Peg

Still Talking About Tiles!

It’s hard to believe it’s been two and a half years since I became smitten with the tiles of Portugal. Azulejos (tiles in Portuguese) are found in a multitude of patterns, colors and designs throughout Portugal especially in historic cities like Ovar and Aveiro. I shared this amazing discovery in my previous blog post, Talk About Tiles!.
It’s equally hard to believe that I’ve been working on my own set of ceramic tiles for nearly as long. This week, after two years in the making, I was finally able to hang my collection of handmade ceramic tiles in our home.

In my own defense, I haven’t actually been working on the tiles non-stop—the project has progressed in fits and starts. First the School Street Pottery Studio, where I do my clay work during open studio hours, was closed for an extended period due to the pandemic. Then my project sat on hold while I travelled out of town. Despite the delays, the project is finished and I’m thrilled with the results.
This is my first major clay project after attending a Hand Building Clay class at OCAF (Oconee Cultural Arts Foundation) (see More Info below). In today’s post, I’d like to share this experience along with some tips and tricks I learned along the way. This will also serve as a reference for my clay projects going forward.
Inspired by the beautiful azulejos of Portugal, my original plan was to experiment with pattern and texture.

I arrived at the idea of making a set of ceramic tiles while exploring the possibilities of Decorating With Collections. This is a rough sketch of the original idea.

Starting with the wall space where I intended to display the tiles, I determined a collection of 12 tiles sized 7⅛” wide x 6” high would work. I used the slab roller at the Studio to roll out ⅜” thick slabs of B-Mix white clay. A template, made from a sheet of thin foam, helped me keep the tiles a consistent size. Shown below is the blue template with one of the finished ceramic tiles to illustrate the clay shrinkage that occurs when clay is dried and fired. Luckily, the smaller finished tiles work just as well in the intended space.

After rolling and cutting the rectangular tile base, it was time to add the design. I had gathered a nice selection of textures and patterns while writing the blog posts Patterns by Mother Nature and Texture by Mother Nature. Flowers, foliage, shells, stones and other natural elements were my jumping off point. I scouted out more inspiration from my photos and various online sources. Some of the design ideas were crossovers from other mediums. For instance, this starburst was originally designed for paper stitching.
Design ideas started to spring up from the most unexpected places. For instance, this weaving project which I shared in the blog post DIY Woven Statement Necklace Tutorial…
… inspired this intricate tile design.

While writing the blog post Inspired by Mother Nature’s Lace, I learned about the ancient art of net making which inspired this tricky piece.

Some designs even popped up again on subsequent projects. I liked this mandala-inspired design so much…

… I used it again to embellish this denim jacket which I featured in the blog post From Classic Jacket to Wearable Art.

Most of the designs were prepared electronically for finetuning and sizing. A few of the designs, like this torn and mended tile, were figured out on the fly. The stitching, using Ritza 25 Tiger polyester thread from my leather crafting supplies (see More Info below), was done after the tile was fired.

On my first tiles I added simple shapes onto the rectangular tile base. For this technique, I learned it’s best to use thinner clay for the added shapes—such as ⁵⁄₁₆” shapes on a ⅜” base. As I gained experience, I started to carve out designs using some of the techniques I learned from woodcarving (see More Info below). The below photo compares the two techniques—the stitched pink heart tile shows an additive process while the yellow art deco tile illustrates a subtractive technique.

Most of the designs were transferred from a paper template to the clay tiles. I found it most effective to transfer the elements for a subtractive design by tracing over the paper pattern with a rounded tip to indent the clay. For additive designs, however, I found it best to avoid marking the clay tile base and to prepare the design elements using positive and negative paper templates.

Here are my favorite tools for carving and sculpting clay.

My plan was to incorporate a variety of surface textures into the tiles. I learned a variety of items can be used to produce an interesting textural design on clay. One option is to cover the clay surface with a piece of fabric (shown top left) or embossed vinyl (shown bottom left) while rolling it through the slab roller. A light dusting of cornstarch can be used to prevent the clay from sticking to the surface.

Another option is to manipulate the surface with a tool such as a ball stylus. The below rounded scales were indented while the clay was wet and before they were added to the base.

A few of my tile designs incorporated small holes. This brass round hole cutter, part of a 3-piece set from Chinese Clay Art, bores neat, clean holes. This was a great recommendation from a fellow Pottery Studio potter (Thank you Bill!).

One more tip is to use sponge-tipped eye shadow applicators for smoothing edges and cleaning up elements in a clay piece. I used them extensively to prepare this woven tile.

After the design has been applied to the clay tile, it must be dried for firing. I learned the hard way that flat pieces of clay have a tendency to warp during the drying process. To avoid this problem, it’s important to handle the clay as little as possible and always support it with a flat surface. It’s also important to let the clay dry slowly and consistently so all sections dry at the same rate. All of these steps helped but the best tip came from another Pottery Studio potter (Thank you Bertille!). Use small weights, made by filling a section of hose or tights with lentils, to keep the tiles flat as they dry. The below photo shows these weights along with a comparison of a flat tile which was dried with weights (bottom pink tile) and a warped tile that was dried without weights (top white tile).

There are an infinite number of options for decorating and glazing clay. As a result, deciding how to finish my tiles was one of the biggest challenges of this project. My plan was to use colors that would match the color palette in our kitchen/ family room. I tried several options in my quest to find the desired colors including Speedball Velvet Underglazes. But I couldn’t find the colors, saturation or finish I had in mind.

Once again, the Pottery Studio folks offered a great suggestion: AMACO Celadon glazes. The AMACO website describes the glaze this way “Like the beautiful ancient glazes they are modeled after, the AMACO Celadon glazes are glossy, transparent, and pool beautifully to add vivid accents to textured and carved surfaces.” I couldn’t agree more! The way the glaze color varies based on the surface texture—thinning on the mountains and pooling in the valleys—makes it the ideal choice for these tiles.

The colors are almost perfect, too. I selected Weeping Plum C-53 (pink top left), Wasabi C-43 (green top right), Marigold C-60 (yellow bottom left) and Fog C-22 (blue bottom right). To my eye, the green, yellow and blue are great matches. Only the pink color isn’t quite right—I should have custom-mixed this color for a better match. Luckily, the tiles aren’t displayed directly beside this fabric so the miss isn’t as obvious as it is in this photo.

One final note for future reference, don’t forget about functionality! In this case, the only functionality is a means to attach the tiles to a wall. I probably should have built a small hanger in the back of each tile. Instead, I used 3M Command Picture Hanging Strips. I tested them first to confirm they could hold the weight and could eventually be removed. They work perfectly.
Here’s a final look at my collection of handmade ceramic tiles.

More Info

Listed below are the previous FanningSparks’ blog posts mentioned in this post:
. Talk About Tiles! features the beautiful tiles of Portugal
. Pinch Pot Bunny shares my first experience hand building clay and introduces OCAF’s School Street Pottery Studio
. Decorating With Collections offers examples and suggestions
. Patterns by Mother Nature features patterns spotted in the natural world
. Texture by Mother Nature features texture spotted in the natural world
. DIY Woven Statement Necklace Tutorial provides step-by-step instructions for an easy weaving project
. Inspired by Mother Nature’s Lace explores how the spider and its web have inspired innovations in science and art
. From Classic Jacket to Wearable Art shares how to embellish a simple denim jacket with fabric paint and hand embroidery
. A Leather Flower Frame to Set the Stage shares an easy leather crafting project and introduces the polyester thread mentioned in this post
. Flat-Plane Carving with Harley and Carving in Brasstown share my experiences with wood carving.
More information about AMACO Celadon glazes can be found on the AMACO website.
You can learn more about the Oconee Cultural Arts Foundation (OCAF) on their website. Classes and workshops offered at the Watkinsville, Georgia, USA location are also listed. OCAF’s School Street Pottery Studio hosts open studio hours for those with clay experience. The Studio is run by a group of knowledgeable and generous volunteers. Many thanks to Louise, Bertille, Bill, Aurora and all the other kind and generous folks at the Studio!

Today’s Takeaways

1. Stretching out a project over time allows for more and varied ideas.
2. Borrowing designs and techniques from other mediums can be very inspiring.
3. Decorating your home with your own artwork can be very gratifying.

Southeast Travel USA

Tiny Adventure in the Big City

Nearly 500,000 people call the city of Atlanta Georgia home. Considering that every home must have at least one door, that’s a lot of doors! In striking contrast, there are less than two dozen miniature doors sprinkled throughout Atlanta’s neighborhoods. The miniature doors, art installations by Karen Anderson Singer aka Tiny Doors ATL, are one-twelfth scale (1:12) resulting in tiny doors that are about 7 inches high. How does this tiny collection of tiny doors even get noticed in the big city of Atlanta?
The Tiny Doors ATL website provides a partial answer to that question. The Tiny Doors are designed to be interactive and engage their audience. Tiny Doors ATL “painted the hashtag #TinyDoorsATL by [their first door in 2014] hoping people would upload photos to social media as a way to document not only the door itself, but also a visitor’s response to the door.” With over 110K Instagram followers, it’s apparent the strategy was a good one.

Recently, I set aside a day to visit Atlanta and view as many Tiny Doors ATL installations as I could. I used the Tiny Doors ATL map to plan my route in advance and I’m really glad I did. There are no signs directing visitors to the Tiny Doors so locating them is a bit of a challenge. As it turns out, actually finding a Tiny Door is part of the fun!
Today’s blog post includes an overview of the six Tiny Doors I was able to visit along with a few tips for finding them.
Tiny Door ATL’s first door was installed in July 2014 at the Krog Street Tunnel. This vehicle/pedestrian tunnel crosses under a series of railway tracks to connect the neighborhoods of Inman Park and Cabbagetown. Krog Street Tunnel is a wildly popular destination for artists and art lovers. It boasts an ever-changing display of graffiti street art.

Tiny Doors ATL explains, “We selected the tunnel for Door #1 for a few reasons. First, Krog is an active street art location and we hoped this project would be one other artists would respond to in some way. Second, our tiny headquarters is in Reynoldstown and we love seeing this door evolve every day.”
The Krog Street Tunnel Tiny Door is ever-changing and rather challenging to locate. It is located on the exterior corner at the tunnel’s southeast pedestrian entrance near the intersection of Krog St NE and Wylie St SE. Here’s how it looked in February 2022.

The below photo provides a closer look at Tiny Door #1 – Krog St Tunnel with a small printed sign I made to help convey its size. The sign is 3”x 4” which is approximately the same size as the screen on my iPhone.

The Atlanta neighborhood of Grant Park is known for its Craftsman bungalows and Victorian mansions. Its namesake park, encompassing 131 acres, is the oldest surviving city park in Atlanta. It is home to the Atlanta zoo and two Tiny Doors.
Tiny Door 10W is located, at ground level, on a concrete post located in front of Milledge Fountain on Cherokee Ave SE.
The Tiny Door’s Craftsman style architectural details, including the transom, dentil molding, and muted colors, are consistent with the houses in Grant Park. The sunburst-shaped house number sign is a charming, distinctive feature of this neighborhood.

Tiny Doors ATL strives to design doors that “reflect the spirit, architecture, and other unique elements of the surrounding community.” Tiny Door #10W in Grant Park certainly accomplished this goal!

The second door in Grant Park, Tiny Door #10E, was the most difficult to find. It is located, at ground level, in a tree along the Grant Park Trail near Fort Walker. It is on the right side of the trail when walking up the hill. It’s easy to miss, though, because it’s hidden behind the tree’s roots and only visible when looking back down the hill.

Tiny Door #10E – Grant Park Tree is the only door that opens but, when I visited, the actual door was missing. Perhaps that’s why someone posted a park ranger in the doorway! This is a great example of the interactivity Tiny Doors ATL encourages with its art.

Tiny Doors ATL explains that all the other Tiny Doors are deliberately left closed to encourage a sense of wonder. A visitor is invited to imagine for themselves what might be behind a Tiny Door. They deliberately avoid using labels like “fairy, pixie, sprite, gnome, or troll” for the same reason.
The Tiny Doors in Grant Park were requested by the neighborhood’s residents. Organizations, such as the Atlanta Symphony Orchestra, have also requested Tiny Doors. Tiny Door #18 is located, to the left of the main entrance of Symphony Hall, at the Woodruff Arts Center at 1280 Peachtree St NE.

The piano key-inspired mural makes a striking background for this Tiny Door. Tiny Doors ATL notes “The door is also higher than most, so that it’s easy to reach for folks in fancy symphony outfits and wheelchair accessible.”

The newest Tiny Door was installed in December 2021 at the Atlanta Botanical Garden. It is located at waist-level in the vine arbor, on the right side of the Great Lawn, as you walk towards the Dorothy Chapman Fuqua Conservatory.

This is the only Tiny Door that is two-sided; the front and back are identical.

Tiny Doors ATL notes “The hand sculpting on this tiny door makes it one of the most intricate so far.” The details on this Tiny Door are indeed amazing—a large magnolia blossom graces the arch above the door…

… floral bouquets adorn the door panels, door pulls add style and the tiny sign even follows the Garden’s branding.

This was the only Tiny Door I viewed which isn’t numbered. Tiny Doors ATL follows a specific naming convention—only doors that are free to visit and accessible to people of all ages are assigned a number. Doors such as this one at the Atlanta Botanical Garden are assigned only descriptive names. Other examples include the Aquarium Door at the Georgia Aquarium and the Swan House Door at the Atlanta History Center. Tiny Doors ATL maintains a listing and map of all the Tiny Doors on their website.
I visited one more Tiny Door—although it wasn’t tiny! Door #658 is known as the Giant Door. It can be found at an apartment and condo complex called “EDGE on the Beltline” which is located at 670 DeKalb Ave NE.

Door #658 is 658 times the size of the other Tiny Doors. Here’s a side-by-side comparison using my 3”x 4” signs for reference.

Looking back, I’m struck by the variety of the six Tiny Doors I visited. Each one is a delightful reflection of its surroundings resulting in the perfect sampling of Atlanta neighborhoods.

More Info

Tiny Doors ATL has installed Tiny Doors throughout the city of Atlanta, Georgia, USA. To learn more, check out the Tiny Doors ATL website and Instagram account. These are the best sources for up-to-date information.
I hope the directional tips and photos in today’s post are helpful. The information is current as of February 2022.
If you’re interested in miniatures, you may also like the FanningSparks’ post, Miniature Garden in a Closed Terrarium – DIY Tutorial.

Today’s Takeaways

1. Consider visiting Tiny Doors ATL art installations in Atlanta Georgia.
2. Tiny Doors ATL invites viewers to interact with its installations physically and virtually.
3. Each Tiny Doors ATL installation reflects its surroundings and connects with its sponsoring community.

Southeast Travel USA

No Such Thing as a Free Lunch Box

Anyone who has ever been caught up in the fun of collecting knows that sharing the collection with others is one of its greatest rewards. It’s obvious Allen Woodall feels this way about his massive lunch box collection. Woodall established the Lunch Box Museum in Columbus Georgia where he shares his collection with the world. He also shares the knowledge he’s gained in the book, The Illustrated Encyclopedia of Metal Lunch Boxes, which he co-authored with Sean Brickell. I had the pleasure of visiting the Lunch Box Museum recently. It’s a down-to-earth place tucked away in a delightfully overstuffed antiques shop called The River Market Antiques.
To be honest, it’s a little overwhelming at first! There are rows and rows of vibrantly colored lunch boxes—all clamoring for attention. But it doesn’t take long to spot familiar characters, TV shows, cartoons and bands from the past.

Wandering through the aisles, it becomes apparent that the most noteworthy lunch boxes are displayed in glass cases with small labels.

For instance, here’s a 1969 lunch kit (ie a lunch box with a matching thermos) featuring one of my old favorites The Archies.

Other than carrying one to school for many years I didn’t know much about lunch boxes before my visit. I’ve learned lunch boxes have a rather interesting story to tell. According to the Smithsonian’s National Museum of American History, “Parents 100 years ago often gave their schoolchildren an empty tobacco or coffee tin to carry some fresh-picked strawberries and bread, a wedge of cheese, and possibly a handful of shelled hickory nuts. Other children carried a fancy store-bought lunch pail, a paper sack, or no lunch at all.”
Those “fancy store-bought lunch pails” took on a life of their own in 1935 when the below Mickey Mouse lunch box was introduced. It was the first lunch box decorated with a famous licensed character. Experts report this lunch box sold for about 15 cents back in 1935. Today, they are quite rare and are estimated to be worth about $2,350 USD.

But the rarest and, I assume, one of the most valuable items in Woodall’s collection is the Toppie lunch box. Toppie, short for “Top Value Elephant”, was used by Kroger grocery stores to promote their Top Value Stamp program. Customers could collect stamps in Kroger’s stamp books to earn merchandise such as alarm clocks, toy cash registers and the below 1957 lunch kit. Nowadays, lunch box collectors estimate that only a dozen Toppie lunch boxes still exist. Reportedly, one sold on eBay a few years ago for $6,287.50 USD. A lunch box with a matching thermos is even more rare and valuable.

Illustrated metal lunch boxes, such as the Toppie lunch box, had their heyday between 1950 and 1980. Over 450 decorated models were created during this time period and the Lunch Box Museum is reported to have them all in its 2,000+ piece collection. Woodall also has a number of duplicates which he sells at the museum. I didn’t notice any with a six thousand dollar price tag but I did find a few surprises. Check out this Space Shuttle lunch box with a cool $115 USD price tag.

In amongst all the flashy, brightly-illustrated lunch boxes, the Lunch Box Museum includes a few old classics like this 1960s workman’s lunch box.

Here’s one for my Canadian readers, a well-used coal miner lunch kit from the 1940’s.

One of the most interesting stories I’ve learned about lunch boxes concerns a fierce competition between two rival manufacturers—Aladdin Industries from Nashville, Tennessee and American Thermos from Norwich, Connecticut (called King Steely Thermos (KST) after 1959).
As the story goes, in early 1949 Aladdin Industries was struggling financially and company executive were actively looking for ways to increase sales. Metal lunch boxes were durable and lasted for years so demand was limited. Then someone came up with the idea of putting decals on their plain red and blue lunch boxes. The idea evolved to using a TV character and with astonishing speed they closed a deal to feature Hopalong Cassidy on their lunch kits. Hopalong Cassidy was a fictional cowboy hero who starred in a series of books, movies and television shows. The Hoppy (as the Hopalong Cassidy lunch kit became known) was a huge success. Sales jumped from 50,000 units per year to 600,000 Hoppys in the first year. This led to the realization “that if you could develop kits with favorite TV characters, you’d create a bonanza! Overnight, the mundane, boring lunch box trade became Big Business.”

But the story gets better; Roy Rogers, the famous singing cowboy whose 1952 box office ranking placed him as the most popular Western star for 10 consecutive years, was reported to be jealous of his TV rival’s success and wanted his own lunch box. When he approached Aladdin Industries with the idea, however, he was reportedly told “One cowboy is enough”. So he approached the American Thermos company. Apparently, it took some effort to convince American Thermos that character lunch boxes were not merely a fad. But after his third try, Roy Rogers closed a deal with American Thermos. The resulting Roy Rogers and Dale Evans lunch box was released in 1953 to an unprecedented success—over 2.5 million lunch kits were sold in the first year.
It’s worth noting that the Roy Rogers lunch box design was a step up from the Hoppy. It capitalized on the lunch box’s likeness to a television set and featured full-picture lithographed steel.

Here are a few more lunch boxes that caught my eye at the Lunch Box Museum. According to the experts, this 1954 Superman lunch box, in mint condition, could fetch as much as $13,000 USD.

Many lunch boxes, such as the Zorro lunch box pictured below, carry the mark of their previous owners. Keen collectors prefer lunch boxes without scratches, dents, rust or markings. But, interestingly, Woodall reports that years ago when he sold The Smithsonian about 20 lunch boxes and thermoses, “They wanted the ones with wear and tear … If a kid had actually scratched their name on the box, it made it even more valuable.”

Here’s another example of proud ownership. I doubt young Della Abell took future collectors into consideration when she carefully wrote her name on her 1972 Miss America lunch box.

All good things must, of course, come to an end. And the metal lunch box craze was no exception to the rule. The story of how metal lunch boxes fell out of favor is as interesting as how it began. Numerous online sources report that in the early 1980s there was a growing concern about the safety of these containers. Students were reportedly using metal lunch boxes as weapons and, as a result, a group of mothers in Florida lobbied successfully to have them banned. Other states followed suit and the heyday of metal lunch boxes came to a screeching halt. But the plot thickens!
A 2021 NPR (National Public Radio) article, Were Metal Lunch Boxes Really Banned?, debunks the story, declaring “it seems to be only an urban myth: NPR’s investigation found no laws on Florida’s books banning metal lunch boxes in schools.” The article goes on to explain “So what brought about the end of kitschy metal lunch boxes? … the late ’70s saw the first plastic and vinyl lunch boxes, which were cheaper for companies to produce than metal boxes. Soft and flexible plastic lunch boxes were easier to squash into overloaded school backpacks. And so we said goodbye to the metal lunch box.”

More Info

See the Lunch Box Museum website for more information about this entertaining attraction located at The River Market Antiques in Columbus, Georgia, USA. You may want to give yourself time to browse around the antique shop—not only is it stuffed with interesting vintage objects but if you make a purchase your admission fee to the museum may be waived.
Numerous online articles and blog posts feature or reference the Lunch Box Museum including:
. Roadside America: Lunch Box Museum
. Atlas Obscura: Lunch Box Museum
. History.com: Nine of the Most Collectible School Lunch Boxes, 1935 to Now
. NPR: Beyond The Pail: NPR Unpacks The History Of The Lunch Box
For a deep dive into the world of metal lunch boxes, you may want to check out the book The Illustrated Encyclopedia of Metal Lunch Boxes written by Allen Woodall (curator of the Lunch Box Museum) and Sean Brickell. It is available from a number of online sites.
This is the link to the NPR article: Were Metal Lunch Boxes Really Banned?
If you like quirky attractions, you might also enjoy the FanningSparks’ blog post Counting Buttons Instead of Sheep about the Button King Museum in Bishopville, South Carolina.
If you’re interested in collecting, check out the blog post Decorating With Collections.

Today’s Takeaways

1. Sharing your carefully-curated collection with others is one of the greatest rewards of collecting.
2. Quirky, specialty museums can be entertaining and informative.
3. Consider taking a nostalgic trip down memory lane at the Lunch Box Museum in Columbus, Georgia.

Nature Southeast Travel USA

The Stunning Scenery of Providence Canyon

A recent ExploreGeorgia.org article promised: “Providence Canyon State Park offers a fascinating look at the nature that makes west Georgia unique, and winter is the perfect time to see it all. In the absence of hardwood foliage and vegetation, visitors experience a landscape like nowhere else in the state” I’ve wanted to visit Providence Canyon for some time and this was just the incentive I needed to make it happen.
Exploring Providence Canyon was the perfect way to spend a gorgeous winter day in Georgia. The sun was shining, the temperature hit a balmy 67⁰F, and the scenic views were stunning!

Providence Canyon is a Georgia State Park covering 1,108 acres and a series of 16 canyons. Overall, Providence Canyon is 300 feet wide and 150 feet deep. Interestingly, the canyon continues to grow because 3-5 feet of canyon wall is lost every year due to rainwater and erosion.
Visitors can hike down into the canyons to explore the canyon floor. One of the first things a hiker will notice is the washout and the gullies crossing the hiking trail down to the canyon floor. This soil erosion is a good indication of what’s to come.

At the bottom of the canyon, much of the trail follows the sandy, wet bottom of Turner Creek. A variety of trees, including sweet gum, umbrella magnolia, tulip poplar, sycamore, maples and blackjack oaks, grow along the canyon floor.

The canyon floors are peaceful and, except for the singing of birds, remarkably quiet. The sandy path was covered in the footprints of other visitors—both human and wildlife. White-tailed deer, red and grey foxes, raccoons, armadillos, birds, frogs and snakes are reported to live in the canyons. I believe the animal tracks, pictured below in the vibrantly-colored sand, were left by raccoons.

Wayfinding signs direct hikers to the nine canyons accessible from the trail. Signs also instruct visitors to stay off the canyon walls—no climbing is allowed.

As soon as the canyon walls come into sight, it’s obvious why these warnings are necessary—all the narrow openings, rounded boulders and layered rock faces tempt visitors to explore further.

But it is enough to just look at the canyon walls. The Park’s brochure explains “Some 43 shades in soil can be seen, and the splendor of the colors – ranging from light orange, salmon, red and scarlet to white, purples and pink – is a sight worth seeing.” The various colors are attributed to different mineral deposits—oranges and reds from iron; purples and pinks from manganese, yellows and tans from limonite, and whites from kaolin. The remarkable forms, rainbow colors and striped patterns on the colorful sedimentary walls are strikingly beautiful.

All along the canyon walls there is evidence of deterioration and washout.

Looking up, there are areas where the trees grow up to the edge of the canyon rim.

Some trees appear to be making a valiant effort to cling to the canyon walls…

… but most appear to lose the battle for survival.

In addition to exploring the canyon floor, visitors can hike the Park’s two trails—the Canyon Loop Trail (white blaze) and the Backcountry Trail (red blaze). I chose the Canyon Loop Trail which circles 9 of the canyons and is 2.45 miles long. The trail climbs up out of the canyon, loops out around the canyon fingers and then follows the rim. The views from the canyon rim are spectacular.

The geologic formations which form the canyon are obvious from this vantage point. Three major layers, originating from 59 to 80 million years ago, can be seen. The top layer, called the Clayton Formation, is comprised of reddish clay sand.

The middle layer, called the Providence Formation, is primarily yellow, purple, orange and white. The bottom layer, called the Ripley Formation, was once the ocean floor and is comprised of grayish clay.

A wooden fence traces the top edge of the canyon walls. Visitors are continually reminded of the danger and warned not to climb on the fences or over the fence line.

Upon closer inspection, the fence line itself is a very real indicator of the canyon’s continual erosion. There are numerous spots where an old stretch of fence has obviously been rerouted and replaced by a new section.

Check out the fence railing (entering and exiting from the left side of this photo) along the top of this precarious-looking cliff. I chose to bypass that section!

It’s obvious the State Park’s warning that “canyon edges may collapse” is serious business. In fact, back in 1994, a section of the Park Road that leads from the Park entrance to the Interpretative Center had to be rebuilt to safely avoid the damage of erosive forces.
Informational signs explain “The canyons grow in two ways; through surface water erosion and through undercutting and slumping by the force of underground water. The heads of the canyons and the walls can be quickly eroded by the force of water from heavy and even light rainfall washing away the surface. Dramatic changes come when water causes tons of earth to slump off the walls by undercutting.” Evidence of undercutting is clearly visible along sections of the canyon rim.

The forces of nature continually expand Providence Canyon but it hasn’t always been that way. Up until the early 1800’s, an untouched forest of dense pine and hardwoods covered the area. The land was relatively stable with a steeply sloped, undulating surface. Early settlers moved to the area in the 1820’s. They cleared the land and tilled the soil to begin cotton farming. At the time, it was common practice to plow a slope from top to bottom as opposed to following the contours of the land and plowing from side to side. Unfortunately, the lack of vegetation along with the top-to-bottom furrows severely altered how heavy rains affected the land. Surface water gushed down the slopes and gullies began to form in the sandy soils. In less than 25 years, the gullies were over five feet deep. Today, the canyon is over 150 feet deep and 300 feet wide. It’s a sobering reminder of the negative effects man’s actions can have on the natural world.
Despite the canyon’s origin, it’s impossible not to marvel at the beauty that is visible today. It’s also amazing that a visitor can explore the canyon floor and then an hour or two later look back down on that same spot from high above on the canyon rim. This photo taken from the canyon rim looks down onto the floor of Canyon 4.

More Info

See the ExploreGeorgia.org article, Providence Canyon: A Must-See in Winter, which caught my eye and convinced me to visit this month.
Check out the Providence Canyon State Park website to learn more about this great park located in southwest Georgia, USA. The Park is a popular destination especially since the pandemic struck. There were only a dozen or so other people when I visited on a weekday in early February 2022. However, a WRBL.com news article from early 2021 warns: “On the weekends the park is averaging between 400-500 visitors. Only 250 visitors are allowed to go onto the trails at a time. Due to the high volume of visitors on the weekend, the park routinely runs out of parking spaces for visitors.” I don’t know if this is still the case but it would be worth checking with the Park before making the trip.
For a detailed analysis of the erosion of unconsolidated sediments at Providence Canyon State Park, see the article Providence Canyon, Stewart County, Georgia – Evidence of Recent Rapid Erosion by Emmett L. Williams in the June 1995 issue of Creation Research Society Quarterly Vol. 32 No. 1.
You may also enjoy these FanningSparks’ posts:
. Solid as a Rock explores the geoheritage of Nova Scotia, Canada.
. We Dined on the Ocean Floor in which I share my visit to Burntcoat Head on the Bay of Fundy which boasts the world’s highest tides.
. First Light at Peggy’s Cove celebrates daybreak on the rugged coastline near the iconic lighthouse in Peggy’s Cove, Nova Scotia.

Today’s Takeaways

1. Make time to appreciate the beauty in your own backyard.
2. Consider visiting popular destinations in the off-season.
3. Experience nature with a leisurely walk.

Leather Make Tutorials

Charming Leather Heart Bag Charm – DIY Tutorial

Luxury design houses and high end leather bags have never been my thing. But I do appreciate the creativity and inspiration these talented luxury designers bring to the world. It’s wonderful to be able to scan their collections online. Recently, while perusing the Hermès website, a small leather accessory—the Oran Nano Charm—caught my eye. It’s billed as a “miniaturization of an Hermès icon… the Oran sandal”. It’s a small replica, just short of three inches long, of the Hermès Oran sandal designed to be used as a fun bag accessory. With the hefty price tag of $590 USD, it’s not something I’m about to buy but the idea of a leather bag charm is intriguing.
It appears leather bag charms have been in vogue for a while. Two years ago, one online resource confidently claimed that bag charms were the new trend and it was no longer acceptable to have a bag without a charm. Well… acceptable or not, I do agree that adding a charm to a bag can boost its personality. What’s more, if you design and make the bag charm yourself it becomes an outstanding, one-of-a-kind accessory. This brings me to today’s project—a charming leather heart bag charm! Just in time for Valentine’s Day!

I’m still learning to work with leather so I’m no expert. But I decided to share this project since it’s a straightforward, low-cost, high-impact project that other beginners might enjoy. Read on for a list of supplies and tools followed by detailed step-by-step instructions.
Supplies Needed
. Template: Download Charming Leather Heart Bag Charm – Complimentary Download to print the template.
. Paper: A few sheets of white paper for printing template.
. Leather: You’ll need several small pieces of leather including:
… Black Leather: TWO 3”x 3” pieces of 4-5oz/ 1.6-2.0mm for the body of the bag charm
… Black Leather: 9”x ⅜” piece of 4-5oz/ 1.6-2.0mm for the bag charm strap
… Red Leather: 2¾”x 2¾” of 2-3oz/ 0.8-1.2mm for the molded heart
… Mold: TWO 3”x 3” pieces of natural, veg-tan in 6-7oz/ 2.4-2.8mm to make window for mold
… Mold: TWO 2”x 2” pieces of natural, veg-tan in 6-7oz/ 2.4-2.8mm to make heart inset for mold
… Inner Support: 2¾”x 2¾” of natural, veg-tan in 4-5oz/ 1.6-2.0mm.
. Sandpaper: Medium and fine grit such as 250 and 400 grit.
. Thread for Sewing Leather: I used 0.8mm Ritza 25 Tiger thread in white and black.
. Leather Glue or Contact Cement: I used Weldwood Contact Cement.
. Seiwa Tokonole Burnishing Gum or Similar Product: To seal and polish the edges of leather.

Equipment and Tools Needed
. Printer: To print templates.
. Scissors: To cut paper.
. X-ACTO Knife
. Self-Healing Mat: To cut leather on.
. Scratch Awl
. Marker and/or Pencil
. Blue Tailor Chalk Pencil (Optional): An alternative way to mark leather.
. Edge Beveler: I used a size 3 edge beveler from Tandy Leather.
. Bone Folder or Similar Tool: To shape wet leather.
. Heavy Object: To weigh down glued surface.
. Wood Slicker: To burnish leather edges. Alternatively, a piece of canvas can be used.
. Wing Dividers: To mark seam allowances and stitching holes.
. Hole Punch: Single punch for stitching holes. I used a diamond 1 prong punch from Tandy Leather.
. Heavy Plastic Surface: To work on when punching leather. Tandy Leather’s Poly Cutting Board is ideal but a plastic cutting board could work as well.
. T-Pins (Optional): To hold paper template in place.
. Leather Stitching Needles TWO
. Lighter or Similar Device: To melt polyester thread ends.
. Mallet or Maul: To hammer punches. Experts recommend using a proper leatherworking mallet or maul with a poly head to avoid damaging your punches. I confess I haven’t bought one yet and I’m still using a regular hammer.
. Punch: Single round hole with about ³⁄₁₆“ diameter.
. Ruler: To cut long straight strip of leather.
. Disposable Brush: To apply contact cement or glue.
Instructions
Step 1 – Print Pattern Download the Charming Leather Heart Bag Charm – Complimentary Download and print the template. Take care to ensure the scale is accurate on your printed version. See specifics in the download document.
Step 2 – Make Heart Mold A two-part mold will be used to shape the red leather heart. The mold has a small inset heart and a heart-shaped window. Please note, I chose to make this mold from two separate squares of leather—one for the inset heart and the other for the window. Someone with advanced leather-cutting skills could likely cut out the heart-shaped window with enough precision to use the cutout part for the inset heart.
Begin by gluing together the squares of natural, veg-tan leather— TWO 3”x 3” pieces glued back to back and TWO 2”x 2” pieces back to back. Allow glue to dry.
Position A-Small Heart template in the center of the 2”x 2” square. Use a scratch awl to mark around the heart. Use an X-ACTO knife to cut out the heart. Take care to hold the knife blade perpendicular to the working surface. Use the knife to clean up and smooth out the cut edges. This will become the small inset heart.
Make a small mark on the backside of the small inset heart to indicate it will be on the bottom.

Position A-Small Heart template in the center of the 3”x 3” square. Use a scratch awl and an X-ACTO knife to mark and cut a heart-shaped window in the square. Take care to hold the knife blade perpendicular to the working surface. Use the knife to clean up and smooth out the cut edges. This will become the heart-shaped window mold.
Make a small mark on the backside of the heart-shaped window mold to indicate it will be on the bottom.

Insert the small inset heart inside the heart-shaped window mold. It should fit snuggly. If needed, adjust the small inset heart to fit.
Use an edge beveler and an X-ACTO knife to finish the edges and fine tune the small inset heart. Angle the edges to about 45⁰ so heart is rounded up at the sides. Use sandpaper to remove about ⅛” all around the side edges of the small inset heart.

Test fit small inset heart inside the heart-shaped window mold again. The heart should be loose in the window with a small, consistent gap around the entire outside edge. It should look like the below version. Adjust, if needed.

Step 3 Cut Heart Use B-Large Heart template, a scratch awl (or marker) and an X-ACTO knife to mark and cut a large heart from red leather.

Test fit again—this time with the red leather heart. Place red leather heart over the small inset heart. Press the heart-shaped window mold over the small inset heart sandwiching the red leather heart in between. It should fit snuggly and the heart-shaped window should sit evenly on the working surface all around the inset heart. Adjust if needed.

Step 4 – Mold Heart Prepare to wet mold the red leather heart by immersing it in water for a few minutes. Place the small inset heart on a water-resistant working surface. Remove the red leather heart from the water and dry off any excess water.
Carefully center the red leather heart over the small inset heart, ensuring there is an even border all around the outside edges. Use a bone folder or similar tool to press the red leather heart around the small inset heart. Repeat several times, gradually pressing the leather closer and closer to the curves and further and further down into the corners. Take care to accurately form the leather into its new shape.

Press the heart-shaped window mold over the red leather heart locking it into position over the small inset heart. Press firmly. To protect the red leather heart, place a smooth piece of paper or thin cardboard on the working surface. Turn the piece over with the red heart leather facing down on the paper. Weigh down the entire piece with a heavy object and allow the leather to dry. After drying, it should look as shown below.

Step 5 – Cut Circles Use C-Circle template, a scratch awl and an X-ACTO knife to mark and cut TWO circles from black leather. The scratch mark was difficult to see on the textured surface of my leather so I used a blue tailor chalk pencil on the back side instead.

Use the D-Inner Support template, a scratch awl and an X-ACTO knife to mark and cut the inner support circle from the 4-5oz natural, veg-tan leather.
Step 6 – Prepare Heart Window The next step is to cut a heart-shaped window in one of the black leather circles. Use scissors to cut the heart out of the paper E-Heart Window template. Test fit the paper template by placing it over the molded red leather heart. The paper opening will likely be a little too small. Use the scissors to gradually enlarge the heart-shaped opening matching it as closely as possible to the actual molded red leather heart.

Use the modified template, a scratch awl (or tailer chalk pencil) and an X-ACTO knife to mark and cut a heart-shaped window into one of the black leather circles.

Test fit to ensure the molded red leather heart will fit inside the heart-shaped window. Keep the small heart inset inside the molded red leather heart. The heart should slip into the window smoothly and fit snuggly. Adjust the heart-shaped window if needed.

Prepare to burnish the inside edges of the heart window. Bevel the cut edges with an edge beveler. Use medium and then fine grit sandpaper to smooth the edges. Apply a small amount of Seiwa Tokonole burnishing gum to the edges. Rub the Tokonole with a wood slicker, or a piece of canvas, to seal and polish the edges.

Step 7 – Assemble Front and Back of Bag Charm Prepare to assemble the front and the back of the bag charm. The front will include the black leather circle with the heart-shaped window, the molded red leather heart and the small inset heart. The back will include the black leather circle and the inner support circle.

Start with the front of the bag charm. Glue the small inset heart inside the molded red leather heart. Allow glue to dry. Then prepare to glue the molded red leather heart into the heart-shaped window of the black leather circle. Take care to apply glue to only the outside borders of the molded heart (right side of leather) and the corresponding area around the window in the black leather circle (back side of leather).
For the back of the bag charm, simply glue the inner support circle to the back side of the other black leather circle.
Step 8 – Stitch Around Heart A line of decorative running stitches will surround the molded red leather heart. Prepare a paper template to plan the stitching holes using the modified paper template developed in Step 6. The stitching line will be about ⅛” from the inside edge of the heart. Wing dividers are very helpful for marking this line on the paper template. The next step is to mark a dot for each of the holes along the stitching line. Mark holes for the bottom tip and top indent of the heart first. Then measure and mark ⅛” spacing around the rest of the heart. The objective is to have an even number of holes so you will be able to start stitching at the back, stitch through all the holes and finish on the back. To check that the stitches will be even, connect the dots with a pencil. If needed, change the number of holes by either adding a hole or removing a hole and adjusting the spacing to hide this change.

Use the paper stitching template and a single hole punch (I used a diamond 1 prong punch) to punch the stitching holes through the black leather circle and the red leather below it. I found T-Pins (typically used for upholstery) were helpful for keeping the template in place while punching.

Use a leather stitching needle and about 20” of white Tiger thread to sew a running stitch around the molded red leather heart.

Secure the ends of the thread by carefully melting them with a flame and flattening them with a scrap of leather. Then lightly hammer the stitching to lock it in place.

Step 9 – Assemble Bag Charm Prepare to attach the front and back of the bag charm. Glue the front leather circle with molded heart onto the back leather circle with the inner support. Allow glue to dry.
Use an X-ACTO knife to trim the outside edges evenly.
Determine the placement of the outside stitching line. Mine was ⅛” from the edge but, in hindsight, I’d recommend something a little wider… say ³⁄₁₆” or ¼”. Set the wing dividers and mark around the outside edge of the black leather circle. Use a single hole punch (I used a diamond 1 prong punch) to punch the stitching holes through all the layers of the bag charm. Use the wing dividers to ensure the holes are spaced consistently.

Cut about 40” of Tiger thread to stitch around the outside edge of the black leather circles. I chose to use black Ritza 25 Tiger thread to match the leather. Alternatively, you could use contrasting thread for this row of stitching. Use a saddle stitch for this row of stitching. (Since I’m still learning myself, I won’t try to explain how to do the saddle stitch. Instead I’ve added my favorite resource in the More Info section below).

Secure the ends of the thread by carefully melting them with a flame and flattening them with a scrap of leather. Then lightly hammer the stitching to finish the seam.
Burnish the outside edges of the black leather circles. See Step 6 for a review of the process.

Step 10 – Attach Strap The final step is to make and attach a strap to the bag charm. My finished strap is about 9” long by ⅜” wide. Alternatively, it could be made about 2” shorter and still function as needed.
Use an X-ACTO knife and ruler to cut a long narrow strip of black leather. Cut a straight slit down the center of the strap starting and ending ½” from each end. Round off the ends with the X-ACTO knife.
Finish the edges of the strap, along the outside edges and along the inside slit, with Tokonole burnishing gum.

Use a round punch to make a hole for the strap in the bag charm. Take care to center the hole above the heart and away from the edge stitching. I used a ³⁄₁₆” punch but a slightly larger hole might work better.
To attach the bag charm, pull one end of the strap through the hole and pull the rest of the strap through that end of the slit. Repeat with the other end of the strap. Loop the strap around the bag’s handle (or intended attachment point), slide the entire bag charm through the slit and pull the loop tight.
Voilà! Your new charming leather heart bag charm is done!

This bag charm is equally…well… charming on a shoulder bag or a casual duffel bag.

More Info

You can download the project template here: Charming Leather Heart Bag Charm – Complimentary Download.
Please pin this image to share or save for future reference.

I’ve embarked on a creative journey to learn all I can about working with leather. It started with a week-long leathercraft class at the John C Campbell Folk School and it has progressed one project at a time. I’ve been sharing my journey here on the blog.
. My First Leathercrafting Project
. Red Leather Snowflake Ornament – DIY Tutorial
. All-in on Leathercraft
. A Leather Flower Frame to Set the Stage
I’ve been leveraging online resources such as Corter Leather’s video series on YouTube. His episode on saddle stitching, Saddle Stitch Leather WITHOUT a Stitching Pony?, is particularly helpful.
My Pinterest board, Leather – FanningSparks Favs, contains a collection of inspiring ideas featuring leather. I’ve been adding ideas and the collection has grown to over 280 pins including a variety of cool leather bag charms.
If you’re curious about the Hermès bag charm that caught my eye, you can find the Hermès Oran Nano Charms here.

Today’s Takeaways

1. Bag charms are fun bag accessories which can add personality, style and interest.
2. Leather is the ideal material for bag charms.
3. Consider making your own charming leather heart bag charm.

Decorate Gardening Interiors Make Nature Tutorials

Miniature Garden in a Closed Terrarium – DIY Tutorial

It may be the middle of winter but that doesn’t mean we can’t garden. Ever tried miniature gardening indoors? How about making a terrarium? All the best gardening activities are involved—planning the design, choosing the plants, preparing the soil, planting and tending the garden—just on a much smaller scale. Amazingly, terrariums develop their own miniature ecosystems—a closed terrarium even has a rain cycle inside the jar! A miniature garden in a closed terrarium may be just the thing to tide us over until spring.
Whether you choose to make a single terrarium or a whole group of them, terrariums can add greenery and sparkle to your home. I love how my little collection of miniature gardens looks in the early morning light—all shiny and bright!

There are two types of terrariums: open and closed. A closed terrarium is sealed with a lid or cover. I decided to close my terrariums because, although they require a little effort to get established, they require very little care and maintenance going forward. It’s fun and easy to make a closed terrarium. Read on for a list of the supplies and tools you’ll need followed by step-by-step instructions to walk you through the process.
Supplies Needed
. Glass Container: A sizable, clear, transparent container with a lid. Look for interesting forms and shapes. I chose glass apothecary jars with lids for my closed terrariums.
. Suitable Plants: See specifics in Step 2 – Select and Prepare Plants.
. Decorative Elements: See specifics in Step 3 – Plan Decorative Elements.
. Potting Mix: Experts recommend using a good quality, sterile, commercial, soilless potting mix to avoid insect and disease problems. I used Miracle Grow Indoor Potting Mix.
. Water: Use distilled or rain water in a spray bottle or mister.
. Activated Carbon/Charcoal: A layer of activated carbon/charcoal is added to help absorb the odors that can occur when the organic materials begin to decompose. I purchased a container of API Activated Filter Carbon, designed for aquarium filters, at a pet store.
. Stones: A layer of small stones or pebbles is used for drainage. These can be collected from nature or purchased at a garden center. I purchased a bag of Vigoro Decorative Stone River Peebles from a local home improvement store. Wash the stones before use.
. Landscape Fabric: A small piece of landscape fabric, cut to size, is used to prevent the soil from falling into the layer of stones below. Alternatively, fine mesh or screen can be used.

Tools Needed
There are a few tools that will be helpful for assembling the terrarium.
. Pruners: Small pruners or scissors are used to trim plants.
. Paintbrush: A dry, artist paintbrush is used to clean up the terrarium’s walls as well as remove dirt from leaves and decorative elements.
. Tamper: Insert a skewer, chopstick or other long, thin stick into a cork to make a tamper for leveling and tamping down the soil.
. Spoon: A long-handled spoon can be used to scoop and move soil.

. Funnel: The tool I found most useful was also the simplest. A sheet of paper, rolled and taped into a cone shape, became the perfect funnel. It allowed me to gradually add soil in the exact spots it was needed.
. Mister/Spray Bottle

Step 1 – Prepare Container Wash the glass container with mild soap and hot water before use. Avoid the use of strong commercial cleaners.
Step 2 – Select and Prepare Plants The next step is to obtain appropriate plants. Moss and ferns are particularly well suited to the moisture and humidity of a closed terrarium. I admit to a fondness for both (see my previous posts Growing Carpets and Coats of Moss and Southern Ladies, Christmas Stockings and Hairy Armpits). Moss, as I learned while writing that post, doesn’t have true roots, stems, leaves or flowers. It attaches to a surface with its anchoring systems (called rhizoids) and is able to survive by absorbing water and nutrients directly into its plant body. Moss is evergreen, compact and slow-growing. All of these attributes make it the ideal plant for a closed terrarium.

Ferns are also ideal but some species can grow quite large. Care should be taken to choose an appropriate variety. Alternatively, it’s possible to start with an immature plant and plan to monitor and prune it going forward.
A little online research yields a few other plants which are recommended for closed terrariums such as Artillery Plant (Pilea microphylla), Nerve Plant (Fittonia verchaffeltii) and Friendship Plant (Pilea involucrate). See More Info below for a suggested link. Take care to ensure all the plants in a single terrarium are compatible with the same lighting, watering, and humidity requirements.
If you’re lucky, you may be able to collect moss and ferns from your own yard as I was able to do. I simply used a trowel to remove small sections taking care not to remove too much from any one spot. Experts recommend taking no more than 3” squares from each square foot of moss. If you harvest your plants, it’s best to monitor them before planting. I stored my collected moss in clear plastic containers repurposed from the grocery store. I sprayed the plants with distilled water to keep them moist. They remained in these containers for two weeks. I monitored the containers during this time, keeping the plants damp, watching for insects, and removing unhealthy leaves and plants. I assume this 2-week period also helps the plants acclimate to their new environment. You may wish to use a similar monitoring period for purchased plants.

Step 3 – Plan Decorative Elements It’s fun to add decorative elements to a terrarium. A few carefully selected items can add interest to the greenery. Alternatively, a small diorama can be created to add depth, interest and charm. My search for decorative elements led me to the HO scale figures typically used in model railroad scenery. They’re a good size and available in a variety of themes. I purchased 3 sets from Woodland Scenics including Take a Hike (hikers and bird watchers), Windy Day Play (children playing with kites) and Parked for a Picnic (people picnicking).

Interesting stones, small twigs and other natural elements can also enhance the diorama. Small mirrors can be used to simulate a pool or pond. Take care to maintain a consistent scale across all the decorative elements.
Step 4 – Assemble Terrarium After gathering all the supplies and tools, it’s time to assemble the terrarium. It’s a straightforward process of layering materials into the glass jar. The layers are:
. First Layer – Drainage Stones Place a thin layer of stones in the bottom of the jar. These stones are meant to collect any excess water. Some experts say this layer is unnecessary since the terrarium should never contain enough water to require draining. I chose to play it safe and include them anyway. The stones also serve to add interest to the bottom of the jar.
. Second Layer – Landscape Fabric Cut a small piece of landscape fabric to fit on top of the stone layer. Then place additional stones around the outside edge to keep the fabric in place. Here’s how mine looked at this stage.

. Third Layer – Activated Carbon Add a thin layer of activated carbon/charcoal on top of the landscape fabric. The activated carbon can be very fine so use a paper funnel to keep it away from the outside edges.

. Fourth Layer – Potting Mix The final layer is soilless potting mix. I used a spray bottle to moisten the potting mix before adding it to the terrarium. Use a paper funnel to place the soil where it’s needed. The surface does not need to be flat—hills, valleys and slopes can be simulated. I tried to make a hillside by piling more soil at the back of the jar.

Step 5 – Finalize Garden Design It’s best to work out the elements of the terrarium design outside the container. Consider the terrarium’s intended vantage point—will it be viewed from all sides or only from the front? Decide where the moss, or other plants, will be placed. Determine if decorative elements will be added and where. Also, consider the best sequence in which to assemble the elements. For instance, to avoid smothering moss with stones, plan to place the stones first and then tuck the moss around them.
Staging a small scene for a diorama requires a little more upfront planning. HO scale figures are small and their accessories are tiny so manipulating them inside the confines of a glass container can be tricky. I found it helpful to configure all the HO scale elements before putting them into the desired position. Tweezers and poster tack were very helpful for this step. The poster tack locks the tiny parts in place without gluing them permanently.
The diorama that’s evolving in the photo below features a couple having a picnic beside a small pool. The mirror-pool will be surrounded by stones and moss. The small stones, collected from nature over the last few years, have interesting stripes and markings.

Pictured below is a different scene designed for a second terrarium. It features two hikers sitting on top of a rock face. There will be moss at the base of the rock face and ferns in the background. Three small white pebbles will be used to create a stone stack (shown far left). Stacked stone towers, by the way, evolved from rock cairns which were traditionally used for wayfinding. You can learn all about them in my previous post Heaps and Stacks of Stone. The small stones and pebbles were carefully selected from beaches and riversides for their interesting forms and markings.

Step 6 – Add Plants Prepare to plant the moss and plants according to your planned design and assembly sequence. Use the cork tamper to tamp down the soil and remove air pockets. Divide the moss into small sections and place it on the soil around the jar. If using small plants, use the stick-end of the cork tamper to make a small hole, place the plant in the hole, and tamp the soil down around it with the cork.

Step 7 – Add Decorative Elements Carefully place your decorative elements according to your assembly sequence. I started by planting moss around the back of the jar. Then I carefully put the three decorative stones and the mirror-pool into position. I finished by tucking moss around the stones. My final step was to place the picnic figures.
Use a paintbrush to wipe away pieces of dirt and clean up the scene.

Step 8 – Mist and Cover: All that remains to be done is to mist the moss and plants and put the cover in place.

Step 9 – Place, Monitor and Adjust Place the terrarium in a well-lit location with filtered, indirect sunlight. No direct sunlight should hit the glass jar because it will burn the plants.
The objective is to establish a balanced mini-ecosystem, with its own little rain cycle, inside the terrarium. Check the terrarium frequently for the appearance of condensation. Condensation should form on the inside of the glass jar and roll down to water the soil. It should look like a light fog as shown below. If large water drops appear on the glass walls, leave the container open for a while to let the excess moisture evaporate. If no condensation appears, use a mister or spray bottle to gradually add very small amounts (imagine a thimble full) of water.

Once the terrarium is established, it should require very little maintenance. Experts recommend adding water only if the condensation stops, the plants droop, or the soil feels dry. This could be as frequent as every other week or as infrequent as every two months. The moisture requirements of the plants, the nature of the light, the temperature of the room, the tightness of the lid, the growing season, and a number of other factors will affect the terrarium’s ecosystem and water needs. The trick is to monitor it regularly.
If the terrarium container is airtight, experts recommend removing the lid for 5-15 minutes once a week.
As with all gardening, it’s important to be diligent and promptly address any problems with insects or diseased plants.
It’s also important to monitor the light situation over time and across the seasons. I learned this lesson from experience a few years ago. I made a terrarium in the spring and placed it in the indirect sunlight of our kitchen’s bay window. Unfortunately, I didn’t notice the angle of the sun change over the next few months and eventually the rays of the summer sun fell directly on the terrarium. Dang! All the plants were burnt to a crisp!
Step 10 – Enjoy: Now that you’ve finished your terrarium and found the perfect place to display it, it’s time to enjoy your miniature garden! As mentioned at the top of this post, I chose to make several closed terrariums. I display them as a collection for added impact. The variety of shapes and sizes in the apothecary jars adds interest. The repetition of greenery, with moss and ferns in each terrarium, connects the jars and makes the foliage more noticeable.

But the best part, in my opinion, is the hidden worlds tucked away inside these miniature gardens. Each diorama tells a story whether it’s the couple having a picnic beside a forest pool…

… the birdwatchers out for a hike…

… or the hikers enjoying the view after a steep climb.

More Info

Please pin this image to share or save for future reference.

You may also enjoy these previous FanningSparks’ posts:
. Growing Carpets and Coats of Moss is all about using moss in the garden
. Southern Ladies, Christmas Stockings and Hairy Armpits introduces the world of ferns
. Heaps and Stacks of Stone discusses cairns, stacked stones and rock balancing.
I can’t quite recall where I bought my apothecary jars… I’m guessing it was Home Goods. Similar jars can be found online on Target, Amazon and Michaels.
The Garden Helper provides a comprehensive list of Plants Suitable for Growing in Terrariums and Dish Gardens on their website.
Woodland Scenics, as their website explains, “manufactures high-quality products for hobbyists to create realistic model scenery for model railroads, architectural layouts, dioramas, gaming, military models, miniatures and more”.

Today’s Takeaways

.1. A terrarium is a miniature, indoor garden under glass.
.2. Decorative elements and dioramas can add interest and impact to a miniature garden.
.3. Consider gardening in miniature with a closed terrarium of your own.

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