Getting Started
PREPARING THE CLOTH
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The next step to complete before we start punching is to prepare the cloth. There are three steps to preparing your cloth:
1. Securing the edges
2. Transferring the design
3. Stretching the cloth
Let’s take an in-depth look at each of these steps.
SECURING THE EDGES
Monk’s cloth is a loosely woven fabric, which is why it’s the preferred cloth for punch needle. This is also a source of constant frustration for beginners. The edges have a tendency to fray—a lot. Securing the edges will go a long way to preventing this frustration.
Tape—The simplest and quickest method of securing the edges is to apply a line of tape around the perimeter of your monk’s cloth. I prefer to use either an industrial tape or painter’s tape. Both work well, and it usually just comes down to what I have on hand.
Glue—Many rug hookers prefer to place a small amount of glue around the edges. Plain white glue, often used for school projects with the kids, is good here. It’s not about securing the edges forever, just during the punching process.
Sew—The preferred method of many rug hookers is to sew or serge the edges. Serging the edges of your fabric secures the ends with overlock stitches, ensuring that the fabric will not come loose. If desired, you can also use a home sewing machine with a zigzag stitch—this is what I prefer.
TRANSFERRING THE DESIGN
Rug-hooking patterns often come in two forms: prepared and paper. Prepared patterns are shipped from designers with hand-drawn designs already applied to the monk’s cloth. This is great for those hookers who wish to jump right in and get started. Paper patterns, such as those in this book, encourage punchers to spread their wings and get creative! They do, however, require that you transfer the design to the monk’s cloth.
Here are a few tips that will make transferring the design a bit easier:
1. If required, resize the pattern on the page. This can be done at a local print shop and/or on your home printer. You’ll need to resize the image to the percentage given in the pattern.
2. Center the design on the right side of the fabric—that is, the side that you wish to face out once the punching is complete.
3. Hold the monk’s cloth and design up to a light source and trace the design onto the wrong side of the work. This will be the side we punch from.
4. Take care to give yourself plenty of room around the tracing, to ensure that you have enough fabric to bind. Most patterns will include this, but, if not, an extra 3 inches of monk’s cloth around the entire design is enough.
Remember, with punch needle the surface we will most often be punching into is the back of the work. The surface that we’ll display as the “finished” side is going to be on the reverse side. Therefore, everything we punch will be a mirror image of that which we draw. Letters, numbers, and shapes must be drawn in reverse for them to appear on the finished side appropriately.
STRETCHING THE CLOTH
You’ll want the cloth to be drum tight, as in a light tap on the cloth results in a drumlike sound. No matter the style of frame you choose, you’ll begin stretching the same way.
Pre-Patterned Cloth
If your cloth comes pre-drawn with a design or you choose to draw your design onto the cloth before stretching, you’ll want to follow a few simple steps.
First, determine the size of the cloth and the size of your frame. If your frame is smaller than the area of the finished piece, you’ll want to determine how many times you’ll need to move the piece. Moving the piece the fewest number of times is best; this will keep your loops undisturbed.
For example, if your finished rug is a floor rug at 24 × 36 in. (61 × 91 cm) and your frame is only 11 × 14 in. (27.9 × 35.6 cm), you’ll theoretically need to move the rug a total of six times. Think of each project in terms of a grid, and position your frame over the pattern. Don’t worry; knowing how much to move a large project will come with time. The best tip I can give for beginners is to not work on large projects when using a smaller frame made of carpet tack strips. These can easily snag the loops and be cumbersome.
When the designed cloth is the same size or slightly larger than the frame, center it the best you can on the frame and stretch the cloth to tighten, taking care not to distort the image.
If using a carpet tack frame, such as the one from the previous section, stretch using the easy-to-follow steps below:
1. Lay monk’s cloth straight on frame, gently pressing near nails to pierce cloth.
2. Begin by gently stretching the cloth, working opposite sides of the frame.
3. Once the cloth is slightly tightened, begin working your way around the frame, stretching the cloth more and more until it is drum tight; the area around the nails should stretch the monk’s cloth weave open approximately ¼ in. (0.6 cm). This will take some tight, gentle pulls to nudge the cloth tighter and tighter.
4. Using a staple gun or thumbtacks, secure the small areas of cloth not tacked down to tighten.
That’s it! Your carpet tack frame is ready to use!
If using a gripper strip frame, such as the one pictured on page 7, stretching is much simpler. Simply center the monk’s cloth and stretch over the strips, taking care not to distort the lines in the monk’s cloth too much.
Oversized Designs
It is rare that your frame and pattern will match perfectly. Therefore, you’ll need to move your work as you progress. This is easiest when planned before beginning. In the Sawtooth Star Rug (page 73), I punched on my large 20 × 25 in. (50.8 × 63.5 cm) rug frame, which was still not large enough to fit the entire design. I sectioned off the rug into six equal sections, as pictured below. As each section was complete, I would remove the rug from my frame, reposition, and restretch the cloth. I only recommend doing this if using a gripper strip frame and wool yarn. Anything else can create quite a mess. Alternatively, you can build a custom frame to fit the finished size of the rug.
THREADING YOUR PUNCH NEEDLE TOOL
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ADJUSTABLE PUNCH NEEDLE TOOL
Most adjustable punch needle tools feature a closed cylinder construction, which requires the use of a threading tool, often included with the punch needle. The punch needle tool will include directions on how to use the specific threading tool, but, for the most part, they’re universal.
1. Simply insert the threading tool through the tip of the punch needle tool and push through the shaft of the tool.
2. Insert yarn through the end of the threading tool and pull through the shaft and tip of the tool.
3. Insert the yarn through the eye of the tool and pull.
4. The yarn should move freely at this point. If it does not, you’ll need to choose a lighter-weight yarn. Pull on the yarn at the base of the tool until ¼ in. (0.6 cm) yarn is left near the eye of the tool.
You’ll also use this method to change colors of yarn while working your project.
FIXED PUNCH NEEDLE TOOLS
The most popular fixed punch needle tool, the Oxford Punch Needle (in all of its sizes), is a breeze to thread.
1. Simply thread your yarn through the eye of the punch needle tool and pull a short length.
2. Line up the yarn with the channel on the side of the body of the tool and pull on the other end to ease into the channel.
3. The yarn should flow freely at this point. Pull on the yarn at the base of the tool until ¼ in. (0.6 cm) yarn is left near the eye of the tool.
You’ll also use this method to change colors of yarn while working your project.
PUNCHING
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Now that we have our punch needle threaded and cloth stretched, we’re ready to punch.
First, let’s answer the number one punch needle question I receive daily:
“ROHN! But how to do the loops stay put?!”
Once the yarn is fed through the punch needle tool and through the foundation cloth, the tensioned threads in the monk’s cloth trap the yarn and hold it in place. As you continue to stitch and pack in rows, the threads will also pack in closely together and in the process will hold each of the previous loops in place. You’ll never have to worry about the loops coming out as long as you’ve punched the correct stitches per inch and rows per inch.
The act of punching is very simple.
1. As pictured below, holding olding the tool in your dominant hand as if holding a pencil, and ensuring that the open edge of the tip (the channel of the tool) is facing in the direction of punching, press the needle down and straight through the monk’s cloth until the entirety of the tip of the tool is through the cloth. The body of the punch needle should be resting on the cloth.
2. As pictured below, lift the tool up just until the tip is even with the fabric and drag the tip along the foundation cloth about ¼ in. (0.6 cm), and then press again to create your next stitch.
You’ll continue in this manner, working at a slow and steady pace. Don’t worry just yet if your piles on the working side are not even; that will come with practice. For now, focus on the simple act of punching. If your fabric is not gripping the yarn, it may be because the yarn is not correctly threaded through the eye of the punch needle tool, you have a knot preventing the yarn from flowing freely through the tool, or the eye of the needle is pointing in the wrong direction. Your loops may also come out if you’re lifting the tool up too far; try to simply drag the top of your needle along the cloth.
TYPES OF STITCHES
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There are only two types of stitches in punch needle rug hooking, the embroidery stitch and the pile stitch, and they are just two sides of the same stitch.
Embroidery stitches are the low, flat stitches we make with the punch needle tool as we move the tool; these stitches typically face us as we work on the wrong side of the fabric. But these stitches may also be used in certain circumstances for a desired effect on the right side of a piece. They are the stitches that you see as you punch.
Pile stitches are the loops that appear on the opposite side of the fabric from which you are punching. The length of the loop is dictated by the length of the punch needle tip. The longer the tip, the longer the loop. The shorter the tip, the shorter the loop. It’s also important here to note that the circumference of the punch needle tool tip has no bearing on the finished length of the pile; it only determines the thickness of yarn that may pass through the needle comfortably. You will typically punch from the wrong side of the fabric so that the pile stitches appear on the right side.
Both the embroidery and the pile stitches can be used in the same piece, or you may choose to use just one for the finished look. Each has its advantages, and I’ve taken care to include projects that feature both in this book.
STITCH LENGTH
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Punch needle stitches are measured by the length of the embroidery stitches. There are two standard stitch lengths: 4 spi (stitches per inch) and 6 spi.
A small ruler is perfect here. I’ve used the same ruler for a few years and have yet to find anything that matches up. It’s a small square meant for quilting; however, seeing through the acrylic makes it easy to keep track of the stitch length.
WHY 4 SPI AND 6 SPI?
We use 6 spi to outline most objects, to make fine lines and borders, and to work letters. These loops are closer together and therefore create bolder lines. However, a full rug of 6 spi would create a bulky and heavy piece, while wasting yarn.
Punching in 6 spi (left) and 4 spi (right).
For filling in and background work, we use 4 spi. This gives us a thick and heavy-duty rug without over- or underpacking.
With that said, I don’t recommend getting too caught up on the stitches per inch during the first few projects in this book. It is not necessary to maintain a constant tension for smaller projects, especially if you're just starting out. I will also point out that many of the projects in this book have sections where I had a tighter or looser stitch per inch. This is completely normal. When working on larger projects, there are many factors that can affect your stitches per inch.
I often am asked by students: How many rows per inch should I be getting? For the most part, your rows per inch will always land around 7. Remember, especially when working 4 spi, when punching rows, your punch needle tool should just graze the previous row. This will ensure that your rows aren’t packed too tightly.
Measure your stitch gauge regularly. It’s easy to get off track, and it will show on the right side of the rug if your gauge has tightened or loosened. Remember, if there is a part of your rug you aren’t happy with, simply rip out, repunch, and move along.
LAYING BRICKS
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When working your piece, the best tip for a luscious and well-punched rug I can give is to “lay bricks.” That is, your rows should look like neat and tidy bricks, each stacked on top of the other, just slightly off-center. Your piles on the reverse will give your rug a more handmade look. Could you stack your stitches directly on the other? Absolutely! I do this on many pieces in this book. It fits my modern style, and I find it relaxing to not measure gauge but to punch in every third hole.
Examples of punching in different yarns and gauges, and the brick-laying look.
WORKING WITH FINE GAUGE TOOLS
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Oxford Punch Needle Tools are available in both Regular and Fine gauges. The Fine gauge punch needles have a set of rules all unto themselves. For these tools, we use a thinner yarn, and therefore we need to alter both the stitch and the row gauge to accommodate the yarn. It may seem counterintuitive, but for these we need to work more stitches and fewer rows.
Pictured is an example of a swatch I created just for this book (instructions are on page 42) in which I used every Oxford Punch Needle currently available, both the Fine and the Regular. By looking at the reverse side (pictured below, bottom left), you can see the difference in punching between Regular and Fine tools. The Fine tools often create empty spaces (called “holidays”) between each of the rows, which are punched straight across. Here, as stated above, I worked more stitches and fewer rows, which creates an even pile on the right side of the rug.
Currently there are five different Fine gauge punch needle tools (in sizes 8, 9, 10, 13, and 14) and three Regular sizes (8, 9, and 10).
Oxford Punch Needle sampler.
With our Fine gauge tools, we’ll be working into every other hole in the monk’s cloth, whereas with the Regular size tools, we’re working into about every third or fourth hole. With the Regular size tools, we’re working into about every other row), and that won’t change for the Fine needles.
Some punch needle artists prefer to work into every hole and every other row. I find that this is a bit too thick and often creates a “hill” of piles where the edges are lower than the center. I prefer an even pile and have found that every other hole and row works best for me. It’s important to note that this will need to be adjusted based on the yarn used in the project. For example, if you’re using two strands of sock yarn in your Fine punch needle, you may find that you need to work every hole and every other row to create a fabric you’re pleased with. Here I will recommend you swatch to see what works for you.
Lastly, let’s touch on the size 14 Oxford Punch Needle tool. This little guy is a bit more difficult to nail down, and therefore I highly recommend swatching with this tool before using. The tip of the tool is short, giving a very short pile height. Therefore, working every other hole and row doesn’t work for this tool. I recommend working every hole and every other row. Many students of mine also say that they find the 14 a bit fiddly to use; this is often due to the slipperiness of the yarn. Using a rustic wool with visible fibers to catch the monk’s cloth will work best with this size tool. I recommend Harrisville Designs Highland, a 100 percent wool used in many projects in this book.
A NOTE ON SWATCHING
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Swatching is not a term often associated with punch needle rug hooking nor traditional rug hooking; however, I am a huge advocate for swatching. Swatching is simply the practice of using the desired yarn and punch needle to see how the yarn “works up.” Is it a necessary step? No. However, I do recommend it. It can save a lot of headaches further down the line.
MAINTAINING EVEN PILE HEIGHT
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Even pile height is one of the most difficult hurdles beginner punch needlers work to overcome. While this often comes with experience, it can also help to have a few tips and tricks to make the process easier.
EVEN VS. UNEVEN
In the grand scheme of things, does an even pile really matter? That’s completely up to the puncher! You decide what works for you but remember what I said in my introduction: be kind to yourself while you learn. On the next page, you’ll see the first project I ever made. It’s full of uneven loops. That doesn’t make it wrong; it’s simply characteristic of a beginner piece.
TIPS FOR EVEN PILES
Yarn
There are a few reasons your loops may not be even. Let’s start by looking at yarn, the biggest culprit.
Most of the time, students will tell me their loops aren’t staying in, and often it’s because of the yarn they are using. While acrylic yarn is inexpensive and good for practice, it can also be incredibly frustrating. Acrylic is a synthetic fiber and is quite slippery. There aren’t any natural fibers to grip the monk’s cloth. Therefore, I always recommend working punched pieces with 100 percent wool—the scratchier, the better. This will ensure an even pile and a rug that will last for generations to come.
Another good tip is to make sure the yarn is flowing freely through the punch needle. If you’re noticing it snag anywhere, that might not be the best yarn. I recently was using a worsted weight 100 percent wool yarn that was just too coarse. The fibers would often snag the tip of the punch needle, making it impossible for the piles to stay in place. Here, again, swatching is key.
The Wrong Size Punch Needle
If you’re finding that the yarn just isn’t staying in the cloth at all, this may be because the yarn and punch needle tool size are not compatible. For example, if using a Regular size Oxford Punch Needle and worsted weight yarn, you’ll find that your loops will not stay in the backing. A simple fix is to change the punch needle size to accommodate the yarn or to change the yarn to accommodate the punch needle. Alternatively, if your yarn is too thick for the Fine punch needles, it can bunch up in the body of the tool, restricting the flow. Remember, you must have a smooth flow of yarn through the punch needle.
My first punch needle piece
Drag, Don’t Pull
The biggest culprit for uneven loops is simply that you’re pulling your punch needle up too high. Remember, when moving from one hole to another in the monk’s cloth, you do not raise up your punch needle tool but drag it along the surface of the monk’s cloth. Lifting your punch needle too high will pull the loops out.
When punching, try to get into a rhythm using both of your hands. With one hand, punch the tool through the monk’s cloth and, with the other, press slightly on the monk’s cloth as you’re removing the punch needle. This will create a small amount of space, allowing you to move from one stitch to the other with ease. Lift up from the monk’s cloth and, with your punching hand, punch the tool through the monk’s cloth once more. Working this way will often prevent the loops from coming out. It’s my favorite tip and an instant lifesaver.
STOPPING AND CHANGING COLORS
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Eventually you’ll come to a point in your punching process when you need to stop, cut your yarn, and move on. This often happens when you’ve punched yourself into a corner (more on that later) or you must change a color.
To cut your yarn, follow these steps:
1. With your punch needle still inserted through the monk’s cloth, pull up on the tool while simultaneously pinching the yarn at the cloth.
2. Pull the needle back and reveal about 2 in. (5.1 cm) of yarn.
3. Snip yarn about ½ in. (1.3 cm) away from the base of the monk’s cloth.
4. Using the tips of your scissors, push yarn through cloth to the opposite side.
5. On the right side, trim the end to the height of the pile. If changing colors, simply thread your punch needle with your new color and continue on.
FIXING MISTAKES
Mistakes are inevitable as we continue to learn the craft. However, these mistakes should not hinder your progress. Monk’s cloth is incredibly forgiving and can be repunched a number of times. To rip out and restitch, simply follow the steps below:
1. Rip out the stitches, leaving the rug on the frame and stretched.
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Note: If you’ve punched over lines, these can sometimes disappear, so take time to redraw the pattern if necessary.
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2. Using the tip of the tool, drag it over the taut threads of the monk’s cloth to close the previous holes.
3. Punch as normal.
ORDER OF PUNCHING
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Most projects recommend a set order of working the punch needle projects. The patterns in this book will share with you how I chose to punch the pieces. Take note that some are punched from top to bottom. Others are worked organically, following the natural shape of elements in the rugs. Still others I chose to fill improvising as I went. Generally, however, pieces should follow the order that I’ve outlined below:
1. Border—Punch the outer two rows of your piece first. This should be worked in 6 spi if using a Regular punch needle; if working with a Fine punch needle, you’ll simply punch into every hole or every other hole depending on personal preference. The outer two rows should begin in the center of a side between two corners. Never begin and end in a corner, as this can create a weak spot in the rug. The tighter gauge at the border will ensure that the rug lasts longer.
2. Outlines—All outlines, letters, numbers, and single lines should be punched next. These should be punched in 6 spi if using a Regular punch the pile side of the rug.
3. Filling in—Next, fill in the interior shapes and letters of the piece. Take care to work these using the “laying bricks” method and punching at 4 spi. If using a Fine punch needle, the standard stitch is appropriate here as well.
4. Background—Finally, fill in the background. This can be done in many ways. I prefer the following methods:
a. Echoing—This consists of following the organic shape of the interior image of the piece and echoing outward toward the border.
b. Leaf—Great for variegated yarns and large backgrounds, leaf consists of drawing small leaf shapes with your punch needle and filling in.
c. Lawn mower—This is the process of filling in by working from the outside of the rug in, toward the interior shapes. It’s great for small pieces.
THE “STACKING BRICKS” METHOD
Often referred to as the “Grenfell Method,” another option is to punch your stitches directly over one another—in effect, stacking them. This technique creates distinct stitches that mimic the look of most store-bought rugs and those produced by the cottage industry established by Wilfred Grenfell in the first half of the twentieth century. This is one of my favorite methods of hooking and can be seen in projects such as the Half Square Rectangle Wall Hanging (page 48).
JUMPING
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While tedious, an ounce of planning now will save you a pound of pain later. Still, when punching a piece, it is often easy to get backed into a corner. When this happens, snip your yarn, push the end to the right side, and start punching in the next section. Alternatively, you may also gently pull on the working yarn, creating a small length of yarn perfect for jumping out of the corner and into the next working area.
DIMENSIONAL PUNCHING
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Working with both the embroidery and the pile stitches creates what I like to call “dimensional punching.” This is a perfect technique to use for wall hangings, book covers, and more. The process is quite simple. Depending on how much of your work you’ll be working on either side, it’s best to plan your piece out ahead of time. This technique is used in the Ocean Waves Wall Hanging (page 70).
REMOVING THE PROJECT FROM THE FRAME AND CLEANING IT UP
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After punching, the project must be removed from the frame and finished. Removing the rug from the frame is quick and easy. If using a carpet tack frame or a gripper strip, simply peel the rug from the frame, taking care not to snag any loops. If you’ve moved your rug previously, you’ll repeat that same action.
Use scissors to poke any loops that seem out of place into better position.
Trimming your foundation cloth is the next step. This will largely depend on the project. Each of the designs in this book will have a “Finishing” section, which details exactly how I finished the pieces. When trimming most punch needle pieces, a 2 in. (5.1 cm) edge around the perimeter of the rug is advisable, especially if binding the rug. A smaller border of cloth around the piece may be used for crocheted or sewn edges.
Cleaning up your rug is the process of trimming all those loose ends and poking loops into place. The trimming is a mandatory finishing step, while the poking is completely optional. For the large wall hanging in this book, I chose not to poke the loops into place, for a more woven look. But the Sawtooth Star Rug was poked and prodded to ensure an even, crisp image.
Fixing mistakes at this point may seem a bit daunting, but it couldn’t be easier. If any of your yarn pulled out when removing the piece from the frame, or you notice something wrong and need to replace a color, there is no need to restretch the entire rug. Simply hold the area taut and punch that small area.
FINISHING
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Finishing your pieces can be quick and easy, depending on the project. Some may require more finishing, while others may require just minimal amounts of finishing. It is best to follow the directions provided with each pattern.
Steaming the piece—Your finished rug will curl more often than not. This is completely normal. The loops on one side of the rug are quite thick and force the other side to curl in on itself. To solve this issue, simply iron the rug with a hot steam iron. This step will flatten out the curl of the rug and even out any unevenness in the finished pile while keeping your stitches fluffy and soft. However, if any fiber other than wool was used in the finished rug, steaming is not advisable. Acrylic will melt under the heat of the steam, and cotton will absorb the steam.
Resting—I always let my rugs rest. Steaming and allowing them to sit will reveal whether I need to give them another shot of steam. If needed, I will re-iron the rug and steam once again.
Trimming the foundation cloth—I’ve mentioned trimming the foundation cloth previously, and it’s an important step. In general, large rugs meant for the floor should be trimmed to 2 in. (5.1 cm); the edge should then be folded and sewn to the bottom of the rug. Other methods will be discussed and the directions provided for individual projects.
Binding—Binding the cloth is the process of folding the foundation cloth under and sewing it to the bottom of the project.
Glue and other finishing techniques—While controversial to some, gluing the back of your mat is an easy and quick option to secure the loops of your finished piece. Many of the projects in this book include a simple glue backing to secure the foundation cloth, to join pieces together, or to simply secure the loops.
PROBLEM SOLVING
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Ripped backing—While incredibly frustrating, this has happened to just about every puncher. When we tear out a color we just don’t like, can’t find an even pile, or punch at the wrong angle, the backing rips and we’re heartbroken. While there are a number of ways to fix this problem, it will always create a weak spot in the rug. When this happens to me, I simply restart the project over again.
Gaps—Gaps, or holidays, on the back of the rug can be frustrating but normal. I prefer a rug that lies flat and is loosely piled, meaning I don’t want projects to be packed too tightly. With this, I often end up with several gaps on the flat embroidery side. Aesthetically, some punch needle artists don’t enjoy this look, but it doesn’t bother me.
Small gaps called holidays may show up on the back of your rug. If they are not visible on the right side, you may ignore them, or you can fill them in a bit if you like.
Over-/underpacking—This is, quite possibly, the most frustrating part of finishing a rug for me. When areas are overpacked, you’ll notice a raised portion of the rug that looks more dense than other parts of the rug, whereas underpacking means that you’ll often see the foundation cloth peeking through the loops on the pile side of the rug. To adjust this problem, it’s best to repunch the area by working fewer stitches per inch (by making them longer) if it is overpacked and working more stitches per inch (by making them shorter) if it is underpacked.
Binding Your Rug
The process of binding your rug is much simpler than it seems. A double hem is always recommended, as it creates a clean and firm edge that will resist wear over the years. Take the time to follow each step carefully to finish your project correctly.
1. After steaming, trim the foundation cloth around the perimeter of the rug, 2 in. (5.1 cm) along each longer edge and ¾ in. (1.9 cm) at each quarter, as shown in the image below.
2. Fold a double hem as follows:
› Fold corners in and down as pictured below; pin in place.
› Fold remaining sides using a double folded hem, folding hem once and then once more. Pin in place.
› Whipstitch around rug to secure, paying special attention to the corners, sewing them shut.
CLEANING YOUR RUGS
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Cleaning your rugs is quick and easy; the method depends on the fiber of the yarn used to make the rug. Never, ever wash your rugs and projects in a machine washer. If worked in wool, most of the wool will felt, and your project will be ruined. Felting is a process in which the fibers of the wool are agitated so they join together. It’s often used as its own art form. In punch needle, it will shrink the rug, causing irreparable damage. There is no reversal once the rug is felted, and the yarn cannot be salvaged for another project. If the rug is made using a fiber other than wool, simply follow the steps below, opting for a gentle dish detergent instead of a wool wash.
Follow these simple steps to clean your rugs with ease:
1. Shake out all dirt and debris. Take time to use a small tool, such as your punch needle, to retrieve any large debris stuck in between piles. Do not vacuum your rug.
2. Spot clean the rug, as needed, with a gentle wool wash. Wool wash contains lanolin, a natural substance found in wool, and will not just clean the spot but also treat the wool and help it last longer.
3. Using a large towel, lay it on top of the rug, roll the rug up applying pressure, and press on the length of the rug.
4. Unroll rug, remove towel, and allow rug to air dry completely. Do not hang to dry. Monk’s cloth is 100 percent cotton and can stretch. Allow rug to lay flat to dry.
DISPLAYING RUGS
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Rugs can be used and displayed in a variety of ways. The projects in this book feature different suggestions for display. From hanging on the wall to surrounding a coffee cup or lying underfoot, there are as many ways to use rugs as there are rugs. Use your imagination and let it soar!
