Marbled glass, whether fashioned in a fine art vase or in small marbles, will always capture fascinated eyes!

Marbled glass is one of the most expensive glass collectibles on the market. Its luminescence and elegance are unmistakable, so it’s no wonder that it is treasured by top-level collectors and celebrities worldwide. Would you believe us if we told you that the vase pictured here was created for about $5.00 in about 15 minutes? Well, it’s true! And you won’t even need a paint brush! Even children can achieve this lustrous look every time.
Read on to find out how….

Left to right: wax paper, plastic vase, red, pink, and white acrylic craft paints.

SUPPLIES NEEDED:
1. A plastic vase (This frosty-colored vase was bought for $1.00 at a a dollar store.)
2. Two sheets of wax/freezer paper
3. Acrylic craft paint in two contrasting colors (Here, pale pink and dark red were used. Very little paint is needed, so the small 2 oz. bottles work well.)
4. White acrylic paint (Very little paint is needed, so a small 2 oz. bottle works well.)
5. Polyurethane varnish (optional)

TIME NEEDED: About 15 minutes.

THE STEPS:
(Note: this process can be a bit messy, so make sure you are dressed accordingly!)

1. Place one sheet of wax or freezer paper on a table. Take the bottle or tube of the lighter of your two colors of paint and squeeze out some paint in a random design on the freezer paper (photo #1). Large circles and swirls work great.

2. Take the bottle or tube of white paint and add several swirls and splotches of paint over the first paint you laid down (photo #2).

3. Take the bottle or tube of the darker of your two colors and drop several small splotches over the two paints (photo #3).

4. Place the second piece of wax/freezer paper on top of the piece with the paint on it. Press your hands on top of the top piece and gently move the piece in a circular motion (photo #4). This swirls the paint between the two sheets of paper.

5. Gently peel back the top piece (photo #5) to reveal a marbleized design (photo #5a). At this point, you can add more paint and re-press the papers together, if you’d like to tweak the design in any way.

6. Pick up one of the pieces from its underside (the side without paint on it) and apply it directly to the inside of the vase by pressing the paper to the sides of the vase (photo #6).

CRAFTY CLUE!
To maintain distinct marbleized swirls in the design, put your hand all the way down into the vase to cover the bottom of the vase, first. Then work your way up to the top of the vase. If you’re interested in a more solid-color design with subtle swirls, start at the top and work your way down. As you work your way down, parts of the paper will inevitably touch the areas you’ve already painted, which will further blend the colors together.

7. When you remove the paper from the vase, you’ll see that the marbleized design has been transferred to the inside of the vase, and shows through to the outside (photo #7). The fact that the paint shows through from the inside is what creates the smooth, marbled glass effect. If the paint were applied to the outside, the design would be colorfully and texturally interesting, but it wouldn’t have the smooth, reflective look of glass.
Now, just repeat the process until all areas of the inside of the vase are covered with paint. Aim to cover a new area each time you put the paper in the vase to keep the design clear. When the sheet of paper starts to look “muddy”, pick up the second sheet and continue.

8. When all areas are covered, allow the vase to dry thoroughly. If you plan to only use the vase alone or with artificial flowers, there’s no need to varnish the inside. If, however, you plan to use live flowers in the vase, you need to cover the inside surface with two coats of waterproof polyurethane. You may find that it is easier get proper coverage in the inside of the vase with a sponge or sponge brush, rather than with a paint brush.

Information from - Quick & Stylish Decorative Crafts (e-book)

Getting started

FINISHED SIZE 20″ wide and 80″ long. YARN Lorna’s Laces Helen’s Lace (50% wool, 50% silk; 1,250 yd [1,143 m]/4 oz [113 g); #43NS sage, 2 skeins.

HOOK Size D/3 (3.25 mm). Adjust hook size if necessary to obtain the correct gauge. NOTIONS About 805 glass seed beads, size
8°, color: gunmetal, 35 g; yarn needle; short
length of thread.

GAUGE 1 patt rep = 6-1/4" across, 17 rows = 4".

Notes
Wrap is 3 pact rep wide. Beg each of 3 sections separately to form points, then join
them tog on Row 14 and cont as 1 piece. Start each row of "beg points" with an inc as foil: Ch 6, dc in dtr. End each row of
beg points with an inc as foil: After last dc
in chart, ch 1, dtr in same st as last dc. Start each row of "end points" as foil: Ch 5, foil chart. End each row of end points as foil: Work chart to 2nd to last dc, work 2nd to last dc to final step leaving 2 lps on hook, sk ch-1 sp, dtr in next dc and finish off both sts tog.
Edging beads are added during finishing-do not add them while crocheting
from chart.
Dtr at end of row counts as (ch 1, dc) or (dc, ch 1).
For beading, a short length of thread is used as a beading needle (see Stitch
Guide).

Stitch Guide: Beads are added where noted on chart or where indicated in finishing instructions.
Add bead: Pull up a Ip, bring piece of thread through Ip and hold ends tog, remove hook, moisten thread ends, push ends through bead as you would a needle and push bead down over Ipso it is snug next to last st, remove thread from Ip, insert hook back in Ip trapping bead, pulI yarn snug to hook, ch 1.

Points (make 3)

Row 1: Ch 6 (counts as [ch 1, dc, ch 1] here and throughout), dc in 6th ch from hook, turn-2 dc.
Row 2: Ch 6, dc in first dc, ch 1, sk next ch, dc in 5th ch of tch, ch 1, dtr (counts as dc, ch 1; see Notes, Glossary) in same ch, turn-4 dc.
Row 3: Ch 6, dc in dtr, ch 1, dc in next dc, 2 dc in next ch-1 sp, dc in next dc, ch 1, dc in 5th ch of tch, ch 1, dtr in same ch, turn-8 dc.
Row 4: Ch 6, dc in dtr, ch 1, dc in next dc, 2 dc in next ch-1 sp, do in next 4 dc, 2 do in next ch-1 sp, do in next dc, ch 1, do in 5th ch of tch, ch 1, dtr in same ch, turn-14 dc. Row 5: Ch 6, do in dtr, ch 1, do in next dc, 2 do in next ch-1 sp, do in next 4 dc, ch 1, sk next 2 dc, dc in next 4 dc, 2 do in next ch-1 sp, do in next dc, ch 1, do in 5th ch of tch, ch 1, dtr in same ch, turn-18 dc. Cont inc in est pact at beg and end of each row (see Notes) and at the same time foil
Rows 6-13 of Diamonds chart for lace design beg with Row 6, adding beads where indicated (see Stitch Guide). Fasten off (do not fasten off third point). Third point only:

Row 14: (W-5) Cont to add beads as indicated on chart and join points as foil: Ch 3 (counts as do here and throughout), 2 do in ch-1 sp, do in next dc, ch 1, dc in next dc, *ch 1, sk next 2 dc, do in next 4 dc, 2 do in next ch-1 sp, do in next dc, [ch 1, dc in next dc] 3 times; rep from * once adding bead at center of diamond, **2 do in next ch-1 sp, do in next 4 dc, ch 1, sk next 2 dc, do in next do**, [ch 1, do in next dc] 3 times; rep from ** to ** once, ch 1, do in next dc, 2 do in next ch-1 sp, (to join points, work through sts of both points at the same time) do in 5th ch of tch and in dtr at edge of next point (counts as last do of previous panel and first dc of next panel), cont with chart across 2nd point then join 3rd point as above. Note: Each dc strip bet panels is 7 dc wide
Row 15: (Worked across all 3 joined points) Ch 3, do in next 3 dc, [ch 1, do in next dc] 2 times, *ch 1, sk next 2 dc, dc in next 4 dc, 2 do in next ch-1 sp, do in next do*, [ch 1, do in next dc] 3 times, rep from * to * once, ch 1, do in next dc, **2 do in next ch-1 sp, do in next 4 dc, ch 1, sk next 2 do**, dc in next dc, [ch 1, do in next dc] 3 times, rep from ** to ** once, [dc in next dc, ch 1] 2 times, do in next 4 dc, turn. Rows 14-23 of chart form pact rep for f i rst half of wrap. Work until 13% beaded diamonds are complete, ending with Row 22. Rows 23-32 form pact rep for 2nd half of wrap. Work until 26 full beaded diamonds are complete, ending with Row 32. Beg shaping end points: Row 33: Work first end point to first dc of 7-dc strip. In first dc of strip, dec by working to last step of dc (2 lps on hook), sk next 2 dc, dtr in 4th dc until there are 4 Ips on hook, draw through all 4 lps, turn. Follow chart for Rows 33-43 to form first end point (see Notes). Row 44: Ch 5, dc in next dc, ch 1, sk next 2 dc, dc in next dc working to last step (2 lps on hook), dtr in next dc drawing
through all lps on hook, turn.
Row 45: Ch 6, dc in next dc. Fasten off. Rep Rows 33-45 for rem end points,
making sure to beg and end the first row of each end point at 4th dc in 7-dc strip bet panels.

Finishing
Starting across long edge of wrap (row ends), join yarn in corner, ch 1, sc across
long edge working 3 sc in each row-end to beg of end point. At points, *3 sc in dc sp, add bead, 3 sc in ch-1 sp; rep from * to tip of point. At tip of point, work 3 sc in row-end, add bead, 3 sc in ch-1 sp, add bead, 3 sc in row-end. Rep from to where panels join. At join, work 3 sc in sp before join, add bead in joining sp, 3 sc in sp after join. Cont as est along each end point to 2nd long edge of wrap, work 3 sc in each dc sp along long edge,then rep beading end points on opposite end, sl st in beg ch-1 to join. Fasten off. Weave in loose ends. Block to measurements.

The Basics
Home decorator sewing requires the same basic equipment as dressmaker sewing, with the addition of tools for measuring windows and furniture. Using the proper equipment makes the work easier and the results more satisfying.
1) Needle threader eases threading of hand and machine needles.
2) Pins with plastic or glass heads are easier to see and handle.
3) Thimble protects your middle finger when you sew by hand.
4) Needles for general hand sewing are Shil1PS. Buy a package of assorted sizes for various sewing tasks.
5) T-pins are long, sturdy, broad-headed pins which are used to anchor fabrics to solid surfaces.
6) Quilting pins are extra long and useful for working with heavy or thick materials.
7) All-purpose thread is used for hand and machine sewing on most fabrics. Choose all-cotton, cotton Wrapped polyester or all-polyester thread, depending on the fiber content of the fabric.

Measuring Tools
The most important consideration in home decorator sewing is accurate measuring. The following measuring aids help you make correct calculations for buying and cutting fabric.
1) Carpenter’s square is an L-shaped ruler, used to determine the perfect right angles and square corners that are essential to the fit of curtains, shades, tablecloths and pillows.
2) Wood folding ruler is used for measuring large areas. Because of its stability, this ruler is more accurate than a tape measure.
3) Yardstick is used for measuring long, flat lengths of fabric, and for marking and squaring grain lines. The surface of the yardstick should be smooth so it does not snag fabric.
4) Spring-return metal tape measures windows and other large areas. It is also handy for measuring around curves.
5) Seam gauge makes quick, short measurements such as those for hems. The 6″ (15 em) metal or plastic ruler has a sliding marker for accuracy in measuring.

Marking & Cutting Tools
After making careful calculations and taking accurate measurements mark and cut the fabric in preparation for sewing. Have on hand an assortment of marking tools for various fabric colors and textures. Good quality cutting tools are also a smart investment.
1) Cutting board is marked with horizol1t.al and vertical lines, and is useful for laying out and cutting lengths of fabric up to 2 yards (1.85 meters). It is made of heavy cardboard so fabric can he pinned in place. Two boards may be necessary for large items such as floor-length curtains.
2) ‘Tailor’s chalk is specially designed to mark directly on fabric and rub off easily.
3) Trimmers have straight handles and are used for trimming and straightening edges. A lightweight, slim blade aids accuracy,
4) Seam ripper is used to remove stitches. Use it with care to avoid ripping fabric.
5) Bent handled shears allow fabric to remain flat during cutting. Shears should be lightweight, easy to handle and 8″ or 9″ (20.5 or 23 cm) long.
6) Liquid marking pencils make sharp, defined lines on firm fabrics. One type of pencil makes a mark that can be removed with dear water; the other makes a mark that disappears in 18 hours. Test marking pencils on a fabric scrap before using. Ironing permanently sets the markings; if markings are on the right side of the fabric; do not press until they are removed.

Notions
Notions serve three purposes in home decorator sewing. Some, such as the rings used on Roman shades, are essential to the construction of an item; others, such as fusible web and fabric glue, make sewing easier. Notions such as braids, trims, pipings and ribbons are simply decorative.
1) Decorative trims such as bias tape (la), piping (lb) and ribbon (1c) are available in a wide range of colors and styles to complement the items you sew. Select trims with the same care requirements as the decorator fabric.
2) Cords, tapes and rings (2a) have specific uses on certain projects. These notions are described in the directions for projects which require them.
3) Fusible web is used for hemming or for bonding two layers of fabric together; It is available in narrow strips for hems, or in 18″ (46 cm) widths for fusing larger areas.
4) Fabric adhesives such as glue stick (4a) and craft or white glue’(4b) may be used for temporary basting, or for permanently applying batting or trims to items which will not receive much handling.
5) Liquid fray preventer dries invisibly and prevents the raw edge of fabric from fraying. Use it as a temporary agent to prevent raveling while working with fabric, or as permanent finish oil exposed seams and edges.
6) Stain-resistant spray can be used on many home decorating items to prevent spills from soaking into fabric. To apply, follow instructions on the container.

Posted specially for viewers of pattern-making who write and asked for this information, hope this help, good luck

{Credit}
Singer Sewing for the Home
Copyright 1984-1988

Here’s a new idea for plastic canvas – fashion accessories for your hair! This stylish set offers four pretty pieces’
to top off your wardrobe, what a clever idea!
Headband Size: 1-1/4″w
Large Barrette Size: 4-1/2″ w x 2-3/8″ h
Small Barrette Size: 3-1/4 “w x 1-3/8 ” h
Comb Size: 3-7/8″ w x 1-1/2″ h
Supplies: Worsted weight yarn (refer to color key) one 10-1/2″ x 13-1/2″ sheet of 7 mesh plastic canvas, #16 tapestry
needle, 43 – 4mm silver beads, 3/4 “w plastic headband, 3-1/2 “w hair comb, 3″ I and 4″ I barrette fasteners, clear-drying craft glue, felt, sewing needle, and thread
Stitches Used: Backstitch, Cross Stitch, Gobelin Stitch, and Overcast Stitch
Instructions: Follow charts and use required stitches to work piece. Use sewing needle and thread to attach one silver bead to piece at each x
For Headband only: For Bottom, cut a piece of plastic canvas 85 x 8 threads. (Note: Bottom is not worked.) Use black to
join Top to Bottom along short edges. Place plastic headband between Top and Bottom. Use black to join Top to Bottom along unworked edges, easing pieces to form headband shape .
For Barrettes only: Cut felt slightly smaller than barrette and glue to wrong side of stitched piece. Glue barrette fastener to center of felt.
For Comb only: For Back cut a piece of plastic canvas 24 x 10 threads. Work Back with red Tent Stitches. With wrong sides together, use red to join Front to Back along unworked edges of Front. Insert comb into opening and glue opening closed .

Designed by Celia Lange.

Carrying a lunch to school can be lots of fun with this colorful lunch sack! Stitched with bright designs, our unique tote features convenient handles that are just right for little ones to hold
Size: 5 -1/2 “w x 10 -1/4 “h x 3 -1/8″ d
Supplies: Worsted weight yarn (refer to color key), two l0-1/2″ X 13-1/2″ sheets of
7 mesh plastic canvas, and #16 tapestry needle
Stitches Used: Backstitch, Gobelin Stitch, Overcast Stitch, and Tent Stitch

Instructions: For sturdier handle, place Handle Support behind handle on Front/Back. Match edges and hold pieces together while stitching through both thicknesses. Follow charts and use required stitches to work Sides. For Bottom, cut a piece of plastic canvas
36 x 21 threads. Work Bottom with blue Tent Stitches. Use color to match stitching area to join Front and Back to Sides. Use blue to join Bottom to Front, Back, and Sides. Fold down sections of Sides and use blue to join sections where indicated by heavy black lines.

Designed by Dick Martin.

1. Measure directly up from the dart point the amount you wish to lengthen the dart. Mark the new dart point.
2. Draw new dart legs starting at the ends of the original darts and ending at the raised dart point
The broken lines in diagram shown represent the original darts; the solid lines, the new darts.

HOW MUCH?
Here is a guide for shortening designer’s darts to convert them into dressmaker’s darts. Keep in mind that “standards” may be meaningless when applied to individual requirements. Shorten the darts the amount that looks best and feels most comfortable.
Bodice: The front-waistline dart is shortened 1/2 inch from bustpoint height, * the back-waistline dart is shortened 1 inch from the shoulder-blade height.
The underarm dart is shortened 2 inches or more from the bust point. (This dart is generally at bust-point height. Should it be on a slight angle it must end at bust-point height no matter where it originates on the side seam.) Heavy-bosomed figures may bring the underarm dart closer to the bust point for additional shaping.
A front-shoulder dart is shortened 2 inches or more from the bust point. It too, may be brought closer to the bust point in heavy bosomed figures. The back-shoulder dart is usually stitched to a finished length of 3 inches.
The French underarm dart is an exception. It may be stitched to the bust point except in larger figures when it is shortened 1/2 inch or more.
Sleeve: The elbow dart is usually stitched to a finished length of 2 inches. * The terms “height” and “point” refer to the high point of the curve.
Only in very small or youthful figures and only in very form revealing
garments are darts stitched to the dart point. That would be asking too much of most figures.
Generally, in dressmaking and tailoring, the darts are shortened somewhat to give a sculptured, soft effect and a little more ease.
These shortened darts are called dressmaker’s darts.Designer’s darts are used in making a pattern. Dressmaker’s darts
are used in making a garment.
All darts in commercial patterns are shortened darts. Should you wish to relocate such a dart you would first have to extend it to the designer’s dart point.
All darts in the patterns you are creating are unshortened darts.For your final pattern, these will have to be shortened to dressmaker’s
darts.

HOW TO SHORTEN A DART
1. Measure down from the dart point the amount you wish to shorten the dart. Mark the new dart point in the center of the space.
2. Draw new dart legs starting at the ends of the original darts and ending at the lowered dart point. It is not the amount
of control you wish to change, merely the length of the dart

Skirt: The skirt-front dart is shortened 2 inches from the high point of the front hipbone.
The skirt-back dart is shortened 1 inch from the high point of the buttocks.
Frequently skirt darts fit better when un shortened (or shortened very little) so that the dart releases the greatest amount of material
where the figure is fullest.

Shapely Dart

Straight dart legs must always be equal in length, AB equals BC (Fig. a). If they are not, make them so. Wherever possible, balance the dart on grain to avoid puckering when stitched., When the dart legs are curved, one (AB) may be a little longer than the other (BC) (Fig. b). Ease AB into BC. Because of the angle, it is comparatively easy to “ease” a curve.
Straight dart legs ending just short of the high point (ADC-dressmaker’s dart)” provide ease in the bulge area (Fig. c). Dart legs stitched to the dart point remove the ease (ABC) (Fig. c).
When the dart legs are “bowed” for closer fit (as in an evening or cocktail dress), the ease is removed (Fig.d).

Simple designs stitched on colored canvas make these bookmarks ideal projects for beginners. Created on 10 mesh canvas using embroidery floss or satin ribbon, the pretty markers are thoughtful “thank you”gifts for anyone – for any reason!

Approx Size: l-3/8″w x 5″h each Supplies: Six-strand embroidery floss (refer to color key), one 10-1/2″ x 13-1/2″ sheet of colored 10 mesh plastic, #20 tapestry needle, 1 yd of 1/16″W ribbon, and clear-drying craft glue Stitches Used: Cross Stitch,’ Gobelin Stitch, Scotch Stitch, and Tent Stitch Instructions: For Love Bookmark, follow chart and use required stitches to work bookmark. For Patchwork Bookmark, follow chart and use required stitches to work bookmark. Follow How to Make a Tassel, page 30, to make one pink tassel. Refer to photo and use pink to tie tassel to bookmark. For Ribbon Bookmark, follow chart and use required stitches to work bookmark. Thread 12″ of ribbon through canvas at x’s. Tie ribbon in a bow and trim ends.

A bouquet  of flowers bursts into bloom on this colorful springtime wreath. Hung on a door or in a window, these pretty buds are a lovely way to greet the season!

Size: 9-5/8″w x 9-5/8″h Supplies: Worsted weight yarn (refer to color key), one 10-5/8″ x 13-5/8″ sheet of 7 mesh plastic canvas, #16 tapestry needle, sawtooth hanger, sewing needle, and thread Stitches Used: Backstitch, French Knot, Gobelin Stitch, Overcast Stitch, and Tent Stitch Instructions: Follow charts and use required stitches to work Wreath and Flowers, Match +’s and Q ‘s and use yellow to tack each Flower to Wreath.
For hanger, use sewing needle and thread to sew sawtooth hanger to wrong side of stitched piece.

Designed by Dick Martin

Discover the romantic appeal of hearts for the bath. Our lovely ensemble will cover your tissues and collect your trinkets with style.You can also stitch individual hearts to make sweet accents.

Design By Teal Lee Elliott

SUPPLIES FOR ENTIRE SET
Worsted weight yarn (refer to color key), ten 10-5/8″ x 13-5/8″ sheets of 7 mesh plastic canvas, #16 tapestry needle, 1 yd of 1/2 “w lace trim,
12″ of 1-3/4 “w cluny lace, 20″ of 1/8″ w satin ribbon, clear-drying craft glue, wooden skewer, and candle STITCHES USED FOR ENTIRE SET
Diagonal Mosaic Stitch, Gobelin Stitch, and Overcast Stitch
TISSUE BOX COVER
Size: 10-1/4 “w x 3-1/4 “h x 5-1/4 “d
(Note: Fits a 9-1/2 “w X 2-1/2 “h x 4-3/4 “d tissue box with off-center oval opening.)
Instructions: Follow charts and use required stitches to work Front, Top, Sides, and two Hearts. Complete backgrounds with Diagonal Mosaic Stitches as shown on charts. For Back, cut a piece of plastic canvas 68 x 22 threads. Follow Front to work Back. Complete background with ecru Diagonal Mosaic Stitches. Use ecru for all joining. Join Front, Back, and Sides along short edges. Refer to photo to join Top to Front, Back, and Sides. Use ecru Overcast Stitches to cover unworked edges. Refer to photo to glue 1/2 “w lace trim to wrong sides of Hearts. Glue Hearts to Tissue Box Cover.
TRINKET BOX
Size: 3″w x 1-1/2″h x 2-7/8″d Instructions: Follow charts and use required stitches to work Trinket Box pieces, leaving shaded area unworked. Use ecru for all joining. Join Top Sides along short edges. Match unworked corners of Top Sides to wrong side of Top at ‘s. Work stitches in shaded area on Top to join Top Sides to Top along placement line. Join Bottom Sides along short edges. Match unworked corners of Bottom Sides to wrong side of Bottom at ‘s. Join Bottom Sides to Bottom along worked edges. Refer to photo to tie ribbon in a bow around box.
PLANT POKE
Size: 2″w x 1-7/8″h
Instructions: Follow chart and use required stitches to work Heart. Refer to photo to glue 1/2 “w lace trim to wrong side of Heart. Glue wooden skewer to wrong side of stitched piece.
TISSUE ROLL COVER
Size:     5-1/2 “w x 5″h x 4-7/8″d Instructions: Follow charts and use required stitches to work Tissue Roll Cover pieces. Complete backgrounds with Diagonal Mosaic Stitches as shown on charts. Use ecru for all joining. Join Sides along long edges. Join Top to Sides. Use ecru Overcast Stitches to cover unworked edges.
VANITY TRAY
Size: 14″w x 7-1/8″h x 1-1/4 “d Instructions: Follow charts and use required stitches to work Vanity Tray pieces. For Bottom, cut two pieces of plastic canvas 90 x 50 threads each.(Note: For durability, stitches are worked through two layers of plastic canvas.) Work Bottom with ecru Diagonal Mosaic Stitches. Use ecru for all joining. With right sides out, join two Dividers along long edges. Repeat for remaining Dividers. Match s to join one pair of Dividers to right sides of Long Inner Sides. Repeat for remaining pair of Dividers. Join Long Inner Sides to Long Outer Sides along top unworked edges.With wrong sides together, join two Short Sides along top unworked edges. Repeat for remaining Short Sides. Join Short Sides to Long Sides along short unworked edges. Join Sides to Bottom along unworked threads. Tack Dividers to Bottom of Tray.
CANDLE RING
Size: 1 -1/8 ” h
Instructions: Cut a strip of plastic canvas 8 threads high. Cut strip desired length plus four threads. Follow chart for Vanity Tray Long Outer Side to work candle ring. Repeat pattern as necessary to cover plastic canvas strip. Use ecru Overcast Stitches to cover long unworked edges. Use ecru to join ends along unworked edges. Refer to photo to glue 1-3/4″w cluny lace to bottom of candle ring. Slide candle ring over candle.

Instructions: Follow charts and use required stitches to work Kiss pieces. Use color to match stitching area for all joining. Match  x’s to join Top to Back along unworked threads. Match ‘s to join Bottom to Back along unworked threads. For Mr. Mouse Kiss only: Match ‘s to place Hat Brim around Back. Tack in place. Match ‘s to join Tie to Back at ‘s. Match  ‘s and overlap canvas to make Hat Brim turn up. Match ‘s to tack Lt Yellow Flower to Back.
For Mrs. Mouse Kiss only: Match ‘s and s to join Arms to Back along unworked threads. Match ‘s to tack Purple Flower to Back. Match ‘s to join Right Ear to Back along unworked threads. Match ‘s to join Left Ear to Back along unworked threads.

Designed by Dick Martin