Are you hoping to make a special Mother’s Day gift for mother or grandma, or perhaps an end-of-year gift for a teacher? This yarn necklace is easily made by children who have a little finger knitting experience, in fact, my son made one for me when he was in the first grade and recently taught me how to make it. This kind of cord-making is called “finger knitting” and “finger weaving.” (Besides necklaces, you can make scarfs, braceletes, belts, or headbands in this way.)

Materials

• wool or cotton yarn in a pretty color

Start by placing the tail of your yarn in the crook between your thumb and forefinger so that the tail hangs down over the back of your hand. Use your thumb to pinch the tail and hold it in place. Take the ball end of your yarn under and over, under and over your four fingers, wrap it once around the pinkie finger.

Continue weaving the working yarn under and over, under and over, traveling back toward your index finger.

Wrap the yarn around your index finger and go under and over, under and over until you go around your pinkie again, and then weave it back toward your index finger in the same manner. Wrap the yarn one more time around your index finger and let the ball end rest across your palm. You should now have two loops (horizontal bands) of yarn on the front of each finger as you see in the photo below.

Now, beginning with your pinkie finger, grasp the lower loop with the fingers of your other hand and lift the lower loop over the upper loop …

… and completely off the pinkie finger as in the next photo below.

Now release the loop. Your hand should now look like this photo below, with two loops on the first three fingers and only one on the pinkie finger.

This action of moving the bottom loop over the top loop and off the finger is finger weaving. You will repeat this action with the remaining three fingers (ring finger, then middle finger, then index finger).

As before, with the ring finger, lift the bottom loop up and over the top loop, and then off the finger altogether. As you complete this procedure with each finger, you’ll see that you now have only one loop left on the finger.

When you reach the index finger, the yarn tail that your thumb has been holding in place acts as your bottom loop. Treat it as any other loop and lift it up and over the top loop and off the index finger.

The tail will now trail down between your index finger and your middle finger.

Now grasp your working yarn and wind it under and over your fingers as you did before, under and over, and around your pinkie finger so that your new loops are above the loops already on your fingers. Then continue winding the yarn under and over, under and over until you’re back to your index finger again. You should now have two loops on each finger again.

The loops are now high up on your fingers. Push the loops down to the base of your fingers. Then, as you did before and starting with your pinkie finger, pull the bottom loop up and over the top loop and let it go. Repeat for all four fingers exactly as you did before.

Push your stitches down again. Weave your yarn again, under and over, under and over, around, under and over, under and over above the loops already on your fingers, until you have two loops on each finger again.

As you repeat this process of pulling bottom loops over top loops again and again, row after row, you will begin to see the woven cord coming off the back of your middle and ring fingers, as in the photo below.

The woven cord looks kind of flat at first, but when you’re done and you tug it gently a few times, it will become a round cord for your necklace.

When your cord is long enough, it’s time to cast off. (Experiment with the length by putting it around your own neck while it’s still on your fingers. If you can see the necklace when you look down, chances are good the cord is long enough and stretchy enough to easily fit over a head.)

To cast off, begin with only one row of loops and don’t weave new loops above them.

Instead, lift the loop on the pinkie finger off the finger and place it on your ring finger. Your ring finger now has two loops and your pinkie has none, as in the photo below.

Lift the bottom loop over the top loop and release. Now your ring finger has only one loop. Pick up that loop and move it off your ring finger and place it on your middle finger, which now has two loops. Lift the bottom loop up and over and release. Now move the remaining loop on the middle finger to your index finger. Lift the bottom loop over the top loop and release. Now your index finger has only one loop and your other fingers are bare. You may now remove the final loop from your hand, cut your yarn, pull the working yarn through it, and pull it tight. Now pull the tail on the other end of your cord tight.

Now gently tug on your cord so that it becomes round rather than flat. Tie the two ends together, making a circle necklace.

The necklace should be stretchy enough that it can easily go over head of the lucky person you give it to. She will treasure it more than she would any chain of gold.

Happy Mother’s Day!

(This tutorial was originally published in the Little Acorn Learning May Enrichment Guide. Check out all their many wonderful offerings at Little Acorn Learning.

It’s been a little while since I posted about my experience of learning to paint with oils. I’m finishing my third set of studio classes now.

This is my biggest painting yet—a 16 by 20 canvas. I used my photograph of my neighbor’s magnolia blossoms as a reference. I am very pleased with how this came out. I tried to paint quickly and with emotion. I allowed the underpainting to show through for the first time in the hopes that it would lend a dreamy kind of atmosphere. I see a couple of things about this that I would like to fix, but I think it’s basically done. I think I’ll even sign this one.

I’m really enjoying my teacher, Randy Blasquez, and my classmates. I’ve now been coming to class long enough that I’m getting to know other painters and see and learn from their processes, too. Everyone is different. Everyone struggles with different aspects of painting. Each subject we attempt has its own challenges. I love tackling new things, and I feel I’m learning with each painting I do.

I’ve done a very little bit of work at home, which was very fun. My new easel, whom I named Anaïs, and my new “French Mistress,” whom I named Genevieve, are working out really well. Genevieve is a wood palette box that holds my glass palette and keeps paint from getting everywhere. These gizmos are beautiful and functional. I waited about six months before investing in these items. I think I had to prove to myself that this painting this wasn’t a fly-by-night whim.

This is a shot of my slightly damaged painting I did in class back in February. Some “helper” seems to have dragged a little finger from the dark center of the poppy down into the pot and the blue of the tablecloth. I’ve managed to take out most of the line with some very careful scrubbing, but I still have to repaint part of the poppy. I like this painting, too. I like the shadows especially. While working on this painting I was consciously trying to use more paint. That probably sounds funny, but I have a tendency to be conservative—oils are pricey. I wanted this painting to have more flow and texture.

Last Friday I got to go to a plein air workshop. It was my first experience painting landscapes outside. I’ll write about that another time. For now, I’ll say it was amazing and fun—and full of new challenges.

Back in September — gosh, yes, really that long ago — Ian and I took a wonderful weekend jaunt to San Francisco. We visited friends and the MOMA and saw some yummy city sights. Our friends know how much I love nurseries, so we paid a visit to Flora Grubb Gardens. I have been thinking about this glorious place off and on for months. Now, I don’t whether it is the springtime weather that’s got me thinking about this place so much or the fact that I really, really need another weekend away with my husband.

You know it’s a magical place when everything you see—natural or man-made—looks like art.

Oncidium orchids in red pots. Fiery and gorgeous.

Purple wandering jew.

Little regiments of succulents. I need some of these hens and chicks.

Passion fruit vines with flowers that look like they were designed by my 9-year-old to transform into laser turrets.

Yumminess at every turn.

Lots of modern, hipster stuff too.

Junk becomes art with the right application of air plants.

This giant wall of succulents is dreamy. I want one sooooooo bad.

Fair bromeliad, let down your hair!

And this, my dears, is the Flora Grubb piece de resistance!

A beautiful, beat-up car (Chevy? no idea!) completely planted out.  It was so big, I couldn’t fit the whole thing in my frame.

Now I know this is not for everybody’s yard, but—really— how cool is this? It’s wonderfully creative, whimsical, green upcycling at its best.

Honestly, I loved this place, so if you’re ever in San Francisco, check it out. Oh, and it appears that they do wedding flowers.

We have been reading Eggs for the Hunting, by Reg Down, which we got from A Toy Garden. I was inspired by Reg’s drawings in the book and I wondered if I could emulate them on some wooden eggs (also from A Toy Garden) to make my own story eggs. I had seen story eggs made by Mama West Wind who writes at Chocolate Eyes, and they were so beautiful I had to try to make some myself. (You can find a full tutorial by Chris Willow how to do this here at Rhythm of the Home.)

This seemed the perfect time to try the wood-burner for the first time. Plus, I had this nifty, super-dandy lathe thingy that Ian bought me for Christmas to try out, so a little project was born.

My first wood-burning attempt. I dig it! I used the pointiest tip and was pleased with the results.

I painted the flowers with some watercolor paints. I liked being able to see the wooden egg, so I left the natural wood.

Emboldened by my first success, I tried one of Reg’s designs on this large wooden egg.  This was trickier. It felt important not to mess it up. I just worked slowly and took lots of deep breaths while using the wood-burner.

Then I painted it with Stockmar watercolors. The illustration I was emulating is in black and white, so the colors here are my interpretation.

I finished it with a nice coat of beeswax furniture polish.

My Tiptoes Lightly isn’t perfect, but I think she’s a fine first attempt. I hope to make more of these story eggs before Easter comes. My kids haven’t seen this egg yet and I’d love to have two finished for their Easter baskets.

Since we had some smaller wooden eggs, too, I let the boys paint them.

What fun things are you doing to enjoy Easter?

Easter is a holiday that fills me with hope and appreciation for the new life being born and blooming all around me. It is the premier Christian holiday, which recalls the suffering and dying of Jesus Christ on the cross, and his resurrection. It is celebrated the world over by Christians everywhere.

Easter is also a springtime celebration in nature religions, and is considered by scholars to be about three thousand years old. Closely associated with the spring equinox, the goddess Ostara (or Eostar or Eostre) was worshipped by Germanic peoples long before the religion of Jesus swept Europe. The symbols in Christian Easter celebrations are very similar to those symbols of the fertile spring goddesses, who can be found in many ancient cultures. For me, this synchronicity of symbolism among multiple faiths resonates. To me, it highlights the similarities among people everywhere and our universal admiration for the earth and its cycles.

Whatever your religious (or nonreligious) take on this springtime festival, you can create a nature table that calls to mind the bounty of the earth and celebrates abundance, new beginnings, and growth.

My spring maiden graces this spring nature table. Her companions are rabbits and lambs, both symbols of spring’s bounty in the birth of new animals. Rabbits are prolific breeders, so they have long served as a symbol of fertility and abundance, as well as the bringers of colored eggs at Easter. A beautiful meadow, painted by my son in second grade, serves as a backdrop. A green crystal frog at the far end holds a tea light for a nighttime glow. A needle-felted bird sits on a nest in a branch (not pictured).

I love blooming branches, but as I don’t wish to cut any off my trees, I crafted these blooms by hot-gluing white tissue paper blossoms onto bare branches we gathered from the ground. The card showing dancing children is a drawing by my god-daughter. It reminds me of how happy we are to be outdoors again in spring.

Here is a nature table created on our fireplace mantle. We displayed our many needle-felted eggs on upside-down cups and the tops of candle sticks. I framed a print of Persephone, the Greek goddess of the spring and added it. A plant of bleeding hearts provides a living symbol of life, flowers, and freshness. From a long, finger-knitted yarn rope (made by Lucas) and felt egg decorations we made, we created a simple garland. The felt eggs aren’t fancy: They are two-dimensional and made with “craft” acrylic felt and white glue.

Simple and charming. I use these year after year.

A friend of mine found a gnarled piece of wood one day and picked it up. It has the shape of a pregnant woman, with bulbous belly and breasts. My friend gave it to me when I was pregnant and I have kept it as a special object of love and fertility ever since. Perhaps you have some totem that represents the time when you were carrying your babies inside your body, or the time you were waiting eagerly for their arrival in your family. The spring nature table is a perfect place to put such honored objects.

We added some small wooden toys, too: frolicking rabbits and stately geese. These are for curious little hands to touch and enjoy.

For your own nature table, decorate and display Easter eggs of any kind. Blow eggs and hang them from branches to make an Easter tree. Or gather them together in an attractive bowl. Balance colored eggs atop tall candle holders so they may be seen from a distance.

Materials

You most likely won’t have to buy much to create your Easter nature table. Here are some items you probably already have:

• pretty cloth in a spring color
• flowers or grasses from your garden
• fruits or seeds
• decorated eggs (blown eggs will last longer)
• candles or figurines
• watercolor paintings (used as backgrounds or cut into Easter shapes: bunnies, eggs, birds, chicks, flowers)
• any items that symbolize for you fertility, renewal, awakening, abundance, birth, and beauty
• religious items that speak to your family’s traditions or faith
• boxes or bowls

Tutorial

First, clean your nature table. Give the wood a nice polish, if appropriate.  Enlist the aid of your children. Be sure to listen to their suggestions about what to add. Now is a great time to sing springtime songs and recite a poem or two. Lay down your cloth on the table and set up any background cloth, picture, or painting you wish to include. This works well for a table that is backed by a wall, but it’s not necessary. I find it’s nice to have several levels if I have space. This can be achieved by using boxes or upside-down bowls underneath your cloth to make hills. Items place on high spots will draw people’s focus. Now arrange your special items however you like. Candlestick holders without candles are a great way to display beautifully decorated Easter eggs. Leave space for additions such as picked flowers that your little ones might contribute throughout the season.

If you have included fresh flowers or fruits or real eggs on your nature table, be sure to check them often and remove and replace them when they wilt or get too old. Your nature table will inspire you if it looks fresh—which is the whole nature of springtime. When it starts to feel old or boring to you, either rearrange it or choose new symbols to display. Keeping your nature table neat and seasonal is a fun, rhythmic way of helping children celebrate festivals and mark the passage of time.

Finally, I wanted to share our family’s Easter tradition. We create an altar outside the night before Easter on a large rock in our backyard. We leave out carrots for the Easter bunny, who personifies for us an Earth spirit, Ostara, or goddess of the spring. In the morning, early on Easter Sunday, we return to our outdoor altar to find the carrots nibbled and fruits and flowers left in their place for us. A basket of small gifts is found there for each of our sons and colored eggs are hidden throughout our yard. As the sun rises over the trees, we greet the new day, hunt for eggs in the dewy grass, and give thanks for the bounty of spring.

* Portions of this article were originally published in the Little Acorn Learning April Enrichment Guide.

It’s done now, this spectacular display that happens in view of my front door every March. I look forward to this performance every year.

The petals have mostly succumbed to time and the rains. They’ve fallen to the ground.

But while they were here, they were admired.

Now the magnolia leaves are coming out, fresh and green, promising.

Yet lovely as they are, they do not hold a candle to these flowers

with this sky.

This last is the subject of my next painting. Wish me luck!

Last year, while we were dyeing Easter eggs, we also dyed some plain white wool batting. I am so pleased with the results. In the photo above are a wool colors from both natural and artificial dyes. I’ve saved this wool all year and now I’m making goodies for my boys’ Easter baskets out of it. I doubt that they’ll appreciate the cyclical nature of this, but I do. And don’t forget, this is science! So by all means, get the kids involved.

Materials

• natural dye ingredients (such as turmeric, boiled yellow onion skins, boiled red cabbage, boiled beets, etc.)
• or food dyes from the supermarket
• or Easter egg kit dyes (capsules or powders)
• white wool batting or roving (or get fancy and dye silk cloths to make your own play silks?)
• distilled white vinegar
• mugs or drinking glassware
• spoons

Tutorial

Really, this is totally simple. While you’re dyeing your eggs, add in a good handful or two of wool. We found this was easy to do with the natural dyes as we had a big bowl full of each color, rather than a mere mug full of color.

Onion skins turn wool a pale, golden yellow.

This is the red cabbage dye. It will turn both eggs and wool bluish.

This is beets. It turns the wool a warm light brown. The eggs and wool at first are a beautiful mauve color, but I think they then oxidize and end up brown.

If you are using kit dye or food coloring to dye eggs, you probably have your dyes in mugs or glasses. (Right? That’s the way we always do it.) So you can just keep the dyes for a day or so after dyeing eggs and dye wool in the mugs. You can do handful after handful if you like. We used about a 1/4 cup of distilled white vinegar in each cup, added the dye, and then added water.

Our yellow dye bath was completely exhausted by the wool. None of the color was left when we pulled the wool out. It makes me wonder if the other colors might have done that if we had left the wool in longer.

I suggest keeping your wool in the dye for about 24 hours. When your wool is the color you like, squeeze out the extra dye into the cup, then rinse it in cool running water until the water runs clear.  Set it on a wire rack or pin it to a clothesline outside to dry.

Here are the wool colors we got. I’ll name the colors of food dye baths starting with 12 o’clock: purple, dark red, pinkish brown, blue, yellow, dark green, blue green, and yellow green. It seems to me like the blue should be darker and brighter. It may be that my sons sneacked extra green drops into the blue? In any case, I consider this experiment to be a success because it means any frugal crafter or artist can get a wide range of beautiful, bright colors without breaking the bank, using standard McCormick brand food dyes. I love buying new colors of wool to use in projects, but this is a simple way to get many colors cheaply!

Wool batting doesn’t spin into yarn all that well because the fibers tend to be short. It works very well for needle-felting or wet-felting, however. Wool roving, however, is great to spin or felt.

I’m thinking that a rainbow of simple wee bunnies made from wool we dyed ourselves might be just the thing for Easter baskets this year. What would you make with Easter wool?

It is spring, and this makes me very, very happy. (This post was started yesterday and not finished in time. And that’s OK.)

This is my first lilac flower of the season. My lilac bush doesn’t have many flowers on it this spring. I don’t know why.

Sing, World, Sing!

Now in chilly places
Where the snow had been,
Wood and field and hollow,
Easter flowers begin.

Now a bud is opened,
Now a leaf uncurled;
Spring is in the sweet wind
Walking down the world.

Snowdrops in the garden,
Violets on the hills,
Cowslips in the meadow,
Dancing daffodils

Seem to lift their faces,
Softly whispering,
“Easter’s nearly here, now—
Sing, world, sing!”

These are our 12-day-old chicks. We have yet to decide on names for them. Ian, Lucas, and Asher all insist that they have the right set of names. (I happen to like Asher’s names best.) They just insist on using their own names for the girls.

New leaves are unfurling all around us. This is my beautiful Chinese Elm tree. Right now its leaves are the most gorgeous new green.

Here is the neighbor’s yellow wood sorrel (Oxalis europaea). This stuff glows! The kids eat it and call it sour grass.

This is my own sorrel (Oxalis articulata), AKA shamrock, sleeping beauty, sour trefoil. The shamrock I bought at the nursery for St. Patrick’s Day is also an Oxalis with white flowers. So all these years that I’ve been refering to this plant as our “shamrocks,” I was right!

My irises have increased!

This lovely azalea won’t be pretty for long. So I make sure to admire it every day that it blooms.

In honor of the equinox, I refreshed our nature table. With Easter just a couple of weeks away, I pulled out our bunnies and eggs.

I hung our blown eggs and egg ornaments on a huge branch that fell in a windstorm. This huge branch is frequently in Ian’s way. I feel he would like you to know that, and that he is patient with my weird hanging artworks all over our home.

Lucas dyed this handkerchief—at school? at camp? I don’t remember. I didn’t realize how lovely it was until yesterday. The spring maiden was a gift made by my friend Parnassus.

This is a mosaic Ian made: perfect balance between night and day, dark and light. I love it.

To me, our nature table conjures plenty, delight, joy, and light. It reminds me of carefree days and celebration. The spirit of the season of Ostara is enormous potential, growth, striving, peace, and fullness. I’m ready for it all.

I heard Asher singing a song: “It’s almost Easter. It’s almost Easter.” So I guess the nature table has done the trick. I think it’s lacking some spring tulips, though. I’d better get some.

We are sick. Well, Lucas and I are, and we spent the day at home. This afternoon we rallied a bit and managed some impromptu crafts for St. Patrick’s Day. So, these kid-friendly St. Patrick’s Day paper ornaments were born. I offer these in the spirit of using what you have on hand for some low-key fun.

Materials

• 2 paper plates
• watercolor paints and brushes
• watercolor paper (optional)
• scissors
• ribbon or yarn
• compass and hole punch (optional)

Tutorial

Insert your scissors into a paper plate and cut along the outer ring and cut out a shamrock shape from the center of the plate, leaving the bottom of the shamrock’s stem attached to the outer circle. I cut out a three-leaf shamrock and a four-leaf. If you get ambitious, you can cut out the figure of a standing leprechaun, leaving both feet and one hand attached to the outer circle. This is harder to do, but give it a try. You can choose to draw your design on the plate first, or just eyeball it, start cutting, and see what happens.

Now get your kids to paint your design. Painting is such a great activity when you need to rest or cultivate calm in your home.

If you have the type of paper plates with a coating on them to make them less absorbent, then you will probably also want to paint a circular background on watercolor paper. Do you know where your compass is? If you have one, it makes this step a lot easier. Draw a circle that will fit inside your paper plate. I painted rainbows on some circles to use as backgrounds. I love rainbows.

Your children should also paint the back of a second paper plate. Be sure to wait until all the watercolor painting is completely dry before you assemble your ornament.

With hot glue, glue your circle background into your bottom plate. It will cover any design on the plate and compensate for that water-resistant coating.

Like so. The design that is still visible around the edges won’t be visible in a minute.

Now stack your front cut-out design on top of the bottom paper plate. Using hot glue, seal the outer edges together. Press them firmly to make them stick nicely. You might have to apply glue in six or seven spots around the circle.

Finally, punch a hole in the top, thread a piece of ribbon or yarn through the hole, and hang your ornament.

I have a deep and abiding love for mobiles. Holiday decorations that hang can be very festive without taking up too much space or cluttering your nature table. Here’s a St. Patrick’s Day leprechaun mobile that is easy to make and quite whimsical.

Materials

• foam base and needle-felting needle
• wool roving in gray or black, green(s), and skin colors
• low-temperature glue gun and glue sticks
• one twig approximately 18 inches long; ideally it will have a 6-inch straight section in the middle
• gold ribbon, gold foil, or gold tissue paper
• 1-inch ribbons in rainbow colors, approximately one yard of each color
• yarn or string, approximately 2 yards
• needle, thread, and scissors

Money-Saving Alternatives

• Narrower ribbon in rainbow colors costs less. Although I used 1-inch ribbon, you could use several strips of the same color ribbon to create a 1-inch band of color for each color of the rainbow.
• Instead of 1 yard of each color, you could use only a half yard. Your ribbons would be a single layer, not double as in the photos below.
• Check your gift wrap stores. You may have some gold tissue paper or ribbon left over from a package.

Tutorial

To begin, tie two pieces of yarn or string (each about a yard long) to your twig, approximately 8 inches apart. Hang the twig from the two strings more or less horizontally (adjust the position of the two ties on the twig as needed). Then tie a knot in the two strings about 8 inches up from the twig. This will make a triangle of string above your twig. Tie your twig to something so that it hangs freely at shoulder level so that you can work on it comfortably.

Lay your ribbons over the twig in rainbow order. Their two ends should be even at the bottom. Make sure you like the position of each ribbon before you affix any glue. (You can use clothes pins to hold them in place while you decide on their optimal positions.)

With your glue gun, put a dab of glue on the inside of one layer of a ribbon and pinch the other layer over the top of the warm glue to fix the ribbon to itself. Repeat this for each color. See the photo above.

Now, take your gray or black wool roving, felting needle, and foam pad and needle-felt a pot. This will be your pot of gold. Mine was about 2 and ½ inches in diameter. If you wish to have a sleeker look for your wool pot, you can first shape it with your felting needle, then wet-felt the pot in hot water with soap. Gently rub your pot inside and out with soap until the fibers mat firmly together. Rinse it in both hot and cold water.) Shape it carefully into a pot and let it dry. You may still want to apply your needle again to perfect the pot’s shape.

With your green and skin-colored wool roving, needle-felt a leprechaun. No wire skeleton is needed for this project and since this figure will not be played with, you can attach head, hands, legs, shoes, and hat by simply needling the fibers together. Start with a torso and arms. Add legs. Add a ball of skin-colored wool for a head.

Your leprechaun can be as traditional or as unique as you like. Mine was a kind of Waldorf-inspired figure dressed in several greens, with a jaunty hat and dark green vest.

Stand your leprechaun on top of your horizontal twig. With needle and thread, sew your leprechaun’s hands to the yarn or string hanger. (Feel free to adjust the knot above the leprechaun‘s head as needed to make it possible for the hands to hold both strings.) Finish off the two yarn/string knots on the twig by tying them securely and cutting off the excess.

When your pot is dry, crumple your gold ribbon, foil, or tissue paper into a mound of gold and place it into your pot. You might want it to heap above the edge of your pot. With a long thread, sew up from the bottom center of your wool pot, through your gold, and back down a couple of times. On the way up again, extend your long thread all the way up to your rainbow-covered twig and tie your thread securely to the center of the twig. You’ll probably want to tie it in between the yellow and green ribbons. Cut of the excess thread tail. Your pot of gold should hang a couple of inches below your twig, at the end of your rainbow.

Find a nice spot in your home to hang your St. Patrick’s Day mobile with leprechaun and pot of gold, perhaps in front of a window, where fresh spring breezes will make your rainbow ribbons flutter.

* This article was originally published in the Little Acorn Learning March Enrichment Guide.