Materials:

Approx. 30 grams of unflavored gelatin

500 mls of Water

Desired food coloring

Salt

Your selected fragrant or essential oil

In the English-speaking crochet world, the basic stitches have different names. The differences are usually referred to as UK/US or British/American. Examples of these differences and their usual abbreviations are:

• UK: double crochet (DC) = US: single crochet (SC)
• UK: treble crochet (TR) = US: double crochet (DC)                           
  

Another terminological difference is known as tension (U.K.) and gauge (U.S.). Individual crocheters work yarn with a loose or a tight hold and, if unmeasured, these differences can lead to significant size changes in finished garments that have the same number of stitches. In order to control for this inconsistency, printed crochet instructions include a standard for the number of stitches across a standard swatch of fabric. An individual crocheter begins work by producing a test swatch and compensating for any discrepancy by changing to a smaller or larger hook. North Americans call this gauge, referring to the end result of these adjustments; British crocheters speak of tension, referring to the crafter's grip on the yarn while producing stitches  Try using a gallon size (freezer-style) zipper storage bags as your yarn holders. There is enough room for four 3 oz. skeins, this will also keep your yarn clean. Place a hole in the end, this way you will not have to take them out of the storage bag.

Double Pointed: (dp) needles have points at both ends. They are sold in sets of four and are sued for knitting in rounds and for working cables.

Place Marker on Needle: means to put a marker or paper clip on needle; slip it from left-to-right-hand needle as you work each row.

Gauge: Refers to the number of stitches (and sometimes rows) which make up 1" of the knitted or crocheted fabric. Each set of directions lists the gauge obtained by the designer when she worked the pattern with the yarn and needles specified, and is the gauge upon which the directions are based.

Knitting needles and crochet hooks come in  a wide range of sizes. Since the sizing of needles and hooks is not the same in England and Canada as in the United States, a listing of comparative sizes is given in the conversions chart below.

Needles: U.S. to English or Canadian: 0=13; 1=12; 2=11; 3=10; 4=9; 5=8; 6=7; 7=6; 8=5; 9=4; 10=3; 11=2; 13=0; 15=000.

Hooks: U.S. to English or Canadian: 1=0; 2=1; 3=1 1/2; 4=2; 5=2 1/2; 6=3; 7=3 1/2; 8=4; 9=4 1/2; 10=5; 11=5 1/2; 12=6; 13=6 1/2; 14=7.

When purchasing your yarn, be sure to purchase enough of the same dye lot to finish your garmet, checking numbers on the package, as dye could vary in the next batch.

More on needles, hooks, yarns and threads:

Knitting needles come in a variety of styles, each designed for a specific use. Straight needles are for knitting back and forth. Double pointed (dp)  needles have points at both ends, are sold in sets of four, and are for knitting rounds; one alone may be used in making cables. A circular needle, pointed at both ends and flexible in center, is for knitting in rounds or back and forth on more stitches than could be conveniently worked on dp or straight needles.

Although we tend to associate wool yarns with knitting and cotton threads with crocheting, the yarn or thread used can, of course, be made of any fiber, natural or synthetic. The synthetics are often machine washable - a quality especially desirable in items that will need frequent washing, such as baby clothes. Today we have a great variety of textures from which to choose, form fluffy angoras and mohair's to smooth finishes and on to sparkling metallic-look threads and ribbons.

The weight to be used will be determined by the style of the garment you are making. Lighter-weight yarns or threads are usually called for then the finer needles or hooks are used for a delicate, soft effect, while heavier ones will be used with larger needles and hooks for a bulkier look. If at all possible, do not substitute other yarns for those called for in the directions, because those directions have been written specifically for the yarn named.

You will need the following supplies, your album, fabric, ribbon, and a hot glue gun and other decorative bells and whistles you wish to add for your creative photo album.. 

The various materials you use will depend on how creative you want to be. To construct a basic photo album, you will need enough material to cover the front and back of the album and the inside of the front and back covers. Open your photo album with the pages down, and measure the front, spine, and back to see how much material you will need. Cut your material to fit the outside of your photo album, but be sure to allow an extra inch all the way around your material.

Apply a thin bead of glue around the edges of the outside cover of your photo album, and then apply small beads of glue over the rest of the surface. As you work quickly, lay your material onto the cover. You will need to smooth the material across the cover. If your glue has started to harden before you have finished applying your material, you will need to add some more glue.

Once you have attached your material to the outside cover of your photo album, you will need to turn your album over. You can now apply a thin bead of glue along the edge of the inside cover. Pull your excess material over the edge of the album and press the material onto the glue.

If you are going to add cording, lace, fringe or some other type of embellishment around the edges of your album, you will need to do this now. Measure the amount of trim that is needed to cover the edges of the album. Cut your trim, but allow an extra inch of material. Apply another thin line of hot glue along the edge of the album and press your trim onto the glue.

Once you have applied your trim, you will need to cover the inside of your album with material. Measure the inside of the front and back covers. Cut your material to fit the inside of the cover, but be sure to allow an extra inch. You will need to fold the excess material in towards the cover so that you won’t have any raw edges showing. You can iron your creases for a neater look.

Apply another thin line of hot glue along the edges of the inside and dot hot glue across the middle. You can now press your material onto the glue, but be sure your raw edges are folded in towards the cover.

You now have the basic photo album. If you purchased a small picture frame, you can cover it with the same material or contrasting material using your hot glue gun. Next, hot glue the frame to the front of the album. You can also trim the picture frame with matching cording, lace, or fringe. Think about using different colored ribbons between pages, similar to ribbon book marks.

If you want to be even more creative, you can write words such as “family photos”, “friends”, etc using a fabric pen. Using a glue gun you can add decorations, such as rhinestones, buttons, shells, etc. to the cover of your album

It takes time to get used to all the possibilities and limitations when using silk florals. They are similar in use, but, artificial flowers are a different art form. The line, focal, filler technique is an excellent way to design artificial and dried flower arrangements.

For Horizonal arrangements:

-Using a relatively shallow container, anchor foam with a lot of glue or use anchor pins, and position sprays of line flowers to establish the shape of the design.

1. Think about the size of the space in which your arrangement will be placed, and choose the size of your container and flowers accordingly. A big vase and lots of flowers will look overcrowded on a small side table. A small vase and few flowers would look lost in a larger display area.
2. When using open flowers, such as roses, daffodils or gerbera daisies, try to turn some of them at different angles to show different shape. Try not to arrange your flowers all facing in the same direction if the arrangement can be viewed from various angles.
3. Try to allow some space between the flowers to prevent a crowded effect.
4. Make sure that your vase is leak proof and that it has a neck which is big enough for the flowers to fit comfortably.
5. If the flowers sometimes don't stand up straight it could be that your vase is too short for the flowers, or that the flowers are too tall for the vase. A good way to check if the vase you would like to use is of an appropriate height, is too see if the vase is at least half as tall as the flowers.
6. If you cut your flowers too short, don't think that it is all for loss! Either put pebbles or marbles at the bottom of your vase for shorter flowers to stand on. You could also simply cut the head off of the flower and float it in a decorative dish, along with candles.
7. You can use filler flowers in a sparse looking arrangement to give it a much fuller appearance. Some good examples of filler flowers include, feverfew, ferns, Queen Anne's lace, baby's breath, heather, statice, and aster.
8. To give your arrangement more dimension cut the flowers at various lengths. Place the longest stems in the center of your bouquet.

• Drill  (a little variation here, colored glass, metal and wood, will require different drill bits for your drill)
  
• Cord or fishing line (20 lb fish line is the best)
• Hack saw
• Measuring tape
  
• Scissors or wire cutters
• Scrap lumber, Redwood is great for outdoors.
• You'll need a wood saw, if you go with wood.
  
• Glue (super glue is the best for securing the eyelet's)
  
• Picture hanging kit, which includes Eyelet screws (1/8-1/4, depending on the size and weight of the chimes and above support) and wire for securing the different hanging themes. (
  
• Theme items. Use at least 5 of whatever your choose for your chimes. You want to achieve motion and sound.
• To achieve maximum sway and chime, you want your glass, pipes, wood, etc., at least 8" long and the rest graduated in lenght up in 1" increments.
  

• The hanging support. This bar is at least 8" wide, and thick enough to hold the weight of your theme items. You will drill a hole in it for each hanging item, as well drilling holes on each end ( at least 1" in from the ends) for the support wires, those going up to your support for the wind chime. The upper support can be secured to a nail, a wire simply wrapped around a branch or a elaborate support bar, as used for holding flower baskets.
  

• Begin with any necessary decorating, painting, cleaning, or polishing that needs to be done to the theme items.
• Use the drill if needed to create holes in each piece so that you will be able to attach the wires. Drill small holes into the bottom of your top theme holder, as well as two at the top.
• In most cases, you will apply a few drops of glue in the hole and then set in your brass eyelet.
  
• String each piece with different lengths of cord or fishing line. Be sure to tie a tight knot to secure it. Ideally you will use a double reverse knot, when using fish line
  
• Determine the length of your cords to ensure some interaction midway is best, but varying heights, create different sounds..
• When using hollow pipes (copper, bamboo or glass for your chimes, drill a hole through them, about 3/4" down from the top. After putting the line through each, balance the line, so it is in the center of the chime and pointing straight up to the securing bar.
  
• Attach the free end of each length of cord or line to the eyelet's you installed in the hanging attachment, wooden rod, hanger, or other firm item.

Here are some other tips for using hot glue:

• Always keep your glue gun in an upright position. Leaving it on it's side damages the thermostat.
• If you have let the gun sit for a while, there will be a build up of melted glue at the nozzle, just waiting to gush out uncontrolled. Release the trigger on a piece of cardboard before applying the glue to what you wish to bond.
• Use a popsicle stick to spread out the glue while it is still hot.
• Keep a bowl of cold water handy, for if you do burn yourself.
• The faster you manage to get the glue applied and the materials bonded, the smoother your application will be.
• Hot Glue can attach a porous material (e.g. wood) to a small piece of non porous material (e.g. glass beads) provided it can encase it. Much like the setting of a gemstone in a ring

RIBBON EMBROIDERY  

Tips and advice on ribbon embroidery from choosing the right materials for your ribbon embroidery project to threading the needle and handling some of the more complicated stitches.

Choosing Ribbons

100% silk is recommended.

You should buy at least 3 metres to 5 meters of each color you want to use in your project and 3 to 6 shades of green (where required).

Silk ribbon is available in a wide variety of widths, but the most common are: 2mm (great for French knots, small leaves and buds, and daisies); 4mm (most often used for flowers and leaves); and 7mm (ideal for gathered flowers and large leaves).

Choosing your needles:

When you are stitching through a tightly woven fabric, use a chenille needle. It has a sharp point and a large eye. These two features help get the ribbon through the fabric with the least stress.

If you are stitching on a sweater or a loose woven fabric, a tapestry needle should be used.

In either case, the size of the ribbon determines the size of the needle, thus: 2mm - needle size 22 or 24; 4mm - needle size 20 or 22; 7mm - needle size 18.

 POSTERS & PRESENTATION 101

The following can be used for your Arts & Crafts fairs, children's arts, middle, high, college and university, as well as for executive presentations.

Readability is a measure of how easily the ideas flow from one item to the next. Text that has lots of grammatical problems, complex or passive sentence structure, and misspellings is "hard to read". A common error in poster presentations is the use of fonts that are too small to be read from 8 feet away, this is your typical distance a passerby will be reading your poster from.

Studies show that you have only 11 seconds to grab and retain your audience's attention so make your leading introduction prominent and brief. Most of your audience is going to absorb only the introduction.

Here are some ideas about how to get the most attention for your efforts.

Designing the poster panels deserves consideration  Most posters are most quickly made using some kind of computer software. A word processing program plus a few graphics packages (e.g. Microsoft Powerpoint, Macromedia Freehand, Adobe Illustrator, Adobe Photoshop, Adobe PageMaker) are important tools. Of these, Powerpoint has the least sophisticated graphics options. If you have not tried computer graphics or are just starting out, find someone whose poster you like and ask them what they use and if they like it.

CHOOSING BETWEEN TWO POPULAR FORMATS:

a large format poster or

These are printed as a single large sheet.

a multiple panel poster.

These are composed of printed individually elements, predominantly 8.5X11 inches each, that get assembled into a poster on site.

The style you chose is a matter of cost and personal taste. What are the tradeoffs? Large format posters require access to a large format printer (Fedex/Kinko’s or other computer-based copying companies have these) and the latter can be done largely with tools in your office or lab. Both formats are portable although large format posters are awkward to carry without a good carrier tube with a shoulder strap.  Both are affordable ($0.5 to 1.0 per inch versus about $50 for a multiple panel poster). In contrast to the multiple panel poster, you must reprint the whole large format poster if 1) the data change at the last minute or 2) the colors on printing turn out to be really ugly or 3) you spill a liquid on it (unless laminated they run badly if they get wet). If any of these factors are at issue, you may wish to consider a multiple panel poster: it is easy to reprint individual elements without having to make the whole thing over again. Although there is no question that it is easier to mount the large format poster once on site - 4 tacks and you are done - there is no way to rearrange the panels within your large format poster once it is printed. If you are going to two meetings and need a different sized poster for each, then you might consider a large format poster instead since unless you omit panels or change the spacing between them, the multiple panel poster is somewhat harder to change in size.

Present your message:

Keep it short and sweet and make this your title! Use the active voice (i.e., avoid "ing" on the ends of verbs) and avoid the verb "to be" whenever possible.

Space available:

Regardless of poster format, lay out the space physically as well as on paper to double-check yourself. If you can, make the poster flexible enough to change the size by adding or omitting panels or elements. This flexibility is handy if you are going to more than one meeting, if the poster boards are not exactly the size advertised, if the meetings have different in size requirements for posters, or if you wish to update your data between meetings.

Your "preliminary" layout

Before you actually spend time making the final panels of the poster, take pieces of paper that are about the right size and see if you can actually make it all fit. This will save you a lot of time in the long run.

Given that the average poster gazer spends less than 10 minutes on your work and you have 11 seconds to trap your subject before they move on, only show data that adds to your central message. You do need a Title, Authors, Introduction, Results, and Conclusions. Some meetings require you to include the abstract also. Usually, omitting Materials & Methods is fine: most people will not read them anyway. If you wish, have a methods handout for those who ask for it. Although sometimes the method is essential to understand the data or the validity of the conclusions, most of the time, a short version here will do as well.

Consider making handouts that include the full poster in miniature on one face and then all that other material on the opposite side.  Methods, references, detailed contact information, advertisement for a postdoctoral fellowship (to ask for or to give out one), or extra data are all good options for the flip side. Take from 50-400 handouts per a meeting and leave them as a stack under your poster. This is a great way to gauge the success of your poster.

Poster Components:

Different aspects

People approach new information in a known spatial sequence: we track vertically from center to top to bottom, and horizontally from left to right. This means that you should put the most important message in the center top position followed by the top left, top right, bottom left, and finish in the bottom right corner. That's why the poster title should be your punch line because, in that position, the title and your name will be seen in the first 11 seconds that a person looks at the poster.

The overall format of a good poster is dictated by the way we assimilate information. For example, you would never put your first panel on the right and ask your reader to proceed to the left because we are not trained to read that way. Newspaper format, two vertical columns that are arranged so that you read the left one first and then the right one, is highly "readable" since the reader does not spend time figuring out which panel to read next. A left to right horizontal rows arrangement works too but is not as common. You can easily walk around any meeting and find lots of variation.

Space is important in a poster: without it, your reader has no visual pauses to think. Books leave space on the margins and by having chapters. Posters that are crammed with information are tiring to read and are seldom read in their entirety. Omit all extraneous text or visual distractions, including borders between related data and text, so the reader can assimilate your ideas easily.

Size of poster elements or the fonts in each panel can serve to emphasize the main points. For example, making your subheadings in all capitals and two font sizes larger than the rest of the text on the same panel will draw the reader's eye first, and so be emphasized. The use of multiple fonts in a poster can distract from the science.

You will lend the most power to your words if you spatially arrange the text in each panel of your poster following the same principles used for the poster layout as a whole. A common street sign reads "go children slow". Because the word "children" is in capitals larger than the other words and is in the center of the image, you read "Children, go slow" even though that is not the actual spatial arrangement of the words in the sign. This sign is powerful, succinct, and highly readable.

Practicality speaks:

It takes time to make a great poster. Regardless of format, allow 2 to 3 days to assemble all the bits and pieces, such as photos etc, and then 1.5 to 2 days to assemble the poster. That last bit of data you rush around to get at the last moment will go completely unnoticed if your poster is messy and disorganized i.e. illegible and unreadable.

It costs roughly $50 to make a poster for either format. If you have poster made for you it can cost from $300 to $2,000 depending on how much of it you do yourself.

A great poster is easy to mount on site and can be flexible in assembly in case the poster space is smaller than advertised. If you cannot mount the poster by yourself or the poster is awkward for one person to mount on the materials provided, be sure you arrange for someone to help you. For example, when the poster boards are wobbly it can be hard to push the pins in without pushing over the poster board! Often the person next to you will be glad to exchange labor. If you opted for a multiple panel poster then a map of how the poster should look when it is done is handy when you need to work quickly, are distracted or nervous.

Font sizes need to be big to be effective. A good rule is to stand back from your own poster: if you, who are familiar with the material, cannot easily read it from 6 feet away, either can your audience .

Highlighting a few parts of the text is done easily with: emphasize using Capitals, bold, italics and occasionally (the distance one see's the poster from, is going to matter)shadows

A color border or background is a fast way to add color to a poster. Choosing colors that do not compete with your data, that look good once printed, and that color blind people can see is wise.

If you opted for a multiple panel poster, then LaserFoil allows you to make your printed words from a laser printer come out in color. Available in mat, glossy, and "prism" finishes, LaserFoil can add pizzaz to a poster. Colored graphic tape or dots, and white arrows (Chartpak, Lettraset) can be quickly applied to poster elements to draw attention to the elements you wish to.

Proper contrast will reduce eye strain and make the poster more legible and interesting visually. Again, be careful that the color does not outclass the visual impact of your data: too much contrast is hard on the eyes and can distract the reader from your data.

Adding light color backgrounds to your figures can make the poster attractive. For example, using white lettering and lines on a blue background can make your poster eye-catching. Like a painting, poster elements can also be double matted physically or digitally to add interesting contrast.

Images do not stay the same between one medium and the next and this is especially true for color quality. Although it is efficient to use computer-generated color images as poster elements, you always lose some fidelity in doing so. For example, the edges of letters will blur slightly in going from a slide to a printed image or vice versa. Also, the colors you see on your monitor are usually not what comes out on the slide or on the final, printed poster element. You can "adjust" your monitor and check professional color books that show what the slide film recorders will print. However, it will not be an exact match from screen to print no matter what you do. Automatic film recorders used to print computer images also vary from model to model and from run to run just like photographic printing machines do. To keep the color "true", request custom printing. A good rule of thumb is to switch media as few times as possible

Do get a small print of your large format poster before you print the big one to check for all these color issues.

Have some people look over your poster before you consider it "done". If they are confused, then your audience will be, it is far better to fix it now than to lose people at your presentation. Make your points on your poster, but, do not provide more than necessary, to put your presentation across.

Displaying your finished work is a big accomplishment so take time to enjoy it and your interactions at your appointed presentation. Remember that enthusiasm is contagious.

How are candles made?

While modern candle-making processes vary, most candles are made through the timeless process of placing a cotton wick into wax which is then molded, dipped, extruded, pressed, rolled, drawn or filled into a desired shape and size.

What are the typical ingredients in a candle?

A candle consists primarily of wax and a wick. Many candles also contain dyes or pigments for color and fragrances for scent as well as other minor ingredients.

Yes. Members of the National Candle Association have a long tradition of making high quality, long-lasting and safe candles. In addition, NCA works with the American Society for Testing and Materials (ASTM) to develop voluntary standards for the candle industry. ASTM standards currently exist for the fire safety labeling of candles and the heat-resistance of glass candleholders. NCA continues to work with ASTM to develop additional standards for candles.

Candles are safe when burned properly, responsibly, and according to manufacturers' directions. When burning candles, consumers should always follow these basic safety rules:

Lighted candles should always be within sight. Never leave a burning candle unattended.

Never burn a candle on or near anything that can catch fire.

Keep candles out of the reach of children and pets.

Read and follow all manufacturer instructions carefully.

Trim the wick to ¼ inch each time before burning.

Always use an appropriate candleholder placed on a stable, heat-resistant surface.

Keep burning candles away from drafts, vents and air currents.

Extinguish a candle if it smokes, flickers repeatedly, or the flame becomes too high. Cool, trim wick, check for drafts, and re-light.

Keep the wax pool free of wick trimmings, matches and debris at all times.

Do not burn a candle for longer than the manufacturer recommends.

Always burn candles in a well-ventilated room.

Extinguish the flame if it comes too close to the holder or container. For a margin of safety, discontinue burning a candle when 2 inches of wax remains (1/2 inch if in a container).

Never touch or move a votive or container candle when the wax is liquid.

Extinguish pillar candles if the wax pool approaches the outer edge.

Place lighted candles at least 3 inches apart from one another.

Currently there are no federal labeling requirements for candles, other than those required for consumer commodities under the Federal Trade Commission’s Fair Packaging and Labeling Act (manufacturer’s name, commodity weight, measurements, etc.). NCA members typically place safe-use instructions on their candles or the candle packaging. NCA spearheaded the drive for candle fire-safety labeling, working with the American Society for Testing and Materials (ASTM) to create voluntary labeling standards for the industry.

What sort of chemical reaction is created by burning a candle?

When a candle burns, the flame "consumes" the wax to produce water vapor and carbon dioxide, the same harmless byproducts humans produce when exhaling. This is true for all types of candle waxes.

No. All types of quality candle waxes perform well, burning cleanly and safely when formulated and used properly. Candle manufacturers select waxes or blends of waxes based on their characteristics and their suitability for specific types of candles.

Not really. A well-made scented candle – like an unscented candle – produces harmless water vapor and carbon dioxide when burned. The only difference with a scented candle is that a fragrance is released as well. Reputable candle manufacturers carefully monitor the addition of fragrance to ensure a "clean" and proper burn. There is a maximum amount of fragrance that can be added to a candle before it will no longer burn cleanly or properly. There have been some reports of homemade candles containing too much fragrance, or fragrances not approved for candle use, which can cause improper burning.

A well-made candle will create virtually no smoke when burning properly. However, noticeable smoking will occur whenever a candle’s flame is disturbed, which allows minute particles of unburned carbon (soot) to escape from the flame. Any candle, regardless of formulation or wax type, can be made to smoke by causing the flame to flicker.

To minimize candle flickering, trim the wick to 1/4 inch before lighting, and place burning candles away from vents, drafts and other strong air currents. If a candle continues to significantly flicker or noticeably smoke, it should be extinguished. Allow it to cool, trim the wick, check for drafts, and then re-light.

There is no lead in candle wax, and no member of the National Candle Association (which accounts for 90 percent of all candles made in the U.S.) uses lead wicks. NCA members voluntarily agreed more than 25 years ago not to use lead wicks.

Although some candles – primarily imports – reportedly contain lead wicks, the majority of wicks manufactured in the U.S. are made of 100% cotton or cotton-paper combinations. Although some U.S.-made candles contain metal wicks, these are typically zinc or tin wicks, which are known to be safe and non-toxic.

The National Candle Association strongly supports the U.S. Consumer Product Safety Commission in its effort to ban lead wicks from the U.S. market.

Candle Safety Tips

Candles are safe products, but may become hazardous when used improperly or in an unsafe manner. National fire safety agencies report that the bulk of candle fire incidents in the United States are due to consumer inattention to basic fire safety or to the misuse of candles. The National Candle Association recommends the following safety tips when burning candles:

Always keep a burning candle within sight. Extinguish all candles when leaving a room or before going to sleep.

Never burn a candle on or near anything that can catch fire. Keep burning candles away from furniture, drapes, bedding, carpets, books, paper, flammable decorations, etc.

Keep candles out of the reach of children and pets. Do not place lighted candles where they can be knocked over by children, pets or anyone else.

Read and carefully follow all manufacturer instructions.

Trim candlewicks to 1/4 inch each time before burning. Long or crooked wicks cause uneven burning and dripping.

Always use a candleholder specifically designed for candle use. The holder should be heat resistant, sturdy and large enough to contain any drips or melted wax. Be sure the candleholder is placed on a stable, heat-resistant surface.

Keep burning candles away from drafts, vents and air currents. This will help prevent prevent rapid, uneven burning, smoking and excessive dripping. Drafts can also blow lightweight curtains or papers into the flame where they could catch fire. Ceiling fans can cause drafts.

Keep the wax pool free of wick trimmings, matches and debris at all times.

Do not burn a candle for longer than the manufacturer recommends.

Always burn candles in a well-ventilated room.

Extinguish the flame if it comes too close to the holder or container. For a margin of safety, discontinue burning a candle when 2 inches of wax remains (1/2inch if in a container). This will also help prevent possible heat damage to the counter/surface and prevent glass containers from cracking or breaking.

Never touch or move a votive or container candle when the wax is liquid.

Extinguish pillar candles if the wax pool approaches the outer edge.

Candles should be placed at least three inches apart from one another. This is to be sure they don’t melt one another, or create their own drafts that will cause the candles to burn improperly.

One of the safest ways to extinguish a candle is to use a candle snuffer, which helps prevent hot wax from spattering.

Do not extinguish candles with water. The water can cause the hot wax to spatter and can cause glass containers to break.

Flashlights and other battery-powered lights are much safer light sources than candles during a power failure.

Never use a candle as light when you go into a closet to look for things.

Never use a candle for light when fueling equipment such as a lantern or kerosene heater.

REPRINTED FROM NATIONAL CANDLE ASSOCIATION WEBSITE.

 QUILTING TIPS

History:

Quilts are as much art form as functional, and they have existed for hundreds of years. They began in the lower classes, as thrifty peasant women used scraps of leftover material or pieces of worn out shirts or dresses to make blankets for their families. Gradually, quilts evolved into beautiful handcrafts, and since they are so large and labor-intensive, making them became a social event - the quilting bee. Neighbors or family members would gather at each other's homes, sit around a large wooden quilting frame, and assemble the quilts. In this way, they accomplished necessary work and were able to socialize, as well.

Quilts may be functional or purely decorative. Smaller quilts are often used as wall hangings, in the decorative sense, while a larger quilt may be neatly folded over antique quilt rack to give a country "Americana" look to the room. Functional quilts are used in the same way as bedspreads. They make the bed look neat, and also provide warmth. They come in every size, from tiny ones for a baby's crib, all the way to large quilts that cover a California king-sized bed.

Whether functional or decorative, what makes quilts famous for their beauty is their patterns. Some of these patterns pre-date the American Revolutionary War. One popular pattern is the double wedding ring, the familiar series of interlocking circles. The log cabin pattern is a series of blocks, with rectangular strips of fabric sewn at right angles to each other to form squares. Small octagonal pieces sewn together in groups form the flower garden pattern, and a five pointed, stylized leaf forms the maple leaf pattern. Diamond shaped pieces sewn together can create the shooting star or lone star patterns. Some people prefer the arts and crafts look of the "crazy quilt," which is made of pieces of any scrap fabric sewn together in no particular pattern.

One specialized form of quilt emerged during the nineteenth century in America: the slave quilt. These quilts were functional as bed coverings, but also served another purpose: they gave directions that helped slaves escape north on the Underground Railroad. The quilts were sewn with various colors and symbols that represented the local roads, fields, plantations and streams. These quilts were on every plantation, hung on a clothesline or tree branch to give their messages. The orientation of the quilt as it hung changed the messages. These quilts also gave information about hiding places, food caches and safe houses to any who could read their language. They began appearing about 1835, when people from the north came to the plantations and taught the slaves how to make the quilts. The few slave quilts still in existence are in museums or are cherished family heirlooms.

Tip: Organize your fabric inventory by color and theme to quickly locate fabrics for your quilting.

 If your sewing machine did not come with a quarter inch foot, you may be able to buy one for your machine or buy a generic one. It is well worth it. If you sew with the fabric just at the edge of the foot, and not beyond, maybe even a few threads closer to the needle than the edge of the foot, you should have a quarter inch seam.

Tip: When you reposition your hands when free motion quilting, take a stitch or two in place before you begin quilting again, to get oriented and avoid little squiggles.

Put a ruler under your needle and mark with masking tape where the quarter inch mark should be. If you use several layers of masking tape, it makes a little lip to work against. Electrical tape works well too. You can buy a magnet that will serve this purpose.

Do not use a magnet,  if you're using a computerized sewing machine. Magnets demagnetize the computer, thus, your expensive unit is ruined!

Tip: When sewing a decorative machine stitch, set your machine to half speed and push your foot pedal all the way down. This will give you consistent even stitching.

Practice making an accurate 1/4" seam using scrap fabric until you are very good at it. Cut two pieces of fabric 2 1/4" wide; sew them together and iron, checking afterwards to see if they are 4" wide.

After washing your fabric use spray starch while ironing to replace the sizing. This makes it easier to get that accurate seam.

Tip: Use medium gray or taupe thread for all patchwork piecing, except for very light color fabric combinations.

Check each block after sewing to make sure it is right size, and make corrections before sewing them all together.

Unless your machine has an icon that appears to remind you when to oil it, a good rule of thumb is to clean and oil our machine after every second bobbin runs out!

Tip: Closely spaced quilting or stippling stitches are much more attractive when stitched with fine thread. Think about using silk thread on the top, a small machine needle, and lightweight bobbin thread.

Dried Potpourri

*Materials:

Dried flowers buds
Dried petals
Allspice
Cloves
Cinnamon sticks
Star anise
Fixative (orrisroot, fiber cellulose, oakmoss, sandalwood chips, gum benzoin, storax)
Fragrance or essential oil
Small glass container with airtight lid
1-gallon covered glass container with lid
Stainless-steel mixing tool

1. Add essential oil to fixative (10 drops oil to 4 tablespoons fixative) and mix thoroughly. Store mixture in small capped glass container for a month.

2. After storing seasoned fixative, add it to a blend of flower petals, blossoms and spice that have been combined as desired.

3. Store potpourri blend in gallon glass container for another month to fix the scent.

4. Use as desired and store in covered glass container.

Materials:

5 pieces of felt (2 of the same color)
Black heat-resistant thread or yarn
2 oz. whole cloves
2 cinnamon sticks, broken in half
Embroidery needle
Straight pins

How to:

1. Cut 2 pieces of felt (in same color) into 7" squares.

2. Cut a decorative folk motif about 4" high and 3" wide from another color of felt.

3. Use heat-resistant thread or yarn and a buttonhole stitch to attach the motif to the center of the felt square.

4. Hand- or machine-stitch the 2 felt squares around 3 sides, approximately 1/4" from the outside edge.

5. Fill the pad with cloves and cinnamon and sew remaining edge.

6. To cover stitching around outer edge, embroider with buttonhole stitch.

Materials:

Flowers
Rubber bands
Plastic box
Play sand
Silica gel
Metal cookie tin
Melted wax

Different methods:

1. The first method is to air-dry flowers. After picking flowers, gather them together in a bunch, wrap a rubber band around the stems, and hang the bunch upside down to dry. Drying takes several weeks
   

2. The second method uses sand to dry flowers. Pour a layer of white play sand into a plastic box. Lay flowers flat on the sand, and sprinkle more sand on top, to cover the blooms. Place the box in a warm, dry place. Flowers will dry in about three weeks
   

3. The third method uses silica gel. Use an airtight container such as a metal cookie tin, and cover the flowers with silica gel. The flowers should be dry in three days. Silica gel leaves a residue on the petals that may be removed by sprinkling sand over them
   

   Flowers dried with silica gel will wilt when exposed to humidity greater than 68 percent. To prevent flowers from drooping, dip them in hot wax immediately. If flowers are not waxed, they must be stored in a room with a dehumidifier that keeps the humidity under 68 percent.

When measuring for Custom Made frames:

(If possible, it is wise to provide your frame maker with the actual art work, doing this will provide for the best end results)

As you are spending quite a bit of money on these frames, it is imperative that you provide exact measurements. Measure the exact width and height of the outside dimensions (including the mat) of your artwork to the nearest 1/8". Use these dimensions for the size of your frame, acrylic and backing board.

Frames custom-cut to a fraction of an inch are priced to the next whole inch.

Note: For a stretched canvas, measure from wrapped corner to wrapped corner.

Measure the exact width  and height  of the outside dimensions (including the mat) of your artwork to the nearest 1/8". Use these dimensions for the size of your frame, acrylic and backing board.

FrameTac Professional Framer's Tape is probably the best. It comes off the roll ready to stick with no annoying liner to have to peel away, but it is only reversible with heat. Reversibility is the ability to release the adhesive bond, making it unsticky so it can be peeled away from the artwork without tearing it. If you have to put the mounted artwork in a heat press to reverse the bond, you cannot effectively release it unless you have a heat press. This is not easy reversibility. Nevertheless, if the artwork is relatively inexpensive, and you cannot not foresee the need to reverse the bond, and you just want a quick, easy way to mount it, the FrameTac Professional Framer's Tape would be a good choice.

Inexpensive white play sand, Pencils, bowls, food colors (or egg carton), rubbing alcohol, construction paper (white or brown), paint brushes and Elmer's glue.

1. Separate sand into plastic bowls . Add food color (less or more depending upon desired vibrancy) also add a few drops of rubbing alcohol, which helps mix the colors throughout the sand. Mix thoroughly and let air dry in "open" containers. This may take a few days so early preparation is important.
   
   
2. Have the child sketch onto the heavy paper 6" X 8". If at possible provide a little background for your future artist, as to the history of sand painting. Of course they certainly do not have to do Native American designs. A good beginning would be that of trees, shapes, words, animals, or a simple building shape with the glue. Make sure that they do not put globs of glue in any one spot.. Mix their colors for them, accordingly to the image they are going to produce. Such as: turquoise, sky blue, green, orange, tan, browns, yellows, etc.
   


3. Then at the "sand table", have them paint one section at a time with watered down Elmer's Glue. Next, before the sand dry's, have them lightly sprinkle with (it is traditionally done with the hand, scooping up a little sand in the palm of the hand, spilling out in the valley of a cupped hand) a plastic spoon their desired color of sand onto the wet glue, tapping off the excess back into the container. Have them do section after section until their design is covered with the sand. It will take a while for the sand/glue mix to thoroughly dry, at that point, you will lightly brush off the excess sand, which there should be little of. Your future sand painting artist will be thrilled at how this works, and love how their designs turned out!

• Acid Edge - Brush on acid etched looks to your images and edges.
• Montage - Combine multiple edges and effects together in a single composition to form a montage effect.
• Ambient Brush - Lifts sections of the image up through patterned edges and shapes.
• Photo Border - Add interesting borders around your image using border shapes and 3D depth tools.
• Burned Edge - Burn away parts of your image with this photo-realistic edge burning brush.
• Photo Tabs - Add photo tabs around your images using both traditional or modern styles combined with 3D depth effects.
• Distort Edge - Brush on distortion effects to the edges to customize the look and style of the effect.
• Putty Edges - Use Putty Edges to reshape and adjust the edges to better fit your images and needs.

Personal stickers!

 BATH SALTS

• 1cup Epsom salts
• Measuring cup
• Lidded jar
• Liquid Food Color
• Pretty Container
• A few drops of your favorite perfume
• 1/2 yard of 1/2" to 1" wide ribbon