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.
Maker Apron Hanging on Hook   @FanningSparks
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.Supplies Needed for Maker Apron  @FanningSparks
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.
Reclaimed Carhartt Loose Fit Mens Utility Jeans   @FanningSparks
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.
Split Pant Leg Into Trapezoid-Like Shape    @FanningSparks
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.
Remove Patch Pockets from Back of Jeans   @FanningSparks
Next remove the belt loops and the waistband.
Remove the Belt Loops and Waistband from Jeans   @FanningSparks
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.
Prepare Front Pockets for Pocket Band @FanningSparks
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.
FanningSparks Maker Apron Measurements   @FanningSparks
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.
Use Curve Ruler to Mark Side of Apron Bib   @FanningSparks
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.
Cut Curve on Left Side of Apron Bib   @FanningSparks
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.
Cut Apron Body to Make Pocket Band   @FanningSparks
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”.
Calculate Distance Between Pockets on Pocket Band   @FanningSparks
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.
Pin Front Pockets to Reconstruct Pocket Band   @FanningSparks
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.
Reconstructed Pocket Band with Front Pockets Pieced In   @FanningSparks
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.
Mark Center of Pocket Band with Pin   @FanningSparks
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.
Draw Lines for New Outside Edge   @FanningSparks
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.
Pin Apron Bib to Pocket Band   @FanningSparks
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.Topstitching Tips   @FanningSparks
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.
Pin Patch Pockets in Place on Apron Body  @FanningSparks
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.
Customize Top Patch Pocket for Pencil and Phone   @FanningSparks
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.
Customize with a Belt Loop for a Bandana   @FanningSparks
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.
Woven Grid Decorative Element on Maker Apron   @FanningSparks
The below photo shows the steps I followed to make my decorative grid.
How to Add a Woven Grid of Rainbow Stripes   @FanningSparks
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.
Safety Glasses on Woven Rainbow Grid   @FanningSparks
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.
Trim Waistband Sections   @FanningSparksFold 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.
Pin Facings to Curved Edges of Bib Apron  @FanningSparks
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.
Round Off Apron Skirt Corners   @FanningSparksPress 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.
Pin Bias Tape Around Apron Skirt   @FanningSparks
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.
Notch Rounded Corner and Wrap Bias Tape Around   @FanningSparksStep 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.
Fold Over Raw End of Facing Even with Apron Bib   @FanningSparks
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.
Finished Raw End of Facing for Apron Bib   @FanningSparks
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.
Finished Ends of Facings   @FanningSparks
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.
Insert Binding Tie into Apron Facing   @FanningSparksYour 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!
Top of Finished Maker Apron   @FanningSparks

More Info

Please pin this image to share or save for future reference.
Repurpose Old Jeans into this Fabulous Maker Apron pin   @FanningSparks
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.
Peg - FanningSparks Author

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.
Olde Growth Exhibition at Chester Art Center   @FanningSparks
My favorite was this striking work called Maze Cutter.
Maze Cutter by Johnston Foster   @FanningSparks
Foster’s Maze Cutter is amazing—the bull is majestic, fierce and intense.
Closeup of Maze Cutter by Johnston Foster   @FanningSparks
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.
Horns on Maze Cutter by Johnston Foster   @FanningSparks
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.
Details from Garuda by Johnston Foster   @FanningSparks
Details from Denominator by Johnson Foster   @FanningSparks
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.
Garuda by Johnston Foster   @FanningSparks
Closeup of Garuda by Johnston Foster   @FanningSparks
El-ahrairah is a rabbit folk hero from Richard Adams’ book Watership Down.  This is Foster’s sculpture El Ahrairah.
El Ahrairah by Johnston Foster   @FanningSparks
Closeup of El Ahrairah by Johnston Foster   @FanningSparks
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.
The Fenrir by Johnston Foster   @FanningSparks
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.
The Fork in the Road by Johnston Foster   @FanningSparks

Closeup of The Fork in the Road by Johnston Foster   @FanningSparks
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.
Black Bird Reclaimed Creation by Sayaka Ganz   @FanningSparks
Black Horse Reclaimed Creation by Sayaka Ganz   @FanningSparks
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.
Closeup of White Horse Reclaimed Creation by Sayaka Ganz   @FanningSparks

Closeup of Black Horse Reclaimed Creation by Sayaka Ganz   @FanningSparks
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.
Peg - FanningSparks Author

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.
Map Showing Villages of Chester, Victoria and Parrsboro, Canada    @FanningSparks
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.
Harbor View from Chester Yacht Club, Nova Scotia     @FanningSparks
Beautiful vistas and nautical scenes capture one’s attention all along Chester’s waterfront.
Row of White Boats at Chester Yacht Club
Two Sailboats in Chester Harbor, Nova Scotia        @FanningSparksDinghies at Wharf in Chester, Nova Scotia        @FanningSparks
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.
Bardin St Building in Victoria, Prince Edward Island   @FanningSparks
Front Door of Turquoise House in Victoria, Prince Edward Island   @FanningSparks
Gable of Turquoise House in Victoria, Prince Edward Island      @FanningSparks
Old Red Barn in Victoria, Prince Edward Island      @FanningSparks
Old Grey Barn with Buoys in Victoria, Prince Edward Island      @FanningSparks
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.
Joy Laking Painting at Parrsboro Street Corner, Nova Scotia        @FanningSparks
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…
Looking Down Main St from Bandstand, Nova Scotia        @FanningSparks
… has been skillfully eliminated from Joy Laking’s street scene.
Joy Laking Painting in Progress in Parrsboro, Nova Scotia        @FanningSparks
Nearby Partridge Island is a popular location for the plein air painters.  It’s little wonder—there is natural beauty in every direction!
Partridge Island Viewed from Beach in Parrsboro, Nova Scotia        @FanningSparks
We spotted artist Adam Tragakis capturing these stunning cloudy skies over the Fundy cliffs.
Adam Tragakis Painting at Partridge Island, Nova Scotia        @FanningSparks
Here’s how his painting had evolved a little over an hour later.  Splendid!
Adam Tragakis Painting in Progress at Partridge Island, Nova Scotia        @FanningSparks
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.
View from Partridge Island Beach, Nova Scotia        @FanningSparks
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.
Peg - FanningSparks Author

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.”
Peggy’s Point Lighthouse at First Light, Nova Scotia @FanningSparksGranite Rocks at Peggy’s Cove Nova Scotia   @FanningSparks
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”.
Coastline of Island Rock Head Nova Scotia   @FanningSparksRocks Along Shore of Island Rock Head Nova Scotia   @FanningSparks
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.
Shoreline at Lower Prospect Nova Scotia   @FanningSparks
We kayaked to Hearn Island where we enjoyed a short hike and spectacular views.
Single Rock on Top Granite Boulders at Hearn Island   @FanningSparks
Sailboat Viewed from Hearn Island Nova Scotia   @FanningSparks
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.
Brier Island Nova Scotia Along Seal Cove Trail in Fog   @FanningSparksFog also shrouded the rocky cliffs in the Nature Conservancy of Canada Reserve on the island’s west coast.
Foggy Coast in Nature Conservancy of Canada Reserve on Brier Island   @FanningSparks
This heart-shaped rock was propped up near the Brier Island Lighthouse.  How it came to be is a mystery.
Heart-Shaped Rock at Brier Island Lighthouse Nova Scotia  @FanningSparks
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.
View of Balancing Rock in Tiverton Nova Scotia   @FanningSparks
The basalt column, known as Nature’s Time Post, seems to defy gravity.
Column Balanced on its Tip at Tiverton Nova Scotia   @FanningSparks
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.
Cliffs at Burntcoat Head Nova Scotia   @FanningSparks
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.
Lookoff at Partridge Island Nova Scotia   @FanningSparks
It was low tide when we visited nearby Five Islands but the beautiful skies more than made up for the lack of water!
Magnificent Landscape and Sky at Five Islands  @FanningSparks
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.
Shoreline at Thunder Cove Prince Edward Island   @FanningSparks
The below sandstone sea stack is dubbed Teacup Rock for its unusual shape.
Teacup Rock at Thunder Cove Prince Edward Island   @FanningSparks
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.
Peg - FanningSparks Author

There was a time when local newspapers printed a society page with a full accounting of who visited whom in the community.  They even reported who poured tea.  I’m reminded of this quaint custom when I see tea service sets like the one pictured below.
Old Silver Tea Service Used for Wind Chimes
The days of leisurely afternoon visits for tea are largely past and tea service sets are finding their way into vintage and thrift shops.  Many of these silver teapots, sugar bowls and creamers are ready for a new lease on life.  One option is to repurpose them as wind chimes. The silver-plated components, like the below sugar bowl, age beautifully shifting from a shiny, clear glow to a soft, weathered patina.
Top of Old Silver Sugar Bowl Wind Chimes   This project is completed with silver-plated cutlery hung from glass-beaded strands.  The spoons catch the breeze and produce a pleasant soft tinkling sound.  Here’s a closer look.
Spoons on Old Silver Wind Chimes      @FanningSparks
Today’s post includes full step-by-step instructions for making your own Old Silver Wind Chimes.  This project is fully customizable—you can make it as shown or improvise and make your own version.  Here are two different versions—one with a creamer and blue and green beads and the other with a sugar bowl and green and purple beads.
Old Silver Wind Chimes – Two WaysLet’s get started.
Supplies Needed
The following supplies are needed to make the Old Silver Wind Chimes:
. A Silver-Plated Sugar Bowl, Creamer or Teapot
. Silver-Plated Cutlery including 1 Fork, 2 Tablespoons and 3 Teaspoons.  Alternatively, you can select your own combination of cutlery pieces.
TIP: Thrift stores and yard sales are a good source for old silver-plated items.  If you’re uncertain of the metal content, you can use a strong magnet to check.  Silver is non-magnetic so if the magnet sticks to the metal it is unlikely to be silver.
Old Silver Flatware Used for Old Silver Wind Chimes. Beads:  Approximately 60” of Glass Beads.  Glass beads may be more expensive than other materials but they catch the light beautifully and they tend to weather better.  Choose an assortment of colors, shapes and sizes.  I purchased a variety of beads, as shown below, to make colorful and interesting hangers but I didn’t use nearly as many beads as shown.  I found it helpful to include some “filler” beads (ie the white ones) to really let the other beads stand out.  Ensure your glass beads will fit onto your beading wire.
Assortment of Glass Beads for Old Silver Wind Chimes. Teardrop Beads: A teardrop-shaped glass bead adds a nice touch to the bottom of the wind chimes.  If using a creamer, teardrop beads are the perfect way to end the bead strands coming out of the creamer’s spout (see photo in Step 12).
Teardrop Glass Beads for Old Silver Wind Chimes. Beading Wire: Approximately 100” (9 ft) of Beading Wire.  This stringing material is made of multiple strands of thin steel wire coated with a layer of nylon.  Surprisingly, this type of wire is available as a beading supply and as a fishing supply.  I’ve seen 7-strand Beading Wire in the beading section at my local craft store.  But I raided my husband’s fly fishing gear and selected a spool of 40-lb Knottable Wire Bite Tipper from RIO.  I reasoned that fishing line would be more durable and stand up better to the outdoor conditions I expected my wind chimes to endure.  Ensure your beading wire will fit into your glass beads.
. Snap Swivel Fittings: As with the beading wire, Snap Swivel Fittings are available as both beading and fishing supplies.  I used a Sports Professionals Taru Swivel with Interlock Snap in size 50-lb test. You’ll need only one.
. Crimp Beads: Used to secure the Beading Wire.  Crimp Beads come in different shapes and sizes.  Ensure your crimp beads fit onto your beading wire.  You’ll need about 30 crimp beads.
Supplies to String Beads for Old Silver Wind ChimesTools and Equipment Needed
. Wood Block: A scrap block of hardwood for your working surface.  I used a 10” x 5” x 2” scrap piece of hemlock.
. Rubber Mallet
. Hammer and Sharp Nail: Used to indent before drilling.
. Drill with 7/64” Bit for drilling metal
. Painter’s Tape
. Pliers: Cutting Pliers, Flat-Nose Pliers and Round-Nose Pliers.
. Crimping Pliers: Used to squeeze the crimp beads onto the beading wire.  I purchased a Beadalon brand Micro Crimper Tool for this project and it worked perfectly.
. Tweezers (optional): Used to handle beads.
. Fabric Piece: A square of fabric, approximately 12″ x 12″, to cover your working surface for beading.  Ideally, the fabric would be light in color and have a short nap such as velour.
Instructions  The below illustration shows the various parts of the Old Silver Wind Chimes.  The labels match those used in the following instructions.  The measurements indicate the approximate length of each part.  Please note the total length is slightly shorter than the sum of the parts due to overlaps between components.
Old Silver Wind Chimes – Parts and SizesStep 1 – Select Components  Select your featured component—it could be a lidded sugar bowl or a creamer as shown in this tutorial.  Alternatively, you could use a teapot but the hangers would likely need to be longer so increase the number of glass beads and length of beading wire accordingly.
Select 1 fork for the center of the wind chimes.  Select 4 spoons to surround the fork.  I chose to use 2 tablespoons and 2 teaspoons in 2 different flatware patterns.  Select 1 spoon to be used as the bottom weight.  I chose a sugar spoon, with a large bowl, for this purpose.  Alternatively, you can choose any combination of silver-plated cutlery you like.
Selecting Spoons and Fork for Old Silver Wind ChimesStep 2 – Flatten Spoons and Fork   Work on a block of scrap wood.  Hold a spoon firmly against the wood block and hit it with a rubber mallet to straighten/flatten the spoon handle.  The idea is to straighten the handle a little so the spoon will hang vertically.  Optionally, you may also want to hit the spoon bowl a few times to flatten it a little.  Repeat with the remaining spoons and fork.
Flattening Spoons for Old Silver Wind ChimesStep 3 – Bend Fork  Use flat-nose pliers to grip one of the fork’s tines.  Slowly bend the tine out and into a graceful curl.  It’s helpful to use round-nose pliers for the final bending.  Alternate the direction of the tine curls.  Curling out the fork tines increases their contact with the bowls of the spoons meaning the wind chimes will produce more music.
Bending Fork for Old Silver Wind ChimesStep 4 –  Drill Holes in Spoons and Fork   Start with a spoon.  Choose a spot at the top of the handle—centered and about ¼” from the tip—to drill a hole for hanging.  Indent this spot with a sharp nail and a hammer.  Use the drill with a bit for drilling metal.  Drill through the spoon handle at the marked spot.  Take care to clear away metal filings since these can be sharp.  Use a hammer to knock off and flatten any sharp edges or tear-out on the backside of the drilled hole.  Repeat for the remaining spoons and fork.  Drill a second hole in the fork just above the top of the tines in the center.
Drilling Spoon Handles for Old Silver Wind ChimesStep 5 – Drill Holes in Sugar Bowl   Choose 4 spots on the bottom of the sugar bowl for drilling holes.  It’s easiest to align these with the bowl’s feet.  As above, indent the selected spots with a sharp nail and hammer.  Drill the holes.  Locate the center of the bottom, mark and drill.  Use a hammer to gently smooth out the backside of the drilled holes.
Drilling Bottom of Sugar Bowl for Wind ChimesNext drill holes along the top rim of the sugar bowl.  Choose 4 spots at an equal distance from the handles and the top edge.  Due to the curved edge, drilling these can be tricky.
TIP: A small piece of painter’s tape covering your target spot will help prevent the drill bit from slipping.
Use a hammer to gently smooth out the backside of the drilled holes.
Drilling Top of Sugar Bowl for Wind ChimesIf using a creamer, drill a hole in the center of the creamer’s spout.
Drilled Creamer Spout for Old Silver Wind ChimesStep 6 – String Beads for Top Hanger  Place a piece of fabric on your working surface to keep your beads from rolling away.  Cut 2 pieces of beading wire each 16” long.  Insert both pieces through the bottom of a swivel snap fitting.  Fold wires in half.  Slip a crimp bead onto the wire ends and slide it up to the swivel snap fitting.  Use crimping pliers to squeeze the crimp bead and lock it into place.
Assemble Top Hanger for Old Silver Wind ChimesTake a few minutes to plan your bead design.  The beaded section should be about 4.5” long.  You may want to play around with different combinations of colors and shapes to create a pleasing pattern.  Once happy with your design, string the beads onto one of the wires ending with 1 or 2 crimp beads.  Then finish with a small crimp bead positioned at the end tip of the wire.  Use the crimping pliers to squeeze the end crimp bead into place—temporarily keeping the beads in place while you work on the other sections.
Stringing Beads for Top Hanger on Wind ChimesStep 7 – Attach Top Hanger  Prepare to attach the beaded wires into the 4 drilled holes on the top edge of the sugar bowl.  Snip off the crimped bead from the end tip of the wire.  Thread the end of the wire through the drilled hole and back up through 3-5 beads.  Ensure beads are snug against the swivel snap fitting at the top.
Connect Top Hanger to Sugar Bowl for Wind ChimesIf using a lid on a sugar bowl, put the lid in place and adjust the wire loops to fit.  Lock in place, by squeezing the remaining crimp bead(s) with the crimping pliers.  Trim off the end of the wire with the cutting pliers.  Repeat for the 3 remaining wires.
Top Hanger with Sugar Bowl Lid in Place Step 8 – String Beads for Cutlery Hangers  Cut a piece of beading wire 10” long.  Squeeze a small crimp bead onto one end of the wire.  Thread a plain bead onto the wire, slide up to the crimped bead, loop wire around and thread back through bead.  Place the beaded end of the wire inside the sugar bowl and pull the wire down through the drilled hole.  Repeat for the remaining 4 drilled holes.
Insert Anchor Wires for Hanging Cutlery String the beads onto one of the beading wires in your desired pattern.  The beaded section should be about 5” long.  Choose 6 small plain beads to wrap around the spoon handle.  Add 3 of the small plain beads and a crimp bead to the wire.  Then squeeze another crimp bead on the very end of the wire to temporarily hold the beads in place.   Repeat for remaining 4 wires.
String Beads on Wire to Hang CutleryStep 9 – Attach Cutlery  Prepare to attach the spoons and fork to the beaded wires.  Start with one of the beaded wires and one spoon.  Push all the beads up against the bottom of the sugar bowl.  Snip off the crimped bead from the end tip of the wire.  Thread the end of the wire through the drilled hole in the spoon handle, from front to back, add 3 small plain beads and pull the wire back up through the crimp bead and the last 3-5 beads above the crimp bead.  Lock in place, by squeezing the crimp bead with the crimping pliers.  Trim off the end of the wire with the cutting pliers.  Repeat for the 4 remaining wires.
Attach Cutlery to Strung Beads
Cutlery Attached to Beaded Hangers

4 of 5 Cutlery Pieces Attached to Bottom of Sugar BowlStep 10 – Prepare Bottom Weight  Hold the handle of the spoon with a set of flat-nose pliers.  Then use your other hand to bend the spoon handle into an interesting shape.  Work carefully to gradually bend the handle.  Drill a hole in the handle of the spoon if not done previously.  Drill hole at the tip of the spoon bowl.
Bending Spoon Handle for Bottom Weight Cut an 8” piece of beading wire.  String a small single bead onto the wire and center.  Pull both ends of the wire through a teardrop bead.  String 2-3 beads and a crimp bead onto the double wire.  Then separate the 2 wires and prepare to attach to the tip of the spoon.   Choose 7 small plain beads.  Thread 4 small plain beads on one end of the wire.  Thread the same end of the wire through the drilled hole in the spoon’s bowl, from front to back, add 3 more small plain beads and pull the wire back up through the crimp bead and the last 2-3 beads above the crimp bead.  Pull the second end through the beads in a similar way.  Lock in place, by squeezing the crimp bead with the crimping pliers.  Trim off the ends of the wire with the cutting pliers.
Attach Beaded Droplet to Spoon for Bottom Weight @FanningSparksStep 11 – Attach Bottom Weight   Prepare to attach the bottom weight to the fork.  Drill a hole in the fork just above the top of the tines, if not done previously.
Cut a piece of wire 10” long.  Pull the wire through the hole above the fork tines.  Pull one end of the wire about 1” below the tips of the fork tines.  String a crimp bead onto both wires and push up between the fork tines.  Lock in place, by squeezing the crimp bead with the crimping pliers.  String about 3 beads onto both wires and add another crimp bead.  Lock in place, by squeezing the crimp bead with the crimping pliers.  Trim off the ends of the wire with the cutting pliers.  String beads onto the beading wire in your desired pattern.  The beaded section should be about 2.5” long.
The handle of the bottom weight is attached in the same way as the other spoon handles.  Choose 7 small plain beads to wrap around the spoon handle.  Add a crimp bead and 3 of the small plain beads to the wire.  Push all the beads up against the crimped bead near the fork tines.  Thread the end of the wire through the drilled hole in the spoon handle, from front to back, add 4 small plain beads and pull the wire back up through the crimp bead and the last 3-5 beads above the crimp bead.  Lock in place, by squeezing the crimp bead with the crimping pliers.  Trim off the end of the wire with the cutting pliers.
Bottom Weight Attached to Fork @FanningSparksStep 12 – Add Beads to Creamer Spout  If using a creamer, prepare to string beads for the creamer’s spout.  Cut 3 pieces of beading wire, approximately 6” long.  Begin each wire with a teardrop bead using the same technique as described in Step 10 Prepare Bottom Weight.  String beads onto the beading wire in your desired pattern.  Hold the beaded sections in place on the spout to judge the final length.  The beaded sections shown below are 3.5”, 3” and 2.5”.  The objective is to create a graceful arch simulating streams of water pouring from the spout.  When satisfied with the beaded sections, prepare to attach them to the creamer’s spout.
Insert the end(s) of the wire through the hole in the spout, front to back, slide on a crimp bead followed by a plain bead.  Loop the wire around the plain bead and back through the crimp bead and previous beads.  Push beads up to the spout for a snug fit.  Squeeze the crimp bead to lock in place.  If it’s too difficult to thread all 3 beaded wires in this way, you could attach the shortest beaded wire midway up one of the other wires (as shown below).
Beaded Spout on Creamer @FanningSparksStep 13 – Hang and Enjoy!  Get ready to enjoy the sparkling lights and sweet sounds of your new Old Silver Wind Chimes!

More Info

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Old Silver Wind Chimes DIY Tutorial @FanningSparksSpecial thanks to Marian, my sister, for crafting along with me on this project.  She gets full credit for the beautiful creamer wind chimes shown in this post.
You may also enjoy these FanningSparks’ blog posts featuring ways to repurpose items:
1. A Transformation Worthy of HGTV
2. Teacup Pincushion – DIY Tutorial
3. Vintage Bangle to Keepsake Box – DIY Tutorial
4. Thrifted Frame to Small Tray

Today’s Takeaways

1. Bringing new life to abandoned vintage items is a great way to reuse resources.
2. Enrich your décor by incorporating items with an interesting past.
3. Make your own one-of-a-kind wind chimes with old silver and beading.
Peg - FanningSparks Author

Whale watching is always on my travel wish list.  Viewing these incredible creatures in their natural environment is simply magical.  So I jumped at the opportunity to travel to Tiverton Nova Scotia with my sister for a whale watching adventure.  We were not disappointed—we saw 4 humpback whales (Megaptera novaeangliae) and they weren’t just tiny specks on the horizon—one was nearly close enough to touch!  Here’s the scoop.
Tiverton is on Long Island, one of the Digby Islands, located at the base of the Bay of Fundy in Nova Scotia.
Map Showing Tiverton, Nova Scotia   @FanningSparks
It’s a pretty little fishing village.
Fishing Boats at Tiverton Docks Nova Scotia   @FanningSparks
We booked a whale watching tour with Ocean Explorations Zodiac Whale Cruises.  We chose this tour because of Tom Goodwin.  Tom is a biologist who has spent his entire 40+ year career studying, guiding and working around whales.  He is a native Newfoundlander but has been conducting whale/seabird tours from Nova Scotia for 35 years.  He is a founding year (1975) member of the Cousteau Society, has worked with the Calpyso crew, and has been supporting the World Wildlife Fund for 40+ years.  On the wall in the Ocean Explorations office, there is a faded 1982 photo of Tom meeting Jacques Yves Cousteau, the world-famous ocean explorer.  Tom’s tours are conducted in Zodiac™ boats (ie rigid hull inflatable boats) meaning we would be viewing whales at water-level.
Ocean Explorations Zodiac Docking in Tiverton NS   @FanningSparks
Ocean Explorations’ guests are outfitted in survival suits for safety and comfort.
Survival Suits Ready for Ocean Explorations Guests   @FanningSparks
After getting suited up in our orange finery, we climbed aboard the Zodiac and set off at a fast clip.  The fog was so thick it was nearly impossible to see beyond the boat.
Zodiac Trip in the Fog   @FanningSparks
Then, like a miracle, the fog cleared and we were sitting on calm waters in bright sunshine.  We waited patiently, along with the lobster fishing boat tour shown below, for the whales which had been spotted in the area.
Lobster Fishing Boat Watching for Whales   @FanningSparksAnd then they came!  A humpback whale surfaced off in the distance!
Humpback Whale Sighting in the Distance   @FanningSparks
And then the most amazing things happened!  More than one humpback whale surfaced including a mother and calf.
Two Humpback Whales Sighted in Distance   @FanningSparks
We saw whales spouting, aka blowing, which happens when a whale exhales air as it comes to the surface to breathe.  I was fascinated to learn that you can hear the humpback whale spouting as far as 800 feet away.
We saw whales lifting their tails out of the water.  Our guide Tom referred to this action as “tail rolls” and explained the whales do this before diving.  A whale raises its tail, or more accurately a “cetacean raises its fluke”, to descend steeply beneath the surface instead of descending progressively.
Humpback Whale Tail Roll   @FanningSparks
Humpback whales, like the ones we saw, “fluke-up” meaning the tail is brought high in the air clearly showing the undersides.
Humpback Whale Fluke Up   @FanningSparks
Then the whales came over to watch us—or so it seemed!  Here’s a photo showing just how close the whales came to our boat.
Watching Humpback Whales from Ocean Explorations Zodiac   @FanningSparks
The whale calf seemed the most curious.  It swam right along the side of the boat.  The next photo shows the whale’s head or “rostrum”.  The small bumps that are visible on the humpback whales rostrum are called “tubercles”.  According to NOAA (USA National Oceanic and Atmospheric Administration), “Each tupercle has one hair that grows out of it.  No one knows exactly why humpbacks have tubercles, but it is thought that they function in some sensory perception.”
Humpback Whale Calf Swimming Along Side Zodiac Boat   @FanningSparks
Humpback Whale Rostrum Above Water   @FanningSparks
Here’s an illustration used by NOAA to explain the anatomy of a humpback whale.  You can’t really see the entire whale when it’s in the water so a visual aid is helpful.
NOAA Humpback Whale Illustration   @FanningSparks
The whale calf swam around and under the boat.  At one point, it did an amazing backflip.  The next photo shows the whale’s underside.  The clearly-visible vertical lines are called “ventral pleats”.  NOAA explains, “The pleats on a humpback whale run from the chin all the way to the umbilicus (belly-button).  Humpback whales are one of six species belonging to the Balaenopteridae family, or rorqual family. All rorquals have ventral pleats on the underside of their throat that allow them to expand their throat greatly while feeding.”  Incredibly, an average-sized humpback whale can hold about 5,000 gallons of water in its mouth.  That’s about the same amount of water needed to fill a 12-foot x 10-foot x 7-foot swimming pool.
Humpback Whale Calf Belly Up with Ventral Pleats Visible   @FanningSparksWe also witnessed lots of flippering or flipper slapping.  NOAA says “Humpback whales are the most famous flipper slapper, as they possess the longest flippers of all cetaceans (around 1/3 of their body size). … A cetacean at the surface rolls onto its side, raises a flipper out of the water, and then hits the surface with it. The whale may do it once or several times in a row.”  Check out this flipper action!
Humpback Whale with Flipper Up at 45 Degree Angle   @FanningSparks
Humpback Whale with Flipper Perfectly Vertical   @FanningSparks
Humpback Whale with Tail Up and Flipper Perfectly Vertical   @FanningSparks
A little online research reveals a wealth of fascinating facts about humpback whales.   Here are a few other examples.
. Humpback whales are huge!  According to iNaturalist, “Adult humpback whales are 11 to 16 m (36-52 ft) long. … Weights of at least 35 t (38.5 short tons) are attained by adults.”  Some references suggest that if humpback whales lived on land, they would be crushed under their own weight.  A newborn humpback whale calf is 4.5 to 5 m (14.7-16.4ft) in length and weighs about 1.5 tons.  The calf consumes up to 52 gallons of milk per day.
How Big is a Humpback Whale Illustration   @FanningSparks
. Humpback whales migrate between feeding grounds in polar waters and breeding grounds in tropical waters.  Our guide Tom indicated the humpback whales we saw in the Bay of Fundy would likely migrate down to the Caribbean.  The whales mate, calve and nurse in the tropics.
. Humpback whales stay in the feeding grounds for only about 120 days.  During this time they need an astonishing amount of krill and small fish—about 1.5 tons every day.  They gain about 12 pounds per hour during their twice daily feedings.   During the remaining 245 days of the year, the humpback whale lives off its fat reserves.
After some time, the humpback whales we were watching decided it was time to move on.  For their final bow, they delighted us by breaching.  NOAA explains “The whale leaps out of the water head first. Usually, whales and dolphins roll in the air so that they land on their side when they hit the water, creating a lot of noise and a big splash.”  I was astonished to learn that the power required for a humpback whale to breach is equivalent to the power needed for a 747 aircraft to liftoff.  Incredible!
Humpback Whale Breaching   @FanningSparks
NOAA continues, “Researchers generally use the word breaching when at least 40% of the animal body clears the water. Despite its important energetic cost, breaching is often carried out in series. It is not clear for scientists why cetaceans are breaching. A breach might be a sign that the animal is physically fit enough to afford energy for this acrobatic display, hence it could be used for ascertaining dominance, courting or warning. Also, as the noise produced is extremely loud, this behavior might be a way of communicating over very long distances with other individuals. Another widely accepted reason is to dislodge parasites. The cetacean will fall onto its side which will bring down a layer of skin along with the attached parasites. The behavior may also be more simply a form of play or an exuberant display of joy.”
Shockingly, about 50 years ago, humpback whales were hunted to the brink of extinction.  Global populations had declined by more than 90% before the International Whaling Commission enacted a worldwide moratorium on hunting in 1982.  But the good news is, according to NatureServe an organization focused on halting the decline of biodiversity by providing accurate, current scientific information, the global status of the humpback whale is “Apparently Secure”.  They report “Large worldwide range extends throughout all oceans; depleted by past overharvesting; population size now exceeds 60,000 and has increased over the past several decades; vulnerable to marine pollution, disturbance by boat traffic, and entanglement in fishing gear, but these are not major threats, and the species is now apparently secure.”
I’ll wrap up this week’s post with a quote from the legendary Jacques Yves Cousteau “Learning science, learning about nature, is more than the mere right of taxpayers; it is more than the mere responsibility of voters. It is the privilege of the human being.” from The Human, the Orchid, and the Octopus: Exploring and Conserving Our Natural World (2007).

More Info

To learn more about Tiverton, Nova Scotia, Canada and why the broader Bay of Fundy area is called “Canada’s Natural Wonder”, check out the Bay of Fundy Tourism website.  You may also enjoy the FanningSparks’ blog post We Dined on the Ocean Floor.
Check out the Ocean Explorations Zodiac Whale Adventures website for information about Tom Goodwin and his fantastic whale watching tours.
For lots of educational resources about the Humpback Whale, check out the USA National Oceanic and Atmospheric Administration (NOAA)’s Sea Earth Atmosphere (SEA) program and NOAA SEA website.
I’m a huge fan of iNaturalist and their Seek app.  See the iNaturalist website for identification tools and reference information about wildlife.
NatureServe “is a U.S. – based nonprofit organization made up of passionate biodiversity scientists who want to apply the best information to decision-making. … As rapid changes threaten our planet and all life that depends on it, someone must keep their finger on the pulse of the planet and its plants and animals whose future depends on conservation action. NatureServe and our Network fill this role. Together, we are on the front lines of halting the decline of biodiversity.”

Today’s Takeaways

1. Watching whales in their natural environment is magical.
2. Take the time to select a tour guide with the knowledge, expertise and values that are important to you.
3. “Learning science, learning about nature … is the privilege of the human being.” Jacques Yves Cousteau
Peg - FanningSparks Author