Creative Livingwith Sheryl

Borden

5300Series

CraftsSection

Table of Contents

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Crafts

Beach Paradise ............................................. 3Leaf-Printed Silk Scarf ................................ 4Introduction to Encaustic Wax Painting ...... 5Diana & Victoria Pillows ............................. 6Flaps & Pockets for Scrapbooking & More 7Frame & Flatter Your Journaling................. 8Quick & Easy Beaded Jewelry .................... 10Tapestry Crochet .......................................... 13Guests .......................................................... 14

For the following information/instructions, type (or copy and paste) thewebsites into your browser.

Cowhide Purse - http://www.kenw.org/cl/clvol5crafts1.pdf - go to page 6Tulip Ribbon Flowers - http://www.kenw.org/cl/memoriescrafts.pdf - go to page 44Bead Fringes - http://www.kenw.org/cl/memoriescrafts.pdf - go to page 46

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Beach Paradise

Brushes• #6 flat• #12 flat• Sponge painter• #2 script liner

FolkArt Acrylic Paints• Wicker White• Butter Pecan

• Sunflower• Night Sky• Burnt Umber• Medium Yellow• Thicket• Green Forest• Engine Red

Sand:Double load sponge painter with Butter

Pecan/Wicker White. Using a “back and forth”motion, apply to surface. Use a # 12 flat brushdouble loaded with Burnt Umber/Wicker Whiteto make upside down “U” strokes to create therock formation.

Sky:Using sponge painter double loaded with

Wicker White/Sunflower, swirl sky onto surface,making sure to leave some white patches toappear as clouds.

Water:Double load the sponge painter with Night

Sky/Wicker White. Using a “back and forth”motion, paint water. With script liner and inkyWicker White, add in water swirls and lines.

Palm Tree:Double load #12 flat with Burnt Umber/

Wicker White. Starting at bottom and working tothe top, make a series of one stroke leaves, oneon top of the other, getting smaller as you reachthe top of the tree. For the palm fronds, loadMedium Yellow/Green Forest/Thicket onto a #12flat. Make one long thin stroke, using chisel edgeof brush, for the stem of the frond. Add smallerstrokes, again on the chisel edge, radiating fromthe stem.

Sea Oats:Use chisel edge of #10 or #12 flat brush

loaded with Wicker White/Burnt Umber to makelong stems coming up from sand. Add smallchisel edge strokes to the top of the stem tomake oats.

Grass:Load Medium Yellow/Green Forest/

Thicket onto #12 flat. Use chisel edge to makegrass patches. For finer stems, use #2 scriptliner.

Flowers:Double load #6 flat with Engine Red/

Wicker White and make a series of upside down“U” strokes to make flowers.

COURTESY: Kris CranfordOne Stroke Décor

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Supplies:• Fresh leaves• Habotai scarf (12” x 60” in

royal purple, red, or black)• Lumiere metallic paint (gold,

super copper, olive)• Masking tape• Small foam roller• Styrofoam tray palette• Telephone book pages• Tissue paper (cut slightly larger

than leaves

In the following demonstration, you’ll learn the basic leaf-printing process that can be used on any fabric. However,to make learning the process more fun, we’ll print withluscious metallic fabric paints on a jewel-toned Thai Silkshabotai scarf. When you’ve finished the project, you’llhave a beautiful hand-printed scarf to wear.

1. Lay the leaf, backside up, on the telephone bookpage. Hold the stem and gently roll the metallic paintonto its surface. Coat it several times, but not so heavilythat the paint pools around the veins. Use one color ormixtures of two colors.

2. Lift the leaf by the stem (or with tweezers if the complete stem hasbeen painted) and place the painted leaf face down on the fabric.

3. Cover the leaf with tissue paper, hold the leaf in place with one hand,and gently rub the leaf’s surface with the other hand to transfer theimpression. Avoid returning to a section you have already rubbed, as theleaf’s placement may have shifted.

4. Remove thetissue paper, thencarefully lift the leafoff the fabric by itsstem. Continue thisprocess until yourleaf becomes worn.Then select a newleaf.COURTESY: Carolyn Dahl

Liability Disclaimer: The artist, Carolyn Dahl, bears no responsibility for any physical injurydestruction of property or any other loss, damage, liability, or claim resulting from the use ofproducts and procedures described in this book, whether used properly or improperly. Theinformation is presented in good faith and is reliable to the best of her knowledge. No warrantyis given, nor results guaranteed, since the conditions of use are beyond her control. The artistassumes no responsibility for the use of this data.

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Introduction to Encaustic Wax Painting

Painting with wax is not new! It dates back thousands of years ago and was usedby the Ancient Greeks and Romans. They used beeswax mixed with resins orherbs and melted the wax over charcoal fires. They probably used horse hair forbrushes or some form of wood to place the wax upon their material.

Because wax can be moved and changed when heated, you can use a smalltravel iron as a heating tool. Once the wax is melted on the iron (takes only a fewseconds), it dries quickly and it takes on a permanent form. By doing this, you canbe as creative as you want when you learn and master this technique. If the paint-ing is not to your satisfaction, you can heat it up again, wipe it off, and start allover again. You can change your picture at any time.

Wax crayons or blocks of wax, have such magnificent bright and exorbitantcolors. In only one lesson one can learn how to paint very quickly and have easy,fascinating, stimulating and unique results. You do not need to be an artist tolearn how to paint with wax! Anyone can learn this skill, even if you have neverpainted before, you can become an artist beginning with your very first painting!

You are a unique individual and your paintings will prove how unique you are! This is done by the colors you choose andwhat imagination you have found when looking at the effects you get. After compiling your first painting, you will be veryencouraged to do more paintings.

Getting Started

1. You will need some colored wax - either crayons orblocks of wax. No candles! It will not work with ordinarycandles!

2. Use Photographic Paper - 8 1/2” size sheets, and cut itinto four 4” squares to begin with. As you get more creativeand experienced, you can make your pieces larger byusing foam core, glass, plexiglass or whatever you canattempt to work on.

3. Make sure you do each exercise in progression of theone before. The idea is to build up your skill in simple stepsand practice each step over and over until you perfect it.Each step will help you develop your skills and imagination,and give you a satisfactory and interesting picture.

4. You can use a small electric iron - such as a small traveliron - one with no holes, no steam iron will do, and noteflon coated. If it is telfon, you will have to have it sandedoff with fine sandpaper. Making sure you have noblemishes or holes.

5. Use a cardboard underneath your painting as this willcreate a padded surface so as not to develop any wrinklesin your work.

6. Keep your working area clean by covering your workarea with paper of some sort. Do not use newspaper as

the ink can go into your clean painting and will not mix wellwith the wax. So make sure your paper has no printing on it.You can use masking tape to hold it down.

You are now ready to start! There are four basic effects orsteps which the iron will give!

Diagram 1 - Hold the iron in your right hand - left hand if lefthanded. Hold the iron so the baseplate is flat and horizontal,see Diagram 2!

Diagram 2 - Loading your ironPick up a wax color - blue/greenworks best at the beginning!Gently press it against the iron.

The wax will slowly melt into theiron. If it doesn’t run, the iron istoo cold and you will have toturn the temperature to a higher

setting. If the iron is heldvertically, the wax should veryslowly dribble down the iron(Diagram 3)

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SmoothingThe first step is made by smoothing wax onto the card.Place photo paper 4x4” to start on a clean work area andload a good amount of blue/green wax onto the iron.Turn the iron face downand gently smooth waxback and forth zig-zigginggently and work down thecard or paper (Diagram 5).

Use enough wax to zig-zagdown the card or paper. Donot press hard - use onlyvery light, quick strokes. Diagram 4

Lifting and DabbingTake another card; load

iron again as in Diagram 2. Thistime, put the iron down on themiddle of the card and remove itby using a fast lift off action.(Diagram 6).

Lift off

Edge strokesSmear more wax on anotherpiece of card with the base of theiron, then turn the iron on its edge(see Diagram 8)

Iron on EdgeMove iron like an ice skatethrough the wax. Using thenarrow edge of the iron (like iceskates on ice), you will get thinlines through the wax. If youmove the iron sideways, it willbehave like a snow plow andcreate wider lines. Results should

look like this: Diagram 9.

Using point of iron - Diagram 10 - into the wax and usingthis load of wax, put small marks and lines on a piece ofcard or paper. Hold the iron in the most comfortable positionfor you (see Diagram 10.) Trysimple birds by dropping a dot ofwax onto the card and flipping itto the right and then add morewax and drop again onto cardand flip to the left. This will makea bird! Lift off as you go andrepeat this. There are othervarious results you can achieve(see Diagram 11.) Various smallmarks from point of iron. Toomuch wax will give heavierresults.

COURTESY: Helen HajjarAuthor & artist

These are just two of the manykits that are available from LiseHorvath’s website:www.accentyourinterior.com.Take a look and see how easy it isto make your own pillow cre-ations for yourself or for gifts.

COURTESY: Lise HorvathAccent Your Interior

www.accentyourinterior.com

Diana & Victoria Pillows

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COURTESY: Maria Neriuswww.CreateforLess.com

Flaps & Pockets For Scrapbooking And More!Materials:

• Scrapbook Paper*• Photos• Personal trimmer, craft knife or scissors• Aleene’s Tacky Glue• Tape Runner• *The samples shown used Hot off the Press and Provo scrapbooking papers.

Instructions:

Flaps

Pockets1. Pockets are a fun way to add memorabilia, familygenealogy, and other paper items to a scrapbook pagewhile still adding to the overall design. There are avariety of ways to make a pocket.2. Remember that you can add a photo, embellishment,journaling or any other creative element to the front ofthe pocket! Pockets are also fun for cardmaking andaltered art. All supplies available at CreateforLess.com.• Trim a coordinating envelope and embellish ifdesired. Adhere a matted photo to front of pocket orjournaling. Then adhere the pocket to your page.• Create a pocket by folding scrapbook paper in half.The fold creates the “bottom”. Trim to size desired.You may want a small pocket or a pocket that is as wideas the page. The pocket needs to be sturdy enough tohold items and not rip. Apply a line of liquid glue to theinside along the sides. Press down firmly to bond theglue and then allow to dry before adhering to the page.This type of pocket is the sturdiest.• If you are only putting a single item into the pocket,you can cut a piece of paper to the size you want thepocket allowing 1/2” for sides and bottom. Apply a thin

1. Often you have more joumaling than a page canhandle or you may not like using your handwritingbecause you feel it distracts from the overall designyou are creating. Flaps are the great way to add morejournaling space or to “hide” personal handwriting thatisn’t quite as perfect as you’d like.2. Crop and mat your photos. Get a good idea of yourlayout and design. Select one of the photos to adhereto a flap. Adhere all elements to page, except the photoyou will use on the flap. Keep in mind that the flap willalso “mat” the photo so leave space for the flap to bebalanced and uncrowded on the page. If you aren’t sure

of your skill level, don’t adhere elements until flap isdone and adhere it first.3. Using a coordinated scrapbook paper that is largeenough to fold over and still have room for your photo,fold over with decorative side to the outside. Trim tosize and add your joumaling to the inside of the flap.Adhere photo to front and adhere flap to page.4. Use flaps for all your paper crafts including collage,altered art, rubberstamping, and cardmaking.5. All supplies available at CreateforLess.com.

line of liquid glue to the sides and bottom (apply towrong side of paper) and place onto your page pressingfirmly to bond the papers. Allow to dry completely, thentuck your item into the pocket.• Create a pocket, but instead of gluing the sides, sewthem with a sewing machine or with hand stitching.

Tip

What to put into a pocket?

• Dried Flower orPressed Leaf

• Recipe Card• Family Tree Chart• Movie Tickets• Playbill• Newspaper clips• Child’s Drawings

• Greeting Cards• Lists or Journaling• More Photos• Copies of Documents• Maps• Invitations• Magazine Article• Any paper memorabilia

that adds to the pagecreated!

Frame & Flatter Your Journaling

Classic, colorful journaling boxes can enhance your journaling. They give you a place to tell your stories. They fit any theme youcan dream up. And they can be as simple or as decorative as you’d like. Take your page design a step further, and use yourjournaling boxes to inspire matching borders.

Use Shape Makers, Custom Cutting System™ tools and the 12-inch Decorative Trimmer to speed along the process. Use Ruled photomounting paper on light-colored paper for your journaling or enhance pre-made journaling boxes. The possibilities are endless, thelook beautifully coordinated.

Use the 12-inch Straight Trimmer, Circle Maker and CustomCutting System Circle Patterns for this combination madewith cocoa, chocolate, espresso and princess papers.

SHOW OFF YOUR SHAPESUse Shape Makers to jazz up these borders and journaling boxes.

Black, white and silver paperPerfect Fit Neutrals journaling box Festivities Stickers

Surf and seaweed photo mounting paper fits perfectly for any undersea adventure. Use the 12-inch Decorative Trimmer to create the kelp on a straight border or a circular journaling box.Enhance with Marine Fun Stickers.

Create a combination journaling box and border with this design.Use the 12-inch Decorative Trimmer on orchid and white ruled paper.Add Garden Gate Laser Stickers and journaling.

Use the Mini Tape Runner to mount these thinstrips of raindrops and cloud paper threaded withstars and stickers. Mat and embellish a pre-madejournaling box from the Perfect Fit Blues Paper

Pack.Zany Stripes paperLas Americas StickersPolka dots made with copperPrecious Element™ Fine -Tip Pen

Green and royal blue paperStorybox Tuscany Journaling BoxFootball and ABC/123 Stickers

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ADD CURVES WITH THE DECORATIVE TRIMMERUse the 12-inch Decorative Trimmer to add waves, curves and a sense of motion to borders and journaling boxes.

Nautical blue, royal blue, sea glass, Mediterranean and surf paperPerfect Fit Blues journaling boxMarine Fun Stickers

Gold metallic and latte paperHoliday Fanciful Trimmings Stickers Red crosshatch, confetti and chiffon paper

Perfect Fit Reds journaling boxFestivities StickersScallop Corner Cutter

Surf, sunburst and gold paperSeasons & Celebrations Stickers

Busy blue, gossip green and mosaic paperChit Chat Sticker Pack

Blue, red and green speckle paperMediterranean, sunburst, yellow and chiffon paper

Fundamentals Stickers

JOURNALED BORDERS

To maximize space on your pages and to draw more attention toyour words, combine a journaling box with a border. Mount the

journaling box directly on your border or use the12-inch Trimmers to make borders that double asyour journaling box.

Journaling on vertical borders works especiallywell for lists of guests, gifts, destinations, foodsor any of your favorite things.

Eggplant, filigree and silver paperMoss and wild rose paperHoliday FancifulTrimmings Stickers

Weathered paperCelebrate Stickers

For this fresh spring border, adhere threeStorybox Tuscany journaling boxes togetherfrom end to end. Trim with the 12-inchDecorative Trimmer. Enhance withKaleidoscope Countryside Stickers.

Cactus and deep blue paperPerfect Fit Greens journalingboxAir Force StickersEnvelopes made with whiteand fog paper accented with ablack Fine-Tip Pen

COURTESY: Debbie SorensonCreative Memories Consultant

www.creativememories.com

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To bead or not to head - that is the question - but onlyif you’ve never beaded before. Once you start beading,you can’t stop: You’ll never entertain the thought ofwhether to bead or not—you’ll just bead. That’s howeasily beading can become an enjoyable part of life.

Beads and making beaded adornment have beenaround for so long, from the beginning of mankind, thatby now the need for beads and beading is instinctive -nearly (in our opinion) as basic as the need for food andshelter. We must warn you: A full-blow case of “beadaddiction” can turn your world upside down

One look at the things you can do with a few beadsand a small amount of effort, and the “to bead or not tobead” question will be quickly answered: To bead is theonly way to be!

Abbreviations Used below:PNT – Pass the needle throughPNBT – Pass the needle back throughBT – Back through

How to Make the Daisy ChainThe two kinds of daisy chain stitches are the single daisyand the attached daisy.

To make a single daisy chain stitch, string the desiredamount of seed beads and then PNBT the first bead,forming a circle, the “petal beads.” String one bead forthe middle of the daisy (usually a different color or sizethan the “petal beads”). Then PNT the bead in the centerof the bottom of the “petal beads.” This forms the daisy.Several beads are strung on between the daisies (fig. 1).

Figure 1

The attached daisy stitch starts out the same way as thesingle daisy stitch, but instead of stringing headsbetween the daisies, you attach the daisies to eachother. There are two ways to do this. One way is tostring on the desired amount of beads, then PNBT thefirst bead forming a circle. Then string on the middlehead and PNT a head on the bottom of the circle. *Next string on two heads, and PNBT the two bottombeads of the circle and then BT the two just strung on.These are the attachment heads (fig. 2). To make thenext daisy, string onthe same amountof heads as on thefirst daisy’s circleminus two heads.PNBT one of theattachment beads,forming a circle,and then string onthe middle headand PNT one ofthe bottom beadsof the circle (fig. 4).* Repeat betweenasterisks as manytimes as desired.

The other way tomake attacheddaisies is to stringthe desired amountof beads and makea circle by PNBTthe first beadstrung on. String on the middle bead, PNT a beadfrom the bottom of the circle then *string on onebead, PNT adjacent bead on the circle, string on onebead and then PNT the first bead just strung on (fig.3). String on the same amount of beads from firstcircle minus two beads. String on the middle bead andPNT bead from the bottom of the circle (fig. 4)*Repeat between asterisks as many times as desired.

Quick and Easy Beaded Jewelry

Figure 4

Figure 3

Figure 2

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Necklace

Materials• 56 topaz round faceted glass beads, 5mm• 1 topaz round faceted glass bead, 7mm• 10 gms gold luster amethyst Japanese tubular beads• 2 gold bead tips• 1 gold barrel clasp• Nymo beading thread, white, size F, 6 yards

Tools• 13 ending needle, size 11• Round-nose pliers• Flat-nose pliers

BraceletMaterials• 23 topaz round faceted glass beads, 5mm• 276 gold luster amethyst Japanese tubularbeads• 2 gold bead tips• 1 gold barrel clasp• Nymo heading thread, white, size F, 4 yards

Tools• Beading needle, size 11• Round-nose pliers• Flat-nose pliers

Step 1Making the Daisy ChainMake the bracelet the same way as the necklace,but omitting the dangle. This bracelet has 23daisies.

Step 2Attaching the Bead Tips andClaspAttach the bead tips to the ends of the braceletand then attach the clasp ends to the bead tips.

COURTESY: Elizabeth Gourley andEllen Talbott, Authors & Designers

Step 1Making the Daisy ChainUsing about 6 yards of thread, string 12amethyst beads leaving an 8” tail. Make acircle by PNBT the first bead strung on (fig.1). String on one topaz bead (5mm), PNTthe sixth bead from the first bead strung on(fig. 2). *String on one amethyst, PNTadjacent bead on circle, string on oneamethyst bead. PNT the first bead juststrung on (fig. 3). String on 10 amethystbeads, PNT the second bead strung onfrom the two amethysts strung on justbefore these 10 (fig. 4). String on onetopaz bead (5mm), PNT the sixth headstrung on.* Repeat between asterisks 25times.

Step 2Making the DanglePNBT the next 3 beads of the circleso that the needle is coming out ofthe bottom of the daisy (fig.5).Make 3 more daisies; then make adaisy using the 7mm topaz bead and15 amethyst beads instead of 10. When youare done with the big daisy, PNBT the beadsof the daisies of the dangle so that the threadis coming out on the opposite side of the topdaisy (fig. 6).

Step 3Making Second Half of theNecklaceContinue in the daisy chain making 26 moredaisies for the other side of the necklace.

Step 4Attaching the ClaspAttach bead tips to each end of the necklace and then attach theclasp ends to the bead tips.

Topaz and Lavender Daisy Chain Necklace and Bracelet

Figure 3

Figure 4

Figure 5

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Party Favors

Champagne flute — Raise a GlassWilton Champagne Glass FavorWilton Favor Band w/6-Petal FlowerWilton Mint DropsWilton Tulle Circles, White

Loop elastic favor band around stem offlute. Bunch circle and tuck into favorband behind glass. Fill glass with MintDrops.

Shoe— Glass SlippersWilton Glass SlipperWilton Organza Bow Favor BandParchment paper 4 in. x 4 in.

Personalize parchment with a message fromthe bride and groom, or use a miniaturecopy of the wedding invitation. Roll intoscroll, secure with favor band, insert into shoe.

Butterfly BoxWilton Hexagonal Favor Box, WhiteWilton Sparkling Ice Table DécorWilton Jordan Almonds, White12 in. x 5/8 in. wide sheer ribbonFlower or Butterfly paper punchFlower or Butterfly stickersColored paper 1 ½ in. circle

Punch out shape on lid of box. Glue paper circle inside lidbehind punch out area. Apply sticker on top of lid. Fill withJordan Almonds, wrap outer edge of box with ribbon and tiein bow.

In the GardenWilton Silver Gazebo FavorWilton Silver Wedding Bands8 in. x ½ in. wide ribbon6 in. x ½ in. wide ribbonTea-light candlePlace card

Glue 6 in. ribbon around base of gazebo. Tie 8 in.ribbon into bow. Glue bow and wedding bands tooutside of gazebo roof. Remove roof and insert candleinto base of gazebo. Note: the candles can burn only

when the gazebo roof is removed and placedto the side. Do not use candles larger thantealight. Do not burn candle with gazebo topon, and never leave candle burningunattended.

COURTESY: Nancy SilerWilton Industries, Inc.

www.wilton.com

Tapestry Crochet

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For pieces worked in rounds, the stitches stack updiagonally. On flat pieces, all of the stitches slant to theright on one row, then on the next row they all slant to theleft. The tapestry crochet graph papers that I designed aredifferent for that reason.

My tapestry crochet graph papers also take intoconsideration stitch height. The actual stitch height, orrows per inch measurement, will depend on the yarn, ten-sion, and the number of carried yarns. The stitch height cansignificantly affect the proportion of the finished motif.The stitches will become taller with each additional yarnthat is carried. To determine which graph paper to use foryour project, tapestry crochet a sample (while carrying theyarns), then measure the stitches and rows per inch.

Designing a Motif on Tapestry Crochet Graph Paper

I have used several methods to design motifs. Onemethod involves drawing the motif onto the ap-propriatetapestry crochet paper.

Flat Tapestry face papers from MORE TAPESTRYCROCHET book.

Another method involves tracing. Tapestry crochetpaper is placed over an image on a light table or against awindow and traced with colored pencils. The Self Portraitimage was captured with a video camera that was hookedup to a Macintosh computer. The image was printed, placedunder tapestry crochet graph paper on a light table, traced,visually transferred with a graphics program sititch bystitch, transferred to square-ruled graph paper thencrocheted.

Flat Tapestry with hands from MORE TAPESTRYCROCHET book.

The third method involves tracing an object ontothe tapestry crochet paper. For the Framed Wall Hangingproject, I placed my husband’s left hand on tapestry crochetpaper, matching up the edges of his fingers with the edgesof the stitches wherever possible, then I traced his handonto the paper. Next, I traced my right hand onto the paper.The height of the stitch can distort the image, so a samplepiece should be crocheted to determine the correct graphpaper needed to reproduce an exact image.

I still have a dream . . . tapestryThe fourth method also involves tracing. An

image is projected onto tapestry crochet paper with either aslide projector or an opaque projector, then the appropriateareas are traced and colored. Several graph papers may be

taped together to form a largesheet.

Charting the DesignAfter the motif has

been worked out on tapestrycrochet graph paper, it shouldbe transferred to square-ruledgraph paper because it ismuch easier to follow thepattern on the square-ruled paper. The eye perceives stitchplacement much more clearly on square-ruled graph paper,making it easier to count stitches and determine colorchanges.

Be especially careful when transferring a motiffrom the tapestry crochet graph papers. It is crucial tounderstand the vertical stitch placement. Look at the edgesof the graph papers to see the stitch placement. Thestitches along the edge of the graph papers are on top ofone another. The last step is to count the number ofhorizontal stitches in the motif. The base of the pieceshould be a multiple of the horizontal measurement if youwant the motifs to butt together.

Design SourcesMany existing crafts, such as needlepoint,

knitting, and embroidery, use motifs that can betransferred to tapestry crochet graph papers. A trip to amuseum of folk art or natural history will providemany design ideas. I never copy a motif exactly,though, but vary it a little.

Star of David samplerThe Star of David motif, with its diagonal and

horizontal lines, illustrates some basic tapestry crochetdesign considerations. The motif on the left was copiedfrom a printed square-ruled graph. The motifs on the nextpage were designed on tapestry crochet graph papers. Asyou can see, the motifs are quite different since tapestrycrochet stitches are not square and do not fall directly overone another. Horizontal lines look the same, but diagonallines turn out quite different from what you would expect.So, copy designs from other sources onto tapestry crochetpaper, then transfer them to square-ruled paper!

COURTESY: Dr. Carol Venturaartist and designer

www.tapestrycrochet.com

Crafts Guests

Kris CranfordOne Stroke Certified Instructor2245-A S. Roosevelt Rd. 6Portales, NM 88130505-478-2514E-Mail: cranford@yucca.net

Carolyn Dahl2130 Southgate Blvd.Houston, TX 77030713-660-9488E-Mail: dahlstudio@aol.comhttp://www.carolyndahlstudio.com

Jane Davise-mail address: beads@anacapa.net

Helen Gibb1002 Turnberry CircleLouisville, CO 80027303-673-0949E-Mail Address: helen@helengibb.comHome Page: http://www.helengibb.com

Liz Gourley190 Hillhaven Ct.Ventura, CA 93003805-650-1351E-Mail Address: lizgourley@att.net

Helen Hajjar122 SW 14th St.Boynton Beach, FL 33426561-742-7031E-Mail: hhajjar@adelphi.net Home Page: www.bocamuseumartistguild.org/hajjar

Lise HorvathAccent Your Interior5702 E. Everett Dr.Scottsdale, AZ 85254602-677-4737E-Mail: lisejhorvath@cox.netWeb page: www.accentyourinterior.com

Maria NeriusCreateforless.com6932 SW Macadam Ave., Ste. APortland, OR 97219e-Mail: info@createforless.comHome Page: www.createforless.com

Nancy SilerWilton Industries, Inc.2240 West 75th St.Woodridge, IL 60517630-810-2205FAX: 630-963-7299E-Mail Address: Nsiler@wilton.comHome Page Address: http://www.wilton.com

Debbie SorensenCreative Memories1612 Mountain Shadow Dr.Carlsbad, NM 88220505-885-2577E-Mail: debbiecm4u@pvtnetworks.netHome Page: www.creativememories.com/dsorensen

Ellen Talbott2018 Monarch Ridge Cir.El Cajon, CA 92019619-441-0129E-Mail Address: ellentalbott@yahoo.com

Chris ThorntonDelta Technical Coatings2550 Pellissier PlaceWhittier, CA 90601E-Mail: ochoa@dtccorp.comHome Page: www.deltacrafts.com

Dr. Carol VenturaTennessee Technological University163 Big Spring CircleCookeville, TN 38501931-520-3962E-Mail: cventura@tntech.eduHome Page: www.tapestrycrochet.com