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Grissini (Italian Breadsticks)

Everything I know about making grissini. These beloved, pencil-thin Italian breadsticks are made with just five ingredients. No mixer is needed and you don’t need to proof your yeast.

Continue reading Grissini (Italian Breadsticks) on 101 Cookbooks




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FAQ zur Rundfunkreform, “Ruptly” macht weiter, Wenn KI Radio macht

1. Wie die Öffentlich-Rechtlichen aus der Krise kommen sollen (taz.de, Ann-Kathrin Leclère) Ann-Kathrin Leclère hat die wichtigsten Fragen und Antworten zur Rundfunkreform zusammengestellt, beispielsweise: Warum braucht es Reformen? Wer kümmert sich darum? Was wurde beschlossen? Wer hat Angst vor welchen Änderungen? Und was ist mit dem Rundfunkbeitrag? 2. Wie das insolvente Kreml-Medium Ruptly unter neuem […]



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Israelische Nachrichtenblockade, Inserateaffäre, Wikipedia und KI

1. RSF verurteilt israelische Nachrichtenblockade (reporter-ohne-grenzen.de) Die Organisation Reporter ohne Grenzen (RSF) verurteilt den Umgang der israelischen Armee mit Medienschaffenden. “Aus dem Norden des Gazastreifens dringen immer weniger Informationen heraus, und gerade deshalb wird Journalismus immer wichtiger”, so RSF-Geschäftsführerin Anja Osterhaus: “Die israelischen Streitkräfte verhindern zunehmend Bilder und Stimmen von der Realität des Krieges und […]



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One is bad enough: Climate change raises the threat of multiple hurricanes

Getting hit with one hurricane is bad enough, but new research from Princeton Engineering shows that back-to-back versions may become common for many areas in coming decades.




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Jo Dunkley, Suzanne Staggs and colleagues awarded $53M to upgrade prominent observatory

The National Science Foundation has awarded a $52.66 million grant to fund a major infrastructure upgrade to the Simons Observatory in the Atacama Desert of Chile. Upgrades are expected to take about five years; the resulting facility will be known as the Advanced Simons Observatory (ASO).




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Fruit fly serenade: Princeton neuroscientists decode the tiny creatures' mating song

Princeton's 'extremely supportive' environment for new ideas laid the foundation for an aha moment about a toggle switch in the fruit fly brain. Do humans have one, too? 




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Endowment continues to provide foundation for Princeton’s groundbreaking research, innovative scholarship and national leadership on college affordability

In the Class of 2028, 71.5% of students qualify for financial aid and 21.7% of the class are lower-income students eligible for federal Pell grants.




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Internet researchers reach beyond academia to close major security loophole

Princeton engineers and industry leaders have squelched a threat that had lurked for years in the internet’s encryption system.




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‘Many Minds, Many Stripes’ conference sets 2025 date to celebrate Graduate School alumni

The conference has been scheduled for Oct. 9-11, 2025. All Princeton alumni are invited back to campus for the gathering. 




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Two Dale Fellowship recipients pursue original projects after graduation

The Martin A. Dale '53 Fellowship provides grants for Princeton seniors to spend the year after graduation on "an independent project of extraordinary merit." Juliette Carbonnier and Collin Riggins are the latest recipients.




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Academic Publisher Introduces Camouflaged Editions?

I was one of the outside readers1 for a volume in Cambridge University Press’s enormous “Elements” series, The New Witches of the West, by Ethan Doyle White. (Link is to Amazon US) To find that title, go to the main … Continue reading




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Exhibition of My Beadwork... April 1 - May 3!!!

Beadlust 

an exhibition of bead and fiber works by Robin Atkins

This is the first solo exhibition of my work! I am very pleased and honored that the La Conner Quilt & Textile Museum offered me a show in their new Local Artist Exhibit Program's first-floor Landmarks Gallery.

There are 28 pieces in the exhibition, including beaded quilts, books, dolls, and framed art. Several of the pieces are new and have not been exhibited previously. Below is one of them, a beaded and embroidered collage using some of my hand-dyed, re-purposed fabrics.
Every Child Should Have Her Own Tree, hand-dyed, beaded, embroidered fabric collage
I hope some of you will be able to come see my work, as well as the work of the other two featured quilt artists in the upper floor galleries.

Exhibition Information:
Exhibition Events: 
  • Opening reception at the museum: April 1, 4 to 7 pm; all three artists will be there; free admission
  • Demonstration at the museum: Robin demonstrates process and techniques of bead embroidery, April 1, 2-4 pmWorkshop: 
  • Robin teaches Improvisational Bead Embroidery, May 2-3 in La Conner http://www.laconnerquilts.org/improvisational-bead-embroidery.html
A couple of readers have contacted me asking if the above work, or any of the other pieces will be for sale...  Nope, afraid not... exhibition only, although the museum's excellent gift shop does carry my books.




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Exhibition of my Beadwork!



Bringing my beadwork to the Museum
Many, many moons ago, when I first started beading, I made an important decision about my future beading career. I decided not to be in the business of selling my beadwork. That’s a huge and somewhat uncommon decision for an artist, because most feel that in order to justify the time it takes to do beadwork and the cost of materials, it has to be sold. Many also take sales of their work as a marker of their skill as an artist… “if it sells, then I am an artist; if I sell lots of it, then I am a successful artist; if a gallery takes my work, then my work is good,” etc.

Demonstration prior to the Opening on April 1st.


My dear friend, Liz, drove to La Conner for the opening!
Those are tempting thoughts, aren’t they?! However, I had previously been a metalsmith, making one-of-a-kind silver and gold jewelry for 5 years. During those years, I experimented with various methods of selling my jewelry – craft fairs, home shows, commissions, galleries – and found that I hated all of them. Marketing my work, talking about it, looking in people’s eyes as they walked by my booth without stopping, answering questions about how I made something, knowing the person asking was also a metalsmith and might copy my ideas – all of that was like a millstone around my neck, depressing, daunting, and no fun at all.


So, when beadlust jumped in my heart, I almost immediately decided I would not sell my work. Instead, I would make my living by selling beads and beading supplies, teaching others how to bead, and writing books about beading. It’s been a great pathway for me, almost always fun, challenging, exciting – and, it has paid my bills and given me the means for many beady adventures. To be sure, I have sold some of my beadwork, especially jewelry, here and there. But it’s always when opportunity comes to me, not when I’ve struggled to be accepted for a show.


Twenty-seven years later, I am looking back down my beaded pathway with great satisfaction, pleased as punch about my initial decision. Twenty-seven years later, I also own a substantial stash of beaded objects that I’ve made over the years – beaded jewelry, bags, books, dolls, wall art, sculptures, and quilts. While many of them decorate my studio and home, some live in boxes, stored away in cabinets. I feel a bit guilty about those poor babies. Shouldn’t I get them out, brush the dust off, and sell them? Oh yeah, I forgot, I hate selling/promoting my beadwork.


All of the above is to introduce a fabulous and unexpected opportunity that came my way recently… The curator of the La Conner Quilt & TextileMuseum contacted me to ask if I would be willing to exhibit my beaded quilts and other beadwork in a one person show at the museum for the month of April, 2015. WOW! Would I be interested? You bet I would!!!!


Twenty-eight pieces! Once I cleared the pieces for the show out of my studio, the nearly empty walls and display counter was depressing. Guess what happened?  I opened up those boxes, and brought out things I hadn’t ever displayed, or at least hadn’t displayed for a long time. What great fun to see them every day this past month! I love it!





Two days ago the show closed (waaa), and my work is back home again. Here it is, all piled up on my studio tables. Nice to have it home; not so nice to decide which pieces go back into boxes.

Exhibition closed - beadwork back home again
And then there is the question of what is to become of it in the long run. I am 72 years old. It might be time to start thinking about that. Some will go to my beady friends, and some to my nieces and nephews (if they want it). And, I’d die happy if I knew that some of the best pieces were in the permanent collection of a museum or two. Rosie, The Uncaged Hen, for example should be in a museum, don’t you think?

Rosie, The Uncaged Hen
Having the show in La Conner, seeing my work so beautifully displayed there, gives me the energy to start thinking about the future of my beadwork, to make a list of my all the pieces, place an "insurance value" on them, and start talking to acquisition curators about it. Although the idea of this task seems a little like “selling my work,” the show in La Conner makes it worth the effort.

La Conner Quilt & Textile Museum




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Beading + Quilting - a Happy Marriage!

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!




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Wool Applique + Thread Embroidery + Beads = Happy Quilts!!!

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!




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Quilters, Beaders, and Embroiders are the World's Most Generous People!


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

Lunnette Higdon Hertel
Judy Lynn
Nancy Anders
Kris Phillips
Carol Holland
Bobbi Pohl
Debbie Schnabel
Sue Shufel
Phyllis Petersen
Thom Atkins
Sabine Keichel
Yvonne Morrill
Sylvia Griffin
Christmas Cowell

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.




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Brother & Sister: Both Quilters & Beaders

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!






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How to Frame Bead Embroidery



During the past 28 years of stitching beads on cloth, I've veered away from making necklaces, bracelets, and bags or purses, mostly producing wall art pieces. Thus, I've had lots of opportunities to experiment with various methods of finishing and framing my work, making it suitable for display.


I always leave ample fabric margins surrounding the actual beaded area, giving me lots of options for finishing or framing.  One simple finishing method is to wrap the extra fabric around the sides of a manufactured painting-canvas (over stretcher-bars), and lace the fabric snugly across the back, as in the photo below.


But the problem with this method, of course, is that the surface of the beading is exposed to dust and air-borne grime, which over the years may spoil the fresh look of the beading, aging the piece prematurely. So we look to frames and glass to protect our work.

Among the various methods for covering (and protecting) beadwork with glass, the following is the one I use most frequently, and like the best.  It's not very expensive, or particularly difficult, although it does take a bit of time. Even if you already know about frames, please take a look at the section called Preparing Your Bead Embroidery for Framing in the Tutorial below.

Tutorial: How to Frame bead Embroidery

Choosing a Frame

This tutorial assumes the beaded work has straight sides, and will be framed in a square or rectangular frame. The frame size, color, and style are important considerations.

Wanting viewers to look at my beading and not be distracted by an overly fancy, gaudy, or large frame, I generally select a plain, narrow frame in a color that compliments my beading without competing for the viewer's attention. Sometimes I choose a stained, wooden frame if it seems to fit the theme of my beadwork better than a metal frame. Depending on the size of my beadwork, I generally size my frame at 2-3 inches more on each side than the beadwork.

Frame: Often I use a painted, metal frame with a cross section similar to this.


I either buy it as a kit (pre-cut pieces and required assembly hardware), assembling it myself, or buy it from a frame shop. The advantage of buying from a framer is that you will be able to see samples. Also, the framer can cut an accurate mat, foam core insert, and backing board for you, and can supply the needed risers. If you decide to work with a framer, I suggest you print this post (to show the framer how you will be preparing your work for the frame), or take the prepared bead embroidery with you to the frame shop.

Glass: I believe in using the highest quality glass, even though it is a lot more expensive than ordinary glass. The UV resistance is good, but the primary reason for using premium glass is its clarity, which allows the viewer to see the details of your work without any distortions or color shift, as if there were no glass at all.  Note: do not use non-glare glass. It only works if it lies directly on the surface of the art. You will be putting risers under the glass so it sits above the uneven surface of your bead embroidery, not touching any of the beads; even at this slight distance from the beadwork, non-glare glass will look frosted and obscure the details of your work.

Other Framing Materials You Will Need

Mat: Choose a simple, acid-free, neutral-colored mat, either warm or cool white, depending on the emotional message and colors in your work. All those beautiful colors in the framer's palette are appealing, but for most bead embroidery, there is color and texture enough in the beads, and no value in adding more with your mat choice. If you do not have a mat cutter, a framer can cut your mat. Although I have not ever used a double mat (because I find them distracting, bringing my eyes away from the beadwork to the edges), it could be a way to gain a little more space for the glass above the beadwork.



Risers: Dense plastic rods, risers are 1/8th inch square in cross-section, with an adhesive surface on one side. Use a wire nipper to cut the rods to fit along the outer edge of the glass; remove the paper strips covering the adhesive from the the risers, adhering them to the glass along the edges, as shown above. They prevent the glass from touching your beadwork, by resting on the outer edge of the mat, thus holding the glass above the beaded surface. If the surface height of your beadwork is greater, you can adhere two rods together, making a quarter-inch of space. If the depth is more than a quarter-inch, you might want to consider mounting your work in a shadowbox frame (see this post for a good example and instructions).

3/16th Inch Foam Core Board: Since your beadwork will be mounted directly into this foam core board, be sure to use the white, acid-free, buffered, slightly more expensive variety. You can buy it at art supply or frame shops, in person or on line. You will need a piece at least 3 inches larger than your bead embroidery on each side.

 Preparing Your Bead Embroidery for Framing 

 
The piece above is the example used in the the steps which follow. It's a small piece of bead embroidery, measuring only 1-3/4 inches wide by 2-1/4 inches high. The mat is 2 inches larger on each side. Numerous folks have surprised me with high offers to buy this piece (which is not for sale), illustrating that nicely framed bead embroidery can be sold at a favorable price.

Mounting your bead embroidery in foam core board 

As per the recommendations in the frame section above, draw the frame size (which will always be designated by the inside dimensions, the size of the artwork) on a piece of 3/16th inch foam core. Use a mat knife and ruler to accurately cut out this shape.

Then, measuring carefully, making sure it is exactly centered, draw lines to indicate the outline of your bead embroidery, adding 1/2 inch on each side. For example, if your beaded area was 2 inches wide, you would draw your lines 3 inches apart (2" for the beadwork plus 1/2 inch on each side). Designate one edge as the top, and mark. Draw a vertical arrow from the top through part of the center through part of the outside margin. With a mat knife, cut out the center, being careful not to damage it or the outside frame. The cut out center will eventually be placed back in the hole by aligning the arrow segments drawn on the back.

For the next step, you will need at least a 1.5 inch margin of un-beaded fabric all around your beadwork. If you have less than a 1.5 inch margin, cut strips of any cotton fabric (re-purposed sheet or shirt fabric is fine). Using a zig-zag stitch on the sewing machine, and placing the strips under the margin of the beaded fabric (wrong side), stitch the strips to the margins, extending them to a total of 1.5 inch from the edges of your beadwork on the top, bottom, and both sides.

Center your beadwork on the cut-out piece of foam core board. Hold in place using map or sewing pins, pushed straight through the beading down into the board. Wrap the fabric snugly around the board and pin from the back. Remove the pins from the front. Check to make sure the work is still centered accurately. Re-pin if necessary. Using a sewing needle and beading thread, stitch from side to side, lacing the fabric around the foam core, as in the example below. Start with the longer sides. Knot when finished. Then do the same on the shorter sides.

Tip: I like to rest the beaded side face down on a thick, folded, bath towel while I am lacing the back.


This is how mine looks on the front after being laced around the foam core board on the back. If I had not wanted to frame this piece, I could have used double-sided, archival tape to adhere a heavy paper backing over the laced area on the back; it could then be displayed on a small stand similar to the one in the second photo from the top of this post.


This is how it looks on the back, when it is placed back in the original hole cut into the foam core board. Notice how the arrows match up, insuring a perfect fit.


This is how it looks on the front. Note: the hole in the mat will be cut exactly to the size of the beadwork, so that when it is framed, you will not see any of the fabric around the outside edge of the beaded area.


Assembling a Bead Embroidery Sandwich


Now it's time to make a sandwich with the foam core board between two pieces of acid-free mat board, one which has a beveled hole cut in the center, the other which is solid and goes on the back.


To cut my own mats, I first measure and draw the exact outline of my bead embroidery centered on the wrong side of the mat. I always mark the top, because sometimes the work is not precisely square or rectangular. Of course you can give the dimensions to a frame shop, and have a professionally-cut mat made for your beadwork.

Tip: One way to get an exact measurement of the beaded area is to make a 100% copy of it on a scanner or copy machine. Cut out the copy with a ruler and mat knife, test it by holding it over your beadwork. If it is exact, use it as a template to mark the hole on the mat board. If the mat is hand-cut, the hole does not have to be precisely square or rectangular.


Using a special, beveled, mat-cutting tool, I then cut away the center, where the beading will show.


Here is how the top and middle of the sandwich looks, with the mat placed on top of the foam core board and beadwork.


The photo above shows a piece of mat board cut for the sandwich back (on the right). Note that I've drawn around the laced beadwork, and cut away a layer of the mat board to make space for the laced fabric in the sandwich. Do this by gently cutting along the drawn lines, being careful not to cut very deeply into the mat. Then, use a knife to lift one corner of the inside area and peel it back creating a shallow empty space.


This is what the completed sandwich looks like. The beading is supported well between two pieces of mat board, and can't shift when hung. No glue or tape (to later fail or chemically alter the mat or beading) is necessary in this process. And it looks so neat and professional!

Assemble the Frame

With the more challenging steps already completed, the final assembly goes very quickly !


Assemble the bottom and sides of the frame by inserting the metal corner plates, and tightening the tension screws. Insert and tighten the corner plates into the top of the frame. Make a double-decker sandwich by putting the glass with the attached risers on top of the mat. Be sure the glass is clean and clear of any finger prints. Slide the complete d-d-sandwich into the obvious slot in the bottom part of the frame. The hanging wire can be added now or later.


Slip the corner plates at the top of the frame into the slots on the sides, and tighten the tension screws. You should have gotten metal spring strips with your frame kit. Lay them out on the back, spaced evenly around. Push down on the center of a spring and slide it under the edge of the frame, between the backing mat and the frame. Do the same with each of the springs. If you haven't already, add a hanging wire. Add a felt or rubber wall-bumper to each of the lower corners.


That's it! You are finished... your bead embroidery is ready to hang on your wall!  For those who would like a little more detailed step-by-step explanation of how to assemble this type of frame, this is a good one or if you prefer videos, this one is pretty complete.

Tip: Whether using a metal or wooden frame, the depth of the frame is an important consideration because the d-d-sandwich will be thicker than a photograph or most paintings. The measurement of the depth, or space inside the frame structure to accommodate the thickness of the artwork, is called the rabbet. The rabbet measurement on the above metal frame is 9/16th of an inch, which is adequate with a single riser under the glass. But it's a tight fit, the springs having to be nearly flat when inserted. If I had used a double riser, I would need a frame with a deeper rabbet. I've found it rather difficult to find small, narrow, simple, plain, wooden frames with a deep enough rabbet.

Here is a link for downloading this post as a printable PDF. It's a free, and slightly expanded version of what you've seen above. Free Download: How to Frame Bead Embroidery by Robin Atkins




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Why are some viruses harmless and others deadly? A.J. te Velthuis is on the case.

The Princeton microbiologist has also created a non-infectious version of the COVID-19 virus that researchers can study safely.




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Hale Trotter, 'pioneer and leader' in pure mathematics, dies at 91

Hale Freeman Trotter, an emeritus professor of mathematics, died at 91 at his home in Princeton, New Jersey.




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Summer Study Abroad Info Session

Join the Study Abroad team at Princeton to learn about undergraduate summer study abroad opportunities!




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Advent Concert: “I Am Waiting”

The Chapel Choir presents a concert for the season of Advent, featuring J. S. Bach’s cantata “Nun komm, der Heiden Heiland” and the world premiere of The Princeton Motets (And I Saw), a collaboration between poet Euan Tait and composer Shawn Kirchner, written especially for the Chapel Choir. With Nicole Aldrich, Director of Chapel Music, and Eric Plutz, University Organist.




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Apartheid isn’t the Question, Settler Colonialism is: Black South African Thought and the Critique of the International Left’s Apartheid Paradigm

“Chigumadzi argues that within the liberal international order, it is “reasonable” and “workable” to struggle to end apartheid and racial segregation, while it is “unreasonable” and “unworkable” to struggle to end settler colonialism and indigenous land dispossession. In arguing that apartheid is overrepresented in the International Left’s racial discourse and historiography, Chigumadzi draws from generations of Black South African political activists, philosophers, and historians—most notably from the Pan Africanist-Black Consciousness Tradition. These traditions critique apartheid’s relatively short 54 years of institutionalized racial segregation as the paradigmatic historical framework for analyzing South Africa’s three centuries of settler colonialism and land dispossession. Drawing from this black radical critique, Chigumadzi rejects the liberal notion that apartheid’s end is the object of liberation struggle, and, instead asserts the centrality of the struggle for the return of indigenous lands.” Dr. Panashe Chigumadzi is an award-winning writer and Assistant Professor of African History at Brandeis University. Chigumadzi holds a doctorate from Harvard University’s Department of African and African American Studies, and a masters in African Literature from the University of the Witwatersrand, Johannesburg, South Africa.




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Advanced LaTeX Workshop

This workshop provides a hands-on introduction to more advanced topics in LaTeX, including using beamer and BibLaTeX. Beamer provides an elegant way to create presentations and posters while taking advantage of the potential of LaTeX. BibLaTeX is a powerful, integrated citation system that is easy to use with LaTeX. Peer consultations and troubleshooting also offered throughout the semester. Visit https://libcal.princeton.edu/appointments/jfz to book an appointment.




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Music and Philosophy IHUM Reading Group

Philosophers have historically played a foundational role in musicology, from theorizing the origins of music to its potential for political liberation. In this reading group, we aim to closely read the central philosophical texts on music to understand their arguments and why they have remained prominent among musicologists and cultural theories.




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Fall 2024 Student Reading

Selected students from fall creative writing courses read from their work in fiction, poetry, screenwriting and literary translation as part of the Althea Ward Clark W’21 Reading Series, presented by the Program in Creative Writing. Open to public.




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High Meadows Fellowship Info Session

Are you a senior interested in making a genuine contribution towards protecting the environment, promoting environmental sustainability, and building environmentally focused communities? Join us at the High Meadows Fellowship Info Session on Friday, November 15 from 4:30 PM - 6:00 PM in Louis A. Simpson A71 for a special opportunity to hear directly from current High Meadows Fellows about their experiences. Coffee and light refreshments will be provided. The High Meadows Fellowship Program is a generously funded fellowship opportunity that places graduating Princeton seniors in two-year positions with the nation’s leading environmental organizations. All undergraduate students are welcome to come learn about this opportunity— eligible seniors must apply by 11:59 PM on January 30, 2025.




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Slavic/REEES Grad Film Series| Bordenlens: Queer Outlines of Geography and Gender

REEES/Slavic Grad Film Series Bordenlens: Queer Outlines of Geography and Gender Organized by Sofia Guerra Sponsored by the Program in Russian, East European and Eurasian Studies, the Department of Slavic Languages and Literatures, the Humanities Council, the Princeton Institute for International and Regional Studies and the Program in Gender and Sexuality Studies. All Films Shown with English Subtitles




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Crafternoon: Create a Beaded Keychain

Customize a beaded keychain Keep track of your keys (or your prox!). Attach it to a bag, your water bottle, or wear it as a bracelet. All supplies will be provided. Drop-ins welcome! Come for the entire time or only part of the session. Registration is optional, but if you know you’ll be attending please register so we can anticipate the number of people to expect.




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Global Existential Challenges: Designing Mechanisms for Addressing Political Polarization in Voter Behavior

Simon A. Levin, James S. McDonnell Distinguished University Professor in Ecology and Evolutionary Biology, Princeton University Samuel S. Wang, Professor of Neuroscience, Princeton University Discussant: Keena Lipsitz, Associate Professor of Political Science at Queens College, City University of New York




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Summer Study Abroad - London School of Economics (LSE) Info Session

Join the Study Abroad Program to learn more about undergraduate summer study abroad at the London School of Economics. We will discuss the application process, credit transfer, and funding.




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‘The Wild Robot’ Had A Wild Sixth Weekend At The Box Office

The film grossed more last weekend than the previous one, a rarity for any film so deep into its theatrical run, much less a film that is already available to rent or own on digital platforms.




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Trump Reelected President Of United States: Discussion Thread

An outlet for Cartoon Brew readers to share what you're feeling and how you're doing today.




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2025 Oscars Short Film Contenders: ‘The Car That Came Back From The Sea’ Director Jadwiga Kowalska

In this Oscar-qualified short, a group of friends go on a roadtrip as their car – and their country – falls apart.




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Enter Reallusion’s 2024 Animation At Work Contest; Deadline Is January 7

Artists of all levels are invited to showcase their skills and creativity.



  • Sponsored by Reallusion
  • Animation At Work
  • Reallusion

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“Sometimes We Can’t See Ourselves As What We Are”: Director Naoko Yamada On Why She Made ‘The Colors Within’

"It’s wonderful to find somebody who can show us this positive side of ourselves," Yamada says of the idea behind her new film.




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Top 4 Must-Try Desserts In Paradigm Mall JB (Malaysia)

Time to cross the border to Johor Bahru for a shopping and dining experience. To start this ultimate shopping experience, head to one of the closest malls to Singapore, Paradigm Mall JB, located in Johor Bahru. Paradigm Mall Johor Bahru is also known as the largest shopping mall in Johor Bahru. There are more than ... Read more

The post Top 4 Must-Try Desserts In Paradigm Mall JB (Malaysia) appeared first on Star Two.




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Ramzi Yousef Found Guilty of Masterminding 1993 World Trade Center Bombing (1997)

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?





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Vimeo, Pinterest and iTunes Content Sources Just Added

Now you can generate self-updating content feeds with recent pins of any Pinterest user or Pinterest board, with fresh videos of any Vimeo user or Vimeo channel, and with recent media from iTunes USA.

The post Vimeo, Pinterest and iTunes Content Sources Just Added appeared first on RSSground.com.






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Custom Feeds in Feeds Reader are Deprecated

We have one “gray” and one great news. Which one to start with? The “gray” goes first. We are removing Custom Feeds feature from our Feeds Reader. The great news comes right after! From now, personal feeds will replace custom feeds functionality. All your custom feeds will be automatically converted into personal feeds and show […]

The post Custom Feeds in Feeds Reader are Deprecated appeared first on RSSground.com.




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New Amazon Local Stores Added

We have updated the list of the Amazon local stores. Several more locales were added to the Location option in the Advanced settings of our Amazon Feeds. At the moment we have 20 local Amazon stores on the list: United States Canada United Kingdom Australia Mexico Brazil Germany France Italy Spain Sweden Netherlands Poland Turkey […]

The post New Amazon Local Stores Added appeared first on RSSground.com.








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Check Out: New Helmets, Knee Pads, Alloy Wheels, High Rise Bars, & More



A look at the latest gear to cross our desks.
( Photos: 18, Comments: 88 )