I did get this from the public library, but it was some time ago, so I can't recall it in great detail.
It's not a bad book, and there are some cool ideas in it. However, since it's basically a project book for Lasertran (correct me if I'm misremembering), it doesn't really touch on many of the ways to do image transfers, and the title is kind of a misnomer. It's just about one type of image transfer.
But yeah, I have to agree, even if you don't like the projects... if you are a crafty-type person who likes to know about materials and, beyond that, has lots of ideas on your own, it's an interesting book to at least look through. Using the techniques in it will definitely help you to customize your environment.
The bracelet is really cute - nice design with adorable materials - but in tutorial terms, I have to suggest a modification in technique to make the structure stronger. Right now it isn't really structurally sound, though this particular bracelet may not have pulled apart yet... I just worry that one good yank could rip it apart, and that would be a shame. So, here is the way to make this style more secure.
First of all, do not use eyepins. These are made to dangle things with. They're not meant to be used as part of the main structure of any item except earrings, IE in places where there might be stress on them, IE your bracelet gets caught on something as you walk by. The reason is that the loop is pretty easy to open if you tug on a chain made of eye pins. The wire of the loop needs to come back around and wrap the base at least once or twice to be stable enough to be a main component.
What you should use is beading wire, of a sturdy gauge (18? 21? up to you - it just has to work with the beads you're using, and not be too delicate). You'll probably need two sets of pliers; one can be the nylon-covered clamp pliers sold for use with wire jigs; use that to hold the wire (some will just hold it in their hand, which is fine). Wire cutters might also help. A file to use on a clipped wire end is handy; this can be anything from a proper metal jewelry file to an emery board that you'd use on your nails, but the metal file will work better.
1 - Clip out a section of beading wire a few inches long. 2 - Using a round-tip plier (as shown in the photos), bend the wire at an angle (also as shown), and continue to wrap the wire around one tip of the pliers, which you can do with your hand or the other pliers. 3 - Once you've made a circle, make sure one of the long ends is crossing over the other at about a right angle. 4 - At this point, you might choose to slip the ring of the last link or the next link into the loop, before you close the loop in step 5 by wrapping its base. If you have split rings - which aren't as stable as the unsplit rings that you can use with this technique - you don't need to worry about this step, but if you don't, and you ignore this step, you'll find yourself swearing and cutting open a lot of loops you've already finished, and throwing away wire, which sucks if you're working with sterling. I'm just saying. 5 - Continue wrapping the working end around the other end of wire at the base of the loop you've made. The wraps should go from close to the loop to further away. 2 wraps are usually sufficient. 6 - Trim the excess wire from the working end and, with your pliers, work it firmly to the bottom of the wraps. File its edge down so it doesn't stick out or catch on anything. 7 - Slip the bead onto the remaining end of the wire. 8 - Repeat earlier steps on the remaining end, making the loop fairly close to the other side of the bead (leaving enough room for wraps, but little more).
THINGS to pay attention to - how many wraps are at the base of each loop? In which direction do they go? These questions don't help with the stability of the work, but if you pay attention to them, your work will look more professional.
This is an elementary beading technique, so you can find it explained other places on the web if my explanation doesn't help - I think I might have worded it confusingly. Try here: http://jewelrymaking.about.com/library/weekly/aa111001.htm. It can take a while to get right, but a bracelet in this style is usually just the ticket in terms of practice: I made 2 about ten years ago and have never had a problem since. Before you start, you can always make ten or twenty practice loops on cheap throwaway craft wire; if they work out, you can use them as eye pins in the future. Have fun!
well... i think i'm not gonna do it, since you seem to be the only one who is.
oh well! good luck with one, anyway. it's pretty simple and easy and shouldn't take long at all. (the only reasons it's taking me so long are that i'm a slow knitter to begin with, i don't pick it up every day and sometimes not for several weeks at a time, and when i do pick it up, i only do a couple of rows. but it's basically stockinette, so it's not like it's hard to knit or anything.)
I have tried lots of things, but I guess I'm mostly a knitter and jewelry designer. I say jewelry designer instead of beader, because to me a "beader" is someone who works mostly with stitch patterns - peyote, brick, etc - that also seems to be the definition that the bead magazines use. I'm only interested in good bead combinations and in stringing beads to wear as jewelry, so I refer to what I do with beads as "jewelry design." I knit mostly for relaxation, to keep my hands busy, and as something productive I can do while watching TV or whatever.
The other thing I'm good at, and I don't even know if this counts, is knowing which products to use for the best results in a variety of arenas. I know what's out there, and where to get it, and how to use it. I know what to use to make your project more permanent and some tips and tricks for making it all easier. I guess this is just because I have a decent (not faultless) memory and usually remember things when I've read them.
edit to add: oh, yeah, also, anything with paper, really. book arts, rubber stamping (though i really don't have very many stamps), etc. when i was an art/design major, if people asked me what i did (which is what most art majors will ask other art majors when they meet), i would reply, "Well, I like to glue things to other things."
(The Kittyville patterns are the ones that were used in S&B - it's been available for free on the web for years, S&B just reprinted it. I linked to the main knitting pattern page because there are baby and adult versions of the pattern, as well as a kitty hat.)
Other than that... Antimony & Lace, or Gothic Martha Stewart at toreadors.com, or this site. in fact, why not just try googling the phrase? I just did and came up with the alt.gothic.fashion FAQ and its list of craft links.
jera - no, as soon as they come out of the oven, while they're still hot.
Or if you're using a heat/embossing tool, you sandwich as soon as you take off the heat - that's why you should do the embossing on a piece of parchment paper on a non-flammable surface, like maybe the top of yr stove or something. People who do it this way often also coat the piece in clear embossing powder and melt that after the piece has shrunk & been flattened, which acts as a sealant: I *believe* this method is in Sharilyn Miller's book "Rubber Stamped Jewelry". You use this method either if:
- you are a stamper who doesn't realize you can shrink this stuff in the oven, because stamping books don't often mention it & assume that you're wired at the wrist to your embossing heat tool, OR
- for whatever reason, you are a person who wants a lot of minute control over how the piece shrinks and each moment in the process. One reason follows.
Some small, round or squarish charms will most likely come out of the oven more-or-less flat, though not "professionally" so (I wouldn't be surprised if Pipu's did, based on the size and shape). But anything elongated is going to twist up and warp, especially during the heating process: it may straighten out a bit when it's done, as long as it doesn't get stuck to itself while it's shrinking, which is possible. I've never had anything get stuck permanently, though.
Finally, make sure your plastic has shrunk as much as it's going to shrink. If you catch it in the middle, the shape will almost always be warped. give it time to shrink all the way before you take it away from heat, unless you need to do something like unstick two pieces.
Also remember - you can stack these after they've been shrunk, for a three-dimensional effect. You can use clear, unsanded plastic (on which you'll have to use a permanent marker like Sharpie) for a stained-glass effect. You can use shrunk pieces to make illustrated buttons for your clothing, if you do some experimentation first. Clip art books and downloadable dingbat fonts are really helpful in this respect. You can put a design on the plastic, shrink it, and layer it on top of paper or seal paper between two layers which also have designs on them. It's a really versatile material, but you have to know how to work with it.
I tried to get this going on my knitting blog a little while ago....
Sueet. The pattern is in the spring issue of Knitty. It takes 2 balls of a suede-style yarn - I'm using Berroco Suede in the purple color. I'm a few inches into Sueet but have been stalled and would like to get into it. Another thing you need is some kind of lining fabric - quilt prints are fine, as are any other kind of cotton or cotton-blend woven fabric. Overall I think the project can be done for around $20.
This is a fairly easy project, mostly just a lot of stockinette, and the results will be really cute. Anybody game? C'mon! I'll make a cute graphic button and everything!
Serendipity - I don't know what other people are going to think about this, but I'm going to guess no. I don't think beads (of the size that's good for stick-related projects) and sticks are constructed in such a way that they have enough surface area that would actually touch. A rounded bead isn't really going to touch anything next to it with a great deal of its entire surface, because of the curvature. I suppose you could do anything you wanted, but I don't think it would be that stable in comparison to doing it the other way, which is probably why the other way (gluing the pin into the hole and using it to stabilize any attached beads) has become the accepted one.
However, your idea might be an interesting thing to try, especially if you had, say, beads with flat sides (squared- or triangled-off, maybe like a furnace cane bead) and a stick that was still squared at the top so that it had distinct flat sides, giving both items lots of surface area on which to bond. Even so, you'd have to be careful about stuff like the glue bonding to whatever is coating the wood instead of the wood itself - if it bonds to paint or sealant, for example, the bead could come off if the paint/sealant chips. You might want to do something like carefully sand-down just the spot where you want to glue, and even consider roughing up the bead. Another issue is the fact that most bead materials are non-porous and most stick materials are at least slightly porous: it's difficult to get nonporous materials to adhere to much of anything, so you'll definitely want to have out your E6000 or 527 glue, or your two-part epoxy or something.
ETA - I've been up for 36 hours, and damn do I need some sleep. Yeah, now that I've posted, I see yr remark about "really strong glue" - so you get it. Just consider the surface area and porosity issues.