View allAll Photos Tagged worktable
He leaves her office after finishing work and comes back with something different in mind. sounderotica.com/stories/audit
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The light from the garden washes over the worktable. Closing ones eyes everything is all within reach. The feel of the wood and stone confirm that this is not a dream.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Getting closer to being done with her now. I'm at the detailing stage and I'm having a lot of fun.
After working on this little sea princess I want one of my own. Oh well, maybe one day!
All rooms are equipped with a 2,10m long Auping bed, a spacious worktable, flat screen TV, free use of Wi-Fi, a safe and a refrigerator.
Le plan de travail spécial pâte polymère, fait avec une porte de placard (plus de linéaire qu'un bureau traditionnel) posée sur des tréteaux.
Polymer clay work table, made with a cupboard door (longer than a traditional desktop).
lesfollesmarquises.blogspot.com/2011/07/mon-atelier-my-st...
For a more elegant look, a 3 hole mixer can be selected. The design allows for pots to be filled easily from the central worktable.
I just made 9 doll wigs, but first I made a big 'ol mess. There is another worktable that is just as bad as this one -- when one got too piled up, I just moved over and made more mess.
my website: www.madwifeintheattic.com
Getting ready for all those models coming out of storage. This is the only table I have to work on them, unfortunately, so I am going to have to get a different surface to protect it. But, it will work out fine. It's going to be a big job to get out all that stuff from storage and organize it, but, yeah, I'm excited. It's been way too long.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
This one of a series of books made from the paper I place on my worktable. They form a diary of marks related to the period of time they are in place. Some have dates, this one does not. The paper here is a heavy cartridge paper, the front nad back covers have been coated in beeswax to give them some strength.
This particular book was produced in 2012 whilst preparing for my Painting with Natural Dyes workshop.
It has a tape binding, so all pages will open flat, the tape used is naturally dyed silk which has then been made into silk string which wraps around the book and is tied to secure it. It has been hand bound using a linen thread.
There are some awesome marks in this book, many pages appear to be maps of myserious places. There is quite a bit of colour in this book, featuring experiments with natural dye pigments to make paint such as , cochineal, logwood, indigo, madder, alkanet, lac and querabacho also play with tea and dandelion coffee.
This book can either be left as an artist's book or you can enter into a collaboration with me
by working into the pages
If you do that please share the results with me
Book is 7.5 x 10.5 cm (3 x 41/2") and has 62 pages.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
polymer clay, polymer clay tutorials, polymer clay alcohol inks, micro macrame tutorials, polymer clay how to, how to polymer clay, surface techniques, polymer clay ink
So, from the sublime to the ridiculous--whilst I was slaving away to get authentic looking faux opal in polymer, I cast my eye upon some glass cabs lying on my worktable...and thought, I'll bet there's a fast and easy way for my students to make opal--who says you can't teach an old chandelier new tricks?:)
Ok, I think the inspiration for this piece must have come from some amazing magnets purchased from fellow Etsy artist janedean who is a whiz at working with vintage jewelry. I gained new respect for her and the other artists who de-and re-construct with these elements. You all make it look easy!
The starting place for this piece was a bag of gorgeous vintage jewelry scraps I had lying on my worktable. To begin, I riveted the octo down to a newish filigree capturing the rhinestone "halo". Wings were also riveted into place. Then it was a matter of drilling into the tentacles to hold various blingy dangles. For the chain, I cut a vintage bracelet in half to create the pearl-punctuated section, then finished off with a similar vintage chain. A safety lobster clasp secures the piece. The centerpiece measures 2.5"wide by 4.5" long and the chain length is 18". I am a trained, if somewhat blingy silversmith and have built this piece to last.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
polymer clay, polymer clay tutorials, polymer clay alcohol inks, micro macrame tutorials, polymer clay how to, how to polymer clay, surface techniques, polymer clay ink
CONCEPT / IDEATION Chose a metaphor of Urban Jungle to come up with an unique product form
This project was a small attempt to interpret Urban Landscape in a positive sense. Urbanization is a glittering representation of growth, affluence and success of mankind. This same can be said of the man behind the CEO’S desk. The glass of top quality is manufactured by a special process, which renders images of exclusivity, power and ability to stand apart. The understructure brings forth images of urban architecture in the form of structural elements symbolizing sprawling modern architecture, skyscrapers, freeways, and background chaos.
WORK TOP: MATERIAL : Special glass which imparts warm feeling at the same time renders images of exclusivity.
PROCESS:Molten glass laid in Layers, with colour frit formed rendering at each layer, to create a depth.
UNDERSTRUCTURE:MATERIAL : Aluminum and Titanium
PROCESS:Investment Casting
SURFACE FINISH:BLACK ANODIZED
Enrico Mattei al tavolo di lavoro firma accordi Eni - URSS.
www.eni.com/it_IT/azienda/nostra-storia/archivio-storico....
Enrico Mattei at the worktable signs Eni – USSR agreement.
www.eni.com/enipedia/en_IT/history/historical-archive/pho...
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
For myself more than anything, I have started to take a few snaps of the week...on days when I feel as though I'm accomplishing nothing, maybe this will encourage me.
Sunday I made a bunch of stacks, some, not yet cut into, shown. Each day since (3 so far) I've taken a stack and done something...
A couple of the stacks are really ugly but marbelized into yummy burgundy and port pieces ....
Will have to see where the rest goes.
Am eyeing the bits lower right that might go with vintage Italian millefiore glass beads.
One bunch, not shown here coordinates gorgeously with unakite.
Utrecht University Library – Wiel Arets Architects
Size: 36.250 m2 - Design: 1997-2001 - Completion: 2004
The library, which houses 4.2 million books, was intended, in addition to being a place where people could work in a concentrated manner, to also become the intellectual social center for the suburban university campus, where students and others can come to study and meet at all times of the day. The 40 meter tall library and the adjacent, lower parking garage, both clad in glass and concrete imprinted with the same silk-screened figurative pattern, are sited on the major road and pedestrian pathway across the campus. The simple rectangular massing of the library and the repetitive rhythm of its concrete cladding and glazing, which is subtly modulated by the projecting operable sections, stands in stark contrast to the rich, plastic spatial complexity of the interior spaces.
The books are stored in two primary volumes that seem to float up towards the ceiling. The massive, lifted book stack volumes are made of black-painted cast concrete, and the walls have a three-dimensional figural pattern cast into them which matches the two-dimensional pattern imprinted on the exterior glazing. While the black pattern on the glazing filters the natural light entering the building, the pattern embossed in the black-colored concrete walls acts to diffuse and bounce the light deeper into the interior spaces. At the center of the building, a vertical space, running from the ground to the roof, is opened between the two book stack volumes, which are interconnected by a series of stairs and sloping ramps. This central vertical space forms the experiential hinge of the building, interweaving the lines of movement, the spatial layers, and the internal views.
The walls and ceilings of the interior are black and matt, while the floors are white and shiny. The bookshelves are black, while the worktables are white. The predominant black color characterizing the interior is critical to creating the atmosphere of concentration, security, and silent communication essential to the function of the library. The black interior creates a feeling of local enclosure, allowing the inhabitants to conduct the private activity of concentrated study in a public place of collective identity. The only exceptions to this color scheme are the red rubber surfaces used in the book checkout area, the information desks, the auditorium, the bar, and the lounge, all of which are related to the itinerary of public movement through the building.
The individual workspaces are organized in a wide variety of locations and arrangements within the interior, some quite intimate and isolated, and some quite extended and exposed. The individual user can make a choice of where to work, and thus to determine both their ability to be absorbed in their work, and the amount of communication they wish to have with others in the library. Because of the remarkably rich range of sizes and shapes of the workplaces, and the complexly layered sections and the endlessly unfolding spatial intersections within the building, it is possible to recognize and communicate visually with people across the interior, and even from floor to floor, while at the same time being undisturbed by those sitting nearby.
Here is a picture of a Formaspace drafting table with adjustable angled surface, fixed height upper shelf, cpu support, and keyboard tray.
boston, massachusetts
january 1971
metalsmith / jewelry maker
meeting house gallery, beacon hill
part of an archival project, featuring the photographs of nick dewolf
© the Nick DeWolf Foundation
Image-use requests are welcome via flickrmail or nickdewolfphotoarchive [at] gmail [dot] com
we recently re-arranged my 'press corner' into a part of our bedroom for many reasons, but i'm excited, it's now against one wall together, and looks much better. i am so excited and inspired to get going this season! next goal: new worktable!
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
The “INKredible 2″ Pack includes 20 NEW polymer clay patterns sheets designs introducing a variety & mix of materials to use along with alcohol inks.
These sheets can be applied in any bead, jewel, or accessory of your choice – flat or curved, small or large.
I implemented my pattern sheets on earrings & beads.
The materials I used are probably already in your polymer clay toolbox, taken from many of my previous classes –
Alcohol inks, chalk pastels, paints, stazon inks, stencils etc.
This class is a new version of my known previous INKredible class, now offering a celebration of exciting, new techniques, encouraging you to use anything on your worktable, along with alcohol inks.
20 patterns came out of my personal laboratory, but the combinations are infinite!
www.polypediaonlineexpress.com/product/complete-inkredibl...
If you are interested in combining these beads in elaborated, impressive Micro Macrame knotting, you are welcome to check out the new "INKredible Macrame" class -
www.polypediaonlineexpress.com/inkredible2-inkredible-mac...
Please support on Lego Ideas:
ideas.lego.com/projects/1f708a5b-4f0e-4431-b4ba-8a1a66e9c4c8
“In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”
J.R.R Tolkien, The Hobbit, Chapter I: AN UNEXPECTED PARTY
Welcome to the Shire. The starting and ending point of the famous books and films “The Hobbit” and “The Lord of the Rings”.
It is a perfect place to relax, read and fill your hobbit stomach with plenty of delicious food.
The Hobbit hole consists of 5 different rooms. A nice kitchen with a big table, a full storage chamber, a cosy living room with a fireplace and a worktable, an entrance room to welcome invited and uninvited guests and like all hobbit holes it has a round tunnel that connects the rooms.
I would suggest that it would include the minifigures: Frodo, Sam, Bilbo, the 13 dwarves and of course Gandalf.
Please support this creation and help it to become an official Lego Set.
Remember, it doesn’t cost you anything and you would do me a big favour.