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What's on my worktable? I'm working on my Fan Fold Designs tutorial and I just finished up these 3 leaf designs. They show 2, 4 and 6 fold examples of this particular design. The tutorial will have about 7 different designs that use the fan fold idea. I've posted my round ones with a central focal point some time ago. I'll get a gallery of images going soon. Couldn't decide which background colour I preferred so I'll show you both!
💙 The first of the Spring Gonks has arrived. 💙
Quietly, of course.
Before the blossom drifts in. Before the bees wake. Before the Green Man stirs.
The Snowdrop Gonk always arrives first.
Pale and brave, he pushes up through the cold moss while winter still thinks it’s in charge. He carries no noise and no rush... just the promise that something has shifted, even if you can’t quite see it yet.
Look closely and you’ll spot his sign: little snowdrops, saying hold on... softer days are coming.
He’s been sitting at the worktable at dawn, while the Glen is still half-asleep.
The beginning of spring rarely arrives loudly.
It just… arrives. 💙🌱
Na minha mesa de trabalho: pernas e braços para lobos, raposas, guaxinins, renas e alguns ursos....
... em breve na loja.
On my worktable: legs and arms for wolves, foxes, raccoons, reindeers and some bears....
.... coming soon to the shop.
I glued two pieces of MDF together, covered it with oil cloth and added IKEA legs. Voila, a custom sized desk /worktable on the cheap.
*HAVOC!*
(Sorry for the lame action pose shoot *LoL*)
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This is a project that I had on my mind (and worktable) for quite a long time! Thanks to Dal Lee, who encouraged me to show my Havoc, I finally got myself together to cut her hair and take the photos ; ).
For those who don't know, the original Havoc is a fashion doll from the Seventies and is closely related (not by blood but by manufacturing ; )) to Mary Quant's "Daisy". There are some great sites out there where you can find more info on the original doll.
I stumbled across the original Havoc many years ago and remembered her when Poppy Parker got into the "Lotta Danger" and "Girl from INTEGRITY" storyline. Since Lotta's arch enemy Sebina and her brother Sebastian are the Havoc siblings, it's pretty safe to think that David B. had Havoc in mind when her worked on Lotta.
To make it short: Havoc is a secret agent whose real name is not known and she works as a journalist (at least sometimes) while her true job is kicking the evil a**es all over the world. The backside of the doll packaging had some cool comics that showed Havoc in action and wow, this girl means business! She's great!
My own girl got a midnight blue lycra bodysuit with working zipper (completely sewn by hand, I went crazy with this outfit *lol*) and white boots. That's her standard battle suit. I made a 1/6 scale version of her pink shirt (from the motorcycle set), too, but haven't made the rest of the items yet (jeans, leather jacket and so on).
I'm not quite sure, if I want to make her more outfits based on her original ones, or not. The trehcncoat with red hat is iconic!
Big thanks go to my brother, who recreated the Havoc logo so I could complete the suit and to Dal Lee for giving me the needed push towards completing the project.
This is my current LEGO workspace. To the right of the table there are two commodes I'm currently using to put on two builds I'm working on.
I think I have to buy soon more small parts magazines because my collection is growing quite fast.
I'm soon going to replace the Justice League poster with a Zelda or a LEGO poster. (big LEGO and Zelda fan ;) )
This delicate Art Nouveau inspired necklace is much more romantic then what my pieces usually are. But this was one of those pieces that just happen. When the separate elements – first intended for other pieces - just end up together on the worktable and lies there, in perfect symmetry and there is no way of ignoring them. You just HAVE to put them together.
The two swirly side elements are wrapped to the centre element with lovely faceted rondelles of Green Amethysts. From the centre element one stunning, big faceted briolette of Brazilian Emerald with amazing colour hang. A double chain leads up and closes with my handmade hook style clasp. A simple, but very very elegant necklace.
Total length – 51cm (20”)
Focal total drop – 8cm (3.1”)
it was my intention to go into the studio and work. then it happened again: i thought "i should organize a little..."
and that's been that. i pulled out over a hundred drawings from just one of my portfolio cases and wondered how much stuff i've been doing. of course, i then had to dump everything onto the floor and separate them into piles, then clip each pile together, and so on. the good side: i suddenly remembered an ambition/ project i thought of two years ago and keep forgetting (go a.d.d.!)
i think this time i'll write it down and stick it to the wall so i don't forget. of course, remembering this project means i need to re-organize the studio to accomodate this work in a whole different way...
In a quiet chamber of the Palácio Nacional da Pena in Sintra, Portugal, an extraordinary cabinet commands attention—a fusion of craftsmanship, color, and symbolism that perfectly reflects the Romantic spirit of nineteenth-century design. Its panels shimmer with deep emerald-green reliefs, depicting robed figures within Gothic arches, each one carved with reverence and finished with a luminous glaze that catches the light like stained glass. The cabinet is more than furniture; it’s a story in wood and ceramic, a testament to the era’s fascination with artistry and meaning.
When King Ferdinand II and his artisans reimagined this former monastery into a palace of dreams, they sought to weave art into every surface. This cabinet, likely influenced by the German and Italian styles Ferdinand admired, embodies that vision—where architecture, sculpture, and interior design blend seamlessly. The interplay between the dark carved wood and the jewel-toned ceramic tiles suggests the dialogue between nature and imagination that defined the palace’s eclectic interiors.
Each panel tells its own silent narrative. The figures—saints, scholars, or perhaps allegories of virtues—are rendered with a sculptor’s precision, inviting the viewer closer to trace their contours. Around them, swirling ornamentation and floral motifs soften the rigid geometry, creating a harmony that feels both sacred and human. Above, a leafy crown rises, as if nature itself is blessing this work of devotion.
Light from the doorway spills across the tiled floor, illuminating the cabinet’s glossy greens and the muted warmth of the wallpaper behind it. The chandelier above, with its curling wooden arms, echoes the organic forms below, uniting ceiling and floor in one rhythmic composition. Every element in this scene—from the patterned walls to the carved doorframe—speaks to Portugal’s nineteenth-century embrace of the decorative arts as an extension of national pride.
To stand before this cabinet is to feel time slow. You imagine artisans bent over their worktables, the scent of varnish and clay in the air, the gleam of candlelight catching a new glaze. You imagine Ferdinand himself walking through these rooms, finding beauty not only in grandeur but in detail—the curve of a leaf, the gesture of a carved hand.
Today, this preserved interior offers a rare window into a vanished world of meticulous design and idealistic ambition. Every surface tells a story of preservation—of historic interiors kept alive not as relics, but as vibrant testaments to creativity and continuity. In a palace famed for its color and whimsy, this single piece captures the essence of Portuguese Romanticism: ornate yet human, grand yet intimate, timeless yet alive.
Just a random selection of things on my worktable made into a photographic collage. Will never be pasted down.
Photograph of Mistri Moolchand and his son at their house at Varanasi (Benares) in Uttar Pradesh from the Archaeological Survey of India Collections: India Office Series (Volume 46), taken by Brajo Gopal Bromochary in c.1870. Mistri Moolchand and his son are seated at a low worktable in the foreground, with other craftsmen at work in the background. Photographs like this one were exhibited at European exhibitions to demonstrate teaching methods in India. This image is inscribed, "Taken by the photographer in the service of H. Highness the Maharaja of Benares. Private School of Art...After exhibition to be placed at the disposal of the Secy. of State for India." The Imperial Gazetteer of India, describing this type of instruction, states: "Under the native industrial system the child learns his hereditary craft from his father or is apprenticed to a mistri, or master-craftsman, who is often a relative of the pupil...The child begins his work at a very early age; at first he is expected to undertake the menial duties of the shop, and is put to cleaning the tools; later he begins to perform the simplest operations of the trade. There is little definite instruction, but the boy gradually acquires skill by handling the tools and watching the workmen at their task. As soon as he has made a little progress, the apprentice is granted a small wage which is gradually increased as he becomes more useful; and when his training is finished, he either goes out into the world or secures a place on the permanent roll of his master's shop."
“A Little Tale”…
He was born to two very powerful wizards. Both his parents were highly respected for their strong abilities and gifts. Other wizards were in awe of what each could do alone and together. They were a force no one dared to reckon with.
Unfortunately, as life does, it extracts a price for every gift received. Maybe that is Universal Laws’ “Law of Balance”. In the case of the young wizard, he was the price his parents had to pay for their great wizardly and other abilities. You see, their son, their only child, had very little, okay, truth be told, almost no wizardly abilities. And, the ones he did possess were uncontrollable and weak.
Rather ironic, don’t you think? The two most powerful wizards produced an offspring who was barely a wizard; and, they were ashamed of him. He shamed them because they felt they failed to continue the long line of superior wizards, and thus, to them, that meant that they had flaws and were not as perfect as they considered themselves to be. They felt that the other wizards took delight in their son’s lack of powers and abilities and that they were ridiculed behind their backs. So, they regarded their son, their own child, as something less and an abomination. They also believed he was dumb and simple minded.
And, he, their son, knew how they felt and rather than being in their loving sunlight, as their son, he was cast into their shadows. No matter what he did, it never succeeded in pleasing his parents. He always fell short of their mark in some way.
The way his parents felt about and regarded him alienated them from him…He saw each time they glanced at him, they saw failure…his and theirs. But, in truth, it was no one’s failure or fault, but, rather, nature’s doing. But, they did not see him that way. He was an enormous embarrassment and burden to them.
Thus, they avoided him as much as possible and when in his presence, treated him as if were simple minded. And, that could not be farther from the truth. He was, in fact, quite brilliant, in spite of his lack of wizard super powers and abilities. He would have been considered a genius among humans. But, sadly, he was not human and so, his parents were blind to the gifts he was given…all of them.
He had the ability to invent and create gadgets, machines, gizmos, and the like at a time in history when there were no electronics, computer was not nonexistent and neither were many of today’s taken for granted conveniences. Some of his creations, which I am certain you have heard of, include…the Time Reversenum, the Magnifyometer, and the Energy Directiumus.
More than once, he tried to share his inventions with his parents, but they always waved him off like a mere fly. They had no need for gadgets or machinery. They had their powers. Plus, they had, in reality, disowned him, unofficially, as their son. They simply didn’t care about him or want him.
Hurt badly to his very core by his parents’ feelings toward him and their treatment of and disregard for him, he made a vow to himself that he would not let them make him feel as if he was a failure, a nothing or a loser. They, in fact, were the ones, in spite of their super powers, who fell short of the mark as sentient beings. They were conceited, small minded, self involved and self absorbed, vain, and looked down on others. He was grateful he was nothing like them. He was his own person.
So, he packed his things, left them a brief note of goodbye, which he knew would bring them great joy, and set out to follow his own life plan and destiny. He settled in the Enchanted Woods where he was immediately accepted. He found a very old, huge, and dead Oak tree, which had been abandoned. Inside it had so many floors going up to the top of the tree; each connected by spiral branch staircases. But best of all, it had, below the ground, where its dead roots were, a cellar. It was enormous. This was the ideal place to set up his lab and create his inventions.
His neighbors in the Enchanted Woods-elementals, fairies, witches, hobbits, gnomes, squirrels, wizards, and others, delighted in each of his “odd”, scary, and “magical” inventions. They loved to see them work and try them out. They were fascinated by them and by him. The wizards and witches especially loved his Energy Directiumus because it helped them direct the energy needed for difficult or complicated spells.
They would “pop” in unexpected from time to time just to see what he was working on. This was fine with him. He enjoyed hearing the fairies giggle, the gnomes snort in glee, and the wizards and witches saying, “OOOO! or “Hmmmm”. Their reactions gave him great pleasure and a sense of worth. He was accepted for himself and respected for his gifts. The hurt and the pain of his early years with his parents fell away and his life was one of accomplishment, friendship, and happiness.
~ Marsha J. West, Author~ edited for Flickr
(This is my original story or “A Little Tale”. It is my personal property and cannot be copied or used in any medium either online or written without prior approval.)
I love this section of the library. Its a very quiet place. The Table and wall lights give it a old time feel.
The Chalon worktable is one of those classic chalon pieces that is often emulated but never equalled. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and restorative. Clients can be reassured that they will preserve their values for the years ahead.
Title: Sewing Children's Clothing photograph
Date: 1953
Description: Three women students sewing clothing for children, in this 1953 classroom. Wooden silhouettes of a boy and a girl serve as forms for fitting the clothing. One student is working on a bottom seam of a shirt on the boy model. Another is sewing on a Necchi sewing machine, the third, handsewing. Their worktable has sewing supplies including a copy of a pattern, and a finished short-sleeved shirt.
Image ID: 12-10-Children's clothing 1953.
Copyright 2008, Iowa State University Library, University Archives
For Reproductions: www.lib.iastate.edu/spcl/services/photfees.html
From the archives, the brushes in a variety of sizes, shapes and usages in the carousel on my worktable...
ODT: assorted
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...
I added a couple of lines of French poetry to this that I found floating around on my worktable. Thought them appropriate.
The Chalon worktable is one of those classic chalon pieces that is often emulated, but never matched. The sheer weight and scale of these pieces impose warm authority into the space the occupy. Instantly calming and resorative. Clients can be reassured that they will preserve their values for the years ahead.
A nice double D end worktable with oak top. Chalon prefer to produce all the tops from single planks to avoid a patchwork look.
Birds eye view of the felty chaos resulting from 2 days of hard crafting :)
(This is actually our kitchen table!)
I know nothing about the origin of these three photos. They show most likely a woodblock printing studio in post-war Japan. In this photo the carver is clearing wood with a large chisel, gently tapping the chisel with a hammer in his right hand. The block is anchored with a wooden peg to keep it from sliding across his worktable.