As you continuously approach your fitness goals, you eventually hit a plateau, which occurs when you've nearly reached your ideal fitness level. At this point, you're basically stuck at one level, but you can take it to the next level easier than you make think.

Everyone who does resistance training―from newbies to professional bodybuilders―will hit this point, but what's important is knowing how to increase your productivity and enhance your workout, and with these 21 facts, you can definitely reach your fitness goals faster.

1. Are you exactly the same as your neighbor, or for that matter, even your sibling? Since we'll assume you answered, “No,” you must understand that everyone is different and doesn't respond to the same muscle building techniques; therefore, you should alternate the speed of your repetitions for optimal results.

2. What your parents gave you doesn't have to determine your goals. You should achieve your fitness objectives despite any genetic barriers you may have―i.e. a high BMI.

3. Establish your goals on paper. Research indicates that when a person writes down detailed goals with deadlines to meet, that the individual has a specific path to follow and is more likely to be successful at achieving that goal.

4. Age is nothing but a number, so don't let your age be a factor in achieving your goals, especially since you can't change this number. Focus on what you can control, such as your sleeping patterns.

5. Find a workout buddy. When you have someone to push you, you'll work harder than you would alone.

6. Keep in mind the ratio 10:1, because you generally need to gain 10 lbs for every inch of girth you add to your arm size. For instance, a majority of people gaining 50 lbs during the course of five years will also gain five inches in their arms.

7. Prior to increasing speed or resistance, increase the range of motion first, meaning you should fully contract and stretch your muscles. If you don’t, you’ll only receive partial results.

8. You need at least eight hours of sleep per night to build muscles, so aim to get this many winks as much as possible. Remember, a few late nights won't hurt, but making it a habit will take a toll on your target fitness level.

9. Stay hydrated! Your body needs at least 1 gallon or 16 cups of water per day for proper muscle growth. The composition of your body is 70 percent water, and in order for your body to maintain an anabolic state, water is essential.

10. Consume raw vegetables whenever you can. Cooking veggies removes much of their nutritional value. In fact, boiling these healthy treats removes between 50 to 75 percent of their nutrients. You may steam them, if you can't eat them raw, but never boil them.

11. Eggs are an excellent source of protein and despite their bad reputation, they're one of the healthiest foods you can select, especially for bodybuilding.

12. If you don't have one already, go out and purchase a blender. The amount of calories that you must eat as a bodybuilder are much easier to consume in liquid form. This vital piece of equipment is definitely important if you have a busy lifestyle that doesn't allow you to eat every three to four hours.

13. When you go grocery stopping, stick to shopping in the outer aisles. These aisles are typically where the fresh dairy and meat are located. The inner portion of the grocery store consists of processed foods and canned goods that should be avoided if you want to build muscle fast.

14. Never use a supplement in place of a meal. You must put food before supplements, so that you're consuming all the nutrients you need for bodybuilding. The nutrition you receive from foods surpasses that of a supplement.

15. In regards to supplements, creatine stands out as the top bodybuilding supplement. Beginning in the 90s, creatine has been at the top of supplement charts and has not seen a decrease in popularity since. The daily dosage recommendations vary; however, the most common dosage schedule consists of taking 20-30 grams for the first 5-7 days, then reducing the amount to 3-5 grams per day.

16. Maybe you don't have enough energy to workout, or maybe you want to increase the amount of time you workout. If either of these scenarios are the case, you should choose coffee for a pick-me-up, since it contains a mild stimulant known as caffeine. Caffeine is an inexpensive and safe performance enhancer.

17. You wouldn't drive your car without warming it up on a cold day, so why would you exercise without getting your body warmed up? Get those muscles warm to avoid injury while working out. Complete at least five to 10 minutes of stretching, in addition to some light cardio before you begin heavy lifting.

18. You've heard before that cheaters never prosper, but in certain cases, this isn't true. Although cheating to finish a set quicker or to lift more weight isn't positive, cheating on the last few reps makes the weight feel easier. This stimulates more muscle fibers with greater intensity.

19. Play nice and take turns! The you-go, I-go concept leads to an intense workout, because after you do a set, your partner immediately does one after you, then before you know it, it’s your turn again. You both use the same weights, but you take turns without any rests in between, and you see who can do the most reps per set. Try this technique with your workout buddy when you do barbell curls or other simple exercises.

20. During the 1940s and 1950s, Reg Park and Vince Gironda made a super intense technique for bodybuilding popular, which consisted of doing 10 sets of 10. This old-school procedure may have a modern name of “German volume technique;” however, this has been a preferred method to build muscles for quite some time. It causes your muscles to grow rapidly. Basically, you should do 10 sets of 10 reps for one body part at a time. Then, you should superset at two different body parts each workout. Make sure you don’t rest for more than a minute in between each exercise. Use this regimen for three weeks, and then return to a more traditional approach.

21. Switch up your routine. After three weeks, you should change your program completely. Basically, it should be opposite of the original order you did the exercises in. For instance, if you worked on your chest first, you should do it last next time. If you worked on abs on Monday, you should do them on Friday next time. Change up the amount of sets you do, as well.

Vince Delmonte

 
You need for supplies is met here!

Guilt is the lazy way out of remorse.

You keep beating yourself up for something you've done, something in the past.

Doesn't sound fun!

So why do we keep going there?

Guilt feeds shame. It also feeds on shame.

The more shame is lurking in your subconscious, the more susceptible you are to feeling this dastardly emotion.

You believe that you should feel bad when you make mistakes or do something you wish you didn't. That carries on the shame cycle.

We're already talked about that. But here's what may be the biggest attraction...

Guilt is safe. It's easier than remorse. Remorse gives you power.

But guilt lets you off the hook.

It's easy to feel bad about the past, because then you don't have to change anything -- after all, you can't change the past! Instead of looking to how you can do better in the future, you cling to the misery of what you did before.

It's an indulgence. It's like eating watching TV instead of going for a walk. In the moment, it may feel like the best thing, but it doesn't serve you. It doesn't strengthen you. It weakens you!

 

Remorse is empowering. It gives you power over your life. Guilt makes you a helpless victim ... of yourself.

Others assign you guilt as you're growing up, and then you learn to do it to yourself. Feeling guilty makes you a victim of others, long after they're no longer in your life.

But only you can choose remorse. No one can force it on you. It's an expression of true ethics -- your own inner knowing of what is right action and what is not.

This is why remorse is empowering.

Which is more fun, in the long run: empowerment or victimisation?

Where remorse is productive, guilt is only destructive.

Guilt destroys your ... compassion for yourself, self-respect, self-worth, empowerment, and happiness.And it leads you to hurt others in a similar way. If you're going to suffer guilt, you want to make sure others suffer it too!

In every way, guilt decreases the well-being of the world.

You can't afford to indulge yourself in guilt and shame any more! They are hugely destructive. In the 2012 Transition that we're going through, forgiveness is much more powerful and productive.

Remorse is the advanced version, the 21st Century option. Remorse is a positive emotion because ... It allows you compassion for not being perfect It holds open the door to being an even better you It inspires and encourages you to do better It focuses on the future, on how you can be more of who you want to be It gives you back power over your life

With Bright Blessings

REVIEW – Fall is here, and the weather has turned chilly at night.  That means Christmas is coming soon, and before I can say “Jingle Bells” it will be time to decorate the house.  While many of the decorations in our house are traditions that have been used for years, we are always up for […]

Especially after someone put that giant wooden thing on top.

“Violette Heymann, 1910” by Odilon Redon (French, 1840–1916), The Cleveland Museum of Art, Hinman B. Hurlbut Collection ,CC0. Creative Commons’ Open Culture Platform is supporting 25 institutions in opening up access to their collections by the end of 2025. Members of the Platform community will be working together to create a policy template, conduct outreach,…

The post Moving Institutions Toward Open—Building on 6 Years of the Open GLAM Survey appeared first on Creative Commons.

CATL , the world's top battery maker, will consider building a U.S. plant if President-elect Donald Trump opens the door to Chinese investment in the electric-vehicle supply chain, the company's founder and chairman, Robin Zeng, told Reuters.

In This Article: NINGDE, China (Reuters) - CATL, the world's top battery maker, will consider building a U.S. plant if President-elect Donald Trump opens the door to Chinese investment in the electric-vehicle supply chain, the company's founder and chairman, Robin Zeng, told Reuters. "Originally,…

China battery giant CATL would build US plant if Trump allows it, chairman says Trump wants to block Chinese EV, battery imports but open to US plants with American workers Contemporary Amperex Technology (CATL), the world’s top battery maker, will consider building a US plant if president-elect…

Blog Creation for Link Building In the effort to create links for back link profiles and more results, individuals and companies have resorted to tactics of duplicate profile creation, multiple fake profiles and an unsurpassed amount of blog sites with little or no use to anyone looking to gain valuable information. Some examples are WordPress […]

The arm was created by Enabling the Future, which has a chapter at Sienna College in Albany, New York. For its first project the Siena e-NABLE group made an Iron Man-themed hand for 5-year-old Jack Carder in Ohio.



In this case, nine-year-old Karissa Mitchell's (who was born without a right hand and most of her wrist) mother reached out to the group on campus, Siena College's director of marketing and communications said.

"She's watched the movie at least 100 times. We sing the songs all the time. We even have a karaoke machine that's 'Frozen'-themed," said Karissa's mother. The prosthetic was built using a 3-D printer and is comprised of 30 parts (it took near 30 hours to make).

To help Karissa achieve her dream of becoming a Disney princess, the team used "a pretty transparent ice blue color filament and added snowflakes to the forearm and her name with an Elsa crown on the cuff," said Alyx Gleason, the project lead and president of Siera e-NABLE. The arm also came with an Olaf LED light source.

Anyone who is in need of an arm or hand is encouraged to reach out to Siena e-NABLE.

Words have the power to lift us up or tear us down, and nowhere is this more true than in our closest relationships. Understanding how language shapes our emotional connections can make all the difference between feeling deeply loved or feeling disconnected. One of the most potent tools for enhancing intimacy and trust in a ... Read more

The post Building Lasting Relationships Through Words of Affirmation appeared first on LifeHack.

Report 69 published by the Social Care Institute for Excellence (SCIE) in November 2014. This research, commissioned by the Department of Health (DH), set out to identify what could be learned about current policy and practice in self-neglect, experienced as a highly challenging aspect of contemporary adult social care.

Have you heard about Mississippi? It's a construction project brought to life by Waechter Architecture after more than 10 years of planning and investigation. This building isn't just your ordinary structure; it's a game-changer in terms of sustainability and creativity.[...]

The ways buildings are constructed has to change. It has become something else instead, something more sustainable, something newer. And it doesn't get much more modern than buildings that can actually move and adapt at will.[...]

Castelar 75 is a boutique building designed by the renowned architect Fernando Donis. The building is located in Polanco, an exclusive residential area in Mexico City, and is considered to be one of Mexico's most state-of-the-art edifices. The architecture is a revamp of the typical commercial building and features large spaces for offices, reception areas and parking. Its colossal size covers a floor area of 1207 m2, which amounts to 18,314 m2 that is spread out vertically over 17 floors. Besides its immense size, it is well-designed and features several environmentally-friendly design elements that make it an elegant yet practical[...]

Electrical grids in cities and countries are overburdened all over the country. Load reduction is no longer an idea, it's a necessity. Phuis is a nonprofit organization that is creating healthier buildings that are better for the planet and the people on it. They use passive building techniques and innovative design ideas to create energy-efficient homes, offices and public buildings. This breathtaking New York Forever House by Christina Griffin is an example of how Phuis is using its retrofit program to make homes from any era more eco-friendly for the modern homeowner.[...]

Among the oldest tools that human hands ever created are axes, used to chop wood for fires and buildings. Wood is truly the mother of sustainable resources, a material that will grow back again and again. And now, wood is becoming the "it" design material. Sweden is starting an ambitious new project called Stockholm Wood City that will demonstrate the majesty of wood, and the possibilities it represents in sustainable building. [...]

Germany's most sustainable building is in Berlin, and it's a beauty. The EDGE Suedkreuz Berlin is a seven-story office complex consisting of two buildings comprising 32,000 square meters of floor space. It has been built by TCHOBAN VOSS Architekten using sustainable, climate and resource-saving techniques. Plus, it has a modular hybrid-timber construction that makes this hybrid-timber building one of the largest in Europe. [...]

Kaiserstraße is a new residential building currently under construction in Blumenau, Brazil. The project is designed by Alencar Arquitetura and aims to harness connections between residents and the natural world.[...]

I was overwhelmed by the response to my last post, and so grateful for the reminder that there is still connection to be found online, I just need to push through my own self-consciousness to find it. And I have many good models for this behavior, people who are quick with a kind and supportive word, people who do not shy away from nuance.

Today I spent the day offline in the company of people like this, a small group of friends that gathers once a month to share our love of stationery: pens, ink, paper, notebooks, planners, postal mail, and the like. We sit around a big table and journal together while chatting, snacking, and drinking lattes carefully crafted by FunkyPlaid. The middle of the table soon fills with stickers, stamps, inks, and washi tapes that we’ve brought to share with each other.

As I look around the table at these treasured people, I think about how much work goes into building community. Healthy communities take intention, upkeep, energy, and shared values. This gathering happens every month because we invest all of this into making it happen. As hosts, FunkyPlaid and I make sure people feel cared for with food and drink in a clean and welcoming space. As guests, everyone brings what they want to share, and expresses interest in what they are interested in (and refrains from expressing disdain for what they aren’t).

It’s a lot of work, joyful work. And this work results in a day each month to anticipate, and memories to hold close the rest of the month. I hope never to take this community for granted.

The post Kiev: Residential Building is in Fire Due to the Wreckage From the Air appeared first on English Russia.

The post Missile Hits a Residential Building in Kiev appeared first on English Russia.

As followers may recall, I started hand stitching hexies for a Grandmother's Flower Garden quilt in March, 2012... three years ago. Watching my friend, Christy, basting sweet, reproduction fabrics around paper forms, making little stacks of 3/4-inch hexagons, I just couldn't resist! These Beadlust posts show the various steps to making the quilt top and the start of  hand-quilting in more detail than this post.

Although I'm still hand-quilting, the end is in sight now. I'm hoping to finish in time for our County Fair in August.

In this post, I thought it might interest you to look at how much time it takes to complete each of the steps in hand piecing and quilting a 3/4" hexie quilt, and the total number of hours involved. I'm basing time estimates for all of the repetitive steps on how long it takes me to do a large number in one sitting, after having practiced... in other words, at my best speed.

Step 1 - Planning the Quilt and Getting Fabrics - time: 20 hours

I decided to make a version of the traditional 1930's Grandmother's Flower Garden quilt that is less common than the one with a path or ring around each of the flowers. I chose this design. Note the green hexie leaves, which form a vertical-horizontal grid.


The final size is 72 x 92 inches, a comfortable size for a twin bed, a total of 4,694 hexies. I wanted to use as many different fabrics in this quilt as possible.

• flowers = 280 different print fabrics with any background color except green or white.
• leaves = 150 different print fabrics in green
• flower centers (repeats OK) = 25 different solids
• double border = 1 print + 1 solid

Although I had collected 30's reproduction fabrics for a few years, I certainly needed more. From a selection of fabrics given to me, fabrics purchased in an eBay auction, and my stash, I found enough to make each of the flowers unique. Although there were not enough greens to make the leaves unique, I had about 60 different green prints, such that each is not repeated more than 3 times in the quilt. So, in the end the quilt includes more than 360 unique fabrics!

Step 2 - Wash and Iron all of the Fabrics - time: 15 hours

Yikes! A few of the fabrics I wanted to use were already washed; most were not. Knowing it should be consistent, and worrying that the reds might bleed, I decided to pre-wash and iron all of the fabrics. Doing this step in stages, as I acquired fabrics, I'm not really sure how long it took, perhaps quite a bit more than the above estimate.

Step 3 - Cutting and Trimming all of the Hexies - time: 28 hours

For each of the  4,694 hexies, I cut a 2" square of fabric, and trimmed off the four corners. Of course, I cut and trimmed in multiples, except for a few that I fussy cut individually. Again, since I did this step in stages, the above time estimate is a bit rough.

Step 4 - Basting the Fabric to the Paper Hexie Forms - time: 235 hours

Once I learned that using YLI quilting thread for basting makes it go much faster than using regular sewing thread, I was able to baste 20 hexies per hour.

Step 5 - Stitching Hexies Together to Make Flowers - time: 105 hours

Averaging 2.5 complete flowers per hour, it took me about two and a half 40-hour-work-weeks to whip-stitch all 238 full and 42 partial flowers. There are 14-17 whip-stitches per 3/4 inch seam.

Step 6 - Stitching a White Hexie Ring Around 130 of the Flowers - time: 130 hours

On average, it takes me 1 hour to whip-stitch 12 white hexies around each flower.

Step 7 - Layout Flowers for Quilt Top; Note Position on Each - time: 4 hours

I didn't fuss too much about the layout, spreading out the flowers randomly, making sure the red ones were evenly spaced, and that no areas were overly dominated by one color. Assigning each row a letter and each position within the row a number, I marked each flower on the back (writing on the center paper piece).

Step 7a - Half Flowers and Double Border All Around - time 90 hours

This is an update, added Feb. 2018. (I can't believe I forgot this important step when writing the original time line.) To make 42 partial flowers to fill in the gaps around the edges of the top, I cut fabrics, basted hexies, joined petals, and then stitched the partials into the gaps. To make the outer border, I made 522 individual hexies, stitched them into rows, and then stitched the rows onto the top.

Step 8 - Sew Flowers into Small Groups - time: 90 hours

To assemble the quilt top, I grouped 8-12 flowers, and whip-stitched them into a solid piece. There were 30 pieces, which took about 3 hours each to complete.

Step 9 - Sew Small Groups Together to Complete Quilt Top - time: 123 hours

I first sewed the small groups into rows, then stitched the rows together. As the sections got larger, the stitching took longer, making it difficult to estimate the time with total accuracy. I did a couple of time tests at different stages of the process in order to figure the above total. I completed this step on March 1st, 2013, one year after basting the first hexie.

Step 10 - Iron/Starch Top, Remove Papers and Basting Stitches - time: 33 hours

Removing all the basting stitches and papers took a lot longer than I would have guessed. But when I look at the pile of basting threads, it begins to make sense.

Step 11 - Assemble Quilt Layers, and Baste - time: 12 hours

Christy and Lunnette helped me layout the back, batting, and top on the floor; then baste in a 4 inch grid. I think we pinned it first, then basted, then removed the pins. On our knees for most of the time, it sure was wonderful to have their help!

Step 10 - Quilt and Embroider the Flower Centers - time: 70 hours

Choosing a floss in a similar color to each flower center, I embroidered a flower. Intentionally, some of the stitches act as quilting stitches, while others slip between the layers and don't show on the back. Around the edges of the quilt, it took about 15 minutes per flower center. Toward the middle of the quilt, it took about 20 minutes per flower center.

Step 11 - Quilt Flower Petals - time: 106 hours

Quilting around the petals of each flower requires turning the quilt 270 degrees for each petal, which is why it takes at least 20 minutes per flower, longer toward the middle of the quilt when the whole weight of the quilt must be constantly shifted. There are 238 whole and 42 partial flowers. I'm figuring an average of 25 minutes per whole and 10 minutes per partial flower.

Step 12 - Quilt Around White Rings - time: 65 hours

Like quilting the flower petals, quilting around the outside edge of each of the 130 white rings requires turning the whole quilt as I work, which adds a lot to the time it takes. I believe quilting the entire top in a diagonal grid of straight lines would take about half the time it takes to follow the curved, zig-zagging path of the hexie flowers, leaves, and rings.

Step 13 - Quilt Around Each of the Leaves - time: 79 hours

Not only does this step require turning the quilt as I stitch 360 degrees around each leaf, it also requires knotting and burying the tail at the start and finish of each leaf. Also I'm changing color of thread to more or less match the fabric color for each set of 4 leaves. Around the edge, it takes about 9 minutes per leaf; toward the center 11 minutes per leaf. There are 474 leaves total, at an average of 10 minutes/leaf.

Step 14 - Assemble Hexies for the Border Facing - time: 37 hours

To face the double (print + blue) border on the back of the quilt requires 522 hexies. To sew them together, forming the border strips, takes about 1 hour per 14 hexies.

Step 15 - Trim Backing and Batting; Blind-stitch Facing to Border - time: 13 hours

There are 264 hexies around the outside edge of the quilt top. Since I have not done this step yet, the time estimate (blind-stitching 20 hexies together per hour) is somewhat rough.

Step 16 - Remove Paper Pieces and Basting from Border and Facing - time: 10 hours

Again, since I have not done this step yet, the time estimate is based on the time it took to remove paper pieces and basting threads from the quilt top.

Step 17 - Blind-stitch Facing to Quilt Back - time: 13 hours

Step 18 - Quilt Around Print Fabric Border - time: 13 hours

Step 19 - Blanket Stitch Around Outside Edge of Quilt - time: 10 hours

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Total Time to Complete Hand-Piecing the Quilt Top: 873 hours

This is equivalent to nearly 20 weeks or 5 months on a 40 hours/week job. It took me a year. Mostly the time flew by as I basted and hand-stitched the little hexies together. Always there was a new print to enjoy, a new stack mounting in size to admire, a growing quilt top to thrill me.

Total Time to Complete Hand-Quilting: 428 hours

Since this job isn't completed yet, the time is only a rough estimate, based on the times it took to do some of the already completed steps. In all, hand quilting will take the equivalent to 10 or 11 weeks of full-time work. I find the quilting rather very boring. After taking a break for more than a year, I started working on it again and hope to be finished by August this year. Audio books are the answer to the tedium for me.

Total Time, Start to Finish: 1,301 hours

With Steps15-19 still to complete, the total is a rough estimate. Still, it is obvious that making a quilt like this, start to finish, requires more than 1,300 hours or the equivalent of over 8 months of full time work. If I were to be paid only minimum wages (2015, Seattle, WA - $11/hr.), the cost of the quilt would be $14,311 + about $500 in materials, or a total of $14,800.  Good thing I intend to keep and use it myself!

UPDATE, July 4, 2016

By June, 2015, I completely finished one corner, an area big enough to photograph so I could submit an entry form to the 2015 La Conner Quilt Festival, sponsored by the La Conner Quilt & Textile Museum. On August 7th, 2015, I received notice that it was juried into the show. Wow! That sent me into high gear for sure. After working non-stop, 7 days a week, and an average of 10 hours per day, I inserted my needle into that quilt for the last/final time on Aug. 24th, 2015, just days before delivering it to the museum. It took me 3 years and 3 months, start to finish!


I was surprised, honored, and incredibly pleased to find out it won the Curator's Award of Excellence, one of the top awards, which then qualified it to be shown at the museum for the month following the Festival. Note, the finished size is 71 x 93 inches, and there are 4,700 individual hexagons in it.


Big work for both hands, but sooooo satisfying!


In fact it was so satisfying that I've started another hexie quilt... Can you believe it? So far, I've made 733 hexie flowers for it! Although they are the same size hexies, there are no reproduction fabrics and the arrangement will be anything but traditional. Don't know why I love the hexagon shape so much... but it's certain that I do.

A week of finishing!!! Oh my, it feels good to finish things, doesn't it?!

Last October, I started the applique process, stitching chick bodies and wings cut from felled wool onto the wool background fabric. Seven months later, 16 chicks, embroidered with threads and beads, run free! Please click the picture to enlarge it, so you can enjoy the fanciful details.

If you are new to this process, you can see the various steps and pictures of the chicks on these posts. Of course, they are inspired by Sue Spargo's exhibit at the La Conner Quilt Museum, by her book, Creative Stitching, and by taking a one-day class from her to get me going. Along the way, other books, embroideries, and drawings also inspired me.


As you might guess, most of the chicks have at least a few beads. Here is one with the main motif embroidered with beads.


And, here is one with just a few beads, the center of the "flowers," and one with no beads at all.

Also note that I've quilted the piece with Danish Flower Thread in a shade which closely matches the background color.

At first, I thought it would be pleasing to embellish the areas between the chicks with flowers, vines, and leaves using three close shades of the background color. Here is an example.


It looks OK when you look at just four chicks with the flower/vine motif in the center. But when I had finished 6 of the areas (sorry no photo), some of them with larger spaces and larger vines/leaves, it looked too busy. It took away from the chicks. I couldn't tell if I was supposed to look at the chicks or the flowers. So I picked out the vines and leaves, leaving just the flowers, which weren't such a distraction.


After sewing on the binding, the chicks seemed to need a little warming around them. So I added a line of stem stitch in variegated pearl-cotton in a magenta color. It pleases me!


Oh, and one more thing... This is a quilt, designed to hang on the wall, with lots of details to enjoy as you view it up close. But what happens to wool felt when it is out in the open? MOTH DAMAGE and DUST are the enemies. My solution? Find, buy, or have somebody make a wall-mounted display case, with a hinged door. Hang the quilt inside the case, which remains closed except when somebody wants to take a closer look. The above, found on the internet, is close to what I have in mind, with a white background of course.


What's next in chick-land? Well, my dear niece just got married... Here is the start of her wedding gift... I'll post a finished photo soon.

Kitty Sorgen, quilter extraordinaire, and Jenny Bowker, the pattern developer, are to blame for this madness! Shimmering Triangles Jenny calls it, and shimmer it does. In fact, it can be over done to the point where it's difficult to look at. But not Kitty's... Kitty, a member of our local guild and the best colorist I know, brought her shimmer quilt to Wednesday night quilting a few months ago, and

It sure was a lovely surprise one day last fall when a representative from the Bead&Button Show called to ask if I would be interested in sending my beaded quilts for exhibition at the 2015 show in Milwaukee, WI.

Would I be interested? Of course I would!!! But since I'm more of a beader and don't have that many beaded quilts, I suggested they also contact my brother, Thom Atkins, who has made a mind-boggling number of beaded quilts in the last 10 years or so.

Brother-sister exhibition... how fun is that! You can see all 22 quilts in the Artisan Area of the Exhibition Hall if you're attending the show, May 27 - June 8. For those who can't make it, here are my quilts, the ones in the show. When you click on the first picture, you can see a slide show with full-size pictures.

It's really special how,in recent years, quilters are interested in beads, and beaders are playing with quilting, both finding ways to expand their creativity! And it's super fun to show with my bro!

Oh dear, busy me, four months since I've posted here. Lots of quilting, a little beading, some travels, and recently several sets of house guests have made "retirement" a bit of a joke. For now, since the La Conner Quilt Festival is just around the corner (October 2-4), my subject is one small exhibition on the first floor at the Museum, which is currently up, and will remain through the Festival.

Last year at the Festival (and again this year!) Sue Spargo taught workshops on her wool applique embroidery methods. Those of us who were lucky enough to get in were invited by the Museum to exhibit our finished pieces. These marvelous creations are the subject of this post. Uneven lighting makes it difficult to get good photos, so please forgive poor color or tone on some of these photos.

In case you are unfamiliar with Sue's work, below is an example of her work. Students in her class could choose to make chicks, circles, or flowers. Most chose the chicks. Eight of her students are showing their work in the current exhibit.

My vote for the most awesome-creative piece goes to Bunny Starbuck for She Has Flown the Coop! Here it is:

Having put my chicks all in neat rows similar to Sue's example, I find it amazing that Bunny's mind took the idea and made a whole different story of it... a coop full of chicks, with two in line on the roof ready to follow the one already in the air. Don't you just love the way the lines divide the space?!




Note Bunny's use of whispy yarn to suggest little chick feathers, her use of snaps for eyes, the one chick turned full front, the one with a bead-tassled braid and glasses, and the one with beaded loop fringe and a gathered yellow ribbon (?) yo-yo. I love them! I'm in awe, Bunny!

Below is Chicks on Parade by Dorie Benson. It's so fun the way they are so close together, with two of them going in a different direction, just as you might see in a little cluster of chicks. If you click the photo to enlarge it, you can see some of Dorie's excellent stitching and hand quilting!

The next one is Chicks by Glenys Baker, who not only did all 36 chicks but also made a second quilt featuring circles (shown further down). Awesome work, Glenys!

And next is Birds of a Feather Can Dance Together by Lorraine Jones. The fun of the title is matched by the fun of Lorraine's embellishments, including her border treatment. (You'll have to see this one in person, because the light from a table lamp, made the lower corner of the photo look terrible.)

I guess most of us like to "swim the other way," as you can see in the next piece, Chickadees, by Carrie Unick. I thought many of Corrie's embellishments were especially fun and creative, so I've also included a couple of detail photos.



Last of the chicks is my piece, simply named Chicks. It was so much fun, that I made another small piece (also in the exhibition), shown at the top of this post. Both are displayed in shadow-box type frames to protect them from dust and moth damage.
Glenys Baker, in one year, made not only a 36-chicks quilt (shown above), but also a 48-circles quilt, Circles. How she keeps thinking of new embellishment variations I can't imagine. Yet each of her circles is completely unique! Her choice of border fabrics is perfect for the quilt, complimenting the flow of color among the circles.


I love the fun color combinations and the way the beads enhance her embroidery on Nancy Anders' Bodacious Blooms, a joyful wall quilt if ever there was one! (Again, I couldn't quite get the color right in the photo, so you'll just have to go to the Museum to see it in person.)


The name of Roberta Roberts' flower quilt, Memories, invites us to look closely at the flower with three ladybugs. I don't know the story, but I can tell there is one here... and I love that. Her embellishments are varied and fun as well.



There you have it... 10 quilts by 8 students who learned some methods of wool applique and embroidery from Sue Spargo, last year at the La Conner Quilt Festival. I'm so grateful to be one of them!

If you're a Beadlust reader, you know I worked for three years (more than 1,300 hours) to hand piece, hand embroider, and hand quilt Mama's Garden, with 4,700 3/4-inch hexies, a true labor of love. A big push this spring got it finished in time to enter into the International Quilt Festival in La Conner, WA. Hooray, hooray, the judges accepted it into the show!!!!

This coming weekend, October 2-4, all you quilting enthusiasts will find it rewarding to make the effort and get to La Conner (WA) for the Festival, where you will see an excellent selection of quilts and fiber arts, plus a variety of interesting vendors! Here is the information. Head first for Maple Hall, a huge 2-story building, filled with quilts, at the corner of 1st Street (the main drag) and Douglas Street! Bring your camera, because photos are allowed (at least in the past they were).

What do you think? After all those hours, would it be crazy to even THINK about making another hexie quilt, another one with 3/4-inch hexies? Well, then I guess I'm crazy, because the irresistible call of the hexie hooked me again. And why not re-use the same paper pieces?

This one will not be traditional, and will definitely NOT be hand quilted. It will be hand pieced, using small left-over fabrics (I refuse to call them scraps), cotton prints (but not batiks). I have no idea how I will arrange them, how big it will be, or anything else about how this new project will develop.

The first step was to cut out sets of  2" x 2" squares (6 per set) to make flower petals. So far, I've cut about 130 sets. Here are 80 of them, ready to baste onto the 3/4" paper hexie pieces.

From very small pieces, I cut single 2"  x 2" squares to make flower centers. These I've already basted to the paper hexie pieces.

After basting some of the petals and centers, I started choosing centers for the petal sets. This part is fun! I enjoy "auditioning" various centers until one of them seems right. I'm avoiding high value contrast between petals and centers, because I might want to do a color study with them (no borders).

When the urge gets really strong, I allow myself to start stitching the hexies together to make flowers.

This quilt will probably have about 650 flowers! I've cut 130 so far, each different. I cut flower petals from all of my small pieces, every one. My preference is to have all 650 flowers different.

Sooooooo, if YOU have some small fabric pieces you'd be willing to donate, I'd love to have part of you in my quilt. This is what I need:

The quilting community is awesomely generous!!!  Thanks to all who have sent me scraps for making hexie flowers:


I really understand and appreciate that it takes time to sort through your scraps, selecting some that you feel might work for me, packing them to send, getting them to the post office. In some cases, you even took time to cut them into 2" squares for me... WOW! Bless your hearts!

The most interesting thing is that all the fabrics I've received so far are ones I might have picked myself, yet so far there are no duplicates. As of Oct. 19th, I have cut petal sets for about 650 flowers (from my own scraps and fat quarter stash, as well as scraps I've received from other quilters), all of them unique! That's about 90% of what I need to make the quilt, and certainly enough to keep me busy for a looooooong time. It will probably take me a year or so to baste and stitch all of the flowers, although I admit to going at it with a lot of gusto.

I'm making 3/4" hexies, which means each of the six sides measures 3/4 of an inch. For these I need to cut 2" squares. (At the end of this post there is a table showing the size of fabric squares that corresponds to each of the standard sizes of hexie paper pieces.) To make each hexie flower, I need 6 squares for the petals and 1 square for the center. This is how I cut them.

The first thing I do, is sort my scraps into piles by size. The easiest to work with are strips. These I iron, sort by approximate width, and stack 6 strips high, aligning the top and right side edges. Then I cut each stack of 6 strips to exactly 2" wide by slightly more than 14" long. From each one of the strips, I will get one set of petals and one center. After cutting 5 stacks of strips (a total of 30 different fabrics), line them up next to each other as shown above, and cross-cut 2" squares through all of the strip piles at once.


Now, pick up the piles of 2" squares, and place them in stacks, alternating the orientation as shown above.


Next, use dressmaker's shears to trim the corners off of each of the piles. Each pile has 6 fabrics, so you are trimming 6 at a time. Re-stack them as shown above. Note that there are only 6 piles in each row. The 7th pile in each stack, I have set aside to use for centers. These I keep separate from the petal sets, selecting a center for each petal set later in the flower-making process.


The final step is to separate each of the piles into 6 separate piles, one for each of the fabrics. You will end up with 30 singles piles, or petal sets, each with 6 of the same cut and corner-trimmed fabric, enough to make 30 hexie flowers.

Certainly there are other, and even possibly more efficient ways to cut fabrics for hexies, but this way works well for me. Some quilters recommend using the squares without trimming the corners. I tried it that way, but went back to corner-trimming because I like not having the extra bulk toward the centers of each hexie. I'm especially glad I trimmed the corners on my Grandmother's Flower Garden hexie quilt, because it was that much less to stitch through in the hand-quilting process.

Sometimes, the fabric scraps are not strips, or would more effectively be cut as a chunk rather than strip. Basically it's the same process. I stack 6 different fabrics, aligning the top and right hand edges. From this stack, I cut a 4 x 6 inch block, and then cut that in half to make two 2 x 6 inch strips. I align the strips the same way as the 14" strips above, cross-cutting several at one time, and finish the same way as described above.

Fabric Cutting Guide for Different Sizes of Hexies

1/4" hexie  --- cut 1" squares
1/2" hexie  --- cut 1-1/2" squares
3/4" hexie  --- cut 2" squares
1" hexie ------ cut 2-1/2" squares
1-1/4" hexie - cut 3" squares
1-1/2" hexie - cut 3-1/2" squares
2" hexie ------ cut 4-1/2" squares
3" hexie ------ cut 6-1/2" squares
4" hexie ------ cut 8-1/2" squares
6" hexie ------ cut 12-1/2" squares

A very handy, and more complete cutting guide is available from Paper Pieces, which is where I get my pieces. Nope, I don't cut my own; too boring, and I really like the precision of die-cut paper pieces!

For a lot more helpful tips on making a hexie quilt, please see these posts:

Grandma's Flower Garden - 3/4 Inch Hexie Quilt - Time Study

Hand Quilting a Hexie Quilt

Hexie Quilt - Embroidery Quilting in Flower Centers

Hexie Quilt - Paper Pieces are GONE + Tips

Hexie Quilt - To Fix or Not to Fix

Hexie Quilt Top - Almost Finished

Hexies Galore - Grandma's Flower Garden

Grandma's Flower Garden Quilt - I'm Doin' It!

My brother, Thom Atkins, is a very talented quilt and bead artist!

He's written a popular book about how to make beaded quilts.


Recently he sent me a wonderful birthday present - a box of his scraps to use for making hexie flowers for my in-progress, hand-pieced, hexie quilt. Forty-nine different fabrics makes quite a stack of flowers.


Here they are again, this time arranged on a flat surface (click photo to enlarge for details). It's way fun to play with the flowers, re-arranging them in different ways, re-stacking them, and then spreading them out again.


All the while I was cutting, basting, and stitching these flowers I was thinking about Thom, about our history and our mutual love of stitching. I recognized most of the fabrics. One was in a quilt we made 19 years ago for our mom's 80th birthday. Some were from blouses, dresses, shirts he made for himself and his wife. Some were from pillows and other home decor he made for their home. Some were from his early quilts. Most of them brought up a ton of memories for me!

I always like (and sometimes love) things that Thom makes, and yet I've also noticed when we are in a fabric store together, we do not gravitate toward the same fabrics. I wouldn't have guessed that I would use almost every one of the fabric scraps he sent. There were a few that were too glitzy, had a stronger metallic look than I like. But 90% or more could have come from my own stash. That's how much I like them.... leaving me to conclude that we are more alike than I thought.


Here we are as kids... book ends.  Me 16 months older than him.

What's it like when brother and sister, close in age, are both quilters and beaders, both of us entering our quilts in shows, both of us teaching workshops and writing books?

Are we competitive?

A little, but not very much in my opinion. I admit to being a little "nervous" when he took up bead embroidery a few years after I make it the focus of both my art and my career. In artistic matters, he has a quicker learning curve than I do, rapidly achieving excellence in any medium he tries.

The fact that he likes bling and representational, while I like matte and symbolic, makes our work look different, which helps. We're also very different in our approach to quilt designing. While I am heavily influenced by traditional quilts, his quilts are all "art quilts." Most of his are heavily beaded, while mine are mostly not. Right from the start, he usually has a complete "picture" in his mind of what his quilt will look like when finished; whereas I rarely have a clue what mine will be like until I'm nearly finished with it.

Nor have we had issues with our teaching. I mostly teach beaders, emphasizing bead embroidery techniques rather than projects. He mostly teaches quilters, concentrating on methods for sewing beads onto quilts. There are enough teaching opportunities for both of us to accept as many gigs as we can handle.

What's the best thing about our mutual passions for beading and quilting?

Well, we talk on the phone for hours at a time about our current projects. Our conversations would bore everybody else in our families to death, but for us it's exciting to share our ideas, challenges, and victories. We do it often! It seems each of us has always respected the artistic sensibility and skills of the other. It's great to have somebody you can count on to say, "That's really wonderful," when you show them your latest work.

We also share information about photography, opportunities for showing our quilts, inspirations, promotion of our books, and countless other related things. We help each other to solve problems and to grow artistically.

It seems pretty ideal; was it always like that?

If you've read my first book, One Bead at a Time, available here as a free download, you know that Thom grew up favored to be the artist in the family, showing his talents at a very early age. My bend was more academic, although I had no clear pathway. After majoring in art in college, Thom rapidly became established as an artist. After majoring in English and psychology, I muddled around in a couple of careers for many years. I didn't discover my passion for beading or start to think of myself as an artist until I was 46 years old. Until then I always admired Thom's art, but didn't relate directly to him about it. I'm glad it is different now; glad we are both talented and creative... together!

Oh dear, I'm sorry to have neglected posting here for so long. Although many suitable topics and photos have passed through my mind and camera, there just hasn't seemed to be a nice chunk of time available for putting it all together. Today is the day to begin again!

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND (detail of border)

For the past two months, it's been all about quilts and quilting for me, with beading taking a bit of a back seat for a while. My quilt and travel buddy, Lunnette, and I flew to Ontario, California for The Road to California, which is a ginormous quilt show with more than 1,000 quilts on exhibition and over 200 vendors. We gawked (and spent all of our allotted budget) for 3 whole days, barely noticing our fatigue and sore footies.

There are several intriguing subjects to cover, inspired by our experiences there. Today's post is about traditional applique and machine quilting.

Inspired by Alice, by Marilyn Lidstrom Larson of Willow City, ND photo credit (for this photo only): Road 2 CA

Inspired by Alice, by Marilyn Lidstrom Larson, detail showing back

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center

Inspired by Alice, by Marilyn Lidstrom Larson, detail of center quilting

Inspired by Alice, shown in the photos above, won the first prize of $1,000 in the Traditional, Wall, Applique category of the main (judged) exhibit! Take a moment to study the pictures, click on them to enlarge them, notice the way the applique and machine quilting compliment each other. Also think about what this might have looked like if the maker, Marilyn Lidstrom Larson, had hand-quilted her work the way Alice, her grandmother (and inspiration for the central portion of the quilt), would have done. I love this quilt, totally love it, and believe it deserved the award it received.

At the same time, it saddens me that in all the juried/judged shows I've seen (and entered) recently, there is no category specifically for hand sewn quilts... quilts which are hand-pieced, hand-appliqued, hand-embroidered, and/or hand-embellished, and finished with hand-quilting. Nope, hand-sewn quilts are judged right along with machine-sewn quilts. In my observation, machine-quilted pieces are the ones that win almost all the prizes, even in the traditional categories. Why is that? Is hand-quilting considered passe, a thing of our grandmothers' time? Is it because machine-quilting has more pizzazz in the viewers' and makers' eyes? Is it because the machine manufacturers are huge financial supporters of these shows and providers of much of the prize money? Is it because the machine manufacturers run the training programs for judges?

OK, let's look into this subject a bit more. Later, I'll tackle the subject of the influence of the machine manufacturers. For now let's consider this question:

Does machine-quilting enhance quilts that are otherwise hand-sewn?

To be honest with you, the past two months (Oct. and Nov.) have been miserable for me because of the election campaign and results. Now, finally, the cloak of despair, the fog of depression, is lifting a little.

One evening, as I noticed the challenge kit from the La Conner Quilt Museum on top of my quilting to-do pile, a flicker of an idea passed through my brain. Then, as I awoke the next morning, the flicker became a small flame, which in turn lead me to accept an invitation to spend an afternoon quilting with some friends, which (in order to have something to work on) got me rooting through my fabric stash.

Now, quilters, beaders, and artists of all types, will recognize the phenomenon caused by physically touching your materials, supplies, and tools. Suddenly your wearisome thoughts of the election (or whatever else got you down) are gone! You fondle your stuff lovingly, and with great anticipation, you make the first cuts, fanning the flame, turning it into a nice warm fire. Ah, saved from the chilly fog, at last!

My journey out of the fog began with this vintage block from a quilt that someone, somewhere, started long ago, but never finished. It, along with many others, was donated to the La Conner Quilt Museum. The Curator, Kathleen Kok, not knowing what she would do with all the vintage blocks donated over the years, just kept them in a corner waiting for an idea to form. And form it did!

Every year the Museum has a challenge as a fundraiser, showcasing the entries at the annual Quilt Festival. For 2017, the challenge theme is "Time" and the material provided in the kit is one of the vintage blocks from their collection. The block above is the one I picked. It is just so cheerful... how could I resist? Hand pieced, it wasn't perfectly sewn, but still I fell instantly in love with it. Mine for a $10 contribution!

Of course, it was just the block. In the photo above, I have already layered it with backing and batting, and then hand quilted it.

My idea is two-fold. (1) Since the "time" theme can be portrayed by a transition from these early fabrics to modern fabrics, I decided to repeat the block using Kaffe Fassett fabric scraps left over from my shimmer quilt. (2) Feeling powerless in the face of impending doom after the election, I had to find some ways to assert my beliefs, and this quilt was to be one of them. I've long been concerned about the ever-increasing world population, about all the small, yet constant ways overpopulation is damaging and destroying the natural systems of the planet. So the title will be: Under the Quilts, Time Flies, and Population GROWS. My idea is to illustrate this concept using both color and beads. You'll see.

First though, a few words about making the modern block. At first I tried to make a pattern for the "flower/star" by tracing one of the triangles from the back side. I hand-stitched the required 16 pieces together FOUR different times, varying the seam allowances each time, trying to get it to lie down flat. Obviously, I did not correctly copy the original, because when I finally sewed it so it was nice and flat, it was also too small. Grrr.

A smart quilt friend (thanks Tori) suggested I trace a section from the right side of the block and add 1/4 inch seam allowances all around. Good idea, but there were small differences between the sections... which one to trace? Trying to answer that question, looking at the block, I finally saw how the pattern was derived! (Light bulb!!!)

It's two overlapping squares of the same size, one on point and one not. All it took was to measure the sides of the squares on the original block (which averaged 8.5 inches), cut them out of paper, fold the diagonals and sides, put a pin through the centers to join them, rotate the top one until the folds lined up, tape the two together, and draw along the fold lines. Voila! Now, all I had to do was cut out one of the half-points, add my quarter-inch seam allowances, and there was the perfect pattern for my new block. The rest went quite quickly, and below you can see the quilted result. (Note: I added quarter-inch seam allowances to each of the pattern pieces shown above to get the final cutting pattern.)


You might be wondering why I've layered and quilted these blocks. How will they be joined to form the quilt? The answer is they won't be joined! Instead, they will be bound as separate little quilts (each 11 inches square), and then appliqued to a separate "background quilt."

Here is how they look with the binding.


Notice that the over-all color of the modern block is darker. This matches my concern about over-population of the planet. Time flies, and the population GROWS, making the world a darker place for me, as many species become stressed and obsolete, as the desert lands grow and the forests shrink, as potable water becomes polluted and scarce, as crowded people war with each other. You know. If you watch the documentaries and contribute to various environmental causes, you know. Darker.

Thus, the quilt also becomes darker as the eye travels from top to bottom. Here is how it looks with the two blocks on the background quilt, the transitioning colors from light to dark, representing about 70 years in time passing (estimating the date of the fabrics in the vintage block at approximately 1946). This is an extremely tiny period of world history, but one in which world population sky-rocketed from 2.3 billion to 7.4 billion.

You can probably see the little heart beads, but if you click to enlarge the photo, you'll see them more clearly. The pair at the top represents a couple. They dive under the quilt, have some fun, and produce four lovely children (between the two blocks). These four pair up, dive under the quilt, resulting in 16 children. Under the quilts, time flies, and the population GROWS. That's m' story, and I'm sticking to it.

Now, here's a question for you loyal readers who have come so far with me on this thing.  The quilt looks really pretty the way it is. But originally, I had planned to do more beading on it.  I planned to bead several vines circling the outer border of the quilt (not the binding). Across the top of the quilt, the vines would be light green, with many green leaves, bright-colored flowers, and some critter beads/charms (bees, birds, bears, fish). As the vines trailed down the sides, they would become darker, until at the bottom they would be beaded with dark brown, black, and darkest greens, with no critters, and only a few dark flowers. The visual message (I hope) would be, "this is what happens when we overpopulate the world." What do you think... leave it like it is now or bead the borders?

Global Population Information

Think of it this way. Every single month increasing world population adds another Los Angeles AND another Chicago to the planet. That's 24 gigantic cities worth of people added EVERY year; more than 240 giant cities every 10 years. Imagine how many cities full of people will be added in your life time. Crunch the numbers and see what you think.

Evidence of heavy population demand on resources is all around us. Global aquifers are being pumped 3.5 times faster than rainfall can naturally recharge them. Eventually they will run dry, perhaps as soon as 75 years. Topsoil is being lost 10-40 times faster than it is formed.  Feeding all 7+ billion of us is increasingly difficult, impossible actually.

There is no technology solution to accommodate the increasing demand of uncontrolled global population growth. The only solution is voluntary one child per couple for a couple of generations, on a Global participation level. If all countries followed the lead of countries with the lowest birth rates (Taiwan, Spain, Portugal, South Korea, and Poland), we could reach a more sustainable Global population of 3 billion by 2100!

Please, talk about this with your child-bearing-aged kids, grand kids, students, etc. We teach environmentally sound practices in most schools, write books and make documentary films about issues like clean water, over-fishing, fracking, etc. But rarely does the topic center on overpopulation. Be proactive. Make it happen.

If you are willing to read (or listen to an audio book) to learn more about Global population, Count Down is an excellent read.

Here is a link to the previous bead embroidery pieces (and poems) I've made concerning population growth.Thank you for reading all the way to the end, and for anything you can do to help people understand what we need to do.

When my brother, Thom Atkins, visited last fall, he showed me (and a few quilting buddies) his new method for designing and constructing "scrappy improv wall quilts," a technique that turned out to be a lot of fun for me, especially given my long history with an improvisational, intuitive approach to bead embroidery.

Basically, what we did was to empty our bags or boxes of scraps onto a large table and start pawing through them, pulling out ones that appealed to us at that moment. For me it was all about color - red, magenta, fuchsia, with hints of pink, golden-yellow, orange, lavender, and dark green. All of the fabrics were in my scrap box. We had two days of Thom's demonstrations and guidance. During that time, each of us in our small group produced a unique and very pleasing "piece" or "block," measuring roughly 18 x 21 inches, the size of a fat quarter.

One of my red scraps, cut in a nice arc at one end, was the start of it all because I liked the shape and the color. Next I picked up a small strip of yellow, and held it behind the arc of red. Ooooh! Nice enough to repeat. The scrap of orange/red batik was large enough to cut a similar arc, and the strip of yellow was long enough to go behind that one too. These two arcs formed the basis of my piece.

You can see the two arcs above; the lower right was the first. The yellow strip was only about 3" wide, not enough to go all the way around the arcs, but I cut two shapes that would echo the top of each of the arcs. I layered the remaining scraps from that on top of the arcs along the vertical edges of the design. Then I put a dark green scrap behind the arcs and the yellow, which set them off nicely. The rest was just filling to the edges of the quilt with more scraps, including fussy-cut leaves and flowers.

The next step was to glue it all together along the 1/4" seam overlap, working in layers from bottom to top, and cutting away the excess fabric from the underside after each piece is glued. Cutting away the excess fabric leaves a double layer of fabric only at the seams; the rest is a single layer. The glue is Elmer's School Glue, Disappearing Purple, as shown below. It is an organic stick glue, relatively easy to sew through, repositionable, (in case you change your mind), and purple when first applied, drying to transparent (so you can see where exactly you are putting it).

Thom's method is a type of raw edge applique, typically accomplished with heat-fusible web, such as "wonder under." The typical method, given a complex, layered design such as mine, would have resulted in a thick, stiff, multi-layer surface, which would be difficult to quilt, even with a machine. In Thom's method, there is no web, and in most places only one or two layers of fabric. Like all raw edge techniques, the raw edges must be sewn down, and the resulting quilts are not very suitable for bed quilts unless there is heavy stitching over the raw edges (for example, dense, zig-zag, machine stitching).

After gluing my original (shown above) quilt top, I assembled the quilt, using a spray glue to layer the backing, batting and top. The next step was to stitch along the "seams," the overlapping, glued edge of each piece. From there, it was up to each of us as to how to finish the quilt, perhaps with machine quilting, such as stippling or contour stitches, or perhaps with beading, all of which Thom does on his quilts.

A couple of months went by after getting to the unfinished stage shown above. I liked it, but didn't know what to do with it, until one day when I was at our Senior Center, getting foot care from a trained nurse who comes a couple times a week to help those who need it. Her treatment room, about the size of a walk-in closet, has no windows. Her client faces the door to the room, a plain, wooden door.  "That door needs a quilt," I told her. The rest is history; my scrappy improv quilt, Eclipse,  hangs there now.

Only first I had to finish it. Above is the finished quilt, Eclipse. Below I'll tell you some of the finishing steps and about how I transformed it from looking flat and ordinary to sharp and textured using embroidery embellishments. Please click on the photo so you can see the details!

You might have noticed that the finished quilt is longer (better suited for hanging on a door) than the original piece. That was a challenge, although less than you might expect, because Thom had demonstrated for us how he sometimes extends the size of his quilts. In short, I roughly planned out the addition, the mock-up shown below, then created it using the same process and scraps as the original piece.


I used fusible "tape" made for butt-joining pieces of batting, to add a new piece of batting to the bottom edge of batting on the original (upper) part of the quilt. The horizontal strip of striped fabric overlaps the two parts of the quilt and the joined batting underneath. As you can see below, I added a fussy-cut flower over the striped fabric to break up the horizontal strip and visually join the two parts.


Confession time... I'm not good at machine quilting, and don't even have a proper quilting foot for my old machine (1972 Pfaff). I tried stitching around the fussy cut flowers to secure the glued edges, but failed miserably. What to do? Ah, hand-sew with embroidery stitches and floss? Yes! It took a few tries, but eventually I found stitch and thread combinations that worked.

It looked so good that I decided to add stitching and knots to the yellow arcs next. Wow! That popped the eclipse look! In the photo below, you can see bits of all the embroidery stitches I added. Not only does the embroidery provide embellishment and emphasis, it also further quilts the piece. Click the photo to see the detail and better read the stitch identification.


Here are two more detail photos of the finished quilt (without the text boxes).



Lots of fun, and I like the results! Will I do another one? Well, right now I've finally returned to my hexie project, where I'm likely to remain for many months, but after that, scrappy improv may be just what I need!

The project is from Mattel Films, Shadowmachine, Jennifer Lopez’s Nuyorican Productions, and actor-producer Anthony Ramos.

In 1993, terrorists detonated a car-bomb in an underground garage of the World Trade Center complex in New York City, killing six, injuring more than a thousand, and causing more than $300 million in damage. In all, ten militant Islamist conspirators were convicted of involvement in the bombing, including Yousef, who also bombed an important Shia shrine in Iran in 1994 and later planned a large-scale terrorist scheme that included killing the pope. What alleged 9-11 mastermind is Yousef's uncle?

Explore the outreach toolkit, sign up to receive an engineering activity kit, and tune in to upcoming virtual field trips and events this fall!

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Body camera footage shows the moment a boy was saved from his home in Texas after his mother couldn't reach him in the fire.

Former Premiership club Wasps move a step closer to a return to professional rugby by securing land to build a new stadium in Kent.

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Earlier this year on April Fools' Day, the Empire State Building announced that they would be opening at a Rainforest Café on the iconic building's 86^th floor observatory. If you got your hopes up just to find out it was all an April Fools' joke, rejoice, because now the joke is about to become reality. — Read the rest

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Managing Risk to Build a Better Belt and Road Expert comment sysadmin 4 July 2018

Risk management is a key part of economic development. China could use some simple principles for managing risk to improve the prospects of its flagship infrastructure initiative.

One of the original motivating forces for China’s Belt and Road Initiative is risk management: the aim being to use infrastructure to drive economic development, so improving political stability and creating a favorable impression of China in countries bordering China and beyond.

Yet these investments themselves are inherently risky: large-scale, debt-financed, long-term infrastructure projects in countries that often have weak governance, undefined or poorly-executed rule of law and corruption. China has experience managing infrastructure risks within its borders in its own ways, but it has much less experience overseas.

And, while well-executed investments can enhance stability, the same investments, executed poorly, can create their own backlash in countries that see costs exceed benefits. This increases rather than reduces risks – not just the risks of defaulting on loans, but also the risk of damage to physical assets, loss of life and deteriorating relations with China.

Moreover, China states its desire for greater private sector and non-Chinese involvement in Belt and Road. This will be needed if China is to realize some of its larger ambitions for the initiative. But companies seek attractive returns – adjusted for risk. It is the perceived and actual riskiness of projects that makes commercial involvement a challenge. Focusing on the risk rather than return may be the better place to start to attract partners alongside Chinese institutions.

The risks on the Belt and Road

Overall, these risks fall into four categories.

The first and most critical issues are when projects cannot even get initial funding. Concerns about compliance, corruption and project governance combined with high costs and low revenues mean that the numbers simply do not add up. Working on any of these dimensions to improve them means more projects will get off the ground.

Secondly, there are the familiar risks during construction – budget overruns, unforeseen design issues and work delays, all commonplace in such challenging operating environments. Alongside these are risks to personnel caused by internal tensions and security challenges.

Thirdly, once completed, financial and non-financial risks remain. At its simplest, revenues may fall short and the project debt cannot be repaid. A series of other factors may reduce willingness to pay: difficulties in enforcing penalties against non-repayment; fiscal pressures elsewhere in the budget; popular resistance to sending money to overseas financiers. And the completed projects and individuals operating them often remain at risk to local political tensions and security challenges.

Finally, throughout the whole process, projects risk stirring up resentment and hostility rather building stability through economic growth. Incumbent governments may make project commitments that fit their own interests rather than those of the country – or at least are perceived to do so. Sri Lanka and Malaysia offer current examples. The way in which projects are implemented can compound the problem – for example, if promised job creation among local contractors does not happen or local ethnic rivalries are not taken into account.

Approaches to risk

How then to address these risks? Some simple principles about risk management highlight avenues to explore and institutions to get involved.

First, what can actions be taken to mitigate or reduce the risks and who is best-placed to do this?

Secondly, who is best-placed to bear and accept risks that cannot be reduced at an economical cost? Should the risk be diversified across many different parties so that each bears only a portion of the risk or rather concentrated and held by those who are knowledgeable on the specifics of the risk?

Thirdly, for those who end up bearing the remaining risk, how large is it and what actions are needed now to protect against future loss?

The myriad of risks along the Belt and Road suggests a myriad of risk solutions and participants. Putting that all together is in itself a skill and will not happen of its own accord. It requires active planning and structuring of which partners to involve where in a way that makes sense for all involved. Three areas stand out.

Successful construction is more than an engineering exercise. It requires positive engagement with local communities; credible, active communication of the benefits that the project brings; and protection of the people and equipment involved in the work. Doing this well means understanding the specific situation on the ground in often remote regions and acting accordingly.

Donor agencies, NGOs, other multinationals and provincial and national governments all have experience to bring to the table. Chinese contractors have demonstrated success in rapid, low-cost implementation and are learning about how to work in a wide range of countries. This is, though, an opportunity to draw on the experience of contractors from other countries, local subcontractors and the experience of multilateral organizations.

Financing is at core about the risk/return-based allocation of capital. The raison d’etre of the insurance sector is risk management. Multilateral institutions have a complementary role to play alongside private sector financial institutions. Drawing on this experience can play an important role in making investment projects economically attractive and bankable.

The opportunity to match the investment portfolios of long-term institutional investors with the long-term financing needs of infrastructure has long been a topic of discussion: the Belt and Road provides a new menu of projects. These approaches all thrive on verifiable data, standardization and transparency clarity and standardization.

Not all projects will fit these requirements, but some will. And in all cases, drawing on sector- and country-specific risk management experience from banks and insurers can reduce risks.

Government can be thought of as the ultimate back-stop, a risk manager for its people across the entire risk spectrum. Actions that strengthen the capacity of all governments involved to assess and address risk mean more effective risk management, greater success and the avoidance of ‘debt traps’.

Examples include sharing experience between countries; multilateral or bilateral support with the assessment of financial burden and debt terms; support to strengthen governance and oversight of project implementation; and approaches that ensure the involvement of affected local populations. Making use of dispute resolution procedures that are accepted by the key participants reduces risk all round.

Countries, businesses and individuals grow through the judicious taking of risks. But unnecessary risk-taking is wasted effort. Belt and Road projects will be most effective when those best-placed to tackle risks and opportunities are encouraged to do so.

This article is by Toni Šušnjar.

Warfare and military are an integral part of much of ancient and medieval fantasy. This is no surprise: warfare was a key element in development of society and of history, and much of mythology is also about it. As such, it is difficult for fantasy writers and readers alike to avoid war and military matters in general. And if you are going to do something, try to do it well. Army does not spring from the ground like the spartoi of Jason.

Environment and Geography

Environmental conditions include terrain, climate and resources. All three influence how an army will fight and which weapons it will use.

Terrain can be highly varied, but I will divide it into three categories: mountainous, rolling hills and flat. Mountains and forests – and especially forested mountains – are conductive to infantry warfare. Depending on other conditions (such as society, climate etc.), this can mean either light infantry with focus on ambushes, raiding and guerilla warfare; or heavy infantry, with focus on direct confrontation. Both of these were, at different points, in evidence in Spain and Greece.

Continue reading Building a Fantasy Army — Environment & Society at Mythic Scribes.

This article is by Toni Šušnjar.

Strategy and Enemies

The structure of an army will depend on the strategy, as strategy will determine the army’s role and tasks. A state which carries out expansion through outright territorial conquest will have large numbers of heavy infantry, combat engineers and artillery, and possibly some heavy cavalry as well (e.g. Roman Empire, 10th century Byzantine Empire). If conquest is done by slowly destroying an opponent’s economic and social structures through constant raiding (such as chevauchee or razzia / ghazw), then majority of the army will be light cavalry, with some heavy cavalry support (e.g. Seljuk and Ottoman Empires), and light infantry will be used if terrain is unsuitable for cavalry. If a state is defending against cavalry raids, then light cavalry will be dominant (e.g. 15th century Hungary), whereas heavy cavalry will predominate if enemy raiders are primarily infantry. If enemy armies are too powerful to face in the field, light and heavy cavalry will be used to harass the invading army and cut off its supplies and foraging. In terrain unsuitable for cavalry operations, heavy infantry will be used instead.

Raiding — as a strategy — is generally preferred against a peer opponent, especially if a state cannot have a developed logistical support system.

Continue reading Building a Fantasy Army — Strategy & Organization at Mythic Scribes.

This article is by Toni Šušnjar.

Recruitment and Numbers

The most basic style of recruitment is that of a local militia – rural or urban – where a portion or all of the free men take up arms. Militiamen are usually not highly trained, but they make up for lack of training with motivation: fleeing not only carries social stigma, but is also harshly punished. As such, militias were more effective than what would be expected of “civilians in arms”. Militias almost always depended on relatively cheap and easy to use weapons, though urban militias might have access to more expensive weapons – such as hoplite panoply or crossbows. Tribal militias typically used weapons that were also used for hunting and sport. Peasant levy however was only ever used in a support and harassment role, and often had weapons modified from agricultural implements. Only urban militias could have heavy equipment. A common disadvantage of militia armies is the inability to deploy over long distances and time-frames due to soldiers having a day job; thus, focus on long-term warfare (be it conquest or defence) typically brings about the professionalization of the army. This also means that militias are best used in cases with high political fragmentation – such as city-states.

Continue reading Building a Fantasy Army — Recruitment & Logistics at Mythic Scribes.