Modern Tumbling Blocks Quilt – New to my Shop

My new modern tumbling blocks quilt turned out wonderfully! The 3D effect looks great and it’s even better in person. The colors are just as rich and vibrant as I had hoped. If you’re interested in purchasing this pattern, it is now available in my Etsy shop!modern tumbling blocks quilt
Plate Tectonics : Core Deco 2015.The inspiration for the quilt comes mainly from the works of graphic artist Matt W. Moore. I am absolutely enamored with his use of color and his eye for pattern.

As my quilting expertise is limited, I would not yet try to create quilts as complex as some of his pieces. Even if I were a great quilter, I would never infringe on one of his copyrights. However, his work is a great place to find seeds for other creative expressions.

At right is a woven throw blanket from his Core Deco line. I love the colors and design so much I just had to buy one! It looks great in the same room as my modern tumbling blocks quilt.

Modern Tumbling Block Quilt – Fabrics

I used all solids for this quilt, trying to maximize the three-dimensional effect. I started with a jelly roll of bright Kona solids, and then added fat quarters of deep purples, teal, jet black, and a ombre collection of royal blues. Here are all of my blues – at top the royal blues, in the middle are navy blues, and at the bottom are a sky blue and a blue with a touch of purple in it. modern tumbling blocks quilt - blue fabricsYou can see I certainly shied away from using many pastels. A few light pinks, blues, and greens worked fine but I tried a lemony yellow for some of the orange blocks and it was just too light to stand up to the other bright colors.

Here are the series of plum pinks I used:modern tumbling blocks quilt - plum fabrics

I used two types of green – a kelly green and a celery green. If you look above the kelly green blocks are fine. However, if I were to do this project again, I would find a darker celery green for the “dark” side of the block.

Below are the series of teal colors I used:modern tumbling blocks quilt - teal fabrics

Modern Tumbling Block Quilt – Techniques

I used English Paper Piecing (EPP) to put this quilt together, and for guidance, I used and recommend the excellent book All Points Patchwork by my friend Diane Gilleland.

Before I started this project I had only used EPP once before, on my hexagon table runner project. When you read that blog post, you’ll see how valuable her book can be, as I share lots of things-I-would-have-done-differently-if-I-had-read-her-book-FIRST.hexagon table runner projectOne of Diane’s recommendations is to use pre-cut paper templates, and for the sheer volume of templates necessary for this bigger quilt project I gladly took her advice. I purchased my templates from PaperPieces.com. If you’re not too familiar with EPP, you will be BLOWN AWAY by the variety of pre-cut paper template shapes they offer.

If you’re interested in purchasing the pattern for my modern tumbling blocks pattern, please be aware that it is a pattern only. It includes the chart, how many pieces of each color you may need, and some ideas on the order in which I put the quilt top together, but it does not include any cutting, assembly, quilting, or finishing instructions. Diane’s book and many others have excellent instructions on these topics that I need not try to re-create.

Below you can see my new modern tumbling blocks quilt in it’s new habitat near my Persian Flower project. I never get tired of looking at it – it’s visually enticing and very contemplative. I love it with the colors I used and I’d also enjoy seeing it in other color combinations as well. I think a version in earth tones like rust, gold, brown, green, and red would be very striking.modern tumbling blocks quilt at home

Hexagon Table Runner Project

This hexagon table runner project was inspired by a number of things.

hexagon table runner project

First, I was just itching to play with my fabric stash. After several years of working solely on cross stitch and needlepoint projects, I wanted to play with the colors and prints of fabric again. I do love my stitching projects, but my heart really sings when I see fabrics juxtaposed in interesting combinations.

All Points Patchwork - coming soon!Second, I had never tried English paper piecing (EPP) before. When my friend Diane of Craftypod released her latest book, All Points Patchwork, I was intrigued by the technique. I was too busy with other projects to participate in any of the EPP blog hops at the time of the release, but working with EPP had been lingering in the back of my mind ever since.

Third, I wanted a table runner! I thought that a pair of my wood file cabinets could use a splash of color on top. With those three inspirations in mind, I set out to make my own EPP hexagon table runner.

Before I go further, I should explain that I had not yet purchased All Points Patchwork when I created this project, and I sure wish I would have. It is a treasure trove of all things EPP: tools, techniques, tips for creating with each shape, and design ideas. Further into this tutorial, I’ll share some things I would have done differently if I had read the book first.

Design

The design of this project was adapted from this “Modern Hexie Table Runner” project by Laura Hartrich. I liked her use of multiple background fabrics and a hexie layout that created gaps in the pattern to reveal the background. Her project is great; however, where her hexie layout was asymmetrical, I wanted to create a symmetrical arrangement. And where she used a simple applique technique to attach her hexies individually to the background, I was wanting the full EPP experience to join my hexagons together before appliqueing them. laura hartrich modern hexie table runner

I knew I wanted to use 1-1/2 inch hexagons so that this first attempt at EPP wouldn’t become too hard to manage. I also knew that the top of my two file cabinets measured just under 43 by 19 inches, and I didn’t want this project to overlap the edges of the cabinets at all. After some experimentation I ended up with this layout:

hexagon table runner project dimensions

1-1/2 inch hexagons “on their sides” as shown (rather than arranging the points at top and bottom) measure 2-5/8 inches high, so 5 rows add up to a total of 13-1/8 inches. A single 1-1/2 inch hexie measures 3 inches wide; however, 3/4 inch of the width of the NEXT hexie overlaps with the first hexie. Therefore, every column of hexies adds only 2-1/4 inches of width to the project. The seventeen columns of hexies shown here adds up to (3″ + 16 x 2-1/4″) 39 inches.

IF I HAD READ THE BOOK FIRST, I would have used hexagon graph paper from the beginning. Regular graph paper just didn’t get the spacing of the hexagons correct. This led to quite a mess that I didn’t catch until much later in the project when I removed the templates behind the hexies. I had to take out a bunch of seams, re-insert templates behind eight of the hexagons, re-position and re-attach five hexagons, cut all new pieces of background fabric, and I was left with barely enough backing fabric to do a wrap-around binding for the quilt. Lesson learned: use hexagon graph paper!

Fabrics

hexagon table runner project fabrics[Note: this photo shows the hexies BEFORE I sewed them together!]

The design was pretty well established so then I scoured my fabric stash, looking for candidates. I’ve been on a light blue kick for a little while now so shades of blue feature prominently. I also knew that this runner would be on a stained wood surface, so I wanted a few browns in the mix. From my collection, I ended up using fabrics 1, 2, 4, 5, 8, and 9. Then it was off to my local fabric shop to find prints for the background and the backing. There I found fabrics 3, 6, 7, and 10. I think it’s a good and slightly funky mix!

Background

I used fabrics 3, 6, 7, and 10 in the pattern you see below (10,3,7,6,10,3,7). I knew that 6 was going to be my backing and binding fabric, so I used only one piece of it in the center as opposed to the two pieces each of 3, 7, and 10.hexagon table runner project background

The background pieces were cut at 13-1/2 inches tall by 6-1/2 inches wide. That left enough for a 3/8 inch seam allowance between the pieces and an overall usable width of just over 40 inches. It turns out that I needed every bit of that 40 inches as the combined width of the hexies sewn together was 40 inches, one inch wider than the 39 inches I calculated. I think next time, I’d cut the pieces 14 inches tall by 6-3/4 inches wide, just to be safe.

I knew I was going to applique on the edge of the hexies and I knew there was some probable un-quilted space between the hexies and the edge of the runner. I also knew I wanted to anchor down the background a bit before I appliqued the hexagons. So at this point I layered my batting and backing fabric, pinned the layers (you can just see the white pin heads in the photo above), and quilted in the ditch between the seven pieces.

Templates

hexagon table runner project templatesTo create my own hexagon templates, I used Incompetech’s graph paper generator to make an original template on normal office paper. I cut out a hexagon and then traced it repeatedly onto manila file folders to make the templates. This tracing probably made the hexies a smidgen larger than they should have been, and this may be why my sewn hexies together measured 40 inches wide rather than the 39 I calculated. IF I HAD READ THE BOOK FIRST, I may have followed Diane’s recommendation that beginners use precut templates; however, with so few hexagons necessary for this project, I might still have created my own. Next time, I would make them with much greater precision, possibly printing the Incompetech hexagons directly onto the file folders.

Hexagons

hexagon table runner project fabricsThe layout calls for 38 hexagons. Although I made some (11) hexies from the background fabrics, I made the remaining 27 from the other fabrics. Here’s the breakdown:

  • Fabric 1: 5
  • Fabric 2: 4
  • Fabric 3: 3
  • Fabric 4: 5
  • Fabric 5: 4
  • Fabric 6: 2
  • Fabric 7: 3
  • Fabric 8: 4
  • Fabric 9: 5
  • Fabric 10: 3

Fortunately, even before Diane published her EPP book, she uploaded videos to YouTube that perfectly explain how to create hexiessew them together, and then remove the paper templates.

hexagon table runner project first hexieAfter watching these videos, I started basting my own hexies with ease! Once the fabric was cut, it took me less than three minutes to baste a hexie. I couldn’t believe it was so easy, and I felt silly for not having tried EPP before. At right is a photo of the first hexagon I had ever basted – it was a proud moment!

 

 

 

 

After all the hexies were basted, I laid them out on the background and played with their arrangement. I didn’t want any of the fabrics to overlap themselves in the background, and I wanted to balance out the location of the dark and light fabrics. This was the result:hexagon table runner project hexie layout

From here, I sewed the hexies together using Diane’s video instructions. After a good steam pressing, I removed the templates and was ready to applique the big piece of EPP to the background.

Applique

I took a great deal of care to lay out the EPP on the background: noticing where the pieces in a column lined up with the background seams, making sure that the top and bottom edges of the pieces were horizontal, and ensuring that the extreme left and right points were centered vertically. I then pinned the everlasting crud out of the EPP to make sure that it wouldn’t shift as I appliqued.

I first sewed around the seven gaps in the EPP and then sewed down the entire outline in one long take (see the red lines in the figure below).

hexagon table runner project applique

IF I HAD READ THE BOOK FIRST, I would have appliqued about 1/8 inch from the edge. As I did it, I appliqued about 5/8 inch, and I’m seriously considering whether I should resew it at the recommended 1/8 inch. The table runner looks fine as is, but if I were to wash it, some of the fabric on the back of the hexies might slip out and that would be a hassle to fix. I also think it would look a little better with the 1/8 inch distance when viewed up close.

I cleaned up all my thread ends and then buried the tails between the layers of the quilt.hexagon table runner project thread ends before and after

Binding

Last, I did a wrap-around binding (where the backing fabric becomes the binding) with a blind stitched finish on top. Unfortunately, I didn’t leave myself much fabric to do the wrap around, but I did manage, barely, to make it work. Just don’t look too closely at those corners, please!

Here is my new table runner in it’s new habitat, on top of its file cabinets, mere moments before it was filled with all the debris of modern life.

hexagon table runner project 2

I love it, and I’m looking forward to making more in the future. Maybe some holiday-themed hexagon table runner projects will follow!

ACrafty Interview with Sylvia Windhurst

Welcome to today’s ACrafty Interview with Sylvia Windhurst!

Green Embroidered Heart TrioWhen did you start crafting? Did anyone help get you started or did you find your own way? SW: My mother is an artist. She is a printmaker as well as an expert knitter and seamstress. We were always encouraged to be creative, and I spent many hours drawing, sewing, and creating strange hats using scrap yarn and crochet hooks that my mother supplied. One of my favorite activities was doll making – creating a body out of a clothes pin or pipe cleaners and creating an outfit out of what ever materials we could find. I definitely credit my mother for fostering a creative atmosphere in our home and I hope I did the same for my daughter who is on her way to becoming a fine photographer.

Group of Beaded Bead Flying Saucer EarringsI actually have a fine arts degree in printmaking and continued to draw and paint for several years after graduating. Gradually as my professional life and family took up more of my time, I stopped painting and drawing. I have a full time job as a graphic artist/prepress technician, and thus spent my time designing, retouching and preparing the designs of other graphic artists for printing or web publication. Over the ensuing years, I really began to miss the idea of creating something unique with my own hands. I started going to life drawing classes and then began embroidering again. Then purely by accident about 8 years ago I saw some beaded jewelry online made with off loom bead weaving techniques – I loved the look and started learning both bead weaving and bead embroidery techniques. I am self taught – and I give credit to the many great craft bloggers out there who are willing to share their knowledge online as well as the crafters who took the time to post great YouTube instructional videos. I also invested in a small library of beading books and spent many night practicing and creating.

About the term craft — I think the term craft and art can be interchangeable – sometimes I think when something is termed a craft people look at it as a hobby – not something serious, so I like to think of myself as a bead and fiber artist and crafter. There are many people who create wonderfully artistic items using techniques considered “craft”. For example, last year I bought handcrafted brooms an from an artisan in Oregon. Not only are they lovingly handcrafted, functional brooms but they are aesthetically appealing and wonderful works of art as well.

French Lavender Sachet Embroidered Flowers Satin RibbonWhat crafts have you tried and what is your current favorite? SW: I dabbled briefly in stained glass and did not love it. However, if it has anything to do with beads, fabric, and thread, I am in heaven. I am still primarily a beader and hand embroiderer, but am incorporating my machine sewing skills into my work a bit more now. I also have played with polymer clay a little to make my own cabochons and that is something I want to continue exploring in the future.

What is your favorite craft book? SW: I don’t have a favorite, but I think Robin Atkins has written some nice beading books. Mastering Beadwork by Carol Huber Cypher is a great reference book for beaders.

There are also some really great bloggers in the beading world. Inspirational Beading and Beading Arts are two nice blogs that come to mind. Both are informative and share a lot of information.

Purple Paisley Embroidered Wide Felt Cuff with Ombre Color ShadingHow have your crafts changed over time? SW: They have changed most definitely. I think my technique is far better than when I first started – and I have a lot more ideas now. I am willing to take more risks, and am also more willing to admit when something isn’t working and start again rather than being stubborn and investing more time in a project that just isn’t coming together.

 

Are you a person who is comfortable playing with color, or do you work better with color palettes you find – say, in photos or in nature? SW: I love color, and am always playing with it.

Boho Beaded HoopsRed and Black Beaded Sterling Hoops
Pale Blue Teardrop Beaded Sterling Hoops with Purple, Green and Orange Accents

Those are three examples of color palettes I have used in my beaded hoop earrings.

Nature's Jewel NecklaceI was inspired by the iridescent colors on a beetle for this one. Not only are the colors unusual, but the piece ended up having a bit of an ancient Egyptian style to it, which I also liked.

 

 

 

What craft project are you most proud of? SW: It’s a toss up.

Bollywood Bib Necklace with MalachiteThis Bollywood inspired bib necklace is a statement piece that took me many hours. What makes it special to me is the weblike gold embroidery I created in the background. It just adds something unique to the piece.

 

 

 

 

Moss Green Forest Fairy Cuff with Agate FocalThis cuff is another piece that I am very fond of. It has painted leather leaves and embroidery combined with bead weaving and bead embroidery. Despite the fact that I used so many techniques in one piece I think the monochromatic palette keeps the design cohesive.

 

 

 

 

What is your most popular (or bestselling) project? SW: My beaded hoops are my best selling items. I have also done well with my cyclops pieces. I have a stash of realistic doll eyes which I used in little treasure boxes and a few stuffed creatures.

Mexican Folk Art Inspired Embroidered Cyclops Dragonfly Soft Sculpture Bead Embroidered Cyclops Gold Treasure Box

They are definitely on the odd side, which I like, and surprisingly sold quite well. I plan to make more cyclops boxes in the near future.

Moss and Burgundy Embroidered Tapestry Necklace with Vintage Rhinestones

Has a craft or craft project ever challenged you in an unexpected way? SW: I think the challenge is ongoing – I keep a notebook with me at all times to jot down ideas. A lot of times the translation of that idea into a workable project isn’t always smooth. Sometimes I have to experiment and accept when a technique isn’t working well and be willing to start over again. Also, I tend to be a bit of a hoarder when it comes to supplies and I need to remind myself that instead of constantly buying new supplies I need to find creative solutions to design issues using existing supplies.

Green and Gold Abstraction BraceletHow has crafting affected your character? SW: It has definitely made me more patient and persistent. I also find it calming. I initially started creating beaded jewelry and embroidered objects as a calming therapy after getting home from my “day job.” Even after starting to sell my work and running an online store, I still find the act of creating calming. The repetitive nature of beadweaving is particularly therapeutic.

 

Can you share a story about how your crafting has affected others? SW: I had made a cuff inspired by Boudica, the Irish Warrior Queen. It had a shield like shape (kind of like Wonder Woman’s arm pieces!) and a lovely brown, gold and green color scheme with an celtic knot symbol on it. A woman purchased it and messaged me saying that she had been suffering from some serious personal issues and that in recovering she had used Boudica as an inspirational figure, which was why she purchased the cuff.

Pink and Blue Microorganism BroochWhat crafty goodness do you have coming up in the future? Why is it appealing to you? SW: I am starting to play with hand painted fabrics as a base for my embroidery and bead embroidery. I am still in the experiment phase for the most part right now, although I did make a small series of brooches using fabric I had painted. The photo here shows an example:

I am also planning to play with polymer clay and make some cabochons to use. I have only used polymer clay a little bit but I am amazed at some of the fantastic things artists have created with this medium. I would love to take a class in metal polymer clay – I just have to find one that fits in with my schedule and is geographically convenient!

Many thanks to Sylvia sharing her art and craft with us and for participating in this ACrafty Interview series! You can follow Sylvia’s ongoing adventures on her blog, Facebook, Flickr, Tumblr, and her Etsy shop.

Would you like to be a part of the ACrafty interview series? Just contact me! You might also be interested in reading some more ACrafty Interviews with multi-crafter Diane from CraftyPodneedlepointer Haruhi Okubo of Cresus-Parpitatter and chainmailler Jeff Hamiltonbasketweaver Tina Puckettcross stitcher Meredith Cait, the two part interview with textile artist Arlee Barr, Halloween costume maker Justin Newton, and multi-crafter Pam Harris of Gingerbread Snowflakes.

Water Themed Crafts Part 5

Welcome to healthy water themed crafts part 5! These are crafts that encourage us to drink more water and that help us appreciate clean rivers, lakes, and oceans.

Parts 12, 3, and 4 covered crafts ranging from crochet to polymer clay, woodworking to scrapbooking, chainmaille to knitting and much more. Today, in this fifth of six posts, I’m covering water themes in quilting, soapmaking, felting, perler beads, macrame, and furniture making.
Water Lily Leaf

Water Themed Crafts in Quilting

healthy water themed crafts part 5 - quilt patternThere are nearly endless examples of watery inspiration in quilts. First up is a pattern offered by McCallsQuilting for this interesting “Sunset on the Water” quilt.

 

 

 

 

A rich source of ideas is this Pinterest page from Theresa Callahan. It’s title sums it up well – “Fun: Fish, Boats, Water to Quilt, Sew, Craft, & Admire.” While these posts are concentrating on water rather than the things that inhabit the water, this collection has ample examples of ways to express water using fabrics.healthy water themed crafts part 5 - pinterest quilting inspiration

Artist Barbara Schneider has a series of quilts based on light reflecting off of water. I find many of these to be nearly photorealistic and stunning in that quality. You can see them on her eponymous website – worth every second of your time.

Linda Gass has dedicated many quilts to exploring water themes – water rights, water origins, water usage, water and land interactions. Not only do her quilts raise interesting questions, they are beautifully executed.
Linda_Gass_3

This beauty by Martha at QisforQuilter is a favorite of mine. She took an illustration by Charley Harper from the 1961 book The Giant Golden Book of Biology and turned it into this wonderful quilt. Look closely at the details of each organism in the drop – it’s fascinating!

 

 

 

 

Again, from the photorealistic group comes the quilts of Melody Randol. All of the pieces she features on her website are incredible in their realism.

Also beautiful (but much easier to see how she achieved it) is this bargello wave pattern quilt that utilizes mostly bali fabrics. It’s by Cecile Allen and was featured on the Quilter’s Club of America blog.

 

 

WaterfallThe water in this is more abstract but beautifully expressed in “Waterfall” by the truly talented Karen Cattoire. I love how the silks and organzas shimmer just as water does.

Water Themed Crafts in Soap Making

Here’s a “natural” looking sea salt recipe from Finchberry,

 

 

 

 

healthy water themed crafts part 5 - seaweed soapand this recipe from RavenMoonSoap contains both sea salt and seaweed. Author Nikki says it “carries a wonderful sea aroma.”

 

 

 

healthy water themed crafts part 5 - sea glass soapThe recipe for these sea glass soaps from The Ponte Vedra Soap Shoppe look like a pretty way to bring ocean colors inside.

 

 

 

 

 

 

healthy water themed crafts part 5 - soap wave textureThis video on YouTube by Missouri River Soap shows how to make a wave-like texture on the top of your homemade soap bars (skip to minute 11 to see her technique).

 

 

healthy water themed crafts part 5 - wave soap moldFinally, to make your soap projects look wavey, here’s two attractive molds. The first comes from WholesaleSuppliesPlus,

 

 

 

 

 

Image 1and this second mold comes from MilkyWayMolds.

Water Themed Crafts in Felt

We’ll start with a couple of felt board projects for kids. The first is this fun and kid-designed project by Alicia at The Creative Vault.

 

 

 

IMG_0652To start off the grown-up felting inspiration, I love all the wavey details in this tiny pincushion by Gretchen Brownbear on her Flickr photostream.

 

 

 

 

There a lot of needle felted projects that use ocean and sea colors, but I found this one on the SpinArtiste site to be a bit more unique than most.

 

 

 

 

 

 

Applying soapy water to woolWhen it comes to USING water to make felt, there is this wet felt tutorial at Rosiepink,

 

 

 

 

as well as this thorough collection of felting tutorials curated by Toni van der Geest on Pinterest.

healthy water themed crafts part 5 - pinterest felting tutorials

Water Themed Crafts in Perler Beads

Perler beads are perfect for fun and geeky projects. When it comes to watery ideas, here’s an underwater Mario scene by funkymonkey via SpriteStitch (love the coral!),

 

 

 

 

and here is a nifty perler bead water tribe symbol by Rachel via DeviantArt.

Water Themed Crafts in Macramé

Here’s instructions for a paracord macramé water bottle holder at KnifeForums that may encourage us to drink more water, especially those who enjoy the great outdoors!

 

 

 

Beach waves and sand knotted in cord and beads macrameSherry at KnotJustMacrame shares this project which beautifully expresses an ocean beach. From her post: “When I added beads, I kept them random, again mimicking the colors of deeper water with highlights up through the foamy green and into the sand.” Sherry offers some tips and tricks on her blog, and has tutorials for sale on her Etsy shop if you like her micro-macrame.

A study of water free form micro macrame necklaceSlightly earlier in 2013, she also shared this project, which was inspired by the “by the endless kaleidoscope of patterns” in water. It was her first piece of free-form macramé!

 

Water Themed Crafts in Furniture Making

DIYNetwork has a tutorial by Carter Oosterhouse on how to build this fun wave shaped cd rack. Although not many people display CD’s anymore, this could easily be used for paperbacks, DVD, bric-a-brac, etc. I also think this looks like a wall-sized mustache – what do you think?

 

healthy water themed crafts part 5 - wave shelfThen Instructables has these instructions on how to build your own circular cardboard shadowbox. The author states that “shape was greatly influenced by Elsa Paige bookshelf designs.” While the author’s example might be a little rough around the edges (it is for a kid’s room, after all), here you see a similar, but more refined, version by another user. All in all, it’s a fun way to incorporate a wave shape into your home décor!

water themed crafts part 5 - wooden wave tableIn furniture inspiration is this gorgeous wooden wave table by Merganzer via Xaxor,

 

 

 

 

 

water themed crafts part 5 - L'Eau chairthese fun Calligaris L’Eau chairs found through Houzz,

 

 

 

 

 

 

 

healthy water themed crafts part 5 - wave hammockand finally, this enticing hammock by AuthorityHammocks. Does this look comfortable or what? Yes, please!

 

 

 

 

That relaxing chair completes healthy water themed crafts part 5, covering quilting, soapmaking, felt and felting, perler beads, macrame, and furniture making. Is there anything in these crafty categories that you would like to add to the comments?

Make sure you have checked out the previous posts of this series! Part 1 featured crochet, woodworking, quilling, lace and tatting, weaving and tapestry, and mosaic tilePart 2 featured polymer clay, embroidery, scrapbooking, metalworking, ceramics, and stained glassPart 3 covered healthy water crafts in knitting, paint, beadwork, chainmaille, leatherwork, and gardening. Part 4 included needlepoint and cross stitch, baking, glass work, basket weaving, and sewing.

And stay tuned for the sixth and last installment of these healthy water crafts, featuring jewelry, spinning and dyeing, flower arranging, origami, candlemaking, and more!

[Update: Here is Part 6 of the series!]

ACrafty Interview with Justin Newton Costume Maker

Welcome to this special Halloween ACrafty Interview with Justin Newton, costume maker extraordinare!

ChewbaccaWhen and why did you start making Halloween costumes? JN: It was 2005. A group of my co-workers decided to have a Halloween costume party. I bought a Chewbacca costume on line and started tinkering to make it better. First, I made cuts in the mask to allow better movement, added hair, got it tailored to give a form fit, and installed clown shoes into the feet to make then seem real and not floppy. It was a real gradual thing. Since I bought it a month before the party, I had too much time on my hands so I added just one more thing, and one more, and one more. I was shocked when I sold it on Ebay for more than I had put into it. That was the start, but after that it was because my son really liked Star Wars and it was something to do for him and then with him. Loved that time in the garage.
newton

 [Justin working on his first Vader helmet]


boba jangoWhat are all of the costumes that you have made? Do you have a favorite?
JN: Chewbacca, Darth Vader, a Jawa, Boba Fett, Jango Fett, a Lord of the Rings Nazgul (Ringwraith), and Jason Vorhees (Friday the 13th – Jason vs. Freddy version). My favorite was definitely Boba Fett for a few reasons. First, the number of hours and different techniques that had to be used to create was mind numbing, so I learned a lot. Second, it was so much fun trying to make something look battle worn, old, and abused. Lastly, every costume is a two year process. The first year, you create and learn. Once you wear it, you learn what doesn’t hold up to a night of wear, what parts don’t move smoothly, and what gets damaged. In the second year I alter all the parts that failed, make the movement better, and improve the durability. But also, you have learned from the first time you did it, so I go back and repaint, reform, and replace many parts to make a more authentic look. The difference between the version 1 and version 2 Boba Fett was tremendous and I was really satisfied with the monumental evolution.
boots detail
vaderWhat do you consider the best, most accurate detail from any of your costumes? JN: Tough question because one of the movie makers from LucasFilm involved in the new Star Wars movies bought the Boba Fett from me for $4500 for his studio. He said it was superior to the original (which he had seen many times) in its authenticity. He said the original looks good on screen but up close could look a little fake. I used a lot of metal parts. He said mine looked dead accurate to the version as seen on screen but with the added benefit of looking and feeling realistic when standing right next to it. So all that being said, I took a few liberties with the paint and effects to make it realistic up close which make it not exactly like the original prop. Considering this, I will rule out the Boba Fett and say the Vader was probably the most accurate, but with the Nazgul a close second. Even the blink sequence of the chest light on the Vader was timed to match the sequence in the movie.
fett const collage 1

[Details from the Boba Fett costume]

Have your costumes won any awards or received any distinctions? JN: Both the Vader and the Boba Fett were certified by the 501st. This is the group that certifies Star Wars costumes to be used in official movie functions, charity events, etc., and verifies they are authentic reproductions of LucasFilm. I got to play Darth Vader at the premiere of one of the new Star Wars films.
vader comp collage

There was a HUGE kids costume contest in Greenville. They had categories for scariest, most heroic, and (I think) princess. I enrolled Carson in the scariest because I though that was the closest thing to a Jawa. He didn’t win. Then at the end of the contest, the chairman announced that they had taken part of the prize package from all the other kids and decided to create a special category for best in show as a result of one kids costume – Carson. Pretty sweet, when your costume changes the rules. So he got the best prize overall, which didn’t even exist until they saw him.jawa collageI over heard one parent say “that’s not even fair, how much money did they spend on that costume.” I spent less than $100 to make it and a lot of time. I had so many parents come up to me and want to know where to get one or if I could make one for them. You can imagine how his Jango Fett was received. Every other kid in the contest was like NO WAY!
nazgul const collage 1

 [Details from the big Nazgul costume, and Justin helping to suit up his mini-Nazgul]

What are all of the skills (or crafts) you have practiced to make your costumes? JN: Several skills, but by far the biggest one is painting. The variety of techniques to recreate the Boba Fett was a challenge. Also, coming up with new inventive ways to create the mechanical joints and connections to allow movement of the costume while remaining durable. Also, to a lesser extent electronics and fabrics distressing.
const collage

[Construction details from the Vader costume]

nazgul const collage 2

[Details from the Nazgul costume]

jasonHas making costumes affected your character? Do you really enjoy making your costumes or are you more focused on the end result? JN: I don’t think it has affected my character, but I really enjoy getting into character to make an experience others will remember. I watch the scenes from the movies to get the mannerisms, body movements, and speech meter. I want people to forget it’s a costume and think it’s actually the character from the movie. So I really get into it. I went to three or four Star Wars events, and it was awesome to give that experience to the kids there. Also, I remember last year for my first version Jason Vorhees a person was telling their friend that the costume was creeping them out. The friend replied, “I’m not so sure it’s a costume.” I just love it when people have that fun. So in short, I do enjoy the challenge of making the costume, but I do it for the end result of the memory you can give to people. By far the best part.
group

Can you share some stories of reactions you’ve received to your costumes? JN: Outside of what I shared in some of the other questions, lots of smiles from kids, autographs and stuff like that. But I can remember, putting on the Vader costume one day and standing by the interstate hitchhiking with a sign that said “Clone War Vet – Please help” and another that said “Will Terrorize for Ride.” The looks from the traveling public were hysterical. Every car slowed down for about a hundred feet after they passed, just a freeway full of brake lights, and I can only imagine people were thinking “Did I just see that?” Usually people just want to touch the costumes to see if they’re real.
vader public collage

nazgulsThe Nazgul was cool because I did a LOT of research. Just like the movie I used 55 yards of various textures and custom dyed fabrics to create the look. I had the scabbard custom made and then I weathered and painted it to get the underworld effect. The armor was all hand made using medieval techniques with hammer and anvil. Everything about it was legit. When I wore that out in Salem, Oregon, people would literally stop their car in the middle of a busy main street, get out and take a picture. Also, at Halloween some children cried and others would not come to my side of the street. I used a prosthetic hollow head and under skeleton to make myself 7 feet tall and deformed. The Nazgul and Jason were fun because you also get reactions from some adults that are wary about getting too close.
nazgul public collage 2

What’s the silliest question you’ve ever received about your costumes? JN: “Is that real?” Although I had a (drunk) guy approach me in my Vader suit and say “I can kick your ass Darth Vader.” Then he pushed me in the chest and said he “wasn’t scared of me.” I turned off the voice synthesizer and said, “Dude, you do know that I am just a guy in a costume, there is no Darth Vader.” That seemed to assuage the drunkard. Another classic question, “where did you buy that?” Or, “does that jet pack really work?”
fett const collage 2

 [Construction and details of the Boba Fett costume]

What costume are you working on now? Beyond that, what are you looking to create in the future? JN: Right now, I am just finishing version 2 of Jason Vorhees and my wife will be Mrs. Krueger. Since my son is getting older and out of Halloween, I suspect I may slow down or stop altogether. If I do make another costume, I’ve thought of a Bram Stoker type vampire, the Dark Knight, and Frankenstein (but not the green flat headed version).
jason const collage

 [Details of the Jason Vorhees costume]

Many thanks to my good friend Justin for participating in this ACrafty Interview! Justin is a project manager for a large international engineering and construction firm. We worked together in the same department in Charlotte, North Carolina during my previous career at the same firm. I was at the party when he debuted his Chewbacca costume, and have been in awe of his costume making skills ever since. In fact, I’m considering challenging him to make a Vorlon encounter suit from the sci-fi show Babylon 5…  

It’s been a great treat to share this look at his work, especially on this Halloween! If you have any questions for Justin, please send them to me and I’ll be happy to pass them on to him.

Would you like to be a part of the ACrafty interview series? Just contact me! You might also be interested in reading some more ACrafty Interviews with multi-crafter Diane from CraftyPodneedlepointer Haruhi Okubo of Cresus-Parpitatter and chainmailler Jeff Hamiltonpotter Nancy Germondbasketweaver Tina Puckettcross stitcher Meredith Cait, and the two part interview with textile artist Arlee Barr.

ACrafty Interview with Arlee Barr – Part 2

Welcome to Part 2 of this fascinating ACrafty Interview with Arlee Barr, textile and quilt artist. Arlee’s responses are so engaging that the interview was split into two parts! Here’s a link to Part 1, if you missed it or would like to refresh your memory.

acrafty interview - arlee barr ecoprint triptychs

I took a look at some of your first Flickr uploads from 2005. How would you say that your work has changed over the last eight years? AB: There was a long period where i lost myself, literally and figuratively, in the explosion of “mixed media” where every colour was used, every texture, every technique, every found and bought object with every commercial product imagined. The only thing that held it all together for me, however weakly, was the fabric that was the base i worked from, and the fact that suddenly i was making something that was not wearable, that didn’t have to fit anyone, but that was possibly art. When i discovered natural dyeing and other organic cloth marking methods, my whole approach changed. Initially even with these elemental fabrics, i used a fair bit of machine work, then slowly moved into just hand embroidery, finding that the look while more delicate appearing, was quite strong and unifying. As i continue to “find the image” in the unique marks inherent in the process of staining or dyeing, they are becoming works with an amalgam now of machine and hand. I use a lot of free motion embroidery as it can be very gestural, using those areas as either accent or a base to build on with hand embroidery. When i was first doing hand embroidery in my 20’s, i knew only of satin stitch and french knots, but now i prefer cleaner lines and the effects from simple stitches with a few fancies thrown in along the way for texture. I let the fabric move as it will (i loathe embroidery hoops) and with those basic stitches used experimentally, can control the depth of manipulation and the resulting texture.

I’ve pared down my colour use, and refuse to use “technique driven” response as art. It’s not important to show the kitchen sink in everything you create. As i get older, and ironically, my eyesight poorer, i focus literally and figuratively more on the details.

acrafty interview - arlee barr the difference between a plum

 

acrafty interview - arlee barr wild rose series

Has an art project ever challenged you in an unexpected way? AB: I’m currently working on a large project (“Anno Suturae”, 48×72”) that i initially thought would take a year. As it turns out, it’s evolving into 2 years at least, and will have to be pluralized! All hand worked, it’s incorporating things i’ve learned or are still testing with hand stitch. Because hand work takes a lot of time, trying to divide my attention for work that will be seen and work that is intensely personal, has been hard.

How has art affected your character? AB: I’ve evolved into more of an intuitive maker than a deliberate product artist. I’ve learned patience, perseverance and a more critical eye to what i am expressing and how i utilize needle and thread to externalize that. Patience first and foremost is what you have to have as an artist: patience for the process, the technique and most of all your own satisfaction and soul. Patience is trust, learning to find your own voice and knowing your instincts are right.

Can you share a story about how your art has affected others? AB: When i created “Mother’s Heart”, i received a lot of messages about how heart issues of all sorts had affected people’s lives. From poignant memories of of loved ones and their subsequent death, to a painful revelation from a former nurse, to feelings of revulsion and anger, i had no idea of how it would be perceived by others: i had intended only to show Mother Nature as i saw her, with the use of naturally dyed and ecoprinted fabrics and hand stitch. She’s a force, and one that directs all doings and it was an homage to her, rather than a representation of the body or health issues. A fascinating lesson in interpretation!acrafty interview - arlee barr mother's heart

What do you have coming up in the future? Why is it appealing to you? AB: The future is now! I’m striving to create a body of work as it gives continuity and purpose to my life, and am hoping to finalize a solo show in the next year. A few years ago i was ready to throw in the towel and never make anything ever again–my dear Greyman was explicit in his words “if you quit being an artist, you will go crazy–and so will i!” It made me realize that having been creative all my life, that there was no stopping at any point for any reason. I can’t imagine not making or planning *something*. Even with the immensely destructive June 2013 flooding in Calgary Alberta that affected me personally in my home based studio and emotionally speaking, causing a bit of a “drought” in my creative process, i have found new hope, new work emerging and a stronger appreciation for Mother Nature and the inspiration i find in her.

Much of my imagery and subtexts relate to what is internal to me; i can only hope that someone else can feel what i am saying. Having dealt with mental health issues all my life, i can only say that it is healing, calming and necessary to express myself as i do in this medium. Cloth is soothing to everyone, from birth to death and all the days in between. I do believe that today’s world with all it’s supposed cosmopolitan and sophisticated attitude yearns for a more personal, grounded approach to art, one without heavy concept, overly political statement or existing for sheer prettiness’s sake.

You just don’t quit on yourself!

acrafty interview - arlee barr work in progress

 

Once again, many thanks to Arlee for her participation in this ACrafty Interview series! As she commented on Part 1 of the interview, Arlee was glad for “the opportunity to ‘explain’ [herself].” I think we are all the beneficiaries of her generous insights into her work.

Also once again, thanks to fellow ACrafty Interview subject Betty Busby (original interview and followup) for suggesting that I approach Arlee for the series.

You can follow Arlee’s adventures on her blog, her FacebookFlickr, and her shop

Please note that Arlee does not want any of the images that she provided above copied, Pinned, or used in any way without her permission. An excerpt from her Flickr profile: “Please do not add my photos to your Pinterest without asking me–this violates the copyright clause that say *I* have exclusive right to decide where my work is distributed–my photos are ALL RIGHTS RESERVED.”

Would you like to be a part of the ACrafty interview series? Just contact me! You might also be interested in reading some more ACrafty Interviews with multi-crafter Diane from CraftyPodneedlepointer Haruhi Okubo of Cresus-Parpitatter and chainmailler Jeff Hamiltonpotter Nancy Germondbasketweaver Tina Puckettquilter and pursemaker Linda Martin, and cross stitcher Meredith Cait.

ACrafty Interview with Arlee Barr – Part 1

Welcome to today’s ACrafty Interview with Arlee Barr, textile artist. Arlee’s responses are so thorough and engaging that the interview has been split into two parts!

Here’s Part 1 to start your fascinating look at her art and process: acrafty interview - arlee barr embroidery for vest from original pen and ink drawing

When did you start making art? AB: I’ve always considered myself an artist, whether it was my first realistic renderings of an airplane (the family having lived several years above a hanger when i was quite young!), drawings of plants and animals, writing poetry and critiques for a Canadian literary magazine when i was 16, moving onto pen and ink renderings of fantasy elements in my late teens and then in my 20’s, with a child added to the mix, translating my drawings into embroidery and making clothing for myself and my son that were way past the considered norm of the time. ( I could find that boy in *any* crowd 🙂 )

I come from a long matriarchal line of women who Did simply because they had to, and knowing that it was the way of their lives. I credit my mother first and foremost. She taught me to break the rules, to think as an individual and to re-invent the wheel, teaching me to sew by hand when i was five: i created a series of Barbie type dolls with all of their clothes sewn on, seams visible and impossible to take off unless i cut them! When i was seven, i had lessons on a sewing machine and by the time i was nine, was making all of my own clothes. When i was 13, my grade 8 home ec teacher was bothered by the fact that while everyone else was busy figuring out the intricacies of an apron or pyjama pants, i was already making more complicated gusseted and gored mid Eastern styled dresses.

My mother was widely read, immersed herself in museum and gallery visits, bringing home a new sensibility about world apparel and style, almost a hippie in her wanderings through those respectable findings. Because of her, i see things differently, and she encouraged me to experiment and explore what could be done with a needle and thread. It wasn’t until my teens though, that i realized that what i was doing could be art rather than craft. I was also lucky enough to be hanging around with a bunch of students who were taken under the wing of an incredibly talented art teacher would take us to Hamilton and Toronto to the galleries and art colleges, on his own dime.

acrafty interview - arlee barr street pretty

What mediums have you tried and what is your current favorite? AB: I painted, i wrote poetry (still do), i created mixed media collages and shrines, i dabbled in everything i could but nothing really held my interest unless i went back to a needle and thread, whether on a machine or by hand. In my 30’s i started selling my wearable art and with the encouragement of friends and a helpful counsellor, entered a 2 year Textile Arts programs at North Vancouver’s Capilano College (BC), 1993-95. (Now known as Capilano University and with the program cut and gone, sadly…) I joked for years after that all i learned was how to better my machine applique from that 2 year period, not knowing how much of the art history and design ethic actually sank in. I’m grateful that it did, finally seeping up from the depths to colour what i am and how i do things almost 20 years later.

acrafty interview - arlee barr tawdry rose 3

acrafty interview - arlee barr hand of the fatherWhat project are you most proud of? AB: All of my work is full of pride and satisfaction. It’s as simple as if it didn’t work and i don’t like it, it never gets shown, or even finished! If i had to choose a favourite piece, it would be like saying i loved one child more than another, but i have a special fondness and memories for “Beautiful Bones” (2009), “Hand of the Father” (2010), “Raggedy Black Heart” (2011) and and my most recent completed piece, “Mother’s Heart”. All of them relate to certain emotional issues i have dealt with: the ubiquitous feelings of mortality and the sense that we are all beautiful and the same under the skin, my father’s death, a friend’s very confused and sad life ending and a response to Mother Nature (and indirectly to my own mother).

acrafty interview - arlee barr beautiful bones

What is the silliest question you’ve received regarding your work? AB: I was working on a complex, cloth woven and hand and machine embroidered piece while waiting in a doctor’s office, and a woman asked me if there was a pattern for it. When i said no, she sniffed and walked away—i think there are people who believe patterns, kits and someone else telling you this MUST be the way to do it and that it’s the ONLY way, is a very sad approach to “creativity” and being either artist or craftsperson. I also get tired of someone scanning over a piece i’ve spent months on by hand, and then asking me if i could make placemats for them. Nope.

acrafty interview - arlee barr haystack

What is your most popular (or bestselling) project? AB: I’m very grateful to have discovered the wonders and mysteries of natural dyeing and ecoprinting. I rarely use any commercial fabrics now, unless they are bits of scrounged or thrift shopped articles. This means that anything i create now is really built from as close to scratch as one can get without actually weaving the cloth first! I “share the wealth” by selling one of a kind fabrics for other artists who incorporate it into their own work.acrafty interview - arlee barr original fabrics

Do you sketch most of your work before you begin, or do you work without a pattern or plan? AB: Yes and no! My sketchbooks are full of very rudimentary scribbles and notes. Words are more important to me as inspiration: bits of poetry, a strange turn of phrase, an overheard bit of conversation. I then audition my fabrics and the one that speaks most emotionally to me is the one i start with. I’d rather have the actual art made than make art of the notes themselves. I’ve seen wonderful sketchbooks from other artists, but for me personally they are a waste of time, a waste of resources, and leave me no energy or inclination for the actual art! I’d rather be making it than planning it. I do lightly audition certain bits in a loose way on some paper, but that’s not always the case or a comfortable way for me to develop what i want to say. The only “serious” sketchbook work i do, is to sometimes do a print out of the base fabric with a few ideas and then overdraw on it where i might use certain stitches or motifs. I keep all of these print outs in a workbook divided into either dates worked on or thematically. I can then look back for ideas for future work, or see how things are evolving, and building a library of personal iconography.

The most important tool i have in the documentation process is my notebook of thread ends with the company, colourway and number recorded: since i do a lot of projects at once, i need to be able to refer back to which threads i have used in each one.acrafty interview - arlee barr imperfect world

 

– End of Part 1

Many thanks to Arlee for her participation in this ACrafty Interview series! Part 2 of her interview will be posted next Thursday, October 17, so stay tuned for the rest of this glimpse into her work. Also thanks to fellow ACrafty Interview subject Betty Busby (original interview and followup) for suggesting that I approach Arlee for the series.

In the meantime, you can follow Arlee’s adventures on her blog, her FacebookFlickr, and her shop

Update: Link to Part 2

Please note that Arlee does not want any of the images that she provided above copied, Pinned, or used in any way without her permission. An excerpt from her Flickr profile: “Please do not add my photos to your Pinterest without asking me–this violates the copyright clause that say *I* have exclusive right to decide where my work is distributed–my photos are ALL RIGHTS RESERVED.”

Would you like to be a part of the ACrafty interview series? Just contact me! You might also be interested in reading some more ACrafty Interviews with multi-crafter Diane from CraftyPodneedlepointer Haruhi Okubo of Cresus-Parpitatter and chainmailler Jeff Hamiltonpotter Nancy Germond, basketweaver Tina Puckettquilter and pursemaker Linda Martin, and cross stitcher Meredith Cait.

ACrafty Interview with Betty Busby – Followup!

I’d like to share the followup of my interview with Betty Busby…

Recently, I had the pleasure of meeting Betty Busby in person at her home and studio in Albuquerque, New Mexico. Betty was featured in my fifth ACrafty Interview in June 2013. As you can read in the interview, I am a fervent admirer of her work. Her use of color and the detail involved simply amaze me. acrafty interview - betty busby detail of quilt diatom 3

I won’t give away too much of what I’ve learned about her process, but she uses various combinations of Photoshop, digital printing, hand-painting, drawing, hand beadwork, and a hand made longarm quilting machine to achieve some of her effects. And those effects are stunning!acrafty interview - betty busby detail of her quilt reliquary

She also has a fabric stash that would make any quilter green with envy. I didn’t want to take a photo as Betty was a bit shy about her studio space – but I will say that my jaw dropped when I saw it.

acrafty interview - betty busby with her quilt disco urchinBetty is a true artist, and it was a great pleasure to meet her. Her quilts are in exhibits around the country and she does teach classes a few times a year. If you enjoy her pieces, I highly encourage you to follow her adventures and hopefully cross paths with her someday!

[Photo: I’m on the left, and Betty in front of her piece Disco Urchin]

 

You can follow Betty through her Etsy shop, her Flickr photostream, her website, her blog (which contains info on some of her techniques), and she JUST started selling fabric patterns through Spoonflower!

Hexagon Crafts Part 2

Welcome to Hexagon Crafts Part 2! This series on hexagon crafts should really be titled HEXIE MADNESS! Part 1 of the series covered quilting, leatherwork, scrapbooking, weaving, and jewelry. Today is the second of four posts covering hexagon crafts ranging from crochet to cakes, pottery to popsicle sticks, and everything in between.
Spit and Woodchip Hexagons

 [Spit and Woodchip Hexagons by Helle V. Fisher via Flickr]

Hexagon Crafts in Crochet

There’s a million outstanding crochet hexie patterns out there for purses, totes, blankets, table runners, rugs, hats, etc. (you name it!), and I’ve got too many favorites to feature just a few. So instead I’ll share this terrific Pinterest board by Jeannette that is full of beautiful hexie crochet tutorials and inspiration:hexagon crafts part 2 crochet tutorial pinterest board

Hexagon Crafts in Felt

This hexagonal felt flower wreath tutorial from Rachel at LinesAcross is just brilliant and beautiful, and a great way to use up felt scraps.

 

 

 

 

Hexagon Lemonade CoasterJust recently, Mollie of WildOlive posted this tutorial for an adorable hand stitched felt and fabric pitcher coaster.

 

 

Hexagon Crafts in Lace and Tatting

hexagon crafts part 2 hexagon shaped lace by herbert nieblingTo start is this knitted lace pattern by Herbert Niebling available on E-Junkie.

 

 

 

hexagon crafts part 2 - hexagon machine embroidery lace pattern from embroidery libraryWith a more modern vibe is this machine embroidery hexagon floral lace pattern available at EmbroideryLibrary,

 

 

 

 

and Advanced Embroidery Designs has this Battenberg Spiral Hexagon Lace pattern for a freestanding lace machine.

 

 

 

 

On a more handcrafted note is this gorgeous German triangle motif doily by Jeff at BridgeCityTatting. Jeff is a very talented tatter and he has created a lot of hexagonal projects. I encourage you to check out his Flickr Photostream and take a look!

 

 

 

Hexagon Crafts in Polymer Clay

hexagon crafts part 2 polypediaonline hexagon polymer clay tutorialIris at PolyPediaOnline offers this tutorial for these hexagonal bracelets that, although they look like leather, are actually made from polymer clay!

 

 

 

Intricate Kaleidoscope Cane Tutorial Cane Builder May 2013Meg at PolymerClayWorkshop offers two tutorials for making hexagonal polymer clay canes – one “easy intricate” and one plain ‘ol “intricate.”

 

 

 

I am fascinated by the amount of detail found in some of this polymer clay canework. These are a couple of beautiful examples from iKandi:
SALE - Polymer Clay Hexagon Kaleidoscope Cane Slice Bead -A37
Hexagon Polymer Clay Kaleidoscope Pin / Brooch

 

Hexagon Crafts in Origami

hexagon crafts part 2 - hexagon origami box with lidThere are tons of examples of hexagon origami – so many that I will only feature a few select links. The first, from TCGames on Instructables, is how to make a hexagonal origami box with lid. This pattern uses two pieces of paper for both base and lid, for a total of four pieces of paper.

This tutorial by Chrissy at PaperKawaii is also for an hexie origami box with lid, but this pattern only uses one piece of paper for base and one piece of paper for lid.

 

 

 

Then I found a pattern for this lovely little origami hexie flower ball on the Origami Resource Center site. It’s very cute in pastels as shown, but I wonder what it would look like in some richer colors and patterns.

 

 

 

Tricluster - FrontThen I found this collection of photos from Flickr I can only best describe as “extreme hexie origami.” There’s some amazing pieces in this mix!

 

 

 

Hexagon Crafts in Popsicle Sticks

I had totally forgotten about crafting with popsicle sticks until I saw this post from LiEr at Ikatbag. These are great fun! Her kids did a good job…

 

 

I have to admit that I saved my personal favorite for last. That basket reminds me of some crafts I did a million years ago, and now I can’t wait to try them out with some real live kids!

That cheeful note wraps up this hexagon crafts part 2. Is there anything else in these six crafty categories (crochet, felt, lace and tatting, polymer clay, origami, sticks) that you would like to add in the comments?

Make sure you’ve checked out the quilting, leatherwork, scrapbooking, weaving, and jewelry featured in Part 1, and stay tuned for hexie woodwork, pottery, painting, needlework, stained glass, gardening and much more to come!

[Update: Here’s links to Part 3 (sewing, pottery, knitting, quilling, woodworking, plastic and stained glass), and Part 4 (paint, cross stitch, embroidery, baking, lamp making, and gardening)]