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Saturday, January 10, 2009

ANNIES SHEER ANGEL


This is the second in my personal collection of handmade Christmas angel Ornaments. This one is called My Sheer Angel and it is so easy to make. I hope you'll try it.



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Friday, January 9, 2009

Join AnnMarie Cunniff on Pageflakes!

Hello acunniff4852.crafty1@blogger.com,

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A LIGHT BULB MOMENT!


Just last week someonme asked me if I thought a ship in a bottle could be made and I said, "I doubt it...you would have to break the bulb. Well here it is....And don't forget the recycling idea...

Recycle Old Light Bulb - The best bloopers are a click away

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Wednesday, January 7, 2009

501 Knitting Secrets educational series: Part 3 of 8

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Part 3 of 8
Last week we learned knitting phrases and helpful hints. This week you are going to discover that a little bit extra goes a long way to making a good pattern great!

Part 3: Shaping, buttons and pattern reading tips.

Mirror-Image Shaping

Many knitters are aware that decreases can be made to be left-leaning or right-leaning, but did you know that increases can be mirror images of each other as well?

Try making the following practice swatch. By following the instructions exactly, you will be making mirrored increases on either side of two center stitches in the first part, then mirrored decreases in the second part. When you are finished, you will have a new arsenal of shaping tools at your disposal.

Click here for a larger view.

PRACTICE SWATCH

Materials:

  • Smooth yarn
  • Needles in the appropriate size for the yarn
  • Two markers

CO 8 sts. Place markers on either side of 2 center sts.

Work 3 rows St st, ending with a WS row.

A. Yarn over increase

K to marker, yo, k2, yo, k to end. Purl, treating the yos as sts.

Variation

K to marker, yo, k2, yo, k to end. P to yo, p into back loop of yo, p2. Reverse lie of yo on LH ndl, p into front loop of yo, p to end. Work 2 rows St st.

B. Knit into front-and-back increase

K to st before marker, k into front and back of next st, k1, sl 1 as to purl. Remove marker. Sl st back to LH ndl. K into front of st, but do not drop. Replace marker. K into back of same st, k to end. Purl. Work 2 rows St st.

C. Lifted bar increase (sometimes called make 1 increase)

K to marker. Insert LH ndl point from back to front to pick up horizontal strand. With RH ndl, k into the front loop of this strand. K2. Insert LH ndl point from front to back to pick up horizontal strand running between the two ndls. With RH ndl, k into the back loop of this strand. K to end. Purl. Work 2 rows St st.

D. Cast-on increase (sometimes called make 1 increase)

K to marker, thumb/loop co 1 st, k2, thumb/loop co 1 st in the opposite direction, k to end. Purl. Work 2 rows St st.

E. Lifted increase

K to marker. Insert LH ndl point from back to front into 2nd purl bump down below last st on RH ndl and lift. K into back loop of this strand. K2. Insert RH ndl into purl bump of st below next st on LH ndl and knit it. K next st on LH ndl. K to end. Purl. Work 2 rows St st.

SINGLE DECREASE PAIRS

F. SSK/K2 tog decrease on either side of center 2 sts

K to 2 sts before marker, sl next 2 sts as to knit, insert LH ndl back into these 2 sts as to knit, k2tog through back loop. K2, k2tog, k to end. Purl. Work 2 rows St st.

G. SKP/K2 tog decrease on either side of center 2 sts

K to 2 sts before marker, sl 1 st as to knit, k1, pass sl st over, k2, k2tog, k to end. Purl. Work 2 rows St st. BO.

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Pattern Reading Tips

For beginning knitters, reading patterns is often daunting. Not only are there a number of abbreviations, but also there are strange new terms which seem to be in their native tongue, but do not make sense to someone unfamiliar with the knitting vocabulary.

In addition, some pattern instructions are written better than others. Using well-written patterns for the first few projects will go a long way toward helping the novice knitter become proficient with following directions.

As in your high school English class, punctuation matters. Paying attention to it can help you read the pattern. Periods are usually at end of row. Items in brackets are repeated.

What good pattern instructions have in common:

Gauge is given over at least 4 inches in pattern stitch, with needle size stated.

Complete size information is given, including schematics if applicable. This information should include finished chest measurements, body length, sleeve length and neck width.

A complete list of materials needed, including yarn, type of needles (dpn, straight, circular) and needle size used to obtain gauge in model sweater, and any other extras such as tapestry needle, cable needle, stitch holder, crochet hook, buttons, trims.

Complete information on yarn, including amount in yards/meters, fiber content, size (worsted, etc.).

Easy to read type, using standardized abbreviations.

List of abbreviations, especially any special abbreviations/techniques.

Pattern stitch multiple, if applicable.

Special instructions for finishing, if applicable.

What most pattern instructions won't tell you:

How to make a gauge swatch.

What cast-on to use. You may want to choose your cast-on depending on what will be happening in the first row of your pattern. Long-tail cast-on results in the next row being a (purl) row; cable cast-on results in the next row being a knit row. Some cast-ons are more appropriate for ribbing or lace than others.

Right on the Button

The right button can make or break a sweater, but choosing the right one can be difficult. Here are some hints for finding that perfect button.

1.

Try to purchase your buttons before making the button bands; that way you can pick the button without fear that the buttonhole will be too large or too small. Once the buttons are chosen, you can make the buttonhole to fit the button.

2.

Take along your gauge swatch when button shopping. If you have time, try knitting a small buttonhole band onto the swatch, using a couple of different sizes of buttonholes. At the store, you'll be able to "try on"the buttons to see how they look on your sweater.

3.

Decide whether your garment needs buttons that stand out as part of the overall design, or whether they should be unobtrusive. You may want to match the yarn color, or you may find that a good-looking contrasting color is easier to find.

4.

Scale is important; tiny buttons belong on fine-gauge garments. Chunky buttons belong on outerwear and garments knit at larger gauges.

5.

Thicker fabrics require shank buttons. Sewn shanks can be added to buttons when they are sewn on.

6.

To sew on buttons, use sewing or embroidery thread in a matching color. If the knit fabric needs reinforcement, place a small button on the wrong side of the fabric. Sew both buttons on at the same time through the fabric. You may also use a small piece of felt as backing.

Click here for a larger view.

7.

Mix button styles on one sweater. A great use for those beautiful one-of-a-kind buttons in your grandmother's button box!

Make your own. Purchase a button-covering kit and cover it with matching fabric. Use Fimo or Sculpy modeling clay to make machine-washable buttons. Or try one of these:

Click here for a
larger view.

Crocheted Ring Button

Materials

  • Purchased "bone ring"from the craft store
  • Yarn
  • Appropriate size crochet hook

Leaving a 6-inch tail, sc around the ring as many times as you can. If you have a big ring, you may need to make an additional round or two of sc.
Cut yarn, leaving 8-inch tail.
With a tapestry ndl, thread longer tail though every sc around and pull tight, bringing sts to inside of ring. If necessary, take a couple of sts across to tighten center.
Use ends to sew onto sweater.

Click here for a
larger view.

Crocheted Stuffed Button

Materials

  • Yarn
  • Appropriate size crochet hook
  • Tapestry needle

Leaving an 8-inch tail, make a sl knot on the hook.
Ch 2, join with sl st to first ch.
Ch 1, 8 sc in ring, join.
Ch 1, sc into sl st, *sc in next st, 2 sc in next st; rep from * around, join with sl st. (12 sc)
Sc in each sc, join.
Ch 1, *pull up a loop in next 2 sc, yo and pull through all loops on hook (dec made); rep from * around.
Leaving a 10-inch tail, end off and cut yarn.
Stuff scraps of yarn into ball.
With tapestry ndl, thread 10-inch tail through all sts on last row and pull tight.
Thread 8-inch tail down through center of button and use both ends to sew button to fabric.

Click here for a
larger view.

Knit Button

Materials:

  • Yarn and needles used in the garment.

Using a provisional cast-on, CO about 8 sts. The number of sts co will vary depending on your gauge -- experiment!
Work a few rows in St st.
Cut yarn, leaving an 8-inch tail. Thread tapestry ndl with cut end, pull ndl through sts on ndl, pull tight. Pull same end through loops at co edge. Stuff scraps of yarn into ball, pull end tight. Use ends to sew button to fabric.

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Summer Sweater Sag Prevention

Cotton, linen, ramie and silk yarns are favorites for summer knitting because of their breathability and drapeability, but their nonresilient properties can present special challenges to knitters. Try these tips to prevent your garments from becoming stretched out:

Click here for a larger view.

Choose a yarn that has a natural fiber blended with acrylic, wool, or Lycra. Just a small amount of one of these additional fibers can improve the elasticity of the yarn.

Choose sport or double knitting (DK) weight yarns for summer wear. The weight of a cotton sweater worked in worsted weight yarn can put extra strain on the cuffs, waistband and neck.

Click here for a larger view.

If you do use heavier cotton, be sure to make strong shoulder seams and to bind off the back neck stitches to help support the weight and keep the neck ribbing in shape.

Click here for a larger view.

Plan ahead: knit a swatch at least 6-inches square in your chosen yarn and stitch pattern, and also a swatch in ribbing. Wash and dry the swatches according to the yarn label. Cotton and linen can change gauge dramatically after washing, and you may find that the ribbing method you were planning to use will not hold up well when the yarn is laundered.

Choose an alternative to ribbing. Lace borders and crocheted edgings are two treatments not subject to stretch that are often used to finish the edges of a sweater.

For knitting rib, use a needle for the ribbing that is several sizes smaller than you would normally use. Be careful not to make the cast-on too tight, because a tight bottom edge can be uncomfortable and can break under strain. Tubular cast-on works well for cotton garments.

Click here for a
larger view.

Try using fewer stitches than you need for the body of the sweater, but not so few that the ribbing is required to stretch out of shape to fit the wearer. This won't work in designs where the ribbing flows into the main stitch pattern without interruption.

Try working an elastic thread into the ribbing as you knit. I prefer to weave the thread across the wrong side of the ribbing rather than knit it together with the main yarn. Elastic thread is available in 1mm and 3mm sizes and in a range of colors to approximate your yarn color.

Work a twisted rib: *k1 through back loop, p1, rep from *.

Summer Sweater Sag Repair

Click here for a larger view.

If your best-laid plans don't work, or you have a commercially made sweater with stretched-out cuffs, that marvelous colored elastic comes in handy.

Thread a tapestry needle with one end of elastic thread; the 3mm size is best for this job. Work at least three rows on the wrong side of the ribbing; one in the row above the cast-on, one in the top row, and one in the middle. You may need to use an additional row or two of elastic, depending on the weight of the yarn and the length of the ribbing.

Now choose your method:

Run the needle under one half of each knit stitch as it appears on the wrong side of the ribbing, and pull up gently until ribbing is slightly smaller than desired measurement. Secure both ends in seam.

Backstitch through half of every knit stitch across, pulling gently after each stitch. Secure both ends in seam.

Next week's e-mail is all about needles. This is an area where even experienced knitters can get confused. You'll get the information and tips you need to make a smart choice for your next project.

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Quilting Color Magic educational series: Part 3 of 7

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Part 3 of 7

Part 3: How intensity determines style.

Last week we learned the importance of value in quiltmaking. This week we're going to focus on how intensity determines the style of your quilts.

Neutrals

Click here for a larger view.

Neutral colors are considered to be noncolors. Black, white and gray are the true neutrals. Quilters also use off-whites and light beiges as neutrals. Any other color is dominant when used with a neutral color.

Click here for a larger view.

Neutrals are most often used as block or quilt backgrounds. They set off and space out the colors used in the quilt and provide a resting place for the eyes as we saw in Scrappy Triangles in our discussion of temperature. Neutrals also play other roles in the overall mood of the quilt.

Click here for a larger view.

Colors placed on black are more vibrant than colors placed on other backgrounds. This was demonstrated in the Intensity section with the Nouveau Nine-Patch and Buckeye Beauty quilts and again here with Gradations and Squashed Double Wedding Ring. Toned-down colors placed on the black background become more intense while bright colors placed on the off-white background become softer. This softening effect is also true of white, gray and beige backgrounds. The pale gray print used as the background of Tanner's Triangles quiets the often jarring effect of the many bright colors of the plaids used in the triangles.

Click here for a larger view.

Neutrals also play a part in the temperature of your quilt. Black is considered to be warm while white and many grays are thought to be cool. Beige may be either, depending on the actual color and the colors with which the beige is used. The white background in the antique Rainbow of Rings quilt provides soft and quiet support for the 1930s pastels. Pastels are actually tints created by adding white to a pure color; they usually appear to be cool. Because of this, white or very pale gray is the most natural neutral to use with pastels. Off-white or beige may deaden the light and airy feel of the tints.

Click here for a larger view.

On the other hand, the beige print background used to complement the rich fall shades in Indian Summer enhances the overall feeling of the quilt. A cool white background would have interfered with our mental image of the warmth of the autumn season. The blue and blue-green pieces used for accent on this otherwise warm quilt would become much more prominent on a cooler background.

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Applying the Basics

You have now become acquainted with color -- the different versions of a single color; its affect on mood; its chameleonlike ability to change in value, intensity and temperature; and its importance to the success of a design.

You have learned to make decisions on use of color by answering a few simple questions:

  1. Do I want this quilt to be soothing or exciting?
  2. Will the theme be traditional, sophisticated, contemporary or childlike?
  3. How will differences in value affect the clarity of the design?
  4. Will this color blend into or stand apart from its neighboring colors?
  5. Is the color too bright or too dull for my theme?
  6. Do I need to add a little spark of intensity?
  7. Does my background mute or enliven my other color choices? Does it contribute to my theme?

All these questions provide answers to the use of a single color, its shades, tints and tones. But how can you be sure which colors will work together in a design?

Next week we'll build on these color basics by describing the ways that colors interact with each other in combination.

Until next time,

Sue Harvey

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Good Old Days e-letter ... with Ken Tate, Jan. 7, 2008: America's Favorite Cowboy

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Trivia question: Here are some trivia questions. Look for the answers at the end of this newsletter.

  1. What was the first gold record ever recorded, and who wrote it?
  2. When Gene Autry left his radio program during World War II, who filled in for him?
  3. Which popular radio program, a forerunner of the Grand Ole Opry, did Gene star on?
  4. What popular Christmas songs did Gene record or write?

Got a trivia question? See the link at the end of this newsletter to ask Ken. You might see your question -- and the answer -- in the next issue.



Table of Contents

Answers to Trivia Questions

Dear Friends of the Good Old Days,

It's hard to believe it's time to get used to writing -- and saying -- a new year! Janice and I hope 2009 brings you health and happiness, peace and love. Best wishes from your Good Old Days family.


I am so glad to see a resurgence of interest in old-time radio. I still love to browse my collection of old programs and then fall asleep to the shenanigans of Fibber McGee and Molly or Lum and Abner. I have hundreds of old broadcasts of The Shadow, The Lone Ranger and Gunsmoke. There is nothing on television today that can compare with old-time radio, the theater of the mind.

For those whose heroes included Gene Autry and Roy Rogers, today marks an important anniversary. Sixty-nine years ago today Gene Autry's Melody Ranch debuted on CBS radio. The musical variety show enjoyed a 16-year run, until the increasing popularity of television forced it and many other quality programs from the airwaves.

The story of Gene Autry's rise to fame is a true American success story. Gene, born in Tioga, Texas, in 1907, was the grandson of a Baptist preacher. After the family moved to Oklahoma, the teenage Gene found work as a telegrapher at the local railroad depot. One day a stranger passing through the depot heard Gene playing his guitar and singing in the telegraph office and suggested that he try singing on radio. That stranger was an Oklahoman who had already become an American icon -- Will Rogers.

Gene took Will Rogers' advice and headed to New York City, and then back to Oklahoma where he gained a respectable following on KVOO in Tulsa. He became known as "Oklahoma's Yodeling Cowboy."

Gene came to the attention of Hollywood producer Nat Levine in 1934, who made him "America's Favorite Cowboy" as the hero of Western after Western churned out for Saturday matinees and kids like me.

His radio and movie careers interrupted by World War II, Gene served in the Asian theater of combat beginning in 1942. He finished his military stint after the end of the war with the USO, entertaining troops in the South Pacific.

Then it was back to his Melody Ranch and movie career. Next came 91 episodes of his popular television program, The Gene Autry Show, which aired from 1950 to 1956. It featured one of my favorite sidekicks of all time, Pat Buttram.

Gene went on to produce dozens of TV programs through his own production company. He also owned the California Angels baseball team. His accomplishments in the business world are too many to mention in this short treatment.

But the biggest accomplishment of Gene Autry's storied life will always be that he gave little buckaroos like me a shining figure to look up to during dark days of Depression and war. We lost a great hero and a great American when Gene died on Oct. 2, 1998, in his Studio City, Calif., home.

Gene Autry

One of my favorite Web sites for Gene Autry information is autry.com. It includes radio, film and television history, good biographical background and other interesting links. Be sure to check it out.

Also included on that fascinating site is Gene's "Cowboy Code," sometimes known at the "Cowboy Commandments." They are as relevant today as they were then:

  1. The Cowboy must never shoot first, hit a smaller man or take unfair advantage.
  2. He must never go back on his word or a trust confided in him.
  3. He must always tell the truth.
  4. He must be gentle with children, the elderly and animals.
  5. He must not advocate or possess racially or religiously intolerant ideas.
  6. He must help people in distress.
  7. He must be a good worker.
  8. He must keep himself clean in thought, speech, action and personal habits.
  9. He must respect women, parents and his nation's laws.
  10. The Cowboy is a patriot.

Back to top.

Answers to Trivia Questions:

  1. That Silver-Haired Daddy of Mine, co-written by Gene and his railroad dispatcher buddy, Jim Long.
  2. Roy Rogers.
  3. National Barn Dance.
  4. Rudolph the Red Nosed Reindeer, Here Comes Santa Claus, and Frosty the Snowman.



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