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Designs his weavers developed before 1911 were still being made, virtually unchanged, as late as the 1950s. These oriental-influenced patterns are now known as Early Crystal rugs. Those made at the beginning of the century typically featured aniline red with natural whites, browns and greys, while rugs made from the 1920s on tended to rely even more heavily on a wide range of natural wool colors. One of the most popular designs that likely resulted from Moore’s work at Crystal was the Storm Pattern. It is generally defined as a central rectangle connected by zig-zag lines to smaller rectangles in each corner. The storm pattern often is said to have symbolic meaning: the zig-zags are lighting, the corner rectangles are the four sacred mountains of the Navajo or the four directions or the four winds, etc. Nevertheless, the great variety of interpretations suggests that meanings were assigned by traders and collectors, not by the Navajo themselves.
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There are really no color rules, except they should harmonize.This design also contains a lot of diagonal lines. The name of the rug comes from a settlement in the NE cornerof the Navajo nation and means ‘Cottonwoods in a Circle.’ This is a very interestingrug and has some distinguishable design features. In the center of the rug willbe a rectangle that represents the center of the universe. The 4 rectangles,one in each corner of the rug, represent the homes of the four winds or thefour sacred mountains of the Navajo world. Zigzag lightning lines connect thesecorners with the center.
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The final type of Navajo rug design is one that was offered to Navajo chiefs. These were made using the highest quality threads available. The patterns are durable and simple. Blue, white, and brown are all prominent on Chief weavings.
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They were also worn frequently for ceremonial purposes. They continued to learn and improve their blanket-weaving abilities, which led to the Navajo evolving their methods. The Traditional Fine Arts Organization explains that this led to blankets in a variety of styles and colors and more complex designs. They quickly expanded their product lines from blankets and wraps to rugs. Demand for both increased. This increased demand was driven by traders who also had an influence on regional designs. The Navajo eventually began to use their gods, and other spiritual figures in their woven works. According to PBS, a Navajo blanket used to cost $100 to $150 by the end of the 19th century. This was in a time period when men only earned $5 per week.
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When Germantown wool from Pennsylvania was originally imported, it afforded the weavers a wonderful range of new colors to work with and this design wasperfect for the combining contrasting colors. This rug design looks almost Persian and perhaps least likea Navajo. It is a very busy and bold design with a wide border filled witha variety of motifs, especially a lightning path. It is a complex design andthe rugs are often large. The centers of these rugs are quite elaborate withfeathers, arrows, and claw-like hooks extending from the points of diamonds andtriangles. Zigzags will be everywhere.


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Michelle Radcliff owned a retail home furnishings business for eight years. Radcliff offers decorating advice on her blog, Home Decorating News, is a regular contributor on interior design at LoveToKnow.com and earned certification as an interior decorator from Penn Foster College in 2013.
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It is obvious that intricate designs are harder to weave. It is the same story for tight weaving.
