Sekkei

Your weekend Crafty Fix

noreply@blogger.com (Vicky) — Sat, 07 Aug 2010 00:32:00 +0000

I know, I have been away from my Blogging Platform for a week! I think I lost my Blogging Mojo. It didn't stop me from checking out all the fantastic crafty blogs online and so I have this weekend's offering. I hope it keeps your fingers busy for a few days.

UseYour Parked Car for Something Useful -- Drying Herbs!

If you've got a car, you may as well try to use it for something green.
There are several methods for drying herbs from your garden or CSA. The most common is to hang them from their stems in bunches in a dark, dry place until they're completely dry. However, this can be a pain if you live in an area with high humidity; the herbs will often turn mouldy before they dry all the way. You can also dry them in an oven set on low heat, which works better for certain herbs than others. And you can dry them in a microwave, as long as you're diligent about checking every few seconds to make sure you're not burning them.

Molly's Sketchbook: Tooth Fairy Bags

We thought we'd try to make the whole Tooth Fairy ritual a little more fun by making a colorful bag complete with a special tooth-shaped pocket for the baby tooth. The Tooth Fairy can take away the tooth and leave the loot in the bag.This is a really quick project. So quick that you might want to whip up a few in different colors for the different kids (and teeth!) in your life.

Repurpose a pillow case and make this Pillowcase Dress

Skateboard Shelving

Take three skateboards, a blank wall, and a room in need of storage, add one clever mom, and what do you get? If that mom is Rebecca Solimando of Englewood, Colorado, you get a stylish shelving unit that puts your wall to work and looks supercool. Created for her 11-year-old son, Jacob, Rebecca's outside-the-box design inspired our own (with added bike baskets). And if you've got kids who love the fast life, we think it might inspire you too.

Printable Cards to hold Embroidery thread

Wouldn't you rather store your embroidery thread on these funny cardstock bobbins instead of snarled up in a ziplock bag? I think you would. Download and print these guys, compliments of Wild Olive.

Tutorials from Simply Modern Mum

Tutorials and patterns made by Simply Modern Mom. Click on the pictures to go to the tutorial. All contents are copyrighted. Please credit the tutorial, patterns and photos by linking to it on your sites. Not for commercial use. See Creative Common License for more info. If you made something inspired by Simply Modern Mom, please upload pictures of it in our Flickr group to show it off to everyone. You may be featured on Simply Modern Mom.

DIY Personalised Memory Game

A Wallet made from a Magazine

An Homage to Patchwork

noreply@blogger.com (Vicky) — Wed, 28 Jul 2010 22:40:00 +0000

Until yesterday, I knew very little about Patchwork. I knew that I loved the traditional American quilts made using patchwork techniques, and I appreciated all the skill and creativity that went into making patchwork creations.
Yesterday I became the proud owner of an Embroidery Sewing Machine (Janome Memory Craft 200e) and an Overlocker (Janome 644D) which my husband bought me as a gift for all the special occasions we will celebrate this year (hopefully one of them will be selling our present house and moving to another!).
I am so excited about my new toys. I am not able to open the boxes until we move, but meanwhile I am trying to find out all I can about how to use them. These ‘toys’ were purchased from Bayside Stitch Craft in Cleveland – just outside Brisbane. It is my new favourite shop – and that’s where I saw amazing quilts and patchwork on display. More about my toys later, for today I thought I would pay homage to the art of Patchwork!

Patchwork or "pieced work" is a form of needlework that involves sewing together pieces of fabric into a larger design. The larger design is usually based on repeat patterns built up with different colored shapes. These shapes are carefully measured and cut, straight-sided, basic geometric shapes making them easy to piece together. Precise joining makes for patchwork that lies flat without puckers.
When used to make a quilt, this larger patchwork or pieced design becomes the "top" of a three layered quilt, the middle layer being the batting, and the bottom layer the backing. To keep the batting from shifting a patchwork or pieced quilt is often quilted by hand or machine using a running stitch which can outline the individual shapes that make up the pieced top, or the quilting stitches can be random or highly ordered overall patterns that contrast with the patchwork composition.
In the past hand quilting was often done in a group around a frame. Instead of quilting, the layers are sometimes tied together at regular intervals with pieces of yarn, a practice known as tying or knotting. There are three traditional structures used to construct a patchwork or pieced composition: 1) block, 2) overall, and 3) strip piecing. Traditional patchwork has identifying names based on the arrangement of colors and shapes.
Today, many quilts are quilted using a Longarm quilting system. The system consists of a frame and a sewing machine. The patchwork, batting and backing are loaded onto the frame and in some systems each layer can be tensioned independently. No basting is usually necessary. The frames can be up to 14' long which is big enough for a king size quilt to be tensioned ready for quilting. The sewing machine known as the Longarm machine has an extended throat space – up to 36" – and can be moved on a 2-axis rail system – left and right, forwards and backwards enabling a 360 degree movement over the surface of the quilt. Until recently most longarm machines were hand-guided which meant the operator had to synchronise the speed of their hands with the speed of the machine motor. Fast hands, slow motor meant big stitches. Slow hands, fast motor meant small stitches. Since just after the turn of the century most longarm machines are now sold with stitch-regulation, which means the operator no longer has to synchronise hand speed with the motor. Electronics in the machine ensures the stitch length remains constant. More recently fully computerised machines are being sold. Fully computerised machines have been available for over 12 years. They were invented by Paul Statler but have only recently become popular. These machines use specialised machine-driver software and 'cad'-type drawing packages to enable pattern digitisation and automatic quilting. An operator is still required to mind the machine and set the pattern onto the quilt. It is thought that over 10,000 longarm quilting machines are in use today. There are many brands available and many places to obtain training.
1) Patchwork blocks are pieced squares made up of colored shapes that repeat specific shapes to create patterns within the square or block, of, say, light and dark, or contrasting colors. The blocks can all repeat the same pattern, or blocks can have several different patterns . The patchwork blocks are typically around 8"–10" square. They are sewn together in stacked rows to make a larger composition. Often strips of contrasting fabric forming a lattice separate the patchwork blocks from each other. Some common patchwork block names are Log Cabin, Drunkard's Path, Bear's Paw, Tulip, and Nine Patch. A unique form of patchwork quilt is the crazy quilt. Crazy quilting was popular during the Victorian era (mid–late nineteenth century). The crazy quilt is made up of random shapes of luxurious fabric such as velvets, silks, and brocades. The patchwork pieces are stitched together forming "crazy" or non-repeat, asymmetric compositions. Fancy embroidery embellishes the seam lines between the individual, pieced shapes.
2) Overall patchwork designs are incrementally pieced geometric shapes stitched together to form a larger random or composed design. The colored shapes can be randomly pieced or follow a strict order to create a specific effect, e.g. value (light to dark) progressions, or checkerboard effects. Names such as Hit or Miss, Clamshell, back-stitch, needle weave, criss-cross and Starburst identify some overall patchwork structures.
3) Strip piecing involves stitching together pieces of fabric in repeat patterns into long strips and then stitching the strips together lengthwise. The patchwork strips can be alternated with strips of contrasting colors. A typical strip patchwork quilt is the Flying Geese pattern.
Some of the other specialized forms of patchwork are:
• Scrap piecework
• Foundation piecework or the closely related
• English paper piecework
• Seminole piecework
• Hawaiian piecework
• Stained glass window patchwork

For every branch, TURN - TURN - TURN!

noreply@blogger.com (Vicky) — Wed, 28 Jul 2010 03:43:00 +0000

The origin of woodturning dates to around 1300BC when the Egyptians first developed a two-person lathe. One person would turn the wood with a rope while the other used a sharp tool to cut shapes in the wood. The Romans improved the Egyptian design with the addition of a turning bow. Early bow lathes were also developed and used in Germany, France and Britain. In the Middle Ages a pedal replaced hand-operated turning, freeing both the craftsman's hands to hold the woodturning tools. The pedal was usually connected to a pole, often a straight-grained sapling. The system today is called the "spring pole" lathe (see Polelathe). Spring pole lathes were in common use into the early 20th Century. A two-person lathe, called a "great lathe", allowed a piece to turn continuously (like today's power lathes). A master would cut the wood while an apprentice turned the crank.

The term "bodger" stems from pole lathe turners who used to make the chair legs and spindles. A bodger would typically purchase all the trees on a plot of land, set up camp on the plot, and then fell the trees and turn the wood. The spindles and legs that were produced were sold in bulk, for pence per dozen. The bodger's job was considered unfinished because he only made component parts. The term now describes a person who leaves a job unfinished, or does it badly.

During the industrial revolution the lathe was motorized, allowing turned items to be created in less time. The motor also produced a greater rotational speed for the wood, making it easier to quickly produce high quality work. Today most commercial woodturning is done by computer-operated machinery allowing for mass-production that can be created with accurate precision and without the cost of employing craftsmen. Despite this, there is still a demand for hand-turned products. Woodturning is also a hobby enjoyed by many people.

Modern professional woodturners are typically either "production" turners producing large quantities of functional pieces, or artistic turners producing smaller numbers of pieces, often enhanced after turning by carving, piercing, coloring, applying pyrography, gilding, or a number of other techniques to produce objects for the art market.

Woodturning is a form of woodworking that is used to create wooden objects on a lathe (see: also antique wooden polelathe). Woodturning differs from most other forms of woodworking in that the wood is moving while a stationary tool is used to cut and shape it. Many intricate shapes and designs can be made by turning wood.

There are two distinct methods of turning wood: spindle turning and faceplate turning. In spindle turning, the wood is fixed between 2 points. The spur center digs in to the wood and is powered by a motor. The other, a hard center or a live center may be a point or set of points in the tailstock. In face plate turning, the wood is secured with screws to a faceplate or in a chuck or jig. the tail stock and a center may also be used for added support on large pieces with a faceplate. Most bowls, platters and many vessels are face plate turned, while, Pens, furniture legs, spindles, and some vessels are spindle turned. The method used may differ depending on the shape of the blank and the technique of the turner, and both methods may be used on the same piece.

When wood is cut in such a way that the fiber being cut is not supported by the fiber below it, it tends to separate and tear. This "tearout" exhibits a rough, highly damaged looking surface texture and greatly reduces the value of any product exhibiting it. The direction of cut is different in spindle turning and faceplate turning because cutting in the wrong direction can cause tearout. Spindle turning cuts are made from high points toward the axis on the outside of the piece, and from the axis toward the outside when hollowing. When faceplate turning, the opposite applies.

Woodturning tools

Turning tools are generally made from three different types of steel, Carbon steel, High speed steel (HSS), and more recently Powdered Metal. Comparing the three types, high speed steel tools maintain their edge longer, requiring less frequent sharpening than carbon steel, but not as long as powdered metal tools. The harder the type of high speed steel used, the longer the edge will maintain sharpness. Powdered steel is even harder than HSS, but takes more effort to obtain an edge as sharp as HSS, just as HSS is harder to get as sharp as Carbon Steel. Unlike other edged woodworking tools, woodturning tools require more frequent sharpening, because the wood passes at a great speed. To maintain a clean cut, the sharpness of the tools edge must be maintained. The sharpening process requires either skill of the craftsman, or one of the many available sharpening jigs, which facilitate maintaining a specific bevel on the tool. High speed steel is not prone to blueing (overheating) whereas carbon steel blues easily, requiring frequent quenching to avoid losing temper (making the edge too soft.)

Types

• roughing gouge - a wide fluted gouge used to initially round a wooden spindle, and to roughly shape it. Generally not intended for cutting end grain due to the large cut it takes and the relatively weak tang connecting the blade to the handle. Unsafe for making bowls or any faceplate work.

• spindle gouge or detail gouge - a shallow fluted gouge used to create details on spindles, including beads (raised portions of the turning typically semi-circular in cross section) and coves (relieved portions of the turning).

• bowl gouge - a deep fluted gouge used to turn the outside and inside of bowls and vessels. Often has a thicker shaft and longer handle than a spindle gouge because it has to cut farther away from the handrest and deal with the forces of turning a large bowl.

• skew chisel - a wide, steeply pointed chisel with the edge running at an angle to the length of the tool. Used to smooth flat spindles, cut beads, and add details. Skew chisels are only used on spindle work (never on faceplate work) and are honed after sharpening to create a razor edge.

• parting tool - a pointed tool used to separate (part off) work from the lathe, and to create a straight edge separating large and small diameter sections - wide parting tools also called bedans are used to create evenly sized spindle sections.

• hollowing tool - many different types of tools used to cut out the deep sections of steep bowls, vases and hollow vessels. Often with very long handles, to maintain enough leverage when working in a deep vessel, far away from the handrest.

• scraper - a tool that scrapes the wood fibers instead of cutting - these are used to smooth off wooden items cut with other tools, and to shape items that are not possible or difficult to shape with gouges. A sharp scraper has a burr at the edge which cuts the wood, only a dull scraper actually scrapes.

• bowl saver - a tool used to core out the inside part of a bowl, allowing the waste piece to be used to create a smaller bowl, and to limit the amount of wood chips created when hollowing out a bowl.

• auger - a drill bit used to drill a hole partway or all the way through a wooden item. For cutting the hole for a lamp cord, or as the first step when hollowing out a bowl or vessel

• chatter tool - a flexible scraper used to add decorative chatter marks to turned items
• wire - a simple wire, sometimes with handles attached at either side, for the purpose of burning lines into the piece with friction.

• there are also several tool types for special purposes, as well as tools that are a combination design of the above tools, i.e. skew/chisel combinations, thread cutting tools, ring cutting tools, medium fluted gouges, etc.

I [heart] Machine Embroidery

noreply@blogger.com (Vicky) — Mon, 26 Jul 2010 21:52:00 +0000

Embroidery tutorials For high quality embroidery designs, embroidery projects, embroidery design tutorials, and tips - we are your one stop shop! Our embroidery designs search page is the best source of high quality, downloadable machine embroidery designs and accessories at the very best price. Our site also contains free embroidery designs, embroidery projects and embroidery tutorials all available for instant download. We offer unlimited support and customer points to all customers.

Machine Embroidery Machine Ideas

Magical Machine Embroidery is the home of totally original designs. Many designs are offered in different sizes and they have been digitized separately so that density is consistent. We have used many different kinds of threads so you can see how different designs will look if you want to experiment. We are always open to suggestions for designs and will try to fill all of your needs. So come on in and have a good time. We want you to use these designs on anything for yourself or for sale. However you may not resell these designs to anyone else.

How to Do Machine Embroidery on Towels

How to Machine Embroider With the Help of the Latest Technology. There are many different types of embroidery machines available on the market. As technology is advancing continuously, people are on the lookout for sources for embroidery designs so that they can use them in their sewing projects. Many times this search can be frustrating as they will not be able to find the design they desire due to scarcity of input type or support for one's machine. If you wish to know how to machine embroider allow me to guide you!

The type of machine you are using will be a deciding factor in the machine embroidery designs you will get. Issues like the format the machine supports, the equipment for editing as well as the software you are using will also determine the embroidery designs your machine can provide you. Sometimes, it is very difficult to collect all the tools you require so that things work smoothly. Operating systems are also changing with alacrity. What worked with Windows 7 or Vista may not work with Windows XP.

You will require support from a renowned company that will vouch for their designs and also offer you the latest versions of the software that will be capable of transferring the design into your machine.

If you wish to know how to machine embroider you should research all of the new software available on the market. This software should have a remarkable editing program that will easily allow you to edit, alter or open and save a particular design in a new format that can be accepted by your specific machine. This will be very convenient for you to share designs with friends or your circle of social groups indulging in embroidery.
You should look out for a local embroidery or sewing group that offers classes or hands-on group learning experiences, particularly with embroidery sewing machines. This will help you to learn the software related to embroidery and designs in great detail which you can then use for your own sewing projects. Now that you know how to machine embroider invest in an embroidery machine and let your creativity flow.

How to Machine Embroider T-Shirts

I'm back... and on the prowl!

noreply@blogger.com (Vicky) — Sun, 25 Jul 2010 16:42:00 +0000

A week has passed since I last posted, I hope you have missed me! I have done something to my hip and taking a week to convalesce has been great EXCEPT, now it is bad again… but I needed my fix of Blog posting so I am trying to push through the pain!

Even though we still haven’t sold our house, and ALL my lovely crafty yumminess is packed away in a storage shed, I have decided that I am in the market for a new sewing machine.
As I have said previously, my first sewing machine was a Singer, fully metal, lovely brown colour, toy machine. I still have it (in a box somewhere!) I think I got it for a birthday when I was about 8. I loved that machine. I made dolls clothes and bits and pieces. It did chain stitch. I turned the handle to make it work.
Over the years I have had a variety of machines. Usually all pretty basic. Probably the best one was my grandmother’s Industrial Singer. Huge, heavy and incredibly powerful. I used it to make all my kid’s and my clothes, until it decided to give up the ghost.
Presently, the machine I use is adequate but very unreliable. All plastic, doing only straight and zig zag (on a good day).
I would like to go back to making kid’s clothes for my granddaughter. I would also like to do something other than straight sewing with it – like embroidery. I am open to suggestions! Remember, limited funds and simplicity are key!

A sewing machine is a textile machine used to stitch fabric or other material together with thread. Sewing machines were invented during the first Industrial Revolution to decrease the amount of manual sewing work performed in clothing companies. Since the invention of the first working sewing machine, generally considered to have been the work of Englishman Thomas Saint in 1790 the sewing machine has vastly improved the efficiency and productivity of fabric and clothing industries.

Home sewing machines are all similar -- designed for one person to manually sew individual items while using a single stitch type. Modern sewing machines are designed in such a way that the fabric easily glides in and out of the machine without the hassle of needles and thimbles and other such tools used in hand sewing, automating the process of stitching and saving time.
Industrial sewing machines, by contrast, are larger, faster, more complex, and more varied in their size, cost, appearance, and task.
The fabric shifting mechanism may be a work guide or may be pattern-controlled (e.g., jacquard type). Some machines can create embroidery-type stitches. Some have a work holder frame. Some have a work feeder that can move along a curved path, while others have a work feeder with a work clamp. Needle guards, safety devices to prevent accidental needle-stick injuries, are often found on modern sewing machines.

The History of Sewing Machines - The functional sewing machine caused a riot.
Hand sewing is an art form that is over 20,000 years old. The first sewing needles were made of bones or animal horns and the first thread was made of animal sinew. Iron needles were invented in the 14th century. The first eyed needles appeared in the 15th century.
Birth of Mechanical Sewing
The first possible patent connected to mechanical sewing was a 1755 British patent issued to German, Charles Weisenthal. Weisenthal was issued a patent for a needle that was designed for a machine, however, the patent did not describe the rest of the machine if one existed.
Several Inventors Attempt to Improve Sewing
The English inventor and cabinet maker, Thomas Saint was issued the first patent for a complete machine for sewing in 1790. It is not known if Saint actually built a working prototype of his invention. The patent describes an awl that punched a hole in leather and passed a needle through the hole. A later reproduction of Saint's invention based on his patent drawings did not work.
In 1810, German, Balthasar Krems invented an automatic machine for sewing caps. Krems did not patent his invention and it never functioned well.
Austrian tailor, Josef Madersperger made several attempts at inventing a machine for sewing and was issued a patent in 1814. All of his attempts were considered unsuccessful.
In 1804, a French patent was granted to Thomas Stone and James Henderson for "a machine that emulated hand sewing." That same year a patent was granted to Scott John Duncan for an "embroidery machine with multiple needles." Both inventions failed and were soon forgotten by the public.
In 1818, the first American sewing machine was invented by John Adams Doge and John Knowles. Their machine failed to sew any useful amount of fabric before malfunctioning.
Barthelemy Thimonnier - First Functional Machine & a Riot
The first functional sewing machine was invented by the French tailor, Barthelemy Thimonnier, in 1830. Thimonnier's machine used only one thread and a hooked needle that made the same chain stitch used with embroidery. The inventor was almost killed by an enraged group of French tailors who burnt down his garment factory because they feared unemployment as a result of his new invention.
Walter Hunt & Elias Howe
In 1834, Walter Hunt built America's first (somewhat) successful sewing machine. He later lost interest in patenting because he believed his invention would cause unemployment. (Hunt's machine could only sew straight steams.) Hunt never patented and in 1846, the first American patent was issued to Elias Howe for "a process that used thread from two different sources."
Elias Howe's machine had a needle with an eye at the point. The needle was pushed through the cloth and created a loop on the other side; a shuttle on a track then slipped the second thread through the loop, creating what is called the lockstitch. However, Elias Howe later encountered problems defending his patent and marketing his invention.
For the next nine years Elias Howe struggled, first to enlist interest in his machine, then to protect his patent from imitators. His lockstitch mechanism was adopted by others who were developing innovations of their own. Isaac Singer invented the up-and-down motion mechanism, and Allen Wilson developed a rotary hook shuttle.
Isaac Singer Vs Elias Howe - Patent Wars
Sewing machines did not go into mass production until the 1850's, when Isaac Singer built the first commercially successful machine. Singer built the first sewing machine where the needle moved up and down rather than the side-to-side and the needle was powered by a foot treadle. Previous machines were all hand-cranked. However, Isaac Singer's machine used the same lockstitch that Howe had patented. Elias Howe sued Isaac Singer for patent infringement and won in 1854. Walter Hunt's sewing machine also used a lockstitch with two spools of thread and an eye-pointed needle; however, the courts upheld Howe's patent since Hunt had abandoned his patent.
If Hunt had patented his invention, Elias Howe would have lost his case and Isaac Singer would have won. Since he lost, Isaac Singer had to pay Elias Howe patent royalties. As a side note: In 1844, Englishmen John Fisher received a patent for a lace making machine that was identical enough to the machines made by Howe and Singer that if Fisher's patent had not been lost in the patent office, John Fisher would also have been part of the patent battle.
After successfully defending his right to a share in the profits of his invention, Elias Howe saw his annual income jump from three hundred to more than two hundred thousand dollars a year. Between 1854 and 1867, Howe earned close to two million dollars from his invention. During the Civil War, he donated a portion of his wealth to equip an infantry regiment for the Union Army and served in the regiment as a private.

There is a very interesting Blog that can provide a very thorough history of the Sewing Machine, check it out.

How Sewing Machines Work
Without the sewing machine, the world would be a very different place. Like the automobile, the cotton gin and countless other innovations from the past 300 years, the sewing machine takes something time-consuming and laborious and makes it fast and easy. With the invention of the mechanized sewing machine, manufacturers could suddenly produce piles of high-quality clothing at minimal expense. Because of this technology, the vast majority of people in the world can now afford the sort of sturdy, finely-stitched clothes that were a luxury only 200 years ago.
In this article, we'll take look at the remarkable machine that makes all of this possible. As it turns out, the automated stitching mechanism at the heart of a sewing machine is incredibly simple, though the machinery that drives it is fairly elaborate, relying on an assembly of gears, pulleys and motors to function properly. When you get down to it, the sewing machine is among the most elegant and ingenious tools ever created.
Sewing machines are something like cars: There are hundreds of models on the market, and they vary considerably in price and performance. At the low-end of the scale, there are conventional no-frills electric designs, ideal for occasional home use; at the high-end, there are sophisticated electronic machines that hook up to a computer. Textile companies have many machines to choose from, including streamlined models specifically designed to sew one particular product.
But just like cars, most sewing machines are built around one basic idea. Where the heart of a car is the internal combustion engine, the heart of a sewing machine is the loop stitching system.

I am fascinated by the way sewing machines work. Today’s machines seem to be able to do almost everything, even talk to you! This is one technological advancement I am ready to embrace …WATCH THIS SPACE!

WEEKEND PROJECTS

noreply@blogger.com (Vicky) — Fri, 16 Jul 2010 05:44:00 +0000

Flower Garland tutorial

Milky Miracle House

While recycled paper products are definitely in vogue, it took a stationery company that was a pioneer in the field to come out with some attractive cards made from junk mail.
The cards are the latest in a product line from Green Field Paper Co. in San Diego that includes letterpress-style cards with embedded seeds that grow wildflowers; note papers from garlic, coffee beans and blue jeans; and journals and sketch books made of hemp.
Each handmade, one-of-a-kind card contains bits of the original recycled material.
"You might find part of a phone number or part of a person's name," says Shari Smith who, with her husband, Rick, bought the pioneering firm from founder Jeff Lindenthal in 2005.
They have continued its almost two-decade tradition of developing paper products from just about anything but trees.
The Smiths invite employees, customers and friends to quarterly parties where they bring in all their junk mail and throw it into a shredder while sifting out staples, coated paper, newsprint and solid red ink.
The shreds are then mixed with purchased pulp from recycled copy machine paper to add body and aesthetic quality. Each subsequent step from mixing, moulding, drying and cutting the paper to the graphic work is done by Greenfield's nine employees.
The new card designs were Smith's idea. Greenfield had long produced blank notepapers from junk mail, which were hot sellers, but she decided they still weren't inspiring enough and came up with five colourful graphic designs.
Printed with soy-based inks, two incorporate the earth with a sea turtle and a butterfly as main themes while another two use the well-known symbol for recycling. There is also a Christmas card.
The cards are sold in retail stores at $3.95 each, but can be purchased online at $14.95 for a box of four.

Free Sewing Pattern: What's New Pussycat? Sleep Mask

Wisteria Earrings

We had a huge wall of wisteria along one side of my house when I was a kid and I have always remembered it fondly. Having no room for such a wonder in my current living situation, these will just have to do for now. :-) These earrings look absolutely luscious on and they are very easy to make. It shouldn't take you more than 4 hours to make your first pair and should go even faster with practice.

What You'll Need
• Size A Nymo beading thread or equivalent (white or light green)
• Size 13 beading needle
• 2 earring wires
• About 310 light green transparent size 11 seed beads (less than 1/10th of a hank)
• About 366 pink-lined blue (or any other purple bead) sized 11 seed beads (less than 1/10th of a hank)
Note: When I refer to the "back" of a bead, I mean the side opposite where your thread is coming out.

The earring is made up of a stem with 5 sets of branches radiating from it. Each set contains 4 branches. Each set is separated from the next by 5 green stem beads.

Begin by tying a single green seed bead to the end of your thread. Leave a nice long tail to weave back in later. I will refer to this first bead and the other beads that serve the same function as the "centre bead." Go through the bead once, and pick up 10 more green beads and three purple beads. Go through the back of the last green bead, then through the front of the next two.

Pick up 3 more purple beads and go through the back of the green bead your thread is coming out of and through the next two green beads.
Repeat the previous step 3 more times, for a total of 5 purple loops counting the one on the end. Basically what you are doing is adding a little purple loop to every other green bead starting from the last and working back toward the centre bead. After you add the fifth purple loop, go through the first green bead of the ten you originally added. Now re-enter the centre bead from the back. You have now completed your first "branch." Make 3 more branches in the same manner as the first so that you end up with 4 branches radiating out from the centre bead. Your thread should be coming out of the centre bead.
Pick up 14 green beads and 3 purple ones. The first 5 are part of the stem, the 6th green bead will act as the centre bead for the next set of branches, the next 8 make up the first branch of the second set. The second set of branches are made the same way as the first, ie go through the back of the last green bead, through the front of the next two, add a purple loop, etc. The only difference is that each branch in this set is 8 green beads long instead of 10 and has only 4 purple loops. Finish off the set by adding 3 more 8-bead branches.
Now we need to add the 3rd set of branches. The branches of each set are two beads shorter than the branches of the previous set, so pick up 5 stem beads, 1 center bead, and 6 branch beads (12 green) plus 3 purple flower beads. This set of branches has 3 purple flower loops per branch.
The 4th set of branches contain 4 branch beads and 2 purple loops per branch and the 5th set contains 2 branch beads per branch and only one loop. Each set is always separated from the last by 5 stem beads. So, whenever you finish a set, pick up 5 stem beads, 1 centre bead and however many branch-beads are called for in the next set. Add 3 purple beads and you are set to start the first branch of the next set.
Once you finish the 5th set, finish the earring by picking up 5 more stem beads and three purple beads. Go through the back of the fifth stem bead and up through the entire stem to the top. Pick up 2 green beads, your earring wire, and two more green beads go back down through the entire stem, around the purple loop at the bottom and up again through the stem and the loop containing the earring wire. Repeat this circuit through the stem and earring wire loop as many times as you can while still leaving enough room to weave in the tail you left when you started.

Card Making ideas

Awe Inspiring - LACE MAKING

noreply@blogger.com (Vicky) — Wed, 14 Jul 2010 21:27:00 +0000

I am a Lace Making groupie. I have never attempted this amazing craft (really an artform) but have watched artisans perform their magic on many occasions. I have shared just a little of the information and examples available on the web. Enjoy!
Lace Making

Introduction
Lace-making is an ancient craft. A lace fabric is lightweight openwork fabric, patterned, either by machine or by hand, with open holes in the work. The holes can be formed via removal of threads or cloth from a previously woven fabric, but more often lace is built up from a single thread and the open spaces are created as part of the lace fabric.
Needle lace
The most time-consuming but the most flexible of the lace-making arts, needle lace is regarded by purists as the height of lace-making. It consists of using a needle to stitch up hundreds and hundreds of little stitches to form the lace itself.
There are many types of needle lace - i.e. lace made using a needle and thread. Some of these laces can be made much more quickly than the finest of bobbin laces. On the other hand, some antique needle lace is made from a very fine thread that is not manufactured today.
Work is generally started by securing the main, heavier guiding threads onto a stiff background (eg thick paper) with stitches that can later be removed. The work then in a variety of stitches - the most basic being a variety of blanket stitch. When the entire area is covered with the stitching, the stay-stitches are released and the lace comes away from the paper.
Bobbin lace
As the name suggests, bobbin lace is made with bobbins and pillows. The bobbins, turned from wood, bone or plastic, hold threads which are woven together and held in place with pins stuck in the pattern on the pillow. The pillows contain straw, preferably oat straw or other materials such as sawdust, insulation Styrofoam or ethafoam. Bobbin lace can also be made using copper or silver wire instead of thread.
Pairs of bobbins are twisted or braided to form meshes (also called "ground") or woven to form solid shapes, depending on the type of lace made.
Many styles of lace were made in the heyday of lace making (that stretched possibly between the 1500s-1700s) before machine-made lace became available. The advent of machine lace at first pushed lace-makers into more complicated designs (ones that the machines couldn't handle) and then eventually pushed them out of business almost entirely. The resurgence of lace-making is a recent phenomenon and is mostly confined to a hobby status.
Some well-known types of bobbin lace are:
• Honiton - A very fine English lace with many flowers
• Torchon - Well-known for its variety of beautiful grounds
• Cluny - Flowers, braids and picots make this light and "lacy"
• Bedfordshire lace (Beds) - this has flowing lines and picots (to foil the machines)
• Buckinghamshire lace (Bucks) - also very "lacy" with characteristic hexagon ground and often with a gimp thread (a heavier thread worked through for emphasis).
Cutwork
Cutwork, or whitework, is lace which is constructed by removing threads from a woven background, and the remaining threads wrapped or filled with embroidery.
Crocheted lace
Crochet lace is an application of the art of crochet. Generally it uses finer threads and more decorative styles of stitching - often with flowing lines or scalloped edges to give interest. Variation of the size of the holes also gives a piece a "lacy' look.
Originally crocheted lace was not regarded as true lace. Crocheting was considered a easy and less time consuming, but otherwise clearly inferior surrogate for "true" Lace such as bobbin lace, needle lace or netting. The first examples of crocheted lace try to reproduce the products of other lace making techniques as faithfully as possible. Later, the many possibilities and inherent beauty of crocheted lace were appreciated more.
Today, in the age of machine-made lace, such discussions seem quite pointless to many lace-makers.
There are several styles of crocheted lace:
• Filet crochet
• Irish crochet and its modern derivatives
• more freestyle crocheted lace, such as pieces striving to imitate reticella lace
• round filet crochet, quite different in technique than filet crochet
Knit lace
Knit lace includes Shetland lace, such as the "wedding ring shawl", a lace shawl so fine that it can be pulled through a wedding ring.
Tatting
Tatting is a technique for handcrafting lace that can be documented approximately to the early 19th century. The instrument that is used is called a shuttle. A tatting shuttle is normally a metal or plastic pointed oval shape less than 3 inches long, but shuttles come in a variety of shapes and materials. Shuttles often have a point or hook on one end to aid in the construction of the lace. Tatting can be used to make lace edging as well as doilies, collars, and other decorative pieces.
To make the lace, the tatter wraps the thread around one hand and manipulates the shuttle with the other hand. No tools other than the thread, the hands, and the shuttle are used, though a crochet hook may be necessary if the shuttle does not have a point or hook. The lace is formed by a pattern of rings and chains formed from lark's head knots, called stitches. Gaps can be left between the stitches to form picots, which are used for practical construction as well as decorative effect.
Tatters may also use tatting needles instead of shuttles to make lace. A tatting needle is a long needle that does not change thickness at the eye of the needle. The needle used must match the thickness of the thread chosen for the project. Shuttle and needle-tatted lace look almost identical, but they differ in structure.
Contrary to popular belief, many people around the world actively participate in the art of tatting, and the craft is experiencing a resurgence in interest around the world.

Some believe that tatting may have developed from netting as sailors and fishers would put together motifs for girlfriends and wives at home.

Lace Making
Lace making is an ancient craft that produces fabrics patterned by holes in the work and can be machine or hand made. Lace is not considered ‘true’ unless the threads have been looped or braided to the other threaded without being bound to a backing material.
Traditionally, linen, silk, gold and silver threads have been used but in recent times cotton thread is widely used in lace making. Machine made or manufactured lace is usually made of synthetic fibre, as this is more durable.
There are many methods of lace making, and each will produce a different kind of lace. Some of the most popular methods are:
Bobbin lace: uses bobbins and a pillow and is also known as Bone lace.
Bobbin lace (or pillow lace) takes its name from the way it is made: on a firm pillow to which a pricked-out pattern is tacked and each twist of the bobbins is held in place by a pin. For all its intricate and elegant appearance, there are only two different movements of bobbins in the formation of the lace: the twist and the cross.

Tape lace: A lace forms around the tape as it is worked. Can also be machine or hand made and then joined to needle or bobbin made lace.
Crocheted lace: using various crochet methods such as pineapple crochet, filet crochet and Irish crochet to construct elaborate patterns.
Knitted lace: a very fine form of lace created by a knitting process.
Needle lace: the most flexible of the lace making methods, this uses a needle and thread and can be both faster and more time consuming than other methods, depending on the complexity of the piece.

Bobbin Lace Making

Lace Making
• Evolution of Lace
• Lace Making in France
• Guipure Lace
• Lace Making in Italy and Flanders
• Lace Making Machines
• Machine Made Lace
• Needle Point Lace
• Lace Making in Other European Countries
• Pillow Made Lace
• Sequence of Lace Patterns

Lace Making and Its History
The English origin of the word lace owes something to the French lassis or lacis, but both are connected with the earlier Latin laqueus.
Early French laces were also called passements; the name applied to ornamental open work formed of threads of flax, cotton, silk, gold or silver, and occasionally of mohair or aloe fiber, looped or plaited or twisted together by hand: (1) with a needle, when the work is distinctively known as needlepoint lace ; (2) with bobbins, pins and a pillow or cushion, when the work is known as pillow lace; and (3) by steam-driven machinery, when imitations of both needlepoint and pillow laces are produced. Lace making implies the production of ornament and fabric concurrently. Without a pattern or design the fabric of lace cannot be made.
Evolution of Lace Making
• Italy and Flanders
• France
• Other European Countries
Lace Making Machines
Sequence of Patterns
• Needle Point Lace
• Pillow Made Lace
• Guipure Lace
• Machine Made Lace

Tossing Bobbins in Bruges

Jo Edkins' Lace School

NJ's Candles - New Website launched

noreply@blogger.com (Vicky) — Wed, 14 Jul 2010 09:22:00 +0000

About Us

Why we use soy and palm wax

• Why soy is the better choice - for us all

• Biodegradable and free from pesticides, herbicides-Contain no genetically modified material-Manufactured using pure soy beans and contain no petroleum (paraffin waxes)-Manufactured according to sustainability and renewable resource management-Clean up with hot water and soap eliminating the need for harsh solvents.

Why our Palm Waxes are the better choice – for our pillars

The Palm Waxes / Palm Wax Candles are ENVIRONMENTALLY FRIENDLY
All our palm waxes are Non GM modified-

Wide application in Aromatherapy, with excellent compatibility with fragrance and essential oils.

One of the hardest Natural Waxes meaning it ships well in all climates-All Natural and 100% palm oil based

During Solidification form an amazing pattern of crystal structures.

The Benefits:

• Our soy candles are all natural, this means what you smell before burning is what you will enjoy for the life of the candle while it is burning.

• The wicks we use are cotton and this means they can be easily trimmed before you light your candle, the best wick trimmer is your little nail scissors or clippers!

• Avoid blowing out your candle as the wick can move try snuffing out the flame it is just as quick and will mean your wick is nice and straight for the next time you light your candle.

• You are able to burn your candle till you can see the bottom of the glass melting pot or tin; ideally the candle flame will extinguish itself when the oil has evaporated.

Remember that our candles are handmade and hand poured so not everyone is going to look exactly the same or identical. There are many variables when pouring the wax, which can affect the look of the candle.

Check out the great new site. http://www.njscandles.com

Sands of Time - in Art and Craft

noreply@blogger.com (Vicky) — Mon, 12 Jul 2010 22:08:00 +0000

Sand art and play
Sand art has progressed well beyond simple sand castles, such as this elaborate sand sculpting display in Australia A simple sandcastle on a lake beach Sand art is the practice of modelling sand into an artistic form, such as a sand sculpture, sandpainting, or sand bottles. A sand castle is a type of sand sculpture resembling a miniature building, often a castle.
The two basic building ingredients, sand and water, are available in abundance on a sandy beach, so most sand play takes place there, or in a sandpit. Tidal beaches generally have sand that limits height and structure because of the shape of the sand grains. Good sand sculpture sand is somewhat dirty, having silt and clay that helps lock the irregular shaped sand grains together.
Sand castles are typically made by children, simply for the fun of it, but there are also sand sculpture contests for adults that involve large, complex constructions.
An example of extremely sophisticated sand art is the Buddhist mandala.

Sandpainting
Sandpainting is the art of pouring colored sands, powdered pigments from minerals or crystals, and pigments from other natural or synthetic sources onto a surface to make a painting. These are often temporary, ritual paintings prepared for religious or healing ceremonies. It is also referred to as drypainting.
Sandpainting is practised by Native Americans in the Southwestern United States, by Tibetan monks, by Indians, by Australian Aborigines, and by Latin Americans on certain Christian holy days.
Native American sandpainting
Navajo sandpainting, photogravure by Edward S. Curtis, 1907, Library of Congress
In the sandpainting of southwestern Native Americans (the most famous of which are the Navajo), the Medicine Man (or Hatałii) paints loosely upon the ground of a hogan, where the ceremony takes place, or on a buckskin or cloth tarpaulin, by letting the colored sands flow through his fingers with control and skill. There are 600 to 1000 different traditional designs for sandpaintings which are known to the Navajo. They do not view the paintings as static objects, but as spiritual, living beings to be treated with great respect. More than 30 different sandpaintings may be associated with one ceremony.
The colors for the painting are usually made with naturally colored sand, crushed gypsum (white), yellow ochre, red sandstone, charcoal, and a mixture of charcoal and gypsum (blue). Brown can be made by mixing red and black; red and white make pink. Other coloring agents include corn meal, flower pollen, or powdered roots and bark.
The paintings are for healing purposes only. Many of them contain images of Yeibicheii (the Holy People). While creating the painting, the medicine man will chant, asking the yeibicheii to come into the painting and help heal the patient.
When the medicine man finishes painting, he checks its accuracy. The order and symmetry of the painting symbolize the harmony which a patient wishes to reestablish in his or her life. The accuracy of a sandpainting is believed to determine its efficacy as a sacred tool. The patient will be asked to sit on the sandpainting as the medicine man proceeds with the healing chant. The sandpainting acts as a portal to attract the spirits and allow them to come and go. Sitting on the sandpainting helps the patient to absorb spiritual power, while in turn the Holy People will absorb the illness and take it away. Afterward, when the sandpainting has done its duty, it is considered to be toxic, since it has absorbed the illness. For this reason, the painting is destroyed. Because of the sacred nature of the ceremonies, the sandpaintings are begun, finished, used, and destroyed within a 12-hour period.
Navajo sandpainting, photo by H.S. Poley, published c. 1890-1908, Library of Congress
The ceremonies involving sandpaintings are usually done in sequences, termed 'chants', lasting a certain number of days depending on the ceremony. At least one fresh, new sandpainting is made for each day.
Some Navajo laws and taboos relate to the sandpaintings, and protect their holiness:
• Women are not supposed to sing the chants associated with the yeibicheii. This is both because the ceremony has a possibility of injuring an unborn child, and because of a taboo preventing menstruating women from attending. (Many cultures considered menstruation and presence of blood to be powerful spiritual events that had to be restrained, as they represented life forces.) Post-menopausal women are more likely to be chanters or diagnosticians.
• One is not supposed to pretend to be a medicine man creating a sandpainting, or mock the medicine man in any way by mimicking him. Both the medicine man and the yeibicheii may punish you.
• Authentic sandpaintings are rarely photographed, so as to not disrupt the flow of the ceremony. For many reasons, medicine men will seldom allow outsiders inside a sacred ceremony. Because so many outsiders are curious about sandpainting, some medicine men may create pieces for exhibition purposes only, using reversed colors and variations. To create an authentic sandpainting solely for viewing would be a profane act. The sandpaintings for sale in shops and on the Internet are commercially produced and contain purposeful errors, as the real sandpaintings are considered sacred.
• The earliest credited instance of traditional Navajo sandpaintings (being rendered in colored sands as opposed to tapestry or other media) being created in a permanent form for commercial sale, have been traced to the period between 1945 and 1955. The main credit is generally given to a Navajo Hatałii named Fred Stevens, Jr. (Grey Squirrel), who developed the primary method of "permatizing" for commercial sandpaintings that is still in use today.
Indigenous Australian sandpainting
Indigenous Australian art has a history which covers more than 30,000 years, and a wide range of native traditions and styles. These have been studied in recent decades and their complexity has gained increased international recognition.[2] Aboriginal Art covers a wide variety of media, including sandpainting, painting on leaves, wood carving, rock carving, sculpture, and ceremonial clothing, as well as artistic embellishments found on weaponry and also tools. Art is one of the key rituals of Aboriginal culture. It was and still is, used to mark territory, record history, and tell stories about "The Dreaming".
Tibetan sandpainting
Tibetan Buddhist sand paintings usually composed mandalas. In Tibetan, it is called dul-tson-kyil-khor (mandala of colored powders).
The sand is carefully placed on a large, flat table. The construction process takes several days, and the mandala is destroyed shortly after its completion. This is done as a teaching tool and metaphor for the "impermanence" (Pali: anicca) of all contingent and compounded phenomena (Sanskrit: Pratītya-samutpāda).
The mandala sand-painting process begins with an opening ceremony, during which the lamas, or Tibetan priests, consecrate the site and call forth the forces of goodness. They chant, declare intention, mudra, asana, pranayama, do visualisations, play music, recite mantras, etc.

SAND PAINTING
Grade: 2+ Age: 6+
The Navajo Natives still paint with sand. They make fine designs - they do it by hand.
As well as an art piece, the sand is a way, To keep all the old evil spirits at bay.
Using sand from the beach and some paint and some spoons, you can make sand art as bright as the moon.
What You Need:
• Empty jars or plastic yogurt containers
• Powdered tempera paints in a variety of colours
• Sand (from the beach or playground)
• Paper, pencils, glue and popsicle sticks
• Plastic spoons and a plastic or Styrofoam tray
What You Do:
1. Draw out a picture on your paper and remember to keep it simple.
2. Once the pencil sketch is complete, pour some sand into an empty container. Choose a colour of powdered tempera and add just a little to dry sand. You will have to experiment when mixing the sand and the tempera to see how little or how much tempera you need. For more vibrant colours add more tempera.
3. Once there are a few colours of sand mixed up, the "painting" can begin. Work at one small section at a time. First decide where the colour is going, put an even layer of glue on the paper and pour some coloured sand onto the glue using a plastic spoon.
4. Repeat until the entire paper is covered. .
5. Let the sand painting dry and seal it using either artist's fixative, hair spray, or spray it with a mixture of glue and water (80% glue, 20% water).
Art Tips:
One of the most effective images to create in sand is a landscape. Place a few wavy lines across the paper and fill in with different earth colours for a very compelling sand painting.
After each colour has been applied, lift the paper up and shake lightly over a plastic or Styrofoam tray to collect the excess sand to use again.

How to Make Sand Art on Paper
Making a sand art picture can be a great way to remember a trip to the beach. Once your kids know how to make sand art on paper, they won't be able to stop.
It can be a time consuming process, but the finished result is well worth the wait.
Instructions
Things You'll Need:
• sand
• powdered paint
• paper
• pen
• glue
• glue brush (optional)
1. Mix the powdered paint and sand together so that you have coloured sand.
2. Draw a picture onto your paper. You want large sections and not a lot of small details.
3. Choose one area and using your brush or a finger, spread glue on that area.
4. Shake the proper colour of sand onto the glue.
5. When glue has dried, you can tap the excess sand off and do another section.

Bottled Sand Craft Project Instructions
Here's a great project that the kids will love to do at any time of the year. There are a couple of different ways to make it, so choose the method that works for you!
The first option is to use sand and coloured chalk. Place a small amount of sand on wax paper. Then roll one piece of chalk in the sand to change the colour of the sand. The more chalk you use, the brighter the colour will be. Once the sand is the colour you want, use a funnel to pour the sand into a bottle. Repeat the process with different colours until the bottle is completed filled. Put the lid on the bottle and you are done!
A second option is to use very fine salt and chalk. Place a small amount of salt in a mixing bowl. Hold the chalk over the bowl and rub fine sandpaper over the chalk in order to break it down. Then use a spoon or stir stick to mix the salt and chalk together. Finally, use the funnel and fill your bottles. The colours will be bright and vibrant because the salt is so white.
A third option to place the sand in a Ziploc bag and add liquid food colouring. Then shake well and watch the sand turn to a different colour before your eyes. Kids will love it whether they are watching you or if they are doing the shaking! Then once the sand is the colour you want, simply pour it into bottles and enjoy!
Another option is to use sand and mix it with powdered tempera paint. This way you don't have to worry about grinding or sanding the chalk to break it down into a fine powder. The other great thing about this option is that you get to teach kids about the primary colours – red, blue and yellow – and how just by mixing them together in different combinations you can produce different colours like green, orange and more!
As you can see, there are so many different ways to create your own coloured sand. Remember to make several small amounts of sand and mix each amount with a different colour. Then pour each colour one at a time to create a layered effect. To add a finishing touch, create your own label or decorate the bottle with some ribbon, stickers, beads or whatever else you want.
Finally, here's a quick summary of the different options that are available to you:
1) There are different ways to break down the chalk into coloured dust. You can:
• Roll it in sand;
• Rub fine sandpaper over the chalk; or
• Break the chalk into small pieces and then grind it up using a small mortar and pestle.
2) A few alternatives to chalk include using:
• Liquid food colouring; or
• Powdered tempera paint.
3) You can also mix the coloured chalk and sand together in a variety of ways. You can:
• Mix them on wax paper;
• Mix them in a bowl with a spoon; or
• Mix them in a Ziploc bag by shaking them. Added bonus: if you have leftovers, you can store it in the Ziploc bag until you need it for next time!
4) Here are some ideas of different bottles that you can fill with your sand mixture:
• Baby food jars;
• Plastic bottles from ketchup, etc;
• Glass jars from the dollar store; or
• Any bottle with a lid.

Online Sand Art Painting

Coloured sand has many uses.
It can be used for, Weddings, Unity sand ceremonies, craft projects, sand painting, table decoration or as a colourful base in glass candle holders.
The Unity Sand Ceremony
A unity sand ceremony using coloured sand, works particularly well when blending families; giving each child a role within the ceremony and highlighting his or her importance within the family unit.
Unity Sand Ceremony sample of wording
Like colours of the rainbow we’re all different and special, valuable, and precious. Therefore it is only fitting that you be shown as an important part of this marriage - after all marriage is really about family. These containers of sand represent each of you and your importance in this family. I will ask each of you to now pour some of your sand into the jar. The sand has now been joined together and cannot be isolated. These grains of sand can never be separated and poured again into the individual containers, so will your family be a moulding of 6 individual personalities, bonded together. You are joined together today, not only in marriage, but also as a family.

SPANISH Arts and Crafts

noreply@blogger.com (Vicky) — Sun, 11 Jul 2010 22:58:00 +0000

To recognise the win by Spain in the soccer world cup, I have found a little something about Arts and Crafts in Spain. I would like to share a lot more but I have realised that information on the web is very limited. If you can provide me with more information about Spanish artisans, I would love to know!

Traditional Spanish Crafts
Spanish crafts, the varied production of which is the fruit of centuries-old traditions, constitutes a tourist attraction of great importance. There is a great deal of specialised business activity in this sector in practically every Spanish city, especially in the tourist areas.
Normally, access is unrestricted and normal business hours are respected.
Leather & Textiles
Among the outstanding traditional craftwork made in Spain are leather products, produced in many different regions though the Andalucian leatherwork is especially renowned for the excellent quality of its leather and its up-to-date, painstaking designs. The recent boost experienced by Spanish fashion designers has consolidated the prestige of this sector and had a positive effect on other crafts, such as that of shoemaking, which in Spain is centred in Alicante and the Balearic Isles. Special mention should be made of the fashion designers in Ibiza, they have created a style all their own based essentially on Balearic popular traditions and they have enjoyed great success with their collections.
For the most part, their creations are made by hand with traditional fabrics. Regarding purely decorative crafts, Spain also offers a great variety of different products and schools.
Ceramics
First, thanks to its wide-spread success, are ceramics, which are represented with at least one unique type in each Spanish region. The ceramics of Sargadelos, in Galicia, have benefited from the search for new styles and are now one of the leading avant-garde Spanish schools. The ceramics made in Talavera de la Reina, more conservative in style, are products that respect an age-old tradition. The production volume of this type of ceramics has made it one of the most widely known Spanish crafts. Also important is the Manises school of ceramics in Valencia, famous for the metallic sheen of its crystal glasses. Together with ceramics, glass making merits mention as well. Centred fundamentally in the Balearic Isles, this craft is one of Spain's most attractive because of its beauty.
Wooden Furniture
Traditional wooden furniture is well represented by the workshops around Valencia. Castilla y Leon also excels in this sector, with a style all it's own. Caceres, Granada and Murcia are noteworthy for their beautiful, hand-woven rugs.
Iron Crafts
Finally, iron crafts constitute one of the decorative arts associated with Spain. There are many different traditions and schools, though the most outstanding on the merits of their long traditions and quality are located in Castile.

Spanish Crafts for Children
Bright colours, simple lines, everyday subject matter and textures of all kinds form the elements of Spanish crafts. Children feel right at home with these elements, and enthusiastically create original works of art from everyday art supplies. Before beginning, consider taking children to look at Spanish arts and crafts at a real or virtual museum, such as the Smithsonian Latino Centre.
Painted Rugs
Textiles comprise a significant part of Spanish art, and contain bright, colourful designs. A painted rug craft begins with large sheets of bulletin board paper. Create symmetrical, straight-lined designs, such as those found on Spanish textiles along the entire length of brightly painted paper. Punch holes along the short ends of the paper, and have children tie lengths of yarn to form tassels.
Sun Sculptures
A child's craft version of these sun-shaped, clay relief sculptures consists of salt dough or modelling clay circles placed over small, inverted bowls. Attach triangle-shaped pieces of dough to the circle's edge to create rays around the sun. Children pinch and press facial features into the circle to give the sun a face, and stamp designs with common household objects like forks or keys around the face providing a radial design. Rub a coat of paint into the surface with a soft cloth to complete the child's sun sculpture.
Yarn Pictures
The Huichol Indians of Mexico "painted" pictures with yarn. A child can recreate that craft on cardboard with yarn and a few common supplies. Have children make a simple drawing on sturdy cardboard, and trace a line of glue on the picture outline. The children then push yarn onto the glue line with a craft stick. More yarn lines added inside the outlines may fill the shapes with colour. Alternatively, use oil pastels or crayons to fill in the yarn outlined shapes.
Papel Picado
Traditionally, papel picado, or Spanish cut-paper art, consisted of intricate designs, hand cut by artists . Though now sold in stores, it offers an easy Spanish craft for children. Layer thin stacks of 9-inch by 12-inch tissue paper, and fold them in quarters to provide an easy cutting material for small hands. Have children cut small shapes into the paper along the folded edges, then unfold it to reveal the designs. Hang them end to end to create colourful banners.

Spanish Crafts for Kids
Celebrate the Spanish culture with kids by creating a fun crafting activity for them to enjoy. Use crafts as learning tools to teach them about their world. Keep age group, attention span and skill level in mind when selecting an appropriate craft. Use caution with small items and hot glue around children.
Maracas
Maracas are fun to make and shake.
Maracas are native instruments of several Spanish-speaking and Latin countries. Kids love to make and shake these fun noisemakers. Provide each child with two Styrofoam cups. Instruct them to decorate the outside of the cups with paint. Bright, primary colours are the colours traditionally used to decorate maracas. When the paint has dried, fill one cup with a handful of dried beans. Use hot glue to secure the second cup to the first so that they are rim to rim. Shake the cup back and forth to make music. Kids can also continue decorating with glitter, pom-poms, buttons, scraps of ribbon and other crafting materials.
Poncho
Make colourful ponchos from paper bags.

Ponchos are garments used to keep away inclement weather. Originally created in Peru, the use of ponchos is widespread to many Spanish-speaking cultures. Create this traditional garment with kids using paper bags and colourful paints. Cut a hole in the bottom of a paper grocery bag large enough for a child's head to fit through. Cut out slits in both sides of the bag for her arms. Slip the bag over the child's head to ensure comfortable movement. Let her decorate the front, sides and back of the poncho with colourful paints or markers. She can use buttons, pom-poms, bits of fabric or other crafting materials to decorate the poncho to her liking. Create fringe for the bottom of the poncho by cutting out and gluing small strips of paper bag or scraps of fabric.

Weekend Projects 4 YOU!

noreply@blogger.com (Vicky) — Thu, 08 Jul 2010 23:55:00 +0000

A personalised Children’s Art Idea

How To Make a Recycled Bubble Wrap Travel Game

How to make jewellery - a bead cluster.

When Michelle showed me her sweet earrings from one of her Mimy Designs collections, I just knew we had to do a tutorial/project.

These bead clusters are simple to make and yet so effective when finished. They are versatile and can result in earrings, bookmarks and pendants. You can gain different finishes by using wire and folding the ends, or using varied head pins, such as ball or flat.
So let us begin and make ourselves a bead cluster.
We are going to make a beaded bookmark. Many bookmarks have lovely long dangles displaying beautiful beads so we decided to try something a little different.

Materials:
• 1 x 8 mm bead
• 15 x 6 mm beads
• 1 x bookmark blank
• 22 gauge wire (we used German silver plated copper)
Tools and equipment:

The first thing to make is our core, it is from the core that the beads will cluster.
You will want to cut a length of wire between 10 to 12 cm in length. If you like you can straighten your wire with nylon jaw pliers or if you don't have these use a cloth and you fingers, this will also harden your wire a little so don't overdo it.
You now have a length of wire; about 3.5 cm in from one end make a right angle bend with your chain nose pliers.
Thread on your large 8 mm bead, now leaving another tail of about 3.5 cm make another right angle bend.
Do the first part of a wrapped loop as in the picture left, we are going to leave this end as it is now and finish it off latter when we are ready to secure our cluster to its base ie earring, bookmark etc.
With your other tail we are going to make a larger than normal loop for the beads to cluster on and wrap it for a nice secure finish.
Make the loop as you normally do for a wrapped loop but use the wider part of your round nose pliers, the bigger the loop the more beads you can add therefore the bigger your cluster.
When you wrap around the base be sure to leave some room so that you will be able to wrap the other end, we have shown this in the picture to your right.
Now we are going to use our 6 mm beads and make the cluster. The easiest way to ensure you have the correct length for a simple loop and don't waste wire is to first thread your bead before cutting. What we have done is to take our spool of wire, thread an 8 mm bead (we use this to measure our cutting distance) then the 6 mm. While still connected to the spool fold the wire end over with a pair of chain nose (for flat finish). Cut the wire behind the 8 mm bead then remove this bead leaving only the 6 mm on the wire. Fold the tail over against your bead to a right angle and proceed to make a simple loop.
If you are using wire and not head pins to secure your bead you need to fold the ends of your wire over. We have simply folded once (see pic) using chain nose pliers and then flattened it by squeezing with the pliers. You can make spirals, round loops, coils; it is limited only by your imagination.
You now have your first bead ready for your cluster, keep going making as many as you need, we used 15 x 6 mm beads but it will depend on what size your core loop is, and if you are using 6 mm beads or have gone for another size.
Secure the beads onto your core loop by opening the simple loops sideways and closing them around the core loop. It can get a little cramped when doing your last bead or two; it may be easier if these last few have a little larger simple loop to work with.
Now work with your half finished top wrapped loop, secure onto your jump ring and wrap back around to the base of your 8 mm bead.
And here is our finished piece, a lovely beaded cluster representing grapes with its purple Amethyst and pink Rose quartz beads. This gift would delight any avid reader as this one did for one young reader.
But don't stop here, have a go making a pair of bead clusters and make a pair of earrings, even make three and have a matching pendant. Try smaller beads for bushier clusters, try shaped beads for an eclectic look and experiment with colours.

Pillow Case Dress

Quick Felted Clutch Purse

Cast on 80 sts using US 15-24" circs. Join into the round being careful not to twist stitches. Work (knit every round) until piece measures 4". Next row: *K6, K2tog* 10 times (70 sts). Continue knitting every round until work measures 9". *BO 6sts, K2tog* 5 times. 35 sts remain. This will be the flap. Since you are no longer in the round, work in st st until flap measures 7.5". BO, weave in all ends. Seam bottom of bag.
Felting Instructions: Place purse in washing machine HOT water (place clothing such as jeans in the wash to help with agitation). Check on the purse every few minutes. Once purse has shrunk and stitches are no longer visible, it is finished! Shape purse while it is still wet and let air dry.

How to make your own hairclips

Old Blue Jean Denim Pocket Magnets

Finding ways to recycle old and used items into new things can be fun and helpful to the environment. Some of my favorite crafts have come from old things that I have made into something new and exciting. This is something that I have done many times and given them away because they make great holders for notes on the fridge.

Materials Needed:

Instructions:
1. Carefully cut the pockets from the jeans.
2. Beginning and ending at the back, glue lace trim around the top of the pocket.
3. If desired, glue a small ribbon rose to each top corner.
4. Write coupons or whatever you wish on the front in fabric paint, following the manufacturer’s directions.
5. Glue a magnet to the back of each denim pocket and stick the fridge.

Homemade Stickers

Kids love stickers, at least the ones I know do. When I saw this from Martha Stewart I had to share it because it is a super easy way for your sticker loving kids to never be without them again. They make a great way to decorate all sorts of things and also make a cheap way to decorate book covers when it is time to go back to school.

Materials Needed:

• Elmer’s Washable White School Glue
• White vinegar
• Wrapping paper, magazines, decorative paper or just about any kind of paper you want
• Shaped craft punches in the shapes you want for stickers
Instructions:
1. In a bowl, mix together white Elmer’s Washable School Glue with an equal amount of white vinegar until you have a thin, milky liquid. Using a small paint brush or a pastry brush, smear the back of the paper sparingly with the glue mixture.
2. Allow to dry, apply a second coat, and allow to dry again. Then use scissors or a craft punch to cut out desired shapes. Although the glue is nontoxic, it doesn’t taste very good, so for a mass sticking, use a dampened sponge to moisten the back of stickers.

Which Essential Oil Is Right For Me?

Here is a list of different essential oils that are used in bath and body recipes.

Choose an essential oil that suits your skin requirements you can always substitute you essential oil ingredients for ones that are more suitable, more affordable or simply to one that you may already have.

Essential Oils

Birthday Card Candle

You need:

• Recycled Christmas/Birthday Cards

• Melted Wax

• Store Bought Candle

• Paint brush

For this project you will need a store bought candle or one you have made your own to apply the card decal to.

Start by cutting out your design from the recycled Christmas card and placing it onto you candle.

Melt some wax down and paint over the top of the card decal to adhere it to the candle. Concentrate on the edges to insure it sticks it down. Allow it to cool

Remember with embellished candles like these they should never be left unattended.

Felt Baby Shoes

Materials:

• 1/4 yard (23cm)of wool felt

• 1/4 yard (23cm) of Heat N Bond fusible webbing

• 2 feet (60cms)of ribbon for shoe laces

• 2" (5 cm) square of pink felt

• 2" (5 cm) square of dark purple

• 1" (2.5cm) square of light pink

• 6 strands of embroidery floss

• 1 water soluble marker

This sewing pattern shows you how to make your own felt baby shoes with an adorable Matroyshka Russian doll embellishment.

***Print the Pattern You can increase or decrease the size of this pattern using your printer or a photocopiers for smaller or larger shoes. Measure your childs foot from front to back on the main piece for correct sizing.

• You can also line the inside with a contrasting pattern as shown.

• Fuse the Heat n Bond to the back of all the felt pieces.

• Cut out 2 of each pattern piece matching the pattern pieces to appropriate shoe piece.

• Use water soluble pen to mark out all the seams and where the doll should be placed.

• Iron the doll pieces onto the shoe tow , following where you marked with the pen.

• Hand or machine stitch around the doll bodies.

• Embroider with a double strand of floss the piece of hair on the dolls forehead, the eyes and a star on the front of the body.

• Sew the back seam of the shoe together.

• Sew top part of the shoe to the bottom of the shoe, matching the dots in front and back.

• Sew ribbon onto the shoe where it is marked on the pattern.

Pressing Flowers

noreply@blogger.com (Vicky) — Thu, 08 Jul 2010 00:09:00 +0000

I think we have all, at some time, picked fresh flowers and placed some choice blooms between the pages of a heavy book. In the ‘olden days’ the simple art of pressing flowers and making gifts embellished with these flowers was a very popular crafty pursuit. I can remember receiving greeting cards with delicate flowers placed in beautiful bouquets on the front, from friends. It was a time of simpler creativity that required very little in the way of tools or technique.

Pressing flowers and using these flowers to create amazing pictures is still possible today or you can use expensive, commercially available tools and potions to enable this. Pressing flowers is a craft that has never died. There are some amazing artisans around who produce displays that absolutely amaze me. Are you one of them?

Flower Pressing Secrets - Why learn to press flowers?
Here are 10 good reasons:
• Pressing flowers is easy and it's quick to get started. You can be up and running in a very short time.
• You can work from home. Children will love to press flowers too. It's perfect for the stay-at–home mom and ideal for retirees too!
• Flower pressing encourages your creativity. What greater reward than to express your creativity in such a lovely way?
• Most of the tools and equipment needed to press flowers can be found in your home – unless you intend to press on a larger scale.
• You can even earn some pin money from your new craft. And a good deal more than pin money if you take it seriously.
• Pressing flowers is a relaxing and calming occupation. Every aspect from the pressing of the flowers to the designing of the cards and pictures is therapeutic.
• Flower pressing satisfies your sense of beauty.
• It alerts you to the gifts of Nature by opening your eyes to the little things you have never noticed before.
• It makes a wonderful hobby and a great talking point. People will be fascinated with your pressed flowers. And your greeting cards will be unique!
• You should learn to press flowers simply because it's plain fun! Flower pressing is such a happy occupation!

How to Press Flowers
• Warning - flower pressing can become highly addictive and before long you'll find yourself driving down roads gazing at weeds growing at the roadside, friends and neighbours will only ask you round after dark so you can't plunder their garden …. Don't say you weren't warned!
Traditional flower pressing
• Pressing flowers between pages of heavy books has been a popular pastime for many hundreds of years. Sometimes antique family bibles still hide floral treasures that have been sitting between the pages since a mother kept a wildflower presented by a young child, or a young girl hid a flower from her beloved.
• You can use telephone directories, or any books with absorbent pages - take care if you are thinking of use encyclopaedias, often the pages are much glossier and less absorbent. Make sure your intended victims (sorry specimens) are trimmed and are 100% clean and dry. Place the flowers between the pages and then add extra telephone directories on top to weight them down - leave to dry for maybe 4 weeks or so.
• Now that is a very VERY basic, unrefined way to preserve flowers. I never put flowers straight into the pages of a book - partly to avoid any colour bleeding from the print and partly to speed absorption of moisture ….. I always make a simple folder from blotting/absorbent paper, place the flowers into that and then slip it between the pages. It is also very important to label your books with a date - it's so easy to forget when you put the flowers in - and then lose track of when they might be ready.
• Traditional flower presses are easily available from most craft stores and consist of two pieces of wood with a screw at each corner. The press is filled with a sandwich of absorbent paper. I use newspaper and blotting paper - start with a wad of newspaper and then place a sheet of clean absorbent paper on top, lay out some flowers and cover with another sheet of absorbent paper. Then add another wad of newspaper, then absorbent paper and more flowers etc. You can often get at least 5-10 layers in a press quite successfully. Again, remember to label the press with a date and maybe its contents.
Microwave Flower Pressing
• And then came the microwave …….. I'm a very impatient person and waiting 4 weeks or more to see how a specimen will turn out drives me crazy, so many years ago I experimented with my microwave. Microwave pressing is now a very popular industry standard for professional pressers and means that hundreds of varieties that elusively turned brown when pressed in books or traditional presses, now keep a stunningly wonderful subtlety of hue and are very easy to preserve. When I first played with this technique, I had no choice but to make my own press as there were no commercially available presses at that time. Nowadays however there are several microwave presses on the market and very good most of them are too.
• I must admit to still falling back on my old homemade technique most of the time. Partly because it's a quicker solution than buying in, but more importantly, I can have loads sitting about at any time and having 40 or 50 commercially produced microwave presses simply wouldn't be a financial option. Here's the way I construct my basic press:
• You will need: 2 pieces of hardboard or tough fibreboard about 8inches by 8 inches (20cm x 20cm), 5 or 6 rubber/elastic bands about ¼ inch (6mm) wide and 6 pieces of blotting/absorbent paper cut to 8 x 8 (20 x 20).
• Lay a piece of hardboard down and cover with three sheets of blotting/absorbent paper. Place a layer of prepared flowers on the paper and cover with the other three sheets. Put the second piece of hardboard on top and fasten with the rubber/elastic bands with two or three along each side. Then place the package in a microwave on medium heat for a couple of minutes. Allow the contents to cool and then check to see if the flowers are dry - if not then replace n the microwave for a further minute and then leave to cool - check again. Keep repeating these until you are satisfied that the flowers are completely dry.
• It takes a little experimentation to feel at home with your microwave and see what results you get - eventually after you have experimented for a while, you will know that your particular machine may work better on a higher temperature for a shorter time, or a lower temperature for several bursts - have a play … it's very worthwhile.

Pressing plants is a simple technique that results in a two dimensional product suitable for displaying in potpourri and under glass and for mounting on cards and labels. Flowers, leaves, vegetables, whole plants, and sea plants can be pressed with remarkable results. You can purchase pressed flowers and leaves for your creative craft projects, but they are never as nice or as varied as plants that you press yourself. Pressing flowers and foliage takes, on average, three to four weeks.
Flowers and plants suitable for pressing are: Artemisia, clematis, coral bells, delphiniums, ferns, feverfew, forget-me-not's, freesia, fuchsia, herbs (flowers and leaves), hydrangea (individual blossoms), larkspur, leaves (all types), lobelia, pansies, Queen Anne's lace, sweet alyssum, violets and wild roses.
• Harvest plants in the morning after the dew has dried. Collect flowers in various stages of bloom, and leaves and buds of the plant.
• Press plants as soon as possible after harvesting to prevent wilting. Place the plants between the two absorbent, smooth sheets in the press.
• For flowers with bulky stamens, place the flowers between two sheets of thin polyester batting, then place between the absorbent layers. I have successfully dried daisy-like flowers and fleshy flowers such as lily of the valley this way.
• Different flowers take different times to dry. Check the press in about two weeks. The plants will not be harmed if you leave them in the press after they are dry, but you can damage them if they are removed before the drying process is complete.
• Store the pressed plants flat in labelled envelopes.

How to Dye Flowers and Foliage
Dye fresh flowers and foliage with absorption dyes before pressing or drying to compensate for fading...
A "must" if making Sun Catchers or items that will receive a lot of sunlight.
Using Flower Dye to Compensate for Fading
I recommend colour treating ferns and foliage that are prone to fading. Use a weakened solution of floral absorption dye before pressing. This is especially helpful if you make sun catchers or use flowers that fade quickly.
Before pressing, properly condition your ferns, foliage, and flowers as usual, but add the dye to the warm water solution. Because you'll be pressing the botanical materials, it's best to mix the dye solution weaker than recommended for a more natural look.
Put the freshly cut stems in the water with the dye and let them sit a few hours before pressing. They come out great and no more worries about fading.

Even Roses Maintain a Natural Look When Dyed Properly
Some flowers, such as Roses, require a little more preparation.
These roses were all the same white colour before dying. The pink and purple roses were treated for about a day. I love the results!
Process:
1. Strip leaves from the portion of the stem to be submersed.
2. Prepare dye solution of:
- Very warm water
- Cut flower preservative (Chrysal or Floralife)
- Koch systemic floral dye.
3. Pour 2" of Floralife's Quick Dip Instant Hydration Pre-treatment into a plastic cup.
4. Cut off several inches of stem under water, and then dip stems ends in hydration solution.
5. Immediately place in the warm dye/preservative solution.
Remember that as flowers are pressed the colour will darken so be sure to take them out of the dye when they're a bit lighter than you'd like.
The dye is absorbed by the stem and leaves too, which can produce some interesting effects. If you don't want those "interesting effects" reserve some leaves to be pressed separately.
To reduce brittleness in the pressed fern or foliage, add a little glycerine or fabric softener to the solution, it doesn't take much.
There are other absorption dyes on the market, but my experience is that the Koch dyes produce the most desirable result, and they offer a great selection of over a hundred colours including black. The Koch website gives very detailed information about its products and uses.

* Nine Creative Project Ideas for Pressed Flowers

* Pressed Flowers Note Cards

* How to press flowers and pressed flower projects

* Pressing flowers

* Tips for Framing Pressed Flower Pictures

* Preparing Fruits and Vegetables to be Dried

* Pressed Flower Stationery

* How to Press Flowers, Leaves and Herbs

BROOCHES Brooches BROOCHES

noreply@blogger.com (Vicky) — Tue, 06 Jul 2010 23:12:00 +0000

A brooch (pronounced /ˈbroʊtʃ/; also known in ancient times as a fibula; sometimes spelled broach, a homophone meaning both to open a cask and begin a new discussion, is a decorative jewelry item designed to be attached to garments. It is usually made of metal, often silver or gold but sometimes bronze or some other material. Brooches are frequently decorated with enamel or with gemstones and may be solely for ornament (as in the stomacher) or sometimes serve a practical function as a fastening, perhaps for a cloak.
The earliest known brooches are from the Bronze Age. As fashions in brooches changed rather fast, they are important chronological indicators.
From the eighteenth century through the Victorian era it was fashionable to incorporate hair and portraiture into a brooch. The practice began as an expression of mourning, then expanded to keepsakes of loved ones who were living. Human hair was encased within the brooch or braided and woven into a band to which clasps were affixed. It was not uncommon for miniature brooch portraits to incorporate ground human hair as pigment. Two sided swivel brooches would display a portrait on one side and a lock of hair on the other; the latter could be crafted with semiprecious stones to resemble a bouquet.

Brooches have never gone out of fashion though I have noticed that presently, clever, cute and sassy brooches seem to be in vogue. From the grunge flowers to reusing heirloom pieces to create brooches the variety is endless and as unique as all their creators.
I have developed a collection of paper brooches and also brooches made from Kimono fabrics. I have found that these have sold very well and look amazing on the lapels of their wearers.

Today I have selected some images from across the web. As much as possible I have added the links for the images – many are from Google Images and not acknowledged. I hope they give you some inspiration and ideas for creating your own brooches.

Beautiful Brooches, A La Parisienne....
Heirlooms by Lana

Brooch Display

Handmade Ceramic brooch

HANDMADE BROOCH BY HANDMADE AT POSHYARNS

Handmade Brooches Shop for unique, handmade brooches from our artisan community

Handmade butterfly

Iapetus Handmade Gifts

Unexpected Boutique

Handmade Felt Brooch

Angela Barrow Creations

Handmade paper Flower Brooch

Handmade Tagua Flower Brooch
These stunning and super fun brooches are made from all natural Tagua and guaranteed to get you noticed! Tagua seeds come from a Palm tree found in the Pacific coasts on Central America. Tagua is considered the new ECO "ivory" because of it's strength, color, beauty and resilient qualities. A fair trade product made in Columbia by local women's groups. Each piece is carved and then dyed. The brooch is 3.5" in diameter and has a straight pin with a latch on the back to hold it in place.

Handmade Tape Measure Bow Brooch

Apple a Day Brooch - Handmade from Recycled Camphor Laurel

Handmade felt brooches and accessories by Laura Howard Plus wool blend felt squares and other colourful craft supplies

Marc C. Bow Tie Brooch Collection

Sweet Fabric Handmade Brooch Pins
How to Make a Zipper Flower Brooch Video

The Craft of Basket Making is alive and flourishing

noreply@blogger.com (Vicky) — Mon, 05 Jul 2010 22:51:00 +0000

I have a collection of baskets of all shapes and sizes and from a variety of sources – handmade in communes, made by Indigenous peoples and also commercially produced. They are display items in my home. I really love baskets, especially those made from unfamiliar items like reed, bamboo, palm fronds and other natural items. My mum was a basket weaver when I was a little girl. She used cane and manufactured bases and produced some lovely items. I can remember going with her to her lessons (I think I was about 3) and the smell of soaking cane and baskets full of bamboo are still strong in my memory.

In the 1950s-60s in Australia, basket weaving was taught to boys (only) in craft lessons (primary school). Girls did sewing! We had small rooms full of all the ‘doings’ for basket making and I always thought of it as the secret basket room! If you are a basket maker I would love to hear from you and feature you and your creations on my blog. Email me if you are interested

Basket weaving is the hand-crafted method of creating woven baskets from natural grasses. Basket weavers have been making a variety of handmade baskets from a wide array of grass types for thousands of years. Native Americans are one of the peoples highly associated with the craft of basket weaving. Native American woven basket patterns are beautifully detailed and the exact colours and styles vary among each regional area and tribe. Basket weavers use many variations of several basic techniques that include coiling, twining, plaiting, and weaving to create endless varieties of baskets.
Weaving refers to the method of creating spokes out of one material and inserting different strands called weavers one at a time under and over each spoke to form a more solid woven piece. Plaiting uses the same technique as weaving except the spokes and weavers are of the same material. Twining uses two weavers and creates a double under and over twisted look to a basket. If three weavers are used in twining basket weaving, it creates a triple twist method called waling. Coiling starts the centre bottom of a basket and it's an oval or round section worked in circular stitches.
Basket weaving supplies including natural grass materials and books on how to weave a basket are available at many craft stores. Once simple, plain types of baskets are mastered, basket weavers can try weaving baskets with handles or use different coloured natural materials to create interesting patterns and designs. Crafters experienced at basket weaving can create nesting baskets, which are sets of several baskets of the same shape but different sizes that fit into one another.
Different textured natural materials such as bamboo, willow and long pine needles can be used to create baskets with varied and appealing textures. Using different widths of grasses creates new looks and natural weaving materials may be flat or round. The same basic basket weaving techniques can be used to create tiny baskets for wedding favours or huge baskets for carrying laundry.
Traditionally, the materials used for basket weaving depended on the region and what types of grasses grew there naturally. The colours used also reflected a specific geographical area since natural plant dyes were used to colour the weaving grasses. In many parts of the world, people make and sell hand-woven baskets.

Basket Construction Methods

Experts have debated the classifications and terminology of basketry construction for ages. However, most basketry is created with elaboration and variations of four basic basket construction methods.

Coiled

A bundle of strands or rods is stitched into a spiraling oval or round form with a thin, flexible element to create coiled baskets.

Numerous variations of stitch types and embellishments such as imbrication can afford a wide range of possibilities.

Core materials can include pine needles, straw, willow, yucca, palmetto, sweetgrass and other grasses. Stitching elements can be such things as raffia, horsehair, ash woodsplint, devil's claw, palmetto, skeined willow, for example.

Twined

Two or more flexible elements are used to encircle another base element. When two weavers are used, this technique is called pairing. When three or more elements are twisted it is called waling.

Variations can be achieved by twining rows tightly row upon row or leaving an open warp, crossing the warp, wrapping the warp, twining plain or on the diagonal, among others.
Materials can be flexible native naturals like day lilies, cedar bark, elm bark, reed, rabbit brush, or roots. Waxed linen, cordage, or various fibers may also be used.
Woven

Woven baskets have two sets of elements - rigid stakes or spokes which create a warp and more pliable elements which are woven in and out to form a weft. Materials in woven basketry can be flat or round and can be any of a wide variety of materials such as willow, woodsplint, paper and reed.

Plaited
Plaiting is the weaving together of like elements. Stakes and weavers are identical materials. They are woven together at right angles in either diagonal, or horizontal and vertical orientation in plain or twill weave. The plaiting can be open checkerwork or closed work.
Splint materials are flat weavers that have been split or pounded from the log of a native hardwood such as White Oak, Maple or Ash. Splint and other flat materials such as rivercane, yucca, birch bark, paper and flat reed are used in plaiting.
From these basic construction methods with a myriad of variations, materials and embellishments many of the baskets we know are created.

How to Understand Basic Basket Weaving Techniques
If you are just starting out in the very satisfying and peaceful craft of basket making, you may not be familiar yet with some of the weaving terms that you read in books. This article is designed to assist you learn some of the basic weaving terms quickly and the utility of each technique.
1. Start by understanding some basic terms:
Weaver - these are the basket strands that weave through the spokes; they are lighter, thinner and more flexible than the spokes, to enable them to be woven in and out;
Spoke - these are the strands that stand upright and form the side supports of the basket; they are much stiffer than the weavers and are strong.
2. Be familiar with under-and-over-weaving. This is the most commonly used technique. It is also the simplest. The illustration indicates its form.
3. Note that double weaving is the same form but two weavers are used at once. This is an effective weave on large surfaces, and in bands or patterns of the same or a contrasting colour on plain rattan baskets.
4. Note that pairing may be used with an odd or even number of spokes. Two weavers are started behind two succeeding spokes, and crossed between them, so that what was the under weaver becomes the upper weaver each time.
5. Identify the triple twist. Here, three weavers are placed behind three consecutive spokes, starting with the back one, over two and under one spoke, each on its way to the back of the third spoke being laid over the other two weavers. In turning up the sides of large baskets where separate spokes or additional spokes have been inserted, or as a strong top for scrap baskets, this weave is invaluable.

Glass Art

noreply@blogger.com (Vicky) — Mon, 05 Jul 2010 01:20:00 +0000

I don't know much about making or decorating glass but I know what I like. I admire the skill, colour and texture of modern Glass Art. I also love stained glass. I have selected a few glass artisan to share with you today.

Recycled Glass Art

Sketchink Custom Handmade Glass Etching
I started with small pieces of glass and simple etchings, and in a short period had graduated into creating works of amazing variety and detail. My creations can be found in Paris, Germany, Australia, Hong Kong all across Canada and in some parts of the U.S
Virtually all aspects of my creations are done by hand from start to finish. I do not use lasers, sand, stencils or chemicals in the formation of the etching(s). The technique is being completed by hand using a variable speed drill with diamond tip bits.
All of the supplies I use are salvage materials, things that would otherwise have been put into a landfill somewhere. It is possible that you might find a minor flaw in the piece this serves to remind me, that even though some things are not perfect they can still be seen as a object of beauty.

Maria Merca
My work is influenced by Middle Eastern Art as well as the elaborate detail of the paintings by Gustav Klimpt and I am inspired by the Irish stained glass artist, Harry Clarke. Colour and light play a vital role in my work. For the stained glass panels, I use layers of paint, sandblasted, copper foiled, flash glass and framed glass, to create vibrant pictures. The human figure features in nearly all my stained glass work, set within elaborate backgrounds. Detailed and highly decorative, I create intriguing pictures within rich layers of colour. On three occasions I have done work experience with American glass artist Danny Lane, helping to prepare for major exhibitions at Henley-on-Thames and New York.
I am in Covent Garden's Apple Market in London on Wednesdays and Sundays where I sell mirrors, vases and plates, please view the page on Covent Garden for further details.

Lucid Visions Art Glass
Lucid Visions introduces over 40 new pieces to it's 2010 production catalog.
All the described Series' can be accessed in the "Portfolio" page. The Portfolio page contains large detailed images, measurements and descriptions of each creation in the series.

Art of Glass

Inspired by the vibrant colours in nature, these translucent paintings on glass are created by building multiple layers of colours and then heating bonds the painting to the glass. Each piece is signed

Torch Works Glass Studio

The artists, Chris and Alexandra Pantos, have exhibited, taught, demonstrated and sold their hand blown glass internationally. Chris and Alexandra's passion in glass artistry has been in creating one of a kind perfume bottles. The use of precious metals gives the bottles an inner luminosity, which responds in any light. Coloured glass and organic designs make each bottle a functional, yet truly unique creation. In addition to their collectable perfume bottles, they are also designer/makers of fine paperweights, marbles, goblets, glass jewellery, botanicals and special commission work.

Weekend Crafty Projects - July 2, 2010

noreply@blogger.com (Vicky) — Thu, 01 Jul 2010 10:23:00 +0000

The Wish Bracelet

Tutorial: Handwoven Greeting Card

Hot on the heels of my weaving podcast, here’s a little how-to for weaving on a greeting card. If you’re a DIY Alert user, well, you may have seen this one before. But, what a great opportunity to share it!

• So, you begin with a blank card – and for this project, it’s best to use one that’s made of quite-heavy stock. Strathmore makes wonderful heavyweight blanks.

• With a pencil, mark two parallel lines on the front of the card. And then, mark a row of evenly-spaced dots along these two lines. (I’ve used heavy, dark pencil marks here, so they’re easy to see. Yours will be much fainter.) These dots should also line up with each other, as you’ll see in a minute.

• And, this is very important – you’ll need an odd number of dots in each row.

• Next, open your card and place it on a padded surface. A folded sock works nicely. Use a pin to poke through all those dots.

• . . . After which, you can erase all those pencil lines.

• Thread up a needle with a double strand of thread, or a single strand of embroidery floss. Follow the holes you just punched to make a series of long, parallel stitches on the front of your card.

• I started and ended my stitches with knots here. You could also just tape the ends of the thread down with some little pieces of masking tape.

• Now, get a collection of bits of interesting leftover yarn. Thread a strand onto a big tapestry needle, and weave it in and out of these thread stitches.

he end of each row, trim the ends of the yarn to about 1/4″. These ends will make a kind of fringe, as you’ll see soon.

• The second strand weaves opposite to the first one. See where the first strand passes over the thread? The second strand passes under that thread.

• Keep adding strands, building up a cool block of texture as you go. See that fringe emerging? That’s all there is to it. Glue some nice paper over the back of your work, on the inside of the card, and you’re done.

• You can also play with weaving one long strand of yarn back and forth, to get a smoother block of weaving.

• And you can change colors! Leave a long tail at the beginning and end of each color. . .

• . . . And when you’re done weaving, you can thread this tail onto a needle and pass it under the block of weaving. Then cut the end close to the block.

• Embellishment possibilities abound. :-)

Tiny Origami Basket tutorial

A Jar of Nothing Gift
For this project all you need is an empty jar.
You can print this saying out onto some adhesive label paper suitable for your printer or print it onto normal plain paper. Use some clear craft glue to adhere it to the jar.
If you want to go all out you can add some ribbon to the jar and even box it up for a great gag gift.

--The Saying---
Did you say nothing?
When you were asked what you wanted for
Birthday, Anniversary, Graduation or Christmas.
Don't you remember saying NOTHING
Well this time someone heard you, searched
high and low and found this perfect gift for you.
Note: These are great for Christmas fund raising stalls.

Carrot Soap

Carrots contain vitamin A which will leave your skin fresh and healthy. This soap recipes uses the Melt & Pour Method of soap making. Puree the Carrots in a blender then add enough water to make it up to 9 ounces (250g)of liquid. Melt the liquid together with the soap flakes and the benzoin and dye and pour into moulds.

Man Made Card:

Courtesy Design video

Embroidery Part 2

noreply@blogger.com (Vicky) — Wed, 30 Jun 2010 12:07:00 +0000

Embroidery is so much a part of our lives that we may not even notice it. However, when a shirt or skirt features fancy stitching, when a baseball cap has a stitched logo, or when a sweater is monogrammed, embroidery is the cause. Granted, this kind of embroidery is done by machine, but beautiful stitching is also possible through the age-old art of hand embroidery.
Hand embroidery, of one kind or another, is thousands of years old. It was used in Ancient Egypt to decorate the hems of royal robes, in tapestries in the Middle Ages, and in ladies' samplers during the Colonial and Victorian eras. It continues as an art form today. Many people are familiar with counted cross stitch - a cousin to hand embroidery - and it seems that counted cross stitch has nearly eclipsed it. However, there are many people who still love to work hand embroidery, and it decorates wall hangings, pillowcases, quilts and table runners.
Hand embroidery differs from counted cross stitch in that it uses many different types of stitches to achieve texture and interest, whereas counted cross stitch uses a single stitch and relies on colour and shading for texture. Counted cross stitch is worked from a graph, where the printed design is rendered as a series of X's and the artist stitches the design accordingly. Embroidery designs may be stamped or drawn on the material, or they can be done freehand. Embroidery uses embroidery floss and an embroidery needle, which has a slightly larger eye but is still sharp.
Five stitches form the basis for hand embroidery. There are more, but an artist who learns these five can work 95 percent of the kits available. The stitches are: outline, satin, lazy daisy, cross and French knot. The outline stitch is a running stitch that, as the name implies, outlines a design. The satin stitch fills in open areas with closely worked stitches that give the appearance of satin. A lazy daisy makes small flower petals, while the basic cross (X) stitch also fills in open areas, or forms designs. The French knot is used to suggest small dots, such as eyes, pebbles, flower centres, and so on.
A beginner in hand embroidery should start with a small design that uses mostly outline, cross and lazy daisy stitches. These are the easiest stitches to master. The item may use satin stitch, but it should only be in small areas. Veteran embroiderers may want to tackle a project that is made mostly from satin stitch, but this is strictly for those who have mastered it. Satin stitch is simple enough in theory, but making it look smooth and shiny, with no gaps or uneven stitches, takes a while to master.
Many craft books on needlework are available. They will give instructions for the five basic stitches, and others as well. Community education classes may also be available and instructions for the basic five stitches are even available on the Internet. Kits are available in any craft store.
Hand embroidery is a beautiful art that almost anyone can learn. It is an art that should be preserved and well worth learning.

Introduction to Embroidery Part 1

noreply@blogger.com (Vicky) — Tue, 29 Jun 2010 21:32:00 +0000

Today I would like to introduce the first in my posts about EMBROIDERY. This is a craft that my mum introduced me to at a very early age and the love and appreciation of it remains. My first experiences of hand embroidery were to embellish my doll's clothes with little circular flowers using chain stitch. Very quickly little embroidered flowers were on everything from my fabric pencil case to my headbands. I have found so much information about hand embroidery and some brilliant blogs I would like to share with you that I have decided to make EMBROIDERY into a short series. Today is the introduction.

Embroidery is the art or handicraft of decorating fabric or other materials with needle and thread or yarn. Embroidery may also incorporate other materials such as metal strips, pearls, beads, quills, and sequins.

A characteristic of embroidery is that the basic techniques or stitches of the earliest work—chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch—remain the fundamental techniques of hand embroidery today.

The origins of life and embroidery are lost in time, but examples survive from ancient Egypt, Iron Age Northern Europe and Zhou Dynasty China. Examples of surviving Chinese chain stitch embroidery worked in silk thread have been dated to the Warring States period (5th-3rd century BC).[1]

The process used to tailor, patch, mend and reinforce cloth fostered the development of sewing techniques, and the decorative possibilities of sewing led to the art of embroidery.[2] In a garment from Migration period Sweden, roughly 300–700 CE, the edges of bands of trimming are reinforced with running stitch, back stitch, stem stitch, tailor's buttonhole stitch, and whipstitching, but it is uncertain whether this work simply reinforces the seams or should be interpreted as decorative embroidery.[3]

The remarkable stability of basic embroidery stitches has been noted:

It is a striking fact that in the development of embroidery ... there are no changes of materials or techniques which can be felt or interpreted as advances from a primitive to a later, more refined stage. On the other hand, we often find in early works a technical accomplishment and high standard of craftsmanship rarely attained in later times.[4]

English cope, late 15th or early 16th century. Silk velvet embroidered with silk and gold threads, closely laid and couched. An example of English embroidery in silk and metal threads, contemporary Art Institute of Chicago textile collection.

Elaborately embroidered clothing, religious objects, and household items have been a mark of wealth and status in many cultures including ancient Persia, India, China, Japan, Byzantium, and medieval and Baroque Europe. Traditional folk techniques are passed from generation to generation in cultures as diverse as northern Vietnam, Mexico, and eastern Europe. Professional workshops and guilds arose in medieval England. The output of these workshops, called Opus Anglicanum or "English work," was famous throughout Europe.[5] The manufacture of machine-made embroideries in St. Gallen in eastern Switzerland flourished in the latter half of the 19th century.

Basic Embroidery Stitches

Embroidery stitches

Free Embroidery Instructions - Illustrated, Step by Step Decorative Embroidery Stitches

The Past and Present of CROCHET

noreply@blogger.com (Vicky) — Mon, 28 Jun 2010 22:39:00 +0000

Those of you who follow SEKKEI blog will already know that knitting and crochet are two crafts I have never been able to master. Although I can knit (in the European way) with a lot of hard work, crocheting has eluded me. I blame those who tried but gave up with their teaching of me (my excuse and I am sticking to it)! I am left-handed and it was always an issue with my crochet teachers.

I greatly admire the creativity of modern crochet. As a fibre craft, it is flexible, colourful and effective. As my slide show will display , crochet has come a long way from doilies, booties and collars. Today crochet can be seen in: jewellery, fashion, home decor, rugs/throws/blankets, bags, edging and borders (especially around towels), hanger covers, toys, pet clothes and art pieces.
To all you crochetty people – well done YOU! I love your craft. I hope one day to meet up with one of you who will take the time to help me also learn how to do it!

Crochet (pronounced /kroʊˈʃeɪ/) is a process of creating fabric from yarn or thread using a crochet hook. The word is derived from the French word "crochet", meaning hook. Crocheting, similar to knitting, consists of pulling loops of yarn through other loops. Crochet differs from knitting in that only one loop is active at one time (the sole exception being Tunisian crochet), and that a crochet hook is used instead of knitting needles.
Early History: Around the world, crochet became a thriving cottage industry, particularly in Ireland and northern France, supporting communities whose traditional livelihoods had been damaged by wars, changes in farming and land use, and crop failures. Women and sometimes even children would stay at home and create things such as clothes and blankets to make money. The finished items were purchased mainly by the emerging middle class. The introduction of crochet as an imitation of a status symbol, rather than a unique craft in its own right, had stigmatized the practice as common. Those who could afford lace made by older and more expensive methods disdained crochet as a cheap copy. This impression was partially mitigated by Queen Victoria, who conspicuously purchased Irish-made crochet lace and even learned to crochet herself. Irish crochet lace was further promoted by Mlle. Riego de la Branchardiere around 1842 who published patterns and instructions for reproducing bobbin lace and needle lace via crochet, along with many publications for making crocheted clothing from wool yarns. The patterns available as early as the 1840s were varied and complex.
Modern Practice: Fashions in crochet changed with the end of the Victorian era in the 1890s. Crocheted laces in the new Edwardian era, peaking between 1910 and 1920, became even more elaborate in texture and complicated stitching.
The strong Victorian colours disappeared, though, and new publications called for white or pale threads, except for fancy purses, which were often crocheted of brightly colored silk and elaborately beaded. After World War I, far fewer crochet patterns were published, and most of them were simplified versions of the early 20th century patterns. After World War II, from the late 40s until the early 60s, there was a resurgence in interest in home crafts, particularly in the United States, with many new and imaginative crochet designs published for colorful doilies, potholders, and other home items, along with updates of earlier publications. These patterns called for thicker threads and yarns than in earlier patterns and included wonderful variegated colours. The craft remained primarily a homemaker's art until the late 1960s and early 1970s, when the new generation picked up on crochet and popularized granny squares, a motif worked in the round and incorporating bright colors. Although crochet underwent a subsequent decline in popularity, the early 21st century has seen a revival of interest in handcrafts and DIY, as well as great strides in improvement of the quality and varieties of yarn. There are many more new pattern books with modern patterns being printed, and most yarn stores now offer crochet lessons in addition to the traditional knitting lessons. Filet crochet, Tunisian crochet, broomstick lace, hairpin lace, cro-hooking, and Irish crochet are all variants of the basic crochet method.
Crochet patterns have an underlying mathematical structure and have been used to illustrate shapes in hyperbolic geometry that are difficult to reproduce using other media or are difficult to understand when viewed two-dimensionally.

Welcome to Crochet Australia! Our aim is to provide crochet information and a wide range of quality crochet, knitting, tatting and hardanger - books, hooks, threads and supplies at an affordable price.
How to Crochet
Crochet at About.com - Learn To Crochet
Free Crochet patterns
More Free Crochet Patterns
Free Crochet Jewellery Patterns
Make a Statement With Unusual, Wearable Art Pieces - Necklaces at Lavender Field's Shop My timeless crochet jewelry has an organic feel to it and is exclusive in the sense that each and every piece is unique, not only because I individually created each one by hand, but because there is nothing out there like my stuff!
Crocheting with wire is a relatively new way of creating jewellery. Of course, crocheting has been around since the early 19th century and over the years it has found its way into jewellery using thread and thin cord. Now I take the shine of wire, the sparkle of beads and crystals, combine them into jewellery that is fun to wear and will definitely be noticed.
Crocheted Jewellery - Shop for unique, handmade crocheted jewellery from our artisan community
Crochet Flowers – Free Patterns
Free Patterns

When is a shell not a shell?

noreply@blogger.com (Vicky) — Mon, 28 Jun 2010 03:12:00 +0000

When it is a ring!

I love chunky rings – I have chunky fingers so I think that is fair enough!

I recently indulged my love of big rings by buying myself a gorgeous ring made completely from a real shell.

Now, don’t get me wrong – I like seeing shells in their natural habitat. I really think that’s the best place for them. I have read that finding shells on the beach, like I did as a child, is something that’s just not possible today. Whether that is as a result of gloabl warming, over-fishing or humanity pillaging the oceans, I am not certain.

But – this shell ring beckoned and I succumbed! I am wearing it as I type – I think is providing a significant work-out for my fingers and hand [it is rather heavy!].

It certainly is the business! Bold and beautiful – everything mother nature is.

Now I am not at all knowledgeble about the provinence of this ring. The girl who had the stall at the markets from whence it was bought, had very little informaton about its manufacture or indeed who actually made it. I was given some vague story abut ‘a friend of a friend of mine from Uni gets shells and makes them into rings’. So that’s all I can tell you about my new acquisition.

The rest is up to your sense of appreciating clever craftsmanship and the aesthetics of nature.

I love it.

I am not usually a lover of shell art or crafts. I grew up in an era when many people collected shells and made them into picture and mirror frames, covered boxes, and even sewed them on purses. I am not overly fond of this craft. I had a neighbour when I was younger, who had shells covering almost everything in her garden: flower pots, outdoor chairs, wall fixtures, table tops, garden bed surrounds, trivets, etc. She also had some huge clam shells filled with water which she used as bird baths (I rather liked those).

But shell jewellery has never been big in my wardrobe THOUGH I must say Paua, Paua Shell Jewellery from New Zealand is just beautiful and the last time I went there I got a little charm for my bracelet. The vivid colours and delicate carving of this lovely shell is a must to behold.

So I surprised myself when I found I loved this shell ring and now I am on the lookout for more!

I like the shell to be kept in its natural form as much as possible. For me, there is nothing worse than seeing a shell shaped into a leaf or a butterfly etc.

I like the simplicity of Lola Greeno’s necklaces, where the shells remain intact. I love the ammonites that have been sliced and used as jewellery pieces – they retain their original ‘self’.

I suppose I am being unrealistic in my wishes that the whole shell be retained in some way, when used for jewellery – not many people could ‘carry off’ lugging a huge shell around their necks or from their ears, but I also don’t like the compromise of layering or tiling shell bits to make images that somehow ‘take away’ from the sea treasure. An individual thing, I know.

Got a weekend? Crafty Projects 4 You!

noreply@blogger.com (Vicky) — Thu, 24 Jun 2010 21:40:00 +0000

Daily Reminders with Clothes Pegs

Hot Chocolate Mix in a Jar

A popular jar mix that is easy enough for children to prepare as Christmas gifts for their teacher, babysitter or grandma. This recipe also makes a lovely jar gift for your office colleagues or co-workers, neighbours, the paper boy or the superintendent of your apartment building.

Hot Chocolate Jar Mix Recipe

Ingredients:

1½ cups skim milk powder

1½ cups white sugar

¾ cup unsweetened cocoa

¾ cup non-dairy creamer

To Make this Jar Gift:

Place all ingredients in a large mixing bowl and stir well. For a finer mix, combine all ingredients in a blender or food processor and mix well.

Store in an air tight container.
Directions:
Place 2 or 3 tablespoons in a mug and add boiling water.
If desired, print the hot chocolate directions label shown at right. Attach the label to the jar with white glue, or tie on around the lid with ribbon and a couple of short cinnamon sticks.
Decorate the jar lid with a circle of fabric or lace, tied on with ribbon or raffia.
Variations:
• For Mocha Hot Chocolate, place 2 or 3 tablespoons of hot chocolate mix in a mug and fill with hot coffee.
• After processing all other ingredients in the blender or food processor, empty mix into a bowl and stir in 1 cup of mini marshmallows.
• Replace the plain non-dairy creamer with a flavored creamer such as French Vanilla or Hazelnut.
• For spiced hot chocolate, add 1 teaspoon of cinnamon to mix, or ½ teaspoon nutmeg and ½ teaspoon of cinnamon.

• For raspberry hot chocolate, add one package of raspberry koolaid to the mix and increase the sugar to 2 cups.

Lighted Potpourri Holiday Jars

Here's a trendy holiday decorating idea that combines the soft glow of mini lights with the gentle scent of warm potpourri. It's an easy way to infuse a room with holiday ambience or light up the dark corner of a hallway.

These lighted potpourri jars are such an easy craft that they make ideal hostess gifts for impromptu holiday gatherings. Just wrap in cellophane and add lots of cheerful ribbon curls.
I always have one lit up in the bathroom at Christmas because the warm glow serves as a night light for guests while the subtle fragrance is long-lasting and very pleasing.
What You Will Need:
• large, clean glass food jar, canning jar or ivy bowl
• string of 20 to 30 mini lights
• scented potpourri
• doily or open-weave fabric circle to cover jar lid
• rubber band
• ribbon or raffia
• seasonal decorations
• tacky glue or hot glue
1. Clean and dry the glass jar, then add a layer of potpourri to cover the bottom.
2. Turn on the lights and begin feeding them into the jar, adding potpourri as you go, so that the lights are spaced equally apart and supported by the potpourri that you are packing around them. Do not pack the jar too tightly.
3. Allow the end of the light string to come out through the top and tuck it to the back of the jar.
4. If you're using an antique or modern mason-style canning jar, it probably comes with a two-piece lid. You can leave the lid off entirely or just discard the center section then screw the band in place.
5. Fasten a doily or circle of open-weave fabric over the mouth of the jar using a strong elastic band. This will hold the light string in place, as it comes out of the jar, as well.
6. Cover the elastic band with ribbon or raffia. You can tie the ribbon or raffia in a bow, or just knot it together and cover with seasonal decorations.
7. Using tacky glue or hot glue, add a few festive decorations to the front of the ribbon.
8. If you're giving the jar as a gift, wrap in cellophane and tie with curly ribbon.
9. As the scent fades, replenish with a fragrance oil or essential oil which complements the original scent. Simply add a few drops of oil through the holes in the doily and your lighted potpourri jar should be good to go for another season.

How to Make a Piñata
This hot-air balloon piñata is great for first time makers -- and it makes for a nice big target for little piñateros.

Materials

• 14-inch balloon, inflated

• 10-inch bowl

• One batch papier-mâché paste

• 1 two-page spread each of regular newspaper and the comic pages

• 32-oz. plastic yogurt container, cut in half horizontally
• String
• Hole punch
• Glue stick
• 5 sheets of tissue paper in bright colours, cut
• into 3 1/2-inch squares
• 4 lbs. of individually wrapped candies
Instructions
1. For stability while working, place the balloon in a 10-inch bowl. Fold the spread of newspaper in half and then in half again. Tear (don't cut) 1 1/2-inch-wide strips so they have a slightly rough edge (tearing along a straight edge works well). The rough edges help make a smooth overall surface. Drag a strip of newspaper through the papier-mâché paste, wipe off any excess with your fingers, and place it at an angle on the balloon. Place the second strip so that it slightly overlaps the first. Continue until the balloon has been covered with one layer of paper strips--except for a 2-inch square at the top, through which the candy will go. Give the papier-mâché; up to 24 hours to dry. Cover your leftover paste with plastic wrap so it doesn't dry out (if it does, add warm water).
2. For the piñata's hanger, wrap the midpoint of a length of string (doubled up, if necessary) around the bottom of the balloon, pulling the ends up to the top; tape it to the balloon in a few places. Knot together the ends of the string 6 inches above the top. Tape the top half of the yogurt container to the bottom of the balloon. This will become the neck of the hot air balloon.
3. Cover the balloon (including the string), the neck and the bottom half of the yogurt container (which will become the hot air balloon basket) with a layer of strips of comics, placing them at a different angle from the first layer. (Using different coloured strips lets you distinguish one layer from the next, ensuring a uniform overall thickness.) Allow the second layer to dry.
4. Cover the balloon, neck and basket with strips of plain newsprint going in a third direction. Smooth over any rough edges as you work. Allow the balloon to dry thoroughly.
5. Punch four holes into the neck of the hot air balloon and four into the basket. Attach string to the neck about 3 1/2 inches from the base of the balloon to later suspend the basket.
6. Dot the corners of a tissue square with a glue stick and place it just to the side of the 2-inch square on the top of the balloon. Follow with other squares in the same colour, working your way diagonally down around the balloon. When you get to the bottom, start at the top again in another colour, fitting the squares into a hounds tooth pattern. If you want to add streamers, cut 2- by 30-inch lengths of tissue paper and glue them onto matching coloured squares about halfway down.
7. Cover the basket with squares of tissue in different colours. Attach the basket to the balloon. Puncture the uncovered part of the balloon at the top of the piñata and remove all of the balloon fragments. Make sure the inside of the piñata is completely dry before you fill it, so the candy won't stick to the sides. Fill it about halfway with the candy. Cover the opening with some tissue squares, and your piñata is ready to hang.

Make this shelf for above the doorway in the kitchen or bathroom (or wherever). A fun little way to create some cosy storage. Click here to read how.

Tatting Patterns- Tatted Butterfly

Free Knitting Patterns - Adult Bed Slippers. Knit these handy slippers with reinforced soles. They are easy to pack, pretty to look at and make good foot warmers. One size fits all.

Make some handmade fabric flowers. Step by step instructions

Create a Curious Cats Mini Book

Summer Textile Craft Project - Felt Ice Cream Cone Pin

There is nothing better on a hot summer day than a cold and delicious ice cream cone. This felt craft is absolutely fun to make and can be worn as a pin or used anyway you like. Choose felt in the typical vanilla, strawberry and chocolate colours or experiment with other yummy flavours.

Make flowers out of Bread Dough

Materials Needed:
• 4 tbsp Tacky Glue (Gold bottle, use silver bottle for a porcelain look.)
• 4 slices white bread NO CRUSTS.

• 4 tbsp Corn Starch.

• 2 tbsp Cold Cream

• 2 tsp Lemon juice

2 tbsp White acrylic paint. (you can use any colour you like, but some have more pigment. To get the colour you want you will have to experiment with the amount to add)

Procedure:

1. Mix all together in container until it begins to stick together.

2. Empty out on a board and knead until smooth.

3. Wrap in Saran wrap and store in fridge.

4. Use as clay. Cut with cookie cutters, sculpt with it, make beads - anything you like!

5. Air dry. Do not bake.
Finished articles can be painted and varnished.
This recipe will keep for ages. I tested a ball wrapped in Saran and kept in the fridge, after two months it was still as good as new.
Add the colour as it is more pleasing to work with and also makes a good base for painting.

Things you can do with plastic pop bottles. Don't throw away your old plastic pop bottles. Try some of these ideas to recycle or re-use them.

Easy Woven Ribbon Pillows. These pillows are so easy, even I can do it - and I don't sew! They would make a great Christmas gift.

Gel Wax Candle Holders. These gel wax candle holders are a beautiful decoration for the winter season, or any time of year. Clear votive candle holders are nested inside wine glasses, and then the gel wax is poured outside of the votive holders to create a bubbly exterior. A separate votive candle is then placed inside the votive cup, so the gel wax is never actually burned. These candle holders can be used over and over again. The clear gel wax can also be dyed different colours to match any motif. Gel wax is very easy to work with, and it is easy to clean up

Peaches Ballerina Angel Doll About 18" Tall

Origami Blossoming Flower

Make a loopy hair bow – very girly

Prepare party Accessories from Paper

Delicate flowers of the rainforest - Orchid Treasures Australia

noreply@blogger.com (Vicky) — Wed, 23 Jun 2010 10:29:00 +0000

In one of the cute tented stalls at the Southbank Lifestyle Markets, I found some incredible jewellery. Vibrant, delicate and REAL orchids encased in resin. There are necklaces, hair clips, earrings and bouquets to suit any occasion.
I was full of questions for Christina, the creator of Orchid Treasures Australia.

Orchid Treasures Australia produces exquisite real life orchid jewellery.

Stocked in over 50 exclusive boutique stores across Australia and America, our stunning pieces include earrings, necklaces, hair clips, rings, broaches and a newly designed bridal range.

I have since received some answers to my questions from Christina:

• How long have you been making these beautiful, delicate orchid pieces?
For a year an a half

• Is Orchid Treasures Oz an Australian company?

Yes

• Where do you source your orchids?

It all depends on the seasons.

• Where is the jewellery made? Who makes them?

I make the orchids into jewellery in Byron Bay.

• The colours of the orchids are so vivid, how is the colour retained in the manufacturing process?
My secret :)

• Can you explain the process in making these exquisite pieces?
Live orchids are selected for their uniqueness, colour, and elegance. Orchid selection is always changing depending on the seasons.

The orchid goes through a preserving process, which can take up to a week per flower. The orchid’s beauty is completely preserved forever with several coats of resin then handmade into necklaces, earrings, broaches, hairpieces, and rings.

• Do you think this process could be applied to other items eg dried orange or leaves etc?
Sure

• What 3 pieces of advice can you give to others regarding marketing your creations?

This product is so versatile and applies to a wide range of women. I am currently stocking flower shops, gift stores, fashion boutiques, surf stores, jewellery shops, hospital gift shops, bridal shops, swim wear stores, orchid gardens, and art galleries.

I don't really have any steps or advice, I personally tried it all and it worked!

• What are your plans for the future for Orchid treasures?
I have recently incorporated the same concept into a bridal line. This includes a stunning collection of hairpieces, jewellery, bouquet flowers, cake decorations, centrepieces and bridal gifts. I am also working on a surf line.
My creations are currently stocked in over 50 exclusive boutique stores across Australia and America. The next move will be Japan and hopefully Europe.

How big is the flower?
The orchid flower varies in size because it is a real orchid.
The largest flower usually is about 4.5 inches high x 5.5 inches wide (11.43cm X 13.97cm.)
The large flowers are about 3 inches high x 3 inches wide (7.62cm x 7.62cm.)
The average of a medium orchid is 2.75 inches high x 2.75 inches wide (6.9cm.x 6.9cm.)
The average of a small orchid is about 1.75 inches high x 1.75 inches wide (4.4cm x 4.4cm.)
Sizes are always slightly different based on what is blooming.

The orchid jewellery pieces are amazing – exactly as they look in the photos. When you hold them up to the light the colours are even more enhanced and the orchid seems to glisten. I am so intrigued by this craft and am still left with many questions – so back to the researching for me!

Check out Orchid Treasures Australia and visit one of the retail outlets that stock these fabulous creations.

It's all in the SENTIMENTS

noreply@blogger.com (Vicky) — Tue, 22 Jun 2010 22:27:00 +0000

I make a lot of greeting cards and I usually leave the centre page blank for my customers to add their own sentiments.

When I am making a card that requires a sentiment added inside, I am often at a loss about what to write that is meaningful, or fun, or personal, or appropriate.

I like poetry, I write a lot of my own. I especially like the ACROSTIC where you can use the letters of a relevant word to write something personal in the card. This is actually a simple thing to do, it doesn’t need to rhyme.

Sharing memories

Is the first link in the chain.

Summers play and family outings,

Talks until all hours in the dark.

Even when we argue, we love each other.

Reading each others faces as easily as books.

Sisters are joined by more than family name.

If you are after saying, verses, poems, short stories, quotes and the rest to place into your greeting cards go to these sites.

Card Messages to Choose From

Cards Verses and Quotes - verses for greeting cards - inspirational quotations

Christmas card sayings and phrases

Do you have a lovely blank card, yet you have drawn a blank as to what to write inside? Needing the perfect phrase to have the florist inscribe on a note with the flowers you're ready to send? Ready to do a scrapbook page remembering a great birthday?
If so, perhaps some words of inspiration are just what you're looking for. We have them right here -- just take a look and find something to make the happy day a bit happier !

Greeting Card Sentiments

Greeting Card Sentiments- Sentiments and Sayings for Handmade Cards

Need Some Words For Your Birthday Wishes ? Sentiments to Use in Card Making

Sweet Sentiments For Family And Friends - Have you ever found the perfect greeting, but it was for the wrong occasion? The Sweet Sentiments greeting cards can be sent for any occasion. You personalize them with a message in the body of the email you generate to send the greeting. You can turn it into a Birthday card, an Anniversary card or any kind of special occasion card just by writing a few words

Yenta Sentiments You can either write your own message or choose from a variety of quotes and sayings on these page for your own card sentiments. For personalised messages, you are limited up to a maximum of 5 lines.

Let me Introduce NJ's natural handmade soy candles

noreply@blogger.com (Vicky) — Mon, 21 Jun 2010 13:46:00 +0000

You may remember a photo from yesterday’s post from the Southbank Lifestyle markets, showing a stall table laden with candles.

I spoke briefly with the owner of the stall and the creator of NJ’s natural handmade soy candles, Nicole Cunnington.
NJ’s candles look and smell beautiful. They are elegantly presented and would make lovely gifts for any occasion. I would have loved to speak more with Nicola and find out about the processes she uses to make her candles.
For now, here are some questions I posed to her and Nicola’s responses:

• Is candle making your first craft enterprise?
No, I used to make hand crafted ceramic pots for plants

• How long have you been a candle maker?
2+ years the last 9 months I have been selling to the public before this I just made candles for home

• Are you self taught or have you had some peer support in developing your products?
Self taught but asked lots of questions when I first meet our wholesalers

• What makes your candles unique?
We have tried to colour match to the fragrances, and the fragrance is right through the candle not just on the top for the first burn - the benefits of being handmade and hand poured

• What 3 pieces of advice would you give to a person wanting to learn how to make candles?
Be VERY CAREFUL the wax needs to get very hot to melt over 100 degrees in some candles, experimentation, have fun

• Would you share a recipe for making a soy candle?
Everyone has their own recipes and mixes it’s all about experimentation

• What made you choose the Southbank Markets to sell your candles?
It’s the best run market in Brisbane, the most regular and reliable, a mixture of local and interstate visitors, you can trade for 3 days every week if you choose, mixture of stalls not just fruit and veges.

• What hopes do you have for your business?
To expand and grow the new website , to set up a warehouse in which I could run candle making classes and sell small quantities of raw products to students

One sort of NJ’s candles I admired had amazing patterns in the wax. Nicola explained that this pattern formed as a consequence of heat. I am now keen to find out more about this particular aspect of candle making.

Check out NJ’s Website and connect with Nicola.

Introducing SOUTHBANK LIFESTYLE MARKETS, BRISBANE

noreply@blogger.com (Vicky) — Sun, 20 Jun 2010 23:15:00 +0000

It’s been a long time since I went to the Southbank Lifestyle Markets in Brisbane. It is a brilliant location and a very energetic market.

For those who haven’t been there, Southbank is located on the banks of the Brisbane River – right in the city!

Southbank is an area reclaimed from being heavily industrial and redeveloped for World Expo 1988. Not much remains from Expo except the river (der!) but the location is now a tourist mecca. There is a ‘beach’ where you can swim, play and relax anytime of the year. It contains real white sand and is maintained beautifully by the city. It even has lifeguards! Not many cities can boast a beach right in the city.

So, you can imagine the location is ideal for a market. The lifestyle markets operate on Friday nights and all day Saturday and Sunday every week.

You can see by the images, there is a great variety of merchandise on sale. Not all of the stalls stock locally made crafts but many do. I hope to introduce you to some of the artisans in coming weeks.