give the glasses I paint four coats of paint.
Variation:
- Cut shapes from sticky-back plastic to stick on to the glass. Trace numbers from a book to encourage children to count, or cut thin strips of different colours and stick on in a continuous spiral.
Saturday, November 17, 2007
Thursday, November 8, 2007
Creating Paint Effects
You can create a wide range of effects by using paints and glazes. Use paint for designing patterns and deceiving the eye with colour and perspective. Use glazes for their semi-transparent quality to produce depth and translucence.
Considering Options
- Simple paint effects can have just as much impact as those involving more complex techniques. If you are a beginner, choose a simple effect that uses coloured emulsions. You can mix coloured glazes, and attempt more extravagant finishes, as you gain experience.
CHOOSING EFFECTS
Selecting methods
- There are two main methods of creating paint effects. Either a tool is dipped into paint or glaze and then applied to a wall, or a glaze is applied to a wall with a brush and a tool is pressed into the glaze. The former is an "on" technique; the latter is "off". Even if you use the same glaze and the same tool, a different finish will be achieved depending on which method you employ.
Applying a base coat
- Always apply a base coat. Light shades are best, since you can then build up colour; eggshell or emulsion are ideal.
PREPARING TO PAINT
Roughing it
- Examine all walls carefully. Rough, textured walls are ideal for sponging, which disguises defects, while smooth, dead flat walls will show stippling off to its best.
Assessing suitability
- Choose ragging or bagging rather than rag rolling on a wall that has pipe-work or switches. Rag rolling needs a constant motion, not frequent interruptions. Joins are difficult to disguise.
Getting ready
- Make sure that all materials and tools are ready for use, since once you start a wall you should finish it without interruption. If you do not, some areas will dry before others and the joins will show.
Types of Paint Effect
- Whichever paint effect you choose, make sure that you have all tools and materials to hand. Try to maintain consistent hand movements from one wall to another for an even overall finish.
Sponging on
- It is probably the easiest paint effect to create. Emulsions or glazes can be used. Natural sea sponges are the ideal tools to work with, although synthetic sponges can be substituted.
Sponging off
- A mixed glaze should be used for this effect. A sea sponge must be used since substitutes tend to smudge the finish. This is a natural progression from sponging on in terms of difficulty.
Ragging
- It involves a similar technique to that of sponging, except a crumpled, lint-free cloth is used instead of a sponge. A mixed glaze should be used for the best results.
Bagging
- It involves the same technique as ragging, except a plastic bag is used instead of a rag. This creates a more sharply defined texture compared to the fabric alternatives used in ragging.
Rag rolling
- With rag rolling, a rag is rolled down the wall to create the effect of tumbling material. It is best to rag roll off, since uniformity and consistency are difficult to achieve when applying on.
Stippling
- A stippled effect is created by pressing the bristle tips of a stippling brush into a wet glaze. The technique is only suitable for glazes, and continuity is important to prevent joins or overlaps.
Colour-washing
Colour-washing is probably the oldest paint technique. Use a large paint brush to apply a highly diluted glaze to wall surfaces. This will produce a translucent finish through which the base coat shows, creating depth and texture.
Stabilizing a wash
- A wash should have the consistency of highly diluted paint. To prevent it from running off the walls, add a small amount of PVA to the mix to help it adhere to the wall surface.
Adding depth
- Apply several coats and vary colour slightly to create a wonderful feeling of depth. Warm colours will give a glow to any room.
Choosing walls
- Apply a wash to a rough surface to create texture. The colour will clear from the peaks but build up in the troughs, creating a great textured finish.
MAKING GLAZES
A glaze is the medium for creating paint effects. It is distinguished by its ability to hold patterned impressions and long drying time that allows you to create an effect. Glazes have traditionally been oil based, but modern acrylics are popular and are often supplied ready mixed.
Colouring Glazes
- Mix colours before adding to glaze.
Mixing acrylic colours
- Use an artist's brush to mix acrylic colours. Mix the colour first on a surface such as a paint-tin lid, and make sure it is the right shade. Decant the basic glaze into an old jam jar, and add the acrylic colour to it.
Calculating Quantities
Diluting colour
- For a good acrylic-based glaze, five to ten per cent of the mixture should be colour and the rest glaze. Add the colour to the glaze and mix thoroughly. A clean jam jar is ideal for mixing small quantities of colour in this way, since you can screw the lid on tightly before shaking the colours to mix them well.
Estimating amounts
- Glazes go much further than standard paints. Dilute acrylic glazes with a small amount of water to increase the coverage of the glaze. Estimate how much you will need by halving the amount of standard paint you would require to cover the same sized area of wall.
Traditional Tip:
- Mixing a traditional glaze
For 1 litre add 600 ml white spirit to 300 ml boiled linseed oil and 120 ml white, oil-based undercoat or eggshell. Tint using artist's oil paints.
Sponging
- Whether sponging whole walls or selected areas, such as beneath a dado rail, this effect transforms the look of a flat wall surface. A single layer of sponging produces a subtle, airy pattern, while multiple layers produce a busier, bolder effect that has greater depth.
Sponging Successfully
Removing excess
- When sponging on, decant the glaze on to an old plate or rimmed paint-tub lid. Dip the face of a damp sponge into the glaze, and remove excess by drawing the sponge across the rim; otherwise the first impression will be thick and blotchy. If you do apply too much, reapply some base colour.
Rotating the hand
- Rotate the hand into a slightly different position after each impression to keep the pattern random.
Sponging corners
- Tape a small piece of sponge on to the end of a pencil to enable you to reach right into corners.
Using colour effectively
Sponging dark on to light
- Use a light base coat and gradually apply darker shades on top to produce a highly distinctive pattern. The colour of the final coat applied will always be the most dominant.
Sponging light on to dark
- use a dark base coat and apply progressively lighter shades on top for a translucent effect. You will see a larger colour range since the light colours will not obliterate preceding coats.
Stippling
Stippling is a subtle paint effect, using a brush to create the impression of a textured surface that may range from a light, velvety appearance to a coarser finish, depending on the size and compactness of the bristles. This is a time-consuming technique, but very satisfying.
Choosing Brushes
Using specialist brushes
- If you can afford one, buy a stippling brush, which is ideal for stippling since it consists of a thick wad of bristles.
Finding an alternative
- For a less costly alternative to a stippling brush, trim the bristles of a wallpaper-hanging brush with sharp scissors. Make a dead flat pad of bristles so that all the ends will be in contact with the wall.
Stippling Effectively
Working in sections
- Apply glaze in areas of about 1 m2, using a large paint brush. Cover as evenly as you can, then dab the stippling brush lightly on the wet glaze.
Creating uniformity
- Work from left to right and top to bottom. Do not overlap stipples because they will appear as more heavily shaded areas.
Preventing clogging
- After each area has been stippled, wipe the head of the brush with a lint-free cloth to remove excess glaze. A build-up of glaze will create a patchy effect over the wall.
Adding depth
- Use a slightly darker glaze in the corners of a wall than towards the centre to create a feeling of depth.
Time-Saving Tip: Glazing with a roller
- Use a fine mohair roller to apply glaze to a wall. This is much quicker than using a brush and therefore allows more time for creating an effect. Do not overload the roller, or the glaze might run.
Ragging
- Ragging is similar to sponging, except that a crumpled lint-free cloth is used rather than a sponge. Ragging "off" is easier and more effective than ragging "on". With the latter, cloths become clogged up with glaze, producing a rather gummy, patchy finish.
Creating the Effect
Building up pattern
- Using a damp, scrunched-up rag, apply light pressure on the glaze. Change your grip frequently to produce a random pattern. Return to missed areas before the glaze dries. Rinse the cloth regularly.
Shielding Surfaces
Avoiding smudges
- Hold a strip of card against the adjacent wall to prevent the edge of the rag from smudging colour on to it. Move the card down as you paint. Wipe the card regularly to avoid a glaze build-up.
Bagging
- Use the same technique as for ragging, but substitute a plastic bag for the lint-free cloth.
Choosing bags
- You will need a ready supply of bags to hand so that you can throw one away and pick up a new one as you need to.
Experimenting
- Different types of plastic create different effects: do not be afraid to experiment.
Softening edges
- Bagging creates an angular effect. For a more understated look, gently brush the bagged surface. Use a softening or wallpaper-hanging brush.
Rag Rolling
- Rag rolling requires a more ordered technique than simple ragging, because the effect created is one-directional: it mimics falling material. It is ideal for areas such as those beneath dados and in wall panels, since it is difficult to execute uniformly over large areas.
The above techniques are easy to use. Take your time and enjoy!
Considering Options
- Simple paint effects can have just as much impact as those involving more complex techniques. If you are a beginner, choose a simple effect that uses coloured emulsions. You can mix coloured glazes, and attempt more extravagant finishes, as you gain experience.
CHOOSING EFFECTS
Selecting methods
- There are two main methods of creating paint effects. Either a tool is dipped into paint or glaze and then applied to a wall, or a glaze is applied to a wall with a brush and a tool is pressed into the glaze. The former is an "on" technique; the latter is "off". Even if you use the same glaze and the same tool, a different finish will be achieved depending on which method you employ.
Applying a base coat
- Always apply a base coat. Light shades are best, since you can then build up colour; eggshell or emulsion are ideal.
PREPARING TO PAINT
Roughing it
- Examine all walls carefully. Rough, textured walls are ideal for sponging, which disguises defects, while smooth, dead flat walls will show stippling off to its best.
Assessing suitability
- Choose ragging or bagging rather than rag rolling on a wall that has pipe-work or switches. Rag rolling needs a constant motion, not frequent interruptions. Joins are difficult to disguise.
Getting ready
- Make sure that all materials and tools are ready for use, since once you start a wall you should finish it without interruption. If you do not, some areas will dry before others and the joins will show.
Types of Paint Effect
- Whichever paint effect you choose, make sure that you have all tools and materials to hand. Try to maintain consistent hand movements from one wall to another for an even overall finish.
Sponging on
- It is probably the easiest paint effect to create. Emulsions or glazes can be used. Natural sea sponges are the ideal tools to work with, although synthetic sponges can be substituted.
Sponging off
- A mixed glaze should be used for this effect. A sea sponge must be used since substitutes tend to smudge the finish. This is a natural progression from sponging on in terms of difficulty.
Ragging
- It involves a similar technique to that of sponging, except a crumpled, lint-free cloth is used instead of a sponge. A mixed glaze should be used for the best results.
Bagging
- It involves the same technique as ragging, except a plastic bag is used instead of a rag. This creates a more sharply defined texture compared to the fabric alternatives used in ragging.
Rag rolling
- With rag rolling, a rag is rolled down the wall to create the effect of tumbling material. It is best to rag roll off, since uniformity and consistency are difficult to achieve when applying on.
Stippling
- A stippled effect is created by pressing the bristle tips of a stippling brush into a wet glaze. The technique is only suitable for glazes, and continuity is important to prevent joins or overlaps.
Colour-washing
Colour-washing is probably the oldest paint technique. Use a large paint brush to apply a highly diluted glaze to wall surfaces. This will produce a translucent finish through which the base coat shows, creating depth and texture.
Stabilizing a wash
- A wash should have the consistency of highly diluted paint. To prevent it from running off the walls, add a small amount of PVA to the mix to help it adhere to the wall surface.
Adding depth
- Apply several coats and vary colour slightly to create a wonderful feeling of depth. Warm colours will give a glow to any room.
Choosing walls
- Apply a wash to a rough surface to create texture. The colour will clear from the peaks but build up in the troughs, creating a great textured finish.
MAKING GLAZES
A glaze is the medium for creating paint effects. It is distinguished by its ability to hold patterned impressions and long drying time that allows you to create an effect. Glazes have traditionally been oil based, but modern acrylics are popular and are often supplied ready mixed.
Colouring Glazes
- Mix colours before adding to glaze.
Mixing acrylic colours
- Use an artist's brush to mix acrylic colours. Mix the colour first on a surface such as a paint-tin lid, and make sure it is the right shade. Decant the basic glaze into an old jam jar, and add the acrylic colour to it.
Calculating Quantities
Diluting colour
- For a good acrylic-based glaze, five to ten per cent of the mixture should be colour and the rest glaze. Add the colour to the glaze and mix thoroughly. A clean jam jar is ideal for mixing small quantities of colour in this way, since you can screw the lid on tightly before shaking the colours to mix them well.
Estimating amounts
- Glazes go much further than standard paints. Dilute acrylic glazes with a small amount of water to increase the coverage of the glaze. Estimate how much you will need by halving the amount of standard paint you would require to cover the same sized area of wall.
Traditional Tip:
- Mixing a traditional glaze
For 1 litre add 600 ml white spirit to 300 ml boiled linseed oil and 120 ml white, oil-based undercoat or eggshell. Tint using artist's oil paints.
Sponging
- Whether sponging whole walls or selected areas, such as beneath a dado rail, this effect transforms the look of a flat wall surface. A single layer of sponging produces a subtle, airy pattern, while multiple layers produce a busier, bolder effect that has greater depth.
Sponging Successfully
Removing excess
- When sponging on, decant the glaze on to an old plate or rimmed paint-tub lid. Dip the face of a damp sponge into the glaze, and remove excess by drawing the sponge across the rim; otherwise the first impression will be thick and blotchy. If you do apply too much, reapply some base colour.
Rotating the hand
- Rotate the hand into a slightly different position after each impression to keep the pattern random.
Sponging corners
- Tape a small piece of sponge on to the end of a pencil to enable you to reach right into corners.
Using colour effectively
Sponging dark on to light
- Use a light base coat and gradually apply darker shades on top to produce a highly distinctive pattern. The colour of the final coat applied will always be the most dominant.
Sponging light on to dark
- use a dark base coat and apply progressively lighter shades on top for a translucent effect. You will see a larger colour range since the light colours will not obliterate preceding coats.
Stippling
Stippling is a subtle paint effect, using a brush to create the impression of a textured surface that may range from a light, velvety appearance to a coarser finish, depending on the size and compactness of the bristles. This is a time-consuming technique, but very satisfying.
Choosing Brushes
Using specialist brushes
- If you can afford one, buy a stippling brush, which is ideal for stippling since it consists of a thick wad of bristles.
Finding an alternative
- For a less costly alternative to a stippling brush, trim the bristles of a wallpaper-hanging brush with sharp scissors. Make a dead flat pad of bristles so that all the ends will be in contact with the wall.
Stippling Effectively
Working in sections
- Apply glaze in areas of about 1 m2, using a large paint brush. Cover as evenly as you can, then dab the stippling brush lightly on the wet glaze.
Creating uniformity
- Work from left to right and top to bottom. Do not overlap stipples because they will appear as more heavily shaded areas.
Preventing clogging
- After each area has been stippled, wipe the head of the brush with a lint-free cloth to remove excess glaze. A build-up of glaze will create a patchy effect over the wall.
Adding depth
- Use a slightly darker glaze in the corners of a wall than towards the centre to create a feeling of depth.
Time-Saving Tip: Glazing with a roller
- Use a fine mohair roller to apply glaze to a wall. This is much quicker than using a brush and therefore allows more time for creating an effect. Do not overload the roller, or the glaze might run.
Ragging
- Ragging is similar to sponging, except that a crumpled lint-free cloth is used rather than a sponge. Ragging "off" is easier and more effective than ragging "on". With the latter, cloths become clogged up with glaze, producing a rather gummy, patchy finish.
Creating the Effect
Building up pattern
- Using a damp, scrunched-up rag, apply light pressure on the glaze. Change your grip frequently to produce a random pattern. Return to missed areas before the glaze dries. Rinse the cloth regularly.
Shielding Surfaces
Avoiding smudges
- Hold a strip of card against the adjacent wall to prevent the edge of the rag from smudging colour on to it. Move the card down as you paint. Wipe the card regularly to avoid a glaze build-up.
Bagging
- Use the same technique as for ragging, but substitute a plastic bag for the lint-free cloth.
Choosing bags
- You will need a ready supply of bags to hand so that you can throw one away and pick up a new one as you need to.
Experimenting
- Different types of plastic create different effects: do not be afraid to experiment.
Softening edges
- Bagging creates an angular effect. For a more understated look, gently brush the bagged surface. Use a softening or wallpaper-hanging brush.
Rag Rolling
- Rag rolling requires a more ordered technique than simple ragging, because the effect created is one-directional: it mimics falling material. It is ideal for areas such as those beneath dados and in wall panels, since it is difficult to execute uniformly over large areas.
The above techniques are easy to use. Take your time and enjoy!
Thursday, October 25, 2007
Rag work -Basic Techniques
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.
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.
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