Finished! Glady's hooked piece has a very tidy back, too

 At the January meeting we each brought along a book we thought the others would enjoy. Gladys's choice was written by her childhood friend, who now lives in the US, and includes photos of them both in their heady teenage days -

 Lots of looking at books went on as they were passed around the table -

 ... and there was a certain amount of hooking (and knitting, and crochet) too...

Latest projects

Joan's free-form woven basket, based on Jomon pottery

Gladys is weaving into hessian

Janet's embroidered magpies

Lucille has nearly finished the final sleeve

And finally - an actual hooked project -

Hooked by Ruth

Punch needle pictures

(via)

The punch needle is a way of using yarn, rather than strips of fabric. (Correct me if I'm wrong...) The bird is by Penny on her blog, Art Journey - you can see more of her work there.

I also like her quote about "organization" - 

 "Organization isn't about perfection, its about efficiency. Reducing stress and clutter, saving time and energy and improving your overall quality of life." - Christine Scal

"Hooked rugs" - top of the pops

Type "hooked rugs" into a search engine at any point, and what comes top of the list? At the moment it's this -

The name of the maker isn't given. It appears on the website of a flooring company, in a section called "How to set yourself to make hooked rugs".

It doesn't give a great deal of information - here's "The making process", from a flooring vendor's point of view:

It is always a recommended to have a good idea or to have a roughly prepared sketch or design so that you know exactly what needs to be done, and there are no trials and errors later on. 

The second thing you should always keep in mind is the measurements and the dimensions of the room and decide accordingly if you want a small or a large sized rug. The size of the rug should be in proportion to the size of the room. Otherwise, it would be a complete misfit.

Another section deals with how to buy a handmade rug  ... to look good on the hardwood floor!

July meeting

The weather wasn't totally sunny, but the sprinkle of rain soon passed. We sat in the garden with our projects and the time passed very pleasantly. Margaret took some photos of people hard at work -

Jeroo and Ruth

Lucille, Sandra, Joan

Janet

 Jeroo's project is coming along well - she uses yarn -

Margaret's "Jawlensky head" needs only a bit more yellow at one side -

The hooked look

Seen in Heals. Up close, the loops look like proper hooking, and the design is quite jazzy, don't you think ... something that could start with one zigzag line and "just grow".

Price tag of the mass-produced item is £200.

Portraits

Further to our "faces" day in January 2015 - Ruth encountered an artist who combines textile and portraits. She says "Harriet Riddell does machine embroidered portraits from life, with no preliminary drawings – just diving right in!  Her website is http://www.harrietriddell.com/

"She had been round India with her machine (and has a book out) – wonderful vibrant portraits! "

Also, when Margaret was doing a portraiture course last year, she gathered some images of portraits done in textile - you can see the collection at http://margaret-cooter.blogspot.co.uk/2014/01/faces-in-stitch.html, with a further selection at http://margaret-cooter.blogspot.co.uk/2014/02/more-stitched-faces.html . This is Emmy, by Laura Pierce -

Elements and Principles of Design

(reprinted from Susan Feller's blog, artwools.com)

The Elements and Principles of Design can be considered building blocks for composition. Elements are basic words to understand and then combine to achieve a Principle or make a story.

Elements and Principles of Design Excerpt: Design Basics for Rug Hookers by Susan L. Feller,     Stackpole Books 2011 Click title to purchase.

Elements: Line, Shape, Form, Space, Value, Color, Texture

Line is a joining of points. Thickness, direction and length are variables..
Shapes are created by joining lines. They are 2-Dimensional: height and width.
Form is any 3-Dimensional object. Form can be measured, from top to bottom (height), side to side (width), and from back to front (depth). Form is also defined by light and dark. A source of light on the object will convey form with the shadow or highlight associated by the exposure of light on the motif.
Space is the area provided for a particular purpose. It may have two dimensions (length and width), such as a floor, or it may have three dimensions (length, width, and height). Space includes the background, fore and middle ground.
Value refers to the relationship between light and dark on a surface or object and also helps create form. A value scale in fabric has 1 assigned to the lightest piece. Using a range of value in a work evokes a mood: middle values feel like a gray, rainy day; light values are cheery; and a dark work is somber.
Color is a combination of light rays reflected from a surface. In order to see color a light source is necessary. Notice the lessening of discernable color when a light is dimmed and then turned off. Color has three characteristics: hue, value and intensity.
Texture is the quality of a surface. In visual art, there are two types of texture: tactile and implied. In textile art there is texture in the materials used such as checks, plaids and tweeds.

Principles: Contrast, Emphasis, Rhythm, Movement, Pattern, Balance, Unity

Contrast is a design principle which provides visual interest. This can be accomplished using changes in scale, color, value, shapes.
Emphasis refers to areas of interest that guide the eye into and out of the image through the use of sequence, various levels of focal points, a change of value or intensity of color.
Rhythm as a principle is used to organize a composition and create interest, unity or emphasis. Visual rhythm is achieved by the same effort- repeating a shape, color or line in a regular pattern.
Movement can be achieved with a consistent directional line, or group of lines or by arranging shapes along an imaginary line.
Pattern is defined as a single unit of design used in repetition.
Balance – The eye perceives weights being equal and balanced when they have the same value, or intensity of color creating harmony. A design with equal shapes on either side of the imaginary dividing center line has symmetrical balance and is boring. Changing a motif or color on one side puts interest into the work.
Unity refers to a sense that everything in a piece of work belongs there. It is achieved by the use of balance, repetition and/or design harmony.

In order to have a successful design three parts must work together:
Materials, Techniques, and Composition

Janet's "Scream"

Finished at last! Munch's "Scream" reinterpreted by Janet Beck.

A Room with a View

We all enjoyed meeting at Craft Central yesterday afternoon... the sun shone so the windows were open and we carried on rug hooking....

Join us if you wish - details on this blog...

Jill

Jan's first attempt at rug-hooking.....

The above rug was a first attempt at Rug Hooking by my friend Jan... so proud of her. She made the rug from old woollen coats - it is very heavy and will now live in an old stone cottage on its slate floor....

"Girl with Poppy Fascinator"

Another face worked on at the January workshop, "Girl with Poppy Fascinator" by Ruth Robinson, who writes:

"Girl with Poppy Fascinator" came from a collage done at Diane Cox and Sue Dove’s Artful Rugs workshop

in Penzance last year and started out as a large rag rug on hessian. After the workshop, finding the scale too large, I started again on a much smaller version, working with a punch needle.

We spent a whole day in Sue’s studio playing with glue and coloured paper pieces torn from magazines,

initially making abstract collages (a new experience for most of us and very liberating!), before working on another collage each which would be the inspiration for the rag rugs we would be working on during the workshop and, as it turned out, for many months after!

"Barefoot Noble" by Jeroo Roy

 "In war ravaged Rawanda," reads the label on the back, "a young injured boy, clothed in tatters, wanted to appear dignified. Wearing shoes meant dignity to him - so he painted shoes on his bare feet - to keep his dignity."

From the series "Children under Siege".

First finished face

At the January meeting we made up for the tutor having to cancel by continuing with the topic for the workshop, portraits. It was hardly a race, but first to finish was a visitor from Germany, Karin, who sent these photos soon after she returned home -

When she showed her daughter and son-in-law the finished rug, they thought the expression so grim that she must have been in a really bad mood when she hooked it – so the second photo shows where she gave the mouth a bit of a smile -

My first hooked rugs....

 

Today was bright and sunny, my friend Jan called round to

talk about a rug she hopes to make for her daughter's new cottage.. I showed her the many rugs I had made over the past few years and she went home with lots of Rug books and a Heather Richie DVD. She was so happy and it was good for me to share my work with her.

Above  you can see the very first rugs I made.... I like to think I've improved the technique since I made these... Jill

A workshop on "faces"

The tutor had to cancel because of illness, but we carried on anyway!

Cats' paws

Looking for hooking inspiration, I came across this on Gene Shepherd's blog, where you can see how to get the loops to behave. What a great way to use up scraps - perfect for all the bits of wool I've collected from the Craft Central scrap boxes.

It doesn't remind me of cats' paws at all, though - more like "starry sky" - you'll surely recognise the famous picture this comes from -

Lucille's rugs

Designed and hooked by Lucille Kumar

Designed and hooked by Lucille Kumar

Designed and hooked by Lucille Kumar

Foxy hooking

Nightime Garden Fox by Dulcy Stewart. See more of her creations here.

Hooked rugs by Emily Carr

Emily Carr (1871-1942) was a Canadian artist who studied in England for a while. She painted on the west coast of Canada - landscape, especially the forests, and Indian villages and totems - and her individual style was rediscovered in the late 1920s. She called herself "the little old lady on the edge of nowhere".

After a not very successful exhibition in Victoria in 1913 she needed to earn extra money, so she raised and sold sheep dogs, hooked rugs, and created pottery based on First Nations designs.

"Eagle Rug" is available as a kit

I've written more about Carr here, and Vancouver Art Gallery's website has good biographical information. There will be an exhibition of her paintings at Dulwich Picture Gallery, south London, later this year.