Marta's Showcase

Rughooking & Crafts


Squirrel – wide cut rug-hooking stuffed animal (10″H x 8.5″ W)

Primitive sunflower on bedspring

Water Lilies – Wide cut – Primitive


Pattern:  “Water Lilies” designed by Joan Moshimer’s.  Adaptation of the “Stair Treads & Risers” Pattern #10

Size: enlarged up to: 39” x 19”

Backing: linen


I hooked this rug in #6 cut. I dyed the wool for the petals and the water.

The water lilies petals are hooked with dip dye wool. For the front petals I choose a light yellow base wool and for the back petals I choose a golden yellow base wool.

The formula for the petals is as follows:

Dip Dye wool

2 pieces of light yellow wool 18”x14” ea.

2 pieces of golden yellow wool 18”x14” ea.

How to dye the pieces of wool:

Orange (center of the long length of the wool)


  • 1) PR 6

1 table spoon in a big pot w/BW, add 1 TBS plain salt. Once the color is in the wool, move it up and down for a couple of minutes, then add vinegar using the same movement until the dye is absorbed.

Magenta (1/3 bottom of the long length of the wool)


  • 2) PR 102A

5 table spoons in a big pot w/BW, add 1 TBS plain salt. When the color is ready, move it up and down for a couple of minutes, add 2 TBS more only for the tip of the wool, then add vinegar with the same movement until the dye is absorbed.

Preparation of the PR6 and PR 102A

PR 6 (Sundance) (orange)

½  Yellow 119

¼  Magenta #349

1/128  Black #672

Dissolve the dye in a glass container with 1 teaspoon of tap water.

Then add 1 ¼ cup of BW.

PR 102A

1/8  Red #349

1/16  Magenta #349

1/32  Yellow #135

Speck (pinch, or small amount: less than 1/128) Green #728

Dissolve the dye in a glass container with 1 teaspoon of tap water.

Then add 1 ¼ cup of BW.

For the leaves I choose a seven value swatch in green from Connie Charleson #29.

For the water I dyed a seven value swatch which I hooked horizontally. The dye formula is as follows:

Prisms #2

PR 23 Blue Bell

1/8 Turquoise #487

1/32 Magenta #349

In 1 ¼ CBW, over white wool w/salt & vinegar

The 2” additional border is hooked with 3 rows in brick red and 5 rows in camel, which brings the actual size of the rug at 22” x 43”.

I finished the edge with a herringbone stitch using yarn that matches the camel wool from the border.

Sunflower pillow -three dimensional rug hooking

Coneflower on bedspring

Sunflower on bedspring

Primitive pillow with proddy edge

primitive pillow witj proddy edge_aa

Carnival Roulette pillow

geometric pillow_aa

Pattern: Carnival Roulette

Designed by Bea Brock

Size: 18’x 18″

Wide cut style



Pattern: “Sucha” designed by Jane McGown Flyn
Pattern #1398 M
Size: 24”x36”
Backing: warp cloth

“Sucha” is a pattern designed by Jane McGown Flynn. The design belongs to the family of the Mola which is a craft developed in Central American countries, specifically in Panama.
History of Molas: The “Mola” is part of the traditional costume of a Kuna (Panamanian woman). Two Mola panels are used as the front and back panels of a blouse. Molas are hand made using a reverse appliqué technique with two to seven layers of different-colored cloth (usually cotton). The Kuna first used geometrical patterns which were used for body painting before. In the past 50 years they also started to depict realistic and abstract designs of flowers, sea animals and birds.
“Sucha” design: Jane McGown Flyn captured the real spirit of Mola in her own butterfly design. I tried to preserve the color scheme of the traditional “Molas” and used warp cloth backing which allowed me to work in #4 cut.
My research of Molas inspired me to work with the same vibrant colors which Kunas (Panamanian women) used to developed their own craft.
My focus was to use solids reds, oranges, greens, blues and golds. I added some transitional wool material to show up the shape of the butterfly. For the background I pick a light but vibrant green to enhance the main design which is the butterfly in its full image.
The 2” additional border, hooked in the family of the brown and gold colors, frames the design and makes the actual size of the rug 26”x38”.
It was a real challenge to display all the colors in a way that will show up in their own intensity.
For the finishing around the edge I used the herringbone stitch with yarn matching the brown color from the border.




Christmas tree & ornaments

christmas treechristmas ornaments

Penny Rug Garden


Love never melts

Lover never melts_1





Pattern: Rhino
Size 30” x 22”
Design from Tomorrow’s Heirlooms
Wide Cut, Primitive
Wool on burlap

I first saw this pattern Atha Newsletter Issue N° 180 (December 2009/January 2010). The color scheme really caught my eye. It gave me the desire to develop the project myself keeping the same line of colors.
On January 2012 at one of the Atha Gator Group meetings in Sebastian Florida, I saw my friend Alaina Trout hooking the same pattern. Once again I had a strong urge to hook the Rhino pattern. I immediately searched for the designer’s contact information and ordered the pattern in burlap.
Keeping the same color scheme, I worked some of the small details in five cut and the rest in six cut. This is the kind of project that allows you to use leftover wool from previous projects but also gives you the opportunity to improve your dying skills, trying to find formulas for more dramatic colors.
The background color is always one of the most important and personal decisions. People sometimes look for a medium to light color value which makes the central motive blend smoothly with the rest of the project. In this case I wanted to give very sharp definition to the central motive rhino. The deep dark violet background I chose stood up well to the silhouette of the rhino.
The border is a combination of a couple of rows in a medium lilac followed by some gold rows.
The edge is finished with a herringbone stitch using yarn that matches the same gold of the very last few rows.
I wanted to present it as a hanging piece so I added a piece of gold tapestry cord on top to hang from. To make it lay flat on the wall I hand sewed on the back, top and bottom section, a cotton tape 2 ½” wide and then inserted flat wood trim 1½” wide.


Aunt Mary’s Quilt


Pattern: Aunt Mary’s Quilt #307
From Harry M. Fraser Co.
Original size pattern 24”x36” with 3 pairs of geometric flower design.
Actual size of the rug 26”x60” with 5 pairs of geometric design and border included.

The original size of this pattern is 24” x 36” which includes three pairs of the geometric flowers. I was looking for something a little wider to fit the width of my main entrance door, so I ordered the pattern with five pairs of the geometric flowers, in linen, to be hooked in wide cut, #6. The selected colors were primarily gold, orange and brown. I also incorporated some lemon green.  To balance colors, I kept the same color scheme on diagonal pairs of flowers. Having five pairs I repeated the same color for the center flowers.

All the geometric flowers were outlined and most of the petals were hooked with dip dye wools. The diamonds, border and background were hooked with hand dye wool in solid colors. Edging was applied as the finishing technique in a herring bone stitch using roving material. This roving material is the kind of yarn that can be used to knit with two needles. It is a more elaborated product and is not even or straight all the way. The kind of roving that I used was hand dyed with three different pastel shades (gold, peach and pale green). The roving was too thick for a regular chenille needle so I used a rug hooking hook instead.  The difference the hook versus the needle is the time required to pass through the full length of the roving to follow the steps of the herring bone stitch. This consumes a little more time but the final product is really pleasing.

Christmas Tree Ornaments


bear  tree  santasanta2  chu chu train  soldiercandle  bell2  candy canediamante  heart  bootstar  candle2  bellboot2  dove  star2circle  noel sign  circle2IM001117

Camellias’ vase – Proddy and Fine Cut



Pattern: Rose Pyramid panel #189

From Harry M. Fraser Co.

Size 26”x 42”


I adapted this pattern choosing the camellia as a type of flower. For this project I combined proddy and fine shading techniques. I developed the camellias applying the Prodded (proddy) technique and the guide lines from Gene Shepherd’s book: “Prodded Hooking for Three-Dimensional Effect” but I shaped the camellia petals having a real camellia flower as a model. Camellia usually comes in red, pink and white colors but to make sure that each flower will show up in a distinctive way, I added some others in lemon green and orangey pink to the red flowers.

The leaves were incorporated as embellishments. I got them in a craft store and they are made of a material similar to silk.

The vase was hooked with the fine shading technique in cut # 3 with a black swatch from Connie Charleson #180. This swatch comes with two swatches of three values each: they are #180A and #180 B. Each one adds lighter and darker values to the main swatch.

For the surface where the vase stands I used a dip dye from Alaina Trout’s stock in an orangey red color, 14” wide by 30” long, hooked in a horizontal way, trying to keep the darkest value close to the vase.  The length of the dip dye wool worked in a horizontal way wasn’t enough long to cover the width of the design. Consequently I continued the horizontal line meeting the lightest section of the strip already hooked with the lightest section of the new strip until the bamboo canes border was reached. Hooking in this way I got a lighter section at each side of the vase.

The background was hooked in cut # 4 in a wavy way creating a marble look. The wool is a spotted dye formula which produces different shades of grays and silver greens over natural wool.

The design is framed with a border of bamboo canes which I designed myself. They were hooked using the fine shading and fingering technique in cut #3 with a bronze green Dorr swatch which is unfortunately discontinued.

I finished the edge with the herring bone stitch using a hand dye yarn (one skin of 100% pure wool) in a color which matches the darkest value of the Dorr swatch.

Finally, I decided to present this project as a wall hanging piece.


Background formula:

The formula belongs to Alaina Trout and she calls it “Green Fog” (

The formula is as follows:

Using PRO WashedFast Acid Dyes:

Over 3/4 to 1 yard of natural wool

In 2 cups of boiling water for each dye mix separately:  1 1/28 Leaf Green # 728, 1/128 Black #672 and 1/128 Brown #503. Apply the spot dye method over the wool separately. This formula is sufficient over 1 yard of natural wool. Then bake it in oven at 300 degrees for up to 45 minutes in a covered pan.

Ante Bellum – Wide Cut – Primitive

Pattern: Ante Bellum, # M274, size 17” x 36”, from Prairie Craft House. Designer: Carol Kassera

This is a primitive rug with three big magnolias, hooked with cut #6. The center magnolia is hooked with two swatches from Constance Charleson “Connies Cauldron” # 114. These swatches go from a very light green to a soft peach. The other two magnolias are hooked with two swatches of a similar color at the center magnolia, but these I dyed myself some time ago.

Some of the leaves are hooked in grey green with peach vanes and some others in lemon green. The background is a dark burgundy with some accents in a lighter version of the same formula. The edge is hooked with three different shades of green. The edge is finished with the herring bone stitch using a commercial yarn matching the lemon green color of the medium size magnolias.


Proddy Pillow – Prodded & Wide Cut Hooking

Pattern: Primitive Rose #440, from Harry M. Fraser Co., Size 15”x15”

I adapted this primitive pattern in a bouquet of three different flowers. I used the Prodded technique and the guide lines from Gene Shepherd’s book: “Prodded Hooking for Three-Dimensional Effect”.

The pale pink “tea rose” and the silver grey “dahlia” are basically identical from the ones showed in Gene Shepherd’s book, but my third flower is a combination of the petals of a “peony” and hooked as an “old-fashioned wild rose”.
I didn’t want to apply the rug hooking technique for the leaves, so I decided to work with two different shades of lemon green wool, cutting three sets of two pairs of leafs, each leaf approximately 2.5” long, following the same technique applied to cut the flower’s petals (in pairs).
The edge of the leaves have a zigzag effect because, instead of using a regular scissors, I used a “7.5” pinking shears scissors.
To give a firm shape to each leaf, I glued a piece of “cloth stem wire” gauge 22   on the back of the leaf, in the center, from top to bottom. Then I molded the wire of each leaf giving each one a different curly appearance.


Museum Bed Rug – Wide Cut – Primitive

“Museum Bed Rug” is a primitive pattern from Yankee Peddler, size 40”x50”.

Some motives were outlined.
The rug has five identical flowers. All five flowers were hooked almost identically. Each flower was outlined but each petal was hooked with a deep dye wool, yellow to maroon (1) applying the wool in different ways to separate one petal from the other one. For the center of each flower I combined three different kinds of textures. The center is outlined with one row of black wool then one row of yellow and black plaid wool, three rows of yellow and brown plaid wool and the center filled with dyed roving in cherry red color.


Horn of Plenty Heroic – Wide Cut – Primitive

This is a primitive pattern from Heirloom Rugs called, “Horn of plenty heroic”, model #716 O, and size 33”x64”, was designed by Louise Hunter Zeiser.  The flowers and the pine cones were hooked with primitive swatches in rust, orange and brown colors.  A primitive swatch usually has four values of the same color, one of which is a plaid. The outlining is done in plaid, and the rest are light, medium and dark values. These remaining values should be used independently to hook the upper, middle and lower sections in straight rows and columns, or circular patterns.  Examples where the straight technique is used are the pine cones. The circular technique is implemented for the rest of the flowers in the pattern.  The top of the pines cones were hooked with a deep dye, soft lemons to purple, however, the top of the other two sets of flowers were hooked with primitive green and brown swatches. These sets of flowers can be identified by the central leaves motif hooked in green and outlined with the dark solid value of the same primitive swatch used for the rest of the flower.


Caucasian – Oriental

29” x 40”, New Earth design
The oriental design was hooked on linen burlap cut #4. The lines, corner and angles in the pattern were respected as much as possible. I dyed some formulas and got some others from my friends. This is the list:


Marigold Heroic – Wide Cut – Primitive

This is a primitive pattern from Heirloom Rugs called, “Marigold Heroic”, model #716 D, size 28”x62½”, designed by Louise Hunter Zeiser.

All the motives were outlined.
The petals of the two marigold flowers were hooked with a dip dye in yellow-gold to rust-brown; the wool was originally yellow-gold consequently I only dyed one end with a rust-brown formula to get a deepness effect towards the center of the flower. The center of each marigold was hooked from the edge towards the center in the following order: two rows in yellow plaid, three rows in green plaid, three rows in solid green and the rest with roving, dyed in a gold formula.
The two corner flowers were hooked with a dip dye in rose to burgundy.
The pattern has three big sets of leaves. Each set has the same motive on the right and the left side of the rug but in opposite directions. The three sets of leaves were hooked with two swatches of six values each, in two different colors of green, one swatch in yellow green and the other one in bronze green. In some leaves I incorporated a dip dye red to pink to highlight the center of the leaf.


MIKADO (Chrysanthemums) – Floral Monochromatic


MIKADO # 648 (Chrysanthemums)
From Heirloom Rugs
Size 25”x30”
Teacher: Margaret Howell

This is a fine shading pattern from Heirloom Rugs called, “Mikado”, model #648, and size 25”x30”, designed by Louise Hunter Zeiser.  The flowers, leafs and scrolls were hooked with cut #3 and the background with cut #4.
The chrysanthemums flowers were hooked with eight to twelve value swatches in peach to brown colors.  The darkest brown values were used to divide the petals. The leaves were hooked in green color swatches, using three different sets of swatches, some with grey tones and some others with gold tones, to get a different accent on the final result. The pattern has a border of scrolls, hooked with a dip dye Studio Swatch letter “J”.


The enchanted – Wide Cut – Primitive

The enchanted, P777 (16×30), Jane Mc Gown Flynn design.

This was adapted from a pattern by Jane Mc Gown Flynn. Originally the cat was sitting at the sill of a window watching a bird on a branch, but I changed it to use the “proddy” and “sculpture” techniques. The cat is now sitting in a “proddy” garden.
I removed the window and the branches are now attached to the trunk of a tree.
The leaves and bird are made with the “sculpture” technique in 3 cut.
I had to incorporate a lake and small mountains since the horizon space was so large. The rest was done in primitive 6 cut. It is finished as a hanging piece