Rug of the Month: June 2017

Hi everyone – for the month of June, Ania has decided to showcase one of her recently completed projects. This project began as an online class that she joined in August, 2014, and it was finished in May, 2017.

Check out the rug below, and read on to learn about Ania’s process:

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Here is the finished “Painterly Poppies” rug.

How did you find the class that lead to this rug?

I’m a member of Wanda Kerr’s “the Welcome Mat”, which is a website that is likely well known by a lot of hookers. The class is entitled “Painterly Poppies,” and it is available on the Groups page.

Poppies are my favorite flower – I love them. When I saw this class advertised back in 2014, I immediately signed up for the class because I had to see the pattern. The pattern and class are both by Wanda Kerr.

For this rug you purposefully used very wide strips – why and what was the process like?

I used a combination of #6, #4, and half inch torn strips. These were the biggest strips I’ve ever used – I loved them. I like the effect of the half inch torn strip, because they have a “cushion-y” effect.

They’re also great because tearing half inch strips of wool has a great therapeutic effect. You just cut and rip.

 

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Here is a detail shot of one of the poppies, which displays the full range of colors used.

Where and why did you also use smaller strips of wool?

In the small spaces within the seed pods in the blooming poppies, and in the anthers I used smaller strips to help capture their feathery effect.

How did you approach color planning this project?

My favorite poppy is one that isn’t very common in the U.S. I have two now that grow in my perennial garden – they’re a deep, deep, dark red. I wanted to reproduce those poppies in this rug.

This involved pulling in wool from my stash that included some that I had purchased at the Salvation Army. These colors ranged from a very deep purple to a bright orange that I used as a highlight. The anthers also utilized wool that I had leftover from a prior project, my Peacock rug.

The only wool I dyed specifically for this project was the yellow I used for the background.

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Here is a close up of the background, and Ania’s hand dyed yellow wool.

What were the biggest challenges of this project?

The background. The poppies were so huge and striking. The idea while creating this rug was to create a perspective of a small animal looking up at the blossoms and seeing the sky. I didn’t want to have anything in the background that involved the horizon, because I thought that would be too distracting. I wanted the poppies to be the wow factor.

I felt the yellow wool offered the backdrop of a sunny summer sky, and nicely offset the drama of the flowers.

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Here is a shot of the back, where you can see the Art Gallery finish utilized.

Is there anything else of note about this project?

The way I dyed the yellow background was really fun. I dyed them using a new technique that I created. It was pretty fun to play around with that process! If any readers are interested in learning more about it, this technique is one that I teach in my dye classes. 🙂

This is also the first rug I’ve finished with an Art Gallery finish. I used an adaptation of Tickle Pie’s process, which can be found here. Instead of the canvas that Tickle Pie mentioned, I used stretcher bars. I love the effect! And the rug looks great on my wall.

If you have any comments or thoughts you’d like to share, leave them below!

Rug of the Month: April 2017

For April, Ania thought we could get into the spirit of spring. This month’s “Rug of the Month” is her “Forsythia” rug. This rug marked the first time Ania designed her own pattern, and she completed it in #4 and #5 strips and yarns. Read on to learn about the process behind hooking this pattern:

 

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This is Ania’s completed “Forsythia” rug. 

What was your inspiration in designing this rug? 

 

My inspiration was the forsythia bush in my neighbor’s yard. Every spring the bush would be the first thing to bloom, and it was so beautiful, I’d feel so inspired.

There is a period between winter and spring when the snow is ugly with encrusted dirt and it’s muddy and mucky out doors and the trees are just beginning to open up their leaf buds. The first real transition I see where I can finally say “spring is here,” is when the Forsythia bush blooms. With each year when spring would begin, I loved to imagine what it would be like to lay underneath the bush, stare up at the yellow blossoms, and watch the sky move above me. It seemed like it would be a great way to pass the time!

How did you plan this project?

This is the first rug I designed on my own. In order to draw the pattern, the first step I took was to bead forsythia branches to use as models for my pattern. It took me a couple of weekends to finish beading the branch using seed beads.

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These are the beaded branches that were created in preparation for drawing the pattern for this rug.

The process of color planning was for the most part pretty straightforward. Forysthia’s are yellow and the branches are brown – there wasn’t too much planning around color needed there. I spent the most of my time deciding on what colors to use in the sky. An important part of my inspiration for hooking this rug was imagining myself looking up at the sky through the branches of the bush – and so for me the sky felt like a critical part of this project. So I spent time (months!) observing the sky while I was driving to and from work (and because I wasn’t about to actually run over to my neighbors yard and lie under their bush – that would have been a little bit weird). I then looked at my wool stash and picked colors that I saw in the sky. I was very much struck by how fleeting the shapes and colors were in the sky. The clouds were continually moving and morphing shapes and shades of color.

What was most difficult about this rug?

The most difficult part of this rug was hooking the clouds. What I envisioned was a series of very whispy clouds – but that’s hard to convey in hooking. Wool strips alone weren’t quite working out the way I wanted them to. Eventually, I turned to alternative fibers (this is the first time I ever hooked with fibers other than strips of wool). I pulled yarns and feathery textured fibers with touches of silver to get the effect that I was really looking for.

 

Overall, this is a rug I’m very happy with – I really feel like I could spend all day looking at this rug the way I could spend all day looking at the sky! Fotunately my neighborswon’t find me laying undertheir forsythia in the forseeable future!

Feel free to let Ania know your thoughts and comments below!

Rug of the Month: March 2017

Hi everyone – to provide a dose a cheer for the grey skies of March, Ania thought the next rug of the month should be a bright one. Take a look below to see one of Ania’s more recent projects – and hopefully it’ll help brighten your day!

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Here is Ania’s finished project – it’s called “Iza’s Rug”

What inspired this project?

In a dye workshop that I regularly teach, one of the methods of dyeing that I teach is transitional swatches. What I found is that many people don’t know how to use these great pieces. You can, of course, use transitional swatches for a wide variety of uses, in essentially any rug where there are smooth changes of color in a given motif.

But this got me thinking – how could I use an entire piece of transitional wool in one rug? These pieces of wool are typically very beautiful – I wanted to devote a rug to an entire piece of the transitional wool, so that I didn’t have any left over “noodles.” That’s what inspired this rug.

How is the process of planning a project different when your starting point is so different? That is to say, when you start with the wool and not with the pattern. 

I started with three identically sized pieces of transitional wool (see the images above for the exact pieces used!). These three pieces of wool were not identical in color. Piece A is entirely unique, a transition from a dark red to a bright blue. Piece B is a transition from a brighter red to a yellow. Piece C is a transition of the same colors as Piece B, except the values are four shades lighter. What I wanted to do was use all of the wool that came from these three pieces. I wanted to cut a strip and just hook until I ran out of wool.

What I decided to do was create a very simple pattern – I drew a rectangle in the middle of my linen, the width of which represented the extremes of the length of the wool when it was hooked. The pattern required only straight lines so that the colors could really sing. I hooked the strips in a simple pattern (Piece C, Piece A, Piece B, Piece C, Piece A, Piece B, etc.), Each time I finished hooking a strip of wool, I would switch which side of the rectangle I began hooking the next piece from.

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Above are two close ups of opposite sides of “Iza’s Rug.”

This created a really great effect – because you hook differently in different circumstances. You probably hook tighter when you’re really focused on your pattern, and you probably are more likely to skip a hole or two when your chatting with your friends. This meant that not every strip of wool (and in fact, almost none of them) met the far end of the rectangle in my pattern as I hooked. To fill in the gaps, I grabbed a piece of my background wool (which consisted of two colors, a black spot dye and a brown spot dye), and finished the remainder of the line with the background color.

This was very cool. I worked my way backwards throughout this entire project – I started with what usually comes last and worked my way back to the start from there. This rug ended up as very abstract. I’ve been told by various people that this rug looks like autumn trees reflecting in water, like a cityscape at sunset, and like the reflections of mountains.

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In this close up you can see the full effect of the tranistion of colors.

Is there anything else special or of note about this rug? 

Yes – this rug is a great example of how beautiful wool with white spots can be when it’s used in an actual rug. Usually, when you buy wool, you don’t see wool with white spots. People tend to avoid that because they think it’ll be ugly, and most hookers want evenly dyed wool. I disagree with that, and I actually actively try to dye my wool with white spots still in tact. I think, when you use pieces of wool with white spots, when those white spots appear in the rug they look like highlights. Don’t shy away from what you’re afraid will be ugly – it might end up being beautiful!

Feel free to leave any comments for Ania below!

 

 

 

Tips & Tricks: Storing Dyes

This month, Ania is offering a few tips on storing your dyes with efficiency, and to help access the colors you need as quickly as you can. Read on below to see what suggestions she has to offer!

How do you store your dyes to help with ease of access?

Because I dye a lot of wool, and I do it in frequent marathon sessions, I need to have easy access to my dyes. I use a variety of different dyes, like ProChem, Cushing, Jaquard, and Magic Carpet, and I store each company a little bit differently from the others, to account for differences in how these dyes are packaged.

Cushing Dyes

The Cushing dyes are sold in envelopes, and not in jars like most other brands. To accommodate that difference, I store them in a transparent shoebox, and in alphabetical order. This helps me do a couple of key things: keep all the dyes in one place, and find a specific dye much easier.

Usually I prefer to store dyes in numerical order, but Cushing dyes do not have numbers associated with them.

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Each of the Cushing dyes in the box above are in alphabetical order. 

ProChem Dyes

As I alluded to earlier, most of my dyes are packaged in jars. This includes my ProChem dyes, which are the dye brand that I personally prefer. That means I have a lot of them to store! I use pull out drawers in my studio to keep track of all of my jars. This is a great solution to having easy access to all of your dyes at one time.

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All of the dyes to the right of the white container are ProChem dyes. 

There is one noticeable issue with this solution: Prochem dyes all have a black cap – with a pull out drawer how do you know which dye is which? To solve this issue, I used a silver Sharpie to add the dye’s number and name to each cap. This way, I can quickly match the dyes to my swatches and color wheel and know which colors I want to use for any given project.

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You can buy silver Sharpies like the one above at most craft and office supply stores – Ania purchase’s hers at Staples.

The ProChem dyes are stored in numerical order. When dyes have numbers assigned to them, I’ve found that those numbers are the easiest way for me to keep track of which dyes I want to use. This is because it’s easier for me to remember numbers than names! And it’s quicker for me to find a number than it is for me to find a longer, potentially more complicated name.

When I need to access my dyes its usually because I’m color planning a new project, and often my color planning process is completed with the help of my color wheel. My color wheel includes an 8-value  swatch of each of the 104 ProChem dyes available. On the labels of each color in my color wheel I’ve included both the dye’s number and name. By including the name and number of each dye both on the color wheel and on my jars of dye, it is as easy as can be to coordinate choosing the right color on my wheel with finding the right jar of dye as quickly as possible.

If you’re interested, these color wheels are also available for sale –  feel free to reach out to me in the comments below or on Ania Creative Design‘s Facebook page for more information.

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Here’s a close up of one of one of Ania’s color wheels, which include a swatch of every ProChem dye available. Ania includes both the dyes number and name to facilitate coordinating with jars of dye. 

Other Dyes 

For Magic Carpet Dyes, I store them in the box they came in. This helps me keep them all in one set place. I label them with the name of the dye on the cap (Magic Carpet dyes have white caps, so I use a black Sharpie). Similar to Cushing dyes, Magic Carpet doesn’t assign numbers to their dyes.

Jacquard Dyes I store in the same way as my ProChem dyes – with the name and number of the dye written in silver Sharpie on the cap of the jar. I keep them clustered in one corner of my pull out drawer so that it’s easier to keep them separate from my other dyes.

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The bottom corner of the pull out drawer is home to Ania’s Jacquard dyes. 

Do you have any tips or tricks to store your dyes? Let Ania and the rest of our readers know if you have a different system that works for you! 

Rug of the Month: December 2016

Happy Holidays! Ania has decided to share not one, but two projects for December’s Rug of the Month. These projects are connected to each other, as you can gleam from the images and Q&A below.

Check out the rest of this post to find pictures of Ania’s Klimt pillows (inspired by Gustav Klimt), and a Q&A on how she created them. They showcase a really interesting use of mixed media, with a whole variety of novelty yarns worked into them, in addition to a combination of #6 and #5 strips of wool.

Gustav Klimt was an Austrian painter active at the beginning of the twentieth century. He was most famed for his “golden phase” paintings, which include such masterpieces as the Kiss and Portrait of Adele Bloch-Bauer I. He was inspired by the idea of creating a “total work of art,” where total ornamentation and decoration are embraced.

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Here are the two Klimt pillows.

 

What inspired you to start this project?

The background of some of Klimt’s paintings – the geometric triangles, squares, rectangles, and other shapes that he would paint in the background of many of his paintings, with the beautiful gold leaf. The backgrounds looked so happy, I thought, you could get lost in them following the geometric patterns.

When I designed these two patterns, it was with Klimt in mind.

How did you approach color planning?

The colors were part of the flow – I would pick up the wool and decide on the spot that I would use this color in this shape and see where it took me. The background however, was going to have to be yellow, like Klimt.

Was there a reason why you decided to create two pillows in this manner, where they aren’t identical patterns but instead stemmed from the same source?

I took inspiration from Klimt to make these pillows – I took what was not the major theme of his paintings, the background, and made it the focal point.

I just decided that I wanted to design two separate Klimt projects – it was a whim and I let it take me where it would. It was exploring and playing, not knowing where I would end up, until it was done.

What are you most proud of in this rug?

That there are people who have really wanted to purchase these pillows for their own homes and businesses. It was exciting to see that these rugs brought so much happiness to others that they wanted them for their own lives.

It’s very fitting to end 2016’s blog posts with this rug – hopefully they will bring happiness to our readers for the New Year!

Hope you’ve enjoyed reading about Ania’s Klimt pillows! Feel free to comment below with your thoughts 🙂

Rug of the Month: November 2016

Hello everyone! It’s been a while, but we’re back with a new post and a new rug for November. We’ve been busy planning some exciting projects (including a new dye class coming in December!), and Ania is excited to share this new rug. This tartan rug is Ania’s own design, and is personal in ways most wouldn’t expect. Read on below to see how Ania snuck a secret message into this project, and check out the rug below!

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Here is Ania’s finished personalized tartan.

Why did you decide to create this rug?

I had just had shoulder surgery for my torn rotator cuff, and I still didn’t have a lot of movement (I was doing a lot of “t-rexing”!), and so while I wanted to get back into rug hooking, I knew I needed to start small. This was also the most difficult aspect of creating this rug – I could only hook in small spurts.

Now this rug is a tartan pattern – how did you come up with the idea of creating your own tartan?

I liked the idea. My daughter, Monique, went to school in Edinburgh, Scotland, and kitty corner to her apartment in the city was a huge tartan shop. I would have loved to have taken home tartans from there to work into my rugs! I wasn’t able to, but I couldn’t get the idea out of my head of having a personal tartan. So I created my own! 

My idea for this rug was to create a personal birthday tartan using the numbers 4, 1, 3, 1, 9, 6, and 1 to represent my birthday, April 13, 1961.

Once you had the idea and concept, how did you execute it to create an actual rug?

I thought about the concept for a few days – it was great to work on at this point in my life (with my shoulder injury), because it’s a relatively simple one to help ease back into hooking. I started by graphing out the pattern, and then I hooked.

How do you weave a tartan? For me, the numbers 4, 1, 3, 1, 9, 6, and 1 were key to the pattern. I chose one color to represent each number in that sequence (so that there are five colors in total in the rug). I chose my first color, a mid-tone blue, to hook 4 lines, and then a bright blue to hook 1 line, and then a yellow to hook 3 lines, and then back to the bright blue for the next 1 line, and so on and so forth. To create your own tartan, you chose one color to represent each number in the pattern.

I designed my tartan as a grid, where the pattern repeated twice across and down. To make the concept work, I needed to alternate hooking one line down and one line across. This means it was super simple – I only hooked in straight lines!

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Here is a close up of one of the corners of the rug.

What’s your favorite part of this project?

The way it’s hooked is really fascinating- it really does look like a weave! I thought that was so cool. The back of the rug is also really interesting – it looks completely different from what you would expect.

It’s also interesting that to create your own tartan, you can use any date or set of numbers. You just assign a color to each individual number. It’s like a personal secret that you showcase to everyone!

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This is the back of Ania’s rug. 

 

Would you make this a bigger project someday?

Maybe! This project is really great because you start with a blank slate – you don’t draw any pattern on the linen before hooking it. You can do a lot with the concept, and it’s a fun one to play around with.

 

How did you color plan for this project?

I had dyed some wool for another project and had leftover wool, which I used here, along with as-is navy suiting. I used a #5 size cut, hooked on linen. Essentially, I just chose colors that I’d like to have in a suit.

What can you do with a rug like this?

At this size, you can use it as a hot pad. If you make it smaller, you can use it as a mug rug. If you make it bigger, you can use it for a whole host of other things! It all depends on how often you repeat your pattern.

Let Ania know what you think of her rug, and if you’d be interested in a class on how to create your own pattern! 

Rug of the Month: August

For August, Ania decided to focus on a fun project from a few years back. This month the “Rug of the Month” is a cow purse that was created for Iza, Ania’s daughter. The pattern is called “cow purse”, and it was created by Marcia Kent. She used #6 strips of as is wool to create the finished rug purse.

To start off, here are a few of Iza’s thoughts on the purse!

Whats your favorite part about the cow purse?

Iza: The little red heart in the bottom. It’s cute, I think it’s a nice touch

Ania: it means that I love you!

Iza: I wanted a cow purse because I like cows. My mom asked me if I wanted a purse and then gave me the option of cow or zebra – I went with cow.

And below, see the finished project and read a little bit more about Ania’s thoughts on the purse:

 

 

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Here is the finished cow purse from the front – with the heart on show!

What convinced you that you wanted to hook this pattern? What inspired you to create this project?

I wanted to do this project for my daughter, I wanted to create a purse for her and I knew she liked cows.

How did you approach elements like color planning for this project?

I wanted to do a black and white cow – but I did use different shades of black to make it look more realistic. I outlined the spot in black and echoed that line while completing the rest of the spot.

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Here is a shot of the inside of the bag – Ania chose to line it with a cute polka dot fabric.

Can you talk a little about what makes this purse more interesting?

I wanted to include the heart, but have it be small. So that was fun to include. The spots go around the sides of the purse so that they meet front and back, which I thought was another nice detail. The braided straps are leather, which I picked up at Webs in North Hampton.

It was also fun hooking an animal print!

When did you first consider that hooking a rug as a purse was even possible?

I’d seen them before. It was something different to try. I’d do it again! This one makes a pretty nice iPad bag – it’s just the right size.

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A perfect fit for iPads!

 Let Ania know what you think in the comments below!

 

Rug of the Month: July 2016

Good morning, everyone. Now that July is winding down, Ania wanted to share the latest Rug of the Month. This time, she has decided to share her newest rug, created for and finished just in time for this month’s Northern McGown Teachers Workshop. The rug pattern is Bonde Pride, created by Jane McGown Flynn. The pattern’s dimensions are 16 in. x 20 in., and Ania used #3 wool strips to create the finished piece.

Take a look below to see the rug and Ania’s explanation of her process behind this rug.

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Why did you create this rug?

I was asked to teach monochromatic’s at this year’s teacher workshop. I was assigned this pattern, but I loved it! This pattern was so delightful to hook.

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From top to bottom, is the 11-value grey scale, 10-value turquoise tint, 10-value turquoise shade swatches

How did you approach elements like color planning for this project?

In a monochromatic you can only use one color, or hue. And therefore, I had to rely on tints, tones and shades of one color to make the rug three dimensional.

A tint is a color that has white added to it.

A shade is a color that has black added to it.

A tone is a color that has grey added to it.

Value is the most important player in any rug. Value is how dark or light something is, with black and white as the two extremes of that pole, and all the shades of grey that fall in between making up a value scale. It’s what makes or breaks a rug, not color. Working with a monochromatic makes it easier to focus on using value to bring drama to your rugs.

I decided on blue at random. Because value plays such an important role, the central lattice work is a grey scale, as well as the secondary lattice at the bottom of the design motif. That’s the first thing I hooked.

I had three different swatches that I dyed to work with. One was an 11-value grey scale swatch. To cover the tints of blue was one 10-value swatch that I dyed straight out of the jar. To cover the shades of blue was one 10-value swatch that was the same as the tint swatch but with the addition of black dye.

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Here is a close up of some of the rug’s shading detail. Here you can see the tints and shades at play!

 

 

What are you most proud of in this rug?

I think I did a really good job of showing how dynamic a monochromatic color scheme can be. This rug has given me an opportunity to teach more monochromatic color schemes to rug hookers, and that’s something I’d like to do more of in the future. If any of the readers are interested in a class on monochromatics, let me know!

What was the most difficult aspect to complete?

There was the personal challenge of using only the three swatches and no more wool in creating the rug.

There’s also an optical illusion in the rug, which is a good take home lesson in using values, in how your eye tricks you into not seeing things that you think would be obvious when it comes to color. I wonder if any of the readers can see the optical illusion that I’m taking about in the rug. A little challenge for all of you!

 

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Can you find the optical illusion?

Do you have any other comments about this rug?

The background of the rug is hooked in the middle grey value from the grey value swatch. The reason why is to make the motif pop. Most backgrounds are either light or dark backgrounds, and by using a medium background void of color, it allows you to fully appreciate how the tints in the motif are making the rug more dynamic and interesting.

Let Ania know of your thoughts in the comments below!

 

Rug of the Month: June 2016

Hello everyone. We hope you’ve had a great start to the summer. To celebrate all of the beautiful roses we’ve seen in bloom this past month, Ania decided that this month’s rug of the month should be her “Marie” rug – which is suitability a rose. The “Marie” rug uses #3 strips – which makes for some great shading.

See the completed rug below, and a number of questions that Ania answered about the process behind the rug’s creation:

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Here is Ania’s completed “Marie” rug, framed, ribbon and all!

What inspired you to do this project?

This project was completed while I was working towards my McGown teaching certification – this pattern was the last rug I needed to complete to get my certification.
Why did you decide this rug is a good choice to represent June?
I thought it was appropriate for the season. Beautiful roses are blooming everywhere. I like roses, and I think they’re very pretty. I used to grow them at my first house, and I thought they looked so gorgeous.
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An image of a rose blooming in Boston’s Public Garden, June 30, 2016.
What aspect of this rug are you most proud of? What did you think was most difficult while completing this rug? 
That I finally finished it. I was worried at every step of the process about how terrible I thought it looked, and then I finished and suddenly it looked great!
A lot of people make comments to me about how the middle of the rose is lighter than the outer most tips of the petals. That’s unusual as most real roses are the other way around. But what happened is that when I was hooking this rug, I received an image of a rose from my teacher to use as a reference. That image had that same quirk, where the inside was lighter and the outside darker. I couldn’t mentally translate that color scheme so that they would be flipped while I was hooking. My Traumatic Head Injury meant that I couldn’t figure out how to do the inverse colors. It’s interesting though, I started this rug before my injury and finished it after. This rug was a transition into a different way of seeing the world!
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Here you can see some of the beautiful details Ania created, including fine shading and adding reflections of the rose’s color in the leaves.
How did you color plan around this project? 
Simple enough: my favorite color is orange. And so I wanted to do an orange rose. I also deliberately chose the frame so that it would coordinate with the rose.
Did it surprise you when this rug won an award?
It did. I call this my “GD Rose”. I was very frustrated with the process of creating this rug for numerous reasons (one big one was of course dealing with my injury for the first time). It was not an easy rug to do. I started and stopped multiple times before and after my injury. I’m very happy that it turned out how it did.
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A close-up of Ania’s ribbon for her rug!
Let Ania know what you think of her “Marie” rug, below! Have you ever had a life event seriously effect your ability to create your art? Ania would love to hear of any related stories you have. 

A “How-To” And “Rug of The Month” Special

April’s Rug of the Month was a fun one. You can read all about the creative decisions that went into the hooked portion of the rug in last months post, but readers might have noticed it wasn’t quite finished. In this post, Ania explains step by step how she finished Paisley Rain Forest using leftover 8-value swatches that were used during the rug’s hooking.

The first step is to organize the swatches by size. This is to determine which of the leftover swatches are big enough to use in a border, keeping in mind that a quarter inch seam will be used while piecing the strips together.

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Here are all of the leftover strips from Paisley Rain Forest – the strips farthest to the right weren’t used as Ania decided they were too small. 

The next step is to lay out all of the strips in a pleasant color arrangement. A good idea during this step is to also vary the sizes of the strips that are paired next to each other, in addition to the colors. This juxtaposition in color and size will help add interest for the eye to follow!

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This is the final strip order that Ania settled on for her border – there were a lot of leftover pinks! 

Now that the final strip layout had been decided upon, Ania began piecing the strips together. Make sure when you do this that your total length of strip is 6-9 inches longer than the entire perimeter of your rug. This is to allow for enough fabric to miter the corners, and have enough overlap to do the final easement of the strip to cover the entire edge of the rug. As you can see in the two images below, the quarter inch seam shrinks the strips quite a bit. After all of the strips were sewn together, Ania pressed the seams open and cut the fabric strip down to four inches to prepare for attaching it to the rug. After completing these steps, she had her final fabric strip for her rug!

For the next step, Ania sewed three rows of zigzagged stitches onto the rug’s foundation fabric. To space these three rows, Ania recommends placing the first row of stitches half an inch from the hooked portion of the rug, the second row an inch away from the hooked portion of the rug, and the third row around the perimeter of the canvas. This is to prevent the backing from fraying during the rest of the process.

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Here you can see the three rows Ania sewed into the backing.

Then, Ania took each corner of the foundation fabric and folded it to the point of the hooked portion of the rug’s corner. Along the crease of this fold, Ania sewed another zigzag, and then cut the corner off.

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Here is the corner with the excess backing cut off. 

After cutting off all four outer corners, Ania mitered these corners and stitched the edges that came together.

These next steps are when the fabric strip is joined with the rug’s foundation fabric. Ania folded the foundation fabric down two thirds of the way towards the hooked portion of the rug. Then she lined up the raw edge of the fabric strip, with it positioned on its right side (the side that doesn’t have seams on it), and against the fold of the foundation fabric. The fabric strip is placed here on the top side of the rug, not the bottom. Next, Ania folded the foundation fabric a second time so that it lay over the fabric strip, and so that the foundation fabric was against the hooked portion of the rug. This was done making sure that the corners of the fabric strip were mitered.

At this point, the fabric strip should be sandwiched within the folds of the foundation fabric. This is when Ania stitched, by hand, the fabric strip and the backing together.

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The stitching to connect the backing and the fabric strip is right against the hooked portion of the rug, so that it is hidden from view.

Finally, Ania stitched the fabric strip to the back of the rug to secure it down. And Voila! Here’s the completed rug:

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Feel free to let Ania know what you think of the finished Paisley Rainforest, and she’d love to hear of any creative border ideas you have come up with!