FanningSparks – Page 20 – A DIY and lifestyle blog authored by Peg Frizzell.

Agritourism Canada Fiber Make Nova Scotia Travel

An Alpaca Photo Shoot

It’s not every day you come across a field of alpacas—especially with a camera in hand, a free hour and permission to take photos! Yet, that’s exactly what happened at Meadow Brook Stables in Alton, Nova Scotia where a small herd of alpaca were recently added to the farm.

“Alpacas are raised for their soft and luxurious fleece (fiber). Each shearing produces roughly five to ten pounds of fleece per animal, per year.” according to the Alpaca Owners Association. “Alpacas (vicugña pacos) are members of the Camelid Family. … Today there are five recognized camelids breeds: camels, llamas, guanacos, alpacas, and vicunas. They vary by size and purpose, some being used primarily as pack animals and others valued for their fiber. … Camels, llamas, and alpacas have been domesticated for thousands of years, whereas guanacos and vicunas continue to roam freely in herds. Many people are familiar with humped camels … Next in size is the llama (domesticated guanaco), followed by the alpaca (domesticated vicuna).”

In addition to being valued for their fleeces, alpacas are cherished for their personality. A scan of alpaca related websites reveals an array of adjectives for these animals: “endearing” says the Canadian Co-operative Wool Growers Limited; “very smart animals, gentle, and easy to handle … shy, but very curious, quiet, and intelligent” says Alpaca Meadows; “alert, curious, calm and predictable” says Brigadoon Fiber Farm; “calm and aloof, highly intelligent and easy to train” says Threads of Peru.
There were four “crias”, baby alpacas, in this herd and they were indeed endearing!

Here is a cria “cushing” which means sitting down with all four legs tucked under its body and its head erect.

“Calm and aloof” also seemed to be an apt description. Check out these regal poses!

Female alpacas, I’ve learned, are usually first bred at 18-24 months of age. The gestation (pregnancy) period is around 11.5 months. They usually have only one cria which is normally delivered, without intervention, from a standing position during daylight hours. A cria normally weighs between 15 and 19 lbs. It typically starts nursing within 90 minutes of birth and continues nursing until it is weaned after six months.

Interestingly, alpacas have strong social instincts and need the companionship of a herd to thrive.

“Alpacas mainly eat grass or hay. They consume approximately … 1.5% of the animal’s body weight daily in hay or fresh pasture. … Alpacas have two sets of teeth for processing food. They have molars in the back of the jaw for chewing cud. In the front, alpacas have teeth on the bottom only and a hard gum … on the top for crushing grain, grass, or hay. Unlike goats and sheep that have long tongues which can rip plants out of the ground, alpacas have short tongues and nibble only the tops of grasses and other plants. This results in less disturbance of the vegetation.” reports the Alpaca Owners Association.

On the farm, meals are served in a variety of ways—food dish, hay bag and hay ball feeder—and obviously enjoyed.

Yet, the grass is always greener on the other side of the fence!

Photographing alpacas is very rewarding. Their “teddy bear” looks, …

… nimble moves, …

… pompadour hairstyles, …

…and amusing expressions make for great photos.

Returning to the subject of the alpaca fleece, the Alpaca Owners Association explains, it is “often compared to cashmere [and] can be turned into a wide array of products from yarn and apparel to tapestries and blankets. The fleece itself is recognized globally for its fineness, softness, light weight, durability, excellent thermal qualities, and luster”.
Naturally, this piqued my interest—I wanted to see and feel alpaca yarn! The folks at Wool ‘n Tart, a lovely yarn shop in Wolfville, Nova Scotia, were most helpful (Thank you!). They showed me yarns with alpaca content like these from Legacy Lane.

They also had natural-colored yarns containing alpaca fibers. “Alpaca fleece has a variety of natural colors, making it very desirable. Sixteen colors are officially recognized (white; beige; and shades of fawn, brown, black, and grey) with many additional subtle shades and hues.” This yarn showcases some of the rich white, cream and brown colors.

Then came the pièce de resistance—a jaunty alpaca fiber pom-pom atop a hand-knit wool toque!

More Info

This alpaca photo shoot took place at Meadow Brook Stables, located in Alton, Nova Scotia, Canada. The Stables focus on breeding American Paint Horse Association (APHA) horses and also offer riding lessons and horse training. In addition to some of the best bred APHA horses in Canada, they care for a variety of livestock on their farm including the alpacas featured in this blog post. See the Meadow Brook Stables website for more information. Thank you Anna!
Wool ‘n Tart is located in Wolfville, Nova Scotia, Canada. As stated on the Wool ‘n Tart website, “Our cozy little shop has been open since 2012, and for the past ten years, we have been Wolfville’s foremost stop for all of your knitting and fibre needs – including a beautiful selection of natural fibres and locally sourced yarn, including our own yarn, produced from our Cotswold sheep in the Gaspereau Valley! We also offer plenty of finished objects, such as locally produced woven scarves, blankets, and hooked rugs.”
You may also be interested in the previous blog post, From Sheep to Shawl, in which I share my experience attending a week-long class at the John C Campbell Folk School covering the farm-to-fashion journey of sheep’s wool.
The Alpaca Owners Association serves to facilitate the success of its members within the alpaca industry. You can learn more about this organization on the Alpaca Owners Association website.

Today’s Takeaways

1. Alpacas are raised for their soft and luxurious fleece.
2. Alpacas are great photography subjects.
3. Consider visiting a local farm to learn more about the farm-to-fashion journey.

Artists Canada Make Nova Scotia Other Media Travel

Printer’s Devil for a Day

They say you can never go back. But at Sherbrooke Village you can go back—all the way back to 1867. That’s the year depicted by this living museum on the Eastern Shore of Nova Scotia. Set in a beautiful country setting, the village has 25 heritage buildings surrounding a village green.

This is the Sherbrooke Drug Store viewed across the village green.

A wagonload of small logs sits ready.

The Jordan Barn houses horses and other farm animals.

Clotheslines are the norm.

It’s fun to stroll down the street with heritage interpreters in period dress.

To truly experience life in 1867, I highly recommend taking part in a Sherbrooke Village premier experience. It’s possible to dress in period attire and become a part of the village story—as these ladies did, …

…or spend a day in the Woodworking Shop to learn about traditional woodcarving and wood turning, …

…or spend a day as a Printer’s Devil in St. Mary’s Printery—as my sister Marian and I did. The authentic Print Shop is managed by Master Printer Patty Lou. Here they are setting type.
In the Victorian era, apprentices to the Master Printer were often called “Printer’s Devils”. They were responsible for a number of low-level tasks, such as mixing tubs of ink, removing paper from the press, fetching type, and sorting the contents of the “hellbox“. The hellbox contained used, worn, or broken metal type which they either cleaned and put back in the job case, or melted and recast. These tasks resulted in the young apprentices’ hands and skin being stained black with ink, thus, the title “printer’s devil”. Luckily, we didn’t have to deal with hellboxes or ink-stained hands! Instead, Patty Lou walked us through the various processes involved in a print job while we designed and printed our own projects.
We started by learning about the cast metal type. Type is stored in cabinets with large, shallow drawers.

Every font and size is stored in a separate drawer. The drawers are removed from the cabinet for use. Every drawer is partitioned into multiple, small compartments or “boxes”. Every letter, number, symbol or space is a separate piece of type which is sorted into its own box. The individual pieces of type are called “sorts“. If there weren’t enough sorts or they were stored in the wrong boxes, the printer was said to be “out of sorts”. Nowadays, when someone is out of sorts, they’re more likely to be feeling irritable, upset or unwell.

The partitioned drawers are called “type cases”. Every case is carefully organized for efficient retrieval. The below graphic shows how a pair of cases is used to hold the capital letters (ie upper case) and the small letters (ie lower case). Interestingly, the upper case letters are in alphabetical order but the lower case letters are arranged according to usage—most frequently used letters are in the center. So, the mystery of where the term “upper and lower case” comes from is now solved!

This sorting system was eventually replaced with the California job case system which includes both upper and lower case. The type case I used at the Print Shop was set up in this manner.

After deciding on the wording and style for our printing projects, we pulled out the appropriate type case and started setting the type. The type pieces were assembled into words and lines on a small tray-like tool called a “composing stick”. I used the composing stick pictured below to assemble the sorts for my project. Selecting the correct metal type pieces for a print job is tricky because the letters are backwards. An experienced printer selects type from the cases based on the type’s location—sort of like touch typing on a keyboard.
In his book The Practice of Printing, which was considered to be the authoritative textbook for young printers in 1952, author Ralph W. Polk states “It is impossible for the beginner to acquire either speed or accuracy in composition until he is able to read type. Type is read from left to right as are the lines on a printed page, but the characters are upside down. With a little practice, the reading of type will become comparatively easy.”

Polk goes on to describe what he calls “the ‘four demons’. Four letters which prove somewhat confusing to a beginner, and which may cause him some difficulty unless he gives special attention to their forms are the letters b, d, p, and q. … If one will keep in mind that the nick of the type is at the foot of the letter, and that, when held upside down, the letter reads from left to right, there will be little difficulty in recognizing any of them.”
The old timey warning to “Mind your p’s and q’s” originates from this very situation. It’s meaning has, however, evolved into a reminder to be polite and well behaved and to mind one’s manners. I chose this saying for my printing project.

But there were a few more steps to finish typesetting before the printing could begin. The selected type was assembled inside a metal frame called a “chase” and filled in with wooden filler blocks called “furniture”. Then the form was locked in place with “quoins”, a wedge-shaped device tightened with a key.

The final typesetting step was to level the pieces with a form-planer and mallet.

My locked form was ready for the printing press at this point. St Mary’s Printery has an 1880 Chandler & Price Platen Printing Press manufactured in Cleveland, Ohio. The press is an example of the basic letterpress technology that was used for the first 500 years of printing (ca. 1450–1950). This is Apprentice Fred working the press.

As explained in the 1917 textbook, Printing for School and Shop, by Frank S Henry, “A platen printing-press is one in which the form is locked up against a bed and the impression is delivered against a flat, smooth, level plate called a platen.” The Practice of Printing textbook goes on to explain “Upon the platen is clamped a packing of paper… known as the tympan, and the top sheet is called the tympan sheet or drawsheet. The paper to be printed is laid on this drawsheet, into which gauge pins have been inserted to hold it in proper position.” Here are the gauge pins I inserted on the tympan for my printing.

The below labeled diagram from The Practice of Printing helps explain the workings of a platen printing press.

Ink is placed on the round ink disc. The sheets of paper to be printed are piled on the feed board on the right side of the press. Once everything is set up correctly, the operator starts the fly-wheel to put the press in motion and works the foot treadle to keep it moving. This sounds much easier than it is—achieving the right speed in a smooth, steady movement takes practice!
But it gets even more challenging! The operator uses the throw-off lever, situated on the left side of the press beside the fly-wheel, to control when an imprint is made. In its normal position, the throw-off lever is placed forward causing the platen to strike the form at every revolution of the press. In other words, the paper is pressed against the inked type resulting in a printed sheet every time the wheel goes round. The operator has to quickly remove the printed sheet and replace it with a fresh sheet—while keeping the press rolling in a steady rhythm with the foot treadle. Beginners, like me, frequently use the throw-off lever to skip printing a sheet. Here I am trying to get the hang of feeding the press.

As noted above, I chose to typeset and print the saying “Mind your p’s and q’s”. I’m quite pleased with the results—it’s the perfect reminder of my day as a Printer’s Devil.

Being a Printer’s Devil at the St Mary’s Printery in Sherbrooke Village was a great experience. Honestly, it makes me grateful for today’s printing technologies. Instead of pulling out a case of type, I can simply select my font from a dropdown list. Instead of picking out and positioning every character correctly, I can press keys on a keyboard (backspacing to correct on the fly). Instead of composing in a metal frame with blocks of wood to lock everything in place, I can compose on an electronic screen with a few keystrokes. Instead of reworking my locked form when I find an incorrect letter, I can let the software correct my spelling and grammar. Instead of meticulously readying my form for the press, I can simply load sheets of paper into my printer’s paper tray. Instead of manually working a fly-wheel and foot treadle while simultaneously feeding sheets of paper onto the platen, I can click on a PRINT button.
It is all much faster and easier and ideal for everyday printing… and, yet, it lacks something! To print something special—a one-of-a-kind creation that’s uniquely yours—the charm and beauty of hand-printing can’t be beat!

More Info

Sherbrooke Village is located on the Eastern Shore of Nova Scotia. Check out the Sherbrooke Village website to learn more about this living museum and their premier experiences. We loved the Print & Press One Day Experience. Special thanks to Master Printer Patty Lou and Apprentice Fred—you made our day!
Two vintage textbooks were consulted for this blog post—both are available on www.Archive.org:
. Printing for School and Shop by Frank S Henry (published 1917)
. The Practice of Printing by Ralph W. Polk (published 1952).

Today’s Takeaways

1. Consider visiting a living museum for a deeper appreciation of life in the past.
2. A hands-on experience provides a deeper appreciation than reading about a subject or seeing someone else do it.
3. There is beauty and charm in the art of hand-printing.

Fiber Make Repurpose Tutorials

Traveler’s Infinity Scarf with Secret Zipped Pocket – DIY Tutorial

While prepping for an upcoming plane trip, I discovered an ingenious, new travel accessory. It’s an infinity scarf with a secret zipped pocket—perfect for keeping travel documents close at hand while hiding them out of sight. But these nifty scarves aren’t limited to a passport and vaccination card, they can also stash a smart phone, lipstick, car key or cash! In addition to hiding valuables, these scarves function like regular scarves—they add a pretty pop to an outfit while also fighting off the chill of air conditioning or cold weather.
But, wait, it gets even better! You can easily add a secret zipped pocket to your favorite rectangular scarf and convert it into an infinity scarf for your next travel adventure! Read on for detailed step-by-step instructions.

Start by selecting a rectangular scarf that’s at least 65” long and 18” wide. I admit I have quite a stash of scarves and many of them were just the right shape and size for this project! I decided to convert three scarves—one in light cotton for the summer, one as a gift and one in a heavier rayon fabric for the winter.

It’s worth taking a few moments to consider the scarf’s fabric. Scarves made of lightweight, close-weave cotton are ideal for this project because they are easy to sew and will effectively hide the zipped pocket. On the other hand, scarves made of thin, transparent silk, gauzy, open-weave cotton or thin, stretchy knit are less than ideal for this project. Alternatively, you could purchase suitable fabric off the yard for this project.
This project involves basic hand and machine sewing. If you’re new to sewing or your skills are a little rusty, you may find inserting the zipper a little challenging. You may, therefore, want to start by practicing with a few zippers and some scrap fabric before attempting it on your scarf. See More Info section below for a recommended resource.
Supplies Needed
. Scarf: Choose a long, narrow, flat scarf at least 65” long and 18” wide in a woven fabric with some body. Avoid whisper-thin silks and gauzy cottons because they won’t hide the secret zipped pocket and they’re difficult to sew. Alternatively, you could purchase suitable fabric off the yard for this project.
. Pocket Fabric: Select cotton fabric in a matching color for the zipped pocket. I chose to buy a fat quarter which is a quarter yard of fabric pre-cut into an 18” x 21” rectangle. The specific amount of fabric needed for the pocket will depend on the width of your scarf. See Step 2 (below) for the calculations.
. Zipper: 7” all-purpose zipper suitable for centered application. Alternatively, a longer zipper can be shortened to 7”.
. Sewing Thread: In a color which blends with the scarf.

Equipment and Tools Needed
. Iron
. Sewing Machine with Standard Presser Foot and Zipper Foot
. Sewing Scissors
. Tape Measure
. Ruler
. 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 markings are square.
. Straight Pins
. Seam Ripper
. Hand-Sewing Needle
Step 1 Prepare Scarf Determine the fabric content of the scarf. Press on appropriate setting. Select a marker, pen or chalk which is suitable for the type of fabric and can be removed easily. Alternatively if the scarf fabric is too delicate for a marker, you can use thread tacks in a contrasting color.
Overcast the fringe ends of the scarf by sewing a row of zigzag stitches along the raw edge keeping clear of the fringe. Then cut off the fringe close to the stitching. There’s no need to worry about perfecting these edges because they will be hidden inside the finished scarf.

Step 2 – Prepare Pocket and Zipper Measure the scarf and calculate the size of the pocket. The width of the pocket will be equal to half the width of the scarf (Scarf Width / 2). I made my pocket 9″ in length because that is half the length of a fat quarter of fabric. Alternatively, you could make the pocket a different length by adjusting the other measurements in this tutorial accordingly. For instance, a longer pocket length would require a longer zipper.
Cut TWO rectangles of fabric for the pocket. For clarity, mark L (length) and W (width) along the edges of the pocket sections. If it’s not obvious, mark the right side (vs wrong side) of the fabric. Overcast all edges on both pocket sections.
Test the zipper to ensure it opens and closes smoothly. If the zipper was folded in the package, press it flat with an iron taking care to not melt the zipper teeth. If the zipper needs to be shortened, close the zipper and hand-sew across the zipper teeth at the desired length. Ensure the stitches are sturdy enough to serve as the new zipper stop. Cut the zipper about ½” below the newly stitched zipper stop.

Step 3 – Attach Pocket Sections to Scarf   Lay scarf on work surface with right side facing up. Choose one short end of scarf as the “reference edge”. Measure 6” from the reference edge along the outside edge of one of the scarf’s long edges. Mark. Repeat on the opposite long edge. Mark. Fold scarf in half lengthwise. Measure 6” from the reference edge along the fold and mark a 9-inch line along the fold.

With the right side still facing up, lay the scarf on the work surface. Pick up a pocket section with the wrong side of the fabric facing up. Lay the lengthwise edge of the pocket section along the lengthwise edge of the scarf aligning horizontally with the 6” mark.   Pin in place. Repeat with the other pocket section on the opposite side of the scarf.

Prepare to sew the pocket section to the scarf. Use a ¼” seam allowance and begin sewing at the 6” mark. Repeat with the other pocket section.
Pull pocket sections away from the scarf. Press seams toward pocket sections.
Step 4 – Sew Scarf into Partial Tube Lay scarf on work surface with right side facing up. Fold scarf in half lengthwise. Pull pocket sections up and away from scarf. Align two long edges of scarf from the reference edge to the pocket sections, along the pocket sections and for another 7”. Pin in place. Measure and mark 7” from the reference edge, 14” from the reference edge, and 21” from the reference edge.

Prepare to sew the long edges of the scarf together. Use a ½” seam allowance and sew from the reference edge to the 7” mark. Move to the 14” mark and sew to the 21” mark. Change to a basting stitch and sew from the 7” mark to the 14” mark. Open the seam, pull pockets away from the scarf, and press the seam.
Step 5 – Sew In Zipper As noted above, if you’re new to sewing or your skills are a little rusty, you may want to start by practicing with a few zippers and scrap fabric before attempting to sew a zipper into your scarf. See More Info section below for a recommended resource on How to Install a Conventional Zipper.
Lay scarf on work surface with seam facing up. Pull pocket sections away from the seam smoothing them flat as shown below.

Position the closed zipper, facing down, along the seam with the top of the zipper toward the reference edge. Ensure zipper teeth are centered over the seam stitching. Position the zipper tab up away from the teeth. Use pins to mark the zipper stops at the top and bottom of the zipper; they should align with the start and end of the basting stitches at the 7” and 14” marks. Secure zipper in place with a few pins.

Prepare to hand-sew the zipper in place temporarily with a basting stitch. Reach inside the scarf tube to keep the opposite side of the scarf and the pocket sections clear of the basting. Baste close to the outside edge of the zipper tape. Remove all pins.

Turn scarf right side out. Use marker/chalk to draw sewing guide lines ¼” to the right and to the left of the existing seam. Draw perpendicular lines, just below the zipper stop and just above the zipper tab, to connect the sewing guidelines creating a long, thin rectangle.
Install the zipper foot on your sewing machine. Prepare to start sewing the zipper across the bottom. Reach inside the scarf tube to pull the opposite side of the scarf and the pocket sections clear of the sewing needle. Following the markings, stitch across the bottom of the zipper, then turn and stitch up along one side. As you near the top of the zipper, prepare to move the zipper tab out of the way. Leave the needle in the fabric, lift the zipper foot, and slide the zipper tab down the zipper past the needle. Drop the zipper foot and finish sewing the seam. Slide the zipper tab up again. Adjust the zipper foot to sew in the opposite direction. Following the markings, stitch across the bottom of the zipper, then turn and stitch up along the remaining side. Stop to adjust the zipper tab as before. Finish sewing the seam and then sew across the top.
Remove the basting stitches from the seam in the scarf. Test zipper to ensure it slides freely. Adjust, if necessary.   Remove the basting stitches from along the sides of the zipper.
Pat yourself on the back—the most difficult step is done!

Step 6 – Sew Pocket   Close zipper. Turn scarf inside out. Position pocket sections, one on top of the other, aligning all edges with the right sides together. Pin in place.

Sew with ½” seam allowance. Press seam.
Prepare to attach the pocket to the inside edge of the scarf. Turn the scarf right side out. Lay scarf flat on the work surface folded on the centerline. Smooth out bottom layer of scarf, pocket and top layer of scarf. Align the inside edge of the pocket (opposite the zipper side) with the folded edge of the scarf—it should align with the 9-inch line marked in Step 3. Pin in place.

Sew through all layers close to the fold.
Step 7 – Finish Sewing Scarf into Tube   Turn scarf inside out with right sides together. Fold in half lengthwise. Align pocket sections. Align the unsewn sections of the long edges of the scarf. Pin in place.

Stitch the long edges of the scarf with a ½” seam allowance. Press seam.
Step 8 – Sew Scarf Ends to Make Loop   Turn scarf right side out. Working on the short ends of the scarf, bring the right sides of the two ends together. Align the seam lines. Pin in place. Sew all around the short end of the scarf with a ½” seam allowance stopping about 3-4” from the start. Hand-sew the opening closed.
Voilá! Your new secret pocket travel scarf is ready for action! Simply wrap it around your neck in a loop or two, adjust to position the secret zipped pocket, and tuck away your valuables!

More Info

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

See the Sew4Home blog for a detailed tutorial on How to Install a Conventional Zipper.

Today’s Takeaways

1. An infinity scarf with a secret zipped pocket can keep travel documents close at hand while hiding them out of sight.
2. A rectangular scarf can easily be converted into an infinity scarf with a secret zipped pocket.
3. Consider repurposing a rectangular scarf as a traveler’s infinity scarf.

Clay How Tos Make

Clay Play Days

Thursday is my favorite day of the week. It’s clay play day—the day I go to the clay studio and get to play with clay for several hours! Clay play day involves a lot of experimentation and a fair bit of persistence. I’m still a beginner so every project teaches me something new.
For instance, I wondered if rolled roses could be made from clay in the same way they are made from felt. The felt technique was covered in a previous FanningSparks’ blog post, Teacup Pincushion – DIY Tutorial. The flower in question, the pink felt rose, is visible on the teacup pincushion below.

That blog post included a template (see Felt Flowers for Teacup Pincushion – Complimentary Download) and these illustrated instructions.

I’ve learned the same template and technique can be used with clay. Obviously, there’s no need to sew with a needle and thread—instead the rolled clay is attached by scoring and slipping. Here’s how my first ceramic rose turned out.

Eventually the idea to make a small wreath with rolled roses came to me. This is the final result—I love it!
The interwoven leaf form was inspired by a circular brooch I found at a local thrift store. The brooch is less than 2 inches in diameter but it scaled up beautifully to a 10-inch wreath. Paper templates were used to cut each piece separately.

The idea for this project translated into a design quite easily. What was not so easy, was the functional execution! My first, failed, attempt is shown below. It looked great when I put all the leaves and roses together. But then the leaves broke and the whole thing fell apart. The issue was twofold 1) the roses were too heavy and 2) the interwoven leaf structure wasn’t strong enough to support all the pieces.

In my second attempt, I made the clay slab thinner so the roses would be lighter. Then I added a narrow, circular ring of clay underneath the leaves to reinforce the fragile leaf connections and support the assembled structure. The final version held together nicely.

This piece is finished in the same AMACO Celadon glazes, in Marigold and Wasabi, as my collection of handmade ceramic tiles (see Still Talking About Tiles!) and looks lovely hung nearby.
Another recent clay project was inspired by an intriguing flying insect—the dragonfly.

Dragonflies are rather fascinating. Did you know, for instance, that “dragonflies are masters of flight. Dragonflies are able to move each of their four wings independently. They can flap each wing up and down, and rotate their wings forward and back on an axis. Dragonflies can move straight up or down, fly backward, stop and hover, and make hairpin turns—at full speed or in slow motion. A dragonfly can fly forward at a speed of 100 body lengths per second (up to 30 miles per hour).” as reported in a ThoughtCo article (see More Info below).

Since dragonflies are usually found near water, I decided to make a waterlily to complement the dragonfly. The two pieces were made separately.

The dragonfly hovers over the flower petals on a small, wooden stick.

A cute, petaled candleholder inspired the ceramic waterlily (shown below on the right). A simple plastic food container lid provided the perfect form for the waterlily base. I found cornstarch worked well to keep the clay from sticking to the plastic. Once the rounded base was formed, I applied the individual petals by scoring and slipping each one in place. The trick, I learned, was to keep the clay at the right moisture level—wet enough to form by hand but dry enough to retain its shape.
Unfortunately, I left the plastic lid inside the clay while it dried causing a few cracks along the bottom edge (shown in the inset photo below). This type of mold, where the clay is draped over the mold forming a convex shape, is called a hump mold. Alternatively, a slump mold forms a concave shape when the clay is placed inside it. This project drove home the fact that clay shrinks as it dries and hump molds should be removed before drying. Luckily, the resulting cracks are small and more or less hidden by the bottom row of petals.

The dragonfly was a bigger challenge—I had to make it twice. I used a paper template to cut the dragonfly body and wings from a clay slab. Then carefully cut and removed sections of clay to form the veins in the wings. Yes, it was a slow and tedious process!

When I made the first dragonfly, I made the body and wings separately and attached the wings to the body in the final step. As it turns out, this was not ideal—the connection points weren’t strong enough and one of the wings snapped off after drying. In my second attempt, I cut the body and wings as one piece and built up the body with additional clay to form the head, eyes and abdomen. This gave the piece the needed stability and strength.

Here’s a closer look at my lovely ceramic dragonfly and waterlily.

The final clay project I’d like to share in this blog post is a set of three collared vases. My goal was to create a vase that would be attractive and interesting with or without flowers or greenery.

I made the first vase with an exaggerated shirt collar and a simple row of buttons down the front.

The second vase has an elaborate ruffle collar. This one was a little tricker to make. I started by researching how ruffle collars, or Elizabethan ruffs, are sewn from fabric. Then used a similar technique with clay.

Setting the vase upside down to let the clay dry worked well. The finished vase looks a little unwieldly but is surprisingly stable.

The third vase, featuring a cheongsam collar, is my favorite. It is the most detailed—each small frog fastener is shaped from coils of clay.

The secret to making these vases is the underlying form. To my eye, it gives the illusion of an upper torso. The surprising source? A bottle of foaming soap. I’m starting to see ceramic projects everywhere I look!

Here’s a final look at my trio of ceramic collared vases. Tres chic!

One of the things I love about working with clay is the versatility of the medium. There is an endless variety of techniques to try and there’s always something new to learn. And best of all, you can make almost anything!

More Info

My clay play days take place at the Oconee Cultural Arts Foundation (OCAF) School Street Pottery Studio. The studio is located in Watkinsville, Georgia, USA. You can learn more on the OCAF website.
I’ve mentioned the studio in a few previous blog posts about ceramic projects:
. Still Talking About Tiles!
. I Spy Something White
. Pinch Pot Bunny
If you’re in the US Southeast and interested in beautiful pottery you may want to take in OCAF’s upcoming Perspectives show. “Fifty of the top potters from across Georgia will display their work during Pottery Perspectives 2022, a huge exhibition and sale on view in the Oconee Cultural Arts Foundation’s (OCAF) 1902 building from August 27 through September 11, 2022. … Upwards of 4,000 pieces of pottery created by some of the most gifted ceramic artists in Georgia will be for sale.” Get the details on the OCAF Perspectives website page. You may also want to check out these blog posts about previous Perspectives shows:
. Admiring Evidence of Process
. Event Expands Pottery Proficiency
To learn about the surprising qualities of dragonflies, see the ThoughtCo article 10 Fascinating Facts About Dragonflies.

Today’s Takeaways

1. Clay is a surprisingly versatile medium.
2. Creative inspiration can spring from unexpected sources.
3. Experimentation, and a willingness to try again, are necessary to learn new skills.

How Tos Make Other Media

All Around the Amethyst Cabochon

One of my all-time favorite travel souvenirs is a pair of beaded sandals. They feature traditional Nyonya bead stitching and were purchased from an artisan in Malacca, Malaysia. The shoe style is more contemporary than traditional but the decoration is consistent with traditional hand-sewn beadwork. Predictably, I don’t actually wear these beauties—instead they’re on display in my studio where I can admire them every day. They are a sweet reminder of the year I spent in Singapore and the dear friends who made it so special.

“The Baba Nyonya community [is] a subethnic group of the Peranakan Chinese community whose culture and lifestyle is a fusion of predominantly Chinese and Malay influences” is how author Datin Seri Endon Mahmood sets the context in her book The Nyonya Kebaya. She explains a pair of embroidered or beaded shoes were an important part of completing the Nyonya look which featured exquisitely embroidered blouses called “kebaya”.
“In addition to embroidery, Nyonyas are also known for their beadwork. Up until the twentieth century, when young Nyonyas stayed at home to learn domestic skills, they were taught the art of stringing, threading and stitching beads by their mothers, grandmothers and aunts. … Although Nyonyas termed all beads manik potong (‘cut beads’), the beads used in their beadwork were tiny seed beads, especially those made of coloured glass known as Rocaille beads, which came to the region via traders. Three methods of beading were employed: stringing (for making tassels and fringes); threading (in which strings of beads are knotted down to form patterns) and, most commonly, stitching (in which beads are sewn one by one over a design drawn on fabric stretched on a frame). …Sadly, beadwork is now a dying art. Rocaille beads have largely been replaced by bigger plastic ones. Nevertheless, a handful of craftspeople in Penang and Malacca still carry on making beaded shoes”
Here’s a closer look at the intricate beadwork on my Nyonya beaded sandals.
This beautiful beadwork has fostered an appreciation for and curiosity about the art of beading. So, when I saw a workshop called Bead-Embroidered Semi-Precious Stone Pendant listed amongst the many offerings at the recent Berea Festival of LearnShops, I signed up. I’m so glad I did!
The instructor, Fran Morris Mandel of The Beading Angel, creates one-of-a-kind beadwork jewelry. She originally studied beadwork from renowned jewelry artists in California. Her art has been published in exclusive beading magazines including Bead & Button, Beadwork and Bead Unique. As stated on her website, Fran has a “passion for sewing tiny glass ‘seed’ beads one-by-one, using a needle and thread … [she] loves using seed beads, crystals and semi-precious stones to create intricately woven pieces of jewelry, essentially becoming wearable works of art.” Not only does Fran create stunning beaded jewelry, she’s also a skilled teacher! She led us through the steps to create our own masterpieces with gentle guidance, patience, attentiveness and flexibility. Her upbeat, friendly personality put us all at ease. (Many thanks, Fran!)
Here are a few examples of Fran’s striking one-of-a-kind pieces.

The workshop description stated “Participants will surround a semi-precious stone cabochon with seed beads and back it on ultra-suede to create a wearable necklace pendant.” And that’s exactly what we did! There were only 3 students in the class which made for an easy-going, relaxed setting with lots of ideas and tips being shared. (Thank you Candi and Holly!)
Here are the bead-embroidered, semi-precious stone pendants we created (mine is on the left, Candi’s is in the middle and Holly’s is on the right). I think we were all amazed at what we accomplished in only a few hours!

Here’s a closer look at my beaded amethyst cabochon.

It all started with a terrific selection of semi-precious stone cabochons which Fran provided. A cabochon is a stone, gem or other object (such as glass) that has a flat back and smooth dome surface. In her book Beading Cabochons, author Jamie Cloud Eakin advises “For your first projects, I recommend that you choose either round or oval cabochons with a dome that’s approximately 4mm high and that has a good slope tapering to a thin edge. This shape and configuration is easiest to bead properly.” Fran had already glued each cabochon to a small piece of Pellon interfacing on top of a small piece of manila file folder.

Next we selected seed beads in colors to enhance our chosen cabochons. Seed beads are tiny, round, glass beads, named for the seeds they resemble. They are also referred to as rocailles. Seed beads come in a wide variety of colors, finishes and sizes. We chose two colors in size 11/0.

Pictured below is my workplace with my materials. I chose a gorgeous amethyst cabochon along with silver and purple seed beads. Other supplies included Hana beading thread, Thread Heaven thread conditioner, and E6000 adhesive.
Using a thread conditioner was new to me. I learned Thread Heaven is considered both a wax and a conditioner. The wax makes the thread slide through the work easier and the conditioner stops the thread from fraying. We simply pulled our thread through the thread conditioner to coat it. By the way, Thread Heaven is no longer available but Thread Magic seems to be highly recommended as an alternative.
We needed very few tools—only small scissors, a size 10 sharp beading needle and a beading pad. The beading pad, which resembles a small fleece blanket with a short, velvet-like nap, worked great. The pad made it easy to pick up beads with the needle while preventing them from rolling away.
Later on, we would also use a jump ring, jewelry pliers and a neck chain.

We started by sewing a base row of seed beads around the cabochon. We used a backstitch and did our best to space the beads evenly while keeping them tight against the base of the cabochon.

We added more rows of beads working up the slope of the cabochon to form a nice, snug bezel. The number of rows needed varies depending on the size and shape of the cabochon. I used 5 rows of silver seed beads.

At this point, I switched to the purple seed beads and added a row of beads around the bottom edge.

The next step was to attach the outer backing. We trimmed the Pellon interfacing and manila file folder close to the edge of the cabochon. Then cut a matching piece of ultra-suede and secured it in place with E6000 glue.

After the glue dried, we carefully trimmed all the backing materials to align with the bottom row of beads. A final row of beads in a peyote stitch gave the bezel a pretty finished edge. The final step was to create a bail at the top of the pendant.

All that remained was to add a jump ring and chain so we could proudly model our new beaded cabochon pendants!
Here is a final look at my bead-embroidered amethyst cabochon pendant.

More Info

You can learn more about the Baba Nyonya culture and the Nyonya Kebaya in the book, The Nyonya Kebaya: A Century of Straits Chinese Costume by Datin Seri Endon Mahmood. (Many thanks to Gary for gifting me this gorgeous book along with heartfelt thanks to Judy and Sam for the memorable weekend in Malacca!)
The charismatic town of Berea Kentucky hosts the Festival of LearnShops every summer. The LearnShops are short workshops on a wide variety of subjects such as sustainable living, Appalachian crafts, fiber arts, jewelry making and quilt block painting. To learn more about Berea, the Folk Arts & Crafts Capital of Kentucky, check out the Visit Berea website. Information about the annual Festival of LearnShops is available there.
You may also enjoy my previous post, Lessons Learned from my First Barn Quilt Block, in which I share my experience attending a Quilt Block Painting LearnShop.
The book, Beading with Cabochons: Simple Techniques for Beautiful Jewelry, by Jamie Cloud Eakin can be found here on Archive.org.

Today’s Takeaways

1. Beading can involve various techniques such as stitching into bead fabric (eg my beloved Nyonya sandals) and jewelry making (eg my new beaded amethyst cabochon pendant).
2. Consider attending a workshop to learn a new skill or technique.
3. Tiny seed beads can be combined into an astonishing variety of forms.

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Lessons Learned from my First Barn Quilt Block

“Please bring a smile and wear comfortable clothing you don’t mind getting paint on.” wrote Mary Reed in her introductory email. With this one sentence, Mary deftly set the tone for her recent Quilt Block Painting workshop. The one-day workshop was part of the popular Festival of LearnShops held in Berea, Kentucky.
An enthusiastic group of eight students gathered on a Wednesday morning at Berea’s Russel Acton Folk Center. Several students had painted quilt blocks before and were adding to their collections. Others, like me, were new to the activity. Mary made everyone feel welcome. Then she explained the materials and tools we would be using.
We used 2-foot square panels of aluminum composite material to make our quilt squares. This is the same material used by professional sign makers. It is specifically designed to withstand harsh weather and is lightweight, bend-resistant, durable and moisture-resistant. Commercial brands include DIBOND® by 3A Composites and PolyMetal™ by Nudo Products. Mary had already primed our metal sign boards with Zinsser Bulls Eye 1-2-3 Primer so we were able to start marking our patterns right away.
Most barn quilts (see my previous post Have Barn Quilts Made a Comeback?) feature traditional patchwork quilt patterns with repeating, geometric shapes in a carefully-defined color scheme. This barn quilt, spotted on a dairy barn in Wisconsin, is a case in point.

As reported in the 1935 book, The Romance of The Patchwork Quilt in America, “The pieced quilt (made of pieces of fabric cut after patterns and sewed together to form a block or repeat) was familiar to most households where economy was a necessity, as it was created of scraps of material not otherwise of use. The pieced quilt in pioneer days provided means of turning to good account the precious scraps of printed cottons, at that period so rare and costly. The use of so many tiny pieces in one quilt and the pride with which the number-often in the thousands-was announced, gave evidence of their patience and frugality.”
The below quilt, in a Courthouse Square pattern, illustrates the beauty of a patchwork pieced pattern. It was made in northern Illinois and given to Mary Catherine McCool as a wedding gift in 1849.

We were able to choose from various quilt block patterns. Mary provided a variety of options for anyone who had not brought one from home. Mary patiently guided us through the steps of drawing our patterns and then taping and painting our designs. It’s not a difficult process although it does require patience and careful attention to detail. In today’s post, I’d like to share some of the lessons I learned while painting my first barn quilt block.
Lesson #1 – Simplify the Design
I looked at a variety of patchwork quilt blocks and painted barn quilts online before deciding on a pattern. The many hummingbirds visiting our feeders lately inspired me to seek a pattern featuring one of these flying jewels.

Elements from a few different patterns were merged into a single design. Then using special software, called Rapid Resizer, I created a line drawing of the design, resized it to the desired 24” x 24” square format, and printed it. This is the same software I used in a previous project to make a tiny door (see Make Your Own Tiny Door – DIY Tutorial Part 1). It worked very well for this project. Shown below are the printed pattern elements I brought to the workshop.

In hindsight, this design was a little too ambitious for a one-day workshop—especially for a beginner. I did manage to get a good start at the workshop but wasn’t able to finish the project. I drew the pattern, painted the background, and painted the first dozen or so parts. Most importantly, I learned the process and gained the confidence to finish it on my own. Here’s how my barn quilt block looked at the end of the workshop.

I took my partially-complete barn quilt block home and set about finishing it. The first thing I did was rework the design. After seeing the pattern laid out, I decided the original design was too busy and complex with too many small, fiddly pieces. So, I enlarged the flowers and the hummingbird, removed the rows of diamonds, shrunk the border and simplified the center element. The revised pattern is bolder and more streamlined. The below photo shows the main elements of the revised pattern.

Lesson #2 – Plan Color Scheme
The Quilter’s Recipe Book offers this advice about color selection. “In any pieced block, the variations you can create by changing and rearranging colors and tones are almost infinite. It is useful at this stage to make a quick sketch of your block and photocopy it several times. Use colored pencils or fiber-tipped pens to try out different color schemes.” Alternatively, you can use colored paper to test color combinations as Mary helped me do at the workshop.

At home, I spent a little more time planning my color scheme and mixing paints. I selected three analogous colors, blue, violet and red, for the three large flowers. Then added white paint to create a tint for each and black paint to create a shade for each.

To add a little drama and sparkle, I selected yellow and orange as accent colors for the small flower in the center.

Lesson #3 – Tape Precisely
Every element of the barn quilt block design is painted independently. Painter’s tape is placed around the outside edges of each part to ensure neat, clean painted lines. There are a few tricks to avoid bleeding (as seen on the top black edge shown below) and get perfect edges (as seen on the bottom black edge shown below).

One trick is to use a sharp X-Acto knife with a metal ruler to cut the painter’s tape.

Another trick is to use a bone folder (credit card or similar tool) to burnish the edges of the tape. But the best trick is one Mary shared with us—seal the edges of the tape with a small amount of Acrylic Matte Medium. Simply paint over the medium. It’s important to apply the medium sparingly, though, to avoid ridges and bumps under the paint.

The final trick is to remove the painter’s tape, before the paint dries, by pulling it away from the painted area at an angle.

Lesson #4 – Paint Carefully
Mary recommends exterior latex semi-gloss paint for barn quilt blocks. Small foam rollers work well for large sections and foam brushes work well for small sections. I like to line my roller tray with foil to ease cleanup.

Start with the lightest color, taping and painting all the elements in this color at once. Allow the paint to dry before adding a second coat. Then remove the tape, allow the paint to dry and move on to the next paint color—working from light to dark.

After lots of taping and painting, I finally finished my first 2-foot square barn quilt block. Here’s how my personalized Lilies & Hummingbird design turned out.

And here it is beside the peppy orange bench I plan to hang it above. I’m really glad I took the time to rework the design and super pleased with the results! I’m also grateful to have attended Mary Reed’s Quilt Block Painting workshop. Many thanks to Mary and the other participants for a great workshop and a fun day!

More Info

To learn more about barn quilts and see several examples from Kentucky, check out Have Barn Quilts Made a Comeback?
The charismatic town of Berea Kentucky hosts the Festival of LearnShops every summer. The LearnShops are short workshops on a wide variety of subjects such as sustainable living, Appalachian crafts, fiber arts, jewelry making and quilt block painting. To learn more about Berea, the Folk Arts & Crafts Capital of Kentucky, check out the Visit Berea website. Information about the annual Festival of LearnShops is also available there.
The quilting reference books mentioned in this blog post are available for free on Archive.org:
. The Romance of the Patchwork Quilt in America by Carrie A. Hall and Rose G. Kretsinger
. The Quilter’s Recipe Book by Celia Eddy
To learn more about the Rapid Resizer software used in this project, see my previous post Make Your Own Tiny Door – DIY Tutorial Part 1 and/or the Rapid Resizer website.

Today’s Takeaways

1. Painted barn quilt blocks typically feature traditional patchwork pieced quilt patterns.
2. Simplify the design and plan the color scheme for a painted barn quilt block.
3. Take time to tape precisely and paint carefully when painting a barn quilt block.

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