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Deanne has a 60 minute How to Hook Rugs video. Here is a free clip from her how to hook rugs video where she shows you how to hook a rug, available at http://shop.hookingrugs.com/Hooking-Rugs-from-Start-to-Finish-with-Deanne-Fitzpatrick-digital-download-edition_p_536.html
You can see move videos on her website http://www.hookingrugs.com
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Pattern designed by Tish Murphy (Tishkits). | Rug hooking …
Finished the rug hooked Santa…pattern by Tish Murphy, but I added a few extras like the glasses and the 3D effect to it to make it mine. More information.
Source: www.pinterest.com
Date Published: 4/12/2021
View: 6657
tish murphy rug hooking website – Google Search – Pinterest
Fall Pumpkins Designed by Tricia Travis Adapted (added the moon & crow) and hooked by Liz Gilbert Fox. More information. Wool Applique Patterns · Latch Hook …
Source: www.pinterest.ca
Date Published: 1/5/2021
View: 4416
Tish Murphy – Owner – Tishkits – LinkedIn
“Tish creates original hand hooked rugs and a master instructor. ” 1 person has recommended Tish Join now to view.
Source: www.linkedin.com
Date Published: 1/18/2022
View: 3213
Witch’s Consort | rughookingmagazine.com
©Tish Murphy, 2012. Designed and hooked by Tish Murphy, Minneapolis, Minnesota, 2012. Kit or pattern may be purchased at www.tishkitsrughooking.com.
Source: www.rughookingmagazine.com
Date Published: 11/20/2021
View: 639
Principles of Hooking Faces – Sauder Village
Tish Murphy, Minneapolis, Minnesota … BIO: Tish has been rug hooking for more than 35 years, inspired to learn the craft after seeing vintage hooked rugs …
Source: saudervillage.org
Date Published: 1/8/2022
View: 1985
June/July/August 2021 – Free US Shipping – I Love Rug Hooking
Tips and techniques from the experts, some charming patterns and projects, … by Tish Murphy … Destinations: Sauder Village Rug Hooking Week
Source: www.iloverughooking.com
Date Published: 2/23/2021
View: 5685
RHGNS 2021 Rug Hooking School Course Overview
The 2021 RHGNS Rug School courses are described below. Members will only be able to register … Tish Murphy’s St. Nick Pattern, hooked by Annette Vautour.
Source: rhgns.com
Date Published: 10/22/2022
View: 3762
Monthly Archives: October 2016 – Hooked On The Lake
It’s such a wonderful holay for a hooked rug – so many great motifs … Designer Tish Murphy and so beautifully hooked by Carol Murphy …
Source: hookedonthelake.wordpress.com
Date Published: 6/29/2021
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Manistee Rug Camp 2010 • Cindi Gay Rug Hooking
My teacher was Tish Murphy who is a master at hooking faces, … I started this pattern several years ago at Sauder Village Rug Camp with Abby Vakay.
Source: cindigayrughooking.com
Date Published: 5/7/2022
View: 6074
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What is the difference between latch hooking and rug hooking?
While rug hooking uses a base fabric of burlap or hessian, latch hooking uses specially woven rug canvas.
What size strips for rug hooking?
The one thing that is standard in rug hooking is the cuts of wool. A size 2 is very small. A size 8 is standard for most primitive style kits (which is the most common kit) at a 1/4” wide. Strips can go up to a size 10, or a 1/2” wide for a very quick to make rug.
How long should wool strips be for rug hooking?
Your wool should be clean and ready to use. You can cut it into one quarter to one half inch strips. A simple method for cutting wool is to take an eight-by-four inch rectangle of wool cloth, fold it accordion-style, and cut it into strips.
How do you use red dot tracing paper?
How To use red dot tracer. First draw your original design on heavy paper. Now using a black sharpie trace your design on the red dot and then place it on top of your backing and retrace it transfer. You may need to go over some lines to make them darker, depending on your sharpie.
Is punch needle the same as rug hooking?
Fiber fiends may be thinking this sounds a lot like rug hooking, and while it’s definitely similar, it’s not quite the same. Punch needle punches the loops down into the work, whereas rug hooking uses a different tool to pull the loops up through the work.
Is punch needle the same as latch hook?
Quick refresher on the difference between the two: Latch hooking is where you hook and tie yarn through small sections of a canvas. For punch needling, you use a special “punch needle” to weave yarn through a loose-weave fabric. Both methods provide bold, colorful texture with very little learning curve.
What is the best fabric for rug making?
For rug hooking, we need an open-weave fabric, and the best ones are linen, burlap and monk’s cloth. Linen is the most durable backing fabric you can use for rug hooking, and durability is a key component for making rugs that will last 100 years or more.
Can I use a crochet hook for rug hooking?
Rug hooking is both an art, and a craft, where rugs are made by pulling loops of yarn or fabric through a stiff woven base such as burlap, linen or rug warp. The loops are pulled though the backing material by using a crochet-type hook mounted in a handle (usually wood) for leverage.
Do I need a frame for rug hooking?
The hugely talented Rug Hooking artist Rachel Leblanc uses no frame at all. You’ll need a hook or a punch to make rugs. This can be be a very simple tool. Your collection of hooks can be developed over time if you feel the need.
How long does it take to hook a rug?
The time it takes to latch hook a rug depends on the size of your final piece and the experience & speed of the person making it. On average, we create a cushion of 40 x 40 cm in the spare hours of a weekend. Experienced rug makers create about 350-700 knots per minute.
Is rug hooking difficult?
Hooking rugs is easy. You can even teach yourself. You pull strips of wool cloth, usually recycled clothing, washed , dried , and torn apart through a burlap or linen backing loop by loop. There are no hard and fast rules.
Do I need a frame for rug hooking?
The hugely talented Rug Hooking artist Rachel Leblanc uses no frame at all. You’ll need a hook or a punch to make rugs. This can be be a very simple tool. Your collection of hooks can be developed over time if you feel the need.
What fabrics can be used for rug hooking?
- wool blankets, as long as they are not to thick and hard. …
- Interesting weaves of yardage. …
- Vintage clothing… …
- Regular old second hand wool clothes. …
- Wool Jersey, which is finely knit, and curls up when you cut it. …
- Wool Sweaters are excellent but are not all equal.
Rug hooking
Craft technique for rugs and hangings
A craftsperson creates a hooked rug by pulling lengths of cloth, usually wool , through a woven fabric, usually burlap
Rug hooking is both an art and a craft where rugs are made by pulling loops of yarn or fabric through a stiff woven base such as burlap, linen, or rug warp. The loops are pulled through the backing material by using a crochet-type hook mounted in a handle (usually wood) for leverage. In contrast latch-hooking uses a hinged hook to form a knotted pile from short, pre-cut pieces of yarn.
Wool strips ranging in size from 3/32 to 10/32 of an inch (2 to 8 mm) in width are often used to create hooked rugs or wall hangings. These precision strips are usually cut using a mechanical cloth slitter; however, the strips can also be hand-cut or torn. When using the hand-torn technique the rugs are usually done in a primitive motif.
Designs for the rugs are often commercially produced and can be as complex as flowers or animals to as simple as geometrics. Rug-hooking has been popular in North America for at least the past 200 years.
History of rug hooking [ edit ]
The author William Winthrop Kent believed that the earliest forebears of hooked rugs were the floor mats made in Yorkshire, England, during the early part of the 19th century. Workers in weaving mills were allowed to collect thrums, pieces of yarn that ran 9 inches (23 cm) long. These by-products were useless to the mill, and the weavers took them home and pulled the thrums through a backing. The origins of the word thrum are ancient, as Mr. Kent pointed out a reference in Shakespeare’s Merry Wives of Windsor. However, in the publication “Rag Rug Making” by Jenni Stuart-Anderson, ISBN 978-1-900371-53-7, Stuart-Anderson states that the most recent research indicates “…the technique of hooking woolen loops through a base fabric was used by the Vikings, whose families probably brought it to Scotland.” To add to this there are sound examples at the Folk Museum in Guernsey, Channel Islands, that early rag rugs made in the same manner were produced off the coast of France as well.
Rug hooking as we know it today may have developed in North America, specifically along the Eastern Seaboard in New England in the United States, the Canadian Maritimes, and Newfoundland and Labrador. In its earliest years, rug hooking was a craft of poverty. The vogue for floor coverings in the United States came about after 1830 when factories produced machine-made carpets for the rich. Poor women began looking through their scrap bags for materials to employ in creating their own home-made floor coverings. Women employed whatever materials they had available. Girls from wealthy families were sent to school to learn embroidery and quilting; fashioning floor rugs and mats was never part of the curriculum. Another sign that hooking was the pastime of the poor is the fact that popular ladies magazines in the 19th century never wrote about rug hooking. It was considered a country craft in the days when the word country, used in this context, was derogatory. Today rug hooking or mat making as it is sometimes referred to has been labeled in Canada as a fine art.
A modern hooked rug from Lebanon, New Hampshire . Rug hooking was originally developed in England as a method of using leftover scraps of cloth.
Since hooking was a craft of poverty, rug makers put to use whatever materials were available. Antique hooked rugs were created on burlap after 1850 because burlap was readily available as grain and feed bags. Fiber and fabric that was no longer suitable for clothing was often incorporated into rugs. In the United States, yarn was not a fiber of choice if one did not have access to thrums. Yarn was too precious, and had to be saved for knitting and weaving. Instead the tradition of using scraps of fabric evolved. Yarns, fabrics, and other materials have always been used for hooked rugs in the Canadian Maritimes. The well-known Cheticamp hooked rugs used finely spun yarns and the highly collectible Grenfell mats were meticulously hooked with recycled jerseys. Everything from cotton T-shirts to silk and nylon stockings were cut and used.
The Grenfell Mission had set standards for hooking with silk stockings as early as 1916. Pearl McGown,[1] working at first under the tutelage of Caroline Saunders in the 1930s, has been credited with saving the craft from disappearing in the United States. McGown popularized guidelines for fine shading with wool using various dye methods, and formalized the study of rug hooking. In 1950, after an especially informative week of rug hooking with 15 other rug hooking teachers, McGown was approached to organize teachers’ workshop to further the study of the art, exchange ideas, and pass on techniques. In 1951, hooked rug teachers came together for the first of what became an annual McGown Teacher Workshop. These workshops exclusively used McGown’s own patterns, in recognition of the work and time McGown spent each year on maintaining the program. This tradition lives on through the Pearl K. McGown Teacher Certification and Workshop Program, now sponsored by Honey Bee Hive Rug Hooking Patterns & Supplies.[2] Many well-known hooked rug designers and teachers have passed through the McGown certification program, including Joan Moshimer, Jane Olson, Gene Shephard, Eric Sandberg, Jane Nevins, Gail Dufresne, and Michelle Miccarelli.
In the 1930s the handicraft of rug hooking spread to Denmark, where it flourished. In 1939, Ernst Thomsen of Hjørring invented a handheld tool which sped up the hooking process [3] making it possible to create large carpets in a reasonable length of time. Due to this faster process, rug hookers were less likely to run into physical problems with their arms, hands and shoulders.[3] The tool was initially marketed in 1949 under the name Aladdin Carpet Needle. A decade later, the name was changed to the Danella Rug Hooking Tool.[3]
Rug hooking today [ edit ]
In more recent decades hookers have followed quilters in exploring new materials and new techniques. This experimentation, combined with knowledge and respect for the past, will allow rug hooking to evolve and grow in the 21st century. Rug hooking today has evolved into two genres, which primarily fall into groups based upon the width of the wool strip employed to create a rug: fine hooking and primitive hooking.
Fine hooking, in general, uses strips of wool measuring 1/32 to 5/32 of an inch wide. Designs of the fine-cut hooking genre use more fine shading accomplished by overdyeing wool in graduated color swatches. Primitive (or wide-cut) hooking uses wool strips measuring 6/32 up to 1/2-inch wide. The wide-cut hooking accomplishes shading and highlights using textures in wool, such as plaids, checks, herringbones, etc. Wide-cut designs are generally less detailed and mimic the naivety of rug hookers of the past. There are many well-known designers of commercial rug patterns and each exhibit their own distinct style and techniques. Some designers specialize in animals or whimsical subjects, others use specific and identifiable dyeing techniques, while others adapt antique rugs for today’s rug hookers or employ various tools to achieve their chosen subject matter within their designs. In addition to the many commercially available patterns, many rug hookers are creating their own design patterns. Today’s great Modern Folk Rug Hookers include; Norma Batastini, NJ; Cheryl Bollenbach, CO; Maggie Bonanomi, MO; Barbara Carroll, PA; Gail Dufresne, NJ;Carla Fortney, CA; Sally Van Nuys OH; Jayne Hester, NY; Cynthia Norwood, TX; Deanne Fitzpatrick, NS; Cindi Gay, Pemberville, OH; etc. There are many people like Magdalena Briner who made creative and original rugs.
ATHA, The Association of Traditional Hooking Artists, was formed by a group of women who felt the rules of the McGown Workshops (I.e. only original designs, McGown Patterns, CHARCO & PRIMCO DESIGNS are allowed at the workshop rug show), too restrictive and chose to form an alternative. In recent years, ATHA’s leadership reflects the importance of bringing together the most interested and dedicated people to encourage and support advanced creative efforts. Attempts to create an ATHA teacher training program were met with tepid enthusiasm. The McGown Program allows for instructors to form a solid basis to move on to creating at the level that is seen consistently in the pages of the newly revamped ATHA Newsletter.
There are countless annual exhibitions around the world displaying rug hooking. A forthcoming one is “Hooked Between Two Islands” The History of the Hooked Rug Between Newfoundland and Guernsey. The exhibition is scheduled for 2011 at the Guernsey Folk and Costume Museum, Guernsey, Channel Islands sponsored by The National Trust of Guernsey and the Canadian Portrait Academy. A permanent collection of hooked rugs by Patty Yoder is currently installed at the Shelburne Museum in Vermont.
There is a rug show held annually at Sauder Village in Archbold, Ohio that displays hundreds of rugs for one week in August each year. In 2016 there are 825 rugs on display, including a special exhibition to honor Pearl McGown.
In the 1980s, Canadian artist Nancy Edell, discovered rug-hooking after moving to Nova Scotia, located on Canada’s east coast. She introduced traditional rug-hooking into her surrealist, feminist art practice, using the medium to explore ideas of feminist utopia, and the gendering of space. She became one of many female artists (see Miriam Shapiro, Joyce Wieland) at the time to use what had been considered “feminine arts” to explore and deconstruct the male dominated hierarchy of fine art.[4]
Latch hooking [ edit ]
A latch hook is both the tool and the textile art of latch hooking. Latch hooking differs from traditional rug hooking and locker hooking by the physical knotting of the yarn to canvas. Latch hook was invented in the nineteenth century with the latch needle, in the twentieth century the latch needle underwent numerous variations, including the hand tool used by artisans and crafters to produce latch hook rugs. While rug hooking uses a base fabric of burlap or hessian, latch hooking uses specially woven rug canvas. Rug canvases range from 3.3 holes per inch (hpi) to 5 hpi. The pattern may be stencilled onto the canvas or worked from a chart similar to a needlepoint pattern. Latch hook yarns may be bought pre-cut (usually 2.5 inch lengths) or in skeins and cut to the desired length.
Late 20th century Thunderbird latch hooked rug. Collection of Bill Volckening, Portland, Oregon.
In his book “The Hooked Rug,” published in 1930, American writer William Winthrop Kent describes a form of rugmaking “A canvas is used like cross-stitch canvas only coarser, which has every third mesh a large one. It is held on the knee or on a table. The pieces of wool yarn are cut exactly the same length by a gauge. The hook used has a catch or latch on it and is inserted in one hole and out the next in the next row, as follows: The wool is held in the left hand and above the canvas, then doubled and the double end is slipped over the hook, the catch being up or open. The hook is then drawn out through the canvas toward the worker, the cut ends being kept in the left hand. The catch by this action drops down and secures the wool. The tool is next pushed forward through the wool loop and catches the two ends held in the left hand, then the loop is held in the left hand and has the two ends pulled through it with the hook. To pull out hook and draw tight the two cut ends finishes the knot. This is really a pile fabric and is known as a Turkey Rug but sprang from the hooking process as the earlier hook used was of the crochet hook form.”
During the 1930s, latch-hooked wool rugs became popular and written guidelines helped standardise the craft. The heyday of latch-hooking with yarn in Britain was just after the second World War and dominated by several companies based near the textile mills in the north of England. Latch hooking was one of the activities available to convalescing soldiers, hospital patients and care home residents. Women’s Institutes got discounts on bulk-buys and made rugs for sale. In the 1970s and 1980s, synthetic yarns and wool/synthetic blends became popular, but rug-making was entering a decline due to the availability of cheap imported rugs and to decreasing leisure time. In Britain, the best-known latch-hook company was Readicut (their rug kits were marketed through Shillcraft in North America). Patons and Baldwin invented the rotary “Patwin” wool cutter, but Readicut went a stage further and sold their yarn in pre-cut bundles.
Latch hook tool [ edit ]
The latch hook tool traces its origin to the invention of the latch needle. Invented in 1847, the latch needle was part of a knitting machine that wrapped yarn around the latch and pushed through a canvas before pulling it through and knotting the yarn to the canvas.[5] In the 1920s, the tool was created by combining the hand hook with the latch.[6] Latch hooks are available in different sizes. You can have a regular sized latch hook that’s suitable for use with interlock rug canvas and a finer latch hook which can be used for Sudan canvas. Modern crafters also use rug gauge tools to cut yarn and fabric strips to equal lengths.[7]
Other uses [ edit ]
The latch hook can be used a replacement for the yarn needle in crochet, but this is niche usage.[8] The latch hook tool can also be used in the care and maintenance of dreadlocks, with the tool being used to tighten the hair after showering or swimming.[5]
Sources [ edit ]
Kent, William Winthrop (1971). The Hooked Rug. Tower Books.
Tower Books. Kopp, Joel; Kopp, Kate (1995). American Hooked and Sewn Rugs: Folk Art Underfoot. University of New Mexico Press. ISBN 0-8263-1616-6.
University of New Mexico Press. ISBN 0-8263-1616-6. Turbayne, Jessie A. (1997). Hooked Rugs: History and the Continuing Tradition. Schiffer Publishing. ISBN 0-88740-370-0.
Schiffer Publishing. ISBN 0-88740-370-0. Laverty, Paula (2005). Silk Stocking Mats: Hooked Mats of the Grenfell Mission. McGill-Queen’s University Press, Montreal. ISBN 978-0-7735-2506-1
More About Rug Hooking Hooks
More About Rug Hooking Hooks
Choosing the right hook for successful and easy rug hooking is essential and can be confusing. There are so many styles of hooks to choose from and on top of that, unlike knitting needles or crochet hooks, there is no set standard of measurement for rug hooks; a size 2 rug hook in one brand is completely different from a size 2 hook in a different brand (if that different brand even uses that sizing designation at all!).
So how do you choose a hook
We recommend that you look at what you need and then go from there. Rug hooking uses different sized strips of wool (or yarn) to make up the rug. A good rule of thumb is the thicker the yarn or strip, the larger the hook you need.
The one thing that is standard in rug hooking is the cuts of wool. A size 2 is very small. A size 8 is standard for most primitive style kits (which is the most common kit) at a 1/4” wide. Strips can go up to a size 10, or a 1/2” wide for a very quick to make rug. Typically, a primitive sized hook will be the largest hook that a person can find. However, a Nancy Miller primitive hook and a Hartman Primitive hook are all different sizes.
The next thing you want to look at are your physical limitations, if you have any. It isn’t uncommon for people who use their hands to make things to have hand, wrist, or elbow problems. If you have any of those problems – then you want to find a hook that makes hooking as easy as possible. For that you want a hook with a comfortable handle and a fat shank under the hook.
Handles are very much a personal preference. Some hooks have pencil handles, some have ball handles, some have elongated ball handles, and others have ergonomic handles with a spot to rest your thumb. Pick the one that is most comfortable! If you can’t try out hooks think about how a pencil feels in your hand. Is writing for long periods of time comfortable for you? If not then a ball handle is the way to go. If it is, then get a pencil handle.
Some people with wrist and hand issues prefer a bent hook as the motion used for a bent hook is more of a lever action at the shoulder than a bending action at the wrist. The choices for bent hooks is more limited, but if you hands and wrists give you a lot of trouble then it is worth trying out.
Now to the more complicated part, the shank of the hook. A thick shank on a rug hook opens up the hole in the fabric so that pulling the strip through the backing is very easy. This is particularly important in primitive cuts. It is hard on your hands and your wool to pull a wide cut through the small hole that a slender hook makes. A large hole in the backing will close up with the next strip you pull through the backing. That is the main function of the loosely woven backing, to open up to accommodate a strip being pulled through, then to close back up around the strip securing it in place as the next strip is pulled through the backing. You do want to match up your hook to your project. A hook with a thick shank is wonderful on the larger sizes of wool, but it will not work with the smaller cuts. Even the adjustability of the backing won’t adapt that far and your loops won’t stay secure as you hook.
Now onto the hook itself. Some hooks are blunt and shaped more like a crochet hook, others are very pointed, and some fall between the two. This comes down to personal preference and hooking style. If you find that you split threads using monks cloth, or have a hard time pushing your hook through just the hole you want, a hook with a sharper tip may help you with that problem. Some people are afraid that a sharp hook will shred the wool. What you have to keep in mind with any hook is that you are seating your wool in the hook properly. Wrapping the wool above the hook and sliding it down the shank into the hook is a very good way to ensure that you don’t shred your wool with your hook. That will set the wool into the hook perfectly so that the hook doesn’t catch in the wool, but instead holds the wool in place as you pull it through.
Finding the best tool for your rug hooking style will make rug hooking faster and more comfortable for you. If the hook you currently are using isn’t working for you try a different one. Everyone hooks a little bit differently, so the information above is just a guideline, but it is a good place to start in your pursuit of the perfect hook!
Witch’s Consort
Witch’s Consort Creating character and mood
Witch’s Consort, 30″ x 14″, #5- and 6-cut wool on monk’s cloth. ©Tish Murphy, 2012. Designed and hooked by Tish Murphy, Minneapolis, Minnesota, 2012. Kit or pattern may be purchased at www.tishkitsrughooking.com.
A well-executed portrait in any medium sets a mood. The expression in the eyes, the slope of the mouth, a tilt of the chin—all of these facial features provide clues to the person’s character and story. Another tool for creating character and mood in a portrait is the interaction between the primary figure and another person, creature, or object, sometimes referred to as the “foil.” That interaction provides a narrative for the viewer and suggests deeper qualities or intent. As with most of my character rugs, a relationship is an essential element of this Halloween design. It informs the mood of the piece, which in turn informs the color planning process. Once I determined the foil (the raven) for the main character (the witch), I was able to develop the full design.
This article is from the September/October 2013 issue. For more information on our issues, check out our issues page.
Principles of Hooking Faces
If you are interested in a workshop that is Full – Sold Out, please let us know so you may be added to the waiting list. Contact Dawn Hauter at 800-590-9755 ext 3076 or [email protected] to request being placed on the waiting list.
Class Description: The aim of this clinic is to acquaint students with the tried and true techniques Tish uses consistently to achieve wonderful verisimilitude in her hooked faces.
Each participant is asked to bring a hooking project (in any state of completion) with a face comprising the primary focus of the design. Cut size can be any size from #3-8. If you are working from a photo, please bring that photo.
The clinic will begin with a lecture and handout, with the remainder of the time focusing on each attendee’s hooked piece. Tish will critique each attendee’s piece, offering constructive suggestions. She will also use each attendee’s piece to instruct the whole group.
This clinic has lots of opportunity for learning how to improve your current and future hooked faces!
RHGNS – The Rug Hooking Guild of Nova Scotia
Rug School Runs from Sunday May 2, 2021 to Friday May 7, 2021
Courses run from Monday May 3rd to Friday May 7th. The 2021 RHGNS Rug School courses are described below.
Members will only be able to register for one teacher-led course.
The 2021 Virtual Rug School will have some differences from the past in-person schools.
To provide more opportunities to attend the courses, we are allowing both active students and auditors for many of the courses.
What is the difference between an active student and an auditor?
Hooked On The Lake
Just returned last night from the Hooked in the Mountains rug show in Essex Junction, Vermont. What a wonderful show!!! So much beauty and creativity to share with you. We would have taken even more pix if the iPhone had not stopped taking pictures. Now I know usually I complain about my camera running out of battery power but this time it was the iPhone that let me down! It was FULL! How did that happen??? Well when we loaded the pix on the computer last night we realized that every second picture was a 2 – 3 second video!!! whyyyyyyyy… Apparently this is something new Apple has decided is necessary (or at least that’s Gords explanation). In any event, thankfully I had packed my 11 year old free camera and the rest of the pix were taken with it and only 2 recharged batteries!!!!
The rugs are amazing so if you have the opportunity to go to the show (it does, unfortunately, end tomorrow afternoon) do so! For us it was a 6 hour drive (well that did include many bathroom stops – and one junkin stop) lovely drive on Wednesday through the fall foliage… but it was worth every second of the drive to see these rugs. And, of course, to visit the vendors! So without further ado … (I have tried as much as possible to give credit to the hooker and designer of each piece either but I think I may have missed a couple 😦 – my apologies)…
Davey was one of the three featured artists (Davey Degraff, Jackye Hansen and Liz Alpert-Fay) and I am excited to say I am taking a class with her at the Green Mountain Rug School next June!!!)… The next few rugs are all hers…
As we walked in Jane grabbed us and hauled us over to a presentation being given by another of the featured artists, Jackye Hansen, who is well known for her Waldeboro style rugs (raised and clipped hooking) (thank you Jane as we would probably have missed this very interesting presentation). These next few rugs are some of the ones Jackye had on display…
Roxy designed and hooked by Heather Wright…
Nude designed and hooked by Jon Sullivan…
Madame designed and hooked by Jane Sittnick…
Golden Moment designed and hooked by Rae Harrell…
Miscou Decoy designed and hooked by Jane Sittnick…
The Old Lady’s Shoes designed and hooked by Louise de Tonnancour…
Taylor’s Pork Roll designed and hooked by Weezie Huntington…
So sorry to the designer and hooker as I missed the card for this one but decided it was too wonderful not to share…
Dream Stream designed and hooked by Sandy Haller…
Lovely display by one of the hooking groups… (I want those punkins!)…
So sorry I know the designer is Margaret Shaw but did not get the name of the rughooker…
Designer Tish Murphy and so beautifully hooked by Carol Murphy – this stool is just toooooo fun…
This amazing rug was designed and hooked by Nancy Thun and is entitled Mirror Mirror…
The Guardian designed and hooked by Dana Psoinas…
Heating with Wool designed and hooked by Anne Cox…
Mergansers designed and hooked by Jennifer Davey…
Under your Soles 1 and 2 (left and right) also designed and hooked by Jennifer Davey… and so very sorry but I could not read the label on the lovely centre rug…
A wonderful display of hooked pets (if you zoom in you should be able to see the name of the various rughookers)…
In Praise of Autumn designed by Blackbird Designs and hooked by Marilou Leclaire…
Flower Power designed by Carol Feeney and hooked by Carol Murphy…
Geometric designed and hooked by Susan Longchamps…
Mz Zinnia designed and hooked by Pam Bartlett…
Everything Comes Around designed and hooked by Julie Rogers…
The Muse designed and hooked by Dana Psoinas…
Autumn Memories designed by Lin Wells and hooked by Tricia Tague Miller…
Sultans #291 hooked by Yvonne Isabelle…
Daisies in the Sky designed by Martina Lesar and hooked by Jen Nunnally…
Rocking Chair Seat Pad designed and hooked by Barb Ackemann…
Molly’s Fall Tree designed by Molly Colegrove and hooked by Dawna Matthew…
Apothecary Rose designed by Karen Kahle and hooked by Janice McKnight…
Tessellating Oak Leaves designed by Beth Calabrese and hooked by Priscilla Heininger…
Coriolus designed and hooked by Anne Cox…
Crazy Horse designed by Alex and Alma Shelly and hooked by Alma Shelly…
Kensington OSV designed by Pearl McGown and hooked by Yvonne Isabelle…
Oh oh, the bottom rug is Happy Hour designed and hooked by Grace Collette but not sure about the top rug…
The Shaman designed and hooked by Dana Psoinas…
51 Shades of Purple designed and hooked by Heather Wright…
Ipswich Clammers designed by Pam Kirk and hooked by Denise Commons…
Cosmo adapted from Leigh Standley card and hooked by Judith Phillips…
If I lead will you Follow designed and hooked by Sharon O’Neill…
Mer-Cat designed by Margaret Shaw and hooked by Jaime Jacobs…
Angel and Sheep designed by Karla Gerard and hooked by Georgette Provencher…
Birds can Coexist adapted from a card by Vickie Sawyer and hooked by Judith Phillips…
With wings and Prayer designed and hooked by Sharon O’Neill…
The Road Home designed and hooked by Julie Rogers…
Girl and Basket designed by Karla Gerard and hooked by Suzy Senecal…
Geometric Hit or Miss Runner designed and hooked by Bonnie Olson…
Domestic Zoo designed by Sandra Porter and hooked by Jen Nunnally…
Birds in the Border designed by Lin Wells and hooked by Jane Griswold…
Oh To Dance with Flowers designed by Heart to Hand and stitched by Peggy Stanilonis…
Primitive Flower designed and hooked by Noriko Manago…
Jane’s Magdalena designed by Norma Batistini and hooked by Jane Griswold…
Mr. Iggy designed by Star Rug Company and hooked by Dorothy Walsh…
Colonial Table Runner designed by Cheryl Brubaker and hooked by Sharon Jerome…
Nouveau designed and hooked by Grace Collette…
A Sheep named Goat designed by Fabric Foote and hooked by Lynn Soule…
Chilly Winter Evening designed and hooked by Sue Barton-Kelly…
Carmi Sunrise designed by A. Dunne and hooked by Anita Rogers (top)…
Picken Apples designed by Jodi Desjardins and hooked by KC Carr (centre left)…
Good Morning designed and hooked by Beth McDermet (centre right)…
15 Mile Falls designed and hooked by Roberta Smith (bottom)…
Beyond the Bridge designed and hooked by Reggie Price…
Oceans of Tears designed by Deanne Fitzpatrick and hooked by Cheryl Orcutt…
Design for the back of the (Tarot) card designed and hooked by Pris Buttler (part of the Tarot card display)…
Horse designed and hooked by Mary Lee O’Connor…
My Vermont Cow designed and hooked by Dayle Young-Wheeler…
Bobcat designed by Jon Ciemiewiecz and hooked by Mary Aman…
Wood Duck adapted from a Kelly Quinn painting by Pam Bartlett and hooked by Dayle Young-Wheeler…
Hola Mola adapted from a Kuna Mola and hooked by Beth McDermet…
Heathen Hill designed and hooked by Nancy Thun…
Crocodile Mola II designed by Norma Batistini and hooked by Suzanne Girouard…
Up North designed by Cabin Creek Designs and hooked by Sue Burton-Kelly…
Blooming Floral designed and hooked by Dorothy Walsh…
The Fisherman designed by Bev Conway and hooked by Alma Shelly…
Pineapple Antique designed by Marion Ham and hooked by Fran Oken…
Jazz and Poppy designed by Margaret Shaw and hooked by Jaime Jacobs…
Horse and Bunnies designed by Lucille Festa and hooked by Susan Gingras…
Hawk Eye designed and hooked by Sandra Grant…
The Dance of Life designed and hooked by Sandra Grant…
Alpaca Quartet designed and hooked by Robert Wertz…
Belgians and Berniers designed and hooked by Barbie Beck-Wilczek…
Passing Winter Storms in the Dunes designed and hooked by Jane Sittnick…
Spirits of the Lakes designed and hooked by Sandra Grant…
Seaside Landscape designed by Wanda Kerr and hooked by Jane Sittnick…
Toby designed and hooked by Meg Howland…
North Atlantic designed and hooked by Jane Sittnick…
Paradise designed and hooked by Kris McDermet…
Words of Wisdom designed and hooked by Emily Robertson…
Genghis designed and hooked by Rae Harrell…
Passion designed and hooked by Kris McDermet…
Great Horned Owl Mother with Baby designed and hooked by Sandra Grant… Anny with her daughters designed and hooked by Louise de Tonnancour…
Tennescott Four Dogs designed and hooked by Barbie Beck-Wilczek…
Child of the Universe designed and hooked by Grace Collette…
Annie’s Birches designed and hooked by Barb Ackemann…
Manistee Rug Camp 2010
I had a wonderful time this year at the rug camp in Manistee, MI. I’ve taught there the last few years and this was the first time I had the experience as a student. My teacher was Tish Murphy who is a master at hooking faces, particularly those small enough for a pin.
These are the 3 treasures that I purchased from Tish:
Babooshka Woman (my name not Tish’s) is MIA. I think she saw this as her chance and took a walk about. I hope she came home with me but I haven’t seen her since the night before we left.
I fell in love with the pin idea because you can get it done in a short time frame and it is very portable. You can read more about Tish’s pins in Rug Hooking Magazine issue June/July/August 2009 page 58.
Here’s the face pins I hooked during the week. Their faces are a bit misshapen because they are not fully hooked yet.
Here’s another face I did during the week.
It is a bit larger and another challenge because it is a softer child’s face and not an imaginary person. I started this pattern several years ago at Sauder Village Rug Camp with Abby Vakay. I kept it mostly traditional but I did add some of the glitz and non-wool fibers that Abby was teaching in the dandelion blossoms.
I’ll post the finished pins when I get them done.
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