Dissolve 1/4 oz. of green in 1 pint of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Use 16 tablespoonfuls of green dye, 4 tablespoonfuls of bright yellow dye, and 3 tablespoonfuls of dull red to 6 yds. of cloth.

Mordants: Same as in No. 1.

NO. 18. DARK MOSS GREEN

[Sidenote: _Dark moss green_]

Dissolve 2 level teaspoonfuls of green in 1 pint measure of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Use full pint measure of green dye and 15 tablespoonfuls of bright yellow dye to 6 yds. of cloth.

Mordants: 3 oz. of Glauber salts and 1 oz. of sulphuric acid. Boil 3/4 of an hour.

NO. 19. GOLDEN BROWN

[Sidenote: _Golden brown_]

Dissolve 1/4 oz. of dull yellow in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1/4 oz. of green in 1 pint of water.

Use 20 tablespoonfuls of dull yellow dye, 5 tablespoonfuls of dull red dye, 15 tablespoonfuls of green dye to 6 yds. of cloth.

Mordants: Same as in No. 18.

NO. 20. DARK BRONZE

[Sidenote: _Dark bronze_]

Dissolve 1/4 oz. of green in 1 pint of water.

Dissolve 1/4 oz. of dull red in 1 pint of water.

Dissolve 1 oz. of dark blue in 1 pint of water.

Dissolve 1/4 oz. of bright yellow in 1 pint of water.

Use 8 tablespoonfuls of green dye, 12 tablespoonfuls of dull red dye, 4 tablespoonfuls of dark blue dye to 6 yds. of cloth.

Mordants: Same as in No. 18.

Redip in 4 tablespoonfuls of green dye and 5 tablespoonfuls of bright yellow dye.

Mordants: Repeat the one above.

[Sidenote: _These formulas are the basis for numerous tones_]

"These formulas can be taken as the basis of many other tones and shades which can be secured by a slight alteration of proportions. By adding a trifle more dull red, green, indigo, or drab liquid dyes, a color can be darkened. By using less of these than the formulas call for, the colors will be lighter. By using more of dull or bright yellow a color can often be made richer without darkening it. Beginners are cautioned against making changes until they become familiar with the dyes. In making new experiments, try them on yard lengths, carefully subdividing any given formula for both dyes and mordants, and increasing the proportion of any particular color desired. If the cloth should fail to take up the dye properly after boiling the full time, increase the quant.i.ty of acid, lifting the cloth out when adding the acid to the dye bath."

Excellent suggestions by Miss Albee for color schemes in stripes may be found on pages 64 and 65.

[Mrs. Albee is prepared to furnish any of the foregoing dyes at 20 cents an ounce. Her address is Mrs. Helen R. Albee, Pequaket, Silver Lake P.

O., N. H.]

[Ill.u.s.tration: _A deep blue wool rug made of carpet yarn_]

Chapter Seven

METHODS OF SPLICING MATERIALS FOR WEAVING

[Sidenote: _Woolens, fine worsteds, ravelings, and cottons_]

Such materials as carpet and oriental wools, fine worsteds, carpet ravelings, darning and knitting cotton should, in splicing, be run past each other. In weaving, run the wool through the warp to the very end.

Start the new piece a few warp threads back, being careful to go over and under exactly the _same_ warp threads as you did when finishing the end. As you pa.s.s these threads you will find that you are taking up the right warp threads, and that no mistake has been made. It is best to run the threads past each other in the _middle_ of the mat rather than on the _sides_. The children learn this method of splicing very quickly and the result is much more satisfactory than knotting, because the back of the rug or mat will be smooth. As Mrs. Wiggin says: "There should never be a wrong side to work any more than there should be to folks."

[Sidenote: _Silkoline, cheese cloth, rags_]

[Sidenote: _Candle-wicking, chenille, and macreme cord_]

In splicing such materials as silkoline, rags, candle-wicking, chenille, and macreme cord, lay the end of one piece over another, each lapping about one-quarter inch, and sew securely with silk or thread of like color. Cut off the selvedge ends of rags. These strips can be run past each other, but the work will not be so smooth.

[Sidenote: _Germantown wool, heavy worsteds, and rope silk_]

In splicing Germantown wool, heavy worsteds, or rope silk, thread a worsted needle with one strand obtained by unwinding the wool or silk, lay one end over the other, and sew over and over. Twist the part just sewn between the thumb and finger and the splicing will be hardly visible.

When weaving stripes, splice the wool so that the piecing will come on top of the rod. In this way the new color will start at the edge of the rug, as it should, and the number of loops on the rod will be the same on each side. Consider the _under_ side of the weaving as the _right_ side. It is always smoother and cleaner, and the splicing can be done more neatly on top of the rod.

[Sidenote: _Raffia_]

Splicing raffia is the most difficult of all, and the method used in braiding and basket weaving is the best. As you near the end of a strip in weaving it usually becomes narrower. Find another strip having a narrow end, and place one over the other, securing, if necessary, by winding a very narrow piece--just a thread torn from a long piece--and fastening this by sewing a few times over and over. Or, the two narrow ends may be run past each other, as in carpet ravelings. Care should be taken to have the splicing the same width as the other parts of the weaving, so that the spliced parts will not be noticeable.

[Sidenote: _Leather, leatherette, and celluloid strips_]