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1  SEWING IN GENERAL / Sewing in General: Discussion and Questions / Looking for kilt-sewing class somewhere near Detroit... on: March 28, 2014 05:02:54 PM
I've found books and video tutorials and all the usual resources, but what I'd really like is to find an honest-to-goodness, hands-on, professionally-led, real-deal kilt-making class somewhere within an hour of the Detroit area.

Anyone?
2  GLASS CRAFTS / Glass Crafts: Discussion and Questions / Advice wanted: Mounting skull to glass, semi-permanently. on: March 05, 2014 02:40:36 PM
Howdy, all!

I thought you glass folks might have some good ideas for me.

I was gifted a series of 4 dome-glass frames with old dried floral arrangements, you know the types. They're pretty, but they need a little more to fit in with my home. I have a couple of raccoon skulls sitting around waiting for something to do, and I thought they'd make a great addition. Unfortunately, the domes are deep enough to put the skulls inside with the flowers, but then I thought it might look cool to mount the skull outside, on the glass surface.

I'm not sure I want to use hot glue because it would never ever be removable. Can you think of anything that would hold a skull to glass well enough, but that could eventually clean off the glass? (The skull doesn't have to be recoverable, but I can't help but flinch when I think about permanently marking the glass.)

Let me know, thanks!
-Dorion
3  SEWING IN GENERAL / Sewing Machines: Discussion and Questions / Looking for parts for Jaguar 298 serger... on: January 05, 2014 06:25:56 PM
Hey folks.

I have a lovely Jaguar 298D serger, which I bought at an estate sale. It was the first sewing machine I bought used, and didn't know the cardinal rule: ask for the accessories!

So I don't have the rolled hem foot and plate, and boy do I wish I did. The book has the part numbers as 72199 for the plate and 72082 for the foot. The plate and the foot are each marked with an R on the top, if there's no visible part number. Having a helluva time finding them online. My understanding is that some White (the parent company) serger parts are interchangeable with Jaguar.

Anyway, anyone with a spare kit or an unworking Jaguar (or maybe White), DM me. Smiley

4  SEWING IN GENERAL / Machine Embroidery: Completed Projects / The Anatomy of an (Embroidered) Electric Eel on: December 09, 2013 08:21:20 PM


I did a project this weekend which serves as a great example of the typical steps I take in order to create a machine embroidery pattern. I'm going to break it down into steps.

Step 1: Inspiration, aka, I am invited to a special event.
In this case, it's a fundraiser for the Belle Isle Aquarium, as they attempt to bring back an electric eel to the country's oldest public aquarium. When I make something for myself, it almost always starts as a special event to which I want to wear something I made. I feel positively naked without something I made.

Step 2: Research/concept.
Electric eel, that's easy. I mean, it's easy because electric eels are awesome. Turns out, electric eels are more catfish than eel. I don't feel like I need to know the whole biology of the creatures, but I want to at least know what they look like, and what their distinguishing features are. Assumptions are the enemy. (If there is one thing in my life that defines me as a "skeptic," if not a crafter, it's that statement right there.)

So I watched a few videos, looked at a bunch of pictures, and thought about how I would represent it. I veered both literal and figurative.

I think electric, I think lights. Although cartoonists love to show them with lightning bolts and beams coming off of them, electric eels don't actually light up at all themselves. (Bioluminescence is a whole different thing — if you haven't looked into it yet, do yourself the favor! Natural bioluminescence is incredible and fascinating and gorrrrrrgeous, all at once.) However, they can be used to power lights. Every year, a new video comes out of an electric eel powering a Christmas tree (usually in Japan, dog love 'em). I love lighting things up, as is proven by the fact that I have a small drawer with 6 or 8 little LED light strings tucked away for future use. I set a couple of those aside.

My first concept was to take a western-style shirt with front yokes, and do a cartoony eel with lightning bolts embroidered on either side. Those sorts of pics kept coming up in my searches, and I even found a couple of Tesla-riding-electric-eel illustrations to choose from. To my immense shock (heh), I did not have a plain western-style shirt in my stock. (And by "stock" I mean "closet." And by "closet" I mean "the third bedroom of my house which serves as my dressing room.") I had neither the time nor the inclination to make a shirt from scratch, neither to buy one, so that idea was out.

Second thought was to do a hairpiece. I have very short hair, so putting things in my hair/on my head is always a pretty high priority. (Wait, that's not really a short hair thing is it? In any case, I do.) Since I've practiced/developed a pretty good technique for embroidering on felt, making hair decorations has become a favorite quick-and-satisfying go-to project for me. I decided on a headband. With lights.

Step 3: Illustration.
Because I was going to an aquarium to be speaking with docents and other experts, I abandoned the fanciful "electric eel" concept for the more accurate. I was a little surprised to find a couple examples of vector clip art specific to the electric eel; frankly, they are neither attractive nor especially interesting to look at. As is so often the case, personality wins out, and interested some people enough to do realistic representations. I acquired this one from Thinkstock as a vector illustration, shown here opened in Adobe Illustrator.



Step 4: Color assignment.
Electric eels are brown. Just...brown. As you can see, the clip art there uses 6 different shades of grey, making the shading look more variegated than do the actual eels. At this point, I can decide whether I want to choose as many colors as I need to suit the design, or to limit the design to fit the colors available (or feasible).

I checked my grandmother's antique spool cabinet where I keep my good thread to see how many browns I had available. When it comes to thread color palettes, there are a couple of things to consider in addition to color, specifically weight and sheen. Because we're talking eel, I wanted to use only shiny threads, so I stuck with 40 weight rayon/viscose. (This is merely one of many niggling details that I will overshare.) This left me with 4 browns, plus black for the outline and details.

The background is the final significant color choice. As I said, I've had great results embroidering on felt, which is both weighty enough to stand alone, and non-raveling to allow for a clean border. I checked my stash for something maybe a watery blue...and found a stone-embossed medium grey, which struck me as a good background for this bottom-dwelling creature.

Knowing what I know about aquariums (one of the first things I look for when traveling to a new city is whether they have an aquarium where I can spend an hour or two), I anticipated the lighting to be fairly low, the bulk of the ambient light coming from within the exhibits. This would allow the browns to blend in to each other, without the whole thing getting lost in total darkness.

Step 5: Re-illustration.
With an idea of what the animal actually looks like, technical and feasible restrictions, it was time to colorize and simplify the original illustration. I've talked about using Adobe Illustrator before, and how it's one of my favorite crafting tools. It was an absolute must for me to be able to use Illustrator as a primary prep tool before starting an embroidery pattern, for this reason.

Starting with the original, I selected the areas to be colored, simplified some of the details (remember, we're talking about a 4" x 4" maximum area, and embroidery machines don't have nearly the resolution of your desktop printer), and removed overlaps. In some cases, stitching one color over another is acceptable — even desired. But what we have here is large areas of solid color on felt, with details on top of that. More than 2 layers of heavy stitching overlapped tempts a big ol' mess of broken needles and thready birdnests.



Step 6: Import and edit and edit and edit.
At this point, I saved the Adobe Illustrator file from my Mac to a thumb drive to sneakernet over to my totally-unplugged-from-everything-because-it's-so-old-it-will-just-crash-everything Dell laptop, where I reopened it in Illustrator on the PC. The illustration was resized to under 4", and then reduced by another 85% for resolution reasons I don't quite understand. From there, I selected one shape at a time to copy and then paste into the embroidery software. The software I have does a great job of auto-converting a basic shape, so that's where it all starts.

Copy a shape, paste a shape, convert a shape. Next...

Then, of course, each shape is going to need ordering and tweaking. After...honestly, I don't even know how long it took because this is the part where I tend to go all zen and start fidgeting with things at 800%...and this is where we wind up in the embroidery software.



This is the stitch view. One thing that is significant/fun about embroidery, vs typical graphic design, is the textures available simply by stitching the same color in a different direction. This software simulates/supports this, and so I wanted to take advantage of the option to give more dimensionality to the slippery critter.



Rather chaotic, no? The panel on the right side shows the stitch sequence. It's very important that the objects are stitched in the right order; sometimes for layering, sometimes just to minimize jumps between areas. The 8th and 9th objects are simply green circles for the eyes. The 10th object is a satin stitch outline which serves as a fence for me to cut around when he's all finished.

You may also notice that black gets stitched twice, first as the background/outline, and then as additional detail. I actually used two different blacks for that — lightweight bobbin black for the background/outline, and 40wt for the details, so they'd stand up as the spines would.

The final outline was done in a grey matching the felt to give me a border to follow for trimming. Here it is all stitched out and trimmed, with green glass beads for his eyes, and human hand for scale.



Step 7: Finishing.
I already had a headband picked out for this project, a two-bar deal with some scrolly connectors between. This meant it was wide enough to support what I wanted, with openings for me to stitch through.

I don't really have any photos of this step, but trust me, it's not very interesting. I had a 7-light LED string from Ikea in the drawer which I stuck through the openings, and stitched in place with regular thread. (I will never understand why people will choose messy, unreliable hot glue when hand-stitching is so much easier and non-destructive.) I wanted a fabric to go over the lights to represent water, and to diffuse the white LEDs a bit, so I chose this short-pile blue faux fur I had. A large part of that decision was down to it being what I had on hand, but additionally, the swirly pattern looked pretty cool and watery over the lights.

I hand-stitched the fabric down, trimming and ladder-stitching as I went (while watching some non-"The Thing" arctic-station-gone-wrong movie). I pulled two of the lights through a small slit in the fabric so they would be extra-bright right next to the eel, to show him off a little. Then I took a tuft of light blue tulle, of which I have several yards for completely unknown reasons, and put that down for a little splash and for something to stand the eel against. (Yeah, there are a few beads in there, too.)



Here's a close up so you can see what a difference layering and varying the stitch direction makes.



And his adorably alien little face.



With the lights on, in a fairly accurate simulation of the light at the event.



The "underwater" lights.



So there you go, the anatomy of the ultimate in one-time-use wearables. Oh, it's perfectly capable of being worn again and again, but where am I going to be inspired to wear an electric eel on my head again?

hahahaha Considering that I wear eyeballs and skeletal birds in my hair on a regular basis, this is actually not so hypothetical a question...



A copy of this post and embiggenable images are available at my website: http://www.shefightslikeagirl.com/2013/12/anatomy-of-embroidered-electric-eel.html

ETA: The needle-arts website Mr XStitch gave my electric eel a little love today. Check 'em out!
Brocade Lion's Electric Eel
5  JEWELRY AND TRINKETS / Trinkets and Jewelry: Completed Projects: General / What does one DO with 20 mouse jawbones? on: December 08, 2013 04:57:00 PM
I try not to search auction/sale sites for bones and skulls, but sometimes I can't help it. This is how I accidentally came across a listing for 20 mouse jaws.


After a little thought/experimentation, I landed on pre-wrapped wire coils as a mounting method. I glued each jaw carefully, with gel cyanoacrylate.


Once they were all glued in, including any loose teeth, I attached all of them to a short length of chain, as a fall. To give the fall some visual and literal weight, I added a faceted black beaded ball which I strung on an eye pin with a metal teardrop at the bottom. That whole assembly was then attached to a silver chain, which was decorated with deep red faceted oblong glass beads, which are effectively black under most lighting. I hung the fall off-center for a little added interest.


This is a piece that has to be worn with a certain type of top. In this case, a black knit with snap-front. The chain itself is simple enough to wear with a collared shirt; it's the centerpiece that needs a frame of its own. It never fails to draw a lot of commentary when I wear it, usually including variations on, "Really? REAL mousejaws??"

Of course! Only authentics for me!


A slightly wordier version of this post also appears on my website: http://www.shefightslikeagirl.com/2013/11/mouse-jawbone-necklace.html
6  JEWELRY AND TRINKETS / Trinkets and Jewelry: Discussion and Questions / Looking for 25mm Talent Badge/Button Parts, pref in US on: November 14, 2009 11:50:48 AM
Hi everyone.

I bought a 25mm Talent button maker -- the candy-apple red type -- on ebay a while ago. It came with a bag of parts for pinbacks and for magnets. Love the machine, love the parts, but now that I've used them all up, I'm having some trouble finding replacements, especially in the United States.

I'm finding some sellers in the UK which I'll go with if I can't find a better source, but I'd especially like to find the magnet back parts, because the ones that I got with the machine are nicely integrated, rather than having magnets glued/taped on to the back. I'd also prefer to find the pinback type with the pin that inserts through the back through two holes rather than the semi-circular kind that snap in. With the type with the two holes, I can remove the pin part and replace it with a small welded eye in order to make necklaces, keychains, etc.

Not having much luck online so far. Any button makers here that can send me on the right route?

Thanks!
-Dorion
7  CLOTHING / Clothing for Curvaceous Craftsters: Completed Projects / Vinyl and Recycled Plastic Strapping (!!) Corset on: July 22, 2009 05:21:49 PM
Edited to put this image at top for the thumbnail. Smiley



I went away to Las Vegas for my birthday for the second week in July, because the notion of 105F weather doesn't frighten me LIKE IT SHOULD.

On one of the shuttles to or from somewhere, wearing a dress that I'd made, I suddenly decided that I wanted to make a corset. Mostly I thought it would be a cute addition to that specific dress in a bright yellow vinyl. When I got home, I received an announcement for the Marquis de Sade Ball the upcoming weekend. That solidified the project and the deadline. I can make a corset in, like, 3 days, right?

I've made a corset once before, using Simplicity 9769, affectionately known as the Giant Cock Corset, as I built it from upholstery fabric featuring colorful roosters on a burgundy field. It was sort of a test to see how hard it is to do, and what kinds of materials I could use. Looking at it now, I can see how I fouled it up a bit. I had used plastic needlepoint canvas in place of real boning, and that doesn't impart much structure at all.

I had originally made it in size 20 with 1.0mm seam allowance rather than the usual 1.5mm because I was concerned it would be too small. Turns out, it was a little too big that way, so I made this one in 20 with standard 1.5mm seam allowance. I wear RTW 16/18.

When I went to buy vinyl, I couldn't find a yellow. So I dug through the upholstery flats until I found on this beige/pink stuff on the red tag clearance table. It's a very... fleshy color, with leather texturing.

Because I had less than a week to make the thing, I didn't have enough time to order supplies, even if I'd wanted to. I've read about a lot of different things people have used for corset boning. I wanted something with some strength, but it's not like I'm doing tight-lacing or waist-training, so I didn't need to get carried away. My first thought was to get some of the biggest zip ties I could get. Lowe's has 175-lb test zip ties in 18" lengths for something like $4.50/8. They were a little narrow and I'd have preferred they be stiffer, but at least they were immediately available and not horribly expensive -- although I would have to buy 3 packages.

Someone had also suggested to me that I grab some of the steel banding that lumber yards use to bind pallets of board. The Lowe's I was at doesn't use steel banding, but rather a heavy-duty plastic. This seemed like a good thing to try as I could use utility scissors to cut/round it, and I wouldn't have to worry about rust-proofing.



Recycled Plastic Strapping Boning

The pattern calls for twill tape as boning casings, but the plastic strapping was actually wider than the steel bones would have been -- just a touch under the width of extra-wide double-fold bias tape that's been opened up. What a coincidence! (Oh there are no coincidences in math.)

I opened up the bias tape and stripped it over the seams, pinning just through the flannel backing, then stitched close to the edges. More bias tape went roughly through the middles of the panels for still more boning. More boning! Can never get enough boning. This was fun because this was one of those situations where you have to put a layer of tissue paper between the vinyl and the sewing machine so it doesn't get all skippy.



Flat and Sewn Panels

As with the boning, I knew I wouldn't have enough time to order a traditional busk for the closure, but it occurred to me to call the better fabric store in town, Haberman in Royal Oak, because they have a bridal salon. Turns out, they do have busks in stock -- for $35. If there is any theme that carries through most of my projects, that theme would be CHEAP. So I didn't see making that investment. Realistically my choices were zipper, as used on the Giant Cock corset, or... nothing. I went with nothing. Thought it would look slicker.

As for the rear lacing, I had some two-part grommets on hand. I took the two bones that were to go in the back edges and drilled evenly-spaced holes -- and how much do I love garment projects that involve power tools? When I installed the grommets, I skipped half the holes that I'd drilled -- there are 9 lacing holes in the corset now, but there are, in fact, 17 holes available. Just in case.

After the grommets were in and all the bones in place, my old friend extra-wide double-fold bias tape finished the top and bottom edges. And that's it! Fairly rigid, nicely heavy duty corset! Here's the price breakdown, as I remember:
Clearance vinyl: $3 for 1 yard
Extra-wide double-fold bias tape: 3 packages (1 for casings, 2 for edging) at around $2/pkg
Plastic boning: Free
Grommets: On hand
Round waxed cotton cord: $4.50 for about 5 times as much as I needed

And I started cutting Wednesday and wore it out Saturday (and I have a full-time day job in the in-between). All-in-all maybe... 6-8 hours, HALF of which was probably installing those consarned grommets.



Corset Front



Corset Rear

As usual, the piece looks better on me than it does on the dummy, but Heddy is wearing the same outfit that I wore to the Ball that Saturday night; that is a black vinyl pencil skirt. The corset is quite comfortable, although getting into it was... a bit of a challenge. I figured if I got it mostly right I could borrow someone's slave once at the event, for purely wardrobe purposes. You can see that I tied it in the front, so I was able to keep it well adjusted. Well, enough so that whenever I dropped anything, I had to have someone else pick it up for me. A small price to pay, I'd say.

My only "complaint" at this point is that it's too plain. Because it was largely a test, and was in a bit of a hurry, I didn't do anything decorative to it. I really want to play up the fleshy aspect of it. I had considered doing some semi-random Frankenstein-style stitches to make it look like the panels were pieced together from smaller pieces of skin. But I also thought it would be cool to have someone draw some old tattoo-style art on it. We'll see what I wind up with before it hits the city again the next time.

ACTION!



My Goofy Self

PS
As always, a more blah-blah version with more pictures is also available on my website:
www.shefightslikeag irl.com
8  NEEDLEWORK / Needlework: Completed Projects / Houdini x-stitch -- Tada! on: April 08, 2009 02:20:41 PM
I kinda doubt Houdini ever announced "tada!" at the completion of an illusion. But I like to. Sometimes randomly. Smiley

Here's my little tribute both to Houdini and to Teller, of Penn & Teller, for whom I made this piece.

Starting with a recognizable but relatively simple portrait of Houdini, I decided to go with six shades of grey plus white, which brought me to 7 colors. I wasn't even sure if I was going to be able to find six discrete greys, but that seemed to me to be enough differentiation without going totally overboard.


Harry Before and After

I spent a good hour or more combing through embroidery floss bins, hunting for six cool/neutral greys that looked like they belonged together. Then grabbed a roll of the finest resolution cross-stitch fabric I could find, which turned out to be 28-count.

For a frame, I had an idea that I might be able to use one side of a pair of handcuffs. Without actually having the cuffs on hand, I took some guesses about average wrist size ranges, did the math and decided on a 2.5" across portrait. Little.


Houdini Close-Up

When I was about half way finished, I was at TJ Maxx doing random shopping, and in their home dcor department stumbled across The. Perfect. Frame. I was so excited, I snatched it up without even registering how much it cost. Of course, this was TJ Maxx, so it turned out to be about $3. The little red frame was not only the perfect size, but look! Rope/knot detail!


Houdini Frame Detail

So that's it, the finished project. What I thought would take me about 2 weeks wound up taking closer to 6. When I think about how much time I put into it, I keep coming up with 80 hours, which just sounds impossible. A couple of friends who have seen it in person have said they'd have a hard time giving it up, and suggested maybe I should just keep it. It's a tempting thought, but I couldn't do that. As is always the case when I make things for people, I can't keep it because it was never mine to begin with.

However, I do still have this big ol'roll of 28-ct fabric... Maybe Poe next.


Tada!

As usual, there is a slightly more blahblahblah version of this project on my blog.

Thanks for looking!
9  CLOTHING / Clothing for Curvaceous Craftsters: Completed Projects / Flamin' Vinyl Reverse Applique (Vogue 8313) on: January 05, 2009 08:00:45 PM
Hey crafster peeps. Long time no post.

I'm here to tell you about my New Year's Eve dress. This project represented a whole passel of challenges and techniques I'd never used before. But why make something if I can't make it just how I want?

The pattern started life as Vogue 8313, View A, size 20. I'm about a 16 in RTW and I thought the 20 may actually be too small. Not so. I made a test dress first which fit so nicely, I omitted the zipper and kept it as a wearable dress. Once the dress was assembled in stretch vinyl, I actually took about two inches out of the waist!

This was my first project with stretch vinyl and my first reverse applique. I'm so glad I bought that stippling foot, even if I'd forgotten I had it (after I just haaaaad to buy it a few months ago).

Vinyl is tricky because you can't pin it together -- every hole shows. And oh you're in trouble if you stitch something together wrong and have to tear it apart -- which is pretty much guaranteed to happen at least once in every project I make. Not this time!

After being unable to find any in metro Detroit, I bought the vinyl online at Spandex House. It was very inexpensive and they shipped very quickly. Word to the wise: the vinyl is soft and will probably fall apart pretty soon, and worse, it smelled very strongly of petroleum when it arrived. A wash and airing out diminished the smell, but I'm convinced it's always going to be odiferous. I made it for a nightclub party, though, so I wasn't too concerned.

I taped the back/red layer under the top/black layer and taped the traced flames border (which I'd done on plain craft tissue) on top of that. Then tried to stay more or less within the lines while tracing with the freehand/stippling foot. That was kinda fun! After careful cutting to smooth out any necessary edges, the hard part was done.

The dress itself is very simple and went together quickly and easily. Because I was using a very sheer fabric for the upper, I did not use the facings as the pattern suggested, instead trimming the seam allowance off and finishing the neck edges with a matching bias tape. Turns out I think I prefer how that looked over, say, a narrow hem.

So, here are some pics!

After stitching, removing the flames paper pattern:



The upper layer cut out, with US quarter for scale:



Pre-assembly:



The finished dress:


ETA: Happy to answer if anyone has questions. There's a much more blah-blah version of this project on my blog, the URL for which is below.

ETA: Hey! Best of 2009! Thanks, Craftsters!

10  CLOTHING / Clothing for Curvaceous Craftsters: Completed Projects / What, ANOTHER skulls-n-roses dress? on: June 17, 2008 11:17:44 AM
Coincidence, I swear.

I wanted to make a dress for a rodeo I was going to... I don't know why rodeos make me want to sew things. Because I don't wear bluejeans maybe. I was looking for something slightly different, though, but comfortable, and suitable for the "novelty" quilting cottons I like so much. I took a chance and started off with Simplicity 3745, which is probably already making people on this particular board cringe. The empire waist? Even quasi?? I liked the details, though, and thought the small pleats and whatnot may work. So I went for it anyway. And it gave me an excuse to use this combination of fabrics.





I haven't decided yet how it looks on me. It's comfortable to wear, but it's a little short in the bodice (vertically) -- it's the bust thing again. But it's a nice length and those big, kimono-esque sleeves are nice. As usual, I don't have a picture of myself in the dress, and I actually need to get someone's opinion on whether I look like a big egg in it or not before I'm willing to subject the public to it... But the pattern itself went together pretty easily. And for someone who does like this particular style/cut, I'd say it's a good one.

ETA: I made the dress in size 22 and I wear a 16 in RTW. It's always important to check your measurements, even in looser garments! I knew there was a good chance it would be smallish in the bust, but powered on anyway as I tend to do. If I make it again, I will figure out a way to lengthen the bodice for more chest room.
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