Birdseed Ornaments Without Gelatin
Learn how easy it is to make #birdseed #ornaments without gelatin to help #wild #birds survive the #winter and prepare for #spring mating!
#craft
Art: 'People amazed I fold paper for a living, then they see it' | BBC News
Artist Polly Verity says people often cannot believe folding paper is what she does for a living - that is until they see her spellbinding work.
And it is spellbinding. As you can see in this 3-minute video.
Hey everyone, I’m #newhere. I’m interested in #craft, #diy, #diy-ability, #handmade, #howto, and #youtuber.
DIY | HOW TO MAKE ALUMINUM WINDMILL | SODA CAN WIND SPINNER | SODA CAN DIY IDEAS
plaiting your challah
In the three images that accompany this text you will find different directions for making your plaits. Confusing maybe, but certainly deliberate.
Working topside down or downside up is a personal preference; the same goes for numbering LTR or RTL.
My personal preference is downside up/RTL; with dough, that is.... when I practiced with rope and taught kids on how to do it, there was no time for developing a preference myself. The same might go for you, just try and find your's.
If you follow these steps, the result will be alike however you reach it.
Keep in mind: after each step the resulting position is numbered, not the strand itself.
Now just remember to press either end tightly together...
Starting with the most simple:
3 strands Bring alternate outer strands between the remaining 2 and repeat until the ends of the strands are reached.
now that is a nice start if you never plaited bread or if you have to make a near industrial production of hundreds of challot in just few hours. Try something more challenging...
4 strands Use the 300ml water dough option.
strand 2 over strand 3
strand 4 over strand 2
strand 1 over strand 3
repeat until you reach the other end.
still fairly simple, but the result looks far better
5 strands probably the best with the 300ml option as well.
strand 2 over strand 3
strand 5 over strand 2
strand 1 over strand 3
repeat until you reach the other end.
that looks nice, all those tiny bulbs
6 strands Use the 350ml water dough if you want to have slices, for just breaking the 300ml option gives a nicer result.
once: strand 6 over strand 1
then repeat until you reach the finish:
strand 2 over strand 6
strand 1 over strand 3
strand 5 over strand 1
strand 6 over strand 4
You may help the strands a bit by softly stretching to reach the end together.
now for the really difficult one, make sure your strands are no millimeter shorter than 30cm:
8 strands
once: strand 8 under strand 7 and over strand 1
then repeat until you run out of strands:
strand 2 under strand 3 and over strand 8
strand 1 over strand 4
strand 7 under strand 6 and over strand 1
strand 8 over strand 5
for those still in need of a challenge: the herringbone
7 strands Arrange the strands side by side, do not yet press any end together!
- Divide the bottom half with 4 strands on one side and 3 strands on the other;
- Bring the outside strands alternately tot the center, starting from the side with 4 strands;
- Join the ends (from that bottom side) and turn the top half towards you, then divide this other half with 4 strands on one side and 3 strands on the other;
- Bring the outside strands alternately to the center, starting from the side with 4 strands;
- After all the strands of dough have been plaited their full length, pinch all the free ends together, sealing them firmly;
- Turn the completed plait over on its side, then roll it gently to improve its shape.
[all schemes and restructured text on this last one from Evelyn Rose, The New Complete International Jewish Cookbook. ]
Alas I can't confirm, that trying the fishbone will lead to an acceptable result, but then I did my one time effort rather long ago. There's your challenge :)
Almost done. Haven't been feeling the stitching urge lately so this is taking much longer than it should. Soon. Then it goes up next to my desk as a much needed reminder. And chuckle. #crossstitch #craft #crafting
CRYSTAL ALIEN SPACESHIP - THE BLUES ARE COMING
a dreamcatcher is being made to enjoy ourselves and prepare to our dreamcatcher workshop with my @uha
#dreamcatcher #handmade #homemade #madewithlove #craft #highonlife #enjoy #believe #plur #peace #love #unity #respect #happyandhappy
#End-of-18-Calendar
#Dia-D-Vent-18
20/31
there must be #heaven, or.....
Here’s some Information about the game
#art, #creative, #photo, #writing, #craft, #december, #end-of-the-year, #gimp, #international, #fun, #game, #storytelling,
#ceramics #pottery #clay #functionalceramics #warrenmackenzie #art #craft #maker
What makes a pot satisfying?
"It has to feel good in the hand. You have to like its weight, its balance, its texture, its rhythm, its relation to your own body. The lip of a pot for drinking has to feel good against your lips. You have to enjoy the warmth and texture of a bowl when it is full of hot soup. The easy rhythm of a wooden spoon as it stirs in a mixing bowl makes that bowl feel as well as look all the more right.
"In our society we have become a lot more visual than tactile. Television, movies and other means of mass communication separate us from actual experience. They prepackage and edit our values for us -- values which in the past could only be gained through experiencing things directly. The sense that has declined most of all, I think, is touch. Its almost as though having tactile communication directly with objects, or with other people, is somehow less acceptable than communication by sight or ear -- and maybe is even slightly obscene.
"Yet pottery get its shape from the hands of the potter, from the pressure of palms and fingers in wet clay. Potters' statements are made through their hands. Surrounded as we increasingly are in our modern age by industrially made things, we are losing our sense of the variety and subtlety of surfaces. The metal of a kitchen appliance in London is the same as the metal of a car door in Montreal. The plastic of a television casing in Tokyo is as predictable as the plastic of a counter top in Sydney, Australia. We even imitate in plastics the visual quality of hand-polished stone, or the grain of varnished woods, or the image of terracotta tiles -- but without getting to experience their tactile quality. It seems to me that surfaces like these are made specifically to atrophy our need to explore and know at first hand with our fingers and bodies. Tactile knowingness is edited and prepackaged for us through sight alone. And because we are in danger of forgetting how to touch sensuously, we are in danger of losing our ability to read and enjoy the cultural vocabularies of tactility. Brancusi was right on target when he called one of his smooth white marble pieces Sculpture for the Blind."
-- Warren MacKenzie, American Potter
