Thursday, March 28, 2013

Craft stained glass windows from melted crayons

      Remember melting crayons to create beautiful stained glass window art when you were a kid? My Sunday School teacher did this in class with us many years ago. We would shave crayons with small hand-held pencil sharpeners onto white tissue paper. Then our teachers would carefully cover our tissue and shavings with wax paper and carry the layers over to an ironing board and melt them by rubbing a hot iron over the surface of the wax paper. 
      You can actually achieve the same melted effect by using a hair dryer if you wish. I also remove the wax paper after it has cooled. This only takes seconds to accomplish and then all you need to do is cut a black template from construction paper in order to frame your melted master piece.
      This craft needs adult supervision and patience. I've used some stained glass window frames for my teaching samples that are a bit complex. Design stencils for window frames that are simpler if your students are younger.  Have the children cut out the frames before shaving and melting crayons from black construction paper if they are older than nine. 
       Since I've published this craft here, designs at Color The Bible have been uploaded for coloring pages. These can easily be adapted for pattern making of stained glass windows.

Above you can see that a small hand-held pencil sharpener is quite adequate for shaving crayons. Remove the paper first and don't use too many dark colors for your mix, otherwise, the results can turn a bit muddy. I used the original cut templates for my teacher's sample so that I wouldn't need to cut my stencils twice. After this I then created a template from the sample that could be printed out in black and white so that my students only needed to cut out the center of the design.

Just left, you can see the stained glass window taped onto an actual window. The colors a very brilliant. I have limited my color choices to reds, oranges and yellows in order to emphasize a monochromatic palette. You may wish to teach students about color mixing or the color wheel during this lesson by requiring young students shave together particular color combinations.

More Examples of Melted Crayon Crafts:

Wednesday, March 27, 2013

Drawing Butterflies By Progressive Steps

     I have included here a series of five, butterfly, drawing exercises from an old book. In each case it is the last figure of each series of diagrams that you are striving to copy.
      Learning to draw is best when students are encouraged by multiple means of processing information. Teachers should encourage progressive diagram drawing, drawing from real life, drawing from artworks and from their imaginations. The more articulate the student, the easier it becomes for him or her to express themselves. It is difficult for art students to become articulate if their teacher is attaching too much philosophy to practice early in their pupil's development.
      Each method of drawing accesses different areas of the brain. Educators will soon discover that different students excel at different rates according to their familiarity with utilizing that particular part of their brain. Teaching art to the very young should focus primarily on the absorption of knowledge and how to use it within a wide variety of circumstance/context. 
      All artists should be given time to learn how to manipulate information without having the process judged by those art educators that teach according to current popular belief.  Do not fixate on artistic schools of thought or practice until a student is approximately sixteen or older and is able to make important choices for himself apart from your personal tastes and opinions.
      The method of drawing illustrated in the jpgs. below, is very appropriate for cartoonists or graphic designers to learn. Encourage art students to try this method of making art along with many other practices inside your classroom.
full frontal butterfly draw

Draw butterfly from side.

Draw another butterfly from side.
Smaller butterfly drawing challenge.

Last step-by-step butterfly drawing challenge.

Monday, March 25, 2013

How To Decoupage a Picture On To An Easter Egg

Here is an obvious question. "How do you decoupage a picture
or a scene onto an egg?" Obvious question, rarely answered.
Above you see a sweet example of this from a manufacturer
of Easter novelty.


Supply List:
  • smallish dinner napkins in a pattern you would like to see on your Easter egg.
  • egg (can be plastic or real)
  • Mod Podge
  • hot glue gun and hot glue to attach a ribbon on top of the egg
Step-by-Step Instructions:

  1. Gently separate the layers of your dinner napkin. You will only be working with the printed one on top.
  2. Measure the length of your egg and cut rectangular strip from the napkin or tissue paper to fit neatly around it. 
  3. Now you will need to cut at regular intervals, slashes into your design. Notice how I do NOT cut all the way through the rectangle. (pictured below) I leave about an inch uncut. This uncut central part of the rectangle is the continuous, uninterrupted part of the design that wraps around the mid section of the egg. The larger your egg the wider this section will be. 
  4. After cutting this napkin thus, apply Mod Podge to the surface of your egg and carefully paste down the napkin, starting first with the middle part of the design. The fringed parts of the napkin will overlap some but the design should be preserved for the most part. 
  5. After cutting and gluing this first piece of the napkin, I then cut out parts of the design that I thought the most attractive from left over napkins and pasted these on the top and bottom parts of my egg where the design did not cover. This is because I used very large eggs for this project and my napkins were quite small and the wider, bottom half of my egg needed additional decoupage to cover it completely. 
  6. In order for your eggs to look professional, you need to use very thin tissues for this project. This insures that the design will appear uninterrupted and hand painted. 
  7. Also, I was very particular about the colors of eggs that I used for the design. Had I used dark blue or purple plastic eggs, this design would not be as attractive. The napkin is very thin and the colors will show through the glue and tissue, so be selective. The factory made egg above was yellow. The one below that I covered was pink.
  8. After the egg has dried completely give it a final coat of Mod Podge.
  9. Hot glue an attractive ribbon to the top of the egg if you wish to hang it.

See finished eggs with fancy pink dinner napkin decoupaged
on the plastic surfaces. You can use the same process on 
real eggs too!

Left, peal off the solid layers of napkin on the bottom; you won't need to include them in the 
process. Center, the napkin cut with fringe across the top and bottom. Right, different eggs, same
dinner napkin cut apart to give a alternative look.

See different applications of the same napkin design.

Decoupage Easter Eggs:

Free Vintage Patterns for Easter Eggs

Painting patterns from left to right in order: An Old-Fashioned Calico Egg,
A Design Taken From Bright Ribbons, Czechoslovakia flowers in bright colors,
A row of yellow ducks on a batik egg and flowers/bow-knots from an old silk.

      Above are very old illustrated patterns for painting eggs, below are vintage patterns for sewing eggs and carrots. The egg templates include five sizes. 
       Select the size you prefer and then make a cardboard template by tracing around the size selected. 
       Cut four copies from fabric to sew together for one egg. A 1/4 seam allowance is included with the template. 
       I suggest sewing the eggs by hand instead of on the machine because the seams are so very narrow.
       After leaving an opening of one and a half inch, turn the egg right sides out and stuff tightly. Close the opening with an invisible stitch and then apply trims and fancy embroidery.
5 egg sizes. See two sizes made up in bumble bee flannel fabric at colorthebible.blogspot.com.
 
       To make fabric carrots, select the size, cut it out and trace around for the cardboard template. Cut just one triangle from orange fabric. Fold in half, sew down the side and turn right side out. Stuff with cotton filling up to the top of the carrot. 
       Sew a straight stitch around the top opening to gather it shut. Then attach a green ruffled ribbon or ruffled felt around the top gathered edges to cover and mimic the greens on top. You could also attach green lace alternatively for a folksy looking carrot.
 
See my vintage veggies in red-orange velvet with tassel tops;
 these are made with the simple pattern below.


3 carrot sizes

Thursday, March 21, 2013

Very Vintage Easter Egg Designs


      This little violet dyed, Easter egg is perhaps the oldest egg I hang on my Easter tree. It was made sometime in the 1940s or 30s. My mother-in-law hung it on her childhood Easter tree. I think the lavender food dye has lasted far longer than anyone could ever had anticipated. The violets are made from molded velveteen.

Just Lilla shows how to make ribbon violets.
 
Enamel Easter egg containers are still as popular as they were 100 years ago!

       In the collection illustrated above at the far left on top is a vintage aluminum egg that opens to reveal a secret message and perhaps a chocolate too. It was made almost 100 years ago and belonged to my mother-in-law. The larger eggs are reproductions only manufactured within the past twenty years. I filled them with jelly beans and other sweets for our daughters to discover on Easter morning among other toys inside of their baskets.

    A Decorative Bird Box

          I love these little bird boxes by Martha Stewart. I plan to stuff mine with a few Easter treats this year, but these little tweets would be just as sweet to decorate for any festive occasion. The bird boxes come three to a package so I will show you three different ways to decorate them. This first example is perhaps the easiest. 
          First, I painted a thin layer of acrylic varnish all over the surface of my bird box and let it dry over night. Then I used a fine line, permanent, black ink marker to draw swirls and curls emphasizing the raised portions of the bird's wings etc... Afterwards, I coated the box again with a second layer of acrylic varnish.






    Wednesday, March 20, 2013

    Pin The Ears On The Rabbit

    Pin the ears on the rabbit.
          Print out the pictures on which is the earless rabbit and his ears are drawn (below). Hang the earless rabbit on the wall, as shown by the sketch, right. Then cut out the ears included in this post and stick a pin through the little holes marked "Pin."
          Now you are ready to play the game. Blindfold a boy or girl and put one of the ears in his or her hand. Turn the blindfolded one around three times, stopping with face turned to the rabbit. Then let the player step forward and try to pin the ear in the right place.
          All sorts of fun comes from the funny mistakes of the players.
          You can get better results by mounting the rabbit panel and the ears on cardboard.

    More Rabbit Themed Games:


    Printables for the game here.

    Anna's Easter Dream by Louise Cooper

    When little Anna went to sleep
    Upon the eve of Easter day
    She dreamed of candied eggs a heap
    And frisky, brisky lambs at play.
    Plump Humpty Dumpty, with a bow,
    Stood smiling on the counterpane,
    And Ducky Daddles, wondering how,
    Was at the foot just to explain.
    Three baby ducks in noisy play,
    Who never thought to pardon beg.
    Cried "Quack, quack, quack for Easter day!"
    And then tobogganed down an egg.
    A rooster and a hen on nest
    Exclaimed, "Please put us in the rhyme,
    for we are doing our level best
    In working up the Easter time!"
    five bunnies, each with eyes of pink
    And ears so long they flapped like wings,
    Said, "We are not considered bad.
    And, don't forget, we're little too."
    five sparrows, proud of their wee size--
    They never grow too broad or tall--
    Chirped, "We should surely win a prize,
    for we are littlest of them all."
    Two tiny men from Titakum,
    With good strong arm and sturdy leg,
    Held steady as a block o fgum
    A large and glowing rainbow egg:
    There, standing on it like a queen.
    With rosy lips and roguish eye.
    In pink and gold and bronze and green,
    The girly, curly butterfly.

    by Louise Cooper

    Tuesday, March 19, 2013

    Easter Eggs That Imitate Wedgwood Blue Earthenware

    Typical wedgwood blue
    plate with white decor
          I have always been in love with Wedgwood blue earthenware. It is very expensive, however, so it is not likely that I will ever acquire much of it. I did find some "Wedgewood" look-alikes  in a hobby shop many years ago and adhered these medallions to Styrofoam eggs. Then, I covered the back half of my eggs with blue paint, glitter and some vintage lace. I strung my blue, "Wedgwood"eggs on glass bead hangers. These eggs are my favorites and I hang them on one of my Easter egg trees every year.
          In 1765, Wedgwood created a new earthenware form which impressed the then British Queen consort Charlotte of Mecklenburg-Strelitz who gave permission to call it "Queen's Ware"; this new form sold extremely well across Europe. The following year Wedgwood bought Etruria, a large Staffordshire estate, as both home and factory site. Wedgwood developed a number of further industrial innovations for his company, notably a way of measuring kiln temperatures accurately and new ware types Black Basalt and Jasper Ware. Wedgwood's most famous ware is jasperware. It was created to look like ancient cameo glass. It was inspired by the Portland Vase, a Roman vessel which is now a museum piece.. (The first jasperware colour was Portland Blue, an innovation that required experiments with more than 3,000 samples). In recognition of the importance of his pyrometric beads (pyrometer), Josiah Wedgwood was elected a member of the Royal Society in 1783. Today, the Wedgwood Prestige collection sells replicas of some of the original designs as well as modern neo-classical style jasperware. Read more . . .

    Easter eggs featuring Wedgewood look-alike medallions. Push the medallions gently
     into the foam egg before gluing these in place with a tacky white glue.


    My family has visited here during the summer months.
    This makes for a relaxed, family friendly trip.

    Craft a Humpty-Dumpty Easter Egg


    The Humpty egg from different view points.

           This Humpty-Dumpty Easter egg is much easier to make than he looks. I used a small face mold and a bit of Sculpey clay to make his face. Although, some of you who do not like to paint, could use a bit of flesh colored polymer clay instead. 

           Humpty-Dumpty named after a famous nursery rhyme was actually a relatively popular character to craft during the mid to later half of the 20th century during Easter and also for nurseries. I've included more examples of this funny egg fellow below.


    Supply List:

    • Sculpey or air-dry clay
    • acrylic paints
    • white scrap paper for collar
    • hot glue and hot glue gun
    • wood glue
    • Mod Podge
    • wooden egg
    • press mold of an old man's face

    Step-by-Step Instructions:

    1. After un-molding the clay mask, I then pressed it onto a wooden egg with a generous amount of wood glue sandwiched between the clay and wooden surface. 
    2. Then I baked the entire egg in an oven for only a few minutes at recommended temp. on the package. If I had to make the Humpty egg again, I would probably opt for air dry clay. 
    3. I then let the egg cool. 
    4. Paint the head in flesh colored paint and the lower portion of the egg in blue to suggest his shirt.
    5. Hot glue on a simple white collar and a bow tie.

    Above are examples of face molds from my vast collection.

    Humpty Dumpty's Easter Surprise by Dick Clarke

    Saturday, March 16, 2013

    The Living Butterfly

    Paper butterfly pattern.

          Cut out the wings all around the outside black lines and fold them together at the dotted line A. Cut out both sections of the body and paste them together, with the exception of the legs and antennea, which are to be spread apart. Now slip the body between the wings at the white space. BB and bend the wings down at right angles to it at the dotted lines CC. The butterfly is now finished. To set it in motion hold it between the thumb and forefinger, as shown in the model, and pinch it gently, being sure to have the thumb and finger high enough under the wings so that they will be raised every time they are pinched and lowered when the pressure is relaxed. If you do this just right the butterfly will look like a little living creature poised for flight and an observer will be scarcely able to see what makes the wings go up and down. If you like to paste a thin piece of note paper on the wrong side of the wings to cover the printing and to color them on both sides. You will have a very pretty toy to add to your collection of cut-outs.

    Friday, March 15, 2013

    Futuristic Fashions Parade Easter Morning

    Illustration by James Henry Daugherty from a newspaper published in 1915.

          James Henry Daugherty (June 1, 1889 Asheville, North Carolina – February 21, 1974) was an American modernist painter, muralist, children's book author, and illustrator.
          He lived in Indiana, Ohio, and at the age of 9 he moved to Washington, D.C., where he studied at the Corcoran School of Art. Later, he went to London and studied under Frank Brangwyn. During World War I, he was commissioned to produce propaganda posters for various US Government agencies, including the United States Shipping Board.
          Daugherty wrote and illustrated several children's books during his career. In his book Daniel Boone won the Newbery Medal. His book with Benjamin Elkin, Gillespie and the Guards, won the Caldecott Honor in 1957. He was also the author of Walt Whitman's America Selections and Drawings by James Daugherty.
          In September 2006, controversy erupted at Hamilton Avenue School, an elementary school in Greenwich, Connecticut, over Daugherty's depiction of Bunker Hill hero and Connecticut native Israel Putnam in a mural commissioned by Public Works of Art Project for the town hall, and installed in the school in 1935. The mural was restored, and revealed a scene, filled with violent and richly-colored imagery, including snarling animals, tomahawk-wielding American Indians, and a half-naked General Putnam strapped to a burning stake. School officials objected to the violent imagery, and ordered the mural removed to the Greenwich Public Library.
          Daugherty will be included in the exhibition The Société Anonyme: Modernism for America at the Yale Gallery in 2010.

    More Related Content:

    Thursday, March 14, 2013

    How You Wear Hat Key To Character?


    Read a person's character by how they were their hat.
           
    Character reading by hats is a new and interesting pastime...
    • The girl or woman who wears her hat firmly and squarely is called the girl or woman who has determination and ability to do things and does them.
    • The girl with a flabby hat set so it seems ready to blow off any minute is said to be of the butterfly variety, without aim or ambition. Hat at a dangerous angle means the wearer is liable to be fickle and to like flattery.
    • She with the bonnet tilted back on her heard, according to fans in character reading by hats, is prone to self-indulgence.
    • Then there is the secretive kind, hiding her eyes behind a curtain and pulling her hat down to her eyebrows.
    • The girl who is continually rearranging her hat and primping her hair may have a fitful mind.
    note: Now that we no longer wear hats often, people can never tell what our personalities are like by just looking at us.


    What do you think these bonnets reveal?
    from Abiana Studio

    Stuffing Easter Eggs


          I purchased these dessert shop Easter eggs shaped like ice cream cones, cupcakes and petit fours. I loved the unique shapes. However, as you can see, appearances are all that I paid for; I will need to stuff them a bit more than I thought.


          I also purchased a pack of Squinkies to stuff into the little people's Easter eggs, just for fun. Extra candy, a few toys, coins and printed scriptures will make up the contents of these eggs for my family's Easter egg hunt this year. Why not swipe of few of the Easter scriptures below and print them out for your little ones?




    Wednesday, March 13, 2013

    "The Realities of Two Worlds"

    Here is an interpretation of the meaning of Easter for average men and women
     by Paul Jenkins: Has this ancient festival ever had any real spiritual significance for you?
    TEXT--Jesus saith unto them, come and break your fast. And none of the disciples durst inquire of him, who art thou? knowing that it was the Lord.--John 21:12.

          Unless you remember the circumstances involved in the situation described in the text, its words will seem to you unimportant and meaningless, perhaps utterly absurd as the text of an Easter sermon. But if you remember the circumstances involved, those simple words will describe to you a situation that which you can find none more significant, more startling, more dramatic, more thrilling, more glorious, between the first chapter of Matthew and the last chapter of Revelation. 
          To bring the true situation before you, let me describe a picture of the scene, from the marvelous brush of the French master painter of the Christ so much of whose lifetime has been given to the production of those wonderful paintings of the life of Christ that have been the marvel of the artistic and the delight of the Christian world for more than a decade, And of all the hundreds of canvases the J. James Tissot has delighted to fill with charming, passionate, dramatic and spiritual depictions of movements in the earthly life of the Savior, that which shows the moment described in our text is one of his masterpieces indeed.
          The picture makes the hour of the scene to be, as we know that it was, the most charming hour of the loveliest season of the year, just as sunrise of a cloudless day in spring. Beneath the azure sky and clear in the sunrise glow of that hour, the lake of Galilee shines translucent from turquoise to pearl.
          Resting at the water's edge are the two boats, the large and the small, of which we read, simple and clumsy specimens of the boat builder's craft of that day. Oars, poles, and nets in them tell their use. Upon the pebbles lies a hastily discarded net, still damp and dark from the water, and close by lies the heap of splendid fish, fresh, wet, gleaming and silvery in the sun. The coals of fire glow ruddy in a little heap, and a tiny thread of opal smoke rises straight in the air of the windless dawn. On an outer garment, placed blanket-wise for him, perhaps by the tenderness of a disciple, sits the Lord. In even so simple a pose the noble and commanding presence of his personality is yet unmistakable. At his right hand lie heaped up a dozen flat cakes of the newly baked bread whose luscious brown almost suggests their fragrant aroma. On a simple split stick a fish is spitted, and the Lord holds it in one hand above the coals to brown, with the other hand moving in simple gesture and with uplifted face, as he speaks naturally, familiarly, and with most evident fascination to the spellbound men that squat in oriental fashion facing him across the fire. "Spellbound," did we say? You should see the picture to know with what divine power they are held. Motionless as statues, the most of them yet lean eagerly, amazedly, passionately forward, their eyes centered on his face as if no looking would ever satisfy the hearts that feed on the joy of seeing him, hearing him, participating in the heavenly marvel of the hour.
     
    "J. James Tissot has delighted to fill with charming, passionate, dramatic and spiritual
     depictions of movements in the earthly life of the Savior."
     
          Such is the scene. I cannot know just what it means to you. But may I not tell you what it means to me?
          It has been my privilege, now and again, to sit as friend or guest at the tables of the rich, where snowy damask gave joy alike to the appreciative eye and the touching hand, where countless silver gleamed, where glass sparkled like the diamonds that is approached in value, and where the daintiest china of France supported fish, flesh and fowl of two continents and two seas. It has been my honor, and now and again, to sit at the tables of the great, where men of intellect and fame and women of intellect and charm have made an hour unforgetable and have taught one more than a whole university of mere classrooms could do. It has been my profit to sit at banquets where hundreds sat about the tables and listened to the worlds of heroes, heroes of war and heroes of peace, captains of soldiery and captains of industry, and felt the while they listened, that they were in touch with the men and the forces that move the world. It has been my benefit to sit at meat in the homes of the humble, in log cabins and huts, dining off metal plates and plain fare, and there to learn that not circumstances, but characters make men and women. It has been my delight to sit about the table of the grass, in forests and wildernesses, the campfire at hand and the viands won from stream or forest only by gun or rod. But when I contemplate the circumstances of that morning meal beside the lake of Galilee and realize the realities that were there present--things, emotions, sights, that surpass words to describe-- I know that I had rather have been one of those men that ate the bread that Lord baked, the fish his hands caught and cooked for them, that saw what they saw and heard what they heard, than to have attended any other banquet that wealth ever bought or meal that the friends of one's bosom prepared for friendship's tribute!
          "Why so? Tell me, who were there. Tell me whom that group consisted of!" "Oh, a group of coarse fishermen, fagged out by a night's work, listening to a chance rabbi who is getting breakfast for them while he talks." Yes; you can make that answer if you have succeeded in wiping Easter day out of your calendar.
          Who were there? "Oh, let's see, wasn't that the time when Jesus met his disciples and the miracle of the great draft of fishes occurred.?"
          It was one of many occasions of which Jesus shared fish with his disciples, I answer, and this is about the way the average churchgoer (shall I have to say the average Christian?) would answer.
          Who was there? Listen! Men were there that had seen the man in their midst die in pain on the horrid cross of a Roman criminal execution, had witnessed his writhings of agony had seen the sweat of blood, had heard from those lips at which their eyes now gazed as if enchanted the last scream as the body sank lifeless in the nail-suspended collapse of death. Men sat there who had taken that body down in tears and dismay and in the shock of disillusioned hopes had buried it and gone away feeling as if their universe had tumbled in wreck about their heads, murmuring to one another as they went: "And this is the end of him whom we hoped that it had been he that should have redeemed Israel!" And that man sat there before them alive! Alive? He had caught fish and made a fire and baked bread and helped them to make one of the great hauls of their fishermen's experience, and now while they at stunned, amazed, astounded, incapable almost of realizing what had occurred-incapable, as they afterward wrote, of speaking a syllable of inquiry--he calmly served and fed them while he talked to their white faces!
          "Oh, impossible, incredible! false, never to be believed! a myth, a lie, a dream, a delusion, a frenzy or fantasy of disappointed, overwrought and fanatical brains." Yes, and if you can think of any other terms of denial to write against it, set it down! And when you have said and done it all, the plain statement of these men who sat there will challenge you to your face to hear them tell you that it happened, that he whom they had laid in that sealed-up grave sat in their midst in the same body that they had known, and cooked for them and ate and served them as he catted the while! God be praised for heaven's sweet simplicity, that it was not in some awful, supernal shape, "trailing clouds of glory," that he came back to them, but that if was in the shape of the man whom they had known, had lived with, walked with, talked, slept and eaten with--and lo! before their eyes he moved and breathed and walked and ate and talked, the unmistakable and now incredible, but still actual being that he was before! Oh, if you will let these things, these truths, even this simple scene, get into your head and your heart--what an amazing Easter this day would be to you! "Why?" Because, I care not who and what you have been before, if you have never realized that mighty meaning of this simple scene, you may have known a dead Jesus, but you have never known the risen Savior!
          We have asked who were there? Let us take a final moment to ask what else was there? There, in that hour, all the mighty realities of the two worlds were gathered; this world of which they were catching faint but dazzling, astounding glimpses as they gazed on him; the world that he had been born in, lived in, worked in, died in--and the world that he was living in at the time that he ate and talked before their eyes!
          The realities of this world were there. Labor was there--they of the toil-worn hands, calloused by the wet net cords, they of the many a night of fruitless toil, they know what the weariness and uncertainty of labor is as few others know. Hunger was there, the meal that his love prepared to meet their famished bodies, doubly worn with abstinence and disappointment. Death was there, the end fo all earth--or why the meal to keep the body going, the labor for one's loved ones, and why the amazement at seeing one over whom the omnipotence of death had no power?
          And the realities of the world beyond were there. Life was there--such life as never a soul had dreamed of since Adam cowered beneath his sentence of mortality. The body was there; and now we know why it is called the "Apostle's Creed," that says: "I believe in the resurrection of the body!" What other faith, what other verdict, what other creed could they have that saw the nail marks in the hands that served him, who, though already in the life beyond so loved them that he could reward their work-a-day toil and could prepare for them the food that was affection's tribute itself. And the Christ was there!
          Language fails. Words can say no more. But this--all this--is the true Gospel of Easter day. Mount Vernon Signal.
     
    LIFE’S DISCIPLINE A TRAINING FOR HEAVEN.
    SIR HUMPHRY DAVY


    All speaks of change: the renovated forms
    Of long-forgotten things arise again.
    The light of suns, the breath of angry storms,
    The everlasting motions of the main,—
    These are but engines of the Eternal will,
    The One Intelligence, whose potent sway
    Has ever acted, and is acting still,
    Whilst stars, and worlds, and systems all obey;
    Without Whose power, the whole of mortal things
    Were dull, inert, an unharmonious band,
    Silent as are the harp’s untuned strings
    Without the touches of the poet’s hand.
    A sacred spark, created by His breath,
    The immortal mind of man His image bears;
    A spirit living ’midst the forms of death,
    Oppressed, but not subdued, by mortal cares;
    A germ, preparing in the winter’s frost
    To rise, and bud, and blossom in the spring;
    An unfledged eagle by the tempest tossed,
    Unconscious of his future strength of wing;
    The child of trial, to mortality
    And all its changeful influences given.
    On the green earth decreed to move and die,
    And yet, by such a fate,  repaired for heaven! 

    Tuesday, March 12, 2013

    Fan Folded Palm Branches


           This Palm Sunday craft may be used during a procession in the church but it also is an excellent method for creating a palm branch prop for a play. Although it is simple the project has much better results when completed by older students, fifth grade and up. You will need eight sheets of green construction paper in all to complete a palm similar to this one. However, you can use this method with any number of sheets if you should desire to alter the size of the project. Fold the paper in an accordion fashion and then snip off the tips of the fonds in a curved-like fashion as seen in the far left hand photo above. The center photo shows how your accordion folds should look. You will then need to glue the edges of sets of four papers together to form a continuous sheet of palm leaves.


          Left, I then bound both sets of palm leaves together with masking tape over the end of an old yard stick, one palm half on either side of my yard stick/ruler. Center, I added more tacky white glue to the edges of the palm leaves on the stick for strength. Right, I covered my tape with a small strip of paper, thereby giving the palm a clean look. 


          After leaving the palm branch to dray, I then glued the two accordion folded palms together down the center of my project and then wrapped the trunk of my branch with brown twine and white tacky glue to hide the writing on the old yard stick. On the far right you can see the completed palm branch. 
     

          As you can see by the photos, you may open the palm all the way into a circular shape and pin it down to the trunk of it's branch with a clamp of some sort. This gives the palm a very aesthetically pleasing appearance. However, I suggest that you only clamp this into place, not glue it permanently. This is because the palms store better when they are flat and closed at the top. Clamping them temporarily while on display will allow you to use them time and time again in future parades.