Rug of the Month: November 2019

For November’s rug of the month, Ania is reflecting back on her favorite June flowers, with her Monte Casino Poppies rug. The pattern is an original design by Ania, and it’s dimensions are 18 in. by 22 in. She completed it with half inch torn strips.

Images of the completed rug are included in the post below, along with explanations of Ania’s process for completing this project:

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Ania’s completed “Monte Casino Poppies” project.

You designed this pattern – what inspired you to create it and to embark on this project? 

In presenting my rug hooking journey at a guild meeting, one of the rugs that I showed was my Painterly Poppies rug, from a class with Wanda Kerr. That class had been all about fine shading, and I had been the only one from the class who decided to use torn strips – I loved the effect! Members of the guild really loved the effect too, and asked that I teach a class on fine shading with torn strips.

I created this pattern for that class. Single oriental poppies are my favorite flower, and I designed the pattern so that there are full blooms, buds, and unfolding flowers that all need to be hooked.

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A detail shot of one of the poppies.

What appeals to you about hooking fine detail with torn strips? 

Usually, hookers use torn strips for more primitive patterns. Betsy Reed is well known for using torn strips in her projects. She has her own website, where you can see images of a lot of her projects that she completed using torn strips.

To use torn strips for fine detail shading is unusual. There’s a real challenge to getting the appropriate depth perception, and there’s a certain texture from half inch torn strips. The closer you hook the loops together, the more wavy and curved the loops become, instead of the more uniform appearance of smaller cuts.

How did you approach color planning for this project?

My favorite color is orange, and that is also the most common color you’ll see in oriental poppies. I also wanted a very clear, bright blue day. The combination of blue and orange worked out perfectly, because they’re complementary colors. That made color planning very easy.

When hooking the leaves and stems, I used mostly green wool, but I also used a little bit of purple wool. I chose a purple that matched the value I needed for the leaves. Value is  more important than color. If you have the right value, the eye doesn’t realize if it’s an unexpected color!

The only thing I dyed for in this rug was the background and the whipping yarn. I wanted to maintain the blue sky from the background when I finished my rug, so I dyed the yarn the same color that I used for the background wool. The yarn is a darker shade than the sky, and because they’re the same color, they really work well together.

All the other wool in the project was either leftover from past projects or a texture. If you have a lot of wool in your stash, this project is a nice way to use it up quickly, because using torn strips in this pattern requires a lot of wool.

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The whipping yarn was dyed the same color as the background wool. The yarn is a darker shade, and works well with the background.

What’s your favorite part of this rug?

I really loved hooking the buds and the leaves, and especially the unfurling flower. If you see a poppy bud that is just beginning to open in real life, they are so crinkled and there is so much dimension in a small space. Trying to get that depth in this one flower was a real challenge, but I think I met it pretty well.

I also liked hooking the bright sky. The way I hooked it, it’s like it’s from the perspective of a rabbit in a garden, looking at the poppies and seeing the sky. I thought that perspective was fun.

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Here is a close up of the unfurling poppy. This detail shot also shows the purple wool used in the stems.

Is there anything else you’d like to say about this project?

The great benefit to torn strips is that they’re really quick to hook with – I finished this project in a weekend!

I’ve taught this pattern in a couple of different classes, and my students seem to really enjoy the pattern and the class. I did color planning one on one with each of my students, so there was a really wide variety of types of poppies that were hooked, which was really great to see. If any readers are interested in the class or the pattern, feel free to send me a message! I’m happy to travel if there’s a group of hookers who are interested in the class.

If you have any questions or comments on Ania’s Monte Casino Poppies project, please feel free to leave them in the comments below! 


I recently saw a fabulous version of this pattern completed by Sue Viall. She gave me permission to post an image of her rug and a short write up on her project. Take a look below!

Sue Viall’s “Monte Casino Poppies” project.

Here is Sue’s write-up on her project: “Poppies are one of my favorite flowers and Ania did such a great pattern. The background was hooked vertically, the first one I’ve ever seen and attempted.  I had fun hooking this pattern. The colors of red, orange and yellow really pop. I can’t wait to show my fellow hookers how much I loved and enjoyed this pattern.  Thanks to Ania.”

Thank you, Sue!

Techniques: Quick and Easy Fringe Finish

Have you ever wished you had a quick and easy way to finish a rug? If you’re pressed for time, working with beginners, or you just want to try something different, Ania has a solution for you: a quick fringe finish!

Read on below for instructions on how to create your own fringe finish in a few easy steps. All you will need is your iron, aluminum foil, flexible fabric glue, a knife or chopstick, scissors, and a ruler.

Ania used her quick fringe finish on this plaid rug. 

Step 1: While hooking your rug, ensure you keep the ends of your wool strips long on the edges of your project. You don’t want to trim your strips, because these will be the basis for your fringe. For example, if you want a one inch fringe, the ends of your strips will need to be at least one inch in length.

Step 2: After you’ve finished hooking your rug, press your mat as usual from the back. Then, flip your rug right side up. Press the iron directly against the foundation of your rug, so that the strip ends stand up straight, as shown in the image below.  When you’re done with this step, the ends of your strips should stand straight up on their own.

Press your iron against the base of your rug, so that the ends stand up straight. 


Step 3: Place your rug on a sheet of aluminum foil. Spread a generous ribbon of flexible fabric glue all around the edges of your rug where you plan to have a fringe. Work the glue into your backing with a knife or chopstick.


After you have applied a line of glue, spread it out on your backing along the edge of your rug. 

Step 4: Allow the glue to sit until it dries completely. It should be clear when it’s dried.



Step 5: Trim your backing. Leave approximately 1/3 – 1/2 inch of backing visible where there will be a fringe. This is to ensure no loops from the rug are inadvertently pulled out.

When trimming your backing, leave some of the backing visible from the edge of your rug. 

Step 6: Take your ends and lay them down over the trimmed glued backing, and cut the ends to the desired length of your fringe.

Step 7: Sit back and admire your rug, because you’re done!

If you have any questions for Ania, feel free to leave them in the comments below!

Tips & Tricks: Organizing Swatch Strips

Do you work on multiple rug hooking projects at the same time? Do you often have leftover strips of wool after you’ve finished a project? I do!

A pile of wool from one of Ania’s recent projects.

I frequently work on two or three rug hooking projects simultaneously. I use a wide variety of cuts and colors in my projects, and I also often use techniques that require a large number of swatches, such as double swatching. The passing of time also complicates effectively keeping track of what each swatch I’m using is for. While working on so many different rugs, a significant amount of time can pass before I return to a project to finish it. That can make it tough to remember which swatches I was using. The same is true for keeping track of leftover strips, so that they can be used in a new project months, or even years, after I’ve last needed them.

With so many variables, it can get very complicated very fast trying to keep track of all the strips of wool that you have. Some rug hookers use Sally Sorters, Strip Sorters, or other tools to help with this problem. These tools never quite worked as the perfect solution for me, because I would need so many sorters. Instead, I came up with an easy way to keep track of my wool, and document the specific details for each swatch, using only materials I could find in my home.

I use Ziploc bags, a large safety pin, and a Sharpie to organize my swatches. I use one Ziploc bag to store each value of my swatch. I label each Ziploc bag with the information I want to remember, including the swatch name, the value, and the cut of the strip. I then pin the bags from the swatch together in order from the lightest to the darkest value. If I’m using a swatch that is dyed over a colored wool, I include that base wool as a value zero.


A swatch from one of Ania’s recent projects.

Documenting all of this information allows me to easily deal with potential issues like cutting new strips (because I know exactly what width the original strips were) and dyeing new wool (because I know exactly what color, value, and base wool were used in the original strips). I like to include any information that I think will be useful on the bags.

For this swatch, Ania documented the color (“Gray-12”), the strip size (“#3”), and the value (“5”).

Another advantage to this method is it keeps the wool dust down, and I don’t have to deal with dust spreading to other strips while I’m hooking. Also, when a project is finished, the bags can be re-purposed for the next one.

If you’ve been struggling with keeping track of your strips and keeping your work area tidy and organized, then I hope this method helps you as much as it helped me!

If you have any questions for Ania, feel free to leave them in the comments below! Have a restful Labor Day weekend!

Rug of the Month: July 2019

July’s Rug of the Month is a freshly finished project! This month, Ania has decided to talk about her gargoyle rug. The formal name of the pattern is “Notre Dame Gargoyle,” and it was designed by Ania. The inspiration for the design was a postcard from 1910. The pattern’s dimensions are 28” by 30”, and he’s hooked in #3 and #4 strips of wool.

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Ania’s completed “Notre Dame Gargoyle” rug.

You created this pattern for yourself – what inspired you to do so?

For the longest time, probably since I was in my teens, I’ve always liked gargoyles, the history behind them, and their use in architecture. I realize that not everyone likes gargoyles, or their appearance!

In the early ‘80s, I took a trip to Europe. One of the places we visited was Notre Dame in Paris. I saw this gargoyle for the first time on that trip. Since then, he’s been my favorite gargoyle of all time.

I think the reason why he’s my favorite is because he sits at the very top of the cathedral, with his head on his hands, and observes the city below. It almost looks like a pose a human would strike. He’s been sitting there for centuries, never moving, never changing, and I always wonder: what is he thinking? Sometimes I think he’s deep in thought, sometimes I think he’s being mischievous with his tongue out. He’s always been food for my imagination.

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The vintage postcard that inspired Ania’s pattern.

Since my earliest days of hooking, I’ve always wanted to hook him. Then, I came upon the postcard on eBay last year. I bought the postcard, and that was the start of the pattern I created.

Because he had this imagined personality I had come up with, I wanted to make sure he was the focus of the pattern. I wanted him to be in a very thick fog in the early hours of the morning. I wanted the tower in the background to be visible but only partially, and I wanted only a hint of the buildings below.

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The top half of Ania’s rug. The tower on the left emerges out of the fog. 

How did you approach color planning for this project?

The gargoyle is made of stone, but I also wanted a potential perception that he was alive, or coming alive, which is why I made his eye blue and his tongue pink. The rug, by the nature of the stone and the fog, was going to be in all greys, but I wanted his face to still have a human aspect. At the same time, I didn’t want the colors to be striking – it had to be subtle.

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The gargoyle’s face.

I also wanted to make sure the greys I used to hook the gargoyle really looked like stone, so I used very cool tones. The ledge and the tower and the other greys were warmer.

I used a variety of greys, from warm to cool, to try to ensure there was enough contrast in tone between all of the elements in the rug. When you’re working with mostly the same color in one project, it’s important to have that contrast wherever possible.

I also added a little bit of red to the wall underneath the gargoyles ledge, as a remembrance of the fire at Notre Dame this spring.

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The red dot can be seen in this image, to the left of the crack in the wall, and underneath the shadow from the ledge.

What was the biggest challenge with completing this project?

The fog, I think. I experimented with a couple of different hooking techniques to try to get the right effect.

The gargoyle itself was a challenge as well! Once I got the face done, then there were a variety of different aspects that were “micro-challenges,” like the horns and the wings. There were parts of the gargoyle that I tweaked multiple times, to make sure I got it right.

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Another shot of the gargoyle’s face, with further details of the horns.

Is there anything else of note about this project?

It was important to give him, and the stone ledge he is resting his elbows on, a good deal of dimension and sense of height. I wanted to make sure that came across well.

Directional hooking played a big role in it. I had to use directional hooking to give a 3D effect to it, and to further create contrast.

I might want to do another gargoyle rug, but I think my next take on a gargoyle would be very different from this project. If anyone is interested in this pattern, it is a custom pattern I will be offering for sale in the begining of September 2019. Any interested parties can contact me!

As always, if you have any questions or thoughts you’d like to share with Ania, feel free to leave them in the comments below! On a separate note, we’re delighted to be listed as one of the 60 top rug hooking blogs on Feedspot this past month. Thank you to all the readers for your continued interest and support.

Techniques: How to Tie a Double Knotted Fringe

On a recent rug of the month post, Ania showcased a rug that was finished with a double knotted fringe. This is a fun technique, and Ania decided she wanted to provide a step-by-step guide on how to create that fringe.

This is a time consuming process, but the end result is well worth the effort.

The completed double knotted fringe
DKF Step 1
Step 1

Step 1: I first whipped the short edges of the rug with thick linen thread. I then crocheted over the whipped edge with the same thread. In this example, since I knew I wanted a white fringe, I used a white thread.

I went into further detail on how to crochet the edge of a rug in a prior blog post.

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Step 2

Step 2: I cut linen thread into 12 inch pieces. I combined those 12 inch pieces of thread into groups of three. I folded each group of three pieces of thread in half, and pulled them through the edge of the crocheted section. The loop should be on the underside of the rug, as shown in the photo above.

The free stands from the top were passed through the loop and tightened. We’ve now created a number of six thread segments. These six thread segments will be the foundation for all the knots we’ll create.

DKF Step 1b
Step 3

Step 3: To start your first row of knots, take all six threads on the right hand edge of your rug and separate out the next segment of six threads into two sets of three.

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Step 4

Step 4: The first row of knots will be made using a half hitch knot. To start your first half hitch knot, take the three strands you separated out, and loop them over and under the six strands.

Step 5

Step 5: Pass the end of the three strands through the loop you’ve created, as shown above.

Step 6

Step 6: When you tighten the knot, make sure you keep the knot centered between the two segments of thread. I found it helpful to use a wooden spoon to ensure I created even knots (as shown in step 7e below).

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Step 7a

Step 7: Once you’ve completed your first knot, separate out the third segment of six threads into two sets of three pieces. To create the first knot, I used the first segment of thread, and half of the second segment of thread. To create the second knot, I used the remaining half of the second segment of thread and half of the third segment of thread.

All of the knots in the middle of your rug will be made with two halves from two segments of thread. The only knots that will use all six threads in one segment will be the two on the ends.

Continue to tie half hitch knots across the edge of your rug, as shown in the images below, labeled step 7b, step 7c, step 7d, and step 7e. To ensure all my knots were evenly spaced, I used a wooden spoon while tightening my knots (as seen in step 7e below).

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Step 7b
DKF Step 5
Step 7c
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Step 7d
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Step 7e
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Step 8

Step 8: Once you’ve completed your first row of knots, it’s time to move onto the second row. In the first row of knots, I separated out each segment of six strands of thread into two sets of three. In the second row of knots, I tied those six original strands back together.

For the second row of knots, I used an overhand knot instead of a half hitch knot.

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Step 9

Step 9: To create an overhand knot, gather all six strands together and create a loop over the two sets of thread.

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Step 10


Step 10: Pass the six strands through the loop as shown above.

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Step 11

Step 11: Tighten the knot, and continue with this technique across the rest of your rug.

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Step 12

Step 12: Once you’ve completed all your knots, trim your fringe to the length you desire with a rotary cutter and a straight edge ruler.

Ta-da! Wash your spoon, place it back in your drawer and bask in the glory of your beautiful fringe!

If you have any questions on this technique, feel free to leave them in the comments below! Happy knotting!



Rug of the Month: April 2019

April’s Rug of the Month is Ania’s newest completed project. The pattern is named “Karen,” and it was created by Pearl McGown & Jane McGown Flynn. The dimensions are 24″ by 36″, and Ania hooked it in #3 cut strips of wool.

Read on below to learn how Ania approached hooking this project, and to see images of the completed rug!

Ania’s completed “Karen” rug.

Why did you decide to take on this project? 

This project was from a rug class on how to use double swatching. The class was taught by Benita Watford Raleigh at the 2016 Northern McGown Teacher’s Workshop. The class was going to utilize orange swatches, and I had to take the class because that’s my favorite color!

A close-up of a corner of the rug.

What’s double swatching?

A typical swatch will contain 6 to 8 values of a color, with one strip for each value. To double swatch, you take each swatch you’re using in your rug, and lay out the values, matching each value from each swatch. The goal is to combine all of your swatches into one mega-swatch, organized by value.

This can be a daunting task, in part because your swatches will probably vary by brightness, dullness, and chroma. In the class I took for this rug, we spent most of the day learning this process. The easiest way to approach the task is one swatch at a time. Lay out your first swatch by value. Separate out your second swatch by value, and match each value from the second swatch to a value from the first swatch. Repeat with each subsequent swatch, one-by-one.

You might find a value that is in between two of your already established values. When this happens, you’ve created a new value, between the other two. That happened to me, with this rug.  Despite using mostly 8 value swatches, I ended up with 9 different values in one of my mega-swatches.


A close-up of the peony petals, which Ania hooked using mega-swatches.

How did you color plan this rug? 

The focus of this rug is the peonies, and that’s what I spent the most time planning. The large peony flowers are the main character, and everything else, including the smaller flowers and the scrolls, are supporting characters.

For the peonies, I used two different mega-swatches. The inside of my peony petals were hooked with a 9 value mega-swatch, made up of 46 strips of wool, from 6 swatches.  The back of my peony petals were hooked from a 5 value mega-swatch, made up of 18 strips of wool, from 3 swatches. I made these mega-swatches from a series of orange and magenta swatches that Benita had dyed for this class. Those colors were so beautiful, they were why I wanted to take this class! If you love these colors too, you can contact Benita through her Facebook page to inquire about purchasing them for your own hooking.

The two mega-swatches Ania created for this rug. On the left is her 5 value mega-swatch and on the right is her 9 value mega-swatch.

The smaller flowers are orange blossoms, which aren’t typically blue, but I chose to hook them in blue because that is the complementary color of orange. This choice was originally suggested by Betty McClentic. Betty also suggesting hooking the peony and ivy leaves with a burgundy/mahogany color. Betty’s been teaching rug hooking for over 40 years. When Betty speaks, it’s always a good idea to listen.

The color I used for the scrolls is a green over-dyed with the same blue color I used for the smaller blossoms. This was a deliberate choice to tie in the different colors in the rug more seamlessly.

I chose navy for the background because I wanted a dark background, and I wanted a background that would allow the motif to pop. I also had a lot of navy wool leftover from a prior project I’d already completed.


A close-up of another peony.

What was the most difficult part of this project?

Creating the mega-swatches was very intense, but I did enjoy it. It also took me a long time to work out the right finish for the rug, with the double knotted fringe. It was tough to translate what I saw in my head onto the actual rug, by finding the right materials and technique.

This pattern also has almost perfect symmetry, except for one leaf. That drove me nuts! I kept coming back to that one leaf, and eventually I chose to incorporate it into the background of the rug, and add more leaves to the background to match, including a symmetrical background leaf on the other side of the rug.

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Circled in white on the lower left is the lone leaf that was part of the original pattern. All the other leaves included in the background were added by Ania.

Is there anything else you’d like to say about this rug?

Yes – but those will be topics for another blog post!

If you have any questions or comments for Ania, feel free to leave them in the comment section below!


Rug of the Month: March 2019

March’s Rug of the Month is an older project – Ania finished it 6 years ago, in March 2013. Jane McGown Flynn created the pattern, and it’s named “Fruit.” The rug’s dimensions are 11″ by 13.5″, and Ania hooked it in #3 strip wool.

Read on below to learn more about Ania’s finished “Fruit” project, and to see images of the completed rug:

Ania’s finished “Fruit” rug.

Why did you decide to take on this project? 

This was a piece required for the McGown teacher certification. It was taught by Stacey van Dyne at Northern McGown Teachers Workshop. The class was focused on learning fine shading and contour shading techniques to hook 3-D objects.

How did you approach color planning this project?

Stacey had swatches to chose from for the different pieces of fruit. I decided on a red apple, a bosc pear, and purple grapes. I chose to make purple plums instead of yellow-orange apricots.

I also chose to incorporate the color of the fruits elsewhere in the rug. The veins of the leaves are taken from the colors used for the plums and the pear. The low lights in the apple are adapted from the darkest value of the grapes.

I knew I wanted to have a light background for this piece. I chose a textured wool, a strip, and cut it against the strips so that you can’t tell that’s what it is when it was hooked into the rug. The end result reminds me of oatmeal, which goes well with the fruit!

The red from the apple is reflected in the plums and grapes, and the purple from the grapes is incorporated into the leaves.

What did you most enjoy about this project?

This project is the first time I really payed attention to the reflection of light. I learned how to hook high lights, low lights, and reflected light. This is a lesson that I carried over to all of my projects after this one.

When you look at this rug, you can see the highlights very clearly in the apple. you can also see a little bit of a highlight in the plums. In terms of reflected light, you can see the red of the apple is reflected in the plums, the grapes, and the pear. The grapes are reflected in the pear. Next time you’re looking at something that you might hook as a still life, take note of how the lights and colors are reflected in other objects. Keep that in mind in your future rug hooking projects!

The key colors used for the fruit (purple, gold, and red) are reflected throughout the pattern, and so you provide the eye a path to move along the entire rug without getting stuck in any one part. That is what you want to achieve in any still life, landscape, or floral rug. The eye should not be fixated on any one part of the rug.

In this pattern, the apple is right in the middle, but the eye doesn’t focus solely on the apple, it travels throughout the rug.

The purple from the grapes and the red from the apple are both reflected in the pear, and the darkest value from the grapes is used for the low lights in the apple.

Is there anything else of note about this project? 

I used different techniques while hooking the leaves. One was purely contour shaded, one was only fine shaded. I incorporated the fruit colors into the leaves, and played around with vein colors. It was a lot of fun!

May your rug hooking be fruitful! 😉

If you have any questions for Ania, feel free to leave them in the comments below!

Tips and Tricks: Dyeing With Dye Spoon Salt

A lot of people who dye clean their spoons in a jar containing salt. Overtime that salt container gets very dirty. Many people probably periodically throw that salt away and refill that jar with new salt. However, that jar of dirty salt contains all kinds of dyes that you’ve previously used, and so it occurred to Ania: why not dye with it?

Ania experimented with dyeing with her dye spool salt, and the results were beautiful. You can dye using natural wool, or over other colors. Read on below for a step by step guide on the process, and to see images of Ania’s end results:

Ania experimented with dyeing over yellow wool (pictured on the left), and the end results (pictured on the right) were beautiful.


Step 1: Choose your wool. You can use natural wool or any other colored or textured wool. I chose to use yellow wool in this specific example. Have fun with it! Experiment and explore.

Step 2: Soak your chosen wool overnight with either a small amount of Synthrapol, Wetter Than Wet, or Finish/Jet Dry.

Step 3: The next day squeeze out your wool and arrange it in your rectangular dye can, like you would for a spot dye, with multiple peaks and valleys.

Step 4: Pour a very small amount of water along the edges of your wool so that the bottom of the pan has about half an inch to three quarters of an inch of water in it. The peaks in your wool should be dry, and most of the wool should look dry.

Step 5: Sprinkle or pour your dirty salt over your wool in a random pattern. Sprinkle citric acid over the wool. Don’t stir or touch your wool after adding the salt!

Ania’s wool included subtle variations in color, such as hints of red and blue, that created a beautiful effect. This was achieved by not disturbing the wool once the salt was added to it. 

Step 6: Cover the pan tightly with aluminum foil.

Step 7: Place the pan in a preheated oven (it should be preheated to 275), and bake it. Check the level of the water every 15 minutes so that all the water doesn’t evaporate. If you see the water is evaporating, add more to the pan (along the edges and not on top of the wool). As the wool bakes in the oven, the water collects in steam under the foil, and as the steam drips back down on the wool it dissolves the salt and spreads the dye.

Step 8: When the water is clear at the bottom of the pan, you’re done. This should be about an hour after you’ve put the pan in the oven. Take your wool out, and admire your beautiful creation!

 Feel free to leave a comment below if you have any questions!


Rug of the Month: January 2019

In the spirit of the New Year (and new beginnings), Ania has decided to feature a project that she originally created to teach for a beginners rug hooking class. When she was tasked with finding a fun and easy project for beginners, Ania decided to teach them mug rugs!

Take a look at some of the mug rugs Ania has created below, and read the rest of the post if you’re interested in learning more about this project.

Examples of Ania’s recently completed mug rugs.

Why did you decide to create these rugs? 

At first it was for fun. It’s a simple easy thing to do. It’s an ideal project for a beginner class of any age. I decided they would be great for a beginner class I was teaching at my local library.

Is this project different from normal rug hooking projects? Did you modify the project to make it easier for beginners? 

The finishing is extremely easy. You completely bypass whipping. Instead, you finish it with a raw edge that doesn’t unravel and a felt backing glued on.

Otherwise, it’s ideal for beginners because it’s small and involves very simple hooking. All you need to do is pull loops through the backing. It enables beginners to get a feel for the process.

The felt backing is simply glued on.

What are the benefits to making mug rugs? Why might a more advanced hooker want to create mug rugs as well?

Outside of teaching beginners, mug rugs are a great way to quickly use up excess wool. For the mug rugs pictured here I just used left over noodles from my stash.

These also make great quick gifts!

Ania picked noodles at random to hook these mug rugs.

Is there anything else of note about this project? 

You can adapt this project to make it more advanced as well –  you can adjust the pattern so that it’s more intricate. You can make seasonal mug rugs for easy decorations – hearts for Valentine’s Day, pumpkins for fall or Halloween, etc. You could hook a mug rug for every day of the year!

As always, if you have any questions or comments feel free to leave them below!

Seasons Greetings!

As an old year fades and a new year approaches, here is something a little bit different. This ornament was beaded by Ania several years ago, and is part of a project to create one ornament for every year that has passed since the birth of her two daughters. With two daughters in their twenties, that is a lot of ornaments.

Read on below for a holiday season message from Ania: 

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2018 has felt like it has flown by so quickly. In this year, I’ve done a lot of exploratory rug hooking projects and research. I really reached outside of my established rug hooking comfort zone. I’ve explored ways of expanding my artistic approaches in rug hooking. This process has involved bringing my science background and my various creative passions, like beading, into my rugs.

In 2019, I hope these experiences and experiments will become even more fruitful for myself and for others. I want to further use this research in my rug hooking teaching and workshops. I’m looking forward to where the new year takes us, individually and as a community of rug hookers.

Merry Christmas, happy holidays, and all the best in the new year!

Is there anything you are interested in reading about on the blog in 2019? If there is, let Ania know in the comments below.