Peg

About Folk School How Tos Make Other Media Wood

Swept Away by Broom Making

Halloween may be near but the brooms in today’s post are not your run-of-the-mill witch’s stick! These are handcrafted artisan brooms—one-of-a-kind, functional pieces of art made with time-honored traditional methods using all natural materials.

These brooms have hand-carved wooden handles with charismatic wood spirits peeking out from the bark and wood grain. These three captivating fellows were crafted by talented caricature woodcarver and instructor Marvin Daniels.
These brooms have hand-plaited natural sorghum (Sorghum vulgare) sweeps. This is the outstanding work of Mark Hendry, a full time artisan and instructor specializing in Brooms & Basketry.

Last week, a small group of eager students gathered in the Rock Room at John C Campbell Folk School with the objective of learning to make these extraordinary brooms. The class, entitled Wizard Brooms, was led by Mark Hendry and Marvin Daniels. This dynamic duo made the challenging task of carving on round wooden sticks and tying broomcorn to those sticks an entertaining and enjoyable experience. I think it’s fair to say we all surprised ourselves!
Before I dive into the details of how we did it, it’s worth taking a minute to consider the everyday cleaning tool we call a broom.  Brooms are believed to date back to ancient times when they were merely a bundle of twigs tied together and used to sweep up ash and embers around fires. The first significant milestone in its evolution occurred in 1797 when Levi Dickenson, a farmer in Massachusetts USA, made a broom using the tassels of sorghum. His broom was a noteworthy improvement over previous versions and Dickenson went on to refine his brooms and broom making techniques.
Interestingly, the twigs or straw used on early brooms had a tendency to come off especially when someone shook a broom in anger. This situation is believed to have led to the saying “flying off the handle”. Early brooms, called besoms, were round like the cobweb besom broom shown below.

Brooms did not incorporate woven collars (like the one shown above) until the early 19^th century when the Shakers invented the flat broom. This is a Shaker style Sweeper.

My fellow students and I made two brooms in the Wizard Brooms class: an Appalachian cobweb besom broom and a Shaker style flat hearth sweeper. Here’s how my brooms turned out.

We used a combination of woodcarving and broom making techniques. We started with simple wooden branches like the one shown leaning against the tree. This one was tulip poplar about 32” long and 1” in diameter.

Marvin led us through the steps to carve wood spirit faces on our broom handles. We started by blocking in the main elements of the face including the eye channel and nose. I used one of Marvin’s samples to guide my carving.

Over the course of the day, we refined these facial elements and started to add some details. Here’s how my carving evolved.

Marvin patiently guided us through the more difficult aspects, especially the eyes, and jumped in to help when we got stuck.
Marvin finishes his wood spirit faces by lightly accenting the features with wood burning lines and then subtly painting with acrylics. This is Marvin’s steady hand with the wood burning tool.

Here’s a closer look at one of Marvin’s splendid, hand carved wood spirits.

Although I had the option to enhance my carvings with wood burning and painting, I opted to paint only the eyes and leave the rest of my carvings unadorned.  They’re not perfect but I’m really pleased with the results.

After 2 days of carving handles, we shifted our focus to making the brooms.  Mark taught us about the tools and materials used in traditional broom making including the critical component—broomcorn (Sorghum vulgare). Broomcorn differs from other sorghums because the heads have long fibrous seed branches (up to 36”).

We learned to sort broomcorn by size and quality. Then it was time to try our hand at plaiting. We quickly learned the importance of keeping a firm, consistent tension on the twisted nylon twine. This was my practice piece.

Our broomcorn was soaked in water and mellowed for a couple of hours. Then we were ready to begin our cobweb besom brooms. Mark carefully demonstrated each of the steps before we completed them. Generally speaking, we placed the broomcorn stalks around the broom handle and tied them in place with twisted nylon twine. It is a whole lot more difficult than it sounds!
We worked in a seated position with the broom handle and broomcorn in our laps while keeping our feet on the foot treadle that held the twine. Then we pulled twine from the foot treadle to wrap it around the broom handle and broomcorn. The trick was keeping the all-important tension tight and consistent throughout the entire process—from the minute we started our first wrap until we finished all the plaiting and the final wrap. Mark demonstrates below.

Here’s a closer look at Mark plaiting a hearth sweeper.

After trimming the broomcorn stalks, our brooms were put in a drying closet overnight. The next day, we used waxed cordage to stitch around the broomcorn fibers. This photo highlights the gorgeous stitching on one of Mark’s flat brooms.

This was the setup to begin stitching my flat broom. The flat metal needle, a repurposed butter knife, is ideal for sliding through the broomcorn fibers. The wooden clamp will be carefully straightened to hold the straw flat and in place.

We were able to add a special touch to our flat brooms by inserting a few stalks of red broomcorn (Sorghum bicolor) which was harvested from the Folk School gardens.

There were several steps to finish the brooms including beveling the top edge of the broomcorn stalks, making hangers, lacquering the handle and plaited stalks, and trimming the bottom.
Special thanks to Mark and Marvin for a great experience making brooms with hand carved handles.   Thanks as well to my fellow classmates for an enjoyable week of learning and laughing!
Here’s one more shot of my beautiful traditional, handcrafted brooms.

Please Note: Although my photos show the brooms standing on their stalks, broomcorn brooms should be hung for storage.

More Info

The John C Campbell Folk School mission is “The Folk School transforms lives, bringing people together in a nurturing environment for experiences in learning and community life that spark self-discovery.” The Folk School offers over 800 classes in 50 subject areas annually. See the John C Campbell Folk School website for more info.
I’ve had the pleasure of attending several Folk School classes including:
. Weave a Market Basket
. From Sheep to Shawl
. Flat-Plane Carving with Harley
. Center, Open, Pull
I’m currently participating in a 6-week Work Study Program. Look for Work Study on the Folk School website for more info or check the FanningSparks’ blog posts about my prior Work Study Program experience.
Mark Hendry and Marvin Daniels frequently instruct at the Folk School. They are both talented professionals with a gift for sharing their knowledge and expertise. You can learn more about Mark’s broom making and basketry on his website Mark Hendry Mountain Heritage. See Marvin’s website and Etsy shop for more info about Marvin’s woodcarving.
Check out Purdue University’s New Crops Resource Online Program to learn more about broomcorn as an alternative field crop.

Today’s Takeaways

1. Traditional broom making incorporates natural materials which are long-lasting, sustainable and renewable.
2. Using time-honored traditional methods can help us appreciate the independence of our ancestors.
3. Consider replacing run-of-the-mill household items with functional artwork.

About Folk School Make

Folk School Studios—Where the Magic Happens

The heartbeat of the John C Campbell Folk School creative community is found in its studios. There are 17 studios located on the campus. As the Folk School calendar puts it “Magic happens in the studios at the Folk School. It’s in the studio that you’ll work with knowledgeable, artistic instructors and be inspired by other students. And it’s in these studios that you’ll explore your creative self, discovering new talents and challenging yourself in ways that promote personal growth.”
Each studio has its own personality and charm. Upon my return to the Folk School this week, I took a tour around campus to peek into the studios. COVID-19 measures are evident, in fact only instructors and students are permitted to enter during this time, but the custom-designed maker spaces are as enticing as ever. I’ve included a studio tour in today’s post. But first, the iconic view that puts a spring in the step of every Folk School alum—the welcoming, red front door at Keith House!

This studio tour will take a circular route around the Folk School’s beautiful campus—heading southeast from Keith House. The first stop is Davidson Hall which houses 3 popular studios: Music Studio, Cooking Studio and the Wet Room.

The Music Studio houses a variety of classes such as guitar, banjo, fiddle, ukulele, dulcimer, singing and songwriting. Dance classes are also hosted in this space. Here’s a peek inside the second floor studio.

The Wet Room and Cooking Studio share the ground floor of Davidson Hall.

The Wet Room is where various fiber arts such as spinning, dyeing, surface design, knitting, crocheting, and feltmaking are practiced. The Cooking Studio hosts a variety of cooking classes including bread making, seasonal and ethnic cooking, cheese making, and so on. Here’s a peek inside the cooking studio.

Just outside the cooking studio, there’s an extensive herb garden.

The studio tour takes us southwest past the Folk School Gardens. This is a popular teaching space for gardening, homesteading and nature study classes.

The next studio on the tour is the Harvest Room at Orchard House. Photography, storytelling and writing are taught in this cozy, tucked-away space.

The next studio, or more accurately “shop”, is anything but cozy and tucked-away. The Clay Spencer and Francis Whitaker Blacksmith Shops are highly regarded as blacksmith teaching facilities.

Students learn everything from maintaining a fire and basic hammer control to forging welded furniture.
Here’s a student project from a recent Hat Racks, Coat Racks and Pot Racks class.

Leaving the Blacksmith Shop the tour heads north to the Louise Pittman Fiber Arts building. This building houses a Weaving and a Quilting Studio. Several classes, such as lace-making, beading, doll and bear-making, needlework and thread art may shift between the two studios.

The Weaving Studio hosts classes in weaving, tapestry and rug-making. Here is a student project from a recent class called Tapestry: Basics and Beyond.

The Quilting Studio is used for quilting and sewing classes.

Students exhibited these splendid quilt tops which they made in a recent class.

From the Fiber Arts building the tour heads north along the area affectionately known as “Studio Row”. A series of historic buildings houses the Enameling Studio, Clay Studio, Woodcarving Studio, Jewelry Studio, Rock Room and Woodworking Studio.

Pictured below are the Enameling and Clay Studios. Enameling and hot/warm glass classes, such as glass fusing, glass bead making and glass blowing, are held in the Enameling studio. The Clay Studio is used for pottery, including wheel thrown and hand building classes, mosaics and sculpture.

Here’s a striking student project from a recent Cooking With Enamel class.
This is a peek into the D.X. Ross Jewelry and Metals Studio which hosts classes in jewelry-making, metalsmithing, kaleidoscopes and stained glass.

This is a recent student project from the Copper Techniques metalwork class.

The Woodcarving Studio is used for Leather as well as Woodcarving classes.

The Rock Room hosts classes in basketry, gourd art, chair seat caning and broom making.

These beautiful baskets were completed by students in a recent Baskets of the Folk School class.

The Woodworking Studio shares a building with the Rock Room.

This is the front porch of the Woodworking Studio.

Leaving Studio Row, the tour continues north to the final 3 studios. This is the Willard Baxter Woodturning Studio.

Students from the recent Bowls with Lids class completed woodturning projects like this outstanding example.

The Painting Studio hosts classes in painting, drawing and mixed media.

The final studio on the tour is the outstanding Book and Paper Arts Studio where students have the opportunity to learn book arts, calligraphy, marbling, paper art and printmaking.

In this photo, sheets of custom-made paper are hung to dry on the large covered porch.

Students completed a variety of stunning projects in a recent Ideas and Techniques in Papermaking class.

This wraps up the John C Campbell Folk School studio tour. With this many creative outlets available every student has the opportunity to make their own magic!

More Info

The John C Campbell Folk School offers over 800 classes in 50 subject areas annually. In any one week, up to 15 classes may be utilizing the custom-designed, well-equipped studios shown in this post. See the John C Campbell Folk School website for more info. Special thanks to Tammy Godfrey, Visitor Engagement Coordinator, for hosting an enlightening and entertaining campus tour.
I’m currently participating in a 6-week Work Study Program. Look for Work Study on the Folk School website for more info or check the FanningSparks’ blog posts about my prior Work Study Program experience.

Today’s Takeaways

1. A well-equipped studio helps you to explore your creative self, discover new talents and challenge yourself.
2. Become inspired by knowledgeable, artistic instructors and like-minded fellow students.
3. Consider making your own magic at the John C Campbell Folk School or a similar facility near you.

About Fiber Folk School Make Repurpose Tutorials

Maker Apron – DIY Tutorial

There’s exciting news in the land of FanningSparks this week—I’m heading back to school! To the John C Campbell Folk School, that is! I’ll be participating in a 6-week Work Study Program. Long time readers may recall that I had a similar experience in early 2019. I can’t wait to share all the details of this exciting opportunity with you but in the meantime I have a new project and DIY tutorial I’d like to share.
Since the Folk School is all about making, I decided a new Maker Apron would be the perfect addition to my back-to-school wardrobe. My new Maker Apron aligns with the theme of reclaiming, repurposing and upcycling which I shared in my last post. It is made from a simple pair of thrifted denim jeans.   The beauty of this apron is twofold 1) its strength and durability and 2) its custom design. This project repurposes denim work pants leveraging the sturdy denim fabric and garment elements. The Maker Apron is designed to withstand dirt and abuse. Whether it’s sawdust from woodworking, paint spatters from glazing pottery or dirt and mud from gardening, this Maker Apron protects you and your clothes.

The custom design features a series of pockets tailored to the specific needs of your craft projects. Need a skinny pocket for a pencil? Check! Need a secure pocket for a smart phone? Check! Need deep pockets for pruners or sanding blocks? Check! Need a loop to hold a towel? Check! Need a spot for safety glasses? Check! This tutorial explains how to create each of these pockets leveraging parts from the thrifted jeans. But you can easily customize the configuration to suit your own special needs.
I couldn’t resist the opportunity to embellish my Maker Apron with colorful bias tape. It’s used to finish the edges and make the ties. Plus it’s woven into an eye-catching grid on the bib. This is, of course, optional. Feel free to embellish the apron in any way you wish.
The Maker Apron isn’t difficult to make with basic sewing skills. But it’s possible to simplify the design so it’s even easier to make. The trick is to use only patch pockets and leave the apron unadorned. I’ll point out the differences for the Simpler Version in the instructions that follow. Let’s get started!
Supplies Needed
. Old Pair of Jeans   See Step 1 for specifics and suggestions.
. Bias Tape 2 packages (3 yds each) of extra wide double fold bias tape. Bias tape comes in a variety of colors. I chose the dark rainbow colors from Hobby Lobby’s Sew-ology brand.
. Sewing Thread
. Topstitching Thread If the jeans you’ve selected already have topstitching, look for a thread color that matches.
Equipment and Tools Needed
. Sewing Scissors
. Seam Ripper
. White Chalk Pencil and/or Dark Fabric Marker I love the Pilot FriXion marker.
. Square or Rectangle Ruler   These rulers, typically used for quilting, are ideal for ensuring lines are square.
. Curve Ruler (optional)
. Sewing Machine with a Denim Sewing Machine Needle
. Straight Pins
. Iron
. Bodkin or Large Safety Pin
Instructions
Step 1 – Find and Prepare Jeans The first step is to find an appropriate pair of denim jeans. Look for workwear jeans—made of heavy, bottom weight, 100% cotton denim. Nowadays, most jeans seem to be made with a cotton blend incorporating polyester and/or spandex for stretch and comfort. While this fiber content is great for everyday wear, it is not ideal for this project. You can test for fabric content by holding a section of the jean fabric between your hands and pulling in opposite directions. If the fabric stretches, you don’t want this pair.
You’ll also want the biggest pair of jeans you can find so you’ll have lots of fabric. Look for a loose fit in a large size. I found a like-new pair of big and tall Carhartt utility jeans in the men’s section at the local Goodwill store. Each leg is big enough to make an apron—they measure about 16” around at the hem, 30” around at the top of the leg and are about 32” long. It took a little searching but it was worth the effort because these jeans are perfect for this project and cost only a few dollars.

Wash the jeans at least once.
Step 2 – Cut Apron Body Lay the jeans flat on your work surface and prepare to cut off the legs. You’ll want as much fabric as possible for the body of your apron so find the highest, uninterrupted point on the pant leg. It will likely be just below the bottom end of the zipper. Cut straight around the pant leg. Take care not to cut the front or back pockets.
Choose one of the pant legs and lay it flat on the work surface. The hem of the pant leg will become the top edge of the apron bib so you’ll want to choose the pant leg with the least worn hem. If both hems are too worn or uneven, simply stitch a new hem after this next step.
The outside seam of the pant leg will serve as the center line for the Maker Apron. Determine which side of the pant leg, front or back, is wider. The back section of the pant leg is likely to be wider so you will cut along the inseam on the back of the pant leg leaving the seam allowances attached to the front of the pant leg. Press this new center seam flat. You may wish to stitch down the seam allowance to keep the center seam in place. The result is a piece of fabric shaped like a trapezoid.

Step 3 – Deconstruct Jeans Prepare to remove the pockets, waistband and belt loops. Workwear jeans are typically sewn with industrial-grade seams so a good seam ripper (and a good dose of patience) is required for this step. Start by removing the patch pockets from the back of the jeans.

Next remove the belt loops and the waistband.

Simpler Version: Skip to Step 5. Bypass the rest of this step as well as Step 4.
Prepare to remove the front pockets from the jeans. The objective is to keep the denim front and the fabric pocket lining intact. Cut down along the side seam on the back side of the jeans leaving the seam allowances attached to the front of the jeans. Use the seam ripper to remove the seam allowances. Granted, it would be easier to simply cut off the seam allowances but this approach allows you to maintain as much fabric on the outside of the pockets as possible. Cut along both sides of the zipper from the waistline down to the bottom edge.
Step 4 Prepare Front Pockets Measure one of the back patch pockets from the top edge to its lowest point to determine the pocket height. My back patch pocket, and thus my pocket height, is 6¾” high.
Lay one of the front pocket sections flat on the work surface. Use a rectangle ruler to mark a straight line across the top edge. Then measure down from this top edge to the pocket height and mark a second line. Cut along the lines taking care not to cut the pocket lining.

Use a rectangle ruler, squaring up to the top edge, to mark a straight line down the outside edge. Then do the same on the inside edge making the pocket as wide as possible. This should result in a rectangle with 90⁰ right angle corners. Cut along the lines taking care not to cut the pocket lining. The front pocket will now be surrounded by a rectangle of denim fabric with the lining peeking out below. Repeat for the second front pocket.
Step 5 Prepare Apron Body As noted above in Step 2, the outside seam on the pant leg will serve as the center line for the Maker Apron and the hem of the pant leg will become the top edge of the apron bib. See the below graphic for the finished measurements of the Maker Apron.

Lay apron body on flat surface with wrong side up. Use a rectangle ruler to measure the top edge of the apron bib keeping it square to the center line. I made my top edge 11” wide measuring out 5½” to the left and right of the center seam. Mark this line.
Align the ruler with the top edge line and center line. Measure down 12”. This will be the waistline. Measure an equal distance to the left and right side from the center seam to set the width of the waistline. I made my waistline 17” wide measuring 8½” to the left and right of the center seam. Mark this line.
Align the ruler with the waistline and center line. Measure down 17.5”. This will be the bottom hem of the apron. Measure an equal distance to the left and right side from the center seam to set the width of the bottom hem. I made my bottom hem 22” wide measuring 11” to the left and right of the center seam. Mark this line.
Note: You may need to adjust these measurements if your jeans yielded a bigger or smaller piece of denim fabric. Likewise, you may wish to enlarge or shrink the apron body to tailor it to your needs.
Use the ruler to draw a straight line from the left edge of the waistline down to the left edge of the bottom hem. Repeat on the right side.
Draw a gentle curve from the right edge of the waistline up to the top right edge of the apron bib. A curve ruler and fabric marker are helpful for this step. Do not yet mark the left side.

Cut along marked lines leaving the left side of the apron bib uncut. Fold the apron bib in half along the center fold. Carefully ensure the edges are aligned. Then trace the curve from the right side of the apron bib to the left side. Cut along this line.

Simpler Version: Skip to Step 8 bypassing all mention of a pocket band.
Step 6 Prepare Pocket Band Prepare to create a band of fabric across the apron body. The repurposed pockets will be attached to this “pocket band”. Lay the apron body on the work surface with the wrong side facing up. With the rectangle ruler, measure about 3” down from the waistline staying square to the center line. Mark a line. Measure for a second line using the pocket height we calculated in Step 4. My patch pocket measured 6¾” high so this is the same distance I measured down for the second line. The idea is to make the pocket band the same height as the patch pockets. Cut on both lines.

Prepare to measure the two front pockets we cut out in Step 4. Lay bottom section of apron skirt, right side facing up, on the work surface. Start with right front pocket. Place it with right side facing down along the right edge of the apron skirt. Align the bottom edge of the pocket with the top edge of the apron skirt. Fold pocket lining up so it is out of the way. Carefully align along the top edge. Repeat with the left front pocket. As shown in the photo below, measure along the top edge to calculate the distance between the two pockets. I had a gap of 6¾”.

If you’re lucky there will be no gap between the 2 pockets. But more likely, there will be a gap which we need to fill with a rectangular piece of denim. To calculate the size of the rectangle, add 1¼” to the width of the gap. Cut a section of the pocket band equal to this width. In my case, this rectangular piece of fabric measured 8” wide x 6¾” high.
Prepare to reconstruct the pocket band with the actual front pockets. Lay the right pocket on the work surface with the right side facing up. Lay the newly cut rectangle over the pocket, right side facing down, with the top and right sides aligned. Pin in place taking care to keep the pocket lining out of the way. In the photo below, the right side is attached with green sewing pins. Repeat with the left front pocket on the left side.

Attach the front pockets with a ¼” seam along the right and left sides. Open out the reconstructed pocket band and lay above the apron skirt to check fit. The bottom edge of the pocket band should be the same width as the top edge of the apron skirt. Adjust if necessary. Overcast seams carefully since they will remain exposed. Press seams to the sides.
Lay newly reconstructed pocket band on the work surface with right side facing up. Smooth out all sections taking care to align all layers on the far right edges. Pin in place. Repeat on left side. Stitch ¼” seam along right and left sides. Optionally, you may stitch down the pocket linings by smoothing them flat underneath the new pocket band and sewing over the vertical seams.
Note: You may notice diagonal seams on the pockets in the photo below. Your reconstructed pocket band will not have these diagonal seams. Please don’t let them confuse you. They exist on my pocket band only because I had to piece together fabric for the rectangle covering my front pockets.

Step 7 – Attach Pocket Band Lay the apron skirt, with right side facing up, on the work surface. Place the newly reconstructed pocket band on top with right side facing down. Align top and side edges. Pin and then stitch ¼” seam. Overcast seam carefully since it will remain exposed. Press seam down towards hem.
Fold pocket band in half to find center. Mark center line with a sewing pin.

Lay apron bib on work surface with right side facing up. Lay apron bottom directly below the apron bib also with right side facing up. Align edges and center lines. Use a rectangle ruler to draw a straight line from the right bottom edge of the apron bib to the right bottom edge of the apron hem. Repeat on left side.

Trim along the lines. Pin all layers together along the newly cut side edges of the pocket band. Sew a ¼” seam along the cut edges taking care to avoid sewing into any metal rivets that may be on the pockets. Overcast the seam.
Lay apron bottom and pocket band section on the work surface with right side facing up. Lay apron bib on top with right side facing down. Align bottom of apron bib with top of pocket band. Pin in place.

Stitch with a ¼” seam. Overcast carefully since this seam will remain exposed. Press seam up towards apron bib.
You may wish to topstitch the two seams connecting the pocket band to the apron body. Use thread in a color matching the existing topstitching. Increase the stitch length on your sewing machine. I changed mine from standard 3mm stitches to 4mm stitches. Prepare to stitch a scant ⅛” from the existing seam. Stitch slowly.
Step 8 Attach Patch Pockets   Start by finding the center of one of the patch pockets. Center this patch pocket on the pocket band placing the top edge of the pocket slightly higher than the top edge of the pocket band. Pin in place.
Find the center of the second patch pocket. Center this patch pocket on the apron bib about 2¾” down from the top edge. Pin in place.
Simpler Version: Center one patch pocket on the apron bib and one on the apron skirt. Pin in place.

Stitch both patch pockets in place sewing along sides and bottom. Topstitch if desired.
Simpler Version: Skip customized pockets and decorative elements. Skip to Step 11.
Step 9 Customize Pockets This is the time to finetune the pockets and storage options on your Maker Apron. For instance, you may wish to divide the top patch pocket with a vertical seam. I chose to add a long, skinny pocket specifically for a pencil. I simply stitched a vertical seam about 1¾” from the left edge of the top patch pocket. This has the added benefit of shrinking the rest of the pocket opening so my smart phone fits more snuggly.

Another option is to add the belt loops you removed from the jeans. I chose to sew a belt loop horizontally on the left side just above the pocket band. I’ll use this loop to hold a bandana, small towel or cleaning rag.

Step 10 Add Decorative Elements This is also the time to add any embellishments to your Maker Apron. The options are limitless but keep in mind you’ll likely be laundering your apron frequently so decorative elements should be sturdy and durable. I decided to make a small woven grid on the apron bib. I used the same rainbow-colored bias binding I planned to sew around the apron skirt.

The below photo shows the steps I followed to make my decorative grid.

Originally, this woven grid was to be purely decorative. But I discovered it could easily be functional as well. Here you can see the rainbow grid holding a pair of safety glasses.

Step 11 Finish Bib Sides Prepare to reuse sections of the jeans’ waistband to finish the curved side edges on the apron bib. Measure the outside edge from the top of the apron bib down to the waistline taking care to follow the curved line. Add about 2” to this measurement. Cut 2 sections of waistband to the calculated length. The curved section on my apron bib measured 12¼”.
The finished width of the waistband on my jeans was 1½” (4” when unfolded) which is a little too wide for finishing the curved edges. Unfold the waistband sections and trim ½” off each long edge.
Fold under ½” along each long edge. Press. The new finished width will be 1”. These waistband sections will be repurposed to cover and finish the curved edges so I’ll refer to them as “facings” going forward.
Determine the best side of each facing section—likely the side with topstitching.
Place apron bib, with wrong side facing up, on your work surface. On the right side of the apron bib, unfold the facing and place it along the curved edge with the right side facing down. The top end of the facing should extend about ½” above the top of the apron bib. Pin in place. Repeat on left side.

Sew ½” seam along the curved edge from the top of the apron bib down to the waistline on both the right and left sides. Unfold facing and pull around to the front of the apron bib. Refold. Check to ensure the facings cover the curved edges smoothly. Adjust if necessary. Don’t sew the facings closed yet.
Step 12 Bind Apron Skirt Prepare to finish the bottom edge of the apron skirt with bias tape. Round off the bottom corners of the apron skirt.
Press the bias tape to remove the creases from the packaging. I used extra wide double fold bias tape in dark rainbow colors. Lay apron skirt with wrong side facing up on work surface. Unfold bias tape, align the edge with the apron skirt and pin in place. Continue all the way around the apron skirt.

Sew the bias tape to the apron skirt stitching just inside the fold. Take care to avoid any metal rivets around the pockets. Sew slowly around the rounded corner—stopping with the needle down to reposition the fabric a few times.
Refold bias tape wrapping it around to the front of the apron skirt. Cut small notches out of the denim fabric at the rounded corners. The bias tape should cover the stitches from the previous seam. Pin bias tape in place. Sew close to the folded edge.
Step 13 Finish Facings With the bias tape sewn around the apron skirt, the facings around the apron bib can be finished. Select one of the facing ends and open out flat. It may be necessary to remove a few of the topstitches. Fold the raw end to the inside of the facing so it is even with the edge of the apron bib.

Carefully snip off the corners of the fabric to reduce the bulk. Stitch across the entire width of the facing 2 or 3 times. The objective is to finish the raw edge and hold it securely in place. It’s also helpful to protect the first few inches of the facing’s long edges. Overcast these edges with a zigzag stitch to prevent them from fraying. Repeat for the other 3 facing ends. This is how the facing end should look at this point.

Refold facing wrapping it around to the front of the apron bib. The facings should cover the stitches from the previous seam. Pin facing in place. Sew close to the folded edge. You may wish to topstitch this seam. The finished ends of the facings will look something like this.

Step 14 Make and Insert Ties Press the bias tape from the second package. Cut the end of the bias tape square. Fold raw edges up inside the fold. Sew along entire length of both sides. For neat and accurate stitching refer back to the topstitching tips in Step 7. The two rows of stitching will close the folded edges and reinforce the ties. After the binding is stitched it is ready to be inserted into the apron. Use a bodkin or large safety pin to pull the binding ties through the facings. Start at the waistband on one side of the apron, pull the binding tie up through this facing, pull the binding tie out into a loop across the top of the apron bib, pull the binding tie down through the other facing, and end at the other end of the waistband.
Your new Maker Apron is finished! To wear the apron, simply slip the neck loop over your head and tie in the back. Just load up your essentials and start making!

More Info

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

The mission of the John C Campbell Folk School is to “transform lives, bring people together in a nurturing environment for experiences in learning and community life that spark self-discovery.” You can learn more on their website. You may also enjoy my previous posts about the Folk School.

Today’s Takeaways

1. Due to their durability and strength, denim jeans are ideal for reclaiming, repurposing and upcycling.
2. Consider sewing a Maker Apron following the step-by-step instructions in today’s post.
3. Customize the design of this Maker Apron to meet the specific needs of your own making projects.

Artists Make Other Media Repurpose

Found Object Sculptures

Found object assemblage, reclaimed creations or garbage design—whatever you choose to call it—the trend to upcycle, repurpose and transform discarded materials is gaining momentum.
Fans of NBC’s Making It reality crafting show know that this season’s Master Maker excelled at upcycling. In his contestant application, Adam Kingman said “I’m most keen on turning discarded items into something unexpected… something a little useful, almost magical”. He demonstrated several innovative ways to reuse materials in the projects he made during the show. Used climbing ropes, for instance, were repurposed into lampshades, door mats and even furniture. Kingman’s focus on “clever solutions with a sustainable footprint” was cited as one of the reasons he was awarded the top spot.
A recent exhibition at the Chester Art Center in Nova Scotia showcased Johnston Foster’s found object assemblage work. Entitled Olde Growth, this body of work consisted of 9 splendid sculptures.

My favorite was this striking work called Maze Cutter.

Foster’s Maze Cutter is amazing—the bull is majestic, fierce and intense.

As I looked more closely, an astonishing secret was revealed! The sculpture is made of chair backs, table legs, wooden spindles and various other bits of furniture screwed together with drywall screws.

As stated in the exhibition program “Pulling from his immense inventory of salvaged/repurposed objects and materials, Foster has reduced the sculptural medium of his production to a single material: discarded and broken wooden furniture. …His initial attraction to discarded and broken wooden furniture was its abundance and variety in form, texture and malleability. … Foster could not ignore the history, experience and energy each piece of furniture contained”. Here’s a closer look at some of the components incorporated into his works.

Foster’s reclaimed sculptures were inspired by anatomy, mythology and the animal kingdom. Hindu methodology, for instance, includes Garuda which is a legendary bird or bird-like creature with a mix of eagle and human features. This is Foster’s Garuda.

El-ahrairah is a rabbit folk hero from Richard Adams’ book Watership Down. This is Foster’s sculpture El Ahrairah.

Fenrir is the most infamous of the many wolves in Norse mythology. According to author Daniel McCoy, Fenrir ran “throughout the world with his lower jaw against the ground and his upper jaw in the sky, devouring everything in his path”. This ferocious sculpture is Foster’s The Fenrir.

It’s fascinating to see broken furniture transformed into stunning sculptures but there’s a deeper message to be considered. As explained in his artist statement, “Foster’s material of choice and in turn his creations reflect on our environmental cross roads, globalization, notions of craft and the consequences of uninhibited consumerism. These assemblages are meant to inspire a sense of magic and wonder but also offer critical self-reflection.” Perhaps this is the message behind his piece called The Fork in the Road. This 10-foot long, two-headed snake was displayed in the center of the gallery floor.

Some time ago, I had the opportunity to view a similar exhibition of reclaimed creations. Artist Sayaka Ganz’s working material of choice was discarded plastic. Her artist statement explained “I use plastics because of the variety of curvilinear forms and colors that are available. I manipulate and assemble them together as brush strokes to create an effect similar to a van Gogh painting but in three-dimensional form.”

This artist has a unique connection with the reclaimed materials she uses for her sculptures. “From a young age, Sayaka Ganz was influenced by the Japanese Shinto belief that all objects and organisms have spirits, and if these objects are discarded before their time they weep inside the trash bin. This idea is the foundation that has shaped Sayaka and her sculptures. Her strong artistic voice is expressed through her exclusive use of objects that have been discarded. … She finds the process of reclamation and regeneration liberating.” A closer look reveals the secret of Sayaka Ganz’s work.

Circling back to NBC’s Making It winner, Adam Kingman presents this thought-provoking challenge under Garbage Design on his website: “How can we raise awareness of what we throw in the garbage? Furthermore, can we take a surplus of unexpected, single use items, and create a positive conversation starter? Our planet is riddled in garbage and plastic. I’ve designed outdoor gear for the past five years and have come to realize very few of us need more of anything. We already have what we really need. On a long drive through West Texas, I was upset with the rubbish strewn across the landscape. What’s the fate of this garbage? the planet? our outlook on it all?”

More Info

Finding new ways to use old, discarded materials is an ongoing theme here on FanningSparks’ blog. I’ve decided to add a new REPURPOSE sub-category in the MAKE section. Check it out to see all my blog posts which share ideas for transforming, upcycling and repurposing.
NBC’s Making It is a lighthearted competition series, hosted by Amy Poehler and Nick Offerman, which celebrates the creativity and craftiness in all of us. You can learn more about Adam Kingman, season 3 Master Maker, on his website or Instagram account.
Johnston Foster is an American artist living in Bedford, Nova Scotia. Check out his website and Instagram account. His exhibition, Olde Growth, was hosted by the Chester Art Center in Nova Scotia.
Sayaka Ganz was born in Japan and grew up living in Japan, Brazil and Hong Kong. You can learn more on her website or Instagram account.

Today’s Takeaways

.1. “These assemblages are meant to inspire a sense of magic and wonder but also offer critical self-reflection.”
.2. Consider the “consequences of uninhibited consumerism”.
.3. Look for ways to use old, discarded materials.

Canada Nova Scotia PEI Travel

Strolling Through a Picture Postcard

One of the many joys of visiting the Maritime Provinces in eastern Canada is a leisurely stroll around one of the charming seaside villages. The historic villages of Chester, Nova Scotia; Victoria, Prince Edward Island; and Parrsboro, Nova Scotia are all picture postcard perfect. Each has its own personality and charm yet there are many similarities. All three seaside villages are surrounded by natural beauty. They honor their sea-faring roots and take care to preserve their heritage. They foster creative, artistic communities keeping them active, vibrant and viable.

Chester, Victoria and Parrsboro all have a history of ocean-based commerce including shipping, shipbuilding and fishing. These industries are no longer their primary focus but the sea continues to play a big part in these communities today. For instance, the waters around Chester are well-known for yachting, sailing and kayaking. Every August, the Chester Yacht Club hosts Chester Race Week which is Canada’s largest keelboat racing regatta.
This awe-inspiring view greets visitors at the Chester Yacht Club wharf.

Beautiful vistas and nautical scenes capture one’s attention all along Chester’s waterfront.

The ocean-based commerce in these coastal villages was in its heyday in the 1800s. It led to considerable prosperity which the citizens invested in their homes and communities. These picture postcard coastal villages are their legacy. The current homeowners in Victoria, or Victoria-by-the-Sea as they’ve branded the community, obviously take pride in their homes and surroundings. Here are a few photos from this picturesque village.

Current residents of these communities celebrate and nurture a creative spirit through art programs and events, theatres and playhouses, art galleries and studios. Parrsboro, for instance, encourages visitors to “Explore. Dream. Create in our inspiring community.”. Every year, Parrsboro hosts Canada’s largest outdoor painting festival—the Parrsboro International Plein Air Festival. As explained on the Parrsboro Creative website, “‘En plein air’ is a French expression meaning “in the open air”. It describes the art of outdoor painting, using specific skills to capture landscapes and views in natural light. Plein Air painting requires adaptability to a changing environment and speed in applying painting techniques.”
The 2021 Plein Air Festival was underway when we visited Parrsboro. In the below photo, well-known Nova Scotian artist Joy Laking puts the finishing touches on a street scene.

Locals might recognize this as the view from the Parrsboro Bandstand looking down Main Street. I love how painters can capture what they see in their mind’s eye versus what’s actually in front of them. For instance, notice how a scooter-rider has been inserted and the dominant Irving service station seen below…

… has been skillfully eliminated from Joy Laking’s street scene.

Nearby Partridge Island is a popular location for the plein air painters. It’s little wonder—there is natural beauty in every direction!

We spotted artist Adam Tragakis capturing these stunning cloudy skies over the Fundy cliffs.

Here’s how his painting had evolved a little over an hour later. Splendid!

Pictured below is the same view of the landscape. Notice how Adam Tragakis expertly captured a slightly different scene—at the exact moment the dark, moody clouds dropped sheets of rain over the cliffs.

Chester, Victoria and Parrsboro may not get as much attention as some of the area’s bigger cities and more popular attractions. But this, I believe, works in their favor. Author Stephen Kimber wrote “The Trans-Canada Highway bypassed Victoria. So did the shopping centres and tourist amusement parks. And that – along with its independent-minded citizens – is what makes Victoria the enchanting, picture post card place it is today.” The citizens of these villages have worked hard to build strong, creative communities and sponsor world-class events without compromising their character and uniqueness. Well done, citizens of Chester, Victoria and Parrsboro!

More Info

You can learn more about visiting Nova Scotia and Prince Edward Island on their respective tourism websites or check out these FanningSparks’ posts:
. Solid as a Rock
. Watching Humpbacks on the Bay of Fundy
. We Dined on the Ocean Floor
. The Perfect Reminder of Green Gables
. Shutter Therapy in North Rustico
. Beacons of Light
. In Pursuit of Sea Glass
. Falling Leaves and Floating Boats
. First Light at Peggy’s Cove
Chester, Nova Scotia also provides information on its Village of Chester NS and Chester Race Week websites.
Check out the Victoria by the Sea website for more information about Victoria, Prince Edward Island.
More information about Parrsboro, Nova Scotia can be found on the Bay of Fundy website. The Parrsboro Creative organization spearheads arts and culture in Parrsboro and organizes the annual Parrsboro International Plein Air Festival.
To learn more about the talented artists mentioned in this post, visit the Joy Laking Gallery website and Adam Tragakis on Instagram. In fact, you can see the final result of the Parrsboro Plein Air painting we witnessed in this Instagram post.

Today’s Takeaways

1. Seek out lesser-known towns and villages when you travel.
2. Take time to explore with a leisurely stroll.
3. Consider and appreciate the efforts of the local citizens who keep these places picture postcard perfect.

Canada Nature Nova Scotia PEI Travel

Solid as a Rock

My Dad always used to joke that “The best crop to grow in Nova Scotia is rocks!” After years of picking rock to clear farming land, he would have known. Rocks may be a hindrance to farmers and gardeners but they are an integral part of the geological heritage of a place.
Nova Scotia, on Canada’s east coast, “has long been recognized for its rich and diverse geology” say authors J.H. Calder and G.J. DeMont in their article Geoheritage in Nova Scotia. It is “a heritage that defines our landscape, is reflected in our industrial history, and has influenced some of the greatest ideas that have shaped human understanding of our place in the history of life.”
The iconic view of Peggy’s Cove lighthouse sitting proudly on huge granite rocks is a great example. It is a “story of fire and ice: magma cooled deep in the Earth’s crust and 380 million years later was shaped by the last glaciers.”

The rocks along the coastline of nearby Island Rock Head, Nova Scotia are similar. They originate from the Devonian to Carboniferous geological history period and are categorized as “granite batholith”. Wikipedia defines a “batholith” as a “large mass of intrusive igneous rock … that forms from cooled magma deep in Earth’s crust”.

A recent kayaking adventure in Prospect, Nova Scotia provided a different view of the dramatic shoreline. Here the geology is described as an “erosional glacial landscape” originating from the Quaternary period. The view shown below greets the visitor as they enter Lower Prospect.

We kayaked to Hearn Island where we enjoyed a short hike and spectacular views.

The geoheritage of the Digby, Nova Scotia area is noticeably different. On Brier Island, the rocks are columnar basalt, cooled from magma in the Triassic period. The columns along the shores of Seal Cove were eerily visible through the fog.
Fog also shrouded the rocky cliffs in the Nature Conservancy of Canada Reserve on the island’s west coast.

This heart-shaped rock was propped up near the Brier Island Lighthouse. How it came to be is a mystery.

Arguably the most astonishing example of basalt columns is Balancing Rock in Tiverton on Long Island. This 20-foot finger of volcanic rock, estimated to weigh 20 tonnes or more, is balanced precariously on the edge of the rock below.

The basalt column, known as Nature’s Time Post, seems to defy gravity.

The Bay of Fundy, the site of the world’s highest tides, provides yet another perspective of Nova Scotia’s geoheritage. Burntcoat Head, for instance, holds a “fossil menagerie of life in the early days of the dinosaurs including creatures found nowhere else on Earth”. Pictured below are the cliffs of Burntcoat Head in the warm glow of sunset. Check out the post We Dined on the Ocean Floor for more photos and background on Burntcoat Head.

Interestingly, Nova Scotia boasts a UNESCO Global Geopark along the north shore of the Bay of Fundy. The Cliffs of Fundy Geopark is one of only 163 UNESCO Global Geoparks around the world. These geoparks are “single, unified geographical areas where sites and landscapes of international geological significance are managed with a holistic concept of protection, education and sustainable development.”
The Cliffs of Fundy UNESCO Global Geopark celebrates the highest tides in the world, honors the ethical space of the Mi’kmaw people and their oral traditions of cultural geoheritage, and provides evidence of the Earth’s incredible natural history with the massive Cobequid Fault.
On Partridge Island, in the Parrsboro area of the Geopark, visitors can enjoy an eco-tour hiking trail. This is one aspect of the amazing view that rewards hikers at the trail’s lookoff.

It was low tide when we visited nearby Five Islands but the beautiful skies more than made up for the lack of water!

Nova Scotia is not the only Maritime province with an interesting geoheritage. Most of Prince Edward Island’s north shore is rolling dunes and wide beaches of fine sand but Thunder Cove is different. There a visitor will find sandstone cliffs, caves and sea stacks carved and shaped by the ocean and the winds.

The below sandstone sea stack is dubbed Teacup Rock for its unusual shape.

Learning about the geoheritage of the Maritimes has been fascinating. It’s heartening to see my native province of Nova Scotia celebrate its natural and cultural sites of geological significance. But there is much more to learn and I look forward to delving deeper during my next visit.

More Info

You can learn more about visiting Nova Scotia and Prince Edward Island on their respective tourism websites or check out these FanningSparks’ posts:
. Watching Humpbacks on the Bay of Fundy
. We Dined on the Ocean Floor
. The Perfect Reminder of Green Gables
. Shutter Therapy in North Rustico
. Beacons of Light
. In Pursuit of Sea Glass
. Falling Leaves and Floating Boats
. First Light at Peggy’s Cove
See the Geoheritage Resources section of Nova Scotia’s Geoscience and Mines Branch website for more information about Nova Scotia’s geoheritage including a virtual tour and the 2009 Report of Activities by J.H. Calder and G.J. DeMont.
Wikipedia is a great place to learn the basics of the geologic time scale.
Check out the Cliffs of Fundy Geopark website for information about the Cliffs of Fundy UNESCO Global Geopark.

Today’s Takeaways

1. Nova Scotia, on Canada’s east coast, “has long been recognized for its rich and diverse geology”.
2. “Geoheritage can be defined succinctly as geological features that inform humanity of its relationship with the Earth.”
3. Consider the geoheritage of the places you live and visit.

Swept Away by Broom Making

More Info

Today’s Takeaways

Folk School Studios—Where the Magic Happens

More Info

Today’s Takeaways

Maker Apron – DIY Tutorial

More Info

Today’s Takeaways

Found Object Sculptures

More Info

Today’s Takeaways

Strolling Through a Picture Postcard

More Info

Today’s Takeaways

Solid as a Rock

More Info

Today’s Takeaways

Kumiko: Precision and Beauty

Atlanta City Break

Everywhere a Sign

Curiously Useful Metal Tins Roundup

Language of Flowers Mini Cards – DIY Tutorial

My Japan Travel Memories Mini Tin