Things we learn about ourselves.

It's amazing that no matter how old we become, we are always learning, or re-learning things about ourselves.

In our new class of rughookers with my friend Elaine, I am reminded of things forgotten in the time since we pulled our first loops and took our first classes. But these eager new students are running into the same issues that we did when we were starting out. And when they bring them up, we are reminded of what plagued us in the beginning as well.

One of the things they have already decided they don't enjoy is hooking on the diagonal. It came up twice last week. One student was working on lettering and had lots of capital A's in her piece. The other was not happy with the diagonal roofline on her building.

Aah. It all came back to me, how hard that was the first time. I reassured them both that once they get the wool on either side of that diagonal line, they will feel much better about it.

But the piece in this picture really hit a nerve on the weekend. It reminded me that "I hate diagonal lines" too. This is a wonderful purse pattern called "Bar-Jello" designed by my amazing friend Jennifer Manuell. I bought it from her ages ago and it sits at the cottage as an in-between project. I picked it up again this weekend and started to laugh when I came to the realization that it is all diagonal lines.

I also realized this is probably the reason it is not finished yet. In fact, I started on one side, wasn't happy with the work, pulled the whole thing,and started on the other side (which is what you see at the top). But in looking at it again,(although I has happier with the hooking) I knew that I wasn't going to enjoy finishing a project that has every stitch on the diagonal.

So, I decided to modify it. (I'm sure Jennifer is quivering as she reads this post.) I decided to keep the Bar-Jello at the top of the bag, but to introduce circles in the same colours, in various sizes, over the rest of the expanse. I will duplicate the same elements on the other side (which means I will have more diagonal hooking at some point - just not as much).

Come to think of it, circles are another thing that trips up new hookers, but for me they're an element that I have been incorporating into lots of projects, and I don't mind them in the least.

Let's face it, a life of straight-line hooking would be a boring one. But I think I will keep those diagonal lines as few and as far between as I can.

And I will undoubtedly be reminded of other little things about my hooking self that I have forgotten.

Totem Whipped and Pressed

Well, here it is. Finished, other than figuring out a hanging mechanism.

It's been quite a journey and I feel really good looking at the end result. I really like the effect of the triple cord whipping. It definitely "frames" the piece and was worth the extra effort.

Pressing it flat was as much of a challenge as I expected, but my laundry room floor worked well with wet towels above and below. I will probably repeat the process again, once it has a chance to settle.

I think taking one of the happiest moments of your life and turning it into a mat is a wonderful experience. Although committing to full, realistic portraits meant having to make people look like themselves, rather than indicating features, I think all four of us look like ourselves. (I may still have a little fine tuning on Laura's left eye and Rick's nose, but basically, I'm pretty pleased. If I don't stop now, this could go on until I'm 6o. LOL).

I really do love hooking people - more than anything else that I've tried so far. But they do present a unique problem (over and above the hooking that is). You really don't want to walk on them. And how much wall space do you have anyway?

So my next people projects - I'm planning a series of other happy moments - will be small 8 x 10 size, so that I can do a grouping on a wall, rather than a dominating piece. And the floor mats will become my faster, more primitive snacks between these realistic pieces. I like to mix it up anyway.

For those of you who will be at the Annual in Kitchener, I will have this piece on display. No matter what, they always look better in real life. (And even standing on a chair, I had a hard time getting the whole thing in, and as you can see, not crooked.)

Thanks for following along the journey with me.

Triple Whip Whipped

Yikes, I think this shot is a little closer than I thought when I snapped the picture. But here is the last cord whipped! And the double strand means I made good time in the final round.

As you can see, the double strand plus the rolling in of the backing really made a size difference between the inside cord whipping and the outside cord whipping, even though the cording itself is exactly the same size.

Am I completely finished yet? No. When I whipped the third time, the yarn going into the holes separated the yarn in the second whipping in quite a few spots, so I have to go around the middle one to touch up the little show throughs. Lesson learned, always use a double strand, especially on cording that large.

I also need to do a BIG press on this piece. This is the first time that I wish I had a cleaner nearby who could do it on an industrial iron. I know a few fellow hookers who have found folks who will do that for them. But I'm not about to trust this rug to anyone whom I haven't tested first. So, it'll be wet towels on the floor for me tonite. And I will post a picture of the finished product once I have everything lying nice and flat.

I did find a video on YouTube that demonstrated what Bea Grant said about keeping your finger in the yarn until you are ready to place it. I hope this is the link to the video. I ended up discovering it when I watched one of Deanne Fitzpatrick's videos. It's really quite amazing what you find in there once you start clicking on the videos.

At the end of all this whipping, am I happy I made the decision to go around this big piece three times? Indeed. I really think it gives the effect of a bevelled frame, which is exactly what this piece needed.

You can see for yourself later in the week.

Round Three

This is a picture of the third round of whipping for Totem 40. As you can see it is basted in place (no, this is not "rope" effect for the outside whip).

This is the first cord of the three that did not sit ON TOP of the backing. It is rolled inside the backing, in a roll-forward method. This means that instead of rolling the backing to the outside around the cord, you roll it in towards the hooking. (If you click on the image, you can see it full size - HUGE - and get a better idea of what I mean.) "Roll forward" is my favourite method, because it eliminates the need for tape around the back - and especially here, I'm keen to lose yet another finishing step.

Interestingly, the bulk of the backing over the cord produces a third size of whipping. It is quite a bit fatter than the first one (closest to the hooking), but still a lot narrower than the fat, middle one.

I will also try to do double strand whipping around this third cording, as it will go faster and cover better. I realized as I was basting the third cord that a few strands have separated on the second cording, so I will have to go back around it and fill in, which I wouldn't have had to do had I doubled my strand.

At our Teachers' Branch meeting last Saturday, Bea Grant did a presentation on Triple Whipping with Cord, which was very similar to what I have been doing here. (Amazing how coincidences like the timing of this seem to happen all the time.)

All the teachers were asked to bring a small piece to try this finish on. One of the things about it is that it gives smaller pieces more presence. (Plus she didn't want people to have to hook big pieces for this exercise.) But, she asked me to bring my rug to show how this effect looked on a big piece.

Bea shared a little tip about keeping your whipping smooth and not twisted as you go, and that is to actually keep your finger inside the whipping loop until you can lay it in place. I am going to try this and see if it does eliminate the bulk that happens when the strands twist. (Not sure this makes sense without a demo, but if you try it on your next whipping project, you should be able to see what I mean.)

So, for Easter Weekend, my task is to complete Round Three. I find it quite relaxing to do, but certainly not as creatively challenging as dyeing or designing, which I will postpone until this is finished.

And it will be ready for display at the Annual. So those of you who will be attending can see it "in the flesh" at the show.

New Side Rails for my Cheticamp

For those of you who don't recognize this image, it is a Cheticamp frame, which is ideal for big rug projects.

This is Deanne Fitzpatrick's frame of choice (in fact this is her image) - and if you go to her website, you can see a demo of her working away on one. She is able to put her wool, scissors and other hooking supplies on the mat she is working on - great for not losing scissors, etc.

My hubby bought me this frame for Christmas a couple of years ago and it stays set up at the cottage. I used it to hook the Totem 40 rug and it was great to be able to roll to the section I was working on without taking it off the frame.

I wanted to put the large Kilim rug that I bought at a silent auction on the frame and leave it set up. But, because it is a 4' x 6' rug, I couldn't figure out how to put it on the frame, without folding it or only being able to work on a small section at a time. So, I decided to see about getting some 4' side rails for it.

Deanne said her supplier could make a set, but I realized that if I could find someone closer to home, my rails wouldn't have to ride the bus from Nova Scotia. I was lucky enough to find a friend who has taken on the task. My friend Harry has an incredible workshop - dust-free I might add - near Owen Sound. When he retired, quite recently, he started turning wood bowls from the trees on his proerty there. They were (and still are) incredible works of art.

From bowls, he graduated to simple projects like candle holders and trays, and within a blink of an eye, he is now making amazing pieces of heirloom furniture. On the weekend, he showed me a queen size bed that he made for his daughter as a wedding gift. And he did this "without a pattern". Till now, he's been following plans. This one he designed himself, with a little inspiration from Crate & Barrel. What a wonderful accomplishment.

When I asked him if he would do my rails for me, he was kind enough to say yes. So when we looked at the rail I brought him as a template, he quickly figured out exactly what was required and how he would approach it.

I think we have a kinship, he and I. He is someone who truly appreciates the time and effort that goes into creating something. And I think that is why he agreed to do this for me.

I'm still trying to find out a way to say thanks to him. And I think I may just hook him a small mat of a measuring tape for his workshop space.

After all, what is more useful to a master carpenter than a tape measure????

The "first loop" thrill.

Last night, my pal Elaine and I started a 6-week class in her wonderful new studio space. We had a small group at a beautiful large table in a brightly lit room that felt cozy and comfortable.

In our group we had one completely new hooker, one who has just started recently and two who are within their first couple of years and projects. Putting together an outline for the 6 weeks meant finding something worthwhile for all levels, and last night it was about tools of the trade. Lots of tricks and tips, and certainly everyone benefited.

But, at the end of the night, I was reminded once again of that thrill of starting something completely new. In this case, that pulling of the very first loop - the first strip - the first row. It took me back to the wonder I felt at the beginning. How amazing it all seemed to be able to pull wool through holes and create hooked things. I think we can hook merrily along and forget that feeling.

It's quite incredible how contagious that feeling is and how great it makes you feel as a teacher that you had any part in the discovery. For that student, there will never be a 'first loop' again. And you were there to share it with them.

That's pretty awesome, for sure!!!

Prep Time

This weekend was a mish mash of prep time projects. This image shows three patterns and the wool to hook them, which I prepared partly on Saturday and partly on Sunday.

My pal Elaine and I are starting a new teaching stint in her fabulous new basement studio on Thursday night and I have a couple of new hookers who each needed a pattern. So, I got those ready and did a colour plan and cut everything and put them into these neat little cases from the Dollarama.

The third box is a little name sign for a friend who just built his new dream home in Haliburton. I have been following the trials and tribulations of the journey, and acting a bit as a buffer - since our renovation experience is still a bit fresh in my mind. (It does take a long time to recover, you know.)

I also trimmed Totem 40 to get it ready for the 3rd and final whipping, and I serged a couple of other pieces of rug warp to get them ready for patterns.

At the end of all this prep, my little hooking room looked like a torpedo had been fired into it. I guess I had opened every case looking for wool and came to the realization that my filing system for wool needed a complete overhaul. So, I refiled everything in what I hope is a more intuitive fashion. And then went on to file all my "worms".

So prep and post-prep time ended up taking most of the weekend, leaving very little time for hooking. However, on the sunny side of this, my wool is now better organized - the big pieces, the small pieces, and the worms. And my little space is tidier than when I started.

Plus, I'm ready for my new students on Thursday and it's not even Wednesday night yet.

Inspired Progress

In my typical ADD fashion, I have spent my week flitting from project to project - variety truly is the spice of my life.

In doing so, I have completed the background behind the lettering of this wonderful Deanne Fitzpatrick pattern. Earlier in the week, I cropped my likeness to use as a new icon photo on The Welcome Mat. Of course my trusty friend Jennifer Manuell noticed right away and asked to see the rest of the progress - so here it is.

The blue in the background is a wonderful colour which, in fact, Jennifer gave to me. I thought I had plenty of it - famous last words. Not by a long shot. So, I ended up mixing in some ribbon yarn and regular yarn which has given it some interesting texture. The thing about doing a background behind lettering is that you can't create too much texture, or you start to jeopardize the legibility of the words. I think this strikes a balance.

I hooked a bit more last night on the left frame border, which will be quickly finished. I am really liking the colours in this mat. They are as inspiring as the words and quite a bit brighter than my usual palette.

The last big decision will be what to put in the bottom of the pattern - what will be the image in the rug being hooked? Rather than hooking the Deanne houses that are in the pattern, I have decided to put in something that is more personal to me.

Stay tuned to see updates and the final decision about the mat.

Dyeing to get better.

Here are some pictures of my latest dyeing venture.

I am calling it a success, although if being graded by the dye police (please tell me they don’t exist) on results specific to the formula and photograph, I may have failed.

Here is the tale, with most of the details:

I had decided to try to create a couple of Wanda Kerr’s “Colours that Sing” from an old issue of RHM. I had used some of the “Glowing Wet Rocks” from that grouping which had been dyed by Barb D’Arcy. There truly is some luminosity to the colours and the “wandering method” really appealed to me.

I settled on "Mountain" and "Amethyst Cave" and got everything ready to go. Since I didn’t have a Turquoise (which I think was a Pro Chem), I decided to substitute the Magic Carpet Blue Green.

I haven’t ever dyed with anything other than Magic Carpet, so am blissfully naïve as to how different the colours by different manufacturers truly are. And Wanda is forever encouraging experimentation, so I figured that at the end of it all, I would have something wonderful – even if it wasn’t her specific wonderful.

How correct that assumption was. I think these colours are quite wonderful.
Surprisingly, they are quite close to one another when all is said and done.
And the formulas were very different. (In these pictures they look more different than they do in real life. That's Amethyst Cave on top and Mountain on bottom.)

When I pulled the Amethyst Cave out of the dryer, it looked so much like the first one I had done that I was laughing at myself and thinking that no matter what formula I start with, will I always wind up with the same colour. (I think that would be the Groundhog Day of dyeing – how funny would that be.) But I do like both these colours and they would work very nicely together in a piece – and go beautifully with the pinkish piece I dyed on the previous outing. And they are truly luminous, so the wandering method is definitely my new favourite.

Then I read something about aluminum pots and how they can affect results.
So I posted a query on The Welcome Mat to find out exactly what aluminum does and why it affects results. Have received many informative responses and appreciate the feedback. There seems to be consensus that aluminum pots heat more quickly than stainless steel and that my gas stove at the cottage may be “fuelling that fire” even more aggressively - no pun intended.

In order to eliminate a few of the variables from my dyeing experiments, and to get a better grade from those dye police (should they exist), I have decided to indulge in a stainless steel pot, if I can find an affordable one at a local restaurant supply place.

If I do, I will repeat these same formulae again, just to see for myself if, in fact, the variables can be controlled.

I’ll share the results when I have some.

A great whipping tip from a pro.

I got an email in response to my post yesterday from Anne Boissinot. For those of you who don't know Anne, she is a dynamic hooker, teacher and inspiration point for many of us in the hooking community.

I have been privileged to be her student a few times as well as a co-committee member with her. She is creative, talented and an incredibly valued mentor to me. She is my voice of reason and keeps me on track and reminds me constantly to pace myself. I am honoured to call her my friend.

Her comment regarding yesterday's post was as thoughtful as all others. And as helpful. It comes as no surprise that this "multiple whipping" is another thing she has mastered and so her suggestion is tried and true.

Her recommendation is: "If you put your hoop on and do the first two as you would needlepoint it holds it steady and assists in moving a bit faster." In hindsight, I realize this would definitely things taught and straight and would have been very helpful. Good advice for next time. (Yes, I do plan on doing this again someday.)

As far as the last whip, you definitely need to do it freehand, since you will have trimmed off all excess backing. And Anne agreed with the roll forward decision - after all, she's the one who taught me that in the first place.

Thanks again, Anne. For everything.

Another whipping post.

Round two is complete. I love how the Briggs & Little brown heather looks with the hooking and the first whipping. It has all kinds of colours in it - specs of blue and green, so it picks up everything in the rug.

It is a long journey around this rug each time, but there is something quite hypnotic about it once you get your rhythm. I spent both mornings this weekend and then some more time in the afternoons getting it done. With my coffee and favourite tunes on, my mind was free to wander as I whipped.

Where your mind goes when it doesn't need to focus is quite interesting. This weekend I kept a little note pad beside me, because I kept coming up with ideas - all kinds of ideas. All mixed up together. Some were brilliant later - some not so much. But I wrote them all down anyway.

One of the things I was working on was a music mix for my upcoming class at Trent. Since it's called 1-2 Hook a Few, I was trying to think of songs with One or Two in the title. Amazing how many I cam up with.

Then I was designing in my head - which is an ongoing activity. I sketched out a couple of things which have potential. I will add them to my idea book, which I keep forgetting to review. It has some great stuff in it. For some reason, instead of seeing what's already there, I keep adding more. And guess what - sometimes the same great idea is there more than once!!! Guess that means something.

Anyway, back to the whipping. I have opted for a single strand approach, after trying doubles on the first go round. It just wasn't precise enough and I wasn't pleased with the result, so now it's one strand, one hole and sometimes doubling up in the same hole if it's looking a little thin.

Now I must begin the third and final whip. And I think I have decided to do a roll forward so that it sits at the same height as the other two. I can't quite figure out how a roll back would sit at the same height. In my head, it would pull away from the other two which sit on top. But, I could be wrong.
And the article that I read in RHM said you could do either.

Since I need to serge my edges first, which I hope to do one evening this week, I should get this done by the end of next weekend, so stay tuned for the last instalment on triple whipping.

The picture above just shows a corner, so that you can see up close. When I am done, I will post both the close up of the third whip and the finished result. So far, I am very happy with how it looks.