Readers Gallery: Book Excerpt: Celebration 36

All My Life’s a Circle, 48 1/2″ x 31″, #5-cut wool on linen. Designed and hooked by Cec Caswell, Sherwood Park, Alberta, 2025.

This excerpt is taken from Celebration 36, a Quality Rug Hooking Book Club title that will be released on September 1. Enter your rug for Celebration 37 beginning October 1. Keep an eye out for instructions in the October issue of We Like Rug Hooking.

All My Life’s a Circle

By Cec Caswell

Hand dyeing and hooking with saturated colors is my passion. I am known for my colorful and vibrant work. There was never a dull moment with this rug, as each circle is unique. Moving from one circle to another provided ongoing excitement. Yet I had to learn patience, as I was always eager to move on to the next circle where I could use different colors.

I didn’t want to hook perfect circles. I strove for imperfection—not just in the shapes but also in the placement of colors. They didn’t always need to work together. Throwing in some black-and-white beading added a little fun. I find that beading makes a piece pop.

It was challenging to keep all the circles connected. Moving color around so that the circles worked together and didn’t clash overall was a puzzle—as was the placement of values. I needed to keep viewing the piece from a distance. This enabled me to see what flashed out.

I always use 100 percent wool for my rugs; it has a warmth and depth that synthetic fibers don’t have. I love the feel of the wool in my hands. A rug will lie on the  floor, and I find wool to be the most durable material for the job. I chose linen for the backing of this piece. To finish this rug, I rolled the edges forward and did a standard whipping with 100 percent wool yarn.

Donkey Donkey

By Val Flannigan

This piece is from a Zoom class. I enjoy working with the teacher and on my own. I am fairly isolated from in-person rug-hooking teachers, schools, and supplies. Taking a Zoom class allows me to learn and continue growing as a rug hooker.

Once I received the pattern, I studied it to plan the colors. Then, I began searching for the right wool fabric. I also hand dyed some of the wool myself. I needed just the right colors of wool for contrast and movement. I wanted colors that would give the piece a sense of glow and electricity.

I really enjoyed hooking the mane. That was the first section I started hooking. It was exciting to see how the colors played out. Another area I enjoyed hooking was his ears. There, I got to use many of the other colors in the rug in one area. I found hooking the head to be the most challenging part—especially the eyes, nose, mouth, and nostrils. I worked on those areas one loop at a time.

I finished the rug by folding the linen backing to the back and covering it with black cotton twill tape. I decided not to whip or add a border because I felt that might close or hem the donkey in.

Through this rug, I learned to use unusual colors. I also realized the importance of using directional hooking.

Electric Cat

By Susan Jankowski

This pattern was drawn by Louis Wain, an illustrator from England in the late 1800s. The Electrical Life of Louis Wain is a biographical film about this artist.

To begin, I purchased two large pieces of “color-planning wool” from Cindy Irwin. These beautiful pieces of wool have been dyed with six different colors that are next to each other on the color wheel. I picked five different eight-value swatches that matched colors in Cindy’s wool. This worked great as a color plan. I learned how to dye color-planning wool through making this rug.

I love hooking eyes! They always seem to set the tone of the rug. The cat’s eyes are my favorite part of this rug.

My concern was whether I had enough wool to complete the background. I folded the background wool four times and laid it on the pattern. I knew it was going to be close, but thankfully, I had two strips left! I finished the rug with a quilt binding using wool fabric.

Engagement

By Terresa McIntosh

From day one, I knew exactly where Engagement was going to hang in my home. Due to this, I selected materials and color combinations that I felt would not only support the piece itself, but also enable it to hold its own in the room it would occupy.

Since this would be a large piece, I decided to use mostly off-the-bolt wools. However, for the elements I wanted to emphasize or reflect greater color subtlety, I chose spot-dyed wools.

All the wool came from Martina Lesar’s studio. Most were acquired during a visit to Martina’s studio, where I enjoyed working through my material selection with Martina. However, as seems to be a common practice when I hook, I later had second thoughts about a couple of the wools, as they just weren’t working as I had thought they would. My solution was to look within my ever-growing stash for alternatives, a search that led me to the spot-dyed wools.

I love the contemporary feel that this piece generates. It starts with the work’s design, with its simple, sketch-like flowers floating above a background of weightier, abstract forms. To me, that feeling is further reinforced through the rug’s coloration, textures, hooking techniques, and generous size.

Engagement was a joy to hook. I finished the work by double whipping it using Briggs & Little yarn.

We are often our own harshest critic when evaluating our work. I say this, for while I’m proud of my piece, I would never have thought it good enough to submit to Celebration had it not been for the encouragement I received from fellow hookers of the Rideau Valley Rug Hookers, a branch of the Ontario Hooking Craft Guild. To these hookers, I send thanks!

Forget Me Knot Hill

By Jill Hicks

Most all the wool used on this rug was left over from other hooking projects. I had a wide assortment of wool strips to choose from, which allowed me to create the appearance of shading in the piece. This was somewhat challenging. I did quite a bit of trial and error to finally get the look I wanted. Additionally, instead of using the traditional colors of a sheep, I used an assortment of light pastel wools. It was a little out of the box, but I am happy with the result. I added a border to the original rug pattern that complements the design.

The rug was finished with a two-inch strip of recycled wool cut on the straight of the grain. The linen edge was cut to two inches, then double folded to the front and sewn down. Next, the strip of wool was hand sewn into place on the front first, then the back.

Through hooking this piece, I learned that sometimes you just need to be patient. If at first it doesn’t work out, just keep trying something different until you are happy with the result. Worms are very easy to remove and replace with something different.

Frigga

By Dana Psoinas

Frigga, Queen of Asgard (the celestial realm of the gods of sky and war), is the Norse mother goddess and the wife of Odin. She is associated with prophecy, clairvoyance, and the weaving of clouds. Frigga can transform into an owl—or any raptor—using her magical feathers. I love that Frigga and her owl are moving into the future together in this piece.

I used treated iridescent wool in Frigga’s armor and headpiece to create metallic reflections. I added beads and feathers to give the composition a tribal Viking feel. The Viking ship on fire is a bold and dramatic representation of war.

The background of this rug was very challenging. I hooked it many different ways until it felt just right for the composition and the story. The stormy sky suits Frigga’s role as a cloud weaver perfectly. In order to soften and blend the sky, I used stretchy velvet in combination with wool strips.

I finished this rug by sewing cording into the wool binding and adding sleeves for hanging. The most important thing that I learned from designing and hooking this rug is to remain open to changing your rug as it evolves.

Helen of Scranton

By Ellen Thomas

My rug Helen of Scranton brings back vivid memories of my maternal grandmother. Although she was the daughter of a coal miner, she loved to be “dressed to the nines.” She would not be caught out without a hat, a pair of gloves, a fur stole, and on special occasions, a corsage.

This portrait is adapted from a studio photo of my grandmother in 1928 along with an old postcard of her workplace, the Scranton Dry Goods store. My grandfather came into the store to cash a check while checking her out before a blind date. He had a car like the one parked in front of the store in this rug.

I usually hook with hand-spun yarn from my home-grown sheep. For the fur stole, I used some wool mixed with fur from my Australian Shepherd to make it look extra furry. I used wool strips on the buildings because they make straight lines easier.

Getting the likeness of the face is the part of portrait making that drives artists crazy. I lost count of how many times I did the eyes, nose, and chin. Wanda Kerr of “The Welcome Matt” is my coach. I can count on her to be honest. She tells me I can do better and not to be afraid. If I did it once, I wasn’t just lucky; I can do it even better next time. Hooking this rug taught me to keep trying until I’m happy with the finished piece.

To finish the rug, I just tacked the linen back and mounted the piece on a homemade, custom wood frame. That usually takes a few miter cuts to get right, too!

Hello Santa!

By Julie Van Wey

I love experimenting with different materials and techniques. For this piece, I thought the red velvet would be perfect for Santa’s suit. Gail Dufresne was my teacher at Dragonfly on the Lakes Rug Camp, and she suggested using the trapunto technique for the hat rim and cuffs. I used wool for this as well as all the hooked areas. I think the trapunto hat rim really gives the effect that it is blowing in the wind. Hooking the sky diagonally also helped to give the feeling of the wind blowing. I sewed the mittens out of the red velvet that I used to hook Santa’s suit and then used the trapunto method again. I sewed them on to hold the reins; it took quite a bit of time to get them to look realistic. I had the leather reins with sleigh bells custom made to fit the pattern by Dennis Knight at River Ridge Leather in Coshocton, Ohio. This really helped to complete a 3D effect. This rug taught me to trust in my instinct or vision for the final piece.

I love Santa’s face, although it was challenging to hook! This was the first fine-shaded face that I have hooked, and I am very pleased with how he turned out. When I started hooking 20 years ago, I said I would never try to hook a fine-shaded face. Gail Dufresne helped me calm down and just take it a step at a time. I am happy I tried, as it was scary but not as hard as I had imagined.

The mittens were also challenging. I was originally going to hook them, but when I decided I wanted real leather reins with sleigh bells, I knew I had to figure something else out. Luckily, since I was already using trapunto for the hat and cuffs, the solution was clear.

I finished the rug by sewing a complementary plaid wool around the edges. Then, I took it to be framed at Mike Nelson’s Frames, Flames & More in Zanesville, Ohio. After selecting the frame I liked, I asked Mike if he could please make the plaid wool appear to be the matting around the hooked piece. He did a wonderful job.

I truly love the rug-hooking community. I have had the opportunity to meet some of the most wonderful and talented people, and many have become lifelong friends. I cherish each and every one!

Life Is Waiting for You

By Terri Todd

Through Life Is Waiting for You, I invite the viewer to consider the experience of depression and anxiety while discovering the encouraging message of hope. I use large-scale, bold colors and simplified imagery to call out to the viewer. The soft, warm texture of wool offers approachability and comfort. The techniques of rug hooking, quilting, embroidery, and standing wool are all used to tell the story in this piece.

My original thought was to hook this entire design, but as I considered the different elements, I felt the inclusion of other fiber techniques would better illustrate the story. The mattresses evolved into a more dimensional form through quilting, piping, and then adding stuffing to the bottom two mattresses to enhance the sagging effect. I also wanted the blanket to gently drape over the figure and mattresses but not hide them. A fine-mesh tulle provided delicate transparency and became the medium for the hand-embroidered message of hope: “Life is waiting for you.”

I did much more planning and preparation for this rug than usual. I made a variety of samples to help me choose the best way to make and sew piped edges, determine the best thickness (two or three folds) for the standing-wool spirals, and select the typeface and embroidery stitch for the words.

For the zigzag and wavy lines around the head, I used texture wools instead of the flat grays I had planned. Using those textures added an energetic dynamic that enhanced the tension and emotion in that section of the piece.

Technically, I found the mattresses were the most challenging part. There were many different steps in quilting, sewing on the piping, and sewing them to the linen. There was a sense of accomplishment when that section was complete, but I realized that I missed the cathartic process of rug hooking.

I finished the rug with a skinny version of the “show binding” technique. I wanted to create a sense of the figure being boxed in by the emotions and felt an unobtrusive border would keep the focus on the bed posts that help define that confined feeling.

Emotionally, this was the most difficult piece I have worked on. Shortly after starting this design, I had to move in with my parents to help care for my mom, who has Alzheimer’s, and my dad, who has Parkinson’s and was also recovering from a serious surgery. Up to that point, I had no real idea what caregiving was about. While I was happy to be able to help them, I was quickly overwhelmed by the different and constant demands of the situation. There were months at a time when I was unable to work on this piece, and it took me three years to finish it. As I progressed through phases in my depression, my world became smaller to the point where I couldn’t find energy to leave my bed. I was a prisoner of the negative, spiraling thoughts holding me back from life. Working through that discomfort revealed a truer, freer identity.

Lincoln’s Kindergarten Creations

By Karen Hanson West

I just love how kids draw when they are young. In this rug, which showcases some of the drawings my son Lincoln made during his year in kindergarten, I wanted to use the range of vibrant colors he originally chose. I found that yarn was the best material for this, and I used Brown Sheep Lamb’s Pride worsted yarn for the rug.

I really love all the drawings, because each one brings back memories of Lincoln’s year in kindergarten. They depict him; his brother, London; other family members; cars; animals; his school; and other subjects of interest to his young mind. He loves drawing and art, and that year, he had an amazing teacher who valued drawing. In fact, one of the drawings in the rug depicts her teaching. She loved teaching so much that she continued to teach into her eighties; she turned 80 the year my son had her as a teacher.

The hardest part was trying to replicate Lincoln’s drawing. I wanted it to be as accurate as possible. So, when he drew outside the lines on a picture, I hooked the image on the rug with the colors spilling out. The other challenge was determining which drawings to include. Lincoln did so much drawing in his kindergarten class, and all the drawings were so unique, that it was hard to figure out which ones to feature in the rug.

It took me almost six years to finish this rug, as I took many breaks to do other rugs. Lincoln is now in seventh grade! When I was finally ready to finish this piece, I created a black border around the rug, folded the excess under, and stitched it down.

This rug showed me how much I really enjoy rug hooking and working with wool yarn. It also taught me to be patient. I enjoyed bringing my son’s artwork made with colored pencils and crayons on paper to a rug backing with wool yarn. I’m happy he will have this rug for many years to remind us of Lincoln’s time in kindergarten.

Loy‘s Barn

By Susan Feller

For Loy’s Barn, I wanted to create a decaying structure that looked as realistic as possible. That meant more than hooking textured fabrics in vertical lines. In the dark, acrylic-painted open spaces, I appliquéd digital imagery of hay rolls that I designed and printed on fabric using the company Spoonflower. When it came to the roof, I thought of using the shiny inside of a coffee bag bent in ribs like tin—but the striped piece of upholstery seemed to be a good visual and easier to use. Not visible is the foam core I used to strengthen the sides and roof. More of my designed fabric lines the inside. The base is a wallpaper of my design from Spoonflower, mounted on a board.

I love the surprise you get when walking around the barn. One end is not hooked but is instead covered by a piece of fabric showing the timber-frame structure—the skeleton of the barn. The stark white, black boards, and hints of blue sky contrast with the familiar, hooked sides of the barn.

My partner suggested that I needed to make this more than a sculptural piece. Hence, the roof opens, and it is a storage box. Getting the roof to sit perfectly was challenging. I even had to take the foam-core sides out and recut them. The roof is attached to one long side but hinged to open. It wouldn’t sit tightly. The inner lining is stitched to each side along the corners and at the bottom to pull the structure together.

I finished the piece carefully and with thought all along the way. I first drew out the three sides with just a quarter inch between each, knowing I wanted to whip them together so they bent. I didn’t want to have too much bulk at the sides with two sets of whipping. The construction steps all along the way had to be considered. I have made boxes before, including the pocketbook I use daily. Construction is fun and challenging, and I will keep making more 3D objects.

Perfecta Cycles Poster

By Laura Pierce

I chose this pattern to teach at the Western McGown Teachers Workshop in 2025. I knew my husband would be pleased with it, as he has always loved Alphonse Mucha’s poster art. When the assignments were being made, our directors drew names to establish the selection order, and I got last pick. This pattern was my first choice. When it was finally my turn to select my pattern, there it was, still waiting for me: Perfecta! I could hardly believe my luck!

This was a large pattern for me, and I had to get it finished by May 2025. Deadlines are often a good motivator for me. As I hooked, I thought about my class and how I would instruct my students. I decided to concentrate on hooking the face during my one-day class. Everyone made progress, so it was a fun and successful experience!

I used overdyed Pendleton plaid wool in a #3 cut to outline all the motifs. Thin wool in a #3 cut just whispers an outline, and the plaid changes values and adds to the light touch. I used two values of hand-dyed wool in a #6 cut to fill each motif. The darker value is mostly around the edges, and the lighter value completes the “fill.” Just one row of a darker value can add depth and liveliness to your motif. I used an overdyed textured wool for the shadows in the dress.

I didn’t want to hook this pattern in the monochrome hues of the original poster. I love the rusty orange of the poster, but I also love color. I thought I might make her dress blue, but that color ended up in the background! Since her hair is golden red, I thought a green dress might be the perfect complement. Of course, her bicycle needed to be red to match the red text. Rubber tires were originally white, making it the perfect choice for the tires in this period rug.

The woman’s expression turned out well, which is always good in a portrait. Once the face is in, you’re on your way! However, her hands, which rest on the bicycle handlebars, were a challenging part to hook. It was difficult getting just the right amount of shadow on the palm of her hand and on each finger. Her hair is lovely, but endlessly twining under and over. I took breaks from hooking her hair, as sometimes I couldn’t see which way it should lay, especially behind her left shoulder.

As I was hooking the outer edge, I started to curve a bit around the four corners. Each additional row added more curve to create bigger, rounded corners. I cut the linen about 1 1/2 inches from the hooking, then folded the excess toward the hooking twice and basted it in place. I love to use “punch” yarn—four-ply chunky wool—to whip the edges.

Selfie Reflection

By Donna Hrkman

As a longtime artist and rug hooker, I believe we need to reach out to more people to keep our art alive. If we can appeal to younger people and share the medium we love, perhaps we can inspire a new generation of rug makers. I’m proud to say I have two daughters-in-law who are making hooked rugs. I thought that a rug featuring the ubiquitous cell phone would attract a younger crowd and inspire them to look into the art we all love. Selfie Reflection is part of my effort to keep rug hooking alive!

I was captivated by the man’s image in the source photo and wanted to see if I could recreate it using wool. I like the central figure, as he’s shown in fragments and splinters of broken colors. I used hand-dyed wool in a #3 cut to capture the pieces of reflected and refracted light. The man’s torso was the most difficult area to reproduce be-cause of the multiple layers and broken lines in the reflection. Actually, most areas were tough because of the angles, bits of color, and repeated elements, such as the cars.

To finish the rug, I whipped the edges over cotton cording with black yarn to replicate the edges of a cell phone. Through hooking this piece, I learned that challenging yourself with a concept that seems impossible can pay off. I approach every new rug I create with a sense of doing something new or different for me. And it’s fun!

Wolfe River, Fundy National Park

By Caroline M. Simpson

This piece was displayed at Fundy National Park in New Brunswick, Canada, over the summer and fall of 2025. It was created as part of an artists’ residency program sponsored by Craft NB and Parks Canada. As the piece was to be displayed outdoors for four to five months, I chose to use plastic strips cut from recycled bags and cassette tape because I needed something that could withstand the elements. I used linen for the backing, as I knew, after testing, that it was able to stand up to wet weather and hot sun.

Because the plastic is slippery and didn’t want to stay in the linen, I found that the whole thing was challenging, but I would say the sky was the most difficult area because there was so much of it. I particularly like the silhouettes of the trees against the sky.

To finish the rug, I coated the back in matte medium to ensure the plastic loops couldn’t be easily pulled out by birds or small children visiting the park. Then, I stretched the linen over a wood frame and mounted it in a salvaged window frame to evoke the memory of this place in past times, when it used to be a thriving mill town. I backed the whole piece with plexiglass to protect it from the wind.

This piece taught me perseverance! Because I had a firm deadline to meet, I had to set and maintain a hard schedule of 10 hours hooking each day for about three months. By the end, I had a torn rotator cuff!