Using glass etching cream you are about to create permanently etched designs of a professional quality in only 3 basic steps in less than 3 minutes.
Please Note: Before starting to use the etching cream please read the manufacturers safety instructions. Keep out of the reach of children and pets.
Materials required:
* A ruler
* Glass Cleaner
* Masking Tape
* Lint-Free Cloth
* Hobby Knife
* Cotton Buds
* Steel Wool
* Newspaper or Drop Cloth
* Pen
* Eraser
* Paper Towels
* Protective Goggles
*Latex Gloves
* Pencil
* Carbon Paper
* Additional Stencils
* Long Sleeved Clothing
* Contact Brand Shelving Vinyl
Step 1: Cleaning the Glass or Mirror
The glass must be scrupulously clean. Use a glass cleaner that does not advertise it is "Finger Print Resistant" as this type of cleaner leaves a film that prevents the cream from acting properly. Handle the glass carefully after cleaning so as to not leave finger prints on the work area. Dry the glass completely.
Step 2: Select and Apply the Stencil
Carefully cut the stencil sheet and the frosted backing sheet together to avoid touching the back surface of the stencil. Determine exactly where you wish to locate the design on the glass by using the ruler. Remove the backing sheet from the blue stencil and store for later use. Place the stencil on the glass with the tacky side touching the glass and secure it temporarily with masking tape.
Use a wood craft stick and transfer the design from the sheet to the glass by rubbing the stick firmly over the design in all directions. You will see colour change from a dark blue to a lighter colour as the design is transferred. Be careful not to dig the stick into the stencil or peel up the edges and damage it.
Step 3: Remove the Top Carrier Sheet
When the design has been adhered to the glass, remove some of the masking tape and slowly peel back the clear top sheet. Replace the top sheet and repeat rubbing down if any part of the design has been completely transferred.
Step 4: Masking the Non-Design area with Masking Tape
Mask the area surrounding the design with masking tape being careful not to cover any of the design elements. Overlap the tape by about 2 to 3 mm. This is to prevent any of the cream from contacting the clear non design parts of the glass. Press the frosted back up sheet lightly over the stencil and tape to ensure firm contact. Hold up to the light and check that the design and tape do not have small tears or holes where they are not supposed to be and cover with a small piece of tape. Note that tape will tear the design if you try to remove it.
Step 5: Applying the Etching Cream
For best results room temperature should be around 22 degrees Celsius. Shake the etching cream thoroughly before use. Wear the latex gloves and protective eyewear. Place glass on newspaper in a well-lit area near a water source. For the cream to work, you must apply a thick layer enough layer of the cream so you cannot see the design through it. Be careful to stay within the taped area.
Step 6: Removing the Etching Cream and Stencil
Allow the etching cream to stay on the glass for one minute only and then immediately wash off all the cream under a tap using luke warm water. After all the cream has been removed remove the stencil and tape. Clean the glass using a window cleaner and dry.
Selasa, 31 Oktober 2017
Rabu, 25 Oktober 2017
What Makes Collectibles Worth Collecting? Tips for Collectors
What makes a collectible worth collecting? To answer that question one must first contemplate why they are collecting something.
Is it a monetary investment?
Is it a hobby?
Is it to satisfy an emotional need?
For our purposes we are only going to consider monetary investments. If you are collecting as a hobby, or to satisfy an emotional need (such as recalling your childhood), price is not much of an issue. Whether a collectible increases or decreases in value is not your concern.
Monetary Investments
Usually, when the subject comes about whether an item should be collected, money is involved. The bottom line is simple: will investing in the collectible create a positive return on the investment? More particularly, will the return on the collectible exceed the return that could have been obtained with another type of investment?
For example. If you invest one thousand dollars in collectibles and can sell them for fifteen hundreds dollars in ten years, you have a five hundred dollar profit. Over ten years that is fifty dollars per year. Based on a one thousand dollar initial investment, the return each year is five percent.
Five percent is probably better than putting your money in the bank and seeing what interest the bank pays. Five percent is also probably less than what an investment in the stock market is expected to return.
On the other hand, you know what return you will receive via interest because it is a set value.
With a collectible the future is unknown. You do not know your investments will increase by a certain amount. The collectibles could lose value. They could also significantly appreciate.
To reduce this uncertainty you can look at historical prices to evaluate what is happening with a collectible and realistically expect that to continue in the future.
Factors Affecting Price Changes
Factors which influence whether the value of a collectible increases or decreases over time include:
The original price of each item
How many different items are available to collect?
How rare or common each item is. (Production run)
How many other people seek to acquire the same items?
Is the item trendy?
Are the items easy to counterfeit?
Each of these factors are important. But I view actual price and sales information as the bottom line which accounts for these factors, plus any other factors you have not considered.
In other words, the market determines value and the market is never wrong.
Comparing Initial Retail/Buy Back Spreads Versus Long-Term Value
Another important issue often overlooked by novice collectible investors is the difference in value after the first sale and the change in value over time.
Let me explain.
Assume a new collectible sells for retail at one hundred dollars. On the after market, such as on eBay, it can be sold for eighty dollars. That is a common profit spread for retailers. It is like buying a new car and then turning around and selling it. Once you drive the car off the lot there is often an immediate loss in value.
Short-sided investors only consider the new price versus the immediate buy-back price.
But consider this: if you buy the collectible on the after market for eighty dollars that is often your price floor. Unless the market for a collectible evaporates, as may happen for trendy items, or products with too much quantity, you do not expect value to keep decreasing each year.
Rather, once a production run has ended and rarity established, every year should see a steady erosion in how many of the item are available because some are lost, destroyed, or hoarded. There is also a steady erosion in quality as some excellent quality items become used and their quality lessens. Thus, supply steadily decreases over time.
The flip side is, usually, demand increases over time because with population growth there are simply more collectors.
Bottom Line
My suggestion when evaluating a collectible is, if possible, to get a price history. The market creates prices.
If prices decrease over time the item is probably not a wise investment.
If prices increase over time then you can evaluate how much they are increasing and whether it is worth your investment.
While that is easily stated, in practice the issue is much more difficult because reliable price histories of sales over time are so difficult to obtain. In many cases, it may be impossible.
Fortunately, the Internet has made that task easier, and so have after markets such as eBay where you can continually monitor prices to see which way they are moving.
If you want to make money from collectibles, make sure you arm yourself with as much data as possible so you can make a wise decision.
Is it a monetary investment?
Is it a hobby?
Is it to satisfy an emotional need?
For our purposes we are only going to consider monetary investments. If you are collecting as a hobby, or to satisfy an emotional need (such as recalling your childhood), price is not much of an issue. Whether a collectible increases or decreases in value is not your concern.
Monetary Investments
Usually, when the subject comes about whether an item should be collected, money is involved. The bottom line is simple: will investing in the collectible create a positive return on the investment? More particularly, will the return on the collectible exceed the return that could have been obtained with another type of investment?
For example. If you invest one thousand dollars in collectibles and can sell them for fifteen hundreds dollars in ten years, you have a five hundred dollar profit. Over ten years that is fifty dollars per year. Based on a one thousand dollar initial investment, the return each year is five percent.
Five percent is probably better than putting your money in the bank and seeing what interest the bank pays. Five percent is also probably less than what an investment in the stock market is expected to return.
On the other hand, you know what return you will receive via interest because it is a set value.
With a collectible the future is unknown. You do not know your investments will increase by a certain amount. The collectibles could lose value. They could also significantly appreciate.
To reduce this uncertainty you can look at historical prices to evaluate what is happening with a collectible and realistically expect that to continue in the future.
Factors Affecting Price Changes
Factors which influence whether the value of a collectible increases or decreases over time include:
The original price of each item
How many different items are available to collect?
How rare or common each item is. (Production run)
How many other people seek to acquire the same items?
Is the item trendy?
Are the items easy to counterfeit?
Each of these factors are important. But I view actual price and sales information as the bottom line which accounts for these factors, plus any other factors you have not considered.
In other words, the market determines value and the market is never wrong.
Comparing Initial Retail/Buy Back Spreads Versus Long-Term Value
Another important issue often overlooked by novice collectible investors is the difference in value after the first sale and the change in value over time.
Let me explain.
Assume a new collectible sells for retail at one hundred dollars. On the after market, such as on eBay, it can be sold for eighty dollars. That is a common profit spread for retailers. It is like buying a new car and then turning around and selling it. Once you drive the car off the lot there is often an immediate loss in value.
Short-sided investors only consider the new price versus the immediate buy-back price.
But consider this: if you buy the collectible on the after market for eighty dollars that is often your price floor. Unless the market for a collectible evaporates, as may happen for trendy items, or products with too much quantity, you do not expect value to keep decreasing each year.
Rather, once a production run has ended and rarity established, every year should see a steady erosion in how many of the item are available because some are lost, destroyed, or hoarded. There is also a steady erosion in quality as some excellent quality items become used and their quality lessens. Thus, supply steadily decreases over time.
The flip side is, usually, demand increases over time because with population growth there are simply more collectors.
Bottom Line
My suggestion when evaluating a collectible is, if possible, to get a price history. The market creates prices.
If prices decrease over time the item is probably not a wise investment.
If prices increase over time then you can evaluate how much they are increasing and whether it is worth your investment.
While that is easily stated, in practice the issue is much more difficult because reliable price histories of sales over time are so difficult to obtain. In many cases, it may be impossible.
Fortunately, the Internet has made that task easier, and so have after markets such as eBay where you can continually monitor prices to see which way they are moving.
If you want to make money from collectibles, make sure you arm yourself with as much data as possible so you can make a wise decision.
Rabu, 11 Oktober 2017
What Is The Difference Between Homemade Soap and Commercial Soap?
How is homemade soap different than commercial soap? Well, to start with, the ingredients are quite different. Commercial soap is not soap at all, in fact it is really detergent! The way they design it to look like soap in a bar is with oils and additives. There is no "lye" or chemical reaction, it is just put into a mold and churned out every day. Millions of bars a day, all over the world.
Using detergent and not lye with oils, means that the bars are ready to ship quickly when they dry. The machines do not get sticky and are easy to clean, which cuts down on labor in processing. The shelf life is almost forever, unless it gets wet. This means that the soap can be stored in any temperature and not sweat. This is great news for the bottom line of an industry!
on the other hand, homemade soap is different the lye and oils combine in a chemical reaction, and they need to "cure" or "dry" for up to 4 weeks. If you use it before that they fall apart and are soft to the touch. The "curing" continues until you use the bar. The bars store well in a constant temperature of 65 - 68 degrees.
Storage for homemade soap is important because the bars "melt" and get "gooey" inside the wrapper and all over each other on the shelf. If they are kept in the bathroom where the temperature goes up and down drastically, they will "sweat". Another bad spot for storage is in the garage, attic or basement unless it is temperature controlled. Personally, I keep our soaps in the dresser in our bedroom and another good spot is in the hallway closet.
When you buy soap keep in mind what your needs are. Do you have small children, or dry skin? So called beauty bars just add oils to the detergent and then your skin feels tacky. Homemade soap is mild, and keeps skin smooth and silky.
If stored until use in plastic it will keep the scent much longer. I also recommend a "Soap Sleeve" that is similar to a hanging wash cloth. Just put your soap inside and hang it up. Whenever you want to you can take soap out and wash it with your regular laundry. I also carry soap "drainers" for on top of soap dishes to keep soap from sitting in water and "melting". This helps tremendously with buying soap so often, even if they are the commercial soap.
Using detergent and not lye with oils, means that the bars are ready to ship quickly when they dry. The machines do not get sticky and are easy to clean, which cuts down on labor in processing. The shelf life is almost forever, unless it gets wet. This means that the soap can be stored in any temperature and not sweat. This is great news for the bottom line of an industry!
on the other hand, homemade soap is different the lye and oils combine in a chemical reaction, and they need to "cure" or "dry" for up to 4 weeks. If you use it before that they fall apart and are soft to the touch. The "curing" continues until you use the bar. The bars store well in a constant temperature of 65 - 68 degrees.
Storage for homemade soap is important because the bars "melt" and get "gooey" inside the wrapper and all over each other on the shelf. If they are kept in the bathroom where the temperature goes up and down drastically, they will "sweat". Another bad spot for storage is in the garage, attic or basement unless it is temperature controlled. Personally, I keep our soaps in the dresser in our bedroom and another good spot is in the hallway closet.
When you buy soap keep in mind what your needs are. Do you have small children, or dry skin? So called beauty bars just add oils to the detergent and then your skin feels tacky. Homemade soap is mild, and keeps skin smooth and silky.
If stored until use in plastic it will keep the scent much longer. I also recommend a "Soap Sleeve" that is similar to a hanging wash cloth. Just put your soap inside and hang it up. Whenever you want to you can take soap out and wash it with your regular laundry. I also carry soap "drainers" for on top of soap dishes to keep soap from sitting in water and "melting". This helps tremendously with buying soap so often, even if they are the commercial soap.
Senin, 25 September 2017
Why You Should Be Using Styrofoam to Build Your Model Railroad Scenery
Styrofoam is one of the most often materials used to create model railroad scenery.
Because it is so light it doesn't add a lot of weight to your layout, which makes it nice if you ever have to move your layout.
Because of its properties it is very easy to carve to create, mountains, hills, and just about any other shape you would need.
There are a few things to keep in mind while using Styrofoam.
If caution isn't used, it can dissolve away with certain chemicals. Before applying chemicals it should be tested on a piece of scrap before applying it to the part you just spent time shaping.
Fire should be kept away from it as it causes a deadly gas.
Care must be taken as it is brittle and can crumble if not protected properly.
Although there are a few drawbacks to Styrofoam it is a very suitable material to build your model railroad scenery.
To attach the foam to your benchmark it is best to use liquid nails or some other form of construction adhesive. These can be found at your local hardware stores, as well as big box stores.
When gluing the foam down, it's best to use large beads and spread the glue around so that the structure doesn't move around later down the road causing problems.
The foam should be protected to help preserve it.
It can be sealed with glazing that doesn't react with the foam.
By using craft adhesive spray you can attach cloth or plastic to form a base for painting.
Rock and dirt can be mimicked by using plaster of Paris, which also makes a solid paintable surface over the foam.
The only drawback to using a hard shell over a soft inner structure is that it can eventually crack due to the shrinking properties of the foam.
If a tunnel needs to be formed in the foam you can make an imprint on the bottom of the foam by aligning it where it needs to be and pressing down. Which will give an accurate guide to carve the foam out.
After the foam is carved out you can spray it with a sealer before painting the inside of the tunnel black which will hide the foam color and make a realistic looking tunnel.
It is advised to not use foam under the tracks cause it can give under the weight of the train.
It is better to use a more solid material such as wood that will hold up better and give you something to solidly attach the track to
Wood is the best product to use for attaching the track down. Even with elevation changes it can be shaped using appropriate wood cutting methods such as a table or band saw. If enough care is taken, then a hand saw or power saw can be used as well if you don't have access to other methods.
One of the worst parts about using Styrofoam is the mess it makes while cutting.
The little beads and dust go everywhere and you should also be using appropriate safety procedures when shaping it like a dust mask and safety goggles.
A vacuum cleaner such as a shop-vac is very handy to clean up the mess and get into all of the crevices that the foam makes its way into.
Although there are some drawbacks to using the Styrofoam it makes making the terrain for your model railroad layout much easier than other methods.
Because it is so light it doesn't add a lot of weight to your layout, which makes it nice if you ever have to move your layout.
Because of its properties it is very easy to carve to create, mountains, hills, and just about any other shape you would need.
There are a few things to keep in mind while using Styrofoam.
If caution isn't used, it can dissolve away with certain chemicals. Before applying chemicals it should be tested on a piece of scrap before applying it to the part you just spent time shaping.
Fire should be kept away from it as it causes a deadly gas.
Care must be taken as it is brittle and can crumble if not protected properly.
Although there are a few drawbacks to Styrofoam it is a very suitable material to build your model railroad scenery.
To attach the foam to your benchmark it is best to use liquid nails or some other form of construction adhesive. These can be found at your local hardware stores, as well as big box stores.
When gluing the foam down, it's best to use large beads and spread the glue around so that the structure doesn't move around later down the road causing problems.
The foam should be protected to help preserve it.
It can be sealed with glazing that doesn't react with the foam.
By using craft adhesive spray you can attach cloth or plastic to form a base for painting.
Rock and dirt can be mimicked by using plaster of Paris, which also makes a solid paintable surface over the foam.
The only drawback to using a hard shell over a soft inner structure is that it can eventually crack due to the shrinking properties of the foam.
If a tunnel needs to be formed in the foam you can make an imprint on the bottom of the foam by aligning it where it needs to be and pressing down. Which will give an accurate guide to carve the foam out.
After the foam is carved out you can spray it with a sealer before painting the inside of the tunnel black which will hide the foam color and make a realistic looking tunnel.
It is advised to not use foam under the tracks cause it can give under the weight of the train.
It is better to use a more solid material such as wood that will hold up better and give you something to solidly attach the track to
Wood is the best product to use for attaching the track down. Even with elevation changes it can be shaped using appropriate wood cutting methods such as a table or band saw. If enough care is taken, then a hand saw or power saw can be used as well if you don't have access to other methods.
One of the worst parts about using Styrofoam is the mess it makes while cutting.
The little beads and dust go everywhere and you should also be using appropriate safety procedures when shaping it like a dust mask and safety goggles.
A vacuum cleaner such as a shop-vac is very handy to clean up the mess and get into all of the crevices that the foam makes its way into.
Although there are some drawbacks to using the Styrofoam it makes making the terrain for your model railroad layout much easier than other methods.
Minggu, 10 September 2017
Silly Kids Crafts Your Children Will Love, But Won't Make a Big Mess
You need ideas for silly and fun kids crafts for your children but you don't want them to make a big mess - what do you do? You could give them a box of colors and a coloring book or grab a craft idea from this list of 20 non messy sometimes silly kids crafts.
Mess free can mean something different to each mom. For me it means no paints, no small tiny pieces of paper, no liquids, and no permanent markers.
For others it is no beads, no crayons, nothing sticky and absolutely nothing that is used as a projectile object or a weapon against a sibling.
Yarn Crafts Ideas for Children
The only supplies needed for these crafts are a ball of yarn and a pair of scissors. You can make a simple pom-pom using a fork, a piece of cardboard, or invest in a pom-pom maker for a kid friendly and stress less craft.
1. Yarn pom-pom
2. Finger Knit Bracelet (Necklace)
Mess Free Paper Crafts
Paper crafts can go either two ways - simple and entertaining or frustrating and messy.
3. Hands Across the World Garland - simply trace the child's hand, cut out, and string up to create a bunting
4. Paper Folding - check out some origami videos on YouTube for quick and easy folds like a bouncing frog, or ninja star
5. Zentangle - this craft is so simple even adults can do it. Using square pieces of paper, a pen or pencil, add lines, circles and other shapes to create a one-of-a-kind piece of art
6. Mustache - print out a mustache and hold it up to your face. For added silly fun, take photos.
7. Paper bag friends (fish, pirate, etc stuffed with plastic or blow up bag)
8. Super Hero Finger Puppet - take a piece of paper and make a little cape, tape it to your child's finger for an instant super hero
9. Paper Flowers - draw flowers and cut them out
Silly Crafts to Make Your Children Smile
10. Toilet Roll Binoculars I Spy - make a pair of binoculars and play the game "I Spy"
11. Sunglasses (googly eyes) - take a pair of dollar store glasses and glue some googly eyes to the shades for instant silly glasses
12. Add a Smile - draw a silly smiley face to a piece of paper or cardboard add a Popsicle stick and have a photo shoot with all your silly faces.
Pipe Cleaner Crafts for Children
13. Butterfly - you need a coffee filter and a pipe cleaner. Add the pipe cleaner to the middle of the filter and shape into a butterfly
14. Pipe Cleaner Bracelets, Bookmarks and/or Wands - you'll need beads and pipe cleaner. Knot one end, add your beads, and knot the other end. For a wand, shape one end (star or heart) add your beads, and knot the end.
Slightly Mess Free Sticker Crafts
15. Sticker Landscape Art - have your child draw a background, print one out or cut out a scene from a magazine. Just add stickers.
16. Duct Tape - colored and decorative duct tape and some paper is all you need
17. Sticker Books - fold a piece of 8 ½" x 11" paper in four and cut. Staple one side. Make a cover and then add stickers to each page.
Recycled Cardboard Crafts
18. Bookmarks - use old cracker boxes or cereal boxes to cut bookmarks out. Let your child decorate them and add a ribbon to the top
19. Cardboard finger puppet - with an old cereal box cut out a rectangle with two finger holes in the bottom. Let your child draw his own little friend and play.
20. Photographer (cardboard) - cut out a camera and go on a photo shoot
Crafts with children don't have to messy. Take what you all ready do and make clean versions. Given simple supplies children naturally use their imagination to make their own silly fun.
Mess free can mean something different to each mom. For me it means no paints, no small tiny pieces of paper, no liquids, and no permanent markers.
For others it is no beads, no crayons, nothing sticky and absolutely nothing that is used as a projectile object or a weapon against a sibling.
Yarn Crafts Ideas for Children
The only supplies needed for these crafts are a ball of yarn and a pair of scissors. You can make a simple pom-pom using a fork, a piece of cardboard, or invest in a pom-pom maker for a kid friendly and stress less craft.
1. Yarn pom-pom
2. Finger Knit Bracelet (Necklace)
Mess Free Paper Crafts
Paper crafts can go either two ways - simple and entertaining or frustrating and messy.
3. Hands Across the World Garland - simply trace the child's hand, cut out, and string up to create a bunting
4. Paper Folding - check out some origami videos on YouTube for quick and easy folds like a bouncing frog, or ninja star
5. Zentangle - this craft is so simple even adults can do it. Using square pieces of paper, a pen or pencil, add lines, circles and other shapes to create a one-of-a-kind piece of art
6. Mustache - print out a mustache and hold it up to your face. For added silly fun, take photos.
7. Paper bag friends (fish, pirate, etc stuffed with plastic or blow up bag)
8. Super Hero Finger Puppet - take a piece of paper and make a little cape, tape it to your child's finger for an instant super hero
9. Paper Flowers - draw flowers and cut them out
Silly Crafts to Make Your Children Smile
10. Toilet Roll Binoculars I Spy - make a pair of binoculars and play the game "I Spy"
11. Sunglasses (googly eyes) - take a pair of dollar store glasses and glue some googly eyes to the shades for instant silly glasses
12. Add a Smile - draw a silly smiley face to a piece of paper or cardboard add a Popsicle stick and have a photo shoot with all your silly faces.
Pipe Cleaner Crafts for Children
13. Butterfly - you need a coffee filter and a pipe cleaner. Add the pipe cleaner to the middle of the filter and shape into a butterfly
14. Pipe Cleaner Bracelets, Bookmarks and/or Wands - you'll need beads and pipe cleaner. Knot one end, add your beads, and knot the other end. For a wand, shape one end (star or heart) add your beads, and knot the end.
Slightly Mess Free Sticker Crafts
15. Sticker Landscape Art - have your child draw a background, print one out or cut out a scene from a magazine. Just add stickers.
16. Duct Tape - colored and decorative duct tape and some paper is all you need
17. Sticker Books - fold a piece of 8 ½" x 11" paper in four and cut. Staple one side. Make a cover and then add stickers to each page.
Recycled Cardboard Crafts
18. Bookmarks - use old cracker boxes or cereal boxes to cut bookmarks out. Let your child decorate them and add a ribbon to the top
19. Cardboard finger puppet - with an old cereal box cut out a rectangle with two finger holes in the bottom. Let your child draw his own little friend and play.
20. Photographer (cardboard) - cut out a camera and go on a photo shoot
Crafts with children don't have to messy. Take what you all ready do and make clean versions. Given simple supplies children naturally use their imagination to make their own silly fun.
Selasa, 22 Agustus 2017
Finding Inspiration For Your Art And Crafts All Around You
If you are anything like me, you will have times when creativity comes and goes. You may have periods of frenetic inspiration, activity and production, then find yourself in a creative drought, unable to find direction or inspiration for your next project. At times like these, I look to my immediate surroundings with conscious awareness.
In order to kick start my creative juices into flowing again I arm myself with a camera, sketch pad, some sandwiches and a positive attitude. Out I go for the morning (or afternoon) and try to see my surroundings with a new set of eyes. Although I live in a city, my area is fairly leafy so I get squirrels running up and down the garden. My immediate neighbour's plot is usually a riot of colour with his multitudinous pots, hangers and various containers all spilling with plants and flowers.
As I look around me I can see lots of textures. The deep umber Larchlap timber fencing all around the garden, the multi-coloured pebble dashing down the side of the house, the corrugated roof of the workshop opposite for example. All these shapes, patterns, textures and colours can be incorporated into artwork or springboards for other ideas.
Around the corner is an old graveyard, where the headstones pose majestically, facing this way and that. Lichen and moss in beautiful rich ochres, siennas, reds and greens adorn these dignified memorials. As a knitwear designer as well as an artist, I find the colour and texture of these plants infinitely fascinating and great inspiration for new designs and stitch patterns.
My city still has lots of very ornate buildings dating back to the eighteenth century, and earlier, as well as more recent property which has been built throughout the various decades since. So walking down the street, I see tall and imposing Victorian mansions, with their ornate features along roofs, over windows and doors, elegant proportions and intricate detailing, next to neat, minimal, thirties semis with their cool light frontages and elegant curving window frames - architectural styles which are at two ends of a spectrum.
More recent structures, such as post war council housing, apartment blocks and 60's high rise buildings, which some would argue, are not as aesthetically interesting or pleasing, in my opinion, are still valid as possible influence for your creative endeavours.
Venturing further into the city, with the hussle bustle of shoppers, workers, students, busses, cars, shops and offices, I am faced with a melange of noise, movement, colour and differing styles, in both architecture, and peoples manor of dress and hairstyle. Large advertising boards and even massive plasma screens shout out their seductive messages into my subconscious.
Stimulation is all around me. The fruit and vegetable seller, his pitch bursting with row upon row of rich red and green apples, oranges, lemons and limes, the red cabbage, which is actually a beautiful shade of purple, yellow sweetcorn, rich aubergines, dark green kale.
Stalls where Indian ladies sell glittering, shimmering sari fabrics and the most beautiful haberdashery and embroidery braids. Each of these fabrics are laced with glittering sequins or beads, and they glint when the light catches them. The silky fabrics come in bold, luminous, dazzling colours - much more vibrant than we westerners would generally produce.
In the center of the city, I come to the magnificent and imposing council building, with it's huge pillars and intricately carved façade. The city square which it overlooks, almost guarding it, is thronging with people on foot, on roller skates, on scooters, babies are being pushed around in prams and buggies. They share the square with hundreds of pigeons, who glide and dive and whose feathery markings can become inspiration for many projects. You often see the odd person on the sidelines, with sketchbook in hand, around here.
If you don't live in the city, there is still inspiration around you in every tree and hedgerow, birds and animals, architecture, people, sea, sky, the texture, pattern, colour on everyday objects. When you are going through a flat period, don't expect artistic inspiration to come to you in a flash of lightening... it won't. That's not to say inspiration will never strike out of the blue again. Of course it will. There will come a time when you are tripping up over yourself with inspiration and ideas.
However, during those times when you are struggling for direction, you need to work at it, put the effort in, get out there, sketch, take photos. Experience your surroundings. You will be surprised at how invigorating and inspirational a bit of purposeful leg work can be.
In order to kick start my creative juices into flowing again I arm myself with a camera, sketch pad, some sandwiches and a positive attitude. Out I go for the morning (or afternoon) and try to see my surroundings with a new set of eyes. Although I live in a city, my area is fairly leafy so I get squirrels running up and down the garden. My immediate neighbour's plot is usually a riot of colour with his multitudinous pots, hangers and various containers all spilling with plants and flowers.
As I look around me I can see lots of textures. The deep umber Larchlap timber fencing all around the garden, the multi-coloured pebble dashing down the side of the house, the corrugated roof of the workshop opposite for example. All these shapes, patterns, textures and colours can be incorporated into artwork or springboards for other ideas.
Around the corner is an old graveyard, where the headstones pose majestically, facing this way and that. Lichen and moss in beautiful rich ochres, siennas, reds and greens adorn these dignified memorials. As a knitwear designer as well as an artist, I find the colour and texture of these plants infinitely fascinating and great inspiration for new designs and stitch patterns.
My city still has lots of very ornate buildings dating back to the eighteenth century, and earlier, as well as more recent property which has been built throughout the various decades since. So walking down the street, I see tall and imposing Victorian mansions, with their ornate features along roofs, over windows and doors, elegant proportions and intricate detailing, next to neat, minimal, thirties semis with their cool light frontages and elegant curving window frames - architectural styles which are at two ends of a spectrum.
More recent structures, such as post war council housing, apartment blocks and 60's high rise buildings, which some would argue, are not as aesthetically interesting or pleasing, in my opinion, are still valid as possible influence for your creative endeavours.
Venturing further into the city, with the hussle bustle of shoppers, workers, students, busses, cars, shops and offices, I am faced with a melange of noise, movement, colour and differing styles, in both architecture, and peoples manor of dress and hairstyle. Large advertising boards and even massive plasma screens shout out their seductive messages into my subconscious.
Stimulation is all around me. The fruit and vegetable seller, his pitch bursting with row upon row of rich red and green apples, oranges, lemons and limes, the red cabbage, which is actually a beautiful shade of purple, yellow sweetcorn, rich aubergines, dark green kale.
Stalls where Indian ladies sell glittering, shimmering sari fabrics and the most beautiful haberdashery and embroidery braids. Each of these fabrics are laced with glittering sequins or beads, and they glint when the light catches them. The silky fabrics come in bold, luminous, dazzling colours - much more vibrant than we westerners would generally produce.
In the center of the city, I come to the magnificent and imposing council building, with it's huge pillars and intricately carved façade. The city square which it overlooks, almost guarding it, is thronging with people on foot, on roller skates, on scooters, babies are being pushed around in prams and buggies. They share the square with hundreds of pigeons, who glide and dive and whose feathery markings can become inspiration for many projects. You often see the odd person on the sidelines, with sketchbook in hand, around here.
If you don't live in the city, there is still inspiration around you in every tree and hedgerow, birds and animals, architecture, people, sea, sky, the texture, pattern, colour on everyday objects. When you are going through a flat period, don't expect artistic inspiration to come to you in a flash of lightening... it won't. That's not to say inspiration will never strike out of the blue again. Of course it will. There will come a time when you are tripping up over yourself with inspiration and ideas.
However, during those times when you are struggling for direction, you need to work at it, put the effort in, get out there, sketch, take photos. Experience your surroundings. You will be surprised at how invigorating and inspirational a bit of purposeful leg work can be.
Sabtu, 05 Agustus 2017
Dollhouse Decorating - For The Perfect Fabric Think Color, Pattern and Weight
If your inspiration for decorating dollhouse miniatures comes from interior design magazines or TV show, do not forget the scale in which you are working. It sounds self-evident, but so many of us lose sight of that fact, when we gaze at all the wonderful fabrics offered to us.
Following are some guidelines to stay focused on what is most important: you are searching for a perfect fabric to use in a dollhouse miniature. Now please don't say, "Duh!" just yet.
I strongly feel that when we focus primarily on color, and don't keep the "technicalities" of pattern size and the weight of the fabric in mind at the beginning of the design process, we risk falling in love with an inappropriate material. The color is gorgeous, but perhaps the pattern is too large, or the fabric too stiff and heavy. But it's such a beautiful color! Right, then we try to force this material into our project and the next step is usually to start over.
Fortunately, we can "audition' fabrics before we buy them.
Brick Mortar Stores
Educators tell us we all learn in three different ways: visual, auditory and kinetic - touching. The trick for teachers is to figure out which the three is the primary portal to the brain or each of their charges. We have a kinetic learner in the family. When he encounters something new, he says, "Let me see!" grabs the object. This darling is kept out of fine glassware and porcelain shops.
Fortunately for miniaturists, fabric stores give us the opportunity to hone our kinetic skills, without fear of breakage.
Choosing The Right Pattern
One trick is to cut a one inch square out of a piece of stiff paper or a plastic card. I prefer a plastic card because its convenient to keep in my wallet.
Scan the bolts of fabric in the rack and pull several that might be suitable. Remember, you are considering color, pattern and weight, all at the same time. To zero in on pattern, pass the one inch window over a fabric. This expands your choices because even large flowered prints may have areas like stems, buds and leaves that may be useful to your design.
Wrinkles Are Good.
If you need pleats on curtains, dresses or furniture skirts, the fabric must hold a crease, Scrunch the material in your hand and see if it wrinkles. If it does, it's a prospect.
Stains Aren't Good.
Wet a small spot with some saliva and see if it stains. This will be important if you want to use glue anywhere and don't want it to show.
Fraying, Sometimes Good.
Check out the cut end of the cloth to see if it frays. You don't want to be sewing tiny seams and have it fray apart. On the other hand, you want it to fray a bit, if a fringe is in your plan.
Weight Control.
Pay attention to the weight of the material. If it is heavy, it may be too thick for miniature work. I feel comfortable working with cotton, light-weight wool, cotton and silk blend, rayon and some other light-weight fabrics - if they behave the way I want. Regular quilting cotton or similar materials have the qualities I like for most projects
Online Shopping
No local store can compete with the variety of fabrics available online. And you need not be overwhelmed by the number choices. A "long tail keyword search" gives you ample control on what is presented to you.
As an example, start with "fabric tiny prints." Narrow it down by adding "cotton" or "large weave." Use as many key words as you can, before the search engine gets totally confused and nothing but irrelevant choices are offered.
Using Both Online and Local Shops
Here is a recent experience I had. Custom made curtains are a popular item in my online shop, I received an order for pleated curtains in shade of gray that aqua throw pillows would love. The local JoAnns had nothing useful; same at Jay's Fabrics. Online shopping was next.
First I went to several tried-and-true websites and used the internal links to browse. Still no luck, so I went to my favorite browser and entered this long tail keyword string in the search field: "dollhouse curtain fabric brocade cotton gray" and got links to three possibilities. The descriptions of the fabrics looked good. I did a screen print of each and emailed them to the customer. She made her choice, I made and shipped curtains. All is well.
It would have been much easier, less time-consuming, ergo more profitable if I could have found what I wanted at a local fabric store. They sell to a mass market, and the miniature artisan gets lost in that demographic. In the end, there is always a way. Sometimes we just have to learn new things.
Following are some guidelines to stay focused on what is most important: you are searching for a perfect fabric to use in a dollhouse miniature. Now please don't say, "Duh!" just yet.
I strongly feel that when we focus primarily on color, and don't keep the "technicalities" of pattern size and the weight of the fabric in mind at the beginning of the design process, we risk falling in love with an inappropriate material. The color is gorgeous, but perhaps the pattern is too large, or the fabric too stiff and heavy. But it's such a beautiful color! Right, then we try to force this material into our project and the next step is usually to start over.
Fortunately, we can "audition' fabrics before we buy them.
Brick Mortar Stores
Educators tell us we all learn in three different ways: visual, auditory and kinetic - touching. The trick for teachers is to figure out which the three is the primary portal to the brain or each of their charges. We have a kinetic learner in the family. When he encounters something new, he says, "Let me see!" grabs the object. This darling is kept out of fine glassware and porcelain shops.
Fortunately for miniaturists, fabric stores give us the opportunity to hone our kinetic skills, without fear of breakage.
Choosing The Right Pattern
One trick is to cut a one inch square out of a piece of stiff paper or a plastic card. I prefer a plastic card because its convenient to keep in my wallet.
Scan the bolts of fabric in the rack and pull several that might be suitable. Remember, you are considering color, pattern and weight, all at the same time. To zero in on pattern, pass the one inch window over a fabric. This expands your choices because even large flowered prints may have areas like stems, buds and leaves that may be useful to your design.
Wrinkles Are Good.
If you need pleats on curtains, dresses or furniture skirts, the fabric must hold a crease, Scrunch the material in your hand and see if it wrinkles. If it does, it's a prospect.
Stains Aren't Good.
Wet a small spot with some saliva and see if it stains. This will be important if you want to use glue anywhere and don't want it to show.
Fraying, Sometimes Good.
Check out the cut end of the cloth to see if it frays. You don't want to be sewing tiny seams and have it fray apart. On the other hand, you want it to fray a bit, if a fringe is in your plan.
Weight Control.
Pay attention to the weight of the material. If it is heavy, it may be too thick for miniature work. I feel comfortable working with cotton, light-weight wool, cotton and silk blend, rayon and some other light-weight fabrics - if they behave the way I want. Regular quilting cotton or similar materials have the qualities I like for most projects
Online Shopping
No local store can compete with the variety of fabrics available online. And you need not be overwhelmed by the number choices. A "long tail keyword search" gives you ample control on what is presented to you.
As an example, start with "fabric tiny prints." Narrow it down by adding "cotton" or "large weave." Use as many key words as you can, before the search engine gets totally confused and nothing but irrelevant choices are offered.
Using Both Online and Local Shops
Here is a recent experience I had. Custom made curtains are a popular item in my online shop, I received an order for pleated curtains in shade of gray that aqua throw pillows would love. The local JoAnns had nothing useful; same at Jay's Fabrics. Online shopping was next.
First I went to several tried-and-true websites and used the internal links to browse. Still no luck, so I went to my favorite browser and entered this long tail keyword string in the search field: "dollhouse curtain fabric brocade cotton gray" and got links to three possibilities. The descriptions of the fabrics looked good. I did a screen print of each and emailed them to the customer. She made her choice, I made and shipped curtains. All is well.
It would have been much easier, less time-consuming, ergo more profitable if I could have found what I wanted at a local fabric store. They sell to a mass market, and the miniature artisan gets lost in that demographic. In the end, there is always a way. Sometimes we just have to learn new things.
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