From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.
Whenever I write a post about my favorite tools or methods I often get this wistful feeling; imagining someone inspired by the step-by-step instructions. I’m always so interested in figuring out how to use new tools, how to make everything myself– and I picture a couple of people taking some of my ideas and really making them their own. Changing up the steps, making use of their materials, and generally going crazy.
Viva creativity!
In the vacuum of cyberspace, I don’t get a chance to see too many examples of this, so while these little scenarios exist mainly in my brain, I thought I would share a simple display project inspired by my friend Tara (who LOVES spray paint), using the method from the box tutorial.
I’ve been wanting a nice tiered display for my Doodleware glasses, and finally I decided to build one. It simply consists of two boxes and a back flap that I painted black…
so that the etching detail can stand out.
Easy peasy, and basically free. It’s the perfect dimension to display the glasses in the cube I have available.
Now it’s that much easier to find the letter you’re looking for!
If you’ve done one of our projects, we’d love to see your finished piece! Email us at [email protected] to tell us how it went.
Have something you’re dying to know about! We love questions. Send them to us and we’ll see if we can figure it out!
From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.
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Despite my sister’s best efforts I’ve never been able to make sense of real crochet. The “finger crochet” method I describe below is something that came out of a lot of experimentation, but I’m guessing you fiber wizards could whip up something even better! If you’ve done a similar project, or have suggestions to make this DIY more clear, please feel free to tell us about it in the comments below.
There is better way to cut a t-shirt into strips (fewer, longer strips.)
Once you know how to cut t-shirts into long strips, no t-shirt is safe.
Which translates to: I had a lot of leftover strips of jersey, and wanted to use them up! I started braiding, tying knots, and eventually settled on a method that can best be described as the frumpy cousin of crochet.
PREP: Cutting one long strip
Knotting small strips of jersey (demonstrated in the woven rug post) is time-consuming, so the longer the strip the better. After digging around a bit I found this video that shows how to turn a loop into one long strip.
I started by cutting the large loop of the shirt from the top, and sliced across from one side, stopping about an inch from the other edge.
Then I slipped the loop over my arms, and starting at the end of one cut I cut diagonally towards the end of the next cut on the other side of the fabric. Then the whole thing unwound in a continuous strip.
MAKING THE RUG
To begin I tied a slip-knot near the end of the string by making a loop, reaching through and grabbing the strip, pulling it though and gently pulling to tighten. (There’s a great demonstration of a slip knot at the beginning of this video.)
Then I reached through that loop, pinched the strip, and pulled it through to create my first chain stitch. (See steps 2 thru 4 on this Red Heart blog post). This whole project breaks down into pulling a new loop through an old loop.
I repeated this chain stitch about 5 times, then…
tucked the loose string end through the last chain stitch to loosely close the first set of chains into a circle.
To connect the next ring of chains I pulled the next strip (navy) through two existing loops– the one I just made (pictured here closest to my thumb), and the inside of an earlier chain that lined up with my new one (closer to my fingertip).
This way my newest loop connected my existing chain to the one inside of it. I then started a pattern of 3 chain stitches, 1 connecting stitch, 3 chain stitches, 1 connecting stitch, 3 chain stitches, 1 connecting stitch, 3 chain stitches, 1 connecting stitch, 3 chain stitches, 1 connecting stitch…
going around and around the circle.
When I ran out of strips, I pulled the end of my string through the last loop, and tucked it into the rug– because one day I will have more t-shirts to dismantle, and this rug will keep getting bigger!
TIPS
As you are working, make sure not to pull your loops too tight, or stretch your chain when you’re doing a connecting stitch. The looser you work the flatter the rug will sit.
Different shirts will make thicker or thinner strings based on the thickness of their fabric. I opted for a very irregular look with lots of inconsistencies in my strips (width ranging from 1″ – 2″) but if you want a more regular look, stick with shirts of a similar weight, and cut your strips about 1.25″ wide.
If it’s looking weird, pull out your loops and start over! Once you get the hang of this version of finger crochet you’ll fly through this project, so you will quickly make up the time redoing it. Practice has never been more fun.
If you can, work for longish stretches to keep your tension consistent. This is a great “while watching tv or daydreaming” activity.
As always, plan to make one more rug than you have cats.
From 2014-2016 I chronicled my crafty endeavors on the site Adventures-in-Making. I’ve selected a few of those DIY’s, Recipes, and other posts to share on the site.
With the weather turning gloomy it’s becoming less practical (and pleasant) to work outside, but I have had more chances to work more with my lovely letterpress. It dawned on me (while I was listening to the clunking and whirring of the machine) that I haven’t ever shared my adventures with this 126-year-old guy, even though he takes up a huge space in my heart (and my bedroom.)
I thought I’d show you a couple of behind the scenes shots, and talk about my printing process.
An old etching of the letterpress model I work with, in the amazing American Wood Type book my mom passed down to me. Synchronicity?
There are a lot of great resources for learning about the history of printing (I’ve listed some resources below) so I won’t get too much into a subject that I’m learning more about all the time.
My first experience printing was at the University of Texas, on a Vandercook press using antique wood type (from the Rob Roy Kelly collection) and modern polymer plates. I eventually acquired a small table-top platen press (a Craftsmen Imperial) and started printing greeting cards and more using the same method I use today on my floor-standing platen press.
Nearly two years ago we moved the one-ton California Reliable into a corner of our bedroom, and it has become a my go-to for printing with love.
Polymer plates before they are aligned on the aluminum base for printing.
While I still use lead type and wood type occasionally, I mainly print with polymer plates on an aluminum base. I draw up the artwork, scan it, clean it up and prep it for the plates, then send the artwork out to have plates made. The plates are somewhat similar to the clear sticky stamp sheets some people use with a clear block; however the material is much harder which allows for much more detail and lets it stand up to the high pressure of the letterpress. The height of the material has to be just right to bring it up to type high on the aluminum block and allow for the ink rollers to roll, and the printer to print.
Hand carved linoleum blocks being printed on a small tabletop press.
Occasionally I get a wild hair and print from hand-carved linoleum blocks. There’s less perfection in this mode, but you can end up with really great results with lots of character. There’s a trick to raising the blocks up to the right height, but it’s definitely possible.
There’s a long list of things I love about letterpress printing, but color is at the top. I love how each color I print is one solid color instead of being made up of a pointillistic nightmare of Cyan/Magenta/Yellow/Black. (There’s no room in my blue for little pink dots.) Each color on a letterpress print is printed separately; each color has its own plate. I’m a somewhat inexact ink mixer, but I always seem to end up at the right color (and I try not to get ink everywhere.)
Printing the first color of a leafy card.
Alignment (registration) is something that has taken a little getting used to, but I’ve come up with a method that works great for me. Here you can see a couple of polymer plates on my aluminum base, printing the first color of a two-color card.
The opening and closing action on this Gordon-style press is powered by a flywheel and a foot-powered treadle. There is a single magical dance that inks the rollers on the ink plate, rolls them across the printing plate, then presses the paper into that plate to make a print. (I’m learning a little more all the time about the mechanics of this magic, but the first lesson was DON’T LEAVE YOUR HAND IN THERE.) I’m responsible for pumping with my foot/ankle/hip and feeding paper.
Printing on paper handmade from the scraps of other cards.
One of the nicest things about the letterpress is that with a little ingenuity you can print on just about anything flat. Most of my pieces are printed on thick cover stocks, often 100% cotton. I’ve started printing more and more on sheets of handmade paper that I make from the trimmings of those other cards. I love the texture and softness of the paper I make, and I adore the fact that it means I’m contributing less to the landfills. (Want to know more about making paper? 123)
I’ve also just started to experiment with printing on fabric…. I have ideas….
So that’s my old guy. Our love is still new, but I think it’s made to last.
Time will pass– I will get more ragged and he will get less, and he’ll always have new things to press.
I’ll keep learning.
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